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Scientific critical literature

Ayupov S. M. Problems of the poetics of Turgenev the novelist: Textbook. allowance / S.M.Ayupov.-Ufa. BSU, 1998.-163p.

Bilinkis Y.S. About the work of L.N. Tolstoy. / J.S.Bilinskis. – L.: 1959. – 414 p.

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| | | | | 6 |

The work of F. Amirkhan “Hayat” and its place in the history of literature of the peoples of Russia

Completed:

5th year student

OZO philological department RYANSH

Introduction
1. The main features of the work of Fatih Amirkhan
2. The story “Hayat” as a typical work in the works of F. Amirkhan
List of used literature

Introduction

Fatih Amirkhan. In the diverse literary stream of the 20s of the last century, his work occupies a special place. The 20s were the era of the emergence of a huge number of new genres, schools, trends, the era of literary experiments. For example, in Russian literature it is enough to recall the names of I. Babel, B. Pilnyak, E. Zamyatin. The emergence of the genre of dystopia, proletkult and other literary movements.

In Tatar literature, similar works that break with generally accepted literary criteria and open new genres belong to such writers as G. Iskhaky, G. Rahim, and, of course, F. Amirkhan.

It is no coincidence that Bakiy Urmanche, the most famous Tatar artist, called F. Amirkhan the “ideal model” of a Tatar intellectual who united the East and Europe.

Indeed, his work is at the cross-section of eastern and European cultures. F. Amirkhan managed to perfectly combine in his work the traditions of Tatar literature and Russian, as well as European literature.

Having started his creative career with the story “The Dream of the Evening of Garaf” in 1907, he saw only 20 books during his lifetime, and died before he was forty years old.

From the very first works for the writer, the framework of critical realism is narrow; he begins a creative search, and soon shades of symbolism, sometimes even mysticism, appear in his works.

In this essay, we examined the work of Fatih Amirkhan precisely from the perspective of his place in the literature of the peoples of Russia. In this regard, many of F. Amirkhan’s works are close to the works of such Russian authors as L. Andreev and some works of Sollogub and others.

1. The main features of the work of Fatih Amirkhan

Fatih Zarifovich Amirkhanov was born in 1886 in Kazan into the family of a mullah, who gave his son a spiritual education. But already in the famous Muhammadiyah madrasah, where Fatih studied since 1895, he became interested in fiction and began to diligently attend the Russian class opened there, where he studied Russian language and literature.

During these same years, Fatih Amirkhan became an active participant and then one of the leaders of the reformist movement of shakirds - madrasah students who demanded a wider introduction of general education subjects instead of scholasticism, a decisive change and even the complete abolition of the medieval orders adopted in these clerical educational institutions.

In 1907, the newspaper El-Islah began publishing in Kazan, reflecting the interests of democratic youth. F. Amirkhan became its editor. The first works of art by Fatih Amirkhan were published in El-Islah.

From the very beginning, Amirkhan’s artistic prose is characterized by the relevance and citizenship of the main motives, depth psychological analysis, mastery of composition, laconicism.

Knowing that the fate of most women of his time was tragic, the writer did not give up the fight for their emancipation and enlightenment. In 1910, he wrote the story “Blissful Day”, in which he spoke about the backwardness and downtroddenness of the Tatar women - old Mukhip and young Gainijamal.

In a variety of literary movements The 20s, which were marked by the appearance in literature of a variety of schools, new in the genre and style of works of art, the work of Fatih Amirkhan occupies one of the unique places.

In 1911, the writer created the lyrical story “Hayat” - about the worries of a Tatar girl from a merchant family, broken by patriarchal traditions, who did not find the strength to fight for what had arisen in her bright feeling, for human rights. She is about to marry a stranger. She fell in love with a student whom she had known since childhood and who, in turn, overwhelmed by sincere feeling, wrote to her: “Perhaps you think that I am not suitable for you because I am Russian, but, my friend, I realized that love is like this a force that does not recognize national differences. My happiness is in your hands, I am waiting for your decision.”

In addition to works of art, Fatih Amirkhan's range of interests was wide. Thus, in literary articles he wrote about Gogol, Turgenev, L. Tolstoy, Korolenko, and G. Senkevich. Separate articles are devoted to the work of Gabdulla Tukay.

As noted by D.F. Zagidullina, “excerpts from diaries, the work “Shafigulla Agai” remain evidence that, despite the fundamental changes in the country, F. Amirkhan remained true to his ideals - serving the Tatar people” ( Our translation – LH).

Gaziz Gubaidullin, one of the recognized literary critics of that time, wrote that “he sees in Fatih Amirkhan not only a writer, not only a person, he sees the ideal of a Tatar intellectual, but not a dry, distant ideal, but endowed with passions and flesh.”

2. The story “Hayat” as a typical work in the works of F. Amirkhan

The story “Hayat” appeared in 1911 and immediately attracted the attention of critics. It was not unambiguous, but the spiritual and spiritual quest did not leave anyone indifferent Tatar girl named Hayat.

The tragic story “Hayat” is a real reflection of the order of that time. Therefore, we can call Hayat a typical character. Although many researchers of F. Amirkhan’s work consider the story a romantic work. For example, D.F. Zagidullina writes: “T¿p plot syzygyn Kh´yat kº¼elend´ bargan ºzg´reshl´r t´shkil itº authorny¼ romanticism sukmagynda k¿ch sonyn d´lilly.”

The main idea of the work is not so much the fate of the Tatar girl, but the sharp discrepancy between the Russian and Tatar worlds. Such heroes as Burgan abzyy and Rakhima abystay strengthen the understanding of this idea of the story. The disclosure of the same idea is facilitated by secondary storylines such heroines as Amina and Rakiya.

However, at the center of the story is, of course, Hayat. Her rich inner world, her youth, her romantic aspirations are revealed with extraordinary strength and skill. And for this sixteen-year-old girl, a new understanding of the feeling of love already reveals her - a whole person who fell in love with a Russian young man Mikhail.

We observe Hayat not in a static state, but in a dynamic one. Her feelings grow and change, but these changes only prove the strength of the main character’s nature.

We can say that the whole story is dedicated to the celebration of beauty, youth, hope, love. All these feelings ennoble the personality. And Hayat, as a strong and integral nature, behaves nobly towards any person, regardless of views, worldview, nationality and other characteristics of personality.

The fate of the Tatar girl was a common theme of many Tatar authors. You can name G. Ibragimov, Gali Rakhim, G. Iskhaki, even G. Tukay. But Hayat is a completely different character, she is not a girl filled with prejudices who rebels against the karma intended for her. Hayat is an intelligent, relaxed girl, she is educated and beautiful. Her character and worldview clearly go beyond the national understanding of a woman’s place in society.

It is enough to compare the image of Hayat with the images of women G. Ishaki. In the latter, they are forced to come to terms with the existing situation. The writer, as it were, outlines the place of women in society, and such natures as Hayat simply could not appear in the works of G. Ishaki.

Hayat's image is closer to Russian women. For example, to Tolstoy’s Anna Karenina, Turgenev’s images. This is where F. Amirkhan’s “Westernism” manifests itself. The era that came after the First Russian Revolution gave birth to this type of women. They are not so much liberated, not so much educated, they are already emancipated.

In our opinion, if we consider the history of Tatar literature in terms of gender relations, then the story of Fatih Amirkhan would be one of the central ones there. It is in this image that we see a fundamental change in Tatar society. A society that has entered a new stage and from which it is no longer possible to turn away.

This is the main result of the story - to show the beginning of a new era, the era of the twentieth century.

Literature used

Amirkhan F. Favorites. Translation by G. Khantemirova. – M.: Fiction, 1975. – 320 p.

¥mirkhan F. ¥s´rl´r. – Kazan: M´garif, 2002. – 319 b.

Za³idullina D.F. Keresh sºz // ¥mirkhan F. ¥s´rl´r. – Kazan: M´garif, 2002. – B. 5-12.

