Journal articles on the topic 'Ukrainian poetry – Translations into English'

This article explores the English translations of contemporary Ukrainian war poetry featured in the two anthologies Lysty z Ukrainy (Letters from Ukraine, 2016) and Words for War: New Poems from Ukraine (2017), through the prism of Jacques Derrida’s concept of “relevant.” It argues that although the economy of the original poems could not always be sustained, these translations nonetheless remain relevant primarily thanks to what they do rather than what they say. After contextualizing the recent (re)emergence of war poems as a genre of Ukrainian literature and providing an overview of the two translation anthologies, the article compares the Ukrainian originals with their English translations and discusses the various translation challenges. It then returns to Derrida’s own case study to extend the modifier “relevant” beyond its “economic” parameters to apply it more broadly to translation’s socio-political significance. It concludes with a discussion of how the two anthologies in question reflect the state of the reception of contemporary Ukrainian literature in the English-speaking world and how the translations they feature inform our understanding of the (un)translatability of poetry.

The article examines the poetry and fiction by Mykola Vingranovskyj in English translations. Attention is paid to the chronological sequence of translations, the figures of translators and the works selected for translation, their equivalence to the original. The first translation of M. Vingranovskyj's fiction (the short story "White Flowers") appeared with the assistance of Yu. Lutsky in Canada and aimed at popularizing Ukrainian literature among students. The short story opens the extremely lyrical world of Mykola Vingranovskyj, where the story revolves not around the event, but around the feelings, which brings the short story closer to poetry. The novella was included to the anthology (Modern Ukrainian Short Stories, 1973) as the example of the prose of the sixties (shistdesyatnyky), which departed from socialist-realist ideological canons and turned to the emotional and expressive potential of artistic language. The translation of Yuri and Moira Lutsky is marked by the desire to convey as fully as possible the author's individual style, including figurative metaphor, to create a text equivalent to the original in communicative orientation. The collection Summer Evening (1987), translated by Anatoliy Bilenko, was published after M. Vingranovskyj was awarded the Taras Shevchenko National Prize of Ukraine (1984). The collection includes stories for children's audiences, conveying children's perception of the world: Chest, Shaggi, The Gosling, Good Night, What Makes the World Spin, Summer Evening. A. Bilenko's translations are notable for the adequacy of the reproduction of artistic and stylistic features of the original, semantic equivalence. Some translated poems, which emphasize the civic component (Sistine Madonna, To My Sea, On the Golden Table, The First Lullaby, Star Prelude) were included to the anthology of Ukrainian poetry (Anthology of Soviet Ukrainian Poetry, 1982), and Russian translators were involved in translating the poems (Dorian Rottenberg, Michael McGreg), which significantly reduced the artistic value of poetry. During the times of independent Ukraine, competitions for translations to the writer's anniversaries were initiated. However, translated works have not been published in collections and anthologies. Active work on translations of M. Vingranovskyj's works is still ahead.

This article aims to outline main tasks when translating poetry of the Great Kobzar into Japanese. Analytical, biographical, contextual-descriptive and comparative methods were used in the study. In particular, the analytical method is applied when examining the Japanese works related to a poetic heritage of T. Shevchenko and its translations, biographical – when considering some facts from life of the Japanese slavists, which contributed to their interest in works of the Ukrainian poet. The contextual-descriptive and comparative methods are used in analyzing translated collections of the Great Kobzar’s poetry in Japanese and problems of the Ukrainian-Japanese literary translation. Poetry of Taras Shevchenko found its readers in Japan thanks to translation efforts of Taisuke Shibuya, Takayuki Murai, Gаchiro Tazawa, Takashi Juge, Shosuke Komatsu, Kazuo Nakai, Takao Hino, Takao Okamoto and Etsuko Fujii. Three main problems of translation mastership can be distinguished in the Japanese slavistics. First, expediency of translating the Kobzar's poems not from the Ukrainian original, but from the Russian and English translations. This issue was brought up by Kazuo Nakai, who noted that this practice of using the Russian or English texts continued until the end of 1990s. Secondly, significant problems in case of the Ukrainian-Japanese literary translation are associated with untranslatables for designation of certain cultural, socio-historical and other phenomena. Third, selection of the modern or obsolete language for translation: Takashi Juge used obsolete words, while Etsuko Fujii chooses the modern Japanese language, so that young people could also read the poems of Kobzar. Thus, the Japanese slavists still have a lot of problems in the field of the Ukrainian-Japanese literary translation, to overcome which each of them uses its own approach. Further study of the Japanese translation of the Ukrainian literary works seem to have potential for deepening cultural and literary relations between two countries.

The article reflects the results of scientific and philological research, which made it possible to analyze the ways of translating the image of Ukraine in English translations of Ukrainian poetry. Based on the generalization of the research results of scientific sources, the concept of literary translation as a linguistic problem is revealed. A special connection between the artistic image and the linguistic category on the basis of which it is formed is noted. The main requirements for the translation of works of art are highlighted, among them: accuracy, conciseness, clarity and literacy. It has been established that the main difficulty of literary translation is the accurate understanding of lexical units and the relationship between what the author wanted to convey to the reader and what the translator translated. Two aspects of the Ukrainian poetry translation are highlighted: linguocognitive and linguocultural. It is determined that the linguistic and cultural aspect of translation analysis allows to identify the features of reflection in the English poetic translation of the value dominants of Ukrainian ethnoculture based on the comparison of the cultural concept name, symbols of culture and emotional expression, and linguocognitive allows to highlight the features of the concepts system reflection of the Ukrainian author in the figurative system of English translations of his lyrics. The concept and role of the cultural concept UKRAINE in English translations, which is expressed by lexical means of a particular language, are studied. There are four components of the cultural concept: conceptual, value, symbolic and figurative. It is revealed that the elements of imagery and symbolism are structural parts of the cultural concept. It has been found that the translator’s understanding of the author’s system of concepts is a condition for reproducing the image of his country in translation. The symbols of Ukrainian culture in poetic works are analyzed, which are multi-valued subject images that express values and worldviews. The artistic symbol is considered to be one of the types of figurative concept with a multilevel structure of reference and the main aspects of its analysis should include determining the depth of the original symbol and its culturological components. Analysis of the translation of symbols showed that the most commonly used way of reproducing Ukrainian poetic symbolism is tracing, less commonly used methods of transcription, transliteration and equivalent translation. It is determined that the symbolism reproduced in the translation cannot convey all the cultural components and semiological depth, because the associative connections with the place of its origin are interrupted. It causes a symbolic appropriation of the image of Ukraine in the target culture, and at the same time conveys its ethnic uniqueness. The main ways of conveying the image of Ukraine in translations of Ukrainian lyrics are revealed, as a result of which literary translation adapts to the norms of the language of translation and becomes accurate and clear. The following lexical transformations in translation have been singled out: transcription, transliteration, equivalent translation, tracing and contextual substitution method. A comparative analysis of the translation of symbols and images of Ukraine in translations of Ukrainian poetry. Comprehensive research has shown that the most prevalent methods of translation are contextual substitution, equivalent translation and tracing. Thus, the article fulfills all the tasks are fulfilled in the work and it is also determined that the components of symbolism and imagery are a structural part of the concept of UKRAINE in general.

This article is devoted to the analysis and study of the translation of archaic pronouns in fiction. Archaic pronouns are important lexical elements that not only serve semantic functions but also significantly influence the stylistics and emotional perception of the text. The aim of the study is to explore the practical aspects of translating archaic pronouns and their impact on the perception of the original text. Different methods of translating archaic pronouns from English to Ukrainian are analyzed in the research as well as their influence on the stylistics and emotional expressiveness of the text. The study is based on the analysis of fiction and its translations for various genres, including poetry and prose.

