Interpretative position of translator as a course of variety of translation

· Prestige is receiving or transmitting culture and their language . In the Middle Ages the audience preferred to read the texts, including translations into Latin, as this language is dominant in the whole of Europe, and knew most of his reading audience. Prestige original culture often determines the position of the translator: the texts of the prestigious culture interpreters treated with more respect than the texts of the few prestigious cultures.

Text that is central to their culture, not necessarily take the same position in the host culture. Popularity of the translated text in the host culture may be more or less than the original popularity in transmitting culture. If the interpreter to "improve" the original text, the author of the original may become more popular in the host culture than in the transmission [Kuhiwczak 2003: 120]. Some authors consider that n erevodchik entitled to correct the "flaws" of the original in different spheres (poetic, style, etc.) [Weston 2003: 148]. In a culture that has low prestige, contributions from more prestigious culture is more likely to adapt.

Translation position determining variability translation, often leading to significant changes meaningfulness translation with respect to the original, with translations sometimes diverge so that they are difficult to correlate with each other and with the original.

HG Gadamer also treats translation as a dialogue, stressing that the translator must endure to be understanding of the meaning in the context in which the participant lives conversation [Gadamer 1988: 147]. When this translation is understood not simply as a repetition of the process of creation, but as an interpretation. The text appears as an attempt to present something in a new light [Gadamer 1988: 149].

As a rule, because of the complexity of tasks translator takes longer a one second positions and activities, since each of the positions leads to the solution of their problems and to different results in the translation. O n acts as both the sender and the recipient, combines these two roles simultaneously [Koster 2002: 28]. Thus, the position of the recipient translator combines the original text, the translator and the recipient translate, secondary reflection on the translated text. In turn, each of these products involves a host of other, and above all positions understanding or thought-activity products translator [Zakharova 2002: 112], which are embodied in various embodiments, the translation of the same text.

Thus, in our view, review and analyze different translations of the same text should be in terms of having them in the translation products. Translation quality should be evaluated in relation to the position it with which suitable translator to translate. However, in the works of foreign and domestic scientists question of translation positions remains unexplored and the term "translational position" is not entered. Although some scholars: B. Hohel [Hohel 1988] and Popovich [Popovic 1980] considered some changes in translation relative to the original (exoticization, naturalization, historicization, etc.), but they treated them as "local" changes unique to the specific texts, and not applicable to the translation of literary texts at all. We introduce the term translation position that occur when translating kulturoznachimyh literary texts, which were subjected to repeated transfer.

It should be noted that, in our opinion, the term "translational position" means a method for implementing the translation process in all its aspects, and depending on whether conscious or specified by the customer install an interpreter.

By translating your conscious we understand the customer or from are preset translation translator installation to create a translated to a greater or lesser extent corresponding to the original.

Under variability understood parallel coexistence of several different translations of the same text made from the perspective of different translation positions.

In this paper, we create our own typology of translation products , the typological character of its due to the fact that its foundation is laid the essential criterion for characterizing any translation - translation orientation to "embed" a culture of translation and whether the transmission of cultural characteristics of the original, ie, on the one hand focus on transmitting culture, or on the other hand focus on the original. Accordingly, in the science of translation varies two global trends translation or translation perspectives: focus mainly on the original text (retrospective) and the orientation of the host culture [Koster 2002: 27]. In pa bots B. Hohela and A. Popovic these extreme points are called "naturalization" and "exoticization" translation, where they act as a purely local characteristic of the lexical content translation: take into account the realities of their transmission, etc. Us "naturalization" and "exoticization" regarded as positions, defining the nature of translation, and the basis for further typology. Translation of these trends, and follow all other translation positions that are located inside each of them. Us in the following translation ydelyayutsya position:

1. Orientation to transmit culture (the orientation of the original, source culture). It is the orientation of the original culture says F. Schleiermacher [Schleiermacher 1813/1992: 42], assuming that the translations from different languages to be different: translation from German to sound like a translation from German - it enriches the host culture "German content". Here we highlight the following:

1.1. n ozitsiya exoticization;

1.2. and storiziruyuschaya position (position historization), ie translation is "now" as "then", intends structed archaization old texts;

2. Orientation to the host culture (target culture):

2.1. position of modernization - the translation of texts of another era "as it is now," modernizing the text;

2.2. ideological position, that is, changes related to political, religious, etc. oh conjunctures;

2.3. n ozitsiya naturalization, ie Removing features of the original, "protrusion" of his, rewriting terms of norms of the host culture (ballad translated epics a);

2.4. and daptatsionnaya position:

2.4.1. poetic translation position;

2.5. n ozitsiya semantic deviation:

2.5.1. build meaning;

2.5.2. adding new meanings;

2.5.3. romanticizing translation (rewriting);

2.5.4. mimicking e in translation (rewriting).

This classification can be summarized in the following table:

Interpreting trends	Orientation to transmit culture	Orientation to the host culture
Translation position	Position exoticization	Position modernization
		Ideological position
	Position historization	Position naturalization
		Adaptive position: a) poetichecheskaya position
		Position semantic deviation: a) To increase sense; b) adding new meanings; c) I romanticizing translation; d) e mimicking translated

Consider the data translation position in more detail and illustrate their various examples translation of literary texts, translation performed with various positions. vast majority of items associated with the orientation of the receiving culture, because culture predominantly "tend to take someone else as his" making it very fact of its culture.

