Prevajanje ponovnih pojavitev v Pintarjevih dramah

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\u27s importance is even greater in texts where recurrences are common or, as in Pinter\u27s plays, they represent one of the important elements of the author\u27s style. Hopefully, this paper will raise awareness of how important it is to consider this element in translation.Ponavljanje nekaterih jezikovnih elementov je v večji ali manjši meri prisotno v vsakem besedilu, ne glede na njegovo zvrst, stopnjo formalnosti ali druge karakteristike. Avtor lahko ta fenomen uporablja z namenom, da doseže določene učinke na sprejemnika, ali pa naključno, vendar ponovitve v vsakem primeru vplivajo na celostno podobo besedila. Ponovna pojavitev (angl. recurrence) je v strokovni literaturi najpogosteje definirana bodisi kot ponovitev nekega dela besedila v nespremenjeni obliki, lahko gre za ponovitev določene besede s spremembo besedne vrste, ali pa se ponovno pojavi besedni sklop, v katerem se vsaj nekaj elementov ponovi v enaki ali nekoliko spremenjeni obliki. Izraz ponovitev se za omenjeni jezikovni pojav ne uporablja, saj so le redke ponovne pojavitve besed ali besednih sklopov prave ponovitve z enakim pomenskim potencialom. Ponovne pojavitve so v prevajalski praksi pogosto prezrte. Še posebej pomembno jih je ohranjati v besedilih, kjer so le-te pogoste, ter v primerih, ko predstavljajo pomemben gradnik avtorjevega sloga. To utemeljuje in s primeri ilustrira tudi pričujoči članek

Pogovorni in narečni izrazi v slovenskih dramskih prevodih – soočanje s prevajalskimi zagatami

This article summarizes the findings of an analysis of a Slovenian translation of Harold Pinter’s play The Caretaker (Sln. Hišnik). The author defines and investigates the critical places in the text where the translator encountered difficulty in translating colloquial expressions, and also points out shortcomings in the translation that could have been avoided by using a well-thought-out and precise translation strategy.V članku so povzeti izsledki analize prevoda drame Hišnik Harolda Pinterja v slovenščino. Pri tem avtor poskuša opredeliti in raziskati kritična mesta v besedilu, kjer je prevajalec pri prevajanju pogovornih izrazov naletel na objektivne težave, izpostavlja pa tudi tiste pomanjkljivosti prevoda, ki bi se jim bilo z uporabo vnaprej premišljene in natančno izdelane prevajalske strategije mogoče izogniti

Margaret Atwood’s Poetry in Slovene Translation

Margaret Atwood is undoubtedly the most popular Canadian author in Slovenia, with eight novels translated into Slovene. Although this prolific author also writes short fiction, poetry, children’s books, and non-fiction, these remain unknown to Slovene readers, at least in their own language. Atwood has published as many poetry collections as novels, but her poetry is inaccessible in Slovene, with the exception of some thirty poems that were translated and published in literary magazines between 1999 and 2009. The article provides an overview of Atwood’s poetry volumes and the main features of her poetry, as well as a detailed overview of Atwood’s poems that have appeared in Slovene translation, with the names of translators, titles of poetry collections, dates of publication, and names of literary magazines. This is the first such overview of Slovene translations of Atwood’s poetry. Additionally, the article offers an insight into some stylistic aspects of Atwood’s poetry that have proven to be particularly challenging for translation

Ponavljanje kot sredstvo besednega in psihološkega nasilja v zasliševalnih prizorih v sodobni drami

