Moreover, because of the unique cultural background of each nation a large share of the source hypertext is lost in translation.43
Thus, in literary translation an important role is played by literary images and hypertext, however, speaking about this translation variety one should also keep in mind the following.
♦ The target text of literary translation is a piece of fiction belonging to the target language literature. That is why the knowledge of the target language is so critical for this translation type.
These associations and allusions may be acquired when words and word combinations were used in other texts: books, popular songs, sayings, films, etc. For instance, word combination реве та стогне is closely connected in the minds of Ukrainian speakers with the popular song and when used in a different context still preserve this connection. The same applies to words бузина and дядько. Used together in any context they still remain associated with the saying На городі бузина, в Києві дядько and this association rings a bell in the native speakers' minds, though often subconsciously.
Of course, these examples are the simplest - generally the hypertext allusions are extremely subtle and often not even recognized at the conscious level. Yet, they are very important for the adequate perception of a literary text which makes translator's task especially hard.
In order to explain possible ways to render the hypertext in translation let's recall again the communication theory. The author's text must comply with the hypertext thesaurus of the source text readers and in a similar way the hypertext of translation must 'ring a bell' in the minds of the target text readers.
•* Literary translation should be recognized by the target language speakers as a literary text in their native language.
♦ In literary translation of dialogues the translator should take exact account of the speakers' character and situation of the dialogue. This information determines the style of translation.
♦ Stylistic devices and expression means as well as connotations and shades of meaning of individual words are critical elements of 'image-making' in literary translation.
See also the lecture on translation into English in this Manual.
О QUESTIONS
1. What are the distinctive features of literary translation?
2. What is hypertext? Define it. Give examples of hypertext allusions and associations.
3. Can a translator render the whole of the source hypertext? If not, then what part of the hypertext is lost?
4. What is the attitude of the target language audience to a piece of literary translation?
5. What is to be taken into account in translation of dialogues?
dJ EXERCISES
Ex. 1. Translate into Ukrainian. Try first word-by-word translation. Explain why it fails and give literary translation. Suggest stylistic means and devices that are used to create the images of the source text, compare them with those in your translation.
He was struck by the realization that what had been a traumatic and monumental moment in his life had been an infinitesimal part of the battle, by the insignificance of his part in the brutal encounter. And as Rudman read on, the story gathered a kind of chilling energy unto itself and Keegan began to feel its power. (William Diehl)
Ex. 2. Translate into Ukrainian using characters' backgrounds (a journalist and a young soldier) as a basis for the selection of equivalents.
«Hi,» Rudman had greeted him holding out his hand, «I'm Bert Rudman, Herald Tribune out of Paris.»
«Keegan,» was all the youngster had mumbled back.
«Were you at Belleau Wood?»
«I think so.»
«How bad is it?» Rudman asked nodding toward his leg.
«Bad enough to get me home.» He paused for a moment and then asked, «Did we win?»
Rudman had stared at him for a moment, the significance of the question slowly sinking in. Then he smiled. «You sure did, kiddo. Kicked the Kaiser's ass right back where it came from and then some.»
«That's good,» Keegan said.
Lecture 14. TRANSLATION INTO ENGLISH
This Lecture: • emphasizes the essential features to be remembered by the students when
translating into English:,, _ • pre-determined order of words in a sentence;
• verbal style of expression;
• analytical way of expressing semantic and syntactic relations between words;
• the use of prepositional structures.
When translating into any language one is expected to treat with due regard the peculiarities of its grammatical and lexico-semantic systems. Of numerous peculiarities of the system of English the following three are, perhaps, the most important for translation into this language.
1. Definite (pre-determined) order of words in a sentence.
2. Predominantly verbal style of expression.
3. Analytical way of expressing semantic and syntactic relations between words (by positioning rather than by prepositions and case forms).
If one compares the above features of English with
♦ free word order,
♦ predominantly nominative style of expression and
♦ expression of semantic and syntactic relations by prepositions
and/or case forms
typical for Ukrainian the principle objectives of Ukrainian-English translation may be phrased as follows.
•► When translating from Ukrainian into English the translator is:
♦ to change the word order in the source sentences in accord with the English syntax;
♦ to change the source text style into predominantly verbal and
♦ to express the syntactic and semantic relations between nouns by their proper positioning.
by the target audience. The best way to do this provides a combination of denotative approach (interpretation of the content) and transformational scheme (transforming Ukrainian phrases into standard English expressions).
