This paper deals with the problems encountered while translating the book of short novels M. L., a gyilkos （The Murderer L. M.）, written by the contemporary Hungarian author Lazlo Marton （b. 1959）. One of the most...This paper deals with the problems encountered while translating the book of short novels M. L., a gyilkos （The Murderer L. M.）, written by the contemporary Hungarian author Lazlo Marton （b. 1959）. One of the most important reasons why the translator of this book （who also happens to be the author of this paper） has chosen to translate into Serbian this particular book, and not some other, more famous work of Marton, lies in the thematic, geocultural, and historical parallels with the Serbian context, which form the main fabular line of these short stories. The other, from the perspective of this paper, even more relevant reason for this translational choice can be found in the non-everyday challenge that Marton＇s hardly translatable style and language pose to the translator. This kind of a situation almost requires that the translator sacrifices formal fidelity to the original text and tries to find more creative solutions; in other words, it suggests choosing the principle of the so-called dynamic equivalence over the formal equivalence principle. In this respect, a special problem is the need to translate the so-called ＂talking names＂, a narrative trick with a great tradition in Hungarian literature. The aim of this paper is to try to answer, with the use of a representative corpus of examples, the following question： Is it possible and where can we draw limits in this author-translation related field of play, and what should be the level of consistency allowed to the translator, i.e., to what extent can he/she become the ＂coauthor＂of the translated work？展开更多
文摘This paper deals with the problems encountered while translating the book of short novels M. L., a gyilkos （The Murderer L. M.）, written by the contemporary Hungarian author Lazlo Marton （b. 1959）. One of the most important reasons why the translator of this book （who also happens to be the author of this paper） has chosen to translate into Serbian this particular book, and not some other, more famous work of Marton, lies in the thematic, geocultural, and historical parallels with the Serbian context, which form the main fabular line of these short stories. The other, from the perspective of this paper, even more relevant reason for this translational choice can be found in the non-everyday challenge that Marton＇s hardly translatable style and language pose to the translator. This kind of a situation almost requires that the translator sacrifices formal fidelity to the original text and tries to find more creative solutions; in other words, it suggests choosing the principle of the so-called dynamic equivalence over the formal equivalence principle. In this respect, a special problem is the need to translate the so-called ＂talking names＂, a narrative trick with a great tradition in Hungarian literature. The aim of this paper is to try to answer, with the use of a representative corpus of examples, the following question： Is it possible and where can we draw limits in this author-translation related field of play, and what should be the level of consistency allowed to the translator, i.e., to what extent can he/she become the ＂coauthor＂of the translated work？
