SummaryThe paper examines explicitation/implicitation as one of the most prevailing occurrences in Slovene literary translation practice. Drawing on the received typology of explicitation -obligatory, optional, pragmatic and translation-inherent − the paper seeks to identify the reasons for, and consequences of, certain (in)adequate translation processes, suggesting more adequate solutions where possible. An analysis of the examples selected from the corpus of Slovene translations is introduced by a detailed discussion of the explicitation and implicitation phenomena.Key words: explicitation/implicitation, literary interpretation, translation universals Eksplicitacija in implicitacija kot prevodni univerzaliji ter njuna prisotnost v slovenskih prevodih angloameriških leposlovnih del Povzetek Članek obravnava eksplicitacijo/implicitacijo kot enega najbolj prisotnih pojavov v slovenski prevajalski praksi. Na podlagi sprejete tipologije eksplicitacije, ki loči med obvezno, neobvezno, pragmatično in prevajanju lastno eksplicitacijo, skuša razprava iz izbora primerov v slovenski prevodni literaturi poiskati razloge za vrsto (ne)ustreznih prevajalskih postopkov ter hkrati predlaga, kjer je to mogoče, boljše rešitve.

The paper presents the unique oeuvre of E.E. Cummings, who claims an outstanding position in the heritage of American poetry, as a case of Bildungsdichtung. This status is largely due to his highly innovative and iconoclastic approach to poetic composition, starting from his early rebellious endeavours drawing on an astounding variety of non-standard and downright shocking potentialities of the English language (including such peculiar linguistic and stylistic idiosyncracies as drastic changes of the syntactic English word order, shifts at the morphology and word-formation level, unorthodox use of punctuation, extravagant typography and spacing or arrangement of space between the lines, a diversity of meters and rhymes, as well as seemingly eccentric imagery), to his later and invariably maturer poetic diction – the diction of one who has apparently come to terms with the world and his fellow-beings, realising that genuine wisdom resides in the understanding and forgiveness of the inherently fallible human nature rather than in its continuous sardonic scrutiny.

Among the many unresolved issues in the field of translation studies is also the one pertaining to the question of who sees/speaks in the source and in the target text. To this effect, the paper explores, firstly, excerpts from James Joyce's Dubliners, in order to extrapolate the prevailing narrative strategies with respect to narrative perspective and their rendering in the Slovene translation. Secondly, the results obtained from the analysTs of the selected segments 1r6m both the source and target texts on the micro-structural level are compared with the effects that take place on the macro-structural level. The main objective, however, is to provide an adequate insight into those textual conditions that significantly govern the realisation of Bakhtin's notion of double-voiced discourse, particularly those which occur in a very limited stretch of language, sometimes even within a single phrase. The assumption is that such a narrative configuration is bound to present special difficulties for a translator of any text which includes a polyphony of voices and perspectives. Consequently, Bakhtin's postulation of heteroglossiais complemented with heteropsia, a medical term denoting unequal vision in the two eyes, which has been employed to signal a parallel perception of the object observed. Since these two rhetorical phenomena are most aptly realised by means of free indirect discourse, particular emphasis is placed on the variety of its function in a fictional narrative.

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The selection of English translations of Mozetič' poetry includes poems from the cycles Gallery of Discarded Things, Lošinj, The Cloud of Knowing, De-dications: Pax de deux, and The Way of the Cross for the Blind. Translations by Nada Grošelj and Uroš Mozetič.