Analysis Of Rhythm Reproduction In English-Russian Literary Translation

2020 ◽  
Author(s):  
I. A. Vorontsova
Keyword(s):  
Literary Translation ◽  
Russian Literary

scholarly journals Encomium on the Twenty-four Elders ascribed to Proclus of Cyzicus (М. 591 f. 1r–11v)

2020 ◽  
Vol 3 (5) ◽  
pp. 1379-1396
Author(s):  
L. R. Frangulyan ◽  
V. V. Shtefan
Keyword(s):  
Russian Translation ◽  
Unknown Origin ◽  
Literary Translation ◽  
Book Of Revelation ◽  
John Chrysostom ◽  
Kingdom Of Heaven ◽  
Russian Literary ◽  
Eastern Traditions ◽  
The Church

The 24 elders are the biblical image that is found only in the Book of Revelation of John the Apostle. They surround the throne of God and are endowed with certain attributes of glory. In the Ancient Church this image was interpreted in different ways. This article presents the first Russian literary translation of Coptic text signed as Encomium in honor of the 24 elders. The translation was carried out from the edition, which was published with the Italian translation in 1977 by Antonella Maresca. The author of Encomium is declared Proclus of Cyzicus, who later became the Patriarch of Constantinople. However, this is a pseudo-attribution, namely, this hierarch did not write this Encomium, and its real author remains unknown. The Italian translator divides the text into 33 paragraphs, and in the preface to Coptic edition highlights the four parts of Encomium. Two of them, dedicated to John Chrysostom and the exegetical interpretation of the first chapter of Genesis, seem to be interpolations. But after analyzing the entire narrative it is possible to say that these parts are embedded in the narrative. Also the features of the Coptic veneration of the 24 elders, which are reflected in Encomium, are discussed in the introduction to Russian translation. In particular, the bodiless nature of the 24 elders. Their unknown origin is emphasized several times in Encomium, the priestly role of these elders in the Kingdom of Heaven is also noted. It can be stated that the author of Encomium in the first two parts acts as a storyteller-historian of the Church, conveying information about John Chrysostom, and in the last two as an exegete. The image of 24 elders in Eastern traditions is a little studied topic and acquaintance with the Coptic tradition thanks to the translation of this Encomium opens up opportunities for comparative studies.

BEOWULF IN RUSSIA. THE LANGUAGE OF THE OLD ENGLISH HEROIC EPIC IN RUSSIAN LITERARY TRANSLATION

2020 ◽  
pp. 226-239
Author(s):  
Natal'ya Yu. Gvozdetskaya ◽  
Keyword(s):  
Old English ◽  
Russian Translation ◽  
Literary Translation ◽  
Poetic Language ◽  
Heroic Epic ◽  
The Everyday ◽  
English Translations ◽  
Russian Literary ◽  
History Of ◽  
New Compounds

The paper is an attempt to analyze the methods of representing specific features of the language of the Old English poem Beowulf in the Russian literary translation of Vladimir Tikhomirov: alliterative collocations, synonymic groups, compounds and epic variations. These specific features of Old English poetic language are rendered in the translation through the diction of different stylistic coloring – both the high-style, even archaic words as well as the everyday words close to colloquialisms. Following the Old English poet, the translator uses the oral-epic manner of narration, neither reducing it to a limited stylization, nor turning it into an innovative experiment. The translator manages to convey the ability of the Old English poetic language to coin new compounds through creating ‘potential’ words that reveal the ‘open’ character of the Old English synonymic systems. The Russian translation of Beowulf is considered in the context of the history of English translations of the poem as well as studies of Old English and Old Scandinavian literature in Russia.

scholarly journals Olsztyńskie badania emigrantologiczne. Historia – stan obecny – perspektywy rozwoju

2019 ◽  
Vol 2 (XXIV) ◽  
pp. 15-24
Author(s):  
Iwona Anna Ndiaye
Keyword(s):  
Scientific Journal ◽  
Theory And Practice ◽  
Literary Translation ◽  
Related Research ◽  
The Status ◽  
Literary Relations ◽  
Russian Literary ◽  
Literary Process ◽  
History Of ◽  
Conducting Research

Olsztyn is an important center of emigrant-related research in Poland. The first works in this field were written at the beginning of the 1990s century. Currently, the results of research concerning the history of emigration literature are presented in the scientific series “The Luminaries of Russian Emigration”, “Theory and Practice of Translation”, “Between Words – Between the Worlds” and the scientific journal “Acta Polono-Ruthenica”.In 2018, at the Institute of Eastern Slavic Studies, UWM initiated a statutory subject Emigran-tion studies. Interpretation – Reception – Translation, which aims at conducting research focused on the description of history and heritage issues of cultural Russian emigration that can be assigned to such thematic areas as: history of the Russian literary process, issues of interpretation of the lit-erary text, Polish-Russian literary relations and literary translation. The essential focus the team is interdisciplinary research. The subject of the team’s research focuses on the most important aspects of emigration-related research, including the history of emigration, fate, the status of the emigrants and their spiritual, religious and political life.The author discusses the history, current state and perspective of Olsztyn’s emigration research, with particular emphasis on their international dimension.

