Boris Pahor in izbira slovenskega jezika Deganutti, Marianna
Slovenski jezik (Slovenska akademija znanosti in umetnosti. Znanstvenoraziskovalni center),
11/2023, Letnik:
15, Številka:
15
Journal Article
Recenzirano
Prispevek obravnava izbiro jezika pri Borisu Pahorju. Tovrstna izbira je ključna odločitev vsakega večjezičnega pisatelja. Ob upoštevanju objektivnih in subjektivnih dejavnikov, ki so vplivali na ...Pahorjevo odločitev (od tržaškega družbenega, političnega in zgodovinskega konteksta pa vse do biografskih vidikov), sem pokazala, da sta imela motivacija za pisanje in Pahorjev simbolični odnos do slovenščine pomembnejšo vlogo kot njegove jezikovne veščine. Pahorjeva izurjenost v pisni uporabi italijanščine bi bila lahko v nekem trenutku njegovega življenja boljša od njegove slovenščine. Druga je bila namreč jezik, ki se ga je moral ponovno naučiti – skoraj kot samouk. Toda kar je odločilno vplivalo na njegov sklep, da bo svoje romane pisal v slovenščini, ima opraviti z nujo, da svojo zapostavljeno identiteto karseda močno izpriča.
This article discusses dilemmas that have been sent to the Language Consulting Service of the ZRC SAZU Fran Ramovš Institute of the Slovenian Language by users and are related to feminatives in ...Slovenian, also shedding light on these dilemmas from the perspective of wider societal developments. Most dilemmas are connected to feminatives that are not included in dictionaries or are unfamiliar, but dilemmas often also arise when multiple feminatives are included in dictionaries or viable in terms of word formation. Though the Language Consulting Service is integrated into the search system of the Fran dictionary portal, the feminatives considered, which were not yet included in dictionaries when the corresponding questions were submitted, are at the time of writing still not included, which leads us to the question of a systematic treatment and dictionary presentation especially for feminatives that are uncommon in usage, which are most frequently the subjects of dilemmas in the Language Consulting Service.
U radu se analiziraju dvojbe koje su upućene službi jezičnih savjeta ZRC SAZU-a pri Institutu za slovenski jezik Frana Ramovša, a tiču se feminativa u slovenskome s jezičnoga i širega društvenog gledišta. Najčešće je riječ o dvojbama koje se odnose na feminative nezabilježene u rječnicima, koji su rijetki ili u slučajevima kad postoje sinonimni nazivi ili im je tvorba upitna.
The article investigates the relationship between historiographic and artistic narratives on history through the close reading of three narratives on Slovene partisans in WW2 – France Štiglic’s movie ...Na svoji zemlji (On our own land, 1948), Vitomil Zupan’s novel Menuet za kitaro (na petindvajset strelov) (Minuet for 25 – shot guitar, 1975) and Miklavž Komelj’s philosophic and historiographic essay Kako misliti partizansko umetnost ? (How to think partisan art ?, 2009) – on the background of several scholarly sources. The theoretic starting point of the study are the theories of the philosopher Paul Ricoeur and the historian Hayden White stating 1) the narrativity of every report of history and 2) the presence in narrativity of both analytic (source-fact/ reason-logics/ system/ detachment) and aesthetic (fiction/ emotion/ associative thinking/ engagement) elements. The interpretative tools of Ricoeur’s and White’s theories seem particularly apt to deal with historiographic and artistic narratives related – like the one on partisans – to Socialism, a utopian form of understanding and experiencing the world which is per definition based, in history as well as in art, not only on rational detachment but also on emotional commitment. The utopian frame of Socialism tends to polarize every kind of historic narratives, dividing them in supporting and opposing ones – before as well as after 1989 (or 1991 for Slovenia). Moreover, a second kind of polarization seems to come up in Slovene society : the one between players taking actively part in the conflict of narratives (i. e. taking side for or against partisans) and players feeling the fatigue to be continuously faced with a topic systematically demanding to take sides. One could call it “ the uneasiness of utopia.”
Partisans slovènes ou l’art et l’historiographie de l’utopie.
L’article questionne la relation entre les narrations historiographiques et artistiques à travers la lecture détaillée de trois récits sur les partisans slovènes pendant la Seconde Guerre mondiale : le film de France Štiglic Na svoji zemlji (Sur notre terre, 1948), le roman de Vitomil Zupan Menuet za kitaro (na petindvajset strelov) (Minuet pour 25 – tir guitare, 1975) et l’essai philosophique et historiographique de Miklavž Komelj Kako misliti partizansko umetnost ? (Comment réfléchir à l’art des partisans ?, 2009) – avec pour cadre méthodologique plusieurs références complémentaires. Le point de départ théorique du présent article est les thèses du philosophe Paul Ricoeur et de l’historien Hayden White qui établissent tous deux 1) la narrativité de chaque transmission de l’Histoire et 2) la présence, dans la narrativité, d’éléments à la fois analytiques (source-fait/ raison-logique/ système/ détachement) et esthétiques (fiction/ émotion/ pensée associative/ engagement. Les outils interprétatifs de Paul Ricoeur et les théories de Hayden White semblent particulièrement propices au traitement des narrations artistiques liées au socialisme, une manière utopique de comprendre et d’expérimenter le monde qui est, à la fois dans l’histoire et dans l’art, basée sur le détachement rationnel mais aussi sur l’engagement émotionnel, comme c’est le cas des productions sur les partisans. Le cadre utopique du socialisme tend à polariser toutes sortes de narrations historiographiques, les divisant entre celles qui soutiennent l’idée et celles qui s’y opposent – tant avant qu’après 1989 (ou plus précisément 1991 en ce qui concerne la Slovénie). De plus, un deuxième type de polarisation apparaît dans la société slovène : celui entre les acteurs qui prennent une part active dans le conflit des narrations (se positionnant du côté ou contre les partisans) et les acteurs qui se sentent fatigués d’être continuellement confrontés à un sujet qui les force à prendre partie. On pourrait appeler cela «le malaise de l’utopie ».
