Harold Pinter v slovenskem prevodu

This article examines the translation of Harold Pinter\u27s most notable stylistic peculiarities into Slovene, illustrating its main points with examples taken from his play The Homecoming. The findings demonstrate above all a marked degree of non-observance of the special verbal pattern (special cohesion) of the originals, a failure to convey Pinter\u27s special configuration of meaning (special coherence), and a disregard for internal unifying coincidences. It argues that the Slovene translations of Pinter rely mostly on traditional theories of meaning and of language norms, thus preventing the reproduction of those emotional and psychological actions of Pinter\u27s characters which are usually not expressed by means of the rhetorical, informative elements of his dialogue, but by its form and sonority, i. e. the length, strength, and level of articulation of verbal expression. This blurs Pinter\u27s famous logic of emotion, narrows the proverbial openness and conceptual uncertainty of his plays, and limits their potential vitality in translation. Taking into account current drama and theatre translation practices in Slovenia, i.e. the rarity of published drama translation and the depedence on a translated performance text for subsequent theatrical productions, the article argues that in such cases the drama translation should be retrospective, i.e. aiming at a maximum reconstruction of all relevant linguistic, stylistic, and textual properties of the original, leaving expressly subjective interventions in the text to the theatre practitioners.Članek preučuje prevod najbolj očitnih slogovnih značilnosti Harolda Pinterja v slovenščino. Svoja dognanja ponazarja s primeri iz igre Vrnitev. Ugotavlja, da slovenski prevodi Pinterjevih iger kažejo visoko stopnjo neupoštevanja značilnih besednih vzorcev (kohezije) in njihove ponovne uporabe (ponovne pojavitve) ter da ne upoštevajo značilne pinterjanske konfiguracije smislov (koherence). Ugotavlja tudi, da se slovenski prevodi Pinterja naslajajo predvsem na tradicionalno teorijo pomena in jezikove norme, s čimer preprečujejo poustvaritev tistih čustvenih in psiholoških odzivanj Pinterjevih dramskih značajev, ki jih avtor ne izraža s pomočjo retoričnih, informativnih prvin dialoga, marveč z besednimi oblikami in njihovo zvočnostjo: dolžino, poudarkom, stopnjo artikuliranosti, ponavljanji, itd. S tem krčijo pomen izvirnika in siromašijo prislovnično interpretativno odprtost Pinterjevega dramskega izraza. Glede na majhno število objav dramskih prevodov v slovenščini in na dejstvo, da prvi delovni prevodi dram služijo kot predloge vsem nadaljnjim uprizoritvam prevedene igre, se avtorica zavzema za retrospektivno prevajalsko stretegijo: pristop, ki omogoča najvišjo možno rekonstrukcijo vseh jezikovnih, slogovnih in besedilnih značilnosti izvirnika,in ki prepušča izrazito subjektivne posege v besedilo gledališkim strokovnjakom

Leksikalni izbor v slovenskih prevodih angleške in ameriške drame

The article examines lexical choices preferred by a noted Slovene translator of dramatic texts. It is based on the assumption that in spite of the fact that lexical choices offer much greater freedom in translation than, for instance, grammatical choices, they are subject to a number of intratextual and extratextual factors defining the genre, the kind of translation, and specific features of individual plays. Although examples are taken from only one set of translations of Tennessee Williams\u27s A Streetcar Named Desire, they also refer to other working and published versions of dramatranslations into Slovene, including Albee\u27s Whos Afraid of Virginia Woolf?, Miller\u27s Death of a Salesman, Pinter\u27s plays, and Shaw\u27s Pygmalion. The shifts considered in the article relate to register, i. e. factors of language variation affecting lexical choices related to the field, mode, and tenor of discourse.Članek preučuje izbor leksikalnih enot v prevodih znanega slovenskega prevajalca dramskih besedil. Izhaja iz prepričanja, da čeprav v prevodu izbira besed prevajalcu nudi veliko več svobode kot, na primer, izbira slovničnih oblik, je tudi prva odvisna od številnih zunaj in znotraj besedilnih dejavkov, ki so odvisni od vrste drame, vrste prevoda in posebnih značilnosti posamezne igre. Čeprav so primeri v članku vzeti samo iz dveh različic slovenskih prevodov ene ameriške drame, to je Williamsovega Tramvaja poželenja, se nanašajo tudi na nekatere druge slovenske prevode angleške in ameriške drame, kot, na primer, Kdo se boji Virginie Woolf. (Albee), Smrt trgovskega potnika (Miller), Pinterjeve igre, Pygmalion (Shaw), itd. Prevodni premiki, ki jih preučuje, se nanašajo na register, to je na funkcijsko zvrst jezika, ki jo določajo polje, način in ton diskurza