scholarly journals Specific features of intersemiotic translation of symbols from the perspective of conceptual and semiotic paradigm

2021 ◽  
Vol 10 (47) ◽  
pp. 263-270
Author(s):  
Natalia Holubenko
Keyword(s):  
Literary Text ◽  
Film Adaptation ◽  
The Novel ◽  
Suggested Model ◽  
Source Text ◽  
Semantic Fields ◽  
The Given ◽  
Conceptual Nature ◽  
Basic Symbol ◽  
Made In

The text of the novel “Inferno” written by Dan Brown and its film adaptation, provide the material for the analysis of symbols and their importance in both art forms. This analysis, which rests on the thesis of the conceptual nature of symbols in any literary text, is made in conceptual and semantic fields, and the concepts denoted by the analyzed symbols are pointed out. Given that the text of the source novel is abundant in symbols of various degrees of textual importance, not all of them were subject of research in this paper. The basic symbol of the source text, the Inferno, was singled out, as well as a number of symbols embodied by novel and film personages. In the research, frequent techniques of intersemiotic translations were analyzed as concerns their role in symbol rendering: omission, typical of the studied case of intersemiotic translation, which can be combined with the technique of addition. In the latter case, the degree of expressive force of the symbol can be considerably altered. The greatest shift in the degree of importance of a symbol is named ‘symbol transformation’, it is observed when symbols (in the given case, symbolic personages of the source text) lose their expressive force and the features of a symbol, i.e., in the process of intersemiotic translation these symbols are lost. The suggested model of analysis can be applied in other cases of intersemiotic translation, and other techniques, together with their combinations, can be found.

scholarly journals Strategies to Overcome Translation Losses in the Novel “The Grapes of Wrath” by John Steinbeck to Achieve Adequacy in Translation

2020 ◽  
Vol 23 (4) ◽  
pp. 17-32
Author(s):  
Konul Khalilova ◽  
Irina Orujova
Keyword(s):  
John Steinbeck ◽  
Literary Texts ◽  
The Novel ◽  
Source Text ◽  
Grapes Of Wrath ◽  
Thought Patterns ◽  
Translation Techniques ◽  
Current Article ◽  
The Given ◽  
Different Levels

The current article involves the issues of losses, gains, or survivals contributing to literature in the process of translation. It represents a thorough study based on the novel “The Grapes of Wrath” by John Steinbeck from English and, respectively, its translation into Azerbaijani by Ulfet Kurchayli. It investigates the problematic areas or challenges emerging from the source-text discrepancies. Furthermore, this article also concentrates on the issue of cultural non-equivalence or the losses occurring in translating English literary texts into Azerbaijani. The paper identifies the translation techniques adopted by the translator of John Steinbeck’s The Grapes of Wrath. Adopting certain techniques rather than others has led to many losses on different levels. The translator’s important role as a cultural insider is also emphasized. The wide gap, distance, or the differences between the cultures, languages, and thought patterns of the English and Azerbaijani language speakers are the main factors resulting in various losses in the process of translation. Coping with these extra-linguistic constraints is harder than the linguistic ones as the translator has no choice in the given situations, deleting these elements from the TT or replacing them with elements that do not fit the context. This article aims at determining translation losses and gains, defining ways that the translator employs for compensating losses, through the analysis of John Steinbeck’s style in The Grapes of Wrath. The article concludes that there are some situations where the translation of a certain text from the SL into the TL embraces alteration in the whole informational content of the text, in the form of expressions or words.

scholarly journals The philosophical problems in modern fiction: The concept of being in E. Schmitt’s "Noah’s child"

2019 ◽  
Vol 72 ◽  
pp. 03012
Author(s):  
Elena Ivanova ◽  
Ekaterina Ivanova
Keyword(s):  
Human Perception ◽  
Literary Text ◽  
The Novel ◽  
Moral Choice ◽  
Historical Material ◽  
The World ◽  
Modern Fiction ◽  
The Given

