Методические аспекты использования аллюзий в фильмах Квентина Тарантино и их перевода на русский язык

“Taking This from This and That from That”: Examining RZA and Quentin Tarantino’s Use of Pastiche

Andrew Schopp argues that the representation of morality and history in Inglorious Basterds (2009), Django Unchained (2012) and The Hateful Eight (2015) is a particularly complicated and distinctly post-modern one, inherently connected to the American vision of the world after 9/11. His analysis of Tarantino's texts from the perspective of justice, civilisation and revenge make an invaluable contribution to existing commentaries on Tarantino's work. He also considers their status as allohistorical narratives (commonly referred to as alternative history) which encompasses an awareness of the fact that Tarantino’s films are seemingly divided into a unified diegetic world in which a significant number of his characters reside (see Reservoir Dogs [1992], Pulp Fiction [1994], Inglorious Basterds, Django Unchained and The Hateful Eight) and the films that these characters might go to see in this alternate universe (Death Proof [2007], Kill Bill: Volume One [2003], Kill Bill: Volume Two [2004]). On the surface a range of interrelated strands connect his films like the branding of Red Apple cigarettes, characters being related to each other i.e. the Vega brothers in Pulp Fiction and Reservoir Dogs, Sergeant Donny Donowitz in Inglourious Basterds being the father of filmmaker Lee Donowitz in True Romance (1993), and recently ‘English’ Pete Hickox in The Hateful Eight being an ancestor of Archie Hickox in Inglorious Basterds, but this fluidity is complicated even further both by Tarantino’s liberal appropriation of material from other sources as inspiration and they way the films seem to both reflect, engage and even comment on each others' narratives.

Quentin Tarantino, a renowned filmmaker known for his distinctive style and thought-provoking themes, has captivated audiences and critics with his groundbreaking films. This study aims to analyze the ontological psychological features present in Tarantino's filmography, focusing on the complex interplay between narrative structure, character development, and the human psyche. By employing a qualitative methodology, the research conducts a thematic analysis of Tarantino's key films, such as "Reservoir Dogs," "Pulp Fiction," "Kill Bill," "Inglourious Basterds," "Django Unchained," and "Once Upon a Time in Hollywood." The study identifies several central themes, including existentialism, vengeance, memory and temporality, language and communication, and metafiction. Through an in-depth exploration of these themes, the research reveals how Tarantino's work challenges conventional perceptions of reality and the human experience, ultimately probing the depths of human emotion, motivation, and identity. Furthermore, the study investigates the broader cultural and historical context of Tarantino's films and their psychological impact on audiences. By examining the various thematic and stylistic elements, the study seeks to shed light on the ways in which Tarantino's films transcend traditional cinematic boundaries, stimulating deeper reflections on the nature of reality, morality, and the human condition. This comprehensive analysis contributes to a greater understanding of the intricacies of the human experience and the transformative power of cinema.

Abstract: This essay argues that Pulp Fiction (1994) is a foundational text for Tarantino's recurrent explorations of awakening to—and trying to control the outcomes of—outliving one's era, especially when "one's era" is defined by a shared aesthetic, identity, code, and sense of purpose. Tarantino's characters cannot grasp the totality of their defining eras until signs indicate its eminent demise, at which point they face the existential crisis of wondering if their vocations allow any opportunities for escape. As a means of analyzing the "outlived era" in Pulp Fiction, Kill Bill (2003-2004), and Once Upon a Time … in Hollywood (2019), this essay also explores how Tarantino's metafictional engagement with film history and counterfactual rewriting of history allows his characters a means of transcending their eras.

The article deals with the specifics of translation of Orthodox vocabulary in the English version of E.I. Zamyatin’s story “A Provincial Tale". The material of the study is E.I. Zamyatin’s story “Uezdnoe" and its literary translation (“A Provincial Tale") by Mirra Ginzburg. The study of the peculiarities of translation of the Orthodox vocabulary in the English version of E.I. Zamyatin’s story was carried out using the following methods: comparative analysis, contextual analysis, translation analysis. The relevance of the research is conditioned by the absence of works devoted to the study of the specifics of translation of the Orthodox vocabulary in E.I. Zamyatin’s story “Uezdnoe", the importance of comparative studies in this direction, which contribute to the development of the theory and practice of translation, as well as by the increased interest in Orthodox culture in modern society. The article deals with the main ways of translating the Orthodox vocabulary in the English version of the story “Uezdnoe" written by E.I. Zamyatin, in whose literary system the sacral component is one of the specific features of the national picture of the world. In the course of the study it was found that in translating the Orthodox vocabulary into English equivalent correspondences and translation transformations, mainly transliteration, loan translation, generalization, descriptive translation, antonymic translation, addition, omission, replacement, were used. Particular attention is paid to translation errors related to the use of Catholic analogues in translating Orthodox lexical units, as well as errors caused by misunderstanding the meaning of the source text. The author concludes that the English version of E.I. Zamyatin’s story “Uezdnoe" often loses Orthodox specificity when translating Orthodox vocabulary, the successful translation of which depends not only on a good command of translation techniques, but also on knowledge of the basics of Orthodox culture.

