8. dubna 2019

Dubliners - proud myšlenek

https://genius.com/James-joyce-the-sisters-annotated
Přečtete si nejprve celou povídku. Čím čtenáře zaujme autorský styl?


Opakování gramatiky - souslednost časová.
Přeložte následující věty:


  1. Přišlo mi podivné, že tu není.
  2. Věřil jsem, že si to přečte.
  3. Řekl mi, že už to viděl dřív.
  4. I was told they would save us.
  5. He believed he was a hero.
  6. She admitted she had married John.
____________________________

Ukázka církevních responsorií při mši:

(Znamení svatého Kříže.)
Kněz: Ve jménu  Otce i Syna i Ducha Svatého. Amen.
Kněz: Vstoupím k oltáři Božímu.
Ministrant: Před Boha, jenž jest původcem radosti mé od mladostí mojí.

K. Smilujž se nad vámi všemohoucí Bůh a odpustě hříchy vaše, uveď vás do života věčného.
M. Amen.
K. Prominutí, rozhřešení a odpuštění hříchů našich nechť udělí nám všemohoucí a milosrdný Hospodin.
M. Amen.
K. Bože, obrať se k nám a oživ nás.
M. A lid tvůj radovati se bude v tobě.
K. Zjev nám, Pane, milosrdenství své.
M. A spasení své nám uděl.
K. Pane, vyslyš modlitbu mou.
M. A volání mé nechť k tobě přijde.
K. Pán s vámi.
M. I s duchem tvým.

http://www.krasaliturgie.cz/mse-svata/casti-mse-sv-a-jejich-vyznam/mesni-rad.html

____________________________

James Joyce
The Dubliners
The Sisters

The next morning after breakfast I went down to look at the little house
in Great Britain Street. It was an unassuming shop, registered under
the vague name of _Drapery_. The drapery consisted mainly of children's
bootees and umbrellas; and on ordinary days a notice used to hang in the
window, saying: _Umbrellas Re-covered_. No notice was visible now for
the shutters were up. A crape bouquet was tied to the door-knocker with
ribbon. Two poor women and a telegram boy were reading the card pinned
on the crape. I also approached and read:

July 1st, 1895 The Rev. James Flynn (formerly of S. Catherine's Church,
Meath Street), aged sixty-five years. _R. I. P._

The reading of the card persuaded me that he was dead and I was
disturbed to find myself at check. Had he not been dead I would have
gone into the little dark room behind the shop to find him sitting in
his arm-chair by the fire, nearly smothered in his great-coat. Perhaps
my aunt would have given me a packet of High Toast for him and this
present would have roused him from his stupefied doze. It was always I
who emptied the packet into his black snuff-box for his hands trembled
too much to allow him to do this without spilling half the snuff about
the floor. Even as he raised his large trembling hand to his nose little
clouds of smoke dribbled through his fingers over the front of his coat.
It may have been these constant showers of snuff which gave his ancient
priestly garments their green faded look for the red handkerchief,
blackened, as it always was, with the snuff-stains of a week, with which
he tried to brush away the fallen grains, was quite inefficacious.

I wished to go in and look at him but I had not the courage to knock. I
walked away slowly along the sunny side of the street, reading all
the theatrical advertisements in the shopwindows as I went. I found it
strange that neither I nor the day seemed in a mourning mood and I felt
even annoyed at discovering in myself a sensation of freedom as if I had
been freed from something by his death. I wondered at this for, as my
uncle had said the night before, he had taught me a great deal. He had
studied in the Irish college in Rome and he had taught me to pronounce
Latin properly. He had told me stories about the catacombs and about
Napoleon Bonaparte, and he had explained to me the meaning of the
different ceremonies of the Mass and of the different vestments worn
by the priest. Sometimes he had amused himself by putting difficult
questions to me, asking me what one should do in certain circumstances
or whether such and such sins were mortal or venial or only
imperfections. His questions showed me how complex and mysterious were
certain institutions of the Church which I had always regarded as
the simplest acts. The duties of the priest towards the Eucharist and
towards the secrecy of the confessional seemed so grave to me that I
wondered how anybody had ever found in himself the courage to undertake
them; and I was not surprised when he told me that the fathers of the
Church had written books as thick as the _Post Office Directory_ and
as closely printed as the law notices in the newspaper, elucidating all
these intricate questions. Often when I thought of this I could make
no answer or only a very foolish and halting one upon which he used
to smile and nod his head twice or thrice. Sometimes he used to put me
through the responses of the Mass which he had made me learn by heart;
and, as I pattered, he used to smile pensively and nod his head, now and
then pushing huge pinches of snuff up each nostril alternately. When he
smiled he used to uncover his big discoloured teeth and let his tongue
lie upon his lower lip--a habit which had made me feel uneasy in the
beginning of our acquaintance before I knew him well.

