scholarly journals «Сказание о Гесере-богдо» в записи от Дорджиева Шарлда Дорджиевича, 1893 г. р.: общая характеристика, текст, комментарий

2021 ◽  
Vol 13 (2) ◽  
pp. 382-398
Author(s):  
Evdokia E. Khabunovа ◽  
Keyword(s):  
Oral Tradition ◽  
Russian Translation ◽  
Academic Community ◽  
Original Text ◽  
Unsuccessful Attempt ◽  
The Earth ◽  
Authentic Text ◽  
New Material ◽  
Field Notes ◽  
Linguistic Aspect

Introduction. This paper introduces the authentic text of ”Gesr bogdyn tusk tuuji” (The Saga of Geser-bogdo) for the academic community. It was written down in Malye Derbety, Maloderbety raion, Kalmyk ASSR in 1982 by the present author; its performer was Sharlda Dordzhievich Dordzhiev (1893–1984), Baga khurul shabiner, uimguilmyd. The original text is supplemented by Russian translation made by the author of the publication and a short biography of the performer. Also, the article includes a brief description of the sample, focusing on the specifics of recording and of keeping the field notes. The article aims at introducing new material, such as the authentic text ”The Saga of Geser-bogdo”, its Russian translation, and the performer’s biographical data. Data and methods. The research is based on the manuscript from the author’s private archive; the Kalmyk text of eleven pages is written down on paper (A4, yellow paper). There are also additional materials, such as the interviews with Dordzhiev’s relatives and villagers. Results. ”The Saga of Geser-bogdo” is devoted to an interesting story of Geser-bogdo’s mission, i. e. the protagonist’s efforts to free the Earth (Middle World) from cold, as well as demons personified as Andzhlula and his wife. The narrative is based on two microstories: i) an unsuccessful attempt to getrid of cold on the Earth with the help of Khurmusta Tengri and ii) the victory over Andzhlula and his wife with the help of Sandzhi, the protagonist’s brother from heavens. The analysis shows that, in terms of its structure and content, ”The Saga of Geser-bogdo” includes a number of important segments, which are parallel to other Geser’s epic narratives. The manuscript is of relevance for studies of the Kalmyk oral tradition of Geser sagas. Conclusions. ”The Saga of Geser-bogdo”, performed by Dordzhiev in 1982, indicates that oral retellings of Geser sagas were widely circulated in Kalmykia. Also, the data pertaining to the storyteller’s life and art shows the popularity of the epic narratives in the Kalmyk milieu at the time the recording was made (late 20th c.). The epic sample maybe of interest to folklorists and epic scholars for their comparative and textological studies, as well as for the studies of storytelling tradition and of the linguistic aspect of popular oral art.

Joseph Ḥazzāyā. Book of the Chapters on Knowledge (Newfound Fragments)

2019 ◽  
pp. 15-51
Author(s):  
Максим Глебович Калинин
Keyword(s):  
Russian Translation ◽  
Mystical Experience ◽  
Original Text ◽  
Human Beings ◽  
Mystical Tradition

Продолжая публиковать оригинальный текст и русский перевод новонайденных фрагментов «Книги глав о ведении» Иосифа Хаззайи (VIII в.), одного из ярчайших представителей восточносирийской мистической традиции, предлагаем вниманию читателей главы 75-162 из фрагмента, представленного восточносирийской рукописью Paris. syr. 434. Эти главы включают в себя комментарий Иосифа Хаззайи на видение Иезекииля, другие экзегетические пассажи, изречения о смирении и любви, описания мистического опыта и пространное рассуждение о роли ангелов в жизни человечества. We proceed to publish the original text and Russian translation of the newly discovered fragments of «Book of the Chapters on Knowledge» of Joseph Ḥazzāyā (8th c.), one of the brightest representatives of the East Syriac mystical tradition. Now the readers are offered the original text and Russian translation of chapters 75-162 from the fragment of Joseph Ḥazzāyā’s work known from the East Syriac manuscript Paris. syr. 434. These chapters include the commentary of Joseph Ḥazzāyā on Ezekiel’s vision, another exegetical passages, sayings on humility and love, various descriptions of mystical experience, and a lengthy discourse on the role of angels in the life of human beings.

