Translation Of Poem Research Articles

Виклики перекладу: адекватність чи інтерпретація (на матеріалі українських перекладів поетичних творів Адама Міцкевича)

The article highlights special features in Ukrainian translations of the poetic legacy of the outstanding Polish poet Adam Mitskevich using as examples some of his odes, poems, and lyric verses in aspects of their sense, expressive, lexical and stylistic interpretation, as the role of translations in the process of safekeeping and multiplying the world cultural legacy is especially important. While adhering to national traditions, Ukrainian translators enrich the treasury of Ukrainian literature, enabling the exchange of cultural values between countries and nations. Ukrainian translations of Adam Mitskevich's poetry are researched by multiple linguists and literary experts, in particular, by I. Franko, M. Vaskiv, V. Gumenuk, L. Markuliak, L. Pshcholovska, M. Strikha, and so on. This research is focused on the review of challenges appearing in the process of Adam Mitskevich's poetry translation, both typical and specific, intrinsic solely to the poems of this famous Polish poet. The paper contains an analysis of pieces of Adam Mickiewicz's works translated by Oleksandr Navrotsky, Myhailo Starytsky, and Mykola Lukash. It also defines the effect of Adam Adam Mickiewicz's poetry on different generations of Ukrainian readers. The article also reviews some of the translational methods and peculiarities of their usage by different translators, in particular of author’s style reproduction, symbols usage, outdated words usage and also appropriate usage of dialectal, and special vocabulary in Polish and Ukrainian, etc. The article defines features, ignoring which results in distortion of senses, and measures the level of translator’s creativity, allowed while working with poetical texts. The author concludes that the Ukrainian treasury of the translated poetic legacy of Adam Mitskevich is rich, but would benefit from new translations of poems both already translated and well-known to readers and new ones that have not found their Ukrainian bards yet.

Къэшэж Иннэ лъэпкъ гупсысэкIэ псыхьа и усыгъэм урысейпсо щэнхабзэм щиубыд увыпIэр (УсакIуэр къызэралъхурэ илъэс 80 щрикъум ирихьэлIэу)

The article examines the life and work of the Russian-speaking Adyghe (Kabardian) poetess Inna Inalovna Kashezheva. The purpose of the work is a comprehensive study of her creative heritage in the evolution of national literatures and the domestic literary process. The research uses meth-ods of literary analysis, synthesis, description, as well as comparative-historical, cultural-historical, socio-historical methods. The structure of the work includes an introduction, two sec-tions in which the authors conduct an analysis of literary texts and translations, as well as a con-clusion. The introductory part highlights the main stages of I. Kashezheva’s life and creative path. A biobibliographical certificate is presented, and the poetess’s birth date is determined using cur-rent opinions from literary scholars, critics, publicists, and friends and acquaintances. Issues con-cerning the formation of creativity are explored, the first publications of poetry are studied, previ-ously undiscovered works and books are placed into scholarly circulation (a collection of transla-tions of poems by I. Kashezheva “Laabze” / “Mark”; a two-volume collected works, etc.). The ar-ticle examines lifetime publications and books that were published after her departure and addi-tionally include works of art, articles about life and work, dedication poems/messages from I. Ka-shezheva from colleagues in the pen, as well as her translations, interviews and essays about poets of Kabardino-Balkaria. In the main research part of the article, an analysis of poems and songs is carried out; the main motives of poetry, the structural and compositional features of the works, which together constitute the poetic ethnocode of I. Kashezheva, are identified. The results ob-tained in the future will contribute to a further, more in-depth and extensive monographic study of the poetry of I. Kashezheva, restoring a complete picture of the evolution of her work.

On the Faithful Creation in Ezra Pound’s English Translation of Chinese Poetry in Cathay

Ezra Pound’s English translation of Chinese poetry has played a great role in promoting the spread of Chinese ancient poetry to the outside world. However, Pound’s translation has not been fully recognized in China due to his free and creative translation, and even criticized in the translation circle. Based on the interpretation of Pound’s own translation thoughts and analysis of some examples of Pound’s translation of Chinese poetry, this paper demonstrates that Pound’s translation is completely faithful to the original in terms of images, form and effect. And his creative translation indeed makes the translation more in line with the emotional expression of the original poem, revealing the unique poetic and aesthetic significance of Chinese poetry. Through this paper, the author believes that the greatest fidelity to poem translation lies in the intensify of the emotion and the preservation of the meeting point of poetics, so that to reproduce its aesthetic significance and achieve unity with the soul of the original poem.

