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Background. Defining strategies for translating stable expressions from English into Russian will help effectively use English idioms in the process of teaching/learning a foreign language. The research also focuses on the lack of consensus among researchers regarding the terminology of fixed expressions which leads to a wide variety of classifications of them. Purpose. The aim of the research is to reveal methods for translating fixed expressions correctly from English into Russian in audiovisual texts, taking into account their cultural component. Materials and methods. The research is based on the theoretical study and synthesis of scientific and methodological literature, related to the topic under study and general scientific methods, i.e., analysis and generalization are used. Results. The results of the survey reveal that translation strategies tested in translation classes were chosen in accordance with the object of translation, as well as particular reference to the type of fixed expression. Furthermore, it is worth noting that idioms of all three types of fixed expressions, i.e., collocations, idioms and phrasal verbs found in audiovisual texts, are basic units revealing cultural character and national identity. As a result of the analysis of the scientific material, it was suggested that the integration in the translation process of figurative expressions used in every form of the spoken discourse, especially in the audiovisual context, contributes to higher language proficiency results. Practical implications. The results of the study can be taken as the basis for performing various tasks, related to the recognition and classification of fixed expressions, will contribute to the expansion of the lexical stock, and their inclusion in speech will create conditions for the development of speaking skills in the process of teaching a foreign language and special disciplines in translation.

This article falls within the field of translation studies. The focus of the research is on literary texts that describe sensations, emotions, movements, behaviors, and actions of individuals. The study investigates translations from Russian into other languages as well as translations of foreign texts into Russian. Materials from the Russian National Corpus were utilized for this purpose. A substantial corpus of literary texts in English, Spanish, German, Portuguese, and French was analyzed. The findings indicate that one of the translation strategies for expressions with the specified predicates involves appealing to the components of prototypical situations of these emotions. It was revealed that one distinctive feature of expressions in English, German, Spanish, Portuguese, and French—particularly in contrast to Russian expressions — is the tendency to specify the organ involved in a movement, action, or sensation. Another notable characteristic of expressions in foreign languages is the tendency to refer not to the organ itself but to a part of the organ involved in the described process; for example, using “pupil” instead of “eye.”

This article analyzes the existing translation of Yuan Ke’s “Myths of Ancient China” (1960), carried out by E. I. Lubo-Lesnichenko and E. V. Puzitsky (1965), focusing on the strategies employed by the translators in conveying Chinese names into Russian in instances of cultural gaps. The aim of the article is to summarize the strategies adhered to by the authors in translating Chinese mythological narratives and to identify the most suitable methods for rendering names of material culture objects into Russian. An assessment is provided regarding the accuracy of translations of fragments of myths that mention concepts such as “tripod,” “jade hairpin,” “jade tablet,” “Jai-gong, Palace of Abstinence,” and others. The analysis reveals that the methods utilized by translators of ancient Chinese myths primarily include phonetic transliteration, literal translation, addition, omission, and annotation. However, the application of these strategies sometimes results in distortion and omission of the original information. This article proposes translational strategies, within the framework of foreignization, that should be adhered to when translating Chinese mythological narratives: addition, omission, transfer, substitution, division, combination, and transliteration.

The article deals with the problem of cross-cultural specificity of reproducing a cinematic text in translation. The framework of this present research is intersemiotic translatology with an emphasis on the synergetic unity of the key semiotic systems – verbal and visual. Consequently, the main task of a translator presupposes motivational choice of translation strategy, which enables the realization of an adequate synergy of effect on perception of a cinematic text by the target audience in terms of cross-cultural comparison. The translation analysis was conducted on the English source cinematic text and two Ukrainian translation versions of historical drama “The King’s Speech” (2010). A cinematic text in translation obtains additional difficulties of cross-cultural character mainly while transcoding the feature films, which display the definite historical and cultural period of a source linguaculture. Such screen adaptational versions are considered as a text in a broad sense, because it implies a cinematic verbal text and on the other hand is a product of a special type of translation – intersemiotic one. Besides, the process of film adaptation of a literary text presupposes the realization of Jakobsonian three types of translation: 1) intralingual translation or rewording (creation of scenario); 2) interlingual translation or translation proper; 3) intersemiotic translation or transmutation, i.e., creation of a film itself. Heterogeneity of the translation medium of a cinematic text as one of the main challenges for a translator occurs in the cases when a translator cannot identify nationally or culturally marked discursive elements of a source text, which can lead to the false or distorted perception of the whole polycode system of the original by the target audience. Hence, it is quite reasonable to undertake the translation analysis of a cinematic text from the point of view of the culturally bound information embedded in it, which should be possessed by both – a translator and a recipient.

