Engelsk
oversættelse
02. november 2005 af
*sun* (Slettet)
Håber, at der er en venlig sjæl, der vil kigge på denne oversættelse, da jeg har problemer med den.
C: Oversættelse
… Michaelis ene hovedsynspunkt er at Hemingways berømte teknik, den tilsyneladende neutralt-lakoniske hårdkogthed med dens stiliserede vold, er bærer af mange lag skjult betydning. Ved at lægge stilen under mikroskop, eller bedre, ved at spole tilbage og spille sekvenserne i slowmotion, påviser han at Hemingways tilsyneladende realisme – med krig, død, smerte og sex set i grelt neonlys, der giver sig ud for at være selvoplevelse – også er et tryllekunstnertricks… Hen af vejen får man også meget at vide om Hemingways sociale og mentale baggrund, bindingen til den puritanske og idealiserede lægefar og dennes selvmord. Om forholdet til det hurtige Chicago og mellemkrigsårenes skamløst lysende Paris, til konkurrenter, til døden i Spaniens arenaer, i borgerkrigen og i Afrikas grønne bjerge. Om flugten til det fortryllede Cuba, Hemingways selvforelskede enmandsbefrielse af Paris 1944, nedturen, blokeringerne. Om selvmordet, eftermælet, de efterladte manuskripter. Det hele.
One of Michaelis main views is that Hemingways famous technique, the apparent(ly) neutral-laconic(ally) hard-boiled with its stylized violence, is bearer(/carrier/) of many layers of hidden meaning. By putting the style under (a) microscope, or better, by wind(ing) back and play(ing) the sequences in slowmotion, he shows that Hemingways apparent(ly) realism – with war, death, pain and sex seen in a glaring neon light, that purported to be/give (itself) out to be personal experiences – also is a conjuring trick... (Hen af vejen) you also get to know a lot of Hemingways social and mental background, the binding to his father, the Puritan/puritanical(ly) and idealized/idealistic(ally) doctor and his suicide. About the relationship to the fast Chicago and the inter-war periods shameless shining Paris/and the shameless shining Paris of the inter-war period, to rivals, to death in Spains arenas/to death in the arenas of/in Spain, in the civil war and in Africas green mountains/in the green mountains of Africa. About the escape to the charming Cuba, Hemingways (selvforelskede) one-man liberation(/release/emancipation) of/from Paris 1944, the down-trip, the emotional blockages/mental blocks/blockings. About the suicide, the reputation he left behind him, the manuscripts left behind. Everything.
C: Oversættelse
… Michaelis ene hovedsynspunkt er at Hemingways berømte teknik, den tilsyneladende neutralt-lakoniske hårdkogthed med dens stiliserede vold, er bærer af mange lag skjult betydning. Ved at lægge stilen under mikroskop, eller bedre, ved at spole tilbage og spille sekvenserne i slowmotion, påviser han at Hemingways tilsyneladende realisme – med krig, død, smerte og sex set i grelt neonlys, der giver sig ud for at være selvoplevelse – også er et tryllekunstnertricks… Hen af vejen får man også meget at vide om Hemingways sociale og mentale baggrund, bindingen til den puritanske og idealiserede lægefar og dennes selvmord. Om forholdet til det hurtige Chicago og mellemkrigsårenes skamløst lysende Paris, til konkurrenter, til døden i Spaniens arenaer, i borgerkrigen og i Afrikas grønne bjerge. Om flugten til det fortryllede Cuba, Hemingways selvforelskede enmandsbefrielse af Paris 1944, nedturen, blokeringerne. Om selvmordet, eftermælet, de efterladte manuskripter. Det hele.
One of Michaelis main views is that Hemingways famous technique, the apparent(ly) neutral-laconic(ally) hard-boiled with its stylized violence, is bearer(/carrier/) of many layers of hidden meaning. By putting the style under (a) microscope, or better, by wind(ing) back and play(ing) the sequences in slowmotion, he shows that Hemingways apparent(ly) realism – with war, death, pain and sex seen in a glaring neon light, that purported to be/give (itself) out to be personal experiences – also is a conjuring trick... (Hen af vejen) you also get to know a lot of Hemingways social and mental background, the binding to his father, the Puritan/puritanical(ly) and idealized/idealistic(ally) doctor and his suicide. About the relationship to the fast Chicago and the inter-war periods shameless shining Paris/and the shameless shining Paris of the inter-war period, to rivals, to death in Spains arenas/to death in the arenas of/in Spain, in the civil war and in Africas green mountains/in the green mountains of Africa. About the escape to the charming Cuba, Hemingways (selvforelskede) one-man liberation(/release/emancipation) of/from Paris 1944, the down-trip, the emotional blockages/mental blocks/blockings. About the suicide, the reputation he left behind him, the manuscripts left behind. Everything.