Klimovich L. Creativity of F. Amirkhan // Amirkhan F. Favorites. Translation by G. Khantemirova. – M.: Fiction, 1975. – P. 5-18.

Introduction 3

Chapter one. Peculiarities creative path and prose of F. Amirkhan and theoretical problems of translation

1.1. Features of the creative path and prose of F. Amirkhan

1.2. Some theoretical issues of literary translation

Chapter two. Features of the translation of “Hayat” by Fatih Amirkhan

2.1. Lexical inconsistencies

2.2. Stylistic inconsistencies

2.3. Translation of gaps and exoticisms

2.4. Features of translations of phraseological units

Conclusion

Literature used

Introduction

The main goal of this work is to analyze the translation of the story “Hayat” by Fatih Amirkhan.” To achieve the main goal, we set the following tasks:

– explored the features of Fatih Amirkhan’s creativity, the main views of the writer and public figure;

– analyzed the features and problems of translation art. For this we used the works of P. Topper, a collection of various translators;

– to study translation from the Tatar language into Russian, we used the manuals and works of G. Akhatov and R. Yusupov;

– analyzed the story “Hayat” translated by G. Timerkhanova.

The relevance of this work is undeniable. IN recent years The number of translated artistic and journalistic works is growing. This is due to many reasons, the most important of which is global integration and interpenetration of different cultures, and increased interest in the culture and literature of “small” peoples.

However, the theoretical principles of translation art have not yet been developed at the highest level. This problem also remains due to the fact that languages continue to develop, and creative art, as well as its theory, remains a constantly renewed phenomenon.

As one English poet said: “We must translate not the words, but the spirit of the work.” Therefore, the problem of translation is becoming increasingly urgent.

The work consists of an introduction, two chapters, a conclusion and a list of references.

The first chapter is devoted to a brief description of the creative path, features of Fatih Amirkhan’s prose, as well as theoretical issues of literary translation. The second chapter contains a complete analysis of G. Timerkhanova’s translation of the story “Hayat”.

The conclusion contains the main conclusions on the work and prospects for working on the topic.

Chapter one. Features of F. Amirkhan’s creative path and prose and theoretical problems of translation

1.1. Features of the creative path and prose of F. Amirkhan

Fatih Zarifovich Amirkhanov was born in 1886 in Kazan into the family of a mullah, who gave his son a spiritual education. But already at the famous Muhammadiyah madrasah, where Fatih studied since 1895, he became interested in fiction and began diligently attending the Russian class that was open there, where he studied Russian language and literature.

From the very beginning, Amirkhan’s artistic prose is characterized by the relevance and citizenship of the main motives, the depth of psychological analysis, mastery of composition, and laconicism.

And in 1911, the writer created the lyrical story “Hayat” - about the worries of a Tatar girl from a merchant family, broken by patriarchal traditions, who did not find the strength to fight for the bright feeling that arose in her, for human rights. She is about to marry a stranger. She fell in love with a student whom she had known since childhood and who, in turn, overwhelmed by sincere feeling, wrote to her: “Perhaps you think that I am not suitable for you because I am Russian, but, my friend, I realized that love is like this a force that does not recognize national differences. My happiness is in your hands, I am waiting for your decision.”

The tragic story is a real reflection of the order of that time. Therefore, we can call Hayat a typical character. Although many researchers of F. Amirkhan’s work consider the story to be a romantic work. For example, D.F. Zagidullina writes: “Top plot syzygyn Khayat kүңlenendә bargan uzgәreshlәr tәshkil itү author’s romanticism sukmagynda kөch sonyn dәilli.”

As noted by D.F. Zagidullina, “excerpts from the diaries, the work “Shafigulla Agai” remain evidence that, despite the fundamental changes in the country, F. Amirkhan remained true to his ideals - serving the Tatar people” (Our translation).

1.2. Some theoretical foundations of literary translation

When translating, they usually rely on several fundamental principles, among which the main ones are:

– lexical (semantic) correspondence;

– stylistic correspondence;

– expressive (emotional) compliance.

Lexical correspondence, although undoubtedly a basic principle, does not imply a “one word, one translation” translation. This principle indicates mandatory reliance on concepts such as lexical compatibility and a clear indication of meaning (in polysemantic words). Here you can point out the common “false friends of the translator”, which are associated with the phenomena of homonymy and paronymy.

Stylistic consistency requires the translator to convey style original text. Those. translate colloquial expressions only into colloquial expressions, etc.

It is especially important when translating to take into account such phenomena as lacunae, exoticisms and idiomatic expressions (phraseologisms).

Gaps and exoticisms can be translated in three ways: using a lexeme as a foreign language inclusion with an explanation; selection of an expression or subject that is closest to lacuna or exoticism and a descriptive method.

G.H. Akhatov points out four ways of transmitting phraseological units in literary translation.

1) Tracing: bash vatu - puzzle, boryn kүtәrү һ.b. Tracing occupies a particularly important place when translating from Tatar into Russian. The reason for this lies, first of all, in the close linguistic and cultural contact of the two peoples. This includes the frequency of translations, geographic proximity, and, as a consequence, a large number of borrowings. The issue of tracing borrowings was most fully developed by R.A. Ayupova.

2) Transmission of phraseological units using semi-cripples: Kuzdan yugalu - hide from sight, kuz alu - take your eyes off, boryn tobenda - under your nose.

3) Transfer of a phraseological unit with a phraseological unit of another language similar in meaning: Sin bezneң boten өmetebezne kismakche, ike kulsyz itmәkche bulasynmyni - Do you want to nullify all our work (G. Bashirov). It is clear that finding a parallel phraseological unit in the Russian language when translating a text from Tatar is the most successful way. But such parallelisms do not occur often.

4) Conveying the meaning of a phraseological unit in ordinary words, i.e., in other words, a descriptive method of conveying a phraseological unit: tel-tesh tidererlek tugel - you can’t be offended, tel bistase - talker, kuz sortep alu - look.

Based on the indicated theoretical aspects of literary translation, we analyzed G. Timerkhanova’s translation of the story “Hayat” by Fatih Amirkhan.

Chapter two. Features of the translation of the story “Hayat” by Fatih Amirkhan

When analyzing the translation of “Hayat” by Fatih Amirkhan into Russian, we divided all the factual material into four groups:

– lexical inconsistencies;

– stylistic inconsistencies;

– methods of translating gaps and exoticisms;

– a method of transmitting phraseological units.

Based on the above and the four identified groups, we tried to find the main features of the translation of the above story.

2.1. Lexical inconsistencies

Lexical inaccuracies are usually immediately noticed in the analyzed translation work. Moreover, they are often noted by ordinary readers.

G. Khantemirova’s translation of the story “Hayat” is not distinguished by gross errors when the incorrect translation of a word is striking. Moreover, the translator, in our opinion, often unnecessarily adheres to the literal translation.

It should be noted that only a few minor deviations from the original text can be found. In some places the translator shortens the original. The following examples can be given: “– Achulanmagyz, Khayat, sin sezne soyam... Minem kүңlemdә sez genә...”  “– Don’t be angry, Hayat. I love you..." ; Or: “– Hәerle kitch, matur toshlar, kүңelle uylar, rәkhәt yokylar, – deep, bernichә telәklәr telәde”  “– Good night, pleasant dreams.”

As we can see, in both examples the state of the hero who is in love is not accurately conveyed, and therefore sometimes breaks off in words or becomes verbose. The translator, having shortened Mikhail's words, simply states the basic meaning of his words.

Rarely, there are also additions to the original in the text, which makes the translation look too free. For example: “Khayatnen bolay Tatar irlәrdәn kachuyna Liza yes kүptәn өyrәnep җitkәn ide inde.” (...)” is conveyed as follows: “Liza had long been accustomed to the fact that Hayat covered her face from Tatar men, and if it happened that her friend did not have time to notice a passing Tatar in time, she whispered:

“Khaechka, shut up, there’s a Muslim coming!” .

