Pub Date : 2023-12-08DOI: 10.4312/an.56.1-2.229-249
Marija Javor Briški
Die vergleichende Analyse von Wolframs von Eschenbach Willehalm und der Hystoria von dem wirdigen ritter sant Wilhelm ist auf die Formen und Funktionen der Erzählerstimme und der Figurenrede fokussiert, wobei die inquit-Formeln eingehender untersucht werden. Erzählerstimme und Figurenrede haben angesichts der modifizierten Rezeptionsbedingungen und des Übergangs von Vers zu Prosa erhebliche Veränderungen erfahren.
{"title":"Wer spricht?","authors":"Marija Javor Briški","doi":"10.4312/an.56.1-2.229-249","DOIUrl":"https://doi.org/10.4312/an.56.1-2.229-249","url":null,"abstract":"Die vergleichende Analyse von Wolframs von Eschenbach Willehalm und der Hystoria von dem wirdigen ritter sant Wilhelm ist auf die Formen und Funktionen der Erzählerstimme und der Figurenrede fokussiert, wobei die inquit-Formeln eingehender untersucht werden. Erzählerstimme und Figurenrede haben angesichts der modifizierten Rezeptionsbedingungen und des Übergangs von Vers zu Prosa erhebliche Veränderungen erfahren.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"63 15","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138587341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-08DOI: 10.4312/an.56.1-2.161-174
Marija Zlatnar Moe
Et dukkehjem (A Dolls’ House) by Henrik Ibsen is one of the most central texts of world theatre and literature, but at the same time, it is also a text written by an author coming from a relatively peripheral source language and culture. Nevertheless, soon after her entrance to the European stages Ibsen’s Nora found her way to the Slovenian theatres, albeit via German translations more often than not. This paper will show how the fact that the translations were done between two peripheral languages has affected all existing Slovenian translations, direct or indirect.
{"title":"Do Respectable Ladies Buzz, Grumble or Hum","authors":"Marija Zlatnar Moe","doi":"10.4312/an.56.1-2.161-174","DOIUrl":"https://doi.org/10.4312/an.56.1-2.161-174","url":null,"abstract":"Et dukkehjem (A Dolls’ House) by Henrik Ibsen is one of the most central texts of world theatre and literature, but at the same time, it is also a text written by an author coming from a relatively peripheral source language and culture. Nevertheless, soon after her entrance to the European stages Ibsen’s Nora found her way to the Slovenian theatres, albeit via German translations more often than not. This paper will show how the fact that the translations were done between two peripheral languages has affected all existing Slovenian translations, direct or indirect.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"33 9","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138589116","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-08DOI: 10.4312/an.56.1-2.125-143
Tamara Mikolič Južnič, Agnes Pisanski Peterlin
In Slovenia, surtitles are increasingly used to facilitate access to the textual content of a play when it is performed for an international audience. The process of creating a translation in the format of surtitles is characterized by complexity and hybridity, as a translation of a theatre text, even when available, needs to be adapted for a different medium. This paper examines how English surtitles for the Slovenian play Pavla nad prepadom / Pavla above the Precipice were created by comparing four versions of the text of the performance.
在斯洛文尼亚，越来越多地使用字幕，以便在为国际观众演出时方便获取剧本的文本内容。以字幕形式创作翻译的过程具有复杂性和杂交性的特点，因为戏剧文本的翻译，即使是可用的，也需要针对不同的媒介进行改编。本文通过比较四个版本的表演文本，研究了斯洛文尼亚戏剧《悬崖上的帕夫拉》(Pavla nad prepadom / Pavla above the cliff)的英文字幕是如何创作的。
{"title":"Hybridity in Theatre Translation","authors":"Tamara Mikolič Južnič, Agnes Pisanski Peterlin","doi":"10.4312/an.56.1-2.125-143","DOIUrl":"https://doi.org/10.4312/an.56.1-2.125-143","url":null,"abstract":"In Slovenia, surtitles are increasingly used to facilitate access to the textual content of a play when it is performed for an international audience. The process of creating a translation in the format of surtitles is characterized by complexity and hybridity, as a translation of a theatre text, even when available, needs to be adapted for a different medium. This paper examines how English surtitles for the Slovenian play Pavla nad prepadom / Pavla above the Precipice were created by comparing four versions of the text of the performance.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"53 24","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138587961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-08DOI: 10.4312/an.56.1-2.145-160
Florence Gacoin-Marks
L’article traite de la traduction du roman de guerre africain Allah n’est pas obligé d’Ahmadou Kourouma. De manière générale, le style de l’écrivain est connu pour les nombreux africanismes qui le colorent et l’enrichissent. Dans le roman mentionné, le narrateur veut s’adresser à tous les lecteurs possibles des romans francophones, c’est pourquoi sa narration entremêle des éléments linguistiques provenant de différentes aires culturelles (français littéraire, africanismes et anglicismes) et de différents registres (langue enfantine, langue familière, définitions du dictionnaire). Cette diversité linguistique oblige le traducteur du roman vers une langue étrangère (par exemple vers le slovène) à développer une stratégie cohérente basée sur l’analyse, dans laquelle la fonction de divers éléments dans la structure du récit sera d’abord déterminée (crédibilité psycho-linguistique, distance ironique pour souligner l’insupportabilité de la réalité décrite...) et ensuite le niveau de traduisibilité de ces éléments. En parallèle, nous examinerons comment la traductrice slovène du roman a résolu les problèmes et dans quelle mesure elle a réussi à transférer dans sa langue la diversité linguistique du roman d’Ahmadou Kourouma.
