Ukrainian Translation Research Articles

Life, Works and Philosophical System of Bronislaw Trentowski

The Ukrainian translation of Klym Hankevych's work "Life, Works and Philosophical System of Bronislaw Trentowski". Translated from Polish by Andrii Kadykalo.

Critical Remarks on Positivistic Logic

The ending of the Ukrainian translation of Roman Ingarden's work "Some Critical Remarks on positivist logic. Translated from Polish by Ihor Karivets.

TRANSLATION STRATEGIES OF SECURITY AND LIFE SAFETY TEXTS

The article discusses general translation strategies such as literal translation, borrowing, calquing, equivalence, transposition, modulation, adaptation, expansion, contraction, generalizing, particularizing as well as compensation and restructuring and describes how they can be used when translating texts of security and life safety. The author looks at how to formulate a translation brief and what type of information it should contain. Some of the specific strategic problems a translator might encounter in texts of security and life safety are described as well as some of the strategies a translator use to deal with them are explored. Using a corpus of 500 risk and safety phrases, we compared the use of various translation strategies in English texts and their Ukrainian translations and found that in risk and safety phrases, literal translation occurs more frequently than other strategies such as transposition, modulation, addition or adaptation. Nevertheless, even though literal translation may proportionally see more use in technical texts, it is by no means the most important strategy, nor does it represent the main tool in a translator's toolbox.

METAPHORICAL PERSONIFICATION IN UKRAINIAN TRANSLATIONS OF THE PROSE JOSEPH CONRAD

The study of the original and translated marine novels is still relevant. Considering the longevity of Ukrainian marine language creativity and the endless arsenal of native language tools for translating English marine novels, the purpose of the given article is to explore the features of metaphorical personification in Ukrainian translations of Joseph Conradʼs novels «The Shadow-Line» by Olha Fyra and «Typhoon» by Mykola Roshkivskyi; to find the semantic bases of the idiostyle in these texts, to classify the types of semantic detailing of the humanized realities of the sea element. The research methodology consisted of a continuous sample of contexts with metaphorical personification of marine realities in the given novels and further semantic analysis of selected units, which consisted of distinguishing and detailing their semantic bases. In the researched texts, the semantic bases of marine personification are a ship, which has an inseparable «spiritual-bodily» connection with the captain; wind (storm, typhoon) – a fierce emotional enemy of the sailor; waves – aggressive and frantic; sea as a «twin» of man in appearance, behavior, state of mind. The semantic components of ʻdeificationʼ, ʻadmirationʼ, ʻcharmʼ, ʻemotionʼ, ʻprotectionʼ, ʻtrustʼ, ʻdelicacyʼ, ʻcompassionʼ, ʻdreaminessʼ, ʻanxietyʼ in the artistic and figurative representation of the wind and its varieties – ʻmadnessʼ, ʻrageʼ, ʻforceʼ, ʻcunningʼ, ʻinsidiousnessʼ, ʻangerʼ, ʻsufferingʼ, ʻdisappointmentʼ; for waves – ʻaggressionʼ, ʻhateʼ, ʻfrenityʼ; for the sea – ʻscarsʼ, ʻlonelinessʼ, ʻstupid shawlʼ, ʻdestructionʼ. In the special semantic content of marine images in J. Conradʼs idiostyle, one could see the symbiosis of his practical experience as a ship captain and the subtle lyrical psychology of the romantic son of Podillia, which was organically represented by translators. The texts under study include the condensed marine personification – integrally intertwined in artistic and figurative expressions of integral metaphorical features of the main components of the sea and navigation. The prospects of future researches lie in comparison studies of linguostylistic instruments in English and in translated (Ukrainian) marine fiction.

