‘ABDULLĀH BOSNAWĪ: JEDNO PISMO I BILJEŠKA

Author(s): Ahmed Zildžić / Language(s): Bosnian Issue: 40/2019

In this paper the author in the context of historical circumstances of the Ottoman Empire in the first half of the 17th century, and particularly in light of biography of ‘Abdullāh Bosnawī (d. 1054/1646) examined two hitherto unpublished short texts: one personal letter dispatched to Koca Mūsā-pasha (d. 1057/1647) and a short note relevant to Bosnawī’s second journey towards Mecca via Cairo. The author based on textual evidence unequivocally identified both agents of the correspondence, shedding new light of the life and character of vizier Mūsā-pasha, his spiritual aspirations and close ties with Bosnawī. On the basis of the letter which is the subject-matter of this paper, as well as his waqfnama, it is possible to conclude that vizier Mūsā-pasha exposed clear Sufi leanings with Akbari coloring which is attested by the vocabulary that Bosnawī used in addressing him in his letter. The Ottoman text of both the letter and the note is given with a Bosnian translation and befitting philological explanatory notes necessary for the proper understanding of those texts in their relevant historical context. Both texts testify that Bosnawī and Mūsā-pasha, equally of Bosnian extraction in the wide geographical scope of the Empire and while pursuing divergent careers with the Empire maintained close relations and correspondence. Regardless of their brevity, both texts are primary sources that contain valuable details about Bosnawī’s and Mūsā’s life and as such clearly deserve our attention and appropriate scientific treatment.

‘Censorable’ Structures in W. S. Maugham's Novels - Linguistic and Cultural Elements

Author(s): Ana-Maria Pâcleanu / Language(s): English Issue: 01+02/2014

Communist censorship stigmatised the Romanian cultural life in general, literature in particular. Rejecting and banning anything related to fascism, mysticism, chauvinism, religion, anything demoralising or sentimental, confusion causing or hostile to the regime was common practice. W. S. Maugham’s novels contain many of the historic, cultural and social elements the regime intended to keep people away from. Therefore, some of the translations of his novels (into Romanian) were banned and other versions were published later. The Razor’s Edge and The Painted Veil are two of the censored novels and the present paper deals with these aforementioned aspects from the linguistic point of view, by considering also the translation issues.

’Playing Handy-Dandy’: Early Hungarian Translations of King Lear

Author(s): Zsuzsanna Kiss / Language(s): English Issue: 3/2018

The paper offers a few insights into the textual and dramaturgical challenges of Hungarian King Lear playtexts, from the earliest ones till 1922. Since the last decade of the 18th century, when the first full adaptation with the so-called Viennese ending was penned, King Lear has constantly been an ‘object of desire’ in Hungarian theatre, literature and culture. Competing with Hamlet and The Taming of the Shrew in terms of popularity, King Lear quickly became a stock-piece. The task of appropriating King Lear attracted the attention of the best actors, authors and translators. Many Hungarian adaptations of King Lear promoted the professional development of Hungarian acting companies and theatres, of translation itself, and of national dramaturgy. Shakespeare’s darkest tragedy filled a vacuum not only on the stages, but also in Hungarian social life, proving to be the perfectly appropriated, updated, and, to some extent, even politically tolerated representation of crisis. From the first stage adaptations, King Lear’s numerous translations into Hungarian have conveyed a compelling sense of ‘double bound’ between page and stage, text and interpretation, translation and performance. This paper investigates how context and congruity validated certain texts and performances of Hungarian King Lears, and how some texts and performances, having illumined one another, expressed what both actors and audience felt, and thus genuinely filled the void between personal and public spheres.

“[They] would say she was betraying Poland already”: Major Themes in Contemporary Canadian Literature by Writers of Polish Origins

Author(s): Dagmara Drewniak / Language(s): English Issue: 1/2018

“A KINGDOM FOR A CIGARETTE”

Author(s): Simona-Catrinel Avarvarei / Language(s): English Issue: 10/2017

This paper visits some of the thoughts Antoaneta Ralian shared with her public throughout her long and amazingly prolific translating career. Antoaneta Ralian toiled with the minute religiousness of a hesychast that listens to the chant of the wasteland to unravel the mystery locked in each and every one of the 125 novels and plays she translated. She believed that the translator has to gain access to what lies hidden in the text, subtly interposing the decoding wish in between thought and translation. The translator sets the text free as long as it preserves its intrinsic wealth and beauty. The text is no longer a ‘closed’ narrative (Umberto Eco), as long as the translator deciphers its inner mechanisms ‘forcing’ it to reveal itself, opening it towards unlimited semiosis. Quoting various fragments from the last volume of memoirs she published in 2016, Nu cred în sfârșitul lumii [I do not believe in the end of the world], I take a bow of honour to one of the most beautiful minds of the Romanian culture.

