Теорія і практика перекладу
(АСПЕКТНИЙ ПЕРЕКЛАД)
Формат 60/801/16.Друк офсетний. Папір офсетний. Ум.друк.арк. 28.
Видавництво «Нова Книга»
Свідоцтво ДК №103
м.Вінниця, вул.Стеценка, 46/85
8 (0432) 53-71-88 E-mail:[email protected]
Віддруковано на ДП «Державна картографічна фабрика» з плівок замовника. Зам №31, тир 1500 прим.
* * *
Домашний театр з Dolby Surround активно заявив про себе лише останнім часом, коли відповідна техніка з’явилася в магазинах поруч з блочним “Хай-фаем”. Чотирьохканальні AV ресивери, процесори Dolby Prologic, спеціалізовані гучномовці – сателіти і активні сабвуфери (супербасовики) залишають у споживача відчуття недоступності через порівнянно високу вартість, зовнішню складність і непевні критерії вибору. Цілком ймовірно, що саме це і створює ту стіну непорозуміння, на яку натикаєшся кожного разу, коли спілкуєшся з людьми, що не дуже розуміються на аудіо-відео апаратурі. І річ зовсім не в термінологічній плутанині. Найчастіше нарікають на дороговизну, на відсутність місця в квартирі, або просто зважають на те, що не на відеотеатрах світ клином зійшовся. І даремно! Тим більше зараз, коли в кінотеатрах знову черги за квитками, а на кіноекранах – світові прем’єри. Не треба бути крезом, щоб завести у себе вдома таке “диво”. Тай рахувати гроші прийнято не лише у нас. Сила силенна родин в усьому світі мають звичайні “домашні театри в одній коробці”. Згадайте легендарний “Home theatre in a box” від фірми Celestion. В такому наборі є все необхідне щоб за лічені хвилини перетворювати звуковий супровід відеофільму в охоплюючий вас з усіх боків звук Dolby Surround.
Безперечно, слід зважати на те, що апаратура, яка входить до уніфікованого комплекту, відноситься до початкового рівня. Проте простота, компактність елементів і вдале співвідношення якості і вартості легко берути в полон покупця. Щоб “театральна” система стала ще зрозуміліше і блище, пропонуємо познайомитися з продукцією, яку зараз можна знайти в продажу.
Представлені комплекти (за рідким виключенням) відносяться до категорії Simply Cinema, тобто мають відношення і призначення суто для “віношних” справ. Всі вони мають вмонтований декодер Dolby Prologic (DPL), який відповідає за утворення багатоканального звуку, джерелом якого є VHS відео запоси з поміткою Dolby Surround або Hi-Fi Stereo. Знаючи, що власник такої аудіосистеми може використовувати її не лише для перегляду кінофільмів, а й як звичайний підсилювач, ті, хто розробляв цю техніку, не забули і про різні додаткові функції. Найчастіше місцем розміщення потужної електроніки, яка відповідає за керування, буває блок сабвуфера “самийвеликий агрегат, якій завжди має місце для додаткової жмені транзисторів”. Можливі варіанти систем навідь з повним відділенням електроніки від акустики. Для “однокоробкових” комплектів характерним є використання невеличких гучномовців. Не рідко використовують 5 однакових сателитів, що позитивно впливає на рівномірність акустичного поля. Нагадаю, що Dolby Prologic створює 4 окремих канали (лівий фронтальний, центральний, правий фронтальний, тиловий, який як правило складається з двох гучномовців); є ще й п’ятий вихід відфільтрований низькочастотний сигнал для сабвуфера. Малогабаритна акустика має обмеження в басах, проте просторові ефекти відтворює якнайкраще, що взагалі то від неї і вимагається. Декодер Dolby Prologic при розкладанні вихідного стереосигналу в каналі ефектів (тил) відрізняє частоти вищі за 7 kHz, як непотрібні; фронтальні канали зберігають повний діапазон. Крім регулювання гучності каналів, в де-яких системах є можливість зміни затримки в часі між фронтальними і тиловими гучномовцями в межах 15-30 мс. (частіше затримка постійна – 20 мс, цього достатньо в більшості випадків).
І нарешті головне: компоненти “міні-театрів” повністю зкореговані за всіма найбільш важливими параметрами і готові до роботи: підключай і слухай. Ось ми і дісталися до звука в усіх його кінопроявах: супербас-для створення особливого драматизму, тонально “гострі” сателіти – для просторової локалізації віртуальних джерел звуку з прив’язкою звукового образу до відеоряду. А всі разом – вони діють для вашого задоволення. При тестуванні ми звертали увагу, як на конструктивні особливості, так і на функції та зручність в керуванні. Ми обмежились прослуховуванням і переглядом характерних відеофрагментів (звуковий супровід Dolby Surround), а також провели лабораторні випробовування з вимірюванням параметрів акустики, оцінкою розділення каналів підсилювача. Небажане проникнення сигналу, наприклад, з центрального каналу в тиловий знижує точність локалізації, так що чим більше є перепона між каналами Db тим краще. А втім, чи не час поринути в оточуючий звук?
ББК 81.432.1-7
К68
УДК 802.0 (075)
ISBN 966-95804-0-4
Редактор: O.I. Tepex
Корунець І.В.
Теорія і практика перекладу (аспектний переклад): Підручник. -Вінниця. «Нова Книга», 2001 -448 с.
У пропонованому підручнику висвітлюється широке коло питань теорії та практики відтворення мовних одиниць і явищ лексикологічного і граматичного аспектів англійської й української мов. У теоретичній частині дохідливе англійською мовою викладаються короткі відомості про існуючі типи і види перекладу,|про історію розвитку принципів перекладу в Західній Європі та в Україні впродовж останнього тисячоліття^ Проте основна частина підручника відведена способам відтворення лексикологічних та граматичних труднощів англійської мови українською і навпаки. Зокрема: вірному/адекватному відтворенню різних типів власних назв людей, географічних назв і назв установ, компаній, корпорацій, назв газет і журналів, профспілок, політичних, спортивних, гуманітарних організацій, назв газет, журналів, тощо. Пропонуються вивірені способи відтворення ідіомів, значень реалій суспільного життя, класів інтернаціональної лексики, а також асиндетичних іменникових словосполучень і віддієслівних предикативних комплексів тощо. Підручник містить багато різноманітних вправ на закріплення теоретичного матеріалу.
ISBN 966-95804-0-4
©Корунець І.В.
© Вінниця, «Нова Книга», 2001
І.В.Корунець
ТЕОРІЯ І ПРАКТИКА ПЕРЕКЛАДУ
(АСПЕКТНИЙ ПЕРЕКЛАД)
ПІДРУЧНИК
За редакцією Тереха О.І.
