1. The History and the Origin of the Theory of Translation. Its place among other sciences. Many writers and scholars of the past and present have practiсed the art of translation, and their views differ. Translators of the ancient world discussed the extent of correspondence between the ST and the TT. For Romans translating literary and philosophical works meant looting those elements of the Greek culture that would enhance the aesthetic demensions of their own culture. Semantic meanings of the original were not a primary concern of the translator. Cicero proclaimed that he translated ideas and their forms and was therefore less interested in a word-for- word rendering of the ST. The dominant characteristic of European translation theories of the Renaissance was an effort to "‘enrich” the TL by surpassing the original. However, early Bible translations were literal and were considered as models for translators. French poet and translator Etienne Dolet (1509-1546) articulated a sort of “normative theory of translation” where he gave an account of the main translation principles. Later, in 1790, Tytler suggested his translation requirements. In Tytler’s words, the translation must be a complete transcript of ideas of the original and a replica of its style and manner of writing. In Russia and Ukraine the controversy between the adherents of the strict word-for-word translation (Viasemskiy, Fet) and those who favoured free translation (Zhukovskiy, Skovoroda) continued unabated. In general, all theoretical assumptions forwarded by translators before the XXth century dealt with only surface translation aspects. Theory of translation began to acquire a scholarly shape in the middle of the XXth century. Earlier translators believed that study of the linguistic aspects of translation was not sufficient for the art of translation. But the XXth century brought the necessity of translating business, commercial and political matters where the peculiarities of the author’s style were not of paramount importance. Roman Jacobson has promptly stressed the links of translatology and linguistics: (that) mutual cooperation benefits both to the theory of translation and to linguistics. Linguists realized that studying translation process would help them solve linguistic problems. Moreover, the XXth century dictated a necessity of textbooks on translation which covered linguistic and extralinguistic factors of translating process. It also promoted researching linguistic and psychological aspects of translation. The era of serious translation studies was started by Prof. Retsker who proved regularity of selecting this or that variant of translation. He suggested three types of correspondences: equivalents, analogies and adequate replacements. In 1953 Prof. Fyodorov published “Introduction to the Theory of Translation” where he grounded not only the necessity of translatology but also its devision into general theory of translation. In 1958 French theorists of translation published “Comparative Stylistics of French and English” in which the comparative analysis of these two languages aimed at finding translation equivalents. In 1964 there appeared two more works which benefited to the development of translatology. They are “Toward the Science of Translating” by E.Nida and “Basics of General and Machine Translation” by I.I.Revzin and Rozentsveig. E.Nida suggested that translating process may be described as a series of transformations. 1970s-1980s turned to be very fruitful for the Soviet theorists who contributed greatly to translatology. It’s hard to overestimate the significance of two books by Prof. Komissarov ‘The Word about Translation” and “Linguistics of Translation” where different aspects of linguistic analysis were brought together as a single whole. Prof. Barkhudarov in his book “Language and Translation" tackles the main problems concerning different types of meanings (referential, pragmatic, internal linguistic and grammatical). Among foreign linguists who puslished their works on translation problems we should mention Herman (“The Manipulation of Literature”, 1985), Neubert (“Text and Translation”, 1985), Jaques Derrida (“Des Tours de Babel”, 1980), William Frawly and others. Neubert’s ‘Text and Translation” is the most thoughtful work on the application of discourse analysis to translation. Translation Studies as a discipline is characterized by a vast body of data, an increasing amount of literature, and a multiplicity of different approaches. Each of the approaches focuses on specific aspects of the discipline, depending on whether it investigates the product or the process of translation, on the specific angle it chooses, and on the terminology it prefers. The current stage of the academic discipline of Translation Studies is a mixed bag. There are currently a number of theoretical perspectives from which translation can be studied. The study of translation has gone far beyond the confines of one discipline. See for instance the description of Functionalist approaches, Linguistic approaches, Polysystem Theory and Cognitive approaches to translation in Routledge Encyclopedia of Translation Studies. Basil Hatim emphasizes the fact that the majority of translation practitioners have developed a sensitivity to issues raised not only in the theory of language, but in literary theory, the study of culture and society, comparative literature and comparative linguistics. Translation is seen as a textual practice and translations as meaningful records of communicative events. Alongside this plurality of approach, a diversity of aims and objectives is also evident. The general purpose of Translation Studies may still be to describe translation phenomena and to establish general principles; yet the methods of analysis are more varied and the cultural and ideological features of translation have become as prominent as linguistics. 2. Types of translation. Their advantages and disadvantages. Different types of translation can be singled out depending on the predominant communicative function of the source text or the form of speech involved in the translation process. Thus we can distinguish between literary and informative translation, on the one hand, and between written and oral translation (or interpretation), on the other hand. Though the basic characteristics of translation can be observed in all translation events, different types of translation can be singled out depending on the predominant communicative function of the source text or the form of speech involved in the translation process. Thus we can distinguish between literary and informative translation, on the one hand, and between written and oral translation (or interpretation), on the other hand. Literary translation deals with literary texts, i.e. works of fiction or poetry whose main function is to make an emotional or aesthetic impression upon the reader. Their communicative value depends, first and foremost, on their artistic quality and the translator's primary task is to reproduce this quality in translation. Informative translation is rendering into the target language non-literary texts, the main purpose of which is to convey a certain amount of ideas, to inform the reader. However, if the source text is of some length, its translation can be listed as literary or informative only as an approximation. A literary text may, in fact, include some parts of purely informative character. Contrariwise, informative translation may comprise some elements aimed at achieving an aesthetic effect. Within each group further gradations can be made to bring out more specific problems in literary or informative translation. Literary works are known to fall into a number of genres. Translators of prose, poetry or plays have their own problems. The translator of a belles-lettres text is expected to make a careful study of the literary trend the text belongs to, the other works of the same author, the peculiarities of his individual style and manner and sn on. This involves both linguistic considerations and skill in literary criticism. A number of subdivisions can be also suggested for informative translations, though the principles of classification here are somewhat different. Here we may single out translations of scientific and technical texts, of newspaper materials, of official papers and some other types of texts such as public speeches, political and propaganda materials, advertisements, etc., which are, so to speak, intermediate, in that there is a certain balance between the expressive and referential functions, between reasoning and emotional appeal. In technical translation the main goal is to identify the situation described in the original. A written translation can be made of the original recorded on the magnetic tape that can be replayed as many times as is necessary for the translator to grasp the original meaning. The translator can dictate his "at sight" translation of a written text to the typist or a short-hand writer with TR getting the translation in written form. In written translation the original can be read and re-read as many times as the translator may need or like. There are two main kinds of oral translation — consecutive and simultaneous. In consecutive translation the translating starts after the original speech or some part of it has been completed. Here the interpreter's strategy and the final results depend, to a great extent, on the length of the segment to be translated. If the segment is just a sentence or two the interpreter closely follows the original speech. As often as not, however, the interpreter is expected to translate a long speech which has lasted for scores of minutes or even longer. In this case he has to remember a great number of messages and keep them in mind until he begins his translation. To make this possible the interpreter has to take notes of the original messages, various systems of notation having been suggested for the purpose. The study of, and practice in, such notation is the integral part of the interpreter's training as are special exercises to develop his memory. In simultaneous interpretation the interpreter is supposed to be able to give his translation while the speaker is uttering the original message. This can be achieved with a special radio or telephone-type equipment. The interpreter receives the original speech through his earphones and simultaneously talks into the microphone which transmits his translation to the listeners. This type of translation involves a number of psycholinguistic problems, both of theoretical and practical nature. 3. The main principles of translation and their founders. The Psychological Relations among the Participants of the process of Translation. Lord Woodhouselee, properly known as Alexander Fraser Tytler (1747-1813), is the author of Essay on the Principles of Translation, which despite being originally published in 1791, is still relevant today. He sets down principles for translation and gives guidelines for quality assessment that are strikingly modern. Woodhouselee's three principles are as follows: 1. A translation should give a complete transcript of the ideas of the original work; 2. The style and manner of writing should be of the same character as that of the original; 3. A translation should have all the ease of original composition. None of these would surprise a modern translator, yet they are nonetheless often touchy issues. So let's look at each a bit. The first principle seems obvious enough. It means no errors or omissions, but also includes the idea that a translation is not a copy or a reproduction, but an original work in and of itself, even if its content is based entirely on another's work. The translator is not supposed to make additions, amendments, or annotations, except possibly when working on esoteric literary texts. The translator should not play the game of rewriting an original text so that it says "what the author meant" or "what the author should have said." The second principle is similarly obvious, though difficult to execute in practice. It means that the translator must not only have a complete command of writing in the target language (the translator's native language, in almost all cases), but also must be able to perceive stylistic touches and understand their meaning in the original text. A simple example from the realm of patent translation should suffice: "means" is the term of choice in a U.S. patent when explaining how the invention operates; by custom, it takes no article, which in any other document would be grammatically and stylistically peculiar, but in a patent is what we do. A patent translator working into English must know this, otherwise the character of the translation will be flawed. The third principle is the hardest to achieve, because it harks back to the Russian axiom that states that if a translation is beautiful, it is not faithful, and if it is faithful, it is not beautiful. There is a delicate balance to achieve here, in other words, and translators must aspire to be good writers in their native language, and must know all the finer points of writing in the subject and language they are working in so as to produce a translation with "all the ease of original composition." In other words, a translation should not sound like a translation. The concepts of ‘ethics’ and ‘etiquette’ are close but different. The word ‘ethics’ has two meanings: 1) philosophical: the study of the general nature of morals and of specific moral choices to be made by the individual in his relationship with others; 2) the rules or standards governing the conduct of the members of a profession.**The term ‘etiquette’ implies the practices and forms prescribed by social convention or by authority. The word ‘etiquette’ is very close to the term protocol, meaning the forms of ceremony observed by diplomats, heads of state and other high- ranking officials. While ethics is a translator’s strategy, etiquette is his/her tactics, and protocol is the way the tactics are employed. No need to say that a translator should be fully aware of the basics of international protocol. On the one hand, it will help him to behave correctly in any situation. On the other, a translator is often vested with the protocol function because his/her boss supposes that s/he should know not only of a foreign language, but also customs and traditions of the target culture. So a translator’s task is not only to provide communication but also to arrange negotiations and other ceremonies. 4. The Determiners of the Translation the Object and the Units of Translation the Levels of Translation. The Process of translation is operational. It transfers meaning by converting written ideas expressed in one language to another language or from Source language to Target Language. The main purpose is to convey the information and to convince the reader with the author’s special innovative and authoritative method of translation (Wikipedia) which reflects the quality of naturalness. Translation starts with choosing a method of Approach. There are two main approaches to translating; The first method is translating sentence by sentence of a paragraph or a chapter. In order to get the feel and tone of the text it requires conscious review of the text by reading it in a Source Language. This method is suitable for the literary texts. The second method involves reading the whole text for two or three times and looking for the intention, register and tone in order to mark the difficult words and passages. After taking the bearings one can proceed with translating of a text. This method is more suitable for technical or institutional text. The first approach is preferred for a relatively easy text while the second approach is preferred for a harder one. Levels of Translation The Process of translation consists of four levels. These four levels are kept in mind more or less consciously while translating a text. 1st Level: First is the Textual level which involves working on the Source language text level. It is the level of language where conversions are made intuitively and automatically. The Source Language grammar is translated into Target Language equivalent and lexical units are translated into sense that is appropriate to the context. 2nd Level: Second is The Referential level it goes hand in hand with the textual level. At this level the translator mentally sorts out the text. It is the level of objects and events, real or imaginary which are progressively visualized and build up for comprehension and reproduction process. This level is also called the factual level of translating. 3rd Level: Third is The Cohesive level which links the first and the second level that a translator has to bear in mind. It is more general and grammatical, which traces the train of thought, the feeling tone which can be positive or negative and the various presuppositions of the Source Language text. This level follows both the structure and the moods of the text. It links the sentences through the connective words like conjunctions, enumerations, reiterations, definite article, general words, referential synonyms and punctuation marks proceeding from the known information to the new information like proposition, opposition, continuation, and conclusion. A good example of cohesive level can be observed in any thesis project work, antithesis and synthesis. The second factor in the cohesive level is the mood which is observed as a dialectical aspect moving between emotive and neutral. It can be expressed by objects and nouns as well as adjectives and qualities. For instance, the difference of positive and neutral can be spotted in words such as ‘appreciate’ and ‘evaluate’; ‘awesome’ and ‘amazing’; ‘tidy’ and ‘ordered’. Similarly, the difference between negative and neutral can be spotted in words like ‘potentate’ and ‘ruler’. These are slight differences in words in a particular language whose value cannot always be determined in the context. 