Et dukkehjem (A Dolls’ House) by Henrik Ibsen is one of the most central texts of world theatre and literature, but at the same time, it is also a text written by an author coming from a relatively ...peripheral source language and culture. Nevertheless, soon after her entrance to the European stages Ibsen’s Nora found her way to the Slovenian theatres, albeit via German translations more often than not. This paper will show how the fact that the translations were done between two peripheral languages has affected all existing Slovenian translations, direct or indirect.
Over the nearly two centuries that Hamlet has been a fixture of the Slovene cultural firmament, the complete text has been translated five times, mostly by highly esteemed figures of Slovene ...literature and literary translation. This article focuses on the most recent translation, which was done by the prominent Slovene drama translator Srečko Fišer for a performance at the National Theatre in Ljubljana in 2013. It examines the new translation’s relations to its source text as well as to the previous translations. After the late twentieth century, when Hamlet was regarded as a text to be challenged, this new translation indicates the return to the tradition of reverence both for the source text and its author, and for the older translations. This is demonstrated on all levels, from the choice of source text edition, which seems to bear more similarities with the older translations than with the most recent predecessors, to the style, which echoes the solutions used by the earlier translators. Fišer continues the Slovenian tradition to a far greater extent than the two translators twenty years ago, by using the same strategies as the early translators, not fixing what was not broken, and only adding his own interpretation to the existing ones, instead of challenging or ignoring them. At the same time, however, traces of subversion of the source text can be detected, not in the form of rebellion, but rather as a mild disregard. This latest translation is the first one to frequently reshuffle the text. It is also the first to subordinate meaning to style. This all indicates that despite the apparent return to tradition, the source text is no longer treated with the reverence of the past.
When the audience changes Zlatnar Moe, Marija; Žigon, Tanja
Translation and interpreting studies,
10/2020, Letnik:
15, Številka:
2
Journal Article
Recenzirano
Abstract
Much is expected to change when a work of fiction is translated from one language and culture to another, but the intended reader is not. This paper deals with the issue of the change of the ...intended reader from adult to child/adolescent in translations of fiction from English into Slovene. The intended reader is most likely to change in translations of comics/cartoons, fantasy, and realistic fiction with child or animal protagonists. The reasons for the change can be both textual and extra-textual: on the one hand, books are categorized as children’s books by libraries, award boards and marketers, as well as by the publisher’s choice of translator, while, on the other hand, individual translation decisions on the microlevel can help move a book from one category to another.
Abstract
The article explores the interaction among three key figures in the process of publication of a literary translation into a language of low diffusion: the translator, the editor and the ...language reviser (the latter specific to the Slovene situation). The aim of the research is to identify who has the strongest position of power in the decision-making process of the production of a literary translation, especially when conflict arises. Information was gathered from the three groups with questionnaires, interviews and an analysis of public statements. The questions focused on the selection of the translator and language reviser, the translation process, the revision process and conflict resolution. A cross-comparison of the results indicates that despite the automatic central position of the editors, they tend to yield their decision-making power to translators, while language revisers have a more subservient, consulting role.
•Modifications of hedging devices are identified in texts translated by trainee translators.•Translation solutions are classified as pragmatically equivalent, modified or omitted.•Discourse-based ...interviews are used to explore the reasons for the changes.•Reasons related to pragmatic competence, discourse position and form are examined.•Some of the trainee translators’ modifications of hedges are deliberate.
Though pragmatic elements such as hedging have been recognised as potentially challenging in intercultural communication, translation of hedging devices has received limited research attention. To gain a better insight into the impact of translating on the use of hedging, it is necessary to explore both translated texts and the reasons for modifications. The paper investigates trainee translators’ performance in translating hedging devices; it also investigates their perceptions of the pragmatic role that these devices play in a journalistic text. The translation task analysis reveals a considerable degree of omission and modification of hedging devices in translation. The analysis of the target texts, combined with subsequent discourse-based interviews, showed that several factors, including pragmatic competence, the discourse position and form of hedging devices, as well as intentional interventions, contributed to modifications. Our findings offer important insight into the challenges that pragmatic elements may present in translation.
