Imagery in the translations of the gazelle Nizami «Amade bud» («Came») into Azerbaijani and Russian

The subject of scientific research is the textual analysis of the translation of one of the most famous gazelles by a brilliant Azerbaijani poet Nizami Ganjavi (1141-1209) "Amade bud" ("Came") from Persian into the Azerbaijani and Russian languages. The article discusses in detail the imagery created in these translations and their adequacy to the original, as well as a comparative semantic analysis of each beit; it interprets some situational free interpretations of the original made by translators. In each beit are analyzed the concepts on which the transmission of images is built in translation into Azerbaijani and Russian which in poetic translation include size, rhythm, a number of poetic figures and other artistic means. The study was carried out with the use of theoretical-literary and comparative-analytical methods and at the junction of literary criticism and translation studies. The novelty of the work lies in the fact that the research approach applied by the author in comparative analysis allows us to identify methods and means of rendering the high imagery of the primary source in translations of the classical gazelle into Azerbaijani and Russian by recognized poets-translators − Jafar Khandan (1911-1961) and Arseny Tarkovsky (1907-1989), which makes an undoubted contribution to the development of the basic translation problem − the adequacy of literary translation. Naturally, the concept of imagery in the three texts is expressed differently, due to the typological differences of the compared languages. The Azerbaijani language is agglutinative, while the Persian and Russian languages are inflective. Accordingly, in the comparative analysis all the linguistic subtleties of each language are taken into account in the process of poetic imagery creation as well as their adequacy. Also, a detailed textual conceptual comparative analysis of the poetic text of one gazelle in three languages − the original Persian and translated Azerbaijani and Russian − allows us to draw an important conclusion that an adequate translation fiction text is undoubtedly a work of art in itself that has a long-term aesthetic and substantive value, which makes the position of a number of translation scholars insisting on the need of updating translations irrelevant.

The Idiolect of Ernestine de Champourcin in Terms of Cultural Accommodation

This article is devoted to the idiolect of Ernestina de Champourcin, a contemporary of the Generation-27, an iconic group of Spanish poets of the 20th century. The authors propose is to consider the poetess's idiolect in the aspect of cultural accommodation beyond the traditional translation discourse, through the analysis of two poetry collections - Presencia a oscuras and Primer exilio which stand at the turn of two stages of Ernestina de Champourcin's creative work. The authors analyse the aesthetic, cognitive and linguistic vectors of the poet's idiolect and systematise the reasons for its dynamics. On the basis of the comparative analysis of the elements of the poetic idiolect of her works of different periods, the authors note that the idiolect evolves in accordance with the conditions created by cultural accommodation, and therefore the consideration of cultural accommodation is possible not only in the context of translation adequacy and equivalence, but also chronologically, at the level of idiolect, as evidenced, in particular, by the use of regional variations of lexical units, syntax and the prevalence of this or that temporal plane. The analysis of idiolect makes it possible to narrow the perspective of the material under study, and thus represents the first link of the work on poetic translation. It is argued that the translation of a poetic text is impossible without considering the internal cultural accommodation of the idiolect, which takes place according to the cultural accommodation of the individual and independently of the translation. Based on their analysis, the authors emphasize the role of idiolect as a key factor in the studies devoted to the chronological description of the creative formation of any poet.