As I walked along in the sun I remembered old Cotter's words and tried
to remember what had happened afterwards in the dream. I remembered
that I had noticed long velvet curtains and a swinging lamp of antique
fashion. I felt that I had been very far away, in some land where the
customs were strange--in Persia, I thought.... But I could not remember
the end of the dream.


https://genius.com/James-joyce-the-sisters-annotated

1. dubna 2019

Songs

1. Znáte nějaké české verze původně anglických písní? Uveďte příklady v komentáři k blogu!

2. A jak se přeložené dílko proměňuje? Porovnejte:

Red river
Červená řeka

Three Ravens - A. Scholl
Three Ravens - Djazia
Three Ravens - vocal
Válka růží

L'important C'est la rose
Podívej, kvete růže

Všimněte si, jak se proměnilo i hudební provedení.

Další inspirace z oblasti téměř zlidovělé české popové klasiky zde - Ivo Fišer


I díla českých písničkářů jasně dokazují, že dobrý a vtipný text je silnou stránkou naší hudební scény.
Zuzana Navarová - Marie
Karel Kryl - Karavana mraků
Karel Plíhal - Nosorožec

Michal Tučný, Rattlesnake Annie - Long Black Limousine

My čekali jaro
... a zatím přišel mráz
Oh, dem golden slippers - parodie (info - WIKI)

Dobrodružství s bohem Panem
Greensleeves



3. Naším úkolem bude OTEXTOVAT píseň s původně anglickým textem. Nejsme nijak vázáni obsahem originálu, rozhoduje jedině forma, zpívatelnost - slovní a hudební přízvuky se musí překrývat. Zvolte si styl - a držte se ho, ať už to bude drama, lyrika nebo ostrá parodie.

Vyberte si jednu z níže uvedených tří skladeb a napište nový český text. Jediným kritériem je jeho ZPÍVATELNOST - měl by tedy respektovat rozložení přízvuků a délek v hudbě dle původní verze.

Hoist the colours  - s českým překladem  Hoist the colours original
Simon & Garfunkel Sound of silence
Scorpions Wind of Change

25. března 2019

Jak překládat poezii


Jak překládat poezii?  A překládat ji vůbec? Má přednost forma či obsah? Dají se na překlad poesie aplikovat pravidla, o kterých jsme mluvili?


1. Projděte si komentáře k tomuto vstupu. Jaké typy básnické tvorby se objevují? Mají něco společného?

Dokážete se během 2 minut naučit 4 libovolné řádky zpaměti? Jak postupujete?


2. Stáhněte si z capsy soubor s různými verzemi překladu Shakespearova sonetu.
Shakespeare_Sonet66_13prekladu.doc

Která verze se vám nejvíc líbí? Proč? Napište svůj názor do komentáře k tomuto blogu. Uvažujete nad formou a obsahem nebo více nasloucháte svým pocitům?

Sonet 66 English
https://www.youtube.com/watch?v=4MWBW_c7Fsw

Sonet 66 Hilský
https://www.youtube.com/watch?v=SJw5BQba7zQ

Interview s Martinem Hilskym

__________________________________

3. Přečtěte si pomalu a klidně následující sonet. Vnímejte rytmus a zvukomalbu textu, při druhém čtení se teprve víc soustřeďte na obsah.

Sonnet 55

Not marble, nor the gilded monuments
Of princes, shall outlive this powerful rhyme;
But you shall shine more bright in these contents
Than unswept stone besmear'd with sluttish time.

