Получите свидетельство
Вход
Муниципальное бюджетное общеобразовательное учреждение
"Гимназия №80"
Лингвистика:
Comparative analysis of the original and adapted
version of the artistic literary work (исследовательская работа)
Выполнил:
ученица 10В класса
МБОУ «Гимназия №80»
Ляпина Кристина
Руководитель:
Будулак Наталья Геннадьевна
Барнаул, 2024
THE PLAN
1. Introduction 4
2. Chapter 1. Features of the translation of fiction. 6
Techniques for adapting a literary text. 6
3. Chapter 2. Comparative analysis based on the material of originals and translations of works of art 8
4. Chapter 3. Comparative analysis based on the material of the English version and an adapted excerpt from the work of Jules Verne "Around the World in 80 Days"; its translation into Russian. 15
5. Conclusion 22
6. Used literature 23
7. Attachment 24
Приложение 1 (attachment 1) - Ключевые слова и фразы (Key words and phrases): 24
Приложение 2 (attachment 2) - Апробация cравнительного анализа на материале английского варианта и адаптированного отрывка из произведения Жюля Верна «Вокруг света за 80 дней»; его перевода на русский язык. (Approbation of comparative analysis on the material of the English excerpt and adapted excerpt from the work of Jules Verne "Around the World in 80 Days"; its translation into Russian.) (Spotlight 10 form p.p. 88 - 89) 26
Приложение 3 (attachment 3) – Английский вариант отрывка (the English excerpt from the work of Jules Verne "Around the World in 80 Days"); Русский вариант отрывка (the Russian version of the passage) 29
Английский вариант отрывка (the English excerpt from the work of Jules Verne "Around the World in 80 Days") 29
Приложение 4 (attachment 4) - Гистограмма результатов cравнительного анализа на материале английского варианта и адаптированного отрывка из произведения Жюля Верна «Вокруг света за 80 дней»; его перевода на русский язык. (Histogram of the results of approbation of comparative analysis on the material of the English excerpt and adapted excerpt from the work of Jules Verne "Around the World in 80 Days"; its translation into Russian.) (Spotlight 10 form p.p. 88 - 89) 35
- Introduction
Translation is an art that is designed to reproduce in another language the innermost thoughts, images, the subtlest shades of feelings that have already found their most accurate expression in the language of the original.
(S.Ya. Marshak)
The theme of the work is determined by the important role of reading English literature in the process of learning English. Analytical work with the artistic literary work gives a clear idea of national linguistic thinking, the history of countries.
The translation of literary texts has been and still remains an important subject of linguistic research. Its complexity and diversity is explained by the need for the translator to take into account many factors - stylistic, emotional, evaluative components of the source information and requires a high level of translation skills. Language picture of the world affects translation, when the author is guided by well-known truths and common cultural values, relying on concepts and universals available in different languages and cultures. All of the above factors determined the relevance of the study.
For research work, we took 4 best-selling works: "The Adventures of Tom Sawyer", "The Adventures of Oliver Twist", "White Fang", "Around the World in 80 Days". These works were chosen for a number of reasons. These works and their authors are known to readers all over the world. Excerpts in an adapted version are presented in the textbooks of grades 10-11 "Spotlight", in the "Culture" section.
The object of our research is the original of artistic literary work, an adapted version and translation of fiction from English into Russian.
The subject of the research is linguoculturological and didactic aspects in their interrelation.
The purpose of the study is to conduct a comparative analysis of the texts of the original and translation of works into Russian; original and adapted version; translation of an excerpt from Jules Verne's "Around the World in 80 Days".
To achieve this goal, the following tasks are solved in the work:
1) to study the scientific literature on vocabulary and grammar;
2) to identify the features of lexical and grammatical structures;
3) to master in practice the basic techniques
Research material: selective translations of Ch. Dickens' novel "The Adventures of Oliver Twist"; original and adapted texts of the famous American writer Mark Twain's novel "The Adventures of Tom Sawyer"; D. London "White Fang"; a detailed analysis of an excerpt from Jules Verne's "Around the World in 80 Days".
Research methods: the main research methods are the study of sources on the topic, the use of language analysis, comparison and inference.
The scientific novelty of the study lies in the use of the artistic material of the country of the language being studied, unknown to schoolchildren.
Research hypothesis: comparative analysis of the original and adapted texts; their translation into Russian makes it possible to reveal the features of changes in the vocabulary and grammar of texts.
The theoretical significance of the work lies in the fact that the constantly studied object of the theory of translation is subjected to research.
The practical significance of the work lies in the possibility of using the results of the study in extracurricular activities for teaching English at school and future translators.
Approbation of the results of the work on the research topic is presented in the form of practical exercises with high school students.
The study consists of an introduction, features of the translation of fiction and methods of adapting a literary text, a comparative analysis on the material of the originals and adapted excerpts of works of art; their translation into Russian, conclusions, used literature and attachments.
- Chapter 1. Features of the translation of fiction.
2.1. Features of the translation of fiction
The translation of fiction has its own characteristics, the main of which can be considered that it has a relative independence in relation to the original. When translating a literary text, the translator is given great freedom of action, which is unusual for working with texts of other genres. Thus, the translator of a work of art becomes a co-author of this work. He needs to convey all the saturation of the content, emotionality and expressiveness of the original.
