6 Неделя

Тема 1 ч. Перевод и стиль. Типология стилистических изменений в переводе. Стилистическое соответствие. Стилистическая субституция. Стилистическая замена-инверсия. Стилистическое усиление. Перевод художественной поэзии.

To put into words the main difference between Russian and English traditions of poetry translation, we may concede that Rus­sian translators often fall into the sin of "making the foreign poet sound better in Russian," while their British/American counter­parts may feel at ease in making him (or her) not sound at all by actual throwing off the original versification pattern, as too rigid, "for the sake of a new order." Which is probably no less a sin. The results are dubious: in Russia, non-English speakers (read­ers) read, know and love a whole host of British/American poets, minor as well as major, while to the average American reader the names of major 20^th — century Russian poets are at best obscure and actually known only to the university public.

Some poets are renowned in the English-speaking USA, for example, not for their poetry as translated into English but rather for their tragic fates — like Marina Tsvetaeva or Osip Mandelshtam. Quoting Susan Miron from her review on Tsvetaeva by Viktoria Schweitzer, "Outside the former Soviet Union, Marina Tsvetaeva (1892-1941) is far better known today for her suicide by hanging than for her poetry." This is due to translation to a certain extent. Tsvetaeva without her dashing rhymes, ner­vous but well-arranged metre, and alliterative links between key words, the unsurpassed play on sounds, which makes the very heart of her poetry and gives a clue to the associative and imagi­nary content, is a mere Jane Doe or some other decent poetic woman with no voice of her own. The purely semantic principle of translation is definitely inadequate in the case of Tsvetaeva.

Иллюстративный и раздаточный лекционный материал в разрезе тем дисциплины: словари «Oxford 2006», рефераты по мировой литературе

Список рекомендуемой литературы: Казакова Т.А., Практикум по художественному переводу, С.-Петербург, 2004., Алексеева И.С. Профессиональный тренинг переводчика. С.- Пб, 2004.

Глоссарий:we may concede, counter­parts, may feel at ease, actual throwing off, the original versification pattern, too rigid, no less a sin, are dubious,

7 Неделя

Тема 2 ч. Перевод и стиль. Типология стилистических изменений в переводе. Стилистическая типизация. Стилистическая индивидуализация. Стилистическое ослабление. Стилистическая нивелировка. Стилистическая утрата. Перевод художественной поэзии.

There is a possible productive way for the theory of trans­lation and translators of poetry, the comparative generative pros­ody. It may serve as the basis for the theory of poetic translation that will allow predicting the variety of actual prosodic parallels between English and Russian systems of versification or reconstructing the basic model by its variants. There are some approaches to such a theory in the studies of prosody from both general and national positions¹. The concept of kernel rhythmic struc­tures and their direct and indirect connection with the cognitive and emotional processes is very important in understanding, in­terpreting and translating poetry². Anyhow, when translating po­etry, we should consider the form as more than a surface or liter­ary decoration. In fact, in true poetry, it is as integral a part of its content and imagery as is its syntactic structure or stylistic devic­es. To undertake a comparative study of the national peculiarities of the relationship between the prosodic form and contents in Russian and English literary traditions will definitely contribute to the theory of poetic translation. Yet a translator can make his own observations in the practical work on translating poetry from this point of view. For example, if a poet, classical or modern, uses the iambic tetrameter, it is only sensible on the part of the translator to consider the possible semantic, aesthetic and psy­chological functions of that verse form.

Иллюстративный и раздаточный лекционный материал в разрезе тем дисциплины: словари «Oxford 2006», рефераты по мировой литературе

Список рекомендуемой литературы: Казакова Т.А., Практикум по художественному переводу, С.-Петербург, 2004., Алексеева И.С. Профессиональный тренинг переводчика. С.- Пб, 2004.

Глоссарий