The republic of uzbekistan

CHAPTER II Problems of comparative translation in
The process of translating
Comparative Translation and Interpreting Studies encompasses all research processes resulting from the comparison of theories, products, and practices associated with the tasks performed by translators and interpreters during their work. Audience is not of equal understanding is the most felt difficulty.
Translating taboos and slang, similes and metaphors, using language according to the context and characters, understanding the background of the original story and its setting and translating feelings can be cited as the other difficulties. There are several methods of doing comparative analysis and Tilly (1984) distinguishes four types of comparative analysis namely: individualizing, universalizing, variation finding and encompassing. The comparative perspective on translation belongs to the very core of its study. On a broader scale this may be illustrated by the close relationship between the discipline of Translation Studies and adjacent disciplines like BHB comparative literature and various branches of contrastive studies (linguistics, pragmatics, stylistics). (Cf. for instance the problems of demarcation between Translation Studies and Comparative Literature and Contrastive Linguistics discussed in Bassnett and Malmkjaer respectively; see also Literary Studies and Translation Studies


2 .1 “THE BLACK PRINCE” by Iris Murdoch is the novel that used thousands of metaphors
The Black Prince is Iris Murdoch's 15th novel, first published in 1973.Irish-born British writer, university lecturer and prolific and highly professional novelist, Iris Murdoch dealt with everyday ethical or moral issues, sometimes in the light of myths. As a writer, she was a perfectionist who did not allow editors to change her text. Murdoch produced 26 novels in 40 years, the last written while she was suffering from Alzheimer disease. "She wanted, through her novels, to reach all possible readers, in different ways and by different means: by the excitement of her story, its pace and its comedy, through its ideas and its philosophical implications, through the numinous atmosphere of her own original and created world--the world she must have glimpsed as she considered and planned her first steps in the art of fiction." (John Bayley in Elegy for Iris, 1998) Edward, the Black Prince (1330 - 1376)
He was created prince of Wales in 1343. He showed military brilliance at an early age, playing a key role in the defeat of the French army at the Battle of Crecy when he was only 16. The name of the novel alludes mainly to Hamlet. I’ve always felt this had a lot in common with “The Sea, The Sea” in terms of the unreliable and egocentric narrator, but this time round he also reminded me of Hilary in “A Word Child”, possibly because of the brother-sister relationship and back story. As in
“An Accidental Man”, at least Rachel and also to an extent Priscilla are shown to have been diminished by their marriages in what could be brought round to a feminist tone. There’s also a lot about “women of a certain age” becoming hysterical and basically menopausal, which is not something I associated IM for writing about until I remembered all those faded and drying women, from “A Severed Head” through “The Nice and the Good” and onwards. Bradley not wanting to be a nebulous bit of ectoplasm swaying around in other people’s lives” (p. 49) reminds us of is it Willy Kost who uses the same metaphor? Broken china features, as in “An Accidental Man” and a set of books are torn up, as Rupert’s book is in “A Fairly Honourable Defeat”. Rachel, suddenly naked to the waist, recalls Annette in “Flight from the Enchanter” and “The Italian Girl”. Julian climbs over a suburban fence (and her mother fails to), recalling so many fence climbers, from “Bruno’s Dream” maybe particularly. At the end Julian goes off to Italy in a car with her father – “The Flight from the Enchanter” springs to mind there, and another one? The theme of an ordeal which Bradley mentions he has in relation to Julian is going to come up in “The Green Night” and “A Good Apprentice”.
One last point: I was thrilled to notice a quotation from Njal’s Saga, one of my favourite Icelandic sagas:
There was even a sort of perfection about it. She had taken such a perfect revenge upon the two men in her life. Some women never forgive. ‘I would not give him my hair for a bowstring at the end. I would not raise a finger to save him dying’
Those last two sentences are said by Gunnar’s wife as she fails to help him survive an attack on their homestead. How lovely to find that cropping up in an IM novel!
So a magnificent work that’s uncomfortable to read. Do we ALL know someone who threw it across a room and refused to finish it?
