Articles

Romanticism became a reflection of a new consciousness of peoples, a search for new literary forms, a return to national traditional literary forms and an appreciation of personality. It posed many questions that are still vital for the development of the Western civilization. These are: an individual versus society, an individual’s emotional experiences, duties, life and death, reason to live. The reconsideration of the ancient literature allowed poets to understand that literary works from a certain historical period reflect its way of life, therefore, any new era requires special expressive means that will suit it perfectly. Because of that, romanticism was regarded as the time of re-invention of old literary forms and that of renovation of some medieval genres providing writers with specific tools that made it possible to create new literary plots, genres, means of expression. That was the time when poets reconsidered the traditional French sonnet form “chant royal” and created their own fixed forms on its basis. Such cross-culture interaction is of great importance in terms of the pragmatic effect of the work both in its original form and translation alike. Any profound research into cross-culture interaction helps translators better understand the means used by the author, to interpret his or her idea in the most precise way possible and to show all the particularities of the author’s style, the period, the language and the poem itself.

This article deals with different approaches to translation of archaic and historical words found in texts of ballads. When a translator works with texts of that kind, he faces a dilemma: either to use the old lexis of the target language or to modernize the translated text. The article attempts to analyze both approaches as exemplified in ballads translated into Russian.

The article deals with the linguistic, cultural, sociolinguistic, functional and stylistic characteristics of the translation of gluttonic discourse text structures within the framework of the Arabic-Russian combination, as well as with the difficulties encountered in interpretation and translation and related to different conditions under which speech is generated in Arabic and Russian-speaking areas.

In the present article, the issue of translating phraseological units from English into Azerbaijani is analyzed. Excerpts from classic poetry are considered. The relevance of this article is justified by the fact that samples of poems by English poets are studied directly in Azerbaijani poetic translations. Special attention is paid to the correctness of poetic translation, artistic expression and illustration, as well as the preservation of phraseological units. Possible synonyms at the initial stages are presented.

ThearticleisaboutFrenchpoemsbyA.S.PushkinandhisuncleV.L.Pushkin translated into Russian by Natalya Muromskaya. The review of the book is of great interest to researchers due to the fact that the poets’ works written in French have been little studied so far. However, thanks to Natalaya Muromskaya, Russian speakers now have the opportunity to read such poems authored by the Sun of Russian poetry as “My Portrait” which was one of the first attempts to describe his appearance and his character. A number of poems by V.L. Pushkin are brought into focus. His French-language legacy is richer than his nephew’s. Special attention is paid to the French verses dedicated to the entry of the Russian military into Paris. The author hopes that this miscellany of poems will entail more scientific research into French poetry by Russian poets.

From April 10 to April 14, 2020 IX International scientific conference "Russian language and culture in terms of interpreting" took place.

In this article, the formation of railroad terms in the Chinese language are analyzed. A lot of research has been conducted to analyze the logic of constructing this railway terminology, to reveal the essential links and relations among Chinese railway terms. The conclusions drawn in this article serve as a basis for further research not only in the field of railway transport, but in other terminological fields as well.

Frequency dictionaries are published in China to popularize “civic education.” At the end of the 20th century, computers reduced the time needed to collect and organize various types of language material. At the same time, a machine-readable corpus of Chinese came into being. Today, there are three large corpora in China, each containing more than 100 million real materials. The ability to use the corpus is considered one of the most important skills to research the language.

Due to the gradual improvement of friendly relations between Russia and China, the linguistic landscape is becoming increasingly important for those who travel, study or invest in terms of creating a first impression of visiting Russia. However, the quality of translation is different. There are still a relatively large number of errors; mostly these are mixed errors and incorrect spelling. The aim of the article is to analyze and correct some of the errors, as well as to find an optimal method of translation in accordance with the linguistic landscape.

The present paper deals with changing priorities in the 21st century Russian literary translation in terms of translation strategy. Prerequisites and results of such an axiological transformation are considered. The Russian translation of Goethe’s Faust by V.E. Prieb serves as the main illustrative material.

The article presents the essentials of the author’s conception of Business English which is further elaborated to introduce and account for the author’s approach to translation for business purposes as based on the key concepts, methodological principles and translation techniques that are at the core of spoken and written business communication across cultures.

The article deals with five Russian translation poetic variants of Emily Dickinson’s poem We never know how high we are within the framework of cognitive translation practice. It sheds light on similarities and differences in textual subjectification and subjective modality means in the source and target poetic texts alike. It has been shown that the perception and conceptual planes from the cognitive metaphor in the adjective high высокий are preserved in translation. The Speaker’s viewpoint might shift entailing changes in the means of subjective modality, such as personal deictic forms, verbal deictic changes in voice and grammatical modality as well. Russian variants of translation containing syntactic forced restructuring under meaning contraction are considered as a style modifying device.

The article deals with five Russian translation poetic variants of Emily Dickinson’s poem We never know how high we are within the framework of cognitive translation practice. It sheds light on similarities and differences in textual subjectification and subjective modality means in the source and target poetic texts alike. It has been shown that the perception and conceptual planes from the cognitive metaphor in the adjective high высокий are preserved in translation. The Speaker’s viewpoint might shift entailing changes in the means of subjective modality, such as personal deictic forms, verbal deictic changes in voice and grammatical modality as well. Russian variants of translation containing syntactic forced restructuring under meaning contraction are considered as a style modifying device.

The article focuses on some distinctive features of public speeches in Chinese in their close connection with and influence on the very process of simultaneous interpretation from Chinese into Russian. Due to the syllabic word structure, unique rhythm, speed and other factors the Chinese language has unprecedented information density and lack of language redundancy, both negatively affecting simultaneous interpretation. The article also gives some practical recommendations on how to make better listening, understanding and interpreting in Chinese and get the old and new information in oral Chinese text.

One hundred years ago, the publishing house World Literature published a concise study guide for beginning literary translators featuring two articles authored by two Russian masters of literary translation — Korney I. Chukovsky and Nikolay S. Gumilyov — The Principles of Literary Translation which laid the foundations for a comprehensive literary translation theory.

The study guide can be regarded as the first theoretical work of its kind in the history of Russia’s translation studies. It absorbed many years of translation practice of the aforementioned masters’ predecessors. Chukovsky and Gumilyov put forward a number of ideas and guidelines that still hold and can be used to develop a modern educational system of training literary translators. In their articles, both authors put emphasis on the linguistic aspect of works of fiction and, consequently, that of translation praxis in the field of literary endeavor.