Summary of Hayat. “A comparative analysis of the images of the main characters in the works of Turgenev “Asya” and F. Amirkhan “Hayat” in the context of Russian and Tatar culture. Approximate word search

Are you here: Clothing and footwear

Amirkhan F. Khayat: A Tale / F. Amirkhan. - Kazan. Tatars. book. publishing house, 1985. - 227 p.

Ibragimov G. Selected Works. V.1. (in Tatar language) / G. Ibragimov. - Kazan. 1957. - 527 p.

Ibragimov G. Young hearts. Novel and stories / G. Ibragimov. - Kazan. Tatar book. publishing house, 1980. - 240 p.

Ibrahimov G. Asarlәr: Sigez tomda / G. Ibrahimov. - Kazan. Tatarstan kitap nәshriyati, V.2: Yash yөrәklәr. Kazak kyzy. - 1975. - 476 p.

Tolstoy L.N. Full coll. cit.: In 90 volumes (Anniversary edition) / L.N. Tolstoy. – M.: 1928-1958.

Tolstoy L.N. Sobr. cit.: In 22 volumes / L.N. Tolstoy. – M.: 1964.

Turgenev I.S. Full coll. cit.: In 12 volumes / I.S. Turgenev. – M.: 1958.

Әmirkhan F. аsаrlәr / F.Әmirkhan. - Kazan: Magarif, 2002. - 319 b.

Theoretical literature

Amineva V.R. Types of dialogical relations between national literatures (based on the works of Russian writers of the second half of the 19th century and Tatar prose writers of the first third of the 20th century) / V.R. Amineva. - Kazan. Kazan. state un-t, 2010. - 476 p.

Bakhtin M.M. Questions of literature and aesthetics / M.M. Bakhtin. – M.: 1975. – 502 p.

Introduction to literary criticism / Introduction to literary criticism. - M.: Higher School, 2004. - 680 p.

Gachev G.D. National images of the world: a course of lectures / G.D. Gachev. - M.: Academy, 1998.-430 p.

Gachev G.D. National images of the world. Eurasia: space of a nomad, farmer and highlander / G.D. Gachev. - M.: 1999.-367s.

Dima A. Principles of Comparative Literature / A. Dima. – M.: 1977.

Dyurishin D. The theory of comparative study of literature / D. Dyurishin. - M.: 1979. – 320 s.

Esin A.B. Principles and methods of analysis of a literary work / A.B. Esin. – M.: Nauka, 2003. – 246 p.

Esin A.B. Psychologism of Russian classical literature.: Book. for the teacher / A.B. Esin. - M.: Enlightenment, 1988.-176 p.

Zhirmunsky V.M. Problems of Comparative Study of Literature / V.M. Zhirmunsky. – L.: 1979. – 495 p.

Zahidullina D.F. Dөnya surәte үzgәrү: XX yөz bashy Tatars AD. false. әsәrlәr / D. F. Zaһidullina.-Kazan. Magarif, 2006.-189 b.

Ivanov V.V. Selected works on semiotics and cultural history / Vyach. Sun. Ivanov; Moscow state un-t im. M.V. Lomonosov, Institute of Theory and History of World Culture.-M.: Languages of Slavic Culture, 2004.-(Language. Semiotics. Culture).T. 3: Comparative literature; world literature; Poetry.-2004.-814 p.

Konrad N.I. To the question of literary connections / N.I. Konrad // Konrad N.I. West and East. - M.: 1966. – 496 p.

Lotman Yu.M. Articles on the typology of culture / Yu.M. Lotman. - Tartu. 1992. - 479 p.

Neupokoeva I.G. History of world literature. Problems of systemic and comparative analysis / I.G. Neupokoeva. - M.: 1976. – 359 p.

Nigmatullina Yu.G. National originality of the aesthetic ideal / Yu.G. Nigmatullina. - Kazan. Publishing House of KSU, 1970. - 210 p.

Nigmatullina Yu.G. Types of cultures and civilizations in the historical development of Tatar and Russian literature / Yu.G. Nigmatullina. - Kazan. Fan, 1997. - 192p.

Sayapova A.M. Dardmand and the problem of symbolism in Tatar literature / A.M. Sayapova. - Kazan. Publishing house "Alma-Lit", 2006. - 246s.

Comparative and Contrastive Literary Studies: Reader / Compiled by: V.R. Amineva, M. I. Ibragimov, A. Z. Khabibullina. - Kazan. Publishing house "DAS", 2001. - 390 p.

Urnov D.M. National Specificity of Literature as a Subject of Historical Poetics / D.M. Urnov // Historical Poetics: Results and Perspectives of Study. - M.: Nauka, 1986. - S.168-187

Scientific and critical literature

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

Bilinkis Ya.S. On the work of LN Tolstoy. / Ya.S. Bilinskis. – L.: 1959. – 414 p.

