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МЕЖДУНАРОДНЫЙ НАУЧНЫЙ ЖУРНАЛ «ИННОВАЦИОННАЯ НАУКА» №6/2015 ISSN 2410-6070 УДК 811.161.1
N.I. Marinova, senior teacher A.K. Zhunisbayeva, candidate of philological sciences Almaty Technological University Almaty, Kazakhstan
ON TRANSLATION OF KAZAKH POETRY Annotation
The works of the classic of the Kazakh literature Abay Kunanbayev become more and more popular among people. His poems are translated into many world languages. Authors of the article have expressed their opinion about English and Russian translations.
Key words
poetry, translation, research, philologist In spite of the fact that there exist a large amount of literature on translation of texts of different functional styles, the vast majority of investigators approach the subject either from quite a negative or, on the contrary, too optimistic points of view. Neither of these approaches can account for the cultural and aesthetic impact on the development of cultural relations between different countries, nations, organizations and people. One of the main components of it is translation of verbal art, in general, and poetry, in particular. The aim of translation of verbal art is to show how the combination of different linguistic means and stylistic devices used by the author of the original work of literature is conveyed in its translation without loss of its aesthetic essence and impact on the reader, how it reveals the peculiarities of the original utterance. As far as the material of research is concerned the poetry of the outstanding Kazakh poet and enlightener Abay Kunanbayev seems to be a very good choice, because his books have been already analyzed in terms of lexical, grammatical and stylistic research, but have never been envisaged in detail, as far as we know, in terms of translation from Kazakh into foreign languages, especially English. The first problem the linguists were faced with was the fact that every imaginable kind of utterance, irrespective of register, was analyzed in terms of the same parameters. But when it comes to verbal art these criteria appear to be only the preliminary step. If a philologist wants to appreciate a translation of the work of verbal art it should be studied as a global whole. Such analysis is aimed atappreciating the way a piece of translated text is organized as a work of art. The ultimate aim of this kind of analysis is to account for the nature of aesthetic impact produced by the translated text to the same degree as the original one. Its aim consists in finding out in what way different linguistic means (words, word-combinations, patterns of major syntax, etc.) are involved in the process of verbal creativity, how this or that combination of linguistic units results in a particular aesthetic impact and how is the artistic effect determined by the author's global intention. In other words, while translating a text of verbal art a linguopoetic analysis becomes a must.
In the field of linguopoetic analysis alongside with general investigations which disclose the essence of the linguopoetic analysis, the time has come to work out a concrete method of linguopoetic research of translated texts. This method gives the scientists an opportunity to be acquainted with all the peculiaritiesof the original work of literature and its translations into other languages. This method was elaborated and developed by applying to the poems of Abay Kunanbayev and their translations in English and Russian. [1] As it was mentioned above a system of parameters has been worked out: voice of the author, the thematic content, words and word-combinations, the use of idiomatic phraseology and the vertical context. All these aspects of analysis taken together help readers of translated poetry to appreciate a poem as a work of art. Let's analyze the following translations of two stanzas from the famous Abay's poem "Poetic speech, the Queen of literature..." блец-сездщ патшасы, сез сарасы Киыннан ^иыстырар ер данасы. Тшге жещл, жYрекке жылы тшп, Теп-тепс ж^мыр келсш айналас. Бетен сезбен былганса сез сарасы,
МЕЖДУНАРОДНЫЙ НАУЧНЫЙ ЖУРНАЛ «ИННОВАЦИОННАЯ НАУКА» №6/2015 ISSN 2410-6070 Ол-а^ынныц бшмиз бишарасы. Айтушы мен тыцдаушы Ke6i надан, Б^л жYрттыц сез танымас 6ip парасы.
It appeared interesting to compare different translations in order to disclose the aesthetic essence by comparing several different variants of one and the same poem, translated by different interpreters into Russian and English. The translated poems were investigated in terms of the same parameters mentioned above and also it was interesting to know whether these parameters can be applied to all types of translation: Russian:
Поэзия - властитель языка, Из камня чудо высекает гений. Теплеет сердце, если речь легка, И слух ласкает красота речений. А если речь певца засорена Словами, чуждыми родному духу,-Такая песня миру не нужна. Невежды голос люб дурному слуху. English:
Poetic speech, The Queen of literature, implies
The finest words put well together by the wisest bards.
Words that a person easily can memorize,
Words that will smoothly flow and touch the heart.
Lines cluttered with unnecessary words
Speak of the poet's helplessness and lack of culture.
Alas, there are so many ignorant among the poets,
So many readers who're not competent to judge.
