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Spannende Vertalingen SPANNENDE VERTALINGEN EEN TWEELUIK OVER HET VERTALEN VAN DE HARD-BOILED DETECTIVES VAN RAYMOND CHANDLER EN EEN ONDERZOEK NAAR DE LITERAIRE THRILLERS VAN DAN BROWN W.J.M. Meijer 3673464 RMA Literair Vertalen Cees Koster Ton Naaijkens 27 juli 2016 INTRODUCTIE Deze masterscriptie heeft als hoofdonderwerp het vertalen van spanning in misdaadliteratuur en is ontstaan tijdens mijn overgang van de reguliere master Vertalen naar de research master Literair Vertalen. Dit verklaart meteen waarom het eerste deel, The Master of Suspense, Engels als voertaal heeft: dit was een eis bij de reguliere master die niet van toepassing was op de research master. Het tweede deel, Het grote vertalen, is daarom in het Nederlands geschreven. Elk deel is voorzien van een eigen inleiding waarbij het deelonderwerp geïntroduceerd wordt en de aanleiding van het schrijven ervan uitgelegd wordt. In het overkoepelende nawoord worden de delen met elkaar vergeleken en volgt een conclusie die verband houdt hoofdonderwerp van deze scriptie. Het overkoepelende onderwerp van dit tweeluik is het vertalen van ‘spanning’ of ‘suspense’. Tijdens het schrijven van het eerste deel, een case study over twee vertalingen van romans van Dan Brown, is gebleken dat er nog weinig onderzoek is gedaan naar dit onderwerp. Deze scriptie draagt daarom zeker bij aan het vertaalwetenschappelijk veld en toont nieuwe inzichten in het vertalen van (literaire) thrillers en hard-boiled detectives. De hoofdvraag van deel één luidt: Welke vertaalproblemen met betrekking tot spanning komen voor in Dan Brown’s thrillers, en welke strategieën hebben de vertalers hierbij gebruikt?1 Deze vertaalproblemen zijn bekeken op zowel stilistisch als op narratologisch niveau. Uit de vergelijkingen tussen bron- en doeltekst is gebleken dat de vertalers van de tweede roman, Inferno (2013) zich steeds meer vrijheden op stilistisch niveau hebben gepermitteerd, of konden permitteren, en dat vertaalproblemen op 1 What translation problems with regard to suspense occur in Dan Brown’s thrillers and what strategies did the translators use? 1 narratologisch niveau (met betrekking tot aanwijzingen die het hoofdpersonage naar de uiteindelijke oplossing leiden) op universele wijze zijn opgelost. Het tweede deel heeft tevens als hoofdonderwerp het vertalen van spanning in misdaadliteratuur, en hiervoor is een vertaling gemaakt van The Big Sleep: een hard- boiled detectiveroman die oorspronkelijk gepubliceerd is in 1939. Deze roman is dan ook heel anders opgebouwd dan The Da Vinci Code of Inferno, en verschillen kunnen met name op narratologisch niveau ontdekt worden. Omdat aanwijzingen in de vorm van puzzels nauwelijks een rol spelen binnen dit2 genre, is gekozen om voor dit deel de volgende hoofdvraag te gebruiken: Welke stilistische en narratologische vertaalproblemen met betrekking tot het genre hard-boiled detective en het behouden van de spanningsboog doen zich voor in The Big Sleep van Raymond Chandler en met welke strategieën kunnen deze worden opgelost? De vertaalproblemen die zich voordeden bij The Big Sleep hadden vooral te maken met Chandlers unieke en zeer bijzondere schrijfstijl, waarbij met name humor en zinslengte een belangrijke rol speelden om de spanningsboog in het verhaal te houden. Bij het vertalen van een hard-boiled detective is dus een geheel andere strategie van toepassing dan bij het vertalen van een literaire thriller. 2 Hard-boiled 2 INHOUDSOPGAVE INTRODUCTIE 1 INHOUDSOPGAVE 3 DEEL 1 - THE MASTER OF SUSPENSE INLEIDING 6 HOOFDSTUK 1. DAN BROWN, THE DA VINCI CODE AND INFERNO 8 HOOFDSTUK 2. SUSPENSE IN THRILLERS 19 HOOFDSTUK 3. COMPARISON THE DA VINCI CODE 33 HOOFDSTUK 4. COMPARISON INFERNO 67 HOOFDSTUK 5. CONCLUSION 107 DEEL 2 – HET GROTE VERTALEN INLEIDING 114 HOOFDSTUK 6. HARD BOILED DETECTIVE FICTION 117 HOOFDSTUK 7. RAYMOND CHANDLER 131 3 HOOFDSTUK 8. VERTAALPROBLEMEN EN OPLOSSINGEN 157 HOOFDSTUK 9. VERTAALVERGELIJKING 169 HOOFDSTUK 10. VERTALING 184 HOOFDSTUK 11. EVALUATIE VAN DE VERTALING EN CONCLUSIE 217 NAWOORD 229 BRONVERMELDING 233 4 DEEL 1 THE MASTER OF SUSPENSE A CASE STUDY ON TRANSLATING SUSPENSE IN THE DA VINCI CODE AND INFERNO 5 INTRODUCTION This first part focuses exclusively on Dan Brown’s thrillers The Da Vinci Code and Inferno and their respective Dutch translations. I chose these works because I have read all four books of Dan Brown’s Robert Langdon-series (in English) and finished them within a couple of days because they intrigued me so much. However, the more I learned about literature and writing, the more I realised that Dan Brown was not a very good writer. Nevertheless, I found his novels to be real ‘pagetuners’. My research demonstrated that many critics agree with me: while some even called Dan Brown a horrible writer, many reviewers claim at the same time that his books are loved by a large audience. A possible explanation that I found for this seeming contradiction, is that Dan Brown is a master of suspense. As a reader, I forgave Brown the lack of literary quality