Translators Talk about Themselves, Their Work and Their Profession: The Habitus of Translators of Russian Literature into Hebrew1

2016 ◽  
Vol 26 (2) ◽  
pp. 29-57
Author(s):  
Tanya Voinova ◽  
Miriam Shlesinger
Keyword(s):  
Group Identity ◽  
Russian Literature ◽  
Literary Translation ◽  
Dynamic Nature ◽  
Professional Activities ◽  
Distinctive Group ◽  
Russian Literary ◽  
Translated Literature

In his discussion of the habitus of translators throughout history, Simeoni highlights the submissiveness and invisibility associated with their inferior position and with their tendency to assimilate and internalize these views of their professional activities. In keeping with recent reappraisals of this position, the present paper examines the ways in which translators of Russian literature into Hebrew, from the 1970s to now, present themselves, their work and their profession—and reflect on their habitus, their conduct in the system of Russian literature translation, and their practice. From the theories of Bourdieu and of Even-Zohar, we explore these self-representations, and find that rather than presenting themselves as invisible, passive and professionally indistinct, these translators make a point of announcing their presence as well as of emphasizing their work. While they adopt different models, they nevertheless share a repertoire and both a social and a professional habitus—one that is a prerequisite for entering the field of literary translation, and particularly the subfield of literary translation of Russian literature, and for operating successfully in these arenas. It is in this way that they achieve status in the culture, accumulate capital and construct their (distinctive) group identity. In addition, the discourse of Russian literary translators points to the dynamic nature of their system and helps push it towards the center of the polysystem of Hebrew translated literature.

New understanding and old myths. On I. Esaulov’s Russian Classics: New Understanding [Russkaya klassika: novoe ponimanie]

2020 ◽  
pp. 178-191
Author(s):  
E. V. Abdullaev
Keyword(s):  
Critical Analysis ◽  
Cultural Context ◽  
Russian Literature ◽  
Eastern Orthodox ◽  
Literary Canon ◽  
Eastern Orthodoxy ◽  
Russian Culture ◽  
Historical Method ◽  
Russian Literary ◽  
Methodological Principles

The article examines methodological principles of studying the Russian literary canon in the cultural context of Eastern Orthodoxy, as demonstrated in I. Esaulov’s book. While acknowledging the importance of the book’s method, the article reviews and criticizes the concepts used by the scholar (the Eastern archetype, the Christmas archetype, the categories of Law and Grace, etc.). In particular, the author challenges the statement that a writer populates his works with archetypes prevailing in his culture (so Eastern Orthodox ones in the case of Russian culture), often against his own religious principles. Also subjected to critical analysis is the thesis about the Easter archetype being more specific to Russian literature, with the Christmas archetype being more typical of Western literature. On the whole, the paper argues that the transhistorical approach declared by the scholar as opposed to the rigorously historical method (M. Gasparov and others) may often lead to strained hypotheses and mythologizing; all in all, it may result in an ahistorical perception of both Eastern Orthodoxy and the literary canon.

"Mustard" from the cycle: "Medical and sanitary issues of chemical defense"

1930 ◽  
Vol 26 (1) ◽  
pp. 100-100
Author(s):  
Editorial Board
Keyword(s):  
Experimental Study ◽  
Chemical Defense ◽  
Russian Literature ◽  
World War ◽  
Gas Poisoning ◽  
The World ◽  
Original Works ◽  
Translated Literature ◽  
Sanitary Services

Bibliography and reviews. Until now, Russian literature has been extremely poor in original works devoted to the issues of medical and sanitary services for gas poisoned persons. Most of the available books and brochures (X lopin, Blinchikov, etc.) reflected mainly the experience of the World War and were somewhat outdated, since in the years following the war, the issues of gas poisoning were subjected to careful experimental study in all countries, and many sides cases were presented from completely new perspectives. The same is the case with translated literature, among which you can count only a few brochures devoted to the issues of pathology and the clinic of gas poisoning.

scholarly journals Encomium on the Twenty-four Elders ascribed to Proclus of Cyzicus (М. 591 f. 1r–11v)

2020 ◽  
Vol 3 (5) ◽  
pp. 1379-1396
Author(s):  
L. R. Frangulyan ◽  
V. V. Shtefan
Keyword(s):  
Russian Translation ◽  
Unknown Origin ◽  
Literary Translation ◽  
Book Of Revelation ◽  
John Chrysostom ◽  
Kingdom Of Heaven ◽  
Russian Literary ◽  
Eastern Traditions ◽  
The Church

The 24 elders are the biblical image that is found only in the Book of Revelation of John the Apostle. They surround the throne of God and are endowed with certain attributes of glory. In the Ancient Church this image was interpreted in different ways. This article presents the first Russian literary translation of Coptic text signed as Encomium in honor of the 24 elders. The translation was carried out from the edition, which was published with the Italian translation in 1977 by Antonella Maresca. The author of Encomium is declared Proclus of Cyzicus, who later became the Patriarch of Constantinople. However, this is a pseudo-attribution, namely, this hierarch did not write this Encomium, and its real author remains unknown. The Italian translator divides the text into 33 paragraphs, and in the preface to Coptic edition highlights the four parts of Encomium. Two of them, dedicated to John Chrysostom and the exegetical interpretation of the first chapter of Genesis, seem to be interpolations. But after analyzing the entire narrative it is possible to say that these parts are embedded in the narrative. Also the features of the Coptic veneration of the 24 elders, which are reflected in Encomium, are discussed in the introduction to Russian translation. In particular, the bodiless nature of the 24 elders. Their unknown origin is emphasized several times in Encomium, the priestly role of these elders in the Kingdom of Heaven is also noted. It can be stated that the author of Encomium in the first two parts acts as a storyteller-historian of the Church, conveying information about John Chrysostom, and in the last two as an exegete. The image of 24 elders in Eastern traditions is a little studied topic and acquaintance with the Coptic tradition thanks to the translation of this Encomium opens up opportunities for comparative studies.

