Gorshkova Vera Ye.

The article deals with a study of the philosophical notion of antinomy applied to the theory of translation. A retrospective journey into the history of the issue is accompanied by an analysis of a number of antinomies most relevant to translation of proper names such as antinomy of identity and variation, antinomy of fixedness and arbitrariness, antinomy of the source and target language phonetic systems and that of outer form and inner meaning. In the analysis of antinomies of outer form and inner meaning, charactonyms and common names are differentiated. The study is based on four translations of J.K. Rowling’s Harry Potter and the Philosopher’s Stone from English into Russian.

“Intersemiotic transposition” as a type of intersemiotic translation, known since Roman Jacobson’s works, provides the transition from one system of signs to another. Such a transposition, as a rule, is carried out from the verbal to the visual interpretation, which finds its explicit expression in ballet, sculpture, illustrations for literary works, as well as film adaptations, where traditional types of film translation such as dubbing, voice­over translation and subtitling are widely used. Subtitling, with a certain assumption, can be carried out through the use of machine translation and human post­editing. But what about the interpretation “from the visual to the verbal,” which is characteristic, in particular, of works of visual art as culturally and aesthetically significant objects? Will a machine cope with such a type of translation of statics into dynamics? Research into machine translation of sign language gestures has been carried out since 1977. A robotic hand is used to translate words into sign language gestures (the alphabet into the dactyl alphabet) to help people with hearing disabilities to communicate. The situation gets more complicated when one has to describe the dynamics of “moving pictures” for blind and visually impaired viewers during audiovisual translation (typhlo commentary/audio description). Even people who do not have visual limitations may face some difficulties of interpretation in spite of the explicit verbalization of the characters’ body movements in the film. These and other problems are still to be addressed.

The article considers the features of the manifestation of the discursive personality of the author of a pamphlet and the ways of their transmission when translating from French into Russian on the basis of the works “Le hareng de Bismark” by J.-L. Melenchon and “Sarkozy sous BHL” by R. Dumas and J. Verges. A model of complex analysis of the author’s discursive personality in cultural, communicative, pragmatic, and stylistic aspects is proposed. Based on the model, the features of the author’s idiostyle are derived, which require immutable preservation during translation to ensure an adequate communicative eff ect on the target language. In terms of the communicativefunctional approach according to V.V. Sdobnikov, the pamphlet refers to a communicative situation (KSP-2trans), in which the translator himself is the initiator of the translation, seeking to acquaint recipients with the work of the authors. The paper analyzes the problem of the translator’s linguistic personality influence on the transmission of the author’s features of the original text, initially addressed to the inner reader, and the question of overcoming such an influence. It has been demonstrated that for the adequate transmission of the features of the author’s discursive personality, the most acceptable methods are compensation, adaptation and translation commentary.

Based on the position of V.N. Komissarov that “the task of linguistic analysis of translation includes studying the role of universals of various types in interlingual communication in relation to various combinations of languages”, the universal of color (in the terms of Anna Vezhbitskaya) is considered using the example of the lexeme red. Th e material for the analysis is the novel by T. de Gouvello “Le manteau garance” (France, 2012), which abounds in references to a number of shades of red as a plot-forming concept. Th e use of the translation method allows, firstly, to identify word-formation models for designating shades of red, secondly, to identify the translator’s strategy when translating the text of the novel from French into Russian, and thirdly, based on the results of the analysis, to establish the correspondence/non-correspondence of the translated text to the nomenclatures of translation universals developed by Mona Baker, Gideon Toury and Antoine Berman. A conclusion is made about the possibility of supplementing the list of translation universals used in translation from French into Russian with a universal of avoiding tautology, which allows one to avoid some obsession with using the same lexemes in a literary text, even those that act as terms, which, as a consequence, leads to a decrease in the quality of the translated text.