scholarly journals Lexical Variability in French Translations of The Tale of Igor’s Campaign

2021 ◽  
Vol 19 (1) ◽  
pp. 142-158
Author(s):  
Elena D. Povarnitsyna
Keyword(s):  
Scientific Practice ◽  
Foreign Languages ◽  
Original Text ◽  
Source Text ◽  
Boundary Ambiguity ◽  
Russian Scientific ◽  
Research Material ◽  
Plant Names ◽  
Parallel Texts ◽  
Modern Russian

In this article we consider the lexical variability of the French translations of “The Tale of Igor’s Campaign”. The research material includes the following lexical classes: color designations, flora and fauna names, as well as warfare terms. Lexical units are selected manually and processed with the help of a self-compiled parallel corpus of translated texts. A distinctive feature of the monument’s translations into foreign languages is the absence of the original text, which leads to a situation of multiple “original” texts. We have analyzed 11 texts of French translations of “The Tale of Igor’s Campaign” (some of the translations considered were unknown in Russian scientific practice), as well as the original Russian texts used by the translators (in case they were presented as parallel texts or mentioned in paratexts). We are faced with the situation of translation multiplicity, an actual area of research in modern translation studies, so we also considered the problem of multiplicity of original texts. The study revealed more than 30 occurrences of color designations lexemes, 99 uses of animal and plant names, as well as more than 100 occurrences of military lexical units. The features of translations of each lexical class were considered separately and the results of the analysis were compared. A number of reasons for lexical variability have been identified: differences in the original texts (reconstructions and translations into modern Russian), the abundance of “dark places” in the text of the monument (word boundary ambiguity in different reconstructions or lexemes that do not have a clear interpretation in modern Russian), different times of publication of the translation (during the period between 1823 and 2005), individual interpretations of the source text. A question about the correspondence of the translation devices used in recent translations of the “The Tale of Igor’s Campaign” to the universal features of translation proposed by M. Baker, A. Berman and U. Eco has been raised. Most of them are applicable to the French translations of the famous epic. However, in some cases less common correlations have been found (meaning discrepancy, metonymic synonym, etc.).

Instantiation and individuation in Buddhist scripture translation

2021 ◽  
Vol 3 (2) ◽  
pp. 227-246
Author(s):  
Pin Wang
Keyword(s):  
Social Identity ◽  
Original Text ◽  
Source Text ◽  
Buddhist Scripture ◽  
English Translations ◽  
Functional Features ◽  
Chinese And English ◽  
Heart Sutra

Abstract This paper analyses and compares the systemic functional features of the Sanskrit original text and the Chinese and English translations of the Buddhist scripture Heart Sutra, focusing on the ideational components that are manifest on the strata of discourse semantics and lexicogrammar. Results show that there are both expected equivalence and significant differences among the Sanskrit original text and the two translated texts. The accounts for the equivalence and differences are twofold (on two hierarchies): in terms of instantiation, the translators go along different re-instantiation routes in finding corresponding potentials between the source text and their respective target texts; in terms of individuation, the English and Chinese translators’ personal and social identity has an immediate influence on their respective reproductions of the text.

(Trans)fusions of Conrad’s darkness: Selected adaptations of Heart of Darkness

2021 ◽  
Vol 14 (1) ◽  
pp. 65-86 ◽  
Author(s):  
Ewa Kujawska-Lis
Keyword(s):  
Chamber Opera ◽  
Original Text ◽  
Source Text ◽  
Cultural Backgrounds ◽  
Language Version ◽  
The United Kingdom ◽  
Heart Of Darkness ◽  
The Us ◽  
Polish Language ◽  
Radio Broadcast