Bocharov S.G. Plots of Russian literature. / S.G. Bocharov. - M.: 1999. - 191 p.

Bulanov A. M. "Mind" and "heart" in Russian classics. / A.M. Bulanov. - Saratov. 1992. - p.48

Bulanov A. M. Artistic phenomenology of shame in the novel by Dostoevsky and Tolstoy ("The Idiot" and "Anna Karenina") // Russian Literature. / A.M. Bulanov. - 2001. No. 1. - P. 93-106

Bulanov A.M. Philosophical and ethical searches in Russian literature of the second half of the 19th century ("Mind" and "heart" in the works of F.M. Dostoevsky and L.N. Tolstoy): Proc. special course allowance. / A.M. Bulanov. - Volgograd. VGPI, 1991. - 118 p.

Bunin I. Liberation of Tolstoy. / I. Bunin. – Paris. 1937. - 413 p.

Byaly G.A. "Eternal" themes in Dostoevsky and L. Tolstoy ("The Idiot" and "Anna Karenina") // Russian realism of the late XIX century./ G.A. Byaly. - L.: 1973. - 168s.

Valeev N. M. Harmony of cultures: Fav. tr. / Nail Valeev; Acad. Sciences Rep. Tatarstan.-Kazan. Feng, 2001.-327p.

Vilyunas VK The main problems of the psychological theory of emotions // Psychology of emotions. Texts / Ed. V. K. Vilyunas, Yu. B. Gippenreiter. / V.K.Vilyunas. – M.: 1984. S. 3-28.

Hegel G. Phenomenology of Spirit. / G. Hegel. – M.: 2000. – 495 p.

Ginzburg L. About psychological prose. / L. Ginzbuog. - L.: 1977. - 463 p.

Ginzburg L. Ya. About a literary hero. / L. Ginzburg. - L.: 1979. - 221 p.

Davletshin G.M. Essays on the history of the spiritual culture of the ancestors of the Tatar people (origins, formation and development). / G.M. Davletshin. - Kazan. Tatars. Book. Publishing house, 2004. - 431s.

Izard K. Psychology of emotions. / K.Izard. - St. Petersburg: 2000. - 455 p.

Izard K. Human emotions. / K.Izard. – M.: 1980. – 954 p.

Kadyrov O.Kh. Romanticism of Galimdzhan Ibragimov: (Creativity and Aesthetics): Abstract of the thesis. cand. philol. Sciences / O.Kh. Kadyrov - Kazan. 1967. - 31s.

Kasyan N.I. The problem of freedom and necessity in Leo Tolstoy's novel "Anna Karenina" and its interpretation by Russian scientists. Dis. . cand. Phil. Sciences. / N.I. Kasyan. - Eagle. 2002. - p. 163

Kurlyandskaya G.B. The moral ideal of L.N. Tolstoy and F.M. Dostoevsky. / G.B. Kurlyandskaya - M .: Education, 1988. - 256 p.

Kurlyandskaya G.B. The artistic method of Turgenev the novelist / G.B. Kurlyandskaya.-Tula. Approx. book. publishing house, 1972.-344 p.

Markovich V.M. I.S. Turgenev and the Russian realistic novel of the 19th century (30-50s) / V.M. Markovich.-L.: Publishing House of Leningrad State University, 1982.-208 p.

Markovich V.M. Man in the novels of I.S. Turgenev / V.M. Markovich. - Publishing house of Leningrad State University. A.A. Zhdanova. - Leningrad. 1987. - 254p.

Makhmudov A.G. Problems of the beautiful in the work of F. Amirkhan / A.G. Makhmudov // The ideological and aesthetic heritage of Fatih Amirkhan. Interuniversity collection of scientific papers. - Kazan. 2001. - 204p.

Leontiev A. N. Needs, motives and emotions // Psychology of emotions. Texts / Ed. V. K. Vilyunas, Yu. B. Gippenreiter. / A.N.Leontiev. - M.: 1984. - 304 p.

Leontiev K.N. Analysis, style and trend. About the novels Tolstoy. Russian messenger. / K.N.Leontiev. - 1890. No. 6-8.

Nigmatullina Yu.G. I.S. Turgenev and Tatar literature of the early XX century / Yu.G. Nigmatullina. - Kazan. 1961. - 60s.

Povarisov S. The system of figurative means in the fiction of G. Ibragimov / S. Povarisov. - Ufa. 1980. - 88 p.

Sadekova A.Kh. Folklore in the aesthetics of Galimdzhan Ibragimov / A.Kh.Sadekova.-Kazan. IYALI, 1995.-103p.

Saiganov A.D. At the origins of the aesthetics of realism: Aesthetics of F. Amirkhan and its place in the development of the Tatars. realist. lit. / A.D. Saiganov. - Kazan. Tatars. book. publishing house, 1982. - 167p.