However, in the translation of the story “Hayat” under consideration, we noted individual examples and translation inconsistencies. As an example, we can give a translation of a Tatar folk song:

“Hosniҗamal әytә ikәn:

“Min kiyaүgә baram” – deep;

Әnkәse ңar әytә ikәn:

“Barmagayen, kadal,” – deep” 

“I want to get married,” says Khusnijamal.

“At least get married,

To hell with it,”

Her mother answers."

IN in this example In addition to the inaccuracy of the translation, it can be noted that the rhythm of the Tatar song is disrupted, where there is a repetition of “ikәn” and “dip” with clear dialogue parallelism.

Changes in the meaning of an entire phrase can also be noted elsewhere. So: “Annan son ul uz-uzenә kilde dә, salkyn һәm unaysyz kolemserәp:

- Gaҗәp! Well; haerle bulsyn! - dide" 

"Strange! Well, God bless them."

In this example, “khaerle bulsyn” and “God is with them” have almost antonymous meanings. In Tatar this means the wish “let it be good,” but in Russian “God is in them” has a slightly different meaning.

The word “manles”, which is close to exoticism (although it has fairly close translations - “gatherings”, “meeting”, “party”, etc.) is also given a fairly free translation: “Manles kunelle ide”  “The conversation flowed merrily, lively."

In general, there are practically no lexical inconsistencies in translation.

2.2. Stylistic inconsistencies

The style of Fatih Amirkhan has its own characteristics. In the story “Hayat” that we are analyzing, stylistic subtleties are presented especially clearly. The following features can be highlighted:

– use of Russian borrowings such as “hairstyle”, “educated”, etc.;

– frequent explanations in the texts, which are usually given in parentheses or footnotes. Here one can see F. Amirkhan’s desire to bring the story to the Russian reader, because he explains quite simple words related to Tatar culture and the Muslim religion.

In the translation we are considering, the stylistic features of the writer are far from being fully conveyed. Firstly, G. Khantemirova misses Russian inclusions, with the help of which F. Amirkhan conveys the peculiarities of the main character’s experience or the general atmosphere of any meeting. For example: “Hayat hairstyle yasap betergәch...” is conveyed, at first glance, exactly: “When Hayat combed her hair...”. In fact, “doing your hair” and “combing your hair” have quite serious stylistic (and sometimes semantic) discrepancies. With the Russian lexeme “hairstyle,” the writer wanted to achieve a greater impact on the reader.

The problem of conveying stylistics and the importance of Russian inclusions when translating into Russian is almost indescribable when a whole phrase is quoted. In our opinion, for such cases the translator found the most acceptable option. So: “Bibi, is Khaechka home? – deep sorady” is translated as follows: “Bibi, is Khaechka home?” – the schoolgirl asked in Russian.” Those. G. Khantemirova here uses a descriptive method of conveying the features of the schoolgirl’s speech.

However, sometimes you can find some liberties with G. Khantemirova. You can point to at least this example, when the translator “Russian Uramyn” translates “Russian quarter”. In addition, the translation is in quotation marks.

Stylistic features of the Tatar language can often be found in the peculiarities of lexical compatibility. A clear understanding and sense of language is required here. In the story “Hayat” we found, in our opinion, a not entirely successful example when the exact translation of individual words is conveyed without taking into account their lexical compatibility: “Lakin urmannyn tavyshy Lizanykina karaganda kinrak, tirenrak, kalynrak һәm kartrak shikelle toela; kolaklarda tupasrak, lakin mәһabatrәk toigy kaldyra ide”  “The voice of the forest, compared to Lizin’s, was deeper, more powerful and older; Although it sounded rougher, it sounded more majestic.”

In this example, “voice of the forest” and “urman tavyshi” are stylistically heterogeneous. Firstly, in Russian there are more often “voices of the forest”. Secondly, the Tatar “tavysh” has a broader meaning than the Russian “voice”. In our opinion, the “forest echo” that was discussed in the context could have been left here.

2.3. Translation of gaps and exoticisms

Gaps and exoticisms are the most difficult to translate. The translation that is closest in meaning and style requires from the translator not only an excellent knowledge of two languages, but also the same knowledge of the cultures of the Tatar and Russian peoples.

The greatest departure from the text in the story “Hayat” is observed in the transmission of gaps and exoticism that relate to Islam. In our opinion, this was due to ideological issues. For example: “– Әstәgъfirulla, ya Rabbem, әstәgъfirulla, – deep uylady, bu yalvary astynda “kyafer” dәn һәm “kyafer” not soyudәn Allanyn kodratenә syenu yasherenә ide” is translated as: “- Merciful God, forgive me! God, forgive me!..

With this prayer she asked God for protection from atheists, protection from her love for a kaafir.”

In this case, besides the fact that Islamic Allah has been replaced simply by God, it is not clear from Hayat’s words who the “atheists” are - atheists or adherents of another faith?

By the way, the exoticism of “kafir” is very successfully explained in the context: “Hayat lay down face down, pressing her chest to a small pillow: he is not a Muslim, he is a kaafir!” .

Exoticisms, as is known, are formalized in translation in several ways: the use of the lexeme in an unchanged form (taking into account graphic and phonetic design); description or selection of an expression (word, phenomenon, object) that is close in meaning native language. G. Khantemirova uses all three recognized methods.

For the first case, the following examples can be given: “Bu kalfak, efәk kөltәsenә cholgangan gөl chәchәge (rose) shikelle, kolep tora ide”  “It seemed like the kalfak, like a rose peeking out from a shock of silky hair, smiled joyfully”; Or: “Lakin ul khaman uze bilgelep kuygan ramkadan chyga almy, chonki ul ramkanyn kotochyrgych sakchylar: ally kaisy moftinen chukyngan kyzlarynyn surәtlәre saklap tolar ide”  “And yet she did not cross the line that she herself had determined, because behind this black line stood the formidable guard: faded faces of the mufti's daughters who converted to Christianity"; And also: “In the foyer, Rakhima-Abystay’s family merged with the flow of people walking.”

In our opinion, the use of exoticisms (with explanation when necessary) is the best way to convey such words. In addition to lexical and stylistic accuracy in translation, the use of exoticisms leads to a deeper understanding of the culture of the people of the original language.

In the translation of the story “Hayat” there are also cases when the translator selects a related word from the Russian language. In the example below, we can also talk about a descriptive method, since in the Russian language (more precisely, in Christian culture there is no “prayer rug”): “Akhyr tamam buldy! Hәyat tiz-tiz genә selam birde! ¡әһәt kenә namazlykny alyp ber җirgә atty da uz bulmәsenә chykty”  “Finally, the namaz is over. Hayat quickly made her last bows, threw the prayer rug into the corner and went to her room.”

In the translation of the story “Hayat” one can find cases of the use of exoticisms that are not in the original text. For example: “Әni belsә, hәzrәtenә dә әitterer әle,” – dide is translated as follows: “Well, if mom finds out, she will bring it to the attention of his mudarris.”

In our opinion, in this example we could limit ourselves to another exoticism: khazret - a clergyman.

Sometimes the translator simply leaves out exotic words. In the translation under consideration by G. Timerkhanova, such examples are justified, since the exoticisms in these examples do not carry an important message. For example: “Argan kүzlәrenen yal itә torgan berdәnber kәgаbәse bulyp tordy”  “... became a rest for the eyes when he, tired of reading, took them away from the books.”

In the above example, “kagbә” means “Kaaba”, i.e. "object of prayer"

In general, G. Timerkhanova translates gaps and exoticisms quite arbitrarily, and most often in the first way, i.e. uses foreign language lexemes with appropriate explanations.

2.4. Translation of phraseological units

Phraseological units, just like lacunae, create difficulties for the translator. As stated above, they can be translated in three ways.

In the translation of the story “Hayat”, phraseological units are not used much. We found only a few examples. The very style of Fatih Amirkhan suggests this.

Firstly, the translator sometimes uses phraseological units in Russian, despite their absence in the original language. This gives the translated text a certain expressiveness. For example: “Rәkhimovlarnyң kin bizәүle һәm bay tormishlary Khayatta bolarga karshy zur kүruү (tagyzyym) toygysy kuzgata ide”  “The Rakhimovs lived richly, in grand style. This made Hayat respect them."