2.3 Positions associated with the orientation of the transmitting transfer culture

B. X Ohel, A.Popovich, AV Fedorov say about exoticization , Kotor should be considered as th Translation th th positions , and because it is associated with conscious and installing an interpreter for the translation view so that it felt it "inokulturny origin ": a kind of" foreign accent. " Exotics zatsiey is called a singularity, not a traditional thematic, linguistic, stylistic elements of the original transferred to the translation. It is an election elements typical of the original culture and unknown, unusual in the culture to which the transfer. The ratio of the cultural context of the author and translator is recognized as the opposition "his-alien", which is implemented in the translation process, depending on the setting of an interpreter in the form of approximation to the original or estrangement from him ( exoticization-naturalization ) [Popovic 1980: 196].

In this case, the translator conveys a national coloring in the translation of the original. The closer the product in its category to national life, to life, and in its style - to folklore, the more evident the national coloring. In this translation task becomes more difficult as the national coloring is perceived as something familiar, native only to those for whom this is their native language, but readers perceive culture [Fedorov, 1958: 321]. Thus, it is evident that to a large extent determined by the translational position of the text and its type.

This position becomes the greatest significance in the present time, when the formation of cultures actually completed, and is interested in culture to learn from "foreign" text as "alien", not adapting it to their own culture.

As an example exoticization consider when translating translation Rudyard Kipling poem «The Gipsy Trail» (V. Dymshits translator). The word «patteran» V. Dymshits translates transliteration. Since it is not clear to the reader comments Russian explains: "pateran - signs, tufts of grass or leaves, which Gypsies celebrate their way." Such ekzotizmy make translation difficult to accept the host culture readers. Compare this with the translation became the classic "So for the next star of the nomadic Gypsy" (G. circles). Translated by G. Kruzhkov avoids exoticism, therefore, the word «patteran» he translates as "nomadic gypsy star."

Follow the Romany patteran North where the blue bergs sail. Follow the R omany patteran Sheer to the Austral light Where the besom of God is the wild South wind Sweeping the sea floors white	Translated by Dymshitz Let leads you through the world -sign pateran To the North, to the floating ice Let leads you through the world -sign pateran Heading South flashes Where the Lord's broom sweeps clean seas Wild southern blizzard.	Translation by Kruzhkova So go ahead! - For nomadic gypsy star - By blue icebergs Icy seas. So go ahead! - For nomadic gypsy star - Before roaring southern latitudes Where a fierce storm, as God's broom Ocean sweeps dust.

As another case exoticization in translation can be considered a literal translation of the prose poem Goethe «Erlkцnig», made M.Tsvetaeva (see Appendix).

B. Hohel, A Popovic and AV Fedorov isolated historicization (in our typology and storiziruyusch th numeral I ). And storizatsiey called e t th Themed smiling and language processing and th regarding termination th smiling all the translated text or part thereof, arising of semantic and stylistic code of the original author. Translator thus strives to adhere to the true copyright code (poetics) [Popovic 1980: 191]. AV Fedorov believes that, if the interpreter is not suited to the translation of texts written in a different era, from a position of historicization and specific uses, modern elements of speech (eg, words denoting the realities of our time and life), it is inevitable contradiction of time and setting action carries it nowadays, in our everyday life, the reader imposes Association, views that do not agree with any script, nor with the text translation [Fedorov, 1958: 329].

An example of translational position historization the translation feature, kulturoznachimyh texts can serve as a translation of Hamlet's famous soliloquy «To Be or not To Be», Boyko made in 2004. And the second does not translate your modern and deliberately arhaizuet it through the use of obsolete words, which usually refer to poetizatsii and elevated vocabulary.

Boyko approach to translation of Hamlet's monologue, which was repeatedly transferred and is still being translated into Russian, with historicizing position , so the translation, written in our days, deliberately stylized "antique". The purpose of the translator - translate so that the text written in our days, contemporary author, sounded as if it was written, though, and in Russian, but in the age of Shakespeare.

To achieve this effect, the author uses an archaic, obsolete words with corresponding labels in the dictionary: "sling" ( obsolete ). "flesh" ( obsolete ). "dream" ( Book ). "surging Dreams" ( Book ). , "death ( high .) sleep "," vanity "( obsolete ). "vanity ( obsolete ). mundane ( Book ). "," in the sweat and groan ( high ). "," ascend "( Book .) "pale shadow" ( obsolete ). "welcome" ( obsolete .) "rest" ( obsolete .) "times" ( obsolete ). "flour" ( obsolete ). (we isolated them in translation in italics) . Famous line «to be or not to be»