Nevertheless, it can be said with full confidence that a good translation is perceived by the reader not as a translation, but almost as a text in their native language. Thus, the main task of literary translation will be the generation of a work that can have an artistic and aesthetic impact. The translator himself must have a literary talent, must own the entire set of expressive means, i.e., in fact, be a writer.
In order to preserve the artistic originality of the original text as a whole, it makes sense to take into account not only individual translation techniques, but also the totality of these techniques and trace the trend of the translator's work.
2.2. Techniques for adapting a literary text
Competent adaptation does not come down to a simple abstraction of the source material by retelling or deleting sentences that do not have sufficient semantic load. To obtain an adapted text that is adequate to the original, a method of structural-semantic compression is needed. This is an abbreviation of the text, its approximation to the cultural and linguistic possibilities of non-native speakers. As a result of such work, the text retains the basic part of the lexicon and syntactic constructions, however, the reduction of the linguistic form must be accompanied by the preservation of the meaningful plan of the statement.
Facilitating the perception of the text can be carried out using the following techniques:
1) simplification of syntactic structures;
2) simplification of grammatical forms;
3) replacement of some lexical units with others included in the lexical minimum of the corresponding level of education;
4) explanation of fragments that are not subject to adaptation, directly in the text;
5) commenting on complex fragments in the form of pre-text tasks, a glossary, brief information about the author, characters, as well as in the form of illustrations.
Chapter 2. Comparative analysis based on the material of originals and translations of works of art.
The material of the study was the novel by Ch. Dickens "The Adventures
Oliver Twist" and the translation of the novel by V.I. Lukyanskaya (at the beginning of the 20th century she did not translate literally, but rather a retelling of "The Adventures of Oliver Twist") in order to adapt the work to a children's or teenage audience.
Ch. Dickens' style is complex in terms of grammar. This writer loves long sentences complicated by punctuation and subordinate clauses. In Russian, such long sentences look cumbersome and difficult to read.
In pursuance of this determination, little Oliver, to his excessive astonishment, was released from bondage, and ordered to put himself into a clean shirt.
Но как-то раз утром Оливеру приказали надеть чистую рубашку и
сказали, что он не будет больше сидеть взаперти [пер. Лукьянской].
The interpreter removes the phrase “released from bondage”, which is difficult for the child to perceive, replacing it with the description: “he will no longer be locked up.”
Let's look at another similar example:
'Come, Oliver! Wipe your eyes with the cuffs of your jacket, and don't cry
into your gruel; that's a very foolish action, Oliver.' [Dickens, p. 17].
– Ну, полно, парень, вытри глаза и не подливай слез в похлебку. Ведь
это же просто глупо! [пер. Лукьянской].
In this sentence, the adjective “foolish” has been transformed into the adverb “stupid”, and the translator also removes the phrase “the cuffs of your jacket”, as he performs an adapted (abbreviated and simplified) translation.
The adapted translation is often similar to a retelling of the plot of the novel "The Adventures of Oliver Twist", as can be clearly seen from the following example:
...he ran, and hid behind the hedges, by turns, till noon: fearing that he
might be pursued and overtaken[Dickens, p. 44].
Он так боялся, как бы его не догнали, что до самого полудня ни разу не
отдыхал[пер. Лукьянской].
The source text contains the following information: Oliver before noon
sometimes he ran, sometimes he hid behind the hedges, he never rested, because he was afraid that he is chased down.
In the translation, the mention of hedges disappeared, the words in the sentence were completely rearranged, the modal verb “might” and the verb “pursued” were omitted, the passive voice was replaced by the active voice. The verb "ran" is replaced by the verb "did not rest".
Thus, in the adapted translation there are more grammatical and lexical transformations, and part of the information has been removed.
So, the grammatical aspect of the translations of Ch. Dickens' novel "The Adventures of Oliver Twist" is to simplify the grammar of the source text. For this purpose, translators use grammatical and lexical transformations, such as division of a sentence, permutation of words in a sentence, replacement of the voice of a verb, replacement of a part of speech. All these transformations are united by one goal, which is to make the text of the translation easy to read.
According to experts, the translation by V.I. Lukyanskaya cannot be recognized as quality. In it there are many semantic inaccuracies, the pragmatic aspect is not preserved, it is unlikely that its translation will have such an impact on readers as Dickens' original. They note that the translation by A. V. Krivtsova ((1896 - 1958) - Russian Soviet translator) is of good quality. It does not contain semantic errors, is close to the original text, the stylistic features of the novel are preserved as far as possible.
For research work, we took the original and adapted texts of the novel by the famous American writer Mark Twain (1835-1910) "The Adventures of Tom Sawyer".
Starting work, we tried to highlight the following research problem: "Adaptation of the original text in English."
"The Adventures of Tom Sawyer" is an 1876 novel by Mark Twain about the adventures of a boy living in the fictional small American town of St. Petersburg, Missouri. The novel takes place before the events of the American Civil War.
There are at least 9 translations into Russian, one of which belongs to K. I. Chukovsky (1929).
