“Фальшиві друзі перекладача”

Деякі терміни-інтернаціоналізми належать до категорії “фальшивих друзів перекладача”, наприклад, instrument – не “інструмент”, а “прилад”; photocopying – “ксерокопіювання”; data – “дані, інформація”; process – не тільки “процес”, а й “обробляти”: The computer will process the obtained data. - Комп’ютер обробить одержані дані.

Переклад заголовків

Заголовки (підзаголовки) іноді варто перекладати лише після того, як ви прочитали й переклали весь текст (розділ). Наприклад, назву тексту The Listener’s Job (про правила поведінки на концерті симфонічної музики) можна перекласти як “Що має робити слухач”.

Керування дієслів

Перекладаючи тексти, звертайте увагу на прийменникові звороти типу The monograph collection increased by 92,864 items. – Фонд монографій збільшився на 92 864 одиниць. Взагалі керування дієслів в англійській мові часто не збігається з керуванням в українській (російській). Порівняйте: to depend on “залежати від”, to prepare for “готуватися до”, to consist of “складатися з”, available to “доступний кому”, in person “особисто”.

Прийменникові сполучення

Під час перекладу слід звертати увагу на випадки невідповідності прийменникових словосполучень в англійській та українській (російській) мовах. Наприклад:

He is in rehearsal now. Він зараз на репетиції.

Students normally borrow books from the library. Студенти зазвичай беруть книжки в бібліотеці.

Переклад ідіоматичних зворотів

Англійська мова багата на ідіоматичні (фразеологічні) звороти, наприклад:

He is always keeping a very watchful eye on his students. Він завжди пильно стежить за своїми студентами.

The audience went wild. Глядачі шаленіли.

…a feeling of belonging – відчуття того, що це моє (наше)

Багатозначність лексики

Характерною рисою англійської мови є багатозначність лексики, особливо дієслів, наприклад: run бігти; рухатися; керувати; проходити (відбуватися).

St Patrick's Festival ran from the 11th - 17th March. Фестиваль святого Патрика відбувався з 11 по 17 березня.

The trains to London run every hour. Поїзди до Лондона ходять щогодинно.

The National Congress of American Indians, which runs the pageant, was founded in 1944. Національний конгрес американських індіанців, що керує конкурсом, був заснований 1944 р.

Нижче наведено зразок перекладу деяких абзаців з наукової доповіді проф. Гофланда (США). Проаналізуйте переклад, порівнюючи його з оригіналом, і запропонуйте свої варіанти. Обґрунтуйте свій вибір.

Les Kurbas’ Influence in Current, Mainstream American Theatre

Вплив Леся Курбаса на традиційний американський театр сьогодення

The work of Les Kurbas has had a profound influence on current American theatrical practice, but too seldom does the great Ukrainian director get credit for this influence. Oddly, while American college texts on the history of theatre generally note the influence that the work of Bertold Brecht had on breaking with realism and on using theatre to address social issues, they seldom connect the name of Brecht with Les Kurbas, whose work was a resource for Brecht. Similarly, while the same texts note the influential work of Czech artists Josef Svoboda and Jarislav Malina in creating “action design”, they seldom connect the work of these artists with the work of Les Kurbas, whose pioneering art prefigures their works.

Творчість Леся Курбаса зробила чималий вплив на нинішнє американське театральне життя, проте ім’я великого українського режисера згадується в цьому контексті дуже рідко. Скажімо, американські університетські підручники з історії театру, як правило, відзначають вплив творчості Бертольда Брехта на відхід театру від реалізму та його звертання до соціальних проблем. Водночас, як не дивно, вони рідко асоціюють ім’я Брехта з Лесем Курбасом, хоча роботи останнього були джерелом натхнення для Брехта. Ще один аналогічний приклад: ті самі підручники відзначають провідну роль чеських митців Йозефа Свободи та Ярослава Маліни у створенні нового напряму в сценографії під назвою “екшен дизайн” (“сценографія в дії”), але майже не поєднують творчість цих діячів з піонерськими ідеями Леся Курбаса.

Nevertheless, although Les Kurbas’ influence is recognized too seldom and too little, the influence of his work has reached beyond the avant-garde and into mainstream theatre.

Ось така аномалія: ім’я Леся Курбаса згадується не часто, проте вплив його творчості виходить далеко за межі авангарду й охоплює традиційний театр.

