scholarly journals THE PRAGMATIC DIMENSION OF METAPHOR TRANSLATION IN THE SPANISH POETRY OF THE 27TH GENERATION

2021 ◽  
Vol 03 (03) ◽  
pp. 175-183
Author(s):  
Thinhinane Ait HADDA ◽  
Meriem Fellag ARIOUAT
Keyword(s):  
The Other ◽  
Literary Translation ◽  
Original Text ◽  
Spanish Poetry ◽  
Hundredth Anniversary ◽  
Translation Tools ◽  
Graphic Images ◽  
Pragmatic Dimension

Literary translation is one of the most difficult and complex types of translations, especially when it comes to translating poetry and the graphic images it carries, as these images are an expressive tool, as we find that the metaphor tops the verses of the Spanish 27-generation poets, the generation that emerged after the celebration of the three hundredth anniversary of the death of the poet Louis De Gongra, because of the conditions in which they lived and the censorship they were subjected to during the period of General Franco's regime, the metaphor was a means of expressing the lived reality, which links the tangible with the abstract, and calls the reader to the realization of thought as a result of implicit sayings difficult to understand. If the original text is difficult to understand, how The transfer to the other language, in which the matter will become more complicated to decode the content of each borrowing and reformulate it in the language transferred to it, and thus the translation of the metaphor is among the most important issues that occupy translation in its theoretical and practical parts. Through this intervention, we touched upon the study of the pragmatic dimension of translating a metaphor in the poetry of the 27th generation, focusing in that on studying the competencies of the translator when transmitting it, and we raised the following problem: What are the linguistic and translation tools that help to investigate the pragmatic dimension in decoding the content of the metaphor in the original text And to achieve the goal of the writer? Our aim of this research is to finally highlight these tools that help the translator in his work and convey this type of images with the same meaning and effect.

scholarly journals The Potential of Literary Translation in Intercultural Communication: Ota Pavel’s Short Stories for the Russian Reader

2020 ◽  
Author(s):  
Anastasiia Cherepanova
Keyword(s):  
Intercultural Communication ◽  
Cross Cultural ◽  
Contextual Analysis ◽  
Literary Translation ◽  
Original Text ◽  
Main Research ◽  
Translation Tools ◽  
Jewish Humor ◽  
The World ◽  
Cultural Texts

The purpose of this article is to reveal the specifics of the translation of cross-cultural texts by the Czech writer Ota Pavel. The main research methods are a description of potential difficulties and possible solutions, a comparative analysis of the translation and the original, contextual analysis, the use of analog texts to indicate the genre nature of the translated text. The main conclusions of the article are as follows: to convey the style of Ota Pavel, the translator must recreate the model of the world presented in the original text, which includes the specific features of Czech and Jewish cultures, by transmitting such characteristics of the text as slow narration, an abundance of retreats, repetitions, details, comparisons, specific Jewish humor using such translation tools as historical and cultural translation comments and compulsory translation transformations. The latter include: lexical transformations (translational transcription, tracing, lexical-semantic substitutions); lexical and grammatical transformations (explication, transformation); grammatical transformations (syntactic assimilation, division of sentences, combining sentences, grammatical replacements). Keywords: cross-cultural texts, analog texts, contextual analysis, adaptation, translation transformations

scholarly journals Philosophical Paradigm of Literary Translation: Phenomenon of Misunderstanding of ‘Other’ Word and Text

2019 ◽  
pp. 3-11
Author(s):  
Ihor Limborskyi
Keyword(s):  
The Other ◽  
Literary Translation ◽  
Original Text ◽  
New Paradigm ◽  
Translation Process ◽  
Cultural Experience ◽  
New Approach ◽  
National Tradition ◽  
Mental Experience ◽  
Multicultural Diversity

The paper analyzes philosophic aspects of the translator’s misunderstanding of the original text which always reflects cultural and mental experience of the ‘other’ system of literary thinking. The translator is a mediator, who not only tries to insert a literary word and a text into ‘our’ culture, but also depicts ‘other’ reality in terms of symbols and images of the ‘other’ system of national understanding of senses. It is obvious that there are a lot of mental and semantic differences and transformations between the original text and the translation. This is a problem with a specific metaphysical status, when the misunderstanding of the original text may be caused by a number of aspects, some of which lie outside the text itself and its translation. The search for the new forms of thinking beyond the traditional stereotypes of rationality and self-evidence of “cogito” creates a new approach to the tasks and the essence of literary translation. Today one may confidently say that a new ethics, psychology and aesthetics of literary translation were born. The postmodern crisis of communication, as well as multicultural diversity and transcultural dialogue stimulated new forms and mechanisms for representing ‘other’ cultural experience (the experience of the ‘other’ / ‘alien’).  According to the new paradigm of literary translation the translator must be focused on the philosophical aspects of the translation process. This is not only about the connection between the ‘subject’ and the ‘word’, or ‘thought’ and ‘experience’ that should have been reproduced in translation, but also about a specific metaphysical basis for the new process of thinking about a word and its role in overcoming the situation of misunderstanding of the ‘other’ literary text that presents other literary national tradition. The author of the paper comes to the conclusion that the phenomenon of misunderstanding of the ‘other’ word and text stems from the possibility of reading and rereading the text falsely. At the same time, the ‘misunderstanding’ of the original text gives an important chance to the translator for reading and rereading the original text alternatively.

