Suchergebnisse

Постоянно развивающаяся индустрия медиа и развлечений, а также глобализация информационного пространства обуславливают необходимость быстрой адаптации контента. Этот факт отчасти объясняет появление феномена любительского аудиовизуального перевода. Настоящая статья посвящена комплексному исследованию феномена любительского аудиовизуального перевода, существующего в русскоязычном сегменте видеохостинга YouTube и вебсайта ВКонтакте. Актуальность данного исследования обусловлена незначительной степенью изученности любительского аудиовизуального перевода в научном дискурсе. Основными методами анализа являются описательный и сопоставительный. В статье представлена существующая классификация видов аудиовизуального перевода, а также выделены и описаны основные особенности работы с ним.Материалом для данного исследования послужили видеоподкасты The Joe Rogan Experience и их любительские переводы, позволившие определить характерные особенности анализируемого вида аудиовизуального перевода. Любительский аудиовизуальный перевод выполнен преимущественно в форме субтитрирования и закадровой озвучки, что было установлено в результате анализа рассматриваемого материала. В ходе исследования было проведено интервьюирование переводчиков-любителей для определения основных тенденций в англо-русском любительском аудиовизуальном переводе. Анализ результатов опроса позволил установить, что любительский перевод выполняется как авторами с профессиональной подготовкой, так и любителями без специального образования. Полученные данные дают основание для предварительных выводов, однако данная проблема требует дальнейших исследований.
The constantly developing media and entertainment industries along with the globalized information space make it necessary to translate and adapt content quickly. This fact can serve as an explanation for the emergence of amateur audiovisual translation phenomenon.This article is devoted to a comprehensive study of the phenomenon of amateur audiovisual translation that exists in the Russian segment of YouTube and VK. The relevance of this study is determined by the fact that amateur audiovisual translation is not sufficiently studied in scientific discourse. The main scientific methods are descriptive and comparative. The article presents the existing types of audiovisual translation classification. The main tendencies observed in amateur audiovisual translation are determined and described.The material for the analysis was The Joe Rogan Experience videopodcasts and the available amateur translations. The studied material allowed us to determine the characteristic features of the phenomenon in question. Analyzed material established that amateur audiovisual translation exists mainly in the form of subtitles and voiceover. The interviews with amateur translators to identify the main trends in English-Russian amateur audiovisual translation were conducted. The analysis of the results shows that both professional translators and translators without any special education perform amateur translation. The data obtained provide a basis for preliminary conclusions, but the problem in question requires further research.

The article is devoted to the study of two works created by the outstanding Spanish philosopher and writer M. de Unamuno in 1920-1922. Based on Shakespeare's tragedy Hamlet, a poem (1920) and an article (1922) with the same title Repose is Silence were written. Their name is interpreted by Spanish researchers as a curious translation error of Hamlet's last words: "The rest is silence". The considered works are vivid examples of meta-translation reflecting the conceptual image of the artist's world. The study and reconstruction of the context of the creation of two texts and the analysis of their ideological and artistic content allow not only to get closer to understanding the peculiarities of the linguistic consciousness of the Spanish philosopher and poet, but also to understand the huge potential of meta-translation as the realization of Bakhtin's idea of the life of great works in the 'big time' of culture. These Unamuno meta-translations embody two artistic methods of mastering Shakespeare's spiritual experience and at the same time are the result of Unamuno's understanding of the Spanish (and wider European) reality of the turning point.

