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Today the role of the translator’s gender is quite actively researched in linguistics as well as in translation studies. However, in Estonian theory and practice of translation this topic has not yet received enough attention. In the current article four Estonian translations of the story “The Golden Key, or the Adventures of Buratino” by A. Tolstoy are compared and analysed. Two of the translations (from 1946 and 1964) belong to female translators and two (from 1996 and 2016) to male translators. Different researchers have suggested some characteristics that distinguish “female” translations from “male” ones: (1) in the works of female translators, one can notice more emotionality and expressiveness (for example, female translators use far more diminutives etc); (2) female translators tend to enrich their translations with words (especially with a positive connotation) that are not present in the original text; (3) female translators tend to follow the structure of the original text, male translators are more likely to change the structure of the original text (for example, long sentences may be translated into several shorter ones); (4) female translators tend to use neutral vocabulary, while the texts of male translators are richer in dialect, informal, obsolete words, etc. Based on the analysis of these four Estonian translations of the Russian text it can be said that the third and the fourth characteristics can indeed be ascertained in the translations, while the first and the second arguments prove not to be true, since in “male” translations some additions can be found that are not present in the original text. Diminutives are also used more often in “male” translations of A. Tolstoy’s story than in the “female” ones. In conclusion, there are indeed some features that can distinguish female translations from male ones. However, some earlier observations prove not to be true, at least in Russian-Estonian translations. We should not deny the fact that the gender of the translator can have some influence on the way he or she translates, but all the rest of the differences between translations are caused by other factors, such as the age, social status, level of education or personal and professional qualities of the translator, etc. It is impossible to say yet which of these characteristics play a significant role and which do not.
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Interview with Anna Verschik by Maria-Maren Linkgreim.
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The article investigates the foreign reception of Estonian literature and concentrates on why some piece of literature is chosen for translation and how its distribution works. It comprises four case studies, i.e. the Estonian epic „Kalevipoeg” by Friedrich Reinhold Kreutzwald, the novel „The Czar’s Madman” by Jaan Kross, „The Man Who Spoke Snakish” by Andrus Kivirähk, and „Child of Glass” by Maarja Kangro. It shows how different times, different language areas and different approaches constitute various versions of reception.
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Review of: Juhani Salokannel. Noore Eesti südametunnistus. Rahvuskirjanik A. H. Tammsaare. Soome keelest tõlkinud Piret Saluri. Tallinn: EKSA, 2019. 288 lk.
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The present article studies the perception of space in “The Last Time” (a short story written by Desmond Hogan, first published in 1979) by Maria (a former orphan in the nunnery of Ballinasloe, a small town in western Ireland, close after WW II), who makes an attempt in her first person narrative to represent and understand, twenty years later, the circumstances and the emotions of her love for a young man from a socially high-ranking family, which probably failed because of the social and cultural conventions of their time. The article focuses Maria’s highly individual space perception and its linguistic representation based on her linguistic and cultural habits. Maria’s spaces, which integrate both real and ideal spaces, are analysed with reference basically to Maurice Merleau-Ponty’s “Phenomenology of Perception”, Henri Lefebvre’s “The Production of Space” and Umberto Eco’s ideas on extracoding exposed in his “Theory of Semiotics”. The article also deals with the difficulties that translators meet when translating this short story. It appears that most translation problems are connected with Maria’s specific cultural overcodings in an attempt to represent her space perception. The author of the article analyses some examples of his previous translation and offers some new solutions in the section entitled “Towards phenomenological translation”.
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Transculturality is a currently prominent phenomenon, but not a completely new one. Cultures have long since been transcultural, it is only the extent of transculturality which has increased recently. Whether Greek culture’ s connections with Egypt, Babylonia and Phoenicia or Japanese culture’ s connections with China, Korea, and India, all cultures are hybrid. Likewise, literature has been transcultural for a long time, as can be seen in the works of Montaigne, Goethe, Zuckmayer, and contemporary postcolonial authors. Literary studies should put emphasis on the present transculturality, which provides the frame of all our cultural activities today. Addressing transculturality will help to recognize its chances and to cope with its problems.
