Academic literature on the topic 'L. S. BARKHUDAROV’S TRANSLATION THEORY'

In recent years, the cultural-cognitive approach has played an important role in linguistics. This approach also has an important position in translation theory. In the process of translation, oral or written, the translator is obliged to make certain a me ndme nts to the te xt, ta ki ng i nto a cco unt so ci o -cultura l, psycho lo gi ca l, li nguo cultura l a spe cts. He /she sho uld ta ke i nto a cco unt the pe culi a ri ti e s o f bo th la ngua ge s, culture s, na ti o ns, e thni c gro ups i nvo lve d i n the tra nsla ti o n pro ce ss. Wo rds a nd a cti o ns tha t wi ll ma ke o ne pe o ple smi le , ca n i nfuri a te o the rs, due to di ffe re nce s i n culture a nd li ngui sti c pi cture s o f the wo rld. A mo de rn tra nsla to r ha s kno wle dge o f fo re i gn la ngua ge s, but a lso i s a be a re r o f the culture s o f the se la ngua ge s a nd a cts a s a tra nsmi tte r o f thi s culture i n tra nsla ti o n. I n thi s a rti cle , we ha ve tri e d to a na lyze the ro le o f the cultura l a nd co gni ti ve a spe ct i n tra nsla ti o n.

Abstract Severi varieties and Brill–Noether theory of curves on K3 surfaces are well understood. Yet, quite little is known for curves on abelian surfaces. Given a general abelian surface S with polarization L of type {(1,n)} , we prove nonemptiness and regularity of the Severi variety parametrizing δ-nodal curves in the linear system {|L|} for {0\leq\delta\leq n-1=p-2} (here p is the arithmetic genus of any curve in {|L|} ). We also show that a general genus g curve having as nodal model a hyperplane section of some {(1,n)} -polarized abelian surface admits only finitely many such models up to translation; moreover, any such model lies on finitely many {(1,n)} -polarized abelian surfaces. Under certain assumptions, a conjecture of Dedieu and Sernesi is proved concerning the possibility of deforming a genus g curve in S equigenerically to a nodal curve. The rest of the paper deals with the Brill–Noether theory of curves in {|L|} . It turns out that a general curve in {|L|} is Brill–Noether general. However, as soon as the Brill–Noether number is negative and some other inequalities are satisfied, the locus {|L|^{r}_{d}} of smooth curves in {|L|} possessing a {g^{r}_{d}} is nonempty and has a component of the expected dimension. As an application, we obtain the existence of a component of the Brill–Noether locus {{\mathcal{M}}^{r}_{p,d}} having the expected codimension in the moduli space of curves {{\mathcal{M}}_{p}} . For {r=1} , the results are generalized to nodal curves.

У статті проаналізовано стратегії відтворення часової дистанції в перекладі класичних текстів шекспірівських часів. Стратегії архаїзації, модернізації і нейтралізації часової дистанції досліджено на мовно-стилістичному, когнітивному і прагматичному рівнях. Стратегія архаїзації полягає у створенні образу минулої епохи через уживання архаїчних лексем і граматичних форм, буквальне відтворення когнітивних сценаріїв і прагматичних формул. Модернізація полягає у створенні образу сучасності як частини хронотопу інтегративно-текстового мегаконцепту перекладу, завдяки підбору сучасних відповідників, іноді з розмовними або вульгарними стильовими характеристиками, заміни архаїчних когнітивних сценаріїв та прагматичних формул на сучасні. Стратегія нейтралізації часової дистанції означає усунення часової маркованості художнього образу твору.
 Література
 References
 
