Ideologinių perrašų savivalė ankstyvuosiuose Juditos Vaičiūnaitės poezijos vertimuose į rusų kalbą

LTReikšminiai žodžiai: Vertimai; Poetai; Poezija; Ideologija; Kompetencija; Vertėjai.

ENEarly translations of Judita Vaičiūnaitė’s (1937 -2001) poetry into Russian reveal how the Union of Soviet Writers (USW) viewed national representation of “smaller” nations; the author’s right to his/her work as an unchangeable, meaningful unit; and the degree of license enjoyed by institutes responsible for translation quality and control. In the field of translation, faithfulness to the original and concern with maximum clarity were applied only from one perspective - in translating works from the dominating Russian culture and in creating and disseminating a new, union-wide Soviet literary canon. Other rules were applied to translations of works from peripheral languages from the “cauldron of nations,” which, according to comparative translation theorist Andrė Lefe- vere, should be regarded as deliberate re-writings that adapted texts to the ideological and poetic model of the culture into which they were being translated. In 1964, the major Soviet publisher Молодая гвардия issued a collection of poems in Russian by the rising Lithuanian poet Judita Vaičiūnaitė. The small volume was a calculated, officially sponsored, and ideologically constructed project, but it did not become a significant fact in the writer’s creative biography. The publishers treated Vaičiūnaitė’s poetry instrumentally: they exploited it as a convenient example of the increasing modernity of Soviet poetry and of a voice representing the younger generation, one that was more reliable because it was not too engaged.But they did not respect the autonomous nature of the work: the poems are mutilated by ideological insertions (multiple additions of poetic text by the translator, without authorial approval), deletions, and inaccuracies, demonstrating that the aesthetic value of the work and its translation where of secondary value to the publishing and propaganda industries of that time, as was the figure of the author within the ideological process of literary production as a whole. In these translations, the sensitive, intimate tone of Vaičiūnaitė’s poetry and her subdued treatment of dramatic experiences (the losses of the Second World War, the division of the world by the Cold War, which were favored poetic themes at that time) were manipulated by the publishers, so that the volume’s lyric intimacy is camouflaged under the poems’ more distinct ideological accents and the publishers’ arbitrary insertions. In addition to offering a detailed comparative analysis, the author of this article also examines the broader context of translations of Vaičiūnaitė’s early poetry into Russian and their appearance in different periodicals, and considers the general state of Soviet poetry translation in the 1960s. These approximate translations, which are based on the original in the most basic, subject-related way, and replace Vaičiūnaitė’s subtle poetic technique (intertextual references, alliterative melody, complex expressions of experience) with a combative pathos, and the discrepancies between authors’ and translators’ aesthetic qualifications, show that, in the process of adapting literary works, ideology clearly superseded poetics. This was typical of 1960. [From the publication]