The politics of literal translation in Soviet Ukraine

Abstract Nikolai Gogol (Ukrainian: Mykola Hoholʹ) is a notable example of a nineteenth-century Russian author of Ukrainian origin, whose works in Ukrainian translation have always been and now remain ideologically fraught. This article discusses the dynamics of translation – from creative stylization to awkward literalism – during the period from the late 1920s to the early 1950s. Later Ukrainian editions of Gogol’s works in the Ukrainian SSR were not substantially different from those published in the mid-1950s, which indicates that by that time the Soviet model of Ukrainian literary language had been firmly established. It tended to increasingly merge with Russian, taking the Russian-language writings of Gogol as a model. The study reveals a tension between Ukrainian national idealism and the Soviet regime’s pragmatic use of language as a means of political propaganda. The discussion further challenges Russian-to-Ukrainian literalism as a strategy for manufacturing linguistic similarities and “naturalizing” Russian as the mother tongue.

UKRAINIAN TRANSLATIONS OF ENGLISH POETRY IN TERMS OF INTERCULTURAL COMMUNICATION

The relevance of the problem is explained by the fact the Ukrainian language is arising more and more interest in the world nowadays and it’s quite urgent to analyse its possibilities to translate the well-known English poetry. For those who are interested in poetry in their native language and are studying Ukrainian as a foreign one it is both useful and pleasant to make the analysis of the two languages abilities to create an aspect of intercultural communication. Our investigation is based on Emily Dickinson’s poetic works and their Ukrainian translations made by N. Tuchynska, O. Zuyevsky, M. Gablevych, and O. Hrytsenko. The purpose of the research is to identify the possibilities of the Ukrainian language as a target language in poetic translation and to characterize translation finds and losses. Emily Dickinson’s poetry is characterized by the combination of different verse meters in one poem, the special use of punctuation marks, in particular the frequent use of dashes. E. Dickinson’s poems are also distinguished by such stylistic means and techniques as assonance, alliteration, graphon (in the form of capitalization of individual nouns), paradoxes, epithets, metaphors, etc. Different translators resort to different ways of adequate translation. O. Zuyevskyi prefers contextual substitution, grammatical restructuring of sentences, modulation, concretization and domestication, uses archaic Ukrainian vocabulary in order to compensate for the loss of some original lexical units of the official style of speech. O. Hrytsenko tries to reproduce the original syntactic structure, but, resorting to such translational transformations as grammatical substitution, deletion, contextual substitution, addition, and concretization, he loses key stylistic techniques – the author’s paradox, antonomasia, epithets, irony and satire. Anyway in certain cases, due to the combination of various verse meters, the lack of a clear rhythm and the unjustified use of certain vocabulary, the architecture and compositional structure of the verse text are not preserved. We see the prospects of the investigation in creating practical tasks for the advanced level learners of the Ukrainian language to compare the original and the translated text under consideration. Key words: the Ukrainian language, the English language, poetry, translation.

THE FUNCTIONING OF LEXICAL REPETITIONS IN LITERARY DISCOURSE

The article reveals the peculiarities of the functioning of lexical repetition in artistic discourse (on the example of Suzanne Collins’ novel “Hunger Games”) and their reproduction by means of the native language in the Ukrainian translation of Ulyana Hryhorash. Taking into account that the main stylistic function of lexical repetition is the function of increasing the emotional and aesthetic impact on the reader, it was confirmed that the strength of such influence is explained not only by the lexical content of the repeated lexical units, but also by the close or distant location of one or another lexical unit in a given context . As a result of the research, some functions of lexical repetition in literary discourse were highlighted, namely: the function of connecting text elements (cohesion); the function of increasing expressiveness (emphasis); intensity growth function; sequence of information transmission; expression of multiplicity or duration of action; selection of a non-repeating element; adding clarity to the text due to the excessive use of a repeated word or phrase (tautology); to create a rhythm; stylistic presentation of conversational emotional speech; adding emotional color. Anaphora and epiphora were used mostly to create various visual representations, to give a certain rhythm, to create a certain emotional effect and to give an emotional color to the statement. Cases of anadiplosis, frame structure, polysyndeton as bright syntactic and stylistic markers are not so numerous compared to anaphora and epiphora, but they perform a kind of compositional and pictorial function that allows the reader to more fully enjoy the emotions that arise. Lexical repetition in the original language and its Ukrainian translation have one common goal – to achieve unity and coherence of the text. Being an effective means of influencing the reader and his consciousness, lexical repetitions help to empathize, stay in tension, feel sad, rejoice, encourage reflection and reasoning, therefore they are an integral part of the original text, which the Ukrainian translator masterfully tried to preserve and convey through the means of the native language.