In other cases, the translator uses the method of tracing phraseological units. As an example, the following can be given: “Any өyrәtergә yaramy, imesh... Bik shәp esh eshladen inde: kyzlaryңny ashatmy kaldyrdyn, sin tyryshmagan bulsan, st bezne ashagan bulyr ide... – deep uylady”  “You can’t, you see, teach her ... – frustration gnawed at her. “And what a good thing she did: she saved her daughters from being eaten,” she quipped to herself.”

In this example, the figurative meaning of “ashatyrga” - “eating” is scaled.

The language of the story “Hayat” by F. Amirkhan is not rich in phraseological phrases. Therefore, the most important thing is to convey the emotional experiences of the heroes, to reveal their psychological characters.

Key findings:

– in G. Timerkhanova’s translation there are certain inaccuracies associated with unsuccessful transfer of lexical compatibility of words;

– in conveying gaps and phraseological units, the translator uses all methods: from inclusions to description. But most often it is the “interspersed method” followed by a footnote.

Conclusion

At the present stage, with the intensive integration of the world community, the art of translation is beginning to play more and more importance. However, at the same time, with the development of electronic translation, “literal translation” is becoming increasingly developed. The need to quickly translate journalistic texts makes the art of translation increasingly mechanical. Therefore, today the need for a theoretical study of translation theory is becoming a big problem.

– the translator of the story “Hayat” was able to convey the expressiveness and psychological nature of the lyrical story. Accurately outlined psychological portrait main character;

– in G. Timerkhanova’s translation there are certain inaccuracies related to ideology: for example, not entirely accurate translation of prayers, etc.;

– in conveying gaps and exoticisms, the translator uses all methods: from inclusions to description. But most often it is the “interspersed method” followed by a footnote;

– in general, G. Timerkhanova managed to accurately convey the writer’s style, which is distinguished by laconicism and psychological accuracy.

In the future, literary translation from Tatar into Russian, in our opinion, will be carried out more on the basis of “literal translation”, which is associated with the interpenetration of the cultures of the two peoples. The main methods of transmitting gaps and phraseological units should be tracing and inclusion of exotic lexemes.

Topper P. Translation and literature: the creative personality of the translator // Questions of Literature, No. 6, 1998. – pp. 178-199.

Literary translation: problems and judgments. Collection of articles / Compiled by L.A. Anninsky. – M.: Izvestia, 1986. – 576 p.

Yusupov R.A. Tәрҗмә teoriyasenә keresh. – Kazan, 1972. – 88 b.

Yusupov R. A. Tәrҗemә һәm tel kulturasy. – Kazan: Tatar whale. nәshr. – 1973. – 128 b.

Today we will tell you who Fatih Amirkhan is. His biography will be discussed in detail below. We are talking about a writer, a caustic and ironic publicist, whose pen did not spare the most influential and respected Muslims. He was also a wise liberal thinker.

Biography

Fatih Amirkhan managed to create such amazing prose works that he was called the most soulful lyricist of his people. He was born in 1886, January 1, in Novotatarskaya Sloboda. His father was the imam of the Iske-Tash mosque. His family went back to the Murzas of the Kazan Khanate. Our hero's childhood was spent reading the Koran, as well as the kind instructions of his mother, a kind-hearted, enlightened woman. Fatih Amirkhan studied at the parish mekteb for two years. In 1895, at the insistence of his father, he transferred to the Muhammadiyah madrasah, the largest school in Kazan. This institution was led by a teacher and religious figure G. Barudi. Our hero spent ten years in this educational institution.

Education

Fatih Amirkhan received an excellent theological education, as well as excellent knowledge of the literature of the East and its history. In addition, he acquired Russian language skills and discovered a number of secular sciences. Our hero began to become interested in Russian culture. He showed curiosity about both its Russian and European foundations. The future writer began to ask questions about the main reasons for the lag of Eastern civilization. By nature, being a leader, but at the same time an enterprising person, he rallied around himself a group of people who also felt that the framework of a religious school was too small for them.

Ittihad

Fatih Amirkhan in 1901, together with his friends, became the organizer of the secret circle “Unity”. In his native language, this organization was called “Ittihad”. The circle's goal was to improve the living and material conditions of students. In addition to holding meetings and publishing a handwritten journal, the association carried out a national theatrical production- play “The Unhappy Young Man”. This event was one of the first of its kind. Our hero continuously tried to fill the lack of knowledge. As a result, the future writer got a tutor. It was S.N. Gassar, a Social Democrat. Frequent communication with this man, as well as with Kh. Yamashev, aroused in our hero a keen interest in political life.

Activity

During the Russian Revolution, Fatih Amirkhan plunged headlong into organizing the Reform student movement. He participated in all congresses of Muslims in Russia. In 1906, our hero leaves his home. Fearing persecution, he leaves for Moscow. Here he works on the magazine "Raising Children". Our hero's debut journalistic experiences appear on the pages of this publication. Soon the return of Fatih Amirkhan took place. He visited Kazan in 1907. He managed to once again become the leader of the youth. However, tragedy struck. In 1907, on August 15, our hero became ill. He ended up in the hospital. The diagnosis is paralysis. The illness confined the writer to a wheelchair. Only character, will, and the support of his parents and friends allowed him to return to creative and social activities. His long-time dream came true - the first issue of the publication “El-Islah” was published. Perhaps it was the most daring and uncompromising newspaper of that time.

Creation

We have already described above how Fatih Amirkhan became a publicist. His stories began to appear in the newspaper mentioned above. The first of them - “A Dream on the Eve of a Holiday” - was published in October 1907. This work deals with secular national holiday, where social and interethnic harmony reigns. A number of our hero’s literary creations (in particular the story “Fathulla Khazret”, published in 1909) are characterized by merciless, often unfair ridicule of the clergy, which is combined with the creation of an artistic utopia about the happy and joyful life of the Tatars, in which there is a place for culture, technology progress, as well as Islam.

The writer’s works, which are dedicated to the spiritual quest of Muslim Tatar youth in the conditions of the revolutionary and national movement, brought enormous popularity to the writer. Special mention should be made of the story “Hayat”, the novel “At the Crossroads”, as well as the drama “Unequal”. These works were mostly created on the basis of life facts and personal impressions of the author. In them, he revealed a world of doubting, reflective and restless youth who are not ready, even in the name of a tempting dream, to break forever with faith, traditions and their people. Thus, in the soul of our hero there was an evolution towards national and liberal values, the idea of harmony and public peace. The writer did not accept the revolution. He looked for beauty and harmony in everything, so he wrote with pain and indignation about rampant crime, devastation, undeserved privileges, neglected monuments, and immoral behavior of leaders.

LOST ILLUSIONS HAYAT

We were looking forward to this premiere with special interest, since the script for it was written by Chelny journalist Ravil Sabyr. Having learned that our colleague wrote a play based on the story “Hayat” by Fatih Amirkhan, I immediately thought: “He is not looking for easy ways.” After all, in order to aim for a dramatic rethinking famous work Tatar literature, you must agree, one must have a certain amount of courage and even audacity. If only because the story “Hayat”, written by Fatih Amirkhan back in 1911, would seem to reflect the historical trends of a “different era”.

Then, at the dawn of the twentieth century, the educational movement of the Jadids arose, who saw their mission as “building” a spiritual bridge between the Eastern and European worlds - to overcome the political and religious inertia that hindered the development of the Tatar people, and to make a leap towards civilization. Fatih Amirkhan is one of the prominent Jadids. His story “Hayat” is based on the story of the fate of a Tatar girl who, once inside love triangle, made the wrong choice: having a heartfelt sympathy for the youngest of the Arslanovs’ sons - the handsome student, adherent of Jadidism Gali, due to fatal circumstances, she agrees to marry her older brother, Mullah Salih, “who looks like a sick chicken.” According to the author, Hayat, choosing between his brothers, rushes between the old and new way of life. Is it possible to give “pre-revolutionary” passions a modern sound, we asked ourselves as we went to the premiere of the play “Hayat”. It turned out yes.