“A TROUBLE SHARED IS A TROUBLE HALVED” THE ROLE OF DICTIONARIES AND DISCOURSE ANALYSIS IN TRANSLATION TROUBLES

Author(s): Mohammad Ahmad Thawabteh / Language(s): English Issue: 29/2018

Translator training has dramatically increased the world over for the past decades. In Palestine, translator-training institutions are singularly increasing in strength to arm the considerably large and robust job market with qualified translators. However, the demand for translators has outstripped the supply of translators, and it continues to thrive. Most embryonic translator training in Palestine traditionally starts under the umbrella of the departments of English Language and Literature whereby a ‘one-offʼ translation module is offered. The present article aims to explore whether or not the student translators are emboldened by the beneficent effects of the application of dictionaries in translation classroom, to reach a saturation point at the discourse level. The article examines randomly selected translations of forty student translators, enrolling on an undergraduate translation course offered on the fringes of Al-Quds University for the school year 2016-2017. The article shows that expected user-friendly dictionaries seem to have turned out to be user-unfriendly in terms of discernible grammatical errors and perceptible discoursal errors, mainly due to a lack of (1) pedagogic issues addressing dictionary use; (2) training on non-translation aspects (e.g., Computer-Aided Translation CAT tools); (3) linguistic and cultural congruity between Arabic and English; and (4) higher-level knowledge in dealing with text beyond the borders of grammar, semantic and pragmatic dimensions.

“Barbaric Yawp” in Dutch

Author(s): Katia Vandenborre / Language(s): English Issue: 4/2013

The article presents two most important translations of Whitman’s line in Dutch. The first one comes from Natuurleven (“Natural life”), the selection of poems that Maurits Wagenvoort translated into Dutch in 1898; the second one was taken from the first complete edition of Leaves of Grass in Dutch which came out in 2005 under the title Grasbladen (“Leaves of Grass”). Both of them present very different interpretations of Whitman’s poetry: while the too literal and too vague translation in the collective project of Grasbladen presents a “postmodern attitude” to Whitman’s work, Wagenvoort’s translation is a subtle attempt of expressing the natural character of homosexuality and Whitman’s vision of love. The essay ends up with the new translation that Jakib Veenbaas published in 2007.

“Barbaric Yawp” in German

Author(s): Vanessa Steinroetter / Language(s): English Issue: 4/2013

This essay presents an overview and analysis of German-language translations of Walt Whitman’s phrase “barbaric yawp” in seven full versions of the poem “Song of Myself ” and in key biographical essays and prefaces by critics and translators in the German-speaking countries. Although the first documented mention of the phrase in the foreword to the Knortz/Rolleston translation (1889) left it untranslated in the English original, many later translators did offer up their versions of Whitman’s phrase in German, often struggling to maintain the allusions and connotations of the original. As this essay shows, Whitman’s “barbaric yawp” fascinated many of his translators and critics alike in the German-speaking countries, whether because they saw in his “barbaric” qualities a positive model to applaud and perhaps emulate or because they regarded the phrase as an apt metaphor for his unique and provocative poetic style.

“Barbaric Yawp” in Polish

Author(s): Marta Anna Skwara / Language(s): English Issue: 4/2013

The text examines the Polish reception of Whitman’s “barbaric yawp,” beginning with pre-translational intertextual references made by the influential Polish poet Julian Tuwim (“Poezja,” 1921). Subsequently, the version of the “barbaric yawp” line from the introduction to the selection of Whitman’s poetry (1934) as well as three “proper” translations of the line done much later are analyzed. Problems which the “yawp” causes in the Polish language are discussed against the comprehensive cultural and linguistic background, including the Polish version of the film Dead Poets Society.

