Povídky Raye Bradburyho

... patří ke klenotům v oblasti povídkové tvorby, a dokazují, že jejich autor není zdaleka jen scifista. Text, s nímž budeme dnes pracovat, je malou ukázkou téměř všech druhů překladatelského hledání a rozhodování, od specifické terminlologie přes dialogy až po extrémní emocionalitu.

Nejprve si celou povídku pomalu přečtěte... a pak zkuste formulovat své pocity.

Barvitý popis

Občas se překladatel nestačí divit, kolik slov nezná. Budiž nám útěchou, že podobné texty, jako je dnešní ukázka, čtou někdy se slovníkem i rodilí mluvčí!

1. Vypište z textu 10 slov, která jsou pro vás zcela nová. Porovnejte svůj seznam se seznamy svých kolegů. Najděte odpovídající překlad (respektujte kontext).
2. Soustřeďte se na syntax prvních tří vět předposledního odstavce ("There were three chairs..."). Jaké prvky autorka využívá?

3. Přeložte tuto část textu (cca dva odstavce): "Dalgliesh wondered... to the left of the door." Pokuste se zachovat rytmus originálního textu, paralelismy, aliterace, rovnováhu syntaktických struktur a další typické prvky, a zároveň respektovat možnosti a charakter českého jazyka (stavba vedlejších vět, pozice přívlastků, překlad gerundií a participií).
Vložte svůj text do komentáře k tomuto blogu; nezapomeňte své příspěvky podepisovat.

Synonyma a jejich stylová platnost

Dvě významově i emotivně naprosto totožná synonyma neexistují... což je dobře, protože díky této skutečnosti máme při překládání dostatek prostoru pro výběr výrazů, kterými nejlépe vystihneme záměr autora.

Dokážete shromáždit dostatek synonym a antonym s různou stylovou platností? Pokuste se sepsat nejrůznější česká adjektiva (minimálně 20), která by autor mohl použít při popisu panského sídla na anglickém venkově.

Napište své návrhy do komentáře k blogu; rozdělte slova či výrazy do tři skupin (negativní, neutrální, pozitivní).

A. C. Clarke a science fiction

Žánr science fiction v sobě často spojuje fantazii a špičkové technické znalosti; Arthur C. Clarke je jedním z představitelů právě této "technologické" oblasti sci-fi literatury. Při překládání jeho textů je třeba mít na paměti, že autor vystudoval obor fyzika a matematika, a pokud mluví o astronomii, astrofyzice a technických vědách vůbec, přísně respektuje přírodní zákony (na rozdíl od některých jiných autorů sci-fi).

Úkoly:
1. Přečtěte si celý níže uvedený text. Ujistěte se, že mu dobře rozumíte.
2. Vypište si hlavní technické termíny a ověřte si jejich překlad. Výsledek konzultujte ve čtyřčlenných skupinách, konečný zápis vložte do komentáře k blogu jednou za celou skupinu (s podpisy).
3. Co to je fuleren?


Komentář k překladům - častější problémy
1. "costing many times their weight in gold" - co to přesně znamená? cenu nebo váhu?
2. použití velkých písmen v názvech - čeština má jiné principy než angličtina.
3. "like a ghost that had been suddenly exorcised" - nepřekládejte úplně doslova, zamyslete se nad "obrazem", významem tohoto obratu
4. "Moving an arm's-breadth above it..." - nepřekládejte doslova, najděte český idiom nebo ustálené spojení, které má stejný význam
5. Snažte se nekombinovat v přímém spojení slova cizího a českého základu; kdy je lepší použít slovo "orbita" a kdy "oběžná dráha"?
6. Ověřujte si český překlad termínů! Statický nezmanená totéž co stacionární.