Salim A. Turgenev - artist, thinker / A. Salim. - M.: Sovremennik, 1983. - 224 p.

Salyakhova 3.G. Naturalism in the work of Galimdzhan Ibragimov: author. Ph.D. in Philology / Z.G.Salyakhova. - Kazan. 2004. - 23s.

Solovyov V.S. Works: In 2 volumes / V.S.Soloviev. - T. 1. M .: 1988. - 626 p.

Strakhov N.N. Literary criticism. Sat. articles. / N.N.strakhov. - St. Petersburg: 2000. - 459 p.

Florovsky G. Ways of Russian Theology. / G. Florovsky. - Kyiv. 1991. - 231p.

Khasanov M.Kh. Galimjan Ibragimov. Monograph. / M.Kh.Khasanov. - Kazan. 1977. - 432 p.

Shklovsky V.B. Lev Tolstoy. / V.B.Shklovsky. – M.: 1967. – 656 p.

Chuprina I.V. Moral and philosophical searches of L. Tolstoy in the 60s and 70s. / I.V. Chuprina. - Saratov. 1974. - 228 p.

Eichenbaum B. Leo Tolstoy: the seventies. / B.Eikhenbaum L.: Artist. lit., 1974. - 359 p.

Reference literature

Ozhegov S.I., Shvedova N.Yu. Explanatory dictionary of the Russian language: 80,000 words and phraseological expressions / S.I. Ozhegov, N.Yu. Shvedova. – M.: 1999. – 944 p.

Modern foreign literary criticism. Encyclopedic reference book / Modern foreign literary criticism. - M.: 1996. – 202 p.

| | | | | 6 |

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

Performed:

5th year student

OZO Philology Ryansh

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

Introduction

Fatih Amirkhan. In the diverse literary flow of the 20s of the last century, his work occupies a special place. The 1920s is 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, proletarian culture and other literary movements.

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

It is no coincidence that Baky 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 crossroads 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.

Starting his creative career with the story "Dream of Garaf's Evening" in 1907, he saw only 20 books in his lifetime, and died before reaching the age of forty.

From the very first works, the limits of critical realism are narrow for the writer, 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 standpoint of his place in the literature of the peoples of Russia. In this respect, many works of F. Amirkhan 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 in the family of a mullah, who gave his son a spiritual education. But already in the famous madrasah "Muhammadiya", where Fatih studied since 1895, he became interested in fiction and began to diligently attend the Russian class open in it, where he studied Russian language and literature.

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

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

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

Knowing that the fate of most women of his time was tragic, the writer did not leave the struggle for their emancipation and enlightenment. In 1910, he wrote the story "Blessed Day", in which he told about the backwardness and downtroddenness of the Tatars - the old Mukhip and the young Gaynijamal.

In the various literary movements of the 20s, which were marked by the appearance in literature of the most diverse schools, new in genre and style of works of art, the work of Fatih Amirkhan occupies one of the peculiar places.

In 1911, the writer created the lyrical story "Hayat" - about the anxieties of a Tatar girl from a merchant family, broken by patriarchal traditions, who did not find the strength to fight for 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, seized with a sincere feeling, wrote to her: “Perhaps you think that I am not suitable for you because I am Russian, but, my friend, I 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, the range of interests of Fatih Amirkhan was wide. So, in literary articles he wrote about Gogol, Turgenev, L. Tolstoy, Korolenko, G. Senkevich. Separate articles are devoted to the work of Gabdulla Tukay.

As 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 is 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 work 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 of a Tatar girl named Hayat did not leave anyone indifferent.

The tragic story "Hayat" is a real reflection of the orders 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 H´at kº¼elend´ bargan ºzg´resl´r t´shkil itº author¼ romanticism sukmagynda k¿ch soninavyn d´lilly” .

The main idea of the work is not so much the fate of the Tatar girl, but a sharp discrepancy between the Russian and Tatar worlds. Such heroes as Burgan abzy, Rakhima abystai reinforce the understanding of this idea of the story. The disclosure of the same idea is facilitated by secondary storylines of 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 is already revealing herself - a whole person who fell in love with the Russian young man Mikhail.

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

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

The fate of the Tatar girl was a common theme of many Tatar authors. One can name G. Ibragimov, Gali Rakhim, G. Iskhaki, even G. Tukay. But Hayat is a completely different character, she is not a prejudiced girl who rebels against the karma that has been outlined 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 by G. Iskhaki. In the latter, they are forced to come to terms with the existing situation. The writer, as it were, outlines the place of a woman in society, and such natures as Hayat simply could not appear in the work of G. Iskhaki.

