Художній переклад як носій культурної пам’яті

The article highlights literary translation through the study of cultural approaches as well as different philosophical argumentations. Being primarily associated with the work of Susan Bassnett, André Lefevere, Lawrence Venuti, SvitlanaTer-Minasova they focus on translation by exploring the latter both as a literary and cultural phenomenon. Another designation articulated by the cultural approach is that of translation as a form of re-writing, i.e. the way in which cultures build up “images” and “representations” of authors, texts and entire periods of history. In this context, translation comes to be recognized as the means of social and cultural interactions, symbiotic relations between “Self” and “Other” as well as the result of ideological manipulation. Especially convincing is the analysis of the Ukrainian translation during the totalitarian period in the former USSR based on censorship and state control of book production by investigating different layers of the historicity of translation. Uncovering the inadequacy of oppositional notions of “official culture” vs “counter-culture” translations came to viewed as effective means to cultivate historical thinking and provide the possibility to accumulate cultural memory. Furthermore, considering translation as an intercultural process helps not only extend the prospects of translation beyond linguistic analysis but also aims at contributing to the study of other culture representing translations as elements that makes it possible to reconsider the process of preservation of a nation’s cultural memory.Литературный перевод рассматривается сквозь призму культурологических подходов, а также различных методов философской направленности. Подчеркнута важность понимания природы художественного творчества в комплексе факторов, связанных с культурно-историческими контекстами литературы-реципиента. Понимание перевода как средства культурного взаимодействия, симбиоза „Своего” и „Чужого” сводится к заимствованию не только сюжетов и мотивов, но также образа жизни и мышления, что свидетельствует о его органической „вписанности” в „эстетический универсум” чужой культуры.Пропоноване дослідження спроектоване на висвітлення художнього перекладу крізь призму культурологічних підходів, а також різних методик філософського спрямування. Наголошено на важливості осмислення природи художньої творчості у комплексі чинників, пов’язаних із культурно-історичними контекстами літератури-реципієнта. Розуміння перекладу як засобу культурної взаємодії, певного симбіозу „Свого” й „Чужого” зводиться не лише до запозичення сюжетів і мотивів, а й способу життя та образу мислення, що свідчить про його органічну „вписаність” в „естетичний універсум” іншої культури

Ramanujan-type formulae for 1/π: the art of translation

We outline an elementary method for proving numerical hypergeometric identities, in particular, Ramanujan-type identities for 1/π. The principal idea is using algebraic transformations of arithmetic hypergeometric series to translate non-singular points into singular ones, where the required constants can be computed using asymptotic analysis

Diary, 1901-1969 Kornei Chukovsky

A perceptive literary critic, a world-famous writer of witty and playful verses for children, a leading authority on children's linguistic creativity, and a highly skilled translator, Kornei Chukovsky was a complete man of letters. As benefactor to many writers including Alexander Solzhenitsyn and Joseph Brodsky, he stood for several decades at the center of the Russian literary milieu. It is no exaggeration to claim that Chukovsky knew everyone involved in shaping the course of twentieth-century Russian literature. His voluminous diary, here translated into English for the first time, begins in prerevolutionary Russia and spans nearly the entire Soviet era. It is the candid commentary of a brilliant observer who documents fifty years of Soviet literary activity and the personal predicament of the writer under a totalitarian regime.Intro -- Contents -- Note from the Publisher -- Introduction, by Victor Erlich -- Diary 1901-1969 -- Appendix: Excerpts from "What I Remember -- or, Fiddle-Faddle" -- Periodicals, Publishing Houses, Abbreviations, and Acronyms -- Biographical References -- Index -- Illustrations follow page 280A perceptive literary critic, a world-famous writer of witty and playful verses for children, a leading authority on children's linguistic creativity, and a highly skilled translator, Kornei Chukovsky was a complete man of letters. As benefactor to many writers including Alexander Solzhenitsyn and Joseph Brodsky, he stood for several decades at the center of the Russian literary milieu. It is no exaggeration to claim that Chukovsky knew everyone involved in shaping the course of twentieth-century Russian literature. His voluminous diary, here translated into English for the first time, begins in prerevolutionary Russia and spans nearly the entire Soviet era. It is the candid commentary of a brilliant observer who documents fifty years of Soviet literary activity and the personal predicament of the writer under a totalitarian regime.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries