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Problemi interpretacije i prevođenja stare književnosti Nekoliko pitanja, primjedbi i propozicija

100%
Milanović Z.
Przekłady Literatur Słowiańskich
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2016
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vol. 7
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issue 1
250-260/261-270
HR
U ovom članku obrađena su neka translatološka pitanja i problemi na području prijevoda stare književnosti, a na osnovi odabranih ulomaka iz djela Jana Kochanowskog, kao i iz eseja Czesława Miłosza, koji se dijelom također odnosi na translatološke probleme. Provedena analiza citiranih stihova i njihovih prijevoda pokazuje da prevođenje renesansne književnosti podrazumijeva i poznavanje tadašnjih poetika i retoričkih regula, koje su dijelom baštinjene iz razdoblja starog vijeka. Osim toga, bitnim se čini, kako postulira Miłosz, i psihološki čimbenik, koji je poljski nobelovac odredio kao „suosjećanje” prevoditelja s osobom danog autora. Za samu translatologiju presudna je književna interpretacija i cjelovito razumijevanje prevođenog teksta iz područja stare književnosti. Ta interpretacija treba polaziti od temeljita poznavanja renesansne epohe i kulture, u sklopu koje je književno djelo i nastalo.
EN
In this paper I have analyzed some translatological questions in the field of translating old literature, on the basis of selected fragments from the works of Jan Kochanowski and from the essay of Czesław Miłosz that examines some translatological problems. An analysis of the cited fragments and their translations shows that the translation of Renaissance literature should also opt for knowledge of contemporary poetics and rhetorical rules, which formed a part of the legacy from the literature of the ancient period. In addition, as Miłosz postulates in his essay, it seems that in the process of a translation of great significance is the empathy of the translator himself with the persona of a given author. Literary interpretation and the correct understanding of old literature is a crucial factor and the starting point in the translation process. Such an interpretation is based on a thorough knowledge of the epoch and the culture of the Renaissance period, within which the concrete work was written.
2
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Oblicza melancholii. "Szafa" Olgi Tokarczuk i jej chorwacki przekład

80%
Majdzik K.
Przekłady Literatur Słowiańskich
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2012
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vol. 3
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issue 1
252-266
HR
U članku se raspravlja o problematici melankolije, njezinim izvorima, mehanizmima te njezinoj suštini. Na osnovi priče Olge Tokarczuk pod naslovom "Ormar" te njezinog prijevoda na hrvatski jezik traži se odgovor na pitanja o odnosu melankolije i jezika, razmatra se umjetnost kao način borbe s nebitkom (pa tako i s melankolijom), ispituju se načini prisutnosti i postojanja melankoličnog subjektiviteta u tekstu. Kategorija melankolije (porijeklom iz psihoanalize) može poslužiti također za određivanje bića teksta, a posebno prijevoda. Rekonstruirana na osnovi Ormara melankolija je općekulturni (ili radije izvankulturni) fenomen. Univerzalnost melankolije i alegoričan karakter priče Olge Tokarczuk ukidaju barijere između kulture originala i prijevoda, upisujući ih u isti okvir što olakšava prevođenje. Glavni izvor kulturnih barijera su u tom slučaju jezične (osobito gramatičke) razlike.
EN
The aim of this article is to illustrate the phenomenon of melancholy, its sources, mechanisms and modes of existence. Basing on "The Wardrobe" by Olga Tokarczuk and its Croatian translation the author tries to demonstrate a relation between melancholy and language, she considers the art as a kind of fight against nothingness (and melancholy) and explores the textual manifestation of melancholic subjectivity. A psychoanalytic approach to melancholy aids to determine the condition of text (the translated text in particular). The image of melancholy reconstructed from "The Wardrobe" is a culture-independent phenomenon. The universalism of melancholy and the allegorical nature of Tokarczuk’s work remove barriers between original and translated text culture facilitating the act of translation. The main source of cultural barriers, in this case, are the linguistic (mainly grammatical) differences.
3
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Jergovicia żonglerka stereotypami. Wokół polskiego przekładu powieści "Srda śpiewa o zmierzchu w Zielone Świątki"