Pro zasmání - ukázka strojového překladu
___________________________________________________________________________________

THE FOUNTAINS OF PARADISE
Arthur C. Clarke


"Sorry about the race," said Rajasinghe, "but I note that Marlin III won very handily without you. I think you'll admit that this is rather more important... But let Morgan speak for himself."
He released the PAUSE button on the projector, and the frozen statue came instantly to life.
"My name is Vannevar Morgan. I am Chief Engineer of Terran Construction's Land Division. My last project was the Gibraltar Bridge. Now I want to talk about something incomparably more ambitious."
Rajasinghe glanced round the room. Morgan had hooked them, just as he had expected.
He leaned back in his chair, and waited for the now familiar, yet still almost unbelievable, prospectus to unfold. Odd, he told himself, how quickly one accepted the conventions of the display, and ignored quite large errors of the Tilt and Level controls. Even the fact that Morgan "moved" while staying in the same place, and the totally false perspective of exterior scenes, failed to destroy the sense of reality.
"The Space Age is almost two hundred years old. For more than half that time, our civilisation has been utterly dependent upon the host of satellites that now orbit Earth. Global communications, weather forecasting and control, land and ocean resources banks, postal and information services -if anything happened to their space-borne systems, we would sink back into a dark age. During the resultant chaos, disease and starvation would destroy much of the human race.
"And looking beyond the Earth, now that we have self-sustaining colonies on Mars, Mercury and the Moon, and are mining the incalculable wealth of the asteroids, we see the beginnings of true interplanetary commerce. Though it took a little longer than the optimists predicted, it is now obvious that the conquest of the air was indeed only a modest prelude to the conquest of space.
"But now we are faced with a fundamental problem - an obstacle that stands in the way of all future progress. Although generations of research have made the rocket the most reliable form of propulsion ever invented -"
("Has he considered bicycles?" muttered Sarath.)
"- space vehicles are still grossly inefficient. Even worse, their effect on the environment is appalling. Despite all attempts to control approach corridors, the noise of take-off and reentry disturbs millions of people. Exhaust products dumped in the upper atmosphere have triggered climatic changes, which may have very serious results. Everyone remembers the skin-cancer crisis of the twenties, caused by ultra-violet break-through - and the astronomical cost of the chemicals needed to restore the ozonosphere.
"Yet if we project traffic growth to the end of the century, we find that Earth-to-orbit tonnage must be increased almost fifty percent. This cannot be achieved without intolerable costs to our way of life - perhaps to our very existence. And there is nothing that the rocket engineers can do; they have almost reached the absolute limits of performance, set by the laws of physics.
"What is the alternative? For centuries, men have dreamed of anti-gravity or of 'spacedrives'. No-one has ever found the slightest hint that such things are possible; today we believe that they are only fantasy. And yet, in the very decade that the first satellite was launched, one daring Russian engineer conceived a system that would make the rocket obsolete. It was years before anyone took Yuri Artsutanov seriously. It has taken two centuries for our technology to match his vision."
Each time he played the recording, it seemed to Rajasinghe that Morgan really came alive at this point. It was easy to see why; now he was on his own territory, no longer relaying information from an alien field of expertise. And despite all his reservations and fears, Rajasinghe could not help sharing some of that enthusiasm. It was a quality which, nowadays, seldom impinged upon his life.
"Go out of doors any clear night," continued Morgan, "and you will see that commonplace wonder of our age - the stars that never rise or set, but are fixed motionless in the sky. We -and our parents - and their parents - have long taken for granted the synchronous satellites and space stations, which move above the equator at the same speed as the turning earth, and so hang forever above the same spot.
"The question Artsutanov asked himself had the childlike brilliance of true genius. A merely clever man could never have thought of it - or would have dismissed it instantly as absurd.
"If the laws of celestial mechanics make it possible for an object to stay fixed in the sky, might it not be possible to lower a cable down to the surface - and so to establish an elevator system linking Earth to space?
"There was nothing wrong with the theory, but the practical problems were enormous. Calculations showed that no existing materials would be strong enough; the finest steel would snap under its own weight long before it could span the thirty-six thousand kilometres between Earth and synchronous orbit.
"However, even the best steels were nowhere near the theoretical limits of strength. On a microscopic scale, materials had been created in the laboratory with far greater breaking strength. If they could be mass-produced, Artsutanov's dream could become reality, and the economics of space transportation would be utterly transformed.
"Before the end of the twentieth century, super-strength materials -hyperfilaments -had begun to emerge from the laboratory. But they were extremely expensive, costing many times their weight in gold. Millions of tons would be needed to build a system that could carry all Earth's outbound traffic; so the dream remained a dream.
"Until a few months ago. Now the deep-space factories can manufacture virtually unlimited quantities of hyperfilament. At last we can build the Space Elevator or the Orbital Tower, as I prefer to call it. For in a sense it is a tower, rising clear through the atmosphere, and far, far beyond..."
Morgan faded out, like a ghost that had been suddenly exorcised. He was replaced by a football-sized Earth, slowly revolving. Moving an arm's-breadth above it, and keeping always poised above the same spot on the equator, a flashing star marked the location of a synchronous satellite.
From the star, two thin lines of light started to extend-one directly down towards the earth, the other in exactly the opposite direction, out into space.
"When you build a bridge," continued Morgan's disembodied voice, "you start from the two ends and meet in the middle. With the orbital tower, it's the exact opposite. You have to build upwards and downwards simultaneously from the synchronous satellite, according to a careful programme. The trick is to keep the structure's centre of gravity always balanced at the stationary point; if you don't, it will move into the wrong orbit, and start drifting slowly round the earth."
The descending line of light reached the equator; at the same moment, the outward extension also ceased.
"The total height must be at least forty thousand kilometres - and the lowest hundred, going down through the atmosphere, may be the most critical part, for there the tower may be subject to hurricanes. It won't be stable until it's securely anchored to the ground.
"And then, for the first time in history, we shall have a stairway to heaven - a bridge to the stars. A simple elevator system, driven by cheap electricity, will replace the noisy and expensive rocket, which will then be used only for its proper job of deep-space transport. Here's one possible design for the orbital tower -"
The image of the turning earth vanished as the camera swooped down towards the tower, and passed through the walls to reveal the structure's cross-section.
"You'll see that it consists of four identical tubes -two for Up traffic, two for Down. Think of it as a four-track vertical subway or railroad, from Earth to synchronous orbit.
"Capsules for passengers, freight, fuel would ride up and down the tubes at several thousand kilometres an hour. Fusion power stations at intervals would provide all the energy needed; as ninety percent of it would be recovered, the net cost per passenger would be only a few dollars. For as the capsules fall earthwards again, their motors will act as magnetic brakes, generating electricity. Unlike re-entering spacecraft, they won't waste all their energy heating up the atmosphere and making sonic booms; it will be pumped back into the system. You could say that the Down trains will power the Up ones; so even at the most conservative estimate, the elevator will be a hundred times more efficient than any rocket.
"And there's virtually no limit to the traffic it could handle, for additional tubes could be added as required. If the time ever comes when a million people a day wish to visit Earth or to leave it -the orbital tower could cope with them. After all, the subways of our great cities once did as much..."
Rajasinghe touched a button, silencing Morgan in mid-sentence.

