Translation and Culture Literature: Лотман Ю. М. Структура

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>Translation and Culture Literature: Лотман Ю. М. Структура художественного текста. Семиотические исследования по теории Translation and Culture Literature: Лотман Ю. М. Структура художественного текста. Семиотические исследования по теории искусства. – М.: Ис-во, 1970. – 384 с. Толстая Т.Н. День: Личное. – М.: Подкова, 2001. Якобсон Р. О. Избранные работы / Пер. с англ., нем., фр. – М.: Прогресс, 1985. – 454 с. Lefevere, Andre (ed.). Translation / History / Culture: A Sourcebook. – London and New York: Routledge, 1992. – 182 p. Lefevere, Andre. Translating Literature: Practice and Theory in a Comparative Literature Context. – New York: The Modern Language Association of America, 1992. – 165 p. (Reprinted 1994). Newmark, P. About Translation. – Clevedon– Philadelphia – Adelaide: Multilingual Matters Ltd., 1991. – 184 p. Newmark, P. Paragraphs on Translation. – Clevedon, Philadelphia, Adelaide: Multilingual Matters Ltd., 1993. – 200 p. Nida, E. Language Structure and Translation: Essays by Eugene A. Nida / Selected and Introduced by Anwar S. Dil. – Stanford, California: Stanford University Press, 1975. – 284 p. Toury, Gideon. Descriptive Translation Studies and Beyond. – Amsterdam – Philadelphia: John Benjamins Publishing Company, 1995. – 312 p. Venuti, Lawrence. The Translator’s Invisibility: A History of Translation. – London and New York: Routledge, 1995. – 353 p. Venuti, Lawrence. Translation and the Formation of Cultural Identities / Current Issues in Language and Society. – Clevendon: Multilingual Matters Ltd., 1994. – Volume 1. – № 3. – P. 201-217.

>Plan: 1. The definition of translation; 2. Two main strategies of translation; 3. The Plan: 1. The definition of translation; 2. Two main strategies of translation; 3. The category of reader.

>Tatyana Tolstaya writes: “…І раптом мені повністю відкрилася складність каторжної праці перекладача, його подвиг, Tatyana Tolstaya writes: “…І раптом мені повністю відкрилася складність каторжної праці перекладача, його подвиг, який практично нічим не винагороджується, мало ким цінується і є потаємним. Подібно до Адама, він (перекладач), вимушений знову і знову давати імена речам, предметам, поняттям чужого саду, який таємно і пишно буяє за огорожею. Але сад змінюється, відцвітає, опадає, заростає і глохне, вискользує, перетворюється, відпливає кораблем від причолу і розчиняється в тумані, з нами ж залишаються лише неясні обриси вітрил та скрипіння снастей”.

>According to a prominent translation scholar Andre Lefevere, “translation is not the transfer from According to a prominent translation scholar Andre Lefevere, “translation is not the transfer from language to language, but from culture to culture”.

>Eugen Nida comes to the conclusion, that “differences in cultures can result in more Eugen Nida comes to the conclusion, that “differences in cultures can result in more serious problems for the translator, than the structural differences between languages”.

>Yurii Lotman, a famous semiotician, claims that “no language can exist unless it is Yurii Lotman, a famous semiotician, claims that “no language can exist unless it is steeped in the context of culture; no culture can exist which doesn’t have at its center the structure of natural language”.

>Artistic World Picture Artistic World Picture

>One of the characters, Mikhail Berlioz, was wearing what Bulgakov calls «шляпа пирожком», meaning One of the characters, Mikhail Berlioz, was wearing what Bulgakov calls «шляпа пирожком», meaning a particular type of hat, worn in a particular fashion. The translator expressed it as follows: “He was carrying a hat as if it were a cake” (Michael Glenny).

>There are two main strategies of translation: the first is known as “foreignization” – There are two main strategies of translation: the first is known as “foreignization” – «очуження» (H.Коchur), and the other - as “domestication” – «одомашнення» (M. Lukash). Domestication – is adjusting the Source Culture into a Target Culture. Foreignization – is introducing the Source Culture into a Target Culture.

>According to R. Yakobson, “this is also a kind of translation – intersemiotic, in According to R. Yakobson, “this is also a kind of translation – intersemiotic, in which one system of signs is represented by another system of signs”.