The article is devoted to the analysis of the novel by a contemporary writer, E.E. Schmitt “Noah‟s child” in terms of the realization of the important philosophical problems, updated with the time. The novelty of the given material is due primarily to the choice of the author, whose work is still to be reflected. This article examines the philosophical issues of existence implemented at various levels of the literary text: from the title to its symbolism. Drawing on biblical and historical material, in a novelistic genre E. Schmitt managed to present his vision of the problems of faith and disbelief, identity of the nation, the moral choice, etc. While not denying the value of the God in human perception of the world, the writer asserts the idea that the man himself is responsible for all what is happening on the ground and in the society, so the novel “Noah‟s child” can be seen as a passionate appeal to contemporaries to strive for the harmony of coexistence.

scholarly journals THE PHENOMENON OF DISRUPTED COMMUNICATION IN THE NOVEL “EFFI BRIEST” BY THEODOR FONTANE AND IN THE FILM ADAPTATION BY RAINER WERNER FASSBINDER: SPEECH AND GESTURE

2021 ◽  
Vol 6 (3) ◽  
pp. 49-72
Author(s):  
Александра Владимировна Елисеева
Keyword(s):  
Comparative Analysis ◽  
Literary Text ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Close Reading ◽  
Theodor Fontane ◽  
The Novel ◽  
Hierarchical Relationship ◽  
The Subject ◽  
Effi Briest

The subject of this article’s comparative intermedial analysis is the phenomenon of disrupted communication in the novel by the German writer Theodor Fontane “Effi Briest” (1895) and in the film adaptation of this work by Rainer Werner Fassbinder “Fontane Effi Briest” (1974). The article consists of five parts: 1) introduction; 2) analysis of dialogues in Fontane’s novel; 3) description of the means of creating the effect of disrupted communication in Fassbinder’s film; 4) comparative analysis of some fragments of two works by the method of close reading; 5) conclusions. Methodologically, the research is based on the achievements of the theory of communication, carpalistics, comparative and intermedial approaches to the study of film adaptations. The main point of the article is that the effect of disrupted communication, which is observed in numerous dialogues of Fontane’s novel, is also created by visual means in Fassbinder’s film, among which a significant place is occupied by a gesture. The gesture of turning away deserves special attention: the characters of the film turn away from each other, turn their backs to the interlocutor and the viewer, turn to their reflection. The unconventionality and intensity of such gestures accentuate the problematic nature of communication between the characters. This structure, peripheral in Fontane’s work, becomes central in the film of Fassbinder, grasping the viewers’ attention. In this regard, the article adds to a traditional discussion about the hierarchical relationship between a literary text and its film adaptation.

scholarly journals CINEMA AS ONE OF THE MAIN FORMS OF CONTEMPORARY ART

2021 ◽  
Vol 7 (1(35)) ◽  
pp. 30-34
Author(s):  
I.F. Krylova ◽  
Victoria Andreevna Romanenko
Keyword(s):  
Contemporary Art ◽  
Literary Work ◽  
Literary Text ◽  
Film Adaptation ◽  
David Lynch ◽  
The Novel ◽  
Art Cinema ◽  
Anna Karenina ◽  
New Type ◽  
Literary Work Of Art

This article raises the problem of transposition (transposition) of the literary text of the verbal code into the language of cinema, which is relevant in modern linguistics. Within the framework of the presented research, the main stages of the development of cinematography, as well as the main techniques and types of editing, are described. The aim of the study is to analyze the historical stage in the development of a new type of art (cinema), its impact on society, as well as to analyze the relevance of such a phenomenon as the adaptation of a literary work of art. The relevance of addressing this topic is due to the development of modern filmmaking, the number of film adaptations that have come out in recent years. The article describes the views on cinema and film adaptation by Umberto Eco and David Lynch, suggesting that the film adaptation of literary works is a new type of artistic creation that was born in the 20th century and requires more careful research. The article presents an analysis of the novel by L.N. Tolstoy «Anna Karenina», as well as the main world adaptations of the novel. The analysis is carried out in order to identify the main cultural similarities and differences. The paper presents analyzes of such methods of translating meanings as color and cut-off.

scholarly journals Arkady Dolgoruky in Cinema and Theatre: Debut Decisions

2021 ◽  
pp. 192-223
Author(s):  
Liudmila I. Saraskina
Keyword(s):  
Middle Age ◽  
Literary Work ◽  
Film Adaptation ◽  
The Novel ◽  
Saint Petersburg ◽  
Literary Source ◽  
Stage Adaptations ◽  
To Come ◽  
Main Ideas ◽  
Made In

