Literatura científica selecionada sobre o tema "English drama – translations from russian"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Consulte a lista de atuais artigos, livros, teses, anais de congressos e outras fontes científicas relevantes para o tema "English drama – translations from russian".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Artigos de revistas sobre o assunto "English drama – translations from russian"
1
Pasenchuk, N. "Social and Cultural Context of the Dramatic Text: Problems of Reproduction (based on the Ukrainian and Russian translations of Williams Tennesse’s play «The Glass Menagerie»)". Studia Linguistica, n.º 12 (2018): 85–97. http://dx.doi.org/10.17721/studling2018.12.85-97.
Texto completo da fonteResumo:
The article is devoted to the problem of translation of the drama. The article focuses on revealing peculiar linguistic and stylistic features of the drama. The research has been done on the case study of Russian and Ukrainian translation variants of the drama text by T.Williams «The Glass Menagerie». Basic methods of translation are investigated in the article. On the basis of comparative analysis the author investigates the problem of lexico-semantic transformations in translation of the drama. There has been proved that lexico-semantic transformations play an important role in the process of translation, providing the text with dynamics, enhancing expressivity, serving to enhance the image-expressive functions of a language. The units of different language levels, which help to verbalize cultural information of the source text, words with national and cultural semantic component have been considered. It was outlined that structural and functional peculiarities of each target language in regard to source English language and personality of translator have an impact on the reflection of the national and cultural colour of the source text. The task of the translator is to provide the reader with necessary explanations, since the transfer of the cultural and social specifics of the dramatic text requires a special approach from the translator in achieving the pragmatic adequacy of the translation. It is determined that the literal translation does not correspond to the adequacy of reproduction of the source text. The nationally marked means contribute to the emotional and expressive colour of the source text and emphasize the national colour. The adequate reproduction of stylistic means leads to the preservation of the original intention of the author. The dramatic text is a peculiar model of the socio-historical context of society. The main task of the translator is the reproduction of the national components of the model of another culture and preservation of national-historical context of the source text.
2
Silver, Cassandra. "Making the Bedouins: Code-Switching as Model for the Translation of Multilingual Drama". Theatre Research in Canada 38, n.º 2 (novembro de 2017): 201–18. http://dx.doi.org/10.3138/tric.38.2.201.
Texto completo da fonteResumo:
The translation of theatre from one linguistic and cultural context to another can be uniquely challenging; these challenges are multiplied when the source text is itself multilingual. René-Daniel Dubois’s Ne blâmez jamais les Bédouins, translated into English under the name Don’t Blame the Bedouins by Martin Kevan, unfolds in English, French, Italian, German, Russian, and Mandarin. The original “French” text presents as postdramatic, deconstructing language and identity in a sometimes frenetic pastiche. Kevan’s “Anglophone” text, however, resists the postdramatic deconstruction in the original, instead bulking up Dubois’ macaronic and archetype-heavy collage with some attempts at psychological depth. Because of its polyglossic complexity and because it has been translated, published, and produced in both English and French, it proves an excellent case study that allows for an in-depth analysis of how multilingual theatrical translation can be carried out. I propose that Kevan’s translation of Dubois’ play exhibits not only textual and performative translation, but that he also translates the linguistically-coded aesthetic conventions that distinguish Quebecois and English Canadian drama and their respective audiences. Kevan shows sensitivity to the gap between the politics of language in French and English Canada as well as to the gap between theatrical codes in both linguistic communities by amplifying the psychological realism and consequently tempering the language politics in his “English” version of Dubois’s work. The choices that Kevan made in his translation are here elucidated by borrowing linguistic theories of conversational code-switching to analyze both versions of the play.
3
Lappo-Danilevskii, Konstantin Yu. "N. M. Karamzin’s Literary Transfer". Slovene 10, n.º 2 (2021): 353–66. http://dx.doi.org/10.31168/2305-6754.2021.10.2.15.