>The ideal reader is the reader to whom the author ascribes the “knowledge” of The ideal reader is the reader to whom the author ascribes the “knowledge” of certain factors and the memory of a certain experience alongside with a necessary level of language competence.

>In Victorian times, there was a very popular non-alcoholic beverage called “negus”, which was In Victorian times, there was a very popular non-alcoholic beverage called “negus”, which was often mentioned in the works of Ch. Bronte, J. Galsworthy, Ch. Dickens, W. Thackeray, W. Collins and others. In the translations of the novel “Jane Eyre” by Ch.Bronte into Ukrainian language, done by P.Sokolovskyi, and into Russian language, done by V.Stanevych, this beverage was translated as «грог».

>According to the explanation in the dictionary “negus” – is a beverage, made with According to the explanation in the dictionary “negus” – is a beverage, made with water, sugar, lemon juice and nutmeg, named after an English soldier Francis Negus, who invented it.

>Olga Slipa – «гаряче вино з корінням». Olga Slipa – «гаряче вино з корінням».

>Although «чай з лимоном» seems to be the nearest contextual substitution. Although «чай з лимоном» seems to be the nearest contextual substitution.

>In the novel “David Copperfield” the name of this beverage was translated as «глінтвейн» In the novel “David Copperfield” the name of this beverage was translated as «глінтвейн» (mulled wine), that is nearer to “negus”, because it is made with a dry wine, citric plants, sugar, cinnamon, clove – there is no water in mulled wine, so it is stronger. In the context of the Dickens’s novel “negus” is given as a strong drink, cause doctor Chillip becomes drunk very quickly, so the choice of the variant «глінтвейн» among the group of adjacent drinks: grog - грог, mulled wine - глінтвейн, negus - нігус seems to be quite appropriate.

>As Peter Newmark appropriately mentions, “the additional information, which the translator can introduce into As Peter Newmark appropriately mentions, “the additional information, which the translator can introduce into his version is for the most part cultural information”.

>“…Adele was leading me by the hand round the room, showing me the beautiful “…Adele was leading me by the hand round the room, showing me the beautiful books and ornaments on the consoles and chiffoniers”. – «…Адель водила мене за руку по кімнаті та показувала мені гарні книжки та прикраси на консолях та шифоньєрках».

>console” – 1. a flat board, that contains the controls for a machine, piece console” – 1. a flat board, that contains the controls for a machine, piece of electrical equipment, computer, etc; 2. a special cupboard in which a television, computer, etc is fitted: 1) пласка дошка, на якій розташовано пульти управління для електрообладнання, комп’ютера; 2) спеціальна шафка, у якій розміщено телевізор, комп’ютер тощо.

>“…Jos selected a plain black coat and waistcoat from his stock, and put on “…Jos selected a plain black coat and waistcoat from his stock, and put on a large white neckcloth, and a plain beaver”. – «І надів бобрикового капелюха, якби він мав крислатого капелюха, то надів би його. Але він і так, як ви собі можете уявити, був схожий на опасистого пастора англіканської церкви».

>За словником “beaver” – 1) a hat made of beaver fur or a fabric За словником “beaver” – 1) a hat made of beaver fur or a fabric imitation; 2) silk hat; 3) a heavy fabric of felted wool or of cotton napped on both sides: шапка з натурального або штучного хутра бобра, шовковий капелюшок, а також фетровий (велюровий, касторовий капелюх).

>He ran his eye over my dress, which, as usual, was simple: a black He ran his eye over my dress, which, as usual, was simple: a black merino cloak, a black bonnet; neither of them half fine enough for a lady’s maid”. – «Він замовк, окинувши поглядом мою одіж, що, як завжди, була дуже проста: чорний мериносовий плащ, чорний касторовий капелюшок – і те, й те надто скромне навіть для покоївки».

>“There were several people on the pavement at the time, but the greeting appeared “There were several people on the pavement at the time, but the greeting appeared to come from a slim youth in an ulster who had hurried by…”. “At the corner of Grosvenor Square and South Audley Street a man passed him in the mist, walking very fast, and with the collar of his grey ulster turned up”.