Introductory Comments

Introductory CommentsThe 10th, jubilee issue of Colloquia Humanistica (2021) contains a thematic section: Heritage and the Post-Socialist City: Cultural and Social Perspectives. Alongside this section devoted to cities and towns of Central and Eastern Europe, in the issue’s Materials section we publish the first Polish poetic translation, authored by Małgorzata Borowska, of the second poem by Grigor Prličev (1830/31–1893), Skanderbeg (1862, Σκενδέρμπεης). The translation is accompanied by two papers/commentaries in English, for a wider audience prepared by Małgorzata Borowska and Jolanta Sujecka. The Discussions, Presentations, Book Reviews, section features three reviews, including a presentation of the monograph “Et les Juifs bulgares furent sauvés”: Une histoire des saviors sur la Shoah en Bulgarie by Nadège Ragaru.Uwagi wstępneDziesiąty, jubileuszowy numer „Colloquia Humanistica” (2021) zawiera blok tematyczny zatytułowany: Heritage and the Post-Socialist City: Social and Cultural Perspectives. Obok poświęconego miastom i miasteczkom Europy Środkowej i Wschodniej bloku tematycznego, w dziale Materials publikujemy pierwszy polski poetycki przekład drugiego poematu Grigora Prličeva (1830/31–1893), Rzecz o Skanderbegu (1862, Σκενδέρμπεης), autorstwa Małgorzaty Borowskiej. Przekładowi towarzyszą dwa artykuły/komentarze w języku angielskim, dla szerszej publiczności, których autorkami są Małgorzata Borowska i Jolanta Sujecka. W dziale Discussions, Presentations, Book reviews, publikujemy trzy recenzje, wśród nich znajduje się prezentacja monografii francuskiej badaczki Zagłady Nadège Ragaru, “Et les Juifs bulgares furent sauvés”: Une histoire des saviors sur la Shoah en Bulgarie.

THE PAINFUL EXISTENCE IN THE BOLESŁAW LEŚMIAN’S POEM "AT NIGHT"

The paper deals with poetic translation analysis of the poem "At Night"of the Polish poet Bolesław Leśmian. The appearance of Bolesław Leśmian’s poetry in Ukrainian translation (the collections of selected works "Садбожий спалахненець" and "Ангели" translated by M. Kiianovska) has become an important event. The researcher focuses their attention on the contextual, poetic, poetical, artistic and stylistic peculiarities of the poem "At Night", in connection with the philosophic and literary views of the poet. The wide range of scientific works on Bolesław Leśmian’s poetry in Polish literary studies allows us to study different aspects of this poet’s poetics: symbolism, peculiarities of the artistic images creation, the appeal to folk sources, the language of his literary works, the image of God in his poetry, the role of rhythm, immediacy of worldview and creating the world anew in "song without words" etc. The poetics of the poem has been studied, its interpretation is based on the unity of compositional, semantic, figurative elements of the poem. The translation analysis, aimed at the study of structural and semantic features of the poem "At Night" in Ukrainian translation, is concentrated on the author’s peculiarities of creating images and their representation by M. Kiianovska in her translation of the poem. The author of the article focuses on the concept of the original and translation, the overall mood of the poem, its content, figurative system, structure, rhythmic organization, the rhyming system of the translation and the original. Special attention is paid to the analysis of the selection of lexical equivalents, the poetic syntax of the poem and other translation techniques on the way to better understanding of the text, the artistic images creation and grammatical and compositional integrity of the translation of the poem.