This became possible largely thanks to the directorial discovery of Bulat Badriev - he gave the main role to the non-professional artist Guzel Ismagilova. As the director himself said at a press conference, “there is a lot of naiveness and genuineness in the image of Hayat, and to embody it on stage, I needed a girl who is not familiar with the basics of acting.” Despite the lack of acting practice, Guzel was able to show on stage a rather complex “evolution” - the transformation of an angular teenager into a real woman. There was even something Tolstoyan about her, from Natasha Rostova.

But, as you know, a good diamond needs an appropriate setting. This is exactly how Hayat’s friends were perceived from the audience – Kazanly brought the role of the sparkling Liza Chulpan to perfection. And Enzhe Shigapova, playing the role of Amina, seems to have proven to all viewers that female friendship does exist. However, the entire ensemble of actors played just as brilliantly - like in a well-coordinated orchestra, the “sound” of each of them could be heard in the performance. The audience especially remembered Mustafa Rakhimov, performed by Insaf Fakhretdinov, who played very convincingly!

The work of the performance designer Rania Khairullina was also memorable. Thanks to her creative concept, the scenery, which did not change at all throughout the entire production, easily “turned” into the house of the merchant Gimadov, then into a merchant’s club, then into the Volga bank. Two colors prevailed in the decorations - blue and yellow. The first personified space and the infinity of the claims of a young soul, and yellow is a betrayal of these plans... The fact that the scenery was perceived organically by the audience is also the merit of the composer and sound engineer Niyaz Tarkhanov, who “helped” our imagination, alternately including the sounds of the surf floating past a steamship with a gypsy camp on board, a departing crew...

In addition, the performance contained many details that were clearly designed by the director’s hand and helped the audience to feel the drama of a particular scene. The scene was especially expressive when Hayat scatters apples, having learned that at Nikah, instead of her beloved Gali, the pathetic Salih will sit next to her... An overturned basket with yellow apples generally became a symbol of the play about the fate of a girl whose romantic aspirations were sacrificed to traditions. Moreover, what is important, the girl’s father Burgan (artist Bulat Salyakhov) gives Hayat the right to choose her own future. However, genetic ties turn out to be stronger than the progressive views of the father and external circumstances...

Elvira MUKHAMETDINOVA. "Evening Chelny"

The whole world knows the names of science fiction writers who predicted the emergence of such modern technical achievements as, for example, a submarine or an atomic bomb. And there is an opinion that no one has yet been able to foresee the advent of smartphones. But back in 1909, the Tatar writer Fatih Amirkhan described a similar apparatus in his story “Fathullah Hazrat”.

A correspondent for the Tatar-inform agency decided to find out why the forecast of the Tatar writer, who was the first in the world to describe a smartphone and video communication, went unnoticed. Why doesn't the world know about Fatih Amirkhan's prediction?

They say that great creators have the gift of foresight. Here are some authors who predicted the technical discoveries of the future in their works:

Jules Verne "Twenty Thousand Leagues Under the Sea", 1869 - submarine; Arthur Clarke “The City and the Stars”, 1956 – online computer games; H.G. Wells "The World Set Free", 1914 - explosion of the atomic bomb;

H.G. Wells “When the Sleeper Awake”, 1899 – automatic doors; H.G. Wells “War of the Worlds”, 1898 – laser; Ray Bradbury "Fahrenheit 451", 1950 - headphones;

Robert Heinlein “...And we also walk the dogs”, 1941 – pocket phone; Alexander Kazantsev “Dome of Hope”, 1980 – laboratory making artificial food; Alexander Belyaev “KETS Star”, 1936 – a man in space.

There is information that a cell phone was first described in 1910 by American journalist Robert Sloss, and a smartphone was mentioned in a work by Robert Heinlein in 1941. But Tatar writer Fatih Amirkhan foresaw smartphones and video communications earlier.

The story “Fathullah Hazrat,” written in 1909, describes life in Kazan in 1950. The main character, Fathullah Hazrat, dies, after 42 years he is resurrected again and begins to live in conditions modern society. The author writes about a society that has gone far ahead both scientifically, technically, and culturally: a flying airboat, a telephone with a mirror, houses that have the appearance of a person, people flying with wings, experiments with resurrection, and much more.

The future through the eyes of Fatih Amirkhan:

Buildings made from mirror

Modern houses covered with mirror coating still surprise us today. And Fatih Amirkhan wrote about this phenomenon back in 1909.

“Leyla was driving Minsylu home in a closed car, and Minsylu couldn’t see either the street or the sky above her head. Now she was shocked by the shape of the stone buildings, the luxurious mirrored palaces.”

Buildings that resemble people

According to Fatih Amirkhan's forecasts, in 1950 houses will be built whose appearance is similar to a person. Such buildings, although very rare, are found in some countries.

“From her window on an endlessly long street, a huge building could be seen in the distance, appearance which resembled a human figure. At the sight of this “man,” Minselu’s breath caught in horror, her knees began to tremble, she wanted to scream, but could not. It seemed to her that she saw the giant Guzh, the son of Gunyk, who would soon drink all the water in the rivers and eat all the food in the city.”

Electronic toys

Fatih Amirkhan writes about electronic toys that can now be bought in any store.

“Real trees and flowers grew in the garden, the flowers were fragrant, filling the air with a wonderful smell, on the tree branches unprecedented electric birds of extraordinary colors chirped with amazing voices.”

Helicopter

Fatih Amirkhan writes about the “air boat”.

“Suddenly, music reached Fathullah’s ears. He looked to where the music was playing and saw a large airship with about six to seven hundred people sitting in it. The ship was approaching, and a hundred people on board were performing the “Air March” on trumpets.

“The boat flew up to Doctor Akhmet’s house, and our travelers got out of it onto the balcony.”

This can be called the writer’s forecast, but it can also be explained by his awareness of the latest achievements of that time. The first helicopter was tested in France in 1907, but helicopters became widely used only in the middle of the 20th century.

Smartphone with front camera

Already in 1909, Fatih Amirkhan writes about smartphones with a front camera.

“As soon as he had time to utter these words, a bell rang quietly near him. The sound came from Akhmet's breast pocket. Akhmet took out some object from there that looked like a mirror and began to look at it. A minute later, to the astonishment of the Right Reverend, the mirror began to speak in human language.

Frightened Fatkhullah saw the image of Leili in the mirror. Akhmet talked with his daughter, but Fathullah did not understand anything from their conversation.

– Suppose you invented this magic mirror using the science of simiya? – he asked when Akhmet, having finished the conversation, put the mirror in his pocket.

Akhmet explained that this is not a mirror, but a mirror wireless telephone.”

The cell phone was invented in 1957. Camera phones only came into use in the 2000s.

Online video communication

Fatih Amirkhan described a video conference in the story - a common occurrence for us today.

“A bell rang in the room. Before I had time to figure out who was calling, I saw in front of me on the glass set into the wall a young man standing with a carefree look. (This glass was a telephone mirror invented in the mid-twentieth century, which showed the height of the person speaking on the phone, and to the ignorant it seemed that a living person was standing in front of him).”

“...Beside himself with indignation, he grabbed a chair and attacked the young man. The mirror shattered into hundreds of pieces, and the young man disappeared; “Bluish sparks rained down from the ends of the broken wires, crackling.”

Videoconferencing (using a wired telephone) was first tested in 1947 at the USSR Television Research Institute. Mass distribution began only in 1999.

Flying people

Fatih Amirkhan believed that people of the future will fly.

“He looked out the window: at that moment two young men and two girls flew in the air on attached wings. Now the Most Reverend Fathullah has decided that he, of course, lives in the palaces of heaven.”

Richard Browning tested a special suit he invented on September 28, 2017. He got into the Guinness Book of Records, flying at a speed of 50 km/h.

