scholarly journals PECULIARITIES OF COMPARATIVE ANALYSIS OF THE ORIGINAL AND TRANSLATION OF E.SETON-THOMPSON’S SHORT STORY ‘THE ВIOGRAPHY OF A GRIZZLY’

2019 ◽  
Vol 1 (16) ◽  
pp. 111-118
Author(s):  
M.Yu. Volkova
Keyword(s):  
Comparative Analysis ◽  
Short Story ◽  
Literary Text ◽  
Literary Translation ◽  
Target Language ◽  
Original Text ◽  
Transformation Techniques ◽  
Artistic Images ◽  
The Given

The role of Ernest Seton-Thompson as a writer who started the genre of animal short-story and his contribution into the national Canadian literature are discussed in the article. Peculiar features of animal-personages from his short-stories which are close to people were singled out. The peculiarities of the literary translation which aim is to reflect ideas, feelings transforming the author’s images with the help of another language material, the main features that make it different from a classical one were stated. Contemporary scholars who scrutinize this aspect in modern translation studies were found out. The notion of adequacy in the process of a literary text translation, the necessity and strive of the translator to reflect the sense, embodied in artistic images, to preserve genre and style and structural-compositional peculiarities of the original text in the context of comparative analysis of the literary text were noted. The differences between the original text of E.Seton-Thompson’s short-story “The Biography of a Grizzly” and its translation by М.Chukovsky were analyzed in the given article. The translation can be called adequate as some change of content and form of the original text by means of the target language did not impact into general perception of the short-story in its translation. The translator conveys the author’s ideas provoking reader‘s reaction to the story. М.Chukovsky  preserved its content, the system of images and the author’s style and plot identity of the original text. Peculiarities of his translation, main structural-grammar and lexical transformations used in the translation were marked. Among the most frequently used transformation techniques actual division of the sentence, grammar changes, change of the sentence parts, concretization, generalization, addition, omission and antonymic translation are noted.

scholarly journals SOME PECULIARITIES OF S. LEACOCK’S SHORT-STORY «THE MAN IN ASBESTOS: AN ALLEGORY OF THE FUTURE» TRANSLATION INTO UKRAINIAN

2020 ◽  
Vol 1 (17) ◽  
pp. 68-73
Author(s):  
Maryna Volkova
Keyword(s):  
Short Story ◽  
Literary Text ◽  
Literary Translation ◽  
Target Language ◽  
Original Text ◽  
Canadian Literature ◽  
The Future ◽  
Semantic Development ◽  
English Canadian

The role of S. Leacock as a representative of English-Canadian literature and peculiarities of his creative works are given in the article. The peculiarities of the literary translation which aim is to reflect ideas, feelings transforming the author’s images with the help of another language material, the main features that make it different from a classical one were stated. The scholars who scrutinize the problems of a literary text translation in the contemporary linguistics was found out. The differences between the original text of S. Leacock’s short-story «The Man in Asbestos: an Allegory of the Future» and the text of translation and its translation by A. Yevsa were analyzed in the article. The translation can be called adequate as some change of content of the original text by the target language means did not impact into general perception of the short-story in its translation. The translator conveys the author’s ideas provoking reader’s reaction to the story. A. Yevsa preserved its content, the system of images and the author’s style, emotional atmosphere and plot identity of the original text and the choice of linguo-stylistic devices used in the original text. General peculiarities of the translation into Ukrainian, main grammar and lexical transformations used by A. Yevsa were marked, among which are generalization, concretization, compensation, semantic development and combination of sentences prevail.

scholarly journals The Role of Literary Theory in Literary Translation

2020 ◽  
Vol 4 (4) ◽  
pp. p122
Author(s):  
Cheng Zhang
Keyword(s):  
Literary Theory ◽  
John Keats ◽  
Literary Translation ◽  
Target Language ◽  
Whole Process ◽  
Literary Theories ◽  
Creative Role ◽  
The Given ◽  
Language Text

In literary translation, the way quality of translation is judged shows some special features. The translator’s understanding of the source language text and his creative reconstruction of the target language text place the whole process of translation under the influence of literary theories. With a case analysis of three different translation versions of John Keats’ Ode on a Grecian Urn, this paper argues that based on the given features of literary translation, the relationships between the translator and the text, and the creative role of the translator in the process of translation, literary theory plays an essential role in literary translation.

scholarly journals Balzac Retranslated

2020 ◽  
Vol 12 (1) ◽  
pp. 99-117
Author(s):  
Marie-Christine Aubin
Keyword(s):  
Short Story ◽  
Graphic Novels ◽  
Text Structure ◽  
Literary Translation ◽  
Target Language ◽  
Original Text ◽  
Victorian Era ◽  
Linguistic Constraints ◽  
Hierarchical Constraints ◽  
Situational Constraints

