KALMYK FOLK TALE IN A FOREIGN LANGUAGE TRANSLATION (ON THE EXAMPLE OF THE ANALYSIS OF ORIGINAL AND TRANSLATED TEXTS OF FAIRY TALE "AYU CHIKTE AND AVKHA TSETSEN")

Исследование посвящено сравнительному анализу оригинального и переводных текстов калмыцкой народной сказки «Аю Чикт Авха Цецен хойр» («Аю Чикте и Авха Цецен») из репертуара сказителя М. Буринова. В процессе сличения исходного текста сказки на калмыцком языке (1960) и русскоязычного перевода М. Г. Ватагина (1964) отмечается характер разночтений и неточностей, обнаруженных в иноязычном нарративе в передаче смысла отдельных эпизодов сюжета, формульных выражений, словосочетаний, играющих важную роль в сказочном повествовании. Изучение фольклорного текста в его разноязычных воплощениях представляется актуальным в свете проблем, возникающих при взаимодействии текстов дистантных культур. Для передачи национальной специфики сказочной традиции требуется максимальная точность при переводе, имеющим важное значение для понимания исконного смысла оригинального текста. The study is devoted to a comparative analysis of the original and translated texts of the Kalmyk folk tale "Ayu Chikt Avkha Tsetsn khoir" ("Ayu Chikte and Avkha Tsetsen") from the repertoire of the narrator M. Burinov. In the process of comparing the original text of the fairy tale in the Kalmyk language (1960) and the Russian translation by M. G. Vatagina (1964) notes the nature of the discrepancies and inaccuracies found in the foreign language narrative in the transfer of the meaning of individual episodes of the plot, formula expressions, word combinations), which play an important role in the fairy tale narration. The study of a folklore text in its multilingual embodiments is relevant in the light of the problems that arise within the interaction of texts of distant cultures. To convey the national specifics of the fairy - tale tradition, maximum accuracy is required when translating episodes, formulas and some words that are important for understanding the original meaning of an original text.

KALMYK FOLK TALE IN A FOREIGN LANGUAGE TRANSLATION (ON THE EXAMPLE OF THE ANALYSIS OF ORIGINAL AND TRANSLATED TEXTS OF FAIRY TALE "AYU CHIKTE AND AVKHA TSETSEN")

Исследование посвящено сравнительному анализу оригинального и переводных текстов калмыцкой народной сказки «Аю Чикт Авха Цецен хойр» («Аю Чикте и Авха Цецен») из репертуара сказителя М. Буринова. В процессе сличения исходного текста сказки на калмыцком языке (1960) и русскоязычного перевода М. Г. Ватагина (1964) отмечается характер разночтений и неточностей, обнаруженных в иноязычном нарративе в передаче смысла отдельных эпизодов сюжета, формульных выражений, словосочетаний, играющих важную роль в сказочном повествовании. Изучение фольклорного текста в его разноязычных воплощениях представляется актуальным в свете проблем, возникающих при взаимодействии текстов дистантных культур. Для передачи национальной специфики сказочной традиции требуется максимальная точность при переводе, имеющим важное значение для понимания исконного смысла оригинального текста. The study is devoted to a comparative analysis of the original and translated texts of the Kalmyk folk tale "Ayu Chikt Avkha Tsetsn khoir" ("Ayu Chikte and Avkha Tsetsen") from the repertoire of the narrator M. Burinov. In the process of comparing the original text of the fairy tale in the Kalmyk language (1960) and the Russian translation by M. G. Vatagina (1964) notes the nature of the discrepancies and inaccuracies found in the foreign language narrative in the transfer of the meaning of individual episodes of the plot, formula expressions, word combinations), which play an important role in the fairy tale narration. The study of a folklore text in its multilingual embodiments is relevant in the light of the problems that arise within the interaction of texts of distant cultures. To convey the national specifics of the fairy - tale tradition, maximum accuracy is required when translating episodes, formulas and some words that are important for understanding the original meaning of an original text.

