An experience with the translation of the book of essays A Europa Desencantada Para uma mitologia europeia by Eduardo Lourenco
An experience with the translation of the book of essays A Europa Desencantada Para uma Mitologia Eropeia by Eduardo Lourenço
IberoSlavica_Anamarija Marinović (CLEPUL; CompaRes)
Abstract
One of the purposes of this article is to expose some difficulties and challenges that I had with the translation of Eduardo Lourenço’s book of essays A Europa Desencantada, Para uma Mitologia Europeia from Portuguese into Serbian. This book was presented at the 56th International Book Fairs in Belgrade, where the Portuguese language was the honorable guest. Now, when Serbia tries to get the status of candidate for the membership in the European Union, the construction of a common European mythology and identity is a very interesting and important topic. we will analyze the semantic and syntactic problems in the translation of this book as well as some topics from the point of view of its contents (cultural references)
Keywords: translation from Portuguese into Serbian, A Europa Desencantada, Eduardo Lourenço, political essays, philosophical terms
Introduction:
One of the purposes of this paper is to present and discuss some difficulties ad challenges that the understanding and translation of the collection of essays entitled A Europa Desencantada Para uma mitologia europeia written by the Professor Eduardo Lorenço brought to us as a reader and as a translator. It was translated from Portuguese into Serbian within the participation of the Portuguese language as a honorable guest at the 56th International Book Fair in Belgrade, that took place in October of 2011. The importance of this book is multiple: at first this is one of the greatest works of this author in the category of political and philosophical essays, in which some of the texts are about the situation in the Balkans and in Serbia on its way of European integrations. Other reasons that we could point out in the analysis of the significance o this book are the questioning of the European identity, European Dream, and the mythological and cultural common bases of one European imagery. The interest that this Lourenço’s work may cause among the Serbian readers is also multiple: it may be read by the Diplomats and the politicians, the researchers and journalists ad by everyone who wants o deepen his knowledge about Europe, European Union, the globalization, European identity, the Otherness, the difference and many other questions of crucial importance for postmodern societies. The book can be read also by the students of the course of Portuguese Language and Culture at the Faculty of Philology in Belgrade who want to know more about Portuguese contemporary culture and who would like to discover how Serbia, the Balkans and our cultures, identities and certain political problems are seen abroad from the perspective of a foreign writer. We have to mention that our feeling of responsibility as a translator was huge, not only because of some problems that the language and the very specific terminology would have presented to us, but also because we know that the author has been distinguished with many literary awards, and that the last of them was the Award Pessoa (Prémio Pessoa) that is given yearly to the most eminent Portuguese intellectuals. Having into account the fact that Eduardo Lourenço is considered one of the most respectable Portuguese essayist and philosophers and that this was my first translation from Portuguese into Serbian, I must say that I had a great challenge and some big difficulties in front of mine.
This article will expose some of the ‘technical’ (linguistic and cultural) problems that the translation of this book had to resolve, and also some of the difficulties that came from not being sufficiently acquainted with the context where determined expressions were created, some personalities from Portuguese and world political scene and so on. We will draw the readers’ attention to some ambiguous words, such as the adjective desencantada that appears in the title of the book and in the title of one of the essays. This particular word can mean ‘disappointed’ as well as ‘found’. As the book questions some disadvantages of forming part of the European Union and describes some difficulties and disappointments that the citizens of some particular European countries had to deal with, the word ‘disappointed’ in the title seems to be adequate. as it also points out a scope of European common values, strategies that some countries must apply to become members of the Community and reveals the author’s sincere conviction that Europe must remain together, and observes a creation of an ‘European mythology, the option ‘found Europe’ would also be adequate. Our idea was to implement the first option in the title of the book, since the title of one of the essays composing it is “The disappointed Europe or the end of an European dream”. In that essay are observed topics such as the end of the ‘cold war’, the disintegration of the Soviet Union, the fall of the Berlin wall and the confusion of some powerful European countries such as Germany and France that had to deal with the new political, economical and cultural situation in Europe. As all these events provoked great changes on the European geographical and also ‘mental’ map, and introduced a feeling of insecurity in Europe and that was one of the main reasons for many people to start doubting in the dream of a united Europe. That is why we translated the Portuguese word desencantada with the Serbian adjective razočarana.