One of the main characteristics of the text is its informativeness; the measure of the completeness of the transfer of information is determined by the goals of the translation, the nature of the translated text, as well as the reader to whom the translation is intended
Tom slipped overboard and swam ashore m the dusk, landing fifty yards downstream, out of danger of possible strangers
Том вылез из ялика и в темноте поплыл к берегу. Чтобы не наткнуться на случайных прохожих, он проплыл лишних полсотни ярдов и вышел на берег ниже, чем ему было нужно (пер К.Чуковский)
The translator considered to include in the translation not only additional information contained in the original text (down stream), but also his own commentary. This translation decision can be explained by the translator's orientation towards the readership for which the translation was carried out.
Adapted books help people with a low level of foreign language proficiency to read works in the original.
AS for K. Chukovsky, comments have become an element of the translation strategy. This creative decision has become one of the factors in the popularity of Chukovsky's translation among many generations of non-adult readers.
If we analyze the speech of Jim, a Negro boy who is in the service of Tom's aunt Polly, then it is an example of "bad" English: incorrect pronunciation of words, violation of the grammatical norms of the language, and so on.
- Say, Jim, I'll fetch the water if you'll whitewash some
- Can't, Ma'rs Tom Ole missis she tole me I got to go an' git dis water an' not
stop foolin' 'roun with anybody She say she spec' Ma'rs Tom gwyne to ax me to whitewash an' so she tole me go 'long an' 'tend to my own business – she 'lowed she'd 'tend to de whitewashin'.
- Слушай-ка, Джим Хочешь, побели тут немножко, а за водой сбегаю я.
- Не могу, масса Том! Старая хозяйка велела, чтобы я шел прямо к насосу и ни с кем не останавливался по пути. Она говорит. «Я уж знаю, говорит, что масса Том будет звать тебя белить забор, так ты его не слушай, а иди своей дорогой» Она говорит «Я сама, говорит, пойду смотреть, как он будет белить» (пер К Чуковский)
Due to objective reasons, it is impossible to convey Jim's speech as it sounds in the original. Therefore, the translation sets out only the content of the original. Shades, nuances of pronunciation, that is, the features of the speech of a Negro boy, are absent in the translation, which naturally reduces the reader's ability to perceive the image of Jim as Mark Twain gave us.
An analysis of examples of the original text revealed that one of the most frequently used lexical transformations in dialogic speech is the reception of a holistic transformation. For example:
Oh, Tom, I reckon we're goners
Ох, Том, мы пропали' (пер. К Чуковский)
It's a trade.
Значит, по рукам1 (пер. К Чуковский)
The examples given show that colloquial correspondences for the most part do not have common semantic components and have different internal forms and at the same time convey the same content by means of different languages.
On the whole, the analysis confirms that artistic figurative means are one of the greatest achievements of the social essence of the language, which make it possible to convey the idea and one's attitude to the depicted through them with greater fidelity and emotional expressiveness.
During the initial analysis of the features of the translation of a literary text, we can single out the following number of problems that all translators face:
• specifics of the translation of set expressions;
• the problem of translating a play on words;
• the need to take into account cultural differences.
The specific of translating set expressions is not as complicated as it might seem at first glance. Using the dictionary of stable phrases and turns of speech, as well as the dictionary of synonyms, you can easily choose the most appropriate translation.
For example, consider the following sentence, taken from Jack London's White Fang, which was written in 1905: “No reflection on you, doctor, you understand; but he must have the advantage of every chance”. (The expression no reflection on you, when translated literally, will sound something like this - на вас это никак не отражается). This sentence is part of a dialogue between Judge Scott and the surgeon. The conversation is more business than friendly. Translator M. Lagunova suggests translating this expression as "do not be offended." It can also be translated as "do not take it personally". Both options are lexically correct, but have slight stylistic differences. We are more inclined to the second version of the translation, since it is more consistent with the conversational setting in the story.
The translation of dialogues differs from the translation of the main text in that when translating them, the translator must take into account not only the author's style, but also must be able to capture and convey the features and character of the characters participating in them, the nature of their relationship with each other.
Consider part of the dialogue, is also taken from the book "White Fang". The dialogue takes place between Weedon Scott and the man working for him, Matt.
“I tell you yes, an’ broke to harness. Look close there. D’ye see them marks across the chest?”
“You’re right, Matt. He was a sled-dog before Beauty Smith got hold of him.”
“An’ there’s not much reason against his bein’ a sled-dog again.”.
Вот как этот диалог выглядит в переводе Н. Волжиной:
«Я вам говорю – пробовали. Он и в упряжке ходил. Вы посмотрите поближе. У него стертые места на груди»
«Правильно, Мэтт! До того как попасть к Красавчику Смиту, он ходил в упряжке».
«А почему бы ему не походить в упряжке и у нас?» [4. C. 134].
The meaning of the dialogue itself was conveyed correctly. However, some of the information was lost in translation. Matt speaks with a special accent that was lost in translation.
The work of Jack London "White Fang" is replete with stylistic figures.
For analysis, we turned to the translations of two authors: N.A. Volzhina (first version) and N.S. Kaufman (second version).