4th Level: The fourth and last level of translation is the level of Naturalness where a writer or a speaker uses his special way of writing in an ordinary language employing common grammar, idioms and words in a particular situation. The translator tries to reflect the degree of naturalness in his translation from SL text to TL text. The level of Naturalness is concerned with the reproduction. Natural translation can be compared to ordinary or casual language where word order, syntactic structures, Collocations or cognate words , appropriateness of gerunds, infinitives, verb-nouns, words that are old fashioned and reflect unnaturalness and lastly, the other obvious areas where unnaturalness is seen in articles, progressive tenses, compound nouns and collocations. Naturalness is dependent on the relationship between the speaker and the writer as well as the topic or situation. What is natural in one situation can be unnatural in another. It is confusing to attach naturalness with a colloquial style, idioms, jargon, and formal language. In the Process of translation the above four levels are combined and kept parallel to each other. These four levels are distinct and are in conflict with one another. During translation the accuracy of the text is very important feature that needs to be considered at the final stage. While translating the text from Source Language to Text Language more attention is given on translating sentence by sentence rather than sentence joining. Translation Problems There are many problems that appear in process of translation of a sentence and if there appear no problems then that translation is based firmly on literal translation. The translation problems that emerge frequently while converting the text from one language to another are; Firstly the ‘intervention of thought’ which is not enough. Secondly, the struggle between the words in the SL such as a word like ‘Sleazy’ and a collocation like ‘a dark horse’. It may be a structure like ‘the country government’ and a referential, cultural or regional dialectal problem. Sentence is the unit of thought which presents an object that expresses what it does and how it is affected by, it is a unit of translation from SL to TL. Sometimes the main problem that arises is to make sense of the long, difficult and complicated sentences loaded with lexis and grammar that makes it versatile. Such sentences have a series of word-groups and verb-nouns that makes it troublesome for the translator to handle them. Other difficulties with grammar are usually due to the use of old, little used, ambiguously placed or faulty structures. The major difficulties in translating are lexical and not grammatical which include words, collocations, fixed phrases, idioms and neologisms. Difficulties with words are of two main kinds either the translator does not understand the words or he finds the words too difficult to translate. If the former problem is confronted by the translator this means that the translator is not aware of the all possible meanings of the words or because the meaning is determined by its unusual collocation or a reference in the text. Many common nouns have four different types of meaning that are Physical or material, figurative, technical and colloquial. For instance, the word ‘maison’ has four different meanings the physical meaning is ‘House’, the figurative meaning is ‘Family house’, the technical meaning is ‘Home-made or firm’ and the colloquial meaning is ‘tremendous’. The colloquial meanings are tied to collocations or fixed phrases while the technical meanings are often the worst translation traps. Most nouns, verbs and adjectives are used figuratively and can have figurative meanings. For instance, ‘The man loved his garden’. In this sentence the word ‘garden’ symbolizes privacy, beauty, and fertility, simple, hard work and sexual bliss. The more common the word, the more contagious and accessible is the figurative meaning. The word may have an old or regional sense, may be used ironically, or in a sense peculiar to the writer or it may be misprinted. The translator has to force his word into a sense by writing a footnote in order to explain the correct meaning of the word and to satisfy himself. 5. Types of Meaning in Semaciology. The order of their Rendering in Translation The definition of the meaning is especially difficult due to the complexity of the process by which language and human consciousness serve to reflect the reality and adopt it to human needs. Nowadays there is no universally accepted definition of the meaning, or rather a definition all the basic features of meaning and being simultaneously time operational. The branch of lexicology devoted to the study of meaning is called semasiology.Meaning is a realization of a notion or a motion by means of definite language system.The modern approach to semasiology is based on the assumption that the innerform of the word presents a structure which is called the semantic structure of the word. The basic principle of a structural semantic approach is that words do not exist in isolation. The meanings of words are defined through the sense relations they have with other words Word-meaning is not homogeneous. It is made up of various components. These components are described as types of meaning. The two main types of meaning are the grammatical (categorical) meaning and the lexical (material) meaning.The grammatical meaning is defined as an expression in speech of relationship between words. GM is the component of meaning recurrent in identical sets of individual forms of different words: the tense meaning (asked, thought, walked); the case meaning(girl's, boy's, night's); the meaning of plurality(joys, tables, places). Grammatical meaning is generalized in the most abstract part of the meaning of the word; it is common to all the words belonging to this part of speech. It is that part of meaning which recurs in the identical forms of different words of the same class, e.g., big, bigger, the biggest. The lexical meaning is the meaning proper to the given linguistic unit in all its forms and distributions. The word-forms go, goes, went, going, gone possess different grammatical meanings of tense, person, number, but in each form they have one and the same semantic component denoting 'the process of movement'. Lexical meaning is not indivisible, it may be analyzed in three components: denotational, connotational, and pragmatic. One part of meaning expressing a notion is called denotation. Denotational meaning establishes correlation between the name and the object, process or characteristic feature of concrete reality (or thought) which is denoted by the given word. Denotation expresses a notion. Denotation is objective, it reflects objective reality through notions. The other part of meaning may express a personal attitude of the speaker to the object of speech, or it may characterize the role of the speaker in the process of communication. The subjective part of meaning is the connotation of the word. As one of the main tasks of translation is to render the exact meaning of words, it is important to consider here the three types of lexical meaning which can be distinguished. They are: referential, emotive and stylistic. Referential meaning (also called nominative, denotative or cognitive) has direct reference to things or phenomena of objective reality, naming abstract notions and processes as well. Referential meaning may be primary and secondary thus consisting of different lexical Semantic Variants (LSV). Emotive meaning unlike referential meaning has no direct reference to things or phenomena of objective reality but to the feelings and emotions of the speaker. Therefore emotive meaning bears reference to things, phenomena or ideas through the speaker’s evaluation of them. Emotive meaning is inherent in a definite group of words even when they are taken out of the context. Stylistic meaning is based on the stylistic stratification of the English vocabulary and is formed by stylistic reference, e.g. face (neutral), countenance (literary), mug (colloquial). Lexical transformation which are practically always required in the rendering of referential meaning in translation are caused by various factors. They may be classed as follows: a) different vision of objects and phenomena and different approach to them; b) different semantic structure of a word in the SL and in the TL; c) different valency or collocability; d) different usage. Different vision. It is common knowledge that one and the same object of reality may be viewed by different languages from different aspects: the eye (of the needle – вушко голки; hooks and eyes – крючки й петельки). Hot milk with skin on it – гаряче молоко з пінкою. Desalination – опріснення; visible to the naked eye – видимий неозброєним оком; a fortnight (forteen nights) – два тижні. He lives next door – Він мешкає в сусідньому будинку. All these words (naked eye – неозброєне око; fortnight – два тижні; next door – сусідній будинок) describe the same facts and although formally not correlated they are equivalents. He was no armchair strategist – Він аж ніяк не був кабінетним стратегом. Not only words of full meaning but even prepositions may imply different vision. He folded his arms across his chest, crossed his knees. Він схрестив руки на грудях, поклав ногу на ногу. This factor (different vision) usually presents little difficulty for the translator but it must never be overlooked, otherwise the translator may lapse into literal translation. The difficulty arises when such words are used figuratively as part of some lexical stylistic device, that is, when they fulfill a stylistic function, e.g. A word in one Language may denote, due to different vision, a wider non-differentiated notion, while the same notion is, as it were dismembered in the other language, and, consequently, there are two or more words denoting it. For example, the Ukrainian word годинник corresponds to two English words; “watch” and “clock”. The Ukrainian word місто has two couterparts; “town” and “city”. And vice versa, one English word may correspond to two or more Russian/Ukrainian words, e.g. “moon” – луна, месяц, “bell” – колокол, колокольчик, бубенчик, звонок, склянка, рында. The Ukrainian language uses one word палець which is indiscriminately applies “to terminal members” of the hand and foot, while the English language discriminates between these members and has accordingly three different words: thumb, finger, toe. 7. Equivalents. Absolute and Relative (Complete and Partial). Their Types and Peculiarities of Translation. R. Jacobson and the Basic Principle of Translation. Equivalence is the reproduction of a SL text by TL means. Equivalence is not a constant but a variable quantity and the range of variability is considerable. The degree of equivalence depends on the linguistic means used in the SL texts and on the functional style to which the text belongs. Early December brought a brief respite when temperatures fell and the ground hardened, but a quick thaw followed. На початку грудня настала коротка передишка, температура знизилася, земля замерзла, але потім швидко почалася відлига. The messages conveyed by the original and the translaton are equivalent as every semantic element has been retained although some changes have been made in strict conformity with the standards and usage of the Russian language. TYPES OF EQUIVALENCE Equivalence implies variability and consequently several types of equivalence can be distinguished. First Type – Formal Equivalence. Children go to school every morning. - Діти ходять до школи щоранку. The content, the structure of the sentence and the semantic components (language units) are similar. Each element of the SL text has a corresponding one in the TL text. But such cases of complete similarity are rather rare. Second Type – Partial Correspondence Equivalence. Non-corresponding elements may be lexical, grammatical or stylistical. Equivalence of the second type is usually achieved by means of various transformations: substitution or replacements (both lexical and grammatical), additions and omissions, paraphrasing and compensation. All through the long foreign summer the American tourist abroad has been depressed by the rubber quality of his dollar. Під час тривалого літнього перебування за кордоном американських туристів гнітило безперервне скорочення купівельної спроможності долара Although a considerable degree of equivalence has been achieved a number of transformations, certain losses have been incurred, namely, compactness and vividness. They are accounted for by existing discrepancies in collocability (valency). Attention should be paid to the Stylistic aspect of equivalence because of its importance in achieving the second type of equivalence. The stylistic aspect of equivalence implies the rendering in translation of stylistic and emotive connotations. Stylistic connotations presuppose the use of words belonging to the same layer of the vocabulary (literary, neutral and colloquial). Emotive connotations presuppose the use of words evoking similar connotations. Attention should also be drawn to the Pragmatic aspect of equivalence. Pragmatic equivalence can be achieved only by means of interpreting extra-linguistic factors. The pragmatic aspect of the content is sometimes closely interwoven with the linguistic aspect and their interaction also requires explanatory additions. Third Type – Situational or Factual Equivalence. The content or sense of the utterance is conveyed by different grammatical and lexical units. Situational equivalence is observed when the same phenomenon is described in a different way because it is seen from a different angle, e.g. The police cleared the streets. - Поліція розігнала демонстрацію. Hold the line. - Не кладіть трубку. This type of equivalence also comprises the translation of clichés, orders, warnings and notices, phraseological units and set expressions, formulae of politeness, etc. There were no survivors. - Всі загинули. Fragile – обережно, скло; Keep off, wet paint – не сідати, пофарбовано; In this way, the third type of equivalence conveys the sense, the meaning of the utterance without preserving its formal elements. LEVELS OF EQUIVALENCE Equivalence may occur at different linguistic levels: phonetic, word building, morphological, at word level, at phrase level, at sentence level and finally at text level. Phonetic level of Equivalence The sound form of corresponding English and Ukranian words seldom coincide, consequently this level of equivalence is not common and is of primary importance only in poetic translation. Word-building Level of Equivalence e.g.: irresponsible – безвідповідальний; unpredictable – непередбачуваний еtс. Morphological Level of Equivalence e.g.: The report’s proposals were handed to a political committee. Пропозиції доповіді були передані політичному комітету. Equivalence at Word Level e.g.: She clasped her hands round her handbag. (Agatha Christie). Вона міцно стиснула в руках свою сумочку. Equivalence of Phrase Level Equivalence at phrase level is of two kinds: a SL word corresponds to a TL phrase (to negotiate – вести переговори), a SL phrase corresponds to a TL word (Hippies are in revolt against an acquisitive society. – Хіпі повстають проти споживчого товариства). Equivalence at Sentence Level It occurs: a) in phraseology – two is company, three is none – третій зайвий; b) in orders and regulations – keep off the grass – по газону не ходити. Equivalence at Text Level It is usual in the translation of poetry as seen in the translation of stanza or something else. A strict observance of equivalence at all levels ensures a similar reaction on the part of the S and T language receptors and can be achieved by means of functional substitutions. Jakobson states that meaning of a word is a linguistic phenomenon. Using semiotics, Jakobson believes that meaning lies with the signifier and not in the signified. Thus it is the linguistic verbal sign that gives an object its meaning. Interpretation of a verbal sign according to Roman Jakobson can happen in three ways: intralingual, interlingual and intersemiotic. In the case of intralingual translation, the changes take place within the same language. Thus a verbal sign (word) belonging to a particular language is replaced by another sign (word) belonging to the same language. Interlingual translation on the other hand can be seen as replacing a verbal sign with another sign but belonging to a different language. The last kind of explanation of verbal sign that he talks about is the intersemiotic translation. Here more than focusing on the words, emphasis is on the overall message that needs to be conveyed. Thus the translator, instead of paying attention to the verbal signs, concentrates more on the information that is to be delivered. Roman Jakobson uses the term ‘mutual translatability’ and states that when any two languages are being compared, the foremost thing that needs to be taken into consideration is whether they can be translated into one another or not. Laying emphasis on the grammar of a particular language, he feels that it should determine how one language is different from another. 