Quentin Tarantino’s films, renowned for their stylized violence has long provoked debates over their aesthetic innovation and accusations of gratuitous brutality. This article analyses how Tarantino transforms violence into a postmodern aesthetic strategy in Kill Bill: Volume 1 & 2 (2003–2004), Inglourious Basterds (2009) and Django Unchained (2012). Drawing on Jean Baudrillard’s hyperreality, Fredric Jameson’s pastiche and Slavoj Zizek’s typology of violence, the study situates Tarantino’s work within discourses of postmodernism and cinema. Through close textual analysis, the article argues how imagery of violence in Tarantino’s films is used as spectacle and the aesthetics of the violence prioritises irony and performance over realism. At the same time, the analysis interrogates tensions surrounding historical revisionism and ethical spectatorship in Tarantino’s approach. The article argues that Tarantino’s cinema navigates the paradox of postmodern violence where it challenges moral panics about media effects while deploying violence as a hyper-stylized, symbolic language that reframes cultural narratives.

This chapter comments on the theory and practice of translation from a radical feminist point of view. The chapter offers a radical view of the practice and theory of translation in counterpoint to the liberal perspective as currently dominating discussions of gender and translation and even feminist translation. It presents the 2011 translation into Japanese of Catharine MacKinnon's Women's Lives/Men's Laws, which highlights the radical feminist theoretical and activist engagement of the translators as an important contextual factor to their translation. The chapter discusses the translation and activist work of Morita and Nakasatomi and the Anti-Pornography and Prostitution Research Group (APP) to show how critical translation activity is to the forging of a global movement against the sex industry and also how critical political activity is to the successful translation of texts that reflect the core principles of the movement. Social practices that enact and entrench women's subordinate social status are the focus of radical feminist scholarship and activism.

ABSTRACTThe history of the practice of translation in Iran dates back more than 2000 years. During all these years, translation has always played a prominent role in the process of intercultural communication between Iran and the rest of the world. The current article aims at presenting a concise account of major developments in the theory and practice of translation in Iran from antiquity to the modern time, focusing on important historical turning points, such as the Arab conquest of Iran, the Iranian Constitutional Revolution, and the Islamic Revolution of 1979, that have given rise to different translation movements in this country. The article then provides a detailed analysis of the practice and theory of translation in present Iran by addressing a whole host of issues, such as translation policy, censorship, translation industry, translation pedagogy, and so on.

The questions of stylistic transformations in literary translation are considered. Attention is paid to the ratio of the number of stylistic transformations in translations and their relationship with the adequacy of the translation into Russian. The article presents the results of a comparative analysis of one of the most famous Muriel Spark’s stories “Portobello Road” and two translations of this work. Particular attention is paid to the question of achieving communicative and pragmatic effect of translated texts, a necessary condition of which is the use of stylistic transformations. The novelty of the study is in identification of the most common stylistic transformations in translations used to achieve their adequacy and the original communicative and pragmatic effect of the text by preserving the author’s intention and original style. The relevance of the study is due to the lack of developed methods for determining the communicative and pragmatic effect of translated texts, as well as the task of improving the quality of translations and the need to determine the typical stylistic transformations that determine the pragmatic and aesthetic compliance of translated texts. The classifications of stylistic transformations developed in the theory of translation are given, their comparative analysis is carried out. It is proved that the emotional and expressive vocabulary and the adjectives are stylistically transformed most often, transformations being: replacement (remetaphorization and metonymical transformations) and additions (metaphorization and phraseologization). It is emphasized that they serve to achieve the pragmatic effect of the artwork.

