Alishan’s poem “Hrazdan”: Polyvariety of Meanings, Interpretations, Translations
The question of polyvariant existence of meanings, interpretations of the poem “Hrazdan” (and its translations) by G. Alishan is considered. The novelty of the research is seen in the multidimensionality of synoptic research with an appeal to the concepts of polyvariance as a research tool, “hot” ch...
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| Autores principales: | , |
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| Formato: | article |
| Lenguaje: | RU |
| Publicado: |
Tsentr nauchnykh i obrazovatelnykh proektov
2020
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| Materias: | |
| Acceso en línea: | https://doaj.org/article/f952b00617194275b4d16a8d83656e26 |
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| Sumario: | The question of polyvariant existence of meanings, interpretations of the poem “Hrazdan” (and its translations) by G. Alishan is considered. The novelty of the research is seen in the multidimensionality of synoptic research with an appeal to the concepts of polyvariance as a research tool, “hot” chronological periods (attention to linguistic culture) and points (anniversaries). The phenomenon of the text-heritage is studied in its historical perspective. A brief overview of the Russian-Armenian literary relationship is carried out. The Russian-Armenian literary relationship is characterized as a factor contributing to the formation of the text-heritage. The importance of the creative work researching of the outstanding Armenian figure G. Alishan is noted. The authors dwell on the history of the texts of the invariant and variants of translations into Russian, English and French (four translations). The author’s development of a synoptic model of the philological analysis of a poetic text and its translations is presented. The questions of representation of ethnocultural signs (onyms) in translation variants are touched upon. The consequences of their elimination or equivalence are commented on (the onomastic layer of the text is examined). Various translation strategies are evaluated. The features of the representation of emotions by interjections in the original and in the translation variants are compared. The technique of recursion in the refrain is revealed, its specificity in translations is discussed. |
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