Artigos de revistas sobre o tema "English drama – translations from russian"

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.

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.

[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.

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.

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.

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.

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.

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.

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.

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 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.

Abstract This article focuses specifically on two examples of fantasy stories and their translations into Russian: The Lion, the Witch, and the Wardrobe (Lewis 1950), a classic English fantasy story, and Harry Potter and the Philosopher’s Stone (Rowling 1997), a modern blending of fantasy with the traditional English school story. The analysis shows that the approach to translation is largely random. In the translations of The Lion, the Witch and the Wardrobe, there is some evidence of simplification as a strategy, and some confusion over the appropriate translation of cultural items in the translations of Harry Potter and the Philosopher’s Stone. Generally, however, the translators are shown not to have attempted to situate the stories in a Russian context, and have retained intact both the cultural backdrop and the moral values put forward in the works. A study of the reception of such works by young readers would provide valuable information about the success or failure of the translations discussed in this article.

NOTICIAS / NEWS (“Transfer”, 2016) 1) CONGRESOS / CONFERENCES: 1. Languages & the Media – Agile Mediascapes: Personalising the Future, Hotel Radisson Blu, Berlín, 2-4 Nov. 2016 www.languages-media.com 2. Third Chinese Drama Translation Colloquium Newcastle University, UK, 28-19 Junio 2016. www.ncl.ac.uk/sml/about/events/item/drama-translation-colloquium 3. 16th Annual Portsmouth Translation Conference – Translation & Interpreting: Learning beyond the Comfort Zone, University of Portsmouth, UK, 5 Nov. 2016. www.port.ac.uk/translation/events/conference 4. 3rd International Conference on Non-Professional Interpreting & Translation (NPIT3) Zurich University of Applied Sciences, Suiza 5-7 Mayo 2016. www.zhaw.ch/linguistics/npit3 5. 3rd Postgraduate Symposium – Cultural Translation: In Theory and as Practice. University of Nottingham, UK, 18 Mayo 2016. Contact: uontranslation2016@gmail.com 6. 3rd Taboo Conference – Taboo Humo(u)r: Language, Culture, Society, and the Media, Universitat Pompeu Fabra (Barcelona) 20-21 Sep. 2016. https://portal.upf.edu/web/taco 7. Postgraduate Conference on Translation and Multilingualism Lancaster University, UK, 22 Abril 2016. Contacto: c.baker@lancaster.ac.uk 8. Translation and Minority University of Ottawa (Canadá), 11-12 Nov. 2016. Contacto: rtana014@uottawa.ca 9. Translation as Communication, (Re-)narration and (Trans-)creation Università di Palermo (Italia), 10 Mayo 2016 www.unipa.it/dipartimenti/dipartimentoscienzeumanistiche/convegni/translation 10. From Legal Translation to Jurilinguistics: Interdisciplinary Approaches to the Study of Language and Law, Universidad Pablo de Olavide, Sevilla, 27-28 Oct. 2016. www.tinyurl.com/jurilinguistics 11. Third International Conference on Research into the Didactics of Translation. Universitat Autònoma de Barcelona, 7-8 Julio 2016 http://grupsderecerca.uab.cat/pacte/en/content/second-circular-1 12. EST Congress – Expanding the Boundaries or Strengthening the Bases: Should Translation Studies Explore Visual Representation? Aarhus University (Dinamarca), 15-17 Sep. 2016 http://bcom.au.dk/research/conferencesandlectures/est-congress-2016/panels/18-expanding-the-boundaries-or-strengthening-the-bases-should-translation-studies-explore-visual-representation/ 13. Tourism across Cultures: Accessibility in Tourist Communication Università di Salento, Lecce (Italia). 25-27 Feb. 2016 http://unisalento.wix.com/tourism 14. Translation and Interpreting Studies at the Crossroad: A Dialogue between Process-oriented and Sociological Approaches – The Fourth Durham Postgraduate Colloquium on Translation Studies Durham University, UK. 30 Abril – 1 Mayo 2016. www.dur.ac.uk/cim 15. Translation and Interpreting: Convergence, Contact, Interaction Università di Trieste (Italia), 26-28 Mayo 2016 http://transint2016.weebly.com 16. 7th International Symposium for Young Researchers in Translation, Interpreting, Intercultural Studies and East Asian Studies. Universitat Autònoma de Barcelona, 1 Julio 2016. http://pagines.uab.cat/simposi/en 17. Translation Education in a New Age The Chinese University of Hong Kong, Shenzhen, China 15-16 Abril 2016. Contact: Claire Zhou (clairezhou@cuhk.edu.cn) 18. Audiovisual Translation: Dubbing and Subtitling in the Central European Context, Constantine the Philosopher University, Nitra (Eslovaquia). 15-17 Junio 2016. https://avtnitraconference.wordpress.com 19. Cervantes, Shakespeare, and the Golden Age of Drama Madrid, 17-21 Oct. 2016 http://aedean.org/wp-content/uploads/Call-for-papers.pdf 20. 3rd International Conference Languaging Diversity – Language/s and Power. Università di Macerata (Italia), 3-5 Marzo 2016 http://studiumanistici.unimc.it/en/research/conferences/languaging-diversity 21. Congreso Internacional de Traducción Especializada (EnTRetextos) Universidad de Valencia, 27-29 Abril 2016 http://congresos.adeituv.es/entretextos 22. Translation & Quality 2016: Corpora & Quality Université Charles de Gaulle Lille 3 (Francia), 5 Feb. 2016 http://traduction2016.sciencesconf.org/?lang=en 23. New forms of feedback and assessment in translation and interpreting training and industry. 8th EST Congress – Translation Studies: Moving Boundaries, Aarhus University (Dinamarca), 15-17 Sep. 2016. www.bcom.au.dk/est2016 24. Intermedia 2016 – Conference on Audiovisual Translation University of Lodz (Polonia), 14-16 Abril 2016 http://intermedia.uni.lodz.pl 25. New Technologies and Translation Université d’Algiers (Argelia). 23-24 Feb. 2016 Contacto: newtech.trans.algiers@gmail.com 26. Circulation of Academic Thought - Rethinking Methods in the Study of Scientific Translation. 11 - 12 Dec. 2015, University of Graz (Austria).https://translationswissenschaft.uni-graz.at/de/itat/veranstaltungen/circulation-of-academic-thought 27. The 7th Asian Translation Traditions Conference Monash University, Malaysia Campus, 26-30 Sep. 2016. http://future.arts.monash.edu/asiantranslation7 28. “Translation policy: connecting concepts and writing history” 8th EST Congress – Translation Studies: Moving Boundaries Aarhus University (Dinamarca), 15-17 Sep. 2016 http://bcom.au.dk/research/conferencesandlectures/est-congress-2016/panels/13-translation-policy-connecting-concepts-and-writing-history 29. International Conference – Sound / Writing: On Homophonic Translation. Université de Paris (Francia), 17-19 Nov. 2016 www.fabula.org/actualites/sound-writing-on-homophonic-translationinternational-conference-paris-november-17-19-2016_71295.php 30. Third Hermeneutics and Translation Studies Symposium – Translational Hermeneutics as a Research Paradigm Technische Hochschule, Colonia (Alemania), 30 Junio-1 Julio 2016 www.phenhermcommresearch.de/index.php/conferences 31. II International Conference on Economic Financial and Institutional Translation. Université du Québec à Trois-Rivières (Canadá), 17-18 Agosto 2016. www.uqtr.ca/ICEBFIT 32. International Congress - liLETRAd 2016-Cátedra LILETRAD. Literature Languages Translation, Universidad de Sevilla, 6-8 Julio 2016. https://congresoliletrad.wordpress.com 33. Transmediations! Communication across Media Borders Linnæus University, Växjö (Suecia), 13–15 Oct. 2016 http://lnu.se/lnuc/linnaeus-university-centre-for-intermedial-and-multimodal-studies-/events/conferences/transmediations?l=en 34. Translation Education in a New Age, 15-16 Abril 2016. School of Humanities and Social Science, The Chinese University of Hong Kong, Shenzhen. Contacto: chansinwai@cuhk.edu.cn 35. Translation and Time: Exploring the Temporal Dimension of Cross-cultural Transfer, 8-10 Diciembre 2016. Departamento de Traducción, The Chinese University of Hong Kong. Contacto: translation-and-time@cuhk.edu.hk. 36. Du jeu dans la langue. Traduire les jeux de mots / Loose in Translation. Translating Wordplay, 23-24 Marzo 2017, Université de Lille (France) https://www.univ-lille3.fr/recherche/actualites/agenda-de-la-recherche/?type=1&id=1271. Contacto: traduirejdm@univ-lille3.fr, julie.charles@univ-lille3.fr 37. Translation and Translanguaging across Disciplines. EST Congress 2016 “Translation Studies: Moving Boundaries”, European Society for Translation Studies, Aarhus (Dinamarca), 15-17 