Transculturality of the original in its translation (based on the Meša Selimović’s novel "Derviš i smrt")

U članku je predstavljen problem transkulturnosti koja se pojavljuje u prototipu (to znači u originalnom delu), ali koja delimično ili potpuno nestaje u prevodu. To se dešava kada je tekst preveden sa transkulturnog prostora (Bosna i Hercegovina) u monokulturni prostor (Poljska). Transkulturnost Selimovićeg romana Derviš i smrt uglavnom je prisutna u jeziku koji se odlikuje pozajmljenicama sa arapskog i turskog. Ove se pozajmljenice mogu podeliti u 3 kategorije: reči sa kulturnim karakteristikama, reči u vezi sa islamom i reči koje se tiču mesta (Bosna i Hercegovina). Svaki jezik obuhvata istoriju i kulturu naroda, tako i jezik Selimovićeg romana obuhvata 500-godišnju tursku okupaciju. Nije moguće da se pronađe u poljskom jeziku ekvivalente korištenih pozajmljenica jer u poljskom jeziku ne postoje reči sa takvim emocionalnim i istorijskim karakteristikama. U ovakvim situacijama prevodilac može da koristi redukciju ili amplifikaciju, ali ipak razumevanje romana biće iskrivljeno jer primarni i sekundarni primalac imaju različite kognitivne strukture i neke reči će aktivirati drukčije idealizovane kognitivne modele u njihovim umovima. Zaključak je da transkulturnost uzrokuje teškoće kod prevođenja romana. Dešava se tako zbog nemogućnosti da se pronađe ekivalente i zbog razlika u kognitivnim strukturama primarnnog i sekundarnog primaoca.The article discusses the problem of transculturality that appears in the prototype (that is, the original work), but which partly or completely disappears in its translation. It occurs when a text is translated from a transcultural area (i.e. Bosnia and Herzegovina) into a monocultural area (i.e. Poland). Transculturality of Meša Selimović’s novel Derviš i smrt appears mostly in the language that is characterized by borrowings from Arabic, Persian and Turkish. The borrowings can be divided into 3 categories: words with cultural features, words connected with Islam and words connected with the place (Bosnia and Herzegovina). Since every language comprises the history and culture of the nation, the Serbian language is marked with the 500-year-long Ottoman occupation. It is impossible to find equivalents for those borrowings in the Polish language as there are no words with such emotional and historical features. The translator can use either reduction or amplification in these situations, but it will definitely distort the understanding of the novel as the primary and secondary receivers have different cognitive structures and some words will trigger different idealized cognitive models in their minds. In conclusion, the transculturality makes the novel difficult to translate because of the impossibility to find equivalents and because of the differences in the primary and secondary receivers’ cognitive structures