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Journal articles on the topic 'Translations from Russian'
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1
Mukhetdinov, D. V. "The Slavic Qur’an Translation of the 16th–18th Centuries: Poland and Russia." Islam in the modern world 17, no. 3 (November 11, 2021): 45–82. http://dx.doi.org/10.22311/2074-1529-2021-45-82.
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This paper aims to continue and develop the research cycle on history of Qur’an translations in Europe. The paper deals with rethinking of possible background of Russian Qur’an translations, commonly traced back up to the first half of the 19th century. Ca. 1800 the tradition of Qur’an translating in Russia was already rich and varied in its scientific, literary and religious contexts. However, its origin could be found in the earlier similar tradition of Lithuanian Tatars, which was developed at least from the 16th century in intellectual space of the three states, namely Grand Duchy of Lithuania, Rzeczpospolita and Tsardom of Russia. This Muslim ethnocultural group shaped their own Qur’an translation school in the West Russian (Ruthenian, Old Belorusian) language closely related to modern Russian.
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Ó Fionnáin, Mark. "Opportunities Seized: From Tolstóigh to Pelévin." Studia Celto-Slavica 9 (2018): 63–78. http://dx.doi.org/10.54586/jmau5002.
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From the start of the Gaelic Revival in the 1890s to the present day, various Russian authors have appeared in Irish in translation, from Tolstoy, Chekhov and Pushkin in the early days to Kharms and Pelevin in more recent times. Although it is unlikely that many of those who have translated into Irish were doing so from the original Russian, this was indeed the case in several instances. The aim of this paper is to thus take a look at several of these translations from Russian in more detail, namely some of those done by Liam Ó Rinn, Maighréad Nic Mhaicín, an tAthair Gearóid Ó Nualláin and, in more modern times, by the author of this paper, and to examine the translators’ approach to the texts, in order to see how they made use of them to present their Irish-language reader with diverse cultural, linguistic or literary information. From the point of view of culture, this paper will also look at how they set about the task of rewriting Russian names and nouns in their Irish texts, looking at whether they relied on English forms, or attempted to rewrite them in Irish according to its strict orthographic rules. This is in contrast to the English – and other – translations of the same eras, which tended to ignore such opportunities to expand their readers’ knowledge of Russia and the Russians and about which, in relation to one recent translation, one reviewer said it was “a missed opportunity”.
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Panfilova, Elena Gennadjevna. "The specifics of translating German nominalized infinitives into Russian (based on the Russian National Corpus of parallel German-Russian texts)." Philology. Issues of Theory and Practice 17, no. 5 (May 17, 2024): 1471–76. http://dx.doi.org/10.30853/phil20240213.
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The purpose of this research is to identify the peculiarities of translating German nominalized infinitives into Russian based on the Russian National Corpus parallel texts German-Russian corpus. The scientific novelty of this work is that for the first time it analyses the translation of German nominalized infinitives into Russian based on material that is not limited to the translation of works by individual authors, but includes contexts from texts of different functional styles (fiction, publicistic and scientific) and their translations by a number of professional translators. The article examines in detail the possibilities of translating into Russian both fixed and occasional single-component German nominalized infinitives formed from high-frequency verbs based on diverse linguistic material; it also analyses the grammatical and lexical-semantic transformations used in translation. The research reveals the specifics of translating German nominalized infinitives into Russian: it identifies the most and least frequent translation methods and presents the quantitative ratio of transformations performed during translation.
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Kozhirbayev, Zhanibek, and Talgat Islamgozhayev. "Cascade Speech Translation for the Kazakh Language." Applied Sciences 13, no. 15 (August 2, 2023): 8900. http://dx.doi.org/10.3390/app13158900.
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Speech translation systems have become indispensable in facilitating seamless communication across language barriers. This paper presents a cascade speech translation system tailored specifically for translating speech from the Kazakh language to Russian. The system aims to enable effective cross-lingual communication between Kazakh and Russian speakers, addressing the unique challenges posed by these languages. To develop the cascade speech translation system, we first created a dedicated speech translation dataset ST-kk-ru based on the ISSAI Corpus. The ST-kk-ru dataset comprises a large collection of Kazakh speech recordings along with their corresponding Russian translations. The automatic speech recognition (ASR) module of the system utilizes deep learning techniques to convert spoken Kazakh input into text. The machine translation (MT) module employs state-of-the-art neural machine translation methods, leveraging the parallel Kazakh-Russian translations available in the dataset to generate accurate translations. By conducting extensive experiments and evaluations, we have thoroughly assessed the performance of the cascade speech translation system on the ST-kk-ru dataset. The outcomes of our evaluation highlight the effectiveness of incorporating additional datasets for both the ASR and MT modules. This augmentation leads to a significant improvement in the performance of the cascade speech translation system, increasing the BLEU score by approximately 2 points when translating from Kazakh to Russian. These findings underscore the importance of leveraging supplementary data to enhance the capabilities of speech translation systems.
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Majidova, Fidan. "Analyzing of translation of similes from Russian into English in the novel “Eugene Onegin” by Pushkin." Scientific Bulletin 2 (2020): 161–72. http://dx.doi.org/10.54414/iocu3050.
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“Eugene Onegin” is the first Russian realistic novel. Pushkin noted that all events in it he wrote due to the calendar. In “Eugene Onegin” Pushkin gave the full picture of the life in Russia in 20s. For this reason, Belinski called the novel “encyclopedia of Russian life”. In comparison with the other languages there are a lot of adjectives in Russian. As it is seen from the Pushkin’s “Eugene Onegin” the author used adjectives in order to describe the objects. The novel was translated into English by Johnston and Ledger. Translation of the similes is complicated, because there is not such a notion “simile” in Russian. Therefore, it is very important to differentiate comparison and simile. What kind of translation preferred more? There are equivalent, analogical, descriptive and approximate methods of translation, which both translators used in their translations. The reason of which method of translation the translators preferred depends on the context and cultural elements, realties, historical facts, traditions and customs, which are different in Russia and in England. Therefore, the translators selected the best method which transfers the meaning of the Source Text perfectly, without losing its colorfulness. In general, the article consists of the lines taken from the original which are compared with the two versions of translations made by Johnston and Ledger. Both translators tried to transfer all colorfulness, emotions, customs and traditions to the Target language reader. The methods of translations used by translators are reflected in analyzes which are given under each example.
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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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Efremova, Lyudmila, and Galina Lashkova. "VARIANTS FOR RETRANSLATION CLASSIC WORKS OF LITERATURE (BY THE EXAMPLE OF W. SHAKESPEARE'S SONNET 116)." Linguistics & Education 3, no. 4 (December 12, 2023): 46–57. http://dx.doi.org/10.17021/2712-9519-2023-4-46-57.