The image of Khayat is closer to Russian women. For example, to Tolstoy's Anna Karenina, Turgenev's images. This shows the “Westernism” of F. Amirkhan. The era that came after the First Russian Revolution gave rise 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 on the subject 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 curtail.

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

References

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

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

Zaidullina 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. - S. 5-18.

Introduction 3

Chapter first. Features of the 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 lacunae and exoticisms

2.4. Features of translations of phraseological units

Conclusion

References

Introduction

The main purpose 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 the work of Fatih Amirkhan, 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;

– for the study of 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 fiction and journalistic works has been growing. This is due to many reasons, the most important of which is the global integration and interpenetration of different cultures, and an increase in interest in the culture and literature of "small" peoples.

However, the theoretical position of the art of translation has not yet been developed at the highest level. This problem also remains due to the fact that languages continue to evolve, and creative art, like its theory, remains a constantly renewing phenomenon.

As one English poet said: "We must translate not the words, but the spirit of the work." Therefore, the problem of translation becomes more and more 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 the prospects for working on the topic.

Chapter first. Features of the creative path and prose of F. Amirkhan 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 in the family of a mullah, who gave his son a spiritual education. But already in the famous madrasah "Muhammadiya", where Fatih studied since 1895, he became interested in fiction and began to diligently attend the Russian class open in it, where he studied Russian language and literature.

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

And in 1911, the writer created the lyrical story "Hayat" - about the anxieties of a Tatar girl from a merchant family, broken by patriarchal traditions, who did not find the strength to fight for a 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, seized with a sincere feeling, wrote to her: “Perhaps you think that I am not suitable for you because I am Russian, but, my friend, I 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 orders 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: “Tөp plot syzygyn Khәyat kүңelendә bargan үzgәreshlәr tәshkil itү author’s romanticism sukmagynda koch soninavyn dalilli” .

As 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).

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 conformity;

- expressive (emotional) correspondence.

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

Stylistic conformity requires the translator to convey the style of the original text. Those. colloquial expressions should be translated only with colloquial expressions, etc.

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

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

G.H. Akhatov points to four ways of transferring phraseological units in literary translation.

1) Tracing: bash vatu - puzzle, boryn kүtаrү һ.b. Tracing occupies a particularly large 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 is the frequency of transfers, and the geographical proximity, and, as a result, a large number of borrowings. The issue of tracing borrowings was most fully developed by R.A. Ayupova.

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

3) The transfer of a phraseological unit by a phraseological unit similar in meaning to another language: Sin beznen boten өmetebezne kismakche, ike kulsyz itmakche bulasynmyni - Do you want to nullify all our work (G. Bashirov). It is clear that finding a parallel phraseological unit in Russian when translating a text from Tatar is the most successful way. But such parallelisms are rare.

4) Transferring the meaning of a phraseological unit in ordinary words, i.e., in other words, a descriptive method of transferring a phraseological unit: tel-tesh tidererlek tugel - you can’t be offended, tel bistase - chatterbox, kuz sөrtep alu - to glance.

Based on these theoretical aspects of literary translation, we analyzed the translation of G. Timerkhanova's 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;

– ways of translating gaps and exoticisms;

- a way of transferring phraseological units.

Based on the above and four selected 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 translated work. Moreover, they are often noted by ordinary readers.

G. Khantemirova's translation of the story "Hayat" does not differ in gross errors, when the wrong 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 remnants of 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 kүңelemdә sez genә ...”  “- Do not be angry, Khayat. I love you..." ; Or: “- Khärle kich, matur toshlär, künelle uylar, räkhät yokylar, - dip, bernichi teläklär telade”  “- Good night, pleasant dreams.”

As you can see, in both examples the state of the hero who is in love is inaccurately conveyed, so sometimes he breaks off in words or becomes verbose. The translator, shortening Michael's words, simply states the main meaning of his words.

Rare, but found in the text and additions to the original, which makes the translation look too free. For example: “Khayatnen bolai Tatars irlәrdәn kachuyna Liza da kүptәn өyrәnep җitkәn ide inde. (...)” is transmitted as follows: “Lisa has long been accustomed to the fact that Khayat covered her face from Tatar men, and if it happened that a friend did not have time to notice a passing Tatar in time, she whispered:

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

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

«Khosniҗamal аytә ikәn:

"Min kiyaүgә baram", - dip;

Әnkәse anar әytә ikәn:

"Barmagaen, kadal" - dip "

“I want to get married,” Khusnijamal says.

"Although married,

To hell with it,"

Her mother answers.

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

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

- Gaҗәp! Well; khärle bulsyn! – dide» 

"Strange! Well, God bless them."

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

The word “mүҗles”, close to exoticism (although it has fairly close translations - “gatherings”, “meeting”, “party”, etc.) is also given a rather free translation: “Мҙҗ җ үн е ide”  “The conversation flowed merrily, lively."

In general, lexical inconsistencies in translation are practically not found.

