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Historia Słowenii oczami Polaka O przekładach literatury słoweńskiej Joanny Pomorskiej

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Cieślar J.

Przekłady Literatur Słowiańskich

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2016

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vol. 7

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issue 1

236-249

SI

Prispevek obravnava temo prevajalčevih odločitev na primeru prevoda zbirke Jančarjevih esejev Terra incognita, ki ga je pripravila Joanna Pomorska. Članek izhaja iz teorije tropov Hay‑ dna Whita, ki svoja raziskovanja neposredno navezuje na zgodovinopisje in opozarja na past objektivne zgodovine, ki pravzaprav po njegovem ne sme obstajati. Prav to najdemo v esejih, v katerih vsebino preveva duh zgodovine, denimo Jančarjevi eseji se pogosto dotikajo teme slov‑ enske zgodovine, ki jih avtor postavlja ne samo v slovenski kontekst, ampak tudi v jugoslovanski in celo evropski. Podoba zgodovine v njegovih delih je zgrajena na izjemen način, v katerem prevladuje ironija, ki izhaja iz posmehljive trditve o kolesu zgodovine. Ta svojevrstna perspektiva ni ohranjena v prevajanju, kjer prevajalka mora upoštevati predvsem poljskega bralca, ki slov‑ ensko zgodovino le bežno pozna. Avtorica članka še posebej posveča pozornost ponazoritvi posledic prevajalskih strategij in njihovih razmerij do eseja kot nosilca zgodovine. Raziskuje in analizira prevajalske izbire na leksikalno ‑semantični ravni ter prikazuje njihov vpliv na dojemanje prevedenega besedila.

EN

The article deals with the topic of translator’s choices while investigating the case of the translation of Drago Jančar’s book, Terra incognita, translated in Poland by Joanna Pomorska. This article is based on the theory of tropes by Hayden White, whose research is directly related to the historiography, and points out to the trap of objective or truly scientific history which, in fact, cannot exist. The same also applies to the essays that include some threads of history, such as Jančar’s essays concerning Slovenian history, analyzed not only in the Slovenian, but also in Yugoslavian and even European context. The image of history in his works is built on the remarkable way, where prevails the irony arising from the specific argument on the wheel of history. This unique perspective cannot be retained in the translation, where the translator must take into account a Polish reader’s limited knowledge about the Slovenian history. The author pays particular attention to illustrating the effects of translation strategies and its attitude towards the essay as a relay of history. She analyzes the translation choices on the lexical ‑semantic level, and shows their impact on the perception of the text.

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Przygoda estetyczno-mentalna w przekładzie

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Tokarz B.

Przekłady Literatur Słowiańskich

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2018

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vol. 9

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issue 1

17-36

SI

Prevajalec in prevod sta pogosto označena metaforično (npr. prevajalec kot izdajalec, kanibal, kuhar, prevod kot uvoz avtorja in izvoz bralca, prevajanje kot širjenje obzorij ipd.), k tem oznakam želim dodati še eno: prevajanje kot dogodivščina prevajalca in bralca, prinaša jima zadovoljstvo, zadoščenje, razočaranje in muke. Prevajamo predvsem zaradi antropološke in obenem tudi sporazumevalne vloge prevoda. dogodivščina ni vezana le na potovanja, čeprav se ob pripravah na pot pogosto pripravimo tudi na nenavadna doživetja. od samega potovanja se razlikuje glede na racionalna, pragmatična, emocionalna in fizična pričakovanja. na pojem pričakovanje se vežejo lastnosti: šibke točke posameznika, ambicije, želja po sporazumevanju, spoznavanju in doživetju nečesa dotlej nepoznanega ter interakcija med njimi v obliki presenečenja, očaranosti in celo šokiranosti. V vsakem tipu prevoda je vsaj eden od elementov pomensko-predstavnega polja pojma »dogodivščina«. zaradi tega se posploševanje pravil (zlasti pri umetniškem prevodu) nenehno srečuje s težavami, tako kot udeležba na tečaju ustvarjalnega pisanja ne naredi iz vsakega udeleženca pesnika, pisatelja ali dramatika. zmeraj je zraven tisto, čemur rečemo nadarjenost in empatija.

EN

The translator and translation are often referred to by means of metaphors (e.g. translator traitor, cannibal, cook, translation is the author’s import and the reader’s export, translation is a fusion of horizons, etc.), to which i will add another one: translation is an adventure for the translator and the reader, bringing joy, satisfaction, disappointment and suffering. We translate predominantly because of the anthropological, and thus the communicative, aspect of translation. adventure does not only mean a journey, although taking to the road, we very often expect extraordinary experiences. it is distinguished from the road by means of a desire of rational, pragmatic, emotional and physical nature. The paradigm of desire is defined by: individual weaknesses, ambition, desire for communication, knowledge and experience of something so far unknown and the interaction between them in the form of surprise, dazzlement, and even shock. all types of translation include at least one of the elements of the semantic-imagery field of the phenomenon and the word adventure. This results in that the normalization of rules (especially in the case of artistic translation) often meets with difficulties, just as not every participant of creative writing course is turned into a poet, writer or dramatist. There remains the ‘something’, which is called talent and empathy.

