scholarly journals V. BRUSOV’S SONNET «TO A WOMAN» TRANSLATED BY D. BELYAEVA

2019 ◽  
pp. 268-273
Author(s):  
KRISTINE BEJANYAN
Keyword(s):  
William Shakespeare ◽  
English Translation ◽  
Mikhail Lermontov ◽  
Translation Analysis ◽  
English Speaking ◽  
Anna Akhmatova

The paper focuses on the English translation of «To a Woman», a sonnet by V. Brusov. The sonnet was translated by Dina Belyaeva, an American poetess, who had translated verses by Alexander Pushkin, Mikhail Lermontov, Anna Akhmatova, Alexander Blok, etc. In the meantime, she translated sonnets by William Shakespeare and verses by Emily Dickenson into Russian. The translation analysis concluded that D. Belyaeva managed to fairly represent V. Brusov’s sonnet to the English-speaking audience.

scholarly journals Perceptual images in camp prose and its English translation

2020 ◽  
pp. 293-307
Author(s):  
E. G. Basalaeva ◽  
◽  
N. V. Nosenko ◽  
Keyword(s):  
English Translation ◽  
Emotional State ◽  
The Novel ◽  
Degree Of Equivalence ◽  
Translation Analysis ◽  
English Speaking ◽  
High Degree ◽  
Special Atmosphere ◽  
Linguistic Means

The paper focuses on the key images of perception of the novel “Krutoy marshrut” by E. Ginzburg and its English translation “Journey into the Whirlwind” by P. Stevenson and M. Hayward. It is noted that one important way to describe the special atmosphere in the so-called “camp prose” is the perceptual vocabulary, a means of depicting impressions and relat-ed experiences. The leading channels of perception, actualized in the Ginzburg’s work, are auditory and olfactory. Sounds and smells receive the additional semantic load in the text. They act as markers of the borderline of prison’s and “worldly” spaces, signals of changes in the heroine’s physical or emotional state (they are often precursors of violence), a source of important information (most often it is knocking), a means of updating the mode of memories (the smells are mainly used for this purpose). The linguistic means of expressing perceptual images is the hearing and smell vocabulary (loud and tiny sounds, knock, roar, clang, screech, scream, ringing, silence, etc.; stink, smell, fragrance, etc.) and detailed metaphors (zoomorphic, natural, musical), often based on the syncretism of perception (sound, smell, vi-sion). The English translation analysis indicates a rather high degree of equivalence in the perceptual imagery transmission, with replacement or transformation of the most important images not excluded. The study showed interpreting and transmitting the author’s metaphors and syncretic (audio-olfactory and visual-audio) images to be the most difficult for transla-tion. The transformations used by the translators are necessary for the English-speaking read-er’s understanding of the complex perceptual images of the confessional novel.

scholarly journals A Historical-Liturgical Critique of וזרקתי מים טהורים “I will sprinkle clean water” in Ezek 36.25-27 and Its Translation Options in English

2018 ◽  
Vol 69 (1) ◽  
pp. 9-18
Author(s):  
Olugbemiro O. Berekiah
Keyword(s):  
English Translation ◽  
Clean Water ◽  
Source Text ◽  
Technical Term ◽  
Source Language ◽  
Religious Context ◽  
English Speaking ◽  
Rhetorical Force

The key themes of sanctification and regeneration in Ezek 36.25-27 make it an important and well-known passage among theologians and exegetes. However, the translation of מים טהורים in v. 25 as “clean water” in most English versions obscures the rhetorical force of the allusion to certain liturgical practices within the religious context of the source language. This paper considers the semantic connotations of מים טהורים by trying to understand the author’s rhetorical intentions. Historical-liturgical criticism is used to examine the religious context of the source text with a view to suggesting the most accurate English translation of this technical term which would convey its closest range of meanings to a contemporary English-speaking audience.

A Tribute to Lasègue's Description of Anorexia Nervosa (1873), with Completion of its English Translation

1990 ◽  
Vol 157 (6) ◽  
pp. 902-908 ◽  
Author(s):  
Walter Vandereycken ◽  
Ron Van Deth
Keyword(s):  
Medical Journal ◽  
Anorexia Nervosa ◽  
British Medical Journal ◽  
English Translation ◽  
Original Publication ◽  
English Speaking

Gull and Lasègue are usually credited with the first description of anorexia nervosa. In general, however, the work of the French neuropsychiatrist has been underestimated, and English-speaking colleagues who refer to Lasègue's writing on ‘hysterical anorexia’ almost exclusively rely on the translation of his French paper, which in 1873 appeared in a British medical journal, the same year as the original publication. However, some important passages had been omitted from the translation, and this has not previously been noted.