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The article presents part of the research on retranslation in modern translation studies both in Russia and abroad. Some factors and causes are characterised as being important for choosing world classical works of literature, namely the status of the author and his/her creative works in the world community, his/her popularity at a certain time of the society development, the obsolescence of previous translations, from the view point of modern cultural realia, the aim of the translator to present his/her interpretation of the original text, etc. Of great importance is the study of William Shakespeare’s works who is a world literature classic. The translations of Shakespeare’s works into Russian are considered to be the best translations from English into a foreign language. The article analyses the degree of translation’s adequacy which is one of the most important criteria of translation quality.
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Inggs, Judith. "From Harry to Garri." Meta 48, no. 1-2 (September 24, 2003): 285–97. http://dx.doi.org/10.7202/006975ar.
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Abstract This article focuses specifically on two examples of fantasy stories and their translations into Russian: The Lion, the Witch, and the Wardrobe (Lewis 1950), a classic English fantasy story, and Harry Potter and the Philosopher’s Stone (Rowling 1997), a modern blending of fantasy with the traditional English school story. The analysis shows that the approach to translation is largely random. In the translations of The Lion, the Witch and the Wardrobe, there is some evidence of simplification as a strategy, and some confusion over the appropriate translation of cultural items in the translations of Harry Potter and the Philosopher’s Stone. Generally, however, the translators are shown not to have attempted to situate the stories in a Russian context, and have retained intact both the cultural backdrop and the moral values put forward in the works. A study of the reception of such works by young readers would provide valuable information about the success or failure of the translations discussed in this article.
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Onoshko, V. N. "Lexical and Stylistic Features of Translating Old Russian Literary Monuments into Russian and English Languages (“The Tale of Igor’s Campaign”)." Nauchnyi dialog 13, no. 5 (June 28, 2024): 104–23. http://dx.doi.org/10.24224/2227-1295-2024-13-5-104-123.
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This article explores the peculiarities of translating military vocabulary from the Old Russian literary monument “The Tale of Igor’s Campaign” into Russian and English languages through the analysis of translations by D.S. Likhachov, O.V. Tvorogov (modern Russian language), V. Nabokov, and I. Petrova (English language). The study employed methods such as the method of complete sampling, contextual analysis method, comparative method, and quantitative analysis method. The research focused on 34 lexical units used in 128 contexts. Based on the conducted study, the following conclusions can be drawn. (1) Translators of the aforementioned work into Russian mostly replaced archaic words with contemporary ones etymologically related to the original word, while preserving archaic words to convey historical color in translations. (2) Translations of the work into English showed translators’ tendency towards fidelity to the original text through the use of full and partial equivalents, approximate translation, and the method of generalization (selecting a word with broader meaning). Thus, the analysis of lexical units and their translation methods into modern Russian and English languages revealed translators' inclination to choose the translation variant closest to the original unit.
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Kazakov, G. A. "Lexical Aspects of Russian Bible Translations." Nauchnyi dialog, no. 6 (June 24, 2021): 59–77. http://dx.doi.org/10.24224/2227-1295-2021-6-59-77.
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The article is devoted to the study of the lexical aspects of Russian Bible translations of the 19th—21st centuries in comparative coverage and is a continuation of a study pre-viously conducted by reference to English Bibles. A historical overview of the existing Russian translations is given (the Synodal translation and the texts preceding it, the New Testament of Bishop Cassian, the Bible of the World Bible Translation Center, the “Central Asian translation”, the translation of Jehovah’s Witnesses, the Bible of the Inter-national Bible Society, the modern translation of the Russian Bible Society, the “Zaoksky Bible”). Special attention is paid to modern editions. Samples of texts are compared according to the lexical parameters of adaptiveness, terminologicalness, style and literalness. On the basis of this comparison, a classification of the considered translations is proposed, and their typological features and interconnections are established. The lexical nature of translations is interpreted in terms of their sociolinguistic effect (public perception). The data obtained confirms the pattern previously found in the English-language Bibles — the inverse relationship between adaptiveness on the one hand and terminologicalness, high style and literalness of the translation on the other. In terms of lexical characteristics, the Synodal and the “Central Asian” translations differ most from each other, which is probably due to their focus on church tradition and missionary goals, respectively.
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Bulycheva, Anna V. "Beethoven's Ninth Symphony: Russian translations of text additions." Contemporary Musicology, no. 4 (2020): 55–74. http://dx.doi.org/10.56620/2587-9731-2020-4-055-074.
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For almost a century, Beethoven's Ninth Symphony has been printed in Russia with equirhythmic translations—more than ten different editions including scores, choral parts, and arrangements with or without vocal lines. At the same time, the only publication that provides the name of the translator on its title page is the full score published in 1953. It bears the name of the poet Sergey Gorodetsky. The study of Russian publications issued from 1881 to 1986 identified four different translations. Two of them are of known authorship (in addition to Gorodetsky, the lines from Friedrich Schiller's Ode to Joy were also translated for singing by Victor Kolomiytsov); the other two are anonymous compilations. The article discloses the sources used by the compilers. Primarily, it is the Complete Edition of Friedrich Schiller’s works in Russian translation published by Nikolay Gerbel starting from 1857. The same Complete Edition was used by Pyotr I. Tchaikovsky during his work on the cantata To Joy in 1865. The other sources for compilations include an earlier Russian translation by Fyodor Tyutchev and some fragments of equirhythmic translations by Kolomiytsov and Gorodetsky. The latter were used in the full score edition published in 1963. In addition, we are likely to have discovered the earliest Russian equirhythmic translation. It was made by Victor Krylov at the request of Miliy Balakirev to mark the 100th anniversary of Beethoven's birth. The translation has never been published in musical editions. The article provides the complete text of the translation.
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Sapargalieva, A. M., and G. I. Kuldeeva. "Translation of Metaphors from English into Russian (Based on Stephen King’s novel «The Green Mile»)." Bulletin of L.N. Gumilyov Eurasian National University. PHILOLOGY Series 133, no. 4 (December 31, 2020): 103–13. http://dx.doi.org/10.32523/2616-678x-2020-133-4-103-113.
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This article discusses the features of the translation of the author’s metaphors on thematerial of Stephen King’s novel «The Green Mile» and two of its translations into Russian. Thearticle provides an analysis of metaphors in Stephen King’s novel and techniques for preservingthe author’s imagery in two translations of the novel into Russian by V.A. Veber and M.V.Opaleva
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Liu, Zhiqiang, and Hui Xiong. "Jiang Guangci as a Translator of Russian Literature into Chinese." Nauchnyi dialog 11, no. 10 (January 6, 2023): 220–36. http://dx.doi.org/10.24224/2227-1295-2022-11-10-220-236.