In any work of art, much attention is paid to the description of the scene, which can carry a different semantic load. In Jack London's story "White Fang", the action takes place in Alaska, among the wild nature. “Nothern Wild”, “Северная глушь” translated by N. Volzhina, or “Северная пустыня” translated by N.S. Kaufman, is not just a background of ongoing events, but one of the main characters of the story.
The savagery and cruelty of the north is conveyed by the epithet "frozen-hearted". This expression is translated by two translators in different ways. N.A. Volzhina translated it as “frozen to the very heart.” In another translation, the epithet "ruthless" is used, also capacious, but more erased, less expressive.
But not all natural elements are against man, fire, the creation of God, helps a person fight the cold of the Northern Wilderness, and for this the author of the original calls him “the cheery fire” - “friendly” in the translation of N.A. Volzhina and, "hospitable" in Kaufman's translation. These epithets accurately and concisely express the essence of this natural phenomenon in terms of benefits for humans.
Next, we are given a description of the interaction of the main character - a wolf cub, who later became the White Fang, and the surrounding nature of the North, which the author describes as a "hostile environment". When translating this epithet, the translators used the literal translation of the original - "hostile environment".
Jack London's story is all built on comparison: nature and man, wolf and dog, good and evil, etc. Therefore, comparison as a stylistic device is one of the leading ones used by the author to create images.
Peace and quiet reign in this icy desert: "A vast silence reigned over the land". The word "vast", used in the original, literally translates as a huge, vast, huge, boundless, expanse. In the first translation, the adjective “deep” is used, which is different in meaning: “Deep silence reigned around.” The "endless silence" used in the second translation is also a rather expressive metaphor, but it does not convey the atmosphere of the text so vividly.
Each of the translators in question tried to create an image of the harsh Alaska and convey the main ideas in their works, using the language tools they had.
We conducted a study of two translations into Russian of the work of J. London "White Fang": N.A. Volzhina and N.S. Kaufman. The main goal was to find out which of these two translators did a better job of translating the means of artistic expression. The original and translations by N.A. Volzhina and N.S. Kaufman were compared at the same time. The most basic and used are the epithet, comparison and metaphor, which became the main objects of our attention. Most often, the translations were quite different from each other. The translation by N.A. Volzhina is the most popular and widespread of all.
Chapter 2 conclusion:
The translator sets out on paper his vision, understanding of the literary text. After analyzing the translation and comparing the results with the original text, it is possible to determine the level, artistic taste, the breadth of the writer's horizons and the peculiarities of the translator's worldview.
- Chapter 3. Comparative analysis based on the material of the English version and an adapted excerpt from the work of Jules Verne "Around the World in 80 Days"; its translation into Russian.
One of those who captivated the public with their adventure stories was Jules Verne. His works still do not lose their popularity, and the names of Phileas Fogg and Passepartout, characters in the novel "Around the World in 80 Days", have long become household names. The popular adventure novel by Jules Verne was written in 1872 and immediately gained great fame in the literary world.
A few reasons why you should read the book:
1. Despite the fact that the work is about 150 years old, it is easy to read and fascinating, it is written in a lively, easy language. The idea of crossing the Earth by land and by sea is grandiose and amazing. Many people are inspired to take a trip after reading this exciting adventure book.
2. The main characters are drawn with great skill. So, Mr. Fogg became the embodiment of the traditional British character, combining composure, punctuality, equanimity and perseverance. Jean Passepartout is the exact opposite of his master. He is a merry fellow, a fidget, and was hired by Phileas only for the reason of rest, because he is a born homebody. It is interesting to read about a dangerous journey around the world.
3. With knowledge of the matter, Jules Verne describes all the vehicles known at that time, starting with steam locomotives and ending with riding elephants. You vividly imagine how people of those years traveled.
4. The work describes the real Indian ritual "Sati", according to which the widow is burned alive along with her deceased husband. According to some reports, Jules Verne was an unwitting witness to this tradition, which he captured in the novel.
For work, let's take the fourth chapter of the work. The passage considered in the work is located on pages 29 - 33 in the English translation and 88 - 89 in the adaptation. In our opinion, the difference in the length of the texts is due to the fact that some parts of the text in the adaptation were omitted.
Translation from French into Russian was made for the first time in 1939 by the translator N. Gabinsky. We have chosen the translation made by N.S. Gabinsky in 2014. The text of the adaptation has been shortened slightly. The author's text has undergone adaptation at the level of grammar, vocabulary, and style.
English translators considered his works intended for children and therefore facilitated their content, while making a lot of mistakes, violating the integrity of the plot (up to rewriting chapters, renaming characters). These translations have been reprinted in this form for many years. Only in1965 translations of the works of Jules Verne into English began to appear. However, old translations are readily available and replicated due to their attainment of public domain status. We have chosen an English translation of the work from the site "Linguabooster" - ("Лингвист ").
Now let's work with texts. We offered 10th grade students to compare the English version of the passage (the English excerpt from the work of Jules Verne "Around the World in 80 Days") and the Russian version of the passage. In appendices 1 - 3 you can see tasks for work in groups; expert group and additional material with key words and phrases.
