Формирование профессиональной компетенции переводчика

Государственное образовательное  учреждение высшего профессионального  образования

«Ярославский Государственный  Педагогический

Университет им. К.Д. Ушинского»

 

 

Учебная переводческая  практика студентов IV курса

факультета иностранных  языков

 

Тема учебной  практики:

Формирование  профессиональной компетенции переводчика

 

Специальность 031202 – «Перевод и переводоведение»

                          

 

                                                                                      

                           Карсанова Диана Казбековна

                           Воронцова Инна Алексеевна

             доцент, КФМ кафедры теории и практики перевода

 

 

 

 

Содержание

Overlooking Moments

Глоссарий……………………………………………………………... 3

Аналитическая записка (анализ текста)…………………………………………… 6

Текст оригинала ……………………………………………………………………………….. 7

Текст перевода…………………………………………………………………………………. 12

Таблица……………………………………………………………………………………………. 18

Аналитическая записка (процесс  и результаты)…………………… 31

Letter from Liberia

Глоссарий……………………………………………………………... 34

Аналитическая записка (анализ текста)…………………………………………… 35

Текст оригинала ……………………………………………………………………………….. 36

Текст перевода…………………………………………………………………………………. 12

Таблица…………………………………………………………………………………………….. 38

Аналитическая записка (процесс  и результаты)…………………… 40

Berlington/Yaroslavl Sister Cities Program

Глоссарий……………………………………………………………... 42

Аналитическая записка (анализ текста)…………………………………………… 43

Текст оригинала ……………………………………………………………………………….. 43

Текст перевода…………………………………………………………………………………. 48

Аналитическая записка (процесс  и результаты)…………………… 54

Cписок литературы……………………………………………………………………………..55

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Глоссарий

1. agility   быстрота, живость, ловкость, резвость

The gymnast won the gold medal because of her speed and agility.

2. angular   угловой, угловатый, неловкий, резкий

His face was rather angular in shape.

3. bar   тактовая черта

The song is 24 bars long.

4. beguiling   заманчивый, привлекательный, притягательный

I am not convinced despite your beguiling argument.

5. buoyant    бодрый, жизнерадостный, плавучий

But his liberating songs, full of buoyant triumph, are also imbued with a sense of loss

6. clarion call   фанфары, громкий призыв, боевой клич

If its chilling claims are even partly true, the report should be read as a clarion call to action.

7. to comp   аккомпанировать (обычно в джазе, живой музыке)

 I asked him to comp a singer on the piano.

8. to dabble   заниматься чем-л. непрофессионально, время от времени

She dabbled with acting when she was at the university

9. delineation   схема, набросок, проект, очерчивание 

But vivid delineation of characters and a compelling plot line are not this opera's strong points

10. double stops   прием игры двойными нотами на струнном инструменте

And in the 39th minute he excelled even himself with a fantastic double-stop.

11. drone   басовая трубка волынки (ее характерный звук)

His drone parts were perfect.

12. endeavor   попытка, старание; стремление

He said he would endeavor to improve his grades.

13. fodder   корм для скота, фураж, исходный материал

He had put aside a large quantity of fodder to feed his animals for   the winter.

14. freewheeling   свободный, раскованный

Idea generation should be a freewheeling, unconstrained, uncritical process

15. to germinate   давать почки или ростки, порождать

Seeds germinate in early spring in warmer climates, later in cooler areas.

16. leg up   подмога, фора

They're all looking for a leg up on their competition, whatever the cost.

17. neophyte    новичок, новообращенный

The new kid at chess club was a neophyte so we had to teach him.

18. Overtone   обертон, нотка, намек

The popular band's music had an overtone of jazz.

19. patchwork quilt   лоскутное одеяло

It was an amazing handmade patchwork quilt.

20. peer ровня, равный (по положению, способностям),ровесник, коллега

These children face the scorn of their peers.

21. to play in tune  играть чисто

He tries to play in tune not to make his teacher nervous.

22. precursor    предшественник, предтеча, предвестник

Uncontrolled high blood pressure is often a precursor to heart disease or stroke

23. pulse  пульс, биение, ритм, темп, разряд

The researchers then trained a laser at the right foot of each volunteer and fired tiny pulses.

24. sedate   спокойный, степенный, уравновешенный

One hundred and fifty years ago, the gold rushes had transformed Melbourne from a sedate town into a thriving city.

25. to spar    вести тренировочный бой , вести спарринг, спорить.

During the case, the judge directed lawyers not to spar with each other in court

26. spotlight   осветительный прожектор, центр внимания

Figure skating is back in the spotlight in our country.

27. uneven   неровный, негладкий; шероховатый

The overall credit recovery will likely be slow, shallow and uneven.

28. upbeat   радостный, оптимистичный

Or you may feel guilty for not acting upbeat or cheerful.

29. vamp   импровизированный аккомпанемент

Not every musician can make a good vamp.

 

 

 

 

 

    

 

 

 

 

 

Аналитическая записка (предпереводческий анализ текста)

Авторство данного текста индивидуально. Он был создан в 2012 году, музыкальным журналистом Эндрю Хованом, автором множества популярных статей о современной джазовой музыке.