>За визначенням, поданим у словнику, “ulster” – a long loose overcoat, often belted (after За визначенням, поданим у словнику, “ulster” – a long loose overcoat, often belted (after Ulster, Ireland, where such coats were originally made): ольстер – довге широке пальто, нерідко з поясом (названо від Ольстеру в Ірландії, де такі пальта з’явилися вперше).

>«На тротуарі в цей час було кілька чоловік, але доброї ночі побажав, очевидно, стрункий «На тротуарі в цей час було кілька чоловік, але доброї ночі побажав, очевидно, стрункий у довгому пальті юнак, який швидко пройшов повз нас». «На розі Гровнер-сквер і Саут-Одлі-стріт повз нього в тумані хутко промайнула постать у довгому пальті з піднятим коміром і з валізкою в руці».

>“…so much was I flattered by this preference of the Gallic sylph for her “…so much was I flattered by this preference of the Gallic sylph for her British gnome, that I … gave her a complete establishment of servants, a carriage, cashmere, diamonds, dentelles, etc”. «…я настільки був улещений однією перевагою, яку галльська сильфіда віддавала британському гномові, що найняв для неї будинок, цілий гурт челяді, купив екіпаж, дарував їй шовки, діаманти, мереживо…».

>Barouche, brougham, cab, carriage, chariot, dog-cart, equipage, hansom, landau, one-horse conveyance, phaeton, sociable, Victoria. Barouche, brougham, cab, carriage, chariot, dog-cart, equipage, hansom, landau, one-horse conveyance, phaeton, sociable, Victoria.

>“The Captain, with shells on his frock-coat, and a crimson sash and sabre, presented “The Captain, with shells on his frock-coat, and a crimson sash and sabre, presented a military appearance…”.

>– «…у мундирі з еполетами, підперезаний малиновим паском і з шаблею при боці». – «…у мундирі з еполетами, підперезаний малиновим паском і з шаблею при боці».

>sash” – a beltlike length of cloth worn round the waist as part of sash” – a beltlike length of cloth worn round the waist as part of a garment, or (in ceremonial dress and usually as a mark of some honour) over the shoulder: тканина, що зав’язувалася на талії замість паску, як елемент оздоблення, або (у офіційному вбранні, як відзнака) носилася через плече.

>У романі «Ярмарок суєти» “sash” означає «перев’яз» – необхідна частина військової форми того часу, У романі «Ярмарок суєти» “sash” означає «перев’яз» – необхідна частина військової форми того часу, тоді як «пасок» не відбиває особливостей парадного однострою Вільяма Доббіна.

>“…by the time she had her curls arranged in well-smoothed, drooping clusters, her pink “…by the time she had her curls arranged in well-smoothed, drooping clusters, her pink satin frock put on, her long sash tied, and her lace mittens adjusted, she looked as grave as any judge”. «З довгими, дбайливо зачесаними кучерями, в рожевій атласній сукні із зав’язаним бантом поясом, у мереживних рукавичках вона мала дуже урочистий вигляд».

>“But if he were sensitive to his surroundings he might think it a very “But if he were sensitive to his surroundings he might think it a very good room to eat muffins in for tea and he would slip his hand behind the cushions on the sofa in the certainty that he would find little lavender bags in the corners”.

>За словником: «Саше» [франц. Sachet] 1) ароматична подушечка, наповнена сумішшю твердих духмяних речовин, яку За словником: «Саше» [франц. Sachet] 1) ароматична подушечка, наповнена сумішшю твердих духмяних речовин, яку кладуть між білизною або папером, щоб надати їм аромату; 2) різновид торбинки, конверта, прикрашених вишивкою, стрічками, для зберігання носових хусточок, гребінців тощо».

>“…having drawn the red moreen curtain nearly close, I was shrined in double retirement”. “…having drawn the red moreen curtain nearly close, I was shrined in double retirement”.

>У словнику “moreen” – a coarse woolen or woolen and cotton fabric, embossed or У словнику “moreen” – a coarse woolen or woolen and cotton fabric, embossed or watered: цупка, вовняна або напіввовняна тканина з витканим блискучим візерунком. «Запнувши червоні штофні завіси, я з двох боків відгородилася від довколишнього світу».