Action Verb Nosi `Cooking` in Bima Language: A Study of Natural Semantic Metalanguage

There are two subordinate structures in action verbs, namely uncompositional polysemy. Action verbs to do and happen are action verbs with uncomposed polysemy, including Cooking Nose. This research aims to find out the mapping and explication of the 'cooking' action verb. The method used is qualitative. The data source consists of oral data taken from key informants, written data collected from storybooks in the Bima language and language intuition. The technique used is interview and literature study. The data collection method is advanced, namely the agih method with the application of transformation and insertion techniques used to reveal the original meaning contained in BBM. The default meaning is used to determine the semantic structure of VBBm by explication or paraphrasing techniques. Each verb nosi cooking is based on: the tool, the model of movement, the part of the entity that is being treated, the result that the agent wants to achieve. The results show that the Bima language action verb 'Cooking' in general has a component mapping `X Doing something to Y` and therefore `Something happened to Y`. A number of words that contain the meaning of cooking: lowi, mbako, danda, salunga, puru, sanggowo, sanggapi, suje, ncango, and tumi, gule. This variant has unique semantic characteristics so that the meaning content of each word is different even though it is still in the same field of meaning (Cf. Adawiyah, 2021).

GENESIS OF THE «WOMAN’S» WAR IN CREATIVITY OF SVETLANA ALEXIEVICH (BASED ON THE MATERIAL OF THE NOVELS «THE UNWOMANLY FACE OF WAR» AND «ZINKY BOYS»)

The article examines the features of a fiction-documentary comprehension of the German-Soviet and Soviet-Afghan wars in the novels of Svetlana Alexievich «The unwomanly face of war» and «Zinky Boys». It occurs through the perception of a woman as a direct participant in the war, a mother, wife, whose war took away the most expensive – son, husband, father. The presence of archetypal images to combine separate chapters is common in both novels. In both her novels, S. Alexievich gave the archetypal image of a woman-keeper of modern sound, individual features, convincing the reader that this image is always relevant because each talented artist revealed not only its original meaning, but also created something new that was close to the man of each century.

Karakteristik Mazmur Pujian

The study is titled characteristics Psalm of Praise. This study will seek and discover the characteristics and principles of psalm praise in the Book of Psalms. To discover the characteristics of the Praise Psalm used qualitative rather than experimental research methods. This qualitative method can also be used for reflective speculators. With four steps: analyzing the passage according to its elements, the second step is to recognize the language style of poetry and stories that are historical, the third reveals the original meaning of Hebrew poetry, the fourth looks for the characteristics of the Hebrew satra of the author's motives and goals. So that preserved by this method can be formulated characteristics from the Psalm of Praise. There are three important things to remember in the Psalm of praise is, first the Psalm of praise begins with an invitation to worship The Lord, The second psalm of praise continues by giving a description of the reasons why God is worthy of praise. Third is the psalm praise usually includes and sometimes ends with a further invitation to praise God therefore the proper title is the characteristics Psalm of Praise so that the awkwardness of distinguishing the interpretation of different types of psalm can be well cleared.

Cognitive Interview

Cognitive interviewing helps to bring back the original meaning of pilotage in a case study. Cognitive processes in an interview start with the interpretation of the question and its constituent terms, include the stage of forming an opinion and developing a judgment about it, and ends with editing the answer. The objectives of the cognitive interview are to explore the concepts, words and concepts of everyday language; pull out meanings, associations and emotions associated with the subject of research; detect barriers blocking the respondent's presentation of his position; assess confidence in your opinion, as well as the willingness to correct your point of view; to form their understanding of the "ordinary theory" of the studied phenomenon, etc. For each task, you can build an original strategy for a cognitive interview, but it is important to understand what we are studying, what the result should be and what the research team will do with it.

Rule of Love and Rule of Faith in Augustine’s Hermeneutics: A Complex Dialectic of the Twofold Rules

Since the sixteenth-century Reformation, literal interpretation of the Bible has been deemed the best hermeneutical method to unearth the biblical writers’ original meaning. For the Reformers, allegorical interpretation was denigrated for reading an extraneous, or spiritual, meaning into any text. Although Augustine was among the first who champions a literal interpretation of the Scripture—as he outlined in his De doctrina christiana—until recent decades, Augustine is still being perceived as inconsistent in following his hermeneutical method as it is attested in his interpretation of the Good Samaritan. In his interpretation, Augustine seems to have allegorized the parable, thus his method was accused of being inconsistent. Is it really the case? This article attempts to contest such an accusation by showing that Augustine’s method of interpretation cannot simply be categorized as either entirely literal or allegorical. Augustine never professes as a literalist, an exegete who only applies what is now known as a historical-critical method. On the other hand, he did not recklessly legitimate the application of allegorical reading to any text. Taken as a whole, Augustine’s hermeneutics revolves around a complex dialectic of regula dilectionis (the rule of love) and regula fidei (the rule of faith) that allows both interpretations to be considered to be true.

