Albena Bakratcheva
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Milena Ilieva Реалията в превода на художествен текст – проблеми и стратегии Докладът ще разгледа проблемите при превода на реалии от различно естество – същинска реалия (факти, свързани с културни, географски, исторически и пр. локации в реалността на оригиналния текст), езикови реалии (пословици и поговорки), продуктово позициониране. Ще бъдат предложени стратегии за справяне с проблемите, подкрепени с примери от преводни текстове. Milena Katsarska Mediating Worlds: Functions of prefaces to Bulgarian translations of American literature 1948-1998 The presentation will focus on a select sample of prefaces to Bulgarian translations of American literature within a historical period between 1948 and 1998. The rationale behind the selection is governed by considerations of institutional framework of production and publishing that begins with the industry’s nationalization in the socialist period and ends with the gradual transition toward market economy. However, the main issues addressed will be the functions of prefatorial discourse as revealed through this specific genre of paratext. The above suggests zooming on the pretext to the writing that follows, on that which sets up the reader to encounter the text it introduces. In other words, the proposed discussion entails considering that which mediates between the world of the reader and the world of the text by making clear an intention. The case in point here - prefaces to American literature in Bulgarian – clearly indicates that the intention is of somebody else. Further, since the posited reader is rarely the actual reader, what the preface offers is mediation between its own time, place, and context and the text that follows. Therefore it is not only somebody else but also an elsewhere – in time and space, putting it broadly – which participates in the mediation and at the same time actuates frames for reckoning with the text that follows, a text which in our case appears in translation. At this level, the implications for mediation and framing suggest a complexity worthy of systematic exploration that takes into account temporal and spatial slippages across many and multifaceted worlds. Mira Kovatcheva Параметри на езиковата инвенция Понятието езиково творчество има поне две значения в езикознанието: а) генерирането на безкраен брой изречения от краен брой езикови единици и б) създаването на нови лексикални единици единици. В най-новите течения на езикознанието се обръща особено внимание на креативността в езика с допълнителни значения. Например, в конструкционистките подходи всяка аналогия се смята за проява на творчество (Bybee 2010). Тъй като тук става дума за езикова промяна, за предпочитане е да се използва термина иновация, тъй като правилата за създаването и като правило не са нови. В прагматиката и в езиковите контакти, от друга страна, за творчество се смята всяка индивидуална употреба на ‘прехвърляне’ от един репертоар на друг. Докладът визира индивидуалното езиково творчество, където факторите честотност и съобразяване със слушащия (productivity and comprehension, Bybee 2010:63) не играят централна роля. Оказионализмите са също толкова важни за разбирането на природата на езика, колкото и лексикона на един език. За да се очертаят най-често срещаните параметри на езикова инвенция в ситуация без събеседник са изследвани примери за назоваване. Резултатите след това са приложени към описанието на няколко художествени текста. Изследването има за цел да потърси чисто езикови критерии за интуитивните категории ‘оригинално’ и ‘тривиално’ по отношение на нови лексикални единици в творчески стилове като рекламата и жаргона. Николай Аретов Асен Христофоров и английската литература. Рискът от свръхинтерпретация Асен Христофоров (1910-1970) е английски възпитаник, англофил, разследван за шпионаж в полза на Великобритания. Той е и активен преводач от английски (Х. Фийлдинг, Дж. К. Джером, Дж. Джойс) и интересен писател. Като се опира на неговата кореспонденция от годините на учението му в Робърт колеж в Цариград и в Лондонския университет, на предговорите му към български издания на английски автори и на спомени на съвременници и други документи, текстът възможни връзки между интересите му към английската литература и белетристичните му произведения. Тези наблюдения отвеждат до проблема за очакванията на интерпретаторите и читателите, които могат и да бъдат подвеждащи; да се открива (обосновано или не) въздействие на превежданите автори върху личното творчество – проблем, който има връзка с т.