Daniel Linder

Fictional texts containing specialized terms pose a challenge for literary translators. Rooted in raw factual accuracy, such terms can nevertheless be used in very expressive ways. Raymond Chandler, for example, used oil industry terminology (bull wheel, derrick, oil field, scum, walking-beam, and especially the term sump), in his first novel The Big Sleep (1939) within intentionally artistic phraseology, involving alliteration, parallel structuring and repetition. The novel was (re)translated into Spanish a number of times (El sueño eterno 1947, 1948?, 1958, 1972 and 2001), enabling an analysis into how different translators met this challenge. Though the published translations reveal a lower frequency of repetition in all cases, as well as inconsistent co-textual use of the terminology and usage of non-terms, omissions and errors, these instances are often qualitatively compensated for with creatively reproduced alliterative elements and added literary devices. This study of a seldomly explored aspect of literary translation shows how professionals are aware of the importance of language for specific purposes in literature and how effective balances between technical accuracy and literary expressiveness can be attained. For theorists who consider that literary and technical translation are separate fields, the results show that literary translators tend to bridge this gap proficiently with both accuracy and literary flair.

* Originally published in Polish in “Przekładaniec” vol. 40/2020. Open access for this publication has been supported by a grant from the Priority Research Area Heritage under the Strategic Programme Excellence Initiative at Jagiellonian University.
See: https://doi.org/10.4467/16891864PC.20.006.13169.

Greasy Scummy Sumps: Translating Specialized Terminology in Detective Fiction

Fictional texts containing specialized terms pose a challenge for literary translators. Rooted in raw factual accuracy, terms can nonetheless be used in extremely expressive ways. Raymond Chandler used oil industry terminology (bull wheel, derrick, oil field, scum, walking-beam, and especially the term sump) in his first novel The Big Sleep (1939) within intentionally artistic phrasings involving alliteration, parallel structuring and repetition. The novel was (re)translated into Spanish many times (El sueño eterno 1947, 1948, 1958, 1972 and 2001), offering a view into how different translators met this challenge. Though the published translations reveal lower frequency of repetition in all cases, inconsistent co-textual use of the terminology and usage of non-terms, omissions and errors, these instances were qualitatively compensated with creatively reproduced alliterative elements and added literary devices. This study of a seldomly explored aspect of literary translation shows how professionals are aware of the importance of language for specific purposes in literature and how effective balances between technical accuracy and literary expressiveness can be attained. For theorists who might believe that literary and technical translation are separate worlds of translatorial action, the results of this study show that literary translators tend to bridge this gap proficiently with both accuracy and literary flair.

* Przełożyła Joanna Sobesto