The psychological and verbal pressure that often saturates the atmosphere in the interrogation scenes of certain subgenres of post-WWII drama can be achieved through various stylistic means. Among these are repetition and recurrence, which conveniently suit the nature of vicious interrogations, where questions (often illogical) are posed repeatedly, partly to extort information from the victim but predominantly to break the victim’s resistance. Used in the utterances of the speaker, these repetitive questions or parts thereof intensify the distressing mood and strengthen the superiority of the speaker who intimidates, humiliates or otherwise degrades the victim. In this study, the focus will be on those instances of repetition and recurrence that contribute strongly to creating such situations and relationships in contemporary drama. The traditional iteration patterns will be identified, analysed and categorized according to the potential intensity of the repression and the schematic type of recurrence. The examples are taken from plays by Arthur Miller, Harold Pinter and Drago Jančar.The psychological and verbal pressure that often saturates the atmosphere in the interrogation scenes of certain subgenres of post-WWII drama can be achieved through various stylistic means. Among these are repetition and recurrence, which conveniently suit the nature of vicious interrogations, where questions (often illogical) are posed repeatedly, partly to extort information from the victim but predominantly to break the victim’s resistance. Used in the utterances of the speaker, these repetitive questions or parts thereof intensify the distressing mood and strengthen the superiority of the speaker who intimidates, humiliates or otherwise degrades the victim. In this study, the focus will be on those instances of repetition and recurrence that contribute strongly to creating such situations and relationships in contemporary drama. The traditional iteration patterns will be identified, analysed and categorized according to the potential intensity of the repression and the schematic type of recurrence. The examples are taken from plays by Arthur Miller, Harold Pinter and Drago Jančar.The psychological and verbal pressure that often saturates the atmosphere in the interrogation scenes of certain subgenres of post-WWII drama can be achieved through various stylistic means. Among these are repetition and recurrence, which conveniently suit the nature of vicious interrogations, where questions (often illogical) are posed repeatedly, partly to extort information from the victim but predominantly to break the victim’s resistance. Used in the utterances of the speaker, these repetitive questions or parts thereof intensify the distressing mood and strengthen the superiority of the speaker who intimidates, humiliates or otherwise degrades the victim. In this study, the focus will be on those instances of repetition and recurrence that contribute strongly to creating such situations and relationships in contemporary drama. The traditional iteration patterns will be identified, analysed and categorized according to the potential intensity of the repression and the schematic type of recurrence. The examples are taken from plays by Arthur Miller, Harold Pinter and Drago Jančar.The psychological and verbal pressure that often saturates the atmosphere in the interrogation scenes of certain subgenres of post-WWII drama can be achieved through various stylistic means. Among these are repetition and recurrence, which conveniently suit the nature of vicious interrogations, where questions (often illogical) are posed repeatedly, partly to extort information from the victim but predominantly to break the victim’s resistance. Used in the utterances of the speaker, these repetitive questions or parts thereof intensify the distressing mood and strengthen the superiority of the speaker who intimidates, humiliates or otherwise degrades the victim. In this study, the focus will be on those instances of repetition and recurrence that contribute strongly to creating such situations and relationships in contemporary drama. The traditional iteration patterns will be identified, analysed and categorized according to the potential intensity of the repression and the schematic type of recurrence. The examples are taken from plays by Arthur Miller, Harold Pinter and Drago Jančar.The psychological and verbal pressure that often saturates the atmosphere in the interrogation scenes of certain subgenres of post-WWII drama can be achieved through various stylistic means. Among these are repetition and recurrence, which conveniently suit the nature of vicious interrogations, where questions (often illogical) are posed repeatedly, partly to extort information from the victim but predominantly to break the victim’s resistance. Used in the utterances of the speaker, these repetitive questions or parts thereof intensify the distressing mood and strengthen the superiority of the speaker who intimidates, humiliates or otherwise degrades the victim. In this study, the focus will be on those instances of repetition and recurrence that contribute strongly to creating such situations and relationships in contemporary drama. The traditional iteration patterns will be identified, analysed and categorized according to the potential intensity of the repression and the schematic type of recurrence. The examples are taken from plays by Arthur Miller, Harold Pinter and Drago Jančar.Psihološke in verbalne pritiske, s katerimi so pogosto prežeti prizori zasliševanja v nekaterih dramskih delih iz obdobja po drugi svetovni vojni, dramatik pogosto doseže z različnimi slogovnimi sredstvi. Med njimi sta ponavljanje in ponovna pojavitev, ki kot besedni figuri ustrezata naravi zloveščih zasliševanj, na katerih zasliševalci (pogosto nelogična) vprašanja zastavljajo znova in znova – včasih zato, da bi od žrtve izsilili določene informacije, večinoma pa zato, da bi zlomili njen odpor. Ta ponavljajoča se vprašanja ali njihovi deli stopnjujejo napetost in krepijo nadvlado govorca, ki žrtev ustrahuje, ponižuje ali kako drugače degradira. Pričujoči prispevek se osredinja na tiste primere ponovitev in ponovnih pojavitev, ki znatno prispevajo k ustvarjanju takšnih situacij in odnosov v sodobni drami. Nadalje raziskava analizira tradicionalne iteracijske vzorce ter jih kategorizira glede na potencialno intenzivnost represije in figurativni vzorec ponovitve. Primeri so prevzeti iz iger Arthurja Millerja, Harolda Pinterja in Draga Jančarja

Machine Translated Atwood: Utopia or Dystopia?