н. свръхинтерпретация (У. Еко). Pavel Petkov Fictitious Travelogues: the Imaginary Chinese Travels of Sir John Mandeville and Mendes Pinto This paper discusses two 'travel accounts' whose authors never went to China - the country they were writing about. It dwells upon the image forming power of these accounts and attempts to determine the degree to which this power is related to weather the travels really took place. It concludes that this relationship is extremely weak and provides additional support to the notion that a sojourn in the target culture is by no means necessary for the author to be able to produce a text rivaling in its image forming powers the writings of those who have spent years, even decades, interacting with those who were being described and/or produced. The earlier of these accounts – The Travels of Sir John Mandeville (c. 1356) – purports to be written by a Sir John Mandeville who did not even exist. The text was produced by an unknown English author who had never been to China and availed himself liberally of a number of 'real' travelogues to produce his curious compilation whose popularity surpassed even that of Marco Polo's famous book. Unlike Mandeville, Mendes Pinto was a real person and an experienced traveler. He did not go to China either, confining his peregrinations to Siam, Burma and Japan. Nevertheless, he produced a very popular and influential image-forming text –T he Voyages of Mendes Pinto (1583) – which has been called by some critics “the most important literary achievement of the Portuguese Renaissance” (Charles Corn). The paper also discusses the way Mandeville and Pinto used the imagined Orient they personally constructed to achieve their own political and/or religious purposes. Petya Tsoneva The Ground beneath Our Feet: Reworking the Myth of Flying in Salman Rushdie’s Fiction The dream of flying has been a persistent feature of the human desire for freedom, superiority and god-like wisdom. Flying has been associated with infinity, escape, inspiration, but most of all, with breaking away from all earthly limitations. The myths of Pegasus, the winged horse of the gods, and of Icarus, the ecstatic intruder in the aerial realm from which humans were banished, are classical examples in this respect. These myths, however, also imply the hidden threats of air space – its uncertainty, metamorphic nature and power to enchant and transform those who enter it. Air, Salman Rushdie observes, is “the place of movement and of war, the planet-shrinker and power-vacuum, most insecure and transitory of zones, illusory, discontinuous, metamorphic, - because when you throw everything up in the air anything becomes possible…” (The Satanic Verses). This paper will explore how Rushdie constructs air as a space of migration and transformation which he uses to contest notions of home, identity and belonging. I am particularly interested in episodes of flying and flight in some of his novels where he reworks the conventionally established air/ground dichotomy that underlies most classical myths of flying. In this way he creates a shape-shifting, protean and metaphoric space of unbelonging for his protagonists where air is “the ground beneath [their] feet.” Peyo Karpuzov God, Universe and the Great Chain of Being in Paradise Lost A vast bulk of Milton criticism focuses on ‘Milton’s God’. In a lot of such criticism God is contrasted with Satan in terms of moral superiority and critics analyse the various religious and political implications encoded in the two opponents. This paper will attempt to look at God in Paradise Lost from a different angle. The figure of God may be involved in the reworking of a significant religious theme; it may have the political colourings of a monarch, tyrant or a constitutional ruler; however, it is essential to keep in mind that God is above all represented as a creator in the poem. First and foremost, I will focus on features of the poem that make it possible to equate an infinite God to an infinite universe, i.e. a universe much more encompassing than the mere creation of Adam and Eve’s world. A number of critics try to restrict the word ‘universe’, as used by Milton, only to man’s macrocosm and refrain from exploring its broader significance as a totality of all spaces described in Paradise Lost. Then, I will use the theory of the Great Chain of Being in order to situate God in the totality of his creation. In this way I hope to provide an insight into the popular/religious and scientific conceptions of the order and structure of the universe that operate in Paradise Lost. Przemysław Michalski A BRIEF LOOK AT THE METAPHOR OF THE RIVER OF TIME IN ENGLISH POETRY In my paper I would like to revisit and explore what is perhaps the most time-honoured, but at the same time the most hackneyed way of describing the passage of time, that is by using the metaphor of an ever-flowing river. The fact of our universal and inescapable throwness (Geworfenheit) into that river and its relentless flux has both appalled and fascinated philosophers and poets alike from Heraclitus and Horace to Heidegger and Heaney. In my essay I would like to demonstrate that however universal this metaphor may seem, it is nevertheless informed by the cultural context in which it is employed. Moreover, given