Бойко, 2004 г. Жизнь или смерть - ребром стоит вопрос: Как лучше по уму - перетерпеть Пращи и стрелы яростной судьбы Или вооружиться против бед И побороть их. Умереть, заснуть - Не более; и сном преодолеть Боль в сердце, тысячу родных ударов, Наследуемых плотью; вот финал Вполне желанный. Умереть, заснуть - Заснуть, быть может - грезить. Эй, постой В том смертном сне нахлынувшие грезы, Когда мы сбросим суету мирскую, Должны нам передышку дать; итак, Вот почему столь долговечно горе: Кто ж выдержит бичи и спесь времен, Тирана злобу, гордеца презренье, Тщету любви, медлительность закона, Надменность власти и пинки, что терпит Приличный человек от недостойных, Когда бы сам кинжалом обнаженным Мог свой покой добыть? Кто скорбный скарб Всю жизнь таскать в поту и стоне станет? И только страх чего-то после смерти В стране неведомой, из чьих пределов Никто не возвращался, гасит волю: Уж лучше здесь опять страдать привычно, Чем к неизвестным мукам вознестись. Так совесть наша переходит в трусость, Решимости румянец прирожденный, Покрывшись бледной тенью мысли, чахнет, А дерзкие и громкие затеи Вдруг начинают течь куда-то вбок, Теряя облик действий. - Впрочем, тише... Прекрасная Офелия... В молитвах Помянешь, нимфа, все мои грехи. (http:// www. stihi.ru)	W. Shakespear To be, or not to be, that is the question: Whether 'tis nobler in the mind to suffer The slings and of outrageous fortune, Or to take arms against a sea of troubles, And by opposing, end them. To die, to sleep - No more, and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to; 'tis a consummation Devoutly to be wish'd. To die, to sleep - To sleep, perchance to dream - ay, there's the rub, For in that sleep of death what dreams may come, When we have shuffled off this mortal coil, Must give us pause; there's the respect That makes calamity of so long life: For who would bear the whips and scorns of time, Th' oppressor's wrong, the proud man's contumely, The pangs of despis'd love, the law's delay, The insolence of office, and the spurns That patient merit of th' unworthy takes, When he himself might his quietus make With a bare bodkin; who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscover'd country, from whose bourn No traveller returns, puzzles the will, And makes us rather bear those ills we have, Than fly to others that we know not of? Thus conscience does make cowards [of us all], And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pitch and moment With this regard their currents turn awry, And lose the name of action. - Soft you now, The fair Ophelia. Nymph, in thy orisons Be all my sins rememb'red.

As another example, the historicization of the translated text can be considered a translation of the 66th sonnet by William Shakespeare, performed Rumer O. (1947) - see Appendix.

2.4 Positions associated with the orientation of the translation on the host culture

Translated there historization opposite principle clearly expressed language of modernization of the original text, the introduction to the translation of specific modern words, giving it the character of our contemporary text. A similar principle is responsible trends as close as possible to the target text to the modern reader [Fedorov, 1971: 146], ie, eventually approaching a translator to its host culture and contributes to the translation changes according to this principle.

Reader translation of any work relating to the more or less distant past, should receive from him the same experience that could get from his original readers in their native language, its modern creation. Thus, if in the original language has features that subsequently became archaic, but are not such in writing works, then play them in a translation from another language using elements carrying coloring "old", it would be wrong. AV Fedorov calls this functional-historical principle, and in our terminology is the position of modernization .

As an example, the modernization of the translated text can be considered a translation of the 66th sonnet by William Shakespeare, performed Boris Pasternak (1940). This sonnet, like most other kulturoznachimyh texts repeatedly translated and is still being translated into Russian: N. Herbel (1880), F. Czerwinski (1904), Moscow Tchaikovsky (1914), B. Pasternak (1940), O. Rumer (1947), A. Vasilchikova B. Kouchner Dudin and other translations. B. Pasternak comes to translating a sonnet with the position of modernization .

66 сонет В. Шекспира	Перевод Б. Пастернака (1940 г.)
Tired with all these, for restful death I cry, As, to behold Desert a beggar born, And needy Nothing trimm'd in jollity, And purest Faith unhappily forsworn, And gilded Honour shamefully misplaced, And maiden Virtue rudely strumpeted, And right Perfection wrongly disgraced, And Strength by limping Sway disabled. And Art made tongue-tied by Authority, And Folly doctor-like controlling Skill, And simple Truth miscall'd Simplicity, And captive Good attending captain Ill. Tired with all these, from these would I be gone, Save that, to die, I leave my love alone. [Цит. по Белякова 2003: 40].	Измучась всем, я умереть хочу. Тоска смотреть, как мается бедняк, И как шутя живется богачу, И доверять, и попадать впросак, И наблюдать, как наглость лезет в свет, И честь девичья катится ко дну, И знать, что ходу совершенствам нет, И видеть мощь у немощи в плену, И вспоминать, что мысли заткнут рот, И разум сносит глупости хулу, И прямодушье простотой слывет, И доброта прислуживает злу. Измучась всем, не стал бы жить и дня, Да другу будет трудно без меня. [Цит. по Белякова 2003: 42].

The purpose of the translator - translate and thus to translate sounded as if the original was written by the "here and now", in the modern era, contemporary author. Translator deliberately makes your text more understandable to readers osovremenivaya it. Therefore Pasternak does not use obsolete words (as in the original or in translation O. Rumer adapted historization position), and modern, colloquial words with corresponding labels in the dictionary: "anguish" ( Accel .) "Toil" ( simple .) "Joking" ( Accel .) "Goofs" ( Accel .) "Go into the light" ( Accel .) "Roll to the bottom" ( Perrin., Accel .) "No go" ( Accel .) "Pass for" ( Accel .) "Gag" ( Perrin ., Accel .) "Straightforward" ( Accel .).

