Harold Pinter in Slovene translations

Abstract

This article examines the translation of Harold Pinter's 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's 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's 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's 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

Keywords

English literature;drama;translation;theory of translation;translation of beletristics;cohesion;coherence;comparative analyses;drama translations;

Data

Language:	English
Year of publishing:	2004
Typology:	1.01 - Original Scientific Article
Organization:	UM PEF - Faculty of Education
UDC:	821.111-2=863:81'25
COBISS:	13220360
ISSN:	1581-8918
Views:	1750
Downloads:	154
Average score:	0 (0 votes)
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Other data

Secondary language:	Slovenian
Secondary title:	Harold Pinter v slovenskem prevodu
Secondary abstract:	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
Secondary keywords:	angleška književnost;dramatika;prevajanje;teorija prevajanja;prevajanje leposlovja;kohezija;koherenca;primerjalne analize;dramski prevodi;Pinter;Harold;1930-2008;Angleška književnost;Drama;Dramatika (literarna vrsta);Književno prevajanje;Prevodi v slovenščino;Prevajanje in tolmačenje;Koherenca (jezikoslovje);Literarni stil;
URN:	URN:SI:UM:
Type (COBISS):	Article
Pages:	str. 195-208
Volume:	ǂVol. ǂ1
Issue:	ǂ[no.] ǂ1/2
Chronology:	2004
DOI:	10.4312/elope.1.1-2.195-208
ID:	9630234