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Искаженный перевод поэмы «Мертвые души» Н. В. Гоголя Home Life in Russia был опубликован в Лондоне в 1854 г. Многочисленные вольности анонимного переводчика изменили смысл текста, направив его на формирование негативного образа России и ее населения. Ключевая для оригинала идея духовного возрождения сменяется идеей морального отставания России от Великобритании, в связи с чем категория настоящего, в оригинале концептуально наименее значимая, выдвигается на передний план. В статье рассмотрены проявления категорий прошлого и будущего в Home Life in Russia в свете новой идеи и целей. Роман Home Life in Russia и лежащий в его основе первый том поэмы Н. В. Гоголя «Мертвые души» рассмотрены с использованием сравнительного, культурно-исторического и герменевтического методов. Настоящее в романе конкретизируется и сдвигается в 1840-е гг., способствуя смещению фокуса с бытийной проблематики на бытовую. Из антропологических моделей (В. Кривонос) герои превращаются в (этно)социальные типы, якобы достоверно демонстрирующие современное автору состояние российского общества: с одной стороны, варварство, отсталость и моральное разложение, с другой – амбициозность, предприимчивость и стремление к приобретательству. В целом каждый герой сохраняет явное сходство с оригиналом, однако наиболее значимые указания на возможное возрождение души в будущем, как завуалированные и неоднозначные в случае помещиков, так и прямые в случае Чичикова, исчезают из английского текста. В результате заметно редуцируются и изображения будущего и прошлого героев, «вырывающие» их из мертвого настоящего. Изменения происходят как на содержательном уровне, так и на уровне повествования. Наиболее заметны трансформации Чичикова и Плюшкина, связанных как в оригинале – надеждой на духовное возрождение, так и в Home Life in Russia – окончательностью падения. Трансформируя или опуская способы изображения прошлого и будущего персонажей, автор редуцирует их до образа, в котором они существуют в настоящем. Каждый из них становится статичной, завершенной картиной в созданной автором-переводчиком галерее нравов.

The editions of Arnaut’s sestina and the history of its study reflect the general trend: both its editors and researchers endow trobadours’ lyrics with an elevated meaning. This is also noticeable when referring to their other poems; however, this tendency can be traced especially clearly in the case of sestina. In the early manuscripts A, B and S (13th century) its text is obscene: the key words-rhymes “cambra” (room) and “verja” (branch) have the meaning of obscene euphemisms, and the tornada itself frankly expresses the poet’s hope for a carnal union with his beloved. This variant of tornada seems to us a possible author’s ending of the poem, since it corresponds to its other verses. In addition, we believe that by singing the carnal and “close” love Arnaut argues with the famous song of love from afar by Jaufre Rudel. In the later manuscripts, the obscene sense of tornada became more obscure, and in the two of them — U (turn of the 13th–14th centuries) and C (15th century) — obvious is the intention of the scribes to put accent on the beauty of the poem rather than its content. In the editions of 19th–21st centuries the sense of the sestina and of its tornada has continued to be transformed in the same direction.

The current paper deals with the functional and structural aspects of collocations while at the same time it explores their socio-cultural features on the grounds of a corpus-based inductive approach. Collocational translation requires in-depth collocational analysis which in turn leads to a tripartite approach based on linguistic, communicative and cultural competence. The meaning of a collocation depends upon the meaning of its constituents so translation becomes more difficult when their figurative meaning is taken into account. Between the untranslatable and easily translatable collocations we come across degrees of translatability depending upon the lexical and cultural congruence between the two languages. But how effortless or how problematic is it to set scientific boundaries? What the paper seeks to explore is some of the strategies used for the translation of verbal collocations in Middle England by Jonathan Coe along with their presentation, attempting to highlight that collocations should not be viewed as mere embellished versions of literal language, but as practical solutions used to fill the void of vocabulary when we are at a loss for the proper translational equivalent. [ABSTRACT FROM AUTHOR]

Copyright of Polissema is the property of Polissema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Translations of Goldoni’s plays into Russian by A.V. and A.I. Amfiteatrov, a married couple who compiled Goldoni’s first collection in Russia, illustrate two basic approaches to translating fiction. In the plays that have not lost their repertoire potential, the translators depart from the original far enough, omitting dozens of phrases and whole replicas. The translation of The Comic Theater, a staged dramatic manifesto of Goldoni, pedantically follows the original, not only not allowing any omissions but also adhering to lexical and syntactical literalism. As a rule, free translation and accurate translation alternate as two models or templates in the history of translation. In the mentioned Goldoni’s collection, two alternative translations present themselves as two equal modes of transmitting a text into the foreign language which seems to be a rare, if not a unique phenomenon.