Sep. 2016 http://bcom.au.dk/research/conferencesandlectures/est-congress-2016/panels/12-translation-and-translanguaging-across-disciplines/ Contacto: nune.ayvazyan@urv.cat; mariagd@blanquerna.url.edu; sara.laviosa@uniba.it http://bcom.au.dk/research/conferencesandlectures/est-congress-2016/submission/ 38. Beyond linguistic plurality: The trajectories of multilingualism in Translation. An international conference organized jointly by Bogaziçi University, Department of Translation and Interpreting Studies, and Research Group on Translation and Transcultural Contact, York University, Bogaziçi University, 1-12 Mayo 2016. Contacto: sehnaz.tahir@boun.edu.tr, MGuzman@glendon.yorku.ca 39. "Professional and Academic Discourse: an interdisciplinary perspective". XXXIV IConferencia Internacional de la Sociedad Española de Lingüística Aplicada (AESLA), 14-16 Abril 2016. Interuniversity Institute for Applied Modern Languages (IULMA) / Universidad de Alicante. http://web.ua.es/aesla2016. Contacto: antonia.montes@ua.es. 2) CURSOS, SEMINARIOS, POSGRADOS / COURSES, SEMINARS, MASTERS: 1. Seminario: Breaking News for French>English and English>French Translators King's College Cambridge, UK, 8-10 Agosto 2016 Contacto: translateincambridge@iti.org.uk 2. Curso on-line: Setting Up as a Freelance Translator Enero – Marzo 2016. Institute of Translation & Interpreting, UK https://gallery.mailchimp.com/58e5d23248ce9f10c161ba86d/files/Application_Form_SUFT_2016.pdf?utm_source=SUFT+December+Emailer&utm_campaign=11fdfe0453-Setting_Up_as_a_Freelance_Translator12_7_2015&utm_medium=email&utm_term=0_6ef4829e50-11fdfe0453-25128325 3. Curso: Using Interpreters for Intercultural Communication and Other Purposes (COM397CE) http://darkallyredesign.com/what-we-do/using-interpreters-for-intercultural-communication 4. Workshop: How to Write and Publish Your Scholarly Paper In cooperation with the European Association of Science Editors (EASE) New Bulgarian University, Sofia (Bulgaria), 21-23 Marzo 2016 www.facebook.com/events/1511610889167645 http://esnbu.org/data/files/resources/ease-nbu-seminar-march-2016-fees.pdf 5. Posgrado: II Postgraduate Course on Spanish Law Taught in English "Global study". Universidad Internacional de Andalucía / Colegio de Abogados de Málaga. www.unia.es/cursos/guias/4431_english.pdf 3) CURSOS DE VERANO / SUMMER COURSES: 1. STRIDON – Translation Studies Doctoral and Teacher Training Summer School, Piran (Eslovenia), 27 Junio – 8 Julio 2016 www.prevajalstvo.net/doctoral-summer-school 2. Training in Translation Pedagogy Program School of Translation and Interpretation, University of Ottawa (Canadá), 4-29 Julio 2016. https://arts.uottawa.ca/translation/summer-programs 3. 2016 Nida School of Translation Studies. Translation, Ecology and Entanglement, San Pellegrino University Foundation, Misano Adriatico, Rimini (Italia), 30 Mayo – 10 Junio 2016. http://nsts.fusp.it/Nida-Schools/NSTS-2016 4. TTPP - Intensive Summer Program in Translation Pedagogy University of Ottawa (Canadá), 4-29 Julio 2016. http://arts.uottawa.ca/translation/summer-programs-2016/ttpp 5. CETRA Summer School 2016. 28th Research Summer School University of Leuven, campus Antwerp (Bélgica), 22 Agosto – 2 Sep. 2016. Contacto: cetra@kuleuven.be. http://www.arts.kuleuven.be/cetra 4) LIBROS / BOOKS: 1. Varela Salinas, María-José & Bernd Meyer (eds.) 2016. Translating and Interpreting Healthcare Discourses / Traducir e interpretar en el ámbito sanitario. Berlín : Frank & Timme. www.frank-timme.de/verlag/verlagsprogramm/buch/verlagsprogramm/bd-79-maria-jose-varela-salinasbernd-meyer-eds-translating-and-interpreting-healthcare-disc/backPID/transued-arbeiten-zur-theorie-und-praxis-des-uebersetzens-und-dolmetschens-1.html 2. Ordóñez López, Pilar and José Antonio Sabio Pinilla (ed.) 2015. Historiografía de la traducción en el espacio ibérico. Textos contemporáneos. Madrid: Ediciones de Castilla-La Mancha. www.unebook.es/libro/historiografia-de-latraduccion-en-el-espacio-iberico_50162 3. Bartoll, Eduard. 2015. Introducción a la traducción audiovisual. Barcelona: Editorial UOC. www.editorialuoc.cat/introduccion-a-la-traduccion-audiovisual 4. Rica Peromingo, Juan Pedro & Jorge Braga Riera. 2015. Herramientas y técnicas para la traducción inglés-español. Madrid: Babélica. www.escolarymayo.com/libro.php?libro=7004107&menu=7001002&submenu=7002029 5. Le Disez, Jean-Yves. 2015. F.A.C.T. Une méthode pour traduire de l’anglais au français. París: Ellipses. www.editions-ellipses.fr/product_info.php?cPath=386&products_id=10601 6. Baker, Mona (ed.) 2015. Translating Dissent: Voices from and with the Egyptian Revolution. Londres: Routledge. www.tandf.net/books/details/9781138929876 7. Gallego Hernández, Daniel (ed.) 2015. Current Approaches to Business and Institutional Translation / Enfoques actuales en traducción económica e institucional. Berna: Peter Lang. www.peterlang.com/download/datasheet/86140/datasheet_431656.pdf 8. Vasilakakos, Mary. 2015. A Training Handbook for Health and Medical Interpreters in Australia. www.interpreterrevalidationtraining.com/books-and-resources.html 9. Jankowska, Anna & Agnieszka Szarkowska (eds) 2015. New Points of View on Audiovisual Translation and Media Accessibility. Oxford: Peter Lang. www.peterlang.com/index.cfm?event=cmp.ccc.seitenstruktur.detailseiten&seitentyp=produkt&pk=83114 10. Baer, Brian James (2015). Translation and the Making of Modern Russian Literature, Londres: Bloomsbury. Translation and the Making of Modern Russian Literature is the inaugural book in a new Translation Studies series: Bloomsbury’s “Literatures, Cultures, Translation.” 11. Camps, Assumpta. 2016. La traducción en la creación del canon poético (Recepción de la poesía italiana en el ámbito hispánico en la primera mitad del siglo XX). Berna: Peter Lang. 5) REVISTAS / JOURNALS: 1. JoSTrans, The Journal of Specialised Translation, nº especial sobre Translation & the Profession, Vol. 25, Enero 2016. www.jostrans.org 2. Translation and Interpreting – Nº especial sobre Community Interpreting: Mapping the Present for the Future www.trans-int.org/index.php/transint. 3. inTRAlinea – Nº especial sobre New Insights into Specialised Translation. www.intralinea.org/specials/new_insights 4. Linguistica Antverpiensia NS-Themes in Translation Studies, 2015 issue, Towards a Genetics of Translation. https://lans-tts.uantwerpen.be/index.php/LANS-TTS/issue/view/16 5. Quaderns de Filologia, Nº especial sobre Traducción y Censura: Nuevas Perspectivas, Vol. 20, 2015. https://ojs.uv.es/index.php/qdfed/issue/view/577 6. The Translator – Nº especial sobre Food and Translation, Translation and Food, 2015, 21(3). www.tandfonline.com/eprint/ryqJewJUDKZ6m2YM4IaR/full 7. Current Trends in Translation Teaching and Learning E, 2015, 2 www.cttl.org/cttl-e-2015.html 8. Dragoman Journal of Translation Studies. www.dragoman-journal.org 9. Current Trends in Translation Teaching and Learning E. Edición especial sobre Translation Studies Curricula Across Countries and Cultures. www.cttl.org 10. International Journal of the Sociology of Language, Nº especial sobre Translation Policies and Minority Languages: Theory, Methods and Case Studies http://fouces.webs.uvigo.es/CallForPapersIJSLTranslationPolicies.pdf 11. Nº especial de The Interpreter and Translator Trainer 11(2) – Employability and the Translation Curriculum www.tandfonline.com/doi/full/10.1080/1750399X.2015.1103092 12. InTRAlinea. Nº especial sobre Building Bridges between Film Studies and Translation Studies www.intralinea.org/news/item/cfp_building_bridges_between_film_studies_and_translation_studies 13. Nº especial de TranscUlturAl: Comics, BD & Manga in translation/en traduction https://ejournals.library.ualberta.ca/index.php/TC/announcement/view/290 14. The Journal of Translation Studies 2015, 16(4) Nº especial sobre Translator and Interpreter Training in East Asia Contacto: Won Jun Nam: wjnam@hufs.ac.kr, wonjun_nam@daum.net 15. TRANS Revista de Traductología, 19(2), 2015. www.trans.uma.es/trans_19.2.html 16. Between, 9, 2015 – Censura e auto-censura http://ojs.unica.it/index.php/between/index 17. Translation Studies, Nº especial sobre Translingualism & Transculturality in Russian Contexts of Translation http://explore.tandfonline.com/cfp/ah/rtrs-cfp3 18. Translation & Interpreting, 7:3, 2016 www.trans-int.org/index.php/transint/issue/view/38 19. "The translation profession: Centres and peripheries" The Journal of Specialised Translation (Jostrans), Nº. 25, Enero 2016. The Journal of Translation Studies is a joint publication of the Department of Translation of The Chinese University of Hong Kong and the Chinese University Press. Contact: jts.tra@cuhk.edu.hk, james@arts.cuhk.edu.hk 19. Nuevo artículo: "The Invisibility of the African Interpreter" por Jeanne Garane, Translation: a transdisciplinary journal http://translation.fusp.it/. Contact: siri.nergaard@gmail.com.