Sergei Dovlatov (1941–1990) is considered to be one of the most important Russian writers of the second half of the 20th century, whose work is studied both in Russia and in other countries in Europe, America, and Asia. The aim of this article is to analyze some peculiarities of his style and possible translation strategies to preserve it in translation using a semiotic approach to literary text analysis. The theme of alcohol is an integral part of the writer’s discourse, since, through references to drinking, Dovlatov describes both the characters in his works, whose worldview is built around drinking, and the reality around them. The semiotic approach allows us to discover additional meanings and sense involved in the construction of images in the literary text. At the same time, it is also effective for analyzing literary translations, as it draws the translator’s attention to the crucial elements for achieving communicative equivalence between the original and the translated text. The comparative analysis of the texts of «Pushkin Hills» and «The Compromise» and their translations into Spanish (Iberian version) and Brazilian Portuguese has shown that the greatest difficulties for the translators emerge due to a great number of references to cultural realities and phenomena of the Soviet culture, especially when the author’s humor is based on the references to such phenomena. Most often, in such cases, translators resort to the strategy of domestication, adapting the text to the culture of the translation, which can sometimes lead to the distortion of the author’s intentions and the loss of some of the meanings present in the original text.

The article deals with the issue of international legal documents translation from English into Russian. Translation strategies are identified which allow achieving accuracy in the translation of legal texts. The paper uses such research methods as contextual analysis, descriptive analysis, comparative analysis, definition analysis, distributive analysis. The factors that complicate the translation of legal texts are identified, including replenishment of the legal terminology system with neologisms and abundance of specialized legal terminology and terminology of related fields of knowledge. It is pointed out that the translator must possess specialized knowledge, as well as a high level of translation and linguacultural competence, which will help to avoid distortion of meaning and violation of the logic when translating from English into Russian. The author identifies the translation techniques used in the translation of legal texts, the choice of which is determined by the analyzed principles and strategies. The research material is the English-language texts of the declarations of BRICS summits and their official translated Russian-language versions. As a result of the research, it was found that the principles of translation of international legal documents correspond to the classical principles of translation, since they require the translator to have a good understanding of the text content, a high level of proficiency in both the source and target languages, preservation of the author’s communicative intention in translation. The scientific novelty of the research lies in the identification of another principle of translation, which a translator should focus on when choosing strategies and techniques for translating international legal texts, in particular, the principle of interdisciplinarity. The author also identifies the main translation techniques, the use of which allows to achieve equivalence and adequacy in translation of legal texts. The research contributes to the development of the theory and practice of translation in general and specialized translation, in particular. In the future, it is planned to conduct comparative studies aimed at identifying the principles, strategies and techniques of translating civil and criminal law documents.