and his farfetched theories because I was eager to find out how Robert Langdon would solve the next riddle and if he could solve the crises in time. This made me realise how important it is that the suspense in his novels is preserved in their translations. Granted that Dan Brown is one of the most famous writers alive and that thrillers are a popular genre, it is presumed that translators developed special strategies and techniques to translate novels with a high level of suspense. However, this subject appears to lack in published research: there is at the moment only one recent work available on suspense in thrillers and their translations. In this part of the thesis it will be demonstrated that suspense certainly is an interesting translation problem and that more insights in this topic are most welcome. Therefore, translation problems that occur in thrillers regarding suspense are investigated within the present thesis. The research question that will be answered in this first part is: 6 What translation problems with regard to suspense occur in Dan Brown’s thrillers and what strategies did the translators use? This relatively new research topic will help develop more insights in suspense as a translation problem and is therefore very helpful for translation theory. 7 CHAPTER 1 THRILLERS AND THEIR RECEPTION This first part of the thesis is a case study based on two of Dan Brown’s thrillers and their translations. The research question that will be answered is: : “What translation problems with regard to suspense occur in Dan Brown’s thrillers and what strategies did the translators use?” In this first chapter the term “thriller” will be explained. Dan Brown and his novels will be introduced, and the reception of both the original novels and their translations are discussed to provide background information that will help define the translators’ strategies. THRILLER AS A GENRE AND IT’S RECEPTION BY THE PUBLIC The “thriller” as a novel is first of all part of the genre “crime fiction”, but it has developed in such a way that it is also considered a genre which stands on its own. The genre can again be subdivided into several subgenres, examples of which are the famous “psychological thriller” and the “political thriller”. Ever since the nineteenth century, crime fiction has been popular amongst a variety of audiences. In the early days, crime fiction consisted mainly of detective novels, but nowadays the (literary) thriller is most popular. In his article in The Cambridge Companion to Crime Fiction, Glover explains the main difference between the (early) detective and the (modern) thriller: Where the thriller differs from the detective story is not in any disinclination to resort to deductive methods in solving crimes [...]. Rather, the thriller was and still is to a large extent marked by the way in which it persistently seeks to raise the stakes of the narrative, heightening or exaggerating the experience of events by transforming them into a rising curve of danger, violence or shock. The world that the thriller attempts to realise is one that is radically uncertain 8 in at least two major senses. On the one hand, the scale of the threat may appear to be vast, its ramifications immeasurable and boundless[...][:] international conspiracies, invasions, [...] serial killers who threaten entire cities or even nations[.] On the other, the thriller unsettles the reader less by the magnitude of the terrors it imagines than by the intensity of the experience it delivers: assaults upon the fictional body, a constant awareness of the physicality of danger, sado-masochistic scenarios of torture or persecution, a descent into pathological extremes of consciousness, the inner world of the psychopath or monster. (Glover 2006: 137-8) While in early detective fiction an actual detective was usually the protagonist (Sir Arthur Conan Doyle’s Sherlock Holmes or Raymond Chandler’s Philip Marlowe), the protagonist in thriller fiction is not necessarily employed as such. Dan Brown’s protagonist is certainly not a detective, since he is a Harvard professor. The description Glover provided is applicable to the plot in Brown’s novels: the reader is confronted with ancient secret societies, controversial statements about religion and (pseudo-)science, conspiracy theories and secret governmental documents. Entire religious groups (in The Da Vinci Code) and sometimes even mankind (in Inferno) are threatened in Brown’s thrillers. A BAD REPUTATION The thriller is certainly a very popular genre. In Thriller versus roman, a collection of articles from Dutch, Flemish and English speaking authors written on the status of thrillers and their position as opposed to literary novels, this is demonstrated. In his article “The Pecking Order”, American crime writer J. Madison Davis writes about the urge and the difficulty of assigning a specific genre to any novel. He illustrates the public’s need to measure quality and determine a novel’s current “status” in the literary field.
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