2.2. Stylistic inconsistencies

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

- the use of Russian borrowings such as "hairstyle", "educated", etc.;

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

In the translation we are considering, the stylistic features of the writer are far from completely conveyed. Firstly, G. Khantemirova omits Russian inclusions, with the help of which F. Amirkhan conveys the features of the main character's feelings or the general atmosphere of any meeting. For example: “Khayat hairstylesyn yasap betergach ...” is conveyed, at first glance, exactly: “When Khayat combed her hair ...”. In fact, “do your hair” and “comb 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 the style and importance of Russian inclusions when translated into Russian is practically indescribable when a whole phrase is quoted. In our opinion, for such cases, the translator found the most acceptable option. So: “Bibi, is Khaechka at home? – dip sorady” is translated as follows: “Bibi, is Khaechka home?” the schoolgirl asked in Russian. Those. G. Khantemirova here uses a descriptive way of conveying the features of the speech of a schoolgirl.

However, sometimes you can find some liberties with G. Khantemirova. One can point at least to such an example, when the translator "rus uramyn" translates "Russian quarter". In addition, the translation is in quotation marks.

Stylistic features of the Tatar language can often be found in the features of lexical compatibility. It requires a clear understanding and sense of language. In the story "Hayat" we found, in our opinion, not a very good example, when an exact translation of individual words is transmitted without taking into account their lexical compatibility: kolaklarda tupasrak, lakin mәһabәtrәk toigy kaldyra ide”  “The voice of the forest compared to Lizin was deeper, more powerful and older; he sounded, though rougher, but more majestic.

In this example, "voice of the forest" and "urman tavyshy" are stylistically heterogeneous. Firstly, in Russian more often “voices of the forest”. Secondly, the Tatar "tavysh" is wider in meaning than the Russian "voice". In our opinion, the “forest echo” could be left here, which was discussed in the context.

2.3. Translation of lacunae and exoticisms

Lacunas and exoticisms are the most difficult to translate. The closest in meaning and style to their transmission 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 deviation 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 moments. For example: “- Әstәgfirulla, ya Rabbem, әstәgfirulla, - dip uyladi, bu yalvary astynda “kafer” dәn һәm “kafer” not soyudan Allanyn kodrәtenә syenu yasherenә ide” is translated as follows: “- Merciful God, forgive me! God, I'm sorry!

With this prayer, she asked God for protection from the atheists, protection from her love for the kafir.

In this case, besides the fact that Islamic Allah is replaced by simply God, it is not clear from the words of Hayat who the “godless” are – atheists or adherents of another confession?

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

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

For the first case, the following examples can be given: “Bu kalfak, efäk költäsenä cholgangan gol chächäge (rose) shikelle, kölep tora ide”  “It seemed, kalfak, like a rose, looking out of a mop of silky hair, smiled joyfully”; Or: “Lakin st haman үze bilgelәp kuigan ramdan chyga almyy, chönki st ramanyң kotochyrgych sakchylar: аllа kaysy mоftinen chukyngan kyzlarynyn surаtlәre saklap toralar ide”  “And yet she did not step over ala the line that she herself defined, for behind this black line stood a formidable guard: the faded faces of the mufti's daughters who converted to Christianity"; And also: “In the foyer, the family of Rakhima-abystai merged with the flow of walkers.”

In our opinion, the use of exoticisms (when necessary, with an explanation) 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, here we can also talk about a descriptive method, since in the Russian language (more precisely, in the Christian culture there is no “prayer rug”): “Ahyr tämam buldy! Khayat tiz-tiz genә sәlam birde! ¡әһәt kenә namazlykny alyp ber җirgә atta da үz bulmәsenә chykty”  “Finally, the prayer is over. Hayat quickly beat off the 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 using exoticisms that are not in the original text. For example: "Ani belsә, khәzrәtenә dә әytterer әle, - dide is translated as follows: "Well, if mom finds out, she will bring his mudarris to the attention."

In our opinion, in this example, one could confine oneself to another exoticism: hazret - a clergyman.

Sometimes the translator simply omits 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 kuzlәrenen yal itә torgan berdanber kagbәse bulyp tordy”  “...became a rest for the eyes when he, tired of reading, tore them away from books” .

In the given example, "kagba" means "Kaaba", i.e. "object of prayer".

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

2.4. Translation of phraseological units

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

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

Firstly, the translator sometimes uses phraseological phrases in Russian, despite their absence in the original language. This gives the translated text a certain expressiveness. For example: “Rakhimovlarnyn kin bizәүle һәm bai tormyshlary Khayatta bolarga karshy zur kүrү (tagzyym) toygysy kuzgata ide”  “The Rakhimovs lived richly, on a grand scale. This caused Hayat respect for them.