80%
Majdzik K.
Przekłady Literatur Słowiańskich
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2013
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vol. 4
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issue 1
140-153
HR
U članku se na osnovi poljskoga prijevoda romana Miljenka Jergovića Srda pjeva, u sumrak, na duhove raspravlja o problemu stereotipa u prijevodu. Odabranim translatološkim postupcima pokazuje se kako je prevoditeljica (Magdalena Petryńska) pokušavala prenijeti stereotipske predodžbe iz izvornoga okvira u poljski kulturni krug. Predstavljeni primjeri prevodilačkog rada također su polazište za refleksiju o povezivanju pojma stereotipa s problemom interpretacije te definitivno potvrđuju kako je čovjek-subjekt (pa tako i Jergovićev lik) kulturno biće. U vezi sa stereotipom postavlja se i pitanje mogućnosti neovisnog (ili stručnog) razumijevanja stvarnosti i umjetnosti. Odgovor se traži pomoću koncepcije S. Turnera i P. Bourdieua koju se pokušava prilagoditi rješavanju pitanja stereotipa.
EN
This article is based on a Polish translation of the novel by Miljenko Jergović Srda pjeva, u sumrak, na duhove and discusses the problem of stereotypes in translation. Selected translation procedures will show the interpreter (Magdalena Petryńska) trying to convey stereotypical notions of the original frame in the Polish cultural circle. Examples of the procedures that interpreter’s followed are also a starting point to the reflection on the idea of linking the problem of interpretation and the problem of stereotype. Through these examples it is shown that the subject (which is also a literary figure) is a cultural being. The problem of stereotype allows for the raising of a question about the independence of reality and art’s interpretation. Response to this question is inquired with the help of the concepts of S. Turner and P. Bourdieu.
4
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Odbiorca przewidywany w powieści Sny i kamienie Magdaleny Tulli w oryginale i przekładzie Jany Unuk na język słoweński

71%
Gruda M.
Przekłady Literatur Słowiańskich
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2015
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vol. 6
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issue 1
249-270
SL
Predvideni bralec izvirnika Sny i kamienie Magdalene Tulli in predvideni bralec prevoda Sanje in kamni v prevodu Jane Unuk sta dva ločena subjekta. Razlog za razliko med njima je drugačna konfiguracija odnosov med osebami izpovedi, intersemiotičnost in pragmatičnost prevoda ter drugačno funkcioniranje vsakega od teh besedil v drugi socialno‑kulturni resničnosti. Prevajalec, ki je najprej bralec izvirnika, potem pa avtor prevoda, izvaja dvojno aktualizacijo na podlagi lastnega vedenja, izkušenj in potencialnih bralčevih doživetij. Prevajalkin način branja in njena interpretacija, ki je osredotočena na zgodovinski kontekst, je opazna zlasti v leksikalni (prevod besednih zvez, frazemov in metafor) ter slovnični ravni, modalnih strukturah, v določanju kategorij, povezanih s časom, aksioloških kategorij „absolutnega” in metajeziku. Delo Sny i kamienie Magdalene Tulli je, zaradi mnogih kontekstov, strukturne sestavljenosti in večplastnosti izvor neenopomenskosti interpretacije in številnih morebitnih prevodoslovnih rešitev.
EN
The designated reader of the original Sny i kamienie by Magdalena Tulli and the designated reader of the translation Sanje in kamni by Jana Unuk are two separate subjects. The reason for the difference is the differing configuration of the relationships between the current narrator, intersemiotics and the pragmatism of the translation as well as the differing functions in each of these texts’ socially‑cultural reality. A translator, who is first a reader of the original, and then the author of the translation, exercises a double actualization on the basis of her/his own behavior, life experiences and potential experiences as a reader of the text. The translator’s way of reading and her interpretation, which is focused on the historical context, is especially noticeable in the lexical (the translation of collocations, idioms and metaphors) and grammatical level, modal structure, determination of categories of time, axiological categories of „the absolute” and metalinguistics. The work Dreams and Stones by Magdalena Tulli is, due to the plethora of philosophical and historical contexts, its structural composition and multifacetedness the cause of multiple meanings of interpretation and therefore, contains multiple possible translation solutions.
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