According to the results of the online academic conference "Waka poetry around the world: Viewing reception and transformation of Japanese culture through multilingual translation", an analysis of the Ukrainian translation of the 469th waka poem from the poetic anthology "Kokin Wakashū" (the Collection of Japanese Poetry Ancient and Modern) by I. P. Bondarenko was carried out. It is this translation that is the subject of the presented study. The goal, which was to reveal the peculiarities of the Ukrainian version of the mentioned poem, was achieved due to its comparison with Chinese, English, French, German, Hungarian, Italian, and Spanish translations. It was found that the Ukrainian translation of the waka poem No. 469 from the anthology "Kokin Wakashū" is characterized by common features that are typical for a number of translations into European languages. In particular, the syllabic structure of the original (a waka poem is composed of 5-7-5-7-7 syllables) has not been preserved in the Ukrainian translation, as well as in the other translations, and these translations themselves are written in five lines. Such common features also include lexical-semantic transformations caused by the difficulties of translating Japanese realia into European languages. For example, such nominations from the original work as "hototogisu" and "ayame" in many multilingual translation versions, including the studied Ukrainian one, are translated with the help of the words "cuckoo" and "iris", respectively, instead of their exact analogues – "lesser cuckoo" and "iris sanguinea". At the same time, there are foreign language versions with observance of the original syllabic verse and an accurate translation of the mentioned realia. Along with the common features, some features that make the translation of the 469th waka verse into Ukrainian unique were also revealed. Among those the translation of the original "satsuki" (the fifth month according to the old calendar and approximately June according to the modern one) as the season of the growth of herbs through the Ukrainian equivalent to "May" (the fifth month according to the modern calendar) literally meaning the "month of herbs", as well as the combination of the first and the second part of the poem through an emotional connection can be named.

The article deals with peculiarities of translations of neologisms of the Polish poet Bolesław Leśmian’s works into Ukrainian. Translation of Bolesław Leśmian’s poetry into different languages meets difficulties due to the fact, that a lot of author’s neologisms appear in it and motivate translator to thoroughly analyze the peculiarities of author’s derivation and make their own strategy of neologisms’ reproduction in the language of translation. Study of experience of translators this poet’s works into Italian, English and other languages helps literature researcher to systematize and accommodate difficulties which appear on the way of choosing the corresponding lexeme or making up a neologism. Due to familiarization with the artist’s worldview, the style of his writing, features of making up neologisms and utilizing them in the original texts, conclusions about making up and functioning of the new words in the texts of translation have been formulated. The translator of B. Łeśmian’s poetry into Ukrainian Marianna Kiianovska utilized all spectrums of possibilities of Ukrainian derivation and actual productive formants in order to make up neologisms and reproduce the style of poet’s writing. The examples from the book of selected poems "Angels" have been given in the article and the peculiarities of appearing of Ukrainian neologisms belonging to different parts of speech (nouns, pronouns, verbs, adjectives, numerals, adverbs) have been analyzed. The similarity of both Ukrainian and Polish languages allows to take advantage of the derivations formants of source language to transfer Polish lexemes to Ukrainian speaking field and to make up new words, which are analogous to existing, even on condition that formant loses its productivity. The ways of derivation, impact of the idea of original texts and original author’s neologisms on the translator’s strategy and word selection, the role of tropes, idioms and analogies in the process of new words appearing have been researched.

The article deals with the problem of rendering the Chinese poetry ’shi’ in English and Ukrainian translation. Special attention is paid to the peculiarities of translating realia. The translation operations employed to render the semantics and pragmatics of the Chinese belles-lettres literature by means of typologically distant languages have also been analyzed. Key words: Chinese poetry ’shi’, realia, translation operations

The work of René Char remains poorly studied in Ukrainian literary criticism, and there are few translations published. In this paper, attempts were made to translate some of René Char's poems from the poetry collection "Fureur et mystère" (Rage and Mystery), which is central to his work. The analysis points out both the advantages and disadvantages of the translators' work. The intertextual connection between the poems "Allégeance" and "Allégement" is revealed and its importance for the interpretation of both texts is shown. This overlap was not shown in the translation. Ways were found to convey this connection within the poem itself, but the option of conveying it in the title was suggested. Some general difficulties that may arise during translation are identified, related to the transmission of rhythm, meter, graphics of the poem, syntax, as well as the figurative component of René Char's poetry. It has been established that the hermeticity of his poems is absolute: interpretation requires knowledge of the historical, cultural, and biographical contexts, as well as an in-depth familiarity with other poems by Char. However, the latter condition cannot be fulfilled by foreign-language readers. As we have discussed above, his works lack translations. So far, no translation of the entire book of poems has been made, and translators (including us) are working on translations selectively. Thus, in the course of our work, we discovered problems related to the translation of René Char's poems. In our translations, we tried to convey the original text with maximum accuracy, although this was not always possible. Considering the difficulties reflected in our comments on the translations, translations of other poems may be performed.

In the context of Ukraine’s further European integration, the issue of popularizing our culture and understanding its achievements in terms of the world’s civilization progress is gaining particular relevance. The purpose of this research is to find out whether Hryhorii Skovoroda’s name is well-known to the readers and scholars in the USA, Canada, and the UK, and how his ideas and works were popularized in the English-speaking world. The present study shows that the research into Skovoroda’s philosophy and literary works in English-speaking countries began in the second half of the 20th century, primarily in the United States and Canada, as evidenced by the studies of Karen L. Black, Richard Hantula, Taras Zakydalskyi, George Kline, Natalia Pylypiuk, Stephen Scherer and others. In 1994 “An Anthology of Critical Articles” dealing with various aspects of H. Skovoroda’s work was published by Canadian Institute of Ukrainian Studies. This volume is a collection of symposium papers that focus on the unique figure of the Ukrainian writer from different perspectives: historical, social, literary, theological, philosophical, pedagogical, and linguistic. The book of papers also includes a vast bibliography of Skovoroda studies compiled by R. Hantula. In 1997 a special issue of the “Journal of Ukrainian Studies” was devoted to Hryhorii Skovoroda’s creative work, its sources, basic ideas, and the influence on further development of Slavic philosophy and literature. Translations of the philosopher’s texts into English, which also began to appear in the 1960–1970s, are an important factor contributing to the growing interest in H. Skovoroda’s work and the significant expansion of the circle of its researchers. To date, the writer's fables, some of his philosophical treatises, letters, as well as poetic works were translated. A breakthrough in the popularization of Skovoroda’s name in the English-speaking world is the translation of his collection of verses “The Garden of Divine Songs” and collected poetry (translated by Michael M. Naydan) as well as his complete correspondence (translated by Eleonora Adams and Michael M. Naydan), which were published in London in 2016. The overview of English-language studies and translations of Hryhorii Skovoroda’s works proves that Western scholars made a valuable contribution to the research on the philosopher’s legacy as well as popularization of his works by translating them into English.

Introduction. Today, simile as a stylistic device attracts the attention of scholars in translation studies, since similes convey the figurative information of the source text and, consequently, their adequate rendering contributes to the creation of an adequate translation of the whole poetic work taking into account its imagery as a key to understanding the author’s worldview. The translator should strive to preserve the image of the source text in translation by using the means of expressiveness which is one of the most complex problems in the theory of translation from English into Ukrainian.Purpose. The purpose of the article is to highlight the peculiarities of similes as a means of representing the author’s worldview and to determine the specificity of their rendering in Ukrainian translations of modern English poetry.Methods. The methodology of the research includes the use of methods of analysis and synthesis for determining the theoretical background of the study; contextual analysis for the selection of illustrative material; lexical, stylistic, and pragmatic analysis as a means of determining the imagery of simile and its transferred meaning in the poem; as well as the methodsof translation analysis in determining the specifics of rendering similes in translation.Results. Simile is a linguistic and stylistic means at the same time; it is a complex system of multifaceted means of expression: morphological, syntactic, lexical, and word-forming, representing the author’s vision of reality through the correlation of objects and phenomena. Figurative comparison (simile), unlike logic one, captures one of the most distinctive features of an object or phenomenon, sometimes unexpected, and makes it the main one ignoring all others. In the works of modern English poets, similes are unexpected, “fresh”, i.e. the authors striveto create new ways to embody their worldview. Rendering such similes is extremely important for understanding the author’s worldview, so the most significant transformations occur in the sphere of lexical units’ meanings and are represented by differentiation and modulation, as well as addition,omission, and total rearrangement.Conclusions. The research reveals that, most often, similes in contemporary English poetry are rendered in Ukrainian translations by using transformations that modify their semantic content. This conclusion confirms that the semantics is the basis for rendering similes in translation.

Abstract This brief essay introduces the work of three contemporary Ukrainian writers whose poems appear here in English translation. The introduction situates their work in the context of modernist and contemporary Ukrainian poetry as well as in the context of Russian invasions of Ukraine in 2022 and 2014.