Introduction. In the military domain, the interpreter plays a very important role, since it is the interpreter, who sometimes determines an adequate assessment of the situation, as well as awareness of the enemy’s plans. The meanings of words encountered in everyday communication may be quite different in military texts, and therefore the translator is required to be well trained in military translation. The relevance of this research lies in the study of the specifics of international military vocabulary. When translating military texts, the translator encounters internationalisms related to the names and tactical and technical characteristics of weapons and equipment. Military translation requires the utmost precision of concepts while preserving informativeness. Covering the problems of translation of internationalisms and «translator’s false friends» allow us to reveal the peculiarities of their functioning in the texts on military topics and to determine the ways of their translation. Materials and methods. In the work such methods were used as a component analysis to establish the semantic components of the lexical units, a comparative-comparative analysis, which involves comparing the contextual units as a result of analyzing the German and Russian language materials, the method of continuous sampling and quantitative calculations, descriptive-analytical, contextual analysis methods, which constitute a comprehensive method of text interpretation. The material of the study was an online dictionary of concepts and terms of the German armed forces, presented on the specialized German-language Internet site of the German armed forces. Analysis. The compositional structure of a military text is determined by its volume and genre. Military-technical texts include various kinds of instructions on types of military equipment and weapons, descriptions of new weapon models and instructions on the operation of equipment. These texts are characterized by such features as the presence of military-technical terminology of the narrow field of military affairs, the presence of pictures, drawings, diagrams, neutral tone of narration. Results. Military texts are a kind of official-business style of speech, characterized by the prescriptive-duty character of speech, its non-personal nature, accuracy, logic, objectivity, clarity, formality, stereotyping, concreteness, generalization, rigor, as well as a special set of clichés and terms. In the texts on military subjects’ various types of internationalisms arewidely represented: single-word names, abbreviations, nominative word combinations, term elements. The advantage of the international vocabulary is its brevity and ease of use, its translation by transliteration or transcription, in most cases also its unambiguity.