This paper discusses the translated equivalents of two terms (infinito and perfecto) by doing comparison of "Fides no Dŏxi" with its original work by Luis de Granada in Spanish. The terms reflected into the Japanese text were grouped by types as literal translation, translation into a superlative etc, then they were further classified from the point of view of the concepts modified by the words (God, God's virtues, people, things). The results pointed out to a firmly unified translation principle to use the most literal translations in phrases speaking of God or Jesus and looser translations (done with more rhetorical consideration) for less godly matters. [ABSTRACT FROM AUTHOR]

The paper looks at the Latvian translation scene at the end of the 19th and the beginning of the 20th century. It is a continuation of the study of translation history in Latvia reflected in previous issues of Vertimo studijos (vol. 7, 8, 11). These decades are marked by a huge growth of translation, especially in periodicals. German was gradually losing its dominant position as a source and intermediate language, Russian was advancing, so was also the scope of other languages. In contrast to previous periods there was a particular interest in the quality of the originals and modernity. This period also saw a change of generations among translators, and women became visible in translation scene. Translators among whom there were all the great Latvian writers gradually emerged as professionals. Frequently translations had prefaces and explanations by the translators. There were numerous parallel translations of the same works, some reaching up to ten versions. Translations included various genres and the traditional Latvian interest in plays was very obvious. So was the focus on specialised literature on agriculture. The translation method changed from localisation to a fidelity mode with a tendency to apply elements of foreignisation.

Objectives The article characterizes logical method of comparison as an object of scientific research. The subject of the Internet discussion has been accusations of plagiarism and chauvinistic objections to the necessity of Russian-speaking literature translation into Ukrainian. Purpose. Based on specific sample material to analyze facts of manipulation with information through the violation of comparative method application within the Internet discussion. Material and methods Comparative method has been used in the article – two poems’ texts (Samuil Marshak’s poem “The Absentminded Fellow from Baseynaya Street” in Russian and Ivan Malkovych’s poem “The Absentminded Fellow” in Ukrainian have been compared; the content of the Internet discussion comments has been compared as well. Content and formal features correspondence in terms of the “plagiarism”, “free literary translation”, “literary borrowing” concepts have been analyzed. Deductive method has been applied in the form of logical conclusion based on the integrity of the analyzed facts. Results Comparison of poems according to formal scheme of poetic piece and their analyses allowed refuting of plagiarism accusations and prove relation of Ivan Malkovych’s poem to the category of literary borrowings – in this very case – to free translation. The article is an example-attempt of scientific well-grounded refutation of information manipulations during Internet discussions, whose aim is to activate negative emotions of average uncritical philistine being unaware of literary work and history of literature. Conclusions In the sphere of information security the comparative method is both a means of informational aggression (in case of violation of comparison rules application) and anti-manipulation means (if the comparison rules are followed).

Copyright of Acta Polono-Ruthenica is the property of University of Warmia & Mazury in Olsztyn and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ezra Pound's literary career consists of two mutually enhancing constituents : translation and creation, which, as a whole, serve as an experimental field that has enriched his imagistic and vorticist poetics, including his poetics of translation. These three dimensions are closely related to his (un) intentional creative transforming and misreading of classical Chinese literature and philosophy. Pound's poetry creation and free translation show strong stylistic consciousness and strategies, but this largely remains largely unexplored by academic research. His stylistic strategies take such forms as English haiku, the defamiliarization or foregrounding of ideograms, and the stylistic collage, and these innovations have not only set canonical examples for modern English poetry, but also pointed to a rethinking of the nature of and the interrelation between translation, creation, and poetics. [ABSTRACT FROM AUTHOR]

Copyright of Vertimo Studijos is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Polissema is the property of Polissema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Translation is of an absolute necessity in today’s world. Robinson (1997) states that the study of translation is an integral part of intercultural relations and of conveying scientific and technological knowledge. He further mentions that “translators need to be able to process linguistic materials quickly and efficiently; but they also need to be able to recognize problem areas and to slow down to solve them in complex analytical ways” (p. 2). This study is an attempt to explore and evaluate an oblique translation of a text from English into Persian to find the most frequent translation strategy. To reach the goal of the study, the researchers selected one hundred and ten sentences of an original English text which had been translated freely at random and compared them with their Persian counterparts. The findings of the study indicated that Persian translator used equivalent strategy with the highest percentage (45%) in the translated corpus. After that, modulation, and transposition had the highest percentages respectively.