Texto completo da fonteResumo:
[Rev. of: Kafanova O. B., Perevody N. M. Karamzina kak kul’turnyi universum. St. Petersburg: Aleteiia, 2020. 356 p. (in Russian)] O. B. Kafanova’s monograph «N. M. Karamzin’s translations as a cultural universe» (2020) is the result of many years of comparative studies. Numerous articles on the topic preceded this book, which covers the period from 1783 to 1800. In the beginning Karamzin had good knowledge of French and German only so that he used numerous intermediaries in these languages to acquaint the Russian audience with world literature (ancient and eastern poetry, dramas of Shakespeare, Ossian etc.). Only in the final decade of the eighteenth century did Karamzin begin to draw on texts in English and Italian for these purposes. Among other things, the review establishes some previously unknown sources of Karamzin’s translations. V. I. Simankov’s supplemental list pursues the same objective.
4
КАРСАНОВА, Е. В. "INTERTEXTUAL FORMS IN A VERBAL FILM DISCOURSE AND THEIR TRANSLATION (BASED ON THE BRITISCH HISTORICAL DRAMA TELEVISION SERIES “DOWNTON ABBEY” AND ITS TRANSLATION INTO RUSSIAN)…". Kavkaz-forum, n.º 17(24) (14 de março de 2024): 5–25. http://dx.doi.org/10.46698/vnc.2024.24.17.010.
Texto completo da fonteResumo:
В статье рассматриваются интертекстуальные формы (прецедентные феномены, аллюзии и реминисценции) в англоязычном вербальном кинодискурсе и их перевод на русский язык. Материалом для исследования послужил британский историко-драматический телесериал «Аббатство Даунтон» (52 серии) и его русский дубляж, выполненный на студии CВ–Дубль. В общей сложности проанализировано 57 интертекстуальных форм (ИФ) из диалогов и полилогов телесериала. Классификация ИФ по источнику происхождения выявила отсылки к следующим тематическим областям: история (события / факты / личности) – 22, литература (персонажи / произведения / авторы / факты) – 15, религия (Библия) – 7, мифология (персонажи / артефакты / ситуации) – 6, фольклор – 2, искусство – 2, наука (открытия / ученые) – 2, география – 1. Количественное доминирование ИФ, относящихся к истории, не случайно, учитывая жанр телесериала. Анализ перевода интертекстуальных форм на русский язык предполагает рассмотрение лексических и грамматических переводческих трансформаций. В ходе исследования выявлено, что в большинстве случаев переводчики обращались одновременно и к лексическим, и к грамматическим трансформациям; из лексических переводческих трансформаций превалируют модуляция и генерализация (обобщение), из грамматических – грамматические замены. При этом нередки случаи, когда при переводе ИФ на русский язык использовалась только грамматическая трансформация – дословный перевод с практически полным сохранением морфологической структуры оригинала. Корректный перевод интертекстуальных форм в вербальном кинодискурсе имеет большое значение, поскольку прецедентные феномены, аллюзии и реминисценции являются своеобразными трансляторами культурной, исторической и литературной информации; следовательно, их роль в кинематографическом произведении нельзя недооценивать, и важно адекватно раскрывать замысел создателей кинокартины на языке перевода. The article deals with intertextual forms (precedent phenomena, allusions and reminiscences) in English verbal film discourse and their translation into Russian. The British historical drama television series “Downton Abbey” (52 episodes) and its Russian dubbing, performed at the CV-Double studio, served as the material for the study. Overall, 57 intertextual forms (IF) from dialogues and polylogues of the television series have been analyzed. An origin-based classification of the IF has revealed links to the following thematic areas: history (events / facts / figures) – 22, literature (characters / works / authors / facts) – 15, religion (Bible) – 7, mythology (characters / artifacts / situations) – 6, folklore – 2, art – 2, science (discoveries / scientists) – 2, and geography – 1. Given the genre of the television series, the numerical prevalence of history-related intertextual forms is not accidental. The translation analysis of the intertextual forms into Russian implies considering lexical and grammatical translation transformations. The study has shown that in most cases the translators applied both lexical and grammatical translation transformations, modulation and generalization being the most frequently used as lexical transformations, while grammatical substitutions stand out from grammatical transformations. Meanwhile, it is not uncommon when only a grammatical transformation has been applied, namely, a word-for-word translation, retaining the original morphological structure almost completely. A correct translation of intertextual forms in a verbal film discourse is of much significance, since precedent phenomena, allusions and reminiscences are sort of transmitters of cultural, historical and literary information; therefore, their role in a cinematic work cannot be underestimated. Hence, it is important to adequately reveal the filmmakers’ intention in the target language.