In this paper we have analysed a graphic novel “Maus. A survivor tale” by Art Spiegelman as well as some variants of its translations in the framework of theory of multimodal discourse analysis (ADM) (O`Halloran). The article focuses on analysing the corpus of investigation on its language and nonlanguage level. The aim of the research is to explain in terms of the multimodal discourse analysis theory of main principles of graphic novel translation while observing the way of source language graphic novel transmutation and reconstructing its architecture in the target novel. The methods having been applied in the present paper are those of linguistic observation and description, empiric comparison of translation variants and translation results analysis using ADM tools. Applying methods of ADM in the process of analysing graphic novel results from the necessity to respond to the main challenges of ADM theory for the studies in theory and practice of translation, as well as semiotics and general linguistics. The objectives of the article are to outline the iconic-textual structure of the graphic novel under the analysis, to characterise the visual level of the investigated graphic novel, to generalise arising problems to the translator. The concept of multimodality derived from semiotics is being studied in the article explaining the reason for applying the multimodal approach in the study of the graphic novel. Modalities represented in the graphic novel on non-language level are systematised through different types of multimodal phenomena and their relevance for target text meanings transcreation is described. Both visual and language modalities, which are important for the construction of the meaning, are focused attention to and the multimodal phenomena are piled and systematised in the article. The relationship between the visual and written modalities are discussed and the role and importance for the translation process are explained. Until now there are different investigations of the Maus, but there is no investigation from the multimodal perspective. The investigators focuse on the discursive and pragmatic part, as well as on the expressive value of the work, compare the characteristics of the translation; draw attention to the problems of the literary style of the work Maus; study the role of images in the creation of the work. However, there is still no study of graphic novels from the perspective of multimodal discourse analysis. By means of a series of operations of translation techniques the original text is reconstructed in the translation variant. It involves compressing or widening of the original text, removing inconsistencies between different modalities, reinterpreting “language shell” so that a semiotic content could be preserved and the author’s message transmitted without corruption, for that redrawing some characters or chapters, removing, or replacing some visual symbols with different ones. Illustrative material shows a certain logic scheme to follow the process of translation taking into consideration different multimodal phenomena, as well as the absence of some of its constituents. On the one hand, extralinguistic objects engraved in pictures of the graphic novel may present the reason for the translation technique of addition, and on the other hand the absence of some details in the pictures may justify the translation technique of omission. Evaluating functional types of multimodal phenomena also may lead one to adequate selection of synonyms or a phrase to choose in a process of translation having as a “guide” visual image supporting language level of a graphic novel. The term “graphic novel” is specified as well as the difference between terms “comic” and “graphic novel” is outlined. Graphic novel format is proved to assimilate to the literary novel with the content of memoirs, autobiography, history, documentary reports etc. Maus is the first graphic novel dealing with Holocaust theme aimed at the adult audience. According to the definition of the graphic novel, Maus is seen to share discursive mechanisms with visual narrative instruments, embedded in multimodal phenomena. The types of multimodal phenomena are selected in the present investigation and grouped with illustrative examples taken from the corpus. In the framework of ADM theory, the selection of translation techniques and operations are justified, and the reasons for certain translation variants are explained. As it is shown in the paper, graphic novel translation differs from literal one. The most important characteristics of graphic novel translation distinguishing this genre of literature have been outlined: 1) the graphic novel translation unit obligatory consists of both verbal and visual parts; 2) the intonation of the characters of the graphic novel is a part of a style and is taken into consideration in the course of translation; 3) visual part of the graphic novel is presented by multimodal phenomena that influence the strategies of translation. General recommendations for the translation of the historic graphic novel have been given, mainly: 1) for the purpose of collecting information from the visual part. It is recommended to read and discover the entire content of the novel before starting the translation, paying attention to the multimodal phenomena and their types mentioned in this article. Attention is paid to past events, other extralinguistic meaningful objects. An individual language style is translated with the same style and is maintained throughout the text; 2) on the language level, it is recommended to choose at least the sentence as the minimum translation unit of the graphic novel using substitution techniques within the unit as long as the final sentence reflects the same message. However, the largest translation unit can be chosen. Appropriate options are a speech bubble (speech bubbles) or the entire page. Bubbles (speech balloons) often contain colloquial speech, which differs much more between languages than literal text of a book. The ease of colloquial speech is nearly impossible to achieve without the freedom to change the order, composition, and number of sentences. Often, it is not the character-specific phrases that need to be translated, but rather the emotion of outrage or joy, recreating it using the character’s language (such as the speech of the immigrant, the main character, Vladek, or his wife); 3) the use of bold. It is understood that it is not necessary to use bold type in the same units that appear in the original. The most important thing is to convey the same meaning and intonation in the translation avoiding the “word for word” translation; 4) the language style of the author and the characters. The author and the characters of the graphic novel have their own language style, which is part of the meaning. Characters may have their own characteristic expressions and circumstances that explain the choice of phrase translations. After reading the text and visualising the novel, it becomes clearer what type of the target text of the protagonist should be created to remain truthful and sound natural; 5) “Litmus paper”. It is recommended to read the translation after a couple of days without looking at the original text thinking about whether or not the author would choose the same words, style, intonation; 6) Culture references create a certain atmosphere and are translated (6.1) literally as in the example of gefiltefish translation or (6.2) simplification is used the culture in case of translation of the same unit into Russian рыбафиш; 7) translation of anthroponyms and proper names. It is not recommended to translate the proper names of the historical graphic novel taking into account the documentary part of the novel. The same variants of anthroponyms are maintained throughout the text; 8) accuracy is the second priority after avoiding meaning corruption. One should try to preserve accuracy if it is possible, respecting the condition of preserving the meaning without corrupting it. To achieve the effect of equal perception of the novel by the reader both in the original language and in the translation language, two things are needed: understanding what is said in the original text and reconstructing it in the target text. The ADM theory, in this respect, is the tool to achieve the most adequacy and the most accuracy at the same time.

The purpose of this article is to consider deformation as a translation strategy, to study the classifications of translation deformations and to represent the motives for their use and approaches to interpretation. The diachronic aspect of the study is to compare two versions of the translation made in different eras. When perceiving Russian-language translations of novels, there is a sense of fragmentation, which is explained by extralinguistic factors. The relevance of the study is due to the high socio-cultural significance of deformation when creating a translated text. The scientific novelty lies in considering the deformation as a linguoculturological strategy, expanding the classification of translation deformations and studying approaches to interpreting this linguistic phenomenon. The material for the study was the work of Charlotte Bronte Jane Eyre and its translations into Russian, made by I.I. Vvedensky, V.O. Stanevich and I.G. Gurova.