This article discusses the features of the translation of the author’s metaphors on thematerial of Stephen King’s novel «The Green Mile» and two of its translations into Russian. Thearticle provides an analysis of metaphors in Stephen King’s novel and techniques for preservingthe author’s imagery in two translations of the novel into Russian by V.A. Veber and M.V.Opaleva

The study investigates psycholinguistic mechanisms of sentence parsing and ambiguity resolution by balanced Tatar–Russian bilinguals who learnt English as their additional language. We check the parser’s sensitivity to the selectional properties of the matrix verb and/or social conventions in processing and attachment resolution of ambiguous relative clauses (RCs). We chose English and Russian because they have a documented preference for low attachment (LA) and high attachment (HA), respectively, and Tatar, as we have found out in earlier work, has no attachment ambiguity. We conducted a self-paced reading task in English and Russian which returned 61% HA in Russian, 49% HA in English. It was followed by a pen-and-paper translation task. The translation post-test checked whether an attachment preference demonstrated in either English or Russian showed in RC translations into Tatar. The results return an 80% preference for LA in English–Tatar translations and 61% in Russian–Tatar translations. Both syntactic information and world knowledge influence online RC processing in Russian and English. Therefore, the multilingual parser incorporates information from multiple sources in either L1 or Ln processing. The parser may favor LA as a default parsing option while maintaining sensitivity to individual grammars (Russian), where this preference should be overridden.