Translators Talk about Themselves, Their Work and Their Profession: The Habitus of Translators of Russian Literature into Hebrew1

2016 ◽  
Vol 26 (2) ◽  
pp. 29-57
Author(s):  
Tanya Voinova ◽  
Miriam Shlesinger
Keyword(s):  
Group Identity ◽  
Russian Literature ◽  
Literary Translation ◽  
Dynamic Nature ◽  
Professional Activities ◽  
Distinctive Group ◽  
Russian Literary ◽  
Translated Literature

In his discussion of the habitus of translators throughout history, Simeoni highlights the submissiveness and invisibility associated with their inferior position and with their tendency to assimilate and internalize these views of their professional activities. In keeping with recent reappraisals of this position, the present paper examines the ways in which translators of Russian literature into Hebrew, from the 1970s to now, present themselves, their work and their profession—and reflect on their habitus, their conduct in the system of Russian literature translation, and their practice. From the theories of Bourdieu and of Even-Zohar, we explore these self-representations, and find that rather than presenting themselves as invisible, passive and professionally indistinct, these translators make a point of announcing their presence as well as of emphasizing their work. While they adopt different models, they nevertheless share a repertoire and both a social and a professional habitus—one that is a prerequisite for entering the field of literary translation, and particularly the subfield of literary translation of Russian literature, and for operating successfully in these arenas. It is in this way that they achieve status in the culture, accumulate capital and construct their (distinctive) group identity. In addition, the discourse of Russian literary translators points to the dynamic nature of their system and helps push it towards the center of the polysystem of Hebrew translated literature.

Russian Literary Translation in the View of Communicative Grammar

2021 ◽  
Author(s):  
Anastasia Urzha
Keyword(s):  
Discourse Analysis ◽  
Comparative Analysis ◽  
English Language ◽  
Language Use ◽  
Translation Studies ◽  
Literary Translation ◽  
Russian Literary ◽  
The Rose ◽  
Functional Syntax

The monograph concerns semantics and syntax of numerous Russian translations of Edgar Poe and Oscar Wilde’s tales. Comparative analysis of different variants of translation employs principles of Discourse analysis, Functional syntax and Communicative Grammar. Language use, composition and style of Russian translations of such tales as “The Oval Portrait”, “MS. Found in a Bottle”, “Berenice”, “The Happy Prince”, “The Devoted Friend”, “The Nightingale and the Rose” et al is described in the book. The monograph can be of interest for scholars studying Russian and English language, doing research in poetics or translation studies.

scholarly journals Three Faces of the Monster: Interpreting Disability and Creating Meaning in Translations of Alice Munro’s “Child’s Play”

2019 ◽  
Vol 11 (1) ◽  
pp. 85-103
Author(s):  
Anna Antonova
Keyword(s):  
Short Story ◽  
Literary Translation ◽  
Target Language ◽  
Original Text ◽  
Emotional Involvement ◽  
Socially Constructed ◽  
Child's Play ◽  
Russian Literary ◽  
The Relationship ◽  
Creating Meaning

This article addresses the problematics of creating meaning in literary translation by comparing three versions of Alice Munro’s short story “Child’s Play” translated into German, Ukrainian, and Russian. Proceeding from a fluid and unstable source text that represents the conflict of socially perpetuated normative thinking and non-conforming “monstrous” bodies marked by intellectual disability, the translators renegotiate the meaning of embodied otherness and its stigmatization in society in unique ways that reflect their personal perspectives on translation and individual agendas in their translation projects. Munro’s focus on the relationship between a special needs girl and the narrator responsible for her death exposes the society’s deeply ingrained aversion, fear, and hate against people with intellectual disabilities. These prejudiced views find their expression in equating “special” bodies with passive objects, repulsive animal-like creatures, and wild monsters. However, this metaphorical language reflects first and foremost on the narrator, whose hateful speech, breaking through the surface of her seemingly impartial account, unmasks the true faces of the victim and the perpetrator. Each translator ascribes a different meaning to Munro’s deliberately ambiguous narrative: while the German version accentuates the original’s insistence on complexity and uncertainty, the Ukrainian translation increases intensity of the protagonist’s emotional involvement bringing her hatred and disgust to the extreme to make a point about social marginalization of the vulnerable other. The Russian text, conversely, rationalizes the narrator’s actions and turns her tale into a deeply tragic personal confession to align it with a typical plotline of the Russian literary tradition. Overall, three target-language versions of the story add new dimensions to the original text and further destabilize it by consolidating their preferred readings in their treatment of the socially constructed opposition between “monstrous” and “normal”.

Untranslated and Untranslatable? Pushkin's Poetry in English, 1892–1931

2011 ◽  
Vol 20 (3) ◽  
pp. 348-372
Author(s):  
Philip Ross Bullock
Keyword(s):  
Literary Culture ◽  
Literary Tradition ◽  
Literary Translation ◽  
Translation Theory ◽  
Russian Literary ◽  
Modern Russian

Although Pushkin is widely regarded as Russia's finest poet and the origin of the modern Russian literary tradition, his works were less frequently translated into English than other major authors. This article traces a reluctance to translate Pushkin to two phenomena: the perception that poetry was untranslatable; and the difficulty of understanding Pushkin within a context dominated by realist prose. It then considers a number of important translations, noting that they were frequently embedded within a discussion of translation theory that itself challenged the myth of transparent translation then dominant in British literary culture. It also argues that alongside literary translation, music played a central role in the reception of Pushkin in Britain.

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