Translation Strategies based on Cultural Image and Symbolism in Chinese Ancient Poetry

As the treasure of Chinese literature, ancient poetry contains rich cultural images. It is not only the crystallization of language art but also the carrier of cultural inheritance. Image and symbolism play an essential role in ancient Chinese poetry, which not only enriches the connotation of poetry but also brings challenges to translation. In the translation of ancient Chinese poetry, accurately conveying cultural images has become an essential task for translators. This paper takes one of the renowned Tang-dynasty poets, Li Bai's Silent Night Thoughts, as an example to explore the cultural images in ancient Chinese poetry and its translation strategies. Through the analysis of different versions of the poem translation, combined with the cultural background and language characteristics, this paper discusses the methods and techniques of the translation of cultural images and symbolism in ancient Chinese poetry in order to provide a new way of thinking and perspective for the translation of Chinese ancient poetry.

Особенности перевода поэтического англоязычного текста на русский язык в контексте его эквивалентности (на примере “Up in the Air”, опубликованного издательством «Браун Уотсон»)

The aim of our research is to determine the features of the translation of the English-language poem “Up in the Air” published by the Czechoslovak printing house “Brown Watson” in the context of the possibility of achieving its equivalence with versions in Russian. The scientific novelty lies in the fact that the authors of the article established the prevailing types of translation transformations when rendering the analyzed work from English into Russian by two translators, which provided the researchers’ contribution to the concept of translation plurality proposed by R. R. Tchaikovsky. As a result of the research, difficulties in translation were identified related to the transfer of lexical-semantic, lexical-grammatical, syntactic organization, emotionally charged vocabulary and the structural embodiment of the author’s poetic text, as well as to the subjectivity of choosing a translation solution. To achieve an adequate translation of the poem under study, the use of definite transformations expanded the range of searches for compensation for lost meaning and provided translators with a certain degree of creative freedom, the boundaries of which were established by the original.

A Study on English Translation of Poems and Lyrics by Mao Tse-tung from the Perspective of Metaphor

Mao Tse-tung is a great revolutionist, and his poems have always been praised as “A poem wins a country”. Metaphor is a process to understand and experience one thing through another thing, with its core to create undiscovered connections between ontology and metaphor, it is to combine two dissimilar things together. Poems and Lyrics written by Mao Tse-tung are rich in metaphors, this paper compares and studies four English translations of Mao Tse-tung’s poems(translated by Xu Yuanchong, Foreign Languages Press, Wang Huiming and Gu Zhengkun) from the perspective of metaphor at conceptual level, and discusses how translator deal with verbal metaphors and nominal metaphors. The results find that most of the translators choose to retain metaphors in the target language in order to accurately convey the information of the poems, which is suitable to translate metaphors in the poems.

Poetry Translation and Creative Misreading—on Gopal Sukhu’s English Rendering of “Lisao”

This article aims to analyze Gopal Sukhu’s singular misreading of the Chinese poem “Lisao” in his English translation, examine the reasons and types of his misreading, and explore the wider implications of misreading for literary translation. Misreading is integral to poem translation due to the semiotic nature of language, the aesthetic appeal of poetry, the idiosyncrasy of translator, and the communicative purpose of translation. It is found that in his translation of “Lisao”, Sukhu makes deliberate misreading in four dimensions, namely, retelling the allegorical story, turning ambiguity into clarity, making adaptation on rhetoric devices, and creating textual cohesion. Sukhu’s creative misreading endows a renewed poetic value to the original.