Revival of the dead is still at the forecast level

“Not even an hour had passed when the deceased sneezed. After a while he sneezed again and exclaimed: “Allah! God bless!” Now the professor asked the students to leave the audience, since the lively one needed peace. After another hour, His Eminence Fathullah opened his eyes, carefully rose and sat down.”

Why did Fatih Amirkhan’s work remain unknown to the world?

Why didn’t this work of Fatih Amirkhan gain worldwide fame and become as popular as the works of other science fiction writers? We addressed this question to literary scholars who have studied Amirkhan’s work.

“We ourselves are to blame for the fact that Amirkhan did not become famous as a great science fiction writer”

Candidate of Philological Sciences, Associate Professor Tagir Gilyazov:

– To some extent, we are also to blame for the fact that Fatih Amirkhan did not become famous as a science fiction writer. Because he described being ordinary people, the life of “low people”, the rural poor, in the 1920-1930s, Fatih Amirkhan was subjected to severe criticism.

Amirkhan received a city upbringing. Although he was the son of a mullah, he knew well the economy, history, change of societies and understood the role played by their aspects. Baki Urmanche sees the writer as one of the geniuses who headed for Europe.

Let's take a look at his biography: at the very dawn of his youth, he remained confined to a wheelchair. This was a great tragedy for him. But he remains for life strong personality. I read his letters, articles, works. There is not a note of despondency in any of them. A strong spirit, agreement with one's fate or acceptance of the fate prepared for him by Allah... This still remains a mystery.

It seems to me that the gift of foresight is due to the fact that Fatih Amirkhan was a strong personality. In addition, he studied in Moscow and Samara, and was well acquainted with the Russian world. Apparently, although we do not associate him with any political party, Fatih Amirkhan was aware of the works of Marx, Engels, Lenin, and the writer was well versed in religious literature.

It is clear that he was familiar with Islamic culture and philosophy, which have become integral elements of our life, our spirit. As you know, he was not limited to national boundaries, he had an excellent understanding of world literature, culture, its course and flow.

The works of Fatih Amirkhan were not published in Russian, were not translated into European languages, they do not know about them... We all write in Tatar.

Fatih Amirkhan needs to be introduced to the world at English so that they could write about him in the foreign press, so that he could be understood and appreciated.

“Fatih Amirkhan was able to foresee the future”

Candidate of Philological Sciences, Associate Professor Alfat Zakirzyanov believes that the idea of the story “Fathullah Hazrat” is far from fantasy, which is why the work did not gain fame.

– The purpose of this work is to expose the negative phenomena that impede the revival movement. Fiction here appears only as literary device. The work was not written within the fantasy genre; the writer did not set himself such a goal. Science fiction is just a device to describe in all its glory people with backward views.

If we take other science fiction writers, their main goal is to talk about scientific and technical achievements. Probably the reason that the work was not widely reflected lies in the fact that the main character is rather rude, impolite, and also a supporter of the past, which has become obsolete. On the one hand, the author's assumptions about the future could become the basis of a wonderful work of science fiction. But why didn’t Fatih Amirkhan develop the plot in this direction? Unfortunately, we can only guess about this.

Fatih Amirkhan just like the world famous science fiction writers, predicted the future. The question of why we underestimate it and do not present it to the general public is quite controversial.

Amirkhan was able to foresee the future. If we consider him as a science fiction writer, we come to an interesting, instructive fact. And in the work, the author describes Hazrat Fathullah as an object of ridicule, thereby predictions, thoughts and assumptions about the future lose their meaning and become only the background of the events of 1950.

“The fiction in the work does not have the desired effect”

“I don’t think we can somehow glorify this work.” Fantastic elements will not become the main component of the work, because the work is not written in the fantasy genre, and the main idea of the story lies on a completely different plane. For example, Saif Sarai has the following lines: “As the month revolves around the Earth, so the girl began to circle around the young man.” This was said several centuries before Copernicus! But this is not a discovery, but only a literary device,” says Zakirzyanov. – But this, of course, cannot be ignored. Someone might pay attention to this.

Fatih Amirkhan knew the Koran well. Today we know that the phenomena described in the holy book of Muslims take place in our lives. He probably felt and saw these important thoughts, that is, for his time he was, without a doubt, a man of progressive views. The writer, who knows Russian and European literature, was looking for ways to depict it. And then he gave preference not to the elements of fantasy, but to the exposure of his hero.

Muhammetfatykh Zarifovich Amirkhanov - Fatih Amirkhan was born in 1886 in Kazan. He graduated from the Muhammadiyah madrasah and studied Russian in Samara. Al-Islah newspaper begins to be published. Works in Moscow. In 1907 he returned to Kazan, being paralyzed and unable to walk. In addition to Al-Islah, he works in the editorial offices of the publications Yalt-Yolt and Koyash. Since 1907 he begins to write literary works. His most famous work is the story “Hayat”, written in 1911. Author of the first satirical novel in the Tatar language. In 1923-1924 he taught at the technical school of the Tatar theater. In 1924, he wrote the satirical story “Shafigulla Agai”, in which he exposed the cult of personality and criticized the glorification of Lenin’s name. In 1926 he died in Kazan.

LOST ILLUSIONS HAYAT

We were looking forward to this premiere with special interest, since the script for it was written by Chelny journalist Ravil Sabyr. Having learned that our colleague wrote a play based on the story “Hayat” by Fatih Amirkhan, I immediately thought: “He is not looking for easy ways.” After all, in order to attempt a dramatic rethinking of a famous work of Tatar literature, you must agree that you must have a certain amount of courage and even audacity. If only because the story “Hayat”, written by Fatih Amirkhan back in 1911, would seem to reflect the historical trends of a “different era”.

Then, at the dawn of the twentieth century, the educational movement of the Jadids arose, who saw their mission as “building” a spiritual bridge between the Eastern and European worlds - to overcome the political and religious inertia that hindered the development of the Tatar people, and to make a leap towards civilization. Fatih Amirkhan is one of the prominent Jadids. His story “Hayat” is based on the story of the fate of a Tatar girl who, finding herself inside a love triangle, made the wrong choice: having a heartfelt sympathy for the youngest of the Arslanovs’ sons - a handsome student, an adherent of Jadidism Gali, due to fatal circumstances, she agrees to marriage to his older brother, Mullah Salih, “like a sick chicken.” According to the author, Hayat, choosing between his brothers, rushes between the old and new way of life. Is it possible to give “pre-revolutionary” passions a modern sound, we asked ourselves as we went to the premiere of the play “Hayat”. It turned out yes.

Elvira MUKHAMETDINOVA. "Evening Chelny"

Biography

Fatih Amirkhan managed to create such delightful prose works in the Tatar language that he was called the most soulful lyricist of his people. He was born in 1886, January 1, in Novotatarskaya Sloboda. His father was the imam of the Iske-Tash mosque. His family went back to the Murzas of the Kazan Khanate. Our hero's childhood was spent reading the Koran, as well as the kind instructions of his mother, a kind-hearted, enlightened woman. Fatih Amirkhan studied at the parish mekteb for two years. In 1895, at the insistence of his father, he transferred to the Muhammadiyah madrasah, the largest school in Kazan. This institution was led by teacher and religious figure G. Barudi. Our hero spent ten years in this educational institution.

Education

Ittihad

Fatih Amirkhan in 1901, together with his friends, became the organizer of the secret circle “Unity”. In his native language, this organization was called “Ittihad”. The circle's goal was to improve the living and material conditions of students. In addition to holding meetings and publishing a handwritten journal, the association staged a national theatrical production in 1903 - the play “The Unhappy Young Man.” This event was one of the first of its kind. Our hero continuously tried to fill the lack of knowledge. As a result, the future writer got a tutor. It was S.N. Gassar, a Social Democrat. Frequent communication with this man, as well as with Kh. Yamashev, aroused in our hero a keen interest in political life.