the enormous multiplicity of individual voices and diverse perspectives, one wonders whether it would not perhaps be more appropriate to speak of rivers rather than one river of time. My paper will focus mostly on English poetry and will look at poems written in various epochs, but related to one another by the fact that they all make use of this metaphor. It will discuss poems by, among others, William Shakespeare, Gerard Manley Hopkins, Wallace Stevens, T. S. Eliot, Derek Mahon, Louise MacNeice, Philip Larkin, and Patrick MacDonogh. Since the metaphor itself originated in philosophy, I will also try to discuss the reciprocity between the formalized discourse of philosophy and the more metaphorical language of poetry, which can be best seen in the fact that Heidegger often sought inspiration in poetry, and, by the same token, his brand of existentialism informed numerous poems written in the 20th century. It seems that despite its frequent use over the centuries, the metaphor probably remains the most adequate way of speaking about time. Paola Pugliatti “Such daily cast of brazen cannon”: the Ghost of War in Hamlet Hamlet was registered in the Stationer's Register on 26 July 1602 and was therefore written shortly after the closing of the last decade of the century, which was the most warlike period of Queen Elizabeth’s reign; in the 1590s England was indeed engaged in several war theatres and, as a consequence, an unprecedented number of war manuals appeared. Those manuals were part of a long-standing tradition of discussion on the discipline of war, the so called “just war doctrine”, initiated in the fourth century by Augustine and continued first by the Church Fathers and later on by lay thinkers who endeavoured to establish principles for the justification of war (or, if you like, for the limitation of its violence) in two main directions: the ius ad bellum (that is, the right to initiate a war) and the ius in bello (that is, the acceptable conduct of hostilities). Shakespeare started his London career precisely in that decade, when echoes of the victory over the Armada were still heard; and, indeed, his first plays resound with the loud noise of war. That Shakespeare was interested in war and that he had a good knowledge of warfare is therefore a fact; indeed, he is probably the Renaissance writer who wrote most intensely on the issue of war and the influence of war conduct books is evident in his plays as it is in the work of other contemporary playwrights. What I wish to show in my paper is that, although in Hamlet there is no actual armed conflict, the play insistently and significantly resounds with the noise of war not only as related event or as ‘rumor’ and threat of a possible imminent action, but also as metaphor and as ‘objective correlative’. My paper therefore discusses the many ways in which, in spite of its absence as staged event, the image and concept of armed conflict is constructed in the play, thereby sealing an age in which war had been prominent both on the stage of politics and on that of public theatres. Radostina Iglikova The (In)translatability of Wordplay and the Loss of Humorous Effect in the Bulgarian Translation of Terry Pratchett`s Soul Music The following paper deals with the actual problems and challenges which the translation of wordplay presents in practice and the ways in which the failure in this enterprise affects the humorous effect the translation might produce. It takes into account the fact that wordplay is not simply the result of bringing together linguistic items with similar form in order to contrast their meanings and thus create a humorous effect (as Delabastita suggests), but that it further involves a clash between cognitive domains (as pointed out by Alexieva). As a result, the inconsistencies and difficulties (and sometimes even downright impossibility) of rendering wordplay and hence its effect adequately in translation can be viewed as resulting from the discrepancies between the domains of knowledge and experience, which are illustrative of the culture- and language specific ways of “mapping“ the world. Therefore, although the phenomenon of wordplay is universal and applies to language in general, its translation into another language and culture is often problematic, due to the specific nature of cognitive structures. Terry Pratchett`s Soul Music and its Bulgarian translation are considered to constitute a particularly fertile ground for analysing the (im)possibility of finding translation equivalents due to the fact that they provide numerous as well as various examples of wordplay. Ralitsa Muharska Susan Glaspell on The Verge: Modernist Migrations of Femininity This text sets itself the task to look at playwright Susan Glaspell and specifically her play The Verge as a representation of female migration, both geographic and intellectual. Nomadism is considered as a characteristic of the US intelligentsia