Вольность и точность : Гаспаровские чтения — 2014
Proceedings of the Gasparov's Readings-2014, dedicated to the strategies of translating and to the theory of translation by M.L. М.Л. Gasparov; the problems of translation and the ways to teach, how to translate poetry and fiction
The author introduces a collection of papers published as the proceedings of the Ninth Gasparov Readings, which were held in 2014 and devoted to translations of Classical and European authors by Mikhail Gasparov himself. Some of these articles analyse his legacy, while the remainder focus on problems and curious examples of translation (two of which appear in this issue). The roundtable discussion encouraged the participants to answer the following questions: Can translation be taught? How did I learn to translate? How do I teach translation?
The collection of articles includes papers aimed at the research into various issues of Philology, Linguistics, teaching foreign languages, in particular, the peculiarities of teaching foreign languages in universities, teaching Russian as a foreign language, psychological and pedagogical aspects of teaching, cross-cultural communication.
Two of Pindar’s odes are examined to reveal the syntactic features of enjambment in Gasparov’s free verse translations, as well as his use of vocabulary (metaphors, semantic and syntactic shifts, nominative language). The article establishes his translation’s affinity with the declamatory style of the 18th c. Russian ode.
Russian translations of ancient Greek and Latin poetry have certain restrictions that were formed in the beginning of the XX c. with predominant idea of precise accuracy of wording and rhythm. Aesthetic force of a poem fell not unfrequently victim to these conventions that are preserved by most translators until now. Interestingly, at the same time poetry of other cultures and époques was rendered without such requirements, and even fervent literalists translated European verse using less strict conventions (not speaking of Asian literatures). As a result we face paradoxical situation: translations based on principles, which are considered appropriate for other traditions, are often viewed as inferior and unconventional for ancient Greek and Latin material. Recently, the tendency is slowly changing, and some translators (including Dmitriy Litvinov, whose versions of Catullus and Horace are discussed in the paper) choose less precise wording in search for more adequate rendition of the inner meaning of the poems.
This volume represents the first large-scale effort to addresses topics of translation in Russian contexts across the disciplinary boundaries of Slavic Studies and Translation Studies, thus opening up new perspectives for both fields. Leadinf scholars from Eastern and Western Europe offer a comprehensive overview of Russian translation history examining a variety of domains, including literature, philosopy and religion. Divided into three parts, the book highlights Russian contributions to translation theory and demonstrates how theoretical perspectives developed within the field help conceptualize relevant problems in cultural context in pre-Soviet Russia. This transdisciplinary volume is a valuable addition to underresearched area of translation studies and will appeal to broad audience of scholars and students across the fields of Translation Stu.dies, Slavic Studies, and Russian and Soviet history.
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.