Дослідження блага. Частина І, глава 1 / Переклад з японської, вступна стаття та коментарі С. В. Капранова

This publication presents the Ukrainian translation of the first chapter of Zen-no kenkyū (in English translation An Inquiry into the Good) by Nishida Kitarō, a worldwide-known Japanese philosopher, recognized as the founder of the modern Japanese philosophy. He was the leader of Kyoto School, the most prominent philosophical trend in 20th century Japan. Zen-no kenkyū, a philosophical treatise, is his first book. The year of its first publication, 1911, is often considered as a starting point of the history of modern Japanese philosophy, being a synthesis of East-Asian traditional thought and Western philosophical ideas. Nishida, on the one hand, got Confucian education in his childhood; on the other, he acquired Modern education and mastered Western culture in its various aspects. When writing this book, Nishida pursued Zen practice, thus in his case “East-Asian thought” means primarily Zen-Buddhism.  The book in question is the first attempt of expounding Zen experience in Western philosophical terms. Therefore, it is an important example of the reception of Western ideas in East Asia. The treatise has been translated into many languages, both European and Asian; still, until today there was no Ukrainian translation. The book consists of four parts: “Pure Experience”, “Reality”, “The Good”, and “Religion”. The first chapter, presented here in Ukrainian translation, deals with pure experience, which is the basic concept of Nishida’s early thought. Though the notion of pure experience has been earlier developed by Wilhelm Wundt and William James, it was subsequently radically reinterpreted by Nishida. The present chapter contains his analysis and critique of Wundt’s and James’ approaches.

Проблема традиції та новацій жіночої поезії середньовічного Китаю: на прикладі поетичного циклу “Ши про десять розлучень” (“十離詩”) Сюе Тао (薛濤, 768–832)

The article presents the first Ukrainian translation as well as a detailed historical and literary analysis of the cycle Ten partings (“十離詩”) written by Xue Tao (薛濤, 768–832), one of the “Four Greatest Female Shi Poets of the Tang Dynasty” (“唐代四大女詩人”). This cycle can be dated back to 789 or 809. It consists of ten quatrains, one of which is written as “ancient style poetry” gutishi (古體詩) while others are written as “modern style poetry” jintishi (近體詩). A detailed analysis of the cycle has shown that the nine jintishi are not only written according to the strict rules of versification, but also have some identical elements: the balance between a level tone ping (平) and an oblique tone ze (仄), the number of rhymes (韻), compositional structure, etc. The fourth poem “Parrot leaves the cage” (“鸚鵡離籠”) stands out in the cycle. It is not only written in different style (gutishi), but can also be seen as an example of the creation of a new poetic image. Thanks to “Fu on the Parrot” (“鸚鵡賦”) by Mi Heng (禰衡, 173–198) the image of a caged parrot is traditionally considered as a symbol of a gifted man or a poet whose talents lead to the loss of his freedom. But Xue Tao completely reinterprets this image by giving it a new connotation: now the caged parrot is a symbol of a lonely woman imprisoned in the luxurious inner chamber like a bird in a cage. Moreover, this image is ambivalent: it can be interpreted as a caged bird in the inner chamber to entertain a woman as well as a metaphor for a woman herself, who spends almost all her time there as in a cage. The very new interpretation of the parrot was highly appreciated by both contemporaries and successors of Xue Tao: they repeatedly borrowed and used this image not only in shi, but also in the other genres of poetry.