Затверджено Міністерством освіти України
НОВА КНИГА
ВИДА.ВИШДТВО
TABLE OF CONTENTS
Передмова 8
I. Theoretical and Methodological Aspects of
Translation 10
Translation as a Notion and Subject 10
Significance of Translating/Interpreting 13
Translation in Teaching of Foreign Languages 15
Ways of Translating 16
Machine Translation 26
Kinds of Translating/Interpreting 28
Suggested Topics for Self-Control and Class Discussion 32
II. A Short Historical Outline of European and
Ukrainian Translation 34
Translation and Interpretation during the Middle Ages 38
Translation during the Renaissance Period 41
Translation during the Period of Classicism and
Enlightenment 42
The Epoch of Romanticism and Establishment of the
Principles of Faithful Translation in Europe 44
Translation in Kyivan Rus' during the 10th -13th Centuries
and in Ukraine during the 14th-16th Centuries 47
The Kyiv Mohyla Academy and Revival of Translation
Activities in Ukraine 52
Kotlyarevskyi's Free Adaptation of Virgil's Aeneid and the
Beginning of a New Era in Ukrainian Translation 54
Translation and Translators during the Late
19th - Early 20th Centuries 57
Translation during the Years of Ukraine's Independence
(1917-1921) and Soviet Rule 63
Translation and Translators in Post-War Ukraine. The
Development of the Principles of Faithful Translation 72
Translation in Ukraine during the Last Decade of the 20th
Century and the Role of the Vsesvit Journal 86
Suggested Topics for Self-Testing and Class Discussion 89
///. Lexicological Aspects of Translation 91
Methods and Ways of Translating Various Proper Names 92
Conveying the Names of Companies, Corporations, Firms 104
Topics for Self-Control and Class/Home Reviewing 113
Texts for Independent Oral and Written Translation 126
Units of International Lexicon and Ways of Rendering
Their Meaning and Lingual Form 128
Ways of Conveying the Lexical Meaning of Genuine
Internationalisms 135
Translating of Loan Internationalisms 140
Suggested Topics for Self-Testing and Class Discussion 141
Exercises for Class and Homework 142
Texts for Independent Class and Home Translation 146
News Items for Class Translation at Sight (in Viva Voce) 148
Units of Nationally Biased Lexicon and Ways of
Their Translation 151
Ways of Rendering the Meaning of Nationally
Biased Units of Lexicon 157
Exercises for Class and Homework 169
Texts for Independent Class and Home Translation 177
Translating of Idiomatic/Phraseological and Stable
Expressions 182
Transformations of Some Idioms in the Process of
Translating 196
Suggested Topics for Self-Testing and Class Discussion 198
Exercises for Class and Homework 198
IV. Lexico-Grammatical Aspects of Translation 208
Rendering of the Contextual Meanings of the Definite and
Indefinite Articles 208
Realization of Contextual Meanings of the Definite Article 210
Realization of Contextual Meanings of the Indefinite Article 215
Suggested Topics for Self-Testing and Class Discussion 221
Exercises for Class and Homework 221
Asyndetic Noun Clusters and Rendering Their
Meaning into Ukrainian 225
Approaches to Translating Asyndetic Substantival Clusters 226
Translation of Two-Componental Asyndetic Substantival
Clusters 227
Translation of Three-Componental Asyndetic Substantival
Clusters 232
Translation of Four-Componental Asyndetic Substantival
Clusters 237
Translation of Five-, Six- and Seven-Componental Asyndetic
Substantival Clusters 240
Suggested Topics for Self-Testing and Class Discussion 243
Exercises for Class and Home Translation 244
Translating of English Verbals and Verbal
Constructions/Complexes 252
Ways of Rendering the Lexico-Grammatical Meanings
and Function of the English Infinitive 253
Ways of Translating Infinitival Complexes 256
Ways of Translating the Objective with the Infinitive
Constructions/Predicative Complexes 259
Ways of Rendering the Meaning of the Subjective with the
Infinitive Constructions 263
Ways of Translating the Participles and Participial
Constructions 269
Ways of Translating Participial Constructions/Complexes 273
A. Ways of Translating the Objective with the Participle
Constructions/Complexes 274
B. Ways of Translating the Subjective with the Participle
Constructions/Complexes 276
C. Ways of Translating the Nominative Absolute Participial
Constructions/Complexes 280
D. Ways of Identification of Implicit Meanings in the Nominative
Absolute Participial Constructions 283
Structural Types of Ukrainian Language Units Conveying the Meaning of the Nominative Absolute Participial Constructions... 285
Translation of the Gerund and Gerundial Complexes 295
Ways of Translating Gerundial Complexes/Constructions 299
Topics for Self-Testing and Class Discussion 302
Ways and Means of Expressing Modality in English and
Ukrainian 308
The Lexico-Grammatical Expression of Modality
through Modal Verbs 310
English Modal Verbs Having not Always Modal Verbs
Equivalents in Ukrainian 334
Topics for Self-Testing and Class Discussion 343
Exercises for Class and Homework 343
Transformations in the Process of Translation 361
Grammatically and Stylistically Prearranged
Transformations 367
Stylistically/Subjectively Predetermined Transformations 369
Ways of Conveying the Passive Voice Constructions 370
Objectively Required and Subjectively Introduced/Contextual
Transformations of Language Units 376
Objectively and Subjectively Conditioned Transformations
of Lexical Units in the Process of Translation 382
Topics for Self-Testing and Class Discussion 387
Exercises for Class and Homework 387
V. Semantic Aspects of Translation 391
Language Units and Levels of Their Faithful Translation 391
Ways of Conveying the Meanings of Polysemantic
Language Units 394
Conveying the Meanings of Language Units at
Passage/Text Level 398
Lexico-Semantic, Stylistic and Structural Analysis of
Language Units/Sense Units of the Excerpt 405
Suggested Topics for Self-Testing and Class Discussion 419
Exercises for Class and Homework 420
Publicistic and Newspaper Style Texts and Ways of
Their Translation 423
New Items for Class and Home Written or Oral Translation 437
A List of Literature Used and Recommended 445
ПЕРЕДМОВА
Підручник «Теорія і практика перекладу» розрахований на студентів перекладацьких відділень університетів та інститутів. Однак поаспектний виклад навчального матеріалу та система різноманітних вправ для його вивчення й інтенсивного закріплення дозволяє ефективно використовувати підручник в усіх гуманітарних і технічних вузах, де викладається переклад, а також у коледжах і гімназіях та в старших класах загальноосвітніх шкіл. Стане він у пригоді і всім бажаючим самостійно опановувати лінгвістичні основи письмового та усного перекладу з англійської мови на українську та навпаки. Цьому сприятиме і розподіл та виклад навчального матеріалу, а також пропоновані способи подолання багатьох лексикологічних, лексико-граматичних, семантичних і синтаксичних/структурних труднощів перекладу різних мовних одиниць.
