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Journal articles on the topic 'Translation form Russian'
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1
Polilova, Vera. "Spanish Romancero in Russian and the semantization of verse form." Studia Metrica et Poetica 5, no. 2 (January 28, 2019): 77–108. http://dx.doi.org/10.12697/smp.2018.5.2.04.
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In this paper, I analyze Russian translations and close imitations of Spanish Romancero poetry composed between 1789 and the 1930s, as well as Russian original poems of the same period marked by “Spanish” motifs. I discuss the Spanish romance as an international European genre, and show how this verse form’s distinctive features were transferred into Russian poetry and how the Russian version – or, rather, several Russian versions – of this form came into being. I pay special attention to the genesis of the stanza composed of a regular sequence of feminine (F) and masculine (m) clausulae FFFm. In Johann Gottfried Herder’s Der Cid, this clausula pattern was combined with unrhymed trochaic tetrameters, but, in early twentieth-century Russia, it emancipated from this metrical form, having retained the semantic leitmotifs of the Spanish romance, as well as its “Spanish” theme. I contextualize other translation equivalents of romance verse and compare them to the original Spanish verse form. I show (1) which forms poets used in translating romance verse and how those forms correlate (formally and functionally) with the original meter. Further, I discuss (2) when and how the trochaic tetrameters rhyming on even lines (XRXR) – originally used in translations of Spanish romances in German and English poetry – became the equivalent of romance verse in the Russian tradition. Finally, I demonstrate (3) how, in Konstantin Balmont’s translations of Spanish poetry, the FFFm clausula pattern lost its connection with trochee. After Balmont, other poets of the Silver Age of Russian literature started using it in original non-trochaic compositions to express “Spanish” semantics.
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Chepiga, Valentina P. "Silver age of Russian poetry into French: towards the problem of poetic translation." Tyumen State University Herald. Humanities Research. Humanitates 8, no. 2 (2022): 79–93. http://dx.doi.org/10.21684/2411-197x-2022-8-2-79-93.
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This article studies the problems of translating Silver Age Russian poetry into French, namely Vladimir Mayakovsky, Anna Akhmatova, Marina Tsvetaeva, and Nikolai Gumilev. The author examines the main anthologies of Russian poetry published in France in the 20th century: the anthologies of 1947, 1965 and 1985, all three published by Paris publishers. This article focuses on the peculiarities of the translations, when analyzing the translation transformations and examining the strategies of translation practice in France. The linguistic form, consisting of the four macro-levels: morphology, word formation, vocabulary and syntax — is one of the most difficult both to translate and to compare translations. What strategies French translators use determines the degree of equivalence of the translation. The author also looks at the notion of the creativity of poetic translation and analyzes the strengths and weaknesses of rhyming and non-rhyming translations. Unrhymed translation brings us closer to conveying the meaning of the poem, but it deprives the poem of rhythm and melody, as well as reduces emotionality. A rhyming translation can convey the emotionality of the poem, but the search for rhyme can lead to approximation and diminish the equivalence of the poem. The author explains the choice of each translation strategy: in a rhyming translation, translators seek to preserve the author’s rhyme image, the “breath” of the poem; while in a non-rhyming translation, the translator is often “closer” to the original.
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Ryabko, Boris, and Nadezhda Savina. "Information-Theoretic Method for Assessing the Quality of Translations." Entropy 24, no. 12 (November 29, 2022): 1739. http://dx.doi.org/10.3390/e24121739.
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In recent years, the task of translating from one language to another has attracted wide attention from researchers due to numerous practical uses, ranging from the translation of various texts and speeches, including the so-called “machine” translation, to the dubbing of films and numerous other video materials. To study this problem, we propose to use the information-theoretic method for assessing the quality of translations. We based our approach on the classification of sources of text variability proposed by A.N. Kolmogorov: information content, form, and unconscious author’s style. It is clear that the unconscious “author’s” style is influenced by the translator. So researchers need special methods to determine how accurately the author’s style is conveyed, because it, in a sense, determines the quality of the translation. In this paper, we propose a method that allows us to estimate the quality of translation from different translators. The method is used to study translations of classical English-language works into Russian and, conversely, Russian classics into English. We successfully used this method to determine the attribution of literary texts.
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Amineva, Venera R. "Translation as a form of representation of the cultural boundaries." Philological Sciences. Scientific Essays of Higher Education, no. 6s (November 2022): 84–92. http://dx.doi.org/10.20339/phs.6s-22.084.
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Based on the material of the translation of poems of Tatar poets of the 60s, made by R. Kozhevnikova, the features of the representation of hybrid identity, which is carried out both “within”, “inside” homogeneous culture, and “on the boundaries”, “between” different traditions are studied. Unlike other Russian-speaking poets-translators such as R. Bukharaev, who is painfully experiencing a crisis of his identity, R. Kozhevnikova feels an organic involvement in the traditions of both Tatar and Russian cultures. It is concluded that in R. Kozhevnikova’s lyrics and in her translations of Tatar poetry, there is a synthetizing tendency focused on overcoming the boundaries between different historical and cultural meanings. But unlike the original works, which have specific accentuation and actualize ordinary relations between the word and the reality defined by it, in translated texts there are not identical value and semantic horizons. The means of clarifying the original text used by the translator as a form of inter-literary dialogue are described. It is stated that the transformation of an “alien” verbal and artistic practice in a “different” / “own” in the translation process is followed by the strengthening of the emotional and suggestive component of the text, its musical and sound, rhythmic and intonational instrumentation carried out by means of the Russian language, the development of subjective situation which makes the basis of the work, identification with the genres familiar to the Russian-speaking reader.
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Korkonosenko, Kirill S. "Spanish Classical Literature Translated by Konstantin Timkovsky." Literary Fact, no. 3 (25) (2022): 307–27. http://dx.doi.org/10.22455/2541-8297-2022-25-307-327.
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The article is the first analysis of the literary activity of Konstantin Timkovsky (1814–1881), translator and propagandist of Spanish literature in Russia. Unlike his predecessors, Timkovsky had a good knowledge of written and partly spoken Spanish and did not use intermediary translations. Timkovsky is also distinguished by the number of works and authors translated, namely Cervantes, Calderon, Francisco de Rojas, Leandro Moratín, Agustín Moreto. Being a pioneer in the direct translation of Spanish dramaturgy, Timkovsky assumed regular but inconsistent shortenings of texts: he omitted passages that, due to internal or external censorship, might have seemed obscene or affected religion. In Calderon’s drama “Life is a Dream” all references to Russia and Russians were replaced by Bohemia and Bohemians; instead of translating puns, Timkovsky uses comments: he declares that it is impossible to transmit the wordplay into Russian and quotes the original text for comparison. The most important and still nowhere mentioned feature of all Timkovsky’s works is the choice of prose for the translation of poetic dramatic texts. The sentence in the Petrashevsky case and the exile prevented Timkovsky from carrying out a large-scale project: to compile a translated set of Spanish literature and to write its “complete history” in the form of a series of articles.
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Remchukova, Elena N., and Ekaterina M. Nedopekina. "Difficulties in translating Russian classics: Pushkin’s novel “Eugene Onegin” in English and French." Russian Journal of Linguistics 24, no. 4 (December 15, 2020): 945–68. http://dx.doi.org/10.22363/2687-0088-2020-24-4-945-968.
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A translator of classical literature is faced with the task of identifying the goal and methods of conveying the national originality of a generally recognized literary masterpiece. The article considers this problem in the context of translations of the novel in verse Eugene Onegin by Alexander Pushkin into English and French. At the same time, it raises the questions of the translators attitude to their own work, the depth of interpretation of the original, the degree of adaptation of the original text for a foreign reader. In addition, a matter of great importance is the translators assessment of the result of their own work, which is reflected in their comments and preface to the translated text. The goal of this research is to substantiate the importance of the linguistic and cultural function of comments and prefaces, which also made it possible to identify the features of the translations themselves and emphasize their continuity. When translating works of classical literature, translators do not limit their task to the translation itself. In this regard, the preface-commentary complex is viewed in the article as an important part of the translators work. The research material includes about 40 English and over 10 French translations made in the 19th, 20th and 21st centuries and presented in chronological order. Mainly those that are accompanied by prefaces and comments were selected for the analysis. The research helps to present the translations of the novel not only in terms of continuity, but also in terms of their authors critical attitude to each other, thus bringing these components of translation into the focus of a professional discussion. As a result of comparing various translations, it is possible to identify the difficulties of literary translation of the novel Eugene Onegin , which include the preservation of its poetic form, the panoramic nature of its composition, including scenes of life of the 19th century Russian nobility, and the national spirit associated with the translation of national and cultural vocabulary. The research confirms that the very fact of numerous translations of this novel, which is paradigmatic for the Russian culture, can be viewed as a form of its worldwide recognition, regardless of the professional and reader's assessment of these translations. This enables us to speak of the existence of a strong tradition that has developed in European translation studies around this particular work.
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Alexeeva, Irina S., and Polina P. Dashinimaeva. "Criteria for evaluating literary translation: Buryat-Russian parallels." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2021): 22–31. http://dx.doi.org/10.20339/phs.5-21.022.
