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Internal linguistic aspects of literary translation. Translation transformations
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- Problems of translation of W. Shakespeares works
- II COMPARATIVE ANALYSIS OF THE TRANSLATION OF WILLIAM SHAKESPEARES PLAYS
| 1.2 Internal linguistic aspects of literary translation. Translation transformations
One of the reasons why a translator uses multiple transformations when translating literary texts is the presence of intralinguistic factors such as communicative structure and compatibility. The translator's task is not only to accurately express the author's thoughts written in another language, but also to show the features of his style and form of message with the help of translation tools. Such a combination of content and form is a feature of literary translation that distinguishes it from any other type of translation (abstracting, retelling, etc.). However, most often, the FL differs in internal structure from the TL, forcing the translator to resort to grammatical transformations. Discrepancies in the construction of two languages can be either complete or partial. If the grammatical form of the FL is absent in the TL, such a mismatch is called complete. Sometimes a grammatical category exists in both languages, but in one of the languages it is wider or may not coincide in all of its forms [7, 102 p.]. The transformation of the original systems into translation systems and the transition from one unit to another is called a translation transformation. Russian linguist, translator and lexicographer, Ya. I. Retsker, describes the following types of transformation: 1. Grammatical transformation (parts of speech, members of a sentence are replaced). 2. Lexical transformation - such techniques as generalization, differentiation, concretization, antonymic translation, semantic development (modulation), general transformation [26]. The Russian linguist and translator E. V. Shchetinkin distinguishes the following types of transformations: 1. Lexical techniques - generalization, concretization, anatomical translation, amplification, semantic agreement, explication, adaptation, compensation. 2. Stylistic techniques - modulation of language units (one generalizing technique). 3. Grammatical devices, which are divided into four types: permutations, omissions, substitutions, additions [8, 348 p.]. V. K. Latyshev speaks about six types of translation transformations: 1. Lexical - replacing words with contextual synonyms. 2. Stylistic - a change in the connotation of the translated word. 3. Morphological - the transition of one part of speech to another or replacing it with a few words of another part of speech. 4. Syntactic transformations - change in structure syntactic constructions, transformation of subordinate clauses and rearrangement of their parts in different types of sentences (complex and complex). 5. Semantic - replacement of signs and features. 6. Mixed - conversion, antonymic translation. Some foreign linguists (R. Brown, R. Dixon), unlike Russian linguists, do not separate the types of translation transformations, but only offer a set of methods and techniques that are advisable to use in translation. This is due to the fact that with a large number of translation transformations, the meaning of the text changes, therefore, it is impossible to carry out a direct translation. Based on this, translation techniques are divided into two large groups [9, 250 p.]: 1. Direct transformations (tracing, borrowing, literal translation). 2. Indirect transformations (transposition, adaptation, modulation, search for an equivalent). In view of the impossibility of fully preserving the original language form due to the difference in intra-linguistic factors, it becomes necessary to transfer the individual author's style and language. To achieve this goal, the translator must be able to correctly use translation transformations. It should be noted that at the moment there is no single classification of translation transformations. Russian and foreign linguists distinguish a different number of techniques, which significantly complicates the creation of a unified system. However, many authors distinguish similar (sometimes the same) types of translation transformations. Many of these transformations are combined with each other. This allows us to judge that many transformations are interchangeable, which means that the specific techniques used in translation determine its variability. This is one of the many reasons why the translation of literary is accompanied by the "phenomenon of plurality", because a specific transformation is an individual choice of the translator, which, together with the strict organization of the formal structure of the literary text, allows you to recreate many of its options, each of which will be unique. Thus, according to many linguists, the literary translation is the most difficult type of translation. Depending on their goals, the translator himself decides which principle of translation he will resort to, however, the preservation of form and meaning is considered ideal. The presence of intralinguistic factors makes it impossible to fully preserve the form of the original, which makes translation transformations the most important tool in the translation of poetry. Problems of translation of W. Shakespeare's works The adequacy of the translation of Russian authentic sonnets by W. Shakespeare into Kazakh examines the principles and problems of adequate translation of the Russian version of W. Shakespeare’s sonnets into Kazakh, the author’s translation of W. Shakespeare’s sonnets into Kazakh is carried out using Russian translations that are as close as possible to the original. Scientists, studying the translations of Kazakh writers of texts from Russian into Kazakh, settled on three types of their translation: the first is free, the second is interlinear and the third is adequate (balama) translation [10, 43 p.]