Источник текста неизвестен. Текст предназначен для широкой аудитории в возрасте примерно от 17 лет и старше. Особенно интересен он будет людям увлекающимся джазовой музыкой.

Преобладающим типом информации в этом тексте является эмоциональная информация. Она передается посредством эмоционально оценочной лексики (always exciting Chris Potter , delivered an unusual and freewheeling package, special chemistry between us , with grace and agility and etc.)  Также в тексте, в достаточно большом количестве, представлена когнитивная информация, а именно здесь присутствуют  сведения о музыкантах, факты из их биографии , факты из истории джазовой музыки, также присутствуют музыкальные термины ( double stops, lines, harmony, bass section, comp, overtone and etc.) В плане грамматики преобладают сложные полносоставные предложения, также достаточно часто встречаются простые предложения осложненные причастными и деепричастными оборотами и предложения содержащие прямую речь.

На мой взгляд данный текст относится к публицистическому стилю , а жанр данной статьи ближе к рецензии.

 

 

 

Overlooking Moments

Chris Potter, Scott Colley, Eric Harland

As a highly prolific member of the Criss Cross family, trumpeter Alex Sipiagin needs little in the way of introductions save for those neophytes just now discovering his talents. The Russian native has been staking his claim on the jazz scene since making New York City his home in 1991. Over the years, his resume has blossomed to include time spent with the Mingus Big Band and other large ensembles led by Gil Evans, George Gruntz, Gil Goldstein, and Dave Holland. Sipiagin has also logged in nine releases as a leader for Criss Cross over the span of 12 years. Furthermore, he is a vital member of the all-star collective Opus Five, that group’s most recent effort being the critically acclaimed Pentasonic (Criss 1351).

For his latest offering, Sipiagin has delivered an unusual and freewheeling package, a quartet date sans piano or guitar. It’s a format that certainly has its roots in the jazz pantheon, but which is not as common as one might think. In fact, it seems that most of the precursors to Sipiagin’s efforts come from the avant garde explorationsof the 60s. Charles Mingus’s October 1960 session for Candid featuring Ted Curson,Eric Dolphy and Dannie Richmond immediately comes to mind, as do the early sides of Ornette Coleman.

Fast forward a few years and you get Don Cherry’s Blue Note albums Complete Communion and Where Is Brooklyn?,both quartet dates that find the trumpeter sparring with Gato Barbieri and Pharoah Sanders respectively.

Overlooking Moments

Whether or not any or all of these recordings had a direct impact on Sipiagin’s endeavor is hard to say, however it seems that the idea for the album at hand has been germinating for quite some time. “I always wanted to record an album without piano or guitar because I listened to a lot of similar recordings in the past and was always fascinated with how you could write lines and still hear the harmony. But when I wrote the songs, I wrote without the chords.” Shedding more light on his composing methods, Sipiagin adds, “I approached writing this group differently by trying to spread the harmony between the bass, trumpet and saxophone. I also tried to make the songs simpler harmonically. When I write, I’m writing for certain players, knowing how it’s going to sound and how the guys are probably going to develop the song.”

In fact, Sipiagin places a lot of emphasis on shared communication among his peers and the success of his own recording projects depends on such a modus operandi, as the trumpeter’s music is often challenging and demanding. “The only way to make these types of records is to know the musicians and that they’ll be playing it the way you want it and maybe even develop it further,” says Alex. “Of course, I sent everyone the music in advance and we did one rehearsal before the date. But knowing each musician’s style, playing with them in many situations, and writing specifically for them, makes it feel like we’ve been playing this music for a long time.”