Баллада в калмыцкой поэзии ХХ в. (Ц. Леджинов, С. Байдыев)

2020 ◽  
Vol 15 (3) ◽  
pp. 264-277
Author(s):  
Rimma M. Khaninova ◽  
Keyword(s):  
Russian Translation ◽  
Semantic Context ◽  
The Other ◽  
Past Century ◽  
Original Text ◽  
The Past ◽  
Other Hand

The article discusses ballads of the Kalmyk poets Tseren Ledzhinov “Бальчгин туск баллад” (“A Ballad about the Mud”, 1941) and Sanzhar Baidyev «Башмгудин туск баллад» (“A Ballad about Boots”, 1967). The analysis of the two ballads in the original showed that neither the content nor the form of Ledzhinov’s poem fits the announced genre. The poem by Baidyev, on the other hand, is one of the interesting ballads of the Kalmyk poetry of the past century, it is experimental in terms of the plot and the characters. The original text of S. Badyev’s work is compared to its Russian translation “Boots” translated by D. Dolinsky and V. Strelkov. The comparison revealed that the author’s conception and manifestation were altered by the translators in the aspect of semantic context and genre identity.

scholarly journals Sabit Mukanov’s Poem about the Chelyuskintsy: An Original without a Translation and a Translation without an Author

2020 ◽  
Vol 8 (2) ◽  
Author(s):  
Yulia Kozitskaia
Keyword(s):  
Polar Bear ◽  
Russian Translation ◽  
National Minority ◽  
Cultural Tradition ◽  
Original Text ◽  
Literary Canon ◽  
Soviet System ◽  
Polar Ice ◽  
Rescue Operation ◽  
Literary Classics

This article considers the topic of Soviet heroism as reflected in The Polar Bear (Rus. «Белый медведь») by the Kazakh poet Sabit Mukanov, a poem dedicated to the rescue of SS Chelyuskin wreck survivors. The poem came second in a competition of works about Chelyuskintsy held in 1934. After the competition results were announced, a Russian translation of the poem by Pavel Vyacheslavov was released. Of all the works presented at the competition, only the translation of Mukanov’s poem was published in the central press: excerpts appeared in the Novy Mir and 30 Dney magazines. The fact that a work by a representative of a national minority was published in Moscow magazines demonstrates the significance of the text for the entirety of Soviet discourse. This article discusses the translation features of the excerpt published in Novy Mir and analyses the structure of the original text. In addition to the obligatory components of Stalinist social realism, such as the glorification of Stalin and the heroism of the Soviet man, the poem contains elements that mark it as a text from a different cultural tradition, i. e. specific similes and Kazakh proverbs and sayings. The poem contains references to the works of Pushkin, Heine, and the Kazakh classic Abai Qunanbaiuly. Mukanov uses these references to demonstrate that he is familiar with the literary canon and is learning from the literary classics. Based on an analysis of the text, it can be concluded that it is the Moscow Kremlin, not the polar ice floe, which is at the centre of the rescue operation. Thus, the key topic of the poem is not the rescue of the Chelyuskintsy, but the glorification of the Soviet system under Stalin. An examination of differences between the original text and the translation makes it possible to understand what was directed at the Kazakh-speaking reader in the text – and therefore what disappeared in the translation. The Kazakh text contains many clarifying footnotes, including explanations of words by means of synonyms. It may be presumed that by incorporating new Soviet words into the Kazakh language, Mukanov acts as a transmitter of imperial ideology.

scholarly journals Cosmogonies and mythopoesis in the Balkans and beyond

2014 ◽  
Vol 14 ◽  
pp. 87-147 ◽  
Author(s):  
Florentina Badalanova Geller
Keyword(s):  
Oral Tradition ◽  
18Th Century ◽  
The Balkans ◽  
Biblical Literature ◽  
The Earth ◽  
Different Types ◽  
To Come ◽  
Academy Of Sciences ◽  
First Time ◽  
The Devil

