FEATURES OF PROSE

TEXTS AND POETRY

TRANSLATION
presenter: JALILOVA LOLA JALILOVNA
Associate professor (PhD)
 PLAN:
 1. Features of prose texts
translation
 2. Features of poetry translation
 HIDDEN ELEMENT
 Watch out for a hidden element in this
presentation…
 if you see it, shout “I love Reading!”
 Prose texts translation
Catford (1965) introduces three types
of translation in terms of three criteria:
1. The extent of translation (full
translation vs. partial translation)
In a full translation, the entire text is
submitted to the translation process, that is
very part of the ST is replaced by the TT
material. In a partial translation, some part or
parts of the ST are left untranslated: they are
simply transferred to and incorporated in the
TT (Catford, 1965: 21).
PROSE TEXTS TRANSLATION
2. The grammatical rank at which
the translation equivalence is
established (rank-bound translation
vs. unbound translation)
It relates to the rank in a
grammatical (or phonological)
hierarchy at which translation
equivalence is established
(Catford, 1965: 24-25).
 PROSE TEXTS TRANSLATION
3. The levels of language involved in
translation (total translation vs.
restricted translation)
Total Translation may best defined
as: replacement of ST grammar and lexis by equivalent
TT grammar and lexis with consequential replacement
of SL phonology/graphology by (non-equivalent) TT
phonology/graphology. 
By restricted translation we mean: replacement
of ST material by equivalent TT material at only one
level. That is translation performed only at the
phonological or at the graphological level, or at one of
the two levels of grammar and lexis (Catford, 1965: 22).
PROSE TEXTS TRANSLATION
 Nida (1964) categorizes translation into two
types: formal translation vs. dynamic translation.
 In formal translation, he asserts, the way meaning
was conveyed is shown, that is, the style of the
original is preserved.
 Dynamic translation - a translation principle
according to which translators seek to translate the
meaning of the original in such a way that the TL
wording will trigger the same impact on the target
audience as the original wording did upon the
source language audience. He further states that in
this type of translation usually the form of the
original text is changed.
 TYPES OF TRANSLATION
 Newmark (1988) proposes two types of translation:
semantic vs. communicative. He states that while
communicative translation attempts to produce
on its readers an effect as close as possible to that
obtained on the readers of the original,
 semantic translation attempts to render as closely
as the semantic and stylistic structures of the
second language allow, the exact contextual
meaning of the original.
 As to communicative translation, he believes that
equivalent effect is illusory because if the text is
out of TL space and time the equivalent effect can
not be produced.
 TRANSLATION OF POETRY
 While translating verse
 You crash through a wall
 And with a bloody face
 You are suddenly on the stage
 Lit up by thousands of watts
 Facing thousands of eyes
 After having made your way
 Through the brick, like a stream
(Slutsky in Friedberg 1997: 118)
 TRANSLATION OF POETRY
 Poetry, according to Alexander Pope, has been said to
consist of “what oft was thought, but ne’er so well
expressed” (1711).
 Thus, poetry seems to lie on a continuum with one end
attached to human feelings and emotions, which can only
be sensed, not given expression to; for how can we say how
much we enjoyed a poem? The other side attached to his
means of communication, i.e. language; hence the
controversial relationship between language and mind.
 The issue of the translatability of poetry has long been a
heated debate among scholars. Some scholars believe that
what is lost in translation is the poetry, while others state
that all meanings are translatable and only the form of
poetic discourse is lost in translation. There are still other
scholars who believe that poetry translation is possible only
if both the meaning and style of the source text are kept
intact in the target language. Below is a sketch of the
arguments of both groups:
 THE MAIN CHARACTERISTIC OF
POETIC DISCOURSE
1. According to Frost (1969), the main
characteristic of poetic discourse that
distinguishes it from common discourse is that in
poetry form and content can not be separated.
Content is highly language-bound and this is what
makes poetic translation of poetry more difficult
than other types of translations. He believes
poetry is what is lost in translation. Nabakof
cited in Giblett (1987) compares poetry
translation to beheading, insulting the dead and
a parrot's scream, and Roman Jacobson (1960)
states that poetry is by definition untranslatable.
2. As to those who take an almost positive stance
concerning the translation of poetry, Boase-Beir
and De Beauground cited in Connally (1991)
believe that translation of poetry can be
successful only if both style and content are
transferred.
Holmes (1970) who has a descriptive view
towards translation believes that there may be as
many different translations of the same poem as
the number of translators. He adds that while
the translation of a poem is never equal to the
original, any text including a poetic one has
many interpretations and therefore many
possible translations.
 Nair (1991) believes that poetry is an imaginative
expression of a poet's feelings and experiences and its
translation must be a faithful transference of the poet's
ideas. A poetry translator should, therefore, strive for
accuracy and this makes the translator's fluency of
expression indispensably difficult.
Lefever (1992) who takes side with the issue
introduces a number of methods for translation of
poetry; namely, phonological translation, literal
translation, rhythmic translation, translation into
prose, translation into rhymed poetry, translation
into poetry without rhyme (blank verse), and
interpretive translation. He states that in the past most
translators translated poetry into rhymed poetry but
today they translate poetry into prose. He adds that
some translators translate only the meaning at the price
of the form but sometimes translators get help from the
poet to create a new work.
4 Based on the aim of the present study, a translated
version of poem deals with the object
(product/translated text) rather than the subject
(processes employed by the translator) of translation, this
procedure first incorporates the look or form of the text
at the textual level under three major headings; namely,
music, rhyme and tropes. Two texts are examined in
terms of words, images, stanza and structural patterns,
literary devices, and type of the poem. Moreover, the
linguistic differences and similarities between the ST and
TT are elaborated. Also, the aura or tone of the text is
examined and exemplified with respect to the genre of
the poem. Finally, the message of the text is focused.
Я ВАС ЛЮБИЛ: ЛЮБОВЬ ЕЩЕ, БЫТЬ
МОЖЕТ…
 Я вас любил: любовь еще, быть может,
В душе моей угасла не совсем;
Но пусть она вас больше не тревожит;
Я не хочу печалить вас ничем.
Я вас любил безмолвно, безнадежно,
То робостью, то ревностью томим;
Я вас любил так искренно, так нежно,
Как дай вам Бог любимой быть другим.

 1829 г. Александр Пушкин

THANK YOU
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Mo„minov. The translated version of “Life Affairs” by Utkir Khashimov Toshkent – 2014
THE FASTEST READER IN THE
WORLD
Currently, the world’s fastest reader is
Maria Teresa Calderon from the Philippines.
She is able to read 80,000 words per minute
with 100% comprehension.

In comparison, an average person reads

around 250-300 words per minute, with
around 70% comprehension.
WORLD FAMOUS BOOK LOVERS
 26th President Theodore Roosevelt might be
one of the most well-read men in all history –
every day, he would read a book before
breakfast, and depending on his schedule,
another two or three in the evening (even
during his presidency!).