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Extensive translation experience, corresponding theories and concepts, and taking into account the needs of modern society for literary translation are the criteria for evaluating a literary text translation nowadays. The paper offers stages to form the like criteria for evaluating a translated literary text as an integrative multicomponent model. It takes into account aesthetic information, text coherence, systemic dominants and frequency of style features, diachronic distance, the translator’s individual style, the target language literary norm and society’s needs specifics. The components might be taken as nuclear ones while considering translations of the past and present, as well as a two-step translation through an intermediary language. However, when we are faced with translations from Russia’s regional languages into Russian, the named general criteria are not enough, since we ought to implement the strategy of cultural self-realization as well. Buryat-Russian translation parallels have made the authors come to a new criterion model.
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Tulkin,, Saydaliev. "ANALYSIS OF THE TRANSLATION OF ZAHIRIDDIN BABUR`S POEMS." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 03, no. 02 (February 1, 2022): 42–48. http://dx.doi.org/10.37547/philological-crjps-03-02-09.
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The article deals with the issue of translation of Zahiriddin Babur`s poems into Russian language by the connoisseur of the Uzbek classical literature Minevich Lev Penkovsky and the specific pecularities of translation of the poems. The special attention paid by the translator to the unity of form and content in the translation process, the original was reflected in the Russian language. It should be noted that the translator has accurately recreated mastered poetic elements, such as the redif, sound symbolism and have achieved classic rhymes of the rubaiyat. All this contributed to the interpretation of the main idea of the rubaiyat, inner feelings of the lyrical hero and historical realities. When translating rubais, L.M.Penkovskiy effectively used various artistic techniques and means, such as repetitions, rhyme, rhythm and metaphors. The article not only analyzes advantages of the translation forms in Russian, but some lacks and mistakes while expressing original content of Babur`s poems by the translator. For example, conveying the inner experience of the lyrical hero (which is the author himself) accurately, biographical information related to Babur personally are not carried out by the translator. These and other moments are specifically and critically reviewed in the work. However, all this does not detract from the artistic skill of the poet and translator L.M.Penkovsky, who made a lot of effort to ensure that the Russian reader could enjoy all the charm of the works of the recognized master of lyric lines Zahiriddin Muhammad Babur.
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Sycheva, Anastasia V. "Peculiarities of Reconstructing Russian Rhyme in English Translations." Polylinguality and Transcultural Practices 17, no. 1 (December 15, 2020): 59–64. http://dx.doi.org/10.22363/2618-897x-2020-17-1-59-64.
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The article deals with the problem of preserving the rhyme traditional for Russian poetry in translations into English. A brief analysis of Russian and foreign linguists’ works on the theory and practice of poetic translation shows that rhyme in English poetry does not play such a significant role as it does in Russian poetry. Opinions of English-speaking readers coincide with the opinion of translators. However, adequate versions of Russian poems in English with preservation of rhymes of original verses are the preferred type of poetic translation. The article deals with the problem of preserving the rhyme, characteristic of Russian poetry, in translations into English. The purpose of this scientific research is to conduct a brief analysis of the works of Russian and foreign linguists on the theory and practice of poetic translation to reveal the role and significance of the category of rhyme in English and Russian poetry. The author pays special attention to the opinion of translators of Russian poetry into English and English-speaking readers of translated Russian lyrics in the context of preserving rhyme or deviation from it. As a result of the conducted research, the author comes to the conclusion that rhyme does not play such a significant role for foreign linguists and translators as it does for their Russian-speaking counterparts. A more attractive form of poetry for them is vers libre. Consequently, the issues of rhyme reproduction for English translators are not of paramount importance. The main emphasis is on the meaning of the translated text, not its form. Opinions of English-speaking readers coincide with the opinion of translators. In addition, the article presents summary information of the conducted comparative linguistic analysis of 275 poems by B. Okudzhava and their originals. The analysis shows that in percentage terms the number of rhymed translations from the total number of translated texts is about 40%. However, the overwhelming number of English translations of poems Okudzhava - about 60% - belongs to unrhymed translations. Nevertheless, the author of the article emphasizes the need to preserve rhyme in translations as an integral part of the Russian classical verse and believes that adequate versions of Russian poems in English with preservation of original rhyme are the preferred type of poetic translation.
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Borisova, Yuliya Mikhailovna. "Main methods of Russian-Yakut translation of legal terms (based on the material of Russian-Yakut legal dictionary by B. N. Alekseev, V. N. Nikonov)." Филология: научные исследования, no. 8 (August 2020): 10–18. http://dx.doi.org/10.7256/2454-0749.2020.8.33644.
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The subject of this article is the methods of terminographical translation of legal terminology of the Sakha language employed in the Russian-Yakut legal dictionary. The goal of this work consists in determination of peculiarities of legal terminological lexicon and ways of conveying it to Yakut language. Terminographical analysis of the dictionary demonstrated that there is no strict rule for selecting the framework legal terms and terminological phrases. For example, the legal status of some commonly used words is questionable; the so-called “non-terminological” parts of speech manifest as the head term, and the form of feminine gender is presented excessively, which the authors propose on the equal basis with the form of masculine gender. This article is first to conduct a detailed analysis of instances of application of Russian-Yakut translation techniques of legal terms, such as equivalent, alternative translation, calquing, transliteration, as well as descriptive, situational and other translation methods. The article is based on the inductive-deductive method and method of selective sampling for terminographical analysis of translations of translation of legal terms and terminological phrases. The results terminographical analysis of the Russian-Yakut translation of legal allow concluding on the need for comprising the more extensive Russian-Yakut dictionaries of legal and sociopolitical terms.
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Pavlova, Maria V. "Three “Erl-Kings”." Imagologiya i komparativistika, no. 16 (2021): 29–38. http://dx.doi.org/10.17223/24099554/16/2.
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The scholars of Russian literature are very well aware of V Zhukovsky’s translation of Goethe’s “Erlkonig” (1782), published as “Lesnoy tsar’ ” (1818). However, none of the studies of Zhukovsky’s literary works mentions that Zhukovsky presumably used the English variant of the ballad by W. Scott for his translation of “Lesnoy tsar’ ”. W. Scott’s “The Erl-King” (1797) was written fifteen years after the original and almost twenty years before Zhukovsky’s translation. Thus, it can be assumed that V Zhukovsky, who was acquainted with W. Scott’s, couldn’t ignore the English translation of “Erlkonig”. If we compare V Zhukovsky’s and W. Scott’s tranlsations in terms of their closeness to the original, we can see that the former is significantly far from the original than the latter. Zhukovsky is faithful to the original in terms of the content, but he completely abandons the folklore stylistics of the original and traditionally organizes his text according to the ballad principles, which have already been developed in his original works. However, in his evolution, V. Zhukovsky follows W. Scott and draws on not only W. Scott’s early ballads but also his later narrative poems. By the moment when V. Zhukovsky starts translating Goethe’s ballad, he must have been acquainted with W. Scott’s narrative poems and other poetical pieces, which results in a difference between the original, English, and Russian translations. The closeness of Zhukovsky’s and Scott’s translation strategies can be seen not only on the level of content but also on the stylistic level. When creating “The Erl-King”, W. Scott focuses on the literary form of the ballad: even though his translation is quite close to the original, he transforms the poetical semantics and ballad form in the vein of sentimentalism, which can be also seen in his translation of Burger’s “Lenore”. The comparative analyses of the original and two translations by Zhukovsky and Scott allows making a conclusion that W. Scott’s translation of “Erlkonig” can be “interposed” between Goethe’s text, which is close to folklore ballad traditions, and Zhukovsky’s literary variant. If we take into account the undeniable fact that V. Zhukovsky looked to W. Scott’s ballads, we can say that early W. Scott’s literary pieces vector Zhukovsky’s translational creative works and play the role of a transition stage for Zhukovsky’s development as a poet and translator. It should be noted then, that later W. Scott returns to folklore variants of the ballad, while Zhukovsky remains faithful to the previously developed course to create his own philosophy of the genre.
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Shulipenko, Valeria V., and Yelizaveta S. Trofimova. "Pre-translation analysis of military texts on the example of chapters from the manual "Paramilitary formations in various countries of the world"." Focus on Language Education and Research 3, no. 4 (September 16, 2022): 62–70. http://dx.doi.org/10.35213/2686-7516-2022-3-4-62-70.
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The current military-political situation is of great interest to scientists. Texts devoted to these conflicts are actively studied by linguists, conflictologists, political scientists and other specialists from various fields of science. For a detailed understanding, translations of the original texts into Russian are made, but, unfortunately, typical mistakes are made during translation, namely, due to attention not being paid to the pre-translation analysis of the text. In universities, pre-translation analysis is studied only in general terms, often without taking into account the specifics of the translated vocabulary. All this adversely affects the quality of the translated text and, in particular, military texts. In this article, the author focuses on the importance of pre-translational analysis of texts, at its stages, and also gives several examples from the manual "Paramilitary Forces in Various Countries of the World". In the pre-translation analysis of military texts, it is important to take into account all the stages, you must not miss important points, otherwise the further translation will lose its accuracy, it will not correspond to the original language, important points may be missed. When you start working with a text, it is certainly important to determine its subject matter, you need to know the genre feature. If there is terminology in the text, it is necessary to determine all the subtleties of its use in two languages. The translator also draws attention to the fact that the abundance of proper nouns, which cause special translation difficulties, is dictated by the subject matter of the text. All the more important is the pre-translation analysis of the text before proceeding with the translation, in order to facilitate the process of understanding and reliable transmission of information. So, A.V. Skvortsova distinguishes two plans present in the text: the form plan and the content plan. When translating a text of any genre and subject, we set the following task: to replace the form plan of the original, while not changing the plan of content itself. The translator analyzes the source text (original), searches for and solves the translation difficulties he encounters, and as a result, bears full responsibility for the content of the text. When working with Chinese-language sources and materials, we often translate into several languages at once and analyze the results as we make unprecedented translations and appeal to the language traditions of other languages.