Translators in some degree adapt original texts and manipulate them, mainly to these texts fit into the dominant ideological or poetic flow era [Lefevere 1992: 8]. The writer is often in opposition to the dominant ideology in the culture of translation, the translator therefore need to adapt the product within the dominant ideology and to make certain changes his translation.

We also have Russian poet and translator of the XIX century. You can watch smoothing, softening sharp features original, associated with more advanced ideology and aesthetics of the original author and not peculiar to the interpreter. VAZhukovsky first made a very loose remake Burger ballad "Lenore" (under the title "A yudmila"), and many years later VAZhukovsky wrote the second translation, which weakened and softened "blasphemous" speech heroine and smoothed Dictionary, too rough in his eyes [Fedorov 198 8: 138]. example of this position can serve as a translation excerpt from a poem by Rabindranath Tagore from his anthology Gitanjali («Song"), for which the author won the Nobel Prize, as well as his own translation of the poem into English (see Appendix).

Another example of translation, in which changes are made on the basis of ideological position , already in domestic practice can serve as a translation free translation ballads Robert Southey "Berkeley Hundred Rukh", made VA Zhukovsky in 1814 Ballad was banned by the censor in 1815 In the mid-1820s. VAZhukovsky new attempt to print a ballad (now called "The Witch"). In this regard, the censor made him the following note: "The Ballad of" old lady ", now called naya" Witch ", subject to all prohibitions scheniyu as a play in which the devil triumphs over the church, above God" [English poetry ... 2000: 350]. To publish a ballad, VA Zhukovsky had radically rework 41-42-th stanza, where it was the appearance of the church of Satan. Approaching translation from ideological position as censorship forbade him disagreement with the Orthodox in TSerk about yu, VA Zhukovsky fulfilled another translation, published in 1849 In this translation Satan "dared to enter into the temple of God" and "waiting before the door" in contrast to the first translation, in which he enters the temple, and the temple into a "fiery furnace." Thus, in the second translation of the original version appears opposite sense: the victory of the church over the devil. In the original version, as well as in the original, laid the opposite meaning: the victory of Satan. Here are 41 th and 42 th verse of the original and two translations of this verse VA Zhukovsky (1814 preserving the meaning of the original, and in 1849 made an ideological position).

R. Southey. A Ballad Showing How an Old Woman Rode Double And Who Rode Before Her

And in he came with eyes of flame

The devil to fetch the dead,

And all the church with his presence glowed

Like a fierce furnace red.

He laid his hand on the iron chains,

And like flax they mouldered asunder,

And the coffin lid that was barred so firm

He burst with his voice of thunder.

Перевод В.А. Жуковского (1814 г.)

И он предстал весь в пламени очам,

Свирепый, мрачный, разъяренный;

И вкруг него огромный Божий храм

Казался печью раскаленной!

Едва сказал: «Исчезните!» цепям -

Они рассыпались золою;

Едва рукой коснулся обручам -

Они истлели под рукою.

[Английская поэзия … 2000: 176-177].

Перевод В.А. Жуковского (1849 г. - идеологические изменения)

И он предстал весь в пламени очам,

Свирепый, мрачный, разъяренный;

Но не дерзнул войти он в Божий храм

И ждал пред дверью раздробленной.

И с громом гроб отторгся от цепей,

Ничьей не тронутый рукою;

И в миг на нем не стало обручей….

Они рассыпались золою.

[Английская поэзия … 2000: 350].

B. Hohel allocates opposite trend exoticization naturalization (in our terminology position naturalization ), ie the removal of the original features, "protrusion" of his, rewriting in terms of the norms of the host culture (translated as epic ballad ).

One of the "paradoxes of translation" is the requirement to transpose the text into the culture of the recipient and simultaneously maintain "inokulturny" flavor. In the past, the latter requirement was not so hard, as evidenced by, inter alia, some Russian translations of the XIX century., In which the original text was subjected to complete Russification. Therefore, this position was mainly distributed to the middle of the XIX century., When the culture was interested in their own development through the texts in their own language, not in getting people's texts. Translations of this kind A. Lefebvre called texts peers who develop a culture of translation, without being an exact copy of the original, but rather their rewriting . This kind of translation is often met in the Russian translation of foreign literature in XVII-XVIII centuries.

No doubt about the fact that if the translator himself is significant and held a poet or a writer, he can "overshadow" is translated their website. Perhaps these translations are not in direct translations modern sense of the word, and play the role of creative review / interpretation of the source text, and therefore, of course, of great interest and artistic value [Maslennikov, 2006: 75]. Although such transfers in at least acquaint the reader with the transmitting culture and creativity of the original author, but rather "naturaliziruyut" and "domesticate" the text.

Some texts have already reached readers in the double translation through intermediate language, in this case the number of changes compared to the original text has increased significantly. Especially long unlucky in Russian books English authors. Almost all of them are brought to Russian readers in the double translation - with the French version. Such a fate befell the "Robinson Crusoe" and "Gulliver's Travels" as fluent English speakers in the country at that time was not enough.

I. Vvedenskii (1813-55 gg.), Russian public figure, translator, translated Charles Dickens and Thackeray, knew English and French. 1841 to 1853. inclusive, he wrote a number of critical and historical articles and translated from English to Russian recovery em Dickens novels, and W. Thackeray, F. Cooper, C. Norton, and other works.

