Avant-garde is a kind of precursor that precedes some fundamental change. Translation can provoke such a change in the host literature, presenting works that have the potential to make a turn in it, ...or it can become revolutionary in the art of translation. The avant-garde function of Polish literature in Slovenia is fuzzy. It is present in the minds of some authors although they do not exhibit it in an explicit way. Therefore, it is not possible to assign its translations an avant-garde role in the interwar period, which abounded with stormy transformations of European art and not only. The Polish historical avantgarde was unknown to the reader, and the poetry of one of the central poetic groups, the Krakow Avant-Garde, has remained so. The translations of avant-garde prose and drama of that time are late to fulfill such a function because they only appeared after the 1970s.
Translation is an adventure. The desire to experience it exceeds all other translation motives. It is a desire of a rational, pragmatic, emotional and physical nature. Therefore, full normalisation ...of the principles of artistic translation constantly encounters difficulties. Outside the borders of the scheme there is something called talent and empathy, understood as a cognitive-affective phenomenon.
The paradigm of desire is defined by: individual weaknesses, ambition, desire to communicate, to know and experience something so far unknown, and the interaction between them in the form of surprise, dazzlement, and even shock.
Approximately 75% of book publications of Polish literature in Slovenian in the years 1987—2014 include an afterword written by the translator, who expresses in it his concept of translation as a ...linked text. Slovenian translators place the original in the center of the reflection on translation, attributing the translation a cognitive, mediating and sometimes artistically inspirational function. This testifies to the translators’ responsibility for the reception of the translated literature, and to their historical and literary integrity, as well as to the publishers’ diligence.
In the Polish translatory reflection, one can observe a two‑way tendency: thinking in terms of binarism and the multi‑dimensionality of the cultural and creative functions of translation in the ...development of the target literature through speaking the foreign in the translator’s own language. Therefore, some concepts are ahead of the cultural turn in translation, although normalized methodologies sometimes are the starting point for them.
Tone Pretnar, in the translation of Jan Nepomucen Kamiński’s sonnets, created the illusion of the original by using his own poetic talent and a foreign word. Just as Kamiński used the word of ...Mickiewicz, so he used the word of Prešeren. However, he changed the communication purpose of the original text. Apart from the pastiche aspect, he gave the original a high poetic value, while revealing the aporia of the original’s autonomy.
At the onset of the 21 st century art and literature emerge as a consequence of two orders: the past, that is the 20th century, and the future, anticipated - by and large - on the basis of previous ...experiences. The artistic consciousness of the past century is determined by contradictions, such as empathy and distrust, reason and sensation, rationalism and metaphysics, the subject and the object, the whole and the fragment. Leaving out one element in any of such oppositional pairs either leads to frustration, or to dogmatism, while the acceptance of their simultaneity - results in the removal of permanent points of reference in the sphere in which humans, objects, phenomena and values exist. In the 20th century, the loss of faith and the hardships of the quest for one's own identity led to a situation marked by absurdity: it caused the escape of being. The body flees from the man, theatricality runs away tram the theater, literariness escapes letters, literary scholarship flies from literature. The lack of identity turns any being-bound quality into void - yet art, literature, culture and man continue to exist nonetheless, functioning by the principle of similarity and difference.
The man lives in the culture built by him, which also includes stereotypes both created and used by the writer, belonging to the structure of the composition the stereotypes reference convention, ...scheme, model and cliché. They are forms of consciousness and as such they do not make a category in poetics, becoming closer to the rhetoric embodied by different shapes of thoughts. At the same time they are not shapes of thoughts, but rather forms of consciousness. Stereotypes are terms and phenomena on the border of humanities, such as myth or topos. They exist in the area of all culture. The community sanctions their presence, both positive and negative.
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