მხატვრული „ტექსტის მოშიანურების“ შესახებ: ანტუან დე სენტ ეგზიუპერის პატარა უფლისწულის ქართულენოვანი თარგმანები
Abstract
translation of a fictional text is more a cultural event than a creative product of a linguistic nature. The translator, as the subject of this creative process, is captivated by his native cultural context on one hand, and on the other, he is influenced by the cultural codes of the translated text and, for various reasons (often unexplained in his interest), wish to explain these codes in his own language. This process is translated by Laurence Venut, a translation theorist who calls it “Domestication”: “All translation is fundamentally domestic and is really initiated in domestic culture.” When looking at the intercultural depth of translation, we should consider the following: artistic features of the material, historical and philosophical-religious contexts, the reason for the translator’s choice all through his goals. In that sense, we find interesting Antoine de Saint Exupéry’s The Little Prince, which is Translated into 250 language and dialect and, between them, four time – in Georgian language (George Chimakazde – 1963, Bachana responsible – 1996, George Ekizashvili – 2003, Merab Pipia – 2006). In our report, we will discuss the translation of two Georgian versions of The Little Prince (G. Chimakadze, M. Pipia), as performed in two different eras (60s, 2000s), and we will try to find out if the historical reality have an impact on the Georgian “domestic” versions of the Exuper’s text, also, the role of expressiveness of the text in the original and in the translations: biblical (or other) allusions, winged expressions, reminiscences; Whether the cultural codes and paradigms of the two countries coincide; What is the function of the characters’ origins, wandering themes and motives – both in the original and in the translations; what alleged intent (or unrequited interest) caused the choice of translators; what is the artistic and aesthetic value of “domestic text” in Georgian culture .