У першому розділі розглядаються загальнотеоретичні й почасти методологічні питання перекладу, зокрема роль і значення перекладу для здійснення багатосторонніх зв'язків на різних рівнях розповсюдження ідей, при обміні інформацією та збагаченні національних мов, літератур і культур, при навчанні та вивченні іноземних мов тощо. В цьому розділі пояснюються також деякі перекладацькі терміни й поняття.
У другому розділі подається коротка історія розвитку євро-пеййБкого і зокрема українського перекладу від давнини до сучасності, що може зацікавити не тільки істориків.
Засоби вірного/адекватного перекладу різних мовних одиниць, понять і явищ англійської мови українською і почасти української англійською розглядаються в наступних розділах підручника. Так, у третьому розділі обґрунтовуються правила відтворення/перекладу різних назв, зокрема й географічних, інтернаціо-налізмів, реалій суспільно-політичного життя, усталених та ідіоматичних виразів англійської й української мов.
Лексико-граматичні питання перекладу є об'єктом розгляду в четвертому розділі, де прослідковуються засоби вираження й відтворення можливих контекстуальних значень означеного й неозначеного артиклів, об'єктивної (граматичної) та суб'єктивної модальності, англійських асиндетичних іменникових словосполучень і конструкцій/комплексів з віддієслівними формами а також різні види перекладацьких трансформацій.
Семантичні й почасти стильові аспекти перекладу подаються в підручникові безпосередньо через практику письмового й усного відтворення специфічних особливостей на відповідно підібраних для цієї мети текстових вправах у четвертому розділі. Окремі з цих вправ доцільно використовувати відповідно для письмового й усного підсумкового контролю знань і вмінь студентів. Проте головною метою введення тематичних текстових вправ є навчити й перевірити засвоєння теоретичних знань та їх реалізацію через навички письмового й усного перекладу різних типів тексту (зокрема й художнього та науково-технічного). Матеріали вправ можуть бути використані і на лекціях чи семінарських заняттях як наочний/ілюстративний матеріал до відповідних теоретичних тем аспектного перекладу та для тренувань письмового та усного перекладу з аркуша.
Оскільки теоретичні положення кожної теми розраховані на інтенсивне їх вивчення, закріплення і практичне застосування, всі правила перекладу в кожному розділі формулюються лаконічно доступною англійською мовою та ілюструються достатньою кількістю прикладів. Це дає викладачеві змогу виносити окремі теми на самостійне опрацювання студентами. Корисним для свідомого засвоєння найважливіших теоретичних положень можуть бути індивідуальні чи групові завдання студентам на самостійне відшукання ілюстративного матеріалу до окремих тем з відповідних англійських чи українських першоджерел.
Виклад переважної більшості теоретичних питань і положень у підручникові широко ілюструється різними словниковими прикладами і реченнями оригіналу та їх перекладу. Зважаючи на зміни й уточнення/синонімічні заміни й ін., внесені в окремі українські й англійські переклади з метою повнішої ілюстрації певних мовних одиниць/явищ, імена перекладачів не скрізь наводяться.
Автор із вдячністю прийме всі критичні зауваження та пропозиції спрямовані на поліпшення в подальшому пропонованого підручника.
I. THEORETICAL AND METHODOLOGICAL ASPECTS OF TRANSLATION
TRANSLATION AS A NOTION AND SUBJECT
Translation as a term and notion is of polysemantic nature, its common and most general meaning being mostly associated with the action or process of rendering/expressing the meaning/content of a source language word, word-group, sentence or passage (larger text) in the target language or with the result of the process/action of rendering. In other words with the work performed by the translator (cf. this is my translation). «Translation» is also used to denote the subject taught or studied, the examination in the subject (cf. we have translation in the time-table today; I have to pass translation tomorrow). «Translation» may refer to the title of the manual/ theoretical work on the subject (cf. I bought Translation by Ivanenko). Besides, the Romanization of proper nouns, geographical names, different internationalisms, etc., when Latin letters are used to convey the Ukrainian nouns, verbs, adverbs is «translation» too: Київ Kyiv, Бровари Brovary, Львів Lviv, Біла Церква Bila Tserkva, Полтава Poltava, Згурівка Zghurivka, Медвин Medvyn, algebra алгебра, geographerreorpadp, computer комп'ютер, opera опера, telephone (v) телефонувати, mechanically механічно, ignore ігнорувати, historically історично. «Translated» in this way, i.e., transliterated with the help of Cyrillic letters are many English and other foreign names and different terms. Cf.: Archibald Cronin Арчібальд Кронін, RobertFrosf Роберт Фрост, Ottawa Оттава, Mc/сНік, Susar/Сюзан, Helmut /<оп/Гельмут Коль, shilling шилінґ, pizza піцца, therapeutic терапевтичний, etc.
No less ambiguous is also the term «interpretation» which is synonymous to «translation» and is used to denote the way or manner of presenting the idea of the work in translation orally (as well as its aesthetic, religious, political, pragmatic background and other qualitative characteristics of the work under translation). These may be artistic, genre and stylistic peculiarities rendered by the translator in his particular way, which is somewhat different from that of the author's. The thing is that «interpretation», unlike «translation», admits some more freedom of the translator in his treatment (at least in certain places or cases) of the matter under translation. Hence,
the existence of free versifications (переспіви) and free adaptation (перелицювання) which are rightly treated as new creations (when they are of high artistic value). To the latter belong the famous free interpretations of Virgil's Aeneid in Ukrainian by I. Kotlyarevskyi or I. Franko's free adaptation of the German work Reineke Fuchs under the Ukrainian title «Фарбований лис», and many others both in our national literature and in world literature. Practically «adapted» (thought in a peculiar way and with the highest degree of faithfulness, i.e. interpreted according to our national literary tradition), are also Shakespearean masterpieces, Byronean writings and many other poetic and prose works. Consequently, «interpretation» may denote apart from the oral method of translation also a peculiar, pertained to a master of the pen and characteristic of him, as well as the only way of presenting a prose or poetic work in translation. («Interpretation» may also denote the style of a peculiar translator and his way of presenting a particular literary work).
