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Toneta Pretnarja prevod sonetov Jana Nepomucena Kamińskega

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Šurla A.

Przekłady Literatur Słowiańskich

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2016

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vol. 7

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issue 1

271-285/286-300

SI

V bogatem prevodnem opusu Toneta Pretnarja je tudi 14 sonetov Jana Nepomucena Kamińskega, pomembnega organizatorja poljskega gledališkega in kulturnega življenja v Lvovu v 1. polovici 19. stoletja. Leta 1827 napisane sonete je tedanja kritika zavrnila, večje pozornosti pa jim ne namenja niti poznejša literarna zgodovina. Pretnar se je za njihov prevod odločil (po lastni izjavi) zaradi avtorjevih tesnih zvez z Matijem Čopom, pomembno osebnostjo slovenske intelektualne in umetniške scene istega obdobja. A medtem ko so bile Kamińskemu očitane (poleg kompozicijskih težav) tudi jezikovne slabosti, so Pretnarjevi prevodi jezikovno čisti in lepo tekoči. Pozornost pritegnejo 'prešernizmi': citati in aluzije na pesniški jezik največjega slovenskega ro‑ mantika Franceta Prešerna. Z njimi je prevajalec svoj prevod uspešno umestil v čas, v katerega je (kljub nekaterim poznejšim poskusom oživitve zanimanja) ostal zaprt original. Ni pa izključeno (čeprav ostane bralcu, ki ozadij literarne zgodovine ne pozna, skrito), da so 'prešernizmi' tudi genialna prevajalčeva rešitev, kako v prevodu realizirati to, kar so nekateri kritiki videli (ali hoteli videti) v originalu: parodijo lirike najpomembnejšega poljskega pesnika dobe, Adama Mickiewicza.

EN

The extensive translation work of Tone Pretnar includes within it the fourteen sonnets of Jan Nepomucen Kamiński, an important organiser of the Polish theatre and cultural life in Lvov in the first half of the nineteenth century. The sonnets, which were written in 1827, were rejected by critics of the period, and were not afforded any greater attention by later literary historians. According to his own account, Pretnar decided to undertake the translation of these works due to the author’s close links with Matija Čop, an important figure in the intellectual and artistic scene of that time. While Kamiński’s works were criticised for their linguistic and compositional fail‑ ings, Pretnar’s translations are linguistically pure and flow with inherent beauty. Attention is often focused on those elements within them that are reminiscent of Prešeren — namely quotations and allusions to the poetic language of the greatest Slovene romantic poet, France Prešeren. With these elements, the translator succeeded in firmly placing his translation in a time, interest in which (apart from some subsequent attempts to revitalise interest) remained, like the sonnets themselves, restricted and confined. Nor can it be ruled out (even though for the reader who is unaware of the literary and historical background it may not be immediately apparent) that those elements that are reminiscent of Prešeren also in fact represent the translator’s ingenious solution to the problem as to how best realise in translation the very elements which some critics had seen (or wanted to see) in the original: namely, a lyric parody of the greatest Polish poet of that period, Adam Mickiewicz.

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Empirical Research – How To Improve Reception of Classical Poetry

100%

Božič Z.

Świat i Słowo

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2015

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vol. Świat i Słowo 2015, nr 1 (24)

157-174

EN

An empirical study of understanding The Baptism at the Savica showed that Slovenian high school students had notable difficulties in decoding the basic meanings of Prešeren's poem. In literature, didactics offer three methods of facilitating reception of complex classical poetry: linguistic modernisation, addition of notes, and transmission into prose. Due to the cult status of Prešeren’s poetry, modernizations can only be limited, while commenting hinders a spontaneous reading experience; as a result, only prosification entirely solves the problems of pronounced archaization, inverted word order and abundant metaphors in Prešeren’s lines. This was confirmed by an empirical study in which high school students, who read the prozification together with the verses from The Baptism at the Savica, attested a comprehension which was twice as good as comprehension of students who only read the poetry.

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Spory wokół języka słoweńskiego i ich wpływ na kształt literatury słoweńskiej w okresie romantyzmu

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Gruda M.

Poznańskie Studia Slawistyczne

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2023

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issue 25

167-188

EN

The article aims to explore the status of the Slovene language and literature, as well as Slovene culture during the Romantic period in the context of historical events which informed them as a result of the creation of the alphabet by Adam Bohorič in the 16th century. During the 19th century, in Slovenia an “orthographic war” was being waged. Its goal was to establish the one and correct version of the alphabet and the definitive spelling rules for the Slovene language. The debate about language erupted between the group under the leadership of Matia Čop (of which France Prešeren was a member) and the followers of Jernej Kopitar. The dispute involved a number of issues connected to Slovene literature and culture, and the status of Slovenia in Europe. Arguments in the debate were exchanged via publications, (e.g. Slovenska abecedna vojska), poetry (Satirical Sonnets and epigrams) and engaged a wide spectrum of topics such as the dialects of the Slovene language or literary criticism.

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Toneta Pretnarja prevod sonetov Jana Nepomucena Kamińskega

Empirical Research – How To Improve Reception of Classical Poetry

Spory wokół języka słoweńskiego i ich wpływ na kształt literatury słoweńskiej w okresie romantyzmu