. The last of them is very complex, it is carried out by those translators who know both languages perfectly and understand the meaning of the original extremely accurately. When we talk about the translation of a literary, and especially a poetic text, we are faced with the problem of the adequacy of the translation to the original: how fully the translation conveys the meaning and beauty of poetic features, the subtext of the original. This largely depends on what task the translator sets himself, how deeply he himself understands the work he is translating. The problem of the adequacy of translation becomes much more complicated when it comes to such a complex and ambiguous phenomenon. Like any other text, a poem consists of a "signifier" and a "signified", that is, form and content. The poetic form presupposes the presence of rhythm, in the vast majority of cases - a system of rhyming, and sometimes sound writing. The combination of these factors gives the poem a certain artistic beauty and aesthetic value. The style in which a poem is written plays one of the most important roles in a work of art. He, as well as the totality of tropes, create the necessary mood, which can also be expressed through the intonations of the author, indicated in the text by punctuation (for this reason, we can attribute them to the form of a poem). One of the first works of Western classics, fully translated into the Kazakh language, was W. Shakespeare's Hamlet, which was translated by the writer-translator M. Dauletbaev in 1931. This great tragedy of Shakespeare was also translated by Kh. Yergaliev. In 1938, M. Auezov translated the tragedy "Othello" and a little later - "The Stealing of the Shrew". In the Kazakh translation, there are also "Romeo and Juliet" and "King Lear" in the translations of A. Kekilbaev. The tragedy "Macbeth" was translated by Evney Buketov. In 1973, a complete collection of W. Shakespeare's sonnets in the Kazakh language, translated by Kh. Yergaliev, was published. Before him, in 1970, "Shakespeare's Sonnets" were published in the translation of M. Makataev. Kh. Yergaliev's translation also includes "Richard III". G. Musrepov also translated the works of W. Shakespeare, which resulted in his translation into Kazakh of "Antony and Cleopatra". Kh. Yergaliev translated into Kazakh the complete collection of W. Shakespeare's sonnets through the Russian translation of S. Marshak. Let us give an example of a comparison of the translation of sonnet 6 in Russian and Kazakh. Смотри же, чтобы жесткая рука Седой зимы в саду не побывала, Пока не соберешь цветов, пока Весну не сохранишь на дне фиала. Как человек, что драгоценный вклад С лихвой обильной получил обратно, Себя себе вернуть ты будешь рад С законной прибылью десятикратной [11, 429]. We have already said that translation adequacy can be based on the preservation of various elements of meaning contained in the original. Kh. Yergaliyev, when translating these lines into Kazakh, completely and completely conveys the meaning of the words in the Russian text, thus ensuring interlingual communication: Байқа, жігіт, ақ шашты қыс алжыған, Жасыл бақта суық қолын сұқпасын. Сен серуендеп, гүлдерінен бал жиған, Көктем жерге күні бұрын бұқпасын. Адамдай-ақ баға жетпес заттан да, Қашан болсын пайда тауып байқаған, Мәз боларсың өзіңді-өзің тапқанға, Заңды жолмен он есе етіп қайтадан [12, 611p.]. In translation into Kazakh, metaphors are appropriately used - “alzhygan kys” (“gray winter” серая зима ), “suyk kol” (“hard hand” жесткая рука ), “baga zhetpes zat” (“precious contribution” драгоценный вклад). These examples in both Russian and Kazakh texts show the strict law of winter: do not expect mercy or mercy from a difficult fate, merciless death will get you anyway, but you need to live it so that your perfection does not die with you. However, Kh. Yergaliev's translations do not always convey the figurativeness of the original and all its stylistic features. In sonnet 3 of S. Marshak, opposites (antitheses) collide: joyful and sad, youth and old age, life and a sense of approaching death. Прекрасный облик в зеркале ты видишь, И, если повторить ты обидишь. Свои черты, природу ты обидишь, Благословенья женщину лишишь. Какая смертная не будет рада Отдать тебе нетронутую новь? Или бессмертия тебе не надо,- Так велика к себе твоя любовь? [13, 428 p.]. These examples of antithesis in Kh. Yergaliev's translation sound like general phrases that are far from the meaning conceived in the original. In the first two lines, one can observe a literal translation that does not translate the image of passing youth in the translation: Кескініңді көріп тұрып айнадан, Қайталауға асықпасаң сен егер. Суынар да сүйген әйел аймалап, Табиғат та өкпелер деп сене бер. Қандай әйел жас құшағын ашпас-ау, Пәк тәніне қол тимеген болса да, Қажет десең, даңқ сенен қашпас-ау, Әлде өзіңе ғашықпысың соншама? [14, 610 p.]