A Study on the English Translation of Poems on Hengyang

A Study on the English Translation of Poems on Hengyang

A Pragma-Stylistics Analysis Of Poem “Sometimes I Cry” By “Tupac Shakur”: Perspective Of Paul Grice’s Theory Of Implicature, Searle’s Speech Acts Theory And Levinson’s Deictic Expressions

To analyse any text with regard to logical considerations is how one approaches the text intent and aim of the writer. This research project takes a practical and stylistic look at the poem "Sometimes I Cry" by Tupac Shakur. This research aims to shed light on the stylistic deployment of pragmatic ideas in literary and, more specifically, dramatic speech. This research examines the pragmatics of Tupac Shakur's poem by applying an eclectic theory based on the works of Searle (1979) and Grice (1975), as well as Cruse (2006) for deixis: the Thus, Searle's categorization of SA as realistic, expressive, directorial, commissioned, and declared is scrutinised for each poem's analysis. Grice's tenets (quality, quantity, style, and relationship) are also investigated in each piece to see how much the poet relied on and disliked them to deliver his message. Each poem's translation was examined via the lens of five different types of deixis (personal, time, place, social, and discourse). Thus, the study seeks to analyse the texts of the chosen poem through the use of pragmatic methods in order to determine the poet's style, which is how the right comprehension of the writing can be attained, as well as to determine the most common kinds of language acts a poet uses, to demonstrate how non-compliance with concepts generate stylistic impact on two levels of collaboration in Tupac the rapper Shakur's poem, and to identify types of deixis. This research needs to draw the following conclusions about communication acts: 1) speech actions that are expressive are more common compared to different types. The poet dislikes the majority of Grice's maxims, qualitative maxim being the most prominent of these. The third reason is because the poet mostly used temporal deixis. (4) Tupac Shakur, the rapper, and other lexical components in the poem only employ Grice's three maxims to express ideas and meanings indirectly.

Study on the Application of Creative Translation in Word and Rhyme in XYC’s Translation of Tang Poem

Poem translation required translators to deeply understand both languages and have the ability to capture the essence of the original text, and reproduce it in a way that resonated with the target audience since different cultural background. The application of creative translation of word and rhyme in Xu Yuanchong’s Translation of Tang Poem was analyzed in the paper. Some examples were selected to explore the creativity in word translation process including the translation of poetic image words, allusive words and extended feeling words. In order to preserve the aesthetics of Tang poems, four different rhetorical methods in rhyming were applied to enhance the rhyme. With the above cases, it was found that creative translation had good application in poem translation in lexical and aesthetic dimension. After learning, we could apply the skills of creative translation in poem translation process.

Sándor Petőfi es de todos: una reflexión a la hora de intentar traducir Nemzeti dal

AbstractThe Hungarian writer Sándor Petőfi (1823–1849) achieved the union of the Hungarian people thanks to the verses of his National Song (Nemzeti dal), which have always been quoted and recited with great interest. Therefore, the following paper aims to analyse some problems with the poem's translation into Spanish and present a new version of this emblematic poem for the Hungarians.

PRAGMATIC LEVEL ANALYSIS OF ‘AKU’ BY CHAIRIL ANWAR POETRY TRANSLATION

This study examines the poem translation of ‘Aku’ by Chairil Anwar into ‘Me’ translated by Burton Raffel. 'Aku' was written in 1943, while the translation was done years later in 1970. Poetry translation can be a challenging yet exciting field to discuss. This study investigates the pragmatic level and the strategy used in translating the poem. While translating poetry, one must understand the implied and inferred meaning of the poet. Thus, the translation must also be able to provide the same image as the original. This study employed a descriptive-qualitative study and applied the analysis of Nida and Taber’s (1974) translation strategy. The result shows that pragmatic devices such as context, speech act, and maxim can be used to understand better the context, tone, and theme of the poetry. The analyses of the strategy are also conveyed to get the inferred meaning of both the original poet and translator. The translator uses sense-for-sense translation to grasp the same image on the target text. Although the translated work’s diction, rhyme, and metaphor are not as depth as the original work, the translated work’s emotion and sense can still be felt as the original work.

An Alternative Approach to the Translation of Poems in Political Texts: Take Xi Jinping: The Governance of China as an example

Chinese poetry translation is currently dominated by the rhymed translations of poetry represented by Xu Yuanchong and the unrhymed translations of poetry represented by Weng Xianliang. Both of these poetry translation methods have provided us with valuable practical experience. However, volumes 1 to 3 of Xi Jinping: The Governance of China, as authoritative interpretations of Chinese wisdom, Chinese plans, and Chinese theories, contain a large number of ancient Chinese poems. However, in the English version of the three volumes, the English translations of the relevant verses do not copy the existing translations, of famous translators, but instead, use the paraphrasing method to render these verses. By collecting representative verses on different topics and comparing the similarities and differences between translators’ translations of the same poems in the three volumes, the author summarizes the different paths of poetry translation, explores the feasibility and merits of the paraphrasing method as the main path of translating poetry in political texts, and provides a practical basis for promoting the paraphrasing method of poetry translation.