Cosmogonies and mythopoesis in the Balkans and beyondCompared and contrasted in this article are three different types of accounts dealing with the cosmogonic and eschatological themes employed in Slavonic and Balkan oral tradition, para-Biblical literature and modern poetry. The focus of analysis is the cluster of motifs attested in the creation narrative of the apocryphal Legend of the Sea of Tiberias. Two versions are examined: the South-Slavonic one discovered in 1845 by V. Grigorovich in the Monastery of Slepche, and the 18th century Russian account from MS № 21.11.3 (fols. 3a–5b) from the Archaeographic Department of the Library of the Academy of Sciences [Библиотека Академии наук, Рукописный отдел] in St. Petersburg, composed most probably by an Old Believer; this manuscript is published here for the first time. Folklore counterparts of the apocryphal Legend of the Sea of Tiberias are treated, with special emphasis on the oral narratives from the Bulgarian diaspora in Bessarabia (God and the Devil Create the World Amicably but then Fall Out). Finally, a poem of the 20th century Bulgarian intellectual Pencho Slaveykov [Пенчо Славейков] from his anthology “On the Island of the Blessed” is discussed; the poem, entitled How God willed the Earth to come to be and what did Satanail do after that? was designated by Slaveykov himself as “a legend of the Bogomils”, and blended within his lyrics are dualistic themes and motifs attested in vernacular Christianity, with the hallmark of Haeresis Bulgarica. Kosmogonie i mitopoetyki na Bałkanach i nie tylkoW artykule zostały porównane trzy typy narracji zawierających wątki kosmogoniczne i eschatologiczne, które funkcjonują w słowiańskiej i bałkańskiej tradycji ustnej, literaturze parabiblijnej oraz poezji doby modernizmu. Przedmiotem uwagi stała się grupa motywów poświadczonych w narracji o stworzeniu, znanej z Legendy o Morzu Tyberiadzkim. Analizom poddane zostały dwie wersje: południowosłowiańska, odkryta w 1845 roku przez W. Grigorowicza w Monastyrze w Slepče, oraz ruska – z XVIII wieku, znajdująca się w kodeksie MS № 21.11.3 (fols. 3a–5b), przechowywanym w Oddziale Rękopisów Biblioteki Akademii Nauk w Sankt Petersburgu – skomponowana najprawdopodobniej w środowisku staroobrzędowców (rękopis ten jest tu publikowany po raz pierwszy). Następnie przeprowadzona została analiza odpowiedników folklorystycznych apokryficznej Legendy o Morzu Tyberiadzkim, ze szczegól­nym uwzględnieniem narracji ustnych funkcjonujących w bułgarskiej diasporze w Besarabii (Bóg i Diabeł tworzą świat w przyjaźni ale potem stają się wrogami). Na końcu został poddany interpretacji poemat z XX wieku autorstwa bułgarskiego modernisty Penczo Sławejkowa [Пенчо Славейков] z antologii Na wyspie błogosławionych [На острова на блажените]; poemat ten, zatytułowany Jak Bóg zezwolił, aby powstała ziemia i co potem uczynił Satanael?, został nazwany przez samego autora „legendą Bogomiłów”, i skompilowany w jego tekstach z dualistycznymi motywami występującymi w chrześcijaństwie tego regionu, a rozpoznawa­nymi jako haeresis bulgarica.

scholarly journals Korney Ivanovich Chukovsky about the Russian translation reception of Shakespeare (article two)

2021 ◽  
Vol 7 (2) ◽  
pp. 217-224
Author(s):  
Svetlana N. Morozova ◽  
Dmitry N. Zhatkin
Keyword(s):  
20Th Century ◽  
Russian Translation ◽  
Original Text ◽  
Richard Ii ◽  
Love's Labor's Lost ◽  
Sharp Rejection ◽  
Artistic Manner

The first half of the 20th century in the Russian translation reception of Shakespeare was marked by the emerging of translations by B.L. Pasternak, S. Ya. Marshak, A.D. Radlova, W.V. Levik, I.B. Mandelstam. Characterizing their transcriptions, K.I. Chukovsky not only substantiated the artistic manner and creative position of the translators, but also presented his understanding of individual shortcomings and, conversely, successful findings. The articles «The Crippled Shakespeare», «Asthma in Desdemona» (1940) reflect his sharp rejection of the approach of A.D. Radlova to the interpretation of Shakespeare’s plays, he notes the mistakes made by the translator when working with the original texts. K.I. Chukovsky positively spoke about «Richard II» by I.B. Mandelstam; he considered its undoubted merit to be his free style and the absence of a formalist approach in observing certain parameters of the original text. The most complete features of the translation concept of K.I. Chukovsky are disclosed on the example of his translation of Shakespeare’s comedy «Love’s Labor’s Lost» (1945), which has been repeatedly staged in the theater.