The article is devoted to translations by M. Dudin of the lyrics of Yeghishe Charents, outstanding Armenian poet of the early 20th century. It is noted that the Armenian poetry took a prominent place in Dudin’s translation heritage, as evidenced by his numerous works that can be found in different collections of the poet. It is indicated that the life and creative path of the Armenian poet is largely responsible for the harmony of his lyrics with the lyric works of Russian poets. The article through the comparative analysis considers the translations of lyrical poems by Charents taking into account such criteria for the evaluation of translations as “adequacy,” “equivalence,” “usefulness,” “freedom of translation” etc. The examples show that Dudin translated the original verses of the Armenian master of word loosely, but he managed to keep their sense, style, rhythmic and prosodic organization. It is noted that the national identity of the Armenian poet is recreated in the Russian translations, that is a merit of the Russian poet and translator. It is concluded that the lyrics of Charents in Dudin’s translations found the new birth, because it began to sound with a new, overwhelming force, evidencing the translation professionalism of the Russian poet.

As an important medium for cultural exchange, film has been attracting every nation's attention and thus plays a significant role in cultural exchange. Therefore, the translation of films, with the translating of the titles as the key, is viewed as a direct and easy way of introducing the foreign culture as well as spreading the national culture. A good translated film title not only makes the film more charming but also has its own specific features. The paper first analyses the two primary elements: cultural and language element and nonverbal element, which influence the translation of the film title. Then it presents some main theories on the translation of the film title. Finally it concludes several common methods of translating film titles by abundant examples, which include: literal translation, transliteration, free translation and so on. And this author believes that the phenomenon of one title with several translating versions is acceptable as long as they gain the audiences' satisfaction, the producer's agreement and the government's approval. [ABSTRACT FROM AUTHOR]

This article aims to investigate two 18th century perspectives that were valid in Portugal about the procedures used to translate, from preliminary texts to the book Arte historica de Luciano Samossateno, traduzida do grego em duas versões portuguesas (1733). In their dedication the translators of the book request the Count of Ericeira to judge the versions, after each one of them presents the grounds of his choices to convert the original text, wondering: which of the versions can be read without dishonor to the translator? The controversy is solved in the "Censura das traduções" written by the count, who evaluates the two translations dedicated to him. From the study on how the genre dedication was historically used we examined the defense that each translator wrote to his method. Then we try to make evident the conceptions about translation that prevailed in those texts and demonstrate that the laudatory character of the dedications was related to a complex social system which regulated the offer of works and the relations of protection and patronage established in the court between sponsors and authors. [ABSTRACT FROM AUTHOR]

Broadly historical in its approach, this article explores how the Xiaoxue (Lesser or Elementary Learning), or Sohak in Korean, a primary textbook for Confucianism in China, was translated into Korean at two different times with a span of seventy years between the versions in the sixteenth century. It argues that the two different versions of translation of the same book, Beonyeok Sohak and Sohak Eonhae, reflected not only significant differences in the principles and strategies of translation: free translation or literal translation and native words or foreign words, among other things; but they also revealed significant difference in the translators' - or, for that matter, their commissioners' - ideologies and worldviews. The two Korean versions of the Xiaoxue was thus a contested battleground for the scholars and the politicians. In sum, it claims that the debate on the methodology of translation is not just an issue specific to Western translation theory but also non-Western translation theory. [ABSTRACT FROM AUTHOR]

This article reports on the findings of a qualitative study on Danish translators' strategies in their translations of an excerpt from a Spanish judgment. The aim of the study was to examine 1) whether Danish translators opted for a literal or free approach in their translation of a Spanish judgment, and 2) whether differences could be observed in relation to the participants' expertise in translation in terms of strategy on the one hand, and interference on the other hand. To fulfil the purpose, a corpus study involving translation from Spanish into Danish was performed. The data - a Spanish source text and ten translations into Danish by five experts and five non-experts - was analysed using contrastive text analysis. The results of the study showed that literal translation was the strategy used in most translations. However, although literal translation was the predominant strategy overall, the findings revealed that there were slight differences between experts and non-experts in the way they used the strategy of literal translation. In addition, the results showed that interference was slightly more prevalent in the translations produced by non-experts than in those produced by experts. This study contributes to academia by providing empirical evidence of translators' strategies - evidence which is much needed in the field of legal translation, where empirical research on this particular topic is scarce. Apart from its academic contribution, the present study may be useful in heightening professional and student translators' self-awareness and performance monitoring skills, both of which are preconditions for producing an idiomatic translation. [ABSTRACT FROM AUTHOR]

The previous research on the specificity of artistic text (Lubomír Doležel, Zdeněk Mathauser) and its translation, especially that of poetry (Jorge Luis Borges) shows that the substance of artistic text can be expressed more faithfully by free translation. The author illustrates this argument using examples from her own translation of poetry.

