Peculiarities of psycho-linguistic classification of translation

A General Interpreter performs his job in a consecutive mode. Under different circumstances, the interpreter can deliver the message either in oral or written form.  General Interpreting includes:-

Sight Interpreting;

Relay Interpreting;

Summary Interpreting;

When writ Sign Language interpreting is for any situation requiring communication between hearing and deaf persons. While simultaneous interpreting is relatively new with regard to spoken language interpretation, it is more or less traditional in signed language interpretation. The difference between signed language and spoken language interpreting underscores the fact that signed language interpreter often work between different modes. Spoken language interpreting involves the rendering of messages between two spoken languages. Signed language interpreting actually involves one signed and one spoken language. The circumstances faced by signed language interpreters are not only inter-lingual, but inter-modal as well. ing, interpretation of the original text submitted in writing to the FL and the translation is carried out orally to AEs. There are also two possible situations of translation: translation occurs simultaneously with the original reading to himself or transfer made after reading the entire text of the original or its reading. These kinds of writing-interpretation are called fact sheet and transfer to the transfer sheet with the preparation.

Oral translation - a translation of spoken text when the original is presented orally to the FL and the translation is carried out in writing to PO Box. By their very nature have very limited use (mostly in training).

Somewhat aloof in this classification is machine translation. Some investigators (Alekseev, 2004) attributed it to the kind of translation, since "as a result we get a written text». Currently we are working on an oral translation of text using a computer program.

Oral interpretation is one means of helping hearing-impaired speech readers in certain communication situations. This paper outlines the usefulness of oral interpretation and describes who can benefit from an oral interpreter, characteristics of an oral interpreter, alternatives to professional interpreters, methods of locating oral interpreters, and research needs in the field.

Any good translator should have:

1) Reading comprehension ability in a foreign language;

2) Knowledge of the subject;

3) Sensitivity to language, both mother tongue and foreign language

4) The so called “sixth sense”, which is a combination of intelligence, sensitivity and intuition (or common sense);

5) Competence to write in the target language (TL) clearly;

6) sound linguistic knowledge of both SL and the TL;

7) The “tools” for translation, i.e. should know the procedures (ways, means, devices, transformations, etc.).

However, neither knowing languages nor being efficiently bilingual is enough to become a translator. Many people believe and claim that knowing two or more languages is identical to knowing how to translate properly. We must banish this idea. Linguistic competence is a necessary condition, but not yet sufficient for the professional practice of translation.

It is a must to learn how to handle the “tools” for a good translating performance.

There is a methodology, which allows the development of an effective and efficient transfer process from one language to another.

Translation is a formal professional activity with a theoretical background. Students will get acquainted with the subject called “Translation Theory”. They will learn methods and procedures, the appropriate tools and strategies that will help them learn how to translate.

Translation is something you learn only by doing. Translation problems will be detected and analyzed.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Chapter II

2.1. Peculiarities of psycho-linguistic classification of translation.

 

As we know that psycho-linguistic classification of translation is divided into 2 main types: oral translation and written translation. But every type has subtype and some peculiarities. That we need to analyze every type. Start with the oral translation. Oral translation is not easy task, because the translator must to know the language very well. Let’s to translate the popular poem of Anna Akhmatova “Under the dark veil”, but we need to listen the original, so to correctly translate the poem.

 А. Фрейндлих читает стихи А. Ахматовой и Н. Гумилёва.

Анна Ахматова «Под темной вуалью»

“Сжала руки под темной вуалью…

«Отчего ты сегодня бледна?»

— Оттого что я терпкой печалью

Напоила его допьяна.

Как забуду? Он вышел, шатаясь,

Искривился мучительно рот…

Я сбежала, перил не касаясь,

Я сбежала за ним до ворот.

Задыхаясь, я крикнула: «Шутка

Все, что было. Уйдешь, я умру».

Улыбнулся спокойно и жутко

И сказал мне: «Не стой на ветру».”

This poem may to translate this way:

«Clenched my hands underneath a dark veil

 “Why do you look so pallid tonight?”

For I filled him with acrid travail

That induced inebriety blight.

How forget it? He exited swaying, 

His mouth warped as from torturous ache…

I ran down not touching the rails

And ran after him up to the gates.

Catching breath I called out: “It was whimsy

From the start. If you leave I will die.”

Smiled he, looking placid and dismal

 “Do not stand in the wind.” He replied.

We can listen the translated poem. »

This poem, which is truly a masterpiece of creativity Akhmatova, causing a complex range of feelings and want to read it again and again.

In the art system Akhmatova expertly selected item, a sign of the external environment is always full of great psychological content. Through the external behavior of man, his gesture of Akhmatova reveals the state of mind of his hero.

One of the most striking examples is a short poem. It was written in 1911 in Kiev.

Here is a question of the quarrel between the lovers. The poem is divided into two unequal parts. The first part (first stanza) – a dramatic intonation, putting into action (a question: ““Tell me, what your saddening care is?”). All the rest – the answer in the form of a passionate, all accelerating story, which reached its highest point (“If you go I shall die!’ He replied”), dramatically interrupted deliberately humdrum, prosaic insulting remark: “‘do not stand in the wind, go inside.’”