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Zhang, Huanyu. "RUSSIAN TRANSLATIONS OF AI QING's POEMS." Bulletin of Udmurt University. Series History and Philology 32, no. 2 (April 29, 2022): 350–54. http://dx.doi.org/10.35634/2412-9534-2022-32-2-350-354.
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The article is devoted to Russian translations of Chinese poems by Ai Qing. Ai Qing is an outstanding Chinese poet of the XX century. His fame has crossed the borders of the fatherland, and his work has become an integral part of world culture. Although since the 1940s many scholars have paid attention to Russian translations of Ai Qing's poetry, they have studied them and now there are many different translations, but there is still not enough research on these translations. The article is based on an analytical comparison of the poetic form and figurative content of the poems "Trees", "Spring", "I love this Land" with Russian translations made by such competent translation masters as L. E. Cherkassky, Yu.A. Sorokin and A. I. Gidovich. As a result, the author comes to the conclusion that Russian Sinologists overcame the untranslatability of a poetic form alien to them, vividly conveyed the charm of Ai Qing's poetry.
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Honcharuk, Ruslana. "H. HEINE "ENFANT PERDÜ": TWO TRANSLATIONS OF ONE POEM." Research Bulletin Series Philological Sciences 1, no. 193 (April 2021): 122–27. http://dx.doi.org/10.36550/2522-4077-2021-1-193-122-127.
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This scientific research is devoted to the attempt of linguistic analysis of Heinrich Heine's poetry "Enfant perdü" and its translations into Ukrainian and Russian made by the Ukrainian poetess Lesya Ukrainka. During the research the author comes to the conclusion that translations of works of fiction play one of the key roles in the process of interaction of cultures of different peoples. Poetry, as a component of fiction, is an important component in the process of spiritual rapprochement of different ethnic groups, their mutual enrichment and development. Undisputed in this process is the figure of the translator, as a bridge between the two cultural shores. The translator's work contributes to a deeper understanding of the foreign language reader and understanding of the mentality of the people whose literature he is acquainted with. And the original through translation gets a new existence in a new parallel projection. The translation of poetic works is considered important in this direction for the author of the investigation. Poetic translation is one of the most difficult areas of translation, as the translator must fully understand the poetic work, the author's idea and concept of the work, which should be fully communicated to the reader in the language of translation, so as not to change the impact of this work on the reader. the language of the original. To the tasks of the translator of poetic works, in contrast to prose, is added the requirement of compliance with the form, rhyme, size, which is not always possible. German, Ukrainian and Russian languages are somewhat similar in terms of poetic dimensions. That is why the Ukrainian poetess Lesya Ukrainka almost always manages to follow the poetic dimensions when translating from German. Poetry "Enfant perdü" is one of the key in the poetic heritage of Heinrich Heine, so it is of great interest to study attempts to translate it into different languages and different translators. And the creative genius of Lesya Ukrainka occupies an important place in this list.
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Valentinavičienė, Daina. "The Impact of Censorship on the Soviet Canon of English Literature in Translation: A Case Study of Joseph Conrad." Vertimo studijos 15 (December 30, 2022): 96–112. http://dx.doi.org/10.15388/vertstud.2022.6.
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The article gives an overview of translations of Joseph Conrad’s works into Lithuanian during the Soviet period (1940–1990), in an attempt to answer the question why some important titles belonging to the English Conradian canon had not been translated. Conrad’s Lithuanian translations are discussed in the broader context of translations into Russian in the former USSR, comparing to what extent the processes were similar and where they differed. On the basis of Soviet literary criticism, official publications in Russian and in Lithuanian, and paratexts in published translations, the article traces how the image of Conrad and his works was constructed for the Soviet readership. The article concludes that Conrad’s case was a form of less obvious (invisible) censorship when the writer is not banned, but through a careful selection of works for translation relegated to a narrow genre niche and ousted to the periphery of the Soviet canon of translated classical English literature. His socio-political novels (Secret Agent among them) were eliminated from translation into Lithuanian precisely because of their direct or indirect references either to Russia or to political themes. The comparison of Conrad’s bibliographies in translation reveals that Conrad’s presence in Lithuanian translations and literary research is markedly smaller than in Russian, which suggests that Conrad’s works were deemed more undesirable and access to them more restricted in one of the Western republics of the Soviet state than in its centre.
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Fakhrutdinova, Liliya I., and Venera R. Amineva. "Translation as a Form of Cross-Literary Dialogue (On the Material of the Translation of A. Yeniki’s Novel “Unvoiced Will” by S. Khozina)." Polylinguality and Transcultural Practices 17, no. 1 (December 15, 2020): 45–58. http://dx.doi.org/10.22363/2618-897x-2020-17-1-45-58.
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The Russian reader, who doesn’t know tatar language, can get to know A. Yeniki’s works only through their translated versions, that is why we need to analyze structural features of and the content of the translated texts in the aspect of cross-literary communication and dialogue. Jenre-stylistic transformations of the authentic work in the translated texts are revealed on the base of their comparative analysis. The base is his view on the translation as a form of the dialogue of cultures, reflecting interaction not only various national languages, but artistic models of the world as well. It is stated that, S. Khozinaresorts to the nazira genre in her translation of the “Unspoken will”. The main directions in which the cooperation of the translator and the author of the work is carried out are revealed: depiction of the inner world of the character is changed; the lyrical orientation of the narrative is enhanced; philosophical subtext of the told story is actualized, incriminating tendency deepens. The results obtained can be used in the solution of current problems of intercultural communication and the dialogue, in the preparation of the comments to translations of A. Yeniki’s works for the Russian reader.
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Zhuravlev, A. P. "ANALYZING PHILIP K. DICK’S “DO ANDROIDS DREAM OF ELECTRIC SHEEP?” TRANSLATION INTO RUSSIAN: TRANSLATION OF NON-EQUIVALENT LEXIS." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 86 (2022): 25–30. http://dx.doi.org/10.37313/2413-9645-2021-24-86-25-30.
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This paper is devoted to evaluation of the translation of the well-known novel called “Do androids dream of electric sheep?” written by the American science fiction writer Philip K. Dick. The original text is compared with its Russian translation made in the early 1990’s (assumingly by the group of translators). Due to these factors, as well as a number of other issues, the translation has several characteristic features; the reasons for these features to occur may be of particular interest both for professional translators and amateurs. Evaluation is carried out according to a number of aspects, and the present paper focuses on the first one of them, namely on how well the translator coped with the task of translating the non-equivalent lexis. The author of the paper explains what he means by the non-equivalent lexis in this particular research and analyzes the number of words and word combinations to find out whether their translation is adequate to what the author of the novel tried to express or not. The results obtained in this research can be used later to form the total characteristic of the job done by the translator.
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Arsentyeva, Yulia Svyatoslavovna. "Methods of translating nonequivalent units in the Russian-English Dictionary of Phraseological Euphemisms." Litera, no. 12 (December 2021): 137–46. http://dx.doi.org/10.25136/2409-8698.2021.12.37168.
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This article explores the problem of adequate translation of English equivalents of the Russian phraseological euphemisms in the compiled by the authors “Russian-English Dictionary of Phraseological Euphemisms” – the first bilingual dictionary of euphemisms. Special attention is given to preservation of the significative and denotative component of the meaning of Russian phraseological euphemisms in their translating into English. The subject of this research is the methods of adequate transmission of the semantics of nonequivalent reinterpreted Russian euphemisms. The goal lies in the description of possible methods of translating nonequivalent Russian phraseological euphemisms into English: the right part of the dictionary entry is still under study. The novelty of this research lies in the discussion of possible methods of translating nonequivalent phraseological euphemisms that combine the characteristic features of both phraseological and euphemistic nominations. These typical characteristics are reflected in the right part of the dictionary entry. The acquires results prove that existence of four methods of translating nonequivalent phraseological euphemisms: using loanwords, lexical, descriptive and compound translation; the letter is crucial in delivering necessary information on the Russian phraseological euphemisms. The conclusion is made on the need to include additional information on the peculiarities of euphemistic nomination of the Russian phraseological euphemisms in form of descriptive translation into English, as opposed to the method of translating nonequivalent phraseological units in the existing bilingual phraseological dictionaries.
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Arsentyeva, Yulia Svyatoslavovna. "Ways of translating non-equivalent units in the “Russian-English Dictionary of Phraseological Euphemisms”." SENTENTIA. European Journal of Humanities and Social Sciences, no. 2 (February 2022): 20–27. http://dx.doi.org/10.25136/1339-3057.2022.2.37238.