В статье обсуждаются принципы и методы перевода топонимов в произведениях фольклора. Частные проблемы перевода фольклора особенно актуальны в связи с возрастающим интересом к публикации архивных инедитов и вновь собираемых материалов по устному народному творчеству, а также републикации согласно новым методикам текстов, изданных ранее. Рассмотрены особенности топонимики в фольклорных повествовательных текстах разных жанров. Изучены различные способы передачи топонимов: использование устоявшихся общепринятых эквивалентов, транслитерация, частичный перевод, калькирование. Теоретической базой исследования стали новейшие русскоязычные публикации по переводоведению, а материалом - образцы фольклора, изданные в академической двуязычной серии «Памятники фольклора народов Сибири и Дальнего Востока». Методология исследования основана на системном подходе, в рамках которого группы национальных топонимов и их переводных эквивалентов соотносятся и сопоставляются как цельные системы несовпадающего объёма и характера. Актуальность исследования обусловлена тем, что заявленная тема прежде не становилась предметом специального изучения, хотя интерес к достоверной публикации инедитов постоянно растёт. Научное издание фольклорных текстов предъявляет высокие требования к достоверности перевода. При передаче топонимики необходимо глубокое знание истории и географии региона, к которому относятся топонимы. Для большого числа национальных топонимов существуют общепринятые эквиваленты, зафиксированные в словарях и на картах, их и следует использовать во всех возможных случаях; если это невозможно, допустимо обратиться к методам, указанным ниже. Транслитерация/транскрипция допускается в тех случаях, когда устоявшегося эквивалента нет, при этом должны соблюдаться единые принципы передачи букв или звуков исходного топонима. Частичный перевод возможен, когда в составе топонима есть определители, указывающие на тип географического объекта. Калькирование - полное или частичное - применяется, когда семантика топонима ясна и его значение может быть важно для сюжета повествования. Помимо этого всегда находятся исключения: топонимы, не подпадающие в указанные категории. Дальнейшее изучение темы на более широком материале перспективно для поддержания высокого уровня научных публикаций фольклора.
The article discusses the principles and methods of translation of toponyms in folklore texts. Particular problems of the translation of folklore are especially relevant taking into account the growing interest in the publication of archival inedits and newly collected materials on oral folk art, as well as the republishing of previously published texts according to new methods. The features of toponymy in folk narrative texts of different genres are considered. Various ways of transferring toponyms have been studied: the use of established translation equivalents, transliteration, partial translation, calquing. The theoretical basis of the study was the latest Russian-language publications on translation studies, and the material was folklore samples published in the academic bilingual series "Folklore Monuments of the Peoples of Siberia and the Far East". The research methodology is based on a systematic approach, in which groups of national toponyms and their translation equivalents are correlated and compared as integral systems having mismatched volume and meaning. The relevance of the study is due to the fact that the stated topic has not previously become the subject of special study, although interest in the reliable publication of inedites is constantly growing. The scientific publication of folklore texts places high demands on the reliability of the translation. When transferring toponyms, a deep knowledge of the history and geography of the region to which the toponyms belong is necessary. For a large number of national toponyms, there are accepted translation equivalents recorded in dictionaries and maps, and they should be used in all possible cases; if not possible, it is permissible to refer to the methods indicated below. Transliteration / transcription is allowed in cases where there is no translation equivalent; at the same time, the uniform principles for the transmission of letters or sounds of the original toponym must be observed. Partial translation is possible when the toponym contains determinants indicating the type of geographical feature. Calquing - full or partial - is used when the semantics of the toponym is clear and its meaning may be important for the plot of the narrative. In addition, there are always exceptions - toponyms that do not fall into the specified categories. Further study of the topic on a broader basis is promising for maintaining a high level of scientific publications of folklore.

For over two hundred years, 19th-century British literature was being translated in Russia. The process of literary translation has suffered two radical changes in translation norm within that time. The first had happened after the 1917 revolution; the second after the perestroika of the early 1990s. Before the revolution there were no established principles of translation: very often different translations of the same text were published at the same time; in some cases translation was reduced to retelling the story. In the Soviet era there was a concept of the ultimate 'ideal' translation of each work of literature, but the question of the translation method came into dispute. Initially translation accuracy was recognized as the most important factor, but later so called 'formalism' was stigmatized and more domesticating method was recognized as the only proper approach. After perestroika multiple translations of the same text started to appear, and the translations of the 19thcentury came back into print. The article reviews the details of each of those periods, the influence of economic, cultural, and political issues on publishing practice, methods of translation and commentary, problems of authorship, editing, censorship, and the choice of target audience. Particular attention is paid to the practice of reusing pre-revolution translations. The problem of professional translation criticism that could help readers make sense of several coexisting translations, is discussed.

Acta Slavica Estonica is an international series of publications on current issues of Russian and other Slavic languages, literatures and cultures. This volume consists of two sections and includes articles by participants of two international scientific seminars: "Translation strategies and state control" (Tartu, December 8–10, 2016) and "Textbook as an ideological text" (Tartu, September 29–30, 2017). The focus of the book is on the relationship between government institutions and members of the translation community during the Soviet period; ideology and poetics of translations of works of art included in the Russian-Soviet literary canon; mechanisms of transmission of ideology in Russian imperial and Soviet school textbooks.

Generations of Russians are familiar with Shakespeare's play Measure for Measurethrough the poetically beautiful, light and aphoristic translation of T.L. Shchepkina-Kupernik (1939). The same year it was published in a small print run, and in 1960 in The Complete Works of Shakespeare by Iskusstvo Publ. whose circulation (225,000 copies) incomparably exceeded Academiaedition with the translation of the play by M.A. Zenkevich. And today the translation of T.L. Shchepkina-Kupernik is published much more often than others. Meanwhile, the outstanding Russian scholar A.A. Smirnov, coeditor and preparer of both Shakespeare's Collected Works (or any editor after him), did not point to the deletion of the fragments of text and translation errors, although the Iskusstvoedition was prepared and published already during the Khrushchev's 'thaw'. Of the two main translation strategies - poetic liberty and philological accuracy - T.L. Shchepkina-Kupernik took the first path with Measure for Measure. The liberty of this translation is due to two factors: 1) a semantic and linguistic mistake, particularly important because it was made in the interpretation of the main thesis of the play (do not judge, doing the same yourself, forgive) and 2) self-censorship, obviously associated with the 'requirements of the time' and individual fears (withdrawal of dangerous tirades, smoothing and softening of meaning, avoiding specific words). The article shows what exactly the incompleteness, inaccuracies and errors of this translation consist of, and why they need commentary. In addition, a biographical hypothesis is formulated to explain the translator's self-censorship.

