| Popis: |
Literary translation refers to the rendering of originals in which translators are expected to preserve or recreate “the aesthetic intentions or effects that may be perceived in the source text” (Delabastita 2011: 69). This wide-ranging definition places the emphasis on a translation modality that calls for the maintenance of not only the contents and plot of the source (which may embrace narrative fiction, children’s literature, poetry, theatre and graphic novels, among others) but also of its artistic and creative value. The present entry attempts to critically reflect on some of the textual and contextual aspects in literary translation as a unique field that requires precise philological knowledge, intellectual preparation, and artistic sense if ‘literariness’ in the target version is to be achieved. Literary translators are required to appreciate meaning, but they must also be prepared to solve the linguistic problems imposed by style, tone, phonoaesthetics, dialect, connotation and metaphor, as well as to tackle the quandaries that derive from text resistance, ideology, and personal interpretation. While subjectivity may highlight nuances thought to be of significance at a particular period, this may weaken over time, suggesting the need for retranslations to satisfy new audiences. Patronage and the constraints of the target system also have a say in the reception of imported literary texts, which can be rewritten (or refracted) to suit the demands of the intended readership, sometimes with a blatant underlying ideological component. Who is responsible for the translation and the extent to which he or she remains (in)visible in the recipient literary system emerge also emerge as key issues. Literary translation encompasses a series of text-subtypes that demand specific training and skills: thus, performability and speakability are fundamental to the translation of stage texts, while when rendering poetry, it is crucial to bear in mind rhyme, rhythm and sound; language creation and cultural issues are critical in children’s stories; and with other literary forms, such as music in in-text songs, or graphic conventions in comics, non-verbal factors can impose constraints. |