The paper considers the poem 449 written by Emily Dickinson and its translations into Ukrainian and Russian. The translation of the grammatical syntactic syntagma «I died for Beauty…» is also analyzed. The work of V. Sdobnikov and O. Petrova «Theory of Translation» where the scholars propose to apply literary and extra-linguistic aspects of translation theory was especially important for the present research. The principles of literary and linguistic translation theory have been applied in the process of philological and linguistic-stylistic types of analysis. The literary studies theory emphasizes the principle of vocabulary adequacy in the original work and its translations. The extra-linguistic aspect of the linguistic translation theory has impelled us to consider the morphological category of gender of the personal pronoun «I» in singular and the verb «died» in the past tense. In modern (synchronous) English, the morphological category of gender of the personal pronoun in the first person and the verb in the past tense are not denoted by morphemes, whereas in the Ukrainian and Russian languages the verb in the past tense has the suffix «l» and the ending «а» for the feminine gender. That is why some translators have mistakenly interpreted the image of the poem's first persona by creating the image of a lyrical male character, which violated the gender right of the poetess. The translators were to take into account the biographical right of the poetess to write on her own behalf, and the fact that in most works E. Dickinson revealed her inner world in the first person and applied the personal pronoun «I» in her poems very often, which testifies to the femininity of her poetry. Russian translators M. Zenkevich and A. Kudrjavytsky translated the structure «I died for Beauty» by using the words of the lyrical woman-character. They recreated the image of a lyrical heroine who is capable to give her life for Beauty. Another translator V. Markova created the lyrical male character. In her translation both characters are opposed to each other, because the poet is «he» while the Beauty is «she». In Markova’s translation it is the man who died for beauty, love and truth. Ukrainian translators D. Pavlychko and N. Tuchynska also created the lyrical male character and interpreted the image from the first person that changed the original author’s artistic message. It should be noted that the method of character masculinization in the translation of grammatical syntactic syntagma has changed the main idea of the work. This violated the gender right of the poetess to create the image of a noble lyrical heroine who is able to give her life for Beauty. The article also focuses on the peculiarities of the syntax of the poem, the special meaning of dashes in the original text and its translations as well as the method of character onimization. The lexical adequacy of the poem under consideration and its translations into Ukrainian and Russian are analyzed.

The paper analyzes the return of Bohdan Ihor Antonych’s name to the literature after several decades of suppression and prohibition by the Soviet totalitarian regime. The author also focuses on the interpretation of the poet’s work in Ukrainian and foreign literary studies. The researcher points out the following historical and cultural factors: partial liberalization of the communist regime in the Soviet Union; high appreciation of Antonych’s work by leading poets and literary critics in Ukraine and the Ukrainian diaspora; translations of works into foreign languages, in particular, Slavic ones; the influence of the poet’s work on the generations of the 1960s—1980s. Special attention is paid to the cooperation of American scholars and translators Watson Kirkconnell and Constantine H. Andrysyshen in translating the Ukrainian poet’s texts into English. The researcher traces the changes in views on Antonych’s poetry: the claims that he was a talented poet who did not have time to fully realize his talent due to his early death were eventually substituted by recognition of his poetry’s kinship with the works of Western European modernist poets such as R. M. Rilke, T. S. Eliot, F. G. Lorca, Cz. Miłosz. The paper also highlights the discussion on the stylistic dominant of Antonych’s poetry and focuses on the elements of different literary movements, namely futurism, imagism, and surrealism. It is emphasized that the poet was not only interested in the issues of style but also shaped the different styles of the time with his special features. He characterized impressionism as the relation of color to light, pointed out the idea of movement in futurism, focused on the geometric outlines of real objects in cubism, appreciated pure harmony of geometric patterns in suprematism. Moreover, Antonych’s poetry was related to creating myths, based on the tradition of the national folklore worldview.

Sylvia Plath's poetry has become an indisputable fact of the literary life of the English-speaking world, and thanks to numerous translations, including into Ukrainian, it has exerted an influence on other literatures. Sylvia Plath belongs to those original authors whose works never cease to amaze readers and critics. Sylvia Plath published little during her life, after her death thousands of pages of not only poetry and novels, but also diaries and epistolary heritage remained – an inexhaustible source for searching for the deep essence of the poetess. It is noteworthy that the collection of her poetry, which was published by her ex-husband, won the Pulitzer Prize in 1982 – an award given for new literary achievements. This award was given for poems that were more than twenty years old at the time. Very different topic, the mosaic of poetic style is the source of an increasing number of studies in the direction of both traditional literary studies and modern cultural, linguistic, and intertextual studies. The main motives and images of Sylvia Plath's poetic works are created around the theme of female loneliness against the background of the traditional patriarchal understanding of her gender role and personal frustration with this loneliness, using a wide range of expressive means of poetic language and linguistic structures, which found their embodiment in lexical-semantic and stylistic intonation features of the poet's work. The article is devoted to the characteristics of the color vocabulary in Sylvia Plath's poetry.

The article deals with features and problems of translating texts of Englishlanguage songs and ways of translating them into Ukrainian by the blogger UkrTrashDub. With the advent of American culture and its influence on Ukrainian youth, research is becoming increasingly relevant in our time. In the course of a comparative analysis of the original, it was revealed that linguistic realities and reproduction of the form of the original text are the main difficulties in the perception and translation of songs. Despite a deep understanding of the ideological and thematic orientation of the original text, the translator must be able to find adequate verbal means and the specifics of the author’s language. In addition, when translating is a poetic text, it is very important to preserve its rhythmic organization and rhyme system, which, however, is not always possible. Speaking about the ways of translating lyrics, the authors dwell on the rhymed method of translation, focusing on achieving the maximum possible adequacy of the translation. Particular attention is paid to the social factor that motivates the existence of this type of translation. As part of the study, the main features, problems and means of translating English-language songs into Ukrainian were identified. The main features include: unstable poetic meter; the huge influence of the culture of native speakers of the original text; a large number of the realities of the culture of the native speakers of the original language depicted in the lyrics. The problems of translating lyrics are: preservation of the original form; adaptation and/or transmission of foreign language realities and the difference in languages, which forms the approach to writing poetry. It can be concluded that the main features of the translation of English songs are related to the preservation of the original form.

Simin Behbahani is the most outstanding contemporary Iranian poet famous for her participation in political actions for civil freedoms such as women’s rights, against cruel forms of punishment and against Iran-Iraq war. She participated in the movement of mothers of political prisoners as well. But she became more famous in Iran for her lyrical poetry written in a traditional form of ghazal and not for her political activities. The aim of the article is to make the analyses of Simin Behbahani’s poetry and to consider the problems of its translation into different European languages. Such problems can be explained by the different ways of poetry in the eastern and western cultures: 1) the problem of keeping the metrics of ghazal; 2) the problem of keeping the sense of ghazal. Ghazal as the form originated in the Arabic literature was spread through the Near and Middle East culture and it was not known in Europe until 19th century. From the very beginning ghazal was performed against the backdrop of playing stringed musical instruments. According to the last researchers, ghazal became a base for the development of European sonnet. The authors of this article make a short review of the rhythmical features of ghazal and define its main components, such as bayt, matlaa, radif and others, that should be present at the translated text. It is important to keep these components in verse while translating because rhythmical characteristics of the ghazal are primary relatively to its sense. Scientific novelty. Simin Behbahani is known as a pioneer, who combined in her poetry genres and style of qasida and ghazal. This article deals with the translation of the ghazals by Simin Behbahani into different European languages, such as English and Romanian. Various poems by Simin Behbahani were translated by several interpreters who based their work on different reproduction principles of the original text. Metric and rhythmic of Persian verses were not kept even by the best translators into English. Farzane Milani used in her adaptation the free verse (vers libre) which had become the national form in the English poetry of the 20th century. This choise is good for translator who was born in Iran and now works at the University of Virinia. She made Persian verse understandable for native English speaker and focused at the main substance of poetry. In conclusion, Romanian translator reproduced metric and rhythmic features of the English translation but not of the Persian original. That’s why Ukrainian translators must take in account such experience and use the original text for reading.