Apart from the two mentioned above, there are some other terms in the theory of translation which may seen ambiguous to the inexperienced student. These usually common terms are: accurate or exact (to what degree?) translation точний переклад; faithful (or realistic) translation, адекватний/вірний переклад; faithfulness of translation/interpretation, адекватність/вірність перекладу/ тлумачення; fidelity (or faithfulness) of translation/interpretation вірність, адекватність перекладу; equivalent translation/interpretation еквівалентний переклад; free interpretation вільний переклад, перелицювання; free adaptation вільний переклад, переробка; free interpretation вільний переспів, перелицювання; free/loose translation вільний переклад, переказ; consecutive interpretation послідовний переклад, усне тлумачення; off-hand translation/ interpretation переклад/тлумачення без попередньої підготовки (з голосу чи з аркуша); rehash вільна переробка (вдала чи невдала) твору; sight translation/interpretation (translation at sight) переклад/ усне тлумачення з аркуша/тексту; simultaneous translation/ interpretation синхронний переклад; rough translation робочий варіант перекладу, чорновий переклад and some others.
Each of the above-mentioned terms may be understood and interpreted differently. Thus, «free interpretation» may mean both «free translation», «free adaptation» and sometimes even «loose translation». Similarly with the terms and notions as «faithful translation» and «equivalent translation» which are synonymous if
not identical by their general meaning thought not without some difference between them. The term «faithful translation» (адекватний, вірний переклад) is used to denote the highest level/degree of rendering the denotative or connotative meanings of words, the sense of word-groups and sentences, the content, the expressiveness, picturesqueness and the pragmatic subtext/intention of passages or works of the source language with the help of the available means of the target language. The term «equivalent translation» is nowadays practically used in the same meaning as «faithful translation» with one exception only: it also includes the necessity of quantitative and qualitative representation of all constitutive parts or elements of the source language units in the target language. Consequently, a «faithful translation» very often means the same as «equivalent translation» which can be best illustrated on single words, word-groups or sentences as the following: acre акр, democracy демократія, work праця, professors and students професори й студенти, fo work hard важко працювати, take part брати участь, throw light проливати світло, between Scilla and Charybdis між Сціллою і Харібдою, Ukraine celebrated her fifth anniversary in August 1996 Україна святкувала п'яту річницю своєї незалежності в серпні 1996 року.
Equivalent can also be considered the translation of the following English sentence which maintains in Ukrainian its main constituent parts, its content, expressiveness and picturesqueness: There was Penelope flying after me like mad. (W.Collins) За мною гналась, мов навіжена, Пенелопа.
In regard to the afore-said, there can be no equivalence but only faithfulness in the translation of such and the like English language units as: complexion колір обличчя, to take measures вживати заходів, little bird донощик («стукач»), live in the street рідко бувати вдома, one's sands are running out (idiom) тонко пряде/йому недовго ряст топтати, same here (colloq.) це ж саме (так само) і в мене (зі мною), те/це ж саме можу сказати і про себе or: це так само стосується і мене. In a large number of cases «translation» is traditionally applied to various substitutions of the source language constituents/images for the explicatory constituents and images of the target language, which helps achieve the necessary faithfulness in conveying their meaning. Cl: penny-in-the slot прилад/ пристрій-автомат для розрахунків за товари (торгівля); the land of golden fleece Австралія; red blood мужність, відвага, хоробрість
(когось); let George do it Іван киває на Петра (один спихає відповідальність на другого); agonic (геометрія) що не утворює кута, etc. Therefore, «faithfull» is not always «equivalent».
The term «translation» is used even to denote purely functional substitutions which have absolutely nothing in common with any expression/rendering of meaning of the source language sense units in the target language. A graphic example of this kind of «translation» can be the following passage: «There's the tree in the middle... It could bark... It says «Bough-wough»... «That's why its branches are called boughs». (L.Carrol, Alice in Wonderland). In Ukrainian: Он Фікус стоїть!.. Ми тому й прозвали його Фі-Кус, що він кусається. It goes without saying that the lexical meaning of «tree» is not «Фікус» and «Bough-wough» or «boughs» do not correlate with «кусатись» which they were substituted for in this Ukrainian translation by H.Bushyna.
Similarly «translated» i.e. functionally substituted are different English and Ukrainian metaphorically used nouns, verbs and set expressions as in the examples knight of the pencil журналіст/ кореспондент, baby-snatcher стара жінка, що одружилася з молодим чоловіком, the Square Mile Лондонське Сіті (фінансовий центр Лондона), the Square Mile of Vice (Сою, район нічних розваг міста Лондона), soft head недоумкувата людина (дурник), etc.
SIGNIFICANCE OF TRANSLATING/INTERPRETING
The importance of translating and interpreting in modern society has long been recognized. Practically not a single contact at the international level or even between any two foreign persons speaking different languages can be established or maintained without the help of translators or interpreters.
Equally important is translating and interpreting for uninterrupted functioning of different international bodies (conferences, symposia, congresses, etc.) to say nothing about the bodies like the E.E.C.(European Economic Council), the I.M.F.(lnternational Monetary Fund) or the United Nations Organization with its numerous councils, assemblies, commissions, committees and sub-committees. These can function smoothly only thanks to an army of translators and interpreters representing different states and working in many different national languages.
Numerous branches of national economies too can keep up
with the up-to-date development and progress in the modern world thanks to the everyday translating/interpreting of scientific and technical matter covering various fields of human knowledge and activities. The latter comprise nuclear science, exploration of outer space, ecological environment, plastics, mining, chemistry, biology, medicine, machine building, electronics, linguistics, etc. In the present days translation of scientific and technical matter has become a most significant and reliable source of obtaining all-round and up-to-date information on the progress in various fields of science and technology in all countries of the world.
The social and political role of translation/interpretation has probably been most strongly felt in the 20th century when it provided the dissemination of political (doctrinal) ideas, of social and political knowledge in different fields of sciences.
Translating is also a perfect means of sharing achievements and enriching national languages, literatures and cultures (operas, artistic films). The many translations of the prose, poetry and drama works of the world's famous authors into different national languages provide a vivid illustration of this permanent process. Due to masterly translations of the works by W.Shakespeare, W.Scott, G.G.Byron, P.B.Shelley, C.Dickens, W.Thackeray, O.Wilde, W.S.Maugham, A.Christie, H.W.Longfellow, Mark Twain, J.London, T.Dreiser, R.Frost, E.Hemingway, F.C.Fitzgerald and many other authors their works have become part and parcel of many national literatures. The works by Ukrainian authors have also been translated into English and some other languages, the process being increasingly intensified after Ukraine's gaining independence in 1991. Hitherto only the works of Ukrainian classics had mainly been published in some foreign languages. Among them are first of all T.Shevchenko, I. Franko, Lesya Ukrainka, M.Kotsyubynskyi, V.Stephanyk, V.Vynnychenko, I. Bahryanyi, O.Honchar, O.Dovzhenko. Now the works of V.Symonenko, L.Kostenko, I. Drach, HryhirTyutyunnyk, V.Stus and others are also translated into various foreign languages and have become available for many readers abroad.