6. The Main Principles of translating poetry. The Machinery and Authorized Translation. Poetic translation has existed for many centuries. But there have always been different opinions, various principles, and translation techniques too. Poetic translation is one of the most effective ways to render the contents of a poem into another language. As a rule, the essential elements of the poems are rhyme, rhythm and verse (depending on the type of the poem). If the original contains them, the translator should try to convey all these components of the verse. However, it is still a controversial question whether it is necessary to retain all of them. There are two approaches to the translation of poetry: independent and subordinate. The aim of the independent approach is to convey the mood and the beauty of the verse, with no attention to the form of the original. The main task of this approach is to make the reader feel emotions contained in the poem and convey the form of the piece of poetry with great accuracy. This translation technique involves not only preservation of the verse, stanza, and metrics of the poem, but also the order and type of the rhymes, especially its melodies and sounds. It is worth mentioning that the poem can sometimes be translated in prose. This is the easiest way of translating, as it allows to keep both aesthetical and informational components of the original. It can mostly be used for translation of songs, or when the idea of the author is so important that the form of its expression is not that relevant. Poems can also be translated using blank verse. In this case the translator tries to retrain only the original verse without saving rhymes. Nevertheless, this technique requires that the translator should possess certain poetical skills. In fact, poetic translation implies a creation of a poetic text corresponding to the original in meaning, form and its poetic properties, which uses all the elements typical for a poetic work, including rhyme, if any. This type can be considered the most complicated form of literary translation of the text, as it requires that the translator should have not only talent for literature and ability to write poetry, but also the ability to accommodate the original meaning, idea and even literary techniques in the poetic form of another language. The greatest challenge of the poetic translation is transferring the structure of the poetic text, which requires use of rhymes and a certain verse. It is the poetic structure that brings so many difficulties when creating a perfect «reflection» of the original in another language. The fact is that the language of translation and cultural references may differ significantly from those contained in the source language, both in style and language constructions, and that sets the task for the translator to change the author's ideas an images so as to adapt them to the form of the target language. When a translator works on poems, first of all, they have to decide whether the poetic verse and structure of the rhymes correspond to the original. If the translator decides to change the structure of the verse, it is necessary to determine which structure to prefer, while it is necessary to take into account the semantic content of the poem, that is, the external form should be close to the implications contained therein. The main difficulty in poetic translation is to combine the original meaning with the necessary form, and it should be mentioned that exact and literal translation in this case is very rare. The main emphasis should be placed on the transfer of the main idea and the mood of the original. One of the most difficult issues in translation theory and practice is to recreate the rhythm of the original. Translation theorists insist on the transfer of rhythm in the translation, as rhythm represents the intonational essence of poetic phrases. Some linguists argue that the correct transfer of rhythmic features in most cases is impossible, since the nature of the source and the target languages is different, so most translators have to transfer only the general rhythm, and the intonation of the original with fairly free deviations from its meter. Besides, one of the most difficult problems to solve in poetic translation is the problem of rhyme. The translator even can keep the same type of rhyme as in the original poem, but this raises another problem because different types of rhymes are perceived quite differently by native and non- native speakers. It is known, for example, that one of the reasons, which caused the English-speaking readers’ misunderstanding of the I. Brodsky’ poems translated by the author, was his desire to keep the exact rhyme, which is common in Russian poems, but rare in English. The English readers associated such poems either with the poetry of the 19th century, or with comics and poetry for children. However, some languages contain no rhyme in poetry at all. An example is modern poetry in English. In this case, you do not need to create a rhyme in the translation. On the other hand, it is important to think about the author’s style. The difficulty is that for the successful transfer of the author's style account should be taken not only of phonetic features (alliteration, assonance, onomatopoeia, etc.), or of the so-called «music of verse», but also of the characteristic features of the era, national and social identity. In particular, I. Kashkin insists on preserving the image system through a reasonable interpretation of the author’s will to achieve maximum proximity to the original work. So, the emphasis is on the fact that the translator should possess deep knowledge of general culture, as well as of the main works of the particular poet/poetess and their significance for the culture as a whole. The main requirement here is the need to preserve aesthetic completeness and visual means of the original To sum up, it can be concluded that the complexity of poetic translation is mainly due to the specifics of the poetic text, in which the figurative basis and form are directly related to the culture and to the peculiarities of the language structure. The first idea of machine translation is known to have been expressed in 1933 by the Soviet engineer Petr Smirnov-Troyansky but it is not he but Warren Weaver who is credited as the founding father of Machine Translation (MT) research. The first demonstration of an MT system took place in 1954 in Georgetown University, U.S.A., where the experiment of making a computer translate words from Russian into English was conducted. Machine translation is based on analysis and synthesis operations and has required many years of hard work and frustrations. Sometimes the end-product of the machine translation was so ridiculous (like Out of sight, out of mind. – Слепой идиот), that in the 1960s there happened a machine translation ‘recession’. However, with third-generation computer systems emerging in the 1970s, interest in machine translation was revived. Word-processors appeared and today’s translators cannot imagine their lives without them. Today, machine translation is often called computer-aided translation (CAT). CAT systems are divided into two groups: machine-aided human translation (MAHT) and human-aided machine translation (HAMT). The difference between the two lies in the roles of computer and human translator. In MAHT, a translator makes the translation, then uses the computer as a tool for typing, checking spelling, grammar, style; for printing the target text, for looking up words in electronic dictionaries and data bases, for getting references on CD-ROMs and other sources, for consulting about contexts, for discussing problems in the web, for seaching a job, etc. In HAMT, the translation is automated, done by a computer but requiring the assistance of a human editor. There are two phases of human help: pre-editing and post-editing. In pre-editing, an operator (or a customer) prepares the text for input. A special computer translation program transfers the text from one language to another. Then a translator does the post-editing, mostly by correcting the word usage. Machine translation has a number of advantages and disadvantages. The advantage is, first and foremost, its fast speed, which saves time, so important these days. The computer is tireless; it can work day and night. Now that there are lap-tops, a computer is a very flexible and convenient tool: it can accompany a translator anywhere. Computers are also of great help to disabled people, especially computers working with a human voice. On the other hand, computers are restricted to the materials. They can translate only clichéd texts. They cannot translate unpredictable texts, like fiction, for example. Usually they provide ‘raw translation’. Another disadvantage is that they are still rather expensive. They require constant upgrading, which is usually not cheap. Computer viruses are a serious danger to work. And computers are not absolutely safe for human health, either. Authorized translations (sometimes called "notarized translations", "official translations" or "stamped translations") are legally binding documents having the same legal weight as the original in source language. They are authenticated with an authorized translator's stamp and signature. Authorized translations are usually somewhat more expensive than "regular" translations due to the special qualifications of authorized translators. Authorized translations usually come into question when for example court rulings or documents pertaining to inheritance or business need to be presented to the officials of your home country or a foreign country. Services of an authorized translator are also often needed when applying for a study place or a job. 8. Variational Correlations in Translation. Non-Equivalents in Translation. Ability to speak is human’s trait - the basis of relationships in human society. This is an important means of expressing feelings and sharing thoughts. Language is a complex structure of sounds and symbols, grammar, words, phrases and sayings, has a deeper meaning than their literal meaning. Translation is one of the oldest human activities. Without this activity it would be difficult to imagine such well-known historical facts, as the creation of a vast empire, the spread of religious and social teachings. In recent decades the scale of translation activities has increased so, that we can talk about the beginning of a new stage in the history of translation. The rapid growth of science and technology has caused a great need for information exchange. Every year many international conferences, meetings are held all over the world. Extensive international campaigns, joint research programs are being conducted. Immeasurably increase can be seen in the volume of international trade, diplomatic activities, and international correspondence. Cultural ties between the peoples are expanded. Translation meets the ever emerging needs among people who do not speak a common language, or, in other words, people separated by Lingo-ethnical barrier. Non-Equivalents Non-equivalents are SL words which have no corresponding lexical units in the TL vocabulary. The absence of equivalents may be explained both by extralinguistic and linguistic reasons. Accordingly, non-equivalents may be divided into two groups. The first group consists of words denoting referents unknown in the target language – things, objects, notions, features of national life, customs, habits, etc. the words of this group bear a distinctly national character and are tied up with the history of the people speaking that language, the growth of its culture, its way of life and traditions. Cultural discrepancy accounts for the appearance of words which are untranslatable in the literal sense of the word. Yet there are different ways of rendering these words in translation and of overcoming the so-called “barrier of untranslatability” (cultural untranslatability). The words belonging to this group cover a wide range of denotata, e.g. speaker, parliament, public school, landslide, coroner, teach-in, drive-in, know-how, striptease, brain drain, backbencher, grill-room, as well as titles of politeness, etc. The second group embraces words which for some linguistic reason have no equivalents in the target language, the so-called linguistic lancunae, e.g. privacy, involvement, glimpse, conservationist, environmentalist, oralist, readership, riser, bedder, vote-getter, statehood, etc. It should be stressed that the term “non-equivalents” merely implies the absence of a word or a word-combination in the vocabulary of the target language but does not exclude the possibility of rendering “non-equivalents” in translation, usually by descriptive translation. Translation of Non-Equivalents There are three ways of rendering non-equivalents in translation. By Borrowings The borrowed words may be either transliterated or transcribed, e.g. ale –эль, roastbeef – ростбіф, sweater – светр (transliterated borrowings). Parliament – парламент, striptease – стриптиз, speaker – спікер, know-how – ноу-хау, establishment – істеблішмент (transcribed borrowings). The latter principle is, as seen from the above examples, applicable to the rendering of neologisms. By translation loans House of Commons – Палата Громад, brain trust – мозковий трест. By Descriptive or Interpreting Translation Landslide – перемога на виборах з величезною перевагою голосів; a stringer (америк.) – частково зайнятий кореспондент, праця якого оплачується з розрахунку кількості слів; a conservationist (environmentalist) – людина, стурбована забрудненням або знищенням навколишнього середовища. Differences in cultural background frequently require detailed additions which are explanatory. What is familiar to the native reader may be unfamiliar to the reader of the translation. 9. The Main Approaches and Principles of Translating Idioms. Transcription and Transliteration. Approximate and Descriptive Translation. Morpheme Substitution. Idioms and fixed expressions are an inalienable part of each language found in large numbers in most of the languages. Since the meaning of these collocations can not be understood from the superficial meanings of the single words constituting them, so there are some problems in both processes of understanding and translating them. The process of translating idioms and fixed expressions from one language into another is a fine work which obliges a translator to have a good knowledge of both languages and cultures being shared or transferred as well as being able to identify and cope with the contingent problems in the process of finding an efficient equivalent for the inter-lingual idiomatic pairs. People of different languages use completely different expressions to convey a similar meaning, in a way that while an expression might be completely tangible and easy-to-understand for the interlocutors of a specific language, the same set of words and expressions may seem fully vague and dim and even in some cases nonsense to the speakers of the other. This originates in the fact that each language has got some culture-specific items that are completely different from the corresponding items in another language. Besides, there are some differences in such factors as religion, geographical locations, different ideologies, and social classes of languages and societies that harden the process of understanding and translating idiomatic pairs from one language into another. In general, idioms are open to a variety of translation procedures. Among them are: • Substitution with the analog: Don’t teach your grandmother to suck eggs. – Яйця курку не вчать. However, in oral translation a translator should sustain the image. Then a new (changed) figurative meaning may frustrate the translator. When working with an analog, one should be sure to use the same style and retain the meaning of the idiom. When substituting a figurative expression with its analog, a translator may generalize or specify some components of the idiom: They could not conceive of any greater joy in life; to work their own land, to keep what they produced by the sweat of their brow, for themselves and their children. - Вони не могли уявити собі більшої радості в житті, ніж працювати на своїй землі і робити запаси того, що вони виробляли в поті чола для себе і своїх дітей. The words brow – чоло are the example of generalization. • Substitution with the simile. After getting married she is living in clover. – Вийшовши заміж, вона живе як вареник в маслі. The simile also contains an image, so it is as expressive as the metaphor. • Antonymous translation takes place when the translator uses a negative construction to translate an affirmative sentence: The situation was serious, but he kept his head. – Положення було серйозним, але він не втрачав самовладання. • Literal, or calque translation. This technique can be employed even if there is an idiom analog. A word-for-word translation is used in translating sustained metaphors, phraseological synonyms, and puns. Literal translation usually leads to playing upon the figurative and literal sense of an idiom, that is, to enlivening an idiom. For example, the English expression as dead as a door nail figuratively means ‘lifeless’ and corresponds to the Ukranian бездиханний, без найменших ознак життя. However, in the following extract from C. Dickens the idiom is used in its double meaning, literal and figurative, which made the translator calque it. Old Marley was as old as a door nail. Mind! I don’t mean to say that I know of my own knowledge what there is particularly dead about a door nail. I might have been inclined, myself, to regard a coffin-nail as the deadest piece of iron mongery in the trade. – Старий Марлей був мертвий як дверний цвях. Зауважте, я не хочу сказати, що дверний цвях є чимось особливо мертвим. Я сам скоріше схильний вважати цвях від труни найбільш мертвим предметом з залізних виробів. Another argument in favor of literal translation is that the new metaphor in the target language will