Articles

The history of publications of Russian literature in the Basque language is along-standing process with a great number of historical, social and even politicaldriving factors. The agenda of translating Russian literature into Basque spansmore than 60 years: ninety-one Russian literary works were published in theBasque language between 1956 and 2017. The history of this process can bedivided into three development stages: the first stage (1956-1970) covers thesecond half of Francos dictatorship. The second stage (1982-1994) ranges fromthe restoration of democracy to 1994. The third period (1995-2017) begins with the first direct translation from Russian into Basque and ends in 2017, when the last Russian novel was published in Basque.

The article covers intermediate results of the authors⁵ research into translator's language personality. The authors compare translations of the samefiction works done by different translators, sometimes observing the dependenceof quality of translation on the gender identification of the translators. However, this fact remains to be scientifically proved. The authors believe that in any case the interpreter is to take into account the intention of the original text; therefore, the presence of realia in the discourse makes it much harder for a translator to perform the main task, i.e. to achieve adequacy in translation. Searching translation methods is connected with the trisd-and-error method. Using the experience of translation and knowledge of extralinguistic factors, it is possible to help translators achieve adequacy in translation.

The article deals with the history of translations of e Black Monk by Anton Chekhov in different periods of the 20th century in China. Chinese readers first got acquainted with translations of Russian literature at the beginning of the 20th century. Around that time, the first publications of Chekhov’s works were made in Chinese, including the Black Monk which is considered to be the first Chinese translation of Chekhov’s literary works ever the author analyzes features of the translations in different periods of the 20th century.

Intentionality is one of the most important features of discourse e way interpreting conveys the speaker’s intention directly affects the results of communication the intentionality of discourse has shed new light on interpreting research and practice Using the interpreting notes of Chinese President Xi’s speech at the 2016 Hangzhou BRICS Summit as analytical material, the author of this article summarizes various interpreting methods based on different intentions and provides relevant strategies to help interpreters do their job well.

The article is a detailed analysis of the column setting of Vestnik Mosk­ovskogo universiteta. Seria 22. Teoria perevoda (2008–2017) rough both quantitative and qualitative analyses, the overall characteristics as well as the development and changes in the journal over the past ten years have been presented A possible explaination has been proposed by linking the changes with the historical context of Russian society By analyzing and summarizing the achievements of the journal, suggestions have also been made regarding its future development 

The article is devoted to the fragment of a language world image formed by the names of twelve animal symbols of the year (鼠 “rat,” 牛 “bull,” 虎 “tiger,” 兔 “hare,” 龙 “dragon,” 蛇 “snake,” 马 “horse,” 羊 “sheep,” 猴 “monkey,” 鸡 “cock,” 狗 “dog,” 猪 “pig”). The aim of the study is to reveal both similarities and differences of this fragment of the language world image according to the well-known Russian and Chinese explanatory dictionaries published in 2012. Because the place of the words in the dictionary reflects the place of the words in the language system, it can be assumed that these Russian and Chinese nominative units that characterize the fragment of the language world image occupy different positions in the language system, with the Russian nominative units occupying a more peripheral position than the Chinese ones.

The paper discusses how the concepts of bilingual dictionary and translation dictionary are understood in the works of Russian and Polish researchers. The author makes a comparison of the views, focusing especially on a twofold approach to these concepts and terms in the literature (in a broad sense, bilingual dictionary and translation dictionary refer to the same type of lexicographic product).

When studying literary translation, a special emphasis is to be put on the understanding of the complex relationship between the two creators, viz. the author and the translator. In addition to frequent and important differences in their worldview, cultural and literary views and preferences, there is an equally important problem – that of the interaction of their personal styles. We can recall the words of the French writer Buffon: “The style is the man himself” and only because of the original “style” of his creation does his work acquire a unique image and genuine value. At the same time, we need to recognize the objectivity of the existence of individual styles in highly professional translators.