Whatever the type of matter is translated (belles-lettres, scientific or didactic, social or political, etc.) and irrespective of the form in which it is performed (written or oral) the linguistic and social or cultural significance of translation/interpretation remains always unchanged. It promotes the enrichment of lexicon and of the means of expression in the target language. Due to the unceasing everyday
political, economic, cultural and other contacts between different nations the lexicon of all languages constantly increases. Thousands of words and phrases, which were unknown in national languages before, become an integral part of their lexicon. Among them are units like steppe, Cossack/Kozak, Verkhovna Rada, hryvnia, different scientific/technical and other terms (кібернетика, комп'ютер, дискета, аудит, бартер, менеджмент, спонсор, моніторинґ, екологія, etc.). Consequently, translation/interpretation is a very effective means of enriching the national and international lexicon of all languages. But, as has been said, it is not only the word-stock (or rather the vocabulary) of languages that is constantly enriched. And it is not only separate words that are borrowed by national languages as a result of translating/interpreting; a lot of expressions and regular sentence idioms have come to national languages in this way as well. For example: the first/second, third reading (Parliament) перше/ друге читання, Olympic calmness олімпійський спокій, the Ten Commandments десять заповідей, to see a mot in one's eye бачити порошинку в чужому оці, to take part брати участь, time is money час - гроші, black ingratitude чорна невдячність, the Trojan horse троянський кінь, Judah's kiss поцілунок Іуди, and many others.
Among the adopted sentence structures are, for instance, the idioms God defend me from my friends; from my enemies I will defend myself захисти мене, Боже, від друзів, а з ворогами я сам упораюсь; an old dog will learn no new tricks на старості важко перевчатися; he laughs best who laughs last той сміється найкраще, хто сміється останнім, to be or not to be бути чи не бути, the game is not worth the candlerpa не варта свічок, etc.
These few out of many more sentence idioms are a testimony to the versatile influence of translators' activities upon the enrichment of languages through translation. The idiomatic word-groups and sentences of the source language almost always partly influence the placement of their component parts in the Ukrainian target language and thus facilitated their memorazing as well.
TRANSLATION IN TEACHING OF FOREIGN LANGUAGES
Translating as a means of teaching foreign languages has no independent value of its own for it is impossible to teach all aspects of a language in their complexity by means of translation only. Nev-
ertheless translation in foreign language teaching (and learning) can not and should not be ignored altogether since in many a case it remains not only the most effective but also the only possible teaching means in achieving the necessary aim. That is why translation is often resorted to in the process of teaching and presenting some important aspects of a foreign language.
Translation in teaching is employed by the teacher both at the initial, at the intermediary and at the advanced stage of learning/ teaching foreign languages. But irrespective of the level at which the foreign language is studied or taught, translation is both helpful and indispensable in the following cases:
1. When introducing even simple abstract lexemes or notions,
which can not easily be explained in a descriptive way or by actions
(gestures): think, hate, love, actual, invincible, generally, peace, turn,
friendship, image, dream, consider, feeling, firstly, immensely, at last,
gray, immense, strongly, beautifully, haggis, lordship, ladyship, etc.
2. In order to save time and avoid diverting the attention of
students by lengthy explications of the meaning of words, different,
word-combinations or sentences in the process of reading or listening
to an unfamiliar passage.
3. When checking up the comprehension of the lexical material
(new words, expressions) and in order to avoid the unnecessary
ambiguity which may arise in the process of teaching through «pic
tures», since a picture of a tree, for example, may be understood as
«a tree» or as a kind of tree (oak-tree, birch-tree, pine-tree, etc.).
4. While introducing at the lesson (usually at the initial stage
of teaching/learning) the new grammar/phonetical material, espe
cially the phenomena which do not exist in the native tongue
(e.g. the continuous or the perfect forms of the verb, different passive
constructions, infinitival, gerundial, and participal constructions (sec
ondary predication complexes).
5. When revising the lexical or grammar material studied at
the lesson/at previous lessons or answering questions like: 'What is
the Ukrainian for the «gerund», sequence of tenses, the «progressive/
perfect form» of the verb?' etc.
6. While discriminating the meaning of synonyms or antonyms
of the foreign language, for example: explain the difference between
great and large, small and tiny, tall and high, clever and foolish, etc.
7. When checking up the knowledge of students in written and
oral tests on lexical or grammar material.
8. When introducing idiomatic expressions which is mostly im
possible to teach and learn otherwise than on the basis of translating
(cf. Hobson's choice, to play hooky, look before you leap; when at
Rome; do as the Romans do: the game is worth the candle, etc.).
9. Before learning any text by heart (poems, excerpts of prose
or the roles of characters in plays).
10. When dealing with characteristic national figures of speech
(metaphors, epithets, similes, hyperboles, etc.) in the process of read
ing or translating the belles-lettres passages even at the advanced
stage of studying a foreign language.
11. When comparing the expressive means in the system of
the source language to those in the target language, etc.
Translation helps the student to master the expressive means in the source and in the target language. In the process of translating the student establishes sets of equivalent substitutes in the target language for the correspondent lexical, grammatical or stylistic phenomena of the source language. No wonder that the student at any stage of learning a foreign language, when not understanding some word, word-combination or sentence always resorts to intuitive translating of it into his native language.
WAYS OF TRANSLATING
Translating is unseparable from understanding and it goes along with conveying content and sometimes even the form of language units. As a result, the process of translation, provided it is not performed at the level of separate simple words, involves simultaneously some aspects of the source language and those of the target language. These are morphology (word-building and word forms), the lexicon (words, phraseologisms, mots), syntax (the means of connection and the structure of syntaxemes), stylistics (peculiarities of speech styles, tropes, etc.).
The level or the degree of faithfulness of translation is mostly predetermined by some factors, which may be both of objective and of subjective nature. The main of them are the purpose of the translation to be performed, the skill of the translator/interpreter, the type of the matter selected for translation, etc. Depending on these and some other factors, the following methods of translating are traditionally recognized in the theory and practice of translation:
1. Literal translating, which is to be employed when dealing
with separate words whose surface form and structure, as well as their lexical meaning in the source language and in the target language, fully coincide. These are predominantly international by original morphemes, lexemes/words, rarer word-groups having in English and Ukrainian (and often in some other languages too) a literally identical or very similar presentation and identical lexical meaning: administrator адміністратор, director директор, region регіон, hotel/motelготель/мотель, hydrometer гідрометр, Tom Том, etc.