 Baryshnikov, P. (2010). Metaphorical cognition and actualization of archaic concepts in thedaily discourse. Journal of International Scientific Publication: Language, Individual &Society, 4(1), 152–159 
 Bassnett, S. (2002). Translation Studies, 3rd ed. New York and London: Routledge,2002.
 Eco, U. (2000). Experiences in Translation. (A. McEwen, Trans.). University of TorontoPress.
 Hoyle R. A. (2008). Scenarios, Discourse, and Translation: The Scenario Theory of CognitiveLinguistics, Its Relevance for Analysing New Testament Greek and Modern Parkari Texts, andIts Implications for Translation Theory. Dallas: SIL International.
 Izard, C. E. (1991). The Psychology of Emotions. New York: Plenum Press.
 Jakobson R. (2000). On linguistic aspects of translation (1959) In: The TranslationStudies Reader. (pp. 114-118)., L. Venuti, M. Baker, (Eds.). Routledge London and NewYork.
 Jones, F. R., & Turner, A. (2004). Archaisation, Modernisation and Reference in theTranslation of Older Texts. Across Languages and Cultures, 5(2), 159–185.
 Kharmandar, M. A. (2014). Exploring archaism in translation theory and modern Persianpoetics: towards a Persian translation paradigm. Iranian Journal of Translation Studies, 12(46),40–56.
 Lefere, R. (1994). La traduction archaïsante: cervantes d’Après M. Molho. Meta, 39(1), 241–249.
 Malkki, A. (2009). Translating Emotions Across Time: Lewis Carroll’s Alice’s Adventures inWonderland. The Electronic Journal of the Department of English at the University ofHelsinki, 5. Retrieved from: http://blogs.helsinki.fi/hes-eng/volumes/volume-5/ translatingemotions-across-time-lewis-carroll’s-alice’s-adventures-in-wonderland-aila-malkki/
 MacDonald, P. S. Palaeo-Philosophy: Complex and Concept in Archaic Patterns of Thought /MacDonald, Paul S. In Cosmos and History: The Journal of Natural and Social Philosophy.Retrieved from: https://www.questia.com/read/1G1-170414880/palaeo-philosophy-complexand-concept-in-archaic
 McElhanon, K. A. (2005). From word to scenario: the influence of linguistic theories uponmodels of translation. Journal of Translation, 1(3). 29–67.
 Steiner, G. (1998). After Babel: Aspects of language and translation, 3rd ed. London andOxford: Oxford University Press.
 Schleiermacher F. (1992). On the different methods of translating In: Translation.History. Culture: A Sourcebook (pp. 141–166). tr. and ed. A. Lefevere. London, NewYork: Routledge.
 Venuti, L. (1995). The Translator’s Invisibility: A History of Translation. London and NewYork: Routledge.
 

AbstractAbstract Dialectical Frameworks (ADFs) are argumentation frameworks where each node is associated with an acceptance condition. This allows us to model different types of dependencies as supports and attacks. Previous studies provided a translation from Normal Logic Programs (NLPs) to ADFs and proved the stable models semantics for a normal logic program has an equivalent semantics to that of the corresponding ADF. However, these studies failed in identifying a semantics for ADFs equivalent to a three-valued semantics (as partial stable models and well-founded models) for NLPs. In this work, we focus on a fragment of ADFs, called Attacking Dialectical Frameworks (ADF+s), and provide a translation from NLPs to ADF+s robust enough to guarantee the equivalence between partial stable models, well-founded models, regular models, stable models semantics for NLPs and respectively complete models, grounded models, preferred models, stable models for ADFs. In addition, we define a new semantics for ADF+s, called L-stable, and show it is equivalent to the L-stable semantics for NLPs.

Cardinal interpolation by integer translates of shifted three-directional box splines is studied. It is shown that, for arbitrary orders, k, l, m ∈ N of the directional vectors, this problem is correct if and only if the shift vector is taken from the hexagonal shift region (modulo translation with respect to the lattice Z2). This confirms a conjecture of S. D. Riemenschneider [9], and settles the problem studied in [5] for the special case k = l = m in full generality. The method of proof is from homotopy theory.

The paper examines Polish reception of the poem by Sergei Yesenin “The Black Man”. It attempts to intertextually analyze the work at the level of various kinds of analogies with Polish poetic texts, translated and original. The subject of comparative analysis is the content-formal aspects of translated texts. At the same time, the theory of translation, becoming a part of the comparative methodology, allows one to reach a broader level of generalizations, cultural projections, and socio-historical parallels. The study addresses a number of translations (W. Słobodnik, L. Podhorski-Okołów, W. Broniewski, A. Pomorski), illustrating the degree of freedom of interpretation of a literary text, proportion of congeniality as a special criterion of poetic correspondence. The very process of circulation, transfer, continuous cultural exchange of motives, lyrical situations between the texts of different national literatures and linguistic elements came to be an undeniably important aspect of artistry as a new quality of imagery and the birth of “explosive” poetic meanings. The issue of cultural transfer allows perceiving in individual translation versions mental worlds of the authors refracted in them, life-creating and biographical contexts, as well as historical collisions. In this case literary translation acts as a reliable tool, through which typological and comparative-historical comparisons of poetic worlds are carried out. Analysis of the micro-poetics of texts, motif structure and sensory layer appears more or less convincing on the way of studying reception and a broad intertextual field of selected works.

