Purposes: This article is devoted to the study of realityн translation, the identification of the main types and difficulties of translation based on the material of literary works translated from Russian into Tatar. Implication/Application: Among the objective difficulties of the works of Russian writer translation into the Tatar language, one can note the mismatch of Russian and Tatar words or phrases expressing realities. It is especially difficult to translate those words and expressions that are close in meaning, but differ in "volume". Results:The authors show the dependence of translation strategy choice on external sociocultural and pragmatic factors. The study also found out what problems may arise during the transfer of realities in translation, and the main difficulties are highlighted that arise during the translation of realities, in particular, during the absence of an equivalent, correspondence or analogue in the translated language, the need to convey not only the meaning of reality but also its color.Novelty: In our work, the essence of the realities was determined, the main aspects of reality transfer during translation were analyzed, the types of correspondences by a value between the realities, which can be grouped into three main ones, are considered: full, partial correspondence and its absence.
This article is carried out in line with comparative studies and is devoted to the study of the specific language features of baptized Tatars and Karamanlid Turks. The need to study this topic is caused by increased attention to the Kryashen and Karamanlid dialects, their linguistic features and history. The objects of study were religious texts, textbooks and literary works in Kryashen and Karamanlid dialects. As the subject of the study, the language features of these texts were examined, as well as the history of the appearance of baptized Tatars and Karamanlid Turks. The scientific novelty of this work lies in the fact that the Kryashen and Karamanlid dialects were studied for the first time in a comparative aspect. The analysis was based on data from a continuous sample of explanatory, etymological, encyclopedic dictionaries of the Tatar, Turkish, and Ottoman-Turkish languages based on the following sources: religious texts, textbooks, and literary works. The theoretical basis of this study is the following main points: language and religion are interconnected and interdependent; phonetic and lexical features reflect the specifics of the language; sacred texts, textbooks and literary works make it possible to identify the history and origin of the people, the belonging of the language to certain language groups
The comparative study of the Tatar translation of the novel in verses "Eugene Onegin" by Alexander Sergeevich Pushkin and the original is performed in this scientific article in order to determine its artistic quality in the aspect of the lexical expressive means transfer of the original. The following methods and techniques were used in the work: comparative and hermeneutic method, etc. The study is based on the translation of Pushkin's novel, which was performed in the early 1950s, by Tatar poets Ahmet Iskhak, Ahmed Faizi and Shaykhi Mannur. In 1930s the novel was already magnificently translated by Fathi Burnash, but soon it was declared an "enemy of the people", and thus the regional committee of the party created a brigade of the best poets and ordered the translation to be published urgently. Based on the analysis of the novel in verse "Eugene Onegin" from the point of view of the lexical pictorial means of language use, we have discovered that Pushkin's language is full of rich imagery and a high degree of metaphorization and epithets. One of the most frequently used lexical stylistic devices in the novel in verse is metaphor and epithet. The author uses both simple and expanded metaphors. The latter can cover whole sentences or several sentences, forming the chain of metaphors for general semantics.
M.Ü. Türkiyat Araştırmaları Enstitüsü’nün Düzenlediği Türk-Rus Türkologlar Çalıştayı 3 Ocak 2019’da İstanbul (Türkiye)’da Gerçekleşti.
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