literary translation
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The subject of scientific research is the textual analysis of the translation of one of the most famous gazelles by a brilliant Azerbaijani poet Nizami Ganjavi (1141-1209) "Amade bud" ("Came") from Persian into the Azerbaijani and Russian languages. The article discusses in detail the imagery created in these translations and their adequacy to the original, as well as a comparative semantic analysis of each beit; it interprets some situational free interpretations of the original made by translators. In each beit are analyzed the concepts on which the transmission of images is built in translation into Azerbaijani and Russian which in poetic translation include size, rhythm, a number of poetic figures and other artistic means. The study was carried out with the use of theoretical-literary and comparative-analytical methods and at the junction of literary criticism and translation studies. The novelty of the work lies in the fact that the research approach applied by the author in comparative analysis allows us to identify methods and means of rendering the high imagery of the primary source in translations of the classical gazelle into Azerbaijani and Russian by recognized poets-translators − Jafar Khandan (1911-1961) and Arseny Tarkovsky (1907-1989), which makes an undoubted contribution to the development of the basic translation problem − the adequacy of literary translation. Naturally, the concept of imagery in the three texts is expressed differently, due to the typological differences of the compared languages. The Azerbaijani language is agglutinative, while the Persian and Russian languages are inflective. Accordingly, in the comparative analysis all the linguistic subtleties of each language are taken into account in the process of poetic imagery creation as well as their adequacy. Also, a detailed textual conceptual comparative analysis of the poetic text of one gazelle in three languages − the original Persian and translated Azerbaijani and Russian − allows us to draw an important conclusion that an adequate translation fiction text is undoubtedly a work of art in itself that has a long-term aesthetic and substantive value, which makes the position of a number of translation scholars insisting on the need of updating translations irrelevant.

This article investigates perceptions of technology-mediated translations of literary texts by two groups: translation students and professional literary translators. The participants post-edited an excerpt from a classic Dickens novel into Turkish using a machine translation (MT) system of their choice. The analysis of the post-edited texts, participants’ answers to survey questions, and interviews with professional translators suggest that MT is currently a long way from being an essential part of any literary translation practice for the English–Turkish language pair. Translators’ interactions with MT and negative attitudes toward it may change in a positive direction as MT improves and translation practice evolves.

Translation allows readers to enjoy literary works from all over the world without being constrained by foreign language mastery. For Producing commensurate literary works, translation strategies are employed to deal with different language systems. This research aims at investigating strategies employed by the translator in translating the Indonesian literary work into English. This Descriptive-Analytical Study has been completed by qualitative and quantitative methods. The data sources used are the Indonesian short story Apel and Pisau by Intan Paramaditha and its translation. The 219 collected data are analyzed by using Kazakova’s theory of literary translation. The results in this study indicate that the translator used (1) The Observer Strategy 70,78% (155 data), (2) The Helper Strategy 23,74 % (52 data), (3) The Adherent Strategy 3,65 % (8 data), and (4) The Enlightener Strategy 1,83% (4 data). The study reveals that the strategy dominantly prevailed is the observer strategy (70,78%), and the most dominant approach is unbiased (74,71 %). Also, it is found that the translation ideology is foreignization, where the translator tries to keep the sense of originality of the author’s work.

Аннотация. В статье рассмотрены язык и стиль, особенности их передачи при переводе с алтайского языка на русский и якутский языки повести «Пепел звезд» Дибаша Каинчина. Проанализированы особенности индивидуального стиля прозаика: система культурных взглядов, художественные приемы, способы их сохранения при переводе, методы трансформации образов с языка оригинала на русский и якутский языки. Авторы попытались рассмотреть лингвопоэтически эквивалентные, так и лингвопоэтически неэквивалентные примеры из текстов переводов на русский и якутский языки анализируемой повести, обладающие художественными достоинствами. Актуальность темы исследования обусловлена необходимостью разработки переводческих стратегий, которые могли бы применяться при переводе текстов с родственных тюркских языков на якутский язык. Перевод художественных произведений, в которых отображаются особенности национального менталитета, обычаи и традиции, способствует взаимообогащению литератур, расширению сферы межнационального общения, воспитанию культуре межнационального общения. Цель исследования – выявить лексико-грамматические и стилистические особенности, отличающие авторский стиль (идиостиль) Д. Каинчина в повести «Пепел звезд». Задачи – проследить методы и способы, примененные переводчиком для сохранения стиля писателя на переводящих (русском и якутском) языках, опираясь на научные данные о переводе в смежных дисциплинах (лингвистика и литературоведение); осмыслить сущность художественного перевода и своеобразие индивидуального стиля писателя. В работе использован сравнительно-сопоставительный анализ оригинала произведения и его переводов на русский и якутский языки. Сравнительно-сопоставительный анализ произведения Д. Каинчина с его переводами позволил оценить адекватность передачи различных аспектов индивидуального стиля писателя. Также авторы пришли к выводу, что некоторые образы-символы, изобразительные средства, использованные в произведении, имеют общетюркские корни.