that has persisted in American culture since at least the early 19th century. The focus is on modernist nomadic gestures of ‘getting out’, leaving behind’, ‘pioneering’ in the intellectual, cultural, spiritual and political sense, which are an important feature of both Susan Glaspell’s writing and her bohemian artistic persona. Some ways in which they are epitomized in the female protagonist of The Verge appear to have a symbolic significance which allows for cultural generalizations beyond this particular dramatic text. The Verge (1921), probably Glaspell’s most daring play, is considered from the perspective of creative and moral “trespassing”, a theme which forms the play’s ‘backbone’. That theme is also connected with two major cultural tendencies in US society: puritanical conservatism on one hand and frontier exploration, in more than the literal sense, on the other. Though obviously conflicting at first sight, they reveal a more intricate relationship when regarded from a gender perspective – through the theoretical lens of masculinity / femininity. The interplay of these tendencies with the position of women – the modernist migrations of the concept of femininity, from the Victorian Ideal of True Womanhood to the New Woman, the flapper, the vamp and the archetypal femme fatale – illustrate the importance of the gender dimension. The discussion follows the migrations of the real woman, Susan Glaspell, and the fictional character, Claire Archer. Some notable parallels – as well as divergences between the author and the fictional character provide its focus. Rositsa Ishpekova Conceptual metaphors in articles related to corruption and organized crime in Bulgaria published in the Financial Times (2007-2010) The article deals with the way the EU and Bulgaria as one of its newest member states are conceptualized in articles related to corruption and organized crime published in Financial Times after Bulgaria joined the EU in 2007. The main thesis is that Bulgaria is conceptualized as the “disobedient child” which fails to obey the orders of the “strict father” – Brussels. It is a widespread belief in conceptual metaphor theory that most of international thinking is embedded in the metaphorical belief that STATES ARE PERSONS, which enable us to think about states in terms of their bodies, reasons, health (Chilton, 1996, Chilton and Lakoff, 1995, Drulak, 2005). Both Bulgaria and Brussels are conceptualized as persons, members of the EU family, therefore THE NATION AS A FAMILY metaphor is also employed (G. Lakoff, 2006). In the EU family, Brussels is the STRICT FATHER (G. Lakoff, 1995, 2006) that is tough on its disobedient child who fails to efficiently obey the rules of family membership that is to take measures to fight corruption and organized crime. Rumyana Todorova Incongruity in Advertising as Prerequisite for Conflict, Change or Adaptation of Schemas The paper deals with the use of language in advertising for rendering information about goods and services in a tempting, sensational and unusual way so that target audiences are indirectly manipulated to buy the advertised products or avail themselves of the services offered. One of the ways for achieving this is with the help of incongruity based on the juxtaposition of inconsistent messages in the verbal and the non-verbal component. It leads to conflict or clash of two contexts which are then resolved via lexical concepts facilitating various cognitive models. Examples from Bulgarian and British advertising texts are given to support the different techniques leading to changes and adaptation of schemas and cross-domain mappings. The decoding of ads containing such divergences is enabled by blending of non-linguistic knowledge structures from primary and secondary cognitive models occurring on surface level as conceptual metaphors. The mapping of information from source domains onto target domains makes the text more provocative and tantalizing. Deviation from all familiar global knowledge cognitive patterns allows for the human mind to go beyond the limits of human imagination and think of more than one interpretation of the advertising message. Suman Gupta The Travels of a “Poem without Words” The best-known of Hugo Ball’s “poems without words or sound poems”, “gadji beri bimba”, was first performed by the poet at the Club Voltaire in Zurich in 1916. On 14 July of that year Ball also produced the first Dada Manifesto, in which he reflected on the import of such poetry. In a typically Dada manner, these were designed to interrogate received notions of language, poetry and literature generally. In this presentation I will examine some of the conceptual implications of Ball’s formulation with particular reference to “gadji beri bimba”. More importantly, I will also consider whether those implications extend – or need to be reconsidered – in view of subsequent developments in the field of literature. I will look