The Modern Slovak-Ukrainian Poetic Translations

The article is dedicated to the analysis of the modern Slovak-Ukrainian literary translations. Particularly, the attention is focused on the poetic translations, the difficulty of which conditioned by specific poetic language, rhythm, rhyme etc. Slovak-Ukrainian literary relations in the field of poetic translation have its own achievements and problems, and it’s also analyzed in this paper. The purpose of research is to analyse the modern Slovak-Ukrainian poetic translations (the turning age XX – XXI cent.) Results of research. The relevance of the selected inquiry is in the need for urgent understanding of the poetic translations as an important part of Slovak-Ukrainian literary dialogue. The purpose of this article is to research the modern Ukrainian-Slovak poetic translations (XX – XXI sent.). The scientific works of such scholars as M. Mushinka, Y. Bacha, M. Roman, M. Molnar, L. Babota, M. Nevrly, O. Myschanych, A. Cherveniak, F. Kovach, O. Zilynsky, V. Zhidlicky are dedicated to the subject of Slovak-Ukrainian literary relations. Also the works of T. Lihtei, Y. Dzhoganyk, Y. Kundrat, I. Galaida are devoted to the deep analysis of Slovak-Ukrainian literary translations. The incredible propinquity of both languages gives the first conception of easy translation, but researching of languages’ profundity and semantic variety open to us many shades. The poetic translation is the hardest work from the other translations particularly in the case of the rhyme verse. Slovak-Ukrainian poetic translations have a long tradition. The prolonged history of mutual translations continues in the turning age (XX – XXI sent.). The study used mainly comparative method, also typological and historical methods. The detail review of new names presented in this paper, the attention are focused on the anthologies of poetic translations composed by Ukrainian (Dmytro Pavlychko, Illia Galaida etc.) and Slovak translators (Yurai Andrichik). The problems which hinder for active translations are also analyzed in this article. The main result of the investigation is the deep analysis of Slovak-Ukrainian and Ukrainian-Slovak poetic translations. The presentation of little known Slovak and Ukrainian poetic translators, as P. Orieshek, S, Gal, V. Yurichkova, M. Niahai, I. Galaida, M. Bobak etc. is also the result of this study. Promising for future research are the analysis of new Slovak and Ukrainian poetic translations of postmodernist poets, and also the analysis of the modern prose and dramatic translations.

AHMED TSALIKOV – TRANSLATOR OF POETRY K.L. KHETAGUROVA IN RUSSIAN LANGUAGE (ACCORDING TO THE MATERIALS OF THE MAGAZINE "CAUCASIAN HIGHLANDER")

В настоящем исследовании впервые рассмотрена статья известного осетинского публициста, писателя Ахмеда Тембулатовича Цаликова «Мотивы поэзии Коста», опубликованная в эмигрантском журнале «Кавказский горец». В публикации А. Цаликова, посвященной 18-летней годовщине со дня смерти К.Л. Хетагурова, представлен анализ магистральных стихотворений из сборника поэта «Ирон фæндыр»: «Додой», «Ракæс», «Ныфс», «Сидзæргæс» и др. Исследуя поэтическое творчество К.Л. Хетагурова, А. Цаликов обращается к русскоязычным переводам стихотворений, большинство из которых выполненных самим автором публикации. Буквальное переложение А. Цаликовым стихотворений К.Л. Хетагурова на русский язык не позволяло нам анализировать переводные тексты по канонам поэтического перевода. Стихотворения, лишенные формообразующих средств – ритма, рифмы, местами строфики, анализировались по уровню адекватной передачи общего смысла исходного текста, лексических средств с национально-культурным компонентом в основе, в их числе междометия, идиоматические выражения, по степени сохранения А. Цаликовым в единицах переводах прагматического потенциала. В ходе анализа данных произведений нами установлены основные переводческие принципы, доминирующие при передаче единиц с национально-культурной семантикой; выявлено, что А. Цаликов использует смысловую замену, дефразеологизацию, описательно-разъяснительный перевод, опущение (элиминацию). В некоторых русскоязычных переводах стихотворений К. Хетагурова переводчик старался сохранить синтаксический строй оригинала, есть попытка придать ритм, рифмовать окончания строк, для чего используется инверсия (стих.-е «Æнæ хай»). «Объяснение» смысла некоторых лексем вынуждало А. Цаликова прибегать к нарушению лаконичности единиц перевода. Переводы А. Цаликова, естественно, не являются образцами переводческого мастерства. Труд переводчика ценен своей попыткой познакомить иноязычного читателя с творчеством гения осетинской литературы. This study is the first to consider the article by the well-known Ossetian publicist, writer Akhmed Tembulatovich Tsalikov "Motives of Kosta's Poetry", published in the émigré magazine "Caucasian Highlander". In A. Tsalikov's publication dedicated to the 18th anniversary of the death of K.L. Khetagurov, an analysis of the main poems from the poetic collection "Iron fandyr" is presented: "Dodoy", "Rakæs", "Nyfs", "Sidzærgæs" and others. Analysing Khetagurov’s poetry A. Tsalikov refers to the Russian-language translations of the poems, most of which were made by the author of the publication himself. A. Tsalikov's literal arrangement of the poems by K.L. Khetagurova into Russian did not allow us to analyze translated texts according to the canons of poetic translation. Poems, devoid of formative means - rhythm, rhyme, sometimes stanza, were analyzed according to the level of adequate transmission of the general meaning of the original text, lexical means with a national-cultural component at the base, including interjections, idiomatic expressions, according to the degree of preservation by A. Tsalikov in translation units of the pragmatic potential. In the course of the analysis, we have established the basic translation principles that dominate in the transfer of units with national and cultural semantics; it was revealed that A. Tsalikov uses semantic substitution, defraseologization, descriptive and explanatory translation, omission (elimination). In some Russian-language translations of K. Khetagurov's poems, the translator tried to preserve the syntactic structure of the original, with the aim of giving rhythm, rhyme line endings, for which inversion is used. “Explaining” the meaning of some lexemes forced A. Tsalikov to resort to breaking the brevity of translation units. A. Tsalikov's translations, of course, are not examples of translation skills. The work of the translator is valuable for his attempt to acquaint a foreign language reader with the work of the genius of the Ossetian literature.