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The problem of adequate presentation of English counterparts of Russian phraseological euphemisms in the “Russian-English Dictionary of Phraseological Euphemisms”, which is the first bilingual dictionary of euphemistic units in both languages is presented. Saving significational-denotational component of meaning of Russian phraseological euphemisms while translating them into English is crucial. The subject is possible ways of adequate transmitting of non-equivalent Russian transferred euphemistic units' semantics. The aim is to determine and present possible ways of translating non-equivalent Russian phraseological euphemisms into English: the right part of the dictionary entry is under study. The research methods are: the method of continuous sampling, the comparative method, the method of phraseological description, developed by A.V. Kunin, the method of analyzing dictionary definitions, component (seme) analysis. The novelty of the research: for the first time possible ways of translation of non-equivalent phraseological euphemisms which combine the characteristic features of both phraseological and euphemistic nomination are discussed. The results prove that there are four ways of translating non-equivalent phraseological euphemisms: with the help of translation loans, lexical, descriptive and combined translation, the last one being most important in providing the necessary information on the euphemistic orientation of Russian phraseological euphemisms. Conclusions are made about the necessity to include additional information about the features of the euphemistic nomination of Russian phraseological euphemisms in the form of descriptive translation into English, in contrast to the way of presenting the translation of non-equivalent phraseological units in existing bilingual phraseological dictionaries.
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Shustova, Ellina V. "Russian Translations of Writings of J.R.R. Tolkien as the Stage of their Cultural Reception in Russia." Journal of History Culture and Art Research 6, no. 5 (November 28, 2017): 215. http://dx.doi.org/10.7596/taksad.v6i5.1244.
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<p>This article identifies problems of translation of J.R.R. Tolkien`s works to the Russian language. Due to complexity of their reception in the Russian literature and culture, these problems continue at the present time. The purpose of this article is to consider the translational interpretations as a form of reception of J.R.R. Tolkien`s works in Russia and perform analysis of relevant stages of the receptive process. The leading approach to the study of this problem is the methodology of receptive aesthetics; this takes into account the development trends of the method. This research shows that it is the translation, in many respects, that sets trends for further understanding of writings by J.R.R. Tolkien in Russia and includes them in a Russian cultural and literary context, as well as set their level of systematic perception. Contents of this article may be used for readings in general and special courses for Western literature at universities, and may be useful to a wide range of readers interested in the work of J.R.R. Tolkien.</p>
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MARINA I., SVESHNIKOVA, and SERNOVA ELENA I. "FEATURES OF THE TRANSMISSION OF PUNCTUATION MARKS IN THE TRANSLATION OF POETIC TEXTS FROM RUSSIAN INTO FRENCH." HUMANITARIAN RESEARCHES 79, no. 3 (2021): 65–71. http://dx.doi.org/10.21672/1818-4936-2021-79-3-065-071.
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The article is devoted to the problem of punctuation transmission in poetic translation. Punctuation helps to understand the written form of the text. The structure, meaning, and intonation of the utterance dictate the setting of the necessary punctuation mark. In poetic works, punctuation also serves the purpose of highlighting or emphasizing the most significant elements. The search for adequate means of conveying intonation and highlighting semantic segments leads to a combination of various additional ways of formatting the text. The individual style of a writer or poet in a literary text is conveyed through stylistically significant marks of the author's punctuation. The translator must decide whether to keep the author's punctuation, omit it, or include the punctuation marks of the receiving language in the translation. Poetic translation often leads to a significant rearrangement of the text, in which the punctuation component refers to other speech segments than in the original text, what was shown by the example of translations of I. Bunin's poetic works.
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Filippov, Andrei K. "Chrononyms in Stratagema Oeconomicum by S.Gubert and in Lifliandskaia Ekonomiia by M.V.Lomonosov (a comparative study)." Vestnik of Saint Petersburg University. Language and Literature 19, no. 2 (2022): 373–88. http://dx.doi.org/10.21638/spbu09.2022.211.
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Stratagema Oeconomicum by S.Gubert (first ed. 1645) is a German-language manual on farming in the historical region of Livonia. This German text, as well as its Russian translation Lifljandskaia Ekonomiia (“Economy of Livonia”) signed by M.Lomonosov (1747), contains numerous calendar dates in the form of proper names (chrononyms). Most of these names refer to religious holidays and Christian saints’ days of remembrance. A comparative study of chrononyms from the two texts approaches issues that were not fully resolved in previous works, namely, revealing the strategies used by the Russian author and identifying the reasons for deviations from the original text. An analysis of the linguistic material shows that in the selection of equivalents for German chrononyms, the Russian translator used both the Orthodox Church calendar and the traditional Slavic almanac. Many significant Christian figure are not represented in the Slavic folk calendar, and this led to cases in which names from the German book were replaced with names indicating different, albeit close, calendar dates. In addition, the days of remembrance of some Christian saints differ in the Western and Eastern traditions, which also caused a number of replacements with shifts in dates. Other factors, e. g. climate of Russia and the use of the Julian calendar, did not have a significant impact on the translation of chrononyms. The main aim of the adaptation carried out by the Russian translator, most likely, was the desire to present calendar milestones and intervals in a form familiar to the Russian reader.
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Yermolovich, Dmitry, and Pavel Palazhchenko. "The splendor and misery of "Intercultural Communication" teaching modules." English Studies at NBU 2, no. 1 (August 20, 2016): 5–16. http://dx.doi.org/10.33919/esnbu.16.1.1.
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The paper examines in a critical light the approaches and theoretical grounds of certain educational projects seeking to promote "intercultural competence" in translators, both in Russia, the contributors’ home country, and in Western Europe, as exemplified by a European Union project. Some textbooks as well as teaching material and recommendations are placed under scrutiny for consistency, relevance and value to the training of professional translators/interpreters, especially at postgraduate level. It is shown that some guidelines presented as an improvement on current translation teaching practices repeat or repackage ideas developed decades ago by Russian and Bulgarian translatologists. The paper argues that there is no special need for artificially implanting or isolating an "intercultural communication" module in translation teaching, as translation is itself a primary form of international and, therefore, intercultural communication, and the best practices of its teaching, at least in the leading translator/interpreter schools of Russia, have incorporated the cultural component in harmony with other essential translation competences for at least half a century.
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Lappo-Danilevskii,, Konstantin Yu. "Vyacheslav Ivanov’s Translations from Dante’s Vita Nuova." Studia Litterarum 7, no. 4 (2022): 292–315. http://dx.doi.org/10.22455/2500-4247-2022-7-4-292-315.
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In 1913 the Russian symbolist poet Viacheslav Ivanov (1866–1949) proposed to the famous patron of the arts Michail Sabashnikov a new Russian translation of Dante’s Vita Nuova for Sabashnikov’s publishing house. Shortly thereafter the poet began this work, which he was never to complete. In Ivanov’s lifetime, the only published evidence of this project was a part of chapter III from the Vita Nuova that he interpolated in his essay “On the Limits of Art” in 1914. Ivanov’s translations from various works of Dante were discussed for the first time by Pamela Davidson in her monograph The poetic imagination of Viacheslav Ivanov: A Russian symbolist’s perception of Dante (1989). Davidson devoted a chapter to Vita Nuova and its significance for the Russian symbolist. Continuing Pamela Davidson’s investigations, we examined all the material preserved in the Russian State Library (Moscow) that allows us to document Ivanov’s translations from the Vita Nuova: the drafts of chapters I and V and of an introduction that the poet planned for his Russian edition of the Vita Nuova. Among other things it was possible to decipher the draft of the masterful translation of the “sonetto doppio” from chapter VII. An addendum to the paper contains chapters XX and XXI from Dante’s Vita Nuova in Ivanov’s translation, likewise found in manuscript form in the Russian State Library.
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Karabekova, E., and S. Abdykadyrova. "Translating Methods of Realities in English, Russian and Kyrgyz Culture." Bulletin of Science and Practice 7, no. 11 (November 15, 2021): 448–54. http://dx.doi.org/10.33619/2414-2948/72/57.
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This article is devoted to the problem of translation of linguistic realities in English, Russian and Kyrgyz cultures. The article is an overview of the realities in the mentioned cultures. An attempt is made to find ways to overcome the linguo-ethnic barrier when translating concepts from the Kyrgyz language, reflecting the national character. The essence of this problem boils down to the fact that the main requirement of translation is to preserve the originality of the translated text and to study the cultural component of the text. It should be aimed at identifying the differences between the original and the translation, not only because of the linguistic form, but also because of the cultural one. The main purpose of the article is to analyze the elements of the linguistic specificity of translation of realities in English, Russian and Kyrgyz cultures. The subject of the research is ethnic elements — objective problems arising during translation, and methods of their solution, that is, the transfer of cultural realities during translation. The article examines the theory of cultural realities in the translation aspect and analyzes the main features and methods of translating words-realities. The selected realities are analyzed from the point of view of their translation methods to identify the most effective ones. To solve the set specific tasks, the following methods were used in the work: analysis, synthesis, classification and generalization of the data obtained. As a result of the study, material was obtained, the analysis of which made it possible to conclude that the choice of one way or another way to overcome the linguo-ethnic barrier depends on the situation of intercultural communication, as well as on the goals of the participants in the communication.
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Orazaev, G. M.-R. "ON RUSSIAN TRANSLATIONS OF DAGESTAN HISTORIC WORKS «DERBEND-NAMEH» AND «DARBAND-NAMA-YI JADID» (historiographic aspect)." History, Archeology and Ethnography of the Caucasus 13, no. 2 (June 15, 2017): 5–13. http://dx.doi.org/10.32653/ch1325-13.