Semantic Potential of Tactile Metaphors (Based on Words Naming the Property of Softness)

This article describes the results of the study on the psychophysiological phenomenon of synaesthesia projected onto language and speech. Synaesthesia is considered on the basis of words with the root myagk- (myagky, myagko, myagkost’, smyagchit’), which in their original meaning name the tactile sensation of softness. The paper aimed to identify the potential of this vocabulary and the sensory impression behind it as a means of conceptualizing knowledge about the world as well as to study the mechanism for the development of metaphorical, primarily synaesthetic, semantics. It is important to assess the sequence of expression of synaesthetic semantics and meanings that go beyond synaesthetic meanings, as well as to study whether vocabulary with the original semantics of softness can figuratively conceptualize knowledge. The research revealed a universal ability of this kind of vocabulary to conceptualize all types of sensory impressions (visual, auditory, olfactory and gustatory) when used metaphorically. In addition to conveying a multimodal perception of the world, these words can express new sensory sensations, unusual for the speaker, for which there are no special names in the language. Along with the synaesthetic semantics itself, vocabulary with the meaning of softness is able to reflect the psychological impressions of comfort, pleasure and enjoyment, as well as the psychological characteristics of a person and the psychological aspect of interpersonal interaction, including speech. The next stage of abstraction of the tactile impression is the development on its basis of quantitative semantics, i.e. the meaning of low intensity of the manifestation of an attribute or an action in their psychological perception. The results obtained can be used to identify the mechanism for conceptualizing sensory impressions and forming synaesthetic metaphors, as well as applied in the practice of lexicographic description of cognitive metaphors.

Paris’ μαχλοσύνη, a Mistranslated Aeschylean Fragment, and the Meanings of μάχλος (Hom. Il. 24.30, Aesch. fr. 325 Radt)

An Aeschylean fragment (325 Radt) in which a grapevine is called μάχλος is twice quoted by Eustathius of Thessalonica, who explains μάχλος as meaning ῥεομένη ‘flowing’, in connection with lewdness (καταφέρεια) and specifically μαχλοσύνη ‘feminine sexual arousal’, hapax in Homer (Il. 24.30) but well attested afterwards. In modern times Aeschylean μάχλος has systematically been mistranslated, and the botanical background of ῥεομένη completely ignored. As a matter of fact, both the probable Indo-European etymology of μάχλος and Eustathius’ explanation point to an original meaning ‘wet’, which soon became specialised as a sexual term for vaginal wetness linked to sexual arousal (cf. German läufig). This means that μαχλοσύνη was more specific and disturbing than our ‘lasciviousness’ and helps explain the ancient attempts at getting rid of it at Iliad 24.30.

The importance of understanding and making sense of Zulu traditional hymns as a symbol of expressing worship: Cognitive hermeneutics and hermeneutics of hymnody theories

Singing and understanding Zulu traditional hymns among charismatic churches and gospel groups have become a fundamental worship tool. Zulu traditional hymns are at the centre of Christian lives in South Africa. Singing Zulu traditional hymns (iCilongo Levangeli) is predominant for many South African musicians and gospel groups using modern musical styles. However, contemporary churches, musicians and gospel groups tend not to understand the authenticity of these hymns. The issue of Zulu traditional hymns in the modern gospel industry is a matter of great concern. Therefore, this article addresses and discusses the importance of understanding and making sense of Zulu traditional hymns as a symbol of expressing worship. Data were collected for a research practice using a hermeneutic phenomenology paradigm to obtain a precise understanding and the original meaning of the prominent Zulu traditional hymns. The study reveals that there are Zulu traditional hymns that were misinterpreted and misunderstood. The misinterpretation of Zulu traditional hymns is partly attributable to the ignorance of the underlying true meaning, emotions, state and purpose of the original composer.Contribution: This study recommends that contemporary gospel musicians sing Zulu traditional hymns in the original text to ensure that they do not misinterpret the hymns.