VI семестр 1 неделя

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Тема 2 час. Виды преобразования в художественном переводе. Грамматические приёмы: функциональная замена, добавление, антонимический перевод, конверсия, развёртывание, стяжение, описательный перевод и др. Стилистические приёмы: замена словесного состава, замена образа, замена тропа или (фигуры речи), изъятие переносного значения, дословный перевод с комментарием или без. Перевод художественной прозы Reconstructing some implied components.

One the whole, we can explore prosaic rhythm from the point of view of translation as a kind of hierarchy where linguistic level is only a surface below which run such strata as type of narrative, architectonics, imagery, association and cultural assumptions. This is especially true in the case of such experimental writers as William Faulkner: one cannot translate his As I Lay Dying without reconstructing many implied components, not least are the mythological associations.

When we translate a piece of literary prose, we take into consideration its narrative type and do whatever is possible to reconcile the national tradition within this type. When those traditions coincide or do not differ greatly, it may be easy to follow the source text narrative. When the source tradition differs greatly from the target one, it is productive to pursue a middle course between the source and target traditions in the target text. When the source tradition has no correspondence in the target culture, it is a challenge for a translator to fill the gap by creating a target text that might adequately represent the source tradition as something valuable, productive or just fascinating.

Иллюстративный и раздаточный лекционный материал в разрезе тем дисциплины: словари «Oxford 2006», рефераты по мировой литературе

Список рекомендуемой литературы: Казакова Т.А., Практикум по художественному переводу, С.-Петербург, 2004., Алексеева И.С. Профессиональный тренинг переводчика. С.- Пб, 2004.

Глоссарий: to explore prosaic rhythm, a kind of hierarchy, strata, narrative, architectonics, imagery, mythological association, cultural assumptions, experimental writers, without reconstructing, many implied components, implied components, not least, whatever is possible, to reconcile, do not differ greatly, source tradition, target tradition, it is productive to pursue a middle course, no correspondence, to fill the gap, to represent adequately, fascinating.

Тема 2 час. Виды преобразования в художественном переводе.Основные переводческие трансформации, используемые в художественном переводе. Конкретизация, генерализация, модуляция, смысловое развитие, целостное переосмысление, компрессия, декомпрессия, антонимический перевод, описательный перевод, приём компенсации. Перевод художественной прозы The associations of the source text with other cultural phenomena.

The architectonic of the prose source text needs to be fully reconstructed by a translator unless the target text is merely a form of literary digest. The succession of chapters, length of narration, descriptions and dialogues, authorial digressions, and other components should be thoroughly measured and presented in the target text without arbitrary additions or omissions, let alone any replacement.

The associations of the source text with other cultural phenomena or texts may be implicit. What is overt, however simple its translation may seem, is not always easy to represent in the target text. One such complication is a quotation in a foreign language. For instance, many prose pieces in English literature are rich in French or Latin words, phrases or formal literary quotations given without translation in the source text. French components in an English literary text are quite natural, English and French cultures being closely connected and related to each other, while Latin ingredients are a traditional feature deriving from the classical education. When such a text is translated into Russian it faces a certain cultural disparity, and the average reader of the target text, in all likelihood, will not cope with French as the average English reader will.

Глоссарий: a form of literary digest, architectonic of the text, arbitrary additions, omissions, may be implicit, to be overt, complication, a quotation in a foreign language, formal literary quotations, Latin ingredients, deriving from the classical education, to face a certain cultural disparity, in all likelihood, not to cope with French.

Тема 1 ч. Структура переводного текста. Инвариант значения и стилистическая информация в переводе.Полиструктурность художественного произведения. Оппозиция инвариантного ядра и вариантных элементов в моделировании переводного текста. Перевод художественной прозы Some quotations from English poetry existing in different Russian translations.