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The expression “world literature” is currently being used in several ways: about various culturally and temporally inclusive bodies of literature and about various ways of studying such literature. In the article, special attention is devoted to the editorial concept of world literature in The Cambridge History of World Literature (2021), edited by Debjani Ganguly. Formulations about world literature sometimes cast it as a mind-independent entity, sometimes as a scholarly construction. It is argued that the choice between these alternatives is important, since it has significant consequences for the logic of thinking and reasoning about world literature.
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In this article, we aim to follow the narrative and metanarrative tracks that Antonio Rinaldis combines in Il Treno della memoria: Viaggio nel presente di Auschwitz (Imprimatur, 2015, translation into Romanian in 2020) and to highlight the role that a journey into the present of the past can have in shaping the behavior and the mentality of young generations. Not so much a lesson to protect (us) once and for all from the World War II atrocities of horrific memory, the experimental immersion into the past has a violent impact upon the youths and all those accompanying them on this journey. Since time travel, either to a past or future physical reality, is not yet available, visiting history – a cycle of immersive-tours to Auschwitz, Birkenau and Monowitz – makes possible the acquisition and cultivation of authentic empathy, with an undeniable role in the development of a dynamic memory. We therefore examine the ways of awakening conscience and of preserving awareness, as well as the human inclination to learn too little from one’s own experiences and even less from the experiences of the past.
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Our paper, the result of an interdisciplinary research, is part of the broader framework of Italian-Romanian cultural relations in the interwar period. One of the most important promoters of Romanian culture and literature in Italy was Claudiu Isopescu (1894-1956), founder of the Department of Romanian Language and Literature at the University "La Sapienza" in Rome. Although known in Romanian scientific circles, his figure is less valued in current studies, both in Romania and in Italy. We will try to understand the reasons for this absence and we will bring back into discussion, and into memory, less analysed aspects of his work, such as the translations of Romanian literature in Italy. Great Romanian authors (Caragiale, Coșbuc, Eminescu, Creangă, Sadoveanu, Rebreanu, Slavici, etc.) were translated, under his direct supervision, by Isopescu's Italian students (C. Ruberti, A. Silvestri-Giorgi, A. Carsia, L. Cialdea, etc.). Also under his direct supervision, the first Italian monographs of Romanian writers were published, most of them in the collection "Piccola Biblioteca Romena". We will also explore Isopescu's research studies, some of which are still cited in specialist works, such as the one on the presence of Romanians in the Italian geographical literature of the 16th century or those on Italian cultural memory in nineteen-century Romanian authors.
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Review of: Keskaja kirjanduse antoloogia. I. Ladinakeelne kirjandus. Koostanud Marek Tamm. Tallinn: Varrak, 2013. 656 lk.
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Interview with Kristiina Ross by Marju Lepajõe.
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Review of: Mati Sirkel. Orva-aastad. Valik ees-, vahe- ja järelsõnu tõlgetele ning mõned lehelood. Tallinn: Tuum, 2004. 239 lk; Mati Sirkel. Uued orva-aastad. Kommentaarium. Tallinn: Tuum, 2009. 220 lk; Mati Sirkel. Vanad vastuseta küsimused. Esseed, intervjuud, kõned. Tallinn: Tuum, 2014. 190 lk.
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Review of: Carl Rußwurm. Eibofolke ehk rootslased Eestimaa randadel ja Ruhnus. Tõlkinud Ivar Rüütli. Toimetanud Saale Kareda, Tiina Hallik. Eestirootsi Akadeemia, 2015. 789 lk.