When wasteful war shall statues overturn,
And broils root out the work of masonry,
Nor Mars his sword nor war's quick fire shall burn
The living record of your memory.

'Gainst death and all-oblivious enmity
Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.

    So, till the judgment that yourself arise,
    You live in this, and dwell in lover's eyes.



Pokuste se přeložit jedno ze tří čtyřverší + poslání.
Rozmyslete si, jak budete postupovat.

_______________________

originál
https://www.opensourceshakespeare.org/views/sonnets/sonnets.php

české překlady Shakespeara
Jan Vladislav-pdf
http://lukaflek.wz.cz/poems/ws_sonet29.htm
http://www.v-art.cz/taxus_bohemica/eh/bergrova.htm
http://www.shakespearovy-sonety.cz/a29/
Hilsky sonet 12 youtube
http://sonety.blog.cz/0803/william-shakespeare-sonnet-12-64-73-94-107-128-sest-sonetu-v-mem-prekladu


https://ucbcluj.org/current-issue/vol-21-spring-2012/2842-2/
http://mikechasar.blogspot.cz/2011/02/gi-jane-dh-lawrence.html
https://www.citarny.cz/index.php/knihy-lide/autori-a-knihy/spisovatele-a-knihy/shakespeare-sonety-vladislav


________________

https://lyricstranslate.com/en/sonnet-66-soneto-66.html

Soneto 66
Harto de todo esto, muerte pido y paz:
de ver cómo es el mérito mendigo nato
y ver alzada en palmas la vil nulidad
y la más pura fe sufrir perjurio ingrato

y la dorada honra con deshonra dada
y el virginal pudor brutalmente arrollado
y cabal derechura a tuerto estropeada
y por cojera el brío juvenil quebrado

y el arte amordazado por la autoridad
y el genio obedeciendo a un docto mequetrefe
y llamada simpleza la simple verdad
y un buen cautivo sometido a un triste jefe;

harto de todo esto; de esto huiría; sólo
que, al morir, a mi amor aquí lo dejo solo.

__________________

https://lyricstranslate.com/en/sonnet-66-shakespeare-sonett-66.html

Shakespeare: Sonett 66

Satt hab ich all dies, verlang im Tod den Frieden,
Seh ich, dass das Verdienst ein Bettler bleibt,
Dass nacktem Nichts das Festagskleid beschieden,
Dass Meineid reinste Treu ins Unglück treibt,
Dass Schande sich mit Ehrengold umhängt,
Dass Geilheit alles, was noch rein ist, schändet,
Dass Unrecht die Gerechtigkeit verdrängt,
Dass Stärke, durch Gewalt gelähmt, verkrüppelt,
Dass Macht dem Wissen fest die Zunge bindet,
Dass Dummheit kritisch Können überwacht,
Dass man die lautre Wahrheit lachhaft findet,
Dass Gut als Sklave dient der bösen Macht.
Satt hab' ich all dies, möcht' weg von alldem sein,
Doch wär' ich tot, ließ' ich mein Lieb allein.

https://shine.unibas.ch/Sonette1.htm#66
https://lyricstranslate.com/en/sonnet-66-sonett-66.html#songtranslation

__________________

Sonett 66

Des Todes Ruh' ersehn' ich lebensmüd,
Seh' ich Verdienst als Bettler auf der Welt,
Und leeres Nichts zu höchstem Prunk erblüht,
Und reinste Treue, die im Meineid fällt,
Und goldne Ehre, die die Schande schmückt,
Und Mädchenunschuld roh dahingeschlachtet,
Und Kraft durch schwache Leitung unterdrückt,
Und echte Hoheit ungerecht verachtet,
Und Kunst geknebelt durch die Übermacht,
Und Unsinn herrschend auf der Weisheit Thron,
Und Einfalt als Einfältigkeit verlacht,
Und Knecht das Gute in des Bösen Fron,
Ja lebensmüd entging' ich gern der Pein,
Ließ den Geliebten nicht mein Tod allein.