•* In English-Ukrainian translation the translator is expected to interpret the content of the source text using standard phrasing of the target language speakers.
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| Let's take an example of Ukrainian the above recommendation. |
| As one can see a non-native speaking translator can achieve good results in Ukrainian-English translation only through using standard (cli-cheed) English phrasing. The reason of this requirement becomes clear if you recall the information on hypertext discussed earlier in this Manual. |
Speaking of translation means and devices the most applicable ones for Ukrainian-English translation are restructuring (rewording) of the source sentences, replacement of noun combinations by verbal structures and substitution of target noun clusters for source prepositional combinations.
It should be noted, however, that all said above is valid only for the general case - each particular translation case demands individual consideration.
Let's take an example to illustrate a typical Ukrainian-English transformations.
Необхідно негайно провести голосування з цього питання. «The issue is to be voted immediately.»
Note rewording and replacement of the nominative combination by the verbal construction in the above example.
As concerns the approaches used in Ukrainian-English translation one is to remember that the denotative approach and transformations are used in combination.
To explain the necessity of denotative approach when translating into English one is to apply the communicational scheme of translation.
The matter is that the target audience of Ukrainian-English translation is foreigners having cultural and educational background which sometimes radically differs from Ukrainian culture and ways of life. Hence, in order to convey the source text content in an optimal way one should translate it using the phrasing common to and easily understood
Міцне, повите спокійною усмішкою обличчя. Вилитий Іван! Чистісінько батькова кру-тобровість. Наче той ожив, наче воскрес...
...Вже викликають інших. З числа цивільних одержує грамоту і той модерняга, що приїздив мотоциклом до кіношників, пропонував зіграти роль анонімника. Одержавши нагороду й відходячи від столу, підморгнув Колосовському: а ви, мовляв, не хотіли брати... Не знаєте, братці, людей... (Oles Honchar)
English translation to illustrate
The strong face, the smile.... The arched brows. He was the image of Ivan! Ivan himself may have come to life again, risen from the dead.
...Others were called. One of the civilians was the dashing young fellow who had come on his motorcycle asking to be given the role of anonymous letter-writer. He took his certificate and as he left the table winked at Ko-losovsky, as though to say: And you didn't want to take me. You're a poor judge of people...
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| 0 QUESTIONS 1. What are the peculiarities of the English language system which are to be taken into account in Ukrainian-English translation? 2. What are the most important changes of the source text in Ukrainian-English translation? 3. What is the optimal approach in Ukrainian-English translation? 4. Why is it desirable to use standard (clicheed) expressions when translating into a foreign language. 5. Grade the texts according to difficulties they present for Ukrainian-English translation. {§} EXERCISES Ex. 1. Read the Ukrainian text and its translation into English. Observe the way the Ukrainian cultural idioms are translated. Describe the structural changes and changes in the text content. |
A non-native speaking translator simply may not know the hypertext underlying the equivalents and only standard language cliches (to a certain extent!) guarantee proper choice of equivalents with relevant connotations.
•> The use of standard (clicheed) phrases in translation into English is desirable since they are repeatedly tested by native speakers and carry with them correct associations and allusions.
Of course, in literary translation this aspect is more important than in translation of technical or official documents. Generally speaking, the effectiveness of translation into English by a foreigner depends on the type of the source text. The lowest level of connotations is observed in legal texts where no ambiguity is tolerated, besides, legal texts are highly clicheed. In a way the same is true for technical texts and official documents. This is where one may expect good results translating into English by standard 'well-worn' expressions.
All said above about translation into English applies both to written translation and interpretation, although some peculiarities of interpretation proper are discussed in the lecture that follows.
Місяць все щедріше оббризкував сяйвом оброшені дерева і шлях, чіткіше обрисовувались нерозсідлані коні, а притишені пісні козаків поривались і поривались на далекі дороги, до укляклих вишняків, до червоних калин і чорних пожарищ, де б мати чи батько і вірне кохання. Було в тих піснях і степове озерце, де плавало відеречко три дні під водою, був і сердега бурлак, в якого заболіло тіло, ще й голівонька; був і кінь, що клонить голову за козаком, була і дівчина, якій вгортав ноги своєю шапкою молодик. Туга віків і надії віків
The moon-silver fell more lavishly on the dew-covered trees and road, picking out the saddled horses; and the muted voices of the Cossacks still sang of the rapids, the bowed cherry-trees, the red guelder roses and the black ashes, yearning for the distant home where their father or mother, or sweetheart, perhaps, awaited them. There was the steppe lake, too, in those songs, the lake where the bucket floated for three days on the water; there was the poor boatman dragging barges up the river with aching head and back; there was the horse hanging his head in grief for his Cossack master and there was the
сходились у молодих голосах і слалися старим шляхом, стискаючи і веселячи серце...