Another difficulty that will be analyzed here is the translation of proverbs, quotations and verses that appear either in the body of the text, or as incipit of each chapter. The last problem we would like to point out is the translation into Serbian of some words and terms that originally were written in French or German, that are languages that I am not acquainted with, as well as the specific terminology that concerns politics, philosophy or postmodern societies’ structure and problems, which are the areas that I am not a specialist in.
As the last problem that we had with the translation of this book, that can also be applied to the translation of any other kind of books from Portuguese into Serbian and vice versa is the lack of good and complete bilingual dictionaries, that could be very helpful and useful in the process of translation. The bilingual Portuguese and Serbian dictionary we used in this process is one compiled by Joana Câmara and Mladen Ćirić (2009) that helped us very much. The only problem with this dictionary was its pocket format and its orientation to a more general public and obviously, in that dictionary there were no specific philosophical or scientific terms with all their connotations. This occurred because the Portuguese and Lusophone studies are not developed enough in Serbia, but in close future we hope that some more efforts in lexicographical or translation work will be done in order to improve the studies, the researches and the intercultural dialogue between Portugal and Serbia. Without having a proper Portuguese-Serbian dictionary, we were obliged to use monolingual Portuguese dictionaries (as well as the dictionaries of synonyms an antonyms), that explained the words that we could not find directly translated into Serbian, and sometimes we also used Portuguese-English or English-Serbian Dictionaries. In this process we also used the help of the groups and Internet forums such as proz . As the last alternative we recurred to the Google translator, but it was only to confirm that some of the words were not exactly the same as we thought in the beginning.
Some words on the process of translation itself and on the process of translation of scientific (particularly philosophical texts)
In this part of our paper we will expose some of merely theoretical problems in the process of translation itself, as it is never only linguistic, work, but also intercultural and interdisciplinary. When it is talked about the translation, there is a general opinion that the so-called ‘literary’ translation gives more freedom to the translators, that it is more creative but at the same time more difficult because of multiple meanings of one word, some of them can be emotionally conditioned. Some of the difficulties in literary translation are the specific social and cultural contexts in which a term is applied. The so-called ‘technical translation’ seems to be more specific, more precise and apparently is free of any kind of ‘deliberate interpretations’ by the translator. This affirmation could be considered correct in the scientific texts hat deal with chemistry, physics, biology and some other ‘exact sciences’. In the humanities texts that deal with the terminology such as ‘identity’, ‘stereotype’, ‘globalization’ and other concepts that are inevitable in post-modern approaches to philosophy and language, some ‘misunderstandings’ between the intention that the author of the original text had and the interpretation that the translator could make of the text during the process of translation.
Jeremy Munday (2005) considers that independently from the type of text to be translated, the translator must pay attention to the referential meaning and the supplementary meanings (the denotation and the connotations) of the words, and that the translation requires a great work of research so as to overlap the cultural and social differences between the original language and culture and the language and culture into which the text is translated. Commenting this affirmation we can agree that on the choice of words made by the author depends the variability of interpretative possibilities and the probable confusions in the understanding and translating. Some of those mistakes in translations surge due to the transference that the translator may have from its mother language or from another foreign languages (from the same group as the language of the original texts or not) that the translator uses. The transferences can be results of mere substitutes of a word by its equivalent in another language, that sometimes must be a ‘false fiend’. It may happen that the translator tries to ‘copy’ the structure of the sentence from his own language into the target language, and then we can say that what is in question is a ‘calc’, the literal translation of terms that originally did not have any kind of relation one with another. Eugene Nida (2012) as the main motifs for the transference between two languages are the excessive knowledge of a topic (when the translator thinks that he has the right to complete the original information, or the idea that the translator may have of his public and their level of domain of the theme. The translator, who is an expert in a determined thematic.
One of the consequences of translator’s excessive knowledge of atopic can be His wish to show his erudition fulfilling the text with footnotes an additional explanations that are not extremely necessary for the comprehension of the text itself. Another disadvantage of this kind of translator’s knowledge and competences is to translate the original text in a very ‘elevated’ style, thinking that all of the readers of the text have the same level of acquaintance with the item as he does. The completely opposite problem to this one is not being acquainted at all with the matter of the original text and trying to understand it in the translator’s own way without making any effort to do the research about the subject of the document to be translated.
The problems with the translation can appear also when the translator is not sure about his own language (whether an idiom, phrasal verb, prepositional locution or fixed expression used in the language in which the original text is translated may exist in his own language, and then the tendency is to translate literally ‘word by word’ and the result is that the translated expression cannot sound properly to the native speakers of the target language.