The paper investigates the fate of Fyodor Dostoevsky’s novel The Adolescent in cinema and theatre, comparing it with the stories of several film and stage adaptations of other works by the same author. The problem here discussed concerns the acceptable limits of interpretation, in cinema and theatre, of a literary work. The paper considers the following controversial aspects: - to what extent film and stage adaptations of a literary work may prove the success of the work as a piece of literature? - do film and stage adaptations expand (amplify) the contents of their literary source? - do they treat honestly the ideas and images of their source? The paper analyses the reasons why both cinema and theatre for many decades did not pay attention to The Adolescent and perhaps even deliberately bypassed it. The only film adaptation of The Adolescent so far was made in USSR in 1983 by the director Yevgeny I. Tashkov (1926-2012), with Andrei Tashkov (b. 1957) as Arkady Dolgoruky and Oleg Borisov (1929-1994) as Andrei Versilov. Of particular interest is the process of transforming the novel first-person narrative (Ich-Erzählung) into the language of cinema. However, the cinema debut of the novel and its characters cannot be described as a success. The film freed itself from the meaningfulness of the literary original, did not treat adequately its main ideas, and chose easy ways in all respects: in the script, in the work of the director, and the actors’ performances. Still more simplified has been the stage adaptation of The Adolescent at the Maly Drama Theatre in Saint Petersburg (the premiere took place on May 12, 2013). The director Oleg Dmitriyev, a disciple of Lev Dodon, abridged considerably the plot of the novel. The character of Versilov was deleted, shifting accents, and disfiguring the whole composition of the plot. In the novel, Arkady had dreamed all through his youth to come to know “the whole truth” about Versilov. In the stage adaptation, Arkady is presented not as a young and maturing person, but as a grown-up man who goes through a “middle-age crisis”: he turns into Versilov himself. He appropriates Versilov’s right to be extravagant and scandalous, thus playing the role, not of a witness but the central figure in the culmination of the story.

scholarly journals FACT VERSUS FICTION: FYODOR TYUTCHEV IN THE NOVEL BY A. GELASSIMOV «WIND-ROSE»

2020 ◽  
Vol 117 (6) ◽  
pp. 172-181
Author(s):  
Irina A. Edoshina ◽  
Keyword(s):  
Life Events ◽  
Direct Evidence ◽  
Data Interpretation ◽  
Literary Text ◽  
The Novel ◽  
Wind Rose ◽  
Biographical Data ◽  
New Meanings ◽  
The Given ◽  
Actual Life

Issues of writing a famous historical person biography, as well as the problem of biographical data interpretation in a fictional text is actualized in the article. The designated problem defined the aim of the article and also a number of objectives related to reviewing the most significant aspects in present day biography studies, the relevance of creation and reconstruction (Y. M. Lotman) in biography writing, biography interpretation techniques and methods exemplified by the analysis of a personage in the novel by a contemporary scientist and writer A. V. Gelassimov (born in 1965). It is noted that the images of the novel lead characters – G. I. Nevelsky and E. Yelchaninova – are presented with undisguised sympathy and in accordance with their actual biographies, unlike that of F. Tyutchev. Seeking to understand the causes, yet with no loss of observation objectivity in the field of how and on what grounds, in A. V. Gelassimov’s concept, a personage can be created the author of the article addresses his Candidate’s dissertation/PhD dissertation. In this paper (despite its specific orientalist problematic) an auteur methodology reveals itself-gaining new meanings through proliferation of senses, their multiplication. In A. V. Gelassimov’s view, as a result, vice acquires an intriguing shade of a new meaning, fact distortion becoming an independent phenomenon and acquiring a beneficial function of influencing contemporaries’ minds. Further on, the author of the article elicits all the episodes connected with the character called F. I. Tyutchev, analyzes them pointing out all the cases of meanings multiplication and their novel verification aimed at the distortion of the poet actual life events. A. V. Gelassimov’s unflattering speeches about F. Tyutchev are exemplified, which is a direct evidence that the strategy chosen by the author to study ways of constructing the poet’s biography in the given literary text is correct and valid.