5
Ploom, Ülar. "Some Aspects of Subversive Rhetoric in Juhan Viiding’s Poetry". Interlitteraria 16, n.º 1 (31 de dezembro de 2011): 137–59. http://dx.doi.org/10.12697/il.2011.16.1.9.
Texto completo da fonteResumo:
The aim of the present article is to study some aspects of subversive rhetoric in the poetry of Juhan Viiding (1948–1995), one of Estonia’s most admired and cherished poets and actors whose “Complete Poetry” (edited by Hasso Krull) includes texts written between 1968 and 1994, published either in collections (until 1978, under the pseudonym of Jüri Üdi, which translates as George Marrow in English) or separately in newspapers and magazines. It is important to mention that Juhan Viiding often read and sang his texts (accompanied on the piano by Tõnis Rätsep, a friend and colleague from the Estonian Drama Theatre), quite a few of which are recorded on cassette and CD. Üdi/Viiding was and continues to be widely read, quoted, imitated and discussed by his Estonian readers, fellow poets, intellectuals and critics. However, despite the fact that Viiding’s poetry has been translated into sixteen languages, according to Aare Pilv’s “Juhan Viidingu ja Jüri Üdi bibliograafia” (Pilv 2010: 170–175), Viiding has not achieved the sort of fame abroad which he enjoys in Estonia. Indeed, the volume of articles and essays written in Estonian on Viiding’s poetry is not equalled by writing in other languages. Reviews written in English and Russian are mostly by Estonian critics or Russian critics from Estonia (ib. 196–208). Of course, poetry in general does not submit easily to being translated, but in Üdi/Viiding’s case we are dealing with a kind of poetic which makes the process even more complicated, perhaps also partly unachievable. This seems to be the most probable explanation for the asymmetry of Üdi/Viiding’s poetic reputation. So, apart from the peculiar charm of his poetry, with its highly intricate poly-semantic spectrum which calls out for discussion of the organising principles of his texts, I am writing this article in the hope that more foreign critics will take an interest in this exceptional poet and more poets who write in other languages will rise to the challenge of translating his texts or providing their own original pieces of creative writing in Üdi/Viiding’s wake.
6
Vaseneva, Nadezhda Vladimirovna. "Reception of the B. Shaw’s play "Pygmalion" in Russian literature". SHS Web of Conferences 101 (2021): 01004. http://dx.doi.org/10.1051/shsconf/202110101004.
Texto completo da fonteResumo:
The article is devoted to the analysis of reception of B. Shaw's play «Pygmalion» in Russian literature. The article emphasizes that Russian literature had a huge impact on the formation and development of B. Shaw's aesthetic system and drama, as a result of which B. Shaw's drama acquired an epic character. The standard of «epic drama» is B. Shaw's play «Pygmalion». The extreme popularity, relevance and significance of B. Shaw's comedy «Pygmalion» for Russian literature are noted. The article examines translations of B. Shaw's play «Pygmalion» and individual-author's interpretations of Russian directors of English comedy as a form of reception of B. Shaw's play in Russian literature. It is said that the plot and images of B. Shaw's play «Pygmalion» received a new life in Russian literature. The author analyzes allusions and reminiscences with B. Shaw's comedy «Pygmalion» in Soviet prose and drama of the 20th – early 21st centuries. It is proved that B. Shaw's play «Pygmalion» is characterized by a rich reception in Russian literature.
7
Zheng, Sisi, e Adam Cziboly. "What can the translation of key terms reveal about understandings of drama education in China?" Applied Theatre Research 10, n.º 2 (1 de dezembro de 2022): 119–40. http://dx.doi.org/10.1386/atr_00066_1.