The article presents an overview of the existing translations of Aristotle's “Poetics”, characterizes the features of each of them. In the preface to his translation of Aristotle's “Poetics”, V. Zakharov characterized the work of the Greek philosopher as a “dark text.” Each translation of this treatise, which forms the basis of European and world literary theory, is also its interpretation, an attempt to interpret the “dark places.” The first Russian translation of “Poetics” was made by B. Ordynsky and published in 1854, however, the Russian reader was familiar with the contents of the treatise through translations into European languages and its expositions in Russian. For instance, in the “Dictionary of Ancient and New Poetry” Ostolopov sets out the Aristotelian theory of drama and certain other aspects of “Poetics” very close to the original text. Ordynsky translated the first 18 chapters of “Poetics”, focusing on the theory of tragedy. The translator presented his interpretation of Aristotle’s concept in an extensive preface, commentaries and a lengthy “Statement.” This translation set off a critical analysis by Chernyshevsky, and influenced his dissertation “Aesthetic relations of art to reality”, in which the author polemicizes with the aesthetics of German romanticism. In 1885 V. Zakharov published the first complete Russian translation of “Poetics”, in which he offered his own interpretation of Aristotle's teaching on language and epic. The author of this translation returns to the terminology of romantic aesthetics, therefore the translation itself is outside the main line of perception of the teachings of Aristotle by domestic literary theory, which is clearly manifested in the translations of V. G. Appelrot (1893), N. N. Novosadsky (1927) and M. L. Gasparov (1978). The subject of discussion in these translations was the interpretation of the notions of μῦϑος and παθος, the concepts of mimesis and catharsis, the source of suffering and the tragic, the possibility of modernizing terminology. An important milestone in the perception and assimilation of Aristotle's treatise by Russian literary criticism was its translation by A. F. Losev, which was not published, but was used by the author in his theoretical works and in criticizing other interpretations of “Poetics”. M. M. Pozdnev penned one of the last translations of “Poetics” (2008). The translator does not seek to preserve the peculiarities of the original style and interprets “Poetics” within the framework and terms of modern literary theory, focusing on its English translations. The main subject of the translator's reflection is Aristotle's understanding of the essence and phenomenon of poetic art. Translations of the Greek philosopher's treatise reflect the history of the formation and development of the domestic theory of literature, its main topics and terminological apparatus.

According to Vinay and Darbelnet (1995), direct translation refers to the transposition of source language message element by element into target language based on either structural parallelism or metalinguistic parallelism. However, both parallelisms are not realized by the student translators so that sometimes they apply inappropriate direct translation. Therefore, this study is aimed to assess the quality of students’ direct translation procedures according to Larson (1994) in Indonesian rendering of English folklore drama script. This study employed descriptive qualitative method with the involvement of respondents for quality assessment. The result reveals that 445 direct procedures consisting of 45 borrowing translations, 18 calque translations, and 382 literal translations produce 249 accurate, 64 sufficiently accurate, and 132 less accurate translations. Dealing with clarity, 314 are considered as clear, 71 sufficiently clear, and 60 less clear translations. In addition, the analysis of naturalness results 285 natural, 51 sufficiently natural, 58 less natural, and 51 unnatural translations. The problems derived from students’ direct procedures are the use of unacceptable loan word and word by word translation which can create misinterpretation. Therefore, the students should increase their awareness of the structural and metalinguistic parallelisms between source and target language.

Statement of the problem. This article is the contribution to the research of the English-speaking world perception and understanding of the Russian literature. The aim of the article is to reveal a certain attention to Gogol’s works of the English-speaking audience even before 1886, (the year when Isabel F. Hapgood’s translations initiated British awareness of the works of the Russian writer). The material for this study includes articles about Russian literature and Russia, published in English-speaking periodicals, prefaces to the first translations of Gogol’s novels, notes from diaries, written by the British who visited and stayed in Russia, textbooks of the Russian language for the English-speaking students – the sources that contained any information about the perception of the Russian writer and his works by the English-speaking world. Research results. The study revealed the presence of both positive and negative reviews on Gogol’s works having circulated within English-speaking world even before I. F. Hapgood`s translations (the official date of English-speaking readers’ acquaintance with Gogol). The audience was interested in Gogol as a representative of modern Russian art, a national writer describing traditions and superstitions of Russia, a satirist and mystic, the one who exposed corruption. Conclusions. The use of Gogol’s works in the Russian textbooks for the English-speaking audience deserves special attention. The texts were used to improve the skills of reading, pronunciation, grammar structures, as well as to give information about the culture of Russia, and to form the image of Russia and the Russian people in the English-speaking students’ minds.

The importance of a new translation of Karen Blixen’s The African Farm is based on two factors: the book has never been translated from Danish (although the Danish version differs from the English version), and existing translations of the English version contain a number of inaccuracies. Karen Blixen’s book The African Farm was published in English in the UK in 1937 under the title Out of Africa. In the same year, Karen Blixen published the Danish text of the book under the title Den afrikanske farm. This book is not the only example of Karen Blixen’s own translations from English into Danish, as she also translated some of her short stories after their first publication in English. It is still a controversial issue whether her translations may be considered “copies” of the original works or they should be regarded as recreations in Danish. This article presents a comparative analysis of the English and the Danish texts of The African Farm which confirms that we are talking about two different versions of the work, since while creating the Danish text, Karen Blixen used several transformations: transpositions, substitutions, additions and omissions. The notion of “transformation” in this article implies a very wide range of modifications. The author makes significant changes to the original text. The result is a new text with quite a number of differences from English; the text that awaits translation from Danish. Out of Africa has been translated from English into Russian twice. The translations by experienced translators make a significant contribution to the history of literary contacts between Denmark and Russia; however, they contain a number of errors due to misunderstanding of Danish and African realities, as well as disregard for the specific situation. Translation of the Danish version of The African Farm is necessary not only because the Danish version has never been translated into Russian, but also because it would allow for the explication of some themes important for Karen Blixen that were “lost” in the translations from English. The present study does not presuppose consideration of literary aspects. It involves only differences between the Danish and the English versions of the novel, as well as the analysis of existing translations from English.

The article is devoted to the analysis of translations of the medieval Latin sequence Victimae Paschalis into English, Italian and Russian. The texts selected on theological and popularization sites served as the material for the study. They were written during the 20th century and belong to different cultural traditions. The relevance of the study is due to the fact that in our time religious literature is considered as part of the global literary process. In particular, Christian medieval Latin hymnography is considered as part of the corpus of medieval poetic texts. The presence of modern translations into folk languages testifies to the interest in society in this genre. The tasks were to analyze translations and identify translation techniques and tactics, to explore the translation vocabulary, to consider the cultural component of the translations, to explore the texts in question from the point of view of the translators' worldview. The analysis showed that sequence translations reflect different worldview systems and goals, which determined different translation strategies in the given languages.

The article is devoted to the study of the lexical aspects of Russian Bible translations of the 19th—21st centuries in comparative coverage and is a continuation of a study pre-viously conducted by reference to English Bibles. A historical overview of the existing Russian translations is given (the Synodal translation and the texts preceding it, the New Testament of Bishop Cassian, the Bible of the World Bible Translation Center, the “Central Asian translation”, the translation of Jehovah’s Witnesses, the Bible of the Inter-national Bible Society, the modern translation of the Russian Bible Society, the “Zaoksky Bible”). Special attention is paid to modern editions. Samples of texts are compared according to the lexical parameters of adaptiveness, terminologicalness, style and literalness. On the basis of this comparison, a classification of the considered translations is proposed, and their typological features and interconnections are established. The lexical nature of translations is interpreted in terms of their sociolinguistic effect (public perception). The data obtained confirms the pattern previously found in the English-language Bibles — the inverse relationship between adaptiveness on the one hand and terminologicalness, high style and literalness of the translation on the other. In terms of lexical characteristics, the Synodal and the “Central Asian” translations differ most from each other, which is probably due to their focus on church tradition and missionary goals, respectively.

