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V magistrskem delu Botanično izrazje v slovenskih prevodih izbranih del Williama Shakespearja: analiza izvirnika in prevodov so zbrana imena rastlin in rož, ki se pojavljajo v Shakespearjevih delih, tragediji Hamlet in komediji Sen kresne noči. Imena rastlin in rož smo pridobili iz različnih virov, in sicer smo izhajali iz članka Phyllis Cooka William Shakespeare, Botanist, Henry Ellacombove knjige The Plant-Lore & Garden-Craft of Shakespeare in Male flore Slovenije (Martinčič idr. 1999), s pomočjo katere smo klasificirali rastline in rože. Imena smo zbirali ročno z branjem izvirnikov in njihov prevod preverjali v šestih slovenskih prevodih. Uporabili smo tudi korpus Opensourceshakespeare s pomočjo katerega smo preverjali pogostost pojavljanja imen določenih rastlin. Imena rastlin smo razvrstili tako, da smo najprej navedli ime, ki se pojavlja v Shakespearjevem izvirniku, nato smo navedli moderno znanstveno ime rastline, družino v katero spada ter na koncu še uradno ali narečno slovensko poimenovanje. Opazovali smo 97 imen rastlin/rož, od tega 34 imen, ki se pojavljajo v drami Hamlet in 63 imen, ki se pojavljajo v drami Sen kresne noči. S pomočjo dostopne literature smo ugotovili, da se nekatera današnja imena rastlin razlikujejo od tistih v Elizabetinski dobi, zato smo opazovali ali je to v slovenskih prevodih upoštevano. V magistrskem delu smo se osredotočili predvsem na opazovanje simboličnega pomena rastlin/rož in morebitno spremembo simbolizma v slovenskih prevodih. Uporabili smo štiri slovenske prevode drame Hamlet, in sicer prevod Otona Župančiča, Milana Jesiha, Janka Modra in Srečka Fišerja ter dva slovenska prevoda drame Sen kresne noči, Otona Župančiča in Milana Jesiha. V slovenskih prevodih smo opazovali ali so prevajalci upoštevali vse rastline in njihovo pomembnost kot del poteka zgodbe v drami ali so katero omembo rastline izpustili ali jo nadomestili s kakšno drugo rastlino. Opazovali smo kakšna poimenovanja rastlin je vseboval slovenski prevod, in sicer ali je šlo za narečno poimenovanje, uradno slovensko poimenovanje ali samo za namigovanje na rastlino. Ravno izbor besed s strani prevajalcev nam pove veliko o času nastanka prevodov ter o spremembi jezika skozi čas.Prav tako pa nastanek prevodov ponuja mnogo informacij o zgodovini, jeziku, razlikah med kulturama in simbolizmu. Simbolizem rastlin/rož lahko pripomore k dojemanju drame in nakazuje na razlike v dojemanju drame v Angliji in Sloveniji. Povprečni slovenski bralec mora simbolizem razumeti, če želi da mu je drama popolnoma razumljiva in smiselna. In the master’s thesis Secret Botanical Language in Slovene Translations of Chosen Works by William Shakespeare: Analysis of the Original and Translations, we collected names of plants and flowers that appear in two major works by William Shakespeare, the tragedy Hamlet and the comedy A Midsummer Night’s Dream. Plant and flower names were collected from various sources, mainly from Phyllis Cook’s William Shakespeare, Botanist, Henry Ellacombe’s The Plant-Lore & Garden-Craft of Shakespeare, and the Martinčič’s Mala flora Slovenije, which helped us classify and specify plants and flowers. We collected names manually through reading the original texts and 6 Slovene translations. We used the corpus Opensourceshakespeare to examine the frequency of particular plant/flower names. We classified plants and flowers first by stating the name that appears in Shakespeare’s work, followed by the modern scientific name and family name, followed by the Slovene official or dialectal name. By means of accessible literature, we established that some plant names nowadays differ from the names given to them in Elizabethan times, which we observed in the Slovene translations. Moreover, we examined the symbolism attributed to plants/flowers also, we observed whether the symbolism of plants/flowers differs in England in comparison to Slovenia and how this affects the Slovene translation. We used four Slovene translations of Hamlet by Oton Župančič, Milan Jesih, Janko Moder, and Srečko Fišer and two translations of A Midsummer Night’s Dream by Oton Župančič and Milan Jesih. Slovene translations vary from the traditional, to the experimental and modern, which we also observed and commented on. Different time periods of origin for the Slovene translations gives a lot of information about the historical and language differences between the two cultures and their symbolism. Plant/flower symbolism can contribute to the perception of the play and differences between England and Slovenia. The symbolism has to be understood by the average Slovenian reader for the play and its scenes to be fully meaningful. |