A Day, and: In Naked Autumn

A Day, and: In Naked Autumn Roshelle Weprinsky (bio) and Rebecca Weingart (bio) A Day Houses—heavy, muted headslean against the low belly of the sky,people on the country roadstumble into sleep. Flocks of birds pass south somewhere,they don't stir up the heart with their call of wings,the sun—here is the sun; she is small and sad,small and sad like my pocket mirror. [End Page 73] In Naked Autumn In naked autumn there is truth,in your fingers like naked branches,in unveiled fields,in the full fruit that stays quiet. Adorned plants like girlish bloomsdo not move me;in naked autumn there is truth,and sweet is the fruit, not the flowers. [End Page 74] Roshelle Weprinsky roshelle weprinsky (1895–1981) was born in Ukraine and moved to the United States in 1907. In New York, she began working in a sweatshop at age 13 and, after attending evening school and reading Yiddish writers, started writing at age 15. She published five poetry collections and a novel. Rebecca Weingart rebecca weingart is a PhD student in comparative literature at Washington University in St. Louis. Her translation of poems by Roshelle Weprinsky was supported by the Yiddish Book Center. She holds an mfa in creative writing and has work published or forthcoming in NonBinary Review, So It Goes, and Pakn Treger. Copyright © 2023 Rebecca Weingart

Assimilation or Detention

How are the migration of people and of poetry, through literary translation and translational literature, linked or alike? What can the poetry of migration teach about the translation of form in poetry? What is the role of the text in understanding the politics of poetry in politicized contexts? Island: Poetry and History of Chinese Immigrants on Angel Island, 1910–1940 is an important collection and translation of poems etched in the walls of the Angel Island detention center. Though the Angel Island poems were mostly composed after the 1919 vernacular revolution in Chinese literature, they were written in classical Chinese and premodern forms. Island translates them into stiff free-verse academic English, asking English-language readers to imaginatively project poetic beauty onto the originals. Other translations, such as Teow Lim Goh's Islanders (2016) and Jeffrey Thomas Leong's Wild Geese Sorrow (2018), render the poems with more attention to the dominant styles of contemporary American poetry. This article argues for a retranslation of the Angel Island poems—not into free verse but with formalist attention to meter and rhyme in English. Such translations could blur the dichotomy between the former's target-oriented poetics and the latter's source-oriented translations and also offer a stronger migration into English for the poetry of these migrants.

About Mongolian translation of poems by Kim So-Wol

About Mongolian translation of poems by Kim So-Wol

Discrepancies in poetic discourse: A translation process from a relevance-theoretic perspective

This article intends to demonstrate a process that assigns a poem translation practice to relevance theory (RT). As a theoretical account and approach to human communication, it has enjoyed increasing popularity in translation studies around the world. After this article describes Ernst-August Gutt's account built on RT, it elaborates on a translator's inferential processes on a chosen concrete poem entitled ⟪走不出逝去的心境⟫ from Chinese-to-English and tests a hypothesis that Gutt's statements could guide a translator for the practice of this language pair. The discussion unveils the translator's relevant workings in the poetic context and serves its purpose in two folds. One is to validate the hypothesis, and the other is a call for more empirical demonstrations to circumvent limitations imposed by the account on reflecting affective states. This article elucidates an underexplored area of translation studies with the processing from a translator's point of view of a realistic working situation, accesses the interface between the translation process and product, and points out potential inquiries to be explored.

Challenges and Solutions to Translating Multilingual Literary Texts between Identity Custody and Translators’ Creativity: The case of Farah CHAMMA’s Poem Translation ‘I Am No Palestinian’