“Barbaric Yawp” in Russian

Author(s): Andrey Azov / Language(s): English Issue: 4/2013

The essay traces the history of Kornei Chukovsky’s translation of Whitman’s “yawp” into Russian, points out the oddities of the translation and suggests a tentative explanation of Chukovsky’s word choice. It also examines the “yawp” in the Russian translation of the film Dead Poets Society.

“Barbaric Yawp” in Swedish

Author(s): Anders Pettersson / Language(s): English Issue: 4/2013

The article discusses the pros and cons of the three Swedish translations of the “yawp” and comments on their historical context and general character. The three Swedish versions differ in background and tone but are very similar in their treatment of the yawp itself. In his complete Swedish version of the poem (“Sång om mig själv”) 1935, Karl Afred Svensson translated “barbaric yawp” as barbariska rovfågelskri; “barbaric cry of a bird of prey.” Erik Lindegren followed Svensson except in spelling in his partial translation (“Ur Sången om mig själv”) from 1946, while Rolf Aggestam merely changed the cry to a howl—barbariska rovfågelstjut—when he offered a complete translation of Whitman’s first edition of the poem in 1983 (“Sången om mig själv”).

“Barbaric Yawp” in Turkish

Author(s): Ayten Tartici / Language(s): English Issue: 4/2013

The article provides an analysis of Turkish translations of Walt Whitman, in particular of the famous line “I sound my barbaric yawp over the roofs of the world.” The article further examines how Whitman was re-appropriated and refashioned in a novel cultural context and speculates why a complete translation of Leaves of Grass was never made.

“But Men May Construe Things After Their Fashion”: Julius Caesar and Fascism

Author(s): Elisa Fortunato / Language(s): English Issue: 3/2018

This paper studies censorship and self-censorship in translations during the fascist regime, and the fine boundary between the two (Bonsaver, Fabre, Rundle). It focuses, in particular, on the history, of Shakespeare’s Julius Caesar translations released during fascism in Italy. Shakespeare’s play was read as an appraisal of the Roman qualities, while the dangerous questions about power and conspiracy that the play contains were ignored. This superficial reading explains why, on the one hand, translations of Julius Caesar increased in the fascist years and, on the other hand, why it was performed only once (in 1935 by Tamberlani). The act of translating is by definition an act of manipulation, while on the stage theatrical properties (e.g., Julius Caesar’s corpse) are not concealable. Examining the translations issued during the regime, and in particular the translators’ notes, it is possible to identify a general translation trend that can be interpreted as an act of submission to the dominant thinking (Tymoczko).

ἐάν ζησώμην [sic] – „Ha még élünk.”

Fordítói megjegyzések Pápai Páriz Ferenc Nagyenyedi Kollégium-történetével kapcsolatban

Author(s): Monika Frazer-Imregh / Language(s): Hungarian Issue: 3/2013

In the summer of 2013 I translated Ferenc Pápai Páriz’s Illustris Collegii Betleniani [sic!] Albano Enyediensis Origo et Progressus (1704) from Latin into Hungarian. This manuscript was recently transcribed by Emese Rácz and will be published as a bilingual critical edition in Cluj, Romania (Kolozsvár) by the publisher Erdélyi Múzeum Egyesület Kiadó. The history of this great Transylvanian college has never been published or translated before in its entirety, only the correspondence between Pápai and Jablonski about the scholarship for Hungarian students in the Viadrina University in Frankfurt (Oder). (Pápai requested it with Jablonski’s help from the Elector of Brandenburg, Frederick III, later Frederick I of Prussia). In my paper I summarize the issues that emerged during the translation. First, I review all the Greek expressions Pápai used in his Latin text because some of them were not understood and simply omitted by the letters’ previous translators. I also point out some other mistakes in the translation of the letters. Secondly, I unravel the question of the two letters of the Transylvanian chancellor, Miklós Bethlen, to the Brandenburg court, that were published as three letters in the previous edition. Finally I publish and explain Pál Csernátoni’s epitaph written by Pápai and included only in the Origo, which is rather unusual in its metrical form.

