#The types of imagery manual
It is my hope that this manual will provide a useful view of the dimensions of literary translation, a helpful guide for translation practices and will add something of value to the knowledge and skills of the students of translation. In some sections I have used my own translations, on various reasons: to demonstrate a difference or to show a direction or to fill in the gap when the text is interesting but there is no translation at hand.
#The types of imagery archive
The list of literary sources of selected texts is not complete, for the author of the manual has accumulated some of the material owing to translator archives or some other unpublished sources, personal archive included. It is recommended that the students should read more about the authors under consideration. To work with the manual, one will need elementary knowledge and skills in the theory and practice of translation as well as some experience in stylistics and comparative reading of English and Russian literature. Exercises for translation may differ from exercises for comparison. Usually translation tasks include a text shorter and easier than in a comparison task. Most often tasks for comparison present more than one translation of the original and are supplied with exercises, recommendations and questions about problems to be solved. Anyhow, this is a matter of tendencies rather than sets, though at times the controversy mayĮach section oi'lhc manual includes introductory notes with some comments on the author, his major literary principles and works and with some helpful hints for a translator of the selected pieces. The Russian school of literary translation is probably more creative whereas the English tradition tends towards semantic rather than functional transfer, which is, in its way, more literal. The selection of literary works reflects the consideration of the difference between not only literary but also translation traditions in English and Russian cultures. I have started with poetry because it seems more evident as the translation task with its steady textual principles and obvious correlation between form and content. The order of the succession is more or less subjective one can choose any section to start with. Although not without a common ground, each of them suggests translation problems of its own and involves special translation techniques. To make the manual more useful and comprehensible for students in literary translation 1 have structured it according to the traditional classification into the sections of poetry, prose, drama and folklore. It is a practical manual, yet it includes introduction into the theory of translation, as well as some general ideas about basic principles of translating poetry, prose, drama and folklore. Besides, it presents pieces of Celtic and Native American folklore in English and Siberian folklore in Russian, which appears to be interesting material for comparative reading and translation. It includes texts of English, American and Russian poetry, prose and drama provided with tasks for comparison and translation. I have designed this book as a manual for practising in literary translation from English into Russian and from Russian into English.