Проект на Муниципальный уровень
проект по английскому языку (11 класс)

Муниципальное общеобразовательное учреждение –

средняя общеобразовательная школа

имени Маргариты Калининой

(МОУ-СОШ им. Маргариты Калининой)

Индивидуальный проект

по предмету Английский язык

по теме «Лингвистические проблемы в теории и практике художественного перевода»

г.о. Клин, 2024 г.

Content

                                                        Introduction

Literature unites all people in the world. Therefore, in all countries there is special attitude towards literature, and in order for people to enjoy different masterpieces, they are translated into other languages of the world. There is such a thing as literary translation, it is a means for cultural exploration of the world. And its basis is the literary theory of translation, the rule for translating a work of fiction is to convey the spirit of the translated work. It is also necessary to preserve all the subtleties of the text content, its expressive features. But there are always problems when doing all this, and in this project I will try to identify them. When translating any foreign texts, translators often face a huge variety of difficulties. A professional translator cannot fail to take into account all aspects of a foreign language he speaks, because high—quality translation is something more than mindless transfer of words from one language to another. In the theory of translation of literary texts, there is the following opinion: the original literary text, originally written for readers of their own language, has its own national characteristics and characteristics that are characteristic only for this people, practically cannot be recreated in absolute accuracy in the language of another people. And one cannot disagree with this. Unlike translations of, for example, scientific texts, the translation of works of art can be fully compared with art,

whose task is not the literal transmission of the text, but something more.

The complexity of translating literary texts can be explained by specific ways of reflecting the world in different languages and the difference in cultures to which the languages of translation and the original belong, which is why a literal translation is often simply unable to convey the full depth of a work of art.

The relevance of the work: The fact is that literature plays a very important role in the cultural development of mankind, most of us know such English writers as Shakespeare, Byron, Bronte, Kipling. Literary translation helps us to read these works, because not everyone is able to read in the original. And the translation adapts you and me in the text.

The purpose of the projekt: Identification of the main problems in the translation of a literary text from English to Russian

Tasks:

1) Define the translation and identify its problems

2) To determine the criteria for high-quality literary translation

3) Define the author's text and its translation

4) View the features of English-language poetry

5) perform an analysis of an unprofessional translation

6) Independently perform a literary translation

The object of the study: Literary translation

The subject of the study: The practice of literary translation on the example of Byron Friendship-love without wings and an excerpt from the novel by Bronte Jane Eyre

Hypothesis: Knowing the criteria for high-quality literary translation, its problems and various difficulties, and ways to solve them will allow us to use them in the practice of literary translation, to confirm or refute the hypothesis, I will conduct research where translations of prose works are given

Research methods : The study of literature and Internet resources

Theoretical significance: It consists in the information collected about artistic translation, its problems, and features.

Practical significance: The fact is that as a result of the work I have done, I have collected a lot of information, based on the results of which I have made analyses of literary translations and the translation of their English-language poetry

The main part

1. The theoretical part

1.1. Translation. Common lexical problems.

First, translation is the process by which a text created in one language is recreated in another language. Since this is a mental process, it is studied by psychology and psycholinguistics. Secondly, translation is the result of such a process, a new speech work, a new text that has arisen in the translating language. Translation theory deals with such a text and its relation to the original source Having considered all the definitions, and having comprehended the translation process, I would note that translation is a complex and multifaceted process. In the process of translation, there is not just a replacement of one language with another, but the contact of different cultures and traditions, different ways of thinking, different levels of development. The task of translation is to convey the content of the original by means of another language, while preserving its stylistic and expressive features. But the most difficult thing is the literary translation of various, literature. Russian literary translation is also complicated by different “worldviews” - ways of understanding and reflecting the world specific to English and Russian languages. These are two European cultures, and they are much closer than, for example, the cultures of Egypt and Russia, but still there are such peculiarities in everyday life and social life that it is difficult for a reader unfamiliar with English culture to understand. First of all, the difficulties of literary translation are explained by the high semantic load of each word of the literary text. The translator has to not only mechanically translate the text, but recreate each line anew, filling it with exactly the meaning that the author wanted to put in, while adapting it as much as possible for the Russian reader. When translating any foreign texts, translators often face a huge variety of difficulties. A professional translator cannot fail to take into account all aspects of a foreign language that he speaks, because high—quality translation is something more than mindless transfer of words from one language to another. In the theory of translation of literary texts, there is the following opinion: the original literary text, originally written for readers of their own language, has its own national characteristics and characteristics that are characteristic only for this people, practically cannot be recreated in absolute accuracy in the language of another people. And one cannot disagree with this. A short list of the main difficulties of literary translation in relation to English-Russian literary translation: 1) the specifics of the translation of various stable expressions 2) words that are similar in spelling or sound in the original language and in the translation language, but differ in their meanings. 3)National phraseological units, phrasal verbs 4) respect for style, culture and era

