The article deals with the definition of the concept of coloring, as well as the significance of its role in cultural-oriented units-the realities and ways of their translation. The study was conducted on the basis of the small genres of Kazakh fiction at the end of the 20th and beginning of the 21st centuries, short stories by Dukenbai Doszhan "Kelinshek Asuy", "Shortanbai", "Kukpar" and their translations into Russian, performed by the native speakers of the translation language "The Pass of a Young Woman" translated by I. Ukhanov, "Shortanbay" and "Kokpar" translated by Z. Nikolaeva. The main research methods were the analytical method and comparative analysis of translations with original prose from Kazakh into Russian. As a result of the research, various definitions of the concept of color were analyzed with the purpose of identifying elements characteristic of the term "realia" ("reality"), and a special role of color in revealing connotative features of realities and, accordingly, methods of transforming such units in the process of artistic translation. The main results of the research presented in the article provide an opportunity to find out how the typical tasks of the artistic translation of the Kazakh realities are implemented to recreate the specific national and cultural background of the Kazakh language picture of the world.
This article discussed the specifics of the translation of comparative constructions in literature from Tatar into Russian. It also suggested methods for the full-fledged translation of such constructions according to semantics and functional features of conjunctions. Postpositions were the main method to represent comparative constructions in simple and complex sentences in Tatar. Conjunctions, the instrumental case of the noun and other means, could further express the meanings of such postpositions when translated into Russian. The analysis of translation of comparative constructions helped to identify the integral and the differential in the semantics and functioning of the conjunctions, which not only connected the components of the comparative constructions, but also created imagery. Using comparative constructions, writers and translators could refer both to the general concepts inherent in their native culture, and to their personal worldview. This seemed possible only with a preliminary comparative analysis of the semantics and the structure of lexical units. Analyzing the translations of literary texts, some functional and semantic correspondences were revealed: comparative postpositions such as kebek, syman, kuk, etc. and Russian comparative conjunctions such as As if for sure, etc. (Eng. like, as if, kind of); relative pair words in Tatar and correlative pairs in Russian; affixes of adverbs such as -cha/-che, -day/-dey in Tatar and the instrumental case of the noun in Russian.
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