Art Of Translation Research Articles

Trabalho artístico como prática de tradução no mercado de arte global

Identidade, diferença e tradução são conceitos teóricos importantes no campo dos estudos da tradução e dos estudos pós-coloniais. Um pressuposto básico desta palestra é a exposição da tradução estética e cultural ao paradoxo de identidade e diferença, e como esse paradoxo é particularmente evidente em práticas artísticas performáticas como a dança e a coreografia. Focando o trabalho artístico da coreógrafa e dançarina Germaine Acogny (Senegal), a palestra abordará práticas de tradução artísticas em condições pós-coloniais no mercado de arte global da chamada “dança contemporânea”. O objetivo é ilustrar como os processos de tradução cultural e estética são contraditórios, híbridos e fragmentados; como o mercado de arte global configura as estratégias artísticas de tradução; e como a produtividade estética reside na impossibilidade de traduzir a experiência cultural artisticamente.

Programmability projections in “The Ancient Kiev Frescoes” by A. Stashevsky for the button accordion

Programmability projections in “The Ancient Kiev Frescoes” by A. Stashevsky for the button accordion

Carlo Denina’s Lettres Critiques: Transnational History in an Age of Information Overload

Abstract This article recovers the transnational historical approach of the eighteenth-century Piedmontese thinker Carlo Denina (1731-1813) and his Lettres Critiques. The Lettres, which have remained largely overlooked to this day, addressed a number of cultural debates on the epistemology of the Encyclopédie, the art of translation, and European geopolitics, by drawing on a transnational approach to the history of Europe. This article frames Denina’s transnational gaze in the context of early modern concerns over information overload and eighteenth-century ideas of cultural superiority and alterity. The article follows the ways the Lettres Critiques addressed three querelles: Morvilliers’ 1782 rhetorical attack on Spain, German debates on the merits of French culture and the nature of knowledge, and Madrid’s protracted response to William Robertson’s History of America (1777). The article sheds light on an overlooked eighteenth-century vision of transnational history as a solution to embryonic forms of nationalism and the politicization of knowledge.

ON THE ISSUE OF RENDERING STYLISTIC COLORING OF COCKNEY DIALECT IN TRANSLATION

The presented article is aimed at elaborating the problem of specific stylistic coloring achieved by the employment of the Cockney dialect in English literature in the 19th century. The main objective of the paper consists in investigating the stylistic value of the Cockney rhymed dialect as the powerful expressive means in the English literature of realism as well as the possible ways of its rendering in artistic translation. The results of the carried-out research have proved that there exist common strategies and techniques of both employing Cockney in English literature of the given period and reproducing it in literary interpretations. The practical value of the research lies in the fact that the conclusions may be applied in the educational activity, namely in the course of English stylistics. The urgency of this paper arises from the need for all-sided review of difficulties of translating belles-lettres works in contemporary translation studies. The object of the work is a Cockney dialect viewed in the aspect of its translatability. The subject is the specific stylistic function of Cockney dialect in B. Shaw's play. The immediate tasks of the article have been predetermined by the above-mentioned objective and include respectively: the disclosure of the specifics of Cockney dialect; the outline of the strategies and tactics of translating Cockney in belles-lettres works. The methodology of this research involved the inductive and deductive methods, the method of contrastive analysis and ethnic methodological conversation analysis. In the course of the research it has been concluded and experimentally and statistically proved that there exist common strategies and tactics of translating Cockney. It has also been postulated that the pragmatic and the expressive potential of Cockney is rendered in translation. The perspective is seen in reviewing the peculiarities of rendering Cockney in literary interpretations in various Western and Oriental languages.

Editing violin works for four-string domra as an artistic interpretation of the author’s text (in connection with the sound-making will of the performer)

Editing violin works for four-string domra as an artistic interpretation of the author’s text (in connection with the sound-making will of the performer)

Crying Laocoon: the visual arts of translation

ABSTRACT The essay charts the shifting place of Laocoon as an exemplum of translation across the arts of word and image from Pliny to Clement Greenberg. It uncovers a rich history of artistic translation, reproduction, and imitation of Laocoon in Renaissance drawing, painting, prints, decorative arts, and sculpture of every size and material, from plaster casts to table-top porcelains. The paper subsequently follows the changing fate of Laocoon within artistic pedagogies as a study in word-image relations, from a Renaissance teaching model, to the trope of critical theory on the definition of ‘art’. Thus, the term ‘translation’ is used advisedly, to signal acts of artistic transmission predicated on transfer not only between cultures, but across materials and media. The essay concludes by considering the continuing place of Laocoon within art criticism, albeit in radical antagonism to the ideals of art it was once held to embody, to address the contested formation of an art ‘classic’ through the cultural as well as material processes of artistic translation.