This article explores the peculiarities of translating military vocabulary from the Old Russian literary monument “The Tale of Igor’s Campaign” into Russian and English languages through the analysis of translations by D.S. Likhachov, O.V. Tvorogov (modern Russian language), V. Nabokov, and I. Petrova (English language). The study employed methods such as the method of complete sampling, contextual analysis method, comparative method, and quantitative analysis method. The research focused on 34 lexical units used in 128 contexts. Based on the conducted study, the following conclusions can be drawn. (1) Translators of the aforementioned work into Russian mostly replaced archaic words with contemporary ones etymologically related to the original word, while preserving archaic words to convey historical color in translations. (2) Translations of the work into English showed translators’ tendency towards fidelity to the original text through the use of full and partial equivalents, approximate translation, and the method of generalization (selecting a word with broader meaning). Thus, the analysis of lexical units and their translation methods into modern Russian and English languages revealed translators' inclination to choose the translation variant closest to the original unit.

The purpose of the article is to consider the ways of rendering Russian unknown words (agnonyms) in Russian literary texts about the village in translation into English and to analyze the lost functions and characteristics of Russian unknown words in English translation from the point of view of linguocultural differences between Russian and English. To achieve this goal, the following tasks were set: to compare the Russian text of V. Shukshin’s story The Bastard with the translation of this story into English and various ways of conveying the meanings of Russian unknown words in English texts. The relevance of this work is due to the difficulty of translating Russian unknown words into English and the urgent need to study how national cultures are reflected in different languages, the novelty is due to a new aspect of considering linguocultural differences between Russian and English. The full text of V. Shukshin’s story The Bastard and its English translation by R. Daglish were used as material. The methods of observation, contextual analysis and the comparative method were used. The following was established in the course of work. First, the presence of Russian unknown words in the text is a difficulty for translating the text into English; secondly, due to the differences between the Russian and English language pictures of the world, Russian unknown words can serve as a "key" for understanding some parts of Russian culture. There are five possible ways to translate Russian unknown words into English: (1) translation of a stylistically colored Russian unknown words by a stylistically neutral English literary word or phrase; (2) translation of a stylistically colored Russian unknown words into a stylistically colored English word or phrase; (3) semantic translations of unknown words with social and cultural significance; (4) rendering the same unknown word in different places in the text using different English words; (5) accompaniment of the unknown word by its English transliteration with the preceding generic name. Russian unknown words lose their expressive features in English translation in many cases.

<p>This paper analyzes the phenomenon of synonymy in translated texts in Russian and Tatar, with various existing and published translations of the Quran used as the main source. The primary goal of the study is to reveal the main regularities of the way synonyms function in the diachronic translations of the Quran into Russian and Tatar, as well as to follow the alterations in the vocabulary and stylistic norms of Russian and Tatar. Comparison between various translations allows shedding light on many of the peculiarities of the target language at the time the translation was completed and establishing the chronologic sequence of certain changes in the languages. The primary methods used in the study are the analysis of academic literature on the problem, consolidation of the prior research of synonyms in Russian and Tatar, studying text sources and dictionaries and comparison between the lexical units. The study shows that synonymic units found in the diachronic translations can be of varying degrees of equivalence. The most frequent in the diachronic translations of the Quran are the so-called partial synonyms, and this reflects the translators’ attempts to single out one specific lexical-semantic variant or a certain seme.</p>

Abstract Based on a new type of online data, danmu comments, this article examines the reception of the English-dubbed Chinese drama Journey to the West (Season II). This drama was adapted from a classic Chinese novel of the same title. Studies on dubbing reception have focused on how audiences understand and appreciate dubbing products. However, this article approaches dubbing reception from the perspective of usability, conceiving reception as using translations for certain purposes. I first collected danmu comments on the dubbed version from Bilibili, the most popular danmu video-sharing website in China. A multimodal discourse analysis of these comments shows that the dubbed Journey has been used for Chinese viewers to learn English. Danmu interface functions like a “blackboard” to provide back translations for viewers, helping them better understand the English lines. By proposing the concept “danmu-assisted learning through back translation,” this study argues that dubbed material could be useful in language learning. Such informal language learning may inspire the industry to develop a danmu-based learning software for foreign languages, which could be applied in a pedagogical setting. This article reveals new temporal features of danmu subtitling, including antecedent, concurrent, and delayed danmu translations, potentially facilitating learning in various ways. It also contributes methodologically to AVT reception studies by using danmu comments to study viewers in a naturalistic setting without researcher intervention.

This article examines cases where translators are confronted with messagesm whose meaning is obscured by a simple cipher. Russian translators had to overcome certain difficulties while translating certain passages in the works of British (Sir Arthur Conan Doyle, Agatha Christie) and American (Edgar Allan Poe, Dan Brown) fiction writers. Substitution code (―The Gold-Bug‖, ―The Adventure of the Dancing Men‖), anagrams (―The da Vinci Code‖), as well as different kinds of text steganography (―The Gloria Scott‖, ―The Four Suspects‖) can be used to encrypt the information. Each case is illustrated with two examples. The translator has to depict not only the very process of deciphering a message, but also render its cryptic nature with the means of a target language (Russian). We show, that in half of the cases it is a mere translation of the deciphered text. It is a simpler way, because there is no need to create an analogue thereof. The grand purpose, however, remains unachieved. In two instances there were multiple translations of the same text (6 of ―The Gold-Bug‖ by E.A Poe and 9 of ―The Four Suspects‖ by A. Christie). This phenomenon can be explained not only by the popularity of the stories, but by the relatively small circulation of certain editions. We have undertaken a comparative analysis of these translations and have revealed discrepancies, concerning more and less significant translation units and, in some cases minor errors.

This article examines cases where translators are confronted with messagesm whose meaning is obscured by a simple cipher. Russian translators had to overcome certain difficulties while translating certain passages in the works of British (Sir Arthur Conan Doyle, Agatha Christie) and American (Edgar Allan Poe, Dan Brown) fiction writers. Substitution code (―The Gold-Bug‖, ―The Adventure of the Dancing Men‖), anagrams (―The da Vinci Code‖), as well as different kinds of text steganography (―The Gloria Scott‖, ―The Four Suspects‖) can be used to encrypt the information. Each case is illustrated with two examples. The translator has to depict not only the very process of deciphering a message, but also render its cryptic nature with the means of a target language (Russian). We show, that in half of the cases it is a mere translation of the deciphered text. It is a simpler way, because there is no need to create an analogue thereof. The grand purpose, however, remains unachieved. In two instances there were multiple translations of the same text (6 of ―The Gold-Bug‖ by E.A Poe and 9 of ―The Four Suspects‖ by A. Christie). This phenomenon can be explained not only by the popularity of the stories, but by the relatively small circulation of certain editions. We have undertaken a comparative analysis of these translations and have revealed discrepancies, concerning more and less significant translation units and, in some cases minor errors.