at adaptations of the poem which appeared later: that is, pause on David Byrne’s popular rock song for Talking Heads, “I Zimbra” (1979), and dwell on an e-poem by Talan Memmott entitled “The Hugo Ball” (2010). The questions that surface in examining these, with Ball’s original poem in mind, pertain to all the three terms of the conference subtitle: reading, translation, rewriting. Adaptations from written text to song to e-text call for rethinking notions of reading and writing. A “poem without words” naturally bypasses conventional preoccupations with interlingual translation to some extent; but in the above, clearly, translation of literary texts between media is a significant issue. Simon Edwards A Kinder God: Milton’s Eve and Dryden’s Maiden Saints In 1692, five years after his acknowledged conversion to Catholicism and the consequent loss of his government pension, Dryden accepted a commission worth 500 guineas to produce a panegyrical poem in memory of the Countess of Abingdon, a woman whom he had never met. In one of many bravura sequences he suggests that had she stood in for the ‘brittle’ Eve in Paradise there might have been no Fall! This poem ‘Eleonora’ takes its place among a handful of such verse tributes, baroque in sensibility and plausibly neo-Marian in doctrine. The best known is the elegiac ode ‘To the Pious Memory of Mrs Anne Killigrew’, written just one year before his conversion, but significantly after James II’s ascent to the throne. Here I intend to examine closely just one very late example written in 1700 the year of Dryden’s own death: ‘The Monument of a Fair Maiden Lady, Who dy’d at Bath and is there Interr’d’. In so far as it exists, not simply as a written text but as a carved monument in Bath Abbey, I suggest that it represents the culmination of Dryden’s belated English contribution to a pan-European practice of a baroque aesthetic invested in Counter –Reformation politics, a conscious ‘monumentalism’ rivalling that of Milton’s own Protestant aspirations. Stoyan Atanasov Паралелен прочит на френския роман Смъртта на крал Артур (ХІІІ век) и на едноименната творба на Томас Малори (ХV век) Нашите наблюдения протичат в две плоскости: идеологическа и естетическа. В идеологическо отношение фабулата на двата романа е изградена около кризата и разпада на рицарската общност, чието единство е олицетворявал крал Артур. В естетическо отношение двете творби илюстрират – в различна степен – прехода от едногласово към многогласово литературно съзнание, утвърждавайки така езика на романа на Новото време. Susana Onega The Trauma of Colonisation and the Deconstruction of Modern History in J.M. Coetzee’s Dusklands J. M. Coetzee earned a reputation as an experimental writer already with his first novel, Dusklands. Published in 1974, at a time when South African literature was expected to be realistic and politically engaged, Dusklands baffled the readers’ expectations with its stylistic self-reflexivity, and thematic and structural dispersion. The novel contains two apparently discreet narratives: “The Vietnam Project” narrated by Eugene Dawn, a U.S. Expert in psychological warfare, situated in the 1970s, and “The Narrative of Jacobus Coetzee”, narrated by a line of South African Coetzees, who add to the original “Deposition” about two hunting expeditions made by Jacobus Coetzee, an eighteenth-century frontiersman. Unable to see the relation between these two narratives, most critics tended to read them separately and also literally, as proof of the author’s lack of political commitment. The essay argues that, far from a refusal of political commitment, the experimentalism of Dusklands constitutes a clear expression of Coetzee’s ideological engagement and ethical responsibility in the face of the demands of representing not only the unspeakable events of the Vietnam War and the colonisation of South Africa, but also and most importantly, of deconstructing the originating idea of endless historical progress underlying the Enlightenment notion of the world as open to transformation by human intervention that has led to the justification of unmitigated capitalism, colonial and imperialist domination, the discrimination and subjugation of the other, and the exploitative annihilation of the earth. Каталог: english english -> Часове Цели Забележки english -> Човешкото тяло english -> Present continuous tense english -> Basic english for physicists english -> Example: New York is more exciting than Seattle. Use the superlative form when speaking about three or more objects to show which object is 'the most' of something. Example english -> 1. How to make the Past Continuous Tense? english -> Application for opening of an irrevocable documentary letter of credit english -> Present perfect finished or unfinished time present perfect tense english -> English Language Test 3 Изтегляне 210.88 Kb. Сподели с приятели:
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