It is not until the last decade that the influence of Les Kurbas has been apparent in mainstream theatre. It is true that avant-garde mid-twentieth century productions echoed his work. Eugene O’Neil’s The Hairy Ape, Elmer Rice’s The Adding Machine, and Arthur Miller’s Death of a Salesman are examples. In addition, Robert Edmond Jones, like Kurbas and Meller, used scenic elements as part of the storytelling. Similarly, the works of Brecht have been produced in America to great acclaim. But none of these productions have indicated any general trend against the prevailing realistic American style.

І тільки протягом останнього десятиліття вплив Леся Курбаса на традиційний американський театр став дійсно відчутним. Правдою є те, що в середині 20-го століття в деяких авангардистських постановках в США відчувалося відлуння ідей Курбаса; це “Космічна мавпа” Юджіна О’Ніла, “Лічильна машина” Елмера Райса, “Смерть комівояжера” Артура Міллера. Крім того, сценограф Роберт Едмонд Джонз, так саме як і Курбас і Меллер, використовував елементи оформлення сцени, як невід’ємну частину розвитку сюжету. З великим успіхом ставилися й роботи Брехта. Проте, жодна з цих постановок не посіла чинного місця в реалістичному американському театрі того часу.

One might wonder why American theatre stayed centered in early twentieth century realism when many Eastern Europeans –Ukrainians, especially – were leading the way towards a more visually interesting and audience engaging form of theatre.

Залишається дивуватися, чому на початку 20 століття американський театр уперто дотримувався реалістичних традицій тоді, коли східні європейці (насамперед, українці) віддавали перевагу візуально більш цікавим та захоплюючим формам театрального мистецтва.

The answers are both political and cultural. First of all, the Iron Curtain separated us from many of these developments. Therefore, Americans have known little about Les Kurbas’ work for the same reason that they have known little about Stanislavski’s later work. In addition, until recently, linear, empirical American thought wasn’t ready to accept the incorporation of the multi-layered, metaphorical approach of Les Kurbas.

Відповіді на це питання лежать в політичних та культурних площинах. По-перше, “залізна завіса” не давала нам змоги простежити цей розвиток. Тому американці мало знають про творчість Леся Курбаса, так само, як мало вони знають про останні роботи Станіславського. Крім того, аж до останнього часу прямолінійна, емпірична американська театральна традиція не була готова прийняти багатошаровий, метафоричний підхід Курбаса.

Пропонуємо кілька текстів з різних галузей знань для самостійного письмового перекладу.

American Television in Europe:

Problems of Pop Cultural Hegemony

Many Europeans are concerned about the possibility of American culture dominating other cultures. Many Americans believe that their culture is indeed the dominant culture in the world. The increasingly common terms "cultural hegemony" and "monoculturalism" seem by default to refer to American culture and its presence outside of America. In Europe and other places, American culture appears in many forms, such as movies, music, clothing, and television. But does the presence of these kinds of American pop cultural items mean that a cultural takeover is happening, or happening unproblematically?

Obviously, America is an exceedingly powerful country. Its wealthy transnational corporations, its power within international regulatory organizations, and its military might give it a great deal of power in structuring and controlling economic and other interactions all over the globe. But, does it follow from this that cultural items such as American television shows are equally controlling and shaping of other cultures? Does America's economic and political power mean that its pop culture is easily taking over the globe?

I believe that cultural takeover is not so easy, and that many barriers to American cultural hegemony exist. I think it is important to acknowledge and understand these barriers, to look at the interstitial spaces to see just what happens in these sites where two different cultures meet. I am not European, and not an American living in America, but an American living in Europe. Speaking from that perspective, I take American television in Europe as a case study to illustrate the barriers and problems involved in the spread of American popular culture. Taking into account various factors that I've observed while living here, I see the unchecked spread of American pop culture as more problematic than it is often depicted to be.

It is true that American television, movies, and music are all over Europe. Here in Switzerland, at the local theater I can see Shrek, at the cafe down the street I can hear Madonna singing about what it feels like to be a girl, and while flipping the channels on my TV I can see Friends and Frasier. But let's not hastily conclude that all of this equals hegemony. There are a few details to note in this situation, details that may elude the casual observer, especially one observing Europe from across the Atlantic. In my ten months of living here, I have found that the presence of American culture is just not a clear matter of hegemony and monoculture. To understand it, we have to look more deeply at the context and form in which American pop culture appears, how and if it is consumed, and how it is interpreted. Let's wipe off the spectacles and give it a look.