{"title":"Traduire la diversité culturelle dans le roman de guerre postcolonial Allah n’est pas obligé d’Ahmadou Kourouma","authors":"Florence Gacoin-Marks","doi":"10.4312/an.56.1-2.145-160","DOIUrl":"https://doi.org/10.4312/an.56.1-2.145-160","url":null,"abstract":"L’article traite de la traduction du roman de guerre africain Allah n’est pas obligé d’Ahmadou Kourouma. De manière générale, le style de l’écrivain est connu pour les nombreux africanismes qui le colorent et l’enrichissent. Dans le roman mentionné, le narrateur veut s’adresser à tous les lecteurs possibles des romans francophones, c’est pourquoi sa narration entremêle des éléments linguistiques provenant de différentes aires culturelles (français littéraire, africanismes et anglicismes) et de différents registres (langue enfantine, langue familière, définitions du dictionnaire). Cette diversité linguistique oblige le traducteur du roman vers une langue étrangère (par exemple vers le slovène) à développer une stratégie cohérente basée sur l’analyse, dans laquelle la fonction de divers éléments dans la structure du récit sera d’abord déterminée (crédibilité psycho-linguistique, distance ironique pour souligner l’insupportabilité de la réalité décrite...) et ensuite le niveau de traduisibilité de ces éléments. En parallèle, nous examinerons comment la traductrice slovène du roman a résolu les problèmes et dans quelle mesure elle a réussi à transférer dans sa langue la diversité linguistique du roman d’Ahmadou Kourouma.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"77 6","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138587020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-08DOI: 10.4312/an.56.1-2.251-267
Anamarija Šporčič
The paper focuses on two literary periods located at opposite ends of the twentieth century and examines the relationship between utopian ideas of Victorian fin de siècle and the re-emergence of utopian desires within a metamodernist context. The two periods discussed, while separated by a century of what is typically understood as progress, are both permeated by impending change and in dire need of alternatives to their respective forms of capitalism, making the appearance of utopian discourse almost inevitable. While their understanding of utopia certainly differs in many aspects, I will argue that they both recognize its oscillatory potential and neither focuses on bare facilitation of escapism or provision of blueprints, instead consciously employing hope-based utopian impulses as a method and a process by means of which various alternatives can be continuously investigated.
{"title":"Oscillating Utopias","authors":"Anamarija Šporčič","doi":"10.4312/an.56.1-2.251-267","DOIUrl":"https://doi.org/10.4312/an.56.1-2.251-267","url":null,"abstract":"The paper focuses on two literary periods located at opposite ends of the twentieth century and examines the relationship between utopian ideas of Victorian fin de siècle and the re-emergence of utopian desires within a metamodernist context. The two periods discussed, while separated by a century of what is typically understood as progress, are both permeated by impending change and in dire need of alternatives to their respective forms of capitalism, making the appearance of utopian discourse almost inevitable. While their understanding of utopia certainly differs in many aspects, I will argue that they both recognize its oscillatory potential and neither focuses on bare facilitation of escapism or provision of blueprints, instead consciously employing hope-based utopian impulses as a method and a process by means of which various alternatives can be continuously investigated.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"15 11","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138589441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses the third instalment of Ali Smith’s Seasonal Quartet, a work whose complex multi-voiced narrative addresses various important issues including the role of art in the contemporary world. The authors of the article employ two theoretical frameworks, Bakhtin’s theory of dialogism and Vermeulen and van den Akker’s studies on metamodernism, to argue that Smith adopts a dialogical approach to the theme of art. With the help of close reading the authors map the dialogical clashes between the main voices and the semantic positions which are taken in order to demonstrate that the central dialogue presented within the novel is that between postmodern and metamodern sensibilities. Special attention is paid to the character Richard who represents the clear replacement of the postmodern sensibility with a metamodern approach through his semantic position, as is informed by his search for universality in art, his neo-romantic turn to the appreciation of the beauty of nature and his rejection of the postmodern trends that produce superficial and inauthentic forms of art.
