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ФИЛОСОФСКИЕ НАУКИ
УДК 1
Армине Геворговна Чаталяан
Магистр философии, переводческое дело, ЕГУ
г. Ереван
ОБЩИЕ ПРИНЦИПЫ ПЕРЕВОДА ПОСЛОВИЦ GENERAL PRINCIPLES OF THE TRANSLATION OF PROVERBS
Proverbs contain a cultural history which is handed down from generation to generation. They are considered to be the items of traditional knowledge, occurring for centuries over the world. National proverbs were from the very beginning considered as a manifestation of folk philosophy, expressing the idea in a brief, terse form in a witty and poetically apt way. A nation or a country has its own proverbs, the occurrence of which has resulted from the lifestyle and customs of its people, who have had strong bonds with the natural world, their religion and traditions at all times. In fact, these specific utterances represent wisdom, experience and commonplace beliefs, moral and social values that are basically the same in many nations.
Although, they appeared at a certain time and place, proverbs became traditional folk expressions due to their long-term frequent usage. They maintain their currency, because these expressions reflect what is considered to be a general truth. Proverbs reflect mode of life, relationships, views, trades of people of different centuries. Thus, one can see that some proverbs might depict scenes specific to a certain historical period or contain distinct words or phrases characteristic of it.
Proverbs are often borrowed across lines of the language, religion, and even time. For example, a proverb of the approximate form "You can never lose what you never had" is currently found in Spain, Britain, Armenia, Russia, Ethiopia, and many countries. It is considered a true local proverb in many places.
Proverbs are the reflection of the national mentality, customs, traditions, history and culture. Whether called maxims, truisms, clichés, idioms, expressions, or sayings, proverbs are small packages of truth about a nation's values and beliefs. Values like ambition, virtue, generosity, patience are addressed in sayings from almost every culture.
Yet, each culture has proverbs that are unique to it. The saying, "If you want to know a people, know their proverbs" illustrates this.
It is not an easy task to translate a proverb. In order to translate proverbs properly, one should take several steps, and it often requires a translator to dwell deeper into the culture of the source and target languages to determine the idiomatic translation. Proverbs, and more often stylistic devices, have their equivalents in the target language. However, even if a linguistic equivalent exists, there may be cultural differences to consider. For example, translation into English could vary based on whether the target is the British or American English.
Before studying the difficulties of the translation of proverbs, let us examine the concept of translation.
Translation is the conversion of a text in one language into a text in another language. A translation deals with language and presupposes work on language, it demands a linguistic scrutiny of the two languages and the nature of relations between their stylistic means.
The translation should satisfy four requirements: 1. convey the content of the original, 2. convey the spirit and the manner of the original, 3. have a natural and ingenious way of composition, 4. make an impression on the reader equal to the original one. It is obvious that there can be a clash between the content and the form (the meaning and the style). One of them should be sacrificed. In general, translators prefer to sacrifice the form in order to transfer the content properly.
The translator's goal is to reach equivalence in the translation, i.e. to create such a translated text, which could become the communicative analogue of the original text.
It often helps to determine the origin of the proverb, especially if it isn't an entirely common saying. An obscure literary proverb should not be translated into a very familiar proverb in the target language. It is best to aim for
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equivalence between the proverb's standing within the context of the source culture and the target.
Translating proverbs, the translator should know the linguistic and non-linguistic features of both languages. By linguistic features we mean those elements which are not conveyed only through words, what is important here is culture. Each proverb conveys a specific meaning in a specific context of situation. Therefore, a proverb should be rendered with care to carry the same cultural conventions in the original proverb. It is not reasonable to translate a proverb while just looking at the first meaning of its words in a dictionary.
Mollanazar emphasized that proverbs cannot be translated literally (word-for-word) and they may sometimes have no natural figurative equivalents in TL. Thus, he proposed two strategies in translating proverbs:
a) Some similar proverbs can be found in the two languages with more or less similar form, vocabulary and meaning and;
b) Many proverbs may be found in the two languages which have similar meanings and can be applied in the same contexts, but they have different form and vocabulary.
Beekman and Callow suggested three ways to translate a proverb which are as follow:
1. The words following the proverb could be introduced as the meaning of the proverb;
2. It can be replaced with an equivalent local proverb; and
3. Its non-figurative meaning could be stated straightforwardly.
As far as the translation of proverbs is concerned, Falk says that "since idioms, proverbs and certain nonproductive compounds must be entered in the lexicon of a grammar as single units as if they were single morphemes, it is not surprising that these items pose difficulties when translation from one language to another is involved". Now, let's study a few examples of proverb translation.
• Right is might.
ПьёЬцр йпш tl рпщй t йЩш^щ:
Here the words "right and might" end in similar rhymes which is "ight". In Armenian a whole sentence is chosen to express the meaning of this proverb and the words which make up the saying do not match in the rhyme. In order to give an equivalent translation of this proverb, the translator has to make a total syntagmatic change.