Et dukkehjem (A Dolls' House) by Henrik Ibsen is one of the most central texts of world theatre and literature, but at the same time, it is also a text written by an author coming from a relatively ...peripheral source language and culture. Nevertheless, soon after her entrance to the European stages Ibsen's Nora found her way to the Slovenian theatres, albeit via German translations more often than not. This paper will show how the fact that the translations were done between two peripheral languages has affected all existing Slovenian translations, direct or indirect. Keywords: literary translation, drama translation, Ibsen, translation between peripheral languages, (in)direct translations Et dukkehjem (Nora (Hisa lutk)) sodi med srediscna dela svetovnega gledalisca in knjizevnosti, hkrati pa gre tudi za besedilo, ki ga je napisal avtor iz razmeroma periferne kulture in v perifernem jeziku. Kljub temu je Ibsenova Nora kmalu po svojem prihodu v evropska gledalisca nasla pot tudi na slovenske odre, ceprav se je to veckrat zgodilo s pomocjo nemskih posredniskih prevodov kot pa neposredno. V prispevku bom pokazala, kako je dejstvo, da je slo za prevajanje med dvema perifernima jezikoma, vplivalo na prevodni postopek in na vseh pet prevodov drame, tako posrednih kot neposrednih. Kljucne besede: knjizevno prevajanje, prevajanje dramatike, Ibsen, prevajanje iz perifernih jezikov, posredni/neposredni prevodi
Et dukkehjem (A Dolls’ House) by Henrik Ibsen is one of the most central texts of world theatre and literature, but at the same time, it is also a text written by an author coming from a relatively ...peripheral source language and culture. Nevertheless, soon after her entrance to the European stages Ibsen’s Nora found her way to the Slovenian theatres, albeit via German translations more often than not. This paper will show how the fact that the translations were done between two peripheral languages has affected all existing Slovenian translations, direct or indirect.
The articles presented Shakespeare's life and gave summaries of his plays (a scene-by-scene summary of Hamlet in the literary magazine Zora took five issues). Because of this, the general (literate) ...Slovene public knew about Shakespeare and about the contents of some of his plays years before they were performed, and Shakespeare gained recognition as a classic before the vast majority of his audience had first-hand experience of his work. The play gained enormous popularity and was labelled not only a part of Slovene popular culture of the time, but even its best example. ...it was only natural that Hamlet was the last performance to inspire courage in its audience at the beginning of World War II.
Prevajanje, še posebej literarno, že tisočletja predstavlja most med posamezniki, skupnostmi in kulturami. Nekateri izzivi ostajajo ves čas enaki, na primer dileme med ustreznimi in sprejemljivimi, ...potujitvenimi in podomačitvenimi, dobesednimi in svobodnimi prevodi; drugi so novejši, mednje nedvomno spadajo dileme aktivističnega prevajanja in uporabe najnovejših prevajalskih orodij, ki temeljijo na umetni inteligenci, in sicer pri prevajanju vseh vrst besedil a morda še najbolj pri prevajanju književnih besedil. Prevajanje je tudi že od samih začetkov družbena dejavnost, odvisna ne le od značilnosti samih besedil in spretnosti ter izurjenosti prevajalcev, ampak tudi od cele vrste zunajbesedilnih dejavnikov, od položaja posameznih jezikov, skupnosti in posameznikov v svetu, do zgodovinskih okoliščin v kulturah, ki so med seboj v stiku, političnih razmer in premikov v razmišljanju ter razumevanju sveta znotraj teh skupnosti ali v svetovnem merilu. Zaradi vsega tega se nam je zdelo pomembno posvetiti posebno številko raziskovanju književnih prevodov.