The article considers the specifics of Korney Chukovsky’s perception of dramatic art of Edmund John Millington Synge (1871–1909), one of the greatest personalities of national revival of Ireland. Synge, who created his works in English, not only revived legends of his nation, but also expanded the idea of the Irish national originality, having offered his own vision of the image of an Irish of his time. Korney Chukovsky is the author of one of the first translations of Synge’s dramatic art into Russian (a comedy "The Playboy of the Western World") and of the introductory article to its publication in 1923. The article "Synge and His "Playboy"" reflects the Russian writer’s understanding of the moral and aesthetic questions of the play. According to Korney Chukovsky, tSynge's complex art method was formed under the influence of the ideas of revival of the national drama theatre. This direction in perception of Synge’s heritage was determinative in Russian literature and, in general, reflected the nature of the attitude of Russian cultural consciousness to the Irish playwright’s creative work.

The article focuses on semantic and pragmatic aspects of using interactive egocentric units (such as personal deixis and discourse markers) in Russian literary translations of English prose. These units are usually employed to create images of the narrator and its addressee in a text and to realize their virtual contact. The research based on the analysis of original narratives and their numerous translations (made from the end of XIX to the beginning of XXI century) describes the repertoire of lexical and grammar units performing interactive function in English and Russian texts. The article presents new classification of egocentric units, based on their functions in texts. The widespread trends in translating egocentric units are described in the article. Seven translations of Edgar Poe’s “Hop-Frog” are used as the material for examples.

Reflecting on my experience of translating contemporary Hungarian theater into English, this paper examines the fluidity of dramatic texts in their original and in translation, and charts collaborations between playwrights, translators and theater-makers. Mindful of the responsibility when working from a “minor” to a “major” language, the paper signals the discrepancy between the indigenous and foreign ‘recognition circuit’ and observes that translations from lesser-known languages are predominantly marked by a supply-driven agenda. Through case studies from the work of Transylvanian-Hungarian playwright András Visky, the paper argues that considerations regarding such key tenets of live theater as “speakability” and “performability” have to be addressed in parallel with correspondences in meaning, rhythm and spirit. The paper also points out that register and the status of certain lexical choices differ in various languages. Nuancing the trajectory of Visky’s plays in English translation, this paper makes a case for translations created with and for their originals, in full knowledge of the source and receiving cultures, and with a view to their potential in performance. The paper posits the need for multiple options encoded in the translation journey, including hypothetical concepts for future mise-en-scène, and situates the translator as a key participant in the performance making process.

Abstract Kim Suyŏng (1921–1968) is a Korean modernist poet whose works have been widely studied from the perspective of comparative and world literature. Yet, there is hardly any research on how his work is related to Russian literature. Given that he had little to no command of the Russian language, he used English translations to translate into Korean or comment on the Russian works selected for publication. His translations of Russian literature exhibit a consciousness of the characteristics of Russian literature, blended with Cold War English literature and post-colonial Korean literature. Referring to Pasternak’s poem “The Caucasus,” Kim noted that Pasternak’s journey in search of Russian roots was comparable to his pursuit of the “gigantic root” in post-colonial Korea. These two poets shared common ground in that both delved deep into tradition during the Cold War, when tradition was rejected as being reactionary.

Chekhov’s works have been actively translated into English for 130 years; however, these translations have scarcely been addressed systematically and remain understudied. This is especially relevant in case of his stories and novellas. This article focuses on the translations of Chekhov’s The Steppe - a novella that marked the writer’s transition from early stories to mature prose. The 20th and 21st centuries have seen five English translations of The Steppe, which mark five main stages of its reception. The novella was first introduced to the English-speaking reader by E.L. Kaye in 1916. Though highly criticized for literalism and unsuccessful methods of translating Russian realia, Kaye’s translation played an important role in the development of the creative dialogue between Chekhov and K. Mansfield, which clearly reflected the influence of Chekhov’s prose on the formation of modern English literature. The canonical translations by C. Garnett determined Chekhov’s reception in England and the United States from the 1920s to the 1950s. The translator introduced Chekhov to the English-speaking reader as an artist of Russian life, a master in depicting various types of characters, and as a thorough researcher of a person’s inner world. This vision determined a specific perspective in the 1919 translation of The Steppe, where Father Christopher is foregrounded as a collective image of the Russian clergy. In the new stage of perception in the 1970s-1980s, Chekhov, a foreign writer, was organically accepted by the English-speaking culture as “its own”. This stage brought about the translation of The Steppe by R. Hingley, who authored two monographs about Chekhov and was the editor of The Oxford Chekhov (1964-1980). Hingley considered Chekhov’s mature prose as the most valuable part of the writer’s literary legacy. For the first time, The Oxford Chekhov adequately describes The Steppe as Chekhov’s landmark work. The strategy of cultural appropriation in Hingley’s translation implied modernization of Chekhov’s language. The translations by R. Wilkes (2001) and R. Pevear and L. Volokhonsky (2004) represent the latest stage in the English-language reception of The Steppe. They are associated with the general trend towards updating the corpus of translations of Russian classics into English in the 2000s. In their translation, Pevear and Volokhonsky use the strategy of estrangement, opposed to “smooth” translation, typical for English culture. The translators’ interest in the novella resulted from Chekhov’s genre innovation. All the translations of The Steppe are independent representations of the original, which demonstrate the productive reception of the novella in the English-language culture of the 20th and 21st centuries. Their comparative analysis has revealed that the biggest challenge in translation is the image of the steppe, which is associated with the main philosophical meanings of the work. This is evidenced by the significant transformations of the motifs of space and distance, which form the spatial dominant of the image in the original. In most translations, the semantically integral motifs of the original break into a number of components with weaker meanings. The research has shown that these transformations come from objective cultural and linguistic differences that limit the possibilities of a full-fledged translation, as well as from individual strategies of translators, who differently assess the role and meaning of these verbal motifs in the original text. The authors declare no conflicts of interests.

The article examines the translation of Russian literary works in 21stcentury Bulgaria. The reasons for the decline of the process at the beginning of the century are discussed. Reference is made to the editions of new works by authors who are already popular among Bulgarian readers (V. Pelevin, S. Lukyanenko, B. Akunin, S. Minayev, A. Bushkov), as well as writers who are relatively new to the Bulgarian public (E. Vodolazkin, S. Lebedev, A. Salnikov, D. Rubina) and recent translations of the works of authors who started their literary activity back in the 20th century but who have not been published in Bulgaria until recently. Although modern Bulgarian publishers and translators are mainly interested in Russian prose, we also mention some trends in the reception of poetry and drama and the presence of Russian literature on Bulgarian theatrical stage. Bulgarian publishers, scholars and translators who popularize contemporary Russian prose are named, as well as the events (such as the annual national award of the Bulgarian Translators’ Union), the main objective of which is cultural cooperation of the two countries. Translations of Russian literary work in Bulgaria during the politically unstable situation (from February 2022 up to present) are considered, as well as the possibility of publishing such translations in our time.

