Ars Amatoria - a hard nut to crack with a translation?
DOI:
https://doi.org/10.4312/keria.2.2.37-40Keywords:
Ars Amatoria - trd prevajalski oreh?Abstract
Ko se prevajalec loteva svojega prevoda, še zlasti če gre za antično poezijo, mora najprej prezreti tisti znani in za njegov trud zelo nespodbudni italijanski aforizem »traduttore traditore«, ki ga nemalokdaj sili k temu, da bi že na samem začetku opustil vsako upanje na uspeh. Nasploh so zelo redki tisti prevajalci literarnih umetnin, ki povsem neopazno »izdajajo« izvirnik. Da bi se torej izognili začetniškim spodrsljajem, je treba, pač glede na vrsto literarnega dela, ki ga prevajamo, in glede na ciljno občinstvo, ki mu je prevod namenjen, izbirati med tistimi tremi najosnovnejšimi definicijami prevoda, kijih običajno navajajo tudi leksikoni literarne teorije, ko definirajo prevod kot literarno teoretični pojem: 1) da bolj ali manj dobesedno prevedemo izvirni pomen besedila, pri čemer seveda upoštevamo sintakso, gramatične zakonitosti, govorne značilnosti in idiome jezika, v katerega besedilo prevajamo; 2) da poskušamo - to je neizogibno pravilo še zlasti za leposlovne prevode - v prevod presaditi tudi duha in slog izvirnika, tako da iščemo, kolikor je to pač le mogoče, primerne ekvivalente v sintaksi, gramatiki in idiomih obehjezikov; 3) tretja možnost pa je svobodnejša adaptacija izvirnika, ki sicer obdrži duha in smisel izvirnega besedila, lahko pa pri tem prevajalec bistveno spreminja slog, strukturo, gramatične značilnosti in seveda tudi idiome, značilne za izvirnik.
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