In the modern world, Globalization, Colonialism, Technology, Politics and Economy have changed many cultural identities and contributed to the appearance of multilingual literature. Code-Switching could occur in different institutional languages, slangs, dialects, and sociolects; so, translators should find strategies to tackle this literary phenomenon and preserve the source text identity. But how could the translator (who is a reader and a transmitter at the same time) deal with these types of literary texts? And how could he/she produce a target multilingual text that preserves the identity and the magic expressed in the source text? The multilingual text is a specific genre of literature which combines two or more languages in the desire to express a multilingual and multicultural reality inherent to a particular group of individuals. Multilingual Literature appeared for the first time during the Middle Ages, but it was called originally Macaronic literature. The term 'Macaronic' is commonly used to indicate any hybrid language that mixes the vernacular with Latin. This mixture was frequent during the Middle Ages in all romance literature. Macaronic literature is therefore a phenomenon that represents the cultivated, highly educated and sophisticated categories of society like academics, novelists and poets. However, translators who used to identify the translation as an inter-linguistic transfer between two formal systems (source and target institutional languages) have faced obstacles in working with multilingual texts in which the author uses code-switching as an alternative to reflect the unfair categorization of people and registers in modern societies). This paper aims to examine the different strategies proposed by Venuti, Cincotta, Bojanin, Qoates and other scholars to transfer the code-switching device in the literary texts; and eventually proposes an integrated strategy that will preserve the code-switching aspect in the translation process, namely in Farah CHAMMA’s poem ‘I am No Palestinian’. Our strategy aims at creating such equilibrium between the translator’s creativity and identity losses, which will allow the target reader to be an active participant in the understanding process and revealing the otherness of the source text. The poem of Farah CHAMMA is chosen as a case study in this research, because it reflects the human being struggle for independence and freedom. However, the independence in this context does not mean the liberation from the colonizer who enters with his armed forces and military weapons to your country, the colonizer nowadays enters your brain trough globalization, migration, media, internet, and all these factors contributed to the fusion of the traditional notion of identities. The Islamic Arabic identity is contaminated by the French, English, Spanish, German, Italian, Christian and Jewish identities due to this kind of colonialism which destroys all the identity and patriotism fundamentals such as: ethics, religion, thought, and of course language. This is why Farrah writes in her poem that she had lost her language and all the Arabic Palestinian identity that comes with, she masters many foreign languages but her mother tongue. She thinks, acts and does like the British, the French, The Portuguese poets and artists do, but she just knows little tales about the Palestinian poet Ziad RAFFIF who defends the Palestinian issue in his literary works. So, the poet Farah Chamma used the multilingualism in her poetry to draw a picture of the struggle that exists within herself, and to show us how a language can embody an identity with all its features. The multiplicity of identities may create a new identity for the writer of the source text. Thus, the translator will not deal anymore with all the different cultures that belong to the languages of the text, but he must instead, discover the new identity of this community that uses this kind of speech system i.e., the Code-Switching system.

Perceiving the poetic world: A corpus-assisted transitivity analysis of poetry comics.

While modern adaptations of Chinese classics have drawn keen scholarly interests lately, the comic adaptation of Chinese traditional poetry remains under-investigated. Extending the previous research on intersemiotic translation and comics, this paper, drawing on the analytical framework of systemic functional semiotics, examines distribution of process types of language in poems in comparison with that in comic images in the exemplary case drawn by Cai Zhizhong, using UAM image as the annotation tool. The comic book formulates a multimodal corpus that consists of 1,097 clauses and 605 images. We have manually analyzed the process type of the poems and their corresponding comic panels. Our quantitative and qualitative results show that there are distinct patterns of process-type distributions between verbal poems and images. Poems have been turned into perceptions, actions, and verbal processes in comic strips, which serve various purposes such as construction of the poet's gaze, relations building, storyline development, dramatization, metaphor visualization, etc. The paper is concluded with discussion on how the intersemiotic translation of poems might produce effects on readers.

Research on Translation in Publicity in Cross-cultural Communication-Take Journey to The West as an Example

Journey to the West is one of the four great classical novels in China. It has a fascinating plot and a magic form to represent the struggle between hearts, which has high literary and artistic value. As an excellent traditional cultural masterpiece, Journey to the West can respond to the Sixth Plenary session of the 19th Central Committee to enhance people's cultural confidence, for the new era to create a new situation for the cause of the Party and the country to provide strong spiritual strength. Especially in the context of Chinese culture going out, this masterpiece is of great significance to the external communication of Chinese traditional culture. Based on the names and appellations in different versions of Journey to the West and the translation of poems, this paper analyzes the foreignization and domestication strategies used in different versions of Journey to the West from the perspective of domestication and foreignization, and explores what the translator wants to achieve by using this translation strategy, so as to promote the spread of Journey to the West abroad.