This article discusses how, in addition to providing a definition for translation, the concept of equivalence may explain why we can say that sentence S in language L is a translation of sentence S1 in language L1. It analyzes two main kinds of equivalence that are used in analytical philosophy to define translation: semantic equivalence and functional equivalence. This analysis shows that drawing a distinction between semantic and functional equivalence is a way to understand the distinction between different levels or aspects of meaning. Both semantic equivalence, introduced by Gottlob Frege, and functional equivalence, proposed by Wilfrid Sellars, were developed in Donald Davidson’s theory of meaning. After discussing the limits of Davidson’s definitions of equivalence, this article will argue that functional equivalence is a reason for comparing Davidson’s philosophy to positions such as those expressed by Hans-Georg Gadamer’s hermeneutics.

This paper inquiries about the kitchen as space of vibrant materiality for representation and agency for art, design and architecture practices. On meeting the challenges posed by the coronavirus pandemic, it is not incidental that the 5th Istanbul Design Biennial curated by Mariana Pestana under the theme “Empathy Revisited: designs for more than one” has chosen the kitchen as a means to create spaces of discourses, exchange and collective reflection. Taking into account Jeffrey and Shaowen Bardzell’s view of “What Is ‘Critical’ about Critical Design?” (2013), this paper surveys the biennial’s programme “The Critical Cooking Show” which presents a digital programme of films, lectures and performances that reimagine the kitchen as a space central to design thinking and production. Deepening our sensibilities as to how criticality occupies design practices, we have to further understand the expanded space of the kitchen and what it really offers to expand the space of design. From the triangulation kitchen, design and process, evidence is searched for bridging process between the fields of kitchen and design following Buchanan’s theory of rethinking placements over categories by way of signs, things, actions and thoughts. Kitchen and design are thus understood as liberal arts disciplines seeking to privilege a placement-based approach to projectual practice where observations on the speculative allow reflections of the self and modes of action. Pallasmaa’s conception of an architecture of the senses, for whom the role of the body is understood as the locus of perception, thought and consciousness, helps explore and convoke the space of kitchen visited by artists and designers throughout recent history, as a means to establish relations between theories, processes, and projectual methodologies in kitchen and design. The reading of the space finds its translation through diverse processes applied by these creators leading to an understanding of a kitchen milieu: process as context. From the interpretation of the empirical work it is suggested that kitchen multiplies design (k x d). It implies that the context of kitchen multiplies the space of the discipline of design, becoming, in Buchanan’s term, a “quasi-subject matter of design thinking”. If so, kitchen as other placements may offer, or are open to receive and edify, an expanded view of the discipline of design. Deepening our sensibilities as to how criticality occupies design practices, we have to further understand the expanded space of the kitchen and what it really offers to expand the space of design. From the triangulation kitchen, design and process, evidence is searched for bridging process between the fields of kitchen and design following Buchanan’s theory of rethinking placements over categories by way of signs, things, actions and thoughts. Kitchen and design are thus understood as liberal arts disciplines seeking to privilege a placement-based approach to projectual practice where observations on the speculative allow reflections of the self and modes of action. Pallasmaa’s conception of an architecture of the senses, for whom the role of the body is understood as the locus of perception, thought and consciousness, helps explore and convoke the space of kitchen visited by artists and designers throughout recent history, as a means to establish relations between theories, processes, and projectual methodologies in kitchen and design. The reading of the space finds its translation through diverse processes applied by these creators leading to an understanding of a kitchen milieu: process as context. From the interpretation of the empirical work it is suggested that kitchen multiplies design (k x d). It implies that the context of kitchen multiplies the space of the discipline of design, becoming, in Buchanan’s term, a “quasi-subject matter of design thinking”. If so, kitchen as other placements may offer, or are open to receive and edify, an expanded view of the discipline of design.