Benjamin and Borges

Babel ◽  
2018 ◽  
Vol 64 (1) ◽  
pp. 63-80
Author(s):  
Rasool Moradi Joz ◽  
Hossein Pirnajmuddin
Keyword(s):  
Short Story ◽  
Time Lag ◽  
Decisive Role ◽  
Translation Studies ◽  
The Other ◽  
Literary Translation ◽  
Original Text ◽  
Source Text ◽  
Bear Witness

Abstract Borges’ works deconstruct the time lag conceived in the binaries such as the work’s production vs. its criticism, the original text vs. its translation, the source text vs. the derivative nature of the target text, and reality vs. fiction. Benjamin, as Borges’ near contemporary, echoes rather the same idea in his post-Nietzschean philosophy of translation. Focusing on the similarities between the views of Benjamin on translation and those of Borges as reflected in his stories as well as his essays, particularly in his well-received essay on translations of Thousand and One Nights and in his meta-fictional short story ‘Pierre Menard’: Author of the Quixote, this paper aims at bringing the two scholars together in the context of literary translation studies in the postmodern era, where intersemiotic and intertextual collage (in Eco’s terminology) and mimicry bear witness to the claim that translation, like other intertextual enterprises, is neither inferior to the other intertextual undertakings such as writing, nor is it detached from language as post-structurally conceived. Furthermore, another core objective of this study is to show how Borges’ ‘Menard’ heralds and truly represents the translation theories built upon the underlying assumptions of deconstructionism since the 1980s. It is concluded that as far as postmodern and poststructuralist theories are concerned, both Borges’ and Benjamin’s works had predicted the future of literary and translation theories in which the decisive role of translation and translator in the construction of culture and identities cannot be denied.

TRANSLATION AS MENTAL INTERPRETATION ACTIVITY IN LINGUISTICS AND LITERATURE

2019 ◽  
Vol 18 (28) ◽  
pp. 43-53
Author(s):  
Svitlana Gruschko
Keyword(s):  
Literary Criticism ◽  
Literary Work ◽  
Cross Cultural ◽  
Literary Translation ◽  
Literary Texts ◽  
Cultural Dimension ◽  
Cultural Communication ◽  
Original Text ◽  
Cross Cultural Communication ◽  
Cross Language

In the article the phenomenon of translation is regarded as mental interpretation activity not only in linguistics, but also in literary criticism. The literary work and its translation are most vivid guides to mental and cultural life of people, an example of intercultural communication. An adequate perception of non-native culture depends on communicators’ general fund of knowledge. The essential part of such fund of knowledge is native language, and translation, being a mediator, is a means of cross-language and cross-cultural communication. Mastering another language through literature, a person is mastering new world and its culture. The process of literary texts’ translation requires language creativity of the translator, who becomes so-called “co-author” of the work. Translation activity is a result of the interpreter’s creativity and a sort of language activity: language units are being selected according to language units of the original text. This kind of approach actualizes linguistic researching of real translation facts: balance between language and speech units of the translated work (i.e. translationinterpretation, author’s made-up words, or revised language peculiarities of the characters). The process of literary translation by itself should be considered within the dimension of a dialogue between cultures. Such a dialogue takes place in the frame of different national stereotypes of thinking and communicational behavior, which influences mutual understanding between the communicators with the help of literary work being a mediator. So, modern linguistics actualizes the research of language activities during the process of literary work’s creating. This problem has to be studied furthermore, it can be considered as one of the central ones to be under consideration while dealing with cultural dimension of the translation process, including the process of solving the problems of cross-cultural communication.

Shalott’s Song: a Specific Feature Found in Balmont’s Translation of A. Tennyson’s Poem «The Lady of Shalott»

2020 ◽  
pp. 22-33
Author(s):  
Margarita Shanurina
Keyword(s):  
Neutral Word ◽  
Fairy Tale ◽  
The Other ◽  
Original Text ◽  
Academic Paper ◽  
Other Hand ◽  
The One

This academic paper is devoted to the analysis of a specific feature which could be found in K. Balmont’s translation of A. Tennyson’s poem «The Lady of Shalott». The aim of the work is to study the reasons why Balmont uses the word «волшебница» to describe the heroine in his translation while there is no word with such semantics in the original text. (This word is put in the name of the translated work and it is found in almost every stanza).English analogue of the word «volshebnitsa» (that is, the word «enchantress», which, according to the Oxford English Dictionary, is closest to this word in semantics), while in the original text of the poem this word is not mentioned, the neutral word «lady» is used andonce (in the speech of the mower who hears the heroine singing, but does not see her) there is the word «fairy». This article, on the one hand, summarizes existing studies on the topic; on the other hand, complements them. The study highlights and considers several reasons for the above-mentioned discrepancy between the original text and its translation: emphasizing the connection with a fairy tale, revealing a number of motifs which play an important role in the work of Balmont himself (namely, motifs of music and creativity as magic) and an indication of the main heroine’s charming beauty.