In the case , Irish -born famous writer and translator gave his opinion about “The Black Prince’’:
Please either place your review in the comments, discuss mine or others’, or post a link to your review if you’ve posted it on your own blog, Goodreads, etc. I’d love to know how you’ve got on with this book and if you read it having read others of Murdoch’s novels or this was a reread, I’d love to hear your specific thoughts on those aspects, as well as if it’s your first one! If you’re catching up or looking at the project as a whole, do take a look at the project page, where I list all the blog posts so far. Entanglements, suck up its ridiculous improbabilities, and then you come for air wondering what the hell you’ve just read. It’s genius in it’s own way.
Don’t be lured into thoughts about “what really happened?” when you finish this book – who killed whom and who really loved whom and who was lying the whole time. Just sort of go limp and let yourself reflect on how Murdoch carried you off But the wonder is that given its garrulous prose and sudsy settings it holds the reader's interest so tightly – it doesn't want to be put down. It is immensely entertaining. But after a couple hundred pages of set up – normal-seeming men and women doing crazy things – the author gets down to her main thesis: the mad eloquence of love, which taken comically, turns into "ain't love grand,” with incumbent irony. Read seriously it is a meditation on the power and unpredictability of love and the seemingly random emotions it can trigger, both severe and damaging as well as beautiful and unifying. Read superficially it is a wrecking ball to a cluster of well-trodden life paths, with hurts and joys sprayed about randomly. Which seems to circle back to “ain't love grand.” with this novel’s fully contained and realized ludicrousness. Phew!
Mark Sampon
The Black Prince by Iris Murdoch reads like an absurdist farce or a goofball skit – at least at first: the protagonist and narrator, Bradley Pearson, a would-be writer (three published volumes in some thirty-five years) is bombarded by social interruptions, even though he repeatedly states he has retired and wants only to leave the city to focus on creating what he believes can only be a great novel.
But instead his ex-wife's down-and-out brother shows up, then he’s entangled in his friend's marriage troubles, and he bumps into the couple's daughter, who wants him to tutor her, while his ex-wife herself returns to London from the States. He does not want to see her, but she turns up at his flat anyway. Next his sister abandons her husband and deposits herself on Bradley's doorstep, after which he is talked into driving back to pick up some of her things – she ran out quickly, leaving them behind – and in so doing meets her husband and his new girlfriend (not really that fast: it had been a long-standing affair). What else could intrude? Who else could? Have you caught your breath yet? This is the initial hundred pages.
This is a tale only a single individual could write. That is not true of every work, but with its convolutions of character and relationship, it is true of this. In some ways, it comes off as a grade one soap opera and as a comedy, the actors are so easy to laugh at, particularly the "hero" as I am sure he would portray himself – and in some ways does as events unfold.
In sum (and the protagonist would hate and violently disagree with this definition) this is a midlife crisis of the most engulfing order, not only for the hero's besottedness but also for the “what have I done with my life” outpourings of his friends.
There is also an aspect of actions have consequences. Is this valid for Bradley alone? Is this the crux of his life? Do others have their cruxes? We don't know: all orbit him, and it is his inner workings, his inner self, that we get to see, to hear, to receive as if in warning and to interpret and comprehend, if we can.
And as it comes to a close the tale turns to people revealing the illusions they live within to survive. The star is love, of course, perhaps here conceived as a fantasy at least for the state of mind it induces, but the rest of the cast is powerful as well – no spoilers here – but each lives in his or her own bubble, and some of those bubbles are burst: every person sets out to expose the fallacies of every other, the fallacies of their actions and beliefs, of their illusions.
The entire mélange is reinforced through postscripts, and here Murdoch shines in creating distinct voices and world views. Clearly in this narrative (and in this life) no one ever considers any perspective but his or her own. Or put another way: everyone lies – though in this book, in this world, everyone is absolutely honest.
Distilled: truth is a matter of vantage point.
Two aspects make the Black Prince great: the pacing – it moves along (except when the narrator lapses into extended philosophy) – and the postscripts of the primary characters. These bring out the high-level intent of the novel, and elevate it from good to excellent, from four stars to five, one might say.