Library Education

Library education is closely related to the technological advances in information science. Technological innovations have brought changes not only in the subjects taught, but how they are taught, as with the incorporation of distance learning programs. The amount of useful technology instruction a library program should provide remains an open question. To provide further education in the theoretical foundations of librarianship, the curriculum could eliminate the time spent training in obsolescent technologies, as librarians should rather rely on the necessary preparation provided by commercial library vendors.

Rather than becoming the tools of their tools, librarians can exploit technological advances as means to their benefit and to relieve their workload. Expert systems, for example, are automated aids devoted to such procedures as collection development, cataloging and classification, and other information work. With the growth of computerized library resources, greater technological expertise will be required by all library workers. Although library services are becoming more computerized and automated, this mechanistic drive of expertise does not eliminate the need for librarians. The more new technologies are made available to people, librarians will need to have the teaching methods and skills called upon to educate and communicate with customers.

An interdisciplinary analogy here is that just as neurologists profit from a firm background in psychology to interpret the nature of their discoveries, computer scientists and database designers require lessons from librarians to learn how best to design and build information resources. Thus the computerization of libraries and information does not eliminate the need for librarians, but rather the technological advances in databases, and the Internet in particular, have produced a market for digital librarians. With the exponential growth of information being published, librarians are also needed to maintain libraries not just in a clerical capacity, but to assist patrons in wading through the seas of information available.

Scientific progress in data and information technology has also enabled the available formats of library collections to expand from printed works to electronic texts, images, and videos. A wider and more complicated range of information technology has entailed a less uniform curriculum in library schools beyond the required core courses, producing graduates with a broader range of skills along with basic library competencies. Basic skills and proficiencies are still needed for librarians to make efficient use of print and electronic tools, but continuing education and personal development are also necessary for information professionals to maintain knowledge within the expanding information economy.

Country Music

Country Music is a major genre of American popular music, primarily produced by white Southerners beginning in the early 1920s. Born out of the folk music of Southern Appalachia, country music encompasses the styles known as Western swing, honky-tonk, bluegrass, rockabilly, and new country. Over the years country music has been influenced by folk, gospel, rhythm-and-blues (R&B), and rock music and in turn has had an impact on these popular genres. Since then country has moved into the popular music mainstream and gained wide international acceptance.

Musically speaking, country music is one of the simplest styles to create and one of the least intimidating to listen to, features that contribute to its popularity. This basic aspect of country music stems from the fact that it is based predominantly on lyric content rather than musical content. In country, the primary purpose of the musical elements of harmony, melody, and rhythm is to showcase the lyrics without distracting from them. Exceptions to this general rule include the purely instrumental music from country music’s early history and the technical virtuosity often found in bluegrass music.

Country harmony relies for the most part on a simple selection of repeated chords—usually three, although additional chords or as few as two may be used. Vocals appear mainly as single, unharmonized lines, although at times they are harmonized with high, closely spaced voices, especially in the chorus of a song. Rhythmically, there is little syncopation. Melodies are typically just as basic as the rhythm. Many country tunes sound very similar and are distinguishable by their lyrics.

The lyrics of country songs commonly parallel the lives of ordinary, working-class Americans and cover such subjects as love and relationships, loneliness, religion, poverty, and work. A song’s lyric theme is frequently repeated in the chorus section. Most country lyrics are extraordinarily economical, using 150 or fewer words, and the compact result is often poetic and evocative.

The subcategories of country music often use different sets of musical instruments. The country genre began in the 1920s with string bands, which usually consisted of various combinations of guitar, fiddle, banjo, mandolin, and string bass, also known as a double bass. The dobro, an amplified guitar made of wood or steel with internal resonators, was introduced in the late 1920s. It is also known as the Hawaiian guitar, because it can be played Hawaiian style by laying it across the lap. The drum set became part of country music through Western swing, which developed in the 1930s. Although brass wind instruments such as the saxophone and trumpet were a vital part of Western swing, they are rarely heard on other country recordings. The piano can be found on country records as early as 1925, but it did not become a lead instrument until the late 1940s, with the boogie-woogie recordings of singer and songwriter Aubrey “Moon” Mullican. By the mid-1990s country bands generally featured six to seven musicians, including a drummer, a keyboard player, an electric bass player, a steel guitarist, electric and acoustic guitarists, and a utility musician who plays fiddle, mandolin, banjo, and dobro, as needed.