Heart of Darkness, due to its semantic complexity, interpretative openness and universal thematic interests, has been frequently intersemiotically adapted in a variety of media, encompassing radio broadcast, films, opera, graphic narratives and video games, as well as rewritten in the form of interlingual translations and refracted, with refractions including reviews and critical assessments, but also textual versions radically different from the source text. This article considers selected reinterpretations of Conrad’s text and comments briefly on how in each case the adaptation illustrates a fusion of Conrad’s vision with that of the adapter, hence (trans)fusion, and how this may give a new life to the source text via interpretative shifts. The article presents case studies: the film adaptation – Francis Ford Coppola’s Apocalypse Now (1979), Tarik O’Regan’s one-act chamber opera (both the United Kingdom in 2011 and the US staging in 2015), the graphic narrative by Catherine Anyango and David Zane Mairowitz (2010) and Jacek Dukaj’s Polish language version Serce ciemności (2017). This selection is governed by the variety of media and by the dissimilar approaches of the adapters to their source text. What is evident based on these variants is the role of the adapter as a creative participant in the process of transmitting the ideas of the original text, often updating them to make them relevant to new recipients of various cultural backgrounds. Additionally, reinterpretations and recontextualizations of the novella result directly from adaptive strategies specific to a given medium.

scholarly journals Estrangeirização e domesticação: indo além de mais uma dicotomia

2016 ◽  
pp. 91
Author(s):  
Reginaldo Francisco
Keyword(s):  
Cultural Differences ◽  
The Other ◽  
Original Text ◽  
Source Text ◽  
Dynamic Equivalence ◽  
Free Translation ◽  
Target Culture

http://dx.doi.org/10.5007/1980-4237.2014n16p91O teórico e crítico de tradução francês Antoine Berman afirma que as traduções literárias em suas formas tradicionais e dominantes representam um ato culturalmente etnocêntrico, isto é, que traz tudo à sua própria cultura, às suas normas e valores, buscando fazer com que se esqueça que se trata de uma tradução. Para se opor a essa prática dominante, o autor propõe uma tradução que não esconda o elemento estrangeiro na obra traduzida, e que para isso seja fiel à “letra” (lettre) do original. Essa oposição é muito conhecida também nos termos utilizados pelo teórico norte-americano Lawrence Venuti, que fala em “domesticação” (domestication) e “estrangeirização” (foreignization) para se referir respectivamente às práticas tradutórias que ocultam as diferenças culturais, adaptando tudo à cultura de chegada, e àquelas que mantêm a estranheza do texto original e da cultura de partida. Interpretações mais radicais das ideias desses autores podem levar a pensar a tradução como dividida nessas duas possibilidades, e muitas vezes à escolha de uma delas como ideal e a outra como condenável. Entretanto, assim como com dicotomias mais antigas (literal x livre, equivalência formal x equivalência dinâmica, etc.), também estas não são duas categorias estanques, podendo haver diferentes combinações de ambas na tradução de um mesmo texto, além de estratégias híbridas ou soluções que não representam nem uma nem outra posição. Neste trabalho discuto a problematização dessa dicotomia, incluindo exemplos de minha tradução do italiano para o português do livro infantojuvenil O diário de Gian Burrasca, de Luigi Bertelli (Vamba).ABSTRACTFrench translation theorist and critic Antoine Berman states that in their traditional and dominant forms literary translations represent a culturally ethnocentric act, which adapts everything to its own culture, standards and values, seeking to make readers forget that they are reading a translation. To oppose this dominant practice, the author suggests a kind of translation that would not hide the foreign element in the translated work, one that is faithful to the “letter” (lettre) of the original text. A similar opposition to that / to Berman’s is also well-known through the terms “domestication” and “foreignization” as defined by American theorist Lawrence Venuti, who uses them to refer to translation practices that on one hand conceal cultural differences, adapting everything to the target culture, and on the other keep the strangeness of both source text and culture in the translation. Radical interpretations of these authors’ ideas may lead to the misconception that translation is divided into those two possibilities, and often to the judgement that one of them is ideal and the other condemnable. Nevertheless, as with other older dichotomies (literal vs. free translation, formal vs. dynamic equivalence, etc.), these are not clearly distinguishable and opposed categories. There may be different combinations of them in the translation of a text, as well as hybrid strategies or solutions that do not represent either one of them. In this paper I discuss the problems of such dichotomy, drawing examples from my translation of Luigi Bertelli’s book Il giornalino di Gian Burrasca from Italian to Portuguese.Keywords: foreignization; domestication; dichotomy.