In the rapidly evolving realm of mass culture, the phenomenon of cinematic epigraphs – quotes taken from films and used as “epigraphic” inserts in written texts – demands closer linguistic and cultural scrutiny. Despite their apparent impact on vocabulary development, including the emergence of new words, memes, and phraseological units, cinematic epigraphs remain an underexplored subject. This paper aims to determine the role of cinematic epigraphs in driving lexical innovation within 21st-century Russian discourse and to elucidate the mechanisms by which they permeate various genres (academic, journalistic, and online communication). The research is grounded in the content analysis of dissertation abstracts on epigraphs (N sources), reviews, and blogs (approximately 60 texts), as well as case studies of “Kill Bill” and “Pulp Fiction” (dir. Quentin Tarantino). A comparative approach and lexical and semantic analysis were combined with an interpretive and descriptive method to assess cultural and communicative dimensions. The findings reveal a tight connection between cinematic epigraphs and postmodern aesthetics. When placed in a “strong position” in a text, film-based quotations form a unique interpretive frame, generate novel expressions, and seamlessly integrate elements of mass culture into academic and journalistic discourse. The process of memetization further shows that these set expressions, derived from cinematic epigraphs, transform into “21st-century phraseological units,” widely disseminated across social networks and the blogosphere. Cinematic epigraphs constitute a significant paratextual phenomenon that, through intertextual references and cross-cultural cues, actively promotes the evolution of the language’s lexical system. Further investigation of hybrid and “split” epigraphs will illuminate how these cross-genre strategies and linguistic-pragmatic effects shape both mass and scholarly communication.

In this article we considered theory of translation as a main theory of our comparative translation English-Kyrgyz research and tendency in development of theory and practice of translation related to both English and Kyrgyz languages in linguistic space of Kyrgyzstan. In our article, we consider a set of basic issues of theory and practice of translation and clarified them. The study of following five fundamental issues of the theory and practice of translation prompted us to find out two principles of translation equivalence, as “formal-grammatical principle” and “dynamic-culturological principle” into five types of equivalence, corresponding to five levels hierarchically located equivalence of translation, and highlighted by Russian Soviet translation scholars and their Kyrgyz researchers.

The object of the article is the Internet communication using emograms. The subject is the peculiarities and diffi culties of the interpretation of emoji in the context of intercultural communication. The purpose of this study is to investigate the possible misunderstandings during the communication using emoji. Methodology comprises of such methods and procedures of dialectal analysis as: comparative, descriptive, method of linguistic analysis. The fi ndings present the confi rmation of the main thesis that, despite their explicitness, emoji have a great potential for intercultural communication failures. The practical value consists in the relevance of the investigation for further studies of the theory and practice of translation from and to the language of emoji, of the nature of such language, and for analyzes and prognostication of the communication trends in general and using information technologies in particular. As the result we can make the recommendation for the possible solution of the identifi ed problem: all emoji should be unifi ed, regardless of platform and device, in order to improve mutual understanding between users.

In this article, the authors examine the features of translating realities in A. P. Chekhov’s fictional story “Vanka” into Chinese. The analysis showed that the translator must not only master all the necessary translation techniques and strategies, but also understand the character, culture and specific characteristics of this people. To study this study, the method of comparative analysis, generalization and the method of system analysis was used. As a result of the study, it was proven that in translating the story “Vanka” the authors used the method of transliteration, replacement of words, omission of words and the method of descriptive translation. The materials of the article can be used in teaching disciplines related to the theory and practice of translation.

Author’s individual style and its preservation in translation are a relevant issue of translation practices. This research is the first attempt in domestic linguistics to study Zadie Smith’s individual style and its manifestation in translation based on M. Yu. Mukhin’s analysis model. The methodology involved the methods of semantic interpretation, comparative analysis, content analysis, quantitative calculations, and linguistic analysis based on the conceptual profile model. The study featured Z. Smith's novel On Beauty and its translation performed by O. Kachanova and A. Vlasova. The analysis revealed the most frequent linguistic and stylistic means and denotative spheres and classes, e.g., such lexical means as simile, interjection, metaphor, allusion, and lexical repetition; various phonographic means, e.g., capitalization, graphic imagery, excessive punctuation, and graphon used to portray a wide variety of accents, etc. The official Russian edition conveyed the actual meaning and the lexical speech portraits by an effective use of various translation transformations, e.g., word order, lexical substitution, compensation, etc. In most cases, literal translation proved to be appropriate as it preserved the metagraphemic of the original text. However, the graphic fixation of the characters’ speech not always found its reflection in the translation text.

This article studies the development of twentieth century translation theory. This was a period during which significant theoretical contributions were made in both secular and Bible translation circles. These contributions have had a profound impact on the practice of translation throughout the twentieth century and since. The individuals who contributed to the present state of translation theory worked in both secular and Bible translation circles and this article examines contributions from both. A select history of theoretical developments, focusing on the most important ideas relevant to Bible translation work is given in order to examine the impact of such theories in the practice of Bible translation. These include the philosophical approaches of the early twentieth century; the linguistic era of the 1950s and 1960s; the rise of functionalism and descriptive translation studies; and, finally, the emergence of postcolonial and related foreignising approaches.