Übersetzt von Max Josef Wolff

https://lyricstranslate.com/en/sonnet-66-sonett-66.html-0#songtranslation

__________________

Sonett 66

Ich hab es satt. Wär ich ein toter Mann.
Wenn Würde schon zur Bettelei geborn
Und Nichtigkeit sich ausstaffieren kann
Und jegliches Vertrauen ist verlorn
Und Rang und Name Fähigkeit entbehrt
Und Fraun vergebens sich der Männer wehren
Und wenn der Könner Gnadenbrot verzehrt
Und Duldende nicht aufbegehren
Und Kunst gegängelt von der Obrigkeit
Und Akademiker erklärn den Sinn
Und simples Zeug tritt man gelehrsam breit
Und Gut und Böse biegt sich jeder hin
Ich hab es satt. Ich möchte wegsein, bloß:
Noch liebe ich. Und das läßt mich nicht los.

Deutsche Fassung von
Karl Werner Plath
__________________

Сонет 66

Измучась всем, я умереть хочу.
Тоска смотреть, как мается бедняк,
И как шутя живется богачу,
И доверять, и попадать впросак,

И наблюдать, как наглость лезет в свет,
И честь девичья катится ко дну,
И знать, что ходу совершенствам нет,
И видеть мощь у немощи в плену,

И вспоминать, что мысли заткнут рот,
И разум сносит глупости хулу,
И прямодушье простотой слывет,
И доброта прислуживает злу.

Измучась всем, не стал бы жить и дня,
Да другу будет трудно без меня.


Pasternak, Boris Leonidovic

__________________

Sonnet 66: Translation to modern English
Exhausted with the following things I cry out for releasing death: for example, seeing a deserving person who has been born into poverty; and an undeserving one dressed in the finest clothes; and someone who shows trustworthiness wretchedly betrayed; and public honour shamefully bestowed on the unfit; and unblemished goodness forced into bad ways; and genuine perfection unjustly disgraced; and conviction crippled by corruption; and skill suppressed by those with the power to do it; and stupidity restraining the advance of knowledge; and simple truth being dismissed as simplistic; and good taking orders from evil. Exhausted with all these things I want to escape, except that by dying I would be abandoning my love.

19. března 2019

Ray Bradbury



Povídky k závěrečnému překladu již jste si vybrali. Pokuste se nyní na základě znalosti jejich textu charakterizovat autorský styl Raye Braburyho. Zamyslete se nad

  • rolí autora/vypravěče
  • výběrem slovní zásoby
  • strukturou vět a souvětí
  • funkcí přímé řeči
  • první a poslední větou povídky

Svoje názory a postřehy vložte do komentáře.

Ilustrace: Vzdycky-budeme-mit-pariz

TRUST NO ONE! ALWAYS CHECK THE MEANING IN MORE REFERENCES.


https://en.oxforddictionaries.com/
https://www.macmillandictionary.com/

ukázka specializovaných zdrojů: https://www.valka.cz/885-Tabulka-hodnosti


__________
Co je PARALELISMUS?

In and out of focus, I was on the train, then beside that pool, watching the hurt bright gaze of this man across the aisle, hearing his father thirty years lost, and watching the son, five thousand afternoons ago, wheeling and pivoting, turning and freezing, presenting imaginary arms, shouldering imaginary rifles. 
(By the Numbers)

The next day I slept through breakfast, slept through the morning, slept through lunch, slept all afternoon, and finally wakened at five o’clock and staggered in to sit at dinner with my brother and my folks.
(Pieta Summer)

And he began to talk and as the fever of his tongue conjured fogs, lured mists, and invited rains, the children hugged and crowded close, a bed of charcoals on which he happily baked.
(On the Orient, North) 

Význam čárek a interpunkce v českých souvětích

Tvoje stará pila leží ve sklepě.
Tvoje stará pila, leží ve sklepě.

Popravit, nelze udělit milost.
Popravit nelze, udělit milost.

Pojďme jíst, děti.
Pojďme jíst děti.

Co zas chcete, pane řediteli?
Co, zas chcete, pane řediteli?

Válku ne, mír!
Válku, ne mír!

11. března 2019

Pygmalion

Bohatství anglických dialektů je pro překladatele někdy řádným oříškem - a Shawova Pygmalion se bez nich neobejde.