>“I mounted into the window-seat: gathering up my feet, I sat cross-legged, like a “I mounted into the window-seat: gathering up my feet, I sat cross-legged, like a Turk,…”. – «Я присіла на підвіконні, схрестивши ноги, мов турок…».

>“A seat, often forming the lid of a chest, built into a window bay”: “A seat, often forming the lid of a chest, built into a window bay”: тобто, це комодик у еркерному вікні, відкидна кришка якого слугує сидінням, зручним для людини, яка читає: природне світло падає на книгу, а людина сидить спиною до вікна. Заслонами можна було ізолюватися від усієї кімнати, як у маленькому кабінетику.

>“…Gertrude won’t let me wear anything but pearls, and I am thoroughly sick of “…Gertrude won’t let me wear anything but pearls, and I am thoroughly sick of pearls. They make one look so plain, so good and so intellectual”. «Але Гертруда дозволяє мені носити тільки перли, а я їх терпіти не можу. В перлах я така скромниця, розумниця, пай-дівчинка».

>Blue is true, Yellow’s jealous, Green’s forsaken, Red’s brazen, White is love, And black Blue is true, Yellow’s jealous, Green’s forsaken, Red’s brazen, White is love, And black is death.

>“She was sombrely magnificent this evening in black bombazine, with a mauve front cut “She was sombrely magnificent this evening in black bombazine, with a mauve front cut in a shy triangle, and crowned with a black velvet ribbon round the base of her thin throat; black and mauve for evening wear was esteemed very chaste by nearly every Forsyte”. «Того вечора, вбрана в чорну бомбазинову сукню з скромною трикутною вставкою фіалкового кольору й чорною оксамитною стрічкою, пов’язаною навколо її худої шиї, вона була втіленням величної пишноти; майже кожен Форсайт вважав, що чорний і фіалковий кольори надають вечірньому вбранню цнотливої строгості».

>The bathroom was a long narrow rectangle, space-saving, coloured like sugared almonds. The fitments The bathroom was a long narrow rectangle, space-saving, coloured like sugared almonds. The fitments were a strong pink, tinged with a dusky greyish tone. The tiled floor was a greyish violet. With little bunches of ghostly Madonna lilies – they were of Italian design – on certain tiles, not all. These tiles extended halfway up the walls, where they met a paisley vinyl paper crawling with busy suckered globules, octopods, sea-slugs, in very bright purple and pink pottery, a lavatory-paper holder, a tissue-holder, a toothmug on a plate like those huge African lip-decorations, a scallop-shell holding pristine ovoids of purple and pink soap. The slatted, wipe-elean vinyl blind represented a pink dawn, with rose-tinged bulbous cumuli. The candlewick bath-mat, with its hide-like rubber backing, was lavender-coloured and so was the candlewick crescent snugly clutching the lavatory pedestal and so was the candlewick mob-cap cushioned protector worn by the lavatory lid. On the top of this, alert for house-sounds, and urgently concentrating, perched Professor Mormer P. Cropper. It was 3.00 a.m. He was arranging a thick wad of paper, a black rubber torch, and a kind of rigid matt black box, just the size to fit on his knee without bumping the walls”.

>Translation of fiction is much more complicated than the translation of other genres, as Translation of fiction is much more complicated than the translation of other genres, as it deals not only with bilingual, but also bi-cultural and bi-social transference. During the past two or three decades, developments in the fields of transformational theory, anthropology, semiotics, psychology, and discourse analysis have exerted great influence on general translation theory, enabling the discipline to broaden the areas of investigation and to offer fresh insights into the concept of correspondence on transference between linguistic and cultural systems.

>The most widespread ways of translation of non-standard lexical elements are: TRANSLITERATION / TRANSCRIPTION, The most widespread ways of translation of non-standard lexical elements are: TRANSLITERATION / TRANSCRIPTION, LOAN TRANSLATION, INTRATEXTUAL EXPLANATIONS, GENERALIZATION, CONCRETIZATION, CONTEXTUAL SUBSTITUTION, COMMENTS.

>In addition to the number of the most widespread means there can be referred: In addition to the number of the most widespread means there can be referred: GRAMMATICAL TRANSFORMATIONS, ANTONYMIC TRANSLATION, NEUTRAL TRANSLATION and many others.