Translating Biblical Poetry as Poetry

After an introduction into translating biblical poetry as a new communication event in the target culture (and not as a documentation of a source culture event), an analysis is made of a Dutch poetic translation of Psalms 23 and 121 and a Frisian poetic translation of Psalm 23. Of the poetic features and means of expression in these translations, Dutch and Frisian patterns ofmeter are the most important. When a poetic translation of biblical poetry follows genre conventions of the target language and culture (rather than attempting but failing to reproduce the poetic features of the source text), such a translation is able to generate a new, direct communication event that reduces the distance between the hearer/receiver of the target culture and the text of the source culture. Such a translation engages the hearer more effectively in responding to the text, because the poetic features of the target language facilitate the expressive, appellative and phatic functions of the communication. This should be an encouragement to translators to render different types of biblical poetry into different genres and poetic patterns of the target language that will actually fit the subject matter of the text into the context of the target culture.

Poetic Translation as a Trans-Cultural Process of Enrichment: When Julio Herrera y Reissig Translated Albert Samain

This work focuses on the unusual, poetic affinity between the Uruguayan poet, Julio Herrera y Reissig (1875–1910), and the French poet, Albert Samain (1858–1900), that took shape in Julio Herrera y Reissig’s Spanish translation of some of Samain’s poems from his 1898 volume of poems Aux flancs du vase. Our objective is not to write a critical review of Herrera y Reissig's translations. Instead, we aim to identify the similarities between the two poets. Thus, our contrastive analysis will demonstrate the affinities between the French author and his Uruguayan translator. In this collection, Samain was able to transpose the emotions aroused in him by the radiant landscapes and by certain moments in his daily life into terse, sensual and harmonious verse. Even though his style did not in any way conform with the poetic world of Modernism, full of exotic fragrances, colours, swans and characters from the classic world, it gave Herrera y Reissig the opportunity to creatively rework the original text and produce some truly remarkable transformations. These poems in Alexandrine verse place nature centre stage, and the sensations shared by both poets are evoked by their choice of colours and fragrances, by their combinations of sound and the profusion of images of rare intensity.