Старий... схрестив руки на палиці. Тепер сивина його бороди якраз колихалася над перехрестям рук.
- То не можна було когось
знайти старшого чи розумні
шого? Ти ж іще пуцьверінок у
мене.
Тимофій посміхнувся, багатозначно повів очима і одвернув голову від батька, щоб не розсміятися.
- В такому ділі не по старшинству, а по совісті вибирають, - заступився за друга Свирид.
- Коли по совісті - нічого не скажу: мій синаш ніколи, Свириде, в сірка очей не позичав, але молодий він ще до цього діла, земля старіших любить, тих, які не тільки верх, а й глибину її чують.
-Діду, та який він молодий: вашому Тимофію вже повних тридцять п'ять років.
- Тридцять п'ять, три
дцять п'ять! - перекривив ста
рий.- Швидко ви все робите і
швидко лічите. Спішите ку
дись до дідька. А колись у нас
girl whose feet her Cossack warmed with his fur cap. Ancient sorrow and ancient hope blended together in the young voices and flowed along the old road, wringing and gladdening hearts.
His hands gripped the top of his stick and his grey beard fell over them. «Couldn't they find someone older, and with more sense, too? You're only a kid.»
Timofi gave Svirid an eloquent look and turned away from the old man to hide his smile.
«In things like that, it isn't age that counts, it's whether a man's straight and honest,» said Svirid, coming to his friend's rescue.
«He's honest all right. My son has never done a crooked thing in his life, Svirid. He's too young for this job though, the land likes to be handled by older people who know it through and through.»
«But Granddad, you can't say he's that young, your Timofi's all of thirty-five!»
«Thirty-five, indeed,» the old man snorted. «You do everything mighty quick these days, and you count the years quick too, like you were all of a rush to get somewhere, to the devil, maybe. We didn't reckon years that way in my day.»
«How did you do it, Dad?»
The old man thrust his right hand into his beard where it stirred
не так лічили роки.
- А як же, тату?
Батько вплів у бороду правицю, вона темним звірятком заворушилась на сивині.
- Як? Ніби забувся? Літа
були, Тимофію, тоді збоку, а
попереду - чоловік. От коли я
повів тебе наймати до Варчу-
ків, там обдивилися, обмацали
очима з усіх боків і питають:
«Скільки ж років синові?» Я й
кажу: «Та вже пастушок». Так і
пішов ти до череди. А коли в
економію, у строк, од Стрітен-
ня до Семена, записував тебе,
так тож в конторі допитували
ся: «Скільки років синові?» -
«Та вже погонич»,- підказую. І
де не питали про твої роки,
говорив тільки про те, чого ти
по роботі вартий: «Уже й
орач» або «Уже й косар». Ін
ший і до сивого волосу дожи
ве, а косарем не годен стати, а
ти ще й на вулицю вечорами
не заглядав, а на лузі отамана
вів. Отака моя всюди метрика
була, аж поки тобі й лоба не
забрили. А тепер новомодна
метрика почалася: не встиг
зносити першу пару штанів - і
в начальство преться... То що
ти собі думаєш, Тимофію? На
легкий хліб перейти?
Маревом, блиском усе переповнене. Все злилось, поєд-
like a little brown animal in a thicket of grey.
«How? Have you forgotten, Timofi? It was the man that mattered, not his years. That first time I took you to the Varchuks to work, they looked you up and they looked you down, feeling all over you with their eyes, and then they asked me, 'How old is your lad?' And what did I answer them? I told them, 'He's a herdsboy.' So you went to the herd. And when I signed you on to work on the estate from St.Valentine's to St. Semyon's Day, they wanted to know the same-'How old is your lad?' 'He's a teamster now,' I told them. And whenever they asked your years, I told them your work. 'He's a ploughman,' I'd say, or 'He's already a mower.' Some grow old and grey and still can't be called mowers, but you were taking the lead with the scythe in the meadows before you ever joined the dancing on the village green at night. And that's how your age was reckoned until you were called up. They've a newfangled way of reckoning age now-a lad can aim to be an official before he's worn out his first pair of pants.... What's in your mind, Timofi? After an easy life, are you?»