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The translation activity of the founder of revolutionary Chinese literature, Jiang Guangci, is considered. The novelty of the study is due to the fact that the translations of Russian and Soviet literature by Jiang Guangci are almost not studied in scientific circles. The relevance of the study is due to the importance of building and strengthening Chinese-Russian cultural ties, including in the field of translation of fiction, in which Jiang Guangci was successful in the 20s of the XX century. It has been established that Jiang Guangci’s translations corresponded to his revolutionary ideals, which he embodied in his original works. It is noted that Jiang Guangci's worldview determined his choice of Russian and Soviet works embodying revolutionary ideals for translation. It is shown that his translations received wide support from young people due not only to the content, but also to the simple, understandable language of presentation. The participation of Jiang Guangci in the literary discussion about the translation strategy is presented. Due to his good knowledge of the Russian, he made translations from the original, and not from Japanese translations of Russian works. The authors come to the conclusion that the translation activity of Jiang Guangci has not been sufficiently studied and has prospects for study.
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Ibodulla Kamolovich, Mirzaev. "Translations from French literature in 60-70s." International Journal on Integrated Education 2, no. 5 (November 4, 2019): 150–53. http://dx.doi.org/10.31149/ijie.v2i5.159.
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This article deals with translation practice the French literature in the Uzbek language. The ways of translation some stories in 60-70s are given in it. Several examples of translations in Uzbek, Russian and French are presented in this article.
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Rassokhina, Elena. "Shakespeare’s ‘Will sonnets’ in Russian." Contexts of Russian Literary Translation 11, no. 1 (March 31, 2016): 44–63. http://dx.doi.org/10.1075/tis.11.1.03ras.
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This article examines strategies implemented by Russian translators of Shakespeare’s sonnets 135 and 136 when dealing with puns on the word “will” in various senses. Seven translations spanning the period from 1880 to 2011 have been selected for analysis. These renderings of Shakespearian puns exhibit a wide range of translation strategies and various effects within the target texts. The analysis demonstrates that the majority of the selected translations reflect social taboos and censorship with regard to sexuality in Russian translated literature. However, two recent translations containing sexual allusions indicate changing norms in the post-Soviet period. Thus, translations of sexual puns may also be illustrative of the ways in which the target language’s norms influence the translators’ choices.
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Yimo, Li. "RUSSIAN ZOOSEMISMS IN THE MIRROR OF THE RUSSIAN-CHINESE DICTIONARY." Вестник Пермского университета. Российская и зарубежная филология 12, no. 3 (2020): 49–58. http://dx.doi.org/10.17072/2073-6681-2020-3-49-58.
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This research explores Russian zoosemisms as they are presented in the Russian Semantic Dictionary and the Dictionary of Offensive Words by L. V. Dulichenko and studies differences in the assortment of these words in the dictionaries. By comparing Russian zoosemisms with how they are rendered in the newest Large Russian-Chinese Explanatory Dictionary of the New Era, the author reveals inconsistencies between the original Russian interpretations and their Chinese translations. Only one-fourth of Russian zoosemisms are translated precisely in the Russian-Chinese dictionary. As for the rest of Russian zoosemisms, zoosemic meanings provided in Russian dictionaries are either not presented or their Chinese translations do not match the original interpretations. The research describes in detail the methods of interpreting Russian metaphorical meaning in the bilingual Russian-Chinese dictionary in a lexicographic perspective. It has been revealed that when translating Russian zoosemisms scholars mainly apply the description method, without using the respective Chinese metaphors; differences in interpretations provided by Russian and Russian-Chinese dictionaries are discussed in the article. The first method of translating Russian zoosemisms into Chinese is based on using Chinese zoosemisms stemming from the same zoonyms, having similar meanings. The second method is to use Chinese zoosemisms stemming from other zoonyms. The third one is to use comparisons, metonymy or metaphors not based on zoonyms. Various translation methods used demonstrate the difficulty in adapting Russian zoosemisms for Chinese learners and also reveal the common and distinguishing features of Russian and Chinese linguistic cultures.
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Mukhetdinov, D. V. "The History of Russian Qur’аn Translations (19<sup>th</sup> Century — Middle 20<sup>th</sup> Century)." Islam in the modern world 17, no. 4 (January 13, 2022): 41–62. http://dx.doi.org/10.22311/2074-1529-2021-17-4-41-62.
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This article is devoted to the history of the tradition of translations of the Qur’an into Russian from the nineteenth century to the translation by I. Yu. Krachkovsky. The article examines the background to the creation of these translations, their key features and their importance for the development of the Russian tradition of translation and interpretation of the Qur’an. Particular attention is paid to the importance of studying these translations of the Qur’an into Russian in the context of the development of the Russian tradition of Qur’anic interpretation and the Russian school of Islamic studies. The purpose of this study is also to attract Russian and foreign Islamologists and Qur’anologists to a thorough study of the heritage of the Russian tradition of Qur’anic translation and to consider the prospects of its development in the twenty- fi rst century.
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Davitova, N. "From the history of Spanish translations of Leo Tolstoy’s novel “Anna Karenina” made at different times." Philology and Culture, no. 2 (September 17, 2023): 135–41. http://dx.doi.org/10.26907/2782-4756-2023-72-2-135-141.
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The article discusses some publication features of the Spanish translations of Leo Tolstoy’s novel “Anna Karenina”, made at different times in the 19th, 20th and 21st centuries. The novel “Anna Karenina” has been translated into Spanish numerous times. To date, there are many translation versions that are of great interest in terms of their study and analysis, since each of the versions is a reflection of its historical era, allowing us to explore various linguistic phenomena. The Spanish reception of the novel “Anna Karenina” is considered within the framework of the history of Leo Tolstoy's oeuvre reception as a whole. This paper traces how the historical context and relations between Russia and Spain influenced the perception of Tolstoy in Spain. Particular attention is paid to the specifics of the first translations of the novel into Spanish, which became the starting point in popularizing one of the greatest Russian writer’s work in Spain. We also consider the role of popularizers of Russian culture in Spain, and its significant impact not only on the emergence of new translations of Tolstoy’s works, but also on the establishment and strengthening of Russian-Spanish literary connections.
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Rudnytska, Nataliya. "Contesting Ukrainian Nationhood: Literary Translation and the Russian-Ukrainian Conflict." Respectus Philologicus 42, no. 47 (October 7, 2022): 94–109. http://dx.doi.org/10.15388/respectus.2022.42.47.111.
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The use of literary translations as an ideological weapon in the Cold War era has received considerable attention from translation scholars. However, the same tendency in today’s world remains underestimated, and research tends to be limited to political and media discourse. This paper examines the use of literary translations in the contemporary RF for contesting Ukrainian nationhood, fueling anti-Ukrainian sentiment and providing public support for the Russian military aggression against Ukraine. The research combines analysis of translated texts with examining factors that influence (non)translation and reception of works highlighting Russian-Ukrainian relations. The study focuses on translations of works by Taras Shevchenko, Nikolay Gogol and Oksana Zabuzhko and the Russian public debate concerning the role of literary translations in the Russian-Ukrainian conflict.
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Grave, Jaap, and Ekaterina Vekshina. "Max Havelaar by Multatuli in Russia: The origins of translations." Scandinavian Philology 19, no. 1 (2021): 176–89. http://dx.doi.org/10.21638/11701/spbu21.2021.111.