Literary translation is tricky. Hardly ever do you hear a critic say that the translation of a book is “good”. In the best of cases, people pretend that, even though they have been reading a translation, they were in fact reading Balzac, or Dostoevsky, or any other author of universal renown. For those who are able to read the original text, the translation is more often than not rejected as “inaccurate”, “stylistically inadequate”, “loose”, “overly free”, “not doing justice to the original”, or simply “bad”. James Payn even claimed that Balzac “is not translatable, or when translated is not readable” (67). Yet Balzac was translated and retranslated many times in a variety of languages and in many ways. In this paper, the word retranslation will be used for the realisation of a new translation from the original source language into a target language in which a translation already exists, and relay translation for translations done from a translated source. As for the term translation, it will be extended, in the sense that Patrick O'Neill gives this term (6), to include adaptations such as movies, TV series, or even graphic novels, in any language, because adaptations, whatever the medium, are subjected to the same constraints as translations, creating effectively a new “language” to transfer the author’s story and message. Thus this paper will focus on how Balzac's novels have been extended when translated and/or adapted to other media, taking in consideration Roulet’s Discourse Analysis parameters (2001 44), that is, the hierarchical constraints related to the text structure; the linguistic constraints related to the syntactic or lexical norms of the language or linguistic variety that is being considered; and the situational constraints of the receiving culture. To do so, an analysis of the hierarchical constraints of translating, retranslating or adapting Balzac’s La Cousine Bette will be carried out, as well as of the linguistic constraints related to the translation of gender in Balzac’s short story Sarrasine, or to the translation of accents and other oral features in various novels; and finally of the situational constraints related to translating Balzac into English in the Victorian era, and into Chinese at the turn of the 20th century. From these parameters a new, prismatic view of Balzac’s creations will emerge, embodying the dialogue that translators and retranslators enable between cultures.

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”.

Benjamin and Borges

Babel ◽  
2018 ◽  
Vol 64 (1) ◽  
pp. 63-80
Author(s):  
Rasool Moradi Joz ◽  
Hossein Pirnajmuddin
Keyword(s):  
Short Story ◽  
Time Lag ◽  
Decisive Role ◽  
Translation Studies ◽  
The Other ◽  
Literary Translation ◽  
Original Text ◽  
Source Text ◽  
Bear Witness

Abstract Borges’ works deconstruct the time lag conceived in the binaries such as the work’s production vs. its criticism, the original text vs. its translation, the source text vs. the derivative nature of the target text, and reality vs. fiction. Benjamin, as Borges’ near contemporary, echoes rather the same idea in his post-Nietzschean philosophy of translation. Focusing on the similarities between the views of Benjamin on translation and those of Borges as reflected in his stories as well as his essays, particularly in his well-received essay on translations of Thousand and One Nights and in his meta-fictional short story ‘Pierre Menard’: Author of the Quixote, this paper aims at bringing the two scholars together in the context of literary translation studies in the postmodern era, where intersemiotic and intertextual collage (in Eco’s terminology) and mimicry bear witness to the claim that translation, like other intertextual enterprises, is neither inferior to the other intertextual undertakings such as writing, nor is it detached from language as post-structurally conceived. Furthermore, another core objective of this study is to show how Borges’ ‘Menard’ heralds and truly represents the translation theories built upon the underlying assumptions of deconstructionism since the 1980s. It is concluded that as far as postmodern and poststructuralist theories are concerned, both Borges’ and Benjamin’s works had predicted the future of literary and translation theories in which the decisive role of translation and translator in the construction of culture and identities cannot be denied.

National conceptual sphere as a criterion of literary translation authenticity

2021 ◽  
Vol 7 (1) ◽  
pp. 383-388
Author(s):  
Aigul Yessentemirova ◽  
Kuralay Urazaeva
Keyword(s):  
Comparative Analysis ◽  
Literary Translation ◽  
Original Text ◽  
Reliable Criterion ◽  
The Subject ◽  
Similarities And Differences

The paper is focused on the study of literary translation as a type of rhetorical communication. The subject being analysed is that national conceptual sphere can be a reliable criterion for the authenticity of translation. The topic of the research is that national conceptual sphere regarded as a means of illocutionary influence and a source of differences in rhetorical conscience of the author of the original text as well as the translator and the addressee. A comparative analysis of Russian and Kazakh translations of Robert Burns’ ballad “John Barleycorn” is carried out. The comparison is based on the structure of rhetorical communication, national conceptual sphere, prosody parameters and genre features. The similarities and differences of the translations are specified. The similarities are shown in referential, strophic and genre proximity of the original and translations.

