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Turyzm
|
2012
|
vol. 22
|
issue 1
5-9
EN
Today travelling is a global phenomenon. Many journeys involve cross-cultural contacts, often between cultures which are very remote from each other. Some questions arise: does the contemporary traveller expect cross-cultural contacts and how does he/she imagine such interactions? These seemingly simple questions enable us to reflect on the intentionality and complexity of cross-cultural interactions, the main issue discussed in the article. The author draws the reader's attention to the social roles assumed by the modern traveller, as well as the theoretical scenarios of cross-cultural contact, analyzing its symmetric and asymmetric forms.
Tourism
|
2012
|
vol. 22
|
issue 1
5-9
EN
Today travelling is a global phenomenon. Many journeys involve cross-cultural contacts, often between cultures which are very remote from each other. Some questions arise: does the contemporary traveller expect cross-cultural contacts and how does he/she imagine such interactions? These seemingly simple questions enable us to reflect on the intentionality and complexity of cross-cultural interactions, the main issue discussed in the article. The author draws the reader's attention to the social roles assumed by the modern traveller, as well as the theoretical scenarios of cross-cultural contact, analyzing its symmetric and asymmetric forms.
EN
Olga Martynova writes in two languages: poetry in Russian and prose in German. Writing poetry, as Martynova states, requires very quick thinking, which is only possible for her in the Russian language. In spite of this limitation, she translates her Russian verses into German – in collaboration with Elke Erb. To consider an example, in “Verse von Rom (3)”, the Russian rhymes “инеем – именем – выменем” are rendered on the one hand literally, as “Raureif – Name – Euter”, and on the other as ‘visual rhymes’: “Namen – Kolonnaden – oben”. The paper aims to show how Martynova practises a poetics of translation. She is not afraid of coming across as a “flat” poet in translation (as for example Flaubert said about Pushkin in Turgenev’s renditions: “Il est plat, votre poète”). Instead, she writes books in German and Russian, books which are linked to each other. Another language important for her works is the language of birds. The paper analyses in what sense Martynova can be viewed as an author-translator (within a broader typology of writers).
RU
Ольга Мартынова пишет на двух языках: стихи на русском и прозу на немецком языке. Для написания стихов, как говорит автор, необходима большая скорость, которая возможна для нее только на русском языке. Несмотря на это, она переводит свои русские стихи (вместе с Эльке Эрб) на немецкий язык. В переводе стихотворения Римские стихи (3), например, русским рифмам «инеем – именем – выменем» в немецкой версии соответствуют, с одной стороны, буквальные переводы (Raureif – Name – Euter), а с другой стороны – «визуально» зарифмованные слова «Namen – Kolonnaden – oben». В своей статье я хочу показать, как Ольга Мартынова следует поэтике перевода. Она не боится, что в переводе она покажется «плоской поэтессой» (как сказал Флобер о переводе Тургеневым Пушкина: он плоский, ваш поэт [«Il est plat, votre poète»]). Она пишет связанные друг с другом книги: стихи на русском языке и прозу на немецком. Наряду с этими двумя языками, язык птиц также играет определенную роль в ее творчестве. В категоризации различных типов писателей – от мастера пера к графоману – Ольгу Мартынову можно отнести к типу писателя-переводчика.
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