Simonitijev prevod iz leta 1994 se glasi »sef misije« in se pri tem zgleduje bolj po francoskem (»chef de mission«) kot po angleskem izvirniku. Nemski prevod je »Missionschef«, srbohrvaski pa »sef ...misije«. Opazimo lahko interferenco med francoscino in slovenscino, na prevod pa je verjetno vplival tudi srbohrvaski prevod, v katerem je francoski »chef« le prevzet (in nato precrkovan) v »sef«. Po francoskem zgledu se ravna tudi nemski prevod. Prevajalca Bohte in Sancin sta leta 2006 predlagala drugacno resitev. Zgledovala sta se po angleskem izvirniku (»head of the mission «) in ruskem izvirniku (»glava predstavitel'stva«) ter izraz prevedla kot »vodja misije«.17 Evrokorpus za prevod besedne zveze »head of the mission« iz anglescine v slovenscino ponuja resitev »vodja misije« (12 zadetkov), za prevod iz francoscine (»chef de mission«) v slovenscino enako (3 zadetki), niti enkrat pa ne predlaga resitve »sef misije«. Tudi ce se odlocimo za obratno iskanje ter nas zanima, kolikokrat je slovenska besedna zveza »vodja misije« pojavi v paru z anglescino, ugotovimo, da je zadetkov 66, v paru z nemscino je zadetkov 8, v francoscino je besedna zveza »vodja misije« kot »chef de mission« prevedena v 31 primerih, tudi tokrat pa ni zadetkov za izraz »sef misije« (tabela 2). Zanimivo je, da Evrokorpus pri jezikovnem paru slovenscina- nemscina za prevod besedne zveze »vodja misije« namesto poimenovanja »Missionschef« (nic zadetkov), ki ga najdemo v DKDO, predlaga »Leiter der Mission « (9 zadetkov). V terminoloski zbirki Iate pa sta oba nemska termina navedena kot enakovredna in zanesljiva. »Leiter der Mission« po definiciji iz zbirke lahko, tako kot v slovenscini, uporabimo v dveh pomenih, in sicer: (a) vodja diplomatskega predstavnistva neke drzave (Leiter der diplomatischen Vertretung eines Staates) ter (b) vodja civilne operacije v okviru evropske varnostne in obrambne politike na kriznih obmocjih (Leiter einer zivilen ESVP-Krisenbewältigungsoperation). Druga tocka stirinajstega clena doloca, da med vodji misij ne sme biti razlik, ki bi temeljile na njihovem razredu, razen ce gre za prednostni vrstni red in stroga pravila o vedênju.26 Angleski izvirnik govori v tem kontekstu o »precedence and etiquette«, francoski o »préséance et l'étiquette«, v ruskem besedilu je ohranjena le tujka etiketa (»starsinstvo i etiketa«), ravno tako v nemskem prevodu (»Rangfolge und Etikette«),27 ceprav se pojem »Etikette« v Evrokorpusu pojavlja izkljucno v pomenu »nalepka, listic«. Veliki slovar tujk geslo etiketa razlaga kot »pravila, predpisi o vedenju v druzbi« (tavzes et al. 2002: 309), Prirocni slovar tujk pa dodaja, da gre za »dvorni, drzavni ceremonial« (beranek 2005: 211). V obeh slovenskih prevodih se prevod te povedi glasi: Med vodji misij ni mogoce delati nobenih razlik na temelju njihovega razreda, razen kadar gre za prednostni vrstni red in etiketo. Simoniti (1994: 34) pri »prednostnem vrstnem redu« v oklepaju razlaga, da gre za »prefeans«,28 Borut Bohte in Sancin (2006: 255) pa v skladu s drugimi primeri to navajata v opombi. Iate ponuja za prednostni vrstni red vsaj se eno obliko, in sicer »prednostna razvrstitev«, kar je sicer jezikovno pravilna, a v strokovnem jeziku neuporabna resitev, saj ne gre za razvrstitev, ampak za razporeditev. Pri prevedku etiketa predlagamo resitev po zgledu italijanskega prevoda: »etiketo« nadomestimo z besedo »protokol«. Prevod besedne zveze »professional activity« oz. »activité professionnelle« v slovenscino ne predstavlja vecjih tezav in jo prevajamo kot »poklicna dejavnost« (za prevod iz anglescine ima 17 zadetkov v Evrokorpusu, za francosko besedno zvezo pa 3 zadetke). Prevajalci DKDO v slovenscino so se pri prevajanju tega clena drzali francoskega in angleskega prevoda in nanje nista vplivala niti nemski in niti srbohrvaski prevod. Nemski prevod DKDO besedno zvezo »professional acitivity« prevaja kot »svobodni poklic« (»ein freier Beruf«), srbohrvaski prevod pa govori o »slobodni profesiji«. Do interference z obstojecim srbohrvaskim prevodom pa je prislo pri angleskem poimenovanju »commercial activity« oz. francosko »activité commerciale«. V srbohrvaskem prevodu se besedna zveza glasi »trgovacka djelatnost«, kar je vplivalo na oblikovanje slovenskega prevoda (»trgovska dejavnost «), ki ni najbolj natancen. Nemski prevod »gewerbliche Tätigkeit«, za katerega Evrokorpus ponuja 10 zadetkov (prevod iz nemscine v slovenscino; prevajalska redakcija), bi se v slovenscini glasil »poslovna dejavnost«, lahko tudi »komercialna dejavnost«, kar prav tako nista najboljsi resitvi. Nas predlog se opira na razpravo Udovica (2009), v kateri utemeljuje, da bi bilo v tem primeru »commercial activity « v slovenscino potrebno prevajati kot »gospodarska dejavnost«, in sicer iz naslednjih razlogov:
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