Confusion status of the heroes of this little drama is not transferred to a long explanation, and the particulars of their expressive behavior, “Out he walked, barely straight…”, “His lips twist”, “Clear of rails, I rushed down, all forsaking,” (transfer speed of a desperate race), “cried breathlessly,” “smile quietly, “and so on.

The drama of the provisions succinctly and accurately expressed in opposition to the hot impulse of the soul everyday deliberately, insultingly calm response.

For images of all this in prose, it would take probably an entire page. A poet, cost only twelve lines, passing them the depth of experiences of the characters.

We note in passing: the power of poetry – the short, the greatest economy of expressive means. To say a lot about a little – that’s one of the precepts of true art. And Akhmatova learned this from our classics in the first place in Pushkin, Baratynskii, Tyutchev, as well as with his contemporary countryman to «Tsarskoye Selo» Annenskii Innocent, a great master of the natural voice and aphoristic verse.

In the translation process, trying to keep the rhyme: veil-travail, tonight-blight etc. Searching for synonyms for the word “squeezed” in this translation is translated as “clenched”, which helps to preserve the rhyme.

In general, the translation of the poem is very difficult to do. It is necessary not only to convey the maximum aesthetic value but also desirable to rhyme, to show the reader all completely foreign. Let be difficult to translate, but very interesting.

 

 

 

 

 

 

 

 

 

 

 

 

2.2. Linguistic peculiarities of simultaneous translation

 

During the translation the simultaneous interpreter chooses equivalents on basis of:

- Common linguistic knowledge;

- Micro context;

- Common background information;

- Special information.

Here is the example of choosing the equivalents in translating the fragment of the report “Patents and other industrial property titles and their licensing.”

 “When technology is to be used in cooperation with a third party, whether in the form of a license, as it is the main aspect of this paper, or by merger or by taking capital investment of a third party into the company owning the technology, it is of tremendous importance to determine the value of patents and other intangible assets, in the following designated as intellectual property rights (IPR), belonging to the respective entity”.

Simultaneous translation of the fragment:

 “Когда технология применяется совместно с третьей стороной, либо в форме лицензии, как в этом докладе, либо путем слияния или же вложения капитала третьей стороны в фирму, владеющую технологией, чрезвычайно важно определить стоимость патентов и прочих нематериальных активов, что в дальнейшем мы будем называть Правами на интеллектуальную собственность, принадлежащими данному субъекту”.

 At first we should note that the interpreter didn’t choose the equivalents during the translation as he had chosen and remembered them earlier. These terms are “merger” – “слияние”, “intangible assets” – “нематериальные активы”, “entity” – “субъект (права)”.

At the same time there was a different interpretation and exchanging of some usual equivalents with those which do structurally and stylistically. They are “capital investment” – “инвестиция” was exchanged for “вложение капитала”, “in cooperation” – “в сотрудничестве” was exchanged for “совместно”.

There are main devices which were formed during the long development of oral translation and they are used in the work of simultaneous interpreter. They are speech compression, omission and addition of the material. During the oral translation from into English the compression is required when there are repetitions, words of little importance or when the speaker is too fast. In order not to be behind the speaker and not to miss important segments of his speech the interpreter has to choose between lexical and syntactical equivalents which must be compressed. E.g. “На международном, национальном и местном уровнях” can be translated as “on all levels” or “on several levels”.

The ability to abridge and to condense oral speech is one of the most important abilities in the art of simultaneous translation. But, in order not to misrepresent the speaker’s idea using short words or omitting unnecessary words he is forced to decide each time what is superfluous and should be omitted.

e.g. “Госсекретарь предложил созвать конференцию”

 “The secretary of state proposed a conference”

 “Просмотр состоится  22 сентября”

 “The showing is on September 22”

 “Это было опубликовано в газете Нью-Йорк Таймс”

 “This appeared in the New York Times”

Though during the translation from Russian into English the text is usually becomes shorter sometimes there are the opposite cases. It happens when the rules of English grammar and the structure of the language require addition of the article or when the complex type of tense is used. E.g. “We shall have been doing this”

The time is spending on the translation increases if the interpreter has to define more precisely or explain Russian realias.

e.g. “Днем они пошли с друзьями в ЗАГС, а вечером свадьбу справили в ресторане«Арбат»”

 “In the afternoon they went to sign the marriage registry, and in the evening they had a reception in the Arbat”

Metonymy and synecdoche, as the devices of simultaneous translation, are used for the specification of common idea and the generalization of typical or concrete occurrence. When there is no exact equivalent for a definite Russian notion or when the interpreter just didn’t here some word he is often saved from failure by the substitution of the general occurrence by the concrete one and vice versa.

e.g. “зелень” (Нужно добавить зелень в суп) – “parsley and other herbs”

 If the interpreter suddenly forgets the word or the idiom he can use some other synonym even less exact.

e.g. “семь пядей во лбу” –  (as wise as Solomon) – “He paid him a compliment”