In other cases, the translator uses the method of tracing phraseological units. As an example, the following can be cited: “Any өirәtergә yaramy, imesh ... Bik shәp esh eshlәden inde: kyzlarynny ashatmy kaldyrdyn, sin tyryshmagan bulsan, st bezne ashagan bulyr ide ... - dip uyladi”  “You can’t, you see, teach her ... - gnawed at her annoyance. “And how well she did: she saved her daughters from being eaten,” she quipped to herself.

In this example, the figurative meaning of "ashatyrga" - "eating" is skalked.

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

Main conclusions:

- in the translation of G. Timerkhanova there are certain inaccuracies associated with the unsuccessful transmission of the lexical compatibility of words;

- in the transfer of gaps and phraseological units, the translator uses all methods: from interspersing 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 begins to play an increasingly important role. However, at the same time, with the development of electronic translation, "literal translation" is gaining more and more development. The need for rapid translation of journalistic texts makes the art of translation more and more mechanical. Therefore, today the need for a theoretical study of translation theory becomes a big problem.

- the translator of the story "Hayat" was able to convey the expressiveness and psychological nature of the lyrical story. The psychological portrait of the main character is accurately outlined;

– in the translation of G. Timerkhanova there are certain inaccuracies associated with ideology: for example, not quite an accurate translation of prayers, etc.;

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

- in general, G. Timerkhanova was able to accurately convey the style of the writer, which is distinguished by brevity 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 transmission of gaps and phraseological units should be tracing and inclusions of exotic lexemes.

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

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

Yusupov R.A. Tәrҗemә theorysenә keresh. - Kazan, 1972. - 88 p.

Yusupov R.A. - Kazan: Tatar whale. nash. - 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 delightful prose works in the Tatar language that he was called the most penetrating lyricist of his people. He was born in 1886, on January 1, in the Novotatar settlement. His father was the imam of the Iske-Tash mosque. His family went back to the Murzas of the Kazan Khanate. The childhood of our hero passed under the reading of the Koran, as well as the good instructions of his mother - a soft-hearted, enlightened woman. Fatih Amirkhan studied at the parish mekteb for two years. In 1895, at the insistence of his father, he moved to the madrasah "Muhammadiya" - the largest school in Kazan. The teacher and religious figure G. Baroody led this institution. 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 the skills of the Russian language and discovered a number of secular sciences. Our hero began to take an interest in Russian culture. He showed curiosity about both Russian and European foundations. The future writer began to ask questions about the main reasons for the backwardness 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 narrow 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 aimed at improving the living and material conditions of students. In addition to holding meetings, publishing a handwritten journal, in 1903 the association staged a national theatrical production - the play "The Unfortunate Young Man". This event was one of the first of its kind. Our hero continuously tried to make up for the lack of knowledge. As a result, the future writer got a tutor. They became 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

Fatih Amirkhan during the period of the Russian revolution plunged headlong into the organization of 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 journal "Raising Children". The debut journalistic experiences of our hero appear on the pages of this publication. Soon there was a return of Fatih Amirkhan. He visited Kazan in 1907. He managed to become the leader of the youth again. 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, support of parents and friends allowed him to return to creative and social activities. His old 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

Above, we have already told how Fatih Amirkhan became a publicist. His stories began to appear in the newspaper mentioned above. The first of them - "Dream on the eve of the holiday" - was published in October 1907. This work is about a secular national holiday, where social and interethnic harmony reigns. A number of literary creations of our hero (in particular, the story "Fathulla Khazret", published in 1909) are characterized by a 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, technical progress and Islam.

Huge popularity was brought to the writer by works that are devoted to the spiritual quest of the Muslim Tatar youth in the conditions of the revolutionary and national movement. We should separately mention 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 the 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 consent and public peace. The writer did not accept the revolution. He was looking for beauty and harmony in everything, therefore, with pain and indignation, he wrote about the rampant crime, devastation, undeserved privileges, neglected monuments, and the immoral behavior of leaders.

LOST ILLUSIONS HAYAT

We were waiting for this premiere with special interest, since the script for it was written by Chelny journalist Ravil Sabyr. Upon learning that our colleague had written a play based on Fatih Amirkhan's story "Hayat", I immediately thought: "He is not looking for easy ways." After all, in order to take a swing at a dramatic rethinking of a well-known work of 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 20th century, an educational movement of the Jadids arose, who saw their mission in "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 make a breakthrough 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, being 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 Gali's Jadidism, due to fatal circumstances, she agrees to marriage to an older brother, Mullah Salih, "like a sick chicken." As conceived by the author, Khayat, choosing between brothers, rushes between the old and the new way of life. Is it possible to give "pre-revolutionary" passions a modern sound, we wondered, going to the premiere of the play "Hayat". It turned out yes.

