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Introduction. Being an important stratum of the vocabulary of any language that conveys ethnolinguistic specifics of texts, household vocabulary attracts attention of linguists. Khan Ayuka’s letters to Astrakhan Chief Commandant M. I. Chirikov are traditionally referred to as samples of the 18th-century Kalmyk official epistolary genre. The lexical composition of the examined texts is characterized by diversity since the latter contain essentially different types of vocabulary (military terms, titles, anthroponyms, toponyms, etc.). Goals. The article seeks to analyze the functioning of household vocabulary in Khan Ayuka’s letters in comparison to synchronic Russian translations. The 18th-century sources comprise historical/lexicological materials and provide an opportunity to clarify if there is a correspondence between the use of household vocabulary — and genre/stylistic and substantial features traced in source and translated texts. Methods and Materials. The paper investigates Khan Ayuka’s letters dated to 1714 and simultaneous Russian translations stored at the National Archive of Kalmykia. The research primarily employs contextual analysis and the descriptive, comparative methods. The involved texts were transliterated, adapted (from Old to Modern Kalmyk), and translated (literally) into Russian by D. B. Gedeeva. Results. The analysis reveals peculiarities that characterize a particular fragment within early 18th-century Kalmyk and Russian vocabularies. So, the source texts contain not only common Mongolic lexemes but also Russian loanwords. There is a correspondence between the use of household vocabulary and the implied intentions: household vocabulary is used to articulate the request / demand to deliver a certain part of the annual salary which was not limited to money. Thus, acting as enumerative elements, household vocabulary units emerge in a periphery of the vast sociopolitical lexicon. Unlike texts with imperative subgenres, informative letters confirming receipt of the submitted objects are more precise: such messages routinely use words that denote measures of weight or volume paired with cardinal numerals. Besides, there are examples confirming a dependence between a token used — and the described situation and essence of the request. Our comparison of household vocabulary units chosen by translators as equivalents explicitly delineates the ethnolinguistic specifics inherent to Kalmyk official letters and their synchronous Russian translations.

The history of Russian translations of the I.-V. Goethe’s drama “Torquato Tasso” (1789) is discussed in the article. Responses testifying to the familiarity with this work of many Russian writers, in particular, V. A. Zhukovsky, N. V. Kukolnik, N. A. Polevoy, I. V. Kireevsky, N. I. Nadezhdin, I. S. Turgenev, A. I. Herzen and others are systematized. The history of Russian Reception of the “Torquato Tasso”, dating back to the 1840s (A. N. Strugovschikov, N. M. Satin, A. N. Yakhontov, etc.), and its influence on aesthetic reflection in the era of romanticism and afterwards is discussed in the article. Particular attention is paid to the previously unknown translation of V. G. Benediktov (presumably the 1850s), preserved in the archives of the writer in the Russian National Library. Subsequent translations created by V. A. Sorgenfrey (1920-1921) and S. M. Soloviev (1933) are also analyzed. With the involvement of diary, epistolary and memoir materials, the activity of A. A. Blok as a translation editor by V. A. Sorgenfrey is conceptualized. The relevance of the study is due to the need to clarify the large-scale picture of the translation and literary critical reception of the West European classics in Russia.

В статье представлена рецензия на монографии E. Goodwin, в которой автор рассматривает переводы на русский язык произведений английской детской литературы за период 1918-2015 гг. The article reviews the monograph of the well-known British specialist in the field of history andtheory of translation of fiction Elena Goodwin. E. Goodwin analyzes translations of classic English books for children into Russian in the period of 1918-2015, thus creating a broad panorama of interaction between cultures and literatures of the period.

Nie tylko twórczość Olgi Tokarczuk, lecz także przekłady jej utworów stanowią obecnie jeden z najbardziej aktualnych tematów poruszanych przez literaturoznawców i translatologów. W części zasadniczej artykułu zaprezentowano sylwetkę Iriny Adelgejm – rosyjskiej polonistki, litera- turoznawczyni i tłumaczki, która ma na swoim koncie największą liczbę rosyjskich przekładów prozy autorki Biegunów. Prace naukowe, wypo- wiedzi o charakterze krytycznoliterackim oraz inne formy prezentacji poglądów dotyczących twórczości Tokarczuk (wywiady, dyskusje) autor- stwa Adelgejm wskazują wyraźnie, że działalność przekładowa rosyjskiej tłumaczki nie jest „efektem Nobla”, lecz stanowi dopełnienie wieloletnich zainteresowań badawczych skoncentrowanych na zjawiskach współczesnej i najnowszej prozy polskiej. Irina Adelgejm – Russian Translator and Literary Scholar Not only works by Olga Tokarczuk but also translations of her books present one of the most current subjects raised by literary and trans-lation scholars today. The main part of the article presents Irina Adelgejm ‒ a Polish teacher of Russian descent, literary scholar and trans-lator of the highest number of works by Tokarczuk into Russian language. Scientific and literary criticism works as well as other expressions of views concerning the oeuvre of Tokarczuk (interviews, discussions) prove that her (Adelgejm) translational activity is not the effect of the Nobel prize, but they present the array of perennial academic interests focused on the phenomenon of contemporary Polish prose.