5) A huge number of polysemous words compared to Russian 6) The need for rhyme, tact 7) Saving the author's size 8) A play on words. Thus, it can be concluded that when translating a literary text, the translator must take into account all the features of the work of art, not be limited to just one task, but synthesize all available techniques to obtain a high-quality translation. The translator must have a wide vocabulary, including idiomatic expressions and proverbs in the target language, be able to correctly use special reference dictionaries, possess a large amount of cultural information about the country of native speakers of the target language - requirements that every professional translator must meet.

                    1.2. Criteria for high-quality literary translation

The main features of a literary text as an object of translation activity are considered, the main differences between the translation of a literary text from other types of translation are determined. The main criteria and methods of literary translation are highlighted, the role of the translator and the formation of a picture of the world in the translations of works of art are separately investigated. The French humanist, poet and translator Etienne Dole (1509-1546) believed that a translator should adhere to the following five basic principles of translation:

Perfectly understand the content of the translated text and the intention of the author whom he is translating . To have perfect command of the language from which he translates, and equally excellent knowledge of the language into which her translates. Avoid the tendency to translate word for word, because this would distort the content of the original and ruin the beauty of its form. Use commonly used forms of speech in translation, Choosing and arranging words correctly, reproduce the overall impression produced by the original in the appropriate “key". According to the principles of Tytler's translation: The translation should fully convey the ideas of the original. The style and manner of presentation of the translation should be the same as in the original. The translation should be as easy to read as the original work. A. S. Pushkin on "ultra—precise" translations: "A subscript translation can never be correct." N. Zabolotsky: "If a translation from a foreign language does not read like a good Russian work, it is a translation either mediocre or unsuccessful." Free translation is not terrible, Nothing is free if you love, But if you ruin the music, All thoughts will be distorted. (E. Yevtushenko). The main requirements that a good translation must meet are: • Accuracy • Conciseness • Clarity. • Literature. • Not only all the thoughts expressed by the author, but also the nuances and shades of the statement are completely preserved. • The translator should not be verbose, thoughts should be expressed in the most concise ,  and concise form. • clarity of presentation of thought, ease of understanding it. Complex and ambiguous phrases that make perception difficult should be avoided. The idea should be presented in simple and clear language.

1.3. The author's text and its translation

Author's translation is a term in literature denoting a special type of translation of a literary work. There are several explanations for this term. In the literature, this means a translation made by the author of the original text. From an abstract point of view, this is the ideal way to recreate the original in another language, because no one knows the original better than the author. At the same time, significant transformations of the source text are possible in the author's translation of literature, which are unacceptable when translating the original by another translator. Therefore, the criteria of accuracy and freedom in the appendix to the author's translation are also somewhat modified. An author's translation is, firstly, a new authorized, that is, a work approved by the author, which has a number of features and which is performed in compliance with all traditional requirements for literary translation, and, secondly, it is the author's translation of his work into another language. Therefore, the author creates in two languages, which means that

The question of the degree of proximity of the translation to the original was widely discussed by ancient translators. There is a so-called "Theory of untranslatability". According to this theory, a full-fledged translation from one language to another is generally impossible due to the significant discrepancy in the expressive means of different languages; the translation is only a weak and imperfect reflection of the original, giving a very distant idea of it.