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Gombrowicz w Słowenii: ramy interpretacyjne czasu i przestrzeni kulturowej

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Tokarz B.

Przekłady Literatur Słowiańskich

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2012

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vol. 3

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issue 1

234-251

SL

Rekontekstualizacija Gombrowiczeve proze v slovenskih prevodih se je izvršila v treh različnih časovnih in prostorskih interpretacijskih okvirih: v sedemdesetih, devetdesetih letih in 2000 letih. Opredeljujejo jo: strategija prevajalcev, politični položaj, prevodi in recepcija tujih književnosti (predvsem zahodnih), globalni kulturno-civilizacijski položaj in stanje ciljne literature prevoda. V prevodih Gombrowicza prihaja ocenjevanje kulturnih barier in stopnja njihovega preseganja tako iz izhodiščne kot tudi ciljne kulture: torej od politične aktualizacije poljske zavesti prek retorične zaznamovanosti njenega koda do hibridizacije in obojestranskega prenikanja časov, prostora, spoznavnih in emocionalnih stališč. Težavo pri opazovanju literanega medkulturnega dialoga v slovenski prozi poglablja dejstvo, da so se poleg prevodov Gombrowicza približno v istem času (zlasti od druge polovice osemdesetih let naprej) pojavili prevodi iz ameriških literatur.

EN

The recontextualization of the prose by Gombrowicz occurred within three different interpretational frames in the translation into Slovene, time frames and space frames: in the 70., 90. and in 2000. They are appointed by the strategy of the translators, by the political situation, by the translations and the reception of foreign literature (above all western literature), by the global situation connected with culture and civilization and by the condition of the target literature of the translation. All of them are determined by the system of expectations of the audience and by the „life” of the translations. In the translations of Gombrowicz have evolved cultural barriers and the degree of crossing them from the side of the source culture and also from the side of the target culture: beginning with the political actualization of Polish awareness through its rhetorical over-coding up to hybridization and mutual merging of times, space, cognitive and emotional attitudes. The difficulty of following the intercultural literary dialogue in the Slovene prose is deepened by the fact that the translations of American literatures occurred more or less when the translations of Gombrowicz were done (particularly, beginning in the mid 80.).

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"Ostatnia Wieczerza" Pawła Huellego (i Jany Unuk) jako konfrontacja z tradycją, z własną i cudzą kulturą

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Tokarz B.

Przekłady Literatur Słowiańskich

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2013

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vol. 4

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issue 1

185-207

SL

Slovenski prevod romana Zadnja večerja Pawła Huelleja je izšel leta 2010, komaj tri leta po izidu izvirnika, prevedla ga je Jana Unuk. Miselna shema Zadnje večerje (kot podlaga stereotipa), ki jo sestavljajo skupna večerja Jezusa in apostolov na način daritvene gostije, Jezusova vednost o Judeževi izdaji, lastnem mučeništvu in žrtvovanju ter preobrazba in sporočilo vere — obsega strukturo celotnega romana. Stereotip je vključen v kontekst sodobnih dogajanj kot argument širšega dialoga na temo skupnosti, svobode, izdaje, vere in umetnosti. Jana Unuk je pri prenašanju smisla in ideje izvirnika v slovensko kulturo glede na uresničeni jezikovni transfer do določene mere soustvarjalka romana. Kljub prevajalkini zvestobi izvirniku in njenim prevajalskim veščinam miselna shema Zadnje večerje, naravnana na prihodnost, zaradi drugačne pragmatike slovenskega jezika in nekoliko drugačne kulturne imaginacije ni dosegla vseh potencialov izvirnika (zbujajočih upanje). Ko izvirnik vstopa v ciljno kulturo, privzema njene lastnosti celo na ravni prevoda tako univerzalnih stereotipov, kot so religiozni stereotipi.

EN

In 2010, only three years after the Polish edition, a translation by Jana Unuk of the novel Ostatnia Wieczerza (‘The Last Supper’) by Paweł Huelle appeared. The mental schema of The Last Supper (the basis of a stereotype), which is in the character of a sacrificial feast and consists of: the shared supper of Jesus and the apostles, the knowledge of Jesus about the betrayal by Judas, about His own martyrdom, sacrifice and transubstantiation and the message of faith, covers the structure of the entire novel. The stereotype has been introduced into the context of the contemporary events as an argument of a broader dialogue on the topic of community, freedom, betrayal, religion and art. In a way, Jana Unuk has become a co-author of the novel by transferring the sense and the idea of the original version to the Slovenian culture, due to the performed language transfer. Despite the faithfulness to the original and the translation art of the translator, the mental schema of The Last Supper that is oriented upon the future did not receive the potentiality of the original (giving hope) because of the different pragmatics of the Slovenian language and its slightly different cultural conception.