. Translation of W. Shakespeare's sonnets into the Kazakh language, using translations of Russian poets-translators, as much as possible corresponding and adequate to the original. The proposed author's translation is also compared with Kh. Yergaliev's translation. When choosing a non-original for translation from one language into a second through a third, it is necessary to determine the principles of selection based on the characteristics of the language and culture of the readers-recipients of the final translation. For the author's translation, Russian translations of W. Shakespeare's sonnets by various authors were selected based on the following criteria: a) maximum adequacy to the English original of this sonnet; b) the presence of metaphors, phraseological units and epithets associated with nature, since the Kazakh culture is de-urbanized; c) the use of images close to the present; d) smooth rhythm, characteristic of the Kazakh language. These are the translations of I. Gerbel (sonnet 1), V. Likhachov (sonnet 19), B. Ber (sonnet 18), S. Marshak (sonnets 27, 32, 71, 139, 141), K. Sluchevsky (sonnet 39), N. Gol (sonnet 66), M. Tchaikovsky (sonnet 104). Sonnet No. 1, translated by N. Gerbel, begins like this: От молодых существ потомства все хотят, Чтоб в мире красота цвела – не умирала, Твердя, что Время все припрячет, что увяло, А нежные ростки их память сохранят [14]. Here we are talking about procreation, about the fact that the place of outgoing old age has always been adequately occupied by a new, young life (“so that beauty blooms in the world”). In the author's translation, these lines sound like this: Бүршік жарған әр шыбықтан тілейміз Жайнаса деп сұлулықтың базары. Уақыт көміп қартаңдықты үрейлі Балғын жастық боп өмірдің ажары[3]. Here the very essence of the original is conveyed by the expression “zhainasa dep sululyktyn bazary”, and the word “bazaar” is taken not in the direct meaning of “market”, but in the sense of “boiling life”, and the phrase “sululyktyn bazary” means “blooming beauty”. In the translation of Kh. Yergaliyev, this idea is expressed a little differently: “Sululykty saktau ushіn zhudetpey”, which in translation into Russian means “to preserve beauty”. We translated the second stanza of the sonnet “You yourself are your own worst enemy, ready to destroy everything” as “Zhalgyzdyktan kalar tubi zarlana” (it is sharply said here that “who thinks only about himself and does not think about the future will be left with nothing”). And in the third stanza, the word “devastation” is translated by the word “zhalgyzdyk”, but not in the literal sense of “loneliness”, but in the connotative meaning of “spiritual emptiness, useless, abandoned by the fate of a person”. The phrase “surqiya omir” is also taken here, which complements the meaning of the word “devastation”, since loneliness is indeed a rather unpleasant phenomenon for a person, and if the same loneliness is chosen by the person himself of his own free will, then it is doubly unpleasant, and indeed is “ painful life”, i.e. “surqiya omir”. It is also always necessary to take into account the fact that in Kazakh versification some words and expressions of an intimate nature are transmitted as covertly and softly as possible. In the same sonnet, we gave the following translation to the words “you bury happiness dreams”: “boyyndagy bailygyndy zhasyryp”, thus, it seems to us, the translated sonnet acquired the national Kazakh style. Here the author accuses the hero with mild words: the word “bailyk” is not “wealth”, but the future generation of a person, in particular, his children. Ал сен болсаң, мән берместен осыған, Асқақтайсың өз-өзіңнен паңдана. Жеке басын ойлап, асып-тасыған, Жалғыздықтан қалар түбі зарлана. Сұлусың сен, жаратқанның асылы, Көктем нұры аямаған шуағын. Бойыңдағы байлығыңды жасырып, Сұрқия өмір болды-ау сенің тұрағың. The completely ruthless attitude of a person who does not want to have children is conveyed by the words “surqiya omir”, which means “a painful, dull life”. And in the last lines, the author’s state of mind is touchingly conveyed, his request, plea: “At least have pity on the world - don’t let it fall” in translation: Ақылға кел, ая мынау өмірді, Қимасыңды қалдыра гөр ең ізгі. The word "ең ізгі" in the translation "the most intimate" is used to convey the meaning of the words "leave the most intimate after yourself." When translating a text from English (through Russian), it is necessary to take into account, first of all, the simplicity of the Kazakh language, its non-congestion, and secondly, smooth rhythm, pay attention to the frequency of use in versification of types of tropes and figures: metaphor, epithet, comparison, repetition , synonyms, as well as phraseological units that allow you to express the thoughts of the author more emotionally. It is necessary to try to avoid literary and bookish clichés, extreme cumbersomeness introduced to fill in poetic meter, formal everyday appeal, subordinate clauses that are not characteristic of the language of W. Shakespeare's works. II COMPARATIVE ANALYSIS OF THE TRANSLATION OF WILLIAM SHAKESPEARE'S PLAYS2.1 Compartaive analysis of the Shakespeare’s plays based on translation of the tragegy “Hamlet” in kazakhThe features of the stage performance of dramatic works undoubtedly testify to their originality, on the one hand, in the fact that they are written both in verse and in prose, and on the other hand, in the possibility of elements of dramatic action in prose and poetry. This problem became apparent in the second half of the 20th century in the context of the rapid growth