At Leg. 666b7, Burnet's emendation of the transmitted λήθην to λήθῃ has been widely accepted. Newly discovered support for this emendation comes from an Arabic version or adaptation of Plato's Laws, most likely Galen's Synopsis, quoted by the polymath Abū-Rayḥān al-Bīrūnī (a.d. 973–1048) as Kitāb al-Nawāmīs li-Aflāṭun in his ethnographic work on India. I transliterate and translate the passage below, proposing two incidental emendations to the Arabic:wa-qāla l-aṯīniyyu fī l-maqālati l-tāniyati mina l-kitābi: lammā raḥima [sic pro raḥimati] l-ālihatu ǧinsa l-bašari min aǧli annahū maṭbūʿun ʿalā l-taʿabi hayyaʾū lahum aʿyādan li-l-ālihati wa-li-l-sakīnāti wa-li-ʾf-w-l-l-n mudabbiri l-sakīnāti wa-li-d-y-w-n-w-s-y-s māniḥi l-bašari l-ḫamrata dawāʾan lahum min ʿufūṣati l-šayḫūḫati li-yaʿūdū fityānan bi-l-duhūli ʿani l-kābati wa-ntiqāli ḫulqi l-nafsi [wa-yantaqila ḫulqu l-nafsi perhaps to be read] mina l-šiddati ilā l-salāmati [al-salāsati probably to be read].The Athenian said in the second book of the work [sc. the Laws]: The gods, taking pity on the human race since it was born for toil, established for them feast-days (dedicated) to the gods and to the Muses and to Apollo, overseer of the Muses, and to Dionysus, who gave human beings wine as a remedy for them against the bitterness of old age, so that they might be rejuvenated by forgetting sorrow and (by) the character of the soul changing [and (so that) the character of the soul might change perhaps to be read] from severity into soundness [into tractability probably to be read].The source of the latter part of the passage, that is, the description of Dionysus’ gift and its effect (māniḥi l-bašari…l-salāmati), has until now remained unidentified. In the notes to his translation, Sachau, followed by Gabrieli, correctly identified part of Leg. 653c–d (θεοὶ … ἔδοσαν) as the origin of much of the passage (see n. 4). No previous scholarship, however, has noted that the latter part translates a passage in Leg. 666b–c (τοῖς ἀνθρώποις … τὸ τῆς ψυχῆς ἦθος), here joined to the earlier passage (presumably by Bīrūnī’s source, that is, most likely Galen) on the hinge of their shared mention of Dionysus.

This paper discusses the circumstances of Shakespeare’s arrival in Indonesia via the translations of Trisno Sumardjo, published in the early 1950’s. Biographical material about the translator will be presented, and there will be a discussion of the characteristics the Indonesian language and of Indonesian verse which would determine the expectations of his readers, such as rhyme, meter and style, that would influence his renderings of the poetic passages in the Bard’s plays. These are illustrated in a sampling of passages from As You Like It, A Midsummer Night’s Dream, Macbeth and The Merchant of Venice. The Dutch translation of L. A. J. Burgersdijk was an indirect influence on the translations, and not always for the good. The paper concludes with a lengthy discussion of the extremely difficult problems that Sumardjo encountered in his translation of King Lear. This Lear was not published during the translator’s lifetime, Sumardjo’s prestige notwithstanding because he was not satisfied with the solutions he proposed.

Эта магистерская диссертация посвящена исследованию и сопоставлению переводческих трансформаций в рамках теорий Ж.-П. Вине и Ж. Дарбельне и Л. С. Бархударова с целью выявления особенностей каждой из них на фоне друг друга. Материалом сопоставительного анализа послужили монологи доктора Уотсона в первой главе рассказа А. К. Дойла «Скандал в Богемии».<br>This master’s thesis studies and compares translation transformations within the theories of J.-P. Vinay, J. Darbelnet and L. S. Barkhudarov in order to find out some of the peculiarities of said theories compared to one another. The analysis is based on comparing the translation of Dr. Watson’s monologues in the first chapter of the short story «A Scandal in Bohemia» by A. C. Doyle with the English source text.