Texto completo da fonteResumo:
Based on the authors’ previous academic exchange and observations, translation of terms related to drama and theatre from English to Chinese and vice versa is likely to cause misunderstandings. This research investigated what the translation of key terms may reveal about the understandings of drama education in China. Through a desk research, we collected key terms primarily related to drama and theatre from 26 seminal English and Norwegian books in the field of drama education and their Chinese translations, sorting out and comparing the English/Norwegian originals and the Chinese translations of each term. Findings confirmed that the same Chinese expressions had been used for completely different drama-related terms, while applied theatre-related terms may be misleading as the translation may refer to theatre architectures. Elaborating on the understanding of drama and theatre in China and the new drama praxis, the Drama Etudes, this study discusses what the term ‘drama education’ may refer to in the Chinese context. The overall aim of this study is to contribute to an extended understanding of drama education and its relevant praxis in a global context.
8
Nadel, Ira. "Notes from Underground: In English". Literature of the Americas, n.º 11 (2021): 82–133. http://dx.doi.org/10.22455/2541-7894-2021-11-82-133.
Texto completo da fonteResumo:
This chronological survey of English translations of Notes from Underground covering the years 1913–2014 evaluates the treatment of the text from various, often contradictory, perspectives. Well-known and unknown translators and editors offer sometimes opposing versions of the text aided by various ancillary materials which range from biographical information to a detailed chronology of Dostoevsky’s life plus excerpts from contemporary documents and modern critical evaluations. A number of the translations are designed expressly for students, others for those with limited or no knowledge of Dostoevsky, Russian history or the Russian language. No single introduction or translation emerges as the most insightful or accurate, although those of the last two decades are more idiomatic. Influencing this is often the background of the editor or translator. American editors focus on the context of Dostoevsky’s creation, English or Russian editors concentrate on the core elements that emphasize either the Russian literary tradition or late 19th century Russian politics and its importance for Dostoevsky’s conception of the story. Almost all editors consider the narrative experimentation of the work and the structural differences between Parts I and II. A number of the editors also address the Existential quality of the text, while translators confront the difficulties of capturing Dostoevsky’s sometime idiosyncratic prose.
9
Merino, Raquel. "Drama translation strategies". Babel. Revue internationale de la traduction / International Journal of Translation 46, n.º 4 (31 de dezembro de 2000): 357–65. http://dx.doi.org/10.1075/babel.46.4.05mer.
Texto completo da fonteResumo:
This paper, which deals with drama translations in Spain (English-Spanish) from 1950, presents the results of a four-stage analysis carried out on a large corpus of translated plays. Starting from the assumption that theatre is part of the field of drama (which includes cinema and television, among other spectacles), and taking into account drama’ś inherent specificity (written to be performed), as well as its peculiar structure (dialogue versus prose) this study on translated drama posits, as a starting point, an inherently dramatic unit (réplica) which is instrumental in describing and comparing drama texts, be they translated or not. Starting from an outline of the four-stage process adopted, this paper elaborates fundamentally on extreme cases of translation strategies (addition, deletion and adequacy), found to have been applied in each of the three extreme cases studied, relating them with a previously uncovered twofold characterization (into reading and acting editions) of the translations under scrutiny.
10
Sycheva, Anastasia V. "Peculiarities of Reconstructing Russian Rhyme in English Translations". Polylinguality and Transcultural Practices 17, n.º 1 (15 de dezembro de 2020): 59–64. http://dx.doi.org/10.22363/2618-897x-2020-17-1-59-64.
Texto completo da fonteResumo:
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.
Livros sobre o assunto "English drama – translations from russian"
1
Pavlovich, Chekhov Anton. Uncle Vanya: Scenes from country life. London: Methuen, 1998.
Encontre o texto completo da fonte
2
Pavlovich, Chekhov Anton. Uncle Vanya: Scenes from country life. London: Sovereign, 2012.
Encontre o texto completo da fonte
3
Pavlovich, Chekhov Anton. Uncle Vanya: Scenes from country life in four acts. London: Methuen, 1987.
Encontre o texto completo da fonte
4
Ibsen, Henrik. A doll's house ; The wild duck ; The lady from the sea. London: Dent, 1992.
Encontre o texto completo da fonte
5
Ibsen, Henrik. A doll's house ; The wild duck ; The lady from the sea. London: Dent, 1993.
