The article is devoted to the issue of word-formation motivation, which does not lose its relevance and plays a role not only in disclosing formal-semantic relations between words of one language and has not only theoretical, but also applied significance. The authors consider word-formation motivation consistently in its varieties in a comparative way on the materials of so different languages as Russian and Arabic and approach the mechanism of achieving semantic equivalence of translation. To the greatest extent, word-formation activity today, due to objective reasons, affects some special branch (technical, medical, etc.) vocabulary, which is increasing from year to year in national dictionaries. This extensive material, selected by the authors, not only illustrates the current trends in word formation in modern languages, but also provides an answer to the question about the degree of equivalence of this subgroup of words in Russian and Arabic. The goal to compare word-formation motivation according to a number of criteria in different-structured languages made possible not only to obtain theoretical information about what features each of the languages has in word formation and what derivational potential it has, but also to reveal an algorithm for translating derived words from one language to another. For this, the authors complete a number of such particular tasks as highlighting significant elements in the neologisms of the Russian and Arabic languages, establishing standards for the formation of scientific and terminological vocabulary in Arabic, searching for tools (transformation operations, specific word-formation formants) that will contribute to the achievement of translation equivalence from Russian to Arabic, etc. Also the analysis of differences in the mechanisms of the formation of new vocabulary in the Russian and Arabic languages provided an opportunity to supplement the relatively young and rapidly developing private methodology of Russian-Arabic translation.
The article is devoted to the development of literature and, in general, the verbal culture of Oman from the early Middle Ages to the present day. For both objective and subjective reasons, the Omani national literature has not yet become an object of research by domestic specialists. However, the strengthening of all-round relations, including cultural, between our countries and the recognition of contemporary Omani writers by the international literary community necessitates such a study. The goal of the article was to highlight the main features that were inherent in the verbal work of Oman for centuries and for a long time constituted its originality, before Omani writers began to rapidly adopt the main creative tendencies of Europe. For this, as the most famous material, the work of the founder of the school of Omani poetry, the poet of the early XX century, Abu Muslim al-Bahlyani, was analyzed. Also the attempt to outline the rapid changes that have taken place in the literary environment of Oman over the past half century, and to answer the question of what caused the interest in the literature of the Gulf today was made. As part of the work was considered the novel Celestial Bodies by Jokha al-Harti, who received an international prize in 2019 and who today presents the women's prose of Oman, which simply did not exist in the recent past. The main conclusions that researchers come to are that Omani literature for a long time practically did not experience changes in its hermetic environment and acquired distinctive features, even if we talk only about the framework of the Arab world. And then, with the beginning of the Omani Renaissance, it made a sharp leap forward and began to be of interest due to the combination of contemporary artistic techniques and national colour, as in the work of Jokha al-Harti, whose last novel has been translated into two dozen languages.
The article discusses the functional significance of such a graphic embodiment of the letter ta as ta-marbuta (ta-linked), which is not available in the Arabic alphabet. Traditionally included in Arabic studies in the phonetics-graphic section as a phenomenon specific to writing and reading rules, as well as a narrow grammar paragraph related to the female category indicator, ta-marbuta, as follows from the semantic comparison of the Arabic words selected by us, which in their own way morphological composition differ only in the presence of this affix, performs a more complex role in the language. The question is raised about the correctness of the name of ta-marbuta by letter (harf) or affix, the characteristics of which are inherent in it. The wide range of uses of ta-marbuta as a feminine affix, uniqueness affinity, substantiation, etc., as well as open and systematized semantic distinguishing shades of words with the same basis with ta-marbuta and without it, allow us to say that this affix has to be established as multifunctional and operates at various levels of the language - from morphology to semantics. Based on an analysis of the vast material, conclusions are drawn about the high productivity of ta-marbuta as an inflectional and word-formation formant, which allows transmitting a number of qualifying values, and not just a female affix. The lists of words that participate in word formation along with this affix are clarified - masdars of certain types of the verb, collective names, relative adjectives, less often high-quality adjectives, etc. All this ultimately speaks of the Arabic as a modern and developed language that can convey the most subtle semantic nuances, as well as having great potential for the formation of new lexical units.
Статья посвящена нелингвистическим вопросам перевода современной арабской литера-туры на русский язык и проблемам ее распространения в России, которые автор рассматри-вает на примере судьбы романов единственного арабоязычного нобелевского лауреата по ли-тературе Нагиба Махфуза. В рамках исследования проводится анализ эволюции творчества египетского писателя, подробно рассматриваются два его поздних романа, переведенные на русский язык -«Путешествие ибн Фаттумы» и «Торжество возвышенного». В работе демон-стрируется соответствие этих произведений европейским стандартам романа конца ХХ-го века и подчеркивается их космополитизм как черта позднего этапа творчества Н. Махфуза. При этом ставится вопрос, почему произведения арабских писателей, лишенные «местного колорита» и следующие современным тенденциям мировой литературы, остаются невостре-бованными со стороны издателей и читателей.Ключевые слова: современная арабская литература, арабо-русский перевод, Нагиб Махфуз, «Путешествие ибн Фаттумы», «Торжество возвышенного» Введение. Несмотря на давние и богатые литературные традиции Арабского Востока и большое количество выдающихся мастеров в области слова в арабских странах в Новейшее время (таких, как Таха Хусейн, Тауфик аль-Хаким, ат-Тайиб Салех, Ибрагим аль-Куни, Гада ас-Саман, Махмуд Теймур, Мухаммед Зефзаф и др.), египетский писатель Нагиб Махфуз в 1988 году первым и по-следним на сегодняшний день из представителей арабоязычной творческой эли-ты вошел в мировые анналы как нобелевский лауреат.Этот факт позволяет говорить о некоторой недооцененности потенциала со-временной арабской мысли и арабской художественной эстетики, что, на взгляд автора статьи, связано как с европоцентризмом литературного процесса в целом, оставляющим арабоязычный его сектор вне центра внимания, на суд исключи-тельно арабских читателей и узких заинтересованных специалистов, так и с та-кими объективными и практически непреодолимыми сплетениями причин и следствий, как малые объемы перевода с арабского на основные европейские языки, колоссальные лингвокультурологические сложности самого процесса перевода, снижающие достоинства переводимого произведения при его пере-ложении, неглубокая заинтересованность в познании современной арабской жиз-
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