This became possible largely due to the directorial find of Bulat Badriev - he gave the main role to an unprofessional artist Guzel Ismagilova. As the director himself said at a press conference, “there is a lot of naive, genuine 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 a rather complex “evolution” on stage - the transformation of an angular teenager into a real woman. There was even something Tolstoyan in 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 - the role of the sparkling Liza Chulpan Kazanli brought to perfection. And Enzhe Shigapova, playing the role of Amina, seems to have proved to all viewers that women's friendship still exists. However, the entire ensemble of actors played just as brilliantly - as in a well-coordinated orchestra, the “sound” of each of them was heard in the performance. The audience especially remembered Mustafa Rakhimov performed by Insaf Fakhretdinov, who played very convincingly!

I also remember the work of the production designer Rania Khairullina. Thanks to her creative concept, the scenery, which did not change at all throughout the entire production, easily "turned" either into the house of the merchant Gimadov, or into a merchant's club, or into the Volga coast. The scenery was dominated by two colors - blue and yellow. The first personified space and the infinity of the claims of a young soul, and yellow - a betrayal of these plans ... The fact that the scenery was perceived by the audience organically is also the merit of the composer and sound engineer Niyaz Tarkhanov, who "helped" our imagination, including alternately the sounds of the surf floating past a steamer with a gypsy camp on board, a departing crew ...

In addition, there were many details in the performance, clearly designed by the director's hand and helping the audience to feel the drama of this or that scene. Particularly impressive was the scene when Hayat scatters apples, having learned that instead of her beloved Gali, the miserable Salih will sit next to her on Nikakh ... An overturned basket with yellow apples has generally become a symbol of the play about the fate of a girl whose romantic aspirations were sacrificed to traditions. And, importantly, the father of the girl Burgan (artist Bulat Salyakhov) gives Hayat the right to choose her own future. However, the genetic bonds are 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 technological 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 emergence of smartphones. But back in 1909, the Tatar writer Fatih Amirkhan in his story "Fathulla Hazrat" described a similar apparatus.

The correspondent of 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 "City and Stars", 1956 - online computer games; H. G. Wells, The World Set Free, 1914 - the explosion of the atomic bomb;

HG Wells When the Sleeper Wakes, 1899 - automatic doors; HG Wells "War of the Worlds", 1898 - laser; Ray Bradbury "451 degrees Fahrenheit", 1950 - headphones;

Robert Heinlein "... And we still walk dogs", 1941 - pocket phone; Alexander Kazantsev "Dome of Hope", 1980 - a laboratory that makes artificial food; Alexander Belyaev "KETs Star", 1936 - a man in space.

There is information that the cell phone was first described in 1910 by the American journalist Robert Sloss, and the smartphone is mentioned in the work of Robert Heinlein in 1941. But Tatar writer Fatih Amirkhan envisioned the smartphone and video communication earlier.

The story "Fathulla hazrat", written in 1909, describes the life of Kazan in 1950. The main character, Fathulla Hazrat, dies, after 42 years he rises again and begins to live in the conditions of 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 look like a person, people flying with the help of wings, experiments with resurrection and much more.

The future through the eyes of Fatih Amirkhan:

Buildings made of mirrors

Modern houses, lined with a mirror coating, surprise us even now. And Fatih Amirkhan wrote about such a phenomenon back in 1909.

“Leyla drove Minsylu home in a closed car, and Minsylu did not see the street or the sky above her head. Now she was shocked by the form of stone buildings, luxurious mirrored palaces.

Buildings that look like people

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

“From her window on an infinitely long street, a huge building was visible in the distance, the appearance of which resembled a human figure. At the sight of this “man”, Minsilu’s breath caught in horror, her knees trembled, she wanted to scream, but could not. It seemed to her that she sees the giant Guzh, the son of Gunyk, who will soon drink all the water in the rivers, 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 branches of the trees, unprecedented electric birds of extraordinary colors chirped with amazing voices.”

Helicopter

Fatih Amirkhan writes about the "airboat".

“Suddenly music reached Fathullah's ears. He looked over to where the music was playing and saw a large airship with about six or seven hundred people sitting in it. The ship was approaching, on it a hundred people performed the "Air March" on the pipes.

"The boat flew up to the house of Dr. Akhmet, 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 were 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 uttered these words, a bell rang softly near him. The sound came from Akhmet's breast pocket. Akhmet took out an object that looked like a mirror and began to look at it. A minute later, to the astonishment of the bishop, the mirror began to speak in human language.

Frightened, Fathullah saw the image of Layla in the mirror. Ahmet talked to his daughter, but Fathulla did not understand anything from their conversation.

“Suppose you invented this magic mirror with the help of the science of simia?” he asked when Akhmet, having finished the conversation, put the pocket mirror in his pocket.

Ahmet explained that it was not a mirror, but a mirrored cordless phone.”

