Warsztat

Opinie i komentarze forumowiczów na temat prowadzonych wątków
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Maczer
Posts: 523
Joined: Wed Jan 07, 2009 4:51 am

Re: Warsztat

Post by Maczer »

I sense some bad influence here ...
Dalej sie uciec chyba nie dalo. Ale to i tak nie pomoglo =]
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Caerth
Posts: 513
Joined: Sun Feb 22, 2009 9:44 pm
Location: Above

Re: Warsztat

Post by Caerth »

Satsuki wrote:satsuki Ty failu...
Crow wrote:Pierwszy z tych linków był podany przez Sao i jest w OP :D.

Ale drugi już nie!
My soul is still the same
But it has many names
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Saovine
Posts: 712
Joined: Fri Jan 02, 2009 10:51 pm
Location: Anywhere safe

Re: Warsztat

Post by Saovine »

Crow wrote:Mam pytanie, dotyczące pisania monologów w języku polskim. Poniżej fragment z angielskiego Clash of Kings. Jak widać monolog podzielony jest na paragrafy z których każdy jest zamknięty w cudzysłowie. Tak, jak niezależne wypowiedzi. W języku polskim nie zamykamy wypowiedzi w cudzysłowu, tylko rozpoczynamy je od myślnika. Czy więc analogiczny monolog w naszym języku byłby podobnie podzielony na akapity i każdy z nich rozpoczynałby się od myślnika?
For a long moment Varys said nothing. The only sound was the stately clack of horseshoes on cobbles. Finally the eunuch cleared his throat. “My lord, do you believe in the old powers?”

“Magic, you mean?” Tyrion said impatiently. “Bloodspells, curses, shapeshifting, those sorts of things?” He snorted. “Do you mean to suggest that Ser Cortnay was magicked to his death?”

“Ser Cortnay had challenged Lord Stannis to single combat on the morning he died. I ask you, is this the act of a man lost to despair? Then there is the matter of Lord Renly’s mysterious and most fortuitous murder, even as his battle lines were forming up to sweep his brother from the field.” The eunuch paused a moment. “My lord, you once asked me how it was that I was cut.”

“I recall,” said Tyrion. “You did not want to talk of it.”

“Nor do I, but…” This pause was longer than the one before, and when Varys spoke again his voice was different somehow. “I was an orphan boy apprenticed to a traveling folly. Our master owned a fat little cog and we sailed up and down the narrow sea performing in all the Free Cities and from time to time in Oldtown and King’s Landing.”

“One day at Myr, a certain man came to our folly. After the performance, he made an offer for me that my master found too tempting to refuse. I was in terror. I feared the man meant to use me as I had heard men used small boys, but in truth the only part of me he had need of was my manhood. He gave me a potion that made me powerless to move or speak, yet did nothing to dull my senses. With a long hooked blade, he sliced me root and stem, chanting all the while. I watched him burn my manly parts on a brazier. The flames turned blue, and I heard a voice answer his call, though I did not understand the words they spoke.”

“The mummers had sailed by the time he was done with me. Once I had served his purpose, the man had no further interest in me, so he put me out. When I asked him what I should do now, he answered that he supposed I should die. To spite him, I resolved to live. I begged, I stole, and I sold what parts of my body still remained to me. Soon I was as good a thief as any in Myr, and when I was older I learned that often the contents of a man’s letters are more valuable than the contents of his purse.”

“Yet I still dream of that night, my lord. Not of the sorcerer, nor his blade, nor even the way my manhood shriveled as it burned. I dream of the voice. The voice from the flames. Was it a god, a demon, some conjurer’s trick? I could not tell you, and I know all the tricks. All I can say for a certainty is that he called it, and it answered, and since that day I have hated magic and all those who practice it. If Lord Stannis is one such, I mean to see him dead.”

When he was done, they rode in silence for a time. Finally Tyrion said, “A harrowing tale. I’m sorry.”

The eunuch sighed. “You are sorry, but you do not believe me. No, my lord, no need to apologize. I was drugged and in pain and it was a very long time ago and far across the sea. No doubt I dreamed that voice. I’ve told myself as much a thousand times.”

Crow, wydaje mi się, że tu bardziej chodzi o to, że po angielsku dialogi nie zaczynają się od myślników, tylko są wkładane w cudzysłów (co mi się w sumie nigdy wizualnie nie podobało) i tyle. Oni w ogóle nie bawią się w myślniki - czy to w przypadku dialogu czy monologu. Ten zabieg angielski powoduje większą swobodę w pisaniu długich monologów normalnych oraz monologów wewnętrznych w środku swojej własnej wypowiedzi. Nie czytałam "Pieśni..." po polsku, więc nie wiem, jak to rozwiązał tłumacz, ale zawsze możesz sobie porównać wersję oryginalną z polską i zobaczyć, jak to jest tam rozwiązane.

Ogółem sądzę, że najlepsze odpowiedzi znajdziesz w swoich książkowych zbiorach. Dużo dialogów wewnętrznych jest np. w Panu Lodowego Ogrodu, którymi co rusz posługuje się Vuko (bo nie ma innego wyboru x) ). Grzędowicz dzieli swoje monologi, zaczynając je od nowej linijki (bardzo często to robi), ale czasem może się mylić, które to jego monolog, a które zwyczajny opis narratora xD Wypowiedzi do kogoś zawsze są u nas raczej od myślnika - i monologi i dialogi...
My boy builds coffins, he makes them all day
But it's not just for work and it isn't for play
He's made one for himself, one for me too
One of these days he'll make one for you
For you
For you
For you
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