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Does Poetry Get Lost in Translation: Stylistic Challenges in Translating Anka Žagar
No full textPrevođenje poezije iziskuje poseban napor zbog složene prirode jezika koji u poeziji funkcionira ne samo kao medij za prijenos značenja već i kao umjetnički alat. Posebice je to istinito u pjesničkome prevođenju, gdje stil kao ogledalo dubinskih mehanizama pjesme postaje ključan element koji može oblikovati učinak na čitatelja ciljnog jezika. Međutim, u filološkome se svijetu rijetko kad dovodilo stilistiku i traduktologiju u izravnu vezu. Zato se ovim radom nudi novi pogled na paradoksalan odnos ovih dviju posve komplementarnih filoloških disciplina propitkivanjem (ne) prevodljivosti poezije kao takve. Na primjeru istraživanja stilističkih izazova u prevođenju poezije hrvatske pjesnikinje Anke Žagar razvija se jedan mogući model stilističke analize pjesničkoga prijevoda, koji stilističarima, prevoditeljima i književnim teoretičarima može pomoći u prevođenju pjesničkih tekstova ili kritičkoj analizi istih.Translating poetry requires special effort due to the complex nature of language, which in poetry functions not only as a medium for conveying meaning but also as an artistic tool. This is particularly true in poetic translation, where style, as a reflection of the deep mechanisms of the poem, becomes a crucial element that can shape the effect on the target language reader. However, in the philological world, stylistics and translation studies have rarely been directly linked. This paper offers a new perspective on the paradoxical relationship between these two entirely complementary philological disciplines by questioning the (un)translatability of poetry as such. By exploring the stylistic challenges in translating the poetry of Croatian poet Anka Žagar, a possible model of stylistic analysis for poetic translation is developed, which may assist stylists, translators, and literary theorists in translating poetic texts or conducting critical analyses of them
Ideja vitaliteta kao sveti mediteranski inat
No full textO pjesništvu Zlatana JakšićaO pjesništvu Zlatana Jakšić
Važan doprinos jezikoslovne hrvatistike
No full textElőd Dudás: Od povijesti jezika do jezične politike. Budapest: ELTE BTK Szláv Filológiai Tanszék. 2023. ISBN: 978-963-489-642-
Verson Family Photography Activity in Gospić
No full textKronološkim slijedom, počevši od sedamdesetih godina 19. stoljeća, u ovome radu nastoji se prikazati razvoj fotografske djelatnosti u Gospiću kroz djelovanje brojnih fotografa, od amaterskih i putujućih do onih koji su se bavili dokumentiranjem života te onih kojima je fotografija bila profesionalno zanimanje. U nizu zvučnih fotografskih imena koja su se među prvima pojavila u Lici poput Ivana Standla ili Rudolfa Mosingera, posebno je ostalo zabilježeno prezime Verson i to ponajviše zahvaljujući njihovom dugotrajnom i neprekidnom radu. Porijeklom iz Italije, izučivši urarski zanat u Senju, Francesco Verson otisnuo se u svijet gdje je upoznao sve čari fotografskog aparata. Nakon kratkog boravka na Hvaru gdje je započeo svoj samostalni fotografski posao, oko 1893. godine doselio se i za stalno nastanio u Gospiću i „od urara Francesca postao slikar Franjo“. Nakon trideset godina aktivnog rada očev fotografski posao, kao i društvenu angažiranost nastavili su sinovi Juraj i Anton i tijekom tog vremena posao proširili i izvan granica Gospića i Like, otvorivši poslovnice u Korenici i Senju. Kroz dvije generacije Versoni su u Gospiću djelovali više od pola stoljeća i za to vrijeme načinili tisuće slikovnih zapisa gdje su objektivom uhvatili najznačajnije događaje i poznate osobe koje su posjetile Gospić, ali i bezbrojne privatne trenutke i portrete svojih sugrađana.This paper examines the development of photography activity in Gospić starting from the 1870s onward, focusing on the work of numerous photographers, from amateur and travelling photographers to those documenting everyday life and those for whom photography was a professional occupation. In a series of strong photographic names, which among first appeared in Lika, such as Ivan Standl and rudolf Mosinger, the surname Verson is particularly noted, mostly for their long-term and continuous work. Originally from Italy, trained as a watchmaker in Senj, Francesco Verson set out into the world where he met with all the charms of a photographic camera. After a short stay on the island of Hvar where he started his independent photography business, about 1893 he moved and settled permanently in Gospić and „from watchmaker Francesco he became photographer Franjo“. After thirty years of active work, Francesco’s sons, juraj and Anton, continued their father’s photography business and social engagement, expanding their operations beyond Gospić and Lika by opening branches in Korenica and Senj. Over the course of two generations, the Versons have been active in Gospić for over half a century, and during that time they have created thousands of images where they have objectively captured the most significant events and famous persons who visited Gospić, as well as countless private moments and portraits of their fellow citizens
Postmediaeval shipwreck off Cape Ratac at the island of Koločep