hold the interest of the reader. Calque translation is not an incorrect and overfaithful translation that breaks the target language rules of semantic agreement and combinability and conflicts with the style of the text. • Descriptive or explanatory translation. When an original metaphor appears to be a little obscure and not very important, it may be replaced with a descriptive expression. У нього сім п'ятниць на тиждень. – He is very confused; Ці камінчики в мій город? – Was that aimed at me? One of the difficulties a translator encounters is selecting a variable equivalent. It should be as expressive as the original and correspond in style and connotation, and convey an adequate meaning. When choosing an equivalent, a translator should observe the requirements of proper style.The selection of an adequate equivalent will depend on the text style. Another problem is translator’s ‘false friends’. When calqued, idioms may have another, even opposite, meaning as compared with the original one. For example, to pour oil on troubled waters does not correspond to the Ukranian підливати масла у вогонь, whose meaning is 'to add fuel to the flame'. On the contrary, the expression means втихомирювати, заспокоювати (to calm). It is not only the denotative meaning of idioms that should be taken into consideration but also their connotation. It may be different in the source language idiom and the target language equivalent. For example, in Ukranian врятувати свою шкуру has a negative connotation, whereas in English it is neutral: the expression may be used both for negative and positive meaning. Local coloring is another translator’s trap. It is ridiculous to attribute ethnic features of one country to another foreign culture. Transliteration and transcription are both processes by which text is converted from one script to another. Strictly speaking, they are two distinct processes and a given conversion system will be of either one or the other type, not both. However, in practice, the two processes are often like two ends of a continuum, and a given system may be closer to one or to the other, but with elements of both. That said, it is still useful to understand the technical distinction between them. Technically, transliteration is concerned primarily with accurately representing the graphemes of another script, whilst transcription is concerned primarily with representing its phonemes. In addition, transliteration is concerned with scripts, whilst transcription is concerned with writing systems (the way a script is applied to a particular language).Transcription can also be used to examine dialectal variation within a single language. The differences in the two processes make them suitable for different purposes. Transliteration is useful when studying some aspect of a language or script which does not require an intimate understanding or representation of the language’s phonetic systems, or where the pronunciation differences between languages or dialects are not important. Transcription is useful for study which has a greater focus on phonetic systems, for example when determining how closely related two languages are, for language learners wishing to improve their pronunciation, or for examining dialectal variation within a language. Some source language idiomatic and stable expressions may have a peculiar nature of their componental parts or a peculiar combination of them and thus form nationally peculiar expressiveness and picturesqueness of componental images. The latter constitute some hidden meaning, which is mostly not quite explicit and comprehensible, not transient enough for the foreigner. As a result, there exist no genuine phraseological analogies for the units in the target language. Since it is so, their lexical meaning can be expressed by means of only approximate analogies or through explication, i.e., in a descriptive way. These analogies are only to a slight degree similar to the source language idioms, although they may be no less picturesque and expressive than the source language variants: to lose one's breath кидати слова на вітер; to make a cat's paw of something чужими руками жар вигрібати; а joint in one's armour ахіллесова п'ята (вразливе місце); more power to your elbow ні пуху, ні пера!; to come off scot free вийти сухим з води; The selection of approximate analogies for a translator is no easy task, as the source languages idioms/ phraseologisms often bear some characteristics of a language's traits having no correspondence the target language. Many idioms have obscure origin/etymology and selecting of approximate equivalents as any other corresponding semantic variants often requires a linguistic investigation on the part of the translator. The meaning of a considerable number of idiomatic as well as stable/set expressions can be rendered through explication only, i.e., in a descriptive way. Depending on the complexity of meaning contained in the source-language idiom, it can be expressed in the target language in some ways: 1) by a single word: to pall and peel (to peel and pall) грабувати/оббирати; poor fish йолоп; red blood мужність, відвага, хоробрість; 2) undoubtedly the most frequent is rendering the sense of idiomatic/phraseological expressions with the help of free combinations of words as in: to sell someone short недооцінювати когось; to sham Abraham удавати з себе хворого (прикидатися хворим); to shoot Niagara вдаватися до ризикованих дій. 3) when the lexical meaning of an original idiomatic expression is condensed or when it is based on a nationally specific notion/ structural form alien to the target languages, the idiomatic expression may be conveyed by a sentence or a longer explanation: well day (well-day) день, коли у хворого не погіршувався стан здоров'я (час між приступами гарячки, малярії тощо); wise behind млявий, що погано міркує; white elephant подарунок, якого важко позбутися (те, що приносить більше турбот, ніж користі); yes man (yes-man) людина, що з усіма згоджується, тільки підтакує (підтакувач); Depending on the speech style of the passage/work, in which the idiomatic/phraseological expressions are used, and taking into account the nature of them (literary, colloquial, historical) some modifications of the above-given methods of translations and even new variants of translation may be suggested by the translator. Nevertheless, the aim of translation will always remain the same, viz. to fully render in the target language the lexical meaning and where possible also the structural peculiarities, the picturesqueness, the expressiveness, and the connotative meaning (if any) of the source language idiomatic or stable expressions in the target language. How it may be achieved can be seen on the examples of rendering the meaning of some national idioms. A speech error, commonly referred to as a slip of the tongue or misspeaking, is a deviation (conscious or unconscious) from the apparently intended form of an utterance.They can be subdivided into spontaneously and inadvertently produced speech errors and intentionally produced word-plays or puns. Another distinction can be drawn between production and comprehension errors. Errors in speech production and perception are also called performance errors. Some examples of speech error include sound exchange or sound anticipation errors. In sound exchange errors the order of two individual morphemes is reversed, while in sound anticipation errors a sound from a later syllable replaces one from an earlier syllable. Slips of the tongue are a normal and common occurrence. Morpheme Errors As we continue up our hierarchy of speech units, we now see that units of meaning are susceptible to speech errors. Such errors tend to happen subsequent to the syntactic planning of the sentence. Even units as large as an entire word can be subject to an error such as exchange. Bowl of soup→soup of bowl Plant the seeds→plan the seats Substitutions and exchanges of whole words occur but do so with like-constituents. A noun will take place of a noun, and the same goes for an adjective or verb. When there is a change in word placement but no change in morphemes, the error is said to consist of inflectional morphemes. However, when the root of the words remains and there is an error due to a morpheme addition or substitution, the error is known as a derivational morpheme error. Bed time→time bed (inflectional) Easily enough→easy enoughly (derivational) Such derivational speech errors show that semantic intentions are intact, however, the choice of semantic features has been incorrect. Substitutions can also occur where the substituted word is structurally similar but semantically different from the intended word. 10. Modelled and Non-Modelled Neologisms and their Translation. The translation of neologisms tops the list of the most difficult matters which translators face. Neologisms are widely known as new words or new meanings of words already existing in the vocabulary which have not yet entered into the common use. Obviously, English dictionaries cannot register immediately all new words, figurative phrases and nonce words which annually enrich our vocabulary by tens of thousands of new words. As a result, translators need to rely on the context and try to transfer the meanings of neologisms into the target language instead of looking them up in the other, often less reliable sources, including online dictionaries. It means that they have to “invent” new words following some word-building patterns or explain English neologisms using the descriptive method. The origins of neologisms are often roughly divided into two groups: linguistic and extra- linguistic which are, however, inseparable. Various types of word-building and borrowings refer to the first group, and the extra-linguistic sources can be of political (glasnost), economical (forex = foreign + exchange), social (hipster), scientific (dilitancy), and technological (FOMO, “Fear of missing out” ¬– related to social networks) origin. Nevertheless, it does not mean that neologisms coming from extra-linguistic sources cannot be a result of word-building which shows the interconnection between these two factors. Generally speaking, there are four methods for translating neologisms: selection of an equivalent in a target language, transliteration and transcription, loan translation, or calque. The first method is the easiest one. If the word is fixed in the dictionaries, there is usually no problem with finding equivalents. Nevertheless, it is not always possible to find an appropriate analogue in the target language, which can be explained by different cultural levels or even political situation in the corresponding countries. Without any background information about the meanings of new words, translators risk to misuse the words in the target language. It is especially important to check them while using the descriptive (explanatory) method of translation. This method is seen as the most productive in English-Ukranian translation due to absolutely different means of expression in both languages. Sometimes a whole sentence is needed in Ukranian to express the meaning of just a couple of words in English. The so-called “language conciseness” typical for English makes the translators to use two other methods: transliteration and transcription. Transcription helps to maintain the sound form of the source word with the help of another script, while transliteration implies transformation of letters into another alphabet. In practice, both methods are often combined. It is worth mentioning that many English letters and sounds do not have exact analogues in Ukranian and, thus, some words can have two or more transliterated variants in the target language. Loan translation does not change the original word at all. This method concerns the borrowings from different languages which preferably need to be preserved due to the absence of the original concepts and notions which are borrowed as well. So the most important rule that we should respect while translating neologisms is transferring the meanings of words from the source language into the target one and, trying to translate them in a way that will not change anything. It is often quite easy to do it because of loan words and such methods as transliteration and transcription. Nevertheless, descriptive translation is a more difficult method and involves close work with explanatory dictionaries. 11. The Main Translational Devices Antonymic Translation. Antonymic translation is a complex transformation when a source language construction is shifted to a target language construction, whose components are of opposite meanings. Antonymic translation usually implies a comprehensive lexical and grammatical transformation: an affirmative construction is translated by a negative one or a negative construction – by an affirmative one. But such grammatical transformation is usually accompanied by lexical transformation – the key word of the SL utterance is translated by its antonym in the TL utterance, e.g. … the undead past – ще живе минуле. Let a sleeping dog lie. – Не буди сплячу собаку. Nobody was ever sorry to see him. – Всі завжди були раді його бачити. There are three major types of antonymic transformations: 1) substituting a word with its antonym (Snowdrifts are three feet deep. – Замети заввишки в один метр. ) or conversive (Some of the country’s art treasures have been secretly sold to foreign buyers. – Покупці-іноземці таємно скупили деякі з художніх шедеврів країни.) 2) substituting a negative sentence with an affirmative one and vice versa: I never heard of it! – Впершу чую! 3) shifting the position of a negative component: I don’t think I can do it. – Думаю, я не зможу цього зробити. Antonymic translation is more frequently used when rendering negative constructions by affirmative ones. This may be accounted for by the stylistic use of negative constructions in English for purposes of expressiveness. The English language uses grammatically only one negative in a sentence – either with a verb or with a noun but it maces a stylistic use of two negatives of which one is formed by grammatical means and the other – by means of affixation (negative prefixes or suffixes) or by lexical means, i.e. by words with a negative meanings. A sentence containing two negatives is negative only on the face of it, actually it is affirmative as the two negatives neutralize each other. The grammatical form in this case is not used in its direct meaning and consequently attracts attention, as does, for example, the rhetorical question which is no question at all but an emphatic statement. The clash between the denotative meaning of the grammatical form and its use in speech makes it highly emotive and increases its expressiveness. Thus a double negation has a special connotative meaning. It is not identical, however, with an affirmative statement. It contains a certain modification. It may be an overstatement or an understatement. British imperialists never failed to recognize the value of tea and fought many a bloody battle to grab the plantations of India. Британські імперіалісти завжди прекрасно розуміли цінність чаю і не раз вели криваві бої, щоб захопити індійські чайні плантації. The double negation is expressed grammatically by the negative adverb “never” and lexically by the semantics of the verb “to fail” is desemantized to such an extent that in some cases it is equivalent to a simple negative and is translated accordingly, e..g. he failed to appear – he did not appear. The combination of a grammatical negative with the comparative or superlative degrees of the adverb “little” is always emphatic and is rendered antonymically. Dickens is hampered by his age, which demands sentiment and reticence, but in the space that is allowed to him he scampers as if he knew no restraint…Never was he less embarrassed by restrictions than in the exuberance of “Pickwick Papers”. Діккенс був пов'язаний своєю епохою, яка вимагала чутливості і стриманості, але в дозволених йому кордонах він веселиться не знаючи упину ... Ніколи він не відчував себе більш вільним від обмежень, ніж в «Записках Піквікського клубу», де веселощі б'є ключoм. The double negative construction “not … until” may be regarded as a cliché which is practically always rendered antonymously as лише тоді, тільки (тоді), коли possessing the same degree of emphasis. It was not until I reached the farmyard that I made the discovery. (Susan Howatch) І тільки коли я дістався ферми, я зробив це відкриття. It was not until 1770 when James Cook chartered the East Coast that any major exploration of Australia was undertaken. І тільки в 1770 році, після того як Джеймс Кук наніс на карту східне узбережжя Австаліі, почалося серйозне дослідження цього континенту. 