Comparative analysis of the English excerpt, adapted English texts and Russian translation
(Сравнительный анализ английского варианта, адаптированного английского текста и русского перевода)
| № | Original text Оригинальный текст | Adapted text Адаптированный текст | Russian translation Русский перевод | Differences (analysis) Различия (анализ) |
| 1 | grin | grin | гримаса | Replacement translation (Grin - in English text "smile") Замена перевода (Grin – в английском тексте «усмешка») |
| 2 | …and held up his hands with astonishment --" | …and seemed about to collapse, so overcome was he with stupefied astonishment |
| Omitting parts in adapted text; simplification of structures Опущение деталей в адаптированном тексте; упрощение конструкций. |
| 3 | «But the trunks?” gasped Passepartout, unconsciously swaying his head from right to left.»
| But the cases, what about cases?” asked Passepartout in despair, shaking his head. | растерянно оглядываясь вокруг | 1.Omission of details; replacement complex sentences simple; simplification of the sentence Опущение деталей; замена сложных предложений простыми; упрощение предложения «But the trunks?” gasped Passepartout, unconsciously swaying his head from right to left.» 2.This sentence has been simplified some phrases and got an offer это предложение упростили, опустили некоторые фразы и получилось предложение «But the cases, what about cases?” asked Passepartout in despair, shaking his head.»
|
| 4 | Bring down my mackintosh and traveling-cloak, and some stout shoes, though we shall do little walking. | Bring down my mackintosh and traveling-cloak, and some stout shoes, though we shall be doing little walking I believe. | Захватите мой плащ и дорожное одеяло. Наденьте прочную обувь. | 1.Inclusion of familiar grammar constructions (shall be doing) into the adapted text. 2.Changed translation (split into separate offers). Включение знакомой грамматической конструкции (shall be doing) в адаптированный текст. Изменён перевод (разбит на отдельные предложения). |
| 5 | would not be sorry to set foot on his native soil again. | Would certainly not be sorry to set foot on his native soil once again. | не ступал на землю своей родины | Incorporating familiar vocabulary into adapted text. Включение знакомой лексики в адаптированный текст. |
| 6 | still troubled in mind | still troubled by the shock | пребывая в смятении | Incorporating familiar vocabulary into adapted text. Включение знакомой лексики в адаптированный текст. |
| 7 | with its timetables showing the arrival and departure of steamers and railways. | with its timetables showing the arrival and departure of trains and steamers. | железнодорожный и пароходный справочник | Replacing obsolete vocabulary. Замена устаревшей лексики. |
| 8 | Master and man then descended | Master and valet then descended | Господин и слуга вышли из дому | 1.Replacing the translation (descended – in English text «спустились») Замена перевода (descended – в английском тексте «спустились») 2.Replacing an obsolete treatment -"man" to a more modern "servant". Замена устаревшего обращения – «человек» на более современное «слуга». |
| 9 | her naked feet smeared with mud
| and bare feet covered with mud
| босая, в рваной шали на плечах, в помятой шляпке с изломанным пером | Simplification of designs. Omitting parts in аdapted text Упрощение конструкций. Опущение деталей в адаптированном тексте– (her head covered with a wretched bonnet, from which hung a tattered feather, and her shoulders shrouded in a ragged shawl, approached, and mournfully asked for alms) |
| 10 | Two first-class tickets for Paris having been speedily purchased | Mr. Fogg purchased Two first-class tickets for Paris | Здесь он приказал Паспарту взять два билета первого класса до Парижа. | 1.Replacing word order (reverse word order in original text. Замена порядка слов (обратный порядок слов в оригинальном тексте. 2.Translation changed. Изменён перевод. |
| 11 | “You do not forget when you are due in London again?” asked Stuart.
| “You do have in mind the date you are due back in London, don’t you?” checked Stuart. | - Вы не забыли, что должны вернуться... - начал Эндрю Стюарт.
| 1.Replacement structures (in the original text.) Замена конструкций в оригинальном тексте.) 2.Inclusion of familiar grammar structures (separation question) into the adapted text. Включение знакомой грамматической конструкции (разделительный вопрос) в адаптированный текст. 3.Translation changed. Изменён перевод. |
Conclusion:
When adapting, the content is reduced, sentences, grammatical forms and vocabulary are simplified, words of a certain level are selected. Despite the lexical and grammatical changes used, the main purpose of which was to facilitate the understanding of the text by students, the author of the adaptation, of course, achieved his goal. In the adapted text, albeit with minor changes, the style of the writer is preserved as far as possible. Despite some simplification of style, the author of the adaptation managed to maintain the harmony of the narrative. Another advantage of adapted books is that the vocabulary in them is specially selected for the needs of the reader.
Another advantage of adapted books is that the vocabulary in them is specially selected for the needs of the reader. If you have just started learning English, you do not need rare, obsolete or specialized words and expressions. In adapted books, they are replaced by simple and frequently used synonyms that are quickly remembered and expand vocabulary.
- Conclusion
Literary translation of works is a long and laborious process, which is a kind of challenge for any translator, since it requires not only an exceptional level of knowledge of two languages, but also their culture. At the same time, for one reason or another, it is not always possible to convey all the information that the original carries. Accurate and closest to the text translation of the language of the characters of the work as part of the author's intention and features of reflecting the character and personality in the work. In the course of the study, the main problems of translation of a literary text were identified. A distinctive feature of literary translations is that they convey not only the meaning of the original text, but also, due to their specificity, the perception of the translator himself. In general, the essence of this process can be defined as an attempt to eliminate the linguistic and intercultural barrier between the author and the reader, passing the original text through the "prism of perception" of the translator.