scholarly journals The Literary Portrait from Pushkin to Dostoevsky

2020 ◽  
pp. 86-104
Author(s):  
Elena V. Stepanian-Rumyantseva
Keyword(s):  
19Th Century ◽  
Russian Literature ◽  
Dynamic Nature ◽  
Human Personality ◽  
Literary Portraits ◽  
Existential Choice ◽  
Literary Portrait ◽  
The 19Th Century ◽  
Physical Resemblance ◽  
As If

The article explores the peculiarities of literary portraits and studies the interconnections and contrasts between painted and written portraits. The recognizability of a portrait in pictorial art is attained not only through physical resemblance but also through “artistic deformations” that the author introduces to the appearance of the portrayed. In a literary portrait, identification is achieved both by verbal and plastic detailing and by addressing the reader’s inner experience and imagination. Traditionally, the literary portrait in the Russian literature of the 19th century is based mostly on plastic characteristics, comparisons, and color accents, and because of this, it is often defined as “pictorial”. However, portraits by Pushkin and Dostoevsky stand out as exceptionally original, as if created from a different material. Pushkin avoids detailing, instead, he presents a “suggestive” portrait, i.e., a dynamic outline of the personality. The reader’s imagination is influenced not by details, but rather by the dynamic nature of Pushkin’s characters. Dostoevsky does not inherit Pushkin’s methods, though he also turns to a dynamic principle in describing the heroes of his novels. When they first appear, he presents them as if from different angles of vision, and their features may often be in discord, which makes the reader sense a contradictory impact of their personalities, as well as of their portraits. This kind of portrait is a dynamic message, where the reader follows the hero along unexpected and contrasting paths that the author previously mapped for him. From the beginning to the very end of their works, these two classics of Russian literature present the human personality as a being in a state of life-long development, always changing and always free in its existential choice.

scholarly journals Reflection of image of Silence in the Russian literary of XVIIIth c.: Lomonossov and Pindar

2020 ◽  
Author(s):  
Olga Saveljeva ◽  
Keyword(s):  
Russian Literature ◽  
Russian Literary ◽  
The Common

The purpose of the report is to consider the image and content of «tranquility» in the Russian literature of the XVIII. The image «Beloved Tranquility» and the common styleof the celebrated Lomonossov’s Ode-1747 could be connected with Greek early ode poetics Pindari Pyth.8.

BEOWULF IN RUSSIA. THE LANGUAGE OF THE OLD ENGLISH HEROIC EPIC IN RUSSIAN LITERARY TRANSLATION

2020 ◽  
pp. 226-239
Author(s):  
Natal'ya Yu. Gvozdetskaya ◽  
Keyword(s):  
Old English ◽  
Russian Translation ◽  
Literary Translation ◽  
Poetic Language ◽  
Heroic Epic ◽  
The Everyday ◽  
English Translations ◽  
Russian Literary ◽  
History Of ◽  
New Compounds

The paper is an attempt to analyze the methods of representing specific features of the language of the Old English poem Beowulf in the Russian literary translation of Vladimir Tikhomirov: alliterative collocations, synonymic groups, compounds and epic variations. These specific features of Old English poetic language are rendered in the translation through the diction of different stylistic coloring – both the high-style, even archaic words as well as the everyday words close to colloquialisms. Following the Old English poet, the translator uses the oral-epic manner of narration, neither reducing it to a limited stylization, nor turning it into an innovative experiment. The translator manages to convey the ability of the Old English poetic language to coin new compounds through creating ‘potential’ words that reveal the ‘open’ character of the Old English synonymic systems. The Russian translation of Beowulf is considered in the context of the history of English translations of the poem as well as studies of Old English and Old Scandinavian literature in Russia.

AUTOMATED ANALYSIS OF RHYTHMIC CHARACTERISTICS OF RUSSIAN- LITERARY PROSAIC TEXT AS A METHOD FOR DETERMINING THE TEXT AFFILIATION TO A LITERARY PERIOD

2020 ◽  
Vol 6 (99) ◽  
pp. 73-85
Author(s):  
ELENA I. BOYCHUK ◽  
ELENA V. MISHENKINA
Keyword(s):  
Statistical Methods ◽  
Russian Literature ◽  
Automated Analysis ◽  
Russian Language ◽  
Literary Texts ◽  
Russian Literary ◽  
Prose Rhythm ◽  
Literary Period ◽  
Rhythmic Structures

The article analyses the rhythmic characteristics of Russian-language literary texts using the automated PRD (Prose Rhythm Detector) application. The authors consider the main approaches to the periodization of Russian literature of the XIX-XXI centuries in order to determine the affiliation of works to a particular epoch based on the specifics of the text rhythmic structures. The quantitative and statistical methods of the analysis are used.

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