Svar #1
02. november 2005 af Mac3 (Slettet)
One of Michaelis HUSK APOSTROF+S VED EJEFALD/GENITIV main views is that Hemingways HUSK APOSTROF+S VED EJEFALD/GENITIVfamous technique, the apparently +LY, DA DET ER ET ADVERBIUM neutral-laconic(ally)%ALLY, DA DET ER ET ADJEKTIV hard-boiled UHA, DET ER EN SVÆR EN, MEN DU KAN IKKE LADE NAVNEORDET HÅRDKOGTHED STÅ SOM ET ADJEKTIV. MIT BEDSTE BUD ER HARD-BOILEDNESS with its stylized violence, is THE bearer(/carrier/) of many layers of hidden meaning. By (putting) PLACING the style under (a)NEJ, INGEN ARTIKEL, DA DET IKKE ER ET BESTEMT MIKROSKOP, MEN ET SPROGLIGT microscope, or better, by REWINDING (=wind(ing) back) and playing the sequences in slowmotion, he shows that Hemingways HUSK APOSTROF+S VED EJEFALD/GENITIV apparent(ly)(NEJ, DET ER ET ADJEKTIV) realism – with war, death, pain and sex seen in a glaring neon light PURPORTING ITSELF TO BE PERSONAL EXPERIENCE (, that purported to be/give (itself) out to be personal experiences) – (also) is ALSO a conjuring trick... (Hen af vejen) DOWN THE LINE you also get to know a lot of Hemingways HUSK APOSTROF+S VED EJEFALD/GENITIV social and mental background, the ATTACHMENT (binding) to his father, the (Puritan/)puritanical(ly) ADJEKTIV, ATLSÅ IKKE -LY and idealized(/idealistic(ally)) doctor and his suicide. OF (About) the relationship to the fast Chicago (and the inter-war periods shameless shining Paris/) and the shamelessLY ADVERBIUM, DER BESKRIVER MÅDEN HVORPÅ PARIS SKINNER shining Paris of the inter-war period, to (rivals) COMPETITORS, (to death in Spains arenas/)to death in the arenas (of/)in Spain, in the civil war and (in Africas green mountains/)in the green mountains of Africa. OF (About) the escape to the (charming)ENCHANTED Cuba, Hemingways HUSK APOSTROF+S VED EJEFALD/GENITIV (selvforelskede)IGEN EN SVÆR EN, MEN JEG VILLE SIGE SELF-INFATUATED one-man liberation(/release/emancipation) of(/from) Paris 1944, the (down-trip)DEPRESSION, UD FRA DE ANDRE ORD, MENER JEG IKKE AT DEPRESSION ER EN FORKERT OVERSÆTTELSE AF NEDTUR, the (emotional blockages/)mental (blocks/)blockings. OF (About) the suicide, the reputation he left behind him, the manuscripts left behind. Everything.
Jeg synes det er en fin oversættelse af en svær tekst, men du skal altså huske genitiv-formerne og lære at kende forskel på et adjektiv og et adverbium. Kig på, om et adv/adj beskriver en handling eller et navneord.
Jeg synes det er en fin oversættelse af en svær tekst, men du skal altså huske genitiv-formerne og lære at kende forskel på et adjektiv og et adverbium. Kig på, om et adv/adj beskriver en handling eller et navneord.
Svar #2
02. november 2005 af *sun* (Slettet)
Tak for hjælpen. Synes, oversættelsen er svær. Den er en del af en aflevering og min lærer sagde noget med, at den nok ikke kunne skrives på under 6 sider :s
Svar #3
02. november 2005 af *sun* (Slettet)
Nu har jeg fået rettet lidt i det og håber, at der er en, der lige vil se det igennem.
One of Michaelis’ main views is that
Hemingway’s famous technique, the apparently neutral-laconic hard-boiledness with its stylized violence, is the bearer of many layers of hidden meaning. By placing the style under microscope, or better, by rewinding and playing the sequences in slowmotion, he shows that Hemingway’s apparent realism – with war, death, pain and sex seen in a glaring neon light, that purporting itself to be personal experiences – is also a conjuring trick... Down the line you also get to know a lot of Hemingway’s social and mental background, the attachment to his father, the Puritan/puritanical and idealized/idealistic doctor and his suicide. Of the relationship to the fast Chicago and shamelessly shining Paris of the inter-war period, to competitors, to death in the arenas in Spain, in the civil war and in the green mountains of Africa. Of the escape to the enchanted Cuba, Hemingway’s self-infatuated one-man liberation of Paris 1944, the depressiontrip, mental blocks. Of the suicide, the reputation he left behind him, the manuscripts left behind. Everything.
One of Michaelis’ main views is that
Hemingway’s famous technique, the apparently neutral-laconic hard-boiledness with its stylized violence, is the bearer of many layers of hidden meaning. By placing the style under microscope, or better, by rewinding and playing the sequences in slowmotion, he shows that Hemingway’s apparent realism – with war, death, pain and sex seen in a glaring neon light, that purporting itself to be personal experiences – is also a conjuring trick... Down the line you also get to know a lot of Hemingway’s social and mental background, the attachment to his father, the Puritan/puritanical and idealized/idealistic doctor and his suicide. Of the relationship to the fast Chicago and shamelessly shining Paris of the inter-war period, to competitors, to death in the arenas in Spain, in the civil war and in the green mountains of Africa. Of the escape to the enchanted Cuba, Hemingway’s self-infatuated one-man liberation of Paris 1944, the depressiontrip, mental blocks. Of the suicide, the reputation he left behind him, the manuscripts left behind. Everything.
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