scholarly journals Text Semantic Field Method as a Possibility of Systemic Approach to the Study of Literary Text: on the Material of the Novel “HOME OF THE GENTRY” by I.S. Turgenev

2020 ◽  
Vol 11 (3) ◽  
pp. 560-571
Author(s):  
Van Na ◽  
Jaroslaw Kobylko
Keyword(s):  
Natural Language ◽  
Character Education ◽  
Comparative Method ◽  
Field Method ◽  
Literary Text ◽  
Literary Texts ◽  
The Novel ◽  
Semantic Field ◽  
Semantic Fields ◽  
System Method

The article is devoted to identifying the explanatory potential of the text semantic field method as a system method in understanding the nature of connections between different levels of a literary text. It allows us to reach the super-category of the author's image, which acts as the organizing beginning of a literary text. Thus, the text semantic field is both the object and the method of the research. The method of comparative analysis revealed that the overcoming of natural language oppositions, inherent in the artistic text, can be manifested to a greater or lesser extent: from the weakening of semantic oppositions of natural language due to the enhanced semantic convergence of implicitly related semantic units, which can be observed, as shown by the study, in the novel by I.S. Turgenev Home of the Gentry, to the complete destruction of natural language oppositions, originally inherent, as it was proved in the works of O.I. Valentinova, in the aesthetics of polyphony. The comparison made possible to clarify that the principles of the organization of text semantic fields in artistic texts can perform opposite functions: to increase the semiotic significance of the image category, as it happens in the novel analyzed by I.S. Turgenev, or, on the contrary, as proved in the research of O.I. Valentinova, to indicate a decrease in the semiotic significance of the image category, which is a constitutive property of polyphonic texts. The use of the comparative method also allowed us to show that overcoming the oppositions of natural language, as a mechanism for the formation of text semantic fields not only of a literary text, but also semiotically complex texts of a different etiology, performs different functions. A comparison of character education text semantic fields of literary texts with the study of E.Yu. Medvedev the principle of formation of the text fields in the Orthodox liturgical sermons have clarified that if the destruction of the oppositions of natural language in a literary text generates occasional oppositions, will appear on the me of the artist, overcoming the oppositions of natural language in liturgical preaching brings to the ontological meanings that exist outside of the will and consciousness of the preacher.

scholarly journals Oriental Ethnic Mind: Ways to Represent It in Translation from Buryat into Russian

2021 ◽  
Vol 18 (4) ◽  
pp. 421-432
Author(s):  
Polina P. Dashinimaeva
Keyword(s):  
Research Methods ◽  
Semantic Differential ◽  
Semantic Space ◽  
Literary Text ◽  
Three Dimensions ◽  
Source Text ◽  
Experiment Data ◽  
Three Generations ◽  
Translation Stage ◽  
The Given

The urgency and topicality of the research is due to an insufficient study of zoom-investigating into a pre- and post-translation mental stage, and of ways to identify or forecast the authors mind ethno-centered content. Hereby the objective of the study is to describe ways of representing the oriental ethnic mind in translation from Buryat into Russian. To implement it, the following tasks are solved: to prove the conceptual difference of the Buryat mind within three dimensions the experimental axiological data on the semantic space of three generations of modern Buryats are presented, the main vectors of oriental Buryat mind are determined, the given axiological observations are confirmed on the basis of a literary text material, the author being a conservatively orientally-minded author by himself, and a number of ways to represent the Buryat ethnic mind in translation into Russian are discussed, and their correlated correspondences (ir)relevance issue is respectively raised. The materials are as follows: the semantic differential experiment data and Dambinima Tsyrendashievs story Һuhlshyn uulzalga Last meeting. The research methods are a psycholinguistic experiment, a posttranslation analysis of the target text in Russian, an algorithm presentation of the source text ethnocentered semantics explication at the pre-translation stage which is presented in the conclusion.

scholarly journals THE DISCOURSE-AND-NARRATIVE POLYPHONY OF THE QUOTIDIAN AND THE PUBLIC-RELATED IN IAN MCEWAN’S SATURDAY (2005)