- Used literature
«Вокруг света за 80 дней» на английском языке с переводом [Электронный ресурс] : https://linguabooster.com/ru/en/book/around-the-world-in-80-days#
Габинский Н.С. «Вокруг света за 80 дней» - перевод на русский язык,2014[Электронный ресурс]: https://litvek.com/book-read/411094-kniga-zhyul-vern-vokrug-sveta-za-vosemdesyat-dney-chitat-online
Особенности перевода средств художественной выразительности в повести Джека Лондона «Белый клык» [Электронный ресурс]: https://kopilkaurokov.ru/angliiskiyYazik/prochee/osobennosti_perevoda_s_russkogo_iazyka_na_angliiskii_sredstv_khudozhestvennoi_vy
Скубина С. В. Образные художественные средства в романе Марка Твена "Приключения Тома Сойера": в подлиннике и переводах [Электронный ресурс: http://www.dslib.net/jazyko-znanie/obraznye-hudozhestvennye-sredstva-v-romane-marka-tvena-prikljuchenija-toma-sojera-v.html
Сиривля М. А., Кан В. А. Некоторые проблемы перевода художественных текстов [Электронный ресурс]: https://cyberleninka.ru/article/n/nekotorye-problemy-perevoda-hudozhestvennyh-tekstov
Уржа А.В. Семантика и прагматика подстрочных комментариев в русских переводах «Приключений Тома Сойера» [Электронный ресурс]: https://cyberleninka.ru/article/n/semantika-i-pragmatika-podstrochnyh-kommentariev-v-russkih-perevodah-priklyucheniy-toma-soyera
Корзик А.Ю.Сопоставительный анализ переводов отрывков романа Ч.Диккенса «Приключения Оливера Твиста» на русский язык [Электронный ресурс]: https://elib.bsu.by/bitstream/123456789/215710/1/207-210.pdf
- Attachment
Groups with differences
| Differences (analysis) Различия (анализ) |
| 1.Replacing the translation (descended – in English text «спустились») Замена перевода (descended – в английском тексте «спустились») 2.Replacing an obsolete treatment -"man" to a more modern "servant". Замена устаревшего обращения – «человек» на более современное «слуга». |
| 1.Omission of details; replacement complex sentences simple; simplification of the sentence Опущение деталей; замена сложных предложений простыми; упрощение предложения 2.This sentence has been simplified some phrases and got an offer это предложение упростили, опустили некоторые фразы и получилось предложение… |
| Incorporating familiar vocabulary into adapted text. Включение знакомой лексики в адаптированный текст. |
| 1.Replacement structures (in the original text.) Замена конструкций в оригинальном тексте.) 2.Inclusion of familiar grammar structures (separation question) into the adapted text. Включение знакомой грамматической конструкции (разделительный вопрос) в адаптированный текст. 3.Translation changed. Изменён перевод. |
| Replacement translation (Grin - in English text "smile") Замена перевода (Grin – в английском тексте «усмешка») |
| 1.Replacing word order (reverse word order in original text. Замена порядка слов (обратный порядок слов в оригинальном тексте. 2.Translation changed. Изменён перевод. |
| Omitting parts in adapted text; simplification of structures Опущение деталей в адаптированном тексте; упрощение конструкций. |
| 1.Inclusion of familiar grammar constructions (shall be doing) into the adapted text. 2.Changed translation (split into separate offers). Включение знакомой грамматической конструкции (shall be doing) в адаптированный текст. Изменён перевод (разбит на отдельные предложения). |
| Replacing obsolete vocabulary. Замена устаревшей лексики. |
| Omitting parts in adapted text; simplification of structures Опущение деталей в адаптированном тексте; упрощение конструкций. |
Tasks for comparative analysis of the English excerpt, adapted English texts and Russian translation (for students)
Find the words/ expressions or sentences in the book text, according to the number.
Word List
Grin
In astonishment
in despair, shaking
traveling-cloak
set foot soil
troubled
steamers
descended
bare mud
purchased
have in mind due
Find them in the original text and in the Russian translation.
Choose one of groups with differences.
Fill in the table.
Present the results to the class. You may read in English or in Russian.
Comparative analysis of the English excerpt, adapted English texts and Russian translation
(сравнительный анализ английского варианта, адаптированного английского текста и русского перевода)
| № | Original text Оригинальный текст | Adapted text Адаптированный текст | Russian translation Русский перевод | Differences (analysis) Различия (анализ) |
|
|
|
|
|
|
Tasks for comparative analysis of the English excerpt, adapted English texts and Russian translation (for experts)
Check the answers using the table.
Correct or specify (уточнить).
Draw a conclusion (вывод).
Word List
Grin
In astonishment
in despair, shaking
traveling-cloak
set foot soil
troubled
steamers
descended
bare mud
purchased
have in mind due
Conclusions and practical recommendations:
Differences with words and expressions… are established correctly.