One of our particular problems during the translation of the book A Europa Desencantada Para uma mitologia europeia was that we were not familiarized enough with the political and philosophical writings of this author, having read before only his literary critics and essays on Portuguese culture in general, and later on we will discuss some of particular examples that we considered difficult or specific for translation.
Difficulties in the process of translation of the book A Europa Desencantada from semantic and syntactic point of view
The first issue we have to point out is that the first reading of the book A Europa Desencantada written by Eduardo Lourenço is that its language was very dens, complex and rich, and that the mere experience as a reader made us learn many new words or their uses in the contexts different from the one we were used to find and recognize in the everyday communication. We also noticed that Lourenço had a tendency of using some “tricky” words that have the same etymological origin in the same sentence so as to make a “word game”, that the translator must recognize. Another characteristics of Lourenço’s writing are the use of proverbs, literary quotations, expressions in English, French, German or Latin, as well as the use of some Portuguese idioms and popular expressions, with which the author showed his excellent domain of his mother language and the vast culture and knowledge not only of literature, but also of philosophy, politics, religions, and many other sciences.
Apart from many new vocabulary, we have already pointed out our difficulty with the understanding and translating the title of the book and we tried to justify our option. In the subtitle we had a small problem as well, since in Portuguese it is “Para uma mitologia europeia” which could perfectly be translated into English as “ For an European Mythology”. If we translated it into Serbian literally as “ Za jednu evropsku mitologiju” it would sound incomplete and even in contradiction with the translation of the title. If the Europe Lourenço is writing about is razočarana (disappointed) as it is referred in the Serbian translation, what the sense does it make to construct an European mythology? Trying to conciliate the two Lourenço’s main ideas expressed in the title and the subtitle of the book ( the questioning of a common European dream and in spite of all the doubts, difficulties and troubles that being a European can mean, insisting on making an European identity based on a common mythology) we translated the title as “Razočarana Evropa” and the subtitle as “Prilozi za jednu evrpsku mitologiju” which means “Appendixes for an European mythology”. This way Europe can be disappointed, but still conserves an idea of common bases, roots, values and beliefs that can give enough material for a common mythology. In the preface to the first edition of the book Eduardo Lourenço exposed his hesitations about the title and the subtitle starting with the original title of the French edition L’Europe Introuvable (the Unfindable Europe), and discussing some other options as “Disoriented Europe”, “Agonizing Europe” until he finally found the right title “ The Disappointed Europe” as the most appropriate to the new political, economical, geostrategic and cultural situation Europe is facing now, but it still preserves the possibility of the future of an “European dream” that the author of the book considers “more imperative than ever”, so all those reasons seem sufficient to us to justify the translation of the title and the subtitle of this book into Serbian as it was done.
Among other difficulties and challenges that the text of the work A Europa Desencantada” put in front of us were some lexical issues we will expose and discuss now: When Eduardo Lourenço wrote about the problematic related to the Golf War, (Lourenço, 2005) he used the expression: “a evitável, mas não evitada catastrophe chamada a “Guerra do Golfo” (the evitable, but not avoided catastrophe called “The Golf War), In Serbian we can use the adjective neizbežan to say “inevitable”, but, we do not use any kind of adjective to say “ evitable”, so we had to use another grammatical construction “katastrofu koja se mogla izbeći , ali koja nije bila izbegnuta zvanu rat u Zalivu”..This way we preserved the root of the words by using two different forms of the verb “izbeći” ( to avoid) and preserved the idea of what Lourenço wanted to say. Another example of this kind is the syntagma “ a cultura universalizante”, that we translated as “kultura koja pretenduje da bude univerzalna” (the culture that pretends to be universal”, because if we tried to translate “univerzalizujuća kultura”, it would sound very artificial and intellectualizing in Serbian.
Another linguistic problem that we had in the process of translating of this book was the Portuguese word “recalcado” in the context of the title of the essay “O triunfo do recalcado ou a morte do olhar occidental”, This word is ‘problematic’ because in Portuguese it means “copied many times”, “repeated until the exhaustion” or as one of the last meanings we could also find “repressed”. Another difficulty in this context is the form of adjective used as a noun that is underlined by the usage of the definite article “o” and that means “all that is calqued”. We opted for the translation “Pobeda potisnutog ili smrt zapadnjačkog pogleda”, chosing the word “repressed” among all the possible meanings of this word, because the essay itself refers several historical and political events that were very traumatic for Europe and the Europeans, and that, n spite of being repeated, are not very pleasant to be remembered and that the Europeans would like to forget (the revolution of ’68 that revealed the situation of the consume society, the “narcism” of the Western European civilization in the decade of 70s, Marxist ideology, wars in Vietnam, Cambodia, China, Eritrea , Gulags etc. that the Europeans are ashamed of). This is why we chose the adjective “potisnuto” (repressed) in its neutral forms (as it is known the Slavic languages have three categories of expressing the gender of nouns and adjectives: the male, the female and the neutral), to express the idea of nominalization used in Portuguese with the form of the article. The Serbian language does not have articles as grammatical category and in the context when we want to say “all that possesses some characteristics”, we normally use the neutral form of the adjective.