Identifying German–English cognates, false cognates, and non-cognates: methodological issues and descriptive norms

2001 ◽  
Vol 4 (3) ◽  
pp. 249-274 ◽  
Author(s):  
Brian M. Friel ◽  
Shelia M. Kennison
Keyword(s):  
Word Frequency ◽  
Cognitive Processing ◽  
Performance Measures ◽  
English Translation ◽  
Specific Character ◽  
Methodological Issues ◽  
German Word ◽  
Similarity Ratings ◽  
English Speaking ◽  
Translation Accuracy

We investigated 563 German–English nouns for the purposes of identifying cognates, false cognates and non-cognates. Two techniques for identifying cognates were used and compared: (i) De Groot and Nas's (1991) similarity-rating technique and (ii) a translation-elicitation task similar to that of Kroll and Stewart (1994). The results obtained with English-speaking participants produced 112 cognates, 94 false cognates, and 357 non cognates and indicated that the two techniques yielded similar findings. Rated similarity of German–English translation pairs and translation accuracy were positively correlated. We also investigated whether the presence of German-specific characters and the availability of German pronunciation information influenced similarity ratings and translation accuracy. Ratings for translation pairs in which the German word contained a language-specific character were lower and the word was translated less accurately. Participants provided with pronunciation information rated German–English translation pairs as being more similar and translated German words correctly more often than participants who did not receive pronunciation information. We also report the relationships among word frequency, rated imageability and the performance measures. The resulting database of information is intended to be a resource for researchers interested in cognitive processing in German–English bilinguals.

scholarly journals Reviewers as Readers with Power

2018 ◽  
Vol 9 (1) ◽  
Author(s):  
Arzu Eker Roditakis
Keyword(s):  
English Translation ◽  
Black Book ◽  
English Speaking ◽  
Orhan Pamuk ◽  
English Speaking World ◽  
Point Of Departure

The Black Book, Orhan Pamuk’s second novel in English translation, was published in Güneli Gün’s translation in 1994 and in a retranslation by Maureen Freely in 2006. The decision for retranslation was mainly taken by the author on the basis of the criticism the first translation received from the reviewers, the most significant readers of translations with their power to consecrate foreign authors and their work in their new cultural settings. This study will present an analysis of the two translations of The Black Book, taking as its point of departure the criticism expressed in the reviews. The analysis will reveal the ways in which the first translation served as a criterion for the retranslation and how the two translators represented the author and his work differently, which was mainly enabled because of the changing status of Orhan Pamuk as an author in the English-speaking world between 1994 and 2006.

The Theatre of Bernard-Marie Koltès and the ‘Other Spaces’ of Translation

2001 ◽  
Vol 17 (2) ◽  
pp. 141-160 ◽  
Author(s):  
Maria Delgado ◽  
David Fancy
Keyword(s):  
English Translation ◽  
The Other ◽  
Senior Lecturer ◽  
American Theatre ◽  
The Us ◽  
English Speaking ◽  
Anglo American ◽  
The One ◽  
The Uk

The work of the French playwright Bernard-Marie Koltès, although phenomenally successful in continental Europe, has been staged less frequently in Anglo-American theatres; and a major feature on his work in NTQ49 in February 1997, and the publication by Methuen later in the same year of a collection of three of his plays in English translation, brought him only belated recognition in print. In this paper, first presented at a recent gathering in France to mark the tenth anniversary of Koltès's death, Maria Delgado and David Fancy trace the trajectory of a number of his plays through the space of translation, including Roberto Zucco, Dans la solitude des champs de coton (In the Solitude of the Cottonfields), Quai Ouest (Quay West), and Combat de nègre et de chiens (Black Battles with Dogs). Koltès asserted in 1986 that ‘I have always somewhat disliked the theatre because theatre is the opposite of life; but I always come back to it and love it because it is the one place where you can say: this is not life’; and the poetic specificity of his work has posed significant challenges for an Anglo-American theatre culture imbued with actors' identification with character. Relying on testimonials from a variety of directors, translators, and actors, as well as evidence from productions in the UK, Ireland, and the US, the authors, who are both Koltès translators, trace the challenges that have faced English-speaking artists wishing to stage this demanding writer. Maria Delgado is Senior Lecturer in Drama at Queen Mary, University of London, and David Fancy is a freelance director based in Canada who is currently completing a PhD on Koltès's work.

scholarly journals Characterization in William Shakespeare’s Julius Caesar

2020 ◽  
Vol 6 (2) ◽  
pp. 66
Author(s):  
Esmeralda Subashi
Keyword(s):  
High School ◽  
William Shakespeare ◽  
World Wide ◽  
School Curriculum ◽  
Julius Caesar ◽  
Special Focus ◽  
Moral Choice ◽  
High School Curriculum ◽  
Political Implications ◽  
English Speaking

Julius Caesar, one of Shakespeare finest tragedies, has baffled readers, critics and scholars alike for centuries. It still remains one of the most read plays written by William Shakespeare and it has been part of high school curriculum in many English speaking countries world-wide. One of the most important features of it is the ambiguous and ambivalent portrayal of its characters and this paper endeavors to elaborate on the kaleidoscopic characterization in Julius Caesar by exploring its main characters with a special focus on the two tragic heroes of this play: Caesar and Brutus. Also, the paper will deal with some other important aspects of the play such as its political implications, its characteristics as a problem play and a tragedy of moral choice by building upon a wide corpus of critical criticism on Julius Caesar, and finally it will attempt to work out the play’s relevance to the 21st century readers and audiences.