Sloveense Partizanen of de kunst en historiografie van de utopie.
Dit artikel onderzoekt de relatie tussen historiografische en artistieke narratieven over geschiedenis, door middel van een ‘ close reading’ van drie narratieven over Sloveense Partizanen in de Tweede Wereldoorlog – France Štiglic’ film Na svoji zemlji (Over ons eigen land, 1948), Vitomil Zupans roman Menuet za kitaro (na petindvajset strelov) (Menuet voor 25 – schot guitaar, 1975) en Miklavž Komelj’s filosofische en historiografische essay Kako misliti partizansko umetnost ? (Hoe over Partizaanse kunst nadenken ?, 2009) – tegen de achtergrond van verscheidene wetenschappelijke bronnen. Het theoretische startpunt voor de studie zijn de theorieën van de filosoof Paul Ricoeur en de historicus Hayden White, die uitgaan van 1) de narrativiteit van elk bericht over de geschiedenis en 2) de aanwezigheid in narrativiteit van zowel analytische (bron-feit/ redeneren-logica/ systeem/ afstandelijkheid) en esthetische (fictie/ emotie/ associatief denken/ engagement) elementen. De theorieën van Ricoeur en White lijken als interpretatief hulpmiddel bijzonder geschikt om historiografische en artistieke narratieven te analyseren die (zoals die over de Partizanen) verband houden met het socialisme, een utopische vorm van het begrijpen en beleven van de wereld die per definitie niet enkel gebaseerd is, zowel in geschiedenis als kunst, op rationele afstandelijkheid maar ook op emotioneel engagement. Het utopische raamwerk van het socialisme heeft de neiging om elk soort historisch narratief te polariseren, en op te delen in ondersteunende en tegenwerkende narratieven -zowel voor als na 1989 (of 1991 voor Slovenië). Daarnaast lijkt een tweede soort polarisering op te komen in de Sloveense samenleving, met name die tussen spelers die actief deelnemen aan het narratieve conflict (dat wil zeggen : die zich voor of tegen de Partizanen uitspreken) en spelers die de voortdurende confrontatie met thema’s die om stellingname vragen beu zijn. Men zou dit ‘ het ongemak van de utopie’ kunnen noemen.
The aim of this article is to study the translation of Polish literature into Slovene to shed light on Polish literary (and cultural) diplomacy in Slovenia. Being acquainted with the culture of ...another nation is an important factor in forming closer political and economic relations, since literature is a source of “soft power,” which relies on attraction rather than on the power of explicit or implicit coercion. Using quantitative analysis, we surveyed how many and which works were translated from Polish into Slovene between 1865 and 2021. Our qualitative analysis based on semi-structured interviews with Slovene translators further explores who chose the texts and decided what to translate from Polish into Slovene. The key finding of the article is that strong cultural cooperation (in our case, translation of Polish literature into Slovene) can be an advantageous platform for enhancing and strengthening political and economic relations between the two countries, as well as for fostering better understanding between the two nations.
The article examines the reception of Giorgio Bassani’s works in Slovenia. The current state of translations of Bassani’s works into Slovene is characteristic of the availability of Slovene editions ...of Italian authors, which often seems desultory despite the relatively high number of literary translations from Italian published after World War II. In the past, the translations were typically published later than the original texts and without a global strategy. This situation partly persists to the present day: whilst the translations of some authors are sufficiently present, others continue to be absent, which is probably due to the limitations of the Slovene book market. As few as three of Bassani’s texts have been translated into Slovene, namely the novel Il giardino dei Finzi-Contini (1978), translated by Stabej, excerpts from the short story Una lapide in via Mazzini (1994), translated by Ožbot, and a selection of poems from In rima e senza (2008), translated by Dekleva. Il giardino dei Finzi-Contini, the only text to have been translated in an unabridged version, was also the subject of linguistic research by Miklič and Premrl. Whilst no doubt interesting for specialists, the results of their research most likely did not reach a wider public. Even though the translation of Bassani’s novel was followed by the release of the film adaptation, whilst the poetry collection received critical acclaim, Bassani remains a relatively little-known author in Slovenia to this day. Moreover, as many as thirteen years have passed since the publication of the last translation.
The paper presents the results of the Janes project, which aimed to develop language resources and tools for Slovene user generated content. The paper first describes the 200 million word Janes ...corpus, containing tweets, forum posts, news comments, user and talk pages from Wikipedia, and blogs and blog comments, where each text is accompanied by rich metadata. The developed processing tools for Slovene user generated content are presented next, which include a tokeniser, word-normaliser, part-of-speech tagger and lemmatiser, and a named entity recogniser. A set of manually annotated datasets was also produced, both for tool training as well as for linguistic research. The developed resources and tools are made publicly available under Creative Commons licences in the repository of the CLARIN.SI research infrastructure and on GitHub, while the corpora are also available through the CLARIN.SI concordancers.
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