This paper is an interview with Vladimir M. Alpatov, Doctor of Philology, full member of the Russian Academy of Sciences, distinguished linguist, and expert on Japanese studies. The focus of the interview is intercultural communication and the problems associated with translating languages and cultural realities. The difference between cultures makes it necessary to provide extensive commentaries to make the text comprehensive to foreign readers. Though, Vladimir M. Alpatov notes, the comments depend on the purposes and types of translation, such as academic or literary translation. Symbols are part of a greater symbolic and cultural system. Often it is not the symbol but one’s attitude towards the object that causes misunderstanding and requires clarification. Vladimir A. Alpatov gives many examples of how the Japanese view and treat life differently from Russian people. Many discrepancies come from domestic life and economic practices: the Japanese are less knowledgeable about cattle than many other nations. At the same time, insects that are found all around the world receive special treatment and admiration. Vladimir A. Alpatov makes a critical point on the absence of a proper method of studying cultural differences. We observe and list numerous cultural differences, but explanations and theories we come up with have no solid methodological basis. Another topic discussed is machine translation and AI Linguistics used to be considered exact science that implied the possibility of machine translation not assisted by humans. However, it did not happen yet, and the need for human-to-human translation or post-editing is obvious. With literary translation and translation from unrelated languages, the case against AI is stronger — human intuition in translating cultural specifics is indispensable, and various translations rather than a single canonic one should be welcome. Differentiation of sciences brought about cultural studies and linguistic-cultural studies that finally embraced the study of language as one of the vital elements of culture. Today many students study foreign languages and are interested in intercultural communication. They need to learn that we can overcome bias and prejudices through personal contact. One more way to promote a different vision of one’s culture and country — is to speak about it in an understandable language, for example, on the Internet.

In the paper, we off er the translatological defi nition of the concept of culture, relevant for literary translation as a culturological phenomenon. We believe that the given defi nition combines the main aspects of its interpretation in culturology, socio-cultural anthropology, and intercultural communication. Such an approach allows outlining cultural background knowledge of the translator, which is necessary, on the one hand, for understanding of the text and, on the other, for the adequate translation of cultural information. The article analyses various theories of the understanding of culture and the tradition of its research in the translation studies, particularly in German translatology. The combination of interpretive, linguistic and translational turns in the cultural sciences is identifi ed as a perspective for translation studies. The attention focuses on the advantages and disadvantages of common interpretations. The paper considers the issues of meaningful and spatial defi nition of the concept of culture. The study characterizes the understanding of culture in the process of intercultural communication and the role of literary translation in it as well as clarifi es the peculiarities of the refl ection of culture in the literary text. The elements of culture that constitute translation problems are both extralinguistic concepts, i.e. phenomena and events that take place in a particular linguocultural community (the culture described by language), and “culturally conditioned” units of language as markers of a particular culture (the culture in language). In this research, we exemplify the possible ways of solving the problem of identifi cation and translation of cultural information in literary translation. It is important to complete a systematic description of culture in literary texts to enable its identifi cation at the macro- and microstructural levels. The article points out the need to consider the issue of identifi cation and translation of cultural information not only at the stage of implementation of the message in the language of translation, but also at the stages of decoding the source text and its recoding. The prospects for further research are outlined, which consist in the operationalization of the concept of culture at the empirical level, a systematic description of cultural manifestations in the source text, and a systematic approach to the reproduction of cultural information in the translated text. Key words: culture, translation studies, intercultural communication, literary translation, literary text.