Encontre o texto completo da fonte
6
Pavlovich, Chekhov Anton. Uncle Vanya: Scenes from country life. London: Samuel French, 2001.
Encontre o texto completo da fonte
7
Pavlovich, Chekhov Anton. Uncle Vanya. Studio City, CA: Players Press, 1996.
Encontre o texto completo da fonte
8
Pavlovich, Chekhov Anton. Uncle Vanya. London: Nick Hern Books, 1992.
Encontre o texto completo da fonte
9
Pavlovich, Chekhov Anton. Uncle Vanya. San Diego, CA: ICON Classics, 2005.
Encontre o texto completo da fonte
10
Pavlovich, Chekhov Anton. Uncle Vanya. Mineola, N.Y: Dover Publications, 1998.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "English drama – translations from russian"
1
Lange, Anne, e Aile Möldre. "Russian Literature in Estonia between 1918 and 1940 with Special Reference to Dostoevsky". In Translating Russian Literature in the Global Context, 45–66. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0340.03.
Texto completo da fonteResumo:
This chapter gives a survey of translations from Russian literature made in Estonia in 1918–40 against the backdrop of the latter nation’s cultural development. Translation is understood as a practice affected by social contingencies and cultural exchanges. As former citizens of Tsarist Russia, the older generation of Estonian intellectuals for who shaped the cultural repertoire of Estonia after independence in 1918 drew on their knowledge of Russian. The initial need for drama translations for amateur theatre groups was paralleled by interest in new developments of Russian fiction (reflecting the influence of Soviet Communism) and in translations of classic Russian authors, now part of the global literary canon. To support our argument that cultural exchange is relatively autonomous from political factors, we analyse how Dostoevsky influenced Anton Hansen Tammsaare (1878-1940), a major Estonian prose author and a translator of Dostoevsky. Tammsaare openly acknowledged Dostoevsky’s influence on the poetics of his prose. Through transculturation, the polyphonic composition of Dostoevsky’s novels resonates with aspects of Tammsaare’s pentalogy Truth and Justice. The latter’s translation of Crime and Punishment is the only Estonian version of this novel; it has been reissued repeatedly and never retranslated. The freedom of the world republic of letters, which ignore political and linguistic boundaries of nations, is manifest in Tammsaare’s decision to translate Crime and Punishment and the fact that his century-old version is still current in Estonia.
2
Hang, Yu. "The Reception of Dostoevsky in Early Twentieth-Century China". In Translating Russian Literature in the Global Context, 393–410. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0340.23.
Texto completo da fonteResumo:
This chapter begins with an overview of the translation of Russian literature in China and of Fedor Mikhailovich Dostoevsky (1821-1881) in particular. It next examines two translators Geng Jizhi and Lu Xun, whose work respectively demonstrates the value of microhistorical methodology in translation history (Geng) and the difficulty of assimilating Dostoevsky’s philosophy into the Chinese cultural mode (Lu Xun). The early twentieth century witnessed the gradual reception of Dostoevsky in China, including the publication and introduction of his short stories in newspapers. Originally, English translations were the primary intermediary for Dostoevsky’s works in China. Not until the 1940s was the first translation directly from Russian completed by the translator Geng Jizhi. Chinese scholars and readers creatively misread some of Dostoevsky’s ideas; their adaptations of his work reflected their own social status and cultural milieu. Due to the dominant theme of ‘literature for life’ in early twentieth-century China, Chinese scholars positioned Dostoevsky as ‘a realist writer’. Hence their choices for translation and research mainly served pressing nationalist ideological principles. Partly because of Dostoevsky’s strong religious sensibility, a gap persists between his gloomy, laboured style and traditional Chinese cultural promotion of gentleness and generosity in aesthetics, thus distancing Chinese readers from his writing. Dostoevsky’s interpretation and promotion by the important Chinese writer Lu Xun (1881-1936) transformed the former’s reception in twentieth-century China. His articles ‘An Introduction to Poor Folk’ and ‘Something about Dostoevsky’ sent Chinese Dostoevsky research in a new direction.