The article deals with the reception of the works of William Shakespeare in the translations of Mikhail Kuzmin (1872–1936). The relevance of the research is due to the insufficient study of the reception of Shakespeare’s work in the heritage of Kuzmin, including in his translation heritage. The novelty of the study lies in a comprehensive understanding of the place of Shakespeare in the creative activity of M. Kuzmin, including as a translator and theater critic; in the restoration of the Shakespearean context in the work of the author in question; in the analytical understanding of Kuzmin’s translation strategies in the context of new translations of Shakespeare in the USSR; in addressing the recently discovered translations of Shakespeare’s sonnets by Kuzmin, as well as in clarifying the literary and historical fate of these translations in the context of the original literary and musical creativity of Kuzmin himself. Particular attention is paid to the reconstruction of the Shakespearean context in the biography and work of Kuzmin using archival documents, as well as the analysis of the originality of his translation techniques and the study of the scientific value of the manuscript of 89 Shakespeare’s sonnets published in 2022 in his translation. It is noted that the attempted publication is only a project, as evidenced by the gross factual errors of the editors of the publication, the lack of the necessary scientific apparatus.

The article is devoted to the comparative study of several translations (M.M. Pickthall, A.Y. Ali, Abu-Adel and E.R. Kuliyev) of the Quran by the example of the translation of the metaphor “Waalssubhi itha tanaffasa”. The purpose of the study is to identify solutions to the most difficult problems for the translator of cross-cultural translatability of the text, the correlation of figurative structures of Arabic, Russian and English. Materials and methods. The research material was the original text of the Holy Quran, namely the metaphor “Waalssubhi itha tanaffasa”, and its translations into English (M.M. Pickthall, A.Y. Ali) and Russian (Abu-Adel, E.R. Kulieva). The methods of scientific research are the method of theoretical analysis, descriptive and comparative methods. The result of the study is the classification of translations of the Quranic metaphor “Waalssubhi itha tanaffasa” into Russian (Abu-Adel, E.R. Kuliyev) and English (M.M. Pickthall, A.Y. Ali). The basis of the classification is the methods of translation of P. Newmark’s metaphor, used by the authors in the process of translating the text under study into English / Russian. Practical implications. The obtained research results can be applied by researchers in the field of theory and practice of translation, intercultural communication, stylistics and interpretation of text, linguoculturology and axiological linguistics.

The article is devoted to comprehension of the translational reception of William Shakespeare’s work in the legacy of Vadim Shershenevich (1893—1942) in the context of his author's translation strategies. The novelty of the study is connected with the identification of Shershenevich’s translation strategies as an adherent of “accurate translation”, with the reconstruction of the history of the poet’s translation achievements in the field of Shakespeariana. The authors comprehend Shershenevich’s report on the principles of Shakespeare’s translation, preserved in the Russian State Archive of Literature and Art funds, and analyze the application of these principles (equilinearity, equirhythm, preservation of rhyme and figurative structure) in the little-known translation of the chronicle “King John” and in the translation of the play “Cymbeline”. The question is raised about Shershenevich’s two main translation strategies in relation to Shakespeare: accurate translation (in the texts under study) and free adaptation of texts for the stage, corresponding to the avant-garde understanding of theater as an art that develops outside of direct dependence on literature (when he works with Shakespeare as a librettist, in particular, participating in the creation of the comic opera Gemini based on Shakespeare’s Twelfth Night). The relevance of the study is related to the need to rethink the scope and significance of Shakespeare's reception in the culture of the Silver Age.

