1. Translating recurrences in Pinter's playsTomaž Onič, 2005, original scientific article Abstract: Certain elements of language often repeat in all genres and at all levels of formality, whether spoken or written. This phenomenon, either premeditated or applied intuitively, always has a reason, despite the fact that the speaker (or writer) is not necessarily aware of it. A re-appearance of a certain word or word cluster is called recurrence. According to various definitions, it can be the direct repetition of a textual element which has appeared before in the text, the re-appearance of a certain word in the form of a different part of speech, or the repetition of a word cluster in which at least some elements of the original sentence repeat in the same or similar form. The term repetition is not used because only seldom is a repetition of a part of a text a real repetition, carrying exacctly the same meaning potential of the repeated phrase as did its first appearance. This element of language is often disregarded in translation. It's importance is even greater in texts where recurrences are common or, as in Pinter's plays, they represent one of the important elements of the author's style. Hopefully, this paper will raise awareness of how important it is to consider this element in translation.
Keywords: translation, translating, drama, drama translation, recurrence, Harold Pinter
Published in DKUM: 16.05.2017; Views: 1439; Downloads: 373
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2. The reception of Harold Pinter's plays in Slovenia between 1999 and 2014Urša Gavez, 2016, original scientific article Abstract: Harold Pinter started his career with a conspicuous lack of success. He faced negative critical reviews of his early works, but his typical style eventually opened doors to new worlds in modern drama. On Slovene stages, Pinter's plays also received a similarly modest welcome. The audience as well as the reviewers found his long pauses, silences and incoherent dialogue insufficiently engaging. One of the main reasons for this could have been their unfamiliarity with Pinter's style, which eventually acquired its own adjective - "Pinteresque". With time, Pinter's popularity increased more rapidly on the world stages than in Slovenia, and today this playwright is not a stranger to the Slovene theatre. This article deals with Pinter on Slovene stages as well as the popular and critical reception of his plays. The period before 1999 was thoroughly analysed by Darja Hribar, while this study is the first to focus on the decade and a half following.
Keywords: English literature, English drama, theatre, reception, translation, Harold Pinter, drama
Published in DKUM: 16.05.2017; Views: 1269; Downloads: 381
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4. Reviewer response to Pinter's "The Caretaker"Tomaž Onič, 2004, original scientific article Abstract: The Caretaker is one of Harold Pinter's early plays. It was an immediate success, and it drew the attention of many critics, who started judging this contemporary British playwright's works from a new perspective. Therefore, many scholars consider The Caretaker an important turning point in the reception of Pinterćs works. The play has seen many stagings all over the world, two of them in Slovenia. This article sets out its most prominent productions, analyses and comments on their critical reviews, and compares these to the response to Pinter in Slovene cultural space.
Keywords: English drama, Literary reception, Slovenia, Harold Pinter, The Caretaker
Published in DKUM: 10.05.2017; Views: 1902; Downloads: 404
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5. PINTERJEV V PRAH SE POVRNEŠ V SLOVENSKEM PREVODUJaka Medved, 2016, undergraduate thesis Abstract: Namen tega diplomskega dela je identificirati in opisati prevodne premike, do katerih je prišlo v slovenskem prevodu V prah se povrneš Harolda Pinterja in njihov vpliv na njegov slog. Nekaj več pozornosti smo namenili tematiki holokavsta, ki v drami ni neposredno izražena. Prevodne premike smo ustrezno kategorizirali. Znotraj dialoga smo prevodne premike razvrstili v kategorije, kot so vulgarizmi, ponovne pojavitve in stihomitija, dodajanje in izpuščanje ter druge. Ugotovili smo, da je prevodnih premikov malo, za tiste, ki smo jih našli, pa smo predlagali lastne prevajalske rešitve.
Keywords: Harold Pinter, drama, holokavst, prevod, gledališče prevodni premiki, slogovne značilnosti.
