Évf. 63 szám 1–2 (2024): Fordítás – újrafordítás – újraírás
Teljes szám
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Tanulmányok
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Szerkesztői előszó
3–5.Megtekintések száma:19A Fordítás – újrafordítás – újraírás című tematikus lapszámunk a műfordítás elméletéről és gyakorlatáról zajló, s napjainkban igencsak megélénkülő szakmai diskurzusba kapcsolódik be, három tematikus alegységben közölve tanulmányokat az antik görög-latin, a szláv, valamint az angol nyelvű irodalom hazai műfordításának a jelenségeiről.
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Fábchich József Pindarosa
6–40.Megtekintések száma:11This study is an introduction to the work of József Fábchich. Fábchich started translating Greek poems in their original metres around the end of the 18th century. The only work he published is a volume that appeared in 1804, comprising the Odes of Pindar and a few pieces by Aeolic lyric poets. This article analyses this volume, arguing that Fábchich’s work is rather paradoxical from numerous perspectives. Firstly, he keeps the original metres and he seems to have read the secondary literature available at the time on Pindar, but in the end, his metrical practice is based on his own particular ideas. Secondly, he wishes to contribute to the development of the Hungarian language with his translations, but it seems that the texts he produced were hard to read even for his contemporaries. The study concludes that Fábchich was an thought-provoking and colourful character of this phase of the history of translation into Hungarian, but his oeuvre and his influence does not bear comparison with more successful contemporaries like Benedek Virág.
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„Még levelei erezetét se hagyjam figyelmen kívül”: Észrevételek Devecseri Gábor fordításszemléletéről és fordítói munkamódszeréről
41–57.Megtekintések száma:13This study deals with Gábor Devecseri’s approach to translation, one of the most influential and paradigm-setting figures in the history of 20th century Hungarian literary translation. I use examples to show that there is a significant difference between Devecseri’s early and his mature periods of translation. I examine the manuscript materials documenting the background work of the translators, the different variants of Devecseri’s translations, and cite some specific solutions of the translation of the Odyssey in different versions. The study shows that the first edition of Devecseri’s translation of the Odyssey in 1947 can be considered the peak of his translation output, while the later versions of the text lost their natural sound due to constant corrections and the subsequent insertion of certain embellishments.
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Örök jelen(lét)re kárhoztatva: Az újrafordítás néhány kérdése az antik versfordítás viszonylatában
58–74.Megtekintések száma:10This paper presents some strategies for re-translation in the ancient context. First, I examin a series of attempts at re-translation arising from a critical relation to tradition. The starting point was Ponori Thewrewk’s translation of Simonides’ epigram, whose canonical position remains unshaken to this day, despite new attempts at translation. Next comes a fetishising example of the relationship to the literary translation tradition, the 19th century translation of Horace by János Arany (Carm. 2.8). Despite the fact that Arany’s translation does not retain the poetic form of the original Horace poem and its poetic solutions are now alien, and it cannot be held up as a literary translation example for modern literary translators, it has been handed down from anthology to anthology with astonishing success. The next problem is the special fusion of re-translation and adaptation techniques. I capture this phenomenon through Vince Földiák’s translation of Horace. Finally, some alternative strategies of retranslation is discussed, such as queering the text or acoustic translation.
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Ukrán szépirodalom magyar nyelven
75–97.Megtekintések száma:6Hungarian translations of Ukrainian literature in Hungary and Ukraine (in Transcarpathia and, to a lesser extent, in Kiev) can be divided into three major periods. From the end of the 19th century onwards, the literary translations produced reflected the preferences of a single translator, journal or publisher, and were based on foreign translations and writings. After the Second World War, the number of Hungarian translations of Ukrainian literary works can be illustrated by a curve that started to increase slowly in the 1950s, rising relatively steeply in the 1960s and 1970s, and then gradually declining below the level of 1950s in the 1980s and 1990s. ´The output of the last thirty years or so has often included, in addition to the re-publications of previously published translations, works of well-known contemporary Ukrainian writers.
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A Tolsztoj-szövegek sajátos természete fordítói szemmel: A Tolsztoj-fordítások problematikája az orosz és a magyar nyelv különbözőségei alapján
98–113.Megtekintések száma:12In the following essay I discuss the linguistic-cultural aspects and editorial problems of the new translations of Leo Tolstoy’s certain works which determine the interpretation of A Prisoner of the Caucasus, Aer the Ball, e Sevastopol Sketches, Russian Books of Reading, War and Peace, Anna Karenina. £e literary translation course launched for master’s students at the Institute of Slavic Studies of the University of Debrecen, the Center for Russian Language, and Regional Linguistic Studies of Leo Tolstoy Tula State Pedagogical University have been cooperating for several years in the project Language Poetics of Leo Tolstoy’s Works. An important place among the various areas of the project is occupied by the linguistic commentary of the writer’s classical texts, which aims to make them accessible to today’s young readers. The problems of Tolstoy translations based on the specific nature of his texts and the differences between Russian and Hungarian are demonstrated through the examples analyzed in this project.