Introduction. Kalmyk official texts of the 18th century and their parallel translations into Russian are, in the author’s opinion, ethnolinguistic sources, rich in culturally marked linguistic means. So far, initial formulas in Kalmyk official letters of the period and their Russian translations have not been studied in a comparative mode. The article aims to analyze etiquette formulas of Khan Ayuka’s letters as ethnolinguistic components, comparing them with their Russian translations. Materials and methods. The sources for the research were Kalmyk Khan’s letters of 1714–1715, kept in the Russian State Archives of Ancient Acts and in the National Archives of the Republic of Kalmykia. To identify translation strategies, both simultaneous and diachronic Russian translations of the material are used. The research involves descriptive, comparative-contrastive methods, as well as the method of contextual analysis. Conclusions. Comparative analysis of the original and translated texts indicated some differences in the traditions of greeting in the cultures in question, which are reflected in official writing. The translated texts are characterized by greater variability of linguistic means influencing the modality of etiquette statements: e. g. the addressee’s and addresser’s names may be added or deleted, ethnolinguistically marked language may be introduced, when components associated with the traditions of Buddhism were excluded or replaced with those associated with the Christian worldview. Depending on the addressee, his status, and the nature of official relationship of correspondents, the character of the etiquette formulas and greetings changes, too: the higher is the addressee’s status, the more complex is the syntactic aspect of etiquette formulas and the greater is the portion of lexical items of an elevated, loftier style used in translations. Of relevance is also the sequence of etiquette formulas in official correspondence, changes in the sequence marking the status of the addressee as well.

The article examines the specifics of the translation of postmodern philosophical termi­nology. The authors explore Russian translations of the works of the modern French postmod­ernist philosophers Michel Foucault, Jean Baudrillard and Jacques Derrida. Postmodernism as a philosophical movement is based on the concept of radical plurality. It is characterised by the multiplicity of dimensions and types of analysis. The authors look into the problem of choosing strategies for the translation of postmodern terminology and analyse the dilemma translators have to face: how to manoeuvre between polysemy and ambiguity in the transla­tion of philo­sophical terms. The article analyses the translation of Foucault’s seminal work Les Mots et les Choses (translated by Avtonomova and Vizgin). Special attention is paid to the problem of translation of the postmodern terms discourse and episteme. Another focus of research is the analysis of the translation of Baudrillard’s work Simulacres et Simulation (translated by Pechenkina). In the final part of the article, the authors analyse the peculiarities of the transla­tion of Derrida's treatise into Russian.

This paper deals with the study of communicative structure used in English and Russian utterances. The study is aimed at analyzing Russian EFL learners’ ability to convey communicative meaning of English utterances using a variety of L1 (Russian) lexical and syntactic means when translating experimental materials from L2 (English) to their native tongue. The application of theoretical and empirical methods allowed registering and classifying translation variants and identifying problems caused by inability of the Russian subjects to understand the communicative meaning of the source sentences with a different location of the communicative center. The results prove that conveying the emotional coloring of a sentence is a challenging task for the Russian EFL learners. Comparative analysis of the data with the results from previous studies helps reveal the connection between the ability of the Russian speakers to identify the location of the communicative center and their ability to choose a correct translation strategy. The paper also addresses the issue of determining nucleus position; its role in conveying the communicative structure in written speech is crucial. A potential area for application of the results of the study concerns the EFL teaching methods, as they contribute to the development of foreign language communicative competence of non-linguistic students as well as their translation competence. Outlined are the perspectives for further research aimed at deeper understanding of the mechanisms determining nucleus position in non-native written speech and significance of prosodic means for conveying communicative meanings in the process of written and oral translation.

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The paper focuses on lexical means of representing Russian cultural code in Portuguese translations of A.S. Pushkin’s renowned novel “Eugene Onegin” authored by Dário Moreira de Castro Alves (2008) and Alípio Correia de Franca Neto and Elena Vássina (2019). Specifically, the study examines techniques used by the translators to render culturally marked Russian words into Portuguese. The objective of the study was to determine how Russian realia expressing national cultural practices are reflected in the mirror of the Portuguese linguistic community culture and identify relevant factors affecting translation choices in both versions of the novel. As Portuguese translations of “Eugene Onegin” are relatively new to the global cultural landscape, they become a legitimate interest as an object of comparative analysis in the context of Russian-Brazilian intercultural communication. To conduct the investigation, a parallel Russian-Portuguese corpus was compiled that included fragments containing culturally marked words. The research procedure relied on a set of methods developed for a step-by-step comparative analysis of Russian realia and their Portuguese equivalents registered in the parallel corpus compiled by the authors. The findings suggest that the translators approach the problem of rendering Russian realia from different angles, occasionally displaying antipodal decisions regarding translation strategies. Both versions are not devoid of culturally inappropriate choices of equivalents, which may become an obstacle to adequate perception of the Russian novel by Brazilian readers.