{"title":"Art, Nature and Politics in Spring","authors":"Frederika Pekarčíková, Soňa Šnircová","doi":"10.4312/an.56.1-2.5-20","DOIUrl":"https://doi.org/10.4312/an.56.1-2.5-20","url":null,"abstract":"This article discusses the third instalment of Ali Smith’s Seasonal Quartet, a work whose complex multi-voiced narrative addresses various important issues including the role of art in the contemporary world. The authors of the article employ two theoretical frameworks, Bakhtin’s theory of dialogism and Vermeulen and van den Akker’s studies on metamodernism, to argue that Smith adopts a dialogical approach to the theme of art. With the help of close reading the authors map the dialogical clashes between the main voices and the semantic positions which are taken in order to demonstrate that the central dialogue presented within the novel is that between postmodern and metamodern sensibilities. Special attention is paid to the character Richard who represents the clear replacement of the postmodern sensibility with a metamodern approach through his semantic position, as is informed by his search for universality in art, his neo-romantic turn to the appreciation of the beauty of nature and his rejection of the postmodern trends that produce superficial and inauthentic forms of art.\u0000 ","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"12 15","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138589568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-08DOI: 10.4312/an.56.1-2.91-106
Lilijana Burcar
The depiction of the class struggle features prominently in the American canon of the first half of the 20th century. However, the emphasis has been almost exclusively on prose fiction to the exclusion of the works of poets such as Claude McKay, one of the central figures of the early Harlem Renaissance and the leading figure among socially engaged English-speaking poets at the time. The article redresses this imbalance by drawing attention to McKay’s socially engaged sonnets, which helped to expand the horizons and culturally empower the exploited poor in America (and by extension the proletariat in England) to resist and overcome racist ideology in their common struggle for universal social justice. McKay makes use of a traditional, highly aestheticized sonnet form, while giving it a new ethical premise and fresh impetus.
{"title":"Old Aesthetics, New Ethics","authors":"Lilijana Burcar","doi":"10.4312/an.56.1-2.91-106","DOIUrl":"https://doi.org/10.4312/an.56.1-2.91-106","url":null,"abstract":"The depiction of the class struggle features prominently in the American canon of the first half of the 20th century. However, the emphasis has been almost exclusively on prose fiction to the exclusion of the works of poets such as Claude McKay, one of the central figures of the early Harlem Renaissance and the leading figure among socially engaged English-speaking poets at the time. The article redresses this imbalance by drawing attention to McKay’s socially engaged sonnets, which helped to expand the horizons and culturally empower the exploited poor in America (and by extension the proletariat in England) to resist and overcome racist ideology in their common struggle for universal social justice. McKay makes use of a traditional, highly aestheticized sonnet form, while giving it a new ethical premise and fresh impetus.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"50 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138588321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-08DOI: 10.4312/an.56.1-2.285-302
Mineja Krisper, Petra Kramberger
Der deutsche Dichter Heinrich Heine (1797–1856) zählt zu den herausragendsten und gleichzeitig kontroversesten Persönlichkeiten seiner Zeit, welche später in den deutschen literarischen Kanon aufgenommen wurden. Die Rezeption Heines in der Vergangenheit zeichnet sich durch wiederholte Ablehnung aus, da sowohl die Gesellschaft als auch Kritiker seinen politischen und religiösen Ansichten eher negativ gegenüberstanden. Der vorliegende Beitrag konzentriert sich auf die Rezeption Heinrich Heines im slowenischen ethnischen Gebiet bis zum Jahr 1860 und gliedert sich in drei Kapitel. Das erste Kapitel untersucht Heines Rezeption vor dem Jahr 1856, das zweite Kapitel beleuchtet seine Rezeption im Todesjahr des Dichters 1856, während sich das dritte Kapitel der Rezeption zwischen den Jahren 1857 und 1860 widmet. Die Studie umfasst eine Analyse von Veröffentlichungen in insgesamt neun journalistischen Organen, die zu dieser Zeit auf dem slowenischen ethnischen Gebiet herausgegeben wurden. Die untersuchten Zeitungen sind die Laibacher Zeitung samt ihren Beilagen, dem Intelligenzblatt zur Laibacher Zeitung, dem Illyrischen Blatt und den Blättern aus Krain, die Carinthia, die Carniolia, die Kmetijske in rokodelske novice, die Zgodnja danica sowie die literarische Zeitschrift Slovenski glasnik. Heines Präsenz ist bis zum Jahr 1860 in nahezu allen genannten Zeitungen mindestens einmal nachweisbar, mit Ausnahme der literarischen Zeitschrift Slovenski glasnik.
