The psychological and verbal pressure that often saturates the atmosphere in the interrogation scenes of certain subgenres of post-WWII drama can be achieved through various stylistic means. Among these are repetition and recurrence, which conveniently suit the nature of vicious interrogations, where questions (often illogical) are posed repeatedly, partly to extort information from the victim but predominantly to break the victim’s resistance. Used in the utterances of the speaker, these repetitive questions or parts thereof intensify the distressing mood and strengthen the superiority of the speaker who intimidates, humiliates or otherwise degrades the victim. In this study, the focus will be on those instances of repetition and recurrence that contribute strongly to creating such situations and relationships in contemporary drama. The traditional iteration patterns will be identified, analysed and categorized according to the potential intensity of the repression and the schematic type of recurrence. The examples are taken from plays by Arthur Miller, Harold Pinter and Drago Jančar.

SummaryCertain elements of language often repeat in all genres and at all levels of formality, whether spoken or written. is phenomenon, either premeditated or applied intuitively, always has a reason, despite the fact that the speaker (or writer) is not necessarily aware of it. A re-appearance of a certain word or word cluster is called recurrence. According to various definitions, it can be the direct repetition of a textual element which has appeared before in the text, the re-appearance of a certain word in the form of a different part of speech, or the repetition of a word cluster in which at least some elements of the original sentence repeat in the same or similar form. e term repetition is not used because only seldom is a repetition of a part of a text a real repetition, carrying exactly the same meaning potential of the repeated phrase as did its first appearance. is element of language is often disregarded in translation. It's importance is even greater in texts where recurrences are common or, as in Pinter's plays, they represent one of the important elements of the author's style. Hopefully, this paper will raise awareness of how important it is to consider this element in translation. Key words: translation, drama, drama translation, recurrence, Harold Pinter PovzetekPonavljanje nekaterih jezikovnih elementov je v večji ali manjši meri prisotno v vsakem besedilu, ne glede na njegovo zvrst, stopnjo formalnosti ali druge karakteristike. Avtor lahko ta fenomen uporablja z namenom, da doseže določene učinke na sprejemnika, ali pa naključno, vendar ponovitve v vsakem primeru vplivajo na celostno podobo besedila. onovna pojavitev (angl. recurrence) je v strokovni literaturi najpogosteje definirana bodisi kot ponovitev nekega dela besedila v nespremenjeni obliki, lahko gre za ponovitev določene besede s spremembo besedne vrste, ali pa se ponovno pojavi besedni sklop, v katerem se vsaj nekaj elementov ponovi v enaki ali nekoliko spremenjeni obliki. Izraz ponovitev se za omenjeni jezikovni pojav ne uporablja, saj so le redke ponovne pojavitve besed ali besednih sklopov prave ponovitve z enakim pomenskim potencialom. Ponovne pojavitve so v prevajalski praksi pogosto prezrte. Še posebej pomembno jih je ohranjati v besedilih, kjer so le-te pogoste, ter v primerih, ko predstavljajo pomemben gradnik avtorjevega sloga. To utemeljuje in s primeri ilustrira tudi pričujoči članek.Ključne besede: prevajanje, drama, dramski prevod, ponovna pojavitev, Harold Pinter

Margaret Atwood is undoubtedly the most popular Canadian author in Slovenia, with eight novels translated into Slovene. Although this prolific author also writes short fiction, poetry, children’s books, and non-fiction, these remain unknown to Slovene readers, at least in their own language. Atwood has published as many poetry collections as novels, but her poetry is inaccessible in Slovene, with the exception of some thirty poems that were translated and published in literary magazines between 1999 and 2009. The article provides an overview of Atwood’s poetry volumes and the main features of her poetry, as well as a detailed overview of Atwood’s poems that have appeared in Slovene translation, with the names of translators, titles of poetry collections, dates of publication, and names of literary magazines. This is the first such overview of Slovene translations of Atwood’s poetry. Additionally, the article offers an insight into some stylistic aspects of Atwood’s poetry that have proven to be particularly challenging for translation.

Margaret Atwood’s masterful linguistic creativity exceeds the limits of ordinary discourse. Her elliptical language contributes to interpretative gaps, while the ambiguity and openness of her texts intentionally deceive the reader. The translator of Atwood’s texts therefore faces the challenge of identifying the rich interpretative potential of the original, as well as of preserving it in the target language. Witnessing the rise of artificial intelligence, a natural question arises whether a human translator could ever be replaced by a machine in translating such challenging texts. This article aims to contribute to the ongoing debate on literary machine translation by examining the translations of Atwood’s “Life Stories” generated by two neural machine translation (NMT) systems and comparing them to those produced by translation students. We deliberately chose a literary text where the aesthetic value depends mostly on the author’s personal style, and which we had presumed would be problematic to translate.

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