Simin Behbahani is the most outstanding contemporary Iranian poet famous for her participation in political actions for civil freedoms such as women’s rights, against cruel forms of punishment and against Iran-Iraq war. She participated in the movement of mothers of political prisoners as well. But she became more famous in Iran for her lyrical poetry written in a traditional form of ghazal and not for her political activities. The aim of the article is to make the analyses of Simin Behbahani’s poetry and to consider the problems of its translation into different European languages. Such problems can be explained by the different ways of poetry in the eastern and western cultures: 1) the problem of keeping the metrics of ghazal; 2) the problem of keeping the sense of ghazal. Ghazal as the form originated in the Arabic literature was spread through the Near and Middle East culture and it was not known in Europe until 19th century. From the very beginning ghazal was performed against the backdrop of playing stringed musical instruments. According to the last researchers, ghazal became a base for the development of European sonnet. The authors of this article make a short review of the rhythmical features of ghazal and define its main components, such as bayt, matlaa, radif and others, that should be present at the translated text. It is important to keep these components in verse while translating because rhythmical characteristics of the ghazal are primary relatively to its sense. Scientific novelty. Simin Behbahani is known as a pioneer, who combined in her poetry genres and style of qasida and ghazal. This article deals with the translation of the ghazals by Simin Behbahani into different European languages, such as English and Romanian. Various poems by Simin Behbahani were translated by several interpreters who based their work on different reproduction principles of the original text. Metric and rhythmic of Persian verses were not kept even by the best translators into English. Farzane Milani used in her adaptation the free verse (vers libre) which had become the national form in the English poetry of the 20th century. This choise is good for translator who was born in Iran and now works at the University of Virinia. She made Persian verse understandable for native English speaker and focused at the main substance of poetry. In conclusion, Romanian translator reproduced metric and rhythmic features of the English translation but not of the Persian original. That’s why Ukrainian translators must take in account such experience and use the original text for reading.

The article deals with the peculiarities of translation of an Orthodox Christian poetic akathist prayer from Ukrainian into English by a native speaker of Ukrainian. The author analyses stylistic features of this type of religious discourse as well as processes involved in the translation work. The article dwells on the challenges and facilitating factors of translation. The challenges include a six-rhyme structure combined with a relatively poor selection of rhyming options, the syllable count, a system of word and sentence stresses different from Ukrainian, as well as a limited choice of vocabulary due to the peculiarities of style. The factors which facilitate the translation are also related to the stylistic features of akathist prayers which allow inversions and the use of alternative words and imagery as long as they are in sync with the style and the mood of the Orthodox hymn. The article shows which tools and procedures contribute to a successful result, in particular, rhyming dictionaries and thesauri. To secure the success of a translation performed by a non-native speaker of English, approval of the author and post-translation proofreading by a native speaker is indispensable, which includes both a clergyperson and a professional copyeditor. Consideration of all these factors will contribute to the quality of the translation.

Intercultural communication is a set of all forms of communication between representatives of different cultures. The goal of intercultural communication is to establish interaction between cultures, with language as a link. The effectiveness of intercultural communication depends on an adequate understanding and interpretation of symbols and markers of social space, as well as on the use of linguistic means to convey their meaning. The article deals with the role of a song in the formation of a national-ethnic consciousness and emphasizes the importance of song exchange between representatives of different cultures in the process of progressive globalization. It is stated that a song, as one of the most important musical genres, is able to accurately and figuratively reflect various aspects of people's lives, as it has verbal lyrics. Songs reflect the most important values, ethical views, social ideas and changes of a certain era, create patterns of behavior, establish cultural norms and and transmits them to the next generations. The study identifies the necessity of translating foreign songs in the context of building strong relationships in intercultural communication. Song lyrics is a special genre of poetry. The need to preserve the rhythm and rhyme on the one hand, and the words as well as the meaning behind them on the other, make the translation of a song so difficult. When translating poems, significant changes to the original text are inevitable. In this regard, many difficulties arise in translation, and to overcome them a translator must have special skills and a certain amount of experience. In this article, three types of song translation are distinguished: word-for-word or "informative" translation, interpretation, and equirhythmic translation. The latter is characterized by the preservation of the melody and the reproduction of the lyrics of the song as accurately as possible. The factors that determine the choice of one particular method have been specified in this article as well. If the goal is simply to understand the meaning of a foreign song, a semantically close prose translation is suitable. But if the song is to be performed in another language, it is necessary to achieve «singability» of the translated text. In addition to the difficulties caused by the need to reflect certain ethnic realities properly, the factors that make the translation of songs so difficult are: the different length of lexical units in the source language and the target language, which makes it difficult to preserve the rhythm of the song; pauses in the melody, which can cause a break in the semantic segment; parallel constructions and multiple repetitions, which can lead to unnatural translation; use of realia and connotative meanings of words that is difficult to reflect in the target language, etc. In order to describe the lexical-grammatical transformations used in the process of translation, the Ukrainian and English songs having a national-cultural component have been analyzed in the article. In the studied material, such translation transformations as modulation, addition, omission, calquing, transcription and complex transformations affecting both the lexical and grammatical levels and completely changing the structure of original sentences have been observed. The analyzed translations have a high quality, and they are good examples of a proper equirhythmic translation.

The paper focuses on the problem of translation and translatability of poetic texts with regard to genetically different languages that have dichotomically opposed writing systems, particularly alphabetic and character based ones. On the one hand these are the languages that belong to the Indo-European family, namely, English, Ukrainian and Russian and, on the other, the East Asian languages, particularly, Japanese and Chinese. The core of the study is Robert Burns' poem "A Red, Red Rose" translated into the above-mentioned languages. When translating this poem from English (phonetic) into Japanese (character-syllabic), or Chinese (ideographic) languages, an attempt to convey poet's feelings embodied in the original context with the help of characters, the structural and semantic properties of which are dichotomously opposite to the alphabetic graphemes of the English writing, it is necessary to make substantial lexical and grammatical transformations that do not allow to preserve the identity of the original. In a sense, such translation can be viewed as an attempt to use characters as phonetic signs that correspond to certain lexemes of the original. At the same time, replacing words written in the phonemic way (letters) by whole graph-semantic units (characters), leads, on the one hand, to the loss of specific connotations of the original, and on the other, to the emergence of semantic interference due to multiple meanings of the most characters, therefore preventing adequate perception of the original content by native speakers of the Japanese or Chinese languages. Characters are intended, first of all, to directly fix thoughts as ready-made word forms. Consequently, when translating, or more precisely, interpreting the mental code of the English written tradition, and accordingly poetry, using Japanese / Chinese language, you need to find a way to translate it into the mental code of the Japanese or Chinese poetic tradition. Only by getting more or less successful result one can consider the goal of the adequate translation accomplished. So, this paper suggests an approach to translating a poetic text from a phonetic into a character language on the basis of semantic and linguocultural analysis of the dichotomically opposed cultural concepts.