scholarly journals Acribia and Ameleia: The Context (or Lack Thereof) for Vasily Adodurov’s Grammar

Slovene ◽  
2016 ◽  
Vol 5 (1) ◽  
pp. 263-299
Author(s):  
Andrei A. Kostin
Keyword(s):  
German Text ◽  
18Th Century ◽  
Russian Translation ◽  
Original Text ◽  
Entire Body ◽  
Collective Work ◽  
History Of ◽  
Short Essay ◽  
Grammatical Tradition

The article offers some corrections to Vassily Adodurov’s Anfangs-Gründe der Russischen Sprache (1731), as edited by S. S. Volkov and K. A. Filippov in 2014. There is one thing to note regarding the quality of this edition. On page 7, the editors list the typographical errors they corrected when working with the original text. The list they present has four items and contains a total of six errors , which are actually misreadings by the editors themselves as well as typos they appear to have introduced during the production of the book (including that they cite pages 49 and 51 of the 48-page original). The work, produced by a team of ten, consists of different sections: four prefatory essays; a facsimile reprint of the 1731 original; a rendition into modern typeset with a Russian translation; two indexes; and three supplements. These multiple parts are poorly coordinated and, overall, can be evaluated as ranging from being somewhat acceptable to being defective. The editors knowingly and without any explicit polemics ignore the original conception of the history of Petersburg Academy’s Russian grammar in the 1720s and 1730s that was offered by Helmut Keipert (2002) and has been accepted by most scholars. Whereas Keipert’s fundamental work presents multiple Russian grammars created in St. Petersburg in this period as the product of collective work, conducted mostly by and for German speakers, the editors of the volume under review tend to see the Anfangs-Gründe as an individual work, an “original grammar produced by V. E. Adodurov.” Any extensive comparison of the Anfangs-Gründe with other early Petersburg grammars would demonstrate the dependence of this short essay on the more profound work of its predecessors. The present edition has almost no commentary; of the five commentaries included in the volume, two are erratic, one is obvious, one shows that the editors are new to the typographical term custos, and only one—dealing with Lomonosov’s use of examples from the Anfangs-Gründe for his Russian Grammar (1755)—makes any sense. The German text in modern typeset is extremely poorly prepared: in the first 23 (of 46) pages there are 34 significant typos and omissions that take the place of the 5 typos corrected from the original. This only underscores the observation that the 18th-century German Gothic typeface is obscure for the editors. The two indexes are partly unusable; not only are both full of omissions (the index of Russian examples omits almost 10% of the forms in the original, including more than half of the words starting with the letter Z as well as most of the examples for superlative and even the verb form bytʹ), but furthermore, the ‘Index of Grammar Terms’ is not what it says it is. The correct title would be ‘Index of Latin Grammar Terms,’ for it does not include German terms, with the result that there are no listings for terms relating to phonetics, normative style, etc. The text of the 1738‒1740 grammar of the St. Petersburg Academy Gymnasium in the final supplement, although carefully retyped from B. A. Uspensky’s book (1975), omits all of its commentaries—both explanatory and textological—which leads to presenting without comment letter sequences such as rereniiakhʺ, imennno, navodishishʹ, etc. The article also discusses principles for the study and publication of the entire body of works that present the St. Petersburg grammatical tradition of the period from the 1730s to the 1750s. Appendices to this article include publication of Adodurov’s note on er and erʹ (1737) and the major corrections to the text of Russian grammar (1738–1740) from the St. Petersburg Academy Gymnasium as published by Uspensky in 1975.

scholarly journals “A Strange Romance,” or Abelard and Héloïse in Russia of the 18th Century