3
Nenarokova, Maria R. "The “Winter Morning” by Alexander Pushkin: the Tradition of English Translation". In Translation, Interpretation, Commentary in the Eastern and Western Literature, 209–44. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0710-6-209-244.
Texto completo da fonteResumo:
The article focuses on the problem of reception of translations of Russian classical poetry in the English-speaking culture. The object of study is the poem “The Winter Morning” by A.S. Pushkin, translated into English from 1888 to 2016. The subject of study was the particularities of conveying the content of Pushkin’s poem in English translations. The material for the research was twelve translations of Pushkin’s poem “The Winter Morning”, made by both English and Russian native speakers. The main objective of the research is to determine, with the help of the close reading method, what difficulties translators of Russian poetry may face while translating the poem in question. The study showed that translation of culturally specific vocabulary may become a problem for translators, since some of the realia are typical of Russian everyday life. Sometimes translators introduce into their texts the realia that are lacking in the original. The “key words” of Russian culture are almost impossible to translate due to the differences in the cultural codes of Russia and the English-speaking world. Due to the abundance and variety of texts, close reading of Pushkin’s translations can serve as an excellent training for translators.
4
Ayers, David. "Conveying the New Russian Culture: From Eden and Cedar Paul to René Fülöp-Miller". In Modernism, Internationalism and the Russian Revolution, 156–90. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748647330.003.0007.
Texto completo da fonteResumo:
In the early years of the Soviet state, a small number of commentators sought to give an account of the new Russian culture to outsiders. Among these were Eden and Cedar Paul, advocates of workers’ education, keen advocates of Lunacharsky and Proletcult, who used their numerous translations as well as their own books and articles to advance their own version of workers’ culture based on Marx, Bergson and Freud. John Cournos and D.S. Mirsky were among those who described Proletcult for the British public, while Huntly Carter gave an account of developments in theatre. The English translation of René Fülöp-Miller’s The Mind and Face of Bolshevism gave British readers the most extensive account of the new Russian culture.
5
Lennard, John, e Mary Luckhurst. "The study". In The Drama Handbook, 119–22. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780198700708.003.0013.
Texto completo da fonteResumo:
Abstract A written play-text must be written somewhere. One such space is evoked in Jonson’s ‘An Execration upon Vulcan’, written after fire destroyed his rooms and books in November 1623; the poem is a partial inventory both of his own books and of his mental furniture, suggesting the range of sources on which he drew. He mentions verse and prose romances, tales of adventure that many of his characters know and admire or scorn, the Talmud and Koran, classical works and translations, his own English Grammar, some poems, and a substantial work-in-progress about Henry V; books in Latin, Greek, and Hebrew borrowed from three notable scholars, Richard Carew (1555-1620), Robert Cotton (1571-1631), and John Selden (1584-1654), may have been among those destroyed.
6
Sergeeva, Valentina S. "On some English Translations of the Epigraphic Complex “N.A. Nekrasov’s Poetry” (Notes from Underground)". In “Notes from Underground” by F.M. Dostoevsky in the Culture of Europe and America, 123–41. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0668-0-123-141.
Texto completo da fonteResumo:
This article deals with problems concerning literature translation. It concerns the translation of a poetic fragment introducing the second part of Notes from Underground. A certain number of English translations are examined here that were created between 1913 and 2014; the main points of the examination are their fidelity to the Russian original (its strophic and rhythmic structure, artistic and stylistic features) and to the form given to the poetic extract by Dostoevsky (fragmentariness, attribution) and also the accompanying commentary, if present. This is another difficulty for the translator, because for the English-speaking readers the epigraph “from N.A. Nekrasov’s poetry” is a fragment from a poem totally unknown for them and not previously loaded, in their opinion, by any allusions. We can trace a certain tendency — from a poem written by a translator himself/ herself and rendering rather spirit than letter of the original, to the best of a translator’s belief, to the variants allowing the readers come close to the original text. It is stated that the commentary, on the one side, promotes an understanding of a work created in a different era and culture, but, on the other side, it can interfere with the perception by trivializing the meaning and accomplishing the text interpretation instead of a reader.
