Индустрия перевода

создаваемый действием определяемого предмета. В предикативном употреблении – временной признак подлежащего или прямого дополнения, создаваемый их же действиями, и обычно находится к ним в постпозиции.

2)Составное причастие I (ānā «приходить» – āta huā «приходящий) употребляется только как самостоятельное слово. Оно может выступать в функции подлежащего, дополнения и определения. При атрибутивном употреблении составное причастие I обозначает временной признак, создаваемый действием определяемого предмета или лица, и находится к нему в препозиции. При предикативном употреблении – временной признак подлежащего или прямого дополнения, создаваемый их же действиями, и обычно находится к ним в постпозиции.

3)Простое причастие II в предикативной функции обозначает временной признак подлежащего и сочетается с непереходными глаголами. Например, vahān beiThe rehne ke bad (букв. «там усевшиеся остались»). В рассказе мы не встречаем простые причастия II в качестве самостоятельного слова. Сочетание beiThā tha является сочетанием простого причастия II (образуется присоединением к основе глагола ā) и глагола быть – hona в форме прошедшего времени, мужского рода, ед. ч. Дымшиц отмечает, что «в составе аналитических форм глагола простое причастие II обозначает действие совершенное, представленное в его результате. При самостоятельном употреблении оно обозначает уже не действие, а состояние, явившееся результатом произведенного действия, которое приписывается субъекту как его признак» [1].

4)Составное причастие II āyā huā в атрибутивной функции находится

впрепозиции к определяемому слову и согласуется с ним в роде и числе. Согласование причастия с дополнением в роде (женском), числе (единствен-

ном): beiThi huī bhīR – букв. «севшая толпа», aoratẽ vahān beThi huī thi – букв. «женщины там были сидящие».

В рассказе также встречаются имперфективы или простые причастия несовершенного времени с усилительной частицей hi. Например, Marne ki bāt sunte hi beiThi huī bhīR men jeise halcal huī aor rona ka kām phir shurū ho gaya

(букв. Как только послышались разговоры о смерти, среди сидящей толпы началось смятение, и рыдания снова возобновились). Сочетание marne ki bāt sunte hi является сочетанием косвенного падежа простого причастия настоящего времени и частицы hi, которая обозначает, что действие в главном предложении совершилось сразу после действия деепричастного оборота. Сигорский называет это сочетание деепричастным оборотом моментального предшествования, соответствующим русскому придаточному предложению «как только» [6]. Перевод на русский будет следующим: Как только по-

слышались разговоры о смерти, у сидящей толпы началось смятение, и

плачь снова возобновился. Данная конструкция выражает контактное предшествование и контактное следование, т.е. ситуацию, когда два действия совершаются без временного интервала между ними, практически одновременно, что не является для говорящего неожиданным и не вызывает у него удивления. Субъект деепричастного оборота не совпадает с субъектом главного (независимого) предложения. Согласно З.М. Дымшицу данная кон-

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струкция используется для обозначения добавочного действия, непосредственно предшествующего главному действию, выраженному глаголом-ска- зуемым. Форма причастия в данном сочетании не зависит от рода, лица, числа и падежа подлежащего предложения, к сказуемому которого относится данное сочетание [3].

Таким образом, проанализировав цели и задачи, выдвинутые в начале статьи, можно сделать вывод о том, что в рассказе Ганга Прасад Вимала «Ребенок» (1238 слов) деепричастных конструкций больше (29, из них 13 абсолютивов), чем причастных (23). Проведенное исследование позволяет сделать вывод, что особую сложность для перевода с хинди на русский язык представляют конструкции деепричастия (абсолютива), которые в хинди используются гораздо чаще, чем в русском языке, поскольку для синтаксиса хинди (в отличие от русского) характерно наличие в одном предложении только одного финитного глагола. На русский язык такие конструкции, как правило, невозможно перевести деепричастием.

Список литературы

1.Snell R., Weightman S. Teach yourself Hindi: complete course (Book + 2CDs). – Ldn.-Chicago: McGraw-Hill, 2003.