STRATEGIES FOR INTERPRETING I.A. BUNIN’S SHORT STORY “THE RAVEN” IN THE CONTEXT OF INTEGRAL ANALYSIS

2021 ◽  
pp. 106-111
Author(s):  
Н.Г. Сичинава
Keyword(s):  
Short Story ◽  
Literary Text ◽  
Literary Analysis ◽  
Psychological State ◽  
The Novel ◽  
Hidden Information ◽  
Inner World ◽  
Artistic Images ◽  
Foreign Speakers ◽  
The Aesthetic

Статья посвящена рассмотрению проблемы формирования основ филологического анализа и интерпретации художественного текста на материале новеллы И.А. Бунина «Ворон». Автор обосновывает необходимость интеграции лингвистического, лингвострановедческого и литературоведческого анализа для обеспечения максимально полного восприятия художественного дискурса инофонами. Зависимость понимания художественного текста и получаемого при его чтении эстетического эффекта от глубины восприятия словесно-художественных образов автор продемонстрирует на материале новеллы И.А. Бунина «Ворон». Средствами создания образов в рассказе являются символика имени; прямая или косвенная характеристики; портрет героя; действия и поступки героя; образы-детали; описание психологического состояния героя; изображение внутреннего мира героя через воспоминания; речь. Как показал анализ, в тексте бунинского рассказа значительный лексический пласт образуется за счет прецедентных феноменов. Процесс их декодирования можно рассматривать как важное средство экспликации текстовой информации. Прежде всего, в исследовательский объектив попадают прецедентные имена. Именно через них можно установить ассоциативные связи с теми понятиями-образами, которые были характерны для российского общества описываемой эпохи или русского лингвокультурного сообщества в целом. В раскрытии образов важную роль играют имплицирующие детали, актуализация которых в ряде случаев происходит через комментарии, заранее подготовленные преподавателем. Особый интерес вызывает проблема смыслового восприятия и понимания имени героини новеллы. Декодирование символики имени героини происходит на основе прецедентных текстов. Данная стратегия формирует у студентов способность узнавать, понимать и адекватно интерпретировать смысл художественного теста с интертекстуальными включениями. Кодирование культурной информации, которая впоследствии должна быть разгадана читателем, имеет место при введении в контекст новеллы определенных лексических единиц. Ключевые слова: художественный текст, интерпретация, прецедентный феномен, образ, язык, И.А. Бунин. The article is devoted to the problem of forming the foundations of philological analysis and interpretation of a fiction text based on the material of I. A. Bunin's short story “The Raven”. The author justifies the need to integrate linguistic, linguistic-cultural and literary analysis in order to ensure the fullest possible perception of fiction discourse by foreign speakers. The author demonstrates the dependence of the understanding of a literary text and the aesthetic effect obtained when reading it on the depth of perception of verbal and artistic images based on the material of I. A. Bunin's Novella "the Raven". The means of creating images in the story are: symbolism of the name; direct or indirect characteristics; portrait of the hero; actions and actions of the hero; images-details; description of the psychological state of the hero; image of the inner world of the hero through memories; speech. Explication of the information contained in the text can proceed along the path of decoding precedent phenomena. When using a precedent name, the author appeals to certain concepts-images that were well known to him and his contemporaries, but do not mean anything to the modern reader. Thus, decoding hidden information requires knowledge accumulated in a given linguistic and cultural community or by humanity as a whole. Implying details play an important role in the disclosure of images, which in some cases are updated through comments prepared in advance by the teacher. Of particular interest is the problem of semantic perception and understanding of the name of the heroine of the novel, which contains references to precedent texts. Decoding the symbolism of the heroine's name gives students the ability to recognize, understand and adequately interpret the meaning of an artistic test with intertextual inclusions. The encoding of cultural information, which must later be unraveled by the reader, takes place when certain lexical units are introduced into the context of the novel.

Linguocultural transfer of metaphors in a literary text

2020 ◽  
pp. 60-67
Author(s):  
Vladimir N. Denisenko ◽  
◽  
Valeriya T. Vered
Keyword(s):  
Three Dimensional ◽  
Literary Text ◽  
Point Of View ◽  
Original Text ◽  
Three Dimensional Model ◽  
Semantic Equivalence ◽  
Partial Transfer ◽  
Metaphorical Expression ◽  
Artistic Images ◽  
Linguistic Aspect