The article describes the history of the complete translation of Virgil's "Aeneid" into Russian (12 books), performed by A.A. Fet in the spring and autumn of 1887 with the participation of V.S. Solovyov as a translator (books VII, IX, X). The joint work of the famous poet, acclaimed ancient languages translator, as well as his major co-author, the classic philologist from Kazan, D.I. Naguevsky (comments and text revision), and Solovyov is chronologically reconstructed through the letters of both Fet and the rest of the participants and witnesses of this work (Solovyov, Naguevsky, J.A. Kulakovsky, N.N. Strakhov, A.V. Olsufiev, etc.). Not only does the analysis of this epistolary allow to determine the level of participation of each of the co-authors, as well as to restore the nature and details of this collaboration, but also to understand the essence of the disagreements that arose among them. Meanwhile in most studies Solovyov's translation technique is contrasted with Fet's not in favor of the latter without considering the available documents. Thanks to these efforts, the style of Fet has been supplemented by statements about the the poet's basic principles of translation in which the term "literal translation" often sounds like a verdict when it is expressed in relation to Fet and Solovyov's special "literalism" is recognized better than Fet's. The author of the article comes to the conclusion that if Solovyov's translation significantly differed from the principles established by Fet, this creative union would hardly be possible, or, knowing Fet's scrupulousness, we would find Solovyov's name on the title of the Aeneid as an equal, but different translator. Meanwhile, all parts of the translation are organic and are performed in the so-called "literal" method, persistenly declared by Fet, who strives for absolute transmission of the letter and spirit of the original.

Настоящее исследование посвящено изучению функционально-семантических особенностей дискурсивных слов в русском языке, а также их переводов на китайский язык с использованием русско-китайского параллельного корпуса. Проблематика исследования актуальна для русско-китайской переводческой деятельности, а также в рамках методики преподавания русского языка как иностранного. В статье кратко рассмотрена разница в отечественной и западной терминологиях относительно дискурсивных единиц. Выделены ключевые характеристики дискурсивных слов. В ходе исследования проведен анализ высказываний, взятых из русско-китайского параллельного подкорпуса Национального корпуса русского языка, содержащих отобранные дискурсивные слова (а то, в общем, впрочем, например, однако). Приведены наиболее частотные китайские эквиваленты этих слов, данная информация представлена в процентном соотношении. Кроме того, рассмотрены примеры высказываний, содержащих вышеназванные дискурсивные слова, представлен их перевод в параллельном подкорпусе Национального корпуса русского языка, а также приведен дословный перевод. На основании исследования сделан вывод о том, что дискурсивные слова являются лингвоспецифичными словами, а их прагматические функции зависят от контекста.
The article is devoted to the study of the functional and semantic features of discourse words in the Russian language, as well as their translations into Chinese using the Russian-Chinese parallel corpus. The research is relevant for the Russian-Chinese translation, as well as for the methodology of teaching Russian as a Foreign Language. The article briefly discusses the difference in Russian and Western terminology regarding discourse units. The key characteristics of discourse words are highlighted. The statements containing selected discourse words (otherwise, in general, however), taken from the Russian-Chinese parallel subcorpus of the Russian National Corpus are analyzed. The most frequent Chinese equivalents of selected Russian discourse words are given. The examples of statements containing these discourse words, their translation in a parallel subcorpus of the Russian National Corpus are presented, as well as a literal translation. The paper shows that discourse words are language-specific words, and their pragmatic functions depend on the context.