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Polskie frazeologizmy w słoweńskich przekładach wierszy Wisławy Szymborskiej

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Baran K.

Przekłady Literatur Słowiańskich

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2012

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vol. 3

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issue 1

200-215

SL

Frazemi so pogosto uporabljeni v poljski poeziji. Zaradi svoje ekspresivnosti in sprejemljivosti za pesniške operacije, postajajo objekti besednih iger. Szymborska pogosto uporablja frazeološke modifikacije, kot so: kontaminacija, odstranitev člena, substitucija. V njeni poezji so frazemi ali frazeološke modifikacije nosilci ironije in humorja, omogočajo intelektualno distanciranje in čustveno zadržanost. Prevod frazemov je problematičen zaradi njihove ekspresivnosti, simboličnosti in večpomenskosti. V frazemih je skrita jezikovna podoba sveta določene kulture, ki zahteva od prevajalca odkritje in interpretacijo. Večina frazemov in njihovih modifikacij, ki se nahajajo v poeziji Szymborske, ima svoje ekvivalente. Ko jih ni, prevajalci lahko izbirajo eno izmed naslednjih prevajalskih metod, kot so: uporaba svobodne besedne zveze, dobesedni prevod, amplifikacija. Ta sredstva povzročajo leksikalne in stilistične spremembe, ki ne vplivajo na kakovost prevoda. Te spremembe so povezane z dejstvom, da zaradi konfrontacije med poljsko in slovensko kulturo nastajajo jezikovne in kulturne ovire. Jezikovne ovire se nanašajo na sistemske razlike med jeziki, vidni so zlasti v leksiki in sintaksi. Kulturne ovire so povezane z raznovrstno stopnjo vpliva nemške in francoske kulture na poljsko in slovensko območje in tudi z načinom izražanja ironije. Vloga prevajalca temelji na posredovanju med dvema kulturama. Prevajalec mora ugotoviti, kako naj premaga jezikovne in kulturne ovire.

EN

Idioms are often used in polish poetry. Due to their expressiveness and vulnerability for linguistic operations they are subject to different language games. Szymborska often uses transformation of idioms such as: contamination, removing of element, substitution. In her poetry idioms and their modifications are carriers of irony and jokes, they allow to preserve the intellectual and emotional distance restraint. Translation of idioms is problematic because of their expressiveness, symbolic recognition of world and ambiguity. In idioms is hidden a linguistic picture of world, which requires discovery and interpretation by an translator. Vast majority of idioms and their transformations occurring in the poems of Wislawa Szymborska has its own equivalents. In the case they doesn’t have their own equivalents, translators uses following techniques: free combi¬nation of words, tracing, amplification. These techniques causes changes in vocabulary and style, but they doesn’t affect the quality of translation. These changes are related to collision of Polish and Slovenian culture, which causes language and cultural Barriers. Language barriers relate to systemic differences between the languages, are especially noticeable in vocabulary and syntax. Cultural barriers are associated with different degree of influence of German and French culture into Poland and Slovenia, and the expression of irony. The role of the interpreter is to mediate between two cultures, and establish methods to overcome cultural and linguistic barriers.

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Perspektywa tekstowa i perspektywa kulturowa w przekładzie, czyli o kłopotach współistnienia

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Tokarz B.

Przekłady Literatur Słowiańskich

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2015

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vol. 6

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issue 1

73-89

SL

Povzetek: Če je izvirno besedilo upoštevano kot razpoznavno znamenje določenega miselnega modela, tedaj preusmeritev pozornosti od smisla izvirnika k prevodu in ciljni kulturi ne pomeni nujno brisanja izvirnega besedila. V prevajalčevem duhu se srečuje dvoje različnih mentalnih območij. Njegova svoboda tako na konceptualni kot tudi jezikovno‑stilistični ravni je omejena z odgovornostjo do avtorja in naslovnika ter koncepcije besedila, kajti v prevodu prihaja do premikov v območju pomenotvornih dejavnikov, kar vodi k nastanku novega literarnega predmeta. Besedilna perspektiva je temelj vsakega prevoda; kaže na nejasnosti z vidika domače literaturę in kulture in izpostavlja potrebo po osvetlitvi kontekstnih pomenov, torej tistih, ki izhajajo iz medkulturnih razlik. Do soočenja dveh miselnih sfer namreč lahko pride zaradi razbiranja in razumevanja miselnih mehanizmov, vpisanih v besedilo. Slovnične kategorije, pojmi, stil in konvencije so pomensko, miselno, kulturno in antropološko zmeraj zaznamovani dejavniki.