12. Metaphoric and Metonymic Translation Logical Development. Metaphor is a figurative expression, transferring the meaning from one thing to another based on their similarity. Metaphoric transformations are based on transferring the meaning due to the similarity of notions. The target language can re-metaphorize a word or a phrase by using the same image The preservation of original metaphors in imaginative prose is obligatory as they belong to the main features of a writer’s individual style. If for some linguistic reason (different valency, different semantic structure, etc.) the original metaphor cannot be preserved, resort is taken to stylistic replacements or compensation either by substituting another image or by using another stylistic device, e.g. And Might by limping Sway disabled. (Shakespeare Sonnet 66) І міць в полоні у немочі беззубої The metaphoric epithets “limping” and беззубий are formally not identical semantic units but as they have a common seme denoting a physical defect, stylistically they may be regarded as equivalents. The sun would pour through the shutters, tiger-striping the table and floor… (G. Durrell) Сонце світило крізь віконниці і столик і підлога були схожі на тигрову шкуру. The metaphor is rendered by a simile. A trite metaphor is sometimes revived by adding to it a new image expressed by one or more words. He was a rich vein of information, and I mined him assiduously. (G.Durrell). Він був невичерпним джерелом інформації, і я невтомно черпав з нього. Sometimes the difficulty of rendering metaphors in translation is due to the fact that the metaphor is based on some phraseological unit which has no equivalent in Ukranian. Never before had Lucy met that negative silence in its full perfection, in its full cruelty. Her own edges began to curl up sympathy. (J. Tey). Ніколи ще Люсі не стикалася з таким абсолютним мовчанням, настільки характерним для англійців і настільки нещадним; і в ній самій почало закипати обурення. The metaphor in this example “her own edges began to curl up in sympathy” is linked up with two phraseological unities: 1. to be on edge – to be excited or irritable; 2. to set person’s teeth on edge – jar his nerves, affect him with repulsion (The Concise Oxford Dictionary). The semes in this case are reshuffled, the referential meaning of the word “edge” is revived, and the meaning of the two phraseological unities (to be irritable, to have one’s nerves jarred) is present. This interaction of two meanings is perceived as deliberate interplay. Original Metonymies and their Translation Metonymy is transference of meaning from one object to another one based on their contiguity. The word is derived from the Greek meta “change” and onoma “name”. Classified semantically, meanings can transfer from • process to result (e.g. translation indicates the process of decoding and the result of this process) • material to a work (to drink from a glass) • location to people (Kyiv greets honored guests) • cause to effect (The little horror never stops playing tricks on his mother) • part to whole and vice versa. This type of metonymy is called synecdoche (Little Red Riding Hood). The rendering of metonymy is not always easy because of differences in usage. So the pink sprigged muslin and the champagne voile ran downstairs in a hurry. (C. Dane). The metonymies « рожевий муслін в квіточках і палева серпанок втекли сходами » are hardly possible in Ukranian. The following is an acceptable rendering: Подруги, одна в рожевому мусліні з квіточками і інша в палевому серпанку, швидко втекли сходами. The addition of a concrete word – подруги – is prompted by the macro context, but the stylistic effect is certainly lost in translation. What is permissible and possible in our language is impossible in another. Still there are cases when the norms of the Ukranian language permit the use of original metonymies. There were only four other people in the bar. I knew them all, or knew what they did for a living: timber, flour, textiles, insurance. Timber and Flower were standing at the counter discussing the cost of labour; Textiles at a table on the opposite side of the room was complaining about his garage bills. Insurance was listening patiently. (J.Braine). У барі було тільки ще чотири людини. Я знав їх усіх, вірніше знав, чим вони займаються: будівельний ліс, борошно, текстиль, страхування. Будівельний ліс і Борошно стояли біля стійки, обговорюючи вартість робочої сили; Текстиль, сидячи біля столика в іншому кутку бару, скаржився на великі рахунки за гараж. Страхування терпляче його слухав. Metonymic transference can take place on the language level, and is called lexical metonymy. In this case metonymy is a means of coining new words: e.g. in informal English a new word to box meaning ‘to present on TV’173 is converted from the noun a box, as a TV set, an old one in particular, resembles a box. Ultimately, the new word gets fixed by a dictionary and becomes part of the language vocabulary stock. Speech metonymy usually occurs on syntactical level. In this case the word acquires a metonymic meaning in a sentence, and this occasional meaning is normally not fixed in the dictionary. For example, I am late because of the bus where the word bus does not denote an object but a situation, normally verbalized by the phrase or clause like there was no bus or the bus was late. Stylistic metonymy is a figure of speech used to decorate the style and make the text more expressive by creating images and appealing to the receptor’s feelings. An example of stylistic metonymy is as follows: The pen is mightier than the sword. These types of metonymy are monolingual. When metonymy is traced between two languages, we deal with metonymic translation that might be defined as a lexical or complex transformation based on metonymous relations between the source language and the target language structures • This metonymic transformation is a kind of modulation, or logical development of the notion. 13. Compensation as a Translational Device. Types of Compensation. Compensation, on the other hand, is a “translation technique whereby a piece of information or stylistic device is moved to another location in the text, because it does not have the same effect if maintained in the same place as in the original text”. This process is intended to compensate for the losses that a text suffers when it is translated. The technique is especially useful when it comes to wordplay: if the translator cannot directly adapt a pun, for instance, which tends to happen quite often, then they will try to create another play on words in another part of the text. Compensation in translation is a standard lexical transfer operation whereby those meanings of the SL text, which are lost in the process of translation, are rendered in the TL text in some other place or by some other means. A classical case of compensation involves the rendering of individual, vernacular or class speech patterns with means available in the target language, e.g., regional expressions, slang words or distorted grammar (local compensation). It is also a form of compensation if the translator takes advantage of the opportunities offered by the target language and uses striking and idiomatic expressions thus compensating the reader for having had to use less than ideal solutions in other areas (global compensation). Losses are inevitable in translation. Some terms do not have natural and obvious equivalents in another languages, and this must somehow be compensated for. Local compensation is a subtype of compensation which involves the rendering of individual, vernacular or class speech patterns by the means available in the target language, A classic example of local compensation is the case when the translator has to render the individual speech habits of a character. If the characters speak a regional dialect, it makes no difference where in the original work they use dialectal forms. The translator can indicate a dialect only in words which have a regional dialectal variant. Global compensation is a subtype of compensation whereby translators do not compensate for a specific item, but they compensate for compromises imposed upon them by the fact of translation itself as an indirect, mediated type of communication. There are also generalization and concretization as the types of compensation. 14. Generalization as a Type of Compensation. Generalization is the opposite of concretization. In this case a SL word of concrete meaning is rendered by a TL word of general meaning. This type is not so wide-spread and occurs less frequently than concretization. May be this is due to the fact that abstract and desemantized words in English form, a numerous and diversified group, thus supplying a linguistic base to this type of transformation, whereas generalization appears to be lacking a similar linguistic foundation. Sometimes generalization is resorted to for pragmatic reasons in order to avoid expanded explanations or footnotes. And so the Mad Hatter Scheme – as it was later to be called – was launched. І так почалося здійснення цієї божевільної витівки, як згодом Гаррі Поллітт і члени редколегії жартівливо називали план видання першої щоденної газети Комуністичної партії Британії. In those days the British communist Party had neither money, no premises. “The Mad Hatter is an allusion to a character in Lewis Carrol’s well-known book “Alice in Wonderland”. The suggested translation is based on generalization. Besides, recourse has been taken to interpreting translation. Here are some examples of this type of lexical transformation. In the Arctic of today the frozen face of the deep is changing and man seeks a scientific explanation for its growth and shrinkage. Крижаний покрив Льодовитого океану зараз змінюється, і люди шукають наукове пояснення цьому явищу. Much more than an effective gun control is going to be needed to cure America of the plague of violence that afflicts it. Для того, щоб позбавити Америку від епідемії насильства, недостатньо одного лише суворого контролю над продажем зброї. There is a tendency in the English language to use nouns denoting measures of weight, distance, length, etc. in describing people and things which do not require such precision in their description. This method of description is foreign to the Ukranian practice and recourse is usually taken to generalization. He was a young man of 6 feet two inches. - Це був високий юнак. Generalization is sometimes used in rendering non-equivalents (e.g. summary court - дисциплінарний суд; a summary court is not only a disciplinary court but the least formal one, consisting of one officer, etc.). 15. Concretization as a Type of Compensation. Some groups of lexical units require concretization in translation. This is due to the difference in the proportion between abstract and desemantized words on the one hand and concrete words on the other in the S and T languages. Abstract words in English distinctly fall into several groups: 1. Numerous nouns formed by specific suffixes of abstract meaning. Many such nouns have no counterparts in the Ukranian language, e.g. ministership, presidency, electorate, statehood, etc. 2. Abstract words which have no equivalents in Ukranian, the so-called lacuna, such as exposure, occupant (unless as a military term). 3. Generalizing words having equivalents in Ukranian but differing in usage, e.g. man, woman, creature, person. 4. Words of wide meaning which require concretization in translation, some words of this group are on the way to becoming desemantized, e.g. place, piece, stuff, affair, etc. 5. Words of wide meaning which in fact have become partly deictic signs: -thing, -body (something, somebody). Words belonging to the first group require lexical and grammatical replacements by words possessing a concrete meaning: C.P.Snow resigned from his ministership because he did not like the way the Labour Government was developing. Чарльз Сноу пішов зі свого міністерського поста бо йому не подобалася нинішня політика лейбористського уряду. The abstract noun “ministership” is rendered by a concrete noun (пост) with adjective. An ageing Speaker cannot take the burdens of the presidency (in case of the president’s and vice-president’s assassination). Старіючий спікер не може прийняти на себе весь тягар президентської влади. The abstract noun “presidency” is rendered by means of a concrete noun with an adjective as in the preceding example. Puerto Rico may launch a drive for US statehood. Можливо, Пуерто Ріко розпочне кампанію за те, щоб стати штатом США. The abstract word “statehood” is concretized by means of an adverbial subordinate clause of purpose. Words of abstract meaning which for some reason or other have no equivalents in the Ukranian language are translated by some concrete word determined by the context. Their meaning is usually conveyed with the help of replacements or additions. It should be borne in mind that in this case the use of the same parts of speech is of no relevance. The role and the significance of the context is well illustrated by the following example, the translation of which is determined by the macro context. Two of the shipwrecked seamen died of exposure. Двоє, з потерпілих крах, моряків загинули (від холоду або від спеки). It was a good solid house built to withstand time and exposure. Це був хороший, міцний будинок, розрахований на те, щоб протистояти дії часу і негоди. Another group is formed by a large number of words of wide meaning. Their reference has widened to such an extent that they have come to be used in a variety of contexts. This ability to be used in different contexts has, in its turn, affected their reference: on the one hand, they have developed new lexical-semantic variants, on the other, their semantic boundaries have become vague and indefinite. This is due to the fact that their meaning is often contextual. Some of them move towards desemantization, such as piece, place, thing, affair, stuff, stunt etc. The place was full, and they wandered about looking for a table, catching odds and ends of conversation as they did so. (A.Christie). Ресторан був переповнений; вони ходили по залу в пошуках вільного столика і мимоволі чули уривки розмов. Desemantized words form one more group. The word place which is practically desemantized is translated by the concrete word ресторан. We had a quick breakfast and then our oxygen sets on to our backs. “This oxygen is certainly the stuff”, was my thought. (Edmund Hilary). Ми швидко поснідали і потім звалили на спину балони з киснем. «Так, без кисню нам не обійтися», подумав я. Equivalence in this case is achieved by means of both lexical and grammatical substitutions. Such words as piece, thing, body fulfill a double function – lexical and grammatical; they can be used as lexical units possessing reference or as a grammatical sign. The noun piece in its lexical function means “a bit of something” (a piece of bread); in its grammatical function it concretizes an uncountable noun, turning it into a countable one (a piece of furniture, a piece of advice, two pieces of furniture, two pieces of advice). The words “thing” and “body” have, as a matter of fact, moved from one morphological class into another; apart from belonging to referential nouns, they are used as deictic signs or prop-words and in such cases are omitted in translation. She took things terribly seriously. (A. Huxley). Вона все приймала дуже близько до серця. In this case the noun “things” is translated by a generalizing word. But there are also cases when this word requires concretization. He came in sight of the lodge, a long, low frowning thing of red brick. (A.Wilson). Він побачив будиночок воротаря, довга низька, похмура будівля з червоної цегли. Special attention should be paid to the translation of verbs of wide meaning, such as: to come, to go, to turn, to say, to tell, to get, to die and others. They are rendered either by concrete words suitable to the context or by verb equivalents used in corresponding collocations. So far 65 people have died in floods in Dacca province. -За наявними відомостями, 65 людей потонуло (загинуло) під час повені в провінції Дакка. At the by-election victory went to the labour candidate. - На додаткових виборах перемогу здобув кандидат лейбористської партії. The rain came in torrents. – Полив сильний дощ. Concretization is often resorted to in the translation of verbs of saying. “Father!” she cried, “the diamond is gone!” “Are you out of your mind?” I asked her. “Gone!” says Penelope. “Gone, nobody knows how!” (W.Collins). «Батьку!» закричала вона, «діамант зник». «Та ти з глузду з’їхала!» вигукнув я. «Зник», повторила Пенелопа. «Зник, і ніхто не знає яким чином». Concretization is often resorted to in translating the verb “to be” in different functions. The principle of semantic agreement is to be observed in such cases. …first he was terrified, then he was sick, then he was in Paris. … спочатку він злякався, потім його занудило, потім він опинився в Парижі. (Josephine Tey). 16. Translating of the Adverbial Verbs and Attributive Chains. Adverbial verbs are verbs of complex semantics: they express simultaneously two meanings – that of an action and that of its characteristics. For example, to stare – дивитися пильно; to shrill – пронизливо кричати. A translation equivalent is usually represented in the dictionary either by a verb and adverb or by a simple verb of complex semantics (to stare – втупитися), or by a verb and prepositional phrase: to rumble – їхати з грюкотом. Some verbs become adverbial only in context. For example, the verb to roar by itself denotes making a long and loud noise and is equal to ревіти, грюкати. In the sentence Tanks roared into the city, the verb indicates not only producing a loud noise, but also moving. So the sentence corresponds to the Ukranian Танки з грюкотом в'їхали в місто.The seme of movement is easily recognized by the preposition into. The same role is performed by a postpositional element of a phrasal verb: The old jalopy clanked up the hill. – Старий драндулет з брязкотом піднімався в гору. Semantically, adverbial verbs can be classified into the following groups: verbs expressing movement accompanied by some sound: to jingle – мчати, брязкаючи бубонцями; to creak – рухатися зі скрипом; to bang – з хлопком, etc. These verbs are usually translated with the help of an adverbial participle (дієприслівник) or a prepositional and nominal group. Verbs expressing a shift from one place into another: He danced her out into a quiet corridor. – Танцюючи з нею, він повів її в порожній коридор. The servant bowed the guests out as they left. – Слуга з поклонами проводив гостей. So in this case, either an adverbial participle or a prepositional phrase is used. When it has a metaphoric meaning, the verb can be translated with a simile: He stormed out of the restaurant. – Він, як ураган, вилетів з ресторану. verbs expressing transition from one state to another: The train slid to a halt. – Поїзд плавно зупинився. The adverbial feature is rendered in Ukranian by an adverb. causative verbs: The slaves were whipped into work. – Рабів змусили працювати за допомогою батога. (translation with a prepositional phrase). The threat angered him into activity. – Ця загроза пробудила його гнів і змусила діяти. (translated with parallel verbs). He refused to be blackmailed into silence. - Він відмовився мовчати, не дивлячись на шантаж. (translated through substituting parts of speech). He teased her out of making a scene. – Він жартував над нею, щоб вона не влаштувала йому сцени. (translated with a subordinate clause). verbs expressing cause and effect: Quietly she sang herself that night into fame. – Вона так співала, що непомітно для себе в той вечір стала знаменитою співачкою. (translated through a sentence partitioning). Mary Bignall is long-jumping her way to victory.