Some features of stylistic translation techniques

One of the most interesting aspects of the theory of translation is the problem of the transfer of stylistic techniques of the language. To date, this aspect has not been sufficiently developed and continues to attract the attention of theoretical researchers and practical linguists. The need to adequately convey the figurative information of a work of art is the main aspect for studying the translation of figurative means, recreating the stylistic effect of the original in translation. But first, you should decide on the essence of the definition of "translation". So, many linguists, depending on the subject of research, distinguish the following aspects:

- psychological translation studies (psychology of translation);

- literary translation studies (theory of artistic or literary translation);

- ethnographic translation studies;

- historical translation studies", etc.

N.F. Danovsky compares the art of translation with the art of war.  He presents the stylistic requirements of the work as strategic problems. You can take the word "poet" as an example. In the Russian language, this concept has many varieties, shades, synonyms: поэт – пиит – бард – вития – баян – менестрель – ашуг – акын – стихотворец – версификатор – сказитель – былинщик – скоморох – частушечник – рифмоплет – рифмач – стихоплет – виршеплет.

But in order for the translator to decide which of the synonyms he should use in this particular text, he needs to refer to the stylistic structure, to the stylistic features of the original of the entire work. Thus, the specialist has a great opportunity to select stylistic and rhetorical figures and tropes. It is the stylistic correspondence that will be the final criterion for the translator, which will help him in selecting the necessary vocabulary, grammatical forms and sentence structures.

A professional translator uses the methods of conveying some of the stylistic techniques used in the original in order to give the text more brightness and expressiveness. At all times, translators have faced a dilemma: either try to copy the technique of the original, or, if the former is impossible, create their own stylistic means in the translation, which has a similar emotional artistic effect. This principle is often referred to as the principle of stylistic compensation, about which K.I. Chukovsky said that it is not a metaphor that should be conveyed by metaphor, comparison by comparison, but a smile by a smile, a tear by a tear, etc. But novice "masters of the word" need to remember that it is not so much the form that is important, but the function of the stylistic device in the text. This means a certain freedom of action: grammatical means of expression can be transferred by lexical means and vice versa. By omitting a stylistic phenomenon that is not transferable into Russian, the translator will return the "debt" to the text, creating a different image in another place of the text-where it is most convenient – but with a similar stylistic orientation.

The desire of many translators to make the text "well and easily readable", unfortunately, in practice leads to the emergence of a dull-smooth "translation language". But, perhaps, what else is impossible? Is it possible to preserve the stylistic features of the original in translation? If the translation is ugly, rough, strange, and not smooth, readers will consider it bad, and the translator-clumsy. The fate of the translation and the reputation of the translator depend mainly on the reaction and opinions of the majority of readers. A variety of emotions from the read work can be both positive and negative. It turns out that to translate, in all trying to convey the features of the author's text (to the best of their understanding and within the limits of possible) – is not very successful. The translation does not exist, does not make sense outside the community of readers who can read it, evaluate it, use it-but the expectations of this community of readers, the requirements of this community for the style, phraseology, and vocabulary of the translation-these requirements inevitably force the translator to violate the author's intention again and again.

There are certain stylistic requirements that a translation must meet, i.e., normative rules that characterize texts of a similar type in the target language. These requirements include:

1. Semantic correspondence. Depending on the style and direction of the translation, the translator should always strive to ensure that the translated text reflects the true meaning of the original. Semantic correspondence includes stylistic accuracy, adequacy, and completeness.

2. Literacy. The main requirement is that the text should comply with the general norms of Russian and foreign languages. As a rule, it is assumed that there are no stylistic, grammatical and spelling errors.

3. Lexical and stylistic correspondence. It is assumed that the correct selection of equivalents of the original terms, search for analogs of abbreviations and abbreviations, correct transliteration. The general style of the translated text and the style of the original should not differ in perception. Technical translations are characterized by the accuracy of phrases, the absence of emotionally-colored words, the construction of simple sentences, and impersonality.

Translation, both oral and written, is a rather complex and multifaceted process. Translation is not just about replacing one language with another. Different cultures, personalities, levels of development, traditions, and attitudes collide in translation. The main task of the translator has always been and remains – to remember about all the difficulties of translation and try to express the author's idea as accurately as possible, while not forgetting to convey various author's artistic techniques. As already mentioned, the awareness of these difficulties is a step towards the success of the professional activity of the translator. The translator's confidence in his own abilities should not turn into self – confidence, and the existing knowledge should not turn into a frozen dogma that cannot be tested or improved. It is important to remember that translation is, first of all, a difficult, painstaking, responsible work that requires not only versatile knowledge and creative attitude, but also a great desire to convey the author's idea as clearly as possible. It should be noted that such a transfer is actually not feasible in full, and a literary translation will only be an attempt to reproduce by means of another language the entire set of techniques of the original, a kind of variation on the theme of the original.

Жанатаев Данат Жанатайұлы  Әл-Фараби атындағы Қазақ ұлттық университетінің профессоры, Болат Адия Ержанқызы Әл-Фараби атындағы Қазақ ұлттық университетінің магистранты

Әлеуметтік желілерде бөлісіңіз: