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Ljiljana Avirović ; SSLMIT dell’Università degli Studi di Trieste, Trst, Italija

Puni tekst: talijanski, pdf (257 KB) str. 101-118 preuzimanja: 683* citiraj
APA 6th Edition
Avirović, Lj. (2013). TRADURRE MAGRIS. FLUMINENSIA, 25 (2), 101-118. Preuzeto s
MLA 8th Edition
Avirović, Ljiljana. "TRADURRE MAGRIS." FLUMINENSIA, vol. 25, br. 2, 2013, str. 101-118. Citirano 05.04.2020.
Chicago 17th Edition
Avirović, Ljiljana. "TRADURRE MAGRIS." FLUMINENSIA 25, br. 2 (2013): 101-118.
Avirović, Lj. (2013). 'TRADURRE MAGRIS', FLUMINENSIA, 25(2), str. 101-118. Preuzeto s: (Datum pristupa: 05.04.2020.)
Avirović Lj. TRADURRE MAGRIS. FLUMINENSIA [Internet]. 2013 [pristupljeno 05.04.2020.];25(2):101-118. Dostupno na:
Lj. Avirović, "TRADURRE MAGRIS", FLUMINENSIA, vol.25, br. 2, str. 101-118, 2013. [Online]. Dostupno na: [Citirano: 05.04.2020.]

Translating the work by Magris into Croatian is a complex and challenging task. By relating theoretical notions to a number of translational examples, this paper addresses the peculiar conceptual and narrative style of Claudio Magris, the synonymous pairs of various etymological provenience which, in Croatian, retain the synonymity albeit having the same etymological origin.
Compulsive enumeration (listing terms without separating them by a comma) results in an absolute need for communication, whereas an overuse of commas – like in the story Graf – creates a specific prosodic effect of simultaneous confession and protest.
Being concerned with the narrative rhythm in the translation of Magris’ works forces his translators to meticulously study the most influential translation theories, such as those proposed by Mattioli and Meschonnic.

Ključne riječi
Claudio Magris; translation; synonymous pairs; narrative rhythm

Hrčak ID: 114740


[hrvatski] [talijanski]

Posjeta: 899 *