2.Shapirо M.C. A primer of Modern Standard Hindi. – Delhi: Motilal Banarsidas Publishers Private Limited, 2007. – P. 216–225.

3.Дымшиц З.М. Грамматика языка хинди / Главная редакция восточной литературы издательства «Наука». – М., 1986.

4.Nespital H. Dictionary of Hindi verbs. – Lokbharti Prakashan. Allahabad, 1997.

5.Дымшиц З.М., Ульциферов О.Г., Горюнов В.И. Учебник языка хинди.– М.: Наука, 1969. – Ч. 1.

6.Сигорский А.А., Саксена Н. Язык хинди: слушай, читай, рассказывай: учеб. пособие по речевой практике. Уровни В1-В2 / Моск. гос. ин-т междунар. отношений (ун-т) МИД России, каф. индоиранских и африканских языков. – М.: МГИМО-Университет, 2013.

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Fu Tianjue

East China Jiaotong University, Nanchang, China

ON TRANSLATION CREATIVITY IN THE LIGHT OF COGNITIVE EMBODIMENT AND ITS IMPACT ON LEGAL WORDS TRANSLATION1

The embodied philosophy coming into being with the trend of postmodernism holds the importance of “human” subjective initiative to cognitive activities. Therefore, translation, which is not single conversion activities of language and words in a pure objective and mirror-like process, should be a dynamic process involved in the creativity of human beings. This article tentatively discusses the creative experience model on the basis of embodied humanism, and further illustrates the specific realization and development of creativity in legal words translation.

Key words: embodied humanism, translation creativity, legal words translation.

1. Introduction

The creative feature of translation is mainly about the exertion of translators‟ subjectivity in the translation process, but such subjectivity is not boundless or random, but within control and limit. From the perspective of cognitive experience, the creativity while reconsidering translation in the nature of “man” can better reveal the expressive mode (representation) and grasp the connotation of the “degree”. Legal words are the typical representative of rigor, accuracy and authority in language, and in the translation of them, faithfulness has been highlighted. Many translators prefer faithfulness rather than creation which is considered to destroy the style of legal language, lead to language disorder and further impede the judicial justice. However, translation of legal words from the perspective of “embodied humanism” is not merely fettered by absolute faithfulness because sometimes the so-called creative treason will in turn eliminate confusion and clash brought by exotic legal culture.

2. Embodied humanism

The concept of “experience” is originated from philosophy, but in turn it transcends philosophy. The western philosophy has undergone several important transformations so far, from “ontology” emphasizing on “the relationship between object and subject” to “epistemology” focusing on “the relationship between subject and object”, and it achieved the transformation of “Theory of Language” which is based on “the relationship between language and the world”, and under this circumstance, the Philosophy of Language appears, mainly involving English and American Analytic Philosophy and European Continental Philosophy taking

“objectivity” as the matrix. In the 1950s and 1960s, western philosophy realized the fourth transformation–postmodernism [1], that is, to reflect the world and philosophy from an irrational perspective, omitting the central theory, focusing on variety, highlighting the nature of men and advocating non-philosophy, that is, transcending philosophy. In accordance with this trend, Lakoff (1987) and Johnson

(1987) gave severe criticism on the former “subjectivity”, and creatively put for-

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ward the “non-objectivity” theory, also called “Embodied Philosophy or Philosophy in the Flesh” (Lakoff & Johnson, 1999), which becomes the research basis of cognitive linguistics [2–4].

