HAMSUN OG TSJEKHOV – STILISTISK GJENKLANG. ERFARINGER FRA MITT VIRKE SOM OVERSETTER

The Norwegian term å gjendikte, meaning “to recreate”, is always my guiding principle while translating Norwegian literature into Russian. Intonation is a very important factor. For example in the earliest Hamsun novel, Bjørger (1878), it was very important for me to present a rural Norwegian atmosp...

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Main Author: Eleonora Pankratova
Format: Article
Language:English
Published: Septentrio Academic Publishing 2016-04-01
Series:Nordlit: Tidsskrift i litteratur og kultur
Subjects:
Online Access:https://septentrio.uit.no/index.php/nordlit/article/view/3753
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author Eleonora Pankratova
author_facet Eleonora Pankratova
author_sort Eleonora Pankratova
collection DOAJ
description The Norwegian term å gjendikte, meaning “to recreate”, is always my guiding principle while translating Norwegian literature into Russian. Intonation is a very important factor. For example in the earliest Hamsun novel, Bjørger (1878), it was very important for me to present a rural Norwegian atmosphere while avoiding incorrect associations and allusions and also bearing in mind strong cultural differences. While working with Hamsun’s Sværmere (1904), it was essential that I pay careful attention in conveying the right intonation and word choice, so that the reader could properly perceive the irony and humor of the novel. In many cases, the language of Chekhov, whose characters sometimes have typological resemblance to Hamsun’s, was a stylistic pattern for me. This article will use quotations from both authors to illustrate this stylistic resonance.
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spelling doaj.art-77eaf789391f46068c3ae8d0e9d2a40f2024-02-02T07:24:27ZengSeptentrio Academic PublishingNordlit: Tidsskrift i litteratur og kultur0809-16681503-20862016-04-013810.7557/13.37533499HAMSUN OG TSJEKHOV – STILISTISK GJENKLANG. ERFARINGER FRA MITT VIRKE SOM OVERSETTEREleonora PankratovaThe Norwegian term å gjendikte, meaning “to recreate”, is always my guiding principle while translating Norwegian literature into Russian. Intonation is a very important factor. For example in the earliest Hamsun novel, Bjørger (1878), it was very important for me to present a rural Norwegian atmosphere while avoiding incorrect associations and allusions and also bearing in mind strong cultural differences. While working with Hamsun’s Sværmere (1904), it was essential that I pay careful attention in conveying the right intonation and word choice, so that the reader could properly perceive the irony and humor of the novel. In many cases, the language of Chekhov, whose characters sometimes have typological resemblance to Hamsun’s, was a stylistic pattern for me. This article will use quotations from both authors to illustrate this stylistic resonance.https://septentrio.uit.no/index.php/nordlit/article/view/3753TsjekovHamsunmønstergjenklangforgjengerstemming
spellingShingle Eleonora Pankratova
HAMSUN OG TSJEKHOV – STILISTISK GJENKLANG. ERFARINGER FRA MITT VIRKE SOM OVERSETTER
Nordlit: Tidsskrift i litteratur og kultur
Tsjekov
Hamsun
mønster
gjenklang
forgjenger
stemming
title HAMSUN OG TSJEKHOV – STILISTISK GJENKLANG. ERFARINGER FRA MITT VIRKE SOM OVERSETTER
title_full HAMSUN OG TSJEKHOV – STILISTISK GJENKLANG. ERFARINGER FRA MITT VIRKE SOM OVERSETTER
title_fullStr HAMSUN OG TSJEKHOV – STILISTISK GJENKLANG. ERFARINGER FRA MITT VIRKE SOM OVERSETTER
title_full_unstemmed HAMSUN OG TSJEKHOV – STILISTISK GJENKLANG. ERFARINGER FRA MITT VIRKE SOM OVERSETTER
title_short HAMSUN OG TSJEKHOV – STILISTISK GJENKLANG. ERFARINGER FRA MITT VIRKE SOM OVERSETTER
title_sort hamsun og tsjekhov stilistisk gjenklang erfaringer fra mitt virke som oversetter
topic Tsjekov
Hamsun
mønster
gjenklang
forgjenger
stemming
url https://septentrio.uit.no/index.php/nordlit/article/view/3753
work_keys_str_mv AT eleonorapankratova hamsunogtsjekhovstilistiskgjenklangerfaringerframittvirkesomoversetter