Antonymous inversion is another very useful device which helps to avoid a word-for-word translation when it is necessary. The possibilities of antonymous usage are very wide but they are not boundless. Context always plays a decisive role especially by the inversion of idiomatic expression.

e.g. “не иметь себе равных”  – “to be second to none”

 “не придавать значения” – “to overlook”

 Grammatical inversion:

 “И в промышленной, и в  военном отношении, эти планы  нашей страны…”

 “Militarily and industrially, our country’s plans…”

 “Их было больше”

 “They prevailed”

 Syntactical inversion:

 “Они завоевали эту территорию”

 “This territory fell to them”

The search of semantic equivalents and avoidance of a word-for-word translation are two the most important way of translation into idiomatic English.

e.g. “глубоко убеждены”  – “firmly convinced”

“идти к кому-то на встречу”  – “to accommodate someone”

 “случайные люди  в политике” – “outsiders in politics”

 “белые пятна (в  наших знаниях)” – “gaps”

 What ever effective the devices of translation would be they don’t release the interpreter from the necessity to solve chief problem which consists in escaping over-literal rendering during the translation. They are highly dangerous to apply to specific notions and unique realias of Russian culture as they are lack of equivalents in English. The interpreter shouldn’t be limited by linguistics only in order to find better equivalents for such notions. He must study different spheres of human life in the country of the source language: its history, literature, psychology, etc. Only in this way there appears a possibility for the truth expert to fulfill the most difficult task – to interpret not just from one language into another language but from one culture into another.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

2.3. Peculiarities of written translation

 

Written translation is one of the main types of translation. There are three types of written translation:

1. Word Translation (literal or a subscript). Word translation means that the word translated in the order in which they appear in the text, and it does not take into account their logical and syntactical relationship. Typically, the text translated in this way, using a database for further translation work.

The literal translation is to be distinguished from the exact translation, since the exact translation involves achieving equivalence in the transfer of domain-logical content of the text. In literal translation have its supporters, who believe that the maximum preservation of the original source text is the most important task of the translator.  For example a supporter of a literal translation was V.Nabokov.

Vladimir Nabokov, Russian and an American writer, poet, translator, literary critic and entomologist. The writer was a master of three languages ​​from an early age. In his own words, he learned to read in English before in Russian. Also he translated from Russian into English many of the world works.

In the comments, contains examples of Nabokov's literal translation of the first lines of the first chapter of the novel "Eugene Onegin":

Мой дядя самых честных правил,

 Когда не в шутку занемог, 

 Он уважать себя заставил,

 И лучше выдумать не мог...

My uncle in the best tradition, 

By falling dangerously sick

Won universal recognition

And could devise no better trick... (1)

My uncle [is] of most honest rules

When not in jest [he] has been taken ill,

He to respect him has forced [one],

And better invent could not... (2)

My uncle has most honest principles:

When he was taken gravely he forced one to respect him

And nothing better could invent... (3)

The first example is a rather free translation, the second example is closer to plain prose, and the third translation Vladimir Nabokov called a literal. In this case we have an example of in distinction terms "literal" and "accurate" translation, since it is the second fragment is an example of a literal translation, according to the adopted in the work of translating an understanding of the term.

2. The literal translation. Using a literal translation, with the correct transmission of the translated text of thought, tend to reproduce the most loved syntax and vocabulary of the original. Of course, the literal translation is often violates the syntactic rules of the Russian language, but it helps to understand the structure of the text and used the first, rough translation stage. But already then, in the presence of structures that are alien to the Russian language, the literal translation should always be handled and replaced by a literary option.

V.N Commissarov believes that a free transfer can be considered adequate only if, when the "use it to solve a specific problem or provided a pragmatic high artistic merit transfer". But at the same time he points to cases where valid is a literal translation (e.g. in the preparation or interlinear glosses), and free transfer (for example, to maximize the artistic and aesthetic effect in the literary translation). Equivalence relation and relevance in every act of translation is determined by the choice of strategy, which makes the translator on the basis of several factors that make up the translation situation.

In certain cases, proper names can not be translated literally, for example with the transcription and transliteration. When a proper name are emotive component (language game, puns, allusions), you must resort to the free transfer.

As an example, translation of T. Stoppard play "Arcadia", performed by O. Varshaver. One of the heroes of the play is the name of Nightingale (English "Nightingale"), but, following a number of reasons incognito, he asked the hostess did not say his name, and she immediately invents it new - Peacock (born 'peacock') - also bird's something that conveys demeanor and appearance of the hero. The translator managed to avoid a literal translation. While maintaining the basic semantics and connotations, the translator also avoids the Russification of surnames, and in the Russian version of the names appear peacocks.

In some cases, the verbatim of the original can lead to ambiguity. For example, the Russian automobile brand name "Lada" had to be replaced on the Western market, "Lada", a collection of Rudyard Kipling called "Puch of Puck's Hill", which in the early Russian editions sounded like "Pak from the hills Puka "was later changed to" Pak with magical hills. »

Just as in the case of proper names, the translation of poetry can not be guided by the requirements of a literal translation. An illustration of this provision may serve as an example of translation of the same fragment, "Kubla Khan" ST Coleridge CR Balmont and B. Rogoff.