The mirage of shimmering light filled every thing. That reed!
налось в стихії сонця, в гармонії життя. Стоп, катер! Яка очеретина! Як вона переблискує, торкнута вітерцем... Скільки пластики в коливанні цієї стеблини з хитливим ритмічним переливом світла на ній! Віддзеркалена на мигтючім екрані води, вона похитується, живе, не-чутно розмовляє з водою, з вітром, із сонцем, з другом вашим, може, розмов-ля... Вхопи, зафіксуй цей порух очеретини, і світіння вод, і сріблястість верб, їх епічну задуму... Зафільмуй, збережи цю велику творчість природи! Але кому, навіщо? Хто дорожитиме? Чи перед ким із прийдешніх постане цей величавий спокій гирла і ця очеретина в її плавкім коливанні, чи оживе вона, як рядок гекзаметра, як скалка краси, як необхідність?
- Толстой десь сказав: люди як ріки, - почувся задумливий голос Ярослави.- Наче про Сергія сказав...
«Ця ріка, вона теж як людина: сягнула свого апогею, вибухла повінню світла і саме тепер, коли світлом мудрості осяяна, в спокійних розтоках гирла мусить завершувати свій плин... Вже стає Океаном».
Не впізнати ріку. Те, що недавно чорно ревіло, ламало,
How its colours changed as the breeze rippled through it.... How much plastic movement there was in that saying stem with the rhythmic play of light upon it! Reflected in the shimmering water the reed lived, talked inaudibly with the water, the wind, the sun, and perhaps with your friend. Photograph it, its movement, the light on the water, the silvery willows, their epic pen-siveness. Photograph it, preserve this great creation of nature! But for whom? For what? Who would treasure it? Would anyone see this majestic calm of the wide estuary and that reed with its trembling sway, as a fragment of beauty, a necessity?
«Tolstoy said somewhere that people are like river,» Yaroslava said musingly. «It might have been said about Sergei.»
«And this river is like man. It has reached its apotheosis, broken out into a flood of light and now, when it has taken all into itself, when it is illuminated with the light of wisdom, it must complete its flow, pacified, through the boundless estuary. And become the Ocean.»
The river was unrecognisable. So recently it had roared, smashed, destroyed, but here there was a different flood, one which lay placid and destroyed nothing.
трощило, тут поступилося місцем іншій повені - повені, яка не руйнує.
Плине, ущерть налита світлом, ріка. Розсунула очерети, розлилася привільне, відтворює саму широчінь і сяйво неба, з усім живим спілкується своєю безмовною мовою... Тут я впадаю в Світовий океан. З цими очеретами прощаюсь, що, як єгипетські папіруси, вбирають й себе щедрі тайно-щі світла... Прощаюсь з прикордонною вишкою, що височить в очеретах, і прикордонник молодий там чатує угорі з біноклем... Цей день чатує, залитий потопом світла, і маревну тишу верб, і безконтрольний політ птаха понад усі межові знаки... Йду, зникаю своїми прісними водами в Світовім океані. Він поглинає мене, одну з безлічі рік, щоб уподібнити собі, розчинити у синіх своїх безмежжях. А чи так уже й безслідно зникаю? Не позначусь хіба - хоч певною мірою -на складі його ж власних вод, на мірі її солоності, на рівні його берегів, на самому характері Океану? Ріка рівнин і гір, ще довго тектиму й там, серед моря, далеко буде видно серед морської блакиті течію рудої річкової води; вона й там ще
The river was bathed in light over all its great expanse. It parted the reeds and poured out freely, repeating the breadth and blueness of the sky, and spoke to all living things in its silent speech. Here I mingle with the seas and oceans of the world. I take leave of the reeds which like the Egyptian papyri draw into themselves the generous secrets of light. I take leave of the frontier watch-tower rising above the reeds, where a young border-guard with field-glasses raised to his eyes stands guard over the blinding silence.... He is on guard over this day, over the flood of light, the transparent pensiveness of the willows, and the uncontrolled flight of birds over all frontier posts. I go to pour my fresh water into Ocean. It will absorb me, one of the many rivers which like me dissolve in its blue infinity. But do I then vanish and leave no trace? Do I not influence at least to a small degree the composition of its water, its degree of saltiness, the level of the shores, the very character of seas? I, the river of plains and mountains, shall yet flow for a long time, and my brown water will be seen far away in the blue of the sea; there too it will keep its river traits, the freshness of its sources, the yellowness of clay from the mountains and valleys, the inner rhythm of
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| life. Water amidst water - in this itself there is something extraordinary; there is something significant in the very act of confluence, in the eternal union of the river with the Ocean. The world is bright with light, it flows everywhere, an infinite silver flood. And the power of the water is no longer dreadful. And the sky is no longer the sky, but the heavens. |
| to grow to greater stature in the eyes of to have caught its master's way a professional trick to stare in the face absolutely dedicated to art |
довго зберігатиме свою річкову природу - і прісноту джерел, і колір гірських та долинних грунтів, і внутрішній рух життя... Вода серед води - вже в цьому є незвичайність; і є щось значне в самому акті впадання, в цьому одвічнім єднанні гирла ріки з Океаном.