The article is about the word 'panache', which refers to the main characteristic of the protagonist of the most popular play in the French theater - Cyrano de Bergerac by Edmond Rostand. This word, being the last word in the play, and also in the life of Cyrano, is a semantic neologism of a complex - both metonymical and metaphorical - nature, in the base of which lies a specific noun panache with the meaning of 'plumage'. Reinvented panache is connected metonymically with the image of Henry IV, who ordered his troops to look up to his white plumage during the battle, and metaphorically - with the visual image of this colorful and always in motion vestimentary attribute. This neologism was needed to be explained, which has been done by the author himself, on the meeting of French Academy, to which he had been elected. However, his explanation, done in a neo-romantic way, stressing that panache is a "spirit of courage", was not exhaustive, which can be suggested judging by numerous interpretations of this word from different points of view (literary, philosophical, psychological, etc.). Soon after the phenomenal success of the play followed a Russian translation of it, made in a phenomenally short time (only within a month after a premiere in Paris) by T.L. Schepkina-Koupernik, and then translations by V.A. Soloviev, Yu.A. Aihenvald and E.V. Baevskaya. These remarkable examples of translated literature showed the untranslatable nature of the word panache. Thus, T.L. Schepkina-Koupernik made it "a plumed hat", E.V. Baevskaya - "a pride" (which does not fully express the idea of panache, as there are also reckless courage, humble nobility and ingenious eloquence and in it). V.A. Soloviev and Yu.A. Aihenvald do not mention this word at all: the final of the play is constructed in a way to avoid the translation of panache. Still remaining untranslatable, panache by its semantic energy stimulates theoretical re-thinking of the problem of how to translate the untranslatable.

В статье приводятся результаты исследования особенностей передачи субстандартной лексики в англоязычных молодежных сериалах при переводе на русский язык. Рассмотрены особенности разговорного стиля речи, изучены разные определения субстандартной лексики и описаны три способа его перевода: прямой, функциональный и косвенный, каждый из которых помогает преодолеть трудности, связанные с особенностями функционирования субстандартизмов в молодежном сериале. Отмечено, что субстандартные слова и выражения часто используются в молодежных сериалах, чтобы передать определенную характеристику героев, их настроение и взаимоотношения, а также отразить социальную ситуацию в стране в целом. Однако такие слова могут оказаться трудными для перевода на другие языки из-за отсутствия точного эквивалента, отличий в функциональной нагрузке и особенностей восприятия принимающей культурой. Проведенное исследование позволяет сделать вывод о том, что при переводе субстандартной лексики в англоязычном молодежном сериале на русский язык наиболее распространенными способами являются косвенный перевод и функциональный перевод. Прямой способ, который подразумевает буквальный перевод, используется реже, что объясняется тем, что перевод субстандартной лексики в молодежных сериалах согласуется с нормами русского языка и адаптируется под принимающую культуру.
The article presents the results of the research of substandard vocabulary in English youth series and the peculiarities of its translation into Russian. Therefore, the peculiarities of the colloquial speech are analyzed, different definitions of substandard vocabulary are studied and three ways of translating slang are described: direct, functional and indirect, which are aimed at overcoming the difficulties associated with the peculiarities of functioning of substandardisms in youth series. Substandard words and expressions are often used in youth series to convey certain characteristics of personages, show their mood and relationships, as well as to reflect the social situation in the country in general. However, such words can be difficult to translate into other languages due to the lack of exact equivalents, differences in their functions and peculiarities of cultural perception of such expressions. The results of the research bring us to the conclusion that the most common methods of translation of substandard vocabulary in youth series into Russian are indirect translation and functional translation. The direct method, which implies word for word translation, is used less often, which is explained by the fact that translation of substandard vocabulary in youth series is adapted to the standards of the Russian language and culture.

Статья посвящена современной тенденции активного использования английских заимствований в языке немецких СМИ. На примере заголовков немецких онлайн-СМИ рассматриваются различные виды англицизмов, их функции в современной прессе, а также особенности и основные способы их перевода на русский язык.
This article focuses on the modern tendency of using English borrowings in German mass media. The article deals with different types of anglicisms, their functions in the modern press, as well as the main ways of their translation into Russian by the example of headlines in German online-mass media.

This article discusses ad verbum and ad sensum translation techniques in the Middle Ages and in the Renaissance, with special attention paid to the literal
translation of Sophocles' Oedipus at Colonus made by an Italian humanist, Giovanni Battista Gabia, in the 16th century as an example of ad verbum (word-by-word) translation. It can be seen that trying to translate Greek into Latin involves some grammatical and semantic issues; as a result, the translation becomes hard to perceive. However, the ad verbum type of translation was used for parallel studying of ancient languages that was widespread in the 16th century. Another translation mentioned in the article was produced by a German humanist Veit Winsheimius. It is characterized by simplified grammar and vocabulary. As a result, the translation becomes easier to perceive and understand. The article shows the variety of forms of reception that can be explained not only by usage of certain translation techniques, but also by certain goals of the translators: though both Giovanni Gabia and Veit Winsheim made their translations to use them for teaching ancient languages, the former preferred the method of parallel texts and the latter wanted to make the Latin translation itself clear enough for students.

В статье представлена рецензия на монографии E. Goodwin, в которой автор рассматривает переводы на русский язык произведений английской детской литературы за период 1918-2015 гг. ; The article reviews the monograph of the well-known British specialist in the field of history andtheory of translation of fiction Elena Goodwin. E. Goodwin analyzes translations of classic English books for children into Russian in the period of 1918-2015, thus creating a broad panorama of interaction between cultures and literatures of the period.