Nataša Sardžoska was born in Skopje, in November 1979. Interpreter and translator (FR, EN, IT, ES, PT, MK, SR), journalist, Italian language professor, poet, writer and cultural events manager, she has been living, creating and working in Paris, Milano, Stuttgart, Brussels, Lisbon and Skopje. She graduated from the elementary Classical Ballet School in Skopje. She has a Bachelor of Arts degree in Latin Philology (Italian and French language) and Literature from the University Ss. Cyril and Methodius in Skopje, a Master of Arts Degree in Communication and Cultural Studies from the New University of Lisbon and the University of. Since November 2013, she holds a Doctoral Degree in Philosophy and Anthropology from the Sorbonne Nouvelle in Paris, the Eberhard Karls University of Tübingen and the University of Bergamo.
She has been working in international cooperation programs for the Senate of the Italian republic, Italian Embassy and Italian Cultural Center in Paris, the Italian Ministry of Justice, the National Antimafia Bureau, the International Organization for Migration, the World Bank, IBF Consulting, Agriconsulting Europe, the Macedonian Academy for Judges and Prosecutors, the Macedonian Government and the European Commission and as a higher education expert for the French National Agency for Higher Education Evaluation in Paris.
She has thought at the Schiller International University in Heidelberg, at the University for Tourism and Management in Skopje, at the University of Bergamo and at South-East European University “Max Van der Stoel” and delivered papers at conferences at the University of Belgrade, Faculty of political sciences, Universities in Copenhagen, the Central European University in Budapest and the Humbolt University in Berlin. In November 2012 she has been invited as panel speaker by the European Commission to deliver a paper on employability in Western Balkans on a regional conference on Higher Education in Dubrovnik. She is part of the working group KOSMOS Phantom Borders at the Humbolt University in Berlin, which gathers border studies scholars and researchers.
She was editor in chief of EMANATE the official magazine of the Erasmus Mundus Association in Brussels.
As writer, she cooperates with various reviews and magazines (Doppiozero, Milan; Blesok, Skopje; Transmidia, Rio de Janeiro). She has published three poetry books Blue Room, Skin, and He pulled me with an invisible string.
As literary translator she has published and translated from Portuguese and Italian languages the following authors: Saramago, Pasolini, Camoes, Carducci, Carneiro, Tabucchi, Collodi, Luzi, Pessoa, Couto, Baricco, Benni, Guilherme-Moreira as well as books for children from French and Italian language.
She likes travelling, writing, cooking, cinema, yoga and photography.
My presentation draws on some empirical and theoretical precedents of heterological betrayals in the process of literary translations and argues the creative role of the translator as second author, as re-creator, as messenger of the author’s voice. The original text is impregnated with personality, with authorship, with dense and intense fields of meanings and this represents a blurred curtain that the translator is compelled to reveal in order to grasp the morphology and the imagination of the author. In my experience as literary translator from Italian, French and mainly Portuguese language I have witnessed the discrepancy between the Latin and the Slavic languages and the difficulty to ponder on a reasonable solution (and avoid a compromise).
Therefore, I shall focus my talk on one specific case: the complex language of the Portuguese Nobel prize writer Jose’ Saramago, well-known for not using capital letters, unless it is in the beginning of the sentence, and for using only comma and full-stop signs, in a very long, complex syntax and infinite periods, composed of several sentences, which can exceed a page and a half.
This creates a certain burden in the process of decoding some parts of his vocabulary; yet, often one could even feel that the author communicates only with the translator in one exuberant dialogue between spatial, temporal and anthropological contexts. For this purpose I will give some examples and analyze with the audience similar experiences of producing individual matrix
of translation in cases where the literary translation becomes mission impossible.