Another linguistic problem we had is with the translation of the Portuguese word “imaginário” in the context of the title of the essay “A Europa no imaginário português”. This noun can be translated into English as “imagery”, but there is not an absolute equivalent of this term n Serbian, so we decided to translate this title as “ Evropa u viđenju Prtugalaca” (Europe in the vision of the Portuguese), because the imagery is not anything else than the system of images you have of something or the form you see or imagine a phenomenon, a group of people etc. This word, repeated many times in the text of the essay was translated in various forms as “viđenje” (vision), “sistem / svet slika” (system/world of images”, predstava” (image), “način na koji Portugalci zamišljaju Evropu” (the way the Portuguese imagine Europe) and others depending on the context and on the main idea and message that Lourenço wanted to transmit. All of these options are legitimate to be used, once the absolute synonym in Serbian does not exist, and all of these words have a component of “seeing” and “imagining”.
The last topic we will mention in this part of our research is the frequency of the usage of English, Latin, German or French terms used in the originally Portuguese text. Most of them were used not just to show the author’s culture and knowledge, but with a determined intention. When Eduardo Lourenço spoke about the globalization and referred to the uniformiization of cultures under the influence of the United States , he used the sintagma “world culture” although it was absolutely possible to have used the Portuguese term “ a cultura mundial”. He preferred the English expression because the Portuguese one would not have the same ironical impact that the overvaluation of the American culture in the world has. As translator, we opted for leaving the English words that were explained in a footnote, so we underlined the ironical attitude that the author showed concerning globalization as a worldwide phenomenon. When the author used the French term “par excellence” instead of its Portuguese equivalent “por excelência” we intuitively knew that his intention was to refer to some sophisticated aspects of French culture. In these cases, as the Serbian public is very acquainted with the meaning of the French expression, because it is used very often in the intellectual circles, we did not need to put an explanatory footnote.. In the cases of other foreign expressions such as Real Politik, fait-divers, à la sauvette, part entire etc, we had some difficulties in the translation, because we do not know neither German nor French languages. Although the knowledge of some other Romanic languages allows us to understand the meaning of a text written in French we could not put the footnotes with our translation, because some of the words in French could be “false friends” with their Portuguese phonetic equivalents. The solutions we used in these cases were the internet dictionaries or on-line forums of translators that do know French, and finally, when the translation was done, we asked the colleague proofreader to verify the precision of the text translated.
When Lourenço quoted Ibsen’s, Éluard’s, Celine’s works, we tried to find the official translations of them into Serbian, and we explained in a footnote that the translation of that particular phrase or paragraph was not ours, referring the edition of the work that we used. The only case we had to give our translation of a paragraph of a very well known book was the quotation of the Book of Job from the Bible, since in the existing Serbian translation of the Old Testament, made by Đura Daničić, we could not recognize the part referred by Eduardo Lourenço.
In the case of Latin words and expressions, such as status quo, inter pares, qui pro quo, we left them in their original form, because they are very common and used in the media, in the juridical texts, philosophical and political writings and there was no need to translate them into Serbian. There were two or three Latin words that we thought that they should be translated in a footnote, but it was just because their forms are not familiar to an average Serbian reader without any knowledge of Latin. In the Portuguese text it was easy to recognize the foreign words because they are always written in cursive letters. Some of them such as handicap, hippie and others are already accepted in the Serbian language and all we should do in these cases is to transliterate them into Serbian alphabet.