The study of indirect translations (IT) into Ukrainian, viewed from a psycholinguistic perspective, will contribute to a better understanding of Soviet national policies and the post-Soviet linguistic and cultural condition. The paper pioneers a discussion of the strategies and types of IT via Russian in the domains of literature and religion. In many cases the corresponding Russian translation, which serves as a source text for the Ukrainian one, cannot be established with confidence, and the “sticking-out ears” of Russian mediation may only be monitored at the level of sentence structure, when Russian wording underlies the Ukrainian text and distorts its natural fluency. The discussion substantiates the strategies and singles out the types of IT, in particular, (1) Soviet lower-quality retranslations of the recent, and mostly high-quality, translations of literary classics, which deliberately imitated lexical, grammatical, and stylistic patterns of the Russian language (became massive in scope in the mid1930s); (2) the translation-from-crib type, or translations via the Russian interlinear version, which have been especially common in poetry after WWII, from the languages of the USSR nationalities and the socialist camp countries; (3) overt relayed translations, based on the published and intended for the audience Russian translations that can be clearly defined as the source texts for the IT into Ukrainian; this phenomenon may be best illustrated with Patriarch Filaret Version of the Holy Scripture, translated from the Russian Synodal Bible (the translation started in the early 1970s); and, finally, (4) later Soviet (from the mid1950s) and post-Soviet (during Independence period) hidden relayed translations of literary works, which have been declared as direct ones but in fact appeared in print shortly after the publication of the respective works in Russian translation and mirrored Russian lexical and stylistic patterns. 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Декамерон / пер. Л. Пахаревського та П. Майорського; ред. С. Родзевича та П. Мохора; вступ. ст. В. Державіна. [Харків]; ДВУ, 1929. Ч. 1. XXXI, 408 с.; Ч. 2. Цит за вид.: Кальниченко О. А., Полякова Ю. Ю. Українська перекладознавча думка 1920-х – початку 1930-х років: Хрестоматія вибраних праць з перекладознавства до курсу «Історія перекладу» / Укладачі Леонід Чернований і Вячеслав Карабан. Вінниця: Нова Книга, 2011. С. 344-356. Munday, J. (2010). Introducing Translation Studies: Theories and Applications. 2nd Ed. London & New York: Routledge. Pauly, M. D. (2014). Breaking the Tongue: Language, Education, and Power in Soviet Ukraine. Toronto Buffalo London: University of Toronto Press. Pieta, H. & Rosa, A. A. (2013). Panel 7: Indirect translation: exploratory panel on the state-of-the-art and future research avenues. 7th EST Congress – Germersheim, 29 August – 1 September 2013. Retrieved from http://www.fb06.uni-mainz.de/est/51.php Плющ, Б. O. Прямий та неопрямий переклад української художньої прози англійською, німецькою, іспанською та російською мовами. Дис. …канд. філол. наук., Київ: КНУ імені Тараса Шевченка, 2016. Ringmar, M. (2012). Relay translation. In Yves Gambier, Luc van Doorslaer (Eds.), Handbook of Translation Studies, 4 (pp. 141-144). Amsterdam / Philadelphia: John Benjamins Publishing Company. Simeoni, D. (1998). The pivotal status of the translator’s habitus. Target, 10(1), 1-39. Солодовнікова, М. І. Відтворення стилістичних особливостей роману Марка Твена «Пригоди Тома Сойера» в українських перекладах: квантитативний аспект // Перспективи розвитку філологічних наук: Матеріали ІІІ Міжнародної науково-практичної конференції (Хмельницький, 24-25 березня). Херсон: вид-во «Гельветика», 2017. С. 99-103. Sommer, D, ed. (2006). Cultural Agency in the Americas. [Synopsis]. Durham, NC: Duke University Press. Špirk, J. (2014). Censorship, Indirect Translations and Non-translation: The (Fateful) Adventures of Czech Literature in 20th-century Portugal. Newcastle upon Tyne: Cambridge Scholars Publishing. Venuti, L. (2001). Strategies of Translation. In M. Baker (ed.). Routledge Encyclopedia of Translation Studies, (pp. 240-244). London & New York: Routledge. References (translated and transliterated) Beletskii, A. (1929). Perevodnaia literatura na Ukraine [Translated literature in Ukraine]. Krasnoe Slovo [Red Word], 2, 87-96. Reprint in: Kalnychenko, O. A. and Poliakova, Yu. (2011). In Leonid Chernovatyi and Viacheslav Karaban (Eds.). Ukraiins’ka perekladoznavcha dumka 1920-kh – pochatku 1930-kh rokiv: Khrestomatiia vybranykh prats z perekladosnavstva do kursu “Istoriia perekladu” [Ukrainian translation studies of the 1920s – early 1930s: A textbook of selected works in translation studies for a course on the “History of Translation”]. (pp. 376-391). Vinnytsia: Nova Knyha, Burghardt, O. (1939). Bolshevytska spadschyna [The Bolsheviks’ heritage]. Vistnyk [The Herald], Vol. 1, Book 2, 94-99. Dollerup, C. (2014). Relay in Translation. Cross-linguistic Interaction: Translation, Contrastive and Cognitive Studies. Liber Amicorum in Honour of Prof. Bistra Alexieva published on the occasion of her eightieth birthday, Diana Yankova, (Ed.). (pp. 21-32). St. Kliminent Ohridski University Press. Retrieved from https://cms13659.hstatic.dk/upload_dir/docs/Publications/232-Relay-in-translation-(1).pdf Dong, Xi (2012). A Probe into Translation Strategies from Relevance Perspective—Direct Translation and Indirect Translation. Canadian Social Science, 8(6), 39-44. Retrieved from http://www.cscanada.org/index.php/css/article/viewFile/j.css.1923669720120806.9252/3281 Dzera, O. (2014). Istoriia ukraiinskykh perekladiv Sviatoho Pysma [History of Ukrainian translations of the Holy Scripture]. Inozemna Filologiia, 127, Part 2, 214-222. Filaret, Patriarch of Kyiv and all Rus-Ukraine et al. (2018). Rozmova Viacheslava Kyrylenka iz Patriarkhom Kyivskym ta vsiiei Rusy-Ukrainy Filaretom. Vira [A Conversation of Viacheslav Kyrylenko with Patriarch of Kyiv and all Rus-Ukraine Filaret. Faith]. In: Try rozmovy pro Ukrainu [Three Conversations about Ukraine], compiled and edited by V. Kyrylenko. Kharkiv: Family Leisure Club, 9-92. Flynn, P. (2013). Author and Translator. In Yves Gambier, Luc van Doorslaer (Eds.), Handbook of Translation Studies, 4, (pp. 12-19). Amsterdam / Philadelphia: John Benjamins Publishing Company. Gutt, E.-A. (1990). A theoretical account of translation – without a translation theory. Retrieved from http://cogprints.org/2597/1/THEORACC.htm Kolomiyets, L. (2015). Ukraiinskyi khudozhniy pereklad ta perekladachi 1920-30-kh rokiv: Materialy do kursu “Istoriia perekladu” [Ukrainian Literary Translation and Translators in the 1920s-30s: “History of translation” course materials]. Vinnytsia: Nova Knyha. Ilarion, Metropolitan (1958). Bibliia – naipershe dzherelo dlia vyvchennia svoiei literaturnoi movy [The Bible is the first source for studying our literary language]. Vira i kultura [Faith and Culture], No. 6 (66), 13–17. Ilarion, Metropolitan. 1962. Bibliia abo Knyhy Sviatoho Pusma Staroho i Novoho Zapovitu. Iz movy davnioievreiskoi i hretskoi na ukrainsku doslivno nanovo perekladena. Commissioned by United Bible Societies. Jinyu L. (2012). Habitus of Translators as Socialized Individuals: Bourdieu’s Account. Theory and Practice in Language Studies, 2(6), 1168-1173. Leighton, L. (1991). Two Worlds, One Art. Literary Translation in Russia and America. DeKalb, Ill.: Northwestern Illinois UP. Lukash, M. (2009). Prohresyvna zakhidnoievropeiska literatura v perekladakh na ukraiinsku movu [Progressive West European Literature in Ukrainian]. Protei. Vol. 2. Edited by O. Kalnychenko. Kharkiv: Vydavnytstvo NUA, 560-605. Maifet, H. (1930). [Review]. Chervonyi Shliakh [Red Path], 2, 252-258. Review of the book: Boccaccio G. Decameron. Tr. by L. Pakharevskyi and P. Maiorskyi; S. Rodzevych and P. Mokhor (Eds.).; introduction by V. Derzhavyn. Kharkiv: DVU, 1929. Part 1. XXXI; Part 2. Reprint in: Kalnychenko, O. and Poliakova, Yu. (2011). In Leonid Chernovatyi and Viacheslav Karaban (Eds). Ukraiins’ka perekladoznavcha dumka 1920-kh – pochatku 1930-kh rokiv: Khrestomatiia vybranykh prats z perekladosnavstva do kursu “Istoriia perekladu” [Ukrainian translation studies of the 1920s – early 1930s: A textbook of selected works in translation studies for a course on the “History of Translation”]. (pp. 344-356). Vinnytsia: Nova Knyha. Munday, J. (2010). Introducing Translation Studies: Theories and applications. 2nd Ed. London & New York: Routledge. Pauly, M. D. (2014). Breaking the Tongue: Language, Education, and Power in Soviet Ukraine. Toronto Buffalo London: University of Toronto Press. Pieta, H. & Rosa, A. A. (2013). Panel 7: Indirect translation: exploratory panel on the state-of-the-art and future research avenues. 7th EST Congress – Germersheim, 29 August – 1 September 2013. Retrieved from http://www.fb06.uni-mainz.de/est/51.php Pliushch, B. (2016). Direct and Indirect Translations of Ukrainian Literary Prose into English, German, Spanish and Russian. PhD thesis. Manuscript copyright. Kyiv: Taras Shevchenko National University of Kyiv. Ringmar, M. (2012). Relay translation. In Yves Gambier, Luc van Doorslaer (Eds.), Handbook of Translation Studies, 4 (pp. 141-144). Amsterdam / Philadelphia: John Benjamins Publishing Company. Simeoni, D. (1998). The pivotal status of the translator’s habitus. Target, 10(1), 1-39. Solodovnikova. M. I. (2017) Vidtvorennia stylistychnykh osoblyvostei romanu Marka Tvena “Pryhody Toma Soiera” v ukrainskykh perekladakh: kvantytatyvnyi aspekt. Perspektyvy rozvytku filolohichnykh nauk: Book of abstracts of III International Scientific Conference (Khmelnytskyi, 24-25 March). Kherson: Helvetyka Publishing House. (99-103). Sommer, D., Ed. (2006). Cultural Agency in the Americas. [Synopsis]. Durham, NC: Duke University Press. Špirk, J. (2014). Censorship, Indirect Translations and Non-translation: The (Fateful) Adventures of Czech Literature in 20th-century Portugal. Newcastle upon Tyne: Cambridge Scholars Publishing. Venuti, L. (2001). Strategies of Translation. In Routledge Encyclopedia of Translation Studies, (pp. 240-244). M. Baker (ed.). London & New York: Routledge.