Persecution and the Art of Translation: Some New Evidence Concerning the Latin Translation of Maimonides’ Guide of the Perplexed

The ongoing work on a critical edition of Maimonides’ Guide of the Perplexed in its medieval Latin translation, and the recently published detailed studies of the Latin manuscripts provide us with a unique opportunity to reconsider a field of study which, after more than 150 years of intensive scholarly engagement, still presents us with some remarkable lacunae. In confronting the new material evidence, this paper raises some basic questions regarding the unique nature of Maimonides’ work itself and the way it is reflected through its reception among European readers, Jews and Christians alike. My two main goals here are, first, to emphasize the unique character of the early Latin reception of the Guide, which was less philosophically oriented and more Hebraistic in nature, and, second, to emphasize its close ties to a set of persecutional acts that took place in the very same period.

THE RECEPTIVE-AESTHETIC PRINCIPLES OF THE ARTISTIC TRANSLATION IN THE SYSTEM OF COMPARATIVE STUDIES

The article attempts to reveal the main receptive-aesthetic principles of artistic translation from the point of view of comparative studies. The analysis of the views of the researchers D.Nalyviayko, V.Izer, G.Yaus as to proposed subject is presented. Characteristic features of the artistic translation in the system of comparative studies are highlighted and described. On the basis of the research it was established that the perception of the artistic work is determined on the basis of the work of understanding the original text, that is, as a result of the dialogue between the text and the translator; as a manifestation of the hidden meaning that passes through the translation consciousness. Each new translation of the work acquires a relative autonomy; it carries something unique in its own right, created by the translator-writer. The creative person of the translator inevitably influences the translated work, which is perceived by the reader through the prism of his person. During the translation of a literary work belonging to a certain national culture and created by appropriate means of the linguistic and stylistic systems, one can reflect the phenomena inherent in the national artistic consciousness. The article describes the content of the concept of "perception", which is dynamic, since the perception continues until new translations, new translation studies appear. As each artwork is a holistic ideological and creative structure in which individual parts interact organically and form an inseparable unity, all elements of this structure are open to the reader, and in the process of cognition are realized in different ways in his mind.

La traducción en la obra de Carmen Martín Gaite

One of the creative facets of the writer Carmen Martin Gaite is her work as a translator. She translated from Italian, Portuguese, French and English, although she started doing it from Romanian during her university education. She combined her translations with her reflections on the art of translating, which are part of her literary theory, exposed in a fragmentary manner in her essays, literary criticism, journalistic articles, lectures and notebooks. And she combined her work as a translator and her literary theory with her fictional practice, her literary critiques, her essays, her historical investigations, etc. All these creative facets influence each other, as happens with her literary theory. The author reflected on the concept of translation, as recreation or interpretation of the text, although always respecting the original work; the work of the translator and the necessary requirements to perform it; the art of translation and translation in today’s society.

ПРОБЛЕМА ВИКОРИСТАННЯ ПЕРЕКЛАДАЦЬКИХ ТРАНСФОРМАЦІЙ У ПРОЦЕСІ ПЕРЕКЛАДУ ХУДОЖНЬОГО ТЕКСТУ

Problem statement. The topicality of the proposed article is related to the state of modern research in our country in the field of translation studies characterized by a considerable interest in the field of artistic translation as a special type of translation activity, namely, the study of methods and techniques for the adequate reproduction of the original text.Purpose of the article. The purpose of the proposed research is the study of peculiar use of grammatical substitutions of parts of speech in the process of translation of the literary work “Labyrinth” by F. Durrenmatt into UkrainianResearch methods. In the research process a number of methods were applied. A transformation method was used to study all possible transformation techniques during translation. A comparative method was used for the comparison of the structures of both languages and the establishment of their common and distinctive features. A contextual method was used to demonstrate the possibilities of choosing the translation methods if there is a certain context. The use of the component analysis enabled to reveal the values of the linguistic units of elemental content (seme), which allowed comparing the seminal composition of the original units and the translation to determine the degree of their correspondence.Main results of the study. In order to reproduce the content of the artistic text adequately, the translator makes use of various techniques of translation transformations that completely or partially alter the structure of the sentences of the text of the translation. Translation from one language into another is impossible without grammatical transformations which, in the first place, should include the reconstruction of the sentence (change in its structure) and the replacement of both syntactic and morphological order.Conclusions and perspectives. Based on a comparative analysis of the collection “The Labyrinth” by the Swiss writer F. Durrenmatt, and the Ukrainian translation by O. Logvynenko, we conclude that the interpreter used a significant number of grammatical substitutions. The main purpose of which was the creation of an adequate text, namely the achievement of the emotional influence, which the text source seeks to. The main reasons for using grammatical substitutions of the parts of speech is mainly the desire to overcome the differences between the system and the norm of the original language and the translation, to avoid literalisms as well as the unnatural expressions, and to use the grammatical constructions, corresponding to the norm of the Ukrainian language.Keywords: translation transformation, grammatical replacement, replacement of parts of speech, adequate translation, motives for the use of translation transformations.