– У змаганнях зі стрибків у довжину Мері Бігнал виходить на перше місце. (in translation the sentence is restructured). Being a compressive means of expressing a meaning, adverbial verbs are widely used in modern English, especially in newspapers and fiction. Some of them have become set phrases: to cry oneself to sleep; to struggle into one’s coat; to bang out of the room, etc. Many adverbial verbs form a structural pattern and, therefore, are easily recognized in the sentence, though their contextual meanings may not be found in the dictionary: The Tatar cavalry burned its way through Eastern Europe. – Спалюючи все на своєму шляху, татарська кіннота пронеслася по Східній Європі. The pattern to elbow one’s way, to push one’s way, to bribe one’s way (to, through) has been very frequent recently. Another pattern is the structure to talk (laugh, joke, tease, etc.) somebody into (out of) something: I’ve talked her into coming camping with us. – Я умовив її поїхати з нами відпочивати на природу. Attributive chains are compound phrases which consist of two or more nouns connecting logically with each other where the preposition «of» is absent. E.g.: the reaction of catalysis - catalysis reaction the solution of benzene - benzene solution. As all compound phrases are formed in scientific literature with the help of genitive case (родовий відмінок), most authors prefer to use attributive chains. To avoid the frequent repetition of the preposition «of» authors omit this preposition by transferring the word which must be after the preposition «of» at the beginning of a phrase. 17. Actualization in Translation. Principles of Translation. The perception, translation and reproduction of the text is associated with complex mental activity of a person. The indefiniteness of the concept of perception, implying a holistic reflection of objects, situations and events, in the context of translation theory requires a broader interpretation, as a combination of understanding and evaluation. The very understanding of the text implies the ability to understand the work as the author understood it; at the same time, such an understanding is preceded by a deep scientific study, an attempt to get used to a foreign culture, to penetrate other people's ideas, abandoning one's individuality, and transform into an author. According to most translators, both practitioners and theoreticians, it is precisely such reincarnation and survival that ensures a successful solution to the translation problem. The ability of the translator to read, interpret the text, understand its deep structure (meaning) is determined primarily by the features of his thinking, which are formed under the influence of forms of social life and depend on the psychological structure of his personality, on his “emotional intelligence”. There are 2 stages of translation: 1.The stage of extracting information from the original. At this stage the translator should get information not only from the text, but also from the linguistics and situational context. The translator should decide, which content he will convey in translation. 2.The stage of choosing language units while creating the TT. Translation will differ from the original texts by the numerous usage of the structures analogical to the structures of SL, by a great number of borrowings and loans etc. As a result of numerous acts of translation in the TL there appears a certain subsystem of language means that closely corresponds to the system of language means of the certain SL and is constantly used by the translators in the process of translating from this language. The result of the analysis of the main stages of the translation process and their features is the conclusion that translation (interpretation of the original) is a complex psycholinguistic process, during which, in the mind of the translator, the meanings of the individual elements of the utterance and the meaning of the utterance as a whole, are transformed into new meanings . There exist some basic principles of a translator’s strategy: 1. “I translate only the thing that I understand” or “If 1 do not understand I do not translate . *Exception: absurd texts should be translated by the absurd texts. 2. “to translate sense of the original, but not the form only”. 3. The third principle consists in the fact that the translator extract from the ST the most or the less important sense elements. 4. The meaning of the whole is more important than the meaning of the separate parts. 5. The translation should completely correspond to the norms of the TL. 18. Paraphrasing. The Main Principles of Translating clichés. A paraphrase is a restatement of the meaning of a text or passage using other words. The term itself is derived via Latin paraphrasis from Greek, meaning “additional manner of expression”. In the past, paraphrasing and translation were considered to be unconnected language processing tasks. If we compare translation and paraphrasing, we observe that the first one represents the preservation of meaning when an idea is rendered in the words in a different language, whereas the latter is the preservation of meaning when an idea is expressed using different words in the same language. It is obvious that the two processes are related. If we analyse, we can actually define translation as the art of paraphrasing a text from one language into another. As there is always more than one way to phrase a statement, then the result in the target text depends on the translator’s choice. Finding alternative ways to translate a phrase can be a very useful tool for a translator. First of all, it can have positive effects on the style of the written piece, secondly it can avoid repetition of certain words and structures that is often problematic and it can also help shorten the text when the space requires doing so. A paraphrase usually gives an explanation or a clarification of the text that is being paraphrases. It can be a useful technique for the reader as well, as it helps him easily understand the meaning of a certain phrase. Depending on the translator’s choice, a paraphrase can make the text sound more natural, more ambiguous or more formal. It is a matter of imposed style in this case. Paraphrasing implies rendering the content of the utterance by different semantic and grammatical units. This type of transformation is especially common in translating orders, commands, clichés and phraseological fusions but it is used in other cases, as well. No parking (here) – Стоянка автомобілів заборонена. No reason in the world to get upset. - Немає абсолютно ніяких підстав засмучуватися. The absence of a corresponding suffix in the Ukranian language sometimes necessitates paraphrasing. They (the demonstrators) had run into a solid wall of riot-equipped Washington policemen. (C.Bernstein and B.Woodward). Учасники демонстрації натрапили на суцільну стіну вашингтонських поліцейстіх, спеціально споряджених для боротьби з вуличними заворушеннями. A compound adjective formed by the suffix –ed requires paraphrasing. …”the Communists”, said Mr. Mc Lennan, “are illegally kept off the air”. ...«Комуністів», сказав Мак Леннан, «абсолютно незаконним чином позбавляють права виступати по радіо». This example fully reveals the nature of paraphrasing: the cliché “to keep off the air” is translated by a corresponding Ukranian cliché – позбавляти права виступати по радіо, conveying the same idea by different grammatical and lexical means. Clichés are terms, phrases, or even ideas that, upon their inception, may have been striking and thought-provoking but became unoriginal through repetition and overuse. The word cliché has French origins, which is why you'll often see it with an accent over the "e," but you can also write it as "cliche" in English. When printing presses were used, the cast iron plate that reproduced the words, phrases, or images was called a stereotype. The noise that casting plate made sounded like "cliché," meaning click, to French printers, so this onomatopoeia word became printer's jargon for the stereotype. Thus, cliché came to mean a word or phrase that gets repeated often. A cliché conveys an idea or message but loses its point through over-usage. Common Cliché Sayings All that glitters isn't gold – Не все те золото, що блищить. All for one, and one for all – Один за всіх, і всі за одного. Read between the lines – Читай між рядків. Someone woke up on the wrong side of the bed – Хтось встав не з тієї ноги. Not all clichés are necessarily true either. Some are a matter of interpretation. Clichés are often idioms. This makes clichés difficult to translate into other languages because their meaning won't always be understood by people from different cultures. Idioms are either opaque or transparent: Opaque - When you translate an opaque idiom, it may not make sense because the literal meaning has very little to do with the intended meaning. An example of an opaque idiom is "bag of bones" which means someone is very underweight. Transparent - A transparent idiom shows some similarity between the literal and the intended meaning. For example, "playing your cards right" is an expression that actually came from card games and can be applied to other situations. 19. Morphological Difficulties in Translation. Translating Passive Constructions. Morphology is the study of word-making and word-marking. In the other hand, morphology examines meaning relationship between word and the ways in which these connections are indicated. On the other, morphology looks at how grammatical relationships between words are marked. Different languages focus on different word relationships, and they make use of different pattern of marking. The most crucial things in morphology for translating are onomatopoeia, compounding, and conversion. Onomatopoeia is words whose represent aspects of things, usually noises or sound effect. It has a big presence in languages around the world, but there is no such thing as a universal stock list. Each language has its own collection of onomatopoeic expressions. Onomatopoeia is a strange concept because its definition is challenged by different languages worldwide. The sound of something is generally the same wherever you are in the world, yet the sounds used to describe it can be significantly different in different language. Compounding is the combination of two or more lexical categories (Noun, Adjective, Verb, or Preposition) to create a larger word. The element to make a compound can all typically occur as independent words elsewhere in the language. Compound are used to express a wide range of semantic relationship. In most case, the rightmost component of the compound identifies the general class to which meaning of the entire belongs. In smaller number of cases, however, the meaning of the compound does not follow from the meanings of its parts in this way. The rules for forming compound differ from language to language. Conversion is one of part of speech to another without the addition of a suffix. It is sometimes said that zero derivational suffix is added, the only concrete change that occur in a functional shift is a change in stress. Once a word has been converted, it can normally take the inflection of a new class. Note that we only speak of conversion when it is clear that a word has been “copied” from one-word class to another. A person or thing performing an action is called the subject of the action. A person or thing acted upon is called an object of the action. In the English language the verb has two voices: the Active Voice and the Passive Voice. The Active Voice is used when the person or thing denoted by the subject of the sentence is the subject of the action expressed by the predicate. The Passive Voice is used when the person or thing denoted by the subject of the sentence is an object of the action expressed by the predicate. The Passive Voice is used when the speaker wants to say something about the object (not about the subject of the action). In this case the subject of the action is mostly not mentioned at all; otherwise it is expressed by a noun or pronoun with the preposition by or with. The tenses of the Passive Voice are formed by means of the auxiliary verb to be in the corresponding tense and Past Participle (Participle II) of the main verb. The Future Continuous and the Perfect Continuous tenses are not used in the Passive Voice. The tenses of the Passive Voice are used according to the same rules as the corresponding tenses of the Active Voice. A verb which may have a direct object is a transitive verb. A verb which is not used with a direct object is intransitive. In Ukrainian only transitive verbs are used in the Passive Voice – the subject of a passive construction corresponds to the direct object of the active construction. In English not only transitive but many intransitive verbs are used in the Passive Voice. E.g. He was widely travelled and spoke several languages fluently. – Він об’їздив багато країн і вільно говорив декількома мовами. The subject of a passive construction in English may correspond not only to a direct object of the active construction but also to an indirect or prepositional object. E.g. A guide showed us the sights of Paris. – The sights of Paris were shown to us. / We were shown the sights of Paris. The passive verb-forms are translated into Ukrainian: 1. By verbs with the particle -ся (-сь). E.g. This is usually done to access records contained in a database. – Це звичайно робиться для того, щоб отримати доступ до відомостей, які містяться у базах даних. 2. By combinations of the verb бути with predicative verbal forms ending in -но, -то. E.g. Some acknowledge that our campaign finance system will be broken but contend that reforms simply are not possible. – Дехто визнає, що систему фінансування виборчої кампанії буде зруйновано, але стверджує, що реформи просто неможливі. 3. By the equivalent of the Passive Voice in Ukrainian (combinations of the verb бути with Past Participle Passive (дієприкметник пасивного стану минулого часу). E.g. Almost 20 percent of the republic’s farmland was removed from production during the years immediately after the accident in Chernobyl. – Майже 20 % сільськогосподарських земель республіки були вилучені з виробництва протягом декількох років після Чoрнобильської катастрофи. 