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Transz-Atlantik: Egy Gombrowicz-regény két magyar fordításáról
114–122.Megtekintések száma:7Grácia Kerényi started working on Gombrowicz’s Trans-Atlantyk aer translating Ferdydurke, but the work was completed by Irén Fejér. is Hungarian version is considered poor, so Gábor Körner re-translated the novel anew. e differences between the two translations can be shown by the expression of two key concepts: ojczyzna (Vaterland) and synczyzna (Kinderland). While the first translation presents the equivalents of the French version: pátria, fitria, although the latter does not make sense; the second (Gábor Körner) rather showcases przetlumaczyl jako hazafiúság and lazafiúság. e novel is modelled on Jan Chryzostom Pasek’s Baroque memoir, Gábor Körner found stylistic equivalents in the Hungarian Baroque tradition and in examples of archaic stylisation found in contemporary Hungarian literature.
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A kultúrfogalom fordítása: „Saját” és „idegen” Borisz Akunyin regényeiben és magyar fordításaiban
123–141.Megtekintések száma:7In this paper I investigate how cultural concepts are transferred into the target language text during the translation process, to what extent the translator is able to represent the net of associations the concept has in the original language, to what extent it is translatable at all, and to what extent it can be considered a lacuna or equivalence-free element. A concept of culture that is part of a particular system will never fully correspond to a particular part of another linguistic system. In translating such a concept, we obtain a meaning which is part of the conceptual-semantic system of the language, but which is embedded in an unusual way in literary translation. On the other hand, the context can play a complementary role for the conceptual meaning, so that the literary translation may also transfer new, foreign conceptual meanings from the original language into the target language, which can then become a source of comprehension of the linguistic world picture.
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„Mondhatta volna szebben, kis lovag”: Shakespeare és a kortárs magyar újrafordítások
142–160.Megtekintések száma:45The excerpt from Rostand’s Cyrano refers to when the witty knight re-translates a simple sentence into twenty different versions, warning the young man offending him that without talent and knowledge, a simple remark fails. Translations of Shakespeare abound in Hungary, due to a cultic attitude, often resulting in double canonicity if translated by a national poet like Arany. The study discusses what problems present-day re-translations face, from canonicity to the translator’s bias. It examines contextual, stylistic and dramaturgical issues in László Márton’s 2009 Othello, Negro of Venice, compared to other contemporary re-translations, concluding, with reference to a new Hungarian edition of the Sonnets, that translator’s talent and scholar’s knowledge should be combined for best results.
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Morus Tamás Utópiájának magyar fordításai
161–175.Megtekintések száma:17The first Hungarian translation of omas More’s Utopia by Ferenc Kelen was published rather belatedly in 1910, followed by an abridged translation in 1941, by László Geréb. Two years later a new, precise but modern translation was prepared by Tibor Kardos. A shorter selection of More’s original was also published in the fifties in András Bodor’s translation. Until the 1963 edition of Kardos’s translation, Utopia was presented as an important text in social philosophy, with detailed introductions, afterwords, and notes to the text. Recent editions usually place the emphasis on the literary qualities of the text. All the translations are based on the Latin version, usually the 1518 Frobenius (Basel) edition or Michels and Ziegler’s 1895 critical edition. The presence of the paratexts varies in the different translations: More’s letter to Giles is usually translated, yet most of the other parerga are ignored. Recent editions are usually illustrated, with the illustrations often (but not always) based on the 1518 Frobenius edition. The absence of a Hungarian translation in the first four centuries after the first publication of More’s Utopia is counterweighted by not fewer than eleven editions in the twentieth and twenty-first centuries.
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Az eunuch visszaherélése: Olty Péter Hopkins-fordításairól
176–191.Megtekintések száma:18The paper compares Péter Olty’s translations of Gerard Manley Hopkins’s poetry with a selection published in the Lyra Mundi series by Európa Kiadó in 1985. Olty’s newly published collection, Istenáram (Kalligram, 2023) strives to preserve the particularities of Hopkins’s enigmatic and eccentric language. These include, among other things, sprung rhythm and consonant chiming, a vocabulary rich in neologisms, archaisms, and dialect words, and a stretching of grammatical conventions. These attributes make Hopkins’s poetry unique, highly enjoyable, and also challenging for readers. Whereas the translators of the Lyra Mundi selection toned down the peculiar language of the originals in favor of readability, Olty’s translations retain Hopkins’s distinctive style.
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