scholarly journals Possible Worlds in Translation: Coleman Barks’s Rendition of a Story from Rumi’s Masnavi

2021 ◽  
Vol 44 (3) ◽  
Author(s):  
Vahid Medhat ◽  
Hossein Pirnajmuddin ◽  
Pyeaam Abbasi
Keyword(s):  
Internal Structure ◽  
English Translation ◽  
Possible Worlds ◽  
Translation Studies ◽  
Original Text ◽  
Main Character ◽  
Source Text ◽  
Narrative Worlds ◽  
The Way

This article applies the theory of possible worlds to the field of translation studies by examining the narrative worlds of original and translated texts. Specifically, Marie-Laure Ryan’s characterization of possible worlds provides an account of the internal structure of the textual universe and the progression of the plot. Based on this account, one of the stories from Rumi’s Masnavi is compared to Coleman Barks’s English translation. The possible worlds of the characters and the unfolding of the plots in both texts are examined to assess the degree of compatibility between the textual universes of the original and the translated texts and how significant this might be. It also examines how readers reconstruct the narrative worlds projected by the two texts. The analysis reveals some inconsistencies in the way the textual universes of the original and translated texts are furnished and in the way readers reconstruct the narrative worlds of the two texts. The inability of translation to fully render the main character results in some loss in terms of the pungency and pithiness of the original text. It is also shown that the source text presents a richer domain of the virtual in comparison, suggesting a higher degree of tellability in the textual universe of the Masnavi’s narrative.

scholarly journals TRANSFORMATION OF FOLKLORE TRADITION IN SMALL PROSE BY SERGEY SILIN

2021 ◽  
pp. 104-113
Author(s):  
Юлия Олеговна Чернявская ◽  
Эльмира Самандаровна Мамедова
Keyword(s):  
Short Stories ◽  
Theoretical Basis ◽  
Attitude To Death ◽  
Research Material ◽  
Different Ages ◽  
Urban Folklore ◽  
Characteristic Features ◽  
Good And Evil ◽  
Modern Russian

Введение. Малая проза С. Силина еще недостаточно изучена литературоведами, однако его произведения вызывают интерес среди читателей разных возрастов и могут быть отнесены к двухадресной литературе, т. е. литературе, адресованной как детям, так и взрослым. Анализ произведений писателя, использующего приемы садистских стишков, страшной истории и анекдота, способствует более глубокому осмыслению основных тенденций развития современной российской прозы для детей. Цель – выявить жанровое своеобразие малой прозы С. Силина в соотнесении с фольклорной традицией. Материал и методы. Теоретической базой исследования послужили труды фольклористов Е. М. Мелетинского, Е. Курганова, О. Н. Гречиной, М. В. Осориной и др. Материал исследования – рассказы С. Силина. Результаты и обсуждение. Проведенный анализ позволил выявить характерные особенности малой прозы С. Силина. Писатель использует приемы нескольких фольклорных жанров: легкое отношение персонажей к смерти, гротеск, парадокс, юмористическая концовка, мнимое благополучие финала. Дети и взрослые представлены носителями гипертрофированно усиленных отрицательных качеств. Малая проза писателя адресована как взрослым, так и юным читателям. Заключение. В своем творчестве С. Силин трансформирует жанры городского фольклора: страшных историй, садистских стишков, анекдотов, чтобы заострить проблемы «отцов» и «детей», дать возможность взрослым и детям увидеть друг друга со стороны. К характерным особенностям малой прозы писателя относятся: легкое отношение к смерти, отсутствие катарсиса, абсурдный финал, наделение персонажей гипертрофированными качествами (жестокость, недисциплинированность, непослушание и т. д.). Рассказы чаще всего имеют кольцевую композицию, свидетельствующую о том, что основной конфликт произведения остался неразрешенным. Важную роль играют заглавия: в них содержится основная проблема рассказа. Использование фольклорных жанров позволяет автору донести до своих читателей в привычной с детства игровой форме важные педагогические идеи, а также выявить социальные, общественные и семейные проблемы. Introduction. Sergey Silin’s small prose has not yet been sufficiently researched by literary critics, but it arouses interest among readers of different ages and can be attributed to dual addressed literature. The study of the writer using the techniques of sadistic poems, horror stories and jokes contributes to a deeper understanding of the main trends in modern Russian prose. The purpose of the article is to reveal the genre originality of small prose by Sergey Silin. Material and methods. Theoretical basis for the study were the works of folklorists E. M. Meletinsky, E. Kurganov, O. N. Grechina, M. V. Osorina and others. The research material is short stories and horror stories by S. Silin (“The Fatal Five”, “The Fatal Four”, “Don’t Drown Five Graders!”, “Sambo Lesson”). Result and discussion. The analysis revealed the characteristic features of Silin’s small prose. In his work the author transforms the techniques of urban folklore genres: scary stories, sadistic poems, jokes. Conclusion. S. Silin’s works are dually addressed: not only to children, but also to adults. In his works, the writer uses techniques typical of urban folklore genres – they reflect the cynical attitude to death which is characteristic of sadistic poems; the use of clericalism; the absence of a clear confrontation between good and evil; the division into «good» and «bad» characters; the catharsis is replaced by a humorous ending; the idea of retribution is replaced by a paradoxical ending which emphasizes the immutability of what is happening. The stories most often have a circular composition, indicating that the main conflict of the work remained unresolved.