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This article is dedicated to the Russian translations of the Dutch novel Max Havelaar or the coffee auctions of the Nederlandsche Handelmaatschappy (1860) by Eduard Douwes Dekker (1820–1887), who published his work under the pseudonym Multatuli. Max Havelaar is one of the best known and most translated works of Dutch literature. There are six complete Russian translations published between 1916 and 1959, which have not yet been analyzed. The authors hypothesize that German is the intermediate language in the Dutch-Russian literary transfer as research has shown that German often served as an intermediate language for translations into Scandinavian and Slavic languages during this period. In the specific case of Max Havelaar, the German translation by Wilhelm Spohr, who moved in circles of anarchists, served as an intermediate text. The authors also investigated whether the Russian translators used the English translation of 1868, but this was not the case. In the first part of this article, the biographies of the Russian translators, authors of forewords and editors who worked on the Russian translations are examined. In the second part, excerpts from the novel are compared with the translations to analyze the relationship between the texts. The results of the research confirm that the first Russian translations were based on Karl Mischke’s German translation, which had appeared almost simultaneously with Spohr’s. Traces of this translation can also be found in later texts. To the authors’ knowledge, it has not been shown before that Mischke’s translation and not Spohr’s was used as an intermediate text.
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Nurtdinova, Gulnara M., Svetlana S. Tahtarova, and Elmira K. Khabibullina. "Heritage of Tatar Literature from the Aspect of Translation." Polylinguality and Transcultural Practices 18, no. 4 (December 14, 2021): 442–50. http://dx.doi.org/10.22363/2618-897x-2021-18-4-442-450.
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The article presents the review of Tatar literature works and their translations into Russian and some other world languages. The Tatar literature has rich heritage, the first works of it (manuscripts) are dated back to the Middle Ages. The first printed works were published in the XVIII century as that time the Tatar language was the diplomatic language used in the communication between western and eastern countries. The time of XIX-XX centuries is considered to be the rise of the Tatar literature. Since that time the Tatar writers started writing their works in Russian that was caused by natural bilingualism established on the land of Tatarstan due to historical development. In the Soviet times the works of Tatar writers and poets written in Tatar were translated into Russian which is the intermediate language in the Russian Federation. After the collapse of the USSR Russia opened its boundaries and the number of translations of the Tatar writers works into Western and Eastern languages have been growing dramatically. Modern Tatar literature is continuing the traditions of the Tatar literature, the works of Tatar writers have been translating into foreign languages in order to present them to world community.
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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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Streltsov, Alexis A. "Reproduction of encrypted messages in fiction from English into Russian." RESEARCH RESULT Theoretical and Applied Linguistics 7, no. 3 (October 1, 2021): 57–71. http://dx.doi.org/10.18413/2313-8912-2021-7-3-0-5.
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This article examines cases where translators are confronted with messagesm whose meaning is obscured by a simple cipher. Russian translators had to overcome certain difficulties while translating certain passages in the works of British (Sir Arthur Conan Doyle, Agatha Christie) and American (Edgar Allan Poe, Dan Brown) fiction writers. Substitution code (―The Gold-Bug‖, ―The Adventure of the Dancing Men‖), anagrams (―The da Vinci Code‖), as well as different kinds of text steganography (―The Gloria Scott‖, ―The Four Suspects‖) can be used to encrypt the information. Each case is illustrated with two examples. The translator has to depict not only the very process of deciphering a message, but also render its cryptic nature with the means of a target language (Russian). We show, that in half of the cases it is a mere translation of the deciphered text. It is a simpler way, because there is no need to create an analogue thereof. The grand purpose, however, remains unachieved. In two instances there were multiple translations of the same text (6 of ―The Gold-Bug‖ by E.A Poe and 9 of ―The Four Suspects‖ by A. Christie). This phenomenon can be explained not only by the popularity of the stories, but by the relatively small circulation of certain editions. We have undertaken a comparative analysis of these translations and have revealed discrepancies, concerning more and less significant translation units and, in some cases minor errors.
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Streltsov, Alexis A. "Reproduction of encrypted messages in fiction from English into Russian." RESEARCH RESULT Theoretical and Applied Linguistics 7, no. 3 (October 1, 2021): 57–71. http://dx.doi.org/10.18413/2313-8912-2021-7-3-0-5.
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This article examines cases where translators are confronted with messagesm whose meaning is obscured by a simple cipher. Russian translators had to overcome certain difficulties while translating certain passages in the works of British (Sir Arthur Conan Doyle, Agatha Christie) and American (Edgar Allan Poe, Dan Brown) fiction writers. Substitution code (―The Gold-Bug‖, ―The Adventure of the Dancing Men‖), anagrams (―The da Vinci Code‖), as well as different kinds of text steganography (―The Gloria Scott‖, ―The Four Suspects‖) can be used to encrypt the information. Each case is illustrated with two examples. The translator has to depict not only the very process of deciphering a message, but also render its cryptic nature with the means of a target language (Russian). We show, that in half of the cases it is a mere translation of the deciphered text. It is a simpler way, because there is no need to create an analogue thereof. The grand purpose, however, remains unachieved. In two instances there were multiple translations of the same text (6 of ―The Gold-Bug‖ by E.A Poe and 9 of ―The Four Suspects‖ by A. Christie). This phenomenon can be explained not only by the popularity of the stories, but by the relatively small circulation of certain editions. We have undertaken a comparative analysis of these translations and have revealed discrepancies, concerning more and less significant translation units and, in some cases minor errors.
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Amalbekova, Maral B., and Bakytgul E. Shagimgereyeva. "“Translation is a child of science and art”: Gerold K. Belger’s translation principles." Philological Sciences. Scientific Essays of Higher Education, no. 3 (May 2021): 3–10. http://dx.doi.org/10.20339/phs.3-21.003.
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The article presents the experience of understanding the translation principles of the Kazakh multilingual writer and translator G.K. Belger. His knowledge of the German, Kazakh and Russian languages determined his special creative, practical and research translation experience. The hypostasis of Belger as translator-practice, translator-researcher is not sufficiently exposed to scientific reflection in Kazakh and Russian translation studies. His rich practice of translation and critical understanding of his colleagues’ translations from Kazakh into Russian and German allowed G.K. Belger crystallized translation principles and theoretical conclusions, which are valuable for the further development of a particular theory of translation from Kazakh into Russian and German, as well as for a special theory of translation — translation of fiction. The article is accompanied by quotations by G.K. Belger in order to provide the readers themselves with some of the important conclusions of the translator and critic, and not with the translations and interpretations of the authors of the article. His rich practice of translation and critical understanding of his colleagues' translations from Kazakh into Russian and German allowed G.K. Belger crystallized translation principles and theoretical conclusions, which are valuable for the further development of a particular theory of translation from Kazakh into Russian and German, as well as for a special theory of translation — translation of fiction. The article is accompanied by quotations by G.K. Belger in order to provide the readers themselves with some of the important conclusions of the translator and critic, and not with the translations and interpretations of the authors of the article. Another reason for the sufficient number of citations is related to the fact that the books of G.K. Belger has little access to the Russian translation researcher.
