Apostrofiranje Byrona: retorika tropov in ustvarjanje kitajske modernosti skozi prevajanje lirike
DOI:
https://doi.org/10.3986/pkn.v48.i3.09Ključne besede:
angleška poezija, Byron, prevodi v kitajščino, literarni vplivi, apostrofa, mimetična rekonfiguracija, aluzijaPovzetek
Glede na Herderjevo stališče, da je eden od načinov za učinkovito vzpostavitev nacionalne identitete preučevanje pesnikov, ki so sposobni pripovedovati starodavne zgodbe in jih obuditi pred sedanjimi bralci, se razprava osredotoča na nenavadno tehniko apostrofiranja pri prevajanju lirike kot sredstva, s katerim se je angleški romantični pesnik Byron asimiliral v kitajski družbeno-zgodovinski kontekst. Članek se opira na tripartitno teorijo portretiranja Kennetha Burka, ki s »socioanagogičnim načinom analize« teži k umestitvi besedila v »dramo človeških odnosov«, in pokaže, da prevajanje usklajuje dve uporabi apostrofe v lirskih tradicijah: pesniško konvencijo, ki je »ostanek arhaičnih prepričanj«, in optativni označevalec »moči poezije, da nekaj doseže«. Analiza dokazuje, da je Hu Shi (1891–1962) z zavestnim prevzemom arhaizma, namreč z iskanjem dinamične ekvivalence med refrensko besedo xi v sao poeziji, ki izvira iz tradicije Chuci, in apostrofo v zahodni romantični poeziji, interpoliral vzklikalsko tradicijo kitajske poetike v Byronovo pesem »The Isles of Greece« (»Grški otoki«) in se s tem retorično izognil tveganju, da bi vsaka apostrofa postala »klic klica«. Tako se je ustvarila kitajska modernost, bolj problematizirana različica pesmi pa je bila prek besedila v ciljnem jeziku posredovana predvidenemu kitajskemu bralcu.
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