Adapting The Shining

The Shining ◽  
2017 ◽  
pp. 35-56
Author(s):  
Laura Mee
Keyword(s):  
Original Text ◽  
Source Text ◽  
Ideal Case ◽  
Horror Genre ◽  
History Of

This chapter examines the process of adapting Stephen King's book The Shining. Looking at how and why parts of the book were adapted (rather than just focusing on what changed) allows for a coherent appreciation of Stanley Kubrick's film as a significant horror movie. Moreover, The Shining provides an ideal case study for more nuanced theories of adaptation which consider films ‘in relation to the history of generic conventions within which both the film and its source text are situated. In other words, a film participates in—and should therefore be conceptualized as part of—a sequence of adaptations of which the “original” text, in turn, constitutes a segment’. Changing the story's horrific nature does not result in it being less suited to the horror genre, it just offers a different take on its conventions. Comparing the film directly to its equally iconic source text results in inevitable competition in which the original will often ‘win’, even when then the two serve different functions. In addition to analysing adaptation, considering the film within the context of its production and its creators' filmmaking style, and looking at its position within the genre and its themes, offers a fuller picture of The Shining's effective approach to horror.

Cenzura w Biblii

2018 ◽  
pp. 166-181
Author(s):  
Marcin Majewski ◽  
Artur Sporniak ◽  
Teresa Szostek ◽  
Michał Czajkowski
Keyword(s):  
Song Of Songs ◽  
Foreign Languages ◽  
Original Text ◽  
Holy Ghost ◽  
Small Letter ◽  
Bible Translation ◽  
The Bible ◽  
Original Meaning ◽  
Correct Translation

The article focuses on the analysis of an interview regarding Bible translation and related censorship. The author comments on the statements of one of the interlocutors, adding her own insights and analyses. Bible translators make certain parts of the text more approachable, as was the case with the refrain to Song of Songs, which, in most translations, mentions “embracing” while the protestant Bible contains the correct translation, i.e. “caressing.” Similarly, translators correct the Bible, as they have a different notion of what a sacral text should look like. For example, they introduce neutral phrases instead of offensive words. In Czajkowski’s opinion, translators often censor the Bible, trying to make the text less blunt. However, sometimes discrepancies are a result of not understanding the original text. Not always are these differences a consequence of the translator’s work, though. It is clearly visible e.g. in the case of “pneuma,” a word which can be translated into ghost or soul, spelled with a small letter, or the Holy Ghost. The author does not support the so-called “inclusive” translation. The inspired text should not be changed. Such changes can be replaced with explanations or comments. In order to discover the original meaning of the Holy Scripture, one can compare one of the Polish translations with translations into other foreign languages or other translations into Polish.