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The article presents a historiographic review of various Russian translations of two Dagestan historic works - Muhammad AvabiAktashi’s «Derbend-nameh» and Mirza-HaidarVezirov’s «Darband-nama-yijadid» made from the early 18th century to the early 21st century. The author calls attention to the translations, which are still in handwritten form and have not yet been studied by scientists. Particular attention is also paid to those Russian translations that were published in incomplete or full versions. The first Russian translation of the «Book of Derbent» was done by Peter the Great’s companion YusupIzhbulatov in 1726, however, it remained unpublished. Among unpublished translations there are two manuscripts stored in the National Manuscript Center of the Republic of Georgia and the translation done in 1886 or 1887 by the famous Mountain-Jewish scholar I.Sh. Anisimov. The collection of unpublished Russian translations done by the staff of the Dagestan Scientific Institute in the 1930s is stored in the funds of the Scientific Archives of our Institute. The places of their storage in various cities - Petersburg, Moscow, Tbilisi, Makhachkala - are pointed out in the article. Some texts were published by the authors of Russian translations - Abas-Kuli Bakikhanov, Alexandra Kozlova, Maksud Alikhanov-Avarsky, Patimat Alibekova, Magomed-Said Saidov, Amri Shikhsaidov, Alikber Alikberov, Gasan Orazaev. Of particular interest to researchers is the translation of those lists of the «Derbend-nameh», in which there is a preface of Muhammad Avabi Aktashi from Endirei, the author of the historic work «Derbend-Nameh». It should be noted that the translations of this work into Russian were done not only from the Turkic language, in which the «Derbend-nameh» was written, but also from the Arabic language, in which it was presented many times.
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Bobodzhanova, Lola, and Valeriia Alekseevna Kuznetcova. "The peculiarities of translating English and Chinese children's fairy tales into the Russian language." Litera, no. 11 (November 2021): 203–18. http://dx.doi.org/10.25136/2409-8698.2021.11.36118.
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This article is dedicated to the peculiarities of translating English and Chinese children's fairy-tales into the Russian language. Analysis is conducted on such key concepts as “children's fairy-tale”, “literary tale”, and “folklore tale”. The author examines the development stages of English literary tale and Chinese folk tale as independent genres. The main translation transformations used in translating English literary tales and Chinese folk tales into the Russian are explored. Special attention is given to the translation of fairy tales as a form of cross-cultural dialogue due to the fact that such works are loaded with the ethnic-cultural components. The conducted analysis reveals the major challenges face by the translators in dealing with fairy-tale literature. The conclusion is made that the translation of fairy-tale requires taking into account not only the unique genre as such, but also the ethnic-cultural distinctness of different linguistic cultures, foreign mentality, and cultural identity. The scientific novelty consists in the attempt to establish whether it is possible to achieve success in cultural adaptation of English literary tales and Chinese folk tales into the Russian language. The acquired results indicate that the major challenge in translation and cultural adaptation lies in conveyance of cultural uniqueness, as well as ethnic, historical and national flavor of the original texts; it is essential to remember that translation of children’s fairy tale is part of the process of cross-cultural communication, and the translator must become an intermediary of the dialogue of cultures. Fairy tales bear the cultural code of a particular ethnos, being the key to comprehension of the worldview of its representatives. It conveys the socially significant information, embeds moral values, illustrates ethnic-cultural peculiarities, and preserves cultural heritage.
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Pospiszil, Karolina. "Bibliografia przekładów na język śląski w latach 2002—2018 / Bibliography of translations into the Silesian language in the years 2002—2018." Przekłady Literatur Słowiańskich 9, no. 2 (May 30, 2019): 103–18. http://dx.doi.org/10.31261/pls.2019.09.02.06.
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The bibliography includes translations into the Silesian language made both in the standard script as well as in the non-standard one. The starting point for translations into the contemporary Silesian may be dated back to 2002. Since then, there have been irregularly published, usually in the form of collections, translations of various literary genres (with a preponderance of poetic forms) from dozen or so world languages, such as: Greek, Latin, French, German, Polish, Mandarin Chinese, English, Welsh, Russian, or the Upper Sorbian. No single translation from Silesian into other language is included, since heretofore no such a translation has been made.
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Kashenkova, I. S. "Linguoculturological aspect of composites translation from german into russian." Philology at MGIMO 6, no. 4 (December 28, 2020): 75–81. http://dx.doi.org/10.24833/2410-2423-2020-4-24-75-81.
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The article highlights some features of German newspaper texts and related difficulties in translating them into Russian. The topicality of this study is explained by various linguistic and extralinguistic factors. The newspaper text should provide information in an understandable and accessible language form. However, in an effort to produce a greater effect on the reader, as well as to accommodate the maximum amount of information in a compressed form, journalists resort to special techniques to influence the reader, which, in particular, include the use of composites. The main purpose of the article is to remove some of the difficulties of translating composites in the German newspaper text, caused by implicit evaluation or background information (Trümmerfrau, Teflonkanzlerin, N-Wort), which requires additional “decryption” of the overall semantic meaning of the composite. To this end, the article analyzes the specifics of the German newspaper text, establishes the most active types of composites in German newspaper texts. The increased number of complex nouns in German newspaper texts is specified on the principle of linguistic economy, which is intrinsic to German communicative style, and German word formation. Options for translating rather difficult composites into Russian are offered. Attention is drawn to the transfer of the cultural specifics of the original when using lexico-grammatical transformations to preserve the semantic load of the original and its adequate translation. It is concluded that it is necessary to take into account the cultural specifics of composites in the German newspaper text when translating them into Russian.
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Дзапарова, Е. Б. "WAR LYRICS OF G. PLIEV IN THE 1960s IN RUSSIAN TRANSLATIONS: THE PROBLEM OF TRANSMISSION OF CONTENT AND FORM." Известия СОИГСИ, no. 45(84) (September 14, 2022): 89–106. http://dx.doi.org/10.46698/vnc.2022.84.45.003.
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В статье анализируется военная лирика известного осетинского поэта Гриша Дзамболатовича Плиева (1913-1999) 1960-х гг. в русскоязычных переводах. Цель исследования заключалась в изучении специфики поэтического перевода, включающей анализ репрезентации в переводах смыслового пространства оригинала, способов передачи формальной организации стиха. Объектом исследования выступают магистральные произведения Г. Плиева 1960-х гг.: баллада «Семь черкесок», стихотворения «Пепельница», «Пятый кинжал», цикл «В горном селении». Основным методом исследования является сравнительно-сопоставительный анализ, предполагающий сличение разноязычных текстов (оригинала, перевода) на формальном и содержательном уровнях, сопоставление отдельных структурных компонентов. В ходе сличения текстов выявлены основные переводческие решения в преодолении переводчиками трудностей, связанных со спецификой осетинского языка. При переводе военной лирики Плиева на русский язык переводчики стремились сохранить содержание и форму художественных произведений. Однако поиск способов преодоления языкового барьера не у всех переводчиков был направлен на выбор равнозначного варианта – эквивалента. Не всегда удавалось сохранить обыгранный автором в произведении художественный образ, передать идиостиль автора. Приходилось прибегать к стилистическим средствам переводящего языка. Функциональная замена способствовала сохранению коммуникативно значимого смыслового ядра переводимого отрывка. Некоторым переводчикам удавалось достигнуть равного впечатления в их истолковании, а местами и обогатить образы за счет дополнений, которые улучшали текст в целом. Лексико-семантические находки обеспечивали достижение переводом эстетического воздействия на рецепиента. Формальная структура переводных произведений в основном воспроизводила внешние черты стиха оригинала. Лишь в некоторых произведениях наблюдается выпадение рифмы в стихах, изменение строфики. The article analyzes the war lyrics of the famous Ossetian poet Grish Dzambolatovich Pliev (1913-1999) of the 1960s in Russian translations. The purpose of the study was to study the specifics of poetic translation, including the analysis of the representation in the translations of the semantic space of the original, the ways of transferring the formal organization of the verse. The object of the study is the main works of G. Pliev of the 1960s: the ballad "Seven Chokhas", the poems "The Ashtray", "The Fifth Dagger", the cycle "In the Mountain Village". The main research method is a comparative analysis, which involves the comparison of multilingual texts (original, translation) at the formal and content levels, the comparison of individual structural components. During the comparison of texts, the main translation solutions were identified in overcoming difficulties by translators associated with the specifics of the Ossetian language. When translating G. Pliev's war lyrics into Russian, translators tried to preserve the content and form of works of art. However, in their search for ways to overcome the language barrier, not all translators were aimed at choosing a corresponding option - the equivalent. It was not always possible to preserve the artistic image played by the author in the work, to convey the author's idiostyle. One had to resort to the stylistic means of the translating language. Functional replacement contributed to the preservation of the communicatively significant semantic core of the translated passage. Some translators have managed to achieve an equal impression in their interpretation, and in some places even enrich the images through additions that improve the text as a whole. Lexico-semantic findings provided the translation with an aesthetic impact on the recipient. The formal structure of the translated works reproduced the external features of the original verse. Only in some works there is a loss of rhyme in verse, a change in strophic.
