scholarly journals FEATURES OF RECEPTION AND TRANSLATION INTO GERMAN OF NON-EQUIVALENT VOCABULARY IN THE WORK OF S.T. AKSAKOV "FAMILY CHRONICLE"

Author(s):  
Диана Солоха
Keyword(s):  
Author(s):  
V.V. Tomazov ◽  
M.F. Dmitriyenko
Keyword(s):  

Author(s):  
Juliette Taylor

This article examines the theme of mistranslation in Nabokov ’s Ada or Ardor: A Family Chronicle in the context of the novel’s multilingual style. Focusing on a selection of deliberate mistranslations carried out by the cen-tral protagonists, Van and Ada Veen, the article demonstrates that such playful mistranslation serves a function that is much more significant than mere parody. Though, on the surface, the mistranslations parody those forms of ‘paraphrastic’ or ‘free’ translation that Nabokov and his cha racters consistently critique throughout Ada, each instance of deliberately ‘bad’ translation also contains extremely inventive forms of interlingual mutation and play which have aesthetically-productive defamiliarising effects. The article relates those instances of explicit mistranslation to the overall style of the novel, arguing that problems of interlingual transfer and communication are intrinsic to the multilingual aesthetic of the novel as a whole.


1965 ◽  
Vol 39 (2) ◽  
pp. 261-264

The following piece contains valuable information on medieval industrial and labor history. It is a translation from a family chronicle and autobiography written by the Nürnberg patrician, merchant, and statesman, Ulman Stromer (1329–1407). Stromer is considered to have been the creator of the German large-scale paper industry which he founded in 1390 by building a paper mill near his home town.


2020 ◽  
Vol 53 (2) ◽  
pp. 213-234
Author(s):  
Maia Mcaleavey

Abstract The bildungsroman privileges singularity: the unique and, often, the only child. This essay turns away from familiar literary narratives of a protagonist's personal development in order to examine the narrative possibilities of a genre that instead maintains focus on a group of siblings: the Victorian family chronicle. Family chronicles understand their large families as systems; they celebrate the replaceability of relationships rather than the irreplaceability of individuals. By insisting that a flourishing group can function in the absence of any particular person, they achieve fulfillment not in individualist plots but in group activities and brimful houses. The most influential Victorian family chronicler was Charlotte Mary Yonge. Yonge's episodic form was taken up by Anthony Trollope, Margaret Oliphant, Louisa May Alcott, and Margaret Sidney. These writers’ chronicles are non-protagonistic, nearly plotless, and potentially endless. They have been dismissed as minor works; nonetheless the anti-individualism of the large family chronicle offers an innovative approach to the nineteenth-century novel's tense negotiation between individual needs and group membership. Glimpses of chronicle narration can be seen operating within and against the competitive character systems that dominate canonical Victorian novels. A twentieth-century variant, Gilbreth and Carey's Cheaper by the Dozen, proves that the mutualistic form is also capable of hardening the boundaries around a family unit in order to compete in a capitalist marketplace. Nonetheless, the family chronicles developed by Yonge model a social economy in which both narrative and economic resources are not concentrated on a single striver but are distributed across a system.


Literary Fact ◽  
2020 ◽  
pp. 8-67
Author(s):  
Andrei Babikov

The material offered to the readers is a translation into Russian, with extensive notes, of an excerpt from the First Part of Vladimir Nabokov’s novel Ada, or Ardor: A Family Chronicle (1969). The published material consists of a translator’s Preface, five chapters from the novel, notes by V.V. Nabokov and the translator’s annotations. The Preface to the publication describes the creative and biographical circumstances of the creation of one of the most significant and controversial novels of the twentieth century, and indicates the sources of its conception, which goes back to the English short story of Nabokov Time and Ebb (1944), and considers its formal peculiarities. The Preface outlines the basic principles of Ada’s poetics, which distinguish it from the number of other works of the outstanding master and innovator of prose and affect it’s readers perception, such as: deliberate complexity of the narrative technique and an unprecedented variety of language tools used by Nabokov. The author of the Preface draws attention to the fact that the subtitle of the novel, indicating that it belongs to the genre of family chronicles, serves as one of the elements of Nabokov’s game poetics, since the classical tradition becomes the subject of parody in Ada. The novel is considered by the author of the Preface and translator of Ada as a grand compendium of European literature of Modern period, as an experiment in combining many varieties of the novel, from pastoral and Enlightenment utopian fiction of the 16– 17 centuries to the Nouveau roman of the 1950s and 1960s. The new Russian version of Nabokov’s most untranslatable novel took into account detailed annotations (in progress) by B. Boyd, works by A. Appel, Jr., and other researches, observations by one of the German translators of Ada, D. Zimmer, and the text of the French translation of the novel, which was prepared under Nabokov’s supervision. The Preface to the publication and the translator’s annotations involve archival material, in particular the draft of several chapters of the Russian translation of Ada, prepared by Véra Nabokov.


1945 ◽  
Vol 14 (15) ◽  
pp. 215-216
Author(s):  
Lewis S. C. Smythe
Keyword(s):  

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