Dialogue and Dialogization in Modern Russian Scientific Journalism

2021 ◽  
pp. 475-485
Author(s):  
Olga Afanasyeva ◽  
Evgenia Basovskaya ◽  
Yana Kanevskaya
Keyword(s):  
Russian Scientific ◽  
Scientific Journalism ◽  
Modern Russian

scholarly journals Testing the influence of CAT-tools on the quality of translations produced by students majoring in translation

2019 ◽  
Keyword(s):  
Graduate Students ◽  
Final Analysis ◽  
Translation Studies ◽  
Foreign Languages ◽  
Practical Implementation ◽  
First Year ◽  
Original Text ◽  
National University ◽  
The Impact

The article is devoted to the study of the influence of CAT-tools on the quality of translations of first-year graduate students of translation studies departments of schools of foreign languages. Nowadays professional translation is possible only with the use of special translation software, namely, CAT-tools, an integral part of which is the terminology management module. It is believed that the use of term bases can improve the quality of translation, but the term bases given to the translator still require careful critical attitude because they can potentially contain mistakes which, in turn, can negatively affect the quality of translation. Identifying such influence would allow to adjust the training program for students majoring in translation in terms of the use of modern translation technologies, increasing its effectiveness. That is why the purpose of the study was to establish the presence or absence of the impact of CAT-tools (in terms of the use of term bases) on the efficiency of translators. The experimental study was conducted in the first semester of the 2019/2020 academic year (September). The subjects were 24 first-year graduate students of the Translation Studies Department of the School of Foreign Languages of V. N. Karazin Kharkiv National University, divided into 2 experimental groups (EG-1 and EG-2). Students of EG-1 in the process of translation used terminology base with mistakes, while students of EG-2 relied only on themselves. The stages of the study included three stages: preparatory (formulation of hypotheses, development of the plan of the experiment), basic (practical implementation of the experiment) and final (analysis and interpretation of the experimental data). The obtained results confirmed the hypothesis that the translation of the original text by means of CAT-tools with the use of the term base with mistakenly translated lexical units led to a decrease in the quality of students’ translations.

scholarly journals ترجمة القرآن الكريم إلى اللغة الملايوية: نظرة عامة في التاريخ والخصائص والأساليب (Translating the Holy Koran into the Malay Language: A General Overview on The History, Characteristics and Styles)

1970 ◽  
Vol 5 (2) ◽  
Author(s):  
أكمل خزيري عبد الرحمن (Akmal Khuzairy Abd. Rahman)
Keyword(s):  
Seventeenth Century ◽  
Target Language ◽  
Original Text ◽  
Source Text ◽  
General Overview ◽  
The World ◽  
To Come ◽  
Language Characteristics ◽  
Language Styles ◽  
The Stability

