CC BY
6копкигко, кит. Мптп^и «бетон»). Многие слова и термины, заимствованные из японского языка, понятны без перевода любому китайцу и воспринимаются им как мотивированные, но лишь с той разницей, что произносится по правилам китайской фонетики (^ Щ£,2016).
Термины иностранного происхождения составляют значительную часть китайской терминологии. Их связь со словообразованием заключается в использовании способов и моделей, присущих терминообразованию современного китайского языка. Термины иностранного происхождения представлены всеми видами сложных терминов.
Заключение. Если говорить о том, какой способ создания перевода термина наилучший, то, очевидно, что каждый способ имеет плюсы и минусы. Так, если переводчик использует при переводе транслитерацию, то заказчик вряд ли догадается о значении слова, если оно раньше не использовалось как термин. С лингвистической точки зрения, заимствование пополняет лексический состав языка, и в то же время, приводит к появлению большого количества синонимов и к засорению языка иностранными словами, так как количество транслитерированных терминов не уменьшается, а только прибавляется. С одной стороны, очень удобно, если термины в разных языках будут передаваться одним и тем же словом. С другой стороны, не стоит забывать о том, что в родном языке наравне продолжают функционировать синонимы этих слов. Например, «гаджет» - «устройство», «инвойс» -«счет» «акселерация» - «ускорение», «амплитуда» -«размах».
Конечно же расширение значений уже существующих терминов, в свою очередь, приводит к образованию множества омонимов, и это тоже создает кучу трудностей для переводчиков. К тому же переводчик не может использовать уже существующий термин, для передачи нового термина, так как это приведет к путанице и
большому непониманию нового текста. Перед переводчиком конечно же нет задачи создать новый термин, если он не находит аналога данному слову в родном языке. Так как сам процесс создания нового термина очень сложный и им конечно же нужно заниматься специалистам. Тем самым основная задача для переводчика это донести основной смысл оригинала, из чего следует что самый лучший способ перевода непонятного термина это понять значение термина и очень подробно перенести его методом описания данного предмета либо явления.
Список литературы
1. Фролова, О.П. Словообразование в терминологической лексике современного китайского языка. Новосибирск: Наука, 2006
2. Реформатский, А.А. Введение в языковедение. - М.: Аспект Пресс, 1997: 536.
3. , 2007:282.
4.
0±#f4^te),2016,32(1):m1-m5.
5. Маслов, Ю.С. Введение в языкознание: учеб. пособие для филол. спец. вузов. 2 - е изд., пе-рераб. и доп. М.: Высш. шк., 1987: 272.
6. Дипломатический словарь в трех томах. 4-е изд., переработанное и дополненное. М., 1984.
7. Шевнин, А.Б. Официально - деловой стиль. Матрица переводческих проблем: учебное пособие. Екатеринбург, 2010.
8. Акулова, Е.Е. Творчество Т. Толстой в контексте современной женской прозы. Вып. 10.: 109114. Иваново: Филол. штудии, 2006.
9. Васильева, М. А. Официально - деловой стиль китайского языка. Издательство: КАРО: 128.
10. Гербовский, Н.К. Теория перевода: учебник. М.: Изд-во Моск. ун-та, 2004: 544.
THE CREATIVITY OF ABDIZHAMIL NURPEISOV IN FRENCH
Mashakova A.
PhD Philology, Leading Researcher M.O. Auezov Institute of Literature and Art, Almaty, Kazakhstan DOI: 10.5281/zenodo.6696426
Abstract
The article reflects the process of literary translation of the prose works of the Kazakh writer Abdizhamil Nurpeisov into French. The attention is paid to the reviews of French writers, translators, literary critics. Speaking about the reception of A. Nurpeisov's creativity in France, it should be noted that in terms of genre, publications about him include the book prefaces, literary critical articles, letters and literary encyclopedias. Keywords: Kazakh literature, translation, French.
The Kazakh writer Abdizhamil Nurpeisov can rightly be attributed to the classics of modern literature of Kazakhstan. His novels are widely known in the homeland and abroad, and he is one of the most widely read contemporary authors in Kazakhstan.
A. Nurpeisov is a participant in the Great Patriotic War. He began his literary career with the novel "Courland" (1949), which is dedicated to the harsh life during the war. For this work, he was awarded the literary prize of the Kazakh Soviet Republic.