This paper attempts to interpret and evaluate Ukrainian translations of Józef Łobodowski’s poetry. Already in the 1930s, he was known to the Ukrainian reader primarily as a translator of Ukrainian poetry. His original work was also particularly appreciated by the Ukrainian émigré, mainly due to its pro-Ukrainian character. One of the precursors of the translations of Łobodowski’s poetry in the Ukraine was Sviatoslav Hordynsky. In the early 1950s, he translated, inter alia, the following works: Praise of Ukraine, Horse of Ataman Łobody and October Elegy. Hordyński was also a critic of Łobodowski’s works. His critical studies: Łobodowski’s poetry and its Ukrainian motifs and Józef Łobodowski and his poetry were published in Ukrainian periodicals. These essays discuss problems concerning Polish and Ukrainian poetry from the perspective of a contemporary observer, expert, and critic of Łobodowski’s work.

The paper presents a modified three-level model of possible relations between different cultures proposed by W. Welsh. There have been outlined multicultural, intercultural and transcultural aspects of such relations. The model is exemplified by the translations of Bohdan Kravtsiv. Life circumstances forced Kravtsiv to leave Ukraine and spend his life abroad. He had to work on his translations in different countries and cultures. Just like other cultures influenced his way of thinking, life experience and poetic creativity, due to his political, social, poetic, and translation activities, he himself influenced the cultures he was immersed in and where he was involved in the creative activity. Remoteness from Ukraine did not make the poet and translator break off his relations with his home country. In the Diaspora he did his best to help Ukrainians, replenish the poetic translations of the Ukrainian literature, retain memories of the repressed poets, enrich Ukrainian cultural heritage (transcultural aspect). The language personality of Bohdan Kravtsiv as a translator is considered in terms of his translations of Rainer Maria Rilke's poetry. The structure of the language personality of the translator encompasses verbal, cognitive and pragmatic-motivational levels. The paper focuses on the analysis of Kravtsiv’s translations of Rilke's poems into Ukrainian. It has revealed Kravtsiv’s brilliant mastery of the poetic word. The translations of Rilke's poems performed by Kravtsiv testify to the translator's efforts to remain faithful to the form and content of the original. In spite of the different morphological and phonetic structures of German and Ukrainian, he succeeded in most cases. The translator’s individual style is marked by concise and euphonious translations, multiple new coinages and in-depth knowledge of the original works.

Abstract The present research analyses Hungarian and English target-language translations of contemporary Finnish poems. The translation solutions of culturally-bound lexical elements are compared in both Finnish-Hungarian and Finnish-English translation directions. The analysis is carried out using a text corpus comprising Hungarian and English translations of Finnish poems published after 1950. The text corpus consists of 160 Finnish source poems and their 160 Hungarian and 160 English target-language translations. The objective of the research is to reveal the cultural aspects of the translation of poetry and to answer the question as to what types of translation solutions literary translators use when translating culturally-bound lexical elements in Finnish poems into Hungarian and English. Results show that English-language translators of contemporary Finnish poems more frequently use translation solutions which are less creative and do not stray far from the original source language text. Hungarian translators, on the other hand, are more courageous in deviating from the source text and adapting their translations to the target language. This can be explained by reference to the two translation contexts or as a result of genre-specific reasons.

The present study aimed to provide a contrastive analysis of two English translations of the famous Arabic poem known in English as “Let days do what they will” by Mohammad ibn Idris al-Shafi’i. The two English translations were produced by two different translation scholars in the language pair Arabic and English. The analysis focused on how the translators dealt with the most important features of poetry when translating the Arabic poem into English. Such features included form, meaning, sound and imagery. The findings revealed some similarities and differences in both translations with reference to the above-mentioned features. It is recommended that more research be conducted on either Arabic-English translation of poetry or English-Arabic translation of poetry as this kind of research seems to be relatively scarce.

This study aims to find out the extent of the acceptability of the poetry translation in the novel. One research question is formulated: To what extent is the poetry translations in The Trials of Apollo: The Hidden Oracle acceptable based on Larsons criteria of an acceptable translation. Qualitative research by using the text analysis was conducted. The data of this research were taken from both the English and Indonesian version of The Trials of Apollo: The Hidden Oracle novel. In order to answer the research question, the researchers compared the translation between the English and Indonesian poetry using the theory of acceptability by Larson. The results show that there are 36 poetry translations which are categorized as acceptable and three poetry translation which are unacceptable. The 36 poetry translations incorporate at least two out of the three poetry translations acceptability criteria, while the three poetry only fulfil one poetry translation acceptability criterion.DOI: 10.24071/ijhs.2019.030107

Abstract Taking English translations of Anna Akhmatova’s poems as a case study, this article investigates whether the lyric present (a specific use of simple present forms in poetry) is the preferred present tense in poetic translations from Russian into English. Akhmatova’s verbal craft is remarkably relevant for the issue at hand because of her extensive exploration of temporal levels. The article examines what stylistic effects stem from a translator’s choice between the lyric present and the present progressive. In order to provide a more general view of English translations, the study includes data concerning the frequency of progressives contained in two different English editions of Akhmatova’s poetry. These data are presented in the comparative perspective, together with data collected from English and American poetry and from English renditions of several Russian poets.

The paper examines the representation of Burns’s poetical oeuvre in Ukrainian translations by Mykola Lukash (1919–1988) and Vasyl Mysyk (1907–1983), who established the Ukrainian canon of Robert Burns. Their translations are included in school textbooks, radio broadcasts and set to music. These translations confirmed a paradox of co-existence of two equally successful, but quite different interpretations of Burns made through the prism of translators’ ideology, personality, poetic motivations and other constraints. Mysyk’s ambition was to show real Burns in all the variety of his works. He adopted a strategy of a literary studies scholar who paid scrupulous attention to textual detail, be it biographical, historical or figurative. All his translator’s decisions were subdued to his wish for utmost proximity to the original text. In a similar vein, the selection of texts for translation was guided by his desire to introduce Burns’s works into Ukrainian literary context in their integrity and variety, rather than by his personal taste. For Lukash, on the contrary, Burns was not related to a comprehensive translation project. He was one of his favorite poets, and these were Burns’s songs that appealed to Lukash most. Conceptually as well as stylistically Lukash’s translations of Burns are folklore-oriented and folklore inspired. In this way, the translator successfully reproduced the dominant features of Burns’s poetics by emphasizing its folk spirit. On the other hand, Ukrainian folklore poetics employed in Lukash’s translations proved to be a convenient tool to manipulate the text governed by translator’s ideology. Through the prism of folklore style Lukash managed to convey implied political messages to fuel resistance and defiance, which suggests a form of translator’s activism.

The article deals with the problem of preserving the rhyme traditional for Russian poetry in translations into English. A brief analysis of Russian and foreign linguists’ works on the theory and practice of poetic translation shows that rhyme in English poetry does not play such a significant role as it does in Russian poetry. Opinions of English-speaking readers coincide with the opinion of translators. However, adequate versions of Russian poems in English with preservation of rhymes of original verses are the preferred type of poetic translation. The article deals with the problem of preserving the rhyme, characteristic of Russian poetry, in translations into English. The purpose of this scientific research is to conduct a brief analysis of the works of Russian and foreign linguists on the theory and practice of poetic translation to reveal the role and significance of the category of rhyme in English and Russian poetry. The author pays special attention to the opinion of translators of Russian poetry into English and English-speaking readers of translated Russian lyrics in the context of preserving rhyme or deviation from it. As a result of the conducted research, the author comes to the conclusion that rhyme does not play such a significant role for foreign linguists and translators as it does for their Russian-speaking counterparts. A more attractive form of poetry for them is vers libre. Consequently, the issues of rhyme reproduction for English translators are not of paramount importance. The main emphasis is on the meaning of the translated text, not its form. Opinions of English-speaking readers coincide with the opinion of translators. In addition, the article presents summary information of the conducted comparative linguistic analysis of 275 poems by B. Okudzhava and their originals. The analysis shows that in percentage terms the number of rhymed translations from the total number of translated texts is about 40%. However, the overwhelming number of English translations of poems Okudzhava - about 60% - belongs to unrhymed translations. Nevertheless, the author of the article emphasizes the need to preserve rhyme in translations as an integral part of the Russian classical verse and believes that adequate versions of Russian poems in English with preservation of original rhyme are the preferred type of poetic translation.

