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

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.

Author(s):  
Rimma M. Khaninova ◽  

Introduction. The ballad genre in Kalmyk poetry, having no national folklore analogues, is based on the Russian literary ballad of the Soviet period. The article examines ballads in 20th-century Kalmyk poetry in the aspect of genre synthesis — the ballad and the poem proper. The relevance of the work is determined by that the Kalmyk literary ballad remains understudied both in the genre paradigm and in the dialogue of cultures. Goals. The article aims to examine the Kalmyk literary ballad in its synthesis with the genre of the poem. Materials and Methods. The investigated materials are works by N. Tamarchenko, D. Magomedova and others. Works by Mikhail Khoninov, Aksen Suseev and Erdni Eldyshev in the original and literary translations serve as sources for the study. The main research methods comprise the historical-literary, comparative methods, and that of descriptive poetics. Chronologically, the study covers the mid-to-late 20th century. Results. The study reveals, firstly, a synthesis of ballad and poem traced through the example of Mikhail Khoninov’s ‘Салькнла бǝǝр бǝрлдснǝ туск баллад’ (‘The Ballad of the Battle against the Wind’) and its poem-type transformation in Russian translation, the latter being also evident in the second edition of the original text; secondly, the genre of the poem in Aksen Suseev’s ‘Semen Nimgirov’ (Russ. ‘The Ballad of Civic Duty’) and Erdni Eldyshev’s ‘Marinesko’ gets transformed into that of the ballad when in their Russian translations; thirdly, the work identifies the prototype of Suseev’s main character. Conclusions. The ballad proves a most constant genre in M. Khoninov’s poetry, and the innovative synthesis of ballad and poem in the original text can also be found in his other work — ‘Хальмг күүкнǝ туск баллад’ (‘The Ballad of the Kalmyk Woman’). The authors A. Suseev and E. Eldyshev wrote no ballads, and their intentions had been initially aimed at the genre of the poem. This reveals certain differing strategies of the author and the translator resulting in the genre differentiation of a selected work on the latter’s way to the reader.


2020 ◽  
Vol 81 (3) ◽  
pp. 63-69
Author(s):  
E. A. Frolova

The article presents an analysis of three poems about war («The Tale of Our Lady and Russian Soldiers» («Slovo o Bogoroditse i Russkih Soldatah»), «The Attack» («Ataka»), «The Forties» («Sorokovye»)) written by D. Samoylov in different periods of his creative activity. On the basis of the existing research of the creative work of the famous poet of the 20th century, a multilevel characteristic of his war lyrics is given. The aim of the article is to characterize the specific features of the poetic language of such an original author by means of a lingvo-stylistic analysis of D. Samoilov’s poems, to reveal the richness and diversity of his artistic manner. The following research methods were used: analytical reading, comparative analysis, ontological method, a multilevel analysis of poetry. The author accentuates reminiscences in D. Samoilov’s war poetry, the contrast and contrast means, repetition as an artistic device, paronomasia in the stylistic mixture of linguistic means belonging to different levels. A multidimensional poet’s approach to the theme of the war is the conclusion of the article.


Author(s):  
Максим Глебович Калинин

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.


2019 ◽  
Vol 64 (2) ◽  
pp. 175-189
Author(s):  
Jana Šnytová

Summary In this paper, I focused on the translation work by František Benhart which, due to its extensiveness, was of crucial importance to the reception of Slovenian literature in the Czech cultural environment of the second half of the 20th century. The aim of this study is the linguistic analysis of the literary translations of selected literary works of the canon of Slovenian literature into Czech. Translation can be considered to be a cultural transposition, i. e. a transfer of the text and cultural environment from the source language into the text and cultural environment of the target language. In the analyses, I focused on some partial issues that either dominated in the particular text (expressivity, phraseology, idiomatic or proper names) or occurred across the texts analysed (realia) and in this context, I searched for his specific translation solutions. I also examined short excerpts of the original text and its translated counterpart looking for the presence of stylistically marked elements. Based on the results of individual analyses, I presented Benhart’s specific translation approaches and I attempted to summarize and indicate the basic features of his translation method. Furthermore, my second objective was to point out the possible consequences of Benhart’s translation method for the reception of the Slovenian literature in the Czech cultural environment.


Author(s):  
Rimma M. Khaninova ◽  

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.


2020 ◽  
Vol 8 (2) ◽  
Author(s):  
Yulia Kozitskaia

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.


Slovene ◽  
2016 ◽  
Vol 5 (1) ◽  
pp. 263-299
Author(s):  
Andrei A. Kostin

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.


2021 ◽  
Vol 6 (2) ◽  
pp. 114-127
Author(s):  
Natalia M. Dolgorukova ◽  
Kseniia V. Babenko ◽  
Anna P. Gaydenko

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.


2021 ◽  
Vol IX(257) (75) ◽  
pp. 76-78
Author(s):  
Wang Zhizi ◽  
I. V. Khabarova

The article analyzes the features of the translation into Russian of Chinese names containing a metaphorical or symbolic component. It argues the necessity of using, in addition to transcription and transliteration, contextual strategies of domestication and foreignization in order to adapt fragments of text containing names to the linguocultural mentality of Russian speakers, while preserving the cultural flavor and connotations of the original text. Such tactics of strategies of domestication and foreignization as structuralsemantic and lexical-semantic adaptation with the techniques of generalization and modulation are identified.


2021 ◽  
Vol 26 (1) ◽  
pp. 122-138
Author(s):  
Kirill A. Martemianov ◽  

The article considers the influence of Dostoevsky’s thought to the philosophy of N.A. Berdyaev and S.L. Frank. The crucial concept and experience of “living knowledge” and its anticipation in Dostoevsky’s heritage are discussed. Given that the problem of “living knowledge” overpasses the boundaries of pure gnoseology, we examines themes of ethical ideal, the meaning of religious belief and its existential significance. Besides that, in the article are presented three interrelated projects of theodicy in the Russian philosophy of 20th century (by N.A. Berdyaev, B.P. Vysheslavtsev and S.L. Frank). All of these projects are grounded in Dostoevsky’s thought. The supplement to the article consists of the first Russian translation of N.A. Arsenyev’s lecture “The central inspiration of Dostoevsky”.


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