Measuring the “Blue” Face Of Narcissism: Psychometric Properties of Ukrainian Translation of the Hypersensitive Narcissism Scale in Non-Clinical Groups

Aim. Little research has focused on hypersensitive narcissism in Slavic countries. One of the reasons for that is the absence of suitable inventories. The present study aims to make the Ukrainian adapted translation of the Hypersensitive Narcissism Scale (HSNS) and to check for its psychometric properties in a non-clinical sample. Methods. To prepare materials, we first conducted a double-blind translation procedure with further linguistic analysis. The following two empirical studies to collect data for statistical analysis were then made. Results. The data shows adequate internal consistency and scale validity, as well as a three-factor structure (obtained with the principal components analysis [PCA]), in line with the theoretical background. However, the confirmatory factor analysis (CFA) and Cronbach’s alphas analysis yield the unidimensional scale to be the best fit for the Ukrainian version. The data also support evidence for maladaptive social relationship patterns of people with high HSNS scores. Conclusion. We proved vulnerable and grandiose narcissism are qualitatively different phenomena and showed how a cultural context of narcissism manifestation may be reflected through social interactions and self-attitude. HSNS in Ukrainian is a reliable and valid tool for complex psychological personality research among non-clinical adult samples. Practical application. The proposed translation of the HSNS is adapted to be used for research in Ukrainian culture, with Ukrainian-speaking respondents and psychologists’ and psychotherapists’ clients.

THE UKRAINIAN PICTURE OF OSCAR WILDE: FIRST TOUCHES

Oscar Wilde – is one of the most controversial figures in world literature, having entered into a dialogue with almost all European literatures. The reception of O. Wilde in Europe can be traced back to the late nineteenth and early twentieth centuries. Since that time, it is also possible to follow the reception of his name, ideas and works in the Ukrainian literary and critical discourse. The artistic critical response in numerous reviews, essays, literary and critical portraits, biographies, parodies of artistic life, etc. play an important role in the process of reception of the writer and his literary heritage in a foreign language culture. Translation is a special form of mediation and an important component of the perception of the literary heritage of a foreign author by a certain national literature. The choice of a work for translation is determined by the artistic needs of the perceiving literature. The synergy of literature with other art forms such as theatre, opera, cinema, book illustration, etc. can create an exceptional aesthetic pleasure. The explanation of a literary work by means of art often plays a primary role and sometimes replaces reading or completes it. The combination of all these components of reception allows us to characterize the introduction of the English-speaking Irish writer – Oscar Wilde – into the Slavic context in general and into the Ukrainian one in particular. Various ways of reception: original articles in Ukrainian periodicals, early literary reviews, critical studies, first Ukrainian translations have been analyzed in this research. The features of Wilde’s works reception in the cultural heritage of the representatives of Ukrainian literature and drama have been highlighted. The article under consideration argues that Oscar Wilde noticeably contributed to the emerging discourse around Decadence in art and literature in Ukrainian literary process. The existence of a receptive environment for the phenomenon of Oscar Wilde and his works in the Ukrainian cultural context during the 1st decade of the twentieth century is revealed and convincingly proved.

Olga Tokarczuk’s prose as a challenge for the translator: notes on the margins of the Ukrainian translation of the novel The Books of Jacob

Olga Tokarczuk’s novel The Books of Jacob is a wide and complicated epic panorama the action of which takes place on the borderlands of countries, cultures, and religions. Translating such a work into any language is a task that requires a lot of effort and careful preparation, aimed first of all at exploring all possible contexts: historical, linguistic, religious. A particularly difficult challenge is to translate The Books of Jacob into one of the languages that are part of the reality presented in the novel and are in relationships of interference with other languages used by the characters or functioning in their environments. Ukrainian is such a language. This article is an attempt to summarise the experience of translating the novel into this language, taking into account the greatest difficulties faced by the translator.

