Сохранение национальной окраски при переводе художественных произведений
Plan.
Introduction.
P.3
Chapter I
Dialectics of national coloring in the translation.
P.5
Chapter II
Coloring and erasure of coloring.
P.13
Chapter III
Analogisms and anachronisms.
P.22
Conclusion.
P.24
Bibliography.
P.26
Appendix.
P.28
INTRODUCTION.
Translation is a mean of interlingual communication. The translator makes
possible an exchange of information between users of different languages by
producing in the target language a text which has an identical
communicative value with the source text. This target text is not fully
identical with the source text as to its form originality content due to
the limitations imposed by the formal and semantic differences between the
source language and target text.
National coloring of the work is one of examples of these differences. Now
it is one of important themes to be studied/ During many years the USSR’s
confines were closed and we had not much opportunity to interact with many
foreign countries. Of course, we had a great number of foreign books but
most of them were either classic books or books of working class. So we had
not opportunity to value all the literature of foreign countries. the same
case was in the foreign countries when they could not get all the variety
of Russian literature. They also preferred to read our classics. The result
of it was that they could know only archaic coloring of the works and they
had little information about national coloring of Russia. And now then USSR
does not exist any more every state that was a part of the USSR can perform
its own literature and hence national coloring.
The author of this course paper considers that every literature work has
its own national coloring. Every work is written in the conditions of the
country where the author lives. Therefore the country with its language,
mode of life, political, historical, economical atmosphere and many other
factors influence on the work and it acquires the national coloring of the
country even if the author does not think of creating of any work that
would be nationally colored.
The author of this course paper considers the preservation of national
coloring to be one of the most difficult tasks for translator. National
coloring is the property of the country or its part. Every nation is proud
of its history; traditions and it would consider an offence if the
translator does not manage to convey the national coloring or if he conveys
it wrong. That is why the translator must be very attentive and careful
with any kind of literary work.
Dialectics of national coloring
in the translation.
Any literary work appears on the national ground, reflects national
problems, features and at the same time the problems common to all
mankind. Passing from one nation to another literature enriches and
extends the notion of peoples about each other.
It is one of the most difficult cases to convey national coloring. Owing
to the translation very important literary works were able to appear in
many other countries and became available for people speaking other
languages. The translation helps mutual knowing and peoples' enrichment.
National coloring must be reflected adequately in the translation.
Dialectics of national coloring reveals itself specifically in different
fields of spiritual culture of people and thus in various types of
translation.
In the scientific and technique literature the national psychological
categories are less expressed. The contents of such translations is
valuable for all nations in spite of their national specific.
Thus, for example, concerning natural sciences Darwin's theory or
classic physics of Newton or modern physics of Einstein or Bore have the
same meaning for all the countries and nations. The original texts of
natural-scientific works and their translations do not differ much from
this point of view.
Here there is another case in the field of social-political literature.
It is closely connected with the ideological society of the country with
its history and its historical specifics and it can never be separated
from country peculiarities and demands, political conditions, the events
of its time and it is changed by the factors that reflect the notion
development. National peculiarities, problems and interests put impress
both on the contents and style of any author. In general the translation
of social-political literature is more similar with scientific
literature.
Comparing the works of J. Steinbeck, J. Austin and others we shall see
the specific of author's personality and country specific.
The national beginning of one or another country reflected in its
literature culture and in written culture that is especially interesting
for us from the translation point of view is the aggregate of
characteristic peculiarities and features that are specific for this
nation and the constant historical development of this nation.
It also has common to all mankind, international character to which
historical conditions give its own national coloring, its self-
expression. That is why we speak about national specific character that
was formed in the certain historical, social, geographic and other
conditions of this country. This specific character has enough concrete
expression where one or another sign is predominant and that is seen in
one or another nation form. There is national originality reflected in
the literature and other fields of social science and it has the more
significance the more it is rich in content, progressiveness,
brightness: other nations are enriched meeting with it discovering
something new, interesting, useful and important for them in this
specific character.
The difficulties while translating are connected most of all with
conveyance of national character of one or another work: the brighter
it reflects national life the more illuminate characteristic situations
the more difficult for the translator to find adequate functional
figurative means.
It will be enough to recollect the difficulties that the translator
faced with translating wonderful works of outstanding American writer
John Steinbeck. Steinbeck is not only a deeply national, original writer
but also a modern writer. His creative work could appear only in our
days. Many translators mark out originality of his feature world and
that is why the originality of his language and style and the specific
usage of popular speech and dialectisms. For example: It’s the grapes! –
Вот это жизнь! Got to blow town. – Mне пора сматываться из города.
Steinbeck often uses parallel literary words and its dialect synonyms.
For example: dish also translated into Russian as красотка, деваха, jazz
is translated as болтовня, брехня, болтология.Therefore, the translator
must determine national peculiarities of the contents and the form (that
is language peculiarities, melodies, rhyme and so on) and substitute
national figurative means (realias, poetic images) for others that are
equivalents to the firsts in their national determination to convey its
national contents. The task of the translator is to find and rail the
essence of national peculiarities and specific character. Correct
conveying of these nationality elements opens the way to reveal
internationality in the work. The popular speech, dialectisms, social
coloring, realias in Steinbeck’s works do not only total the basing of
his original stylistics but also express certain over-text or behind-the-
text peculiarities of his work, modern feelings system, the exclusive
rich fantasy, deep thoughts, piercing visible and spiritual words,
plastic gift and ability of transformation. All of these are united into
complete combination of original artistic picture of life together with
unique intellectual foreshortening of views on it. For example: Don’t
you have a silly bone in your body? - Неужели у вас нет ни капли юмора?
Therefore it is not possible to create only conveying realias, social
coloring and so on to display of national character while translating.
It can be got only if the translator is able to create 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