Překladatel v kraji divů

Lewis Carroll: Alice's Adventures in Wonderland

Carrollova kouzelná knížka je pro překladatele výzvou i radostí. Lewis Carroll nešetřil fantazií, vytvářel slovní hříčky, neexistující výrazy, přepisoval dobovou poezii a pro pobavení dětských čtenářů si hrál s anglickým jazykem tolik, jako snad žádný autor před ním. Pojďme si hrát s ním!

1. Najděte si základní informace o Lewisi Carrollovi a jeho díle (viz např. anglická wikipedie).

2. Podívejte se, jak překladatelské problémy řešili studenti loňského ročníku - záznamy najdete v tomto blogu pod datem 22. února.

3. Najděte si na webu anglický text 10. kapitoly z knihy Alice in Wonderland (THE LOBSTER QUADRILLE). Jak byste přeložili název kapitoly?

4. Pokud knihu neznáte, přečtěte si alespoň tuto kapitolu, abyste se seznámili s Carrollovým autorským stylem. Text najdete například zde.

5. Pokuste se přeložit část textu včetně básně, kterou Alenka recituje (viz níže). Česká verze by měla prvním veršem připomínat některou ze "školních" memorovaných básniček, a mít pevný rytmus. Carroll často parodoval známé anglické texty - pokuste se o totéž!


