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1.
Slovenski vidik magije v Shakespearovem Macbethu
Maja Podgorelec, 2010, diplomsko delo

Opis: Danes sta magija in čarovništvo ohranjena le še delno, medtem ko sta bili v zgodnji moderni dobi realnost. Prebivalstvo tistega časa je verjelo v vile, volkodlake, vampirje in duhove. Vendar nobena izmed teh oblik vraževerja ni bila tako strah vzbujajoča in popularna kot čarovništvo. To verovanje se je kazalo v literaturi tistega časa. Eno najbolj znamenitih angleških del je Shakespearov Macbeth, kjer tri čarovnice združujejo klasične, folklorne in socialno-politične elemente angleške zgodnje moderne dobe. Pri raziskovanju te slavne trojice čarovnic iz slovenskega vidika vraževerja, je postalo jasno, da obstaja izvirno čarovniško vraževerje, ki se je iz srednje Evrope med drugim razširilo tudi v Slovenijo in Anglijo ter prevzelo ustrezno krajevno interpretacijo. Nekatere izmed podobnosti med slovenskim in angleškim prepričanjem so: zmožnost preobrazbe v živali, prerokovanje, moč nad vremenom, fizične karakteristike in čarovniški pomočniki. Omeniti je treba vpliv cerkve, ki je bistveno spremenila podobo čarovnice v zgodnji moderni dobi in jo povezala z hudičem. Poglavitna razlika pri pojmovanju čarovnic v Angliji in Sloveniji je ta, da razlikujemo v slovenskem vraževerju štiri vrste čarovnic: sosedska čarovnica, vaška čarovnica, vedeževalka, nočna čarovnica (Mencej 39), v angleškem pa so vse te lastnosti združene v eni podobi. Na ta način tudi Shakespearove tri čarovnice združujejo različne lastnosti, ki izvirajo iz srednje evropskega vraževerja. Shakespeare je tako ustvaril sijajno igro, ki zbudi zanimanje vsake generacije.
Ključne besede: magija, čarovništvo, vraževerje, Shakespeare, Macbeth
Objavljeno: 27.07.2010; Ogledov: 1550; Prenosov: 181
.pdf Celotno besedilo (760,02 KB)

2.
Comparing Shakespeare`s Othello to Three Film Adaptations
Alenka Gomivnik, 2015, diplomsko delo

Opis: William Shakespeare's plays have had countless adaptations on stage and film, because his 16th century plays can still be made modern and interesting nowadays. They can be adapted to the modern world or played out in costumes and settings appropriate for their original contexts. This thesis will explore whether the temporal and cultural context alters the way the play is interpreted over decades. That is why the thesis will deal with three films: The Tragedy of Othello: The Moor of Venice, directed by Orson Welles, made in 1952; Othello, directed by Oliver Parker, made in 1995; and O, directed by Tim Blake Nelson, made in 2001. Each screenwriter and director has their own vision of a story they are trying to tell, whether it be an adaptation, appropriation or an original work. This thesis will explore whether the main theme of Othello remained intact across all three adaptations or whether, despite being changed to some extent, the adaptation can still be recognised as Othello.
Ključne besede: William Shakespeare, Othello, Iago, Desdemona, adaptation, appropriation, film, play, director, Orson Welles, Oliver Parker, Tim Blake Nelson, theme, cultural context, temporal context
Objavljeno: 04.01.2016; Ogledov: 655; Prenosov: 32
.pdf Celotno besedilo (921,60 KB)

3.
LJUBEZEN V IZBRANIH SHAKESPEAROVIH KOMEDIJAH IN ANALIZA NJIHOVIH SLOVENSKIH PREVODOV
Suzana Miljević, 2016, diplomsko delo