Another associative problem appears in connection with overt and covert quotations and allusions to sources not familiar to the target culture, or at least, not so obvious. For instance, there may be quotations from English poetry that exists in different Russian translations; in such a case the translator has the double task of recognizing the source of the quotation and identifying its translation, i.e., in supplying a note with the name of the translator chosen or the publication details. The same problem appears when a text is translated from Russian into English and includes quotations, names, events and places strange to the target culture. This is especially true in such cases as cultural symbols, which may be of great value to the source culture and will inevitably lose that aura in translation.

Глоссарий: associative problem appears, overt and covert quotations, allusions, obvious, the double task of recognizing, the publication details, cultural symbols, to be of great value, lose inevitably, the aura in translation.

Тема 1 ч. Структура переводного текста. Инвариант значения и стилистическая информация в переводе.Интерпретация текста на уровне глубинной структуры. Понятие инвариантной эстетической информации. Перевод художественной прозы Cultural assumption.

Another problem that a translator may face with literary prose is cultural assumption. A target reader belonging to different cultural tradition may perceive an ironical or humorous source text as chaotic or dull if the target culture does not share common conceptions of irony. The same many appear true with texts of high emotional tension if the emotions are associated with phenomena strange or alien to the target culture. Much of William Faulkner is lost in Russian, just as much of Dostoevsky is in good and evil, serious and funny, fundamental and slight between Russian and Anglo-American cultures.

Глоссарий: cultural assumption, belonging to, may perceive, ironical source text, humorous source text, chaotic or dull, not to share common conceptions of irony, high emotional tension, alien to the target culture, good and evil, serious and funny, fundamental and slight.

Тема1 ч. Структура переводного текста. Инвариант значения и стилистическая информация в переводе.Межтекстовой инвариант. Функциональный инвариант. Стилевой инвариант Перевод художественной прозы.General recommendations.

Some general recommendations to follow in the tasks for comparison and translation:

• Always learn as much as possible about the author and literary tradition of the source text.

• Do not start to translate straight off with the first sentence of the text until you have read it at least twice.

• Study semantic, stylistic and rhythmic values of the names in the text so as not to pass over the chance to select the right forms for them in the target language:

• Consider not only the forms but also expressive functions of the words and sentences in the text.

• While making pre-translation analysis, identify all units of the text which may present a translation problem of a certain linguistic status.

• Consider the comparative associative force of the equivalent vocabulary units.

• Thoroughly measure the rhythmic pattern of the text on all levels of perception, from sounding of names to general compositional structure.

• Do not forget to read aloud what you have written in translation to compare it with the source rhythmic and phonic image.

• Try to find a similar text in the target cultural tradition that will prove useful in your translation efforts.

Глоссарий: for comparison, general recommendations, as much as possible, literary tradition, straight off, at least, semantic, stylistic and rhythmic values of the names, to pass over the chance, expressive functions of the words, expressive functions of the sentences, pre-translation analysis, to identify all units of the text, a certain linguistic status, comparative associative force, equivalent vocabulary units, to measure the Rhythmic pattern, all levels of perception, general compositional structure, the source rhythmic and phonic image, target cultural tradition, translation efforts.

Тема 1 ч. Структура переводного текста. Инвариант значения и стилистическая информация в переводе.Языковые, стилистические и культурные особенности контекста перевода. Несовпадение вариантных элементов во всех переводах одного и того же произведения. Перевод художественной поэзии.

So many problems of translаting poetry have been discussed for centuries that one should just follow some of the good useful or bad and tricky recommendations of predecessors. One of the best, to my mind, is that provided by Dante Garbiel Rossetti, which asserts, “… the life blood of translation is this – that a good poem shall not be turned into a bad one.” Presumably, we know what a good poem is and how it differs from a bad one.

Whatever the versification system, each poem is unique. It has an individual flavour and, even within a most conservative traditional metrie pattern, is marked by a rhythm, pitch and inflection of its own. It is a pointless exercise to pursue absolute fidelity to the original, but it is necessary at least to attempt to proserve as much as possible of the source’s principle of poetic arrangement and imagery. English translators usually pursue a middle course, balancing “between formal demands and semantic accuracy” (said Stanley Kunitz, in Translating Poetry), with an evident bias towards the latter. The Russian school of poetry translation demands both, being probably even more concerned about the formal accuracy. So what may we take for safe landmarks on the perilous path of poetry translation?