4. By verbs in the Active Voice in indefinite-personal sentences. Some sentences with verbs used in the passive constructions require special approach to translation of their subjects. If a sentence has one of the below given verbs as a passive predicate – to advise – радити, to aid – допомагати, to assist – допомагати, to give – давати, дарувати, to forbid – забороняти, to forgive – прощати, to help – допомагати, to inform – сповіщати, to oppose – протистояти, суперечити, to order – наказувати, to permit – дозволяти, to precede – передувати, to promiseобіцяти, to refuse – відмовляти, to send – посилати, to show – показувати, to tell –казати, веліти, to threaten – погрожувати – in Ukrainian translation its subject should be transformed into a direct or indirect object in the Dative case. E.g. I was shown the new photographs. - Мені показали нові фотографії. Subjects of the sentences with the verbs to ask – просити, to avoid – уникати, to oppose – бути проти, to send – посилати, to see – бачити, to teach – вчити, викладати, to own – володіти, used as passive predicates should be translated into Ukrainian as direct or indirect objects in the Accusative case. E.g. Не was asked to wait. – Його попросили почекати. Subjects of the sentences containing the verbs to admire - захоплюватись, to own – володіти in the function of passive predicates should be translated into Ukrainian as direct or indirect objects in the Instrumental case. E.g. No one is admired as much as he. – Ніким не захоплюються так, як ним. 5. If the subject of the action of a passive construction is indicated, the English Passive Voice may be rendered in Ukrainian by the verb in the Active Voice in a definite-personal sentence. E.g. The factory is owned by very dangerous people. – Фабрикою володіють дуже небезпечні люди. 20. The Problem of style in Translation. Code Switching. The problems of style, affecting translation, may be subdivided into two major categories: the problem of functional styles and the problem of stylistic devices. The problem of functional styles pertains to the specific features of texts of different genres in the source and target languages. Texts, belonging to different functional styles, such as official documents, scientific papers, technical manuals, news items and fiction, are characterized by a number of distinctive features that vary from language to language. These variations affect the composition of the text, its syntactic and semantic structure and the choice of linguistic devices for each type of a text. Official documents are replete with set phrases for which there are usually standard equivalents in the target language. Their syntax is usually characterized by complex structures and their lexicon by the highest degree of formality. Scientific and technical texts are characterized by the use of special terminology, equivalents, for which should be selected at the appropriate style level The problem of stylistic devices centers around the relative functional value of seemingly identical stylistic resources. In case their functional role is different in the source and target languages, a different stylistic device should be employed in the target language to achieve the comparable stylistic effect. In linguistics, code-switching refers to the simultaneous and syntactically and phonologically appropriate use of more than one language. It is fairly common to hear multilingual people use elements of the different languages that they speak when conversing with others that speak the same languages. This mix may occur almost unconsciously in people who have a limited mastery of these languages, and more consciously in the case of people who are proficient in both languages and who use the word that best reflects what they wish to express for each ideas There are three types of CS as follow: Tag switching involves the insertion of a word or phrasal tag in one language into an utterance in another language. Inter-sentential switching occurs at sentence boundary, it emphasizes a particular point uttered in the other language. CS involves switching at sentential boundaries, where one clause or sentence is in one language and the next clause or sentence is in the other. Intra-sentential switching occurs within a single sentence. It happens at the clause, phrase level, or at word level, specifically in the middle of a sentence, with no disturbance, pause, or gap indicating a shift if no morpho-phonological adaptation occurs. There are two approaches for sociolinguistic matter of CS: Macro approach that explores language alternatives at a given community level. It measures the social and cultural speaker. Micro approach explores language alternatives at an interaction level, and explains the motivations driven by the speakers themselves rather than by the society and culture. 21. Translation of Newspapers. Peculiarities of Translating Headlines. The Use of Infinitives, Ellipsis and Abbreviations in Translation. The Peculiarities of Word Order in Headlines. This style possesses many features in common yet texts belonging to this style present considerable variety and may be divided into two groups: texts containing information and texts commenting on it. News in brief and information articles (newspaper style proper) are devoid of emotive and individual colouring, hence wide use of impersonal passive and Nominative with the infinitive constructions which are also impersonal in character. Clichés form an outstanding feature of this type of text. They arc characterized by a considerable compactness of form which is due to want of space. Condensation in its extreme form is especially apparent in headlines and that is the reason why headlines have their own structural peculiarities: omission of auxiliaries, a wide use of verbals, of attributive models, etc., all making for compactness. Articles containing commentaries (publicist style proper) chief among them editorials, possess a distinct emotive colouring. Their vocabulary is literary and their syntax is rather complicated. Their objective is to influence public opinion, not to inform the reader but to convince him that the paper’s interpretation is correct and to bring him round to its point of view, to condition his views and opinions. This fact explains the use of various expressive means. Commenting articles, as has been pointed out, bear a distinctive emotive colouring due to the expressive means in them, though these means are hardly ever original. The use of trite metaphors, for example, is more frequent in English newspapers than in Ukrainian papers. That is why trite metaphors are not infrequently substituted or even omitted in translation. The metaphor used in the following example is toned down in the translated text. The Industrial Relations Bill is an attempt to slit the throat of trade-unions. Законопроект про відносини у промисловості — це спроба придушити профспілки. Although the metaphor “to slit the throat” has a corresponding equivalent in the Ukrainian phrase перерізати горлянку Ukrainian usage does not admit the combination перерізати горлянку профспілкам. Different expressive devices (allusions among them) are used in newspaper articles to condition the reader’s views and opinions. The phrase “the winter of discontent” from Richard III by Shakespeare is widely used in different political contexts and is often adapted to the situation, e.g. Some Trade-Unions warn the Government that it will be a winter of discontent. Another distinguishing feature of English newspaper style is the wide usage of attributive constructions: "world-without-bombs'' conference program; capital flow rates (темпи руху капіталу); Very often we have to translate newspaper or magazine articles in different topics. In course of translation some questions may arise connected to the translation of newspaper headlines. The peculiarities of development of the press in USA and Great Britain have made a prominent stylistic influence upon the style of newspaper headlines, the translation of which due to their specific character presents certain difficulties. A headline in English and American newspapers plays a rather important role; its main goal is to attract the reader's attention, to provoke their interest and even amaze them, and only in the second place a headline is given an informative and explanatory function - conveyance to the reader of the summary of the given article. Due to such purpose in English and American press a special style of newspaper headlines was formed which has a characteristic feature of great expressiveness of lexical and grammar means. The headlines are usually written in "telegraphic language", i.e. they are written in maximally brief and laconic phrases where all the semantically inessential components are dropped. At the same time, for the aim of securing of maximal understandability headlines are constructed on the basis of common lexis and the simplest grammar means. There are few peculiarities of headlines and ways of their translation. For attraction of readers' attention to the main idea of the message in the headlines the articles and personal forms of the auxiliary verb to be are usually dropped. The information about recent events is conveyed using Present Indefinite form. This as if brings an event nearer to the reader and enhances their interest. Future action is often rendered using the Infinitive. Sometimes in the headline the predicate is dropped because it is of less importance in the sentence. To attract readers' attention to the predicate and provoke their interest the subject is dropped if it is of less importance then the predicate. The Genitive case due to its structural compactness is used with inanimate nouns instead of the prepositional construction with of. Often popular nicknames and contracted names are used instead of family names of some politicians, actors, sportsmen etc. For giving some emotional tone to the common lexis headlines often employ neologisms, dialectic words, poetic lexis, or slang. Abbreviations and abridgements are widely used. The figurative elements are often employed. The headlines of English and American newspapers include a range of specific features that require separate approach to their translation. . Ukrainian headlines and the newspaper style in general is more fluent and restricted and the action in them contrary to the headlines of English and American newspapers is rendered more often by a noun then by a verb. The headlines of English and American newspapers often employ abbreviations, sometimes they are letter abbreviations, and in many cases the meaning of such a headline can be understood only from the text of the article itself. It is often necessary to read the test of an article before translation of its headline when a headline contains some figurative elements. In many occasions a tendency to make a headline more intriguing and suspenseful results in that such a headline cannot perform its informative function correctly and actually gives no idea about the content of a notice or an article. In such occasions a translator should expand the headline by using additional details from the text of an article. To sum it up, we should stress that contrary to the headlines of scientific and technical articles that as a rule give some insight into the main idea of the article's content and thus in a certain way are the "key" to understanding of the text, for the newspaper headlines the situation is different. It is often necessary to read the text beforehand to understand and translate its headline correctly. English newspaper text has a certain laconicism that in headlines takes the form of slogan-like concise pieces, being very abrupt and hectic. Our translation should retain brevity but at the same time be more fluent and rhythmical, that is peculiar to our newspaper style in general. 22. Socio-Regional Variations of English and their Reflection in Translation. As all languages, English is by so means a homogeneous or monolithic system. It is made up of a multitude of subsystems of territorial and social dialects. What is more, Standard English is not homogeneous either end comprises several varieties - British American, Australian, etc. The existence of all these subsystems and varieties poses a number of problems for translation. In dealing with territorial dialects it should be remembered that they cannot be considered purely regional varieties of English In fact, they are socioregional subsystems for the communities of their users are usually defined not only in geographic but also in social terms. For instance, Cockney, the dialect of the East End district of London, is not just a regional, but a socioregional dialect whose speakers belong to the lower and less educated social groups. The two major varieties of Standard English are British and American. Their distinctive features affect in a different manner the process of translating into English and into Ukranian. In translating into Ukranian British-American variations amount to a problem of properly interpreting the English original. It should be a noted that seemingly identical lexical items may take different denotational meanings in British and American English. Semantic differences between British and American English may affect not only words but also phrases. Thus the phrase "public school" in the US means "a school", usually for primary or secondary grades, that is maintained at public expense". In England it is one of the few exclusive and endowed boarding schools (usually for boys) that prepare pupils for university study or public service (e.g. Harrow, Eton, etc.). Thus the phrase "He went to a public school" would be translated as "Він навчавсся в державній школі or as Він навчався в приватному пансіонаті depending on whether it occurs in an American or English setting. Essential semantic differences affect the system of numbers. "Billion", used in an American text, is мільярд, but, if it is used in a British text, it should be translated as біліон. Equally important are some differences in the system of weights and measures. Lexical differences between British and American English may affect not only denotational but also conotational meanings.In translating into English the problem is that of selecting the proper variant with due regard for the receptor's nationality.The choice of a lexical (and sometimes even grammatical) variant in rendering a Ukranian text into English sometimes depends on whether the translation is intended for English or American readers. 23. The Judicial Grounds of Translation, the Rights and Duties of the Translator. Many professional bodies have a code of professional conduct, like the Institute of Linguistics in the United Kingdom.The German Federation of Translators developed a similar code of professional honor. One of the first principles of translators’ behavior is objectivity and impartiality. A translator, or rather an interpreter, is a mediator of communication but not its active participant. He cannot take part in the discussion he translates. A translator is generally expected not to side with either party. If a speaker’s arguments seem weak to him, he must translate them as convincingly (or not) as does the speaker. The interpreter cannot correct the speaker even if he knows that the latter is evidently mistaken. In order to “wash his hands” of the wrong statement, the interpreter can stress that it is the speaker’s point of view: Як говорить оратор… Neither vocal, nor facial expression should betray the interpreter’s thoughts and feelings. Generally speaking, interpreting involves a high level of neutrality and detachment. The interpreter’s speech must be clear and distinct. He must not mumble and stumble. No matter what and how a speaker might be talking, the interpreter must be logical and grammatically correct. A sentence begun must be completed. There is a stereotype that well-respected participants speak according to the standard norms. Thus mistakes in translating will inevitably be attributed to the interpreter and not to the speaker. It is recommended that the interpreter learn beforehand the names and positions of the communicators to avoid further troubles. The interpreter is not responsible for the content of what he is translating. He cannot translate what was not said (though in informal situations, the interpreter may deviate slightly from this rule and, taking into account the difference in cultures, makes necessary comments.) Awareness of non- verbal communication will be of great help to the interpreter in any situation,though he is not obliged to translate gestures. An interpreter must keep information from the talks confidential. When working at several negotiations concerning the same problem, the translator cannot make the participants understand that he is aware of some information on the problem. An interpreter normally speaks in the first person singular; the third person deixis is employed when it is necessary to introduce the speaker, when the communicator speaks about the interpreter, or in informal situations with several participants. It is not recommended using in Ukranian the pronoun він / вона - it is better to name a person (either in full name or with the courtesy title ‘пан /пані’. The place of an interpreter depends on the type of ceremony. It is crucial that the interpreter hear and be heard well. In translating informal talks, the interpreter usually stands between the communicants, to the left of his chief. When translating officials, the interpreter is to the left and behind the official. At the conference, the interpreter can be at the podium, in the presidium, at a microphone. An interpreter can check with the speaker if he did not hear or understand something properly. But, of course, echoing questions should not be frequent, especially in translating official talks. It is admissible, though not desirable, to interrupt very long utterances of a speaker. It is better to make an agreement with the speaker beforehand about the length of utterances s/he is going to speak. An interpreter should always have paper and pencil with him, ready to take notes. An interpreter must be very punctual. He must be observant of the time and arrive on time. Negotiations cannot start without him. It is even desirable that the interpreter come a little earlier than appointed, because the participants may decide at the last moment to start the discussion earlier, or the interpreter’s help may be needed for discussing some problems before the talks. An interpreter must work with modesty and dignity. He must avoid both overfamiliarity (even if he is on friendly terms with the negotiation participants) and servility towards the communicators. He must be self-assured: he knows that the worst translation is better than absence of one (the theory is disputable, however). He must not let the talks participants correct him and he should do everything to make them believe in his professional competence 24. Grammatical Equivalents in Translation. The grammatical structure of language is an important part of its overall system, no less important, in fact, than its lexicon or vocabulary. The elements of the grammatical structure, such as affixes, forms of inflection and derivation, syntactic patterns, word order, functional words, etc. serve to carry meanings which are usually referred to as "grammatical" or "structural", as distinct from lexical meanings. The rendering of such meanings in the process of translation is an important problem relating to the general problem of translation equivalence, which now must be considered at length. Grammatical forms of different languages only very seldom coincide fully as to the scope of their meaning and function. As a rule, there is only partial equivalence, that is, the grammatical meanings expressed by grammatical forms, though seemingly identical, of two different languages coincide only in part of their meaning and differ in other parts. Thus, for instance, the category of number of noun in English and in Ukranian seems to coincide and, indeed, does coincide in very many cases of their use; cf. table - стіл, tables-столи, etc. However, there are many instances where this is not the case, in other words, where an English plural form is rendered through a Ukranian singular form and vice versa; this is especially common among the so-called Singularia and Pluralia Tantum, that is, those nouns that have only a Singular or a Plural form whose distribution is often arbitrary and motivated only historically. Compare: oats - овес, peas - горох, onions - цибуля, cherries - вишня (used collectively), outskirts (of a town) - околиця, billiards - бильярд, measles - кір; and, on the other hand, money - гроші, ink - чорнила, information – новини, дані etc. Also, the forms of number in two languages often do not coincide when the noun is accompanied by a numeral; thus, in Ukranian all nouns preceded by such numerals as двадцять один, сто тридцять один and others ending in один are used in the Singular form while in English in corresponding patterns a Plural form must be used: twenty-one tables, one hundred and thirty-one passengers, etc. Another good example is the category of Tense. Both English and Ukranian distinguish such forms of the predicate verbs as Present and Past, their general grammatical meanings being, on the whole identical; cf. He lives in Kyiv – Він живе в Києві. Не lived in Kyiv – Він жив в Києві, etc. However, in certain cases the Tense forms of the two verbs - English and Ukranian - do not coincide; thus, for instance, in English there exists such a grammar rule as "Sequence of Tenses" according to which the predicate verb in subordinate object clause following the main clause in which a Past form is used must, with a few exemptions, also be used in a Past form, whereas in Ukranian this is no so and a Present form is quite common in the same position: He said he lived in Kyiv – Він сказав, що він живе в Києві. The difference is even more striking when we consider other grammatical categories whose semantic content and function vary to a still greater extent. Take, for instance, such category as Gender. Ukranian distinguishes three genders: Masculine, Feminine and Neuter, which are formally expressed in the following ways: (a) through agreement, e.g. цей юнак – ця дівчина; дідусь прийшов – бабуся прийшла; кохання прийшло etc; (b) by the inflectional forms of the noun itself, e.g. стіл (Masc.) - zero ending, "hard" stem, вода - (Fern.) - the ending - а, вікно (Neut.) - the ending -o, etc; (c) by means of pronominal substitution, e.g. звір (Masc.) - он; двері (Fern.)