of translation services in various spheres of life. Dramatic translation is not just a type of work of art, it is a translation of a text aimed at a stage. Often translators do not take into account the fact that the actor speaks the text in front of the correspondent, which leads to certain difficulties in translation. Thus, it is better for a translator to work with literary critics, directors and actors. Thus, dramatic translation is a literary genre created for stage production, consisting of dialogical speech and other dramatic elements therefore, the translator must understand the purpose for which the drama is being translated, that is, for reading or stage interpretation. The linguistic features of the dramatic image are based not only on linguistic means, but also on the means provided by the stage drama (objects, sound, light, and most importantly, the voices, appearance and movements of the characters). Thus, on the one hand, the image of drama is constructed differently from the image in fiction. It is defined not in terms of different images of property, but precisely in terms of differences in the means used to build it. This difference determines the specifics of the dramatic image, expands the possibilities of its clarification. However, on the other hand, the possibilities of dramatic imagery are limited compared to how the scene is realized only by means of the language. Lexical means created with the help of dramatic images are more clear and independent than lexical means of creating artistic images of other genres. According to Y. Rozik, a theatrical text is “a final and definite set of complex theatrical symbols brought to the viewer through a stage performance and encrypted by a hypothesis that conveys this message to the audience, describing a certain fantastic world” [15, 58 p.]. The dramatic text is only the basis of the stage action, in which the words of the characters are transferred to stage speech, and the author's remarks are about the scenery, costumes of the characters, etc. The main difference between the sign system of the performance and the performance is called its audiovisual nature, since it affects the ability of the audience to hear and see through different sign systems. In addition, the spatial and temporal characteristics of the text described by the playwright, according to researchers, penetrate into speech not only materially and realistically, but also change significantly, leaving only knowledge of the text of the play - acts, scenes, pictures, time and space. [16, 46 p.]. According to some researchers, this task requires an understanding of the meaning of the word "drama". The question arises whether a dramatic text can be a complete stage work. To denote this dichotomy, modern researchers often use the terms performance and readability. Enforceability is a property that determines whether performance can be realized. Readability is a property that defines the text of a dramatic work as reading only. The discussion of these properties of the dramatic text is closely related to the work of the British scholar Susan Bassnett. His works, like in a mirror, reflect the main trends in the development of translation studies, such as "dramatic / theatrical translation", the author of the article suggests dwelling on them in more detail. [17, 90-108 p.] Dramatic translation is a translation of dramatic texts, translation of texts for theater or cinema: it is used when translating plays, operas, musicals, films and videos. According to some researchers, the task requires understanding the meaning of the word "drama". The question arises whether a dramatic text as a whole can be a stage work. To denote this dichotomy, modern researchers often use the terms "performance" and "readability". Enforceability is a property that determines whether performance can be realized. Readability is a property that defines the text of a dramatic work as reading only. One of Shakespeare's world-famous plays is the drama Hamlet, a tragedy. In this case, if we explain the concept of tragedy, tragedy is a kind of literary work, that is, a dramatic genre written for the stage. The peculiarity of tragedy is that it is an intense struggle in life. A tragedy depicting an implacable, confrontational struggle of opposing forces usually tends to move forward. The goal of M. Dauletbaev is to acquaint the Kazakh people with Western literature. M. Dauletbaev translated "Hamlet" in verse while studying in Moscow in 1922-1923. This translation was written by a Russian writer, romantic publicist N. A. Polevoy. His translation was a free stage version made especially for the theatre. N. Polevoy cut out a third of the play. Shakespeare's lines are vague or too long - everything is out of the question. So this version turned out to be a romantic play. But translation is a way of life. In 1925, thanks to the artists of the National Theater, M. Dauletbaev was able to return to Hamlet on stage. This time the translator looked at the Russian versions (Sokolovsky, Ketcher, Vorochenko, etc.). He collected all these translations and rewrote Hamlet. M. Dauletbaev did not use only N. A. Polevoi translation. He took other translators’ works like M. Vronchenko, N. Catchers. Also, M. Dauletbaev consulted with native English speakers. For example, he gives an English translation of Hamlet's famous monologue "To be or not to be"[18, 352p]. жүктеу/скачать 0.59 Mb. Достарыңызбен бөлісу:
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