Глоссарий: tricky recommendations, predecessors, presumably, versification system, unique, individual flavour, metric pattern, a rhythm, pitch and inflection of its own, a pointless exercise, to pursue absolute fidelity, to attempt to preserve, the source’s principle of poetic arrangement and imagery, to pursue a middle course, formal demands, semantic accuracy, an evident bias, more concerned about, the formal accuracy, safe landmarks, perilous path.

Тема 1 ч. Структура переводного текста. Инвариант значения и стилистическая информация в переводе.Процесс «конденсации» содержания (минимальный, средний, максимальный). Ступени конденсации. Перевод художественной поэзии

Ideas of how to approach of poetic translation have varied in Russia, but not greatly, from the beginning of the nineteenth century up to the present day. The main concept that formed the basic principle of poetic translation can be found in the works of Katenin who wrote about Gnedich’s translation of the Illiad in 1822: «У великих авторов форма не есть вещь произвольная, которую можно переменить, не вредя духу сочинения; связь их неразрывна, и искажение одного необходимо ведёт за собою утрату другого. Древние греки писали экзаметром; вопрос, как их переводить, решён: обязанность сохранить в переводе сей классический размер».

One of the most prolific and brilliant translators Russia has produced, Vasily Zhukovsky, was quite certain about the principles of poetic translation: «Стихотворцев надлежит, по моему мнению, переводить стихами: прозаический перевод стихов всегда есть самый неверный и далёкий от оригинала. Одна из главных прелестей поэзии состоит в гармонии; в прозе она или исчезает или не может быть передана тою гармониею, которая свойственна поэзии».Considering a translator’s “duties,”Zhukovsky emphasized the impression that the translated text must produce on the reader: according to him, it had to be as close to that of the original as possible. The effect of similar if not identical harmony is a matter of not only the subject but also the form of the text or, rather, the unity of both.

Глоссарий:main concept, prolific translators, to be certain about the principles, translator’s “duties, to emphasize the impression, to be close to the original, the effect of similar, identical harmony, the unity of the subject and the form.

Тема 1 ч. Структура переводного текста. Языковое построение текста и типология перевода.Создание комплексной модели перевода. Языковые уровни построения текста. Перекодирование языковых уровней с текста оригинала в текст перевода.Перевод художественной поэзии.

When a translator is to translate a poem, he may put it into one of two main categories according to its form. One is so called “free verse”, or verse libre; the other is classically structured poetry, that is, verse based on regular metre, rhyme and stanza pattern. However, it is evident that the impact a free verse poem’s of on the reader differs greatly from that of traditional poetic harmony. It appeals to different points of perception: while a traditional poem speaks more to the emotions, verse libre tends to appeal to the reason rather than to the heart. Verse libre has properties of its own, which makes the reader seek other things in such a text than he would in a sonnet. Besides, verse libre itself required sophisticated decisions and techniques in translation.

Глоссарий : categories, according to, “free verse”( verse libre), classically structured poetry, regular metre, stanza pattern, evident, the impact, poetic harmony, to appeal to, points of perception, properties of its own, to seek in, requires, sophisticated decisions, sophisticated techniques.

Тема 2 ч. Структура переводного текста. Языковое построение текста и типология перевода.Уровни межъязыкового перекодирования. Перевод на фонематическо - морфологическом уровне текста. Перевод на лексическом уровне. Перевод на уровне предложения. Перевод художественной поэзии.

If you start with a vers libre poem, it may seem easy to translate:

Глоссарий:

Тема 2 ч. Структура переводного текста. Языковое построение текста и типология перевода.Перевод значительных участков текста(семантических блоков). Реферативный перевод. Перевод на уровне текста. Типология перевода в стилистической оценке ситуации. Перевод художественной поэзии.

Глоссарий:

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VI семестр 1 неделя