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Egorova, Anastasiia. "CHILDREN’S ADAPTATIONS OF THE CHARLES DICKENS NOVEL “DAVID COPPERFIELD” IN RUSSIAN." Children's Readings: Studies in Children's Literature 23 (2023): 299–331. http://dx.doi.org/10.31860/2304-5817-2023-23-1-299-331.
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The article describes Russian children’s adaptations of the Charles Dickens novel “David Copperfield”. The purpose of this paper is to find out whether the approach to its translation changed at different historical periods — during the Czarist-era, under the Soviet government and in contemporary Russia. In order to achieve this goal, we have analyzed those “David Copperfield” translations into Russian addressed to the younger audience that are accessible nowadays. The text has been envisaged from the translation studies, as well as philological and culture studies point of view. The study has shown that some Czarist-era translators finished the story with the end of David Copperfield’s childhood misfortunes, others attempted to make a brief account of the novel. In Soviet Union more complete translations were published, accompanied by a larger number of explanatory foot-notes and more commentary. Since the year 2000 there has been no attempt to make a new adaptation of the novel, there have only been published some translations of English adaptations and a revised edition of an older translation. What all the translations have in common is the omission of regional accents and other speech characteristics of Dickens’s characters. None of this seems to be related to the political history of the country, it’s rather due to translation ethics evolution.
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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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Burtseva, Alla O. "Strategies of Translation of Turkmen Poetry from the Almanacs of the 1930s into Russian: Preliminary Observation." Slavic World in the Third Millennium 16, no. 3-4 (2021): 125–48. http://dx.doi.org/10.31168/2412-6446.2021.16.3-4.08.
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The 1930s marked a period of active development for Turkmen-Russian translations, both for ideological reasons and owing to the nature of the literary culture at that time. Translations from Turkmen into Russian were carried out using interlinear translations, and the requirement was not only to create a successful adaptation, but also to adhere to ideological norms which had been implemented in the republics of Central Asia through literary policy. It is clear that we need to distinguish between translations of classical Turkmen literature and translations of 1930s poetry. In the latter case, it was the authors who met the state ideological requirements that were, from the outset, selected to be translated; in the former case, a classical work had to be adapted to the prevailing political trends. Nevertheless, one would be wrong to assume that translations from Turkmen into Russian were completely politicized. Descriptions of nature were translated alongside works that evidently were to accomplish ideological tasks. It should, however, be noted that poems of contemporary authors, unlike the classics, were rarely translated in full. As a rule, the translator was working with lengthy texts and only the best stanzas were selected for translation. The present article analyzes several 1930s poetry translations in comparison with their later versions (in particular, the works of Magtymguly, Kemine, Ata Nyýazow, and Amandurdy Alamyşow). The article aims to track the changes made to poetic texts depending on the contemporary trends that the translation had to follow. We suggest that the aim was not only to improve the translations and make them fit the Soviet literary tradition, but also to make them more consistent with the contemporary ideological agenda.
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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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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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Kitzlerová, Jana. "Поэма А. Блока « Двенадцать » в чешской среде." Babel. Revue internationale de la traduction / International Journal of Translation 67, no. 2 (June 9, 2021): 127–39. http://dx.doi.org/10.1075/babel.00210.kit.
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Abstract This paper consists of confrontational analysis of two Czech translations of Alexander Blok’s famous poem “The Twelve”: one by Bohumil Mathesius published in 1925 (4th ed. 1977) which was considered canonical for many generations of Czech readers; and the most recent one published by Lubor Kasal in 2016. The present study tries to ascertain which translation is more accurate and closer to the Russian original and to identify the flaws and mistakes from the stylistic and semantic point of view which can be found in both translations. The paper discusses whether the two Czech translations under study render the same aesthetic experience for Czech readers as the original for its Russian readers. Both translations are closely examined with emphases on several important aspects: the semantic density of both the original and the Czech translations; the rhythm of the Russian poem and of its Czech versions; the choice of suitable equivalents in both translations. In the end, the assessment of Lubor Kasal’s Czech translation is overall positive, as it meets the requirements for the translator and his translation without serious reservations.
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Emets, Tatiana, Angelina Emets, and Elena Potrikeeva. "Features of representing the subjunctive mood in natural languages (on the example of the translation of short stories by S. Zweig)." SHS Web of Conferences 55 (2018): 04008. http://dx.doi.org/10.1051/shsconf/20185504008.
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The article is devoted to the peculiarities of the representation of the subjunctive mood in the literary texts of natural languages (German and Russian). The subject of the study is the sentences with a subjunctive mood in German and Russian. The relevance of the study is due to difficulties in translating sentences with a subjunctive inclination from German to Russian. These difficulties are associated with a large formal discrepancy between the Russian subjunctive mood and the German, as well as the richness of the values of temporal forms in the German language. Research in this area will make it possible to achieve a more holistic view of the subjunctive mood in natural language (German and Russian) in translation and grammatical aspects. On the basis of the linguistic analysis, the authors explain how the artistic sublanguage texts represent the subjunctive mood and consider linguistic translation strategies in the Russian-language texts. The article contains examples from the artistic text in German and their translations into Russian, being accompanied by comments and conclusions, presented in the corresponding diagrams. The material of the study was the original novels of Austrian writer S. Zweig in German and their official translations into Russian. The results of the analysis can serve as a contribution to the theory and methodology of teaching the translation, to the practice of teaching the translation of German texts into Russian, and also in the process of studying the features of S. Zweig’s language and style and compiling machine translation programs for literary texts.
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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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Liapin, Sergei, and Igor Pilshchikov. "“Ein Fichtenbaum steht einsam” and the typology of the Russian dolnik (following Osip Brik’s, Boris Jarcho’s and Andrei Fedorov’s remarks on the Russian translations from Heine)." Studia Metrica et Poetica 2, no. 1 (July 7, 2015): 58–80. http://dx.doi.org/10.12697/smp.2015.2.1.03.
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This paper develops some of the ideas that were expressed at the meeting of the Translators’ Section of the Soviet Writers’ Union (28 December 1934) where Osip Brik’s talk on new Russian translations from Heinrich Heine was presented and discussed. Brik argued for equirhythmical translations of Heine’s dolniks and maintained that equimetrical translations are impossible due to the differences between the Russian and the German systems of verse. His opponents, on the contrary, argued for equimetrical translations and maintained that equirhythmical translations are impossible due to the differences between the accentual systems of the Russian and the German languages. Boris Jarcho, who presided the meeting, developed a theory, according to which every versification system is characterised by primary and secondary features. The primary features represent a determinist norm and should be reproduced in translation to the full extent, while the secondary features represent a statistical norm: they may be reproduced in a proportion that the language and the poetic tradition can afford and that is at the same time similar to the proportion found in the original text. The authors of the present paper discuss three Russian poetic translations of Heine’s celebrated “Ein Fichtenbaum steht einsam...” from the point of view of their equimetricity/equirhythmicity, and compare their metrical and rhythmical structures with various rhythmic types of the Russian dolnik.