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2016. aastal leidsid Tartu Ülikooli klassikalised filoloogid seoses ülikooli raamatukogu remondieelsete pakkimis- ja koristustöödega raamatukogu varukogust õhukese pealkirjastamata mapi, mis sisaldas paberil leiduva vesimärgi analüüsi ja paleograafiliste tunnuste põhjal otsustades 1946. aastal käsitsi tehtud ümberkirjutuse kreekakeelsetest fragmentidest. Fragmentide päritolu ei ole seni õnnestunud tuvastada. Näib, et tegu on algselt papüürusele kirjutatud tekstiga, nagu näitavad lakuunid ja mõned hävinud reaalgused ja lõpud.
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Mõne aja eest ilmus Sirbis Heli Alliku ülevaatlik, lahenduste otsimisele suunatud artikkel tõlkekriitika kidumise ja kadumise põhjustest. Olulisematena olid nimetatud sobiva väljaande puudumine ning tõlkekriitika kui töö- ja ajamahuka tegevuse väärika hindamise ja tasustamise kehvapoolne seis. Need on nn välised põhjused, millele hea tahtmise korral on võimalik leida enamvähem toimiv lahendus, nagu näiteks artiklis nimetatud blogi või veebiväljaanne. Aga on ka sisemised põhjused, millest Allik teeb põgusamalt juttu ja mis kõige välise taustal võivad rohkemgi takistada tõlkekriitika laiemat praktiseerimist.
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The paper presents the results of a contrastive study on the fixed prepositional constructions in German Prep + Sub + sein with abstract nouns. Starting from the axiological theory according to Dolník (2007: 43), we can conclude that the construction is characterized by the application of partially different axiological functions (von Bedeutung/Belang/Relevanz/ Interesse/Wichtigkeit) to the identical axiological parameter “relevance” with the value of relevant or related, which is partly reflected in the Slovak translation equivalents as well. This is a structure that has no direct parallels in Slovak. In the process of translation, therefore, questions arise concerning contextual anchoring, distribution of adequate functional equivalents and reversibility in the search for the German initial structure. The aim of the study is to use parallel corpus analysis to find out which quivalent constructions are used in the translation of the texts in question.
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The ratification of the Convention on the Rights of Persons with Disabilities signed by Romania in 2007 has generated the necessity of elaboration of the National Strategy on the Rights of Persons with Disabilities 2021-2027. Among persons with disabilities, the deaf and hard of hearing people have often been the subject of legal provisions in what access to communication, information and culture is concerned. Access to television programmes is thus, regulated through a series of laws and regulations that ensure the rights of the deaf and hard of hearing people to fair acces to the content of films, documentaries, commercials, news, etc. through subtitling or other means of equivalent language. This article focuses on both linguistic aspects of rendering informational and cultural content through subtitling and legal provisions of Romanian laws on deaf and hard of hearings persons beginning with the Audiovisual Law up to present.
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Whether the members of the Anglophone culture have the same experience of Nikola Šop’s poetry as the source readers is the question that this paper aims to answer. Specifically, this paper deals with the analysis of translation strategies in the translation of certain poems by Nikola Šop, focusing on Šop’s religious and culture specific elements. Through a contrastive analysis of existing translations into English, the author shows the difficulties in transferring certain poetic elements (the spirit of the poem, tone, style, religious and cultural elements, spirit of Franciscanism) to the Anglophone culture, as well as the cultural differences between the source and the target language. The specificity of Šop’s poetics, the socio-cultural context and the religious Franciscan spirit of the poems are elements that represent a challenge for translation, and by analyzing the translations we gain an insight into how members of the Anglophone culture perceive Šop’s poems.
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In my article I intent to prove that translation activities can be helpful in teaching a foreign language because they help students express their ideas accurately. Translation allows students to think carefully about what they want to say, and provides them with the foundation to understand or express everything as accurately as possible. Nevertheless, there are also possible difficulties when teaching with the help of translation, taking into consideration the possible negative consequences on students as well as on teachers.
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