One of the challenges of the translation of this book was the translation of proverbs, proverbial expressions and idioms. When in Portuguese and in Serbian existed an equivalent proverb, it was natural to translate the expression with the same construction as in the cas of “escolher o largo” translated as “izvući deblji kraj”. When it was not possible, we tried to find or a similar expression and complete the information in a footnote, or to explain the proverb with our own words, when there was no possibility of finding a synonym or another expression that would fit perfectly in the context of the book and its translation. Such is the example of the proverbial expression “prso por ter cão e preso por não o ter” (in: Lourenço, 2005:76), that is qualified by Lourenço as “o nosso saboroso provérbio” (“our delicious proverb” that in Serbian translation sounds like this: (Lorenso,2011:80) “obrni-okreni-kriv si” and it is accompanied by an appropriate explanation in the footnote. This expression in Srbian is not a proverb, but it is very frequently used, and because of its structure and meaning, it has a proverbial character. Another case of challenge for the translator is the parody of a proverb “Amigos, amigos, negócios à parte”, (friends are friends, and work is something else) that in the author’s version sounds like “negócios, negócios, cultura à parte”, (works are works, an culture is something else) that was translated into Serbian like (Lorenso, op.cit.81): “poslovi su jedno a kultura je drugo”. In Serbian we have the equivalent proverb for “amigos, amigos, negócios à parte” that is “ Služba je služba, a družba je družba”, being the word “služba” that literally means “service” used in this context just to rhyme with “družba” (company, friendship). We decided to paraphrase the expression and not to translate it as a proverb, because in the context of the defense of national identities and cultures, the proverb would not fit properly and would not transmit the exact idea of differentiation between works and culture as two completely separated units
On the syntactic level, we had to deal with some difficulties, because Eduardo Lourenço frequently uses very long and complex sentences, with many subordinate phrases, interposed elements, explicative words, with many commas and other signs of punctuation, that may make the reading of the text even more difficult.
We will quote and analyze a paragraph chosen by chance so as to show Lourenço’s style and some difficulties it presented to us as translator :
Com efeito, e se exceptuarmos a cultura inglesa ( o outro pólo do diálogo intra-europeu clássico, todas as grandes culturas europeias, e depois as não europeias- culturas historicamente “religiosas”, ou não laicas, por contraste com a da França, onde mesmo Pascal, Bousset ou Chateubriand são “laicos”-mediram sempre, até tempos recentes, aquilo que era “europeu”- em sentido positivo ou negativo - através da mediação explícita ou implícita do “modelo francês”
(Lourenço, op.cit.21).
Translated into Serbian, this paragraph sounds like this:
Zapravo, i ako izuzmemo englesku kulturu (drugi pol klasičnog unutarevropskog dijaloga), sve velike evropske, a potom i neevropske kulture, kulture istorijski “religiozne” nasuprot Francuskoj, gde su čak i Bosue ili Šatobrijan “laici”-merile su uvek, doskora, kao u ogledalu, ono što je bilo evropsko, u pozitivnom ili negativnom smislu- izričitom ili skrivenom merom “francuskog modela.”
(Lorenso, op.cit. 23).
This sentence, that is really a paragraph was not easy to translate and in this and many other examples we had to read it several times so as to understand what the author pretended to say. After all the readings, we tried to eliminate the parts of the sentence that were not strictly necessary for its initial structure, and to translate the phrase without them and then to put all the elements of the sentence in the order that is more adequate to the structure and the order of the words in the Serbian language. We must say tjhat the word “culture” in the context of the European and the Non-European cultures, referring to the ones that were qualified as “historically religious”, in the published version was repeated twice, which was not the case in the translated version, and in this case it could be only a small typing error or it was not clear enough to the proofreader which cultures it was written about. In the first translated version, that we have in our computer, that part of the sentence sounds: “sve velike evropske, a potom i neevropske culture, one koje su istorijski “religiozne”, and instead of repeating twice the same word, we opted for the variant: “all the great European and afterwards the Non-European cultures, those ones that are historically religious”. One another detail we have to point out in the published version of the translation of the book is the addition of the syntagma “as in the mirror” (kao u ogledalu”, in the part of the sentence that refers to the European and the Non-European cultures that have always measured the “Europeness” of the cultures following implicitly or explicitly the French cultural model. That must have been a deliberate option of the proofreader who wanted to clarify more the way that those cultures measured the French influence on them, and that part does not exist in our original translation The question that we would like to touch a little bit now is what is the adequate measure of a proofreader to “correct” the translator´s options (apart from grammar, style and sentence structure errors). We think that as well as the translator has no right to “correct” or “censure” the original text author’s thoughts, the proofreader cannot change the ideas or add words or phrases that do not exist in the translation, simply because it “looks like better”, and especially if it has not previously been discussed with the translator.