Another point of view held by most researchers, which formed the basis for the activities of many professional translators, is that any developed national language is quite a sufficient means of communication for the full transmission of thoughts expressed in another language. This is especially true of the Russian language, one of the most developed and richest languages in the world. The practice of translators proves that any work can be fully (adequately) translated into Russian while preserving all stylistic and other features, inherent to this author.

A translator must meet more requirements in order to create a text that fully represents the original in a foreign language culture. Among such criteria, of course, it is necessary to mention the preservation of as many tropes and figures of speech as possible as an important component of the artistic stylistics of aparticular work. The translation should signal the epoch of the original's creation. There are cases when a translator needs not only knowledge, but also special skills. The writer often plays with words, and this game can be difficult to recreate. Here is an English joke based on a pun. A man comes to a funeral and asks: Am I late? And in response he hears: Not you, sir. She is. The English word late means both ‘late’ and ‘deceased'. The hero asks: Am I late? And they answer him: No, you are not dead, sir, but she is. What should I do? Russian-speaking game is not working. But the translator got out of the situation: Is it over? – Not for you, sir. For her. Such pitfalls await translation

                   1.4. Features of the translation of modern English poetry

A poetic translation is a translation of a poetic text from one language to another, in which the semantic and aesthetic information of the original work is transmitted in poetic form. With such a translation, a new poetic work is created, which is valuable for the language into which it is translated, and is a culturally adapted equivalent of the original work. The author of the translation needs to convey in a concise poetic form the sea of meaning that the author of the original managed to put into a limited number of words using various means of expression and forms of sentence construction. Poetic translation is directly involved in the literary process, during which the author's thoughts are transmitted to the reader. A poetic translation is a translation of a poetic work, in which the events and images of the original text, its poetic structure and the turns of speech of the original are almost completely transmitted. However, with this type of translation, the meaning of the work is distorted, and aesthetic information is not reproduced. Such a translation is used only for special purposes, to study the structure of the original text, and does not participate in the literary process. A philological translation is a translation made in prose in order to reveal and verbatim convey events, images, structure and means of expression of speech for subsequent research of the original text. When translating works of art, one of the main tasks is to preserve the individual style of the author of the work. To do this, the translator needs to study the author's work in order to understand what is characteristic of his writing style, what distinguishes his work from the works of other poets, what is his individual style. From the point of view of the main purpose of a poetic work - to provide an aesthetic effect on the reader, there is another condition without which the translator's work may be fruitless. This condition is stylistic analysis. The translator must work out and characterize the semantic, thematic and stylistic features of the literary text in order to "decipher" it. It is by analyzing the internal structure of the text and the figurative means used by the author that the translator is able to find out why a particular work represents a certain aesthetic value, what is the main idea the works, and how the beauty of sound and depth of thought were achieved.

Due to its specificity, poetry translation is a process that causes a number of difficulties and problems, the main of which are paradoxical. Among these common problems, the following should be highlighted: preservation of national identity; preservation of the spirit and time of the work; the choice between accuracy and beauty of translation. The specificity of the first problem is due to the fact that the poem, being a work of art, reflects in images a certain reality associated with the life of a particular people, whose language provides the basis for the embodiment of images. The solution to this problem is possible only if the organic unity of form and content is preserved, in its national conditionality. Along with the mentioned problem is the problem of preserving the "spirit" of the time when the work was written. Indeed, the time factor leaves a certain imprint on the work, and, of course, it should be reflected in the translation. Here, the translator must remember that his translation must meet the needs of the modern reader, but this does not mean that he can "modernize" the original. On the other hand, his task is to create an atmosphere of the past in the translation, which the reader could see and feel, but so that there would not be excessive archaization in it. Thus, the translator again faces a paradox, since having preserved the stamp of time in the translation, he needs to bring it as close as possible to the current reader. Thus, the translation must meet certain criteria, among which the main ones can be distinguished: An adequate translation should have the same emotional impact on readers as the original the translation should reflect the individual style of the author, his essence; an adequate translation should be equivalent to the original in terms of saturation with metrorhythmic , phonic and metalogical structures aimed at expressing conceptual and aesthetic content; the inseparable connection of form and content should be expressed in translation; the translation should convey the work to readers in all the national originality of its poetic form; the translation must be true to the artistic and historical reality of the original ;the translation must faithfully reproduce the stylistic features of the foreign-language original;

the author's thoughts should be expressed accurately and vividly using synonymy, emotionally colored words; the words of the translation should evoke associations close to the original.