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Борисова, Лидия Александровна. "NOMINATION OF STRUCTURAL ELEMENTS OF RUSSIAN LAWS: TRANSLATION ASPECT." Вестник Тверского государственного университета. Серия: Филология, no. 4(67) (November 24, 2020): 161–68. http://dx.doi.org/10.26456/vtfilol/2020.4.161.
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В статье предпринимается попытка установить англоязычные переводные эквиваленты номинативным единицам, маркирующим структуру документов российского законодательства. На материале переводов Конституции РФ, кодексов и федеральных законов автором выстраивается иерархия переводных эквивалентов в английском языке. Делается вывод о допустимости разных переводческих решений в связи с выполнением переводом функции информирования, а не нормативного регулирования. The paper considers the issue of translating legislative texts from Russian into English. Special attention is paid to the structural elements of laws. By analyzing the translations of the Russian Constitution, some Russian codes and federal laws the author presents a hierarchy of English translation equivalents. The translation equivalents may differ since the translation itself performs informative rather than normative function.
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Kang, Xinyun, and L. V. Kushnina. "ONOMASTIC METAPHOR IN THE ORIGINAL AND TRANSLATION." Bulletin of Udmurt University. Series History and Philology 31, no. 6 (December 29, 2021): 1233–40. http://dx.doi.org/10.35634/2412-9534-2021-31-6-1233-1240.
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The authors of the article discuss the problem of translating an onomastic metaphor in humorous discourse, relying on the results of research in the field of proper name theory, cognitive metaphor theory, comic theory, discourse theory, and the theory of harmonious translation space, which are the research methodology. The purpose of the work is to show that the metaphorical onym, as a complex dynamic transformation of a proper name-anthroponym, has a high cultural potential, and in humorous discourse acquires a pragmatic humorous effect, reflecting the author's intention. The material of the work was the literary texts of A.P. Chekhov in Russian and their translations into Chinese, as well as literary texts in English by P.G. Woodhouse and their translations into Russian and Chinese. The choice of these authors is due to their belonging to the same historical era - the beginning of the twentieth century. The novelty of the research lies in the fact that the semantics of Chinese anthroponyms differs significantly from the semantics of English and Russian-language proper names-anthroponyms, which should be known and taken into account by the translator in the process of translating metaphorical meanings into Chinese in order to ensure mutual understanding of representatives of different linguistic cultures. Translations into Chinese are ongoing. Linguistic and translation analysis consists in identifying the level of harmony of translations of an onomastic metaphor, correlated with the nature of the reconstruction of metaphorical meanings and the humorous effect of the original. Such a translation is recognized as harmonious, in which there is a remetaphorization of the onomastic metaphor, accompanied by synergy - an increment of new meanings acceptable to the host culture.
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Akhmetzyanova, Dilyara R., and Aysilu G. Gilemshina. "Synonyms Reflecting Objects and Phenomena of the Metaphysical World in the Translations of Sacred Texts from Arabic into English and Tatar." Journal of History Culture and Art Research 6, no. 5 (November 28, 2017): 292. http://dx.doi.org/10.7596/taksad.v6i5.1249.
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<p>This paper analyzes the phenomenon of synonymy in translated texts in Russian and Tatar, with various existing and published translations of the Quran used as the main source. The primary goal of the study is to reveal the main regularities of the way synonyms function in the diachronic translations of the Quran into Russian and Tatar, as well as to follow the alterations in the vocabulary and stylistic norms of Russian and Tatar. Comparison between various translations allows shedding light on many of the peculiarities of the target language at the time the translation was completed and establishing the chronologic sequence of certain changes in the languages. The primary methods used in the study are the analysis of academic literature on the problem, consolidation of the prior research of synonyms in Russian and Tatar, studying text sources and dictionaries and comparison between the lexical units. The study shows that synonymic units found in the diachronic translations can be of varying degrees of equivalence. The most frequent in the diachronic translations of the Quran are the so-called partial synonyms, and this reflects the translators’ attempts to single out one specific lexical-semantic variant or a certain seme.</p>
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Zakharov, D. V. "Truman Capote in Russian translations." Voprosy literatury, no. 2 (May 27, 2019): 148–72. http://dx.doi.org/10.31425/0042-8795-2019-2-148-172.
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In his overview of the history of Truman Capote’s publications in Russia, the author follows a period from the first mention of the writer in 1948 until the appearance of his unfinished novel Answered Prayers in Russian in 2019. The article quotes documents from Russian archives, detailing the preparation of Capote’s works for publication, as well as reminiscences of translators: V. Chemberdzhi, M. Galperina, N. Staviskaya, and E. Romanova, who share personal impressions of their work with Capote’s texts, and their opinions about his stylistics. The article examines the quality of the Russian translations, dwelling on the less successful attempts. In addition, the author lists inaccuracies in the latest publications of Capote’s essays and short stories; he proceeds to point out spelling variations of the writer’s name and the titles of his books, which creates a bibliographical mess for publishers and scholars alike. The critic also mentions the discoveries he made in Capote’s New York-based archive in 2014, as well as his experience interacting with Capote’s literary executor Alan Schwartz.
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Baudin, Rodolphe. "Translation as Politics: Translating Nikolai Karamzin’s Letters of a Russian Traveler in Nineteenth-Century France." ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 11 (December 22, 2023): 163–84. http://dx.doi.org/10.21900/j.vivliofika.v11.1427.
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This article examines the three translations of Nikolai Karamzin’s Letters of a Russian Traveler published in nineteenth-century France. Relying on Descriptive Translation Studies so as to challenge the traditional narrative about the political innocuousness of Karamzin’s travelogue, it reconstructs the historical contexts of the three publications in order to highlight the political agendas of their translators and/or translating patrons. Far from being the innocent product of the translators’ sheer curiosity, the three translations prove to be political objects, used at three key moments in the history of Franco-Russian relations in the nineteenth century, in order to call for political change, to try and restore Russia’s damaged reputation, or to attempt to forge new diplomatic alliances.
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Dmitrii Vladimirovich, Tsvetkov. "Main forms of cultural relations between Russia and China in the XVIII century." Vestnik of Saint Petersburg State University of Culture, no. 2 (55) (2023): 68–74. http://dx.doi.org/10.30725/2619-0303-2023-2-68-74.
