Task for Seminar 7 Exercise Answer the following questions

Task for Seminar 7


Exercise 1. Answer the following questions

1. 
   What are the main specific features of translating literary texts?
   
2. 
   What is the role of preserving stylistic devices in translating literary texts?
   
3. 
   What can you say about the peculiarities of equivalence in the translating literary texts?
   
4. 
   What can you say about rendering of form and meaning in translating emotive prose?
   

Exercise 2. Translate the following extract from The Sketchbook by Washington Irving into the Uzbek or Russian language and analyze the variants of tran­slation.

The baron had but one child, a daughter; but nature, when she grants but one child, always compensates by mak­ing it a prodigy; and so it was with the daughter of the baron. All the nurses, gossips, and country cousins, assured her father that she had not her equal for beauty in all Germany; and who should know better than they? She had, moreover, been brought up with great care under the super­intendence of two maiden aunts, who had spent some years of their early life at one of the little German courts, and were skilled in all the branches of knowledge necessary to the education of a fine lady. Under their instructions she became a miracle of accomplishments.

By the time she was eighteen, she could embroider to admiration, and had worked whole histories of the saints in tapestry, with such strength of expression in their counte­nances, that they looked like so many souls in purgatory. She could read without great difficulty, and had spelled her way through several church legends, and almost all the chivalric wonders of the Heldenbuch. She had even made con­siderable proficiency in writing; could sign her own name without missing a letter, and so legibly, that her aunts could read it without spectacles.
She excelled in making little elegant good-for-nothing lady- like knickknacks of all kinds; was versed in the most abstruse dancing of the day, played a number of airs on the harp and guitar; and knew all the tender ballads of the Minnelieder by heart.
Answers
1.A literary translator reproduces a non-literal rendition of the original text. It is all about how the translator perceives it. He/she rewrites the text from the beginning to the very end. This applies, for example, when an obvious expression is replaced by synonyms or the structure of sentences is changed.
2.It plays an important role in maintaining the intention of the author and preserving the expressiveness of the text. This expressiveness is achieved by means of various sentence structures, repetition of words, synonyms/antonyms, imitation of sounds, different word forms or transferences of meaning.
3.Formal equivalence permits the symmetrical transmission of a source text (or original) into a translated text. Here, the most important criterion is the preservation of the canonical form of the textual genre and the literal translation of the words.
4.The requirements of equivalence in the translation of emotive prose differ considerably from these in other styles where form merely serves to convey the content of the utterance and do not fulfill any expressive and aesthetic function (publicist style in all its genres being to a certain extent an exception). In these styles stylistic means and devices are merely used as their indispensable markers. But in the Belles-Lettres style form and content are inseparable whole; their common goal is to affect the reader emotionally, to appeal to his feelings and to stir his imagination, to arouse his sense of values both ethical and aesthetic. The approach to the problems of equivalence is broader and more flexible in this style. Losses may be greater here but so are the possibilities of compensation because the object in view is to produce as forceful a stylistic effect as that produced by the original.

Baronning bitta qiz farzandi bor edi , tabiat uni mo’jiza bilan siylagan edi.. Barcha hamshiralar, mish-mishlar, qishloqdoshlar, uning qiziga chiroyda Germaniyada teng keladigani yo’qligiga ishontirardi, kim ham ulardan yaxshiroq bilardi? U yoshligini German sudlarida o’tkizgan va xonimlar tarbiyasi uchun kerak bo’lgan barcha bilimga ega bo’lgan ikkita xolasinimg g’amxo’rligi ostida voyaga yetdi. Ularning ko’rsatmalari ostida u yutuqlar mo’jizasiga aylandi.

U o’n sakkiz yoshga to’lganida, u hayratga soladigan tarzda kashtado’zlik qila olardi va gobelenda avliyolarning butun tarixini ishladi, ularning yuzlarida shunday kuchli ifoda bor ediki, ular poklikdagi juda ko’p jonlarga o’xshardi.
U xonimlarga xos har xil nafis, hech narsaga yaramaydigan mayda-chuydalar yasashda zo’r edi; u kunning eng bema’ni raqslarini yaxshi bilgan, arfa va gitarada bir qancha havo ijro etgan; va Minneliederning barcha nozik balladalarini yoddan bilar edi.