Moscow University Translation Studies Bulletin. 2019. 3.

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.

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.

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.

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.

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.

In this article, the author provides a brief overview and analysis of translations of Leo N. Tolstoy’s works in China, and also tries to show what influence such famous translators of his writings as Mao Dun (1896–1981) and Ai Wu (1904–1992) have had on Chinese literature and intelligentsia.

Anna Karenina is one of Leo Tolstoy’s most famous novels and is very popular among Chinese readers. The article shows two translation versions of the novel into Chinese: one by Zhou Yang and Xie Sutai, published in 1989, and the other by Cao Ying, published in 1982). In addition, the author presents studies of this novel by Chinese specialists.

The concept of virtual widely used today is polysemantic, but the reasons for this are not quite clear. The article is devoted to the study of some linguistic (semantic) and philosophical reasons for the existence of “Platonic” (real, imaginary) and “Aristotelian” (possible, effective) meanings in which the sense of the word virtual is expressed in Russian. The word virtual is derived from the Latin word virtus. The semantics of the word virtus happens to be interconnected with the meanings of the words ἀρετή, δύναμις and potentia, since the Latin word virtus, which has two semantic “dominants” — virtue is the “Platonic” dominant and power is the “Aristotelian” one, — was used to translate two Greek words: ἀρετή (virtue) and δύναμις (strength, power, might), and the Greek word δύναμις was translated by two Latin words: virtus (righteous divine power) and potentia / potentialitas (ability, power). Through Plato’s doctrine of arete-eidos, the concept of virtus is also connected with the concept of εἶδος. Thus, the “Platonic” line of meanings expressing the sense of the word virtual is connected with the concepts of ἀρετή and εἶδος, and the “Aristotelian” line — with the concepts of δύναμις and potentia.

All meanings of the words virtus, ἀρετή, δύναμις and potentia can be divided into three groups: “Platonic,” “Aristotelian,” and “Platonic-Aristotelian”. The sense of the English word virtual is expressed when translated into Russian by the following four meanings: a) factual, real; being something in essence, really (and not formally); b) imaginary; c) possible; d) effective. The meanings a and b can be attributed to the “Platonic” line, and the meanings c and d — to the “Aristotelian” one. It is considered how the mutual influence of the meanings of the words virtus, ἀρετή, δύναμις and potentia in the three specified groups could lead to the formation of the four above-mentioned meanings, in which the sense of the word virtual is expressed in Russian.

This article is about semantically introductory words expressing confidence and degrees of confidence found in the works by English classical realists of the 19th and 20th centuries. The purpose of the article is to study the British linguistic culture, lexical-semantic, sociocultural and ethnic characteristics reflected in literary texts, as well as to make a list of introductory words with conceptual meanings for further semantic analysis. The subject of the study is the English linguistic culture and polysemantic field; the object of the study is the semantics of introductory words in novels authored by English realist classics. The work is based on the diachronic approach of N. Enquist and the global synchronization method developed by J. Firbas. From this combination of synchrony and diachrony, a logical and comparative perception of the signifier and the signified is formed, that is, a theory (assumption) arises. From this contrast, the conclusion is drawn that even the figurativeness of speech itself conveys an inseparable perception of the concept, introductory words and the thesauri of the two sides in a dialogue. Polylogue has a similar significance, but its perception is much more difficult due to the presence of a large number of participants in the conversation. According to Zipf ’s law, the author cannot overload the text with a multitude of personal and demonstrative pronouns, and he must refrain from using the same words and concepts for at least three paragraphs. In addition, it is necessary to adhere to the alternation of various types of communication, viz. coordination, management and adjoining equally. All this allows not only to reveal the style of the author, but also to learn to perceive the literary text as a value-conceptual aspect of a linguistic culture.

The articles provides important insights into one the main reasons for the deep penetration of anglicisms into the French language, namely the popularization of the hip-hop subculture. The last quarter of the twentieth century saw a particularly strong influence of the American culture which left a mark on the French vocabulary. The analysis is focused on the particularities of the English loanwords found in the lyrics of some well-known French rap performers. These loanwords are classified on the motivation basis. An attempt is made to determine whether they have any influence upon the linguistic worldview of the French. In conclusion, the studies show that it would be unreasonable to presume that the borrowings have a considerable impact on the French linguistic worldview.

From June, 29 to July, 4 of 2019 VII International Scientific Educational Forum took place.

2019 is a special year: for now on there are 100 years on conference interpreting.