The next work - the trilogy "Blood and Sweat" (1961-1970) - was awarded the USSR State Prize. In
this novel, the writer presents authentic pictures of the life of the Kazakhs on the shores of the Aral Sea before the revolution and reflects the class changes in Kazakhstan during the 1917 revolution. This novel has been translated into many languages of the world. Based on its motives, a feature film was created in Kazakhstan.
It should be noted that the French readers were prepared for the perception of A.Nurpeisov's creativity, since the works of Kazakh writers had already been translated into French before him. In the late 50s of the XX century, the French publishing house "Gallimard" translated and published Mukhtar Auezov's novels "Youth of Abai", "Abai".
In France, the first book of the trilogy by A. Nur-peisov - "Twilight" was published in 1967, by the "Gallimard" publishing house in the series "Littératures soviétiques". The second book "The Ordeal" appeared under the title "Ordeals time" in 1969, and the third part "The Crash" was published in 1976 under the title "Summer Ashes". Translation into French was carried out by the famous translator Lily Denis, who already had experience in translating the works of classical and contemporary Russian writers. The translation into French was the first among the Western European translations, which indicates the important role of France in the dissemination of the world literature. Being the cradle of culture all over the world, France has always been interested in the literatures of other peoples. The founder of the "Littératures soviétiques" series, the famous French writer Louis Aragon called the novel "Twilight" fascinating and deep, and he considered that its appearance in French is a significant event: "The novel «Twilight» by Abdizhamil Nurpeisov is published by us for the first time. This book is about the life of the fishermen of the Aral Sea region on the eve of the October Revolution. ... This novel can be compared with the most significant works of modern literature, weather it is American, French or another one" [1, p. 84].
In those years, the French audience highly appreciated the artistic merits of the trilogy, the professionalism of the translator; the book was a well-deserved success in France as in Kazakhstan. After the publication of the novel, numerous responses from French writers and critics appeared in the media: Andre Stil, Christian Audejan, Jean Montalbetti, Nelly Stephan, Tristan Reno, Claude Bonfoy, Anne Philip, Yolande Garon and others.
The attention of French writers was attracted both by exotic landscapes, unfamiliar traditions and customs, and, equally, by the psychological excellence of the author in describing the life of Kazakh society. Member of the Prix Goncourt, writer André Stil highly praised the novel: "These people and lands with their rich diversity, exoticism, and much more, that is unusual for us, amaze us in this great novel" [9]. In the literary magazine "Esprit", Christian Audejan presented the following assessment of the novel: "Following Nur-peisov, we penetrate into the unknown world on the outskirts of the steppes, which are suffering from the caustic and salty winds. The description of the people and the region captivates more with unusualness than
with exoticism" [7]. Jean Montalbetti calls A.Nur-peisov "one of the most profound writers of our time, who has an unusual and original style" [6]. Literary critic Nelly Stefan believes that "the reader will love this book for its human warmth, for the sense of justice inherent in it, and will be fascinated by the amazing images of the endless steppe" [8].
French writers, having familiarized themselves with the epic voluminous novel of the writer, were imbued with respect for the talent of the master of words. These reviews of French authors, in the framework of the theory of comparative literary studies, can be attributed to the contact-genetic literary relations.
In recent years, the number of literary contacts has increased. And this is facilitated by the following circumstances: after gaining independence, Kazakhstani literary and artistic figures received more opportunities for personal contacts. In regard of literary contacts, one should mention the responses of Lily Denis, who translated the novel-trilogy "Blood and Sweat" from Russian into French. "Sensitivity, psychological insight and, finally, a gift for romance allowed Nurpeisov to confront such literary form, which is the historical novel, without monotony" [2, p. 93]. Lily Denis was personally acquainted with A. Nurpeisov. They met several times both in France and in Kazakhstan, and maintained friendly relations. In addition to Lily Denis' articles about the creativity of the Kazakh writer, her letters to A. Nurpeisov have been preserved. When reading these letters, one can see that Lily Denis asked him for advice, worried about his health, considered him an intelligent and talented person.
It is known that contact literary relations are divided into external and internal contacts. Since external contacts include meetings, conversations, correspondence, the example of Lily Denis can be attributed to external contacts. In this case, all of the above mentioned forms of creative communication were present. However, Lily Denis was a translator of A. Nurpeisov's books, so their creative friendship is also a manifestation of internal contacts. Thus, the literary contacts of A. Nurpeisov and Lily Denis cover both external and internal contacts.