Differences with words and expressions… are established incorrectly (зачитать правильный вариант).
Differences with words and expressions… are imprecisely (неточно) established (зачитать уточнённый вариант).
To sum up, (сказать или зачитать вывод)
When adapting, the content is reduced, sentences, grammatical forms and vocabulary are simplified, words of a certain level are selected. Despite the lexical and grammatical changes used, the author of the adaptation, of course, achieved his goal. In the adapted text, the style of the writer is preserved as far as possible. Another advantage of adapted texts is that the vocabulary in them is specially selected for the needs of the reader. In adapted texts, they are replaced by simple and frequently used synonyms that are quickly remembered and expand vocabulary.
We start for Dover and Calais in ten minutes.”
A puzzled grin overspread Passepartout’s round face; clearly he had not comprehended his master.
“Monsieur is going to leave home?”
“Yes,” returned Phileas Fogg.
“We are going round the world.”
Passepartout opened wide his eyes, raised his eyebrows, held up his hands, and seemed about to collapse, so overcome was he with stupefied astonishment.
“Round the world!” he murmured.
“In eighty days,” responded Mr. Fogg.
“So we haven’t a moment to lose.”
“But the trunks?” gasped Passepartout, unconsciously swaying his head from right to left.
“We’ll have no trunks; only a carpet-bag, with two shirts and three pairs of stockings for me, and the same for you.
We’ll buy our clothes on the way.
Bring down my mackintosh and traveling-cloak, and some stout shoes, though we shall do little walking.
Make haste!”
Passepartout tried to reply, but could not.
He went out, mounted to his own room, fell into a chair, and muttered:
“That’s good, that is!
And I, who wanted to remain quiet!”
He mechanically set about making the preparations for departure.
Around the world in eighty days!
Was his master a fool?
No. Was this a joke, then?
They were going to Dover; good!
To Calais; good again!
After all, Passepartout, who had been away from France five years, would not be sorry to set foot on his native soil again.
Perhaps they would go as far as Paris, and it would do his eyes good to see Paris once more.
But surely a gentleman so chary of his steps would stop there; no doubt — but, then, it was none the less true that he was going away, this so domestic person hitherto!
By eight o’clock Passepartout had packed the modest carpet-bag, containing the wardrobes of his master and himself; then, still troubled in mind, he carefully shut the door of his room, and descended to Mr. Fogg.
Mr. Fogg was quite ready.
Under his arm might have been observed a red-bound copy of Bradshaw’s Continental Railway Steam Transit and General Guide, with its timetables showing the arrival and departure of steamers and railways.
He took the carpet-bag, opened it, and slipped into it a goodly roll of Bank of England notes, which would pass wherever he might go.
“You have forgotten nothing?” asked he.
“Nothing, monsieur.”
“My mackintosh and cloak?”
“Here they are.”
“Good! Take this carpet-bag,” handing it to Passepartout.
“Take good care of it, for there are twenty thousand pounds in it.”
Passepartout nearly dropped the bag, as if the twenty thousand pounds were in gold, and weighed him down.
Master and man then descended, the street-door was double-locked, and at the end of Saville Row they took a cab and drove rapidly to Charing Cross.
The cab stopped before the railway station at twenty minutes past eight.
Passepartout jumped off the box and followed his master, who, after paying the cabman, was about to enter the station, when a poor beggar-woman, with a child in her arms, her naked feet smeared with mud, her head covered with a wretched bonnet, from which hung a tattered feather, and her shoulders shrouded in a ragged shawl, approached, and mournfully asked for alms.
Mr. Fogg took out the twenty guineas he had just won at whist, and handed them to the beggar, saying,
“Here, my good woman. I’m glad that I met you;” and passed on.
Passepartout had a moist sensation about the eyes; his master’s action touched his susceptible heart.
Two first-class tickets for Paris having been speedily purchased, Mr. Fogg was crossing the station to the train, when he perceived his five friends of the Reform.
“Well, gentlemen,” said he, “I’m off, you see; and, if you will examine my passport when I get back, you will be able to judge whether I have accomplished the journey agreed upon.”
“Oh, that would be quite unnecessary, Mr. Fogg,” said Ralph politely.
“We will trust your word, as a gentleman of honour.”
“You do not forget when you are due in London again?” asked Stuart.
“In eighty days; on Saturday, the 21st of December, 1872, at a quarter before nine p.m. Good-bye, gentlemen.”
Русский вариант отрывка (the Russian version of the passage)
Через десять минут мы отправляемся в Дувр и Кале.
Что-то вроде гримасы показалось на круглой физиономии француза. Было очевидно, что он плохо расслышал.
- Вы переезжаете, сударь? - спросил он.
- Да, - ответил мистер Фогг. - Мы отправляемся в кругосветное путешествие.
Паспарту вытаращил глаза, поднял брови и развел руками; он весь как-то обмяк, и вид его выражал изумление, граничащее с остолбенением.
- Кругосветное путешествие... - пробормотал он.
- В восемьдесят дней, - пояснил мистер Фогг. - Поэтому нам нельзя терять ни минуты.
- А как же багаж? - спросил Паспарту, растерянно оглядываясь вокруг.
