Janus Bifrons, Janus Cerus: Nabokov’s translation and Self-translation Strategies The first part of the paper delves into the question of the writer’s approaches to literary translation. A distinction between his translations into Russian (this is the case of Alice in Wonderland,1923, Anja v Strane Čudes) and those into English (Evgenij Onegin, 1964,Eu-gene Onegin) is in order. It should be underlined, however, that in this reference frame the translation is conducted on works belonging to otherauthors. Nonetheless, these examples make it possible to discuss Nabokov’s distinct, if not contradictory, theoretical position con-cerning the practice of translation. In fact, his opinion dramatically changes depending on the direction of translation, from Russian into English or the other way round. The second focus is on the problem of translating one’s own text. In Nabokov’s literary career this activity was undertaken from the 1930s onwards. It is possible here to mention a novel such as Otčajanie(Despair, 1936), which the author self-translated twice into English (1937, 1965). Finally, the paper considers Nabokov’s collaboration with his son Dmitri, because of its theoretical importance. Examples of this cooperation can be found, for instance, in the translation of Priglašenie na kazn’ (1938, Invitation to a Beheading, 1959), and Cose Trasparenti(1975, Transparent Things, 1972). The legitimacy of the translation and its value are called into question, while the role of the author in this context is also discussed.
Janus Bifrons, Janus Cerus: strategie traduttive e autotraduttive in Nabokov
IMPOSTI, GABRIELLA ELINA
2013
Abstract
Janus Bifrons, Janus Cerus: Nabokov’s translation and Self-translation Strategies The first part of the paper delves into the question of the writer’s approaches to literary translation. A distinction between his translations into Russian (this is the case of Alice in Wonderland,1923, Anja v Strane Čudes) and those into English (Evgenij Onegin, 1964,Eu-gene Onegin) is in order. It should be underlined, however, that in this reference frame the translation is conducted on works belonging to otherauthors. Nonetheless, these examples make it possible to discuss Nabokov’s distinct, if not contradictory, theoretical position con-cerning the practice of translation. In fact, his opinion dramatically changes depending on the direction of translation, from Russian into English or the other way round. The second focus is on the problem of translating one’s own text. In Nabokov’s literary career this activity was undertaken from the 1930s onwards. It is possible here to mention a novel such as Otčajanie(Despair, 1936), which the author self-translated twice into English (1937, 1965). Finally, the paper considers Nabokov’s collaboration with his son Dmitri, because of its theoretical importance. Examples of this cooperation can be found, for instance, in the translation of Priglašenie na kazn’ (1938, Invitation to a Beheading, 1959), and Cose Trasparenti(1975, Transparent Things, 1972). The legitimacy of the translation and its value are called into question, while the role of the author in this context is also discussed.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
