Сохранение национальной окраски при переводе художественных произведений

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lik. As a result a reader would be able to get more clear notion about Australian dish (barbecue is a Haitian word that was taken by the English language from Spanish and then was borrowed by Australian). But a reader would be astonished hearing from Czech about “evenings with shashlik”. Theoretically this variant is more vicious because it leads to mixture of different realias that belong to different nations.

 

The third possibility is to refuse transcription of both realias and to convey their contents with the help of descriptive translation that approximately can sound so: “… in the evening we were invited for a picnic that reminded us our evenings by a camp fire and we ate meat grilled on a spit.” But this translation deprives the text of Australian coloring.

 

And, at last, the fourth variant consists in transcription of external realia and conveying internal realia with its functional equivalent. And we shall have the next sentence: “In the evening … a young teacher pair invited us for barbecue. It reminded us our evenings by camp fire when we ate meat grilled on a spit.”

 

The last variant is considered to be more successful because the translation is true and the translator managed to keep coloring having transcribed main realia.

 

In Margaret Aligers notes “Chilean summer” we face with more difficult case: “… it is possible to eat here, one woman bakes pies empanados. Empanados is something similar with chebureks, they are very hot, tasty and big.” Here we have three realias: the main external Spanish - empanados that is explained as Russian national pies and one regional Caucasus chebureks. In the translation one should keep the main realia because it stands in the center of the authors attention and other realias should be substituted for neutral.

 

 

 

 

 

 

 

 

 

 

 

 

 

Analogisms and anachronisms.

 

Lets suggest that a translator working at a novel about Indian life decides to use only means of his own language, without admitting strange realias and he substitutes pagoda for temple, sari for dress or national suit, akhoby he substitutes for man-launder, etc. As a result of such national coloring extermination specific Indian features of the novel will vanish: it will be possible to consider any place as a place of act or this place is neutral, uncolored, nameless country. This method leads to coloring losing that spoils very much any translation. The mark of this translation is bad.

 

But it is worse when a translator substitutes origin realias for realias from his own language. Doing it he also substitutes coloring of the translated work for a strange coloring. If we wear a Kazak in Bulgarian aba or anteria, tsarvulis, iamurluk, if we make him drink a wine from buklista and to eat banitsa, a reader will recognize a Sofian shope but not a Kazak.

 

And it will be the worst translation when a translator conveys original means of motley words of different coloring and when a mixture of realias takes place. For example, translated into Russia novel For Freedom by St. Dichev. A redactor substitutes Bulgarian, Turkish, Greek and other realias for regional and national realias of Soviet Union. Historical realias he substitutes for modern words. Therefore Bulgarian gadulka was turned into Ukraine bandura, gamurluk was turned into Caucasus burka, pastarma was described as dried meat and Bulgarian banitsa was conveyed as Russian pie. Several historical notions closely tied up with Bulgarian culture have totally lost their national content. As a result of such vicious attitude to the realias translation a reader gets unclear, contradictory notions about described reality; the novel loses its cognitive meaning and bright national coloring and considerable part of its literary merits. Here we speak about distortion of original images in the result of substitution of national and historical realias for not characteristic to it realias, in other words, about leading to analogisms and anachronisms in a text. Analogisms and anachronisms are realias that do not correspond to local and time surrounding of origin text.

 

For example, we face with the word guillotine in the Bulgarian translation of Sheakspears work: “Essex slowly mounted the guillotine.” The mistake is not very grave from temporal point of view. There already existed the machine for execution in XVI XVII centuries in Italy and Scotland and also in France where Duke de Monmorancy was beheaded with the help of such machine. The mistake is that famous doctor Josef Ignak Giyoten invented his machine that got his name only 200 years later. Here we see the translators history unknowing. Of course, the word scaffold should be used there. We can see it from the context: “ He slowly mounted…” One can never mount the guillotine but only scaffold.

 

The reason of such mistakes regarding national and historical coloring is connected with authors or translators personality, his unknowing of real facts and historical situation and sometimes their unknowing of some principal positions of theory translation, for example, about bad results of strange realia substitution for a realia from translators native language.

 

 

CONCLUSION.

 

In 1827 Goethe wrote that translating labor was and remains one of the most important and worthy matters connecting the entire universe together. These words characterize translator as creative person who carries works beyond the limits of one national culture and who serves to people giving these fruits of this culture, created in new language form or vice versa, including achievements of other nations in his national science and culture. It is one of the evidences of the huge human role of translation in the history of human civilization.

 

Every national culture solving its problems carries its contribution in treasuring house of literature creating something that belongs only to it, has significance for all nations and proves that there are not small or big nations or inferior languages.

 

Extending of national culture confines with the help of translation has a great positive and enriching influence on the language. It is true that together with the translation many new ideas, discoveries, notions and so on penetrate in the language and it leads to the appearance of new language elements and figurative meanings. This fact is very important while translating from literary language that is not fully developed. Therefore the literary language enriches figurative possibilities, national culture, and spiritual development of this nation. Creative beginning of translation is premise of creative attitude to native language, its source of faith in its possibilities and beauty. Concerning this point the translator also has another task to defend his native speech from borrowings-parasites that clog and make it ugly, from strange forms that artificially could crowd out its own national coloring.

 

The task and mission of the translator especially the translator of feature literature is defense of the riches and beauty of the native language, its unlimited abilities to convey all that is kept in the greatest masterpieces of world literature.

 

Translated literature can also be the indicator of condition, degree of development of national language. Poetical translation of Shakespeares works by Boris Pasternak that are very rich, refined and expressive in language might not appear if Russian language of his time remained on the same level of development. In this case concrete condition of our national language at the times of B. Pasternak can be put as condition and factor of development of poetical and translating talent and vice versa Pasternaks works are great contribution in the development of Russian language.

 

The level of translated literature, the quality of translation also assists to the development of national beginning in the literature of nation.

 

"National beginning of literature, - I. R. Beher wrote, - is defined with the fact of preservation, proceeding and creative development of other literatures. The choice of elements that adopt it from literature of other nations shows its own character and is judged if its indeed national originality no."

 

 

 

 

 

Bibliography.

 

  1. Влахов С., Флорин С. Непереводимое в переводе. Реалии. "Министерство Перевода". Сборник статей. 1969. М., "Советский писатель", 1970.
  2. Лилова А. Введение в общую теорию перевода. "Высшая школа" М., 1985.
  3. Бархударов Я. С., Рецкер Я. И. Курс лекций по теории перевода. М., Изд-во I МГПИПЯ, 1968.
  4. Комиссаров В. Н. Слово о переводе. М., "Международные отношнния". 1973.
  5. Комиссаров В., Рецкер Я., Тархов В. Пособие по переводу с английск

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