Cilj je ovog rada uključiti hrvatsku prijevodnu književnost
ne samo u recentnu traduktološku raspravu o prvim i ponovljenim prijevodima,
već i u onu o prerađenim i ponovljenim prijevodima. Za predmet ...kontrastivne
analize uzima se roman
Gli indifferenti
talijanskog književnika Alberta
Moravije budući da je riječ o njegovu najprevođenijem djelu na hrvatskom
jeziku, odnosno jedinom koji ima i ponovljeni i prerađeni prijevod (
Ravnodušni
iz 1982. i
Ravnodušni ljudi
iz 1964. godine). Polazeći od novijih
teorijskih promišljanja finskih
traduktologinja Outi Paloposki i Kaise
Koskinen, koje su na primjerima iz finske
prijevodne književnosti
uputile na tanku liniju između prerađenog i ponovljenog
prijevoda, u
kontrastivnoj se analizi prvog poglavlja talijanskog izvornika,
prvog
srpskog prijevoda iz 1954. godine, njegove hrvatske, prerađene verzije
riječkog
izdavača Otokara Keršovanija iz 1964. godine i kasnijih reizdanja iz
1972.
i 1979. godine istražuju preinake do kojih je došlo u procesu transliteracije
prijevoda s ćirilice na latinicu i prijelaza sa srpske na hrvatsku
varijantu.
Spektar između prerađenog i ponovljenog prijevoda smješta se
u političko-jezični kontekst druge Jugoslavije, pri čemu se utvrđuje da su,
osim
transliteracijskih i korektorskih, uvedene i neke uredničke,
tipično prijevodne
promjene. Time se potvrđuje fenomen konvergentnosti
prerađenog i ponovljenog prijevoda u hrvatskoj prijevodnoj književnosti i rasvjetljava
kontekstualni glas
urednika u sklopu teorije ponovnog prijevoda.
The aim of this paper is to include Croatian translated
literature into the most recent translation discussions on first translations
and retranslations, as well as in those on revisions and retranslations. The
subject of the contrastive analysis is the novel
The Indifferent Ones
by
the Italian author Alberto Moravia since it is his most translated work in the
Croatian language with both a revised translation and a retranslation. Starting
from recent theoretical reflections by Finnish scholars Outi Paloposki and Kaisa
Koskinen, whose research in Finnish translated literature indicated a fine line
between revising and retranslating, the contrastive analysis of the first
chapter of the Italian original, the first Serbian translation (1954), its
Croatian revised version published by Otokar Keršovani from Rijeka in 1964, and
its later reeditions in 1972 and 1979, focuses on the changes introduced in the
process of transliteration from Cyrillic into Latin as well as the substitution
of the Serbian variant with the Croatian variant. By inserting the spectrum
between the revised translation and the retranslation in the
political-linguistic context of the SFR Yugoslavia, the analysis reveals that,
along with the changes related to the transliteration and revision, some editorial,
typical translation shifts also occurred. These results thereby do not only confirm
the phenomenon of convergence between revision and retranslation in the Croatian
translated literature, but also shed light on the contextual voice of the
editor and the reviser within the Retranslation studies.
U članku se analiziraju prvi i ponovljeni prijevod Pirandellova romana Njezin muž koje potpisuju Dubravko Dujšin i Karmen Milačić s ciljem definiranja njihova prevoditeljskog stila. Traduktološka ...opažanja popraćena su statistič- kim podatcima dobivenima izradom paralelnoga korpusa koji se sastoji od Pirandellova izvornika i dvaju prijevoda. Izdvojeni su stilistički markeri broj i prosječna dužina rečenice, omjer različnica i pojavnica, upotreba aorista u pripovijedanju i glagolskih vremena u slobodnome neupravnom govoru, frazemi i upotreba dijalektizama. Osim korpusne metodologije u članku se primjenjuje i arheologija prijevoda kojom se detaljno opisuju kontekstualni glasovi izvornika i prijevoda. Rezultati analize osporavaju hipotezu ponovljenoga prijevoda, a prevoditeljski stil dvaju prevoditelja uvelike je određen iskustvom i naobrazbom u prevođenju.
Known primarily as the founder of Italian magic realism, Italian writer Massimo Bontempelli (1878-1960) was also appreciated in the inner circle of 20th century Italian writers and critics for his ...exquisite vein of humour present throughout his literary work in shape of irony, parody, satire and even grotesque. Starting from his very first collection of short stories Socrate moderno (1908) to his mature literary works between the 1920s and 1930s, Bontempelli perfectionated his humourist expression. What comes as confirmation of these claims are not only his short stories from that period, panoramically reviewed from this specific point of view, but also L'Eden della tartaruga (1926), Bontempelli's rare collection of short stories practically forgotten by the critics and the readership, included in an interesting publishing experiment, a book series of humorous short story collections called Umorismo italiano. Serie del fauno giallo edited by Giuseppe Zucca. In the second part of the article the collection is described in details and placed within his oeuvre thus revealing Bontempelli’s own publishing venture: uniting published and unpublished short stories in order to connect his previous and future literary works into a macrotext.
Known primarily as the founder of Italian magic realism, Italian writer Massimo Bontempelli (1878-1960) was also appreciated in the inner circle of 20th century Italian writers and critics for his ...exquisite vein of humour present throughout his literary work in shape of irony, parody, satire and even grotesque. Starting from his very first collection of short stories Socrate moderno (1908) to his mature literary works between the 1920s and 1930s, Bontempelli perfectionated his humourist expression. What comes as confirmation of these claims are not only his short stories from that period, panoramically reviewed from this specific point of view, but also L'Eden della tartaruga (1926), Bontempelli's rare collection of short stories practically forgotten by the critics and the readership, included in an interesting publishing experiment, a book series of humorous short story collections called Umorismo italiano. Serie del fauno giallo edited by Giuseppe Zucca. In the second part of the article the collection is described in details and placed within his oeuvre thus revealing Bontempelli’s own publishing venture: uniting published and unpublished short stories in order to connect his previous and future literary works into a macrotext.