The paper considers the peculiarities of translation of such a stylistic feature in G. Flaubert’s novel "Madame Bovary" as a semicolon. The research featured extracts from six English translations and focused on the use of semicolons in complex sentences in position between clauses without conjunction and before et. The continuous sampling method and the comparative method were employed to detect and analyze the punctuation mark and its use. The research objective was to verify whether the author’s punctuation was translated and to what extent. The analysis of the corpus shows that, despite some individual preferences, translators respected isomorphism in punctuation in the great majority of cases, i.e. they used semicolon and equivalent conjunctions. Isomorphism’s percentage appeared higher than in Russian translations, which was possibly due to the fact that English punctuation system has more in common with the French than with the Russian one. The degree of fidelity can possibly be explained by the strategies used by a particular translator rather than by the contemporary punctuation tendencies. The results of this research can be used in preparation of multilingual corpora of parallel texts, as well as in textbooks on comparative grammar and syntax.

“Eugene Onegin” is the first Russian realistic novel. Pushkin noted that all events in it he wrote due to the calendar. In “Eugene Onegin” Pushkin gave the full picture of the life in Russia in 20s. For this reason, Belinski called the novel “encyclopedia of Russian life”. In comparison with the other languages there are a lot of adjectives in Russian. As it is seen from the Pushkin’s “Eugene Onegin” the author used adjectives in order to describe the objects. The novel was translated into English by Johnston and Ledger. Translation of the similes is complicated, because there is not such a notion “simile” in Russian. Therefore, it is very important to differentiate comparison and simile. What kind of translation preferred more? There are equivalent, analogical, descriptive and approximate methods of translation, which both translators used in their translations. The reason of which method of translation the translators preferred depends on the context and cultural elements, realties, historical facts, traditions and customs, which are different in Russia and in England. Therefore, the translators selected the best method which transfers the meaning of the Source Text perfectly, without losing its colorfulness. In general, the article consists of the lines taken from the original which are compared with the two versions of translations made by Johnston and Ledger. Both translators tried to transfer all colorfulness, emotions, customs and traditions to the Target language reader. The methods of translations used by translators are reflected in analyzes which are given under each example.

Тhis paper aims to reconsider the influences of Western-European drama of the XVII century on the creation of Russian baroque and the first drama writer in Russia Simeon Polotsky. During the initial period, Russian theatre, especially during the XVI and XVII centuries, was under the strong influences of Western theatre culture. This paper reconsiders the influence of German, French, English and Polish theatre plays. Plots of his playwright were popular and well known in Western European literature from the XII century. In this paper, we tried to reconsider those influences on the example of his drama Nebuchadnezzar the Tsar. This drama plot was well-known in Western European theatre, and Simeon Polotsky knew some of them.

From the start of the Gaelic Revival in the 1890s to the present day, various Russian authors have appeared in Irish in translation, from Tolstoy, Chekhov and Pushkin in the early days to Kharms and Pelevin in more recent times. Although it is unlikely that many of those who have translated into Irish were doing so from the original Russian, this was indeed the case in several instances. The aim of this paper is to thus take a look at several of these translations from Russian in more detail, namely some of those done by Liam Ó Rinn, Maighréad Nic Mhaicín, an tAthair Gearóid Ó Nualláin and, in more modern times, by the author of this paper, and to examine the translators’ approach to the texts, in order to see how they made use of them to present their Irish-language reader with diverse cultural, linguistic or literary information. From the point of view of culture, this paper will also look at how they set about the task of rewriting Russian names and nouns in their Irish texts, looking at whether they relied on English forms, or attempted to rewrite them in Irish according to its strict orthographic rules. This is in contrast to the English – and other – translations of the same eras, which tended to ignore such opportunities to expand their readers’ knowledge of Russia and the Russians and about which, in relation to one recent translation, one reviewer said it was “a missed opportunity”.

A neat anthology of translations presents familiar items of Old English, plus snippets from the Anglo-Latin of Bede. It parallels the hundreds of volumes (some in Russian or Japanese or Turkish) listed in Hans Sauer’s 205 Years of “Beowulf”: Translations and Adaptations (Trier: WVT, 2011). It is another worthy attempt to open windows on England’s earliest literature.

The article, in a pioneering effort, offers to consider the history of the Russian reception of the fable creativity of the English writer John Gay (1685–1732), from its beginnings to the present day. It is noted that close attention to the fables of J. Gay in the last quarter of the 18th century, this was largely due to the interest of the Russian society in novelties in French books; as a result, prosaic translations of poetic texts from an intermediary language prevailed, against which the poetical readings of English originals created by I. Ilyinsky were undoubtedly more successful. The subsequent “surge” of interest in J. Gayʼs fable heritage at the end of the XIX century connected with the demand of society for the works of foreign authors, accessible to the mass, common reader, focused on the traditional culture of their countries. In the Soviet period, J. Gayʼs fables found themselves on the periphery of the preferences of translators and critics who interpreted mainly the writerʼs dramatic texts (“The Beggarʼs Opera”, “Polly”). The research of A.I. Zhilenkov and the translations of E.D. Feldman, published in recent decades, marked a new stage of the Russian reception, characterized by the identification of the artistic originality of Gayʼs fables, the desire for the most complete, holistic perception of the heritage of the Gay-fabulist, taking into account ancient and English literary traditions.

The bibliography provides a list of Boris Uspenskij’s publications in English, including works written in co-authorship and various reprints/reissues. For the most part, Uspenskij’s publications in English are translations of his books and articles originally written in Russian and previously published in the Soviet Union/Russia. The first English-language publication of his work, the monograph Principles of Structural Typology appeared in 1968; the current bibliography consists of 65 entries from a period spanning from 1968 till today.

The paper considers characteristics of gastronomic discourse through the lens of the audiovisual translation being one of the most popular and demanded types of translation today. The paper is a review of the main theoretical treatments of discourses and terminological aspects related to the topic “food”. A great variety of approaches to defining and classifying the main concepts of such studies (P.P. Burkova, I.E. Zaĭceva, N.N.Kacunova, F.L. Kosickaya, A.V. Olyanich) indicates that the issue is open to discussion and serves as a motivation for our research. Purpose. The study aims to find translation strategies in rendering gastronomic discourse from English into Russian. Material and methods. Jamie Oliver’s TV cooking shows from 2005 to 2017 and their translations into Russian made by Foxlife, Telecafe, Kuchnya TV channels. Contrastive method and critical analysis are used as the main methods of the study. Results. The paper describes effective translation strategies of gastronomic discourse from English into Russian, systematizes common translation mistakes and offers their possible solutions. Practical implications. The results can be used in translation and interpreting when rendering the English content into Russian for further dubbing of TV cooking shows; in further studies of gastronomic discourse; in university courses of stylistics, theory and practice of translation; in teaching language training methods.

The paper analyses a cross-cultural asymmetry in scientific papers and their titles in Russian and in English, exposes most characteristic distinctions between authentic scientific paper titles in both languages and shows explicit incongruency between authentic paper titles in English and those literally translated from Russian, which often demonstrate cross-linguistic interference between Russian and English academic style. Special attention is payed to its reasons and the ways to overcoming it, as well as to discrepancies in Russian vs. English academic style predetermined by their different grammatical organization and culture-specific cognitive and communicative dominants in the interaction between the author and the reader. The extensive corpus-based empirical data for the carried out contrastive investigation covers authentic scientific paper titles in Russian, their published translations into English, and authentic scientific paper titles from leading international linguistic journals, published in English in 2018-2020 and indexed in Scopus. The overall corpus volume is 7800 titles.