                                         2.  The practical part

2.1 Analysis of means of expression in the novel Charlotte Bronte «Jane Eyre»

The novel by the famous writer Charlotte Bronte "Jane Eyre" is a vivid and original masterpiece of English literature of the 19th century. This novel is a reflection of the life of the writer herself Charlotte's father is a simple priest, besides her, who had three other daughters. Charlotte's two older sisters died of a typhus epidemic at the orphanage for the daughters of priests, where their father sent them. Initially the purpose of their stay in it was to obtain the profession of a governess, but the disease did not count with anyone. The girls who survived Emilia and Charlotte returned home, but with clearly shaken health. Then they studied in a good paid boarding school. The sisters dreamed of learning French, which they achieved. While teaching English to boarding school students,

Charlotte had the misfortune to fall in love with a married teacher, which is why she was forced to leave her place of residence. These feelings are reflected in the structure of the novel. After all, it is love for Mr. It was forbidden to Rochester, since he already had a crazy wife, whom, according to English law, he did not dare to leave. Before the publication of the novel "Jane Eyre", the Bronte sisters released several more of their works. However, that joyful moment was

overshadowed by illness, and then the death of her brother and her sister. Out of pity Charlotte agreed to become the pastor's wife, but died in childbirth a year later. Roman Sh. Bronte attracts the attention of readers with a bright and impeccably clean image of the main character Jane, for whom the words" honor and dignity" are higher than material goods. The novel is saturated with the spirit of protest. The main character leads a difficult struggle first for her existence, then suppresses her love for a person with who marriage is not possible and only in the end, after numerous turns of events, Jane finds family happiness with her loved one. When writing the novel, Charlotte Bronte remained true to her view sand principles. In the genre of the novel Sh. Bronte's "Jane Eyre" has a combination of autobiographical and psychological traits. The subject of writing the novel contains a reflection of the life of the writer herself. The central place in the work is occupied by the image of serious trials, the description of the feelings of the main character and Rochester and the disappointment ofunfulfilled hopes. The novel contains three main stages of the difficult fate of the main character. The fine line that exists between romanticism and realism shows its mobility when creating images of the main characters and when describing landscapes. An example of hyperbolization in the novel is. Thornfield images, where important circumstances are exaggerated. These distinctive features manifested themselves in the artistic and stylistic means that the writer used in the portrait images of her characters. For example, in the episode where the "upper class" is depicted in the Rochester house, we see an obvious satire, the intonation becomes more sarcastic and hyperbolization is used. Blanche Ingram calls Lady Ingram "lady mother", and she responds to her daughter, calling her nothing but "my soul", then "my best" - my best, then my lily of the valley – my lily, these ridiculous epithets are not "ignorance of life", but a deliberateappeal to the grotesque. However, to the techniques of the grotesque Sh. Bronte does not resort often, in most cases a realistic representation is used. We see many different shades and the subtle facets of aesthetics and word selection observed at the same time. From the speech of the characters in the novel, we get an idea of the character Jane. For example, Besi's maid, she sympathizes with the girl, but speaking of Jane, she constantly uses the word "creature" - thing: "Little roving solitary thin... you little sharp thing...". - A small, lonely creature…...you are a small, observant creature. The characteristics that the characters in the novel give Jane Eyre reflect to some extent the character of themselves. For example, Blanche in relation to Jane uses words such as "creeping creature" - insignificance,"that person" - this person; with her contempt in speech, she triesto emphasize the attitude towards a simple girl as to the lower class. Here it becomes clear that this is a person with a very poor innerworld. When describing the appearance of the heroine, S. Bronte uses vocabulary of various emotional coloring, uses figurative expressive means and vocabulary that emphasizes the serious condition of the heroine. An example is the comparison – as white as clay or death - pale as death, expressions such as - fleshless and haggard face … very bloodless - a haggard, haggard face... completely bloodless.  