The lexeme glamour is currently used as a keyword to describe various socio-cultural phenomena. First and foremost, the term glamorous is used to describe someone who is charming, physically attractive, alluring, sexy. It is often used to describe beautiful architecture and baroque interior design. The lexeme is also used in reference to dazzling fashion, luxurious cars, and even charming gadgets. Therefore, is often mistakenly associated with the world of celebrities. However, glamour is more than just external beauty, a created style, fake elegance, luxury, fame, or sex appeal. It may be the attribute of a person – making him or her exceptional, maybe even statuesque. It is something one is. Some people have the “gift” of glamour. Many simply create it for themselves. Because glamour offers the promise of life without mediocrity; it transports us away from everyday experience and makes our dreams seem accessible. Stereotypically glamour is treated as a kind of illusion typical of romance. Glamour and charisma often go together, but are not equivalent. The aim of the article is to revise the stereotypes connected with the lexeme glamour and charisma, celebrity and illusion of reality typical for romance.
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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