Opis: V diplomskem delu je predstavljen koncept renesančne ljubezni v zahodni Evropi v izbranih Shakespearovih komedijah – v ljubezenskih komedijah Mnogo hrupa za nič, Kakor vam drago in Dvanajsta noč ali Kar hočete. Predstavljeni so komedija, njen razvoj, kronološka razporeditev Shakespearovega opusa komedij in umestitev izbranih treh v predstavljeni opus. V nadaljevanju je predstavljeno Googlovo prevajalsko orodje, s katerim sem prevedla tri izbrane odlomke iz omenjenih treh komedij. Odlomki so izbrani subjektivno, po presoji, kako pomembni so za koncept ljubezni v obravnavanih komedijah. V empiričnem delu je predstavljena analiza izbranih odlomkov z Googlovim prevajalskim orodjem ter primerjana s slovenskimi književnimi prevodi Otona Župančiča in Milana Jesiha. Rezultati raziskave kažejo, da Googlovo prevajalsko orodje neustrezno prevaja umetnostna besedila, ustrezno pa prevaja zgolj enobesedna gesla. V primerjavi s književnimi prevodi Otona Župančiča in Milana Jesiha sploh ne moremo govoriti o prevodu, saj Googlovo prevajalsko orodje ne prevaja sporočilno ustrezno. Najustrezneje prevaja enopomenska enobesedna gesla ter kratke in preproste enostavčne povedi. Pri prenesenem pomenu Googlov prevajalnik ne ohrani sporočilne vrednosti. Sklepamo, da Googlovo prevajalsko orodje pri končnem izdelku ne ustvari prevoda, ampak predprevodna ali ponujena gesla.
Ključne besede: renesansa, koncept ljubezni, komedija, William Shakespeare, Googlovo prevajalsko orodje, prevod, Oton Župančič, Milan Jesih, jezikovna politika
Objavljeno: 05.09.2016; Ogledov: 645; Prenosov: 44
.pdf Celotno besedilo (1,91 MB)

4.
Diminutives in Three Slovene Translations of Hamlet: Contrastive Analysis of the Original and the Translations
Urša Marinšek, 2018, magistrsko delo

Opis: The use and formation of diminutives in English and Slovene differ to a considerable extent. The main categorization of diminutives into two groups according to their morphological structure classifies them into analytic and syntactic diminutives. On the one hand, it seems that in the English language it is difficult to find syntactic diminutives; this language apparently favors the analytical ones. On the other hand, there is a high frequency of syntactical diminutives in Slovene. These general characteristics of the two languages are expected to be replicated in literary works, therefore, also in drama, which – at least in theory – comes as close to spoken discourse as possible. These differences will therefore become evident in the contrastive analysis of Shakespeare’s Hamlet and its three Slovene translations. Furthermore, it will be interesting to see how the diminutives, their structure, function and even existence will vary in the process of translation from one language into the other. This thesis thus explores diminutives in four versions of this famous play by William Shakespeare: the original Hamlet and its three Slovene translations, which were completed over a relatively long time span by three different Slovene translators. Contrastive analysis shows that there are significant differences when it comes to the usage of diminutives. It is not just their presence, absence or modification that is interesting, but more importantly it is their stylistic function. Diminutives in the traditional sense mark “smallness,” but several other important functions emerge within dramatic texts. Emotional nakedness proved to be one of the most important roles and functions. In this role, they can express endearment, sarcasm, irony, facetiousness and many other stylistic and semantic nuances. If a diminutive is present in the original and carries emotional markedness, it is highly important for the translator to do his or her best to preserve this markedness (or compensate for it with a similar type of markedness) in the translation and thus retain the style of the original. If the translator is unsuccessful in this undertaking, regardless of whether objective reasons for such translation shifts exist, the translation inevitably loses. Questions related to changes in the interpretative potential of the translation versus the original represent one of the central issues in this Master’s thesis. Shakespeare has a long tradition in the Slovene cultural space and, therefore, in the Slovene context – and vice versa: Slovene readers and theatregoers have been acquainted with his plays for a long time. Hamlet has been translated into Slovene more than five times, and even more adaptations exist. The first translation of Hamlet dates back to the late 19th century, and the most recent to 2013 (translated by Srečko Fišer), which makes a time span of more than a hundred years. Because of multiple existing translations, this drama is a perfect candidate for a contrastive analysis such as this thesis and its research into the preservation of stylistic elements in translation. Only three translations are examined in this thesis, but they differ from each other in many respects. Considering their core characteristics, we could afford to label each of them with a distinctive adjective: Oton Župančič’s translation could be seen as the “traditional” one, Janko Moder’s as “experimental” and Milan Jesih’s as “modern.” Each translator has his own approach to the translation of diminutives, their employment, function and even formation; in some cases (but not all), one could even call it strategy. This means that if there is a diminutive in the original, it is not necessary that all (if any) of these translators will preserve it.
Ključne besede: William Shakespeare, Hamlet, contrastive analysis, translation, stylistics, diminutives, emotional markedness
Objavljeno: 03.10.2018; Ogledov: 165; Prenosov: 27
.pdf Celotno besedilo (711,11 KB)