James Joyce, the French Writer: Ukrainian Reception of James Joyce in the 1920–1930s

The article analyzes the reception of the works by Irish modernist author James Joyce in Soviet Ukrainian and Western Ukrainian literary journals and press of the 1920-1930s. The exceptional focus is put on the mistake made by Antin Pavluk in his article “New Novel In French Literature” in 1927, when he called J. Joyce a French writer and transliterated his name accordingly. Further examination put light on other mistakes made by the Soviet critics, including various misspellings of Joyce’s name and Abram Leytes’ claim that J. Joyce’s novel “Ulysses” was set in London instead of Dublin. The trend of exaggerating the length of “Ulysses” was also noted and compared to the similar trend of Soviet critics adding additional volumes to Marcel Proust’s novel “In Search of Lost Time.” The article proposes that even though those trends started as incidental misinterpretations, they ultimately became clichés designed to stress the supposed exes of Western bourgeois literature. Despite this, Soviet stance on J. Joyce was not yet cemented in this period, as the critical evaluation of Joyce’s literary work varied from pro-Marxist to reactionary, depending on the goals of the examined article. In the 1930s, as the Stalinist repressions escalated, the discussion on J. Joyce rapidly declined. At the same time, in Western Ukraine, where the conversation were not so active during the 1920s, the 1930s marked two important developments in regard to Ukrainian Joycean studies: the publication of the Ukrainian translation of the short story “Eveline” in Lviv magazine “Dzvony” in 1933 and the release of Daria Vikonska’s monograph “James Joyce: The Mystery of His Artistic Face” in Lviv in 1934. Although D. Vikonska’s study was disregarded by critics, noting the lack of the full translation of “Ulysses”, the article acknowledges its importance as the first large-scale examination of J. Joyce’s work in Ukrainian. The article concludes that J. Joyce was not widely known in Soviet circles during the 1920s, but the reception was noticeably fuller in Western Ukraine in the 1930s.

A Conversation with Ukrainian Translators Kate Tsurkan and Daisy Gibbons on Translating and Creating Amid the Russian Invasion

A Conversation with Ukrainian Translators Kate Tsurkan and Daisy Gibbons on Translating and Creating Amid the Russian Invasion

Досвід перекладу Передмови до «Критики чистого розуму» Імануеля Канта

The article provides a substantive philosophical, philological and translation­al analysis of each paragraph of the Preface to Immanuel Kant’s Critique of Pure Reason. It is revealed the conceptual character of the Preface’s formulations, which shows the logic of the movement of Kant’s thought in philosophy. In particular, the complexity of the problems of Kant’s philosophical research and the unity of his phil­osophical position, which can be traced in various works of Kant, are visualized. In this light, the Preface acts both as a certain summary and as a general direction for Kant’s subsequent philosophical developments. Pitfalls of possible misunderstand­ing and, accordingly, inadequate translation of individual provisions set forth in the Preface have been identified. The translation of the Preface must take into account Kant’s respect for metaphysics, which the German thinker seeks not so much to sur­pass as to improve. Kant’s metaphysics appears not as a frozen doctrine, but as a path of reason, his creative search for answers to the last/first questions of philoso­phy. This search for reason has been ongoing throughout the history of philosophy and will obviously not be completed by the philosophy of Kant, as he himself was well aware. Criticism of skepticism appears in this light not as a denial of metaphysics as such, but as an identification of weaknesses in one or another historical version of metaphysics. In addition, the study of metaphysics is a matter of discourse – a com­petition of judgments of different thinkers. Metaphysics concerns not only and not so much the reason of a person, but the person himself as the bearer of the reason. At the same time, Kant emphasizes the self-sufficiency of the reason (with all the men­tioned multiple ways of it) as a means of achieving the completeness of metaphysics. This article is an accompaniment to the new Ukrainian translation of the Preface, which is presented below in the same issue of “Philosophy of Education”. The author previously presented these theses for public discussion, but here they received their first academic edition.