7
Ablogina, Evgeniia. "RUSSIAN UM: GENESIS AND NATIONAL DISTINCTIONS OF THE CONCEPT IN GRIBOEDOV'S COMEDY". In Aleksandr Griboedov and His Epoch: Khmelitsky Sbornik (Khmelita Proceedings) No. 18, 53–67. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3655.khmelita-18/53-67.
Texto completo da fonteResumo:
The plays of A.S. Griboedov become the subject of a novel study as the semiosphere of um (roughly: mind), the title concept of um seen as its semantic core, an anthropological, epistemic and aesthetic foundation. The article discusses the origin and the essence of the concept of um in the early and mature drama of Griboedov. It argues that in his early loose translations and adaptations from French classical playwrights A.-F.C. Creuzé de Lesser and N.-T. Barthe the concept is being formed as a motif. Originally rooted in the era of French classicism, it receives significant reinterpretation. Similarly and remarkably does the German one as can be seen from Griboedov's adaptation of J.W. Goethe's “Vorspiel auf dem Theater”. In original early plays of Griboedov, it expands its semantics by accumulating of new motifs; in mature ones, it significantly increases its frequency and level up by acquiring the status of a concept. Semantic universals of Griboedov's artistic thinking embodied in his text and revealed in the study demonstrate an integral conceptual program.
8
Lewis, Bernard. "Orientalist Notes on the Soviet– United Arab Republic Treaty of 27 May 1971". In From Babel to Dragomans, 188–95. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195173369.003.0020.
Texto completo da fonteResumo:
Abstract In 27 May 1971, a treaty of “Friendship and Cooperation” between Russia, at that time known as the Soviet Union, and Egypt, at that time known as the United Arab Republic, was signed in Cairo by Presidents Nikolai Podgorny and Anwar Sadat.1 The treaty was drafted, signed, and ratified in two languages, Arabic and Russian, both texts being valid. The two signatory governments both published official but nonbinding English translations. Both English versions use British spelling, but otherwise differ on a number of points, some of which may be significant.2 The practice of drawing up international agreements in more than one language is common, though, in order to forestall misunderstandings and difficulties, it is often agreed that one text, sometimes in a language other than those of the contracting parties, will be binding.
9
Кalashi, Nahideh. "REVISITING THE RECEPTION OF GRIBOEDOV IN IRAN". In Aleksandr Griboedov and His Epoch: Khmelitsky Sbornik (Khmelita Proceedings) No. 18, 189–94. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3665.khmelita-18/189-194.
Texto completo da fonteResumo:
Literary ties between Iran and Russia span several centuries. During the course of this period, the cultures interacted and enriched each other, partly owing to translations. Russian-Iranian cultural ties actively expanded in the late 18th and early 19th centuries, during the Qajar period of Iran's history. The present study discusses the perception of A.S. Griboedov's image and his literary heritage in Iran. Translators' approaches to the comedy “Woe from Wit” and Persian publications on Griboedov's main drama are thoroughly considered. The article also characterises the reception of Griboedov in modern Iran and points to the relevant Iranian studies, numerous translations of the play's title into Persian are considered based on the reviews of Iranian authors. It is emphasized that translation, as an attempt to globalize knowledge, creates cultural ties between non-linguistic groups and the task of the translator is to strengthen friendship between countries through translation and familiarize them with each other's culture.
10
Potnitseva, Tatiana N. "O. Wilde’s Fantasies on Russian Theme in English Style (“Vera; or, The Nihilists”)". In O. Wilde and Russia: The Issues of Poetics and Reception, 102–19. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0711-3-102-119.
Texto completo da fonteResumo:
The article focuses on the first play by O. Wilde, which got investigators’ undeserved mark as “an imperfection of the first pen attempt”. Meanwhile, as the analysis confirms, the parody and farcical manner of this work of art, which had the signs of Wilde’s future recognizable style, gave birth to the brilliant travesty of “the cloak and sword drama” production. But for its caustic satire and ironic presentation the playwright turned to the plot about Russian conspirators and Russian anarchism. This plot was prompted both by the modern time and by the works of Russian classical writers. Among them — “Fathers and Children” by I. Turgenev and “Demons” by Dostoyevsky — the books Wilde read and used as an ironic background. The parody and farcical, grotesque manner of Wilde’s first play is revealed due to the endless allusions, references, reminiscences, a play on words, word forms, locations, and choice of names, colour symbolism, and the forming decorative style. In the history of the Russian nihilists’ conspiracy — a kind of “demons’ coven” — the author of “Vera…”, as the work convinces, combined a lot of what he had learnt from the Russian literature and from what the creation of his own imagination was. The very word “nihilism” became in his work a key one, a conceptual centre. And the Wilde’s nihilists appear as a generalized image of any despotic ideology unnatural to human relations.
