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Valery Kourinsky
Theme 11 : Some aspects of translation technique
I. Translation as a culturological act. Perception of the original on semantic level and signal situation.
II. Whole and detailed understanding (F. Tsherbatskoy on understanding and interpretation).
III. Culturological context (historical background of the problem, its significance for the civilization,
its place in culture, futurist aspect, etc.)
IV. Technical transformation and acquaintance with notions (preparatory reading, terms,
understanding and problems, dictionaries, etc.)
V. Differences between fiction and technical translations.
1. Growing number of semantic channels.
2. Underlying themes.
3. Perception of style and its equivalent.
4. Sounding of a piece of fiction.
5. Metaphors and specifics of translating them (taking into account connotations, aphoristic
brevity, rhythm and melody, degree of brightness, sense of taste, video-coefficient,
divergence from literal exactness).
6. Feelings evocation as the major result of producing impression; search for equivalents in
another language.
7. Search for correlated literary intonations and rhythms.
8. Rhyme problems when translating poetry (the rhyme as a precedent sounding, novelty of
perception and unexpectedness, assonances, full rhymes, etc.)
9. Non-rhymed versification (inner rhymes, alliteration, female and male rhymes).
10. Vocabulary richness of translations.
VI. A mould-translation.
1. Sketch of the major contents after repeated re-reading and searching for word meanings and
idiomatic expressions.
2. Display of weak and irrelevant points, stylistic inaccuracies, rhythmic slips, false intonations,
awkwardly expressed soundings, etc.
3. Re-reading of the original and passing over to the refinement.
VII. Translation refinement.
1. Transfer from the literal to the natural word order.
2. Idiomatic equivalents.
3. Variants and cutting off the excessive.
4. Inversions, rhythming, instrumentality.
5. Necessity for putting aside the ready-made translation.
6. Revision technique (acuteness of perception; possible blindness replacing the actual by one's
own experiences; resistance to vanity; vocabulary, etc.)
VIII. Psychological super-goal and preparing for translation.
1. Intention (the opinion of one's own abilities; the opinion of the "necessity," development of craft
skills; release from routine opinions on writing abilities).
2. The role of attempts and planned failures.
3. Special literature on translation and literary work.
4. Dependence of perfection on the super-goal set (as secondary); the effect of spreading the
super-set idea over the entire activities; total involvement.
5. Skill and talent (influence of skills on the development of one's abilities).
IX. Oral translation (reading aloud and to oneself.)
1. Translation for oneself.
2. Translation with the inner voice.
3. The main and secondary.
4. Attention control.
X. Oral speech.
1. The significance of orthoepic concepts.
2. Life context when translating oral speech.
3. Speed; significance of rational activity and aware reduction of exactness.
4. The difference between translating oral speech and written translations.
5. The difference between oral speech translations into the native and a foreign languages;
optimum number of blocks and equivalent banalities.
6. Significance of conceptual thinking (speaking with the inner voice) for developing oral
translation skills.
7. Putting tactical goals low when translating orally; preference-giving to the simplest; gestures and
mimics - feedback.
8. Quoting when translating into a foreign language (routine speaking as a total quotation),
awareness of automatism.
9. Monologues and dialogues with one's shadow; passage motorics: the rational control over the
automatically pronounced, choice of a block, etc. Meditating in a foreign language.
10. Specifics of oral grammar (degrammatizing of the language as a norm in oral speech).
11. Rhythm, intoning, loudness of speaking, accents in syntagmas.* * *
| The running horses. Double sense and meaning of an old symbol. Trouble and disaster, serenity and hope. The race was faster by revolutions, when the people, dreaming about their food, the wheels of future riming albeit for a little while, but it's own master, at first had ruined and constructed after. Always with crazy inspiration leaning over backwards, constantly a bit akin to horse, that wishes greatest prizes win and be unchanging better among others in endless competition of the lives. O our deep age, in which my thought dives! O peoples, that to themselves are greatest bothers! |
Regards,
Valery Kourinsky
Theme 10 Theme 11 Theme 12
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