5.
Botanično izrazje v slovenskih prevodih izbranih del Williama Shakespearja: analiza izvirnika in prevodov
Nina Balažek, 2019, magistrsko delo

Opis: V magistrskem delu Botanično izrazje v slovenskih prevodih izbranih del Williama Shakespearja: analiza izvirnika in prevodov so zbrana imena rastlin in rož, ki se pojavljajo v Shakespearjevih delih, tragediji Hamlet in komediji Sen kresne noči. Imena rastlin in rož smo pridobili iz različnih virov, in sicer smo izhajali iz članka Phyllis Cooka William Shakespeare, Botanist, Henry Ellacombove knjige The Plant-Lore & Garden-Craft of Shakespeare in Male flore Slovenije (Martinčič idr. 1999), s pomočjo katere smo klasificirali rastline in rože. Imena smo zbirali ročno z branjem izvirnikov in njihov prevod preverjali v šestih slovenskih prevodih. Uporabili smo tudi korpus Opensourceshakespeare s pomočjo katerega smo preverjali pogostost pojavljanja imen določenih rastlin. Imena rastlin smo razvrstili tako, da smo najprej navedli ime, ki se pojavlja v Shakespearjevem izvirniku, nato smo navedli moderno znanstveno ime rastline, družino v katero spada ter na koncu še uradno ali narečno slovensko poimenovanje. Opazovali smo 97 imen rastlin/rož, od tega 34 imen, ki se pojavljajo v drami Hamlet in 63 imen, ki se pojavljajo v drami Sen kresne noči. S pomočjo dostopne literature smo ugotovili, da se nekatera današnja imena rastlin razlikujejo od tistih v Elizabetinski dobi, zato smo opazovali ali je to v slovenskih prevodih upoštevano. V magistrskem delu smo se osredotočili predvsem na opazovanje simboličnega pomena rastlin/rož in morebitno spremembo simbolizma v slovenskih prevodih. Uporabili smo štiri slovenske prevode drame Hamlet, in sicer prevod Otona Župančiča, Milana Jesiha, Janka Modra in Srečka Fišerja ter dva slovenska prevoda drame Sen kresne noči, Otona Župančiča in Milana Jesiha. V slovenskih prevodih smo opazovali ali so prevajalci upoštevali vse rastline in njihovo pomembnost kot del poteka zgodbe v drami ali so katero omembo rastline izpustili ali jo nadomestili s kakšno drugo rastlino. Opazovali smo kakšna poimenovanja rastlin je vseboval slovenski prevod, in sicer ali je šlo za narečno poimenovanje, uradno slovensko poimenovanje ali samo za namigovanje na rastlino. Ravno izbor besed s strani prevajalcev nam pove veliko o času nastanka prevodov ter o spremembi jezika skozi čas.Prav tako pa nastanek prevodov ponuja mnogo informacij o zgodovini, jeziku, razlikah med kulturama in simbolizmu. Simbolizem rastlin/rož lahko pripomore k dojemanju drame in nakazuje na razlike v dojemanju drame v Angliji in Sloveniji. Povprečni slovenski bralec mora simbolizem razumeti, če želi da mu je drama popolnoma razumljiva in smiselna.
Ključne besede: jezik rož, William Shakespeare, Hamlet, Sen kresne noči, simbolizem rož, slovenski prevod, Elizabetinska doba.
Objavljeno: 10.05.2019; Ogledov: 69; Prenosov: 20
.pdf Celotno besedilo (717,14 KB)

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