Authors of translations of legal codes do not usually inform about their approach to solving translational problems. One of the reasons is the firm belief in the need for a faithful and thus literal translation of the output text. This unlawful approach creates a field for unfounded creation of so-called Equivalent terminology. Consequently, translations contain expressions whose meanings in the target language are incomprehensible or cannot be determined by reference to the doctrine or case-law. A legal approach based on subject knowledge and a precise methodology for determining interlingua equivalents eliminates the problems arising from a non-lawful approach. In the analytical part of the article there is presented a methodology of the legal approach to solving translational problems and the method of its practical application.

Copyright of Bulgarian Language & Literature / Bulgarski Ezik i Literatura is the property of Az Buki National Publishing House and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper focuses on the issue of translation of intertextual markers in literature, with a special emphasis on Polish poetry in English renditions. The material and perspective are chosen with a view to exploring source-culture references in the literatures less known internationally, which, it is argued, is a sphere of particular cultural resistance to translation. The aim is to survey the importance of the level of explicitness of intertextual links for the task of a translator, but also to investigate recognisability - the other crucial factor - as well the interrelation of the two. First some assumptions about the conditions conducive to a successful rendering of intertextuality are formulated and tested. Then, based on several poetry excerpts, it is shown how, on the one hand, the level of explicitness influences the translators’ choices and, on the other, how explicitating or implicitating procedures in translation influence the interpretative potential of the texts. Some instances of overcoming the resistance thanks to creative efforts are indicated. One of the author’s tenets is that even a not readily decipherable marker can serve as a signal of intertextual relations.

Translating character names in fiction can be difficult, as names can perform different functions: not only naming, but also highlighting characteristic features. Translators of fiction have to make certain decisions how to render names in the Target Text and retain the functions and meanings they serve in the Source Text. The aim of this article is to analyse the translation of character names in C. Collodi’s Le avventure di Pinocchio into Lithuanian, Polish and Russian and to compare the translation startegies chosen by the translators. The results of this analysis show that the most common rendering method in the Lithuanian, Polish and Russian versions was direct translation. Also, it can be concluded that character names were rendered most accurately in their translation into Lithuanian, the second in terms of accuracy of rendering character names is the translation into Russian, and the third – into Polish.

Authors of translations of legal codes do not usually inform about their approach to solving translational problems. One of the reasons is the firm belief in the need for a faithful and thus literal translation of the output text. This unlawful approach creates a field for unfounded creation of so-called Equivalent terminology. Consequently, translations contain expressions whose meanings in the target language are incomprehensible or cannot be determined by reference to the doctrine or case-law. A legal approach based on subject knowledge and a precise methodology for determining interlingua equivalents eliminates the problems arising from a non-lawful approach . In the analytical part of the article it is presented the methodology of the legal approach to solving translational problems and the method of its practical application.

The paper deals with translation strategies of the epic texts in the case of the Sakha epic “Nurgun Botur the Swift” translation into English. Due to the variety of research works on the Sakha-Russian translation issues this paper focuses on the review of olonkho translations into other languages of the world. The framework theory includes the review of studies on translation strategies in Russia and abroad. As global translation strategies Lawrence Venuti’s ‘domestication’ and ‘foreignisation’ are considered. The idea of “a golden mean strategy” is introduced. The paper views lexical translation challenges. Local strategies to overcome lexical challenges in the epic translation, as transliteration/transcription, calque, partial calque, and, explication occur to be the most applicable in the translation of the epic texts. Practical significance lies in the possibility of using the materials of this study by translators-practitioners in the translation of epic texts, in the courses on “Theory and practice of translation”, “Literary translation” as well as in assessing the quality of translations.