ІІ международна научна конференция „Славянски студии“

Author(s): Stefka Petrova,Darina Ilieva / Language(s): Bulgarian Issue: 34/2017

Ісламізми-загальні назви в українських перекладах Корану

Author(s): Nataliia Danyliuk / Language(s): Ukrainian Issue: XI/2015

The article is devoted to analyzing common nouns semantically connected with Islam, which appear in five Ukrainian translations of the Quran. Those words will be divided into names that show attitude towards God and religion, names connected Muslim rites and religious traditions, names of mythological creatures, names of parts of the Quran, names of temples, religious buildings and their parts, other names. Common nouns of Islamic origin present in the Ukrainian translations of the Quran have a significant degree of adaptation to Ukrainian, were formed with its phonetic and grammatical means, acquired morphological form characteristic of this language, participated partly in its word formation processes, and appear in dictionaries along with Ukrainian lexis (apart from certain words). Some of the words of Islamic origin appearing in Ukrainian translations of the holy tekst of Islam and lexicographical works have semantics different from the Islamic one. This means that such words can be sometimes recognized only thanks to context in which they appear.

ЈОВАН СКЕРЛИЋ И ПРОБЛЕМИ ПРЕВОДИЛАШТВА

Author(s): Margerita Arnautović / Language(s): Serbian Issue: 3/2014

Translation has remained an unclarified field of work of Jovan Skerlić, a translator, an encourager of translators, a historian, critic and theoretician of translation. This paper partly fills that void. The author’s task is to thoroughly research Skerlić’s relationship towards translation and to show that this famous critic and historian of art followed our translated literature. He assessed how motivating a certain translation might be for domestic literary processes. His History of New Serbian Literature was also a hidden history of translated literature. It turned out that Jovan Skerlić was one of our most famous critics, historians and theoreticians of translated literature; that he spotted a great significance of translation for original literature; that he motivated translators for creative endevours. Even in this field Skerlić was proven to be important in creating a strategy of the development of a precious form of literary creation.

ЈОВАН СКЕРЛИЋ КАО КРИТИЧАР ПРЕВОДИЛАШТВА И НЕКИ ПОГЛЕДИ НА ТЕОРИЈУ ПРЕВОЂЕЊА

Author(s): Margerita Arnautović / Language(s): Serbian Issue: 3/2014

Рекло се да нисмо имали и да немамо критику преводилаштва. Имали смо је и имамо, само она није увек беспристрасна, каткад затаји, а каткад опет пређе у напад преко доличних граница. Да бацимо прво летимичан поглед на даљу и ближу прошлост. Почнимо од XIX века.

ЈОВАН ХРИСТИЋ – ДРАМСКИ ПИСАЦ, КРИТИЧАР, ПРЕВОДИЛАЦ, УРЕДНИК – ЕВРОПЉАНИН

Author(s): Marta Frajnd / Language(s): Serbian Issue: 1/2013

The paper tries to analyse two important aspect of Jovan Hristić’ s work. On one hand he was a drama writer and drama critic who united delicate sensibility with enormous knowledge, an author with a firm point of view and classical restraint in expressing both emotions and views. On the other hand he contributed very much to Serbian literary thought and culture by his work as an excellent translator from English and French, and especially as an editor. Owing to his deep knowledge of European culture he knew how to choose and include translations of capital works from that tradition in his collection “Literature and civilisation” in the seventies and eighties of the last century. In both aspects of his work Hristić showed a deep understanding both of national and European culture and knew how to widen the horizonts of national culture by introducing the best of European values to our reading public. This made him a true European.

Њемачка књижевност у босанскохерцеговачким књижевним часописима Нада (1895–1903) и Зора (1896–1901)

Author(s): Ljiljana S. Aćimović / Language(s): Serbian Issue: 19/2019

This paper explores and analyses the extent to which German literature is represented in the literary journals of Nada and Zora published in Bosnia and Herzegovina. The reason the author decided on these two journals was the fact that both of them were published at the turn of the century: Nada was published in Sarajevo in the period of 1895-1903, while Zora was published in Mostar from 1896 to 1901. Given the fact that the reasons for starting each of them were diametrically opposed, the analysis of the representation of German literature in both is a very interesting issue, with the reception of these texts explored on a separate basis. This encompasses the translation of lyric and prose texts, as well as notes, reviews, essays, critical accounts, and pieces of information on German literature. In the final section of the paper, the author, by means of the comparative method, draws a parallel between the two journals, along with providing judgement on the role and significance of the German literary texts reviewed within them.