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Volovyk, Anna. "Culture-specific Items from Ukrainian and Russian Fairy Tales: A Daunting Challenge for Translators." Studies about Languages, no. 39 (November 27, 2021): 19–32. http://dx.doi.org/10.5755/j01.sal.1.39.27577.
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Translation studies of children’s literature deserve meticulous attention today not only in the wake of active global publishing activity of books for children but due to the culture-specific information the latter may contain. Fairy tales are usually the first narratives children are introduced to and often these stories with a long-reproduction history reveal some features of national culture that form a child’s worldview. From this perspective, the research is set out to identify culture-specific items in fairy tales that originated from oral tradition and to determine what translation procedures should be used and what factors may influence the choice of the translation method. The corpus of the research includes the titles of East Slavic fairy tales limited by culture-specific items and their translations into English and German. Despite the period when translations were made and gender of translators, findings of our research show that in both languages source language-oriented translation procedures prevail in rendering proper names with denotative meaning, and target language-oriented translation methods are dominant for culture-specific common expressions and descriptive elements of proper names. The current research has allowed us to distinguish the factors that may influence the choice of a translation procedure. To this end, a scale of source language- and target language-oriented translation strategies of culture-specific items from fairy tales with the account of target reader’s age and genre has been provided for the translators to reveal the efficiency of certain translation procedures. Given the above, the study of culture-specific items in fairy tales requires a greater focus and thus further lines of inquiry are suggested in this paper.
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Шетэля, В., and V. Shetelya. "The Communicative Aspect of Treatment in the Texts of the Historical Novel H. Sienkiewicz, Translated Into Russian Language." Scientific Research and Development. Modern Communication Studies 8, no. 5 (September 24, 2019): 57–59. http://dx.doi.org/10.12737/article_5d776760e5a281.17266633.
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The article attempts to describe the methods of translation from Polish into Russian of such a communicatively significant form of etiquette as conversion. These word constructions containing the name and often the titles of nobility of the one addressed to were used in the Polish speech of the XVII century, as the Polish writer H. Sienkiewicz pointed out in his historical novel “Pan Volodyevsky”. Various forms of appeals, which were used by Polish nobles (gentry), directly indicate their communicative importance in this social environment. Here the lights and the gender issue, since communication occurs among men, ladies and also in mixed gender groups. Thus, this gender issue had to be solved by the translator when translating the novel by H. Sienkiewicz into Russian. In the article by comparison of fragments of the Polish (author’s) and Russian texts with participation of such units it is shown how constructions and terms of this communicative group were translated into Russian.
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Molchanova, Irma I., and Nadezhda V. Sokolova. "Features of translation of medical instructions from English and French languages into Russian (Pharmacological discourse)." Revista Amazonia Investiga 9, no. 26 (February 21, 2020): 52–59. http://dx.doi.org/10.34069/ai/2020.26.02.5.
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The purpose of the study is to reveal difficulties in translating instructions on the usage of medicines from English and French into Russian. Translation of medical instructions is a private form of medical translation that is in high demand. Each medicine should have a detailed description in Russian. With this document, a manufacturer guarantees to patient that subject to the prescribed standards, medicine will provide a certain effect that it is safe for life and health. The instruction is a kind of memo for a patient and a guarantee of the correctness of taking medicine. The authors of the article examined instructions for the use of medicines as genres of pharmaceutical discourse, highlighted the features of pharmaceutical terminology, examined ways to translate scientific terminology and vocabulary, analyzed translation techniques for transmitting vocabulary instructions for the use of medicines (translation of the instructions for the medicine «Sedalgin-Neo» from English into Russian, as well as instructions for the «Betaserk» medicine from French into Russian), errors were identified in their translation. The following research methods were used in the work: comparative typological method, empirical method, observation method, analysis and synthesis, a descriptive method, a method of comparative analysis of the original and translation, and generalisation of the obtained results. The theoretical significance of the study lies in the synthesis of theoretical material on the problem of translation of instructions for the use of medicines. The practical significance of the study lies in the fact that its results can be used in the practical activities of translators of specialized literature and in the development of special translation courses of scientific literature from French and English into Russian. In addition, the results of this study can be used in the development of educational materials for students of medical specialties, the organization of advanced training and the exchange of teaching experience.
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Khidirova, Gulnora N. "Syntactic Transformations in Russian Translations of A. Kadiri’s Novel “Past Days”." Polylinguality and Transcultural Practices 17, no. 3 (December 15, 2020): 375–84. http://dx.doi.org/10.22363/2618-897x-2020-17-3-375-384.
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The compared languages (Uzbek and Russian) belong to languages of different grammatical structure, which has a decisive theoretical and practical significance in the cognition of linguistic phenomena. The grammatical structure of these languages is determined by the nature of their syntax and morphology. Differences in languages at different levels of their system cause translation difficulties. This is the reason for the use of syntactic transformations in the translation process. The article analyzes syntactic transformations - transformations of the structure of a sentence or one syntactic type of sentence into another, based on the material of Russian translations of A. Kadiris novel Past Days. It is shown that transformations occupy an important place in literary translation, since it is often impossible to use correspondences from dictionaries. With the help of transformations, it is possible to change the internal form of lexical units or replace one or another syntactic structure for an adequate transfer of content. Based on factual material, the influence of lexical, grammatical and stylistic factors on the methods of interlingual replacement, means of compensation, various transformations, including syntactic transformations, is considered.
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Batalden, Stephen K. "Gerasim Pavskii's Clandestine Old Testament: The Politics of Nineteenth-Century Russian Biblical Translation." Church History 57, no. 4 (December 1988): 486–98. http://dx.doi.org/10.2307/3166654.
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Gerasim Petrovich Pavskii (1787–1863) was arguably the brightest pupil of Russia's most-noted nineteenth-century prelate, Metropolitan of Moscow Filaret Drozdov. Pavskii's work under the tutelage of Filaret dated from the future Moscow metropolitan's rectorate at the St. Petersburg Theological Academy, 1812–1817. Yet in the subsequent twenty-five years following Filaret's appointment to the episcopate in 1817, the young theologian and philologist Pavskii would break decisively with his former rector. That break culminated in the celebrated Pavskii Affair of 1841–1844—the so-called Delo Pavskogo—a far-reaching synodal investigation that dramatized the deep divisions in the Orthodox church of Nicolaevan Russia. On one level, these divisions involved issues of modern biblical textology. It is the thesis of this work, however, that alongside the textological issues were deep-seated differences over Orthodox piety and church polity that conditioned the responses of the esteemed metropolitan and the erudite theologian. This fundamental divide within Russian Orthodoxy was never reconciled and, indeed, has continued to the present in modified form within religious circles of the Russian emigration.
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Sattorova, Z. I. "TRANSLATIONS OF “DIWAN LUGAT-AL-TURK”." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, no. 06 (June 12, 2021): 21–28. http://dx.doi.org/10.37547/philological-crjps-02-06-05.
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Mahmud Kashgari's “Diwan lugat-al-turk” is a very unique encyclopedic source and has about 30 translations and publications. Especially in recent years, the full translation of the work into Russian and Kyrgyz, as well as the publication of new editions in Uzbek in 2016 and 2017, form the basis of new research on the divan. This article analyzes translations and editions of the work in foreign and Uzbek languages.
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Proshina, Zoya G. "Problems of the mediation function of East Asian English variants for Russian communicants." Philological Sciences. Scientific Essays of Higher Education 2, no. 6 (November 2021): 206–13. http://dx.doi.org/10.20339/phs.6-21.206.
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Communicating with Chinese, Japanese, and Korean users in English is a challenge for Russians, even if they have a perfect command of English. This is due to the fact that while performing a global function and retaining local features, the English language, non-native to its users, has specific phonetic features revealed as an accent in oral speech, as well as certain graphic innovations, which aggravates translating proper names and culture-loaded words into Russian in a written form of communication. The challenges result from co-existence of several transliteration systems in these languages, non-traditional sound and letter correlations as compared with British and American Englishes, non-traditional translation correlations when transliterating from Roman to Cyrillic. Translation problems proper are complicated by lexico-semantic and pragmatic factors, which can be interpreted only on the cultural basis. These challenges make it necessary to integrate the World Englishes paradigm into the courses of English departments, as well as preparing special textbooks and reference sources.
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Kislova, Ekaterina I. "“Latin” and “Slavonic” Education in the Primary Classes of Russian Seminaries in the 18th Century." Slovene 4, no. 2 (2015): 72–91. http://dx.doi.org/10.31168/2305-6754.2015.4.2.3.
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The article focuses on the issue of using the Latin and “Slavensky” (that is, the combined Russian and Church Slavonic) languages in primary ecclesiastical education in the 18th century. By the 1740s, seminary education in Latin had established itself in Russia. But primary teaching of reading and writing in Russian and Church Slavonic was the tradition until the end of the 18th century, regardless of where the teaching was taking place, either at home or at a Russian school affiliated with a seminary. Russian schools were organized for teaching illiterate or semiliterate children. But by the late 18th century, several seminaries attempted to reorganize “Russian schools” into ecclesiastical schools in which Russian would be the only language of instruction. Junior classes at seminaries were fully focused on teaching Latin, but Latin was by no means a complete replacement for Russian. The principal method of instruction was translation, and the administrators of many seminaries demanded attention to the quality of the students’ translations into Russian. Thus, Russian and Latin were functionally distributed in primary education. Only Church Slavonic was practically excluded from teaching after the primary courses of reading and church singing, and that preconditioned its conservation as a language used only for church services, leading to the extinction of the hybrid form.