It is easy to notice that in some words thus translated not only the morphemic but also the syllabic structure can sometimes be fully conveyed (cf. an-f/ан-ти, es-cort ес-корт, d/recf-огдирект-ор, ex-pres/d-enfeKC-прези-дент).
In many a case, however, the lingual form of the source language words is only partly conveyed in the target language. This happens when the common word is borrowed by each of the two languages in question from different source languages or when its lingual form is predetermined by the orthographic peculiarities of the target language: anti-alcoholic протиалкогольний, music музика, constitution конституція, zoology зоологія, atomic weight атомна вага, chemical process хімічний процес, national opera theatre національний оперний театр.
The literal translation in all the examples above provides an equivalent rendering of the lexical meaning of each language unit despite the augmentation in the number of morphemes/syllables in the target language (cf. atom/сатом-н-а, а/сопо//салкоголь-н-ий).
Close to the literal method of translating or rather reproduction is the so-called way of translator's transcription by means of which partly the orthographic and partly the sounding form of the source language lexemes/words is conveyed: archbishop архієпископ, card картка/карта, European європейський, Muscovite москвич/москвичка, organized організований, stylized стилізований, fnerapeuf/стерапевтичний.
Literal translating, however, can pervert the sense of the source language lexemes or sentences when their lingual form accidentally coincides with some other target language lexemes having quite different meanings: artist митець, художник (rarer артист); decoration відзнака, нагорода (and not декорація); matrass колба (and not матрац); replica точна копія (and not репліка), etc. Hence, literal translating has some restrictions in its employment and does not always help to render the lexical meaning of words or even morphemes
having often even an identical lingual form (spelling) in the source language and in the target language.
2. Verbal translating is also employed at lexeme/word level. But unlike literal translating it never conveys the orthographic or the sounding form of the source language units, but their denotative meaning only: fearful страшний, fearless безстрашний, helpless безпорадний, incorrect неправильний, mistrust недовір'я (недовіра), superprofit надприбуток, non-interference невтручання, weightlessness невагомість etc.
All the words above are practically translated at the lexico-morphological level, as their lexical meanings and morphological stems are identical to those of the English words (cf. help-less без-порадний, mis-trust не-довір'я, super-profit над-прибуток, etc.).
The overwhelming majority of other words, when translated verbally do not preserve their structure in the target language. That is explained by the differences in the morphological systems of the English and Ukrainian languages: abundantly рясно, bank берег (береговий), cliff бескид (скеля, круча), myself я, я сам/сама; автомат automatic machine/rifle, заввишки high/tall, письменник writer (author), череон/muto get/grow red, etc..
Verbal translating of polysemantic words permits a choice among some variants which is practically impossible in literal translating, which aims only at maintaining the literal form.
Thus, the Ukrainian word автомат can have the following equivalent variants in English: 1. automatic machine; 2. slot-machine; 3. automatic telephone; 4. submachine gun (tommy gun). Similarly, the Englsih word ban/cwhen out of a definite context may have the following equivalent variants in Ukrainian: 1. берег (річки); 2. банк; 3. вал/насип; 4. мілина; 5. замет; 6. крен, віраж(авіац.); 1. поклади (корисних копалин). The literal variant/equivalent of the noun bank in Ukrainian can be, naturally, «банк» only.
Verbal translating, however, does not and can not provide a faithful conveying of sense/content at other than word level. When employed at the level of word-combinations or sentences verbal translation may often make the language units ungrammatical and pervert or completely ruin their sense, cf: / am reading now is not я є читаючий зараз but я читаю зараз; never say die is not ніколи не кажи помираю but не падай духом; to grow strong is not рости міцним but ставати дужим; to take measures is not брати міри but вживати заходів; first night is not перша ніч but прем'єра, etc.
Despite this, verbal translation is widely employed first of all at language level, i.e., when the lexical meaning of separate words is to be identified. A graphic example of verbal translation is presented in dictionaries which list the lexical meanings of thousands of separate words. Verbal translation is also employed for the sake of discriminating the meanings of some words at the lessons, with the aim of identifying the meaning of the unknown words (when translating sentences or passages). The student like any other person eager to know the name of an object or action/quality of the object, etc., employs verbal translation too when asking: What is the English for сніп/ відлига? What is the English for нікчемна людина/нікчема, хвалити Бога? What is the Ukrainian for cranberry/mistletoe? etc.
3. Word-for-word translation is another method of rendering sense. It presents a consecutive verbal translation though at the level of word-groups and sentences. This way of translation is often employed both consciously and subconsciously by students in the process of translating alien grammatical constructions/word forms. Sometimes students at the initial stage of learning a foreign language may employ this way of translation even when dealing with seemingly common phrases or sentences, which are structurally different from their equivalents in the native tongue. Usually the students employ word-for-word translation to convey the sense of word-groups or sentences which have a structural form, the order of words, and the means of connection quite different from those in the target language. To achieve faithfulness various grammtical in translation, word-for-word variants are to be corrected to avoid various grammatical violations made by the inexperienced students. Cf. You are right to begin with*BU маєте рацію, щоб почати з instead of Почнемо з того/припустимо, що ви маєте рацію/що ви праві.
3. The interlinear1 way/method of translating is a conventional term for a strictly faithful rendering of sense expressed by word-groups and sentences at the level of some text. The latter may be a passage, a stanza, an excerpt of a work or the work itself. The method of interlinear translation may be practically applied to all speech units(sentences, supersyntactic units, passages). Interlinear translation always provides a completely faithful conveying only of content, which is often achieved through various transformations of structure of many sense units. For example, the sentence Who
1 «Interlinear» (from Latin interlineare) i.e., written/printed between the lines.
took my book? admits only one word-for-word variant, namely: Хто взяв мою книжку?
In interlinear translation, however, the full content of this sentence can be faithfully rendered with the help of two and sometimes even three equivalent variants: У кого моя книжка? Хто брав/узяв мою книжку? The choice of any of the transformed variants is predetermined by the aim of the translation, by the circumstances under which the translating/interpreting is performed or by the requirements of style (for example, in order to avoid the unnecessary repetition of the same form of expression/structure close to each other).
Interlinear translating is neither bound to nor in any way restricted by the particularities of word forms, by the word order or by the structural form of the source language units, which are usually word-combinations or sentences in the passage/work under translation.