Передмова до першого видання «Критики чистого розуму»

New Ukrainian translation of the Preface to the famous Immanuel Kant`s Cri­tique of Pure Reason. Translator Yurii Fedorchenko emphasizes the correctness of the translation of certain propositions of the original text, as well as the adequacy of the reader’s understanding and, accordingly, the need for a correct translation of certain terms of Kant’s philosophy, such as “Vermögen”, “Gebrauch”, “Anwendung”, “Ausführlichkeit”, “ Ziel”, “Zweck”, etc. This translation is accompanied by an analyti­cal article by the translator, which is posted above in the same issue of the magazine “Philosophy of Education”

Book of Psalms in a New Ukrainian Translation Psalms 73-89

Книга Псалмів є збірником духовної поезії, твори якої використовувалися як для загального богослужіння, так і для особистої молитви. У християнській традиції ці поетичні твори відомі під грецькою назвою “псалми” (ψαλμοί), що походить від дієслова псалло (ψάλλω) – “грати на струнних музичних інструментах”. Звична грецька назва книги “Псалми” є перекладом з давньоєврейської назви Тегіллім, тобто “хваління”.

VERBAL FEATURES OF SPELLS IN J. ROWLING’S NOVELS ABOUT HARRY POTTER: TRANSLATION ASPECT

The article considers the peculiarities of the translation of J. Rowling's novels about Harry Potter into Ukrainian. Phonetic and lexical features of spells as occasionalisms are analyzed. The connection between the phonetic form and the meaning of spells has been traced. The classification of magic formulas in J. Rowling's novels is presented. All translation transformations used in Ukrainian translations are characterized. Translation strategies of magic spell formulas in Ukrainian translations are analyzed.

Virtual Laboratory ChemСollective: Features, Benefits and Prospects of Using in Chemistry Practical Classes in Higher Education Establishments

The article examines the application of the virtual laboratory ChemCollective in the educational process of pharmacy student studying. The ChemCollective Virtual Lab is an online chemistry lab simulation that allows students to conduct experimental research according instruction and procedures, but also to design, invent and carry out their own home experiments. The Virtual Lab helps students to link chemical computations with authentic laboratory chemistry. The autograded labs create unknowns and provide feedback on students answers. The lab allows students to select from hundreds of standard reagents (aqueous) and manipulate them in a manner resembling a real lab. 
 It is established that such virtual experimental works are interesting and useful for students. It is shown that the use of electronic instructions and procedures in Google Form for virtual laboratory work allows to get grades automatically, to set the time. These are too important during online studying. In addition, instructions in Google Form have the ability to attach photos, videos for illustration of processes, as well as providing of English vocabulary with Ukrainian translation to avoid language barrier. It is established that the effectiveness of the learning process increases because virtual laboratory is a simulator for skills training and independent preparation for laboratory research. It is shown that only a combination of virtual work with investigations in a real laboratory can develop skills for work with real equipments and cause rapid development of research competencies. The direction of further research is to study the resources of Royal Society of Chemistry, in particular the application of a multi-stage virtual screen experiment in chemistry practical classes for foreign students of higher education establishments.

Wydawnicza kolekcja dramaturgiczna jako otwarta antologia: „Kolekcja teatralna” Wydawnictwa Anetty Antonenko

The article considers the publishing project “Theatrical Collection”, which was launched in 2015 by the Lviv private publishing house Anetta Antonenko, offering Ukrainian readers and theatres books of classics and modern representations of world drama in Ukrainian translations – made directly for these publications – considering the current state of Ukrainian literature and the experience of translators who actively cooperate with modern Ukrainian theatres. The Theatrical Collection project has been inscribed in the context of modern book editions of European drama by other publishers, as well as in the general typology and periodization of contemporary Ukrainian drama anthologies, in particular, with anthologies of the collection stage. It shows how a niche publishing project in a short period of time creates its image through connections with theatres, cultural institutions, cooperation with translators and project managers, internal sociology, powerful promotions, and performative practices, some of which were available online under quarantine restrictions.