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Wiatr-Kmieciak, Małgorzata, and Halina Wiatr. "Wasylisa Prekrasnaja i inni w rosyjskiej ludowej bajce magicznej." Studia Rossica Posnaniensia, no. 39 (February 23, 2016): 371–78. http://dx.doi.org/10.14746/strp.2014.39.37.
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The aim of this paper is to emphasize the importance of Russian folkliterature in the form of a fairytale and to show potential difficulties in translation. Folk literature cannot be seen only as a certain form of ordinary people’s artistic voice since it has been developing in parallel with the mainstream literature in Russia. Russian folk fairytale has a specific structure and form which does not exist in any other culture. Like in many other languages and cultures, there are certain names, descriptive adjectivesand other forms that are very challenging for translators. In this paper many examples are provided to support this hypothesis. It is almost impossible to translate certain Russian fairytales without “over-“ or “under-interpreting” the content, and the subject matter itself needs to be thoroughly elaborated.
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Nenarokova, Maria R. "Russian Byron in the XXI Century: Notes on Modern Translations of Sun of the Sleepless." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 81, no. 3 (2022): 32. http://dx.doi.org/10.31857/s160578800020756-7.
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This work reviews and analyses translations of Byron’s poem Sun of the Sleepless in modern Russia. Fourteen translations of this poem that appeared on the Internet from 2000 to 2021 serve as a case study. Of the ten authors, only two are professionally connected with literature. The rest are amateur translators. Analysis of the texts showed that, according to the classification of translations created by R.R. Tchaikovsky and E.L. Lyskenkova, all discovered translations are divided into four groups: translations-variations, translations-modifications, imitations and poems based on the original. Six translations-variations continue the traditions of the Russian translation school, conveying the form and content of the original with varying degrees of accuracy. Translations-modifications are characterized by a greater degree of freedom. They do not convey the form of the original, they make changes to the contents of the original, but their connection with Byron’s text is easily traced. Another group of texts refers to imitation translations: the author created five versions of the text, which are connected with the original only by an attempt to preserve the poetic meter and vocabulary. One more poem can be considered written to the motive of Sun of the Sleepless. The content of these texts differs sharply from the original. Here we can say that reading Byron awakened in the authors the need for their own creativity. A review of translations shows that Byron's lyrics are still in demand in Russia.
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Likhodkina, Irina. "Features of the transfer of quasi-realies of F. Herbert's science fiction novel “Dune” into Russian and French." Филология: научные исследования, no. 9 (September 2022): 1–11. http://dx.doi.org/10.7256/2454-0749.2022.9.37268.
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An integral feature of science fiction literature is the realities of the fictional world by the author or the so-called quasi-realities. The transfer of realities from one language to another is still an urgent problem of linguistics and causes difficulties for both beginners and professional translators. The purpose of this study is to identify and analyze ways to convey the realities of F. Herbert's novel “Dune” in translations into Russian and French. The choice of the actual research material – F. Herbert's novel “Dune” – was not made by chance. It is explained by the significant influence exerted by this work on the entire industry of world science fiction, the presence in it of all the classical elements inherent in this literary genre, as well as the undying interest in the Dune universe. In the course of the work, the following methods were used as the main ones: comparative analysis, the method of continuous sampling, methods of classification, interpretation and linguistic commentary. The article classifies the author's terminology of the novel and identifies the main groups of quasi-realities. These lexical units became the object of comparative analysis of the original text and its translations, which allowed to identify translation difficulties and ways to overcome them. Of particular interest for the study was not only in comparing the original with each translation separately, but also in comparing these translations with each other. As a result, it was found that when transferring the author's anthroponyms, most toponyms and ethnonyms in Russian translation, lexical transformations of transcription and transliteration were used, whereas in French their original forms were preserved. When transferring quasi-grammatical names in both languages compared, semantic translation, morphemic translation, calcification, creation of similar neologisms and, in rare cases, transcription/transliteration (in the Russian version) and preservation of the original form (in French) were used.
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Shorokhov, Vladimir, Olga Yastrebova, and Ekaterina Pischurnikova. "The Petition of Ambassador Āqā Ḥasan as a Source on the Micro‑History of Russian‑Iranian Relations in the Middle of the 17th Century." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 28, no. 2 (December 2022): 25–34. http://dx.doi.org/10.31250/1238-5018-2022-28-2-25-34.
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The paper is devoted to the document form RSAAA (Russian State Archive of Ancient Documents) from the archive files related to the arrival in Russia in 1645 of the ambassador Aqa Hasan. Of the entire file (491 folios), this is the only document drawn up in Persian. It is interesting that this document did not relate with the main purpose of the embassy's arrival — the financial claims of the Russian side against the rulers of Iran, the proceedings on which lasted from 1629 to 1645. The Ambassador asked for help both in solving everyday issues and in overcoming difficulties associated with logistics and the movement of goods. It is noteworthy that one of the articles of the petition, dedicated to the fate of the Khorasan captive, was not included in the Russian translation, made by the translator of the 18th century, and, accordingly, was not included in the report to the tsar.
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Glushneva, Iuliia. "Translation (Dis)Junctions, or Postsocialist Connectivity." A Peer-Reviewed Journal About 9, no. 1 (August 4, 2020): 94–107. http://dx.doi.org/10.7146/aprja.v9i1.121492.
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This article focuses on language transfer as a fundamental factor in the construction of postsocialist network technosociality. By looking at the early days of the Internet in Russia and the current landscape of the Russian-language cyberspace, it demonstrates that excessive translation activity becomes an essential tool of postsocialist integration with global network economies and cultures. At the center of this activity is voice-over, a form of “half dubbing” and a dominant screen translation practice on the Runet. While this article explores the histories and defining features of performance and labor of this practice, it argues that the voice-over translation is a mode of connectivity that exposes the centrality of asynchrony and distortion to postsocialist networking as well as to the network as such.
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Garrison, James D. "Thomas Gray’s Elegy in Russian Translation." Babel. Revue internationale de la traduction / International Journal of Translation 51, no. 1 (October 24, 2005): 49–61. http://dx.doi.org/10.1075/babel.51.1.04gar.
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Abstract Vasily Zhukovsky’s 1802 translation of Thomas Gray’s Elegy Written in a Country Churchyard, highly acclaimed in its time and since regarded as a crucial document for the study of Russian Romanticism, offers the reader of Gray an original but compelling approach to his most famous poem. Although generally faithful to the form and style of the English, Zhukovsky’s version nevertheless forecloses some possibilities of Gray’s poetic argument while creating others. By darkening the descriptive texture of the elegy, adding two crucial stanzas that weigh the significance of graveyard memorials, and reconceiving the figure of the narrator in relation to his environment, Zhukovsky concentrates the force of Gray’s most universal concerns. This is especially evident in the stanzas that reflect on the “frail memorial” to the village dead. Dispensing altogether with Gray’s “unlettered muse” and “rustic moralist,” Zhukovsky applies the moral of the gravestone to the reader: “we must learn to die.” Whereas this passage in Gray’s poem distinguishes the villagers, identified with what is “uncouth,” “unlettered,” and “rustic,” the corresponding passage in translation represses the distinguishing marks of rusticity, assimilates the argument of the stanzas to the general human condition, and thus concludes by invoking the collective pronoun. This passage in turn anticipates the epitaph, which is cast in strikingly Biblical language: the passersby are asked to pray over the grave of one now removed from all earthly anxiety, of one who has left behind all that within him is sinful, of one whose hope now is in his savior God. Zhukovsky thus transforms the grave from a “dread abode” into a place of refuge and establishes through his translation of Gray a model for Russian elegiac poetry. Résumé La traduction du poeme de Th omas Gray, Elegie ecrite dans un cimetiere de campagne, faite par Vassily Zhukovsky en 1802, unanimement saluee en son temps et depuis lors consideree comme un texte primordial a l’etude du romantisme russe, offre au lecteur de Gray une approche a la fois originale et attirante pour la lecture de son plus celebre poeme. Bien que generalement fidele et a la forme et au style originel, la version de Zhukovsky saisit neanmoins certaines nuances du debat poetique de Gray tout en en creant d’autres. En voilant la structure descriptive, en ajoutant deux strophes essentielles qui renforcent la signification des monuments funeraires, et en recreant le personnage du narrateur en fonction de son environnement, Zhukovsky concentre la puissance des preoccupations les plus repandues chez Gray. Cela est tout particulierement evident dans les strophes dont la reflection porte sur les fragiles monuments aux morts du village. Zhukovsky, rendant superflu la muse illettree et le moraliste rustique de Gray, applique la morale de la pierre tombale au lecteur: il nous faut apprendre a mourir. Tandis que ce passage particulier du poeme de Gray caracterise les villageois, les identifiant par ce qui est rude, illettre, et rustique, le passage qui lui correspond dans la traduction assimile l’argument des strophes a la condition humaine en general, concluant ainsi par l’invocation du pronom collectif. Ce passage precede a son tour l’epitaphe redige dans une langue etonnamment biblique: les passants sont invites a prier sur la tombe de celui qui est dorenavant depourvu de toute angoisse terrestre, de celui qui laissa derriere lui tout ce qui, en lui, etait peche, et dont l’espoir desormais reside dans son Dieu Sauveur. Zhukovsky transforme ainsi la tombe d’une demeure redoutable en un lieu de refuge et cree, par le biais de sa traduction du poeme de Gray, un modele pour la poesie elegiaque russe.