However, E. Genieva dedicated to research creativity W. Thackeray, notes that "approach developed in translations close to him (I. Vedenskiy) in temperament and style of Charles Dickens, he involuntarily transferred to works W. Thackeray. Bile and irony W. Thackeray I. Vvedenskii replaced light, funny joke; self-righteous, "facilitated" Thackeray, entering his work fascinating passages or omitting those that seemed to him boring. So violated artistic unity prose writer whose stories - not exciting detective, like Charles Dickens, and psychological in nature - are particularly affected by any changes "[geniuses Shishlina 1989: 22].

Consider the cases of naturalization in the translation of the novel Charles Dickens 'David Copperfield', carried out by IM Vvedenskii (1850). I. Vvedenskii naturaliziruet translation of the novel Charles Dickens, making it more familiar to the Russian readers and making significant changes in the translation, which were highlighted in italics us, and those phrases that are absent in the original and have been made to transfer Vvedensky, we have identified underlined.

C. Dickens «David Copperfield»	Перевод И. Введенского
- «My love, because it's five, and we were to have dined at four» [Dickens 1955: 616].	Да, вотъ ужЂ пять часовъ, мой ангел, а мы обЂдаемъ обыкновенно въ четыре [Введенский 1850: 82].
- «On the contrary, my love», said I, «it's a few minutes too slow» [Dickens 1955: 616].	СовсЂмъ напротив, душенька, отстаютъ нЂсколькими минутами, - замЂтилъ я [Введенский 1850: 82].
«Don't you think, my love», said I, «it would be better for you to remonstrate with Mary Anne?» [Dickens 1955: 616].	Не мЂшало бы тебе сдЂлать выговоръ Мери-Анне, как ты думаешь, душенька? - сказалъ я [Введенский 1850: 82].
«But, my love,» said I [Dickens 1955: 617].	Однако жъ, мой ангелъ… - сказалъ я [Введенский 1850: 82].
«No, no! please!» cried Dora, with a kiss, «don't be a naughty Blue Beard! Don't be serious!» [Dickens 1955: 617].	НЂт, нЂт! Пожалуйста, - воскликнула Дора, цЂлуя меня в лобъ. - Не будь же таким бирюкомъ. Ты вЂдь не Синяя Борода, Доди! [Введенский 1850: 82].
Dora was hardly less affectionate to my aunt than to me, and often told her of the time when she was «a cross old thing» [Dickens 1955: 629].	Дора полюбила бабушку почти такъ же, какъ меня, и часто рассказывала ей о томъ времени, когда она представляла ее себЂ «сердитою, брюзгливою старухой» [Введенский 1850: 103].
She never attacked the Incapables, though the temptation must have been severe [Dickens 1955: 629].	Она не нападала на кухарокъ бесталанныхъ, хотя поводы къ такимъ нападенЯямъ представлялись на каждомъ шагу [Введенский 1850: 103].
«…at dewy eve, in the shadows of night» [Dickens 1955: 735].	Отрывок из письма - …въ собственномъ сознанЯи моем обратятся въ подобЯе нЂсколькихъ благодатныхъ росинокъ, освЂжительно падающихъ на мой костеръ, объятый пламенемъ... [Введенский 1850: 103].
Chapter XXXI. A Greater Loss [Dickens 1955: 433].	Глава XXXI. Вящая потеря [Введенский 1850: 248].
She had long ago bought, out of her own savings, a little piece of ground in our old churchyard near the grave of «her sweet girl» as she always called my mother [Dickens 1955: 434].	Съ нЂкоторого времени она откупила на собственные деньги небольшой клочекъ земли на нашемъ старом кладбищЂ, подлЂ могилы «своей незабвенной благодЂтельницы», какъ она обыкновенно называла мою мать [Введенский 1850: 248].
After some search, it was found in the box, at the bottom of a horse's nose bag [Dickens 1955: 434].	ДальнЂйшЯе поиски обнаружили, что покойникъ не безъ причины дорожилъ «старымъ тряпьемъ» [Введенский 1850: 248].
I observed that the latter always spoke of himself indefinitely, as «a man», and seldom or never in the person singular. «A man might get on very well here, Mr. Copperfield», said Markham - meaning himself [Dickens 1955: 350].	Я заметилъ, что онъ отзывался о сЂбе въ какихъ-то неопределенныхъ выраженияхъ, называлъ себя «батракомъ» и почти никогда не говорилъ о сЂбе в первомъ лице. «Батраку здесь очень нравится, мистеръ Копперфильдъ» - сказалъ Маркгемъ, подразумевая себя [Введенский 1850: 107].
Secondly, that something peculiar in the temperature of my pantry, made the brandy bottles burst [Dickens 1955: 375].	Во-вторыхъ, атмосфера моего чулана заключала въ сЂбе ту особенность, что въ ней откупоривались сами собою пробки отъ моихъ бутылокъ съ водкой, отчего и сама водка испарялась въ нихъ съ удивительною быстротою [Введенский 1850: 149].
He said it was the gentlest profession in the world, and must on no account be confounded with the profession of a solicitor: being quite another sort of thing, infinitely more exclusive, less mechanical, and more profitable. We took things much more easily in the Commons [Dickens 1955: 377].	Это, по его словамъ, благороднЂйшая профессЯя въ мЯрЂ, которую притомъ, ни подъ какимъ видомъ, не должно подводить подъ одну категорЯю съ ремесломъ обыкновенного стряпчего. У проктора свой опредЂленный, исключительный родъ занятЯй [Введенский 1850: 152].
…into a hall where there were all sorts of hats, caps, greatcoats, plaids, gloves, whips and walking-sticks [Dickens 1955: 379].	Въ коридорЂ висЂли стройной группой всевозможные ряды шляпъ, картузовъ, фуражекъ, сюртуковъ, плащей, шинелей и тутъ же были всякЯе перчатки, хлыстики, палки [Введенский 1850: 155].
I could think of the captivating, girlish, bright-eyed, lovely Dora. What a form she had, what a face she had, what a graceful, enchanting manner [Dickens 1955: 380].	Я думалъ только о плЂнительной, свЂтлоокой ДорЂ. Какой чудный станъ, какой ликъ, какЯя грацЯозныя, очаровательныя манеры [Введенский 1850: 157].
Dora was talking to an old gentleman with a grey head. Yes, he was grey [Dickens 1955: 380].	Дора разговаривала со старичкомъ, украшеннымъ сЂдыми волосами. Онъ былъ сЂдъ, какъ лунь [Введенский 1850: 158].
There is no doubt whatever that I was a lackadaisical young spooney [Dickens 1955: 383].	Это значитъ, что я былъ въ ту пору легкомысленнымъ и чуть ли вовсе не безмозглымъ молокососомъ [Введенский 1850: 162].
Mr. Omer, hearing his daughter's footstep before I heard it, touched me with his pipe and shut up one eye [Dickens 1955: 429].	Заслышавъ шаги дочери, мистеръ Омеръ дотронулся до меня чубукомъ и прищурился однимъ глазомъ [Введенский 1850: 243].
I bade good-night to Mr. Omer and directed my steps thither, with a solemn feeling [Dickens 1955: 429].	Я попрощался, и грудь моя волновалась какимъ-то торжественнымъ чувствомъ [Введенский 1850: 243].