-она; etc. In English, the same three genders are also distinguished; however, the only formal way to express the distinction is through pronominal substitution, e.g. boy - he, girl - she, house - it, their being no such things as agreement in gender or difference in inflectional (case) endings. Consequently, the category of gender in English is expressed, actually, not in the noun itself but in the corresponding personal (possessive, reflexive) pronoun. It follows, then, that many nouns in English are not marked as to gender and can be used as Masculine or Feminine depending on the context, whereas in Ukranian a choice between these two genders is necessary with due regard for the wider context; cf. artist - художник, художниця; worker – робітник, робітниця; student - студент, студентка; teacher- вчитель, вчителька; writer – письменник, письменниця; cook - кухар, кухарка; friend - друг, подруга; acquaintance - знайомий, знайома, etc. The above must not be taken to mean that there is absolutely nothing in common between the grammatical structures of two different languages. On the contrary, there exist in all languages the so-called grammatical universals, that is, categories that are found in all languages and without which no language can function as a means of communication. These, however, are mainly the so-called deep grammatical categories, i.e. categories that are semantic rather than formal, such as "object", "process", "quality", "relation", "actor", "goal" (of action), "instrument", "cause and effect", etc. The formal ways in which they are manifested may differ widely. The translator's task here is, first to assign the correct meaning to this or that form and, secondly, to find an appropriate form in the target language for the expression of the same meaning, taking into account various factors which will be described below. Moreover, it should be born in mind that the content which in one language is expressed grammatically may be expressed lexically in another language. If no grammatical forms are available in the target language, the translator must look for lexical means to render the same semantic content. Thus, for instance, the English language does not distinguish between the forms of the Perfective and Imperfective aspect (Доконаний і недоконаний вид) that are so typical of the Ukranian verb. The only way to convey in English the semantic difference between the Perfective and the Imperfective verb forms of Ukranian is through lexical differences between two verbs. Another example: in the sentence "Out came the chaise - in went the horses - on sprang the boys - in got the travelers." (Ch. Dickens, Pickwick Papers) inversion is employed to convey the additional meaning of rapidity of movement. In Ukranian, however, the same meaning cannot be conveyed by inversion alone and the lexical means must be resorted to achieve adequate translation, as, for instance: « Швидко викотили коляску, миттєво запрягли коней, хлопці-форейтори вскочили в сідло, і мандрівники поспішно сіли на свої місця » Finally, it should be noted that there are cases when grammatical meanings are not rendered in translation at all, that is, when this or that grammatical form is not used freely, according to its own meaning, but when its use is predetermined by purely linguistic factors, such as syntactic construction, rules of agreement (grammatical concord) or government, etc. In such cases we can speak of the bound use of the grammatical form, as opposed to its free use. One example will show the difference: in English the choice of the tense form of the verb in an independent clause is free and depends on the proper meaning of the tense form itself; cf. "He lives in Kyiv - He lived in Kyiv". In a dependent clause, however, the use of the tense form is not free and is determined by so-called "rule of the sequence of tenses": "He said he lived in Kyiv". Consequently, in the first case the difference in the tense form (Present vs. Past) must be reflected in translation: «Він живе в Києві- Він жив в Києві». In the independent clause, on the other hand, the use of the English Past is purely formal and, as there is no corresponding rule in Ukranian, it is not necessary (or even possible) to render the meaning of the "past" in the Ukranian translation; here the rules of Ukranian syntax require the use of the Present form to express non-priority (e.g. simultaneity) of the action: «Він сказав, що живе в Києві». On the whole, the choice of the grammatical equivalent in the target language is determined by the following factors: a) The meaning inherent in the grammatical form itself, e.g.: стіл - table, столи - tables, or живе- lives, жив - lived (see the examples above). b) The lexical character of the word or word-group used in this or that form. Thus, for instance, the use of the Plural form in Ukranian is impossible with certain nouns while possible with others: cf. "workers of all industries" - «робітники всіх галузей промисловості»; "other philosophies" - «інші філософські течії/напрямки» etc. Here the grammatical meaning of plurality has to be rendered lexically in Ukranian as the corresponding Ukranian nouns lack the plural form. c) Factors of style. Thus, for instance, both English and Ukranian have the Passive form of the verb: however, in Ukranian the use of this form is mainly confined to the literary or bookish (formal) style. Therefore, though the English Passive structure such as "At the station John was met by his brother" can, theoretically speaking, be translated as « На вокзалі Джон був зустрінутий братом », we feel that the translation is unacceptable as it sounds too formal and hardly be used in colloquial speech or in fiction. As an appropriate version here would be: « На вокзалі Джона зустрів брат ». In the formal language, however, for instance, in newspaper reports, this is quite acceptable; cf.: "At the station the delegation was met by a group of students" - « На вокзалі делегація була зустрінута групою студентів ». Another example: both English and Ukranian make use of the so-called "Historic Present" (the Present tense used to denote past events); however, it is only in English that this form is employed in newspaper headlines. Consequently, such a headline as "Prominent Scientist Dies" can not be rendered as « Відомий вчений помирає» since Ukranian headlines favour noun phrases, it is preferable to translate the above as « Смерть відомого вченого » (for details see the lecture on style); d) Frequency of use. Speaking about this factor, the American linguist and translator E. Nida writes: "Rare form of words may also constitute serious obstacle to a proper communication load. For example, translators often find convenient formal parallels between constructions in the source and receptor languages, and, regardless of the relative frequency of such constructions in the language concerned, endeavor to match the forms more or less automatically. Thus, both source and receptor languages may have passive forms of words, but in the source language they may be relatively frequent, while in the receptor language they are rare. (English and Ukranian are perfectly the case.) If under these conditions one attempts to translate every source language passive by a corresponding passive in the receptor language, the result will be an inevitable overleading of the communication..." Thus, Ukranian uses both subordinate clauses and verbal adverbs (дієприкметник) to express adverbial relations: however, if a translator does not make use of the latter, his translation will sound unnatural and too "heavy". Also, both in English and in Ukranian subordinate and co-ordinate are used, but their relative frequency is different: English often prefers subordination whereas Ukranian more often than not makes use of co-ordinate structures. Therefore, subordinate syntactic structure of English are quite commonly replaced by co- ordinate structures in Ukranian translations, though, from the point of view of purely formal grammar rules such a replacement is not always necessary 25. Types of Reviewing used in Translation. Review Type 1: Translator self-review What is it? A review of the translation by the translator before delivery. What’s the objective? To ensure the translation is both accurate and well-worded. When is a self-review necessary? Whenever a reasonable degree of translation quality is needed. Without a self-review, a translation would generally be considered just a draft. It may have inaccuracies (things missed or translated incorrectly) or phrasing that’s a little unnatural. That’s because translating involves complex mental processing and it’s hard to get everything spot on first time through. The self-review process is needed to overcome those challenges. Now in some circumstances you might be happy with just a draft translation and no self-review. For example, if you just want to get the gist of what a document says.But a translator self-review is essential if you don’t want the risk of a translation mistake or some slightly awkward wording. It’s the starting point for your translation risk management, with the second review type (translation peer review) adding an additional level. How should a translator do a self-review? In two separate steps with a break in between. The first step is an accuracy check. The translator systematically works through the translation, phrase-by-phrase or sentence-by-sentence, comparing it with the original text. They make sure no meaning has been missed or misinterpreted. They should work from hard copies here and not on screen where it’s too easy to miss things. The translator should now take a break to clear the mind. Then the second step is to read through the translation and refine wording where needed. Review Type 2: Translator peer-review What is it? A review of the translation by a second translator before delivery. This is a separate and additional step to the initial translation process – it’s carried out after the initial translator provides their ‘final’ translation. What’s the objective? To ensure the translation is high quality, by which we mean: fully accurate (all meaning correctly expressed) appropriately worded no errors internally consistent Now an experienced professional translator using best practice processes (which include a self-review) should produce a high-quality translation. So this peer review process is essentially a safety check to confirm there are no errors and to refine wording if needed. When should you insist on a translator peer review? Whenever a high degree of translation quality is needed. Of the 6 main purposes for business translations, this would at least include your client- facing, business-critical and key internal documents. More generally, it’s whenever any shortcomings in the translation could have negative repercussions for you – particularly financial or reputational impact. A correctly carried out peer review will markedly reduce the risk of that happening. How should a second translator do a peer review? In three, and sometimes four, steps. Step 1 reviews translation accuracy using the same method as a self-review. Step 2 reviews quality of expression, again in the same way as a self-review. Step 3 checks there are no errors – spelling, grammatical, or in numbers and proper names. Depending on the nature of the text and the reviewer’s experience, a fourth step may be necessary to check for consistency of vocabulary and style. Review Type 3: Post-translation client review What is it? A review of certain aspects of a completed translation by a client internal or in-country native speaker. What’s the objective? There are 6 different possible objectives: 1. Errors – a simple check to confirm there are no spelling or grammatical mistakes. 2. Accuracy – a check that all meaning has been correctly expressed in the translation. 3. Wording – to ensure the translation reads naturally and well. Note: These three checks will already have been done in a translator peer review process. So, any further client review here would be an additional, second “safety check”. 4. Technical review – to confirm that everything makes sense from a technical point of view and the most appropriate terminology has been used. 5. Branding and style – to ensure that your brand is communicated effectively and in a way you’re happy with. 6. Consistency – that wording and style matches that of your other materials or communications. When might you want a post-translation review? A review for errors, accuracy or expression (Objectives 1-3) When: a second translator (peer) review hasn’t been done, or you aren’t entirely confident in the peer review, or the materials are business-critical, and you consider a further safety check warranted. 26. Types of Translation depending on the level of Translation. The Word for Word Translation. Adequate Translation, Free style Translation. There are eight types of translation depending on the level of translation: word-for-word translation, literal translation, faithful translation, semantic translation, adaptive translation, free translation, idiomatic translation, and communicative translation. 2. Word For Word translation: The SL word order is preserved and the words translated by their most common meanings. Cultural words are translated literally. The main use of this method is either to understand the mechanics of the source language or to construe a difficult text as pre- translation process. 3. Literal translation: The SL grammatical constructions are converted to their nearest TL equivalents but the lexical items are again translated out of context. As pre-translation process, it indicates problems to be solved. 4. Adequate translation: It attempts to reproduce the precise contextual meaning of the original within the constraints of the TL grammatical structures. It transfers cultural words and preserves the degree of grammatical and lexical deviation from SL norms. It attempts to be completely adequate to the intentions and the text-realisation of the SL writer. 5. Semantic translation: It differs from faithful translation only in as far as it must take more account of the aesthetic value of the SL text, compromising on 7meaning where appropriate so that no assonance, word play or repetition jars in the finished version. It does not rely on cultural equivalence and makes very small concessions to the readership. While `faithful' translation is dogmatic, semantic translation is more flexible. 6. Communicative translation: It attempts to render the exact contextual meaning of the original in such a way that both language and content are readily acceptable and comprehensible to the readership. 7. Idiomatic translation: It reproduces the message of the original but tends to distort nuances of meaning by preferring colloquialisms and idioms. 8. Free translation: It reproduces the matter without the manner, or the content without the form of the original. Usually it is a paraphrase much longer than the original. 9. Adaptation: This is the freest form of translation mainly used for plays and poetry: themes/ characters/ plots preserved, SL culture converted to TL culture & text is rewritten.
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