My Fair Lady - Audrey Hepburn, Rex Harris, 1964
https://www.youtube.com/watch?v=xmADMB2utAo

Ukázka s českými titulky
https://www.youtube.com/watch?v=VMjjF0OkiV8

Ukázka s anglickými titulky
https://www.youtube.com/watch?v=RMB_iyequy4

https://pygmalionstudyguide.weebly.com/glossary-of-terms.html
http://knihovnalubna.wz.cz/Povinn%C3%A1%20%C4%8Detba/Shaw-Pygmalion.pdf
_____________________________________

Představte si živě následující scénu. (vizualizace) Jakým stylem mluví jednotlivé postavy?
Zkuste nejprve přeložit Lizinu první větu ("Don't you be so saucy. You ain't heard what I come for
yet.") Vložte svou verzi do komentáře k blogu.

Vyhýbejte se vulgarismům, hledejte méně prvoplánové vyjadřovací prostředky. A pozor na jednotu stylu.

_____________________________________

The flower girl enters in state. She has a hat with three ostrich
feathers, orange, sky-blue, and red. She has a nearly clean apron, and
the shoddy coat has been tidied a little. The pathos of this deplorable
figure, with its innocent vanity and consequential air, touches
Pickering, who has already straightened himself in the presence of Mrs.
Pearce. But as to Higgins, the only distinction he makes between men
and women is that when he is neither bullying nor exclaiming to the
heavens against some featherweight cross, he coaxes women as a child
coaxes its nurse when it wants to get anything out of her.

HIGGINS [brusquely, recognizing her with unconcealed disappointment,
and at once, baby-like, making an intolerable grievance of it] Why,
this is the girl I jotted down last night. She's no use: I've got all
the records I want of the Lisson Grove lingo; and I'm not going to
waste another cylinder on it. [To the girl] Be off with you: I don't
want you.

THE FLOWER GIRL. Don't you be so saucy. You ain't heard what I come for
yet. [To Mrs. Pearce, who is waiting at the door for further
instruction] Did you tell him I come in a taxi?

MRS. PEARCE. Nonsense, girl! what do you think a gentleman like Mr.
Higgins cares what you came in?

THE FLOWER GIRL. Oh, we are proud! He ain't above giving lessons, not
him: I heard him say so. Well, I ain't come here to ask for any
compliment; and if my money's not good enough I can go elsewhere.

HIGGINS. Good enough for what?

THE FLOWER GIRL. Good enough for ye--oo. Now you know, don't you? I'm
come to have lessons, I am. And to pay for em too: make no mistake.

HIGGINS [stupent] WELL!!! [Recovering his breath with a gasp] What do
you expect me to say to you?

THE FLOWER GIRL. Well, if you was a gentleman, you might ask me to sit
down, I think. Don't I tell you I'm bringing you business?

HIGGINS. Pickering: shall we ask this baggage to sit down or shall we
throw her out of the window?

THE FLOWER GIRL [running away in terror to the piano, where she turns
at bay] Ah--ah--ah--ow--ow--ow--oo! [Wounded and whimpering] I won't be
called a baggage when I've offered to pay like any lady.

Motionless, the two men stare at her from the other side of the room,
amazed.

PICKERING [gently] What is it you want, my girl?

THE FLOWER GIRL. I want to be a lady in a flower shop stead of selling
at the corner of Tottenham Court Road. But they won't take me unless I
can talk more genteel. He said he could teach me. Well, here I am ready
to pay him--not asking any favor--and he treats me as if I was dirt.

MRS. PEARCE. How can you be such a foolish ignorant girl as to think
you could afford to pay Mr. Higgins?

THE FLOWER GIRL. Why shouldn't I? I know what lessons cost as well as
you do; and I'm ready to pay.

HIGGINS. How much?

THE FLOWER GIRL [coming back to him, triumphant] Now you're talking! I
thought you'd come off it when you saw a chance of getting back a bit
of what you chucked at me last night. [Confidentially] You'd had a drop
in, hadn't you?

HIGGINS [peremptorily] Sit down.

THE FLOWER GIRL. Oh, if you're going to make a compliment of it--

HIGGINS [thundering at her] Sit down.