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Прокопьева and O. Prokopeva. "Modern stage pseudonyms through the prism of cross-cultural communication." Modern Communication Studies 2, no. 3 (June 27, 2013): 28–31. http://dx.doi.org/10.12737/595.
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The article presents difficulties which translators meet due to the name system during the translation from Russian into English and vice versa. The factors which influence the choice of this or that form during translation are described.
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Chinn, L. K., D. A. Momotenko, and E. L. Grigorenko. "A Russian Translation of the BRIEF2 Disproportionately Flags Typical Russian and Previously Institutionalized Individuals on Validity Scales." Клиническая и специальная психология 11, no. 2 (2022): 138–57. http://dx.doi.org/10.17759/cpse.2022110209.
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The Behavior Rating Inventory of Executive Function (BRIEF) is a commonly used tool for researchers and clinicians to assess executive functioning, especially in individuals with learning or other developmental disorders. Although it has been translated and used in multiple countries, the BRIEF has only been officially normed by its manufacturers in U.S. samples. In order to further the ideal of cultural sensitivity in psychological testing and examine whether the BRIEF functions appropriately in Russia and in its distinct subpopulations (e.g., individuals with an early history of adversity), we assessed the performance of its built-in validity scales by administering the BRIEF2 Self-Report Form to a Russian sample (n=572) either raised in biological families (n=315) or with a history of institutionalized care (n=257). Results indicate that, compared to U.S. norms, a large number of this sample was flagged for inconsistent or abnormal answers on the BRIEF2 validity scales. This finding highlights the importance of validity checks when psychological tools are used in new cultures, languages, and samples. Results point to a need for fine-tuning of the BRIEF2 Self-Report Form and/or its scoring system before widespread adaptation among Russian clinicians and researchers.
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Lukovtseva, Victoria Nikolaevna, Elena Nikolaevna Krivosheeva, and Alla Germanovna Sokolova. "The translation of the names of places and proper names from French to Russian." LAPLAGE EM REVISTA 7, no. 3D (October 12, 2021): 290–301. http://dx.doi.org/10.24115/s2446-6220202173d1719p.290-301.
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The article is devoted to the modern methods of translating the names of places and proper names from French into Russian. All languages have special letters, particular personal names, some of which are deeply rooted in the culture of the speakers of the particular language; consequently, they can create unique difficulties in understanding the culture-specific texts. It is interesting to note that some personal names have different allusions indicating gender, age, geography, history, specific meaning, playfulness of language and cultural connotations when omitting this implied information will result in an appropriate translation. To analyse the transmitting of the names of places and proper names and their meaning from one language to another were taken the translation transformations, transliteration method and practical transcription with the emphasis on providing and explaining numerous examples. It has been revealed that the translation of the names of places and proper names form French into Russian are actively influenced by extra-linguistic factors, including cultural, socio-political, economic, including the realities of the book publishing process and market conditions.
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Potyrańska, Agnieszka. "Obrazy postaci mitologicznych w oryginałach i przekładach wybranych wierszy Siergieja Gorodieckiego." Acta Polono-Ruthenica 3, no. XXIV (September 30, 2019): 149–59. http://dx.doi.org/10.31648/apr.4667.
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This article brings the idea on the subject of a mythopoetic approach to the characters from Slavic mythology in translations of poems by Sergey Gorodetsky into Polish. This article focuses on the following works: Полюбовники (1906) – Miłośnicy (1971) and Предки (without a date) – Przodkowie (1971). The intent is to analyse the translations and to track to what extent the trans-lator reflected the specificity of the characters from lower mythology (Russian леший, черт) pre-sented in the original, and how much their image has changed in the translation. The analysis will also focus on the “inner form of the word” (Potiebnia) to show how specific translational actions influence the perception of the lyrical situation shown in the poems. Finally, the extent to which equilinearity and equirythmicality have been preserved in the above-mentioned examples will be examined (Kwiatkowski).
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NEKRIACH, Т. N., and O. M. SUNG. "DYNAMICS OF RENDERING THE COCKNEY ETHNOSOCIOLECT IN THE UKRAINIAN TRANSLATIONS OF G. B. SHAW’S PLAY «PIGMALION»." Movoznavstvo 320, no. 5 (October 28, 2021): 49–60. http://dx.doi.org/10.33190/0027-2833-320-2021-5-004.
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This article reviews the strategies used in three Ukrainian translations of George Bernard Shaw’s play «Pygmalion» focusing upon different approaches to representing the sociolect Cockney. Two of the translations (done by M. Pavlov and O.Mokrovolskiy) resort to surzhyk — a mixed Ukrainian-Russian vernacular, thus employing the strategy of domestication, while the third, and the latest, one (done by T. Nekriach and N. Ferens in collaboration, with the general editing of T. Nekriach) rejects surzhyk in principle, proceeding from the idea that cockney is not a contamination of two languages but a socially and culturally marked set of deviations from the norm within one language. The latter translation unites foreignization in indicating the time and place of action and domestication in consistent using the Ukrainian supradialectal popular parlance, which is termed ad hoc the «harmonizing strategy» in the article. Cockney as a specific ethnosociolect has been researched in the translation perspective in the works of I. Akopyan, V. Komissarov, O. Rebriy, T. Nekriach, A. Hughes, P. Trudgill etc., which form the theoretical foundation of the present article. The aim of the article is to study and systematize the optimal strategies and tactics of reproducing Cockney in the available Ukrainian translations of «Pygmalion». The principal method of research is the comparative translation analysis, which allows to evaluate the gains and losses in employing a particular strategy in order to achieve a faithful translation. The topicality of the research is accounted for by the growing interest on the part of both practical translators and translation scholars in the appropriate handling of translation strategies and tactics within one text in order to reveal the author’s intent to the full with the retaining of the distinguishing features of the form. Special attention is paid to the specific «double» nature of drama works which requires taking into account the “pronounceability” of cues in translation. It is argued that M. Pavlov and T. Nekriach/N. Ferens take this parameter into account, translating «for stage», whereas O.Mokrovolskiy translates «for page» only, which results in his alternatives for Cockney representation being understood visually, not audially. The research prospects are seen in applying the proposed methodology to the study of recent Ukrainian translations of fiction in comparison with the previous ones in order to survey the dynamics and effectiveness of applying various translation strategies and tactics in reproducing a particular language or cultural phenomenon used in the original text.
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Timko, Natalia V. "Strategies of Cultural and Pragmatic Adaptation of Karachay-Balkarian Children Fairy Tales in Translation: The Limits of What is Possible and Permissible (Based on Translations of Karachay-Balkarian Fairy Tales into Russian and English)." Vestnik of Saint Petersburg University. Asian and African Studies 14, no. 1 (2022): 126–40. http://dx.doi.org/10.21638/spbu13.2022.109.
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The relevance of this study is due to the growing interest in translations of fairy tales of small peoples and methods of linguistic and cultural translation of the content of the text in the process of translation. The work is interdisciplinary in nature and is at the intersection of cultural linguistics, folklore studies, comparative linguistics, and translation. The aim of the work is to determine how information about the values of the Karachay-Balkarian linguoculture is verbalized in the texts of fairy tales in the Karachay-Balkarian language, as well as to analyze the advantages and disadvantages of strategies of linguocultural adaptation (explication or elimination of national color) of this type of text into Russian and English. To solve the set tasks, two complementary research methods were used: an introspective method, oriented to the process (the author’s translation of five Karachay-Balkarian fairy tales into English), and the traditional method of retrospective analysis for translation studies by comparing the originals of Karachay-Balkarian fairy tales and their published translations into Russian. The material for this study was the Collection of Karachay-Balkarian fairy tales and legends, the Collection of Karachay-Balkarian fairy tales (transl. by A. Alieva, A. Kholayev, 1983), the Collection of Karachay fairy tales (transl. by I. Rumyantseva, 1981), the Collection of folk tales of Balkarians and Karachays (transl. by A. Alieva, A. Kholayev, 2003). The novelty of the research lies in the fact that for the first time the Karachay-Balkarian fairy tale as a cultural narrative of the people is considered in the aspect of translation criticism. The translation of such tales is conditioned by both a culturally specific plot and the form that is its basis - cultural details, peculiarities of mentality, expressed in language and constituting a special axiological background of the Karachai-Balkarian fairy tale. When translating, a significant part of these formal elements can be neutralized by translators for the sake of children’s perception (use of analogues in the target text, omission, deliberate domestication of the source text), which, however, leads to the loss of the main thing - the national and cultural originality of the source text. When explicating the cultural characteristics, the translator makes the reader familiar with the national flavor of another culture, however, at the same time, some excessive culturally specific information is transferred into the target text, which can cause misunderstanding or distorted perception on the part of the child reader (for example, the topic of polygamy and the peculiarities of the distribution of roles in family). In this regard, a balanced approach to the choice of the optimal strategy for the cultural and pragmatic adaptation of fairy tale texts during translation is necessary: the translator’s decision to explicate or eliminate national cultural specificity is of a compromise nature.