Thus, we can conclude that I. Vvedenskii takes when translated Charles Dickens novel "David Copperfield " position naturalization , naturaliziruya his translation for the Russian reader, making it more intuitive and you know, at the expense of the translation there are numerous changes, we noted above.

As another example displays positions naturalization in translation can be distinguished contributions Rudyard Kipling poem «Belts», made S. Stepanov, "Buckles" (see Appendix); as well as the translation of the poem Rudyard Kipling "The Gipsy Trail ", made by G. Kruzhkov and who later became a popular song (see Appendix).

Consider this kind of semantic position deviation on the example of translation of the poem Poe (E. Poe «The Raven») and ironic paraphrase of this poem, made Voznesensky.

After the appearance of numerous translations of Poe s poem "The Raven" and nteres creativity Poe began to gradually fade away. "The formal sophistication" of his works, so once contributed to their popularity in Russia, Art ala repel them from the beginning reader and perceived by society as a purely literary game. In 1960. it became so clear that A. Ascension in his poem "Oz" gave no proper translation, and "ironic paraphrase of" Edgar Allan Poe's poem "The Raven" (Leyzerovich, 2002).

Parodied usually popular, well-known texts, ie those texts that were translated several times. If parodied repeatedly translated text, then we can talk about the parody translation .

Voznesensky takes from the original only " motive ": the repetition of the last word in each stanza poems s, but changes and plot, and style, and the style of writing, and a method of constructing a poem. Therefore, we can conclude that Voznesensky parodies uet original , ie is "parodic rewriting" of the original in the host culture. A. Ascension takes the form of the original, which "sends" the reader the translation to the original text. Comic effect is created by including recognition of the source text and the complete replacement of its contents. About dnako about riginal and translation are so different from each other that we can conclude that Voznesensky parodies not the original, and the many translations that have been made by various authors. In this parody is a reaction to the number of transfers or indication that this t text took a significant place in the host culture. Parody occurs when the appearance of a large number of translations of the same source text does not increase quality, but on the contrary qualities of translation deteriorate ed.

(E. A. Poe. The Raven)

Once upon a midnight dreary, while I pondered, weak and weary,

Over many a quaint and curious volume of forgotten lore -

While I nodded, nearly napping, suddenly there came a tapping,

As of some one gently rapping, rapping at my chambler door. «Tis some visitor» I muttered, «tapping at my chambler door -

Only this and nothing more»

А. Вознесенский 1964 (Из поэмы «Оза», по мотивам Э. По)

В час отлива возле чайной

я лежал в ночи печальной,

говорил друзьям об Озе и величьи бытия.

Но внезапно чёрный ворон

примешался к разговорам,

вспыхнув синими очами,

он сказал:

«А на фига?!»

Я вскричал: «Мне жаль вас, птица,

человеком вам родиться б,

и царем быть, и рабом,

счастье высшее - трудиться,

полпланеты раскроя...»

Он сказал: «А на фига?!»

«Будешь ты великий ментор,

бог машин, экспериментов,

будешь бронзой монументов

знаменит во все края...»

Он сказал: «А на фига?!»

Оза, роза ли, стервоза, вот метаморфоза…[Американская поэзия….1983: 552].

In REM n e Voznesensky "Oz" is used colloquially th vocabulary, lexical and Reduced Single: "yes the fig" (simple., Accel.) "Stervoza" (simple., branes.) "Mura" (simple.) "lackey" (Accel., despised.) "Starve" (Perrin., Accel.) "Kick the bucket" (simple). etc. especially well represented in the artistic style of conversational speech, due to the very structure of artistic works [Kryukov, 2006: 32].