Світиться світ. Всюди розіллялося тихе, сріблясте, безкрає...
І повінь уже тут не повінь.
І небо вже тут не небо, а небеса.
Ex. 2. Translate into English using the suggested equivalents.
Ніби виріс в очах кіногрупи Сергій. Його камера - експресивна, зухвала, різка - її ні з чиєю не сплутаєш. Вона мовби повторювала вдачу господаря; його нервову жадобу, його невситенність, навіть вади його... Раніш декому не подобалась в Сергієві, скажімо, ота його набута в кіно професійна манера безцеремонно розглядати людину з ніг до голови, грубувато зазирати незнайомому в очі, мовби допитуючись: «Ану, на що ти здатен... Чи хоч трохи ти кіногенічний?» Але зараз і ці манери його прочитувались інакше: все ж таки славний був хлопець, душею відданий мистецтву!..
Lecture 15. INTERPRETATION: BASIC SKILLS AND TRAINING METHODS
This Lecture compares:
• working environments of
♦ written translators and interpreters;
♦ consecutive and simultaneous interpreters;
• approaches - denotative and connotative,
• and tools they use:
♦ text compression and text development
♦ note-taking and its sequence
♦ underlines the importance of being skilful in using the tools.
To tell the difference between translation and interpretation let us compare working environments of a translator and interpreter.
♦ Translator has all time necessary to do and check the translation.
♦ Interpreter is limited in time and cannot check and redo the interpretation.
♦ Translator has free access to dictionaries and reference material.
♦ Interpreter has no access to any outside information.
♦ Translator has no immediate contact with translation users and often is unaware of their reaction.
♦ Interpreter is in immediate and close contact with the audience reacting to interpretation mistakes
Ш* Translator is dependent on supporting environment; interpreter is entirely self-dependent.
There are two main varieties of interpretation, consecutive and simultaneous. Though they have much in common and possess all men-
tioned characteristics that distinguish them from translation there are substantial differences in the working environments as well.
1. In simultaneous interpretation the interpreter is much more limited in time.
2. In simultaneous interpretation the length of the text translated as one 'batch' is much shorter than in consecutive.44
3. Unlike consecutive interpretation where the interpreter may correct mistakes and slips of the tongue, simultaneous interpreter has no time for corrections and redoing.
Differences in the working environment of interpreters compared with that of translators as well as differences between working environments of simultaneous and consecutive interpreters determine the peculiarities of interpretation approaches and methods.
First of all, as you already know from our previous discussions, the consecutive interpreter adheres to predominantly denotative approach in interpretation whereas the basic approach of simultaneous interpretation is transformational.
•* Long stretches of speech to be translated do not allow the consecutive interpreter to keep close to the source text, whereas the simultaneous interpreter is forced by time limitation to translate by small fragments of the source text transforming them according to the target language grammar.
However, both during consecutive and simultaneous interpretation interpreters use text compression and text development as basic translation devices.
44 Although simultaneous interpretation seems continuous the flow of interpreter's speech may be divided into individual fragments.
•* Text compression aimed at saving interpretation time and removing source text redundancy is one of the main instruments of simultaneous interpretation which allows the interpreter to keep in pace with the source text not sacrificing the content.
In consecutive interpretation text compression is used as well - it allows to get rid of the source text redundancy, but the main instrument of consecutive interpretation is text development.
Ш* Ability to compress the source text and develop the target one from the core structure are the basic skills of an interpreter.
Basic compression devices used in Ukrainian-English translation comprise:
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