The article analyzes five Russian translations of a poem by E.E. Cummings, one of the most prominent avant-garde poets of the 20th century. In the last decade, in Russia we have seen a growing interest in his poetry, which inevitably increases the number of its translations. The author of the article has been attracted by the fact that there are several translations of the poem “Anyone lived in a pretty how town” made by modern poetstranslators, namely V. Britanishsky, D. Kuzmin, M. Stepanova, Ya. Probshteyn, and S. Boychenko. Interestingly enough, these five translations of one text are, in fact, five separate works that differ from each other as well as from the original. The author analyzes the specific translation solutions made by the translators in their attempts to convey the agrammatism of Cummings’s poetry in Russian. By comparing these five very different poetic texts with the original, the author tries to reveal the translation strategy of each poettranslator, determining the final result of his activity, i.e. the work that will be considered the ultimate translation of the Cummings’s poem. The author comes to the conclusion that the original, which has several translations, becomes part of translators’ arsenal that helps establish communication among the translated texts. Ternary relations emerge in which translation functions as an instrument of cultural transfer.

In today’s word, scientific knowledge increases on an ongoing basis; therefore, the challenge of analyzing the accumulated data turns into a task of paramount importance when considering scientific problems. This article focuses on the technical text and technical translation per se as they – in the context of the globalization and rapid technological development – should become the topic of meticulous and rigorous research. To measure bibliographic entries related to technical texts and translation, the scientometric approach is utilized in the article. The Bibliography of Translation and Interpreting (BITRA) has been selected as the material to draw upon. This bibliography is one of the few and the most comprehensive online bibliographic databases devoted to translation studies. It features publications by foreign and Russian researchers alike. The results obtained show that not more than 11% of the BITRA-indexed publications are devoted to technical translation, with the ratio of dissertations by foreign scholars covering technical translation aspects being 0.05% as compared to the overall number of 1997–2017 BITRA entries. No technical translation dissertations written by Russian researchers have been found. Two points of view on technical texts have been determined as some scholars consider special (legal, medical, economic, etc.) texts to be “technical” ones due to the presence of special terminology in such texts. Other researchers treat technical texts as special ones as they have something to do with the technological sector. Thus, the scientometric approach is an effective tool of analyzing bibliographic data. In addition, it should be noted that this method is also helpful in formulating practical guidelines for enhancing the search functionality of contemporary bibliographic databases.

In the second part of the complex study of the four-stage hermeneutic-translation methodological standard, which includes pre-understanding, understanding, interpretation, and translation solution, the first two stages of the translator’s work are considered, ensuring a harmonious transdisciplinary cooperation of various social and human sciences with the theory and practice of interlingual mediation. The construction of a modern hermeneutic paradigm of translation as a system-forming synergetic construct of the theory and practice of inter-linguistic mediation allows us to find the optimal approach to the productive synthesis of numerous concepts, models and methodological projects accumulated by modern translatology both in Russia and abroad. The “hermeneutical turn” in philosophy and in all current successfully developing social and humanitarian sciences clearly testifies in favor of the development of translation studies and their modern practical applications in the “hermeneutic channel” of scientific and methodological thought.

The article is dedicated to translations of the Chinese classical poetry anthology “Poems on a Fan” and the ancient Chinese treatise “Dao de Jing” by the Russian poet Valery Pereleshin. The article also describes the history of the creation of the translations, as well as provides a detailed analysis of the translations’ adequacy in the unity of the form and content, i.e. compliance with a miniature form of Chinese poetry and the adequacy of impressions made by the original poetry on the reader. The phenomenon of literary synthesis in translations of “Dao de Jing” is also studied in the article. It describes the difficulty of selecting a genre for the translation of the treatise written in a rhythmic prose. Based on a triple analysis of Valery Pereleshin’s poetic translation (the form, the image of the poem and its compositional structure), the article reveals the aesthetic beauty of the translation and the poet’s rethinking of the philosophical images and ideas contained in the original by means of abstracting specific objectivity and translating the circular structure found in the widespread version of the treatise into a logical and linear structure conformable with the original poem.