Anotace:
‘When music is literature, it is bad literature. Music begins where words cease’ (Julian Barnes: ‘The Silence’). Nonetheless, many works of fiction have tried to describe music: a particular piece of music; a particular interpretation as perceived by the listener, the performer or the author; the process of practising and rehearsing music; the way notation speaks to us; the process of composing; or any other aspect of the musical world transferred into words. However, since Jacobson’s 1959 definition of intersemiotic translation, little has been written about how this translation of music into words actually works. This paper, lying at the intersection between literary and intersemiotic translation, proposes two models for translation analysis of musical passages in English fiction and their translations into the target language. The models have been created for the purpose of a PhD thesis dealing with 20th and 21st century English fiction that contains intersemiotic translation of classical music into words, and with the Czech translations of these works. The first model outlines criteria for analyzing the way the author of the original translates music into his or her mother tongue. The second model describes individual layers of a translated piece, taking into account the fact that to achieve the desired result, the translator may be forced to combine the ‘proper’ interlingual and intersemiotic translation (i.e. transmutation).