Trabalhos de conferências sobre o assunto "English drama – translations from russian"
1
Kenzhibaeva, A. R. "METHODS TO TRANSLATE ENGLISH REPRESENTATIVES OF FEAR EMOTION FROM ENGLISH INTO RUSSIAN (BY THE MATERIAL OF LITERARY TEXTS IN ENGLISH AND THEIR TRANSLATIONS INTO RUSSIAN)". In Proceedings of the IX (XXIII) International Scientific and Practical Conference of Young Scientists. TSU Press, 2022. http://dx.doi.org/10.17223/978-5-907572-04-1-2022-52.
Texto completo da fonte
2
Storozhuk, Alexander. "PU SONGLING’S LITERARY HERITAGE AND ITS TRANSLATIONS INTO RUSSIAN". In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.06.
Texto completo da fonteResumo:
While speaking of Pu Songling’s (1640–1715) impact on the Chinese literature one can’t help mentioning his short stories about fox turnskins and other wonders, known in English as Strange Tales from the Chinese Studio (Liao Zhai zhi yi). Commonly here the general survey concludes, and the main efforts are directed to analysis of the author’s pencraft and concealed political implications, since most of the plots are believed to be not original but adopted from earlier oeuvre. Thus the two major implied notions can be worded in the following fashion: 1) Strange Tales are the only work by Pu Songling to be mentioned and 2) they happen to be quite a secondary piece of literature based on borrowed stories and twisted about to serve the new main objective — mockery on social and political routine of the author’s present. The chief idea of the article is to cast a doubt on both of these notions and to show diversity and richness of Pu Songling’s genres and subjects as well as finding out the basis of these texts’ attractiveness for readers for more than 300 years. The other goal of the paper is to give a short overview of Pu Songling’s translations into Russian and their influence on the literary tradition of modern Russian prose. The main focus is put on the difficulties any translator is to face, on the quest for the optimal form of reproduction of the original’s peculiarities. Since the language of Pu Songling’s stories is Classical Chinese (wenyan), the author’s mastership in reproduction of different speech styles including common vernacular is also to be mentioned and analyzed.
3
Щеголева, А. И. "USING THE INFORMATION-THEORETIC METHOD OF CLASSIFICATION TO ANALYZE THE QUALITY OF TRANSLATION OF LITERARY TEXTS". In Сборник трудов XVIII Российской конференции "РАСПРЕДЕЛЕННЫЕ ИНФОРМАЦИОННО-ВЫЧИСЛИТЕЛЬНЫЕ РЕСУРСЫ". Crossref, 2023. http://dx.doi.org/10.25743/dir.2022.98.12.041.
Texto completo da fonteResumo:
Для анализа переводов требуется разработать количественную оценку степени сохранения переводчиком оригинального стиля автора и создать метод, позволяющий определять степень близости перевода к оригиналу. Адаптирован теоретико-информационный метод, предложенный для атрибуции литературных текстов и рассмотрены переводы литературных произведений с английского языка на русский и с русского на английский. Разработан метод определения качества перевода, считая, что перевод тем лучше, чем больше сохраняется стиль писателя и чем меньше проявляется стиль переводчика. To analyze translations, we invented a quantitative assessment of the degree to which the translator preserves the original style of the author and produced a method that allows determining the degree of closeness of the translation to the original. Therefore, we adapted the information-theoretic method proposed for the attribution of literary texts. Afterwards, we used an adapted method to consider translations of literary works from English to Russian and from Russian to English. In result, we developed a method for determining the quality of a translation, considering that the translation is better when the more the style of the writer is preserved and the less the style of the translator is manifested.