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The present paper deals with a number of aspects, that are connected with the complex topic “names and translation”. Thereby the focus does not lie on the general question of translatability of names, but shows several cases in which names are translated: Geographical names, personal names, names of products and finally names in literature.

Three and a half centuries Don Quixote in German: the proper names. – The first German partial translation of Cervantes’ novel El Ingenioso Hidalgo Don Quijote de la Mancha (Part I 1605, Part II 1615) dates from 1648, the most recent one from 2008. As proper names play an important part in Don Quixote, this paper analyzes their rendering in four different translations, namely by Joachim Caesar (1648), Ludwig Tieck (1799-1801), Ludwig Braunfels (1883), and Susanne Lange (2008). Proper names are rooted deeply in the respective cultures of their users. Therefore the translator’s task is a difficult one: Shall he try to translate the names and thus activate for his readers as many as possible of the cultural connotations they possessed in the original language or shall he transmit them unchanged and thus contribute to the strengthening of local colour? It is shown that different times preferred different solutions, earlier times trying to translate the names of the novel. But even the most recent translation of Don Quixote does not, as might be supposed, abstain from translating part of the novel’s proper names.

Gradiva – the translated name and its visual representation. – The name Gradiva appears first in a short novel which the German author Wilhelm Jensen published in 1903. It became famous because Sigmund Freud analyzed Jensen’s novella in his study Delusion and Dream in Jensen’s ‘Gradiva’ (1907). In this story the young archaeologist Norbert Hanold is obsessed by a classical relief representing a young woman walking in a special, elegant way. Therefore he calls her Gradiva (she who advances). The young woman appears to him in dreams when Vesuvius is about to erupt in Pompeii, and he feels he has to visit this ancient Italian site. Here the same phantasmagorical figure appears to him. At first he believes her to be the incarnation of the ancient Gradiva, but later he realizes that she is not the reincarnation of a Pompeiian maiden, but his living childhood girlfriend. – The aim of this paper is to show that it is not a physical likeness between the archeologist’s girlfriend and the ancient relief which lies at the root of Hanold’s delusion, as Freud asserts, or a fetichist obsession, as his followers claim, but the surname of his girlfriend: Gradiva is a translation of her repressed surname Bertgang, and the ancient relief is the visual representation of this name. – The final paragraph of this paper shows the significance which Gradiva attained for the Surrealist movement, whose members declared her to be their “muse”.

The Children’s and Household Tales by Brothers Grimm are world famous thanks to their translations in many languages. In the presented article its author refers to her own translation of the Grimms’ folktale collection (published in 2010) and discusses translation decisions referring to selected personal names. The functional typology of literary names by H. Birus (1987) builds a starting point for detailed translation analyses in three categories: speaking, classifying and embodying names. It is surprising that in a translation which was intended by its author to be philologically faithful the majority of anthroponyms was not transcribed (in order to render their foreign character) but became domesticated by means of adaptation, substitution and literal translation. It proves that in a literary piece of work proper names fulfill complex functions which makes the translator choose different translation methods to render them.

The question of translatability and translation of „meaningful names“ in Witkacy’s Plays. In the plays of the Polish dramatist, writer and artist Stanisław Ignacy Witkiewicz („Witkacy“) the characters normally bear „meaningful names“. These can but need not necessarily serve the characterization of the respective figure. They are often just a mere play on words, achieved through usually applying the techniques of shifting and compaction. Translating the names requires to transfer this play on words into the target language in a way, that as few aspects of the original as possible, get lost, though this cannot always be achieved completely. The essay examines in a vast number of examples, how the creation of the names was done in the Polish original, and if and how Makarczyk & Schuster succeeded in translating the plays. (Translated by Karl-Heinz Förster)

The submitted article deals with following question: which translation procedures are used in translation of literary names and in what scope. We offer the answer based on the analysis of 4632 names from slovak translations of german literary works. In the analysed corpus we detected 9 procedures which we describe in closer detail. Subsequently we make provision also for the time aspect of origination of translation and statistically verify thesis that comtemporary translations are characterized by exotisation, whereas the translations from sixties and seventies of the twentieth century naturalized in a greater extent. In the article we interconnect the knowledge from literary onomastic and translatology, we describe in a closer detail individual phases of translation process, as well as the analysis of proper names.

This study combines two aspects of particular interest in the field of translation: the study of proper names, which, having a particular idiosyncrasy, make for especially interesting analysis in an interlinguistic context, and audiovisual translation, which, on account of the inherent restrictions governing a text of this nature, has particular characteristics. The precise aim of this study will be to analyse how proper names are dealt with in the two most established forms of audiovisual translation – dubbing and subtitling – using the German film Berlin is in Germany as an object of study. The Spanish dubbed and subtitled versions of the original German text will be analysed to determine the extent to which these two techniques may influence the final result, given the specific limitations of each form.