- Никакого багажа. Только ручной саквояж с двумя шерстяными рубашками и тремя парами носок. То же самое - для вас. Остальное купим в дороге. Захватите мой плащ и дорожное одеяло. Наденьте прочную обувь. Впрочем, нам совсем или почти совсем не придется ходить пешком. Ступайте.
Паспарту хотел что-то ответить, но не мог. Он вышел из комнаты мистера Фогга, поднялся к себе и, упав на стул, от души выругался.
- Вот так штука, черт возьми! А я-то думал пожить спокойно!.. - проворчал он.
Затем машинально он занялся приготовлениями к отъезду. Вокруг света в восемьдесят дней! Уж не имеет ли он дело с сумасшедшим? Как будто нет... Может быть, это шутка? Они едут в Дувр - ладно. В Кале - куда ни шло. В конце концов это не могло особенно огорчить честного малого: вот уж пять лет, как он не ступал на землю своей родины. Быть может, они доберутся и до Парижа? Ну что ж, честное слово, он с удовольствием увидит вновь великую столицу! Уж, конечно, такой солидный джентльмен непременно там остановится... Пусть так, однако он снимается с места, он переезжает, этот джентльмен, такой домосед!
В восемь часов Паспарту уложил в скромный саквояж дорожные вещи - свои и мистера Фогга; затем, все еще пребывая в смятении, он покинул свою комнату, тщательно запер ее на ключ и вошел к мистеру Фоггу.
Мистер Фогг был готов. В руках он держал знаменитый железнодорожный и пароходный справочник и путеводитель Бредшоу, который должен был ему служить во время путешествия. Он взял из рук Паспарту саквояж, открыл его и вложил туда объемистую пачку хрустящих банковых билетов, которые имеют хождение во всех странах.
- Вы ничего не забыли? - спросил он.
- Ничего, сударь.
- Мой плащ и одеяло?
- Вот они.
- Отлично, берите саквояж.
Мистер Фогг передал саквояж Паспарту.
- Берегите его, - добавил он. - Здесь двадцать тысяч фунтов.
Саквояж чуть не выскользнул из рук Паспарту, словно эти двадцать тысяч фунтов были в золотых монетах и обладали изрядным весом.
Господин и слуга вышли из дому; входная дверь была заперта двойным поворотом ключа.
Стоянка экипажей находилась в конце Сэвиль-роу. Филеас Фогг и его слуга сели в кэб, который быстро повез их к вокзалу Чэринг-Кросс, откуда начинается ветка Юго-Восточной железной дороги.
В восемь часов двадцать минут кэб остановился перед решеткой вокзала. Паспарту спрыгнул на землю. Его господин последовал за ним и расплатился с кучером.
В эту минуту какая-то нищенка, босая, в рваной шали на плечах, в помятой шляпке с изломанным пером, держа за руку ребенка, приблизилась к мистеру Фоггу и попросила милостыню.
Мистер Фогг вынул из кармана двадцать гиней, которые только что выиграл в вист, и протянул их женщине со словами:
- Возьмите, моя милая, я рад, что встретил вас.
Затем он прошел дальше.
Паспарту почувствовал, что глаза его увлажнились. Новый господин расположил к себе его сердце.
Мистер Фогг в сопровождении слуги вошел в большой зал вокзала. Здесь он приказал Паспарту взять два билета первого класса до Парижа. Затем, обернувшись, он заметил пятерых своих коллег по Реформ-клубу.
- Господа, я уезжаю, - сказал он, - и различные визы, поставленные на моем паспорте, который я беру для этой цели, помогут вам, по моем возвращении, проверить маршрут.
- О мистер Фогг, - учтиво ответил Готье Ральф, - это совершенно излишне. Мы вполне доверяем вашему слову джентльмена!
- Так все же будет лучше, - заметил мистер Фогг.
- Вы не забыли, что должны вернуться... - начал Эндрю Стюарт.
- Через восемьдесят дней, - прервал его мистер Фогг, - в субботу, двадцать первого декабря тысяча восемьсот семьдесят второго года, в восемь часов сорок пять минут вечера. До свиданья, господа!
| № | Проверяемый элемент содержания/ требования к уровню учащихся | Количество учащихся | % |
| 1. | Уметь извлекать необходимую/запрашиваемую информацию из различных текстов соответствующей тематики | 21 | 32% |
| 2. | Уметь употреблять в речи лексические единицы, обслуживающие ситуации в рамках тематики средней школы и употреблять в речи наиболее распространенные устойчивые словосочетания | 32 | 49% |
| 3. | Владеть языковыми навыками (грамматическая сторона речи) | 12 | 19% |
| 4. | Всего: | 65 | 100% |
| № | Checked content element / requirements for the level of students | Number of students | % |
| 1. | To be able to extract necessary / requested information from various texts of the relevant subject matter | 21 | 32% |
| 2. | To be able to use lexical units that serve situations within the framework of the subject of higher school and use the most common stable phrases in speech | 32 | 49% |
| 3. | To master the language skills (the grammatical side of speech) | 12 | 19% |
| 4. | Total: | 65 | 100% |
Comparative analysis of the original and adapted version of the artistic literary work. (76.45 KB)
0
43
0
Нравится
0