Activity

Creation

We have already described above how Fatih Amirkhan became a publicist. His stories began to appear in the newspaper mentioned above. The first of them, “A Dream on the Eve of a Holiday,” was published in October 1907. This work is about a secular national holiday, where social and interethnic harmony reigns. A number of our hero’s literary creations (in particular the story “Fathulla Khazret,” published in 1909) are characterized by a merciless ridicule of the clergy, which is combined with the creation of an artistic utopia about the happy and joyful life of the Tatars, in which there is a place for culture, technological progress, and freedom choice of faith.

PHILOLOGY AND CULTURE. PHILOLOGY AND CULTURE. 2012. No. 2(28)

UDC 81"37;81"25

TRANSLATION OF EVALUATIVE VOCABULARY (BASED ON THE STORY “HAYAT” BY F.AMIRKHAN)

Based on the material of F. Amirkhan’s story “Hayat” and its translation into Russian, the article examines the features of the translation of evaluative vocabulary, identifies the direction and nature of translation transformations determined by both linguistic and extralinguistic factors, and shows ways to compensate for the components of meaning lost during translation.

Key words: translation, evaluative vocabulary, F. Amirkhan.

In this study, the main unit of study is lexemes with evaluative meanings, extracted by continuous sampling from the language of F. Amirkhan’s story “Hayat” and its translation into Russian by G. Hantemirova. The dialectical unity of a literary work and its translation presupposes the mutual influence of two linguistic pictures of the world, two artistic systems, types of mentality, cultures and eras.

When translated, a literary text often undergoes various translation transformations. We find interpretation of the concept of translation transformation in many researchers. Thus, noting a certain metaphorical nature of the term “transformation” in the theory of translation, A. Schweitzer wrote: “In fact, we are talking about the relationship between the initial and final linguistic expressions, about the replacement in the process of translation of one form of expression by another, a replacement that we figuratively we call transformation or transformation,” thus, translation transformations are essentially interlingual operations of “re-expression” of meaning.”

Translation transformation is a process in translation during which the system of meaning contained in the speech forms of the source text, perceived and understood by the translator due to his competence, is transformed naturally due to interlingual asymmetry into a more or less similar system of meanings, clothed in the forms of the target language.

The translator must strive to reproduce not only the content of the work and its figurative system, but also the originality of the foreign-language author’s worldview, his artistic and philosophical concept, and the features of his individual style.

The translator looks for a similarity in a sea of diversity, a similarity that can be reproduced

accepted by a person of a different worldview, a different language, a different historical era. “The numerous techniques and operations that the translator resorts to to establish such a similarity together constitute a translation methodology, the mastery of which is necessary even for an exceptionally talented person who has a keen sense of all the smallest nuances of meanings, meanings, and situations.”

In literary translation, the discrepancy between equivalence and translation value is greatest. What comes to the fore here is not the exact, literal reproduction of the content of the original, but the reproduction of its high literary merits, their expression by more or less equivalent or suitable means of the target language.

As is known, human cognitive activity includes an evaluative aspect, in which the subject, reflecting objects and phenomena of reality, correlates them with past experience, weighs them against a certain value scale, which are norms, standards, idealized models developed by society, as well as needs, desires and tastes of the individual. Axiological attitudes orient a person in social reality, direct and stimulate his activities. Evaluation as a sociocultural category, reflecting the historically established and socially fixed typified attitude of members of a linguistic community, is based on linguistic forms that are objectified forms of conceptual thinking. Linguistic assessment, as L.A. Sergeeva notes, is a reflection of assessment as a logical-psychological phenomenon, “therefore, the solution to the problem of linguistic assessment is included in the context of the general problem of the relationship between linguistic and extra-linguistic content of meaning and meaning.”

The relationship between evaluative vocabulary and the culture of a particular people is clearly revealed

when comparing original works of art with their translations. The set of abstract evaluative values forms a special dimension of mental space, in which objective reality is refracted in a specific way and a value-colored picture of the world is formed. Assessment is considered by N.D. Arutyunova as an act of mental comparison of the actual properties of an object with their virtual (ideal) correlate, existing at the level of an “idealized model of the world.”

In every society there are basic ethnocultural concepts that form the core layer of its spiritual culture. Such concepts primarily include ethical and aesthetic concepts that set stable standards.

The object of aesthetic evaluation most often in the story “Hayat” is the appearance of the heroine, her extraordinary beauty: Matur bu kyznyts ozyn kerfekle kara kuzlere alsurak ivzene moshchizaly yakutlar shikelle nur chechep torganlyktan, gYZel bashi, hatta bvten bue nurda ivze shikelle kurene ide. Her dark eyes, like magical yachts, shone from under her long eyelashes, making it seem as if her lovely head, delicate white face, and whole figure were illuminated by this radiance.

This is the first description of Hayat given in the story, which presents comparisons traditionally used in Eastern literature when describing a beauty: associations with precious stones (in this case, yakut, that is, sapphire, although the translator uses the word yakhont) and a description of the radiance emanating from the heroine . The translator preserves these images, concretizing them by adding details (a gentle white face); In the original, in this case, there is no indication of the whiteness of the heroine’s skin, but in the minds of the Tatar reader, already attuned to the traditional image of an oriental beauty, a standard set of signs of an oriental beauty is reproduced, among which, undoubtedly, should be the whiteness of the skin. Therefore, we can say that the translation addition paints a complete image of the beauty, making it possible to compensate for the missing background knowledge of the Russian reader. At the same time, the adjective with the general meaning of aesthetic assessment (matur bu kyznyts) is not preserved in the translation, but the general positive assessment of the heroine’s appearance is conveyed entirely through a detailed description.

In the language of the story, a significant place is occupied by vocabulary expressing aesthetic appreciation; in the context of the work, adjectives talking about the appearance features of the characters are often

are given at portrait description, presented from the perspective of different characters. Semantic transformations often occur during translation: Egetnets yvz kiyafete hem sonyn totyshy, portrait kYrsetYene Karaganda, bik svikemle ideler: achyk matsgay, kekreebrek

kilgen shakty kits kashlar, ochlary yugaryga karatylyp kuelgan kue ham ozyn myek ham kukragen kielderebrek, eget symak torysh Heyatka mehebbatle kurendeler. The young man was not bad-looking: an open forehead, slightly curved wide eyebrows, a lush mustache curled upward, and a smartly protruded chest. Hayat found him handsome.

Significant changes also occur in the translation of words expressing ethical assessment. Gazize abystay bu egetnets G. sheherendege Salikh Fatikhov isemle yash bai, bik teYfshkly hem bik educational keshe ikenchelegen svilede... . The concept of teYfiyk is one of the central ones in the ethical picture of the world of the Tatar people, syncretically expressing the highest values from the standpoint of the Muslim worldview - high morality, piety, modesty, kindness, etc. The absence in the Russian language of a similar concept, expressed by one lexeme, forces the translator to greatly narrow and specify the meaning of the original sentence: This is Salikh Fatikhov, the son of one of the bais of the city of G., a young man “very educated and with a kind heart.” During translation, the universal aspect of ethical meaning (kindness) is preserved, an additional factor of emotionality appears (the heart is associated with emotions), but the religious connotations are completely lost.

An assessment of a character’s actions in some cases can be expressed implicitly and only implied: Kunak kyz Heyatnyts an-sy Gazize abystay belen ike kullap kureshte de hezer Heyatny Yzlerene kunakka alyrga kiltenlegen svilede. Lisa greeted Hayat’s mother, extended both hands to her, according to Tatar custom, and cheerfully announced that she had come to take Hayat to her place on Sunday. In this case, in the translation we also find an addition (according to Tatar custom), which explains why the heroine uses an unusual way of greeting - with two hands. This addition allows the reader to reproduce in his mind an indirect positive assessment of the Russian girl Lisa, who knows and respects Tatar customs and etiquette.

