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Problems of poetic translation
Ёлюм жашауну чюйресиди, Смерть противоположность жизни,
къабыр — бешикни, могила — люльки,
кече — кюнню, ночь — дня
къыш — жазны зима — лета
жаныуар — адамны... животное — человека...
(М. Ёльмезов)
В данном стихотворении языковые и контекстуальные антонимы употребляются параллельно, что способствует созданию резкого контраста.
Следует обратить внимание на то, что не все слова, противопоставленные в тексте можно относить к антонимам. Хотя, по мнению Н. М. Шанского, в антонимич-ные отношения могут вступать и синонимы: «Обозначая одно и то же явление действительности, под пером писателя они могут превращаться в ряде случаев, по существу в контекстуальные антонимы: не помер, а издох; не глаза, а очи» [5, 164]. Такое понимание контекстуальных антонимов, на наш взгляд, является слишком широким, так как в языке не будет слов, которые не могли бы стать антонимами. Контекстуальные антонимы, как и языковые, «должны выражать противоположное значение и соотноситься с языковыми» [6, 23]. Например, в пословице Умут тау башында, ажал имбашында «Мечты на вершине горы, а смерть за плечами» контекстуальные антонимы тау башында — имбашында выражают противоположные пространственные признаки и соответствуют языковым антонимам ««далеко — близко». В пословице Бал тамгъан тилден ууда
тамады «С того языка, с которого капает мед, капает и яд» противоположное значение выражают слова бал — «мед» и уу — «яд». Данные контекстуальные антонимы противопоставлены по признаку вкуса и соответствуют антонимам языка сладкий — горький.
Анализ фактологического материала показывает, что не все пары антонимов карачаево-балкарского языка выражают одинаковую степень противоположной семантики. Полные антонимы характеризуются тем, что каждый член бинарной оппозиции противоположен другому всем объемом лексического значения. Такие антонимы отличаются независимостью от контекста, закрепленностью к одному семантическому ряду. Среди неполных антонимов можно выделить семантически неполные, стилистически неполные и разновременные по характеру противопоставления. Для контекстуальных антонимов характерны следующие особенности: зависимость от определенного контекста, так как вне текста утрачивается противоположность значений; индивидуально-стилистическое использование, которое не закреплено в языке; соотнесенность с языковыми антонимами.
Список литературы:
1. Новиков Л. А. Избранные труды. Проблемы языкового значения. - М.: Изд-во РУДН, 2001. - т. 1. - 672 с.
2. Львов М. Р. Словарь антонимов русского языка под ред. Л. А. Новикова. - М., 1984. - С. 32.
3. Отаров И. М. Лексикология карачаево-балкарского языка. - Нальчик: изд-во Эльбрус, 1996. - С. 34, 35.
4. Махиева Л. Х., Карова Т. Д. Энантиосемия в карачаево-балкарском языке.//Известия КБНЦ РАН. - Нальчик, 2014. - № 5 (6). - С. 235-239.
5. Шанский Н. М. Очерки по русскому словообразованию и лексикологии. Государственное учебно-педагогическое издательство министерства просвещения РСФСР. - М., 1958. - С. 164.
6. Введенская Л. А. Словарь антонимов русского языка. - Ростов-на-Дону, 1995. - С. 23.
Kasymova Zhanat Perdebekovna, Al-Farabi KazNU, Almaty, Kazakhstan, Teacher E-mail: [email protected] Sapayeva Gulzhan Edigeevna, Teacher
Problems of poetic translation
Abstract: The article is devoted to poetry itself and its peculiarities and analyzes problems of translation ofpoetic works. It shows that translation is a tool of social, economic, spiritual, scientific communication between people, tribes, nations, nationalities and a tool of friendship, cooperation, apprenticeship exchange.
Keywords: literary translation, idea, content, source, words, poetics, translator, poetry, aspects.
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Section 11. Philology
Translation of fiction is a creative art. It means that it is a word, it is an integral part of literature, publicis-tics. In ancient times translation was a tool of intercommunication and mutual understanding between people of different societies.
Translation work is a true creative art. A translator is a child of his people, his environment, and the time he is living in now. It means he should know two languages perfectly, moreover he’d better be a writer, a poet, and a scientist at the time. Translation quality depends on his talent, knowledge, and his cultural sensitivity and experience in general.
Generally speaking, if discuss translations of poetic works, there a lot of peculiarities of translating poetry.
“Poetry is an art of word, a priceless model of artistic mastery. What’s more, poetry has a great capacity to describe important social events and phenomenon. It is a great tool of acknowledging surrounded world and life and a big productive area of our social consciousness, artistic and aesthetic feelings. That’s why imagery and figurativeness of words in poetry take its source from the real life and are closely connected with it. Mastery of using an appropriate word, artistic mastery are intimately related with skills of perception and comprehension of life phenomenon and strength of thinking and consciousness" [1,7].
