Сохранение национальной окраски при переводе художественных произведений

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the combination of varied forms of national character in the creative work of one author or another in his works. National coloring is not an appendix in the work but it is one of its main parts that total the work structure.

 

Originality and specific character do not show that the work cannot be translated but they show the creative character of the translation process. World literature knows many examples when translators managed to convey all the originality of works and these translations became masterpieces as their originals. Originality, national coloring of the work is not lost in the succeed translations and that is one of the main principals of creative translation activity. National coloring like everything in the world is in the constant movement. Here the translation s role is enriched with one positive moment. His task is to carry this constantly changing stability to readers of other nations. It is interesting that for some works this process lasts more than ten years till the form is adopted and reconstructed.

 

Reconstruction of national coloring in the translation very often depends on the prevailing methods used in different literary schools.

 

The volume of the translation is not underlining of national specifics of origin text but it is the creation of its truly wholeness, finding of adequate concrete form that is to help to show the unity of national and common to all mankind coloring in the origin.

 

Translator must convey adequately the national character connected with the real representation of life. It means that he must know social conditions and nation development whose literature he translates, he must know and understand the specific spiritual way of life, find explanations of problems caused with peculiarities of this nation and originality of his development. For example, the figure of Marullo in John Steinbecks novel The winter of our discontent is a collective figure of one of the representatives of Italian emigrant in America who became rich in the period of 20-s years. Such figures were in many other works of that period and like them Marullo is the bearer of common for native Americans problems but at Steinbecks work this figure differs with his national and artistic originality, caused by peculiarities of American emigrants development at that period.

 

What does every translator imply and what kind of tasks are in front of him? Why does he begin to translate works from another national literature?

 

At first he must know and understand the individuality, unique of figures. Every artistic figure is unique according to its nature and irrespective of its national origin.

 

Secondly he must know and understand the essence of figures and ideas of works of social class.

 

Thirdly he must take into account the national originality reflected in the work: its plot, form, images, style, language etc.

 

Fourthly he must reveal international coloring of the work that is significant for different countries, states and nations elements.

 

Fifthly he must reveal elements common to all mankind irrespective of their belonging to any country, epoch, and nation.

 

National and international, folk and common to all mankind activities are tightly connected with each other and perform the complicate dialectic unity.

 

Translation is not only outward form of these mutual relations; it is also dialectic unity of the national and international coloring of its essence.

 

The point of the translation is a bridge between national and international coloring. That is why its main function is the turning of spiritual values of one nation into the property of other nations; translation is transmission assisting to mutual penetration and influence of national cultures. In our days we can be witnesses of the powerful aspiration to mutual knowing, intellectual and spiritual communication. Every nation culture goes out the limits of its own country. Its relations with cultures of other nations development on multilateral basis, they become more and more all embracing, acquiring bigger significance.

 

It is easy to note that major part of themes and problems in the different national literature coincide. But treatment to these themes and solutions of these problems are various and original in the works of different cultures. For example the theme of Motherland in three poems of A. Block, R. Burns and I. R. Beher.

 

Common to all mankind theme of Motherland these three poets express in different ways: their lyrical characters express their feelings differently and have different notions of Motherland. Ideal of Motherland in these poets minds was formed in the different nations and spiritual environment. Originality of their attitude and artistic representation, originality of expressive means are the result of environment and other factors.

 

For Russian poet Alexander Block his Motherland is the most desirable dream, hope that it will be the place of his last rest. In his poem Russia embodies its beautiful nature; for Robert Burns Motherland is associated with the figure of the mothers sadness missing her sons who fight for the freedom and will never come back; in Behers poem we do not hear cry but anger and appeal to revenge for the outraged and ashamed Motherland. Grief, ache, anger and love are lyrical moods common to these three poets.

 

But for this specific feature in the expression of common to all people feeling of love to Motherland these poems would lose their concrete character.

 

International character in spiritual literature does not exist abstractly; in every national culture it acquires concrete forms. It is this dialect that must become ruling principle in the translating activity. The translator must convey truly both components on this unity keeping in his mind the frequent absence of confines between national and international coloring because they interlace with each other.

 

The translator only conventionally finds and marks out national, social, individual, international, common to all mankind coloring.

They cannot be separated in any artistic work. Their separating leads to the art destroying. if the translator does not manage to convey this floating it means that he has not able to create high-quality authentic translation.

 

 

 

 

 

 

 

 

 

 

Coloring and erasure of coloring.

 

The notion of coloring appeared in the literary criticism terminology and meant a special quality of literary work, speech characteristic of personage, a special emotional or linguistic look of separate literary work or an writers works, that is all peculiarities and originalities. Coloring of a word shows its belonging to a certain people, country, concrete historical epoch.

 

National (local) and historical coloring of realia is a new additional meaning to its main signification. A.S. Pushkin uses realias евнух, гарем, гяур, чубук, щербет in Bahchisarays fountain; their specific coloring gives an oriental coloring to the poem. According to dictionaries щербет is an oriental fruit soft drink and it differs from lemonade by its regional belonging and it is considered as a coloring. This neutral word turns into realia owing to relation with this region. But if an inhabitant of this region who works in the West faces with this word it gives him an association connected with his motherland, his recollections and feelings.

 

It makes us consider coloring a part of connotative meaning of a realia.

 

It is appropriate to compare realias words with specific national and historical coloring connotative lexis with words deprived of such coloring. We may use two words bird cherry and rook. They are only details of nature: bird cherry is a tree that grows in Northern America, Europe and Asia; and rook is specie of birds from crown family. These words are not realias because of their wide-spreadness and they are not connected with people or country. However associations connected with bird cherry (the height of spring) and rook (expectation of spring) make a heart of Russian man quicken. He connects their connotatively with realia not turning them into realia.

 

Another example touches up some difficulties translating of the title of famous Russian film Летят журавли into the French language: the French word grue also means silly girl and a woman of easy virtue.

So they had to substitute the word “crane” for the word “stork”.

 

In these examples connotative words in contradiction to realia have full and significant equivalents.

 

“Inconvenient” word is often substituted for its functional analogies. Foe example, bird cherry can be substituted for early blooming tree or bush for England it can be substituted for plum or cherry-tree or even for lilac; instead of rook they can use any convenient bird. The main idea is to evoke a reader of translated text the same associations that has a reader of origin text.

 

The transmission of connotative word by means of devices that are characteristic feature for the transmission of realia usually leads to an undesirable results: a corresponding word

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