According to the Embodied Philosophy, recognition, category, concept, meaning, reasoning and understanding are all people‟s perception and experience originated from the shared and similar objective world. Language is not a system consisted of arbitrary symbols, but its structure is related to and gets motivation from the conceptual knowledge, body experience and relevant functions of the utterance [5]. Therefore, one core principle of cognitive linguistics is “reality- recognition-language”. The experience of the reality is the premise of recognition, and recognition is the basis of language. There exists a sequential determining relationship among these three elements. In short, language is gradually formed on the basis of people‟s experience of the real world, and it is the production of interaction between the subject and the object [6, p. 299]. Language is not the objective piling up of words, but is human-oriented and full of subjectivity [7–9]. Among it, experience is the basis, cognition is the foundation, and the subject “man” is the key. As Wang Yin [10; 11] puts it, language is the production of “interactive experience” and “cognitive processing” on reality. Language communication is originated from human beings and all kinds of expressions are “action of human beings”, in all it is called “Embodied Humanism”.

What is worth emphasizing is that the expression of experientialism (the end of 20th century) based on Embodied Philosophy contains more cognitive and philosophical connotation than traditional empiricism (16th–18th century) , and some experts (e.g., [11; 12) think that “experientialism” is “Non-objectivism” different from “empiricism”, that is, “New Empiricism”.

3. Experience model of translation creativity

Translation is not simple conversion activities of language and words, and the previous translation theory like “representation”, “facsimile” theory and “Jin Qi” outlook (mirror-like theory) are all the projection of mechanical translation thought. Translation should be “a dynamic process involved in the original creation” [13, p. 40], a process of artistic creation, “a reform, transformation and recreation of culture, thought and ideology” [14], and “creation beauty can be considered as the essential characteristics of translation” [15, p. 159]. We can also say that creativity is another essential attribute of translation besides fidelity, and the two complements each other, and are two aspects of an issue. Human factors are indispensable in the realization of creativity in the translating process, in other words, creativity is the subjectivity of translators. Thus, it is significant and feasible to further prove the existence of translation creativity and discuss its expression limits from the perspective of cognitive experience or embodied humanism.

3.1. Features of creative experience model

“Embodied Humanism” asserts that “humanism” is the basis of “cognition” and “cognition” is accomplished through “humanism” [1]. As a cognitive activity, translation is first with experientialism. Specifically speaking, based one his own experience of the objective world, the author obtains cognition (or creative inspiration) and creates with the help of language. As the translators and the reader share

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the basically same objective world, they have almost the same cognition with the author, besides, by experiencing the objective world and making experienced explanation about the text, they get to know the author. On the contrary, if the author, the translator and the reader do not share the same objective world, which means that one part does not share the same experience, then the experientialism of the whole translation process is not complete, and translation will surely suffer damage. Therefore, the experientialism of translation subjects is the necessary attribute and explanatory element of the translation activity.

The process of translation with “Embodied Humanism” is also the selfexperience of translators and their understanding of inner world on the objective world expressed by words. And the process of translators loyally, sincerely and elegantly using language to present the author to readers can be called “selftranslation”. Specifically, any creation is the production of the author‟s own experience, cognition and thoughts about the objective world. In other words, the original text is the presentation of author‟s experientialism, and the translation process is the translator‟s representation of the author‟s experientialism, which means that the author only needs to transform their experience into written language but the translator needs to distill the ideas which are concealed behind the written language and then “fax” or present the experiences or the ideas to the readers with target language [16, p. 36]. In this process, the translator‟s own experience is more or less mixed. In previous view of fidelity, translators need to eliminate the disturbance of their own experience, that is, to be completely subordinated to the author‟s experience and avoid any other disturbance. However, as a major part of the translation process, translator‟s subjectivity can not be ignored. Translators transfer from the “servants” of the “invisible man” to their “independence” and “existence”, which approves them to creatively add their own experience during the process of “faxing” authors‟ experience as long as its overall effect and style are in accordance with the fidelity. And we can find that fidelity and creativity, which originally contradict each other, now become inter-conditioned and interconnected. Therefore, translation is a process which seeks common ground while reserving differences. “Seeking common ground” means “the same experience and cognition” so as to reach fidelity, and “reserving differences” are the different experience due to the different society, economy, culture and other elements. If translation is regarded as more than a conversion of text meaning but the communication between two cultures, then “reserving differences” during translation is necessary, or even only the existence of “reserving differences” can reflect the essential cultural connotation of translation and the value of the subject. And “reserving differences” is where the creativity of translation lies.