In the course of investigation it became clear, that the two levels of linguostylistic analysis should be used to single out the characteristic features of the original text and of translation. [2] On the semantic level we deal with the semantic nominative meanings of linguistic units and their inherent connotations. On the metasemiotic level we are mainly interested in adherent connotations, that is those expressive, emotive, evaluative, emotional overtones that can only be understood from the context of the work of verbal art.When this had been done we concentrated on thepeculiarities of the extractswhich show us most clearly the linguopoetic essence of the original poem and that it cannot be said unfortunately about the translations. [3] We began with the semantic and metasemiotic levels and only then we passed on to the linguopoetic analysis which was carried out with special reference to the following aspects: verbal polyphony, the correlation between verbal and non-verbal parts of the text and variation of timbre 2. The tone of the extracts can be characterized as elevated or epic. The use of stylistic devices, the specific structure of sentences with the characteristic functional sentence perspective call for the particular timbre 2. The rhythmical, syntactic organization of translations is quite different from that of the original. Its rhythmical structure greatly depends on lexical devices and syntactic constructions.There can be no doubt that all this requires a specific prosodic organization.
We've come to the conclusion that the character of the original poem is based linguopoetically on the correlation of the two different aspects: those characteristic features which are, as it were, on the surface and can be observed by everybody, and those which are part of the inner purport of the author's global intention. It is reflected in a peculiar lexical, rhythmical and prosodic organization. It is a pity that, in our opinion, these factors also cannot be found in the translations.
References:
1. Ahmanova O.S., Gyubbenet I.V. Vertical context as a philological problem // Problems linguistics.-1977.- №3.-p.47-54
2. Zadornova V.Y. perception and interpretation of artistic text.-M., 1984.-p.152
3. Latyshev L.K., Semenov A.L. Translation: theory, practice and teaching methods. - M .: Academy, 2003. - 192 p.
© N.I. Marinova, A.K. Zhunisbayeva, 2015
МЕЖДУНАРОДНЫЙ НАУЧНЫЙ ЖУРНАЛ «ИННОВАЦИОННАЯ НАУКА» №6/2015 ISSN 2410-6070 УДК 1751
Х. М.Алиева
к. ф. н., ст. преподаватель Дагестанский государственный педагогический университет, г. Махачкала, РФ
ОБ АДЕКВАТНОСТИ ПЕРЕВОДОВ ПРОИЗВЕДЕНИЙ Р.ГАМЗАТОВА НА РУССКИЙ ЯЗЫК (на примере сравнительно-сопоставительного анализа одного сонета)
Аннотация
В статье делается попытка на примере сравнительно-сопоставительного анализа перевода одного сонета показать некоторые искажения, наблюдаемые в поэтических переложениях Р.Гамзатова на русском языке, и отмечается, что переводчик не всегда добивается адекватного перевода.
Ключевые слова
Сонет, адекватный перевод, авторский стиль, имплицитная информация, функционально-стилистическое
соответствие оригиналу.
Известно больше десятка переводчиков, взявшихся за переводы Р.Гамзатова. Это Н.Гребнев, Я.Козловский, Е.Николаевская, И.Снеговая, Я.Звягинцева, Ю.Мориц, В.Солоухин, М.Ахмедова-Колюбакина и другие.
Благодаря им поэзия и проза Р .Гамзатова стала доступна и русскоязычной читательской среде. Но вопрос о том, как воспринимается поэзия Р.Гамзатова на русском языке, всегда волновал и продолжает волновать исследователей его творчества. Прежде всего, внимание гамзатоведов обращается на сохранение национальных, индивидуально-авторских особенностей оригинала: авторского стиля, глубины и своеобразия художественной мысли.
Сравнительно-сопоставительный анализ переводов и оригиналов произведений Р.Гамзатова на русский язык показывает, что в некоторых поэтических произведениях Р.Гамзатова не всегда удается переводчику передать всю информацию, заключенную в оригинале, а также воссоздать все его средства художественной выразительности. В результате - снижается их эстетическая ценность. Для сравнения приведем один из переводов сонета Р.Гамзатова «Я в жизни многим многое прощал» и подстрочник: Подстрочник: Перевод Н.Гребнева:
Мною осенью растоптанные листья Вернулись с приходом весны. Что я их сорвал не обвинили они, Зеленые лапы они положили на плечи мои.
Я в жизни многим многое прощал, И на меня обиды не таили, Сады, чьи листья осенью топтал, Опять весною мне листву дарили.
Я, на лошади сев, прошлой весной Сколько раз кружился ей назло. Затем, когда я вернулся опять, Заиграла моя весна, забыв о ссоре.
Я сорвал травы, сорвал цветы. Когда я бежал, дождинка меня поцеловала. Как ты не мирящейся солнца не встречал. Как зимы твоей длинной не видал.
Я и весенних не ценил щедрот, Но не была весна ко мне сурова И, все забыв, на следующий год Меня своим теплом дарила снова.
А ты считаешь каждый мой огрех И приговор выносишь слишком рано Ты, что добрей и совершенней всех, Речей моих не слышишь покаянных.
Я тебя люблю безгрешную, За мои грехи прости меня.