The article deals with problems of literary translation on the lexical level. Translation strategies and techniques used to reproduce stylistically marked words and expressions of Thomas Brussig’s novel “Am kürzeren Ende der Sonnenallee” and the equivalency of their functions in the Ukrainian translation are explored. The word choice of the well known German author targeted at creating humorous or satirical tone in his novels constitutes his own individual style which is diffi cult to reproduce in other languages. That is why each new translation of his novel arouses a great interest of linguists and translatologists. The purpose of this article, therefore, was to classify the stylistically coloured vocabulary of the novel and to examine the lexical and stylistical choices of the translator S. Onufriv, especially the means chosen to render dialectisms, slang and jargon expressions, historical words from the GDR time, expressive personal nicknames, and denominations into Ukrainian. The main terms used in this article to describe the relation between the original text and its translation are “stylistic equivalency” and “stylistic density”, their application being explained based on the linguistic theories of translation (Fedorov, Retsker, Koller, Reiß). In the article, the comparative and descriptive methods as well as the quantitative estimations were used. Seven text fragments with 123 stylistically coloured expressions of lower register were chosen for our analysis. It revealed a higher stylistic density of the Ukrainian translation compared to the German text due to the use of stylistically lower vocabulary and Ukrainian dialect words used to substitute stylistically neutral words of the German author: 181 coloured words and expressions were found. The most important translation issues regarding the reproduction of dialect, slang words and of expressive names were defi ned. It was discovered that the eff ect caused by combining words of diff erent registers (formal and casual) had been lost in translation. Full stylistic equivalency of the youth slang translation as well as features of individual translator’s style were revealed. Several suggestions were made on how to avoid word-to-word translation in some places of the analyzed text fragments. To obtain the whole picture of formal translation equivalency, the tasks for further equivalency studies on other text levels were formulated. Key words: stylistically marked words and expressions, dialectisms, slang expressions, expressive personal nicknames and denominations, translation, stylistic equivalency, stylistic density

<p>This thesis is a case study in literary translation. It consists of a creative component (60%) — an anthology of contemporary New Zealand women poetry translated into Italian — and a critical component (40%) — an interdisciplinary commentary outlining the historical, linguistic, cultural, literary and translational aspects underpinning my work as editor, literary translator and scholar. My interest in New Zealand literature began with my Master’s thesis, when reading Keri Hulme’s 1985 Booker Prize winning novel the bone people exposed me to the linguistic and cultural specificities of literary works produced in Aotearoa/New Zealand. This interest was further ignited by reading Marinella Rocca Longo’s pioneering study of New Zealand poetry, La poesia neozelandese dalle origini inglesi ai contemporanei, published in 1977. To this day, Hulme’s novel remains untranslated in Italian and Rocca Longo’s monograph is the only comprehensive study about New Zealand poetry for an Italian-speaking readership, one with which I have engaged constructively and critically in the course of my studies. This doctoral thesis thus combines translation and poetry. More specifically, it asks itself what it means to translate contemporary New Zealand women poets into Italian. This choice is motivated by three aims, which complement the wider ambition to make New Zealand writing better known to Italian readers: to better reflect the ethnic richness of New Zealand literature; to highlight the major role played by women in developing and expanding New Zealand poetry; to discuss translation theory from a post-colonial and feminist viewpoint. These factors are reflected in the structure and contents of this thesis. A historical overview of New Zealand literature in general and of New Zealand poetry in particular as an example of post-colonial literature is followed by a discussion on which theories and practices of translation are ethically as well as aesthetically the most appropriate for the translation of post-colonial poetry written by women. The comprehensive anthology I have compiled and the commentary that accompanies it bring this discussion to life, celebrating not only the creative and scholarly contribution of the translator as an intercultural negotiator, but also the ethical responsibility underscoring this task. The opportunity to undertake this research in Aotearoa/New Zealand has made this study particularly intense as well as personal, as I negotiated and renegotiated the space between theory and practice, pushing myself to expand and deepen the choices a translator is called to make as a reader, as an interpreter, as a critic, and as a writer. I hope that this goal has been achieved in the negotiation between the theoretical, scholarly and creative parts of this project that are embodied in the outcome of this thesis.</p>