Reduced vocabulary of style in this poem is adjacent to the vocabulary of high style, "metamorphosis" ( Book .) "slave" ( Perrin., Book .) "King" ( obsolete., Book .) "Greatness" ( high ).; "byti e" ( Book ).; "eyes" ( obsolete .) "Blasphemy" ( obsolete., Book .). Thereby creating a comic effect. A ll these words, even the vocabulary of high style, the translator uses ironic ec ki. Reduced contrast and high vocabulary allows him to achieve an ironic effect. All poem based on the contrast and the oxymoron: the lyrical hero talking with friends about the greatness of being "in the low tide near the tea hour" at the end of a crow suddenly calls "scum" x Otchet argue about "the greatness of being." Instead of "never more "repeats by a" yes to fi ha. "

EM Maslennikov calls this phenomenon "text-parody" (Maslennikov, 2003). Parody and comic effect is supported by the recognition of the reader object of parody. Recognizability of the text as text parody promotes switching registers, change the form or system of stylistic devices (which is also observed in the above example). In addition, a striking example of intertextuality and rewriting the text to be translated.

Parodic texts as a kind of comic based on the principle of balancing the two opposite actions - analogical comparison with the form of the prototype and the violation of his substantive side. Exaggerated analogy with the shape combined with the switching of authorial intention in terms of content. Influenced by analogy n and n rototipny meaning imposed new content, more often the opposite of copyright content. Such interaction analogy and deformation appears on the external level and explicate most characteristic ironic imitation. However, parody is more important content of this deformation, which suggests the emergence of additional, hidden meanings [Eliseev 2003: 41]. All that we see in the poem Voznesensky.

2.5 Neutralization of sense

B. Hohel t say also about neutralizing sense that we do not give out as Interpreter position as the main reason for this phenomenon VM Zhigalina Assuming an "unfortunate translation solution," a poor understanding of the text or "bad translation" [Zhigalina 2005: 104 ]. Danno essence of phenomena in translation is that the meaning of that in the original nomination objectified means indirect, in the translated text objectified means direct nomination. Thereby depriving translator reader to think and understand, look for the deeper meaning of the text, all the reader has already been given (the recipient host culture) explicitly, no need to look in the text of any deep meaning, no need to think about the read, everything is clear. Most likely, the position of neutralization sense not the intention interpreter, as it lost much of the meaningfulness of the text and the translation quality is deteriorating, but it's pretty frequent phenomenon that allows us to speak of it as a kind of translation position [Zakharova 2002: 112] that VM Zhigalina wa s called a "bad translation solutions" [Zhigalina 2005: 104]. "Bad translation solution" occurs when there is a difficulty in understanding the translation or interpretation of the original text. This entails a substantial distortion of the author's program for (almost always) true transfer content [ibid: 105]. Formula meaningfulness artistic text allows you to set whether or not a bad translation solutions in the text ne fers. If the richness of content = (sequence of propositions, the sum of) + + semantic configuration ideas that define spiritual space [Galeeva 1997: 38], it is obvious that if the translated text will be missing one of the last two elements of the formula, the richness and This text will be broken, which corresponds to an unfortunate translation solutions. Literary translation task is to recreate the same program understanding, which was alozhena s original author (GI goddess). "Bad translation solution" (VM Zhigalina) or "neutralization of meaning" (NV Zakharova) is due to failures in understanding raspredmechivayuschego (GI goddess), since this level of understanding of the responsibility to use person / translator own experience in handling on the ideal reality as given in the original text.

B. Hohel insists that the primary task of the interpreter is not to replace one or another language means the source language («source language») adequate means of the target language («target language»), and to find the means , which are responsible for the use of resources in the original source language [Hochel 1991: 41].

As an example, the neutralization of meaning in the translation look poem D. Mallet «Edwin and Emma »and its translation made by VA Zhukovsky "Elvina and Edwin." In the original, because of the large differences in the origin and God tstve love Edwin and Emma (from VAZhukovskogo name changed to Emma Elvin) let boys father and his sister Hannah, she was constantly near the lovers and prevented them to be together. However, the translation VAZhukovsky omitted all verses pertaining to the evil and envious sister boys, so in translation occurs neutralization meaning "envy the sisters."

D. Mallet «Edwin and Emma»	Перевод В.А. Жуковского «Эльвина и Эдвин»
His sister, who, like Envy formed, Like her in mischief joyed, To work them harm, with wicked skill Each darker art employed.	С холодностью смотрел старик суровый На их любовь - на счастье двух сердец. «Расстаньтесь!» - роковое слово Сказал он, наконец.
But, oh! His sister's jealous care, A cruel sister she! Forbade that Emma came to say, «My Edwin! live for me».	Она пришла; но взор любви всесильной Уже тебя, Эдвин, не воскресит: Уже готов покров могильный, И гроб уже открыт.

Do. Benjamin notes that the hallmark of such a transfer is that in most cases it transmits information or insufficient number of meanings, there is practically no artistry. However, in most cases the quality of the translation depends on the quality of the original: the better the original text was written, the less the translator raises the question of untranslatable text of the original or any of its elements [Benjamin 2004: 82].