FEEDBACK
1. „Go on with the next verse,“ - neznamená další verš
2. „But about his toes?“ the Mock Turtle persisted. „How could he turn them out with his nose, you know?“
- zamyslete se nad použitím zájmena "svůj" a zvratného "si" v českém překladu této věty. Věnujte větší péči detailům slovosledu.
3. Carroll tu přetváří báseň, kterou se Alenka učila ve škole - tedy nikoli lidovou píseň, ale národní klasiku, ne jednoduchý krátký verš, ale mnohoslabičné řádky; tuto představu musíme respektovat.
Rovněž vyznění celé básně - byť nedořečené, ve smyslu "panther ate the owl", se z básně nesmí vytratit.
_________________________________________________________________________

„Well, I never heard it before,“ said the Mock Turtle; „but it sounds uncommon nonsense.“
Alice said nothing; she had sat down with her face in her hands, wondering if anything would ever happen in a natural way again.
„I should like to have it explained,“ said the Mock Turtle.
„She can“t explain it,“ said the Gryphon hastily. „Go on with the next verse.“
„But about his toes?“ the Mock Turtle persisted. „How could he turn them out with his nose, you know?“
„It“s the first position in dancing.“ Alice said; but was dreadfully puzzled by the whole thing, and longed to change the subject.
„Go on with the next verse,“ the Gryphon repeated impatiently: „it begins "I passed by his garden."„
Alice did not dare to disobey, though she felt sure it would all come wrong, and she went on in a trembling voice:

„I passed by his garden, and marked, with one eye,
How the Owl and the Panther were sharing a pie--“
The Panther took pie-crust, and gravy, and meat,
While the Owl had the dish as its share of the treat.
When the pie was all finished, the Owl, as a boon,
Was kindly permitted to pocket the spoon:
While the Panther received knife and fork with a growl,
And concluded the banquet--

„What is the use of repeating all that stuff,“ the Mock Turtle interrupted, „if you don“t explain it as you go on? It“s by far the most confusing thing I ever heard!“
„Yes, I think you“d better leave off,“ said the Gryphon: and Alice was only too glad to do so.
„Shall we try another figure of the Lobster Quadrille?“ the Gryphon went on. „Or would you like the Mock Turtle to sing you a song?“

Tisíc mil, těch tisíc mil...

V capse na adrese http://prekladani.capsa.cz je k dispozici nahrávka písně "500 Miles" v podání skupiny Peter, Paul and Mary. její českou podobu otextoval Ivo Fišer pod názvem "Tisíc mil."
Vaším úkolem je přeložit originální anglický text (viz níže) a dodat mu zcela jiný obsah. Jediným požadavkem je to, aby byl váš text zpívatelný - textové přízvuky se tedy musí shodovat s přízvuky a délkami hudebními.

Tip: nejprve si píseň několikrát poslechněte a označte si v anglickém textu přízvučné slabiky.



If you miss the train I'm on, you will know that I am gone
You can hear the whistle blow a hundred miles,
A hundred miles, a hundred miles, a hundred miles, a hundred miles,
You can hear the whistle blow a hundred miles.

Lord I'm one, lord I'm two, lord I'm three, lord I'm four,
Lord I'm 500 miles from my home.
500 miles, 500 miles, 500 miles, 500 miles
Lord I'm five hundred miles from my home.

Not a shirt on my back, not a penny to my name
Lord I can't go a-home this a-way
This a-away, this a-way, this a-way, this a-way,
Lord I can't go a-home this a-way.

If you miss the train I'm on you will know that I am gone
You can hear the whistle blow a hundred miles.

Překládání veršů a písňových textů

... patří mezi činnosti, kdy nejvíce vystupuje do popředí kontrast mezi požadovanou formou a původním obsahem textu. Písňové texty přirozeně musejí "sedět" na hudbu, a je běžné, že výsledná přeložená píseň má zcela jiný obsah než originál.

Verše, které se vyskytnou v prozaickém textu, mohou být původní (autorské), převzaté z jiného literárního díla, nebo mohou parodovat známý text. Jak byste řešili tyto tři možnosti, jaké postupy zvolíte? Své odpovědi pište do komentáře k tomuto blogu.