Margaret Atwood’s masterful linguistic creativity exceeds the limits of ordinary discourse. Her elliptical language contributes to interpretative gaps, while the ambiguity and openness of her texts intentionally deceive the reader. The translator of Atwood’s texts therefore faces the challenge of identifying the rich interpretative potential of the original, as well as of preserving it in the target language. Witnessing the rise of artificial intelligence, a natural question arises whether a human translator could ever be replaced by a machine in translating such challenging texts. This article aims to contribute to the ongoing debate on literary machine translation by examining the translations of Atwood’s “Life Stories” generated by two neural machine translation (NMT) systems and comparing them to those produced by translation students. We deliberately chose a literary text where the aesthetic value depends mostly on the author’s personal style, and which we had presumed would be problematic to translate

Margaret Atwood, World-Famous but Yet to Be Discovered by Many Slovene Readers

Margaret Atwood is the only Canadian author whose 80th birthday in 2019 was celebrated by the global academic community. This is not surprising, as she is the most famous Canadian writer, popular also outside literary circles. On this occasion, Slovene Canadianists organized a literary event at the Maribor University Library, which presented an outline of Atwood’s oeuvre and a selection of translated poems and excerpts of prose texts; some of these were translated especially for the event. Of Atwood’s rich and varied oeuvre, only eight novels, a few short fiction pieces and some thirty poems have been translated into Slovene. This article thus aims at presenting those aspects of Atwood’s work which are less know to Slovene readers. It is no secret that Atwood is often labelled a feminist writer, mostly on account of The Handmaid’s Tale and the TV series based on the novel. However, many Slovene readers may not know that she also writes poetry, short fiction, non-fiction and children’s literature, that she is a committed environmentalist, and that she discussed the problem of “Debt and the Shadow Side of Wealth” in a prestigious lecture series. There are not many authors who master as many genres as Atwood and who are so well-received by readers and critics alike. The latter is true of Atwood also in Slovenia, and we can only hope that Slovene publishers will make more of Atwood’s work available to Slovene readers. All the more so since Atwood has no plans to end her career: just before her 80th birthday she was on a tour in Europe promoting her latest novel, The Testaments, and she would have continued touring in 2020 were it not for the COVID pandemic

Aliteracija kot sredstvo karakterizacije dramskih oseb

Alliteration is usually defined as a repetition of the same initial consonant in consecutive or neighbouring words. Despite its importance for dramatic construction, alliteration is rarely preserved in Slovene translations of dramatic texts. Detailed research into this phenomenon in several British and American plays and their Slovene translations showed that the survival of alliterations in the translation process is mostly random. On the rare occasions when alliteration is preserved, no proof could be found of a dear translation strategy focusing on this linguistic element. Since alliteration in most cases appears not as an isolated language element but rather as one of many important text features, the translator should devise priorities. The purpose of this article is not to urge translators to give alliteration the highest priority, but merely to suggest its inclusion among the features considered. This paper also includes examples of non-preservance of alliteration in translated text illustrating the loss for the text and its implications.Aliteracija je navadno definirana kot ujemanje vzglasnih soglasnikov ali soglasniških skupin v zaporednih besedah. Kljub svoji pomembnosti za dramsko zgradbo, se aliteracija le redko ohranja v slovenskih prevodih dramskih besedil. Podrobna raziskava tega pojava v nekaterih britanskih in ameriških dramah in njihovih slovenskih prevodih je pokazala, da je ohranitev aliteracij večinoma naključna. V redkih primerih, ko je ohranjena, ni zaznati nobene opaznejše prevajalske strategije, ki bi ta jezikovni element posebej upoštevala. Ker aliteracija v večini primerov ne nastopa izolirano oz. kot edini jezikovni element, ki ga je treba upoštevati, mora prevajalska strategija predvidevati določene prioritete. Namen tega članka ni prepričati prevajalca, da bi aliteracijo uvrstil čim višje na prioritetno listo upoštevanja vidikov dramskega besedila, ampak ga opomniti, da jo sploh vključi med obravnavane elemente. Poleg tega prinaša študija tudi nekaj primerov, ki ponazorijo posledice izgube aliteracij za besedilo

Odzivi kritike na igro Harolda Pinterja "Hišnik"

The Caretaker is one of Harold Pinter\u27s early plays. It was an immediate success, and it drew the attention of many critics, who started judging this contemporary British playwright\u27s 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.Hišnik (The Caretaker) spada med zgodnja dela Harolda Pinterja in je postal uspešnica že ob prvi uprizoritvi. Mnogi preučevalci Pinterjevega opusa štejejo prav to igro za pomemben preobrat v odnosu kritike do del tega sodobnega britanskega dramatika, saj so pozitivne ocene podali tudi kritiki, ki so pred tem Pinterja razumeli in sodili drugače. Hišnik je odtlej doživel že številne uprizoritve po vsem svetu, dve tudi v Sloveniji. Ta članek obravnava najvidnejše med njimi, analizira in komentira kritiške odzive nanje ter slednje primerja z ocenami obeh uprizoritev v Slovenskem kulturnem prostoru