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Literaturübersetzen

Ästhetik und Praxis

Series:

Rainer Kohlmayer

Das Buch erläutert die Ästhetik des Literaturübersetzens, wie sie seit dem 18. Jahrhundert praktiziert wird. Sie beruht auf den Prinzipien der Subjektivität, Linearität und Oralität, die in Novalis’ Begriff der «schriftlichen Stimme» konvergieren. Der Weg zur lebendigen rhetorischen Schriftlichkeit des Übersetzens beginnt bei Leonardo Bruni und führt über Luthers Bibel zur performativen Übersetzung Herders, die von A. W. Schlegel bis in die Gegenwart das Gutenberg-Zeitalter prägt. Am Beispiel der Dialektübersetzung wird auch die elastische Grenze der (Un)Übersetzbarkeit untersucht. Der zweite Teil behandelt exemplarisch die Übersetzung von Drama, Narrativik und Lyrik. Der dritte Teil feiert das narzisstische Vergnügen, das mit der Kunstform des literarischen Übersetzens einhergeht.

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I. Teil. Ästhetische Grundlagen

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Abstract: The first part of the book explains the three fundamental features which are always present in the very special art of literary translation whether it is considered as a creative act or as the result of such acts. No translator can get rid of his subjectivity, i. e. the individual character of his cultural and linguistic personality. So a translation will never be a copy of an original, the translator can only strive to achieve his or her ‚subjective optimum‘. The second chapter deals with the second characteristic, which actually distinguishes translation proper from other forms of writing: the linearity of the translator’s work in imitating the rhetorical structure of the original. The third chapter deals with the endless problem of translatability / untranslatability focussing mainly on the complex question of rendering dialect. The fourth chapter, dealing with literary orality, shows the development of the third key concept of literary translation starting from Bruni, Erasmus and Luther to reach its theoretical and practical perfection with Novalis’ „written voice“ and A. W. Schlegel’s method of translating Shakespeare. The fifth chapter deals with literary translation today, linking Novalis’ „written voice“ to the concept of „inner voice“ developed by empirical research into reading habits. Different levels of present-day and future research into textual performance are pointed out before summing up the gist of the three main concepts mentioned above. The argumentation is based on numerous literary examples taken from Achebe, Corneille, Goethe, Herder, Keun, Kroetz, Molière, Nestroy, Shakespeare, Vo...

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