2021 ◽  
Vol 6 (2) ◽  
pp. 114-127
Author(s):  
Natalia M. Dolgorukova ◽  
Kseniia V. Babenko ◽  
Anna P. Gaydenko
Keyword(s):  
Comparative Analysis ◽  
18Th Century ◽  
Russian Translation ◽  
Original Text ◽  
Similar Transformation ◽  
Medieval Text

The article gives an analysis of the first Russian translation of Abelard and Héloïse’s letters (The Collection of Abelard and Héloïse’s Letters with the Life Description of These Miserable Lovers) made by A.I. Dmitriev in 1783 from Count Bussy-Raboutin’s French retelling. A comparative analysis of Dmitriev’s translation with the original text shows the conventional character of their connection. Following Bussy, Dmitriev not always sticks to the Latin original even in the main storylines. Even if he retains the canvas of the original medieval text, he supplements it with countless details: a portrait of a lover, a tear-drenched letter, mad passion. A similar transformation takes place with the Historia Calamitatum in the retelling made by Augustus von Kotzebue. In prefaces both authors designate their works as “female” reading. The interest in the story of two lovers is probably caused by the recent release of J.-J. Rousseau’s Julie, or the New Heloise. The choice of material, the nature of its adaptation, the appeal to women and the circumstances of the publication of Dmitriev’s translation and Kotzebue’s retelling demonstrate the commitment of these authors to sentimentalism, which explains their desire to cause tears in the eyes of their readers.

scholarly journals Gender problems of translation of English language poetry in the paradigm of literary theory and the extra-linguistic aspect of translation studies (based on the poem 449 «I died for Beauty» by E. Dickinson)

2020 ◽  
Vol 13 (22) ◽  
pp. 78-84
Author(s):  
Tamara Skrypnyk ◽  
Keyword(s):  
Main Idea ◽  
Past Tense ◽  
First Person ◽  
Original Text ◽  
Translation Theory ◽  
Personal Pronoun ◽  
Male Character ◽  
Feminine Gender ◽  
The Past ◽  
Linguistic Aspect

The paper considers the poem 449 written by Emily Dickinson and its translations into Ukrainian and Russian. The translation of the grammatical syntactic syntagma «I died for Beauty…» is also analyzed. The work of V. Sdobnikov and O. Petrova «Theory of Translation» where the scholars propose to apply literary and extra-linguistic aspects of translation theory was especially important for the present research. The principles of literary and linguistic translation theory have been applied in the process of philological and linguistic-stylistic types of analysis. The literary studies theory emphasizes the principle of vocabulary adequacy in the original work and its translations. The extra-linguistic aspect of the linguistic translation theory has impelled us to consider the morphological category of gender of the personal pronoun «I» in singular and the verb «died» in the past tense. In modern (synchronous) English, the morphological category of gender of the personal pronoun in the first person and the verb in the past tense are not denoted by morphemes, whereas in the Ukrainian and Russian languages the verb in the past tense has the suffix «l» and the ending «а» for the feminine gender. That is why some translators have mistakenly interpreted the image of the poem's first persona by creating the image of a lyrical male character, which violated the gender right of the poetess. The translators were to take into account the biographical right of the poetess to write on her own behalf, and the fact that in most works E. Dickinson revealed her inner world in the first person and applied the personal pronoun «I» in her poems very often, which testifies to the femininity of her poetry. Russian translators M. Zenkevich and A. Kudrjavytsky translated the structure «I died for Beauty» by using the words of the lyrical woman-character. They recreated the image of a lyrical heroine who is capable to give her life for Beauty. Another translator V. Markova created the lyrical male character. In her translation both characters are opposed to each other, because the poet is «he» while the Beauty is «she». In Markova’s translation it is the man who died for beauty, love and truth. Ukrainian translators D. Pavlychko and N. Tuchynska also created the lyrical male character and interpreted the image from the first person that changed the original author’s artistic message. It should be noted that the method of character masculinization in the translation of grammatical syntactic syntagma has changed the main idea of the work. This violated the gender right of the poetess to create the image of a noble lyrical heroine who is able to give her life for Beauty. The article also focuses on the peculiarities of the syntax of the poem, the special meaning of dashes in the original text and its translations as well as the method of character onimization. The lexical adequacy of the poem under consideration and its translations into Ukrainian and Russian are analyzed.

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.

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