Iskanje po katalogu digitalne knjižnice

Opis: Translating does not simply consist of replacing words in the source language with words in the target language, it is influenced by the person doing the translating and the public for which the translation is intended. We wanted to examine if translators and their surrounding culture influence the way literary works are translated. We compared Mark Twain’s The Adventures of Tom Sawyer and its three Slovenian translations published in 1921, 1947 and 1960. We based our research on the social and political background of the periods in which the translations were made, mostly focusing on 1947 and the anti-Catholic movement in Slovenia, which was influenced by the Soviet Union. Therefore, we selected from the original text 30 passages that mention religion and the Church. In the analysis we have compared the three Slovene translations and determined that out of 30, only 10 examples exhibited a change in the meaning. One such example was found in the 1921 translation, six in the 1947 translation and four in the 1960 translation, one of the latter examples even expanded the meaning of a religious elements.
Ključne besede: Tom Sawyer, Mark Twain, translation, comparison, religion
Objavljeno v DKUM: 04.11.2022; Ogledov: 131; Prenosov: 21
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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 v DKUM: 03.10.2018; Ogledov: 811; Prenosov: 79
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Opis: The objects of study in this paper are selected English expressions with the simple topological prepositions in and at expressed in the following Slavic languages: Polish, Czech, Slovene, Serbian and Croatian. Simple locational, topological relations which the English language encodes through two separate prepositions in and at tend to be constructed by a single form in many Slavic languages. The concerns of the paper are selected English constructions expressing physical coincidence through in and functional coincidence through at, rendered into the five Slavic languages, where the scenes may not include the difference in dimensionality existing in the source expressions, which causes many translational problems.
Ključne besede: linguistics, English, grammar, proposal, translation, Slavic languages, topological constructions, prepositions, locational, func- tional coincidence, translation
Objavljeno v DKUM: 30.01.2018; Ogledov: 849; Prenosov: 331
Celotno besedilo (288,87 KB)
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Opis: Mikhail Bulgakov's novel The Master and Margarita, a highly complex and multi-levelled narrative, is a challenge for any translator. The emphasis in the current research is on the translation strategies used when translating culturally-specific elements, or historical realia, referred to as "Sovietisms," in three English translations of the novel by Glenny (1967), Pevear and Volokhonsky (1997) and Aplin (2008). Sovietisms refer to items characteristic of the Soviet discourse of the 1930s: word-formations of the non-standard "Soviet Russian." Bulgakov's language is sated with Soviet vocabulary, which refers to various cultural and socio-political elements of Soviet reality. Sovietisms occur at various levels (lexical, syntactic, stylistic and rhetorical) and should be carefully translated as a significant characteristic of Bulgakov's style. A complete domestication of Sovietisms may lead to a loss of a connotative meaning essential for understanding the context, while a foreignisation of these terms, which are most likely unknown to western readers, may disturb fluidity of reading and cause confusion. The purpose of this analysis, thus, is to illustrate the use of domesticating/foreignising strategies employed by Bulgakov's translators and to assess the translation choices. The comparative analysis employs the taxonomies suggested by Vlakhov and Florin (1995) and Vinay and Darbelnet (1958/1989) as the grounds for the case study.
Ključne besede: Russian literature, Soviet literature, literary translation, culture, discourse
Objavljeno v DKUM: 17.08.2017; Ogledov: 1006; Prenosov: 167
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Opis: The article focuses on prevailing translation methods used in the Soviet translation school. The main aim of the research is to analyze translation strategies, principles and methods used by Soviet translators who were forced to work in a cultural vacuum under strong ideological influence. The aim is toexplain the main reasons for an absolute priority of domesticated translation in the Soviet translation school, while foreignized translation was strongly criticized and appeared in the translation process mainly to explain purely ideological features. The primary use of the domesticated method of translation depended not on the personal tastes of the translators or current tendencies but on an artificial ideologically influenced cultural environment which was almost completely isolated from foreign cultures. The whole translation process in the Soviet Union differed greatly from that in democratic societies. It was inevitably influenced by an institution of censorship and strict centralization. However, we find intense efforts made bytranslators to preserve and even expand the horizons of the readers, to maintain a minimal cultural level, and to circumvent censorship.
Ključne besede: translation, Soviet Union, ideology, censorship, domesticated translation, foreignized translation, ideology
Objavljeno v DKUM: 16.05.2017; Ogledov: 1192; Prenosov: 325
Celotno besedilo (156,97 KB)
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