As can be seen, the Ukrainian variants of the English sentence above (Who took my book?) bear no traces of interference on the part of the English language with its rigid word order in each paradigmatic kind of sentences. Neither is there any peculiar English word-combination transplanted to the Ukrainian sentences, as it often occurs in word-for-word translations. Hence, various transformations in interlinear translations, like in literary translations, are inevitable and they are called forth by grammatical/structural, stylistic and other divergences in the source language and in the target language. This can be seen from the following examples: The student is being asked now студента зараз запитують. She said she would come вона казала, що прийде. It will have been done by then на той час / до того часу це буде зроблено. His having been decorated is unknown to me мені невідомо про його нагородження (що його нагородили).
Transformations are also inevitable when there exists no identity in the form of expressing the same notion in the source language and in the target language: a trip коротка подорож; їздити на лижах to ski; to participate брати участь; овдовіти to become a widow/ widower, знесилитися to become/grow weak (feeble).
Very often transformations become also necessary in order to overcome divergences in the structural form of English syntaxemes which are predominantly analytical by their structural form, whereas their Ukrainian word-groups of the same meaning are mostly synthetic and analytico-synthetic by structure: books of my father книжки мого батька; Kyivstreet traffic regulations правила дорожнього руху
міста Києва; but: a task for next week завдання на наступний тиждень.1
Interlinear translating is widely practised at the intermediary and advanced stages of studying a foreign language. It is helpful when checking up the students' understanding of certain structurally peculiar English sense units in the passage under translation. Interlinear translations of literary works, when perfected by regular masters of the pen, may become good literary variants of the original. But interlinear translations do not convey the literary merits/artistic features and beauty of the original. While performing the interlinear translation the student tries to convey completely the content of a source language sentence, stanza or passage. He quite subconsciously analyses the passage, selects in the target language the necessary means of expression for the allomorphic and isomorphic phenomena/sense units unknown to him and only after this he performs the translation. The interlinear method of translating helps the student to obtain the necessary training in rendering the main aspects of the foreign language. Thus, he masters the means of expression pertained to the source/target language. In the example below, taken from P.B.Shelley's poem The Masque of Anarchy, the interlinear translation conveys only the main content of the poetic stanza:
Men of England, Heirs of Glory, Люди Англії, спадкоємці слави,
Heroes of unwritten story, Герої (ще) не написаної історії,
Nurslings of one mighty mother, Сини однієї могутньої матері-вітчизни,
Hopes of her and one another! її надії і надії кожного з вас!
From this interlinear translation the reader can obtain a fairly correct notion of what the poet wanted to say in the stanza as a whole. But this translation does not in any way reflect the artistic beauty of Shelley's poem, i.e., the variety of its tropes, the rhythm and the rhyme, the musical sounding of the original work. Despite all that it still ranks much higher than any word-for-word translation might ever be, as it faithfully conveys not only the meaning of all notional words but also the content of different sense units, which have no structural equivalents in Ukrainian. Due to this the method of interlinear translation is practically employed when rendering some passages or works for internal office use in scientific/research centres
See more about transformations of the kind on pages 376-387 of this book.
and laboratories, in trade and other organizations and by students in their translation practice.
4. Literary Translating represents the highest level of a translator's activity. Any type of matter skilfully turned into the target language, especially by a regular master of the pen may acquire the faithfulness and the literary (or artistic) standard equal to that of the source language.
Depending on the type of the matter under translation, this method of performance may be either literary proper or literary artistic.
Literary artistic translation presents a faithful conveying of content and of the artistic merits only of a fiction/belles-lettres passage or work. The latter may be either of a prose or a poetic genre (verse).
Literary proper translation is performed on any other than fiction/belles-lettres passages/works. These may include scientific or technical matter, didactic matter (different text-books), business correspondence, the language of documents, epistolary texts, etc. In short, any printed or recorded matter devoid of artistic merits (epithets, metaphors, etc.). But whether literary proper or literary artistic, this translation provides an equivalent rendering not only of complete content but also of the stylistic peculiarities of the passage/ work and its artistic merits/beauty, as in belles-lettres style texts.
Literary translations are always performed in literary all-nation languages and with many transformations which help achieve the ease and beauty of the original composition. The number of phrases and sentences in a literary translation is never the same as in the source language passage/work, neither are the same means of expression or the number and quality of stylistic devices per paragraph/ syntactic superstructure. All these transformations are made in order to achieve faithfulness in rendering content and expressiveness of the passage/work under translation. Transformations are also used to convey the features of style and in still greater measure the genre peculiarities of the works/passages under translation.
Literary proper/literary artistic translation of a larger passage/ work often requires linguistic, historical and other inquiries in order to clarify the obscure places (historic events, notions of specific national lexicon, neologisms, archaisms, etc.). Sometimes even the title of a work may require a philologic or historic inquiry. So, «Слово о полку Ігоревім» in a verbal or word-for-word translation would be "A Word about Ihor's Regiment which does not in any way correspond to the real meaning of this title, since the author meant under «Слово»
story, tale, saga, song. The word полк did not mean the military unit of today's armies (regiment) but troop, host, army. Therefore, the meaning of полк would be in Ukrainian дружина and the whole title would sound in contemporary translation as The Tale of the Host of Ihor, which corresponds to the real meaning of the title (оповідь, повість, пісня про Ігореве військо, i.e. дружину). That is why there exist today different translations of the title of this brilliant work. Among them are the following: 1) The Tale of the Armament of Igor. Edited and translated by Leonard Magnus. Oxford University Press, 1915.2) The Tale of Igor. Adapted by Helen de Verde. London, 1918.3) Prince Igor's Raid Against the Polovtsi. Translated by Paul Crath. Versified by Watson Kirkonnell. Saskatoon. Canada, 1947. 4) The Song of Igor's Campaign. Translated by Vladimir Nabokov. New York 1960. As can be seen, none of these titles conveys the meaning of the title fully, completely equivalently and faithfully, though some are close to it, especially that one suggested by Paul Crath (Prince Igor's Raid against the Polovtsi) and the V.Nabokov's variant The Song of Igor's Campaign.
In Soviet times this old Ukrainian literature masterpiece had an unchanged title The Lay of Igor's Host (suggested by a Georgian linguist). This translation does not differ greatly from the two mentioned above for «lay» is the Middle English poetic word for «song».
A similar approach aimed at a possibly fullest expression of the poetic content, i.e., flavour of the title can be seen in S.Garry's translation of M.Sholokhov's novel «Тихий Дон» sounding in English as rhythmic lines of a song - And Quiet Flows the Don or The Don Flows home to the Sea. The former title was used in the New York publication of the novel (1944) and the latter in its London publication that same year. It goes without saying that a verbal or word-for-word translation of the title as *The Quiet Don or *The Still Don would not convey the poetic flavour of the original title, which is strongly felt in its source language variant.