2021 ◽  
pp. 133-142
Author(s):  
Sergii Sushko
Keyword(s):  
Mass Media ◽  
Literary Text ◽  
Inner Speech ◽  
The Novel ◽  
Professional Discourse ◽  
The Public ◽  
The One ◽  
Event Based ◽  
The Given

In the English-written literature, the «one day novel» genre modification is represented by an appreciable number of novels. V.Woolf’s Mrs Dalloway and J. Joyce’s Ulysses are the famous paragons of the subgenre. Ian McEwans’ Saturday also joins this category. The novel’s protagonist’s inner speech intensification as well as retrospective inclusions and digressions help the narrator to go beyond the conventional boundaries of the «one day novel» genre variety. The research undertaken in the given paper pursues exploration of of the possibility of combining the discourse and narrative elements of the literary text into one narrative entity. In the Ian McEwan’s circadian novel Saturday, the professional discourse of the neurosurgery as well as other discourses are skillfully and masterfully interwoven into the story-action-and-event governed textual terrain, that is into its narration. In the paper, the polysemantic structure of the terms «quotidian», «discourse», «narrative» has been analyzed. Also, such aspectual narratives of the novel as the quotidian narrative, medical, psychological, literary, mass media, topographical, musical, sports ones have been identified and some of them explored. Also, the plot-building function of the Neo-Victorian code of the novel has been specified and the Leitmotiff recurrence of some quotations, allusions and reminiscences has been dwelt on. In the paper, the principle of narrativization of a discourse is hypothesized; in keeping with it, the discourse-containedinformation is delivered through the action-and-event-based narrative. The discourse-governed knowledge is not distanced from the narrative, both are fused into one narrative whole. This principle accounts for a polyphonic interplay of discourses and narratives in the novel treated here.

scholarly journals Arkady Dolgoruky in Cinema and Theatre: Debut Decisions

2021 ◽  
pp. 192-223
Author(s):  
Liudmila I. Saraskina
Keyword(s):  
Middle Age ◽  
Literary Work ◽  
Film Adaptation ◽  
The Novel ◽  
Saint Petersburg ◽  
Literary Source ◽  
Stage Adaptations ◽  
To Come ◽  
Main Ideas ◽  
Made In

The paper investigates the fate of Fyodor Dostoevsky’s novel The Adolescent in cinema and theatre, comparing it with the stories of several film and stage adaptations of other works by the same author. The problem here discussed concerns the acceptable limits of interpretation, in cinema and theatre, of a literary work. The paper considers the following controversial aspects: - to what extent film and stage adaptations of a literary work may prove the success of the work as a piece of literature? - do film and stage adaptations expand (amplify) the contents of their literary source? - do they treat honestly the ideas and images of their source? The paper analyses the reasons why both cinema and theatre for many decades did not pay attention to The Adolescent and perhaps even deliberately bypassed it. The only film adaptation of The Adolescent so far was made in USSR in 1983 by the director Yevgeny I. Tashkov (1926-2012), with Andrei Tashkov (b. 1957) as Arkady Dolgoruky and Oleg Borisov (1929-1994) as Andrei Versilov. Of particular interest is the process of transforming the novel first-person narrative (Ich-Erzählung) into the language of cinema. However, the cinema debut of the novel and its characters cannot be described as a success. The film freed itself from the meaningfulness of the literary original, did not treat adequately its main ideas, and chose easy ways in all respects: in the script, in the work of the director, and the actors’ performances. Still more simplified has been the stage adaptation of The Adolescent at the Maly Drama Theatre in Saint Petersburg (the premiere took place on May 12, 2013). The director Oleg Dmitriyev, a disciple of Lev Dodon, abridged considerably the plot of the novel. The character of Versilov was deleted, shifting accents, and disfiguring the whole composition of the plot. In the novel, Arkady had dreamed all through his youth to come to know “the whole truth” about Versilov. In the stage adaptation, Arkady is presented not as a young and maturing person, but as a grown-up man who goes through a “middle-age crisis”: he turns into Versilov himself. He appropriates Versilov’s right to be extravagant and scandalous, thus playing the role, not of a witness but the central figure in the culmination of the story.

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