Приемы и методы обучения письменному переводу в вузе. Практикум. Учебное пособие

Storm on the Black Sea is a powerful painting and one of the last examples demonstrating Aivazovsky’s ability to convey to canvas the overwhelming and unruly power of the sea, his talent allowing him to breathe life into the roaring water. In this dramatic work, one can almost feel the boisterous gust of wind announcing the ap­proaching storm. Translucently painted turquoise waves in the fore­ground give way to the advancing swell of the raging Black Sea. An atmosphere of impending foul weather is expressed via the dark blue and, in places, almost black colours of the stormy sky; ocks of shearwaters ominously swirl above the thickly painted perilous rocks that could serve as a much needed escape from the merciless waves or just as easily provide a danger of their own to rival that of the water. The vast expanse of churning ocean confronts the viewer with its innite power and once again illustrates the helplessness of man against the power of nature [124].

The explicitation hypothesis is formulated by Blum-Kul­ka (1986) on the basis of evidence from individual sample texts showing that translators tend to make explicit optional cohesive markers in the target text even though they are absent in the source text. It relates to the tendency in translations to “spell things out rather than leave them implicit” (Baker 1996: 180). Explicitation

For example, Chen (2006) presents a corpus-based study of connectives, namely conjunctions and sentential adverbials, in a “composite corpus” composed of English source texts and their two Chinese versions independently published in Taiwan and mainland China, plus a comparable component of native Chinese texts as the reference corpus in the genre of popular science writing. This in­vestigation examines translation both as a product and as a process in an attempt to verify the hypothesis of explicitation in translated Chinese. In the product-oriented part of his study, Chen compares translational and native Chinese texts to nd out whether connec­tives are signicantly more common in the rst type of texts in terms of parameters such as frequency and type-token ratio, as well as statistically dened common connectives and the so-called “transla­tionally distinctive connectives” (TDCs). He also examines whether syntactic patterning in the translated texts is different from native texts via a case study of the ve TDCs that are most statistically sig­nicant. In the part of the study that examines the level of inuence of the source language on explicitation in the translation process, he compares translated Chinese texts with the English source texts, through a study of the same ve TDCs, in an attempt to determine the extent to which connectives in translated Chinese texts are car­ried over from the English source texts, or in other words, the ex­tent to which connectives are explicitated in translational Chinese. Both parts of his study support the hypothesis of explicitation as a translation universal in the process and product of English-Chinese translation of popular science writing.

In the light of the distinction made above between S- and T-uni­versals (Chesterman 2004), explicitation would seem to fall most naturally into the S-type. Recently, however, explicitation has also been studied as a T-universal. In his corpus-based study of struc-

torial Press Ltd,[1] it was held only that the work should not be cop­ied and must have originated from the author. It need not necessarily be novel in nature. Originality need not be seen in original or inven­tive thought or ideas, but in expression of such in print or writing.

mean that the work must be the expression of original or inven­tive thought. It commented that Copyright Acts are concerned with the expression of thought in print or writing in the case of literary work, and not with the originality of ideas therein. The requirement of originality relates to the expression of the thought. However, the Acts do not require that the appearance must be in an original or novel form, but that the work must not be copied from another work; meaning only that it should originate from the author.

The other perspective is that mere labour that results in no inno-

vation does not meet the standard of originality. Even if the stand­ard of creativity is not too high, some basic level of imagination must be used. This means that mechanical arrangements of pre-ex­isting material, even if not per se copied, would not qualify as being original.

prises,[3] it was held that in case of collection and assembly of pre-existing data, the work that resulted from selection, coordination

That followed research last week which suggested just ve min­utes of breathing exercises a day could lower blood pressure. The researchers said the big dumps of oxygen in the body helps dilate blood vessels and allow blood to ow through more easily.

Research has also indicated trendy mindfulness techniques can relieve pain as effectively as traditional painkillers, and even stimu­late more intense orgasms.

However, the jury’s still out on exactly how well they work. Some scientists suggest it may just be the ‘placebo’ effect — when some­one experiences a positive effect because they were expecting it.

Last week the used engine block with crankshaft arrived in the workshop. In the meatime the damaged engine was disassembled. All parts were cleaned, inspected and prepared for re-use of the replacement engine block. Several parts required additional repair and/or renewal.

Alignment of the engine is scheduled for 3 and 4 September. Commissioning and quay trials are scheduled for 5 November. Sea trials are scheduled for 6 or 7 September.

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