U članku se analiziraju prvi i ponovljeni prijevod Pirandellova romana Njezin muž koje potpisuju Dubravko Dujšin i Karmen Milačić s ciljem definiranja njihova prevoditeljskog stila. Traduktološka ...opažanja popraćena su statističkim podatcima dobivenima izradom paralelnoga korpusa koji se sastoji od Pirandellova izvornika i dvaju prijevoda. Izdvojeni su stilistički markeri broj i prosječna dužina rečenice, omjer različnica i pojavnica, upotreba aorista u pripovijedanju i glagolskih vremena u slobodnome neupravnom govoru, frazemi i upotreba dijalektizama. Osim korpusne metodologije u članku se primjenjuje i arheologija prijevoda kojom se detaljno opisuju kontekstualni glasovi izvornika i prijevoda. Rezultati analize osporavaju hipotezu ponovljenoga prijevoda, a prevoditeljski stil dvaju prevoditelja uvelike je određen iskustvom i naobrazbom u prevođenju.
Poznat prvenstveno kao začetnik talijanskoga magičnog realizma, talijanski književnik Massimo Bontempelli (1878. – 1960.) u užim književnim i kritičkim kuloarima 20. stoljeća pamti se i po istančanoj ...humorističkoj veni koja će kroz ironiju, parodiju, satiru, pa čak i grotesku, pratiti cijeli njegov književni i publicistički rad. Počevši od prve zbirke kratkih priča Socrate moderno (1908.), pa sve do zrelijih književnih ostvarenja između dvadesetih i tridesetih godina, Bontempelli će njegovati i usavršavati svoj humoristički izraz. U prilog tomu govori ne samo njegov književni opus iz toga razdoblja, panoramski izložen kroz prizmu humorizma, već i vrlo rijetka i od kritike zaboravljena zbirka kratkih priča L’Eden della tartaruga (1926.) s kojom je sudjelovao u zanimljivome izdavačkom eksperimentu, biblioteci Umorismo italiano. Serie del fauno giallo Giuseppea Zucce. Zbirka se u drugome dijelu članka detaljno opisuje i smješta unutar njegova opusa otkrivajući da iza nje stoji Bontempellijev izdavački pothvat: spajanje objavljenih i neobjavljenih kratkih priča u svrhu povezivanja prethodnih i sljedećih književnih djela u svojevrsni makrotekst.
Croatian reception of Italian Futurist literary works intensifies only in the 1980s, when international and Croatian literary criticism devotes more attention to the attempt of launching what was ...going to be the first Croatian Futurist literary journal Zvrk (“Spinning top”) in 1914 in Zadar. However, lack of research on this subject (in spite of the transcriptions of literary texts and translations of Italian Futurist poetry chosen for the first issue), has led us to determine the original texts of three anthological poems by Aldo Palazzeschi (La fontana malata, E lasciatemi divertire) and Giovanni Papini (Dichiarazione al tipografo). Since there had been several different versions published in a short period of time, which is particularly so in Palazzeschi’s case, this article aims to determine the translations’ prototexts and assess translation strategies by comparing variants of the original text with the translations by Joso Matošić and Gabro Pilić, as well as with more recent translations by Milan Begović and Joja Ricov, thus opening the way to further translation analysis of these first Croatian translations of Italian Futurist poetry.
The article focuses on Mate Zorić’s scientific production dedicated to Manzoni and to the reception of The Betrothed among Croatian writers and readership. His critical interest is due to Manzoni’s ...close ties to Marko Kažotić and Niccolò Tommaseo, writers amply studied by Zorić since the 1950s. A third reason of his critical interest, discussed in this article, is Manzoni’s popularity among the Croatian readership through the translations of his works. The merit of Zorić is not only that of having identified the first attempt at translating Manzoni’s masterpiece in the archives of the National and University Library in Zagreb, but also of having applied the results of the studies of Croatian and Comparative Literature to the studied material. Attributing (along with the literary critic Emil Štampar) the translation published in 1875-1876 to the Croatian writer and translator Josip Eugen Tomić, Zorić also illustrates “the echoes of Manzoni” in the formation and flourishing of the Croatian historical novel. Mate Zorić’s work continues to stimulate further research on the subject from the perspectives of Comparative Literature and Translation Studies.
The article focuses on Mate Zorić’s scientific production dedicated to Manzoni and to the reception of The Betrothed among Croatian writers and readership. His critical interest is due to Manzoni’s ...close ties to Marko Kažotić and Niccolò Tommaseo, writers amply studied by Zorić since the 1950s. A third reason of his critical interest, discussed in this article, is Manzoni’s popularity among the Croatian readership through the translations of his works. The merit of Zorić is not only that of having identified the first attempt at translating Manzoni’s masterpiece in the archives of the National and University Library in Zagreb, but also of having applied the results of the studies of Croatian and Comparative Literature to the studied material. Attributing (along with the literary critic Emil Štampar) the translation published in 1875-1876 to the Croatian writer and translator Josip Eugen Tomić, Zorić also illustrates “the echoes of Manzoni” in the formation and flourishing of the Croatian historical novel. Mate Zorić’s work continues to stimulate further research on the subject from the perspectives of Comparative Literature and Translation Studies.
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