This article aims to assess the degree of transfer of the original metaphorical image into a foreign language linguistic and cultural space and to identify the general patterns of translation of the author’s metaphor in a literary text. An attempt is made to determine the nature of the correlation between the transfer and the communicative-pragmatic effect of the conversion unit. The study uses a three-dimensional model of metaphor, which is a synthesis of the proper linguistic (language), mental (thought) and communicative aspects. The actual linguistic aspect means the logical and semantic structure of the metaphor. Understood as the general properties of an object and its reflection arising from the principle of similarity, the tenor, the vehicle and the ground are revealed. From the point of view of the mental aspect, the metaphor is considered as a universal cognitive mechanism for the nomination of the surrounding reality and the creation of artistic images. The communicative aspect includes the study of metaphor from the perspective of its functioning in speech — the pragmatic attitude of the speaker determined by the content and form of his statement is pointed out. The semantic equivalence of metaphors in the original text and in the translation text is established on the basis of the componential analysis. The results are classified according to two criteria: 1) the preservation of the principle of implicit metaphorical rethinking and 2) the identity of the meanings actualized during the renaming process, which allows to identify cases of the complete and the partial transfer of the metaphor and to describe the concomitant lexical and grammatical interlanguage transformations. The partial transfer is to be recognized as the most common phenomenon that takes place during the translation of the metaphorical expression. The impossibility of the complete transfer of the source metaphor is explained by both the features of the internal development of languages and the nature of the linguistic thinking of the two peoples. The absence of the metaphor in translation is considered as a factor that reduces the pragmatic equivalence of texts.

scholarly journals The Role of Foregrounding in Interpretation of Subtextual and Conceptual Information in a Fictional Text

2020 ◽  
Vol 6 (4) ◽  
pp. 523-526
Author(s):  
R. Mansurov
Keyword(s):  
Short Story ◽  
Literary Text ◽  
Main Function ◽  
Text Linguistics ◽  
Conceptual Information ◽  
Cognitive Principles

One of the major issues in contemporary text linguistics is the analysis of the cognitive principles of distributing information in a literary text. Literary text unlike other types of the texts holds subtextual and conceptual information which could be encoded by the readers when they identify foregrounded parts of the text. Foregrounding is the type of cognitive principles of distributing information in the text and its main function is guiding the readers in interpretation of hidden and conceptual message of the text by showing some signals (important extracts) to the readers. In this article, the types and techniques of foregrounding are discussed, and their usages are observed in the short story The Luncheon by S. Maugham.

scholarly journals SOZYRYKO BRITAEV AS PRACTITIONER AND THEORIST OF LITERARY TRANSLATION IN OSSETIC LITERATURE

2017 ◽  
Author(s):  
Е.Б. ДЗАПАРОВА ◽  
E.B. DZAPAROVA
Keyword(s):  
Basic Structure ◽  
Theory And Practice ◽  
Literary Translation ◽  
Original Text ◽  
Figures Of Speech ◽  
Artistic Images ◽  
Metaphorical Structures

В статье рассматривается переводческое наследие Созырыко Бритаева, оценивается вклад переводчика в теорию и практику художественного перевода. Автором анализиру- ются переводы С. Бритаева, выявляются способы воссоздания в переводном тексте фор- мы и содержания оригинала. Анализируя рассказ Л. Н. Толстого «После бала» в оригинале и в переводе С. Бритаева, исследователь рассматривает способы отображения в пере- водном тексте основного структурообразующего элемента произведения — контраста. Установлено, что переводчику С. Бритаеву удалось воспроизвести стиль повествования, систему художественных образов оригинала, архитектонику произведения. Прослежена передача на языке перевода и образных единиц оригинала (метафор, эпитетов). Перевод- чик в основном воспроизводит данные единицы перевода в оригинальной творческой мане- ре русского писателя. Замена отдельных метафорических структур эквивалентами пе- реводящего языка позволила Бритаеву сохранить структуру тропа, но привела к утрате его эстетической функции. Перевод некоторых эпитетов требовал отхода от словарных соответствий и нахождения эквивалентов по смыслу. The article examines Sozyryko Britaev’s translation heritage, assesses the contribution of the translator to the theory and practice of literary translation. The author analyzes Britaev’s translations, identifies methods of recreating in his translated version the form and contents of the original text. The researcher considers ways of displaying contrast as a basic structure-forming element of the work in the translated text analyzing the story of L. N. Tolstoy «After the Ball» in the original and in Britaev’s translation. The study allows to conclude, that Britaev as a translator managed to reproduce the style of narration, the system of artistic images of the original, the architectonics of the work. The author traced the translation into Ossetian the original figures of speech (metaphors, epithets). On the whole the translator managed to reproduces these tropes retaining the original Russian writer’s creative manner. Replacing some individual metaphorical structures with equivalents of the language of translating allowed Britaev to preserve the structure of the tropes, but led to the loss of their aesthetic function. Translation of some epithets required a deviation from the lexical correspondences and finding semantic equivalents.

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