This poetic subtext of the Russian title is really expressed only in each of the two S.Garry's variants which could have been suggested by the translator only after a deep inquiry into the novel's content, into its main idea, and into the whole system of literary images of Sholokhov's work (as with the work mentioned before). It is no less difficult to convey the meaning and functions of colloquial, conversational, dialectal and other kinds of lexical units often used by many authors in their belles-lettres works. To translate them faith-
fully, one must consult reference books, dictionaries and often even the native speakers of the language, e.g.: dabster - dialectal for знавець/фахівець; daisy-slang for something or somebody nice, beautiful, first-rate (першосортне); put up (adj.) is colloquial for задуманий зазделегідь; спланований; ab ovo- Latin for від самого початку (Горацій), букв, «від яйця». Constant inquiries of all kinds are also necessary fo convey the expression side of the source language matter. It becomes especially imperative in versification which is explained by the condensed nature of poetic works in which thoughts and ideas are often expressed through literary means. To achieve the necessary level of faithfulness the translator has to render fully the picturesqueness, the literary images, the rhythm and the rhyme (vocalic or consorantal), the beauty of sounding of the original poem, etc. An illustration of this may be D.Palamarchuk's versified translation of W.Shakespeare's sonet CXV:
Those lines that I before have write do lie, (10) Even those that said I could not love you dearer: (11) Yet then my judgement knew no reason why (10) My most full flame should afterwards burn clearer. (11) Збрехав мій вірш, колись тобі сказавши: (11) «Моїй любові нікуди рости». (10) Я думав - ріст її спинивсь назавше, (11) Найбільшої сягнувши висоти. (10) The Ukrainian variant of the stanza reveals its almost complete identity with the original in the rhythmic and rhyme organization and in the number of syllables in each line. Though in the original their number alternates in reverse order (from 10 to 11) and in the translation - from 11 to 10. But this is in no way a rude violation, since the interchange takes place within the same stanza, though the translator could not fully reproduce the alternate (acbd) rhyme, which is feminine in the first (a) and third (c) lines and masculine in the second (b), and in the fourth (d) lines.
Most striking, however, are the syntactic alternations, there being no single line structurally similar to that of the original verse. All that becomes necessary because of the predominantly polysyllabic structure of Ukrainian words the number of which in the translation is only 19 as compared with 35 words in the source language. Besides, the Ukrainian stanza consists of notional words only, whereas in the original work there are also functionals (have, do, that, most, not, etc.). The notionalsform the artistic images and ideas
the number of which is somewhat larger in English. Since it was next to impossible to overcome the «resistance» of the source language verse, some losses in translation became inevitable. They are the result of the existing divergences in the grammatical structure or in the means of expression in the two languages, first of all in the greater number of syllables in the same words in Ukrainian, which is a tangible obstacle for the translators of poetry. That is why in order to maintain the poetic metre of the lines in the original stanza above the translator had to transform them. As a result, the number of inevitable losses in versifications is always larger than in prose translations. Nevertheless, D.Palamarchuk's versification is considered to be highly faithful and artistic, because it conveys, in the main, the following aspects of this Shakespearian sonet: its content, partly its types of rhythm and rhyme, its artistic images and tropes, as well as its picturesqueness and the pragmatic orientation/toning of the original sonet, nothing to say about its main content.
MACHINE TRANSLATION
Rendering of information from a foreign language with the help of electronic devices represents the latest development in modern translation practice. Due to the fundamental research in the systems of algorithms and in the establishment of lexical equivalence in different layers of lexicon, machine translating has made considerable progress in recent years. Nevertheless, its employment remains restricted in the main to scientific and technological information and to the sphere of lexicographic work. That is because machine translation can be performed only on the basis of programmes elaborated by linguistically trained operators. Besides, preparing programmes for any matter is connected with great difficulties and takes much time, whereas the quality of translation is far from being always satisfactory even at the lexical level, i.e., at the level of words, which have direct equivalent lexemes in the target language. Considerably greater difficulties, which are insurmountable for machine translators, present morphological elements (endings, suffixes, prefixes, etc.). No smaller obstacles for machine translation are also syntactic units (word-combinations and sentences) with various means of connection between their components/parts. Besides, no present-day electronic devices performing translation possess the necessary lexical, grammatical and stylistic memory to provide the required stand-
ard of correct literary translation. Hence, the frequent violations of syntactic agreement and government between the parts of the sentence in machine translated texts. Neither can the machine translator select in its memory the correct order of words in word-combinations and sentences in the target language. As a result, any machine translation of present days needs a thorough proof reading and editing. Very often it takes no less time and effort and may be as tiresome as the usual hand-made translation of the same passage/work.1 A vivid illustration to the above-said may be the machine translated passage below. It was accomplished most recently in an electronic translation centre and reflects the latest achievement in this sphere of «mental» activity. The attentive student will not fail to notice in the italicized components of Ukrainian sentences several lexical, morphological and syntactic/structural irregularities, which have naturally to be corrected in the process of the final elaboration of the passage by the editing translator. Compare the texts below and find the inexactitudes in all sentences of the Ukrainian translation.
1. Communications and the EC
2. Public relations and telecom
munications must work hand in
hand to enable Europe really to
become one community. Martin
Bangemann looks to the 21st
century.
3. «Communications have been
the driving force behind the
creation and growth of global
companies.»
4. The European Commission
(EC) has expressed one vision
for the future of Europe in its
White Paper on Growth Com
petitiveness and Employment-
the Challenges and Ways
forward into the 21 st Century.
5. This document addresses
1. Повідомлення і EC
2. Суспільна інформація і
телекомунікація повинні
працювати рука в руці, щоб
дозволити Европу дійсно
стати одною співдружністю.
Мартін Бангеман дивиться до
21st століття.
3. «Комунікації були рушійна
сила ззаду створення і ріст
глобальних компаній».
4. Европейська Комісія (EC)
висловила одне бачення на
майбутній час Европи в Білій
Книзі наріст, конкурентно-
здатності й Занятість
Виклики і Шляхи Вперед у
21-го століття.
5. Цей документ адресує
1 Марчук Ю.Н. Проблеми машинного перевода. - М.: Наука, 1983.
the facts that, in the last 20 years, the European economy's rate of growth has declined from 4% to 2,5 % per year; unemployment has steadily risen; the investment ratio has fallen by 5%; and Europe's competitive position in relation to USA and Japan has worsened in regard to employment, export market share, research and development innovation and development of new products.