«A SONG ABOUT TSAR IVAN VASILYEVICH, THE YOUNG OPRICHNIK, AND THE VALIANT MERCHANT KALASHNIKOV» BY MIKHAIL LERMONTOV: RECONSTRUCTION OF THE NATIONAL AND HISTORICAL COLOUR IN ENGLISH TRANSLATIONS

2019 ◽  
pp. 286-296
Author(s):  
Yekaterina Kondratenkova
Keyword(s):  
English Translation ◽  
National Character ◽  
Poetic Form ◽  
Xxth Century ◽  
English Reader ◽  
Mikhail Lermontov ◽  
English Translations ◽  
Target Languages

The article deals with the problem of preserving the national and historical colour in the English translation of «A Song about Tsar Ivan Vasilyevich, the Young Oprichnik, and the Valiant Merchant Kalashnikov». The Lermontov’s poem is a strong manifestation of the national character of his oeuvre. Realia makes a culture-specific background of the song; the translator’s task is to translate them adequately into a foreign language.The paper compares four translations of the poem into English done by English and Russian translators in the XXth century. The author of the paper singles out the main realia found in the text of the poem: ethnographic, social and political. Then the author analyses the ways of realia translation into English by different translators from the viewpoint of preserving the national and historical colour of the original. The author points out the most productive ways of translating Russian realia into English. They include replacement, transcription and transliteration,omission. However, translators do not always manage to convey the national and historical colour of the poem. This is due to the differences in the source and target languages, the genre of the folk historical song, the poetic form of the work. J. Kurnos uses replacements more often than other translators. Translators aim to fill in the missing connotation with the help of context, choice of archaic and stylistically coloured words. In some cases, the meaning of words is revealed in footnotes, which allows an English reader to more fully understand the Russian realia. In general, all the translators in one way or another were able to reconstruct the national and historical colour of the poem and introduce the Russian poem to an English reader.

The Adulteress Wife

2017 ◽  
Author(s):  
Toril Moi
Keyword(s):  
English Translation ◽  
Public Domain ◽  
Feminist Philosophy ◽  
The Public ◽  
Scholarly Edition ◽  
Second Sex ◽  
English Speaking

Nearly 20 years after Margaret Simons broke the news of the scandal of the English translation of Le deuxième sexe, Toril Moi’s 2002 essay deepened feminist claims in relation to Parshley’s translation, and chronicled the long and still-unsuccessful struggle with Alfred Knopf for a new translation/scholarly edition. Moi showed that “the philosophical incompetence of the translation produces a text that is damaging to Beauvoir’s intellectual reputation in particular and to the reputation of feminist philosophy in general” by detailing Parshley’s silent deletions of sentences and parts of sentences, his tendency to turn existence into essence, misread philosophical references to “subjectivity”, remain clueless about references to Hegel, and misunderstand Beauvoir’s account of alienation. These failures falsely emboldened Beauvoir’s critics by eliminating nuance from key discussions of themes like motherhood. “Her works will not enter the public domain until 2056,” Moi pointed out, and the stubborn refusal of the publisher to commission a new translation meant that essays like this one were absolutely essential to teaching Beauvoir’s Second Sex to English speaking students—“while we wait.”

scholarly journals A Study of the English Translation Strategies of Chinese Film and Television Animation from the Perspective of Skopos Theory

2020 ◽  
Vol 4 (6) ◽  
Author(s):  
Wenbo Zhao
Keyword(s):  
English Translation ◽  
Chinese Culture ◽  
International Exchange ◽  
Translation Strategies ◽  
Chinese Film ◽  
Film And Television ◽  
Literary Forms ◽  
Skopos Theory ◽  
English Speaking ◽  
Translation Methods

The English translation level of domestic film and television animation not only affects the appreciation effect of English-speaking audiences, but also affects the communication and exchange of Chinese excellent culture in the world, and even affects the commercial interests of film and television production. With the increasing international exchange of various cultures, the traditional theoretical views on translation are no longer suitable for the enrichment and development of modern literary forms. Based on the Skopos Theory, this paper will discuss the translation strategies of film and television animation works and propose the translation methods of film and television animation, to enhance the communication and influence of Chinese culture.

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