MRS. PEARCE [severely] Sit down, girl. Do as you're told. [She places
the stray chair near the hearthrug between Higgins and Pickering, and
stands behind it waiting for the girl to sit down].

THE FLOWER GIRL. Ah--ah--ah--ow--ow--oo! [She stands, half rebellious,
half bewildered].

PICKERING [very courteous] Won't you sit down?

LIZA [coyly] Don't mind if I do. [She sits down. Pickering returns to
the hearthrug].

HIGGINS. What's your name?

THE FLOWER GIRL. Liza Doolittle.

HIGGINS [declaiming gravely]
       Eliza, Elizabeth, Betsy and Bess,
       They went to the woods to get a bird's nes':

PICKERING. They found a nest with four eggs in it:

HIGGINS.   They took one apiece, and left three in it.

They laugh heartily at their own wit.

LIZA. Oh, don't be silly.

MRS. PEARCE. You mustn't speak to the gentleman like that.

LIZA. Well, why won't he speak sensible to me?

HIGGINS. Come back to business. How much do you propose to pay me for
the lessons?

LIZA. Oh, I know what's right. A lady friend of mine gets French
lessons for eighteenpence an hour from a real French gentleman. Well,
you wouldn't have the face to ask me the same for teaching me my own
language as you would for French; so I won't give more than a shilling.
Take it or leave it.

HIGGINS [walking up and down the room, rattling his keys and his cash
in his pockets] You know, Pickering, if you consider a shilling, not as
a simple shilling, but as a percentage of this girl's income, it works
out as fully equivalent to sixty or seventy guineas from a millionaire.

PICKERING. How so?

HIGGINS. Figure it out. A millionaire has about 150 pounds a day. She
earns about half-a-crown.

LIZA [haughtily] Who told you I only--

HIGGINS [continuing] She offers me two-fifths of her day's income for a
lesson. Two-fifths of a millionaire's income for a day would be
somewhere about 60 pounds. It's handsome. By George, it's enormous!
it's the biggest offer I ever had.

LIZA [rising, terrified] Sixty pounds! What are you talking about? I
never offered you sixty pounds. Where would I get--

HIGGINS. Hold your tongue.

LIZA [weeping] But I ain't got sixty pounds. Oh--

MRS. PEARCE. Don't cry, you silly girl. Sit down. Nobody is going to
touch your money.

HIGGINS. Somebody is going to touch you, with a broomstick, if you
don't stop snivelling. Sit down.

LIZA [obeying slowly] Ah--ah--ah--ow--oo--o! One would think you was my
father.

HIGGINS. If I decide to teach you, I'll be worse than two fathers to
you. Here [he offers her his silk handkerchief]!

LIZA. What's this for?

HIGGINS. To wipe your eyes. To wipe any part of your face that feels
moist. Remember: that's your handkerchief; and that's your sleeve.
Don't mistake the one for the other if you wish to become a lady in a
shop.

Liza, utterly bewildered, stares helplessly at him.

4. března 2019

Stylové roviny

1. Představte si knihy tří různých žánrů:  historický román, technologické sci-fi a detektivku americké tvrdé školy.

Pokuste se napsat úvodní odstavec, cca 3-4 věty, popisující setkání hlavních jednajících postav. Soustřeďte se na jazykové prostředky, které použijete.

Vložte své texty do komentářů.
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2. Ve skupinách (3-4) sepište co nejvíce výrazů více či méně synonymních ke slovu DŮM. Soustřeďte se na vnímání jejich stylové platnosti - kam je vhodné který výraz zařadit? Která postava ho může použít a v jakém kontextu?

Nápověda:
výrazy archaické x neologismy
pejorativa x diminutiva
emočně negativní x pozitivní
slang a argot x odborná terminologie...

3. Kombinujte různé předpony se slovesem JÍT.  Registrujte a popisujte změny významu i stylové platnosti.

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Série synonym najdete například zde:
http://prekladanipvk.blogspot.cz/2016/02/synonymie-stylove-roviny.html
http://prekladanipvk.blogspot.cz/2014/10/stylove-roviny.html