Poetry has a feature to give deep meaning by using few words, at times a short and small work thoroughly introduces the way of living, culture, history, customs and traditions of a certain country. Several couplets of a poem can attract a person’s inner world and make them think about most cryptic things. Poetry is a higher form of national language existence. In poetic creativeness it is felt the spiritual side, historical peculiarities, cultural development, and language capacity of a certain nation. Understanding poetry of a foreign nation means perception of their behaviour and manners and a sensitive world of foreign culture. Language of poems is characterized as a special model of lexis. Required by the form of the poem a method of constructing includes short and small, imaginary, beautiful and romantic, stressed and rhythmic lines, whereas the idea of the text ornaments it in an artistic and sophisticated and accurate way.
One of the peculiarities of poetry is its rhythmical formation. Rhythm in a poem has its own meaning. Rhythm connects thoughts that are described in a poem by their meaning and summarizes and concludes it. Rhythm given in lines as a harmony of words which are similar in pronunciation in order to describe thoughts of an author correctly is the main structural part of poetry.
It is one thing to write a line of poems by their meaning, and it is totally another thing to rhyme them skillfully. Rhythm in a poem has a function of harmonizing, collecting and classifying words meanings. In translation rhythm cannot be repeated accurately as in the original. It is impossible. However it mustn’t lose its own feature based on rhythm. Although rhythm is constructed differently in a translation text, a poem should save its inner rhyme, melody and intonation and be ornamented by impression and power of its meaning.
Speaking about problems of translation of poetic works, translation ofworld poetic works into our Mother tongue and works in Mother tongue into world languages has always been challenging. It is doubtless that translating outstanding and meaningful works of a certain nation is one of the most helpful things nowadays. If an original text is a national poet’s work of a certain nation and its national features are clear and understandable, in this case in order to translate it is required from a translator not only a big responsibility, but also a great talent. It means that a translator’s talent should be the unique one. And it is important to estimate it correctly. There are some differences in translation of poetry and prose. A translator of fiction should not depart from the original text and works only within its system. As for poetry a translator harmonizes his own thoughts with the author’s thoughts and makes his lyric feelings be expressed. However, he doesn’t clash with the original text, its content and form. “When a poet reveals a group of events which were the basis for creation of another poet’s work, only in this case a translator’s work will be successful and gain a poetic feature” [2].
Actually, the main requirement for a translation work is transmitting artistic and ideologic state and aesthetic sensation of the original text. It is necessary not to translate a word for word, but the author’s idea. In poetic works it also depends on what kind of devices such as intonation, rhythm, rhyme, imaginary elements an author used at a certain level. Translations of poetic works have a positive effect on enlarging our native literature’s aesthetic opportunities and enriching our literary language.
Nowadays a problem of translation from Russian into Kazakh hasn’t been investigated at length. And there few scientific works devoted to translation of Kazakh fiction into the Russian language. For instance, a scientist N. Sagandykova tried to research above mentioned problem at length in her candidate and doctoral dissertations. Her works are devoted to poetic translation. She mainly analyzed the history of translation of poetic works into the Russian language and methods and
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approaches used in translations [3, 4]. The scientist says: “There were little serious research about the principles, methods and quality of the translations of the Kazakh works into Russian. The translation of the Russian classics into the Kazakh language was much more studied and discussed”.
When we discuss about if we have learned classics of the Kazakh literature and could we introduce them to the world, the first question that springs in mind is what is the level of translation of Kazakh writers’ works and whether they are satisfactory in terms of quality. Because it is obvious that Kazakh writers are being translated into other foreign languages except related ones such as Kyrgyz, Uzbek languages through the Russian language. Their readers are not only Russian people, but representatives of other nationalities who know Russian very well and their number is quite big. That’s why the importance of the problem doesn’t need special proof.
It is a big disadvantage that works of many Kazakh poets haven’t been transmitted into Russian not changing their content, artistic power and impression yet. There are many reasons of this tendency and they are being widely discussed. For example, these works have been translated by translators who don’t know Kazakh, what’s more translators haven’t been responsible for the works and have translated them in a hurry, they have divided the works and skipped some parts — these facts can explain many things.
A prominent translator G. Belger says: the main
disadvantage of translating works of the Kazakh literature into Russian is simplifying the original text. A translator might not understand the author’s idea in the work or might not know the language in which the original work is written or know it slightly, even he/she can be a person who is responsible for their work. As a result outstanding Kazakh pieces of fiction lose their beauty and artistry and turn into poor and plain works” [4, 45]. This has a great meaning. G. Belger means by a phrase ‘a translator who simplifies’ translators who don’t feel responsibility for translation. Especially he warns to be careful in translation of Kazakh poets and writers’ works into the Russian language.
It is true that poetry Abay and Sultanmakhmut, prose ofAuezov and Musirepov have been translated into Russian saving their beauty and impression. This can be said about many writers who are contributing in development of the Kazakh literature by their works.
We will understand a lot if compare the original text with a translated variant. In this case we reveal some differences in the language of original work and translation
work. A language in which the original work is written respects the rules of the Kazakh language, understandable and clear, while a translation sentences are constructed incorrectly, words are not properly chosen and it is hard to read; it will be clear that this one is translation.