After Jane finds out that she is loved, when describing her appearance, epithets of an evaluative order prevail: blooming, smiling, truly pretty, sunny – faced girl, dimpled cheeks, blissful mood, radiant hazel eyes, etc. (blooming, smiling, truly pretty, radiant girl, dimpled cheeks, blissful state, radiant brown eyes). The description of the external data of the heroine is connected with he innerexperiences and is achieved through the use of appropriatevocabulary and figurative expressions. The following example clearly confirms that the qualities of a living being are assigned to nature in the novel, i.e. with the help of the personification of Sh. Bronte transforms inanimate nature into an animate being. «The moon appeared momentarily…her disk was blood-red and half overcast; she seemed to throw on me one bewildered. Dreary glance and buried herself again instantly in the deep drift of cloud». «На мгновение появилась луна, ее диск был багрово - красным и наполовину покрыт тучами. Казалось, она бросила на меня печальный, растерянный взгляд и сразу же спряталась в густой пелене облаков». Here is an example that reflects the preservation of the metaphor – that is, you can use a full equivalent translation."The forest hollow where Lowood lay was the cradle of the fog and the plague generated by the fog; which, intensifying with the onset of spring, crept into the Orphanage." Перевод: - «Лесная долина, где находился Ловуд, была колыбелью ядовитых туманов и рождаемых туманами болезней. И сейчас началась эпидемия тифа; болезнь распространялась и росла по мере того, как расцветала весна; заползла она и в наш сиротский приют». Здесь примером метафоры служит сравнение неодушевленных предметов «долина» «колыбель». Также отметим, что метафора играет определяющую функции, функцию олицетворения, т.е. болезнь, сравнивается с монстром. Эмоциональности природного описания способствуют такие эпитеты ceaseless rain - нескончаемый дождь, black frost - мрачный мороз, howling wind - завывающий ветер, beclouded sky - облачное небо, lamentable blast - жалобно стонавший ветер. The iron sky of winter - свинцовое зимнее небо,  mists as chill as death - туманы, холодные ,как смерть, that beck a raving sound - река неслась с бурным ревом, whirling sleet - вой вьюги, the forest showed sleet only ranks of skeletons – вместо леса были мертвые деревья. Именно благодаря использованию таких тропов как эпитет и олицетворение описание становится более выразительным и красочным. Эмоциональность природного описания способствуют такие эпитеты: ceaseless rain - нескончаемый дождь, black frost - мрачный мороз, howling wind -завывающий ветер, beclouded sky - облачное небо, lamentable blast - жалобно стонавший ветер. The iron sky of winter - свинцовое зимнее небо, mists as chill as death туманы, холодные, как смерть, that beck a raving sound - река неслась с бурным ревом, whirling sleet - вой вьюги, the forest showed sleet only ranks of skeletons – вместо леса были мертвые деревья. Именно благодаря использованию таких тропов как эпитет и олицетворение описании становится более выразительным и красочным. In conclusion, we can conclude that it is thanks to the means of expression that the language of an artistic work becomes more expressive, emotional, and pictorial: metaphor is enhanced 32% of the epithets 38% impersonation 12% comparison 8% hyperbole 10% of the impression from the read text, a visual representation of the subject or a specific living image is created. The process of translating text from one language to another is diverse and ambiguous. The diversity of components included in the translation process is associated with differences of opinion regarding translation and its features.

2.2 Comparison of self-translation and professional translation of Byron’s passage «Love is friendship without wings»

1) Self-translation:

Why should my anxious breast repine.

Because my youth is fled?

Days of delight may still be mine;

Affection is not dead.

In tracing back the years of youth,

One firm record, one lasting truth,

Celestial consolation brings;

Bear it, ye breezes, to the seat,

Where first my heart responsive beat ,-

'Friendship is Love without his wings!'

К чему испытывать больной душою

Что молодость прошла

Еще дни где я радостен за мною

И в глубине своей души

Среди своих воспоминаний

Я прочувствовал восторг

Несите, ветры золотые

Туда, где я пел в первый раз

Любовь без крыльев

2) Professional translation

К чему скорбеть больной душою,

      Что молодость ушла?

