20.500.12556/DKUM-56302 Stylistic comparison of the original and Slovene translation of Douglas Adams's The Hitchhiker's Guide to the Galaxy Stilistična primerjava originala in slovenskega prevoda romana »Štoparski vodnik po galaksiji« avtorja Douglasa Adamsa An author's style can sometimes be as important as the content itself. One could argue it is one of the fundamental components in fiction, and it can make or break a good book. However, as much as we enjoy it, it can be hard to define. We know it is present and it can make us feel a range of emotions, but what causes the emotions on a linguistic level is not easily answered. Douglas Adams’ novel The Hitchhiker’s Guide to the Galaxy is a mixture of science fiction and comedy. Comedic effect is prevalent throughout the book and is achieved by several linguistic devices. The optimal way to study one’s writing style is to break it down in to smaller components, and in the case of this thesis to proper names, nonce words and several figures of speech. Alojz Kodre, the Slovene translator of the book, holds a Master’s degree in Physics, therefore I assumed he was more capable of bringing the astronomical concepts and technical jargon to the Slovene reader than a translator with no knowledge of astrophysics. The purpose of my thesis was also to find out whether he had been successful at not only accurately conveying meaning but also Adams’s unique style. Not taking into account his many stylistic elements can be detrimental for the overall reading experience. The discrepancies were highlighted with skopos theory as a basis for adequacy of translations methods, both used or methods that could have been used. The skopos theory helps the translator achieve the purpose of the translation usually defined by the target audience. It is a universal theory, but I was interested whether skopos theory can be applied to style as well. The translation must serve the readership of the target culture, but the author’s style, especially if prominent such as Adams’s, should not be put in second place. To some extent the translator also needs to be faithful to the author, but where does he need to draw the line? Occasionally, one factor needs to be sacrificed; whether the author’s style for the sake of understandability or the understandability for the sake of style. Alojz Kodre seemed to favour purpose over form; sometimes for clear reasons, because preserving the author’s style would have made the translation less comprehendible, and sometimes for less obvious reasons. It is evident that the artistic aspect of the novel was not the translator’s primary concern. He, however, had very little problems with conveying the intended meaning to the target readership. Avtorjev stil je včasih enako pomemben kot vsebina, še posebej v fikciji. Lahko bi rekli, da je eden ključnih elementov v tem žanru, ki lahko naredi dobro knjigo ali jo uniči. V njem lahko uživamo, toda definiranje stila običajno ni preprosto. Vemo, da je prisoten in v nas vzbudi široko paleto občutkov, a kaj na lingvističnem nivoju vzbuja te občutke, je težje specificirati. Roman The Hitchhiker’s Guide to the Galaxy, ki ga je napisal Douglas Adams, je mešanica žanrov znanstvene fantastike in komedije. Komičnost, ki je prevladujoča skozi celotno knjigo, avtor doseže z uporabo različnih lingvističnih figur. Najprimernejši način za preučevanje stila je, da ga omejimo na manjše enote, v primeru tega diplomskega dela na lastna imena, priložnostne tvorjenke in besedne figure. Alojz Kodre, prevajalec knjige v slovenski jezik, je doktor fizike, zato sem sklepal, da je bil pri prenosu astronomskih konceptov in tehničnega žargona uspešnejši kot bi bil prevajalec brez podobnega ozadja. Namen diplomskega dela je bil tudi ugotoviti, ali je prevajalec bil uspešen ne le pri prenosu pomena, temveč tudi pri Adamsovem edinstvenem stilu. Če pri prevajanju ne upoštevamo marsikaterih stilističnih elementov, lahko to negativno vpliva na celoten prevod. Najdena odstopanja sem osvetlil s teorijo skoposa, ki mi je bila v pomoč pri ugotavljanju primernosti uporabljenih in potencialnih prevajalskih metod. Teorija skoposa pomaga prevajalcu doseči namen prevoda, ki ga običajno določa ciljno bralstvo. Je univerzalna teorija, vendar me je zanimalo, ali lahko teorijo skoposa prenesemo tudi na stil. Prevod mora služiti bralstvu ciljne kulture, vendar avtorjevega stila, še posebej če je tako izrazit kot Adamsov, v procesu prevajanja ne gre zanemarjati. Do neke mere mora biti prevajalec tudi zvest avtorju, ampak kje mora potegniti črto? Zgodi se, da moramo kateremu od elementov dati prednost, ali avtorjevemu stilu v zameno za bralčevo razumevanje ali obratno. Alojz Kodre se je pri prevajanju bolj posvetil namenu kot obliki, včasih iz jasnih razlogov, saj bi prenos avtorjevega stila onemogočil enako razumevanje vsebine, drugič iz manj jasnih razlogov. Razvidno je, da prenos umetniškega aspekta romana ni bil prevajalčeva glavna skrb. Pri samem prenosu pomenov ciljnemu bralstvu pa ni imel skoraj nikakršnih težav. style proper nouns nonce words figures of speech translation methods skopos theory stylistic comparison stil lastna imena priložnostne tvorjenke besedne figure prevajalske metode teorija skoposa stilistična primerjava true true false [J. Cehner] Angleški jezik Slovenski jezik Diplomsko delo 2015-12-24 23:28:21 2016-02-15 15:09:09 2022-06-11 03:09:13 2021-05-15 03:31:14 2015 0 Maribor 0 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 821.111-312.9:81'255.4=163.6(043.2) 21916424 URN:SI:UM:DK:Q3MNBFTT UN_Cehner_Jure_2016.pdf UN_Cehner_Jure_2016.pdf 1 DA46D318A8E41830DDB3BC250034CF5C 0cb6881637dd39f635c520a7f29666a9136cf709e7cb867d251092269a5b8674 da7d3c18-7c0b-11eb-bb7a-00155d0001ca https://dk.um.si/Dokument.php?lang=slv&id=85280 Filozofska fakulteta 0 0 0