National conceptual sphere as a criterion of literary translation authenticity

2021 ◽  
Vol 7 (1) ◽  
pp. 383-388
Author(s):  
Aigul Yessentemirova ◽  
Kuralay Urazaeva
Keyword(s):  
Comparative Analysis ◽  
Literary Translation ◽  
Original Text ◽  
Reliable Criterion ◽  
The Subject ◽  
Similarities And Differences

The paper is focused on the study of literary translation as a type of rhetorical communication. The subject being analysed is that national conceptual sphere can be a reliable criterion for the authenticity of translation. The topic of the research is that national conceptual sphere regarded as a means of illocutionary influence and a source of differences in rhetorical conscience of the author of the original text as well as the translator and the addressee. A comparative analysis of Russian and Kazakh translations of Robert Burns’ ballad “John Barleycorn” is carried out. The comparison is based on the structure of rhetorical communication, national conceptual sphere, prosody parameters and genre features. The similarities and differences of the translations are specified. The similarities are shown in referential, strophic and genre proximity of the original and translations.

Parody in the Film Viewed through the Theory of Individuation: The Shining in Ready Player One

2019 ◽  
Vol 39 ◽  
pp. 66-94
Author(s):  
Kwangtaek Park ◽  
Sangjoon Bae
Keyword(s):  
Potential Energy ◽  
Semantic Network ◽  
The Other ◽  
Digital Culture ◽  
Original Text ◽  
Generation Process ◽  
Technical Object ◽  
New Meanings ◽  
Long Time ◽  
Gilbert Simondon

Parody which used as the way of creating for a long time has stood out by the spread of postmodernism. Parody that is defined as ‘repetition that includes difference’ by Linda Hutcheon structure the new semantic network in the process of transforming the original text. This paper focuses on the generation process of parody from the perspective of Gilbert Simondon, the theory of individuation. Likewise, technics and technical object, also the elements of culture have potential energy causing the transduction to the other individual, and individuation is occurred to form the new meanings. That is, parody is the phenomenon of individuation between the contents that have potential energy inside. Parody is animatedly applicated in the part of visual culture due to the progress of the digital culture. Especially film which is the interface between the technology, the industry, and the art, can be said as the advanced guard of parody aesthetics. After the 1970s, parody applied to begin in earnest in film produce abundant meaning in the network between film connecting the numerous work. One of the node of the film, <Ready Player One>(2018) tried parody covering the entire popular culture not only film but also game and so on. In that, <The Shining>(1980) is recontextualized of high importance. In the <The Shining> in the <Ready Player One>, value-neutral parody with no satirical or respectful intent unfolds icon or settings such as typewriter, anniversary picture, maze, and the banquet room. In this progress, after the fundamental elements in the adventure genre are taken the information of the original text, the internal potential energy form the parody. On the other hand, a filmic element such as a film texture rendering and steadycam commemorate the film historical position of the original, at the same time, those are represented in homage parody varied the meaning. Like the aforesaid parody, this brings about the process of individuation, as well as the nostalgia, which leads to trans-contextualization

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 Art. XVI.—Tales of the Wise Man and the Fool, in Tibetan and Chinese

1901 ◽  
Vol 33 (3) ◽  
pp. 447-460 ◽  
Author(s):  
J. Takakusu
Keyword(s):  
Chinese Version ◽  
The Other ◽  
Original Text ◽  
Popular Work ◽  
The Temple

The book I have chosen for my present paper is a sort of Jātaka or Avadāna entitled the “ Hien-yü-Ching,” which Mr. Nanjio has restored into Sanskrit as “ Damamūkasūtra” , or “ Tales of the Wise Man and the Fool.” It will at once remind one of the Tibetan work “ mDsans-blun ” (generally called Dsan-lun), that is, “Der Weise und der Thor,” published by I. J. Schmidt, and afterwards by Schiefner, for this is a popular work and is read by almost every student of Tibetan. The Chinese version was by Hui-hsio , Wei-teh , and others, written during their stay in Karakhodjo, a.d. 445 . There are, however, two texts both assigned to the same translators, one coming down through the Korean Buddhists and the other through the Chinese. It is said in the earliest catalogue in existence (a.d. 520) that the original text was obtained by the translators in Khoten (Kustana, ) and translated by them in the Temple Tien-an-shi, Karakhodjo . As to the Tibetan text we were first informed of its existence by Csoma de Cörösi in the “ Asiatic Researches,” vol. xx, 1836, and seven years later we were furnished with the text by the Russian savants mentioned above.

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.

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