Speaking about the contact literary relations, it is necessary to mention Albert Fischler, who was also personally acquainted with A.Nurpeisov. French scientist Albert Fischler is a laureate of the Peace and Spiritual Concord Prize of the President of the Republic of Kazakhstan. In his homeland, he was awarded the Order of Academic Palm in the field of literature.
Albert Fischler and his wife Madeleine have a long friendship with Kazakhstan. Since 1990, they have often visited Kazakhstan. The Fischlers found many friends and acquaintances here, and got imbued with the spirit of Kazakh music, literature and culture. Albert Fischler writes articles about Kazakh writers and poets, and also makes presentations at conferences dedicated to the anniversaries of the prominent representatives of Kazakh literature, held under the auspices of UNESCO.
Albert Fischler met A. Nurpeisov in 1997 in France during the official celebration of the 100th anniversary of Mukhtar Auezov. Further, their paths have repeatedly crossed both in Kazakhstan and in France.
Albert Fischler calls A. Nurpeisov "one of the most outstanding steppe artists of this century..." [4, p. 120]. According to numerous excerpts from the book "Blood and Sweat" in French, which are found in his article about the creativity of the Kazakh writer, we can conclude that the author carefully read his novel-trilogy. It should be noted that Albert Fischler, in his article, analyzing the creative writings of A. Nurpeisov, mentions his statements during the interview taken by the French journalist Anne Philip for the "Monde" magazine in 1973 and during a personal conversation in France in 2000. As a result, the French scientist, drawing parallels between Nurpeisov as a writer and Nurpeisov as a person, presents a very accurate sketch of the character of a person who, thanks to his talent in writing, depicted in his work the life of the Kazakh people in a certain time period (1914-1917) in a reliable and accessible way. At the same time, according to A. Fischler, the Kazakh writer pays great attention to the description of nature, and his native land. A. Nurpeisov was born on the shores of the Aral Sea and therefore draws, respectively, the pictures of the steppe with the specific vegetation of the seashores. Summing up, Albert Fischler writes: "Abdizhamil Nurpeisov, as a follower of the great Auezov, covers in his literary work both a colorful image of the steppe expanses, and the analysis of the society, which is almost of a sociological nature, and, finally, a historical plot that runs through his entire work" [4, p. 129]. The French author calls A. Nurpeisov a humanist and sociologist because of the pain and suffering that are felt in the depiction of cruelty and violence caused by the civil war, in the depiction of family relations and especially the vulnerable position of the women.
Another example of literary relations is Jean Lambert's reviews of A. Nurpeisov's works. Jean Lambert is a French editor, founder of the "Aralia" French Charitable Foundation, which implements projects aimed to assist the population of the Aral Sea region in the field of healthcare and drinking water supply. One of the motives in the desire to deal with the problems of the inhabitants of the Aral Sea region was the acquaintance with the works of A. Nurpeisov. Jean Lambert bought the book "Blood and Sweat" in one of the bookstores of the "Latin Quarter" in Paris, and he writes: "my gaze somehow stopped (in the late 70s) on works in the recognizable white binding of "Gallimard", which is one of the most prestigious Parisian publishing houses" [5, p. 116]. This work made a special impression on him, and "literally fascinated" [5, p. 116]. According to Jean Lambert, all three volumes of the novel-trilogy "entered that mythical circle of the books that one continue to read even when they have already been read many times" [5, p. 117].
Jean Lambert's acquaintance with the author of the "Blood and Sweat" trilogy took place in 1997 in Paris at the international conference dedicated to the 100th anniversary of Mukhtar Auezov. It should be noted that in the 90s of the XX century, under the auspices of UNESCO, anniversaries of the famous Kazakh literary figures became widespread (the 150th anniversary of Abai - in 1995, the 100th anniversary of Auezov - in 1997, the 200th anniversary of Makhambet - in 2003
etc). These literary anniversaries became a new form of literary relations. As a result of the celebrations held both in Kazakhstan and in France, modern French writers got acquainted with the creativity of the best representatives of Kazakh literature, and personal contacts were established between the representatives of both countries. Thus, Jean Lambert was able to ask questions about the books he read directly to the author from Kazakhstan, whose creativity had such a strong influence on him that Jean Lambert had a desire to visit the Aral Sea region personally. Later, Jean Lambert visited the shores of the Aral Sea. During this trip, A. Nurpeisov introduced him to his native land and to the people inhabiting this area, which suffered from the human activities. Jean Lambert believes that there is a certain connection between the author, his work, the reader and the creation of the "Aralia" Foundation.