Abstract There have been numerous classical Chinese poems translated into English since the 18th century, and many of them enjoy more than one version. This article discusses some prominent aspects of English translation of classical Chinese poetry, such as choice of words, syntax, metre and form, and allusion, based on comparative analysis of different versions. In the language of classical Chinese poetry, the prevailing monosyllabic word often tends to be polysemous and the grammatical function of a word more flexible. There are also many grammatical ellipses in its syntax. How does a translator choose the right word and decipher the sentence? In addition, classical Chinese poetry enjoys strict verse forms and rhyme schemes, and has a tradition to employ literary allusions. How can an English version achieve an equivalent effect? To solve such problems, translators in different times and places have made various experiments. But the swing of the pendulum seems not to go beyond the two extremes, rigidly imitating the original form or freely rewriting in another language. Under proper modulation, both methods may score some points. Résumé Il y a eu de nombreux poèmes classiques en langue chinoise traduits vers la langue anglaise depuis le 18ème siècle, et plusieurs d'entre eux ont plus d'une version. Cet article discute de certains aspects particuliers de la traduction anglaise de la poésie classique chinoise tels que le choix des mots, la syntaxe, la versification et la forme ainsi que les allusions, basées sur l'analyse comparative des différentes versions. Dans le langage de la poésie classique chinoise, le mot monosyllabique qui prévaut tend à avoir plusieurs significations et la fonction grammaticale du mot à être plus souple. Il existe aussi beaucoup d'ellipses grammaticales dans sa syntaxe. Comment un traducteur choisit-il le mot exact et décompose-t-il la phrase? En outre. la poésie classique chinoise nous offre une structure en vers et un agencement de rimes très strictes et possède une tradition de l'emploi d'allusions littéraires. Comment une version anglaise peut-elle atteindre un effet équivalent? Pour résoudre ce type de problèmes, les traducteurs à différentes époques et lieux ont effectué des expériences différentes. Mais le pendule ne balance pas en dehors des deux extrêmes, l'imitation rigide de la forme originale ou sa réécriture libre dans une autre langue. Selon la modulation appropriée, chacune des deux méthodes pourrait présenter certains avantages.

Chinese poetry translation is currently dominated by the rhymed translations of poetry represented by Xu Yuanchong and the unrhymed translations of poetry represented by Weng Xianliang. Both of these poetry translation methods have provided us with valuable practical experience. However, volumes 1 to 3 of Xi Jinping: The Governance of China, as authoritative interpretations of Chinese wisdom, Chinese plans, and Chinese theories, contain a large number of ancient Chinese poems. However, in the English version of the three volumes, the English translations of the relevant verses do not copy the existing translations, of famous translators, but instead, use the paraphrasing method to render these verses. By collecting representative verses on different topics and comparing the similarities and differences between translators’ translations of the same poems in the three volumes, the author summarizes the different paths of poetry translation, explores the feasibility and merits of the paraphrasing method as the main path of translating poetry in political texts, and provides a practical basis for promoting the paraphrasing method of poetry translation.

The paper deals with the problem of intermedial connections in literature and focuses on literary translation. The main point is the interaction of verbal and sound images in a poetic work. The researcher analyzes the manifestation of musicality in Ukrainian translations of P. Verlaine’s poem “Il pleure dans mon cœur…” The translations by M. Dry-Khmara (“In the heart both tears and pain…”), B. Ten (“My heart is crying…”), M. Orest (“Crying in my soul…”), M. Rylskyi (“So quietly the heart cries…”), M. Lukash (“Crying is bursting out of heart…”), H. Kochur (“The heart is full of tears…”), M. Tereshchenko (“Singing without words”), I. Svitlychnyi (“The heart is whimpering and crying…”), and A. Sodomora (“There are tears in the soul, tears…”). The embodiment of musicality in the translations of P. Verlaine’s poem has been considered in two aspects. These are the comparison of the phonetic organization of the original work and translations, and comparison of melodics and melody of the original and translations. The results of the study show that intermediate phenomena in the literary work can be translated. Such phonic means as alliteration, assonance, equiphony, sound anaphora, sound circle, used by Ukrainian translators, make it possible to adequately render the sound abundance of P. Verlaine’s poetry. The phonic instrumentation in Ukrainian translations of “Il pleure dans mon cœur…” conveys the melody of Verlaine’s poem and creates sound images that help to reveal the general meaning of the work. The melodics of P. Verlaine’s poetry is reproduced in Ukrainian translations through rhythmic and intonational features while the melody of the original is based on the immanent sound properties of the text. In Ukrainian translations, it is embodied in peculiar melodic images, which, preserving the sound and mood of the original, testify to the original rethinking of the poetic motives performed by translators.

Józef Łobodowski’s pre-war translations were published in the weekly “Wołyń” which he was the editor of in the years 1937–1938, and in “Biuletyn Polsko-Ukraiński”. Among them, the translations of poems by Yuriy Kosach, Natalya Lyvitska-Kholodna, Oleh Olzhych and Yevhen Malanyuk can be found. Łobodowski had personal contacts with was Malanyuk as he was his long-time acquaintance. They both published their works in “Biuletyn Polsko-Ukraiński” and in “Kultura” based in Paris. Łobodowski translated in total over 20 works of the Ukrainian poet, the majority of which were published in “Kultura” after the war, together with a number of literary critical articles, such as Scylle i Charybdy poezji ukraińskiej (The Scyllas And Charybdas of the Ukrainian Poetry), Poezja Jewhena Małaniuka (Yevhen Malanyuk’s Poetry), Ostatnia wiosna (The Last Spring), or a memoir note Po śmierci Małaniuka (After Malanyuk’s Death). In the 1930s, Łobodowski became interested in the poetry from the collection Земля й залізо (Earth and Iron). In the interwar period, three translations were published: An Inscription on a Book of Poems (Напис на книзі віршів), 13 November 1920 (13 листопада 1920 р.) and fragments of the Epiphanies (Прозріння) cycle. In his translations, the author for Lublin was guided mainly by the principle of the hierarchy of values and equivalence. His works include Malanyuk’s poems close to his own poetry. Moreover, in his translation work he tended to avoid texts speaking against Poles and dividing the two nations. Łobodowski is characterised by his interpretational talents and the ability to preserve the main meanings of the original versions. In spite of the fact that his translations are characterised by dynamic equivalence, they are not spontaneous, they do not stem from emotions, but they have a solid theoretical foundation and are based on his excellent knowledge of the Ukrainian poet’s works.

Evaluating translations of poetry will always be difficult. The paper focuses on the problems posed by French surrealist poetry, where the reader was held to be as important as the writer in creating interpretations, and argues that evaluations involving these poems inevitably require reader-response data. The paper explores empirically, in the context of André Breton’s “L’Union libre”, whether a modification of Think-Aloud procedure, called Note-Down, applied both to the original text and to three English translations, can contribute useful information to a traditional close reading approach. The results suggest that comparative Note-Down protocols permit simple cost-benefit analyses and allow one to track phenomena, like the persistence of an effect through the text, which might be hard to obtain by other methods.

Du Fu's influence in Chinese classical poetry is very far-reaching, and he is honored as the "Sage of Poetry" by later generations, and his poems are also known as the "History of Poetry". As a typical representative of traditional Chinese culture, Du fu's poems are loved by the public, and different translations have made the world better understand the culture of ancient Chinese poems. Based on the hermeneutic motion of George Steiner, this paper selects two English translations of Du Fu's poems by Mr. Xu Yuanchong, a domestic translator, and Mr. Watson, a foreign sinologist as the objects. Through the comparative study of the two translations, this paper explores how the four hermeneutic steps of “trust”, “aggression”, “incorporation” and “compensation” in Steiner’s hermeneutic motion are represented in their translations. It provides a new perspective for the study of Du Fu’s poetry translation into English and promotes the dissemination of ancient Chinese poems.