To our mind, it has two reasons except a translator’s ability to use the language skillfully. Firstly, while translating from Kazakh we don’t pay attention to special peculiarities of both languages and formation types of some word combinations according rules of a certain language, and try to attach them unwillingly that is translate them literally. Or course, it should be accurate as much as it is possible. However we need to understand ‘accurate translation’ as translating accurately and use it in this term. In process of translation we have to pay attention to understanding a meaning of a certain Kazakh notion in a proper way and by means of what words it can be translated into Russian. A language of Russian works translated into English, French has no difference from the original text, there are even many idioms and proverbs which are peculiar to the Russian language only. That’s a language of works which are translated in Kazakh should be similar to the original one.
In translations of works of related nations into Russian a quality of the Russian language seems to be wasteful and poor. Apart from few works, translators of poetry and prose works cannot use riches, impressive devices of the Russian language. This kind of translators usually copy the original text in a ‘line-to-line’ way and make the original text lose its beauty and artistry, sometimes be very plain. That’s why in the Russian criticism the translated prose is considered to be a shoddy, low-quality model of literary language. Although it is difficult to admit, this is a case which afflicts us very much. In addition, there are also some stylistic and imaginary peculiarities, artistry feature or national characteristics of the original which might be skipped in process of translation into Russian. For instance, in translations it is not felt such things as differences in historical periods, historical appropriateness in character’s speeches or author’s comments; there is no difference between speech manners of characters from various social groups.
“Although the origin of this kind of translations are Kazakh, Uzbek, Latvian, Tatarian, Armenian, they speak Russian fluently. This fact shows that a translator is a good Russian writer and a master of the language. Nevertheless he doesn’t connect his own style to the style of an author which is going to be translated. Moreover, the translator thoroughly investigates a language and thinking world of an author. He/she begins to translate
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only after researching all materials referred to the original work. He learns about history of the nation described in the work and gets introduced with the time and environment characters of a book live in. A great writer, a talented translator: this kind of translators, unfortunately, is rarely met" [5, 85].
That’s why we need to be responsible for translation of outstanding Kazak works. We cannot give them to everybody, but a high-qualified and experienced translator, we must protect our works from squish?! In order to prevent these problems we need to make the requirements for translation higher, what’s more it is necessary to strengthen the activity of publishing houses and editor’s offices and to discuss and immediately find solutions to problems and difficulties occurred in process of translation at the meeting of editors by involving linguists too.
A piece of fiction is a single work which unites content and form. It is impossible to consider its idea, content and depth of thoughts or idea and form separately. Consequently, one cannot translate them separately with different methods. A piece of fiction itself is a concise appearance of reality by imaginative description. The main requirement of every piece of art is to understand a life realistically and describe it in an exact way. A poetic translation, first of all, is a piece of fiction. It means that translation is a variant which is done by
understanding reality depicted in the original language and described by systems of images of the target language. Thus, requirements for description of objective reality in the original and its translation are the same. It means that the methods and approaches that the author uses in depicting certain phenomenon of life are compulsory for a translator, too. In order to reveal the meaning of accurate translation we need to consider requirements for fiction in general.
Accordingly, the main requirement for the translation of fiction is transferring the reality of the work in a proper way.
A translator sees the reality of life through the original text. And through the author, too. That’s why the bigger the role of the concrete image of life is for the author of the original text, the more important the original text is for the translator. “On this basis there are three requirements for a translator: firstly, to transfer reality described in the original text correctly. Secondly, to give the idea of the original work without any corruption. Finally, not to break accepted system of the mother tongue. Other issues can be solved on the basis of these three requirements" [1, 4].
It is obvious that following all the requirements doesn’t give absolute accurate translation and it is impossible that a translator’s individuality isn’t felt.
References:
1. Akhmetov Z. Olen sozdin teoryasy - Almaty: Mektep, 1973.
2. Karatayev M. Poeziya muraty.//Kazakh adebieti. - 1971, 23rd September.
3. Sagandykova N. Osnovy khudozhestvennogo perevoda. - Almaty: Sanat, 1996.
4. Belger G. Oda perevodu. - Almaty: Daiyk press, 2006.
5. Auezov M. Korkem audarmanyn keibir teoryalyk maseleleri.//Uakyt zhane adebiet. - Almaty, 1962.
6. Satybaldiyev A. Rukhani kazyna. - Almaty: Zhazushy, 1987.
Lysseyko Larissa Vladimirowna, Staatliche Schwarzmeer-Universität namens Petro Mohyla, Kandidat für philologischen Wissenschaften, Dozentin des Lehrstuhls für Germanistik Mykolaiv, Ukraine
E-mail: [email protected]
Präzisierende Norm des Mittelhochdeutschen
Abstrakt: Der Artikel untersucht die Grenznormen des grammatischen Systems. Es werden die oberen und unteren Grenzen der Sprachnorm erforscht. Eine obere Grenze ist die quantitative und eine untere die strukturelle. Es wird eine Analyse durchgefuehrt, die sich mit den morphologischen und syntaktischen Besonderheiten der deutschen Sprache des Mittelalters befasst.
Stichwörter: Obere Grenze der Norm, untere Grenze der Norm, die Syntax, die Morphologie, die Zusammensetzung.
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