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Basic literary translation. Учебное пособие-1

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          
          ,                       -
                                           XIII-     XVI-   XIX-    XX-                      .
                    
                                          -                         
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.               
                                                       
             ).                                    .              
Из эссе «Глаз и буква» А. Гениса
Extract 2
   marmaria    

                       
162
              
            
  XIX             -      
           
                               
   
    -      topless.
        
                   -              
163
     
        
          ,             
                
                 
  
                   
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.
                                         
 XX                 
164
         ­
   -                
    
         
   ( ,                                                     
                                     
                                                  
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                  XIX   
          
Из эссе «Письма из Древней Греции» А. Гениса
3.6 Commentary
Any literary work reflects its epoch and time and has traits of culture and life. When times change, new readers may have some problems in understanding a literary work. Especially it is true with a foreign reader, who often does not have necessary background knowle       implicationsactions. In case of translation if background knowledge of an original reader differs from the one of a foreign reader it results in loss in meaning and sense. Units that often cause some loss are culture specific terms, proper names, geographical names, quotations and allusions and other words and notions specific to one culture and unknown or known in different way in another culture. The phenomenon when in target language there is no lexical unit to translate properly some unit of source language is called lexical gap. There are different ways to compensate the loss and fill the gaps in the target text:
explication. The original lexical unit is transferred to the target text in a form of transcription, transliteration or loan translation with some explanation (two­five words) to be better understood by the reader;
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compensation (or substitution). The translator omits the original lexical unit and substitutes it with some notion specific to the target culture and close to the original one that can provide general understanding of original unit;
commentary. It is detailed explanation of some lexical unit that does not have direct translation in the target language. It gives additional information that cannot be included into the text of translation, thats why commentary is given outside the text, in footnotes at the bottom of the corresponding page or in notes after the text.
Through creating commentary a translator tries to fill up senses lost in the text of translation and able to affect the associative thinking of a reader, thus commentary reveals some aspects of translation process in the meaning of cultural adaptation. Commentary either can help the reader to fully understand the text or to distract the reader in the way given by the translator. Some linguists suggest defining types of commentary according to the nature of translation problem.
S.G. Ter-Minasova:
social-cultural (realistic). It fills in lack in background knowledge of culture and may be encyclopedic and give just facts
Borodino – On the 26-th of August, 1812, a most important battle of the Patriotic War was fought between the Russian and the French armies at the village of Borodino (approx. 69 mi. from Moscow).
or research (creative) and connects additional information to the text under translation;
Соседы, узнав обо всем, дивились ее постоянству и с любопытством
ожидали героя, долженствовавшего наконец восторжествовать над печальной верностию этой девственной Артемизы.
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Artemisia. Queen of the city of Halicarnassus in Caria renowned in history
5
for extraordinary grief of the death of the husband (fourth century В. С.)5.
linguistic. This type of commentary explains linguistic phenomena (usually lexical or stylistic).
T.A. Kazakova:
lexicographiccoinciding with an article from a dictionary by its form and content;
Commentary: Veche means a popular assembly in medieval Russian towns.
comparing  parison either linguistic, or cultural and contextual traits of both original and translated units.
Пилатчина – Pilatism
Commentary: The Russain here has the suffix -china, which is hard to convey in English, but is extremely insulting.
supplementing the unit.
«естественные науки… обрушиваются на общество, как Мамай…» – The natural sciences… may advance upon the public like Mamai.
Commentary: Mamai – a Mongol Prince of the Golden Horde (founded by Batyi, grandson of Genghis Khan, which held Russia in subjection for 237 years, 1243-1480); in 1380 Mamai advanced against Dmitri Donskoy, Prince of Moscovy, and suffered a disastrous defeat.
explanatory           conveyed into other language occurs.
Вылезай, проклятый ганс. – Come out, you, confounded Hans!
Examples are borrowed from the work by S.G. Ter-Minasova.
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Commentary: Like Jack, Jean or Ivan in the folk-tales of their countries, the
6
Hans of German tales is… considered a fool (though he usually winds up with the
treasure and princess for his bride).
missedzero necessary, or unnecessary commentary.
Крестовоздвиженск – Holycross
Commentary: Krestovozdvizhensk (literally, town of the Exaltation of the Cross)6.
N.N. Korobeinikova:
encyclopedic. It refers to objects, situations, individuals, etc. that are denoted by the lexical unit;
Ant lions – муравьиные львы, насекомые, личинки которых ловят муравьев в особо устроенную в песке ямку.
idiolectal. lect;
Kagan – Dostoevsky first heard of the bird Kagan, a folkloric bringer of happiness, during his imprisonment in Omsk (1849-53).
intertextual. It refers to other literary works or pieces of art;
Адалина почти желала попасть в грозу, чтобы увидеть ее именно здесь, во всей ее грандиозности <...>
Такое восприятие грозы соответствует утверждениям И. Канта, развивавшего идеи Берка о «возвышенном» в «Критике способности
суждения» (1790). Кант противопоставляет «прекрасное», которому присуща форма, «возвышенному» – понятию, применяемому к объектам, лишенным формы (таким как буря, шторм, гроза, водопад), которые вызывают ощущения беспредельности.
missed. This type of commentary may be
Examples are borrowed from the work by T.A. Kazakova.
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zero (no commentary when the reader needs it);
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distorting, lame, inadequate;
Cant say I care for Vereschagin-and-water myself.
Vereschagin-and-water – разбавленный водой Верещагин, ср. whisky-and­water.
redundant (there is commentary when there is no need in it);
technical; it shows translation process when translators say that they are not
able to adequately translate some lexical units or doubt in adequacy of their translation. Such commentary is usually irrelevant for the reader.
Гренада — Does Chekhov really mean Grenada, the island in the West Indies, or Granada, in Spain? The allusion is obscure. Perhaps he is simply emphasizing the distance of such exotic places from Yalta; no-one who comes from Belyov or Zhizdra has the right to complain about Yalta!7
Exercises
1. Define types of commentary according to the given classifications and comment
upon their appropriateness in the translation.
From Born Free”, by J. Adamson; перевод Л. Жданова («Рожденная
свободной»).
1) For many years my home has been in the Northern Frontier Province of Kenya,
that vast stretch of semi-arid thornbrush, covering some hundred and twenty thousand square miles, which extends from Mount Kenya to the Abyssinian border.
     Северной пограничной провинции Кении.  
Examples are borrowed from the work by N.N. Korobeinikova.
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