It should be noted that in recent decades, French scientists are interested in the creativity of A.Nurpeisov. Thus, Remy Dor, philologist, director of the French Institute for Central Asian Studies, believes that after M. Auezov's novel "Abai", it was a bold decision on the part of A.Nurpeisov to turn to the historical novel [3]. According to Remy Dor, the novel-trilogy "Blood and Sweat" is a worthy continuation of the work of the great Kazakh novelist M.Auezov. Remy Dor has every reason for such a statement, since he studied Kazakh literature and wrote a number of publications on this topic. As a professor at the National Institute of Oriental Languages and Civilizations of France, Remy Dor prepared a textbook of the Kazakh language for French students. The Kazakh language has been taught at the National Institute of Oriental Languages and Civilizations since 1992. This is the first and the only university in Europe that has set up a Diploma program in the Kazakh language. Remy Dor made presentations at the conferences both in Paris and Almaty. He often visits Kazakhstan. In 2002, a meeting with this French scientist was held at the Institute of Literature and Art in Almaty.
Most of the foreign sources were collected, translated and systematized for the collection "The World of Nurpeisov", which was published in 2006 by the staff of the Department of World Literature and International Relations, M.O. Auezov Institute of Literature and Art, Ministry of Education and Science of the Republic of Kazakhstan. The author of these lines is one of the compilers and translators of this book. The collection, which represents the third book from the series "International Relations of Kazakh Literature" (the first book - "The World of Abai" and the second - "The World of Auezov" were published in 2004), includes about 50 publications translated from Bulgarian, Spanish, Chinese, German, Slovak, French into Russian. All of them were published abroad from 1960 to 2000s. The presented foreign sources demonstrate the world recognition of A. Nurpeisov's novels.
In regard of the reception of A.Nurpeisov's creative writings in France, it should be noted that in terms of genre, the publications about him include the book prefaces, literary critical articles, letters and literary encyclopedias. Information about the Kazakh writer is
found in such well-known French publications as "Dictionnaire universel des literatures" (1994) and "Dictionnaire mondial des literatures" (2002). In 2001, a thematic issue of the "Missives" ("Messages") magazine was published in Paris, which is entirely devoted to the culture and literature of Central Asia. In the section about Kazakhstan, A.Nurpeisov is also presented among the classics of Kazakh literature.
So, the creativity of A.Nurpeisov plays a significant role in the development of Kazakh-French literary relations. Reviews of foreign writers make an invaluable contribution to the history of any literature, since they represent an objective view from the outside. French literary critics and writers enthusiastically evaluate the creativity of the Kazakh writer, thinking about the main works of A. Nurpeisov, and they are unanimous in one thing: the author of the "Blood and Sweat" trilogy, the novel "The Last Duty" is a significant phenomenon in the world literature.
References
1. Aragon L. Abdizhamil Nurpeisov. Twilight // The World of Nurpeisov. - Almaty, 2006. - P. 83-85.
2. Denis L. The vast expanse of the steppes // The World of Nurpeisov. - Almaty, 2006. - P. 91-93.
3. Dor R. Kazakh literature // Dictionnaireuniver-sel des littératures. Vol. 2. - Paris: PUF, 1994.
4. Fishler A. Abdizhamil Nurpeisov // The World of Nurpeisov. - Almaty, 2006. - P. 119-129.
5. Lambert J. To the Aral Sea in the footsteps of Abdizhamil Nurpeisov // The World of Nurpeisov. -Almaty, 2006. - P. 116-119.
6. Montalbetti J. Abdizhamil Nurpeisov. Twilight // Les nouvelleslitteraires. - Paris, 1967, 9 mars.
7. Odezhan K. About A. Nurpeisov's novel "Twilight" // Esprit. - Paris, 1967, avril. - No. 359. - P. 966967.
8. Stefan N. Abdizhamil Nurpeisov. The Crash // Europe. - Paris, 1976, avril-mai. - No. 564-565. - P. 247.
9. Style A. The sun of the poor // Humanité, 1976, 12 février. - P. 8.