Published in DKUM: 20.10.2016; Views: 1568; Downloads: 130
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6. Pinter's The Caretaker in Two German TranslationsBarbara Selinšek, 2016, undergraduate thesis Abstract: The focus of the thesis lies on the linguistic and stylistic comparison of Pinter’s drama The Caretaker and two German translations by Willy H. Thiem, Der Hausmeister, from 1961 and the more contemporary German translation by Michael Walter from 2005. The aim of the thesis is to examine how and to what extent have the characteristics of Pinter’s style been preserved in the two German translations. The thesis is composed of eight chapters; chapter one is introductory and defines basic terminology used in the thesis and provides purpose of the thesis. Chapter two presents the life and work of Harold Pinter. Chapter three is subdivided into two parts and offers the analysis of The Caretaker, the plot, characters, relationships and action and provides information on German translations of Pinter’s plays and how they were presented on German stages. Chapter four is divided into two parts; the first part focuses on translation of literary style in general and the second on translation of drama in particular. Chapter five presents Pinter’s stylistic features. Chapter six is subdivided in five parts and discusses different stylistic shifts in the German translation: repetition, obsolescence of certain expressions, alliteration, colloquialism, register and manner of address. The analysis of examples taken from the original text and the translations shows to what extent have Pinter’s stylistic devices been preserved in the two German translations. Also commentary and further suggestions for the translation into German are offered. Conclusions are drawn in chapter seven; the comparison of Pinter’s drama The Caretaker and two German translations shows that there are some discrepancies in the application of Pinter’s stylistic devices in the translation; many stylistic shifts occur, and the two translators, in most cases, do not consider Pinter’s significant stylistic elements in their translations. In chapter eight the works that have been used for the research are listed.
Keywords: Harold Pinter, The Caretaker, translation of literary style, drama, translation, stylistic shifts
Published in DKUM: 21.09.2016; Views: 1373; Downloads: 97
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7. Reception and Popularity of Harold Pinter’s Plays in Slovenia after 1999Urša Gavez, 2015, undergraduate thesis Abstract: Harold Pinter is a world famous and appreciated playwright, who started his career rather unsuccessfully. As a representative of theatre of the absurd, he was faced with negative and critical reviews of his work. It is hard to say whether the reviewers did not understand his style or simply refused to understand it. However, the playwright’s new style ended up setting new boundaries in modern drama. Pinter’s plays, which were among the first to be presented on the Slovene stage received a similarly modest welcome. The audience found his long pauses, silences and incoherent dialogue insufficiently engaging, and many ended up leaving the theatre before the performance was over. One of the main reasons was that they were not familiar with this original and new writing style, which with time acquired its own adjective – ‘Pinteresque’. Throughout the world Pinter’s popularity increased more rapidly than in Slovenia, while today the playwright is not a stranger to the Slovene theatre.
Pinter’s plays have been performed quite a few times on Slovene stages. The question that arises is whether reception of Pinter’s plays and his popularity among the Slovene audience has increased with time. There is a great possibility that Pinter’s popularity in Slovenia is a result of the playwright’s reception among Slovenes as well as the other way around. In this graduation thesis, we will focus on factors that have influenced a positive or negative reception of Pinter’s plays in Slovenia. In pursuit of this, we mainly focus on two events: Pinter’s receiving the Nobel Prize in Literature and his death. With the statistical data regarding Pinter’s plays staged in Slovenia after 1999, this graduation thesis will show how reviews, media presence and other factors influenced the popularity of Pinter and his plays in Slovenia, and how they simultaneously contributed to the reception and integration of the playwright’s style into the Slovene theatre, and brought the playwright closer to the Slovene public at the same time.
Keywords: Harold Pinter, theatre of the absurd, reception, popularity, play, media presence
Published in DKUM: 07.10.2015; Views: 1631; Downloads: 88
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8. PANOPTICISM IN PINTER'S THE DUMB WAITERKristina Kolak, 2012, undergraduate thesis Abstract: Written in 1957 by one of the most influential contemporary British dramatist Harold Pinter, The Dumb Waiter may never have gained the popularity of other Pinter works, yet it remains to this day one of his most challenging and provocative plays, a powerful metaphor of man’s position in modern society. The play was labelled a “comedy of menace” and placed within the Theatre of the Absurd, while its political side was often overlooked. The very title of the play contains Pinter’s political cynicism as well as his almost apocalyptic view of the future of the human race and is highly symbolic of some of Pinter’s most frequently employed techniques and themes: silence and violence of language, one-way communication, use and abuse of power, the exposure of characters to ominous menace, and the sense of imprisonment of body and soul when trapped inside four walls. Pinter’s preoccupation with confined spaces and consequently with seemingly free individuals who are deprived of basic human rights, such as freedom of speech, blends nicely with Foucault’s vision of a modern carceral society. In this diploma thesis, the play is analysed through Michel Foucault’s concept of panopticism, where the “Pinteresque” room acquires a symbolic meaning of modern man’s ravaged state of mind and loss of identity, constantly exposed to surveillance and the invisible power of the modern information society.
Keywords: The Dumb Waiter, Harold Pinter, Theatre of the Absurd, comedy of menace, Pinteresque, Michel Foucault, panopticism.
Published in DKUM: 12.06.2012; Views: 3054; Downloads: 166
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