Articles

Translating new scientific terms is a particularly challenging task for translators of scientific literature. Specialists must define the concepts embedded in terms as precisely as possible and develop a conceptual framework to subsequently build the terminological system of a given scientific field in the target language. Consequently, a translated term may undergo a long process of transformation before reaching its final form. 

This article investigates the history of translation and assimilation of biological scientific terminology into Russian from the mid-19th century to the late 20th century. The relevance of the topic lies in the necessity for translators to study translation history in order to better understand the processes that occur during the translation of scientific literature. 

The article aims to trace and analyze the process of incorporating new scientific terms into Russian, using various translations of the term “natural selection” and the related term “sexual selection” as examples. The study covers the history of the term “natural selection” from its inception in English to its establishment within the Russian terminological system. Examples from translations of works by Charles Darwin and his associates, rendered into Russian by K.A. Timiryazev, M.A. Menzbir, and other translators, are discussed. The author analyzes the translation variants proposed by these scholars, as well as their comments and interpretations of the underlying concepts. The article also compares this process with the establishment of the term “plant breeding” in Russian. 

The study concludes that difficulties in interpreting the concepts embedded in new scientific terms significantly complicate the translation process. However, through the efforts of translators in developing the conceptual apparatus of the science, a stable terminological system gradually emerges in the target language.

When translating literary texts, translators oft en encounter obsolete vocabulary and face the challenge of choosing the most appropriate rendering. On the one hand, obsolete vocabulary helps immerse the reader in a specific historical era; preserving such words maintains the historical flavor of the text. On the other hand, these words were used routinely by the authors, and over time they have become unfamiliar to modern readers. This article examines obsolete vocabulary and its translation in Alexander Pushkin’s novel The Captain’s Daughter into French, analyzing the strategies employed by the translator Maurice Quais as well as by three machine translation systems. The topic is especially relevant due to the widespread use of translation technologies by general readers seeking to engage with Pushkin’s works. Based on the analysis of examples of obsolete words and their translations, the study concludes that, despite the use of various translation techniques, machine translators struggle more with obsolete vocabulary. They fail to render these words with the same accuracy and proximity to the original text as Maurice Quais.

The article deals with the ways of abbreviation in the construction discourse in Russian and Chinese languages. The comparative analysis of similarities and differences between Russian and Chinese abbreviations allows us to show how abbreviation, being an integral element of construction discourse, uses the resources most organic for a given language. Accordingly, in the inflective Russian language abbreviations prevail at the level of linguistic units of letter and syllable, while in the isolating Chinese language abbreviations are oriented at the level of full-valued morpheme corresponding to a character.

This article examines how the trajectory of global history opens new horizons for the study of translation history, emphasizing the importance of integrating these two disciplines to deepen our understanding of translation studies. It first outlines global history as an integrative, transnational methodology that transcends geographical boundaries and examines historical processes through the complex interactions of culture, society, and economy, rather than through isolated national or regional narratives. Within this framework, translation is understood not merely as linguistic or semiotic transfer but as a vital conduit connecting disparate regions, cultures, and historical periods. Its significance lies in facilitating the cross-border flow of knowledge and fostering mutual understanding between civilizations. Accordingly, this paper argues that translation history should adopt the analytical perspective of global history. By incorporating global history’s theoretical constructs and analytical tools, translation history gains depth and breadth, enabling multidimensional analyses of translation practices across different eras and cultures. This integration allows for a nuanced exploration of how translation has driven cultural exchange, intellectual diffusion, and social transformation on a global scale. In conclusion, the article highlights the value of this methodological innovation and calls on translation historians to situate their research within broader world-historical developments. Such an approach not only expands the theoretical and empirical scope of translation history but also fosters interdisciplinary dialogue and uncovers new insights that transcend traditional boundaries.

The artistic features of Anton Chekhov’s literary language — imagery, conciseness, humor, satire, and comic effects — serve as essential tools for creating artistic images. In the theory and practice of literary translation, a particularly complex challenge lies in overcoming linguistic and cultural barriers to authentically convey these aesthetic characteristics. As noted by French translation theorist Antoine Berman, deformation is a universal feature of all translations, reflecting the resistance of the target language and culture to elements of the source text. To address this challenge, while acknowledging the relative autonomy of translation, the translator must undertake systematic reconstruction at the lexical, syntactic, and cultural levels, thereby preserving the artistic qualities of the original work and achieving comparable aesthetic resonance in the target culture. Based on Chinese translations of Chekhov’s short story “The Chameleon”, the study demonstrates how micro-level translation strategies interact within a unified artistic system.

This article presents a comprehensive study of Chinese translations of The Primary Chronicle, with the primary aim of identifying their defining characteristics. By synthesizing the history of Old Russian language and literature studies in China, the paper offers a systematic structural analysis of all scholarly published translations. Special attention is paid to the translation challenges encountered when rendering Russian chronicle texts, through a comparative analysis of selected passages from the original chronicle. The investigation shows that Chinese scholars have made significant foundational contributions to this field, establishing a solid framework for future research on chronicle translation. However, the study also demonstrates that continuous qualitative and quantitative improvements are still needed in this specialized area. The findings suggest that translating medieval chronicles requires not only linguistic expertise but also a deep knowledge of historical philology, cultural anthropology, and comparative religious studies. To achieve optimal results in this complex interdisciplinary endeavor, the study emphasizes the need for future collaboration among specialists from diverse academic backgrounds.