An integral member of Sipiagin’s inner circle since his 2000 debut, Steppin’ Zone (Criss 1202), the always exciting Chris Potter fills out the front line on saxophones. Having appeared on five of the trumpeter’s previous nine Criss Cross sides gives him a leg up on the competition. Of course, he’s dabbled in this kind of setup before, most notably appearing on Ryan Kisor’s quartet session Power Source (Criss 1196). “I love Chris’s flexibility and we’ve developed a special chemistry between the two of us,” explains Sipiagin. “For my tastes, he can not only feel the music you write, but he can extend it and add further new ideas during the recording. He surprises everyone and at the same time makes you feel comfortable when you stand next to him.” Alex boasts comparable strong ties with his rhythm section partners, bassist Scott Colley and drummer Eric Harland. Both men share enviably positions as icons of the modern era. “I have a long history with Scott,” says Sipiagin. “I started playing with him around 1994 at Sweet Basil with Gil Goldstein’s Zebra Coast Orchestra. He’s definitely one of my favorite bassists and he can play perfectly in tune, which is very important for this type of project.” As for Harland, Alex calls him “one of the most musical drummers around.” “His way of playing drums is almost like playing piano or any other harmonic instrument. I can almost hear the notes and chords when he plays the drums. We shared the stage as part of Dave Holland’s Sextet for a while. That’s when I really learned his style and the way he comps during solos is amazing.” Responsible for the quartet’s musical fodder, Sipiagin suggests that each piece is tied to a particular life experience that holds special meaning. “Every song on this project represents to me some moment that holds a positive memory from my travels or in my life. For example, one of the songs came to me during a trip to Japan with the Mingus Big Band. On one of the mornings, I was looking out my hotel room window from the 43rd floor. Overlooking a large portion of Tokyo, a lot of thoughts and positive memories came to me. Similar moments came to me in Taiwan and Korea during this same tour in a way that was related to how I feel about Japan.” One of the tunes that came about during Sipiagin’s Korean trip with the Mingus Big Band is Expectation. “I guess it’s like when you’re expecting something good to happen, like anticipation,” Alex says. “Tunes like this usually come out while I’m practicing my trumpet. I remember during this trip I practiced together with Avishai Cohen almost every day. One day I got inspired and this tune just came out.” This upbeat opener not only serves as a fine introduction to Sipiagin and Potter’s clarion call, but also gives us a taste of Harland’s musical gifts as an improviser. Colley opens Cho Tofu with a strong vamp in 7/4 that then gives way to an angular melody line and one of Sipiagin’s characteristically fluid solos. Colley then takes the lead with Hollandesque overtones. “Obviously this tune was influenced by playing with Dave Holland, although I wrote it without thinking about it,” states Alex. “It just came out this way.” Pointing out the title’s delineation, he adds, “Cho Tofu in Taiwan is a stinky tofu dish which I’ve discovered I really like.”

The first of two Scott Colley originals penned especially for this session, Chronicle builds its melody over the bassist’s double stops. It’s worth noting here the organic approach the quartet takes to the material. There’s a pulse present, but one is not too sure of the implied meter, as Harland adds layer upon layer of complexity to this musical patchwork quilt. Potter is the main soloist and he makes the most of his time in the spotlight. Once, Colley’s other contribution, begins as a medium tempo walker, but then quickly develops a taste for free improvisation. With grace and agility, Harland and the horns weave in and out of traffic, metaphorically speaking. With his saxophone style being so full of rich complexities and varied textures, it’s interesting to consider that Mississippi Waltz, Potter’s contribution to the album, is rather on the sedate side. Nonetheless, it still holds great charm and provides the needed contrast from the other selections. “So many of the other tunes involved things like odd meters, uneven phrase lengths, and other complications so this tune is more traditional,” says Sipiagin. “At the same time, it also has some tricky moments.” Ushered in by Colley’s drone bass line, Flash is another relatively orthodox piece built on eight bar phrases. A sagacious shift in tempo heralds Potter’s bristling solo. “This one was written a while ago and I actually recorded it before with a larger ensemble on one of my other projects,” notes Sipiagin. “I always wondered how it would sound with a smaller set up. It was, as I expected, completely different and I really like the way it came out.”

First Step fits the bill as the session’s only ballad. It’s a gentle line written by Monday Michiru, a multitalented artist who has developed her own hybrid of musical genres with an international appeal and just so happens to be the daughter of jazz luminaries Charlie Mariano and Toshiko Akiyoshi. She is also Sipiagin’s wife and this piece is dedicated to their son, Nikita. “I simply love the melody and have always wanted to play such a simple melody with such great musicians.”

The buoyant Savoir acts as the closing flag waver on a diverse set of tunes that, likea good meal, satisfies through the use of different colors, flavors, and textures. It does so, like the other tunes, by turning the lack of a chording instrument into an asset rather than a liability. The fact that one indeed does not miss the piano or guitar is a testament to the fact that these four men have so much to say and their message is intoxicating and beguiling regardless of format.

It’s a message too that seems to be speaking to a larger audience these days, with Sipiagin taking 5th place in the recent Down Beat Critic’s Poll for trumpet star deserving of wider recognition. Add to that the fact that the end of 2012 saw

Destinations Unknown (Criss 1336) taking 25th place in the same magazine’s readers poll as jazz album of the year and you get the idea that Sipigin’s star is on the rise. Or another way to look at it is that it all adds up to even more fine moments to savor.

C. Andrew Hovan

December, 2012

 

 

 

 

 

 

 

 

 

Overlooking moments

Крис Поттер, Скотт Колли, Эрик Харланд

Будучи одним из успешнейших  исполнителей сотрудничающих со знаменитой студией звукозаписи Criss-Cross, трубач Александр Сипягин не нуждается в представлении среди ценителей хорошей музыки. Но есть и те кто только начинает открывать для себя его талант. В 1991 году Александр переехал из России  в Америку, где он и начал покорять мировую джазовую сцену. За несколько лет он добился значительных успехов, включая работу в Mingus Big Band и других крупных   ансамблях под руководством Гила Эванса, Джорджа Грунтца, Гила Голдштейна и Дэйва Холланда. Также за 12 лет Алексей поучаствовал в девяти записях для Criss-Cross в роли солиста. Кроме того он является действующим участником знаменитого квинтета Opus 5, их последняя работа, альбом  Pentasonic, был высоко оценен критиками.