Therefore, translation is not merely an activity of transforming the words, but the experience comparison, communication and appreciation of two different cultures. Highlighting “humanism” is the subject value of translation and its positioning, and also it is the theory that holds by many translators (e.g. [13; 15; 17]). While practicing this theory, the translator needs to integrate creative elements based on his own experience. In short, “creativity in translation” is the manifestation under the indirect impact of the translators‟ “humanist experience”, and it is

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also the realization of “Embodied Humanism”. Undoubtedly, this sort of manifestation doesn‟t mean to create excessively, just as when we talk about right, it signifies responsibility and emphasizes freedom, but it implicates restriction as well.

We should avoid publicizing immoderately on the “radical humanism” and the “pessimistic humanism” which declares the death of human. The interpretation of meaning needs freedom but doesn‟t mean absolute freedom. This kind of dialectical free space is the framework of textual facts.

3.2. The Limits of Creativity under Embodied Humanism

According to what are stated above, translation is an activity of creativity, and this kind of creativity is unconstrained translation based on the framework of the original text, also it enjoys full freedom within certain constraints. For example:

Original work: I love my love with an E, because she‟s enticing; I hate her with an E, because she‟s engaged; I took her to the sign of the exquisite, and treated her with an elopement; her name‟s Emily, and she lives in the east (Charles Dickens, David Copperfield).

Version 1:

E EnticingE Engaged Exquisite

Elopement EmilyEast

Version 2:

“ ” “ ”

It goes without saying which translation is better. Version 1 seems to be faithful, but it confuses readers a lot, adding readers‟ unfamiliarity to the original text. Version 2 appears eccentric but actually enlightens its readers, as it has figured out the word game paronomasia of the original text and clearly embedded cultural aesthetic feelings into the text. What‟s more, it reflects the richness and profoundness of the target language culture. Version 1 seems to be in harmony but actually is at variance, while version 2 has the unity of form and spirit. Just as a saying goes: “Absolute fidelity leads to betrayal while creative betrayal opens the door to fidelity instead” [13, p. 118].

However, the realization of creativity should be conducted in a certain range, because only within certain specific range can the realization of creativity be significant and in accordance with the dialectic view. So the definition for “restricted range”, namely, ”degree” is of vital importance, which is also a matter of translation standard. This paper holds the view that translation creativity is a kind of unrestricted self-translation that enjoys full freedom within the scope of the original text. The original text, the space for the representation of the original meaning or for “fax” to realize “creativity”, is the space for “degree”. Combining with the above example, there is no doubt that the quality of translation must be based on original text. However, it seems that more accurate and deeper understanding of the original text depends more on a good translation version, which means that

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version becomes the basis to understand the original text. That reflects the value of translation creativity and is also the golden section ratio of “degree” in creativity. In short, the “degree” of creativity is that translation version can supplement the original text, and the former can help better understand the latter and realize the creative “reverse feeding” of the latter, which makes the meaning of the original text back to original, and then sustain the life of the original text and show the function of cultural connotation.

4. Legal words translation

Legal language refers to such a register that lawyers use, a specific group formed in the process of social development of human beings, when they are engaged in activities of legislation, justice and law enforcement [18, p. 3]. So the formal, rigorous and authoritative legal language also involves the participation of the subject–lawyers and is humanist subjective. Therefore, as the component and product of law culture, it is impossible for the legal language to objectively conduct self analysis independently from law culture. Legal words, as considered relatively precise and fixed and with arbitrariness in traditional grammar, when translated from one register to another, it should not be a closed, rigid word transformation but the cultural communication that involves interaction, experience exchange and humanist concerns among all translators. Just as Groot (2003) said, “to translate a kind of legal language into another kind of legal language” rather than “to translate a kind of legal language into another language” [19]. Transition from language to legal language is that of from general to special, common to specific.

This transition requires law translation subject to be “proper legal person” who possesses background knowledge concerning law and experience in the relevant fields.

