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Modernist Translation

An Eastern European Perspective: Models, Semantics, Functions

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Tamara Brzostowska-Tereszkiewicz

The last two decades witnessed an upsurge in Anglo-American studies of Modernism and its translation practices. The book revisits the notion of Modernist translation in the context of Eastern European (Polish and Russian) literatures. The framework of this study is informed by the cultural turn in Translation Studies and the dynamic concept of Modernism as a configuration of mutually antagonistic and dialogic tendencies, currents, programs, attitudes, and artistic realizations. Along with the analysis of illusionist and anti-illusionist models of Modernist translation, the book readdresses the problems of carnivalization, parodicity, estrangement, conceptualism and topics of translation discourse.
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Note on Transliteration, Citation and Translation

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When transliterating Cyrillic, I have adhered to the modified Library of Congress transliteration system without the diacritical marks, except where custom has persistently favoured an alternative spelling. In such cases, especially with the spelling of Russian proper names, established English-language usage has taken precedence over the LOC system (e.g. Yevgeny Baratynsky instead of Evgenii Baratynskii, Mayakovsky instead of Maiakovskii, Mandelstam instead of Mandel’shtam/ Mandelshtam, Tynyanov instead of Tynianov/ Tynjanov, etc.). In some cases, the soft sign has been represented with the letter i (e.g. Zavialov, ‘polovodie chustv’). When in an English-language publication of Russian authorship, Russian proper names have been transliterated according to a different system whereby the reference mirrors the publication name (e.g. Eikenbaum) while the text follows the Library of Congress system (e.g. Eikhenbaum). I have chosen the parenthetical method for citations: references to the bibliography are made in the body of the text by author, date, and page. Latin transliterations and explanatory translations of Russian, Polish, Ukrainian, German and French words, expressions, and titles are inserted in square brackets after the original words, expressions and titles in the main text, e.g. Sestry-molnii (2-oi parus, ‘Strastnaia ploshchad’) [The Sisters-Lightnings (The 2nd Sail, ‘The Lord’s Passion Square’)], Bramy raju [The Gates of Eden]. Brackets are also used to enclose original words, expressions, and titles given first in English translation, e.g. ‘semantic dominant’ [smyslovaia dominanta], ‘deliberately impeded form’ [zatrudnennaia forma]. Since this monograph is aimed at an English-speaking audience, references are made wherever possible to sources available in...

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