Sobre a tradução poética e o Poetry Slam: crepa! – uma análise e muitos diálogos

RESUMO: O presente trabalho visa a ratificar o papel do tradutor como mediador entre culturas ao discutir as estratégias utilizadas na tradução e na retradução de um poema escrito em língua italiana. O corpus de análise, o poema crepa! criado pelo escritor e poeta sardo Sergio Garau, traduzido para língua portuguesa e apresentado na edição da FLUP de 2016, é um expoente da poetry slam, atribuindo a importância da oralidade, da métrica e das rimas do original durante o ato tradutório. Nesta modalidade, cuja performance artística é essencial para agregar significado ao poema, a meta objetivada seria produzir uma tradução satisfatoriamente fiel tanto no que diz respeito à forma quanto ao conteúdo. À luz de teóricos como Paulo Henriques Brito, Umberto Eco, dentre outros, evidenciamos dificuldades e soluções durante o desafio da tradução poética intercultural. Neste, também comentamos sobre outras questões igualmente pertinentes como a possibilidade de contato com o autor para solucionar eventuais dúvidas; a importância do trabalho em equipe na busca de outras perspectivas para a transposição do poema à língua de chegada; a validade de uma tradução e a necessidade de uma nova versão da mesma em prol da aprimoração constante do trabalho realizado pelo tradutor.Palavras-chave: Tradução poética. Tradução intercultural. Italianística. ABSTRACT: Questo lavoro si propone di confermare il ruolo del traduttore come mediatore tra culture discutendo le strategie utilizzate nella traduzione e nella ritraduzione di una poesia scritta in italiano. Il corpus di analisi, il poema crepa! creato dallo scrittore e poeta sardo Sergio Garau, tradotto in portoghese e presentato nell'edizione della FLUP 2016, è un esponente del poetry slam, attribuendo l'importanza dell'oralità, della metrica e delle rime dell'originale durante l'atto di traduzione. In questa modalità, la cui esecuzione artistica è essenziale per aggiungere significato al poema, l'obiettivo mirato sarebbe quello di produrre una traduzione soddisfacentemente fedele sia in termini di forma che di contenuto. Alla luce di teorici come Paulo Henriques Brito, Umberto Eco, tra gli altri, mettiamo in evidenza difficoltà e soluzioni durante la sfida della traduzione poetica interculturale. In questo commentiamo anche altre questioni altrettanto pertinenti come la possibilità di contattare l'autore per risolvere eventuali dubbi; l'importanza del lavoro di squadra alla ricerca di altre prospettive per trasporre la poesia nella lingua di destinazione; la validità di una traduzione e la necessità di una nuova versione per migliorare costantemente il lavoro svolto dal traduttore.Parole chiave: Traduzione poetica. Traduzione interculturale. Italianistica.ABSTRACT: This work aims to confirm the role of the translator as a mediator between cultures by discussing the strategies used in the translation and re-translation of a poem written in Italian. The corpus of analysis, the poem crepa! created by sardinian writer and poet Sergio Garau, translated into portuguese and presented in the 2016 edition of FLUP, it’s an exponent of poetry slam, attributing the importance of orality, meter and rhymes of the original during the translation act. In this modality, whose artistic performance is essential to add meaning to the poem, the aimed goal would be to produce a satisfactorily faithful translation both in terms of form and content. In the light of theorists such as Paulo Henriques Brito, Umberto Eco, among others, we highlight difficulties and solutions during the challenge of intercultural poetic translation. In this work, we also comment on other equally pertinent issues such as the possibility of contacting the author to resolve any doubts; the importance of teamwork in search of other perspectives for transposing the poem to the target language; the validity of a translation and the need of a new version in order to constantly improve the work performed by the translator.Key words: Poetic Translation. Intercultural Translation. Italian Studies.

Classroom Translation of Tabib's Poem: A Practical Model for Analysis and Evaluation of Poetry Discourse Translation

Poetry Translation is a high-quality open access translation of classical texts by famous poets, the characteristics of poetry can be based on sound, syntax, structure or pragmatics. In addition to text transformation, poetic translation is concerned with the perception, discourse and action of and between people and textual agents in a material and social context. A public poetry translation project generally aims to feature one or more poets. Poetry translators are interested in interpreting the meaning layers of the source poem, they rely on reliability to judge this and produce a poem in the target language that is readable and pleasing to the literary text. They are responsible for making their writing easy to understand. The reader is also responsible for understanding the translator's translation. The possible solutions to these problems are collaboration between authors and translators. This article highlights the challenges associated with translating poetry. Although poetry makes up only a small percentage of the world's translation output, case studies and examples from poetry have dominated theoretical construction in translation studies to the detriment of genres translated more often.