Aspekt poznawczy w przekładzie artystycznym — na przykładzie powieści Herty Müller i ich przekładów na języki polski i czeski / Cognitive aspects in artistic translation — on the example of Herta Müller’s novels and their translations into Polish and Czec

This article deals with cognitive aspects of artistic translation based on the example of translations of Herta Müller’s oeuvre into Polish and Czech. The reader of Herta Müller’s novels in translation seeks to get to know / acquaint onself with otherness in / through translation, which will be familiar to him or her in a manner consistent with the idiomaticity of the source language. Cognitive values are especially present in the topic offered by Herta Müller, that is, what living in a communist dictatorship means: constant fear of the secret police, reporting to authorities, individual incapacitation, censorship, thus — topics known to Czech and Polish readers from their own history.

On translations and translators. The Masters of Artistic Translation series

A review of the 12 books published in the Masters of Artistic Translation series [Mastera khudozhestvennogo perevoda] by Rudomino Book Centre. Each book is devoted to one of the universally recognized translation authorities like Vladimir Kharitonov, Nora Gal, Elga Linetskaya, and others. Another important characteristic of the series is that all 12 books feature loving forewords and epilogues, penned by fellow-translators, apprentices, and relatives, which enrich the publications with sincerity and direct personal voice, on the one hand, and the expert quality of descriptions of each translator’s method, on the other. The review is structured around the latter: the translators’ own reminiscences and/or those of people closest to them. The books are not an easy read in the sense that understanding them requires experience, both in life and professionally, as well as a love for literature, a demanding taste, honesty and responsibility in translation, a refined ear for language, and constant doubts and self-editing.

Artistic Work as a Practice of Translation on the Global Art Market: The Example of “African” Dancer and Choreographer Germaine Acogny

Identity, difference, and translation are important theoretical concepts in the field of translation studies and postcolonial studies. It is a basic assumption of this text that aesthetic and cultural translation is exposed to the paradox of identity and difference and that this paradox is particularly evident in artistic performance practices such as dance and choreography. Focusing on the artistic work of choreographer and dancer Germaine Acogny (Senegal), the text addresses artistic translation practices under postcolonial conditions in the global art market of so-called “contemporary dance.” The aim is to illustrate how contradictory, hybrid, and fragmented the cultural and aesthetic translation process is, how the global art market shapes the artistic strategies of translation, and how aesthetic productivity lies in the impossibility of translating cultural experience artistically.

ФРАЗЕОЛОГІЧНА СИНОНІМІЯ В МОВІ ХУДОЖНІХ ПЕРЕКЛАДІВ МИКОЛИ ЛУКАША: ДЖЕРЕЛА ТА РЕАЛІЗАЦІЯ

The language of artistic translation in Ukrainian linguistics is considered to be an integral part of the literary language, at the level of the language of the original Ukrainian literature. Among the Ukrainian translations of fiction, the work of M. Lukash is a special place. This translator has his own original style, based on traditional classical Ukrainian literature and his contemporary teaching. He entered not only in the history of Ukrainian artistic translation, but also significantly influenced the Ukrainian literary language of the second half of the twentieth century. In the idiostyle M. Lukash the special attention deserves to be studied the features of phraseological synonymy. Priority tasks include the establishment of sources of phraseological synonyms of M. Lukash, studying it against the background of codified phrases. The article substantiates the idea that synonymous connections in the language of translation of M. Lukash penetrate the overwhelming majority of phraseological units. The study of the specificity of phraseological relations in M. Lukash’s idiostyle, the intersection of synonymous series and values in the selected material for analysis will allow us to develop the concept of the ideographic dictionary of M. Lukash’s phraseological translations.

Proza Bohumila Hrabala w polskich przekładach (w przestrzeni między „hospodską historką” a gawędą szlachecką)

One of the basic tasks that is expected of artistic translation is the preservation of — as far as it is possible — the original genre structure of the source text in the target text. This paper attempts to address the question how this task is being accomplished in the translation of long and short prose forms by the Czech author Bohumil Hrabal, including causiere, crta, esej, efemera, montaž, novela, povidka, reflexe, skica. It may seem that the publication of several compendia related to his literary heritage, that is, Slovnik Bohumila Hrabala or Czesko-polski slownik terminow literackich by Baluch and Gierowski should help in genological ordering of Polish translations of Hrabal’s works, affect the translation of texts that have not been rendered into Polish yet, and enable correct genological classification of texts that have already been translated. The author’s ambition is to find the answer to the question of whether such genological ordering is actually possible.