EN

The process of translation assumes the existence of two separate mental spaces merging in the translator’s mind, whose freedom is limited by the responsibility towards the author and the reader, on the one hand, and, on the other, the textual imperatives manifested at the conceptual, linguistic, and stylistic levels. The transformations of strategies generating meaning during the process of translation lead to the creation of a new literary subject. The shift from the meaning of the original to the translator and the target culture does not have to imply an erasure of the source as long as it is being interpreted as a manifestation of a specific mental space. The textual perspective constitutes the foundation of translation, inasmuch as it reveals ambiguities from the point of view of the target literature and culture, and points to the necessity to resolve contextualized meanings that represent cultural differences. The encounter between two mental spaces happens due to the interpretation of the mental mechanisms that are inscribed into the text. Grammatical structures, meaning, style and literary conventions are always determined by semantic, intellectual, cultural and anthropological factors.

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Bohater groteskowy "Ferdydurke" Witolda Gombrowicza w przekładzie Katariny Šalamun-Biedrzyckiej

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Osmólska M.

Przekłady Literatur Słowiańskich

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2012

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vol. 3

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issue 1

119-132

SL

Groteska je estetska kategorija, ki ruši ustaljeno predstavo o svetu, predstavlja sestavljenost in tuje oblike pojavov, ki vzbujajo začudenje. Na Poljskem se je izraz groteska prvič pojavil na začetku XIX. stoletja kot izposojenka iz nemškega jezika. Raziskovalci književnosti in umetnosti XX. stoletja trdijo, da se je groteska v poljski književnosti pojavila ob koncu modernizma. Možen je tudi drugačen pogled, ki pravi, da je bila umetnost modernizma groteskna skoraj v celoti. Groteska v romanu Ferdydurke obsega vsa področja dela, tudi jezik. Ta groteskni jezik, ki ga med drugim zaznamujejo neologizmi, prepletanje patetičnega in pogovornega jezika, je lahko izziv za prevajalca. Pri oblikovanju grotesknega lika pomembno vlogo odigravajo deli telesa (npr. ritka in fris), ki imajo v romanu simboličen pomen. Pisatelj uporablja tudi neologizme in ruši besedni red, da bi dosegel grotesken učinek dogodkov. Prevajalka si je prizadevala, da bi v prevodu ohranila enako sliko grotesknega lika, čeprav ni mogla včasih premagati jezikovnih ovir. Ohranila je enak pomen na leksikalnem in skladenjskem področju. Prevajalka oponaša skladenjske strukture izvornega besedila ali uporablja druge slovnične kategorije. Vsak prevajalec namreč mora ohraniti v prevodu enak model sveta.

EN

The grotesque is an aesthetic category, which undermines the conventional and acknowledged image of the world, illustrates the complexity of certain phenomena and their other surprising aspects. In Poland the term „grotesque”, being a calque from German, was first used at the threshold of the 19th-century. However, according to the Polish 20th-century literature and art researchers, grotesque becomes prominent in Polish literature on the verge of modernism. The assumption that modernist art had an almost entirely grotesque character cannot however be ruled out. Grotesque manifests itself in the novel Ferdydurke on each level of the work, including language. The grotesque character of the language is shown among other things through neologisms and a mixture of pompous and colloquial style. Body parts (such as bottom and mug), having a symbolic meaning throughout the novel, play an important part in giving the figures their grotesque character. The language of the novel may undoubtedly constitute a problem for the translator, as the writer uses neologisms and disturbs the word order to achieve a grotesque character of events. The translator tried to deliver an identical image of the grotesque character in her translation. Frequently, the translator couldn’t however disturb the correctitude of the Slovenian language. She preserves the sense of the original on the lexical and syntactic level through imitating the syntactic structures of the original or through replacing them with other grammatical categories. Each translator must recreate the model of the world embedded in the source text.

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7 Przekłady Literatur Słowiańskich

4 Tokarz B.

1 Baran K.

1 Cieślar J.

1 Osmólska M.

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1 2013

3 2012

Historia Słowenii oczami Polaka O przekładach literatury słoweńskiej Joanny Pomorskiej

Przygoda estetyczno-mentalna w przekładzie

Gombrowicz w Słowenii: ramy interpretacyjne czasu i przestrzeni kulturowej

"Ostatnia Wieczerza" Pawła Huellego (i Jany Unuk) jako konfrontacja z tradycją, z własną i cudzą kulturą

Polskie frazeologizmy w słoweńskich przekładach wierszy Wisławy Szymborskiej

Perspektywa tekstowa i perspektywa kulturowa w przekładzie, czyli o kłopotach współistnienia

Bohater groteskowy "Ferdydurke" Witolda Gombrowicza w przekładzie Katariny Šalamun-Biedrzyckiej