Specifically, the meaning, connotation and formation of legal words are full of heavy man-dominant sense and are deeply influenced by the inherent legal culture and legal system of a country, and are closely related to the drive and control of social and cultural value [18, p. 156]. Therefore, working on the translation of legal words should be in accordance with humanist theory, realize the experientialism and subjectivity, so that the translation can objectively reflect the facts of legal texts, creatively reveal the universality and discrepancy of expressive forms in different legal words and then reflect the nation‟s legal cultural value. Unfortunately, even some authoritative legal dictionaries (for example, the Legal Dictionary of Oxford, An English-Chinese Dictionary of Business) cannot avoid inappropriate translation or even translation mistakes due to the neglect of legal cultural differences. Now take a group of names of some laws and regulations for example:

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In general, the translation of laws and regulations should absolutely abide by the faithful principle and there is no room for creativity. Versions word by word in the above table in order to present fidelity, however, belong to a kind of “dead translation”, showing the very opposite meaning of its original one, let alone to demonstrate the similarities and differences between Chinese legal culture and that of the English countries. On the contrary, we should put the names of laws and regulations into certain kinds of cultural category, which is to experience the cultural differences between Chinese and English laws, and to recognize that in British and America no words of “anti-”, “against” or “counter” are applied in enacting laws and regulations on forbidden or guarding a kind of activity, while in China, we often use the words “anti-”, “against” or “counter” in the beginning of these names in order to show the aim of legislation and the ground of judiciary. Therefore, while translating different legal cultures, we should integrate creative elements flexibly into translation and make necessary tactical processing with the translated version, so that it achieves fidelity and fits for habits of the target language.

From the above examples, we know that creativity plays an important role in clearing out the connotation of legal terms, demonstrating judiciary spirits and building bridge for different cultures. Meanwhile, creativity in translating legal terms should be within “degree”. For example, “Prostitute Act” should be translated as “ ” or “ ” according to the Criminal Law on organizing prostitution and on the crime of organizing porn performances written on the first item of the 358 article and the 365 article. However, in some western countries, prostitution and whoring are legally allowed, so this law becomes the judiciary act to regulate this trade. Thus by literal translation it should be translated as “ ” or ” ”. Thus the control of “degree” should depend on the translator‟s own experience and translators need to play their subjectivity and to make a comparison between the cultural background, legislative basis and even fundamental realities of the country of source language and target language for the sake of making the translated legal items fit for the target language and avoid dislocation of law culture. This is also the room for translators to use creativity when translate legal items.

5. Conclusion

Embodied Humanism in cognitive linguistics emphasizes people‟s subjectivity while recognizing the objective world. To be specified in translation activity, this theory turns out to be intersubjectivity, and intersubjectivity can not be separated with subjectivity, so like faithfulness, creativity is also a vital element for translation activity. Translating with reasons and creating within degree. The control of degree on creativity should be based on facts of the source language, and on the ground of correctly expressing meaning and efficient cultural communication, translation should supplement the source text and achieve revival. Traditionally, legal translation should definitely comply with fidelity and avoid subjectivity, especially for translating legal terms outside a certain context. However, initiative creativity attributes legal words‟ translation to the category of “Embodied Human-

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ism”, and advocates that translation should serve for the comparison and communication between different legal cultures. The integration of creative elements into legal words translation makes the translation more accurate, humanist and harmonious. Currently, that whether the embodiment of translation creativity on legal texts under the guidance of Embodied Humanism has the same homogeneousness with ordinary word translation has become a direction for further study.

References

1. Wang Y. [Cognitive linguistics from the perspective of post-modernist philosophy] // Foreign Language Research. – 2013. – 5. – P. 1–7.

2.Jonhson M. The body in the mind: the bodily basis of meaning, imagination, and reason. – Chicago: The University of Chicago Press, 1987. – P. 10–58.

3.Lakoff G. Women, fire, and dangerous things: what categories reveal about the mind. – Chicago: The University of Chicago Press, 1987. – P. 24–67.