Борис Грінченко та Микола Лукаш: перегук поколінь

The article deals with the original and folklore texts in the writings of Borys Grinchenko as a source of the formation of phraseological and paramytic file-cabinet of the classic of the Ukrainian school of artistic translation Mykola Lukash. It has been stated that Mykola Lukash most often fixed in his file-cabinet those turns that were taken from folk materials in the writings of Borys Grinchenko and from the first part of the writer’s work “In front of the Wide World” (1907). In the file-cabinet of Mykola Lukash better preserved units, selected from Ukrainian folk tales in the writings of Borys Grinchenko. However, the final conclusions about the influence of Borys Grinchenko’s heritage on the idiolect of Mykola Lukash can only be made after a detailed analysis of the whole set of units, the source of which are the works of Borys Grinchenko, as well as after the discovery of these turns in Lukashev’s texts. Ukrainian linguistics is only at the approaches to developing this problem.

Letter from the Guest Editor

Letter from the Guest Editor

Soudobá recepce díla Jiřího Levého ve Španělsku a Iberoamerice

The article aims to present the contemporary reception of the ideas of the Czech translation scholar Jiři Levy in Spain and Latin America. His ideas, formulated in the 1950s, remain perfectly valid till the present day; nevertheless, the fact that Levy wrote in a minor language meant that the international academic community had limited access to his innovative thinking on translation as a decision process, translation as a communication process and the historical perspective of translation. The Czech scholar’s concepts did not receive international recognition until 2011 when his principal work, The Art of Translation (1963), was translated into English. Even before, however, the translation studies community in Spanish and Portuguese speaking countries did read about Levy’s thinking, using the German translation (1969). Surprisingly, the reception of his works in that part of the world has not been as limited as one would think and Levy has his admirers who have been disseminating his ideas in their respective areas (Vega in Spanish and Neckel in Portuguese). Besides, translation studies journals in Latin America have published monothematic issues appreciating the works of the Czech translation scholar (Brazil, Scientia Traductionis, 2012; Colombia, Mutatis Mutandis, 2016). Of equal importance are the Spanish anthology Jiři Levy: una concepcion (re)descubierta (2013), comprising his most representative texts collected and translated by Jana Kralova and Miguel Cuenca, as well as a commented Portuguese translation of the first part of his principal work done by Filipe Neckel which forms part of his doctoral thesis (2011). To sum up, the recent (re) discovery of Levy’s thinking on translation has contributed to the methodological innovation of translation research.

Jiří Levý a česká anglistika a amerikanistika

The Czech literary scholar Jiři Levy (1926–1967) has gained international recognition for his great contribution to the general theory of translation and has greatly contributed to the history and theory of translation into the Czech language in his books Uměni překladu (1963; Die literarische Ubersetzung: Theorie einer Kunstgattung, German transl., 1969; The Art of Translation, English transl., 2011) and Česke theorie překladu (1957, Czech Theories of Translation), respectively. His other distinguished research included versology, theatrology and various studies on British and American writers. This paper focuses on two related but less discussed aspects of his oeuvre – his contribution to Czech Anglophone Studies and his early translations of foreign poetry into Czech. It chronologically surveys Levy’s papers in the field of Anglophone Studies and outlines their contribution to Levy’s translatological oeuvre. It also includes their bibliography and a hitherto unpublished tentative bibliography of his Czech translations of poetry with two specimens of his translations.

The National Coloring as a Part of the Connotative Meaning of Realia

The article deals with the definition of the concept of coloring, as well as the significance of its role in cultural-oriented units - the realities and ways of their translation. The study was conducted on the basis of the small genres of Kazakh fiction at the end of the 20th and beginning of the 21st centuries, short stories by Dukenbai Doszhan "Kelinshek Asuy", "Shortanbai", "Kukpar" and their translations into Russian, performed by the native speakers of the translation language "The Pass of a Young Woman" translated by I. Ukhanov, "Shortanbay" and "Kokpar" translated by Z. Nikolaeva. The main research methods were the analytical method and comparative analysis of translations with original prose from Kazakh into Russian. As a result of the research, various definitions of the concept of color were analyzed with the purpose of identifying elements characteristic of the term “realia” (“reality”), and a special role of color in revealing connotative features of realities and, accordingly, methods of transforming such units in the process of artistic translation. The main results of the research presented in the article provide an opportunity to find out how the typical tasks of the artistic translation of the Kazakh realities are implemented to recreate the specific national and cultural background of the Kazakh language picture of the world.