Еще дни радости за мною;

      Любовь не умерла.

И в глубине былых скитаний,

Среди святых воспоминаний -

      Восторг небесный я вкусил:

Несите ж, ветры золотые,

Туда, где пелось мне впервые:

      "Союз друзей - Любовь без крыл!"

3) Self-translation: The Raven by Edgar Allan Poe

Ах, отчетливо я помню, это было в мрачном декабре

И каждый угасающий уголек сотворял привидение на полу.

Страстно я желал завтра; - Тщетно я искал занятия

В моих книгах прекращения горя - скорби о потерянной Ленор -

По драгоценной и лучезарной деве, которую ангелы зовут Ленор,  

Безымянная здесь навеки.

4) Self-translation «The lovers’Litany»

Eyes of grey - a sodden quay,

Driving rain and falling tears,

As the steamer wears to sea

In a parting storm of cheers.

Sing, for Faith and Hope are high

None so true as you and I

Sing the Lovers' Litany:

"Love like ours can never die!"

Серые глаза - промокший вечер

От дождя и от бегущих слёз.

Как корабль, ждущий с морем встречи,

Жду тебя и говорю всерьёз:

"Пой о том, какое есть богатство

В душах тех, кто Любит, Верит, Ждёт.

Никогда влюблённым не расстаться.

И любовь, как наша, не умрёт!"

                                          5) Professional translation

Серые глаза – дожди,

Бьющих струй и слёз текущих,

И  морские корабли,

Цвет брызг волн при шторме бьющих.

Песни Веры - высоки,

А Надежды - глубоки,

Пропоём мы песнь влюблённых:

«Если любим – навсегда!»

6)  Self-translation The Road Not Taken

Two roads diverged in a yellow wood,

And sorry I could not travel both

And be one traveler, long I stood

And looked down one as far as I could

To where it bent in the undergrowth;

Две дороги расходились в желтом лесу,

И жаль, что я не мог пройти по обеим

И быть одним путником, я долго стоял

И смотрел вниз по одной, насколько мог

7) Professional translation

Дорога в осеннем лесу раздвоилась,

Мне выбрать пришлось лишь одну из дорог.

Взглянул я на первую, - вроде, годилась!

На ней даже праздная травка пробилась.

Но выбор свой сделать я долго не мог:

                                  Туда, где она изгибалась в подлеске;

Conclusions. Translation is an exact reproduction of the original by means of another language while preserving the unity of content and style. In this way, the translation differs from a retelling, in which you can convey the content of a foreign original, omitting minor details and not caring about reproducing the style. The unity of content and style is recreated in translation on a different linguistic basis and, therefore, will be a new unity inherent in the translation language. Thus, we can conclude that a person who has not read the original may not be aware of inaccuracies or errors made during translation. Therefore, the translator's attitude towards the original and his work in general plays an important role. To summarize, you need to remember that you should not rush to finish your work, be attentive and respect the author of the original. First, you need to thoughtfully read the phrase in the original, make sure that its meaning is understood correctly, if necessary, perform a literal translation, and only then make an artistic translation of this phrase In general, it is believed that due to the differences between languages, there can be no perfect translation. There will always be feature (lexical, grammatical, stylistic, etc.) that cannot be translated into another language without some loss. But a translator should always strive for this ideal, not retreat from difficulties, but try to solve them, even if this solution is not always the most successful.

                     Bibliographic list of references and internet sources

1) https://revolution.allbest.ru/languages/00697212_0.html

2) https://proza.ru/2018/03/13/1924

3) http://mirznanii.com/a/49638/problemy-khudozhestvennogo-perevoda

4) https://rustih.ru/edgar-allan-po/

5) https://en.wikipedia.org/wiki/Translation

6) https://mybook.ru

7) https://arzamas.academy 

8) https://aesthesis.ru 

9) https://www.englishelp.ru 

                                                                                                   Приложение 1

                           «Jane Eyre» Analysis of means of expression

Приложение 1.