The article aims to study theoretical provisions of rendering foreign personal names into the related Lithuanian and Latvian languages and to compare their practical implementations. In Lithuanian, the general practice is that of using a source language form of the name, with fewer cases of their adaptation to the rules of Lithuanian spelling and pronunciation. Yet still, there is an ongoing discussion in Lithuania whether the norms of such adaptation require revision. It should also be noted that the usage of personal names in the Lithuanian language depends on the functional style of the text. In the Latvian language, the tradition has established to write proper names in letters of Latvian alphabet, conveying the specifi city of their pronunciation, if possible. In addition, such cases are subject to the general rules of names and surnames usage in the Latvian language, that is, foreign personal names are spelt according to the grammatical norms of the Latvian language. The comparative analysis of foreign personal names rendering strategies in both Baltic languages has found the trend of using source language forms to prevail in Lithuanian (this extends even to Latvian personal names, which, by now, were exceptionally adapted). In Latvia, currently, the theoretically founded and established norms are at no risk of rejection. However, despite the long-term and deliberate pursuit for standardization and alignment of foreign names translation methods in the Latvian language (with guidelines issued, etc.), in practice, there are still considerable constraints to that. The article addresses some of them.

This article is based on the writings of 18th -- 20th-century Russian translators (forewords, notes, commentaries, interviews, letters, memoirs, etc.) and presents a conceptual diachronic overview of the history of translation and translation philosophy in Russia as (re)assessed by the translators themselves. The major points and problems analysed include the role and function of translation in Russian culture; the history of translation in Russia and developing a genre paradigm in Russian literature; the range of issues addressed by translators at different times and their correlation with the tasks faced by Russian literature; the phenomenological, aesthetic and existential role of translation activity as seen by translators. [ABSTRACT FROM AUTHOR]

The paper discusses translations of Poe’s poetry and prose in Russia since 1847 till the beginning of the present century. It analyzes the evolution of the techniques employed and the dependence of the translation on ideological climate. Particular emphasis is made on the impact Poe’s critique has made on translators’ practice. It also assesses ways of “improving” the target text (neutralyzation of obvious absurdities, numerous omissions) in translating Poe’s Gothic tales. The paper contains a comparison of several translations of Eureka.

The article deals with the study of linguistic and cultural aspects of the tourism discourse which has been very acute due to the development of tourist industry. International tourism has become wide-spread resulting in the necessity of related translations.Purpose. The study aims at defining discourse-conditioned translation strategies for tou-rism discourse texts.Materials. The author used texts in German and their translations from the website of one of the premium hotels in Germany as the materials of the study.Methods. Among the methods of analysis used are: stylistic analysis method, comparative method, descriptive method, semantic and structural analysis.Results. Translation mistakes and errors have been identified, translation strategies typical for tourism discourse texts have been offered, among them: recipient orientation, minimizing key information losses, choice of lexical and stylistic translation equivalents. The results of the study can be used in translation studies and translation practices.

The development and expansion of international business and contacts have brought the need for translating a large amount of economic information. Training in economic translation at nonlinguistic higher school has become an important and urgent task. The training process is aimed at mastering practical skills of translation, for this reason, the paper considers such issues as translation quality criteria, distinguishing features of economic texts, and error sources in the completed translation. In addition, the paper suggests effective strategies for translating nonequivalent lexical items as well as practical recommendations on translation. [ABSTRACT FROM AUTHOR]

The paper examines the organization of background knowledge structures in legal language and related incongruities of legal terms. The cognitive linguistics methodology, in particular its findings on the nature of meaning, is applied. Terms serve as prompts with a semantic potential to activate various levels of knowledge structures, such as domains, scripts, scenarios, cognitive models and frames. In most cases organization of knowledge will differ in the SL and TL. The final part analyses translation strategies and techniques in terms of their potential to activate relevant knowledge.