The essence of translation is transferring the information expressed by one language to another. It concerns not only the transfer between languages, but also between cultures. The truth that translation is also an intercultural activity can be further proved by the relationship between language and culture. In translation field, there has long been a hot debate over the proper translation strategies chosen for the transmission of cultural contents, and foreignization and domestication have been the focus of debate since their appearance. They can be viewed as the extension of the debate on "free translation" and "literal translation". In this article, through analysis on the actual application of foreignization and domestication from the aspects of authors' translative intentions, readers' demands, cultural aura of concrete texts in novel translation, I arrived at the conclusion that the choosing of foreignization and domestication is not fixed, and the two methods should supplement and complement each other, and that in literature translation, translators should mainly adopt foreignization, and don't hesitate to choose domestication when it is necessary. [ABSTRACT FROM AUTHOR]

The article discusses the methods of Chinese nomenclature used in formulation of aromatic and heterocyclic compounds between 1908 and 1932. Topics discussed include advantageous method of transliteration rather than free translation and pictographs, and establishment of brand-new pictophonetic names by Chinese Ministry of Education.

It has been observed that, given the theoretical explanation that cultural diversity is an important parameter for consideration in the translation of advertisements, students are often lacking directions as to how to proceed when asked to do the practical work of translation. This article will address their concern from a pedagogical point of view by proposing that the enhancement of students’ cross-cultural awareness is essential to teaching advertising translation. Drawing on authentic samples of bilingual versions of advertisements collected from various English and Chinese newspapers and magazines from Hong Kong, we will scrutinize how the same ad promoting a certain product, service or event is encoded in different terms in English and Chinese, and then discuss how the different use of the English and Chinese language in fact reflects the cultural values or characteristics of the Western and Chinese cultures noted and examined in various cross-cultural studies. This can, in turn, demonstrate to students that a good knowledge of cross-cultural value differences and similarities will constitute a source of inspiration which could enlighten them in the formulation of the appropriate strategies for translating advertisements. [ABSTRACT FROM AUTHOR]

This article analyzes the translation of Genesis 50:20 and tries to demonstrate how many translations have a strong theological orientation that supesedes the natural meaning of the text. The fact of the matter is that translation follow theological tendencies and cannot be considered theologically neutral. Besides the theory of translation one accepts, it is important to recognize the influence of theology in the process of translation. The point is that the translation of a biblical passage, either by an individual or a team of translators, will always carry a theological tendency. The intention of the article to demonstrate how this influence worked in the translation of Genesis 50:20. [ABSTRACT FROM AUTHOR]

If a joke is not translated as a joke, the translation is bad. This article asserts that almost all verbally expressed humour is translatable, given appropriate strategies and reasonable criteria for success. It focuses on two problem areas, language-specific jokes (in particular puns) and culture-specific jokes, distinguishing these from more manageable kinds of humour. A brief survey of research on puns is given, followed by practical advice to increase the translator's responses to wordplay, and a systematic way to proceed instead of just waiting for inspiration. Translators of humour (like writers of humour) have a licence to use language creatively, and this enlarges the options for handling outrageous jokes. There follows a shorter discussion of culture-specific jokes and how they differ from 'universal humour'. Some light must be shed on obscurity, yet obviousness is a killer of humour. Suggestions are made about how to bridge cultural gaps without killing the joke, and also about the cultural problem of obscenity. The article ends with a list of eight strategies available to any translator faced with a joke and keen to rise to the challenge. [ABSTRACT FROM AUTHOR]

The Peshitta is considered a fairly literal translation. However, the attitude of the translator (using the singular here for simplicity) of Isaiah and Jeremiah to his Hebrew Vorlage was complex: he almost always preserved the original message, but exercised literary initiative, selecting lexical equivalents sometimes inconsistently, sometimes with great precision, sometimes disrupting rhetorical structure, sometimes making additions to render opaque Hebrew clearly. He did not see his text as 'sacred' at any point, nor did later scribes who introduced further small additions and modifications. The range of Syriac vocabulary employed is wide: there is no evidence of poverty. [ABSTRACT FROM AUTHOR]