In ysheopisannye translation positions explain the emergence of several different translations of the same text. Variability translation occurs when interpreters occupy different positions in the translation of the original understanding of the text, which determines their future work on translation of the text, respectively, each of them understands the original in its own way, and it's understood Iman and is reflected in the translation.

Discussions about what translation regarded as adequate, maintained constantly, but whatever position Interpreter interpreter is not held, it should strive to pass meaningful invariant in which most fully preserved mosaic original semantic [Zakharova 2002: 112].

In the third chapter we will look at what positions are identified in the translation of poetry R. Burns, which will confirm the position of positional translation work.

3. Sales translation X position J in translations poetry R. Bernsa

Consider n roillyustriruem and described in the second chapter translation position samples translations of poems by R. Burns, made with different translation positions. Practical material choice because translations of poems by R. Burns at different times engaged in various translators, among which there are also poets (Marshak, In. Zhukovsky, etc.) Translators texts are considered: S. Marshak, On . Senkovsky, Vasily Zhukovsky, T. Schepkina-Kupernik Kozlov, S. Petrov, O. Chyumina, Mikhailov, Kurochkin, V. Kostomarov, V. Fedotov, etc. We analyzed 117 poems by R. Burns and options for their translation (280 transfers). Revealed January 8 cases of translation products in the translation by R. Burns poems into Russian, made by different authors :

1. the orientation of the transmitting culture:

· exoticization position;

· historization position;

2. with a focus on the culture of the host:

· position of modernization;

· ideological position;

· position naturalization;

· adaptive position:

· poetic position;

· semantic position deviation:

· adding new meanings;

· build meaning;

· romanticizing translation;

· mimicking the translation;

3. neutralization of sense.

Among these products, we have considered the position of historicization, poetic position, position deviation sense - increasing sense position semantic deviation - mimicking the translation in the translation by R. Burns met.

In the analysis of practical material revealed the following translation positions:

1. Orientation to transmit culture:

1.1. Position exoticization

Consider the cases exoticization translated poems by R. Burns. To do this, compare R. Burns poem «The Ronalds of the Bennals» and its Russian translation, made by S. Marshak - "Girls of Tarbуltona."

R. Burns «The Ronalds of the Bennals»

In Tarbolton, ye ken, there are proper young men,

And proper young lasses and a' man:

But ken ye the Ronalds that live in the Bennals,

They carry the gree frae them a' man.

[Р. Бернс 1982: 46].

Перевод С. Маршака «Девушки из Тарбултона»

В Тарбултоне, право,

Есть парни на славу,

Девицы имеют успех, брат.

Но барышни Руналдс,

Живущие в Бйнналс,

Милей и прекраснее всех, брат.

[Бернс 1982: 47].

When translating Marshak borrows the name of another poem by R. Burns «The Tarbolton Lasses», which has not been translated S. Marshak, but both these poems are linked site of action and actors: the family of William Ronald (William Ronalds), who lived with his wife and two daughters on a farm near the village of Tarbolton Bennalz [English poetry ..... 2000 2 88]. In his translation by S. Marshak transcribes all the titles and names, putting stress («the Ronalds» - «Rуnalds», «the Bennals» - «Bйnnals», «Tarbolton» - «in Tarbуltone"), ie there is no naturalization or adaptation for Russian lingual host culture, and there is an opposite trend - exoticization, but in our terminology, this translation exoticization position . Uncomplicated poem about "the Scottish village where they live are great guys and girls" can occur in any culture and in any language, there is nothing typical Scottish. S. Marshak, using exotic names, makes the poem "Scottish", although they are quite difficult to Russian readers. Naturally, the replacement of Scottish names that effect frequency in the text make it "forenizirovannym" unacceptable, however difficult the village's name could be replaced by a neutral word "village", "The village in", etc. To facilitate the perception of these realities, S. Marshak puts stress in all unfamiliar words (ie all the titles and names, which may cause difficulties correct reading due to improper setting accents in Russian reader s), however, the realities were not removed.

Another example exoticization in translation is the translation of a poem by R. Burns "My Bony Mary ", made Marsha S. com" Wines razdobud me a pint. "

R. Burns «My bony Mary» Go fetch to me a pint o' wine, And fill it in a silver tassie. [Бернс 1982: 242].	Перевод С. Маршака «Вина мне пинту раздобудь» Вина мне пинту раздобудь, Налей в серебряную кружку [Бернс 1982: 243].

When translating this poem Marshak transmits all realities: «a pint o 'wine» translated as "wine me a pint", and «a silver tassie» (which means «silver cup or goblet ») is translated as" a silver cup, "that is, in this case, the translator does not relieve the realities, and, being guided translation for transmitting culture , tries to keep all the features of the translation of the original dynamism and fun atmosphere, realities, short high-frequency vocabulary conferring poem dynamics, etc. In terms of our research is translational position exoticization .

In the analysis of R. Burns poems and translations of us was found only two examples of the translation products with a focus on broadcasting culture, as transfers are mainly embedded in the host culture. This is explained by the fact that in the poems of R. Burns there are many dialects and colloquial words which are almost impossible to convey in translation, because you can not replace the Scottish dialect dialect words of Russian. Recommended transformation in this case is to neutralize the features of the original, leading to the incorporation of translation in the host culture, that naturalization is the most common translations of your poems by R. Burns.

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