No full textBrodolom kod rta Ratca na otoku Koločepu iznimno je vrijedno podmorsko arheološko nalazište iz ranoga novog vijeka. Usprkos tomu, o njemu se do sada nije povela odgovarajuća briga pa se stanje na njemu i dalje narušava neovlaštenim ronilačkim aktivnostima. Tijekom stručnog očevida i površinskog čišćenja nalazišta 2024. godine pronađeni su brojni predmeti iz brodske opreme i tereta, a otkriveni su i odlično očuvani ostatci drvene brodske konstrukcije. Iako je nalazište trenutačno zaštićeno geotekstilom, takva je zaštita samo privremenog karaktera pa je nastavak istraživanja, čini se, za sada najpovoljniji način dugoročne zaštite. The shipwreck near Cape Ratac on the island of Koločep is an exceptionally valuable underwater archaeological site dating from the Early Modern Period. Despite its significance, the site has not been adequately preserved, and its condition continues to deteriorate due to unauthorized diving activities. During an expert inspection and surface cleaning carried out in 2024, numerous items from the ship’s equipment and cargo were recovered. Additionally, the remains of the ship’s wooden structure were found to be in excellent condition. Although the site is currently protected by geotextile, this is only a temporary measure. Therefore, continued archaeological research appears to be the most effective strategy for ensuring the site\u27s long-term protection
Triest as Place of Refuge and Counterpoint to the Homeland in the Novel “Dauerhaftes Morgenrot” by Joseph Zoderer
No full textKein Werk hat den Südtiroler Autor Joseph Zoderer so lange beschäftigtwie der Roman „Dauerhaftes Morgenrot“, an dem er (mit Unterbrechungen)seit 1976 gearbeitet hat; das Buch erschien erstmals 1987.Als Schauplatz hat sich der Autor von Anfang an (das zeigen die Vorstufendes Romans) eine Mittelmeerinsel vorgenommen. Der Protagonist:ein Mann in den besten Jahren, aber in jeder Hinsicht gestrandet.Diese Konstellation erinnert fatal an andere Romane der Zeit nach1968, z. B. an den Biographischen Bericht „Der dreißigjährige Friede“von Peter O. Chotjewitz (1977), in dem ein ebenfalls Gestrandeter aufSardinien eine heile Gegenwelt findet zu dem ihm vertrauten Normensystemin Deutschland.In der endgültigen Fassung von Zoderers Roman ist diese einfach-gestrickte,konventionelle Dichotomie dann aber aufgehoben. Schauplatz und Zeitder Handlung bleiben lange im Dunkeln. Erst allmählich kristallisiert sichheraus, dass der Protagonist seine Heimat verlassen hat und sich in Triestaufhält. Doch sein Zuhause, das wird am Beginn wie am Ende sichtbar,ist eine weiter im Norden gelegene Region, eine Landschaft, in der nichtZypressen, sondern eher Eschen und Lärchen und Apfelbäume das Bildbeherrschen und Schneeflecken bis in den Mai hinein noch zu sehen sind.– In der Sprache des Romans ist der Akzent der Heimat noch präsent.No other work occupied the Southern Tirolian writer Joseph Zodereras long as his novel „Permanent Dawn“ (Dauerhaftes Morgenrot),which he worked on (discontinuously) since 1976; the book appearedSchlüsselwörter:Joseph Zoderer, Trieste,MittelmeerKeywords:Joseph Zoderer, Trieste,MediterraneanJohann HOLZNER (INNSBRUCK)izvorni znanstveni radfor the first time in 1987. From the very beginning, (as the priliminarystages of the novel demonstrate), the author chose a Mediterranean islandfor its setting. The protagonist is a man in his best years, however,stranded in every respect.This constellation fatally recalls other novels from the time after 1968,such as, for instance, the biographical report „The Thirty-Year Peace“(Der dreißigjährige Friede) by Peter O. Chotjewitz (1977), in whichanother stranded man, in this case on Sardinia, finds an idyllic worldin contrast to the familiar system of norms in Germany.In the final version of Zoderer’s novel, this simply-knit and conventionaldichotomy is, however, suspended. The setting and timeframe of theplot remain unknown for a long time. Only gradually, it turns out thatthe protagonist left his home and sojourns in Trieste. But his home, asis visible at the beginning and at the end, is a region located furthernorth; it is a landscape dominated by ashes, larches, and apple trees insteadof cypresses and it is possible to see snowflakes there as late as inMay. – The accent of home is still present in the language of the novel
Form without content The German vowel-system against the backdrop of Slavic vowel inventories
No full textDass man im Deutschen fast alle Vokale zu Paaren ordnet, lässt sichphonetisch nicht rechtfertigen, weder mit dem Begriff der Quantitätskorrelationnoch damit, dass sie im selben Sektor des Vokaltrapezes lokalisiertoder ihre Formanten einander sehr nahe seien, weder damit,dass sie ein Prozess der Mittenzentralisierung koppele noch damit,dass der eine Partner eine abgeschwächte Form des anderen darstelle.Im Gegensatz zu einer Reihe von slawischen und anderen Sprachengibt es im Deutschen keine solchen Paare. Dass man die Vokale trotzdemso ordnet, ist ein Skriptizismus: Es liegt allein daran, dass dieSchrift sowie die lateinische Grammatik die Auffassung vom Vokalsystemvon Anfang an geprägt haben.Usually almost all German vowels are supposed to build pairs. But theunderlying assumptions are wrong: These pairs are not connected byquantity correlation like in some Slavic languages and others, they arenot situated within the same vowel chart section, their formants F1,F2 are not very close to each other, they are not linked by a processof mid-centralizing, the partners are not the same exept one of thembeing weaker than the other. The only reasons for arranging them inpairs are the early influences of script and Latin grammar
History of Southern European German Studies (SEG)/Mediterranean Southern European German Studies (MSEG) and Report from the Annual Meeting on Malta in May/June 2019
No full textGeschichte der Südeuropa-Germanistik (SEG)/Mittelmeer-Südeuropa-Germanistik (MSEG) und Bericht zur Jahrestagung auf Malta im Mai/Juni 2019Geschichte der Südeuropa-Germanistik (SEG)/Mittelmeer-Südeuropa-Germanistik (MSEG) und Bericht zur Jahrestagung auf Malta im Mai/Juni 2019History of Southern European German Studies (SEG)/Mediterranean Southern European German Studies (MSEG) and Report from the Annual Meeting on Malta in May/June 201