• Stolen waters are sweetest. Upqbi^d щттщ ршцдр t:
In this proverb we notice the frequent use of the letters "S" and "T". This stylistic device of eye-rhyme is not preserved in the Armenian equivalent and the proverb is translated with employment of total syntagmatic change . The main concept of the proverb is that if something is prohibited, then it becomes more tempting and people want to try it more. In English that idea is formulated by means of the expression "stolen waters", while in Armenian -by "forbidden fruit" щтпщ).
• Last, but not, the least. ^hppfahp, рщ/д щ:
The humorous effect of the proverb is achieved by the similar pronunciation of the words "least "and "last". These words are even sometimes confused by non-native speakers. These qualities of the given words make up a kind of pun which is called homophone.
Though the Armenian proverb seems to convey the English one word for word, the meaning does not suffer and is used in similar cases. Nevertheless, pun is not fully preserved in the Armenian version, though there is a certain humorous impact due to the rhyming of the words "tfhppfahp " and "шйШшффйр ".
Coming to the conclusion we can state that translation of proverbs requires a profound knowledge of the culture and the people of the target language.
Список использованной литературы:
1. Falk, J. (1978). Linguistics and language: a survey of basic concepts and implication. 2nd Ed, Canada: Michigan University Press.
2. Mollanazar, H. (2001). Principles and methodology of translation. Tehran: SAMT.
3. Nida, E. (1985). Translating means Translating meaning: A Sociosemiotic Approach to Translation. Leiden: E. J. Brill
© Чаталяан А.Г., 2017
_МЕЖДУНАРОДНЫЙ НАУЧНЫЙ ЖУРНАЛ «СИМВОЛ НАУКИ» № 04-3/2017 ISSN 2410-700Х_
ФИЛОЛОГИЧЕСКИЕ НАУКИ
УДК 81'33
Боброва Наталья Евгеньевна
канд.культурологии, доцент МГУ им.Н.П. Огарёва,
г. Саранск, РФ e-mail: [email protected]
ОТРАЖЕНИЕ ЛИНГВИСТИЧЕСКОЙ ПАРАДИГМЫ АВТОРА В ХУДОЖЕСТВЕННОМ ДИСКУРСЕ (НА МАТЕРИАЛЕ ПРОИЗВЕДЕНИЙ ДЖ. АПДАЙКА)
Аннотация
В статье предпринимается попытка выделить лингвистическую парадигму автора в дискурсе американского писателя Джона Апдайка. Методами лингвостатистики проведен анализ лексической структуры текста, позволяющий выявить некоторые особенности языковой компетенции автора.
Ключевые слова
Лингвистическая парадигма, лингвостатистический метод, языковая личность, идиостиль, дискурс.
В настоящее время в лингвистической науке объект исследования не ограничивается собственно лингвистическим материалом, и в центре внимания все больше оказываются вопросы взаимодействия лингвистических знаний и знаний о реальной действительности, "фоновых" знаний, отражения картины мира в языке - всего комплекса проблем, связанных с человеческим фактором в языке [4; 5; 6]. Все более возрастает интерес лингвистов к изучению языковой личности. Однако изучение языковой личности автора, а также отражение его лингвистической и социокультурной парагдигм в художественном тексте, относится к числу наименее изученных.
Таким образом, в лингвистической науке все более просматривается тенденция к изучению структуры художественного текста и индивидуального авторского стиля, что дает чрезвычайно богатый материал, позволяющий глубже понять и оценить литературное творчество того или иного писателя, и представляет собой уникальный источник для изучения истории языка и индивидуального стиля художника слова, идиолекта.
Известно, что системное рассмотрение лингвистической парадигмы автора происходит по языковым уровням (лексика, синтаксис, грамматика, стилистика). В рамках данной статьи предпринимается попытка анализа лексической системы произведений известного американского писателя Джона Апдайка (19322009), состава лексики и особенностей ее семантики.
В качестве объекта исследования послужили оригинальные тексты трех художественных произведений этого автора (два рассказа и роман): "The Doctor's Wife" (DW) (1962), "Still Life" (SL) (1969) и "The Witches of Eastwick" (WE) (1984) [7; 8; 9].
Для проведения лингвостатистического исследования языка художественных произведений были выбраны 20 страниц дискурса. Мы придерживаемся точки зрения Ю.Н. Караулова, согласно которой в качестве дискурса принимается не только связный текст, но и речевые произведения отрывочного характера (предложения, части текста), собранные за достаточно длительный промежуток времени [3, с. 6]. Выбранные нами произведения созданы в разные периоды времени, что отвечает требованиям о положении дискурса.
Статистические методы все чаще используются в лингвистике и в других отраслях знания, где фигурируют языковые и речевые акты на естественных языках. За основу анализа нами берется статистический метод Е.И. Горошко и Б.Н. Головина, который позволит выявить специфику языка Дж. Апдайка [1; 2]. Анализ проводился по следующим параметрам: количество слов и предложений в дискурсе; средняя длина предложения (отношение количества слов к количеству предложений): 11; лексическое разнообразие словаря (отношение количества различных, т.е. встретившихся один раз, слов к общему