The present paper compares translations from Russian into Finnish, Swedish, and English of a work of political non-fiction, Всякремлевскаярать: КраткаяисториясовременнойРоссии(lit. All the Kremlin men: A short history of contemporary Russia) by Mikhail Zygar (2016a) and investigates the use of information change as a translation strategy. Information change covers addition and omission of non-inferable content, used either separately or sequentially (i.e. addition following omission resulting in substitution). De Metsenaere’s and Vandepitte’s (2017) notions of addition and omission are applied. The study shows that the translations into Finnish and Swedish exhibit similarly infrequent use of information changing strategies while the English translation appears more liberal in their use. Possible reasons for the additions, omissions, substitutions, and their effects are discussed, as is the potential impact of the English translations on translation norms

The article deals with the translations of Fyodor Tyutchev’s poems into English made by the British poet and translator Charles Tomlinson (1927–2015). Poetic works present a serious challenge for those engaged in literary translation. Until the present day, the criteria for estimating the adequacy of poetic translation have been a question under discussion and deep consideration; the issue of poetic translation has been studied by both Russian and foreign scholars. In this regard, the works of Charles Tomlinson as a poetry translator from Russian into English offer new opportunities for a detailed study of his translation method, characterized by the desire to penetrate into the essence of the original works and preserve their lyrical and aesthetic components, as well as by Tomlinson’s intention to introduce Russian classical literature to English- speaking readers. The article analyzes in detail the main characteristics of literary and in particular poetic translation, shows different approaches to translating poetry and reveals both the specific features of translation transformations and the principles of their use. It also provides a comparative analysis of Tomlinson’s English translations of poems by Tyutchev, namely Silentium! and Spring, and the original texts. This study shows that the English poet often imparts his own unique and recognizable style to Tyutchev’s works, which is manifested in omitting repetitions and epithets in the original poems and adding new details to his translations. Tomlinson’s style can also be seen in the overcomplicated syntax of the transformed poems. On the other hand, there is a strong similarity between Tomlinson’s translations of Tyutchev’s famous poems and the original poetic works due to the translation transformations used. As the research reveals, modulations and transpositions are the most frequent transformations in Tomlinson’s modified versions of the original.

The article examines two Russian translations of Terry Pratchettʼs novel “Monstrous Regiment”. Unlike works that deal with the adequacy of translation, this study proposes the approach to translation from the point of view of reception: the transformations occurring during the translation of the novel from English into Russian and the differences between Russian Pratchett and the original. The comparative analysis focuses on cases of transcoding of intertextual inclusions, which are an integral part of all the works of the British writer. This comparative analysis of the translations shows that everything irrelevant for the host culture leaves the translation: the mocking tone that permeates the entire text of the original and the very concentration of the comic element, which is an expression of the English sense of humour; precedent texts unknown for the host culture. These “losses” lead in translations to the disappearance of the additional dimensions of Pratchettʼs novel, which, like any postmodern text, is simultaneously focused on all layers – from the intellectual to the general reader. At the same time, the translation retains an important aspect for Pratchettʼs prose, associated with parodying traditional characters and hackneyed plots of fantasy literature. It is the aspect, coupled with the non-trivial development of the plot and the constant play with readers’ expectations, that has brought the writer popularity among Russian fans of the fantasy genre.

This article is dedicated to the Russian translations of the Dutch novel Max Havelaar or the coffee auctions of the Nederlandsche Handelmaatschappy (1860) by Eduard Douwes Dekker (1820–1887), who published his work under the pseudonym Multatuli. Max Havelaar is one of the best known and most translated works of Dutch literature. There are six complete Russian translations published between 1916 and 1959, which have not yet been analyzed. The authors hypothesize that German is the intermediate language in the Dutch-Russian literary transfer as research has shown that German often served as an intermediate language for translations into Scandinavian and Slavic languages during this period. In the specific case of Max Havelaar, the German translation by Wilhelm Spohr, who moved in circles of anarchists, served as an intermediate text. The authors also investigated whether the Russian translators used the English translation of 1868, but this was not the case. In the first part of this article, the biographies of the Russian translators, authors of forewords and editors who worked on the Russian translations are examined. In the second part, excerpts from the novel are compared with the translations to analyze the relationship between the texts. The results of the research confirm that the first Russian translations were based on Karl Mischke’s German translation, which had appeared almost simultaneously with Spohr’s. Traces of this translation can also be found in later texts. To the authors’ knowledge, it has not been shown before that Mischke’s translation and not Spohr’s was used as an intermediate text.

The article gives an overview of translations of Joseph Conrad’s works into Lithuanian during the Soviet period (1940–1990), in an attempt to answer the question why some important titles belonging to the English Conradian canon had not been translated. Conrad’s Lithuanian translations are discussed in the broader context of translations into Russian in the former USSR, comparing to what extent the processes were similar and where they differed. On the basis of Soviet literary criticism, official publications in Russian and in Lithuanian, and paratexts in published translations, the article traces how the image of Conrad and his works was constructed for the Soviet readership. The article concludes that Conrad’s case was a form of less obvious (invisible) censorship when the writer is not banned, but through a careful selection of works for translation relegated to a narrow genre niche and ousted to the periphery of the Soviet canon of translated classical English literature. His socio-political novels (Secret Agent among them) were eliminated from translation into Lithuanian precisely because of their direct or indirect references either to Russia or to political themes. The comparison of Conrad’s bibliographies in translation reveals that Conrad’s presence in Lithuanian translations and literary research is markedly smaller than in Russian, which suggests that Conrad’s works were deemed more undesirable and access to them more restricted in one of the Western republics of the Soviet state than in its centre.

The article examines the features of the translation of linguapoetics elements into Russian and English in Magzhan Zhumabaev’s poem “To Madam Gulsim”. Poetic translation is the highest peak of literary translation. Deep, subtextual thoughts are brought into a certain rhythmic form by various artistic and figurative means, and when every word becomes important, the burden placed on the translator becomes heavier. Translation into other languagesof the poetry of Magzhan, a master of the poetic word, is only now being studied. Therefore, we aim to identify successful moments of translation and emerging gaps, comparing artistic and visual means that meet the aesthetic effect in the original and translated text from a lexical-semantic and structural point of view. Also, in the original/translation pair, external parameters and structure are analyzed that give the poem a certain melody and rhythm at the level of syllables, stanzas and rhymes. The results of the study determine the quality of translations of the poet’s po- etry and further contribute to enriching the experience of translation into foreign languages. It is determined which poetry translation strategy (According to J. Holmes and A. Lefever) corresponds to three versions of the translation in Russian and the English translation, and the extent to which it influenced the original content and idea, the artistic form, is interpreted. Currently, only twenty of the poet’s poems have been translated into English. Since Russian serves as an intermediate language for many translations, Russian translations require special analysis.