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Cultural relations with Orient have very important place in history and culture of Russia. Reasons of this are in geographical situation of our country. During hundreds of years, countries and people of Orient made large cultural influence into Russia. Although, Russian and Chinese relations are researched quiet fully, cultural relations and premises of their appearance were researched not fully. During this research we will try to disclose these premises and deduce most important periods of their foundation. Foundation of cultural relations between Russia and China had political and economic premises: exploration of Siberia and Far Orient by Russian people. In relation to these processes there was requirement to learn languages and cultures of people in these regions, including Chinese. With first Russian translators from Chinese and Manchu, there are first Russian translations of Chinese historical and philosophical texts appeared in Russia. These texts were used by researchers to write their scientific works. Another important aspect of foundation of Russian-Chinese cultural relations was in translation of Chinese Confucianistic philosophical books by Russian intellectuals of the XVIII century. Purpose of these translations was in spreading and popularization of Chinese traditional view of ideal person and policy. Thus, foundation of Russian-Chinese cultural relations had historical dependence, and in early period China made largest influence into Russia, this influence was realized through textual culture.
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Matveenko, Ekaterina. "Księgi Metamorphoseon by W. Otwinowski as the Source for Russian Translations of Ovid’s Metamorphoses in Early 18th Century: Nomination of Sanctuaries." Slavistica Vilnensis 66, no. 2 (December 30, 2021): 62–77. http://dx.doi.org/10.15388/slavviln.2021.66(2).71.
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The article examines the translation of lexemes nominating shrines in Polish Ovid’s Metamorphoses adaptation Księgi Metamorphoseon, to jest, Przemian od Publiusa Owidiusza Nasona Wierszami opisane made by Walerian Otwinowski in 1638. From this Polish verse translation in early 18th century was made both Russian translations of Metamorphoses. Thus the results of present study can be considered also as starting point for further examination of Russian translations. It is determined that in Otwinowski’s version lexeme kościół was chosen as a unified neutral equivalent for some different Latin nominations of pagan sanctuaries. Comparison with another Polish translation of Metamorphoses, Jakob Żebrowski’s Metamorphoseon, to jest Przeobrażenia ksiąg piętnaście (1636), shows that Otwinowski’s decision to translate different Latin lexical equivalents by unified lexical item is a distinctive feature of his translation. For further study in translation techniques in both Russian translations it is important that the Polish origin (Otwinowski’s translation) itself doesn’t represent a field for a variety of translation correspondences within considered lexemes.
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Vekshina, Ekaterina, and Irina Michajlova. "Is it worth multiplying translation multiplicity? From the experience of working on a new translation of Multatuli’s Max Havelaar." Scandinavian Philology 20, no. 2 (2022): 288–300. http://dx.doi.org/10.21638/11701/spbu21.2022.204.
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The article is written within the framework of a relatively new trend in translation studies — the study of translation multiplicity (or, in other terminology, re-translation) of fiction. It uses Multatuli’s Max Havelaar (pseudonym of Eduard Douwes Dekker (1820–1887)) as its research material. It is an anti-colonial novel with autobiographical elements that opened Dutch readers’ eyes to the real state of affairs in the Dutch East Indies. These days, Max Havelaar is enjoying a worldwide surge in popularity: between 2017 and 2022, its new translations and retranslations have been published in twelve languages, including English, French and Azerbaijani. The authors of this article, who were involved in creating a new Russian translation (the planned year of publication is 2022), analyse the work of their predecessors — the previous seven Russian editions of the novel, which were published from 1916 to 1959. The analysis leads to the conclusion that the previous Russian versions of Max Havelaar do not meet the modern norms of translation (in the terminology of G. Toury), since all the 20th-century translations of the novel were made not from the Dutch original, but from a German translation, which had been made from the abridged edition of 1871, and not from the full author’s version of 1875–1881. These translations are full of literalisms that do not take into account the context; they contain errors in understanding the author’s text and are unnecessarily difficult to understand. This is why there is a need for a new, modern Russian version, which will allow Russian readers to appreciate Multatuli’s famous book at its true value. The differences in translation strategies in the 20th and 21st centuries are listed and relevant examples are given.
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Vishnevskaya, Elena A. "Sequence Victimae Paschalis: an experience of comparing translations (English, Italian, Russian)." Vestnik of Kostroma State University 28, no. 2 (May 12, 2022): 168–74. http://dx.doi.org/10.34216/1998-0817-2022-28-2-168-174.
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The article is devoted to the analysis of translations of the medieval Latin sequence Victimae Paschalis into English, Italian and Russian. The texts selected on theological and popularization sites served as the material for the study. They were written during the 20th century and belong to different cultural traditions. The relevance of the study is due to the fact that in our time religious literature is considered as part of the global literary process. In particular, Christian medieval Latin hymnography is considered as part of the corpus of medieval poetic texts. The presence of modern translations into folk languages testifies to the interest in society in this genre. The tasks were to analyze translations and identify translation techniques and tactics, to explore the translation vocabulary, to consider the cultural component of the translations, to explore the texts in question from the point of view of the translators' worldview. The analysis showed that sequence translations reflect different worldview systems and goals, which determined different translation strategies in the given languages.
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Zhang Xiao, Zhang Xiao. "Unknown Words (Agnonyms) in Russian Village Prose and Their Translations into English (Linguocultural Aspect)." Humanitarian Vector 18, no. 3 (October 2023): 67–77. http://dx.doi.org/10.21209/1996-7853-2023-18-3-67-77.
Full textAbstract:
The purpose of the article is to consider the ways of rendering Russian unknown words (agnonyms) in Russian literary texts about the village in translation into English and to analyze the lost functions and characteristics of Russian unknown words in English translation from the point of view of linguocultural differences between Russian and English. To achieve this goal, the following tasks were set: to compare the Russian text of V. Shukshin’s story The Bastard with the translation of this story into English and various ways of conveying the meanings of Russian unknown words in English texts. The relevance of this work is due to the difficulty of translating Russian unknown words into English and the urgent need to study how national cultures are reflected in different languages, the novelty is due to a new aspect of considering linguocultural differences between Russian and English. The full text of V. Shukshin’s story The Bastard and its English translation by R. Daglish were used as material. The methods of observation, contextual analysis and the comparative method were used. The following was established in the course of work. First, the presence of Russian unknown words in the text is a difficulty for translating the text into English; secondly, due to the differences between the Russian and English language pictures of the world, Russian unknown words can serve as a "key" for understanding some parts of Russian culture. There are five possible ways to translate Russian unknown words into English: (1) translation of a stylistically colored Russian unknown words by a stylistically neutral English literary word or phrase; (2) translation of a stylistically colored Russian unknown words into a stylistically colored English word or phrase; (3) semantic translations of unknown words with social and cultural significance; (4) rendering the same unknown word in different places in the text using different English words; (5) accompaniment of the unknown word by its English transliteration with the preceding generic name. Russian unknown words lose their expressive features in English translation in many cases.
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Krasnova, Elena. "The importance of translating Karen Blixen’s novel The African Farm from Danish." Scandinavian Philology 21, no. 2 (2023): 282–96. http://dx.doi.org/10.21638/11701/spbu21.2023.206.