Challenges and duties in the process of translation of the book A Europa Desencantada from the point of view of its contents
After having considered some of the main obstacles and challenges in the translation of this book from grammatical, semantic and syntactic point of view, we will discuss some of the main aspects that were necessary to approach from the point of view of the contents of the book. As it has already been said, we were not completely familiarized with the political and philosophical thematic of Lourenço’s work, and this was one of the factors that made our reading, interpretation and translation of this collection of essays more difficult. Another aspect that we would like to point out are the cultural references /Portuguese and not only), including the mentioning of concrete and specific personalities wrom the world cultural and political scene (José Saramago, Lobo Antunes, Eça de Queirós, Lídia Jorge, Jacques Delors, Robert Schumann, Francis Fucuyama and events (The Revolution of’ 74, the demonstrations of 68, perestroika, the bombing of Yugoslavia in ‘99) or just the allusions to some of them (Maginot line, the crisis in Poland, the dictator of Bagdad (referring to Saddam Hussein). When there was a direct reference to a concrete person, event or place, it was easy to complete the information that was omitted in the original text, because there was no need to explain it to a Portuguese reader. We needed to put the notes to explain who were Álvaro Cunhal, Manuel Monteiro, Santana Lopes and some other Portuguese politicians and we needed to clarify to Serbian readers why they were important in Portuguese political scene and why Lourenço mentioned them in that precise context. It was also necessary to explain what kind of party was PSD, what it ment “orgulhosamente sós” (proudly alone) and who used this expression for t he first time and why the author made this allusion.
If in the Portuguese text was not clearly specified the event, and it is mentioned only in an allusion (the crisis in Poland, anti-Yalta, and others), it was more difficult to explain these facts because it was not clear enough of which crisis in Poland the author was thinking, as well as with the example of the “war in Yugoslavia” because it could be the War that originated the disintegration of the country in the 90s or the bombing of the country in 1999.
It is natural that some of the allusions to important political and cultural events may be more familiar to the elderly readers that might have accompanied them in a different way from us that have just read or heard about them, so for them perhaps there would be no need for any further explanations, and we were obliged to give the information to clarify some of the facts to the younger public that should be interested in the contents of the book. We must say that the chapters that analyzed the situation in Serbia, in the Balkans or that discussed the independence of Kosovo were relatively easy for us to translate, because we were familiarized with the situations that Lourenço described and we were acquainted with the names that the author mentioned (Tito, Slobodan Milošević,) and the places he wrote about (Belgrade, Kosovo, Dubrovnik, Sarajevo). Nevertheless, our responsibility in the translation of these texts was greater, because it was supposed that we should interpret correctly some cultural and mythological implications, some connotations of the words with which the others describe the Serbian people etc. Sometimes it was also necessary to use the footnotes, but not to explain some aspects of the Balkans history, mentality or identity, but to point out some “foreign” perspectives of looking at the problematic exposed in the book.
Conclusions
The translation of any kind o book, article, or text, literary or scientific, is a process that requires an adequate preparation and research and it has its own difficulties and challenges as any other serious work, The experience with the translation of the book of essays A Europa Desencantada, Para uma mitologia europeia written by Eduardo Lourenço was just an example of the process of the translator’s work, and it was observed from lexical, semantic, syntactic point of view as well as from the perspective of the contebts of the book and some important cultural and historical references. The book with very deep and complex ideas, very elaborated language and style, very dense and complex thoughts, A Europa Desencantada for us was a real “fire Baptism” since it was our first book to translate from Portuguese into Serbian, and since the European thematic are very much discussed in Serbia because this country is on its way of the European integrations. The solutions to the translation problems that we gave were certainly not the only ones or the best ones, but they can give more material to the future translators to think about them and to study them.
As the reception of the book by the critics and by the public in Serbia was very good, we can say that the result of our work was a great gratifying experience and that we will continue improving and developing our knowledge of the Portuguese language in order to improve the interest for Portuguese language and culture among the Serbian readers.
References:
Lourenço, Eduardo, 2005, A Europa Desencantada, Para uma mitologia europeia,Lisboa, Gradiva
Lorenso, Eduardo (2011) Razočarana Evropa, prilozi za jednu evropsku mitologiju, s postugalskog prevela Anamarija Marinović, Novi Sad, Mediterran Publishing
Munday, Jeremy,2005, Introducing translation Studies, Theories and Practices, New York, Routledge Publishers
Nida, Eugene (2012), Sobre La Traducción,Madrid, Gredos