4.Lakoff G., Johnson M. Philosophy in the Flesh – The Embodied mind and its challenge to Western Thought. – New York: Basic Books, 1999. – P. 58–69.

5.Ma C.Y. [A challenge from em-

bodied philosophy to western traditional linguistics] // Foreign Language Research. – 2004. – 3. – P. 35–40.

6.Wang Y. Cognitive linguistics. – Shanghai: Shanghai Foreign Language Education Press, 2009. – P. 36–39, 299.

7.Li H.R. ––“

” [A study of sentence meaning in light of logic and philosophy] // Foreign Language Research. – 2001. – 1. – P. 31–38.

8. Li H.R. [An insight into speaker‟s image from exchange structure] // Foreign Language Research. – 2002. – 4. –

P.46–50.

9.Li H.R. –– [A study of copula] // Foreign Language Research. – 2006. – 2. – P. 29–33.

10.Wang Y. [Multiple interactive understanding between subject and object] // Philosophical Trends. – 2009. – 10. – P. 84–89.

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[Linguistics frontier in the view of postmodern philosophy: embodied humanism and cognitive linguistics] // Journal of Foreign Languages. – 2012. – 6. –

P.17–26.

12.Liao Q.Y. [Neurocognitive linguistics from the perspective of postmodern philosophy] // Foreign Language Research. – 2013. – 5. – P. 8–13.

13.Xu J. On translation. – Beijing: Foreign Language Education and Research Press, 2012. – P. 33–36, 40, 118.

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14. Lv J. [Translation studies: from theory of text to theory of power and discourse] // Journal of Sichuan Foreign Language Institute. – 2002. – 1. – P. 106–109.

15.Zhang Z.Q. Translations. – Hubei: Wuhan University Press, 1994. –

P. 159.

16.Liu J.G., He G.Q. A general introduction to translation. – Beijing: Foreign Language Education and Research Press, 2012. – P. 36–43.

17.Liao Q.Y. Contemporary translation studies in UK. – Nanjing: Yilin Press, 2001. – P. 290–303.

18.Song L. Contrastive legal linguistics. – Beijing: Beijing University Press, 2010. – P. 3, 156.

19.Groot G.-R. de. Conditions for acquisition of nationality by operation of law or by lodging a declaration of option // Maastricht journal of European and Comparative Law. – 2002. – 9. – P. 121–160.

В.А. Разумовская

Сибирский федеральный университет, г. Красноярск

НАЗВАНИЕ ХУДОЖЕСТВЕННОГО ТЕКСТА КАК ЕДИНИЦА ПЕРЕВОДА: В ПОИСКАХ «СИЛЬНОГО» ВАРИАНТА

Рассматриваются вопросы расширения категориальной парадигмы художественного переводоведения в аспекте единиц перевода. Названия художественных произведений, относительно которых переводчик принимает решение, рассматриваются как неоединицы перевода. Выступая в роли номинативной единицы для текста как уникального эстетического объекта, название обнаруживает регулярные связи как с информационным комплексом номинируемого текста, так и с более широким культурным пространством. Данные связи определяют выбор наиболее эффективных стратегий перевода названия.

Ключевые слова: единица перевода, художественный текст, название, культурный контекст.

К «вечным» вопросам художественного переводоведения относится вопрос о выделении единицы перевода, относительно которой переводчик принимает решение на перевод. Важное методологическое значение имеет принцип выделения такой единицы. Так, с позиций параметра объема размер единицы может варьировать от отдельного звука или буквы до завершенного художественного текста. В последнее время категориальная парадигма художественного переводоведения значительно расширилась относительно единиц перевода: к разряду единиц перевода были отнесены семантическая ситуация [1] и художественный образ [2]. С позиций структурной организации художественного текста к разряду единиц перевода может быть отнесено название.

Название играет важную роль в создании эстетического потенциала и, соответственно, эстетического эффекта художественного текста. Находясь в

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