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"THE GREAT GATSBY": ANALYSIS OF THE TRANSLATION
Ghambaryan T. «ВЕЛИКИЙ ГЭТСБИ»: АНАЛИЗ ПЕРЕВОДА Гамбарян Т. Ш.
Гамбарян Татевик Шимшатовна / Ghambaryan Tatevik Shimshatovna—магистрант, филологический факультет, Институт межкультурной коммуникации и международных отношений Белгородский государственный университет, г. Белгород
Abstract: in this article our main purpose is to look through one of book's translation and try to find main translation problems and priorities, to understand how the translation and the original text are similar or different. We study the signification of some problems of translation through the analyses of the original text and the target text, the expression of main ways of characters' description and different fragments in English and their reflection in Russian. Our goal is also to consider three major themes of the novel and their presence in the translation.
Аннотация: в данной статье рассматриваются некоторые особенности перевода произведения Ф. С. Фицджеральда «Великий Гэтсби». Наша цель - выявление некоторых переводческих проблем с помощью анализа текста оригинала и текста перевода, выражение основных способов описания героев и различных фрагментов на английском языке и их отражение на русском, рассмотрение роли иронии и эпитетов в создании и описании личностей. А также нашей целью является рассмотрение трёх ведущих тем романа и их присутствие в переводе.
Keywords: idea, translation, nice, sentence. Ключевые слова: идея, перевод, предложение.
"The Great Gatsby" is a novel written by F. Scott Fitzgerald in 1925. It tells the story of young and mysterious millionaire Jay Gatsby and his passion and obsession for the beautiful Daisy Buchanan. The main aim of this article is to analyze the novel, its translation and try to find main differences and the way of their expression. For this reason we are going to use the method of analysis, synthesis method, comparison method.
In this article I would like to pay attention to the translation of this novel made by I. N. Mizinina «Великий Гэтсби». As a first step I would like to mark, that in the original novel we have 9 chapters, either in the translation. It means I. N. Mizinina tried to save original size and translate the novel without reduction or addition. The translator saves the main idea of the novel she translates, but at the same time she transmits all the emotions, feelings, hopes and fears of the characters. In this variant of translation we can mark many descriptive words which prefix the text in Russian-language very interesting and colorful. But I would like to mark some special aspects of translation, which I found in the original version and in the translation. If we consider a small part of the novel in Chapter 8 we can see the translation of the idea, not the sentence or the word. F. Scott Fitzgerald describes Daisy in such a way "She was the first "nice" girl he had ever known". In the translation we have a word «приличной» as a translation of nice [1]. If we consider only this sentence, we translate the word by its dictionary meaning: «хороший, приятный, милый, славный» and so on. All the meanings of this world can be in this sentence, but if we know the main idea of the sentence in original text and we understand, that such descriptive words are plying a certain role, we must give an appropriate translation of word, sentence and finally of idea. In such a way I. N. Mizinina found a good way to translate what F. S. Fitzgerald means.
F. S. Fitzgerald's use of irony and foreshadowing makes his writing so highly-rated. For the example we can examine the part when the author describes the scene outside the room where Gatsby and Daisy were sitting together. F.S. Fitzgerald describes, "Outside the wind was loud and there was a faint flow of thunder along the sound" [2]. The word thunder is added on purpose to foreshadow the unstable relationship between Daisy and Gatsby. It shows, that Gatsby and Daisy can be together only in their mind, never in real life. This thunder prevents the time of profound human changes and lets us see another world where people live hiding their emotions under the mask of smile. So we can conclude that F. S. Fitzgerald uses certain word to show the changeable reality where even in the air we can feel the excitement which is generated in the air.
In another case the translator devolves the idea of a sentence by dint of two sentences. This trick is popular in translation and very common. The author-translator uses such a way when there is need to
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mark something important or when it is need to fix the reader's attention on something special. In the original text the author describes Gatsby, his concept of life and his expectation from this life in such a way "He took what he could get, ravenously-eventually he took Daisy one still October night, took her because he had no real right to touch her hand" [2]. I. M. Mizinina transfers this idea by means of two sentences "Он брал все, что попадалось ему на пути, - грубо и без разбора. Вот так же однажды тихим октябрьским вечером он взял Дейзи, хотя знал, что не имеет право даже коснуться ее руки" [1]. I think I. N. Mizinina did it for two reasons. Foremost she marks the social status of this character. He had nothing at all but needed everything. As each of us, he wants a good life, a rich life, and he is ready to take every chance that life gives. In the second part we have the opinion of the author. Gatsby and Daisy are so different and so far from each other in all meanings, that he even hasn't real right to touch her hand. In the translation this idea transfers in a separate sentence which directs our attention to this fact and shows that Gatsby crossed all the lines.
I think one of the important moments is the translation of the party scenes. F. S. Fitzgerald describes magnificent parties with oceans of drinking, beautiful girls with an orchestra and other luxuries: "There were the same people, or at least the same sort of people, the same profusion of champagne, the same many-colored, many-keyed commotion, but I felt an unpleasantness in the air, a pervading harshness that hadn't been there before" [2]. I. N. Mizinina uses many translation tricks, such as antonymous translation, descriptive translation and division of a sentence and gives the exact picture of the author's imagination. In this case, the main problem, I think, is the conservation and reproduction of spirit, because it submits the kind of life and the kind of culture of that period in America. And by this way the translator shows the Golden youth's life, their main aims and interests.
As a conclusion I would like to mark that there are three main themes in this novel. They are time, perspective and mutability. The novels thematic structure falls into these categories and these three themes help us to understand the main idea of the novel, find main characteristics and their changes in the time period. And we can surely say that in the Russian translation we can see all the three themes.
Of course, there are other examples in a prose, that can also be discussed and they can raise up other translation problems, but I think, even this little part can show, that I.N. Mizinina could understand the problem of this novel and transmit it in her work.
And all these facts in this article show, that on the one hand we have another text we have a new literary text with a particular structure. But on the other hand we have a translation of a novel, where the translator-author saves shows in Russian all emotions of the characters, all their hopes and makes this novel more understandable for the Russian readers.
References
1. Mizinina I. M. Velikiy Gatsby. Пер. с англ. ЗАО Издательство Центрполиграф, 2013. 283 p.
2. FitzgeraldF. S. The Great Gatsby. КАРО, 2014. 256 p.
ОБРАЗОВАНИЕ СЛОВ ВО ФРАНЦУЗСКОМ МОЛОДЕЖНОМ
СЛЕНГЕ Копырулина О. И.
Копырулина Оксана Игоревна /Kopyrulina Oksana Igorevna — студент, кафедраромано-германского языкознания и зарубежной литературы,, Институт филологического образования и межкультурных коммуникаций Башкирский государственный педагогический университет им. М. Акмуллы, г. Уфа
Аннотация: в статье рассматриваются различные определения термина «сленг», приводимые в лингвистических словарях разными авторами, анализируется влияние лексики современной французской молодежи на развитие общенационального словарного состава языка, рассматриваются и исследуются наиболее продуктивные способы словообразования во французском молодежном сленге, такие как заимствования, конверсия, аббревиация и сокращение, приводятся их определения, а также примеры, иллюстрирующие данные способы словообразования.
Ключевые слова: язык, общенациональный словарный состав языка, сленг, французский молодежный сленг, способы словообразования, заимствования, конверсия, аббревиация, сокращения.
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