Modely pro analýzu překladu „hudby do slov“ v cizojazyčné beletrii a jejích českých převodech

‘When music is literature, it is bad literature. Music begins where words cease’ (Julian Barnes: ‘The Silence’). Nonetheless, many works of fiction have tried to describe music: a particular piece of music; a particular interpretation as perceived by the listener, the performer or the author; the process of practising and rehearsing music; the way notation speaks to us; the process of composing; or any other aspect of the musical world transferred into words. However, since Jacobson’s 1959 definition of intersemiotic translation, little has been written about how this translation of music into words actually works. This paper, lying at the intersection between literary and intersemiotic translation, proposes two models for translation analysis of musical passages in English fiction and their translations into the target language. The models have been created for the purpose of a PhD thesis dealing with 20th and 21st century English fiction that contains intersemiotic translation of classical music into words, and with the Czech translations of these works. The first model outlines criteria for analyzing the way the author of the original translates music into his or her mother tongue. The second model describes individual layers of a translated piece, taking into account the fact that to achieve the desired result, the translator may be forced to combine the ‘proper’ interlingual and intersemiotic translation (i.e. transmutation).

1. Adorno, Theodor (2002) Essays on Music, Berkeley: University of California Press.

2. Aguiar, Daniella and João Queiroz (2015) 'Towards a Model of Intersemiotic Translation', in Peter Pericles Trifonas (ed.) International Handbook of Semiotics, Dordrecht: Springer, 201-215. CrossRef

3. Berman, Antoine (2016) 'Pour une critique des traductions: John Donne', in: Zuzana Šťastná. České překlady Johna Donna v kontextech širší překladatelské poetiky svých autorů [disertační práce]. Praha: Univerzita Karlova.

4. Caswell, Roger (2005) 'A Musical Journey through John Steinbeck's The Pearl: Emotion, Engagement, And Comprehension', in Journal of Adolescent & Adult Literacy 49(1): 62-67. CrossRef

5. Ditsky, John (1983) '"Listening with Supersensual Ear": Music in the Novels of Willa Cather', in The Journal of Narrative Technique 13(3): 154-163.

6. Eckstein, Lars (2006) 'A love supreme: jazzthetic strategies in Toni Morrison's Beloved', in African American Review 40(2): 271-283.

7. Jakobson, Roman (1959) 'On Linguistic Aspects of Translation', in Reuben Arthur Brower (ed.) On Translation, Cambridge: Harvard University Press, 232-239. CrossRef

8. June Salz, Paulina (1955) 'Peacock's Use of Music in His Novels', in The Journal of English and Germanic Philology 54(3): 370-379.

9. Lefevere, Andre (1992) Translation, Rewriting and the Manipulation of Literary Fame, London: Routledge.

10. Levý, Jiří (2012) Umění překladu, Praha: Apostrof.

11. Moynihan, Sinéad (2016) 'Identity Predicaments and the Music Metaphor in Contemporary Irish Fiction', in Irish Studies Review 24(1): 79-94. CrossRef

12. Popovič, Anton (1968) Teória umeleckého prekladu, Bratislava: Vydavateľstvo Slovenskej akadémie vied.

13. Salmani, Bahloul and Zahra Eghtesad (2015) 'An Intersemiotic Approach towards Translation of Cover Designs in Retranslated Classic Novels', in Theory and Practice in Language Studies 5(6): 1185-1191. CrossRef

14. Steinberg, Ada (1982) Word and Music in the Novels of Andrey Bely, Cambridge: Cambridge University Press.

15. Tommasini, Anthony (2017) 'A Classical Music Critic's Task', in The New York Times, 25. 9. 2017: A2.

16. Toury, Gideon (1995) Descriptive Translation Studies and Beyond, Amsterdam - Philadelphia: John Benjamins. CrossRef