Li Sao, the representative work of Chinese romantic poet Qu Yuan, is invaluable and unique in the garden of Chinese classics. It has not only been enormously influential to Chinese literature and culture, but also gained its fame worldwide, repeatedly translated by admiring Sinologists into Russian, English, French and many other foreign languages. With an eye to the promotion of the Chinese culture soft power, this paper investigates the charm of Li Sao by comparing four Russian versions of the book. The author of the article highlights the importance of Skopos theory. It assists in preserving Chinese cultural heritage, and interpreting it in a correct way. Therefore, it is vital to consider the peculiarities of Chinese and Russian poetic systems, building mutual understanding.

© 2016 Martynova.The importance of the problem under discussion is preconditioned by the scientific inquiry of the best variants of foreign language inclusions translation which would suite original narration in the source text stylistically, emotionally and conceptually and also fully projects the author's communicative intention in every particular case. The article aims at bringing to light certain peculiarities of rendering foreign language inclusions in the Russian translations of the novels by Graham Greene depending on their historical and cultural context and the nature of foreign words used in them. The key research method employed is translation and linguistic analysis enabling to disclose the specifics of foreign language inclusions' functioning in a text and particular features of their rendering in the process of translation. The analysis showed the main way of rendering foreign language inclusions which was used while translating works by Graham Greene – full foreign language inclusions with their translations in the footnotes or in the text. A great number of foreign language inclusions are used in the Russian graphical form and according to the grammar rules of this language. The research results may be useful at the universities' curricula and in-service education of translators.

When in 1932 the young theatre artist Nikolay Akimov made his directing debut with Hamlet, nobody expected to witness one of the biggest scandals of Russian/Soviet theatrical history. Akimov’s production for the Vakhtangov Theatre in Moscow had every element of the famously controversial style of Vsevolod Meyerhold (Russia’s Bertolt Brecht), including an apparently irreverent score by the equally young Dmitry Shostakovich. Yet even Meyerhold criticised the show severely. With Ophelia portrayed as a drunken prostitute, and Hamlet as a short, fat comedian, it is hardly surprising that critical opinion should have been sharply divided, agreeing only that Shostakovich’s music was the best thing about the production. Over the years Western views – without the benefit of access to materials in Moscow’s theatre archives – have become rigid and reductionist. As a case study for Soviet appropriation of Shakespeare, this paper suggests an understanding of Akimov’s intentions more grounded in documentary evidence, not least in relation to the socio-political and cultural climate of the time and to Shostakovich’s music, which, paradoxically, may have been too skilful for the good of the production. Lorsqu’en 1932 le jeune artiste Nikolaï Akimov fit ses débuts comme metteur en scène en montant Hamlet de Shakespeare, personne ne s’attendait à l’un des plus grands scandales de l’histoire du théâtre russe/soviétique. La mise en scène d’Akimov au théâtre de Vakhtangov de Moscou avait tous les éléments typiques des œuvres de Vsevolod Meyerhold (le « Bertolt Brecht russe »), y compris une musique de scène excentrique et apparemment hors sujet du jeune Dimitri Chostakovitch. Pourtant, même Meyerhold critiqua sévèrement cette « Shakespérience » d’Akimov. En réinterprétant Ophélie en prostituée et Hamlet en bon vivant, la mise en scène d’Akimov suscita des réactions partagées de la part des critiques. Cependant la musique de Chostakovitch fit l’unanimité. Sans bénéficier d’accès aux documents d’archives, les études occidentales de cette mise-en-scène sont souvent réductionnistes et rigides. Dans cette communication, en m’appuyant sur les sources primaires et les matériaux des archives et en se tenant compte du contexte politico-culturel de pays soviétique, je cherche à mieux comprendre les intentions artistiques d’Akimov pour son Hamlet et à souligner les points de convergences et de divergences avec la musique de scène de Chostakovitch. Enfin la question se pose de savoir si une musique de scène, dont la fonction est d’accompagner un spectacle, peut le desservir par sa qualité même.

Lewis Carroll’s Alice’s Adventures in Wonderland (1865) is a text rich of cultural and literary references to Victorian England. This feature is one of the major obstacles to translating this work since the transfer of cultural markers from source to target text often produces partial or total loss of certain nuances of meaning. The purpose of this paper is to analyze the Russian translations of Alice through a comparative study of three translation specimens (Nabokov 1923; Olenič-Gnenenko 1940; Demurova 1967, 1978), which constitute just as many methods (domestication, foreignization, hybridization). Through the study of some difficult cases of translation – proper names with culture-specific connotations, puns and parodies – I will highlight the specificities of these different versions to understand whether and how the translator’s choices have affected the reception of Wonderland in Russia., Studi Slavistici, Studi Slavistici XII • 2015

The article contains a translation into Russian of Władysław Orkan’s short story entitled “The Dawn”. It was translated by the writer’s second wife, Bronisława Folejewska and has not been printed yet. The translated text is preceded by historical and literary introduction, which explains the circumstances that contributed to the origin of the story and its translation. The introduction is concluded by a list of Władysław Orkan’s works that have been translated into Russian.