The article addresses matters related to the peculiarities of Hungarian-Ukrainian poetic translation. It was noted that the quality, complexity and overall mastery of literary translation largely depend on the translator’s artistic personality, i.e., their knowledge, skills, and creativity. In our opinion, Yurii Shkrobynets was the one to perform the highest quality poetry translations in the field of poetic Hungarian-Ukrainian translation. During half a century of translation experience, he performed translations from Old Ukrainian, Czech, Slovak, German, Hungarian, Ossetian and Komi languages into Ukrainian, as well as from Ukrainian into Hungarian. The most significant portion of his translation heritage consists of translations of belletristic from Hungarian into Ukrainian, particularly these are 24 separate editions of both prose and poetic texts, and numerous poems, printed in periodic magazines and collections. Ukrainian translations of poetry by Yurii Shkrobynets are distinguished by linguistic richness and stylistic mastery, which can be seen in the way how all the structural features of the original work were preserved. The article’s topicality is determined by the insufficient research of both the theoretical issues of Hungarian-Ukrainian poetic translation, which require more thorough coverage within the framework of the partial theories of translation (in particular, it is of high importance to identify and describe different types of equivalents at the lexical, grammatical, and stylistic levels), and the translation principles and the translation concept by Yurii Shkrobynets. This [research] will contribute to the development of knowledge, skills and abilities that are necessary for a today’s Hungarian-Ukrainian translator. The purpose of the article is to trace and analyze the theoretical and practical aspects of poetic Hungarian-Ukrainian translation based on the literary translations by Yurii Shkrobynets. In order to achieve this purpose, the following objectives were set: 1) to outline the principal cultural and worldview patterns of Yurii Shkrobynets’ artistic personality; 2) to trace the distinguishing linguistic and stylistic differences between the Hungarian and Ukrainian languages and the difficulties they cause in terms of literary translation; 3) to identify and analyze the translation principles of Yurii Shkrobynets in order to highlight his individual style of poetic translation; 4) to find and examine the lexical-grammatical transformations used by Yurii Shkrobynets within the literary translation framework, using Janos Arany’s poem Toldi″ in his translation as an example. In addition to general scientific methods of analysis, the following methods of analysis are used: synthesis and generalization of the material, the cultural-historical method, the method of comparative analysis of original and translated texts, and linguo-poetic analysis. It was proved that, despite the significant differences between the Hungarian and Ukrainian languages, it is possible to make such a professional literary translation can indeed reproduce the original work’s system of images and associations in full. Neither significant language differences nor national versification systems and related rhyming features become an obstacle, if the translator is well knowledgeable of them. The article investigates that the creative personality of Yurii Shkrobynets was formed under the influence of both Ukrainian and Hungarian cultures, the synthesis of which constitutes a part of the translator’s worldview. The profound understanding of cultural peculiarities and literary traditions that form both Ukrainian and Hungarian belletristic, as well as a perfect command of two languages contributed to the development and skills sharpening of Yurii’s talent for translation. It was proved that the translator had his own aesthetic preferences, and therefore, he introduced works into the Ukrainian cultural polysystem that primarily resonated with his own worldview and cultural values. The translation concept of Yurii Shkrobynets was formulated by himself in his article “My duelling with Toldi”, which became a resume of the following main ideas of his translation activity: 1) to translate exclusively from the original; 2) to keep faith in the original in such a way that the translated text affects a reader in the same way as the original; 3) as close as possible to deliver both content and formal components of the work in such a way that the adherence to the form does not cause damage to the contents; 4) to select the appropriate means of the Ukrainian language for the linguistic and stylistic features of the original text. A comparative analysis of the Hungarian poem “Toldi” by J. Aran and the translation performed by Yurii Shkrobynets, which is considered one of his best achievements, showed the translator’s strict adherence to his own translation concept. Despite the fact that the Hungarian language is not related to the Ukrainian language and there are significant lexical and grammatical differences, Yurii Shkrobynets managed to produce such professional translations of Hungarian poetry into Ukrainian that they were barely recognized as translations. The translator selects such kinds of expressions, phrases and lexicons which fully reflect and depict the cultural concepts of the Ukrainian language. However, it does not damage the original because the translator saves the key elements of the Hungarian linguistic culture. Yurii Shkrobynets, in his translation, uses a dialectal vocabulary of the Ukrainian language, tropes (namely, epithets, comparisons, metaphors), and phraseological units, which are primarily attributed to Ukrainian folklore. By means of lexical transformations, he transfers the meaning of the original text in such a way that the translation does not lose its essence, as far as the situation described by the original author and the translator is identical and is different only by means of its expression. We believe that the translation transformations applied by Yurii Shkrobynets, like full and partial replacement of word forms, complete reconstruction, rearrangement, omission, concretization, generalization, and transcoding of proper names and titles are well founded and caused primarily by the syntactic features of Hungarian and Ukrainian languages, as well as significant grammatical differences in general. Additionally, the translator could not manage to reproduce the poetic imagery of the original work and preserve its rhyming features without the usage of complex both lexical and grammatical transformations. Furthermore, the translator’s own poetic talent is worthy of being noted as it is expressed in neologisms and creative artistic translation of the individual original author’s features of the source text. Yurii Shkrobynets skillfully reproduces the features of the Hungarian versification and successfully matches with the equivalents to phraseological units and non-equivalent vocabulary. Altogether, these principles lead to the formation of a high-quality and adequate literary translation.

The aim of the work is the analysis of translations of Herbert’s poems into English by Miłosz with a focus on preserving the so-called roughness of his style. This term encompasses non-obvious and awkward structures, which, according to Miłosz, were one of the most important elements of Herbert’s style and, therefore, needed to be present in the English versions. The text contains a comparative analysis of two poems by Herbert: “Elegy of Fortinbras” and “Apollo and Marsyas,” with their translations into English. The translations were compared with the originals, taking into account their general form, the vocabulary, and the syntax. The analysis of vocabulary and syntax showed that to maintain the style of the original, the translator changed places where literary roughness was present. The translations into English were also more conventional and rooted more in European culture (while Polish contexts were moved to the background). One can thus conclude that the idea of spreading Polish literature across other cultures was more important for Miłosz than the translation of literary roughness.

The article presents the history of Ukrainian translations of ancient Greek literature and describes the translation work of Ukrainian classical philologists, poets and prose writers. The reception of literary works of antiquity is represented by texts of different styles, poetic schools and Ukrainian language of different periods, which demonstrate the glorious tradition of domestic translation studies. It is noted that Ukrainian translations have a long history (from the first translation in 1788 and the first textbook in 1809); they were published in separate periodicals, collections, almanacs, as well as complete books and in textbooks and anthologies. Ukrainian translations of literature in the ancient Greek language of the аrchaic, сlassical and Hellenistic periods are analyzed. Translations of poetry (epic, elegy, iambic, monodic and choral lyrics, tragedy, comedy, folk lyrics, mimiyamb, epilium, bucolic, idyll, epigram) and prose (fable, historiography, philosophy, rhetoric, fiction, ancient novel, New Testament and Septuagint, early Christian patristic) are described. Significant in the history of translations are the achievements of the brilliant connoisseur of antiquity I. Franko. The high level of linguistic and stylistic assimilation of ancient Greek prose and poetic texts is demonstrated by the creative style of such outstanding translators as Borys Ten, V.Svidzinsky, M. Bilyk, G. Kochur, A. Smotrych, V. Derzhavуn, V. Samonenko, P. Striltsiv, A. Tsisyk, Y.Mushak, A. Biletsky, V. Maslyuk, J. Kobiv, Y. Tsymbalyuk, L. Pavlenko.The glorious traditions are continued by well-known antiquaries, writers and poets, among whom A. Sodomora has a prominent place. At the level of world biblical studies there are four translations of the Holy Scripture in Ukrainian (P. Kulish, I. Pulyuy, I. Nechuy-Levytsky, I. Ogienko, I. Khomenko, R. Turkonyuk). Іt is summarized that despite numerous Ukrainian translations of various genres of ancient Greek literature there is a need to create a corpus of translations of ancient Greek historiography, rhetoric, philosophy, natural science texts, Greek patristic.

This essay explores the loop of translations and re-translations of ‘Eastern poetry’ from Asia into Europe and back into (South) Asia at the hands of ‘Oriental translators’, translators of poetry who typically used existing translations as their original texts for their ambitious and voluminous enterprises. If ‘Eastern’ stood in all cases for a kind of exotic (in the etymological sense of ‘from the outside’) poetic exploration, for Adolphe Thalasso in French and E. Powys Mathers in English, Eastern love poetry could shade into prurient ethno-eroticism. For the Urdu poet and translator Miraji, instead, what counted in Eastern poetry was oral, rhythmic and visual richness – song.