The nature of the assessment may be associated with the distinction between absolute (good - bad) and relative (better, worse) characteristics when translating

RUSSIAN LANGUAGE AND LITERATURE IN THE TURKISH-SPEAKING WORLD:

MODERN CONCEPTS AND TECHNOLOGIES

de characteristic feature The expression of the assessment is its intensification (strengthening) or deintensification (weakening). Consider the following examples:

Ozatuchylar kaytyp kitteler. Berer quarter shir kitkach, Lisa, kuzleren kukke kuterep, yoldyzlarga svilegen symak kiyafat belen:

Hayat hezer EYvelge Hayat tYgel, egetler al-dynda chytlyklanirga bik yarata bashlagan, -dip kuydy.

When they drove about a block, Lisa, looking at the sky, spoke, as if addressing the stars:

Hayat is no longer the same, she really loves to flirt with young people.

In this case, the verbs chytlyklan and flirt formally are dictionary correspondences, however, the components of their meaning do not completely coincide and the negative assessment in the Tatar verb is expressed more intensely than in the Russian word flirt, which also implies some negative assessment of the heroine’s behavior, but not very intense - the desire to please someone with your manners and behavior, to interest someone in yourself; the Tatar verb implies a more obvious negative assessment of behavior Muslim girl, the unacceptability of such behavior from a religious standpoint.

Heyat SYZ atsly bashlagan zamannan uk Yzlerene gaibet satyp utyryrga kere torgan khatynnardan shulai ishetep kile ide. Hayat heard about kept women from women she knew who came to their house to gossip.

In this case, also, the pejorative ethical assessment is more sharply expressed in the Tatar text (gaibet satyp utyryrga) and softened during translation (to gossip). According to the canons of Islam, a person’s tendency to gossip is not only a significant shortcoming, but also a sin; listening to gossip is also a sin; this point is implicitly reflected in the meaning of the Tatar word gaybet.

When translating vocabulary with an evaluative meaning, in some cases morphological transformations also occur. Gazize abystay Lizany bik hvrmatlap kabul itte, lekin vatyk kyna ruscha tel belen, Hayatny atasy rvhsetennen head, andy “erak” shirge shibererge yakhshy-synmyi kenen atslatty. Gaziza-

Abystai greeted Liza warmly, but answered in broken Russian that she was uncomfortable letting her daughter go so far without her husband’s permission. When assessing the actions of the heroine, F. Amirkhan used the verb yakhshysynmau, formed from the adjective yakhshy (good

shy). There is no equivalent of this verb in the Russian language, so the word category state is inconvenient in the translation. In translation, instead of a direct internal ethical assessment (not good), the feeling of embarrassment, embarrassment, awkwardness in front of an external observer is emphasized.

The evaluative vocabulary presented in the language of the story “Hayat” is very heterogeneous; in the context of the work, what is often important is not the universal or fixed in the language system evaluativeness, but the adherent, verbal evaluativeness, highlighted only in the context. Consider the following example:

Bu fikerler arasynda berse bigrek Kurky-nych ide: Heyat yashrek zamanynda bervakyt Gazize abystaidan elle kaisy mvftinets ury-ska gashyk bulyp, chukyngan kyzlary turysyn-da ishetken ide. ... a mother’s story about the mufti’s daughters, who, having fallen in love with non-believers, converted to Christianity, arose in my memory.

In this context, the word uris, denoting a person based on ethnicity, expresses an additional assessment, signaling serious cultural differences, since it also implies a confessional characteristic that has not yet been directly named - Christian, which forces the translator to use not the neutral word Russian, but to use a replacement strategy (non-religious ) to compensate for the loss of meaning.

Often during translation, while maintaining the overall assessment (positive or negative), various semantic shifts occur.

Ul, nicek itep bulsa yes, bu mvkatdes kyzlar belen tanyshyrga karar birde. ...He decided to definitely meet these extraordinary girls.

Ele kupten tYgel gene atsar mvkatdes bulyp kurengen bu kalfakly kyzlar hezer inde bvten megyneleren shuidylar. These girls in kalfaks, who so recently seemed extraordinary to him, have now lost the halo of beauty in his eyes. According to the “Tatar-Russian Dictionary”, the lexeme mvkatdes is translated into Russian as sacred, holy, that is, it denotes a sign of sacredness, the highest perfection; when translating in both cases, G. Hantemirova used the adjective extraordinary, indicating only a sign of exclusivity, and this, on our opinion is quite reasonable.

Adequate transfer of features of form and content work of art, created

given in one language, using the means of another language - a task that requires knowledge, talent, and a lot of work from the translator. Working with literary texts, in which the depth of content and refinement of form is organically combined with a clearly expressed national cultural identity of the worldview, requires special attention of the translator. Being a universal and applicable form of expression of thought in all languages, evaluative vocabulary still does not always lend itself to accurate and unambiguous translation from one language to another. As the material from F. Amirkhan’s story “Hayat” shows, when translating linguistic units with an evaluative meaning, various lexical-semantic transformations often occur, due to both proper linguistic and extra-linguistic reasons. Most often, various kinds of differentiation of the meaning of the original unit are carried out, specifying the meaning; Various methods are used to compensate for the components of meaning lost during translation; background knowledge missing from the Russian-speaking reader is often replenished by increments in the translation text due to translation additions. Comparison of linguistic units with the estimated meaning in the original language

la and translation makes it possible to see the most important differences in the Tatar and Russian linguistic cultures, allows us to more clearly imagine the system of value priorities of different language communities.

The article was financially supported by the Russian Humanitarian Foundation grant 12-14-16017.

1. Schweitzer A.D. Translation theory: Status, problems, aspects. - M.: Nauka, 1988. - 364 p.

2. Garbovsky N.K. Translation theory: textbook. - M.: Moscow. state univ., 2004. - 544 p.

3. Sergeeva L. A. Evaluative meaning and categorization of evaluative semantics: experience of interpretive analysis: abstract. Dis... Dr. Philol. Sci. -Ufa, 2004. - 45 p.

4. Arutyunova N. D. Language and the world of man. - M.: Languages of Russian culture, 1999. - 896 p.

5. Emirkhan F. Sailanma eserler. - Kazan: Tarikh, 2002. - T. 4. - 399 b.

6. Amirkhan F. Favorites. Stories and tales / trans. from Tatar G. Khantemirova. - M.: Khud. lit., 1975. - 320 p.

7. Tatar-Russian dictionary / ed. F. Ganieva. - Kazan: Tatar Book Publishing House, 2002. - 488 p.

TRANSLATION OF EVALUATIVE VOCABULARY (ON THE MATERIAL OF THE STORY OF F.AMIRKHAN “KHAYAT”)

A.A.Aminova, A.M.Galieva

The paper deals with some features of translation of evaluative vocabulary on the material of the story of F.Amirkhan “Khayat”. The nature and direction of translation transformations due to linguistic and ex-tralinguistic factors are revealed, is shown how the translator compensates for the components of meaning lost in the translation.

Key words: translation, evaluative vocabulary, F.Amirkhan.

Almira Askhatovna Aminova - Doctor of Philology, Professor of the Department of Literary Theory and Comparative Studies at Kazan Federal University.

Email: [email protected]

Alfiya Makarimovna Galieva - Candidate of Philosophy, Associate Professor of the Department of Literary Theory and Comparative Studies at Kazan Federal University.

Introduction

Biography

Education

Ittihad

Activity

Creation

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“We ourselves are to blame for the fact that Amirkhan did not become famous as a great science fiction writer”

“Fatih Amirkhan was able to foresee the future”

“The fiction in the work does not have the desired effect”

Biography

Education

Ittihad

Activity

Creation

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Introduction

Biography

Education

Ittihad

Activity

Creation

The future through the eyes of Fatih Amirkhan:

Buildings made from mirror

Buildings that resemble people

Electronic toys

Helicopter

Smartphone with front camera

Online video communication

Flying people

Revival of the dead is still at the forecast level

Why did Fatih Amirkhan’s work remain unknown to the world?

“We ourselves are to blame for the fact that Amirkhan did not become famous as a great science fiction writer”

“Fatih Amirkhan was able to foresee the future”

“The fiction in the work does not have the desired effect”

Biography

Education

Ittihad

Activity

Creation

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