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.

Introduction

The Introduction sets out the aims of the book and introduces its main themes. It begins by defining certain terms used throughout the book—“logic,” “emotion,” “intellectual,” and nyāya—and situating the book’s argument in relation to prior studies on Sanskrit philosophy in early modern India (1500–1700 ce). It also addresses the rationale for using the short essay genre, the vāda, as the point of entry into main concerns of the book. Finally, it provides a sketch of each chapter, as well as notes on the meaning of ontological category (padārtha) and on the book’s translation principles.

A Study on Chinese-English Translation Standard of Landscape Public Signs Along the "Road of Tang Poetry" in Eastern Zhejiang Province

Based on the development background of the "Road of Tang Poetry" in eastern Zhejiang, this paper discusses the influence of the non-standard Chinese-English translation of public signs along the "Road of Tang Poetry" on the development of the "Road of Tang Poetry," which to some extent hinders the acceptance and understanding of foreigners and affects the international dissemination of Chinese culture. Therefore, it is urgent to regulate the translation of public signs in scenic spots. This research studies the theory and practice of translating public signs from the perspective of translation norms discuss the problems existing in translating public signs in the vital scenic spots of "Road of Tang poetry" in eastern Zhejiang Province. This research also puts forward corresponding translation principles and strategies, hope that relevant developments can pay attention to and standardize the translation of public signs in scenic spots, to promote the promoting role of the translation of public signs in the construction of the "Road of Tang poetry" in eastern Zhejiang, and deepen the level of the foreign communication and exchanges.

“Translation is a child of science and art”: Gerold K. Belger’s translation principles

The article presents the experience of understanding the translation principles of the Kazakh multilingual writer and translator G.K. Belger. His knowledge of the German, Kazakh and Russian languages determined his special creative, practical and research translation experience. The hypostasis of Belger as translator-practice, translator-researcher is not sufficiently exposed to scientific reflection in Kazakh and Russian translation studies. His rich practice of translation and critical understanding of his colleagues’ translations from Kazakh into Russian and German allowed G.K. Belger crystallized translation principles and theoretical conclusions, which are valuable for the further development of a particular theory of translation from Kazakh into Russian and German, as well as for a special theory of translation — translation of fiction. The article is accompanied by quotations by G.K. Belger in order to provide the readers themselves with some of the important conclusions of the translator and critic, and not with the translations and interpretations of the authors of the article. His rich practice of translation and critical understanding of his colleagues' translations from Kazakh into Russian and German allowed G.K. Belger crystallized translation principles and theoretical conclusions, which are valuable for the further development of a particular theory of translation from Kazakh into Russian and German, as well as for a special theory of translation — translation of fiction. The article is accompanied by quotations by G.K. Belger in order to provide the readers themselves with some of the important conclusions of the translator and critic, and not with the translations and interpretations of the authors of the article. Another reason for the sufficient number of citations is related to the fact that the books of G.K. Belger has little access to the Russian translation researcher.

Textual Criticism of Ostrovsky’s Translations from Latin. Part 1: Terence’s Hecyra and the French Intermediary Translation

Ostrovsky’s translations of the works of Plautus, Terence, and Seneca, preserved in incomplete drafts, attend to the textual criticism related both to the principles of the work and to its aims. The example of the translation of Terence’s Hecyra in comparison with the earlier translation of Plautus’ Asinaria proves the evolution of Ostrovsky’s translation principles. While Plautus was translated without recourse to an intermediary translation, Terence was translated from the popular bilingual edition, and the translator turned to a French translation in difficult cases. The article explains how Ostrovsky worked further with passages translated from the French or with reference to the French text, in which cases, on the contrary, he translated from the Latin without reference to the French translation, and this course of initial work determined the order of further editing of the rough translation. The self-editing went in the direction of both greater accuracy and expressiveness, which in the case of using an intermediary translation proved to be a clearly contradictory task. Reconstructing the history of the text in light of the identified source of the translation allows us to clarify a number of manuscript readings, to identify the pencil edits as belonging highly likely to Ostrovsky himself, contrary to the opinion of the first publisher of the translation, and to raise the issue of the stage intention of the translation.

Reflection on the Translation Debates in History: Thinking Out of the Dichotomies

With an overview of translation history, from the ancient Rome to modern times, from Western countries to Eastern countries, there were heated debates over translation principles or strategies, most of which revolved around the matter of literal translation or free translation. Many famous theorists advocated that literal translation was preferred than free translation; others disapproved that. However, either side failed to have a comprehensive prospective towards translation, because translation is actually a complex framework, involving many elements worth our attention. To do translation studies, the theories shall break the irrational mindset and jump out of dichotomies to gain an overall and objective understanding of translation.

A Comparative Study on Chinese and English Animals Idioms and Translation Strategies

Idiom, being an indispensable constituent of language, is the quintessence of the erudition. Every civilization has its own characteristics on the ground that there are some discrepancies in history, geography, customs, etc., among divergent sovereign states. Therefore, it is unambiguous that there subsists divergences in metaphorical objects and its implication of animal idioms among distinctive erudition. This paper attempts to compare and contrast English and Chinese animal idioms from its metaphorical objects and meanings and they can be categorized into four types. It is widely acknowledged that some animal idioms have equivalent connotations in culture. However, the majority of them have diverse implications among distinctive countries. On this basis, many exemplars are cited to make clear translation strategies of Chinese animals idioms. The author will interpose several interpretation principles a. Equivalent Translation, Reserve Image; b. Corresponding Translation, Change Image; c. Compromising Translation, Abandon Image. The author expects these translation principles will provide some constructive clues for translators. Here the author will mainly illustrate the translation strategies of idioms that have same metaphorical objects and maintain different metaphorical meanings as well as idioms of metaphorical vacancies on the basis of the comparative study on Chinese and English Animals idioms.

Tradaptation of Dramatic Texts

This article deals with the feasibility of applying cultural translation studies approaches to intra-lingual adaptation of dramatic texts through the discussion of adaptation terminology, the interchangeability of adaptation and translation, and the relevance of combining both into “tradaptation”. The purpose is to study loose adaptations of dramatic texts, especially those of Shakespeare, following cultural translation studies principles. The study has shown that it is satisfactorily feasible to use inter-lingual translation principles, across the spectrum from strictly literal to loose free, and apply them to the intra-lingual adaptation of dramatic texts, with the example of The Al-Hamlet Summit as a main reference. Further studies can help attain substantial progress in the analysis of the concept of adaptation.