{"title":"Die Heinrich-Heine-Rezeption in der im slowenischen ethnischen Gebiet erschienenen Presse bis 1860","authors":"Mineja Krisper, Petra Kramberger","doi":"10.4312/an.56.1-2.285-302","DOIUrl":"https://doi.org/10.4312/an.56.1-2.285-302","url":null,"abstract":"Der deutsche Dichter Heinrich Heine (1797–1856) zählt zu den herausragendsten und gleichzeitig kontroversesten Persönlichkeiten seiner Zeit, welche später in den deutschen literarischen Kanon aufgenommen wurden. Die Rezeption Heines in der Vergangenheit zeichnet sich durch wiederholte Ablehnung aus, da sowohl die Gesellschaft als auch Kritiker seinen politischen und religiösen Ansichten eher negativ gegenüberstanden. Der vorliegende Beitrag konzentriert sich auf die Rezeption Heinrich Heines im slowenischen ethnischen Gebiet bis zum Jahr 1860 und gliedert sich in drei Kapitel. Das erste Kapitel untersucht Heines Rezeption vor dem Jahr 1856, das zweite Kapitel beleuchtet seine Rezeption im Todesjahr des Dichters 1856, während sich das dritte Kapitel der Rezeption zwischen den Jahren 1857 und 1860 widmet. Die Studie umfasst eine Analyse von Veröffentlichungen in insgesamt neun journalistischen Organen, die zu dieser Zeit auf dem slowenischen ethnischen Gebiet herausgegeben wurden. Die untersuchten Zeitungen sind die Laibacher Zeitung samt ihren Beilagen, dem Intelligenzblatt zur Laibacher Zeitung, dem Illyrischen Blatt und den Blättern aus Krain, die Carinthia, die Carniolia, die Kmetijske in rokodelske novice, die Zgodnja danica sowie die literarische Zeitschrift Slovenski glasnik. Heines Präsenz ist bis zum Jahr 1860 in nahezu allen genannten Zeitungen mindestens einmal nachweisbar, mit Ausnahme der literarischen Zeitschrift Slovenski glasnik.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"91 23","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138586638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract: George Mackay Brown’s poetic renderings of northern archipelagic world have never been considered in the context of the techniques of literary Impressionism as deployed to attain the aesthetic effect of reader engagement. It is possible to view the author’s mature collection of poetry The Wreck of the Archangel as composed on the principle of littoral Impressionism that expands Joseph Conrad’s idea of art as expressed in the Preface to The Nigger of the “Narcissus”. This article will examine Brown’s ecosophy of community that emerges from his major aesthetic principles used to give the reader the literary experience of the seatangled multiperspectivity. Brown’s unique lyrical-narrative insights into multiplicity of qualia and ecopoetic focus result in particular aesthetic effect of phenomenological immediacy. Adopting such perspective on the Orkney author might be an important point for reassessment of his position in the history of Scottish and British literature.
{"title":"Littoral Impressionism in The Wreck of the Archangel by George Mackay Brown","authors":"Halszka Leleń","doi":"10.31648/an.8814","DOIUrl":"https://doi.org/10.31648/an.8814","url":null,"abstract":"Abstract: George Mackay Brown’s poetic renderings of northern archipelagic world have never been considered in the context of the techniques of literary Impressionism as deployed to attain the aesthetic effect of reader engagement. It is possible to view the author’s mature collection of poetry The Wreck of the Archangel as composed on the principle of littoral Impressionism that expands Joseph Conrad’s idea of art as expressed in the Preface to The Nigger of the “Narcissus”. This article will examine Brown’s ecosophy of community that emerges from his major aesthetic principles used to give the reader the literary experience of the seatangled multiperspectivity. Brown’s unique lyrical-narrative insights into multiplicity of qualia and ecopoetic focus result in particular aesthetic effect of phenomenological immediacy. Adopting such perspective on the Orkney author might be an important point for reassessment of his position in the history of Scottish and British literature.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48948648","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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