ملخص البحث:   تحاول هذه الدراسة تحديد الملامح العامة لترجمة القرآن الكريم إلى اللغة الملايوية من خلال تاريخ نشأتها وتطورها، وتركز على خصائص تلك الترجمات والأساليب اللغوية التي أثرت في اللغة الهدف نتيجة الترجمة. لقد ترجم القرآن الكريم اللغة الملايوية منذ القرن السابع الميلادي ومرت بمراحل تنوعت وتغيرت فيها أساليب المترجمين، وطرقهم في التعامل مع القرآن الكريم، ورغم هذه التطورات التي طرأت على أساليب اللغة الهدف فقد لوحظ بأن هؤلاء المترجمين اشتركوا في بعض المبادئ التي تخص بكيفية تعاملهم بالنص القرآني، ولمثل هذه الدراسة أهمية لوضع الملاحظات العامة بشأن ترجمة القرآن الكريم إلى إحدى لغات المسلمين. وجدت الدراسة بعض النتائج المهمة في مجال الترجمة إلى الملايوية، وهي كما يأتي: الاستفادة من التاريخ والخصائص والأساليب لترجمات القرآن الكريم إلى اللغة الملايوية، وأن وجود مراحل متعددة في ترجمات كاملة باللغة الملايوية دليل ساطع على استمرارية تواصل مسلمي المنطقة وتعاملهم مع القرآن الكريم الذي نزل بلغة قريش (العربية الفصحى أو الفصيحة)، وأن اعتمادهم على الترجمات لم يهدف إلى تبديل النص القرآني بما لديهم من الترجمات، وأنها لا يمكن أن تكون بدائل للأصل لديمومة تطور اللغة الملايوية التي في حد ذاتها تذهب بعنصري الثبات والإقرار من تلك الترجمات الملاوية، أن المترجمين للقرآن الكريم إلى الملايوية التزموا بالترجمة التي تميل إلى النص الأصل، وتمسكوا بجعل ترجماتهم في خدمة معاني القرآن الكريم.الكلمات المفتاحية: ترجمة القرآن الكريم– اللغة الملايوية– الخصائص الأسلوبية– مبادئ الترجمة– أساليب ملايوية جديدة. Abstract:This study attempts to determine the general characteristics of the translation of the holy Koran into Malay language through its history and development. It focuses on the characteristics of those translations and language styles that influenced the target language as well. The holy Koran had been translated since the seventeenth century and went through the periods of time that witnessed the change in the styles of the translators and their approaches in dealing with its verses. Notwithstanding these developments that were brought upon the target language, the translators did share some common grounds in dealing with the sacredness of the holy Koran. The study is important as it tries to come up with general observations on how the holy Koran was translated in one of the biggest language of the Muslims. It concludes that the various stages of translation indicated the continuity of the efforts to translate the holy Koran and the Muslims interaction with the holy revelation in this part of the world. Their dependence on the translation is not with the purpose of substituting the original as these translations will never be able to replace the original due the constant development of the target language that deny the stability of language style. Finally the translations were carried out under the shade of the original text and with the source text orientation. Keywords: Translation of the Holy Koran– Malay Language– Characteristics of Styles– Principles of Translation– New Malay Language Styles. Abstrak:Kajian ini berusaha untuk menentukan sifat-sifat umum bagi proses penterjemahan al-Quran kepada bahasa Melayu iaitu dengan menumpukan kepada sejarah perkembangannya. Kajian ini turut memfokuskan kepada ciri-ciri penterjemahan tersebut dan penggunaan gaya bahasa yang mempengaruhi bahasa sasaran. Hakikatnya, al-Quran telah diterjemah ke dalam bahasa Melayu sejak kurun ketujuh. Proses penterjemahan ini telah melalui beberapa peringkat yang menyaksikan perubahan pada penggunaan gaya bahasa dan pendekatan para penterjemah dalam menterjemahkan al-Quran. Namun demikian, para penterjemah berkongsi pandangan yang sama dalam menggunakan prinsip-prinsip berkaitan dengan penterjemahan al-Quran. Kajian ini penting kerana menonjolkan pemerhatian umum tentang bagaimana ayat-ayat al-Quran diterjemahkan ke dalam salah satu bahasa yang digunakan secara meluas oleh orang Islam. Dapatan kajian menunjukkan bahawa proses penterjemahan yang telah melalui pelbagai peringkat menunjukkan kesinambungan usaha dalam menterjemahkan al-Quran dan wujud interaksi antara orang Islam dan al-Quran. Kebergantungan mereka dalam proses penterjemahan bukan bertujuan untuk menukar maksud yang terkandung dalam ayat-ayat al-Quran, bahkan hasil terjemahan tidak akan sekali-kali boleh menggantikan keaslian ayat al-Quran yang bersifat kekal dan tetap. Justeru, para penterjemah dilihat lebih memelihara bahasa asal, namun dalam masa yang sama masih menjaga maksud yang terkandung dalam ayat al-Quran supaya kesucian al-Quran terpelihara.Kata Kunci: Penterjemahan Ayat-ayat al-Quran- Bahasa Melayu- Ciri-ciri Gaya Bahasa- Prinsip Penterjemahan- Gaya Bahasa Melayu yang Baru.          

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