Full textAbstract:
The importance of a new translation of Karen Blixen’s The African Farm is based on two factors: the book has never been translated from Danish (although the Danish version differs from the English version), and existing translations of the English version contain a number of inaccuracies. Karen Blixen’s book The African Farm was published in English in the UK in 1937 under the title Out of Africa. In the same year, Karen Blixen published the Danish text of the book under the title Den afrikanske farm. This book is not the only example of Karen Blixen’s own translations from English into Danish, as she also translated some of her short stories after their first publication in English. It is still a controversial issue whether her translations may be considered “copies” of the original works or they should be regarded as recreations in Danish. This article presents a comparative analysis of the English and the Danish texts of The African Farm which confirms that we are talking about two different versions of the work, since while creating the Danish text, Karen Blixen used several transformations: transpositions, substitutions, additions and omissions. The notion of “transformation” in this article implies a very wide range of modifications. The author makes significant changes to the original text. The result is a new text with quite a number of differences from English; the text that awaits translation from Danish. Out of Africa has been translated from English into Russian twice. The translations by experienced translators make a significant contribution to the history of literary contacts between Denmark and Russia; however, they contain a number of errors due to misunderstanding of Danish and African realities, as well as disregard for the specific situation. Translation of the Danish version of The African Farm is necessary not only because the Danish version has never been translated into Russian, but also because it would allow for the explication of some themes important for Karen Blixen that were “lost” in the translations from English. The present study does not presuppose consideration of literary aspects. It involves only differences between the Danish and the English versions of the novel, as well as the analysis of existing translations from English.
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Moresko, A. "Specifics of the Translation of Euphemisms in Ideological Discourse (for Example, the Vocabulary of the German Language During the Period of the Dictatorship of National Socialism)." Bulletin of Science and Practice 5, no. 12 (December 15, 2019): 531–35. http://dx.doi.org/10.33619/2414-2948/49/65.
Full textAbstract:
The focus of the research is on the ways of transferring the ideological component found in semantics of euphemisms when translating from German into Russian. Analysis is concentrated on the language of Nazi Germany with euphemization being one of the prevalent lexical means of propaganda and manipulation. Euphemisms were used to create the new ideological concepts and to delude the recipients as well as to distance the transmitters from the actions implied. The article takes into view some of them and analyzes the ways in which Russian historical tradition interprets them. It points out, that calque translation and explicitation are those ways of achieving equivalence that try at most fully convey the euphemistic connotations and their functions in ideology. The research also pays attention to the historical facts which led to the usage of euphemisms. Among the texts analyzed are the historic documents cited in German academic publications and their Russian translations. The results of the research can be applied in the further studies of the ideological aspects in discourse, theory of translation and in working on translations of historical literature.
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Находкина, А. А. "Якутское эпическое наследие и его международный перевод (1970-е гг. – начало 21 в.)." Эпосоведение, no. 4(16) (December 24, 2019): 80–87. http://dx.doi.org/10.25587/svfu.2019.16.44318.
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The article is a review of translations of the Yakut heroic epic olonkho into Russian and foreign languages. The review captures a large period, from Soviet times to the present. For the first time, such a study included unknown and little-known translations, as well as reviews on translations. The need to preserve and popularize the Yakut cultural heritage, represented by outstanding works of the Yakut classics, is confirmed by the history of Russia and of all mankind. The relevance of translation projects is due to the fact that in 2005 UNESCO recognized the Yakut heroic epic olonkho as a masterpiece of the oral intangible heritage of mankind, which, in turn, caused attention to olonkho in different countries. This fact inspired an interest to Yakut epic worldwide and stimulated translations of it into various languages and the research of these translations that supposed to be a tool for Northern cultural heritage preservation. The subject of the research is the EnglishThe significance of translations of the olonkho epic is determined by the features of the development of traditional communities at the present stage, their cultural heritage, which is in danger of extinction, is of particular concern. Olonkho - the ancient heroic epic of the Yakuts - is one of the brightest examples of the archaic folk epic. The olonkho formed the ideas of the Yakut people about the universe, a system of moral values, traditional beliefs and customs, the originality of language and culture. Particularly relevant is the question of the features of the translation of the Yakut heroic epic olonkho into the world languages. The uniqueness of the artistic world and the language of the epic olonkho determines the extreme complexity of its translation and significantly distinguishes it from all other kinds of literature. At the end of the twentieth century the Yakut heroic epic olonkho spoke not only in Russian, but also in other languages of the world. This paper considers translations of the Yakut epic olonkho into Russian, English, French, Korean, in particular, the full-text English translation of the olonkho Nurgun Botur the Swift by P.A. Oyunsky translations of olonkho Eles Bootur by P.V. Ogotoev and other epic texts. Translators of German, Turkish and Japanese also paid attention to various olonkho texts.
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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.
Full textAbstract:
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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Havumetsä, Nina. "A comparative study of information change in translation of nonfiction literature." Translation Matters 3, no. 1 (2021): 8–24. http://dx.doi.org/10.21747/21844585/tm3_1a1.
Full textAbstract:
The present paper compares translations from Russian into Finnish, Swedish, and English of a work of political non-fiction, Всякремлевскаярать: КраткаяисториясовременнойРоссии(lit. All the Kremlin men: A short history of contemporary Russia) by Mikhail Zygar (2016a) and investigates the use of information change as a translation strategy. Information change covers addition and omission of non-inferable content, used either separately or sequentially (i.e. addition following omission resulting in substitution). De Metsenaere’s and Vandepitte’s (2017) notions of addition and omission are applied. The study shows that the translations into Finnish and Swedish exhibit similarly infrequent use of information changing strategies while the English translation appears more liberal in their use. Possible reasons for the additions, omissions, substitutions, and their effects are discussed, as is the potential impact of the English translations on translation norms
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Nadel, Ira. "Notes from Underground: In English." Literature of the Americas, no. 11 (2021): 82–133. http://dx.doi.org/10.22455/2541-7894-2021-11-82-133.
Full textAbstract:
This chronological survey of English translations of Notes from Underground covering the years 1913–2014 evaluates the treatment of the text from various, often contradictory, perspectives. Well-known and unknown translators and editors offer sometimes opposing versions of the text aided by various ancillary materials which range from biographical information to a detailed chronology of Dostoevsky’s life plus excerpts from contemporary documents and modern critical evaluations. A number of the translations are designed expressly for students, others for those with limited or no knowledge of Dostoevsky, Russian history or the Russian language. No single introduction or translation emerges as the most insightful or accurate, although those of the last two decades are more idiomatic. Influencing this is often the background of the editor or translator. American editors focus on the context of Dostoevsky’s creation, English or Russian editors concentrate on the core elements that emphasize either the Russian literary tradition or late 19th century Russian politics and its importance for Dostoevsky’s conception of the story. Almost all editors consider the narrative experimentation of the work and the structural differences between Parts I and II. A number of the editors also address the Existential quality of the text, while translators confront the difficulties of capturing Dostoevsky’s sometime idiosyncratic prose.