The cell phone was invented in 1957. And camera phones began to be used only in the 2000s.

Online video communication

Fatih Amirkhan described videoconferencing in his novel, a common occurrence for us today.

“The bell rang in the room. I did not have time to figure out who was calling, when I saw in front of me on the glass built into the wall, a young man standing with a nonchalant look. (This glass was a telephone mirror invented in the middle of the twentieth century, which showed the person speaking on the phone in full growth, 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 dangling wires.

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 the people of the future would fly.

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

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

The resurrection of the dead is still at the forecast level

“In less than an hour, the dead man sneezed. After a while, he sneezed again and exclaimed: “Allah! God bless!" The professor now asked the students to leave the auditorium, as the lively one needed rest. An hour later, His Eminence Fathullah opened his eyes, carefully got up and sat down.

Why did the work of Fatih Amirkhan remain unknown to the world?

Why didn't this work by Fatih Amirkhan win worldwide fame, why didn't it become as popular as the works of other science fiction writers? With this question, we turned to literary critics who studied the work of Amirkhan.

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

PhD in Philology, Associate Professor Tagir Gilyazov:

– We are also to some extent to blame for the fact that Fatih Amirkhan did not become famous as a science fiction writer. Due to the fact that he described the life of ordinary people, the life of "low people", the rural poor, in 1920-1930 Fatih Amirkhan was subjected to harsh criticism.

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

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

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

It can be seen 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 by national boundaries, he was well versed in world literature, culture, its course and course.

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

Fatih Amirkhan needs to be presented to the world in English so that they write about him in the foreign press, understand and appreciate him.

"Fatih Amirkhan was able to foresee the future"

PhD in Philology, Associate Professor Alfat Zakirzyanov believes that the idea of the story "Fathulla hazrat" is far from fantasy, and therefore the work did not gain fame.

- The purpose of this work is to expose the negative phenomena that impede the movement of the revival. Fantasy appears here only as a literary device. The work was not written within the framework of the fantastic genre, the writer did not set himself such a goal. Fiction is just a device to describe people with backward views in all their glory.

If we take other science fiction writers, for them the main goal is to talk about scientific and technological achievements. Probably the reason that the work did not find wide reflection lies in the fact that the main character is rather rude, impolite, besides, a supporter of the past, obsolete. On the one hand, the author's assumptions about the future could become the basis of a wonderful fantasy work. 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 him and do not represent the general public is rather controversial.

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

“In a work, fantasy 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 in a completely different plane. For example, Saif Sarai has the following lines: “Just 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 it certainly cannot be overlooked. 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 in the Koran, that is, for his time he was, without a doubt, a man of advanced views. The writer, who knows Russian and European literature, was looking for ways to depict. 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 madrasah "Muhammadiya", studied Russian in Samara. Starts publishing the Al-Islah newspaper. 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 Yalt-Yolt and Koyash publications. Since 1907, he began 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 denounces the cult of personality, criticizes the glorification of the name of Lenin. In 1926 he died in Kazan.

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

UDC 81 "37; 81" 25

TRANSLATION OF EVALUATION VOCABULARY (BY THE MATERIAL OF F.AMIRKHAN'S NOVEL "HAYAT")

Based on F. Amirkhan's story "Khayat" and its translation into Russian, the article examines the features of the translation of evaluative vocabulary, identifies the direction and nature of translation transformations due to both linguistic and extralinguistic factors, and shows ways to compensate for the meaning components lost during translation.

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

In this study, lexemes with an estimated value, extracted by the method of continuous sampling from the language of F. Amirkhan's story "Hayat" and its translation into Russian by G. Khantemirova, act as the main unit of study. 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.

Literary text during translation often undergoes various translation transformations. We find the interpretation of the concept of translational transformation in many researchers. So, noting a certain metaphorical nature of the term "transformation" in the theory of translation, A. Schweitzer wrote: we call transformation or transformation”, thus, translation transformations are essentially interlingual operations of “re-expression” of meaning” .

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

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

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

adopted by a person of a different worldview, a different language, a different historical era. Numerous techniques and operations that a translator resorts to to establish such a similarity, together form a translation methodology, the mastery of which is necessary even for an exceptionally talented person who subtly feels all the smallest nuances of meanings, meanings, situations.

In literary translation, there is the greatest discrepancy between the equivalence and value of translation. 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 you know, human cognitive activity includes an evaluative aspect, in which the subject, reflecting the objects and phenomena of reality, correlates them with past experience, compares them with 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 activity. Evaluation as a socio-cultural category that reflects the historically established and socially fixed typified attitude of members of a linguistic community is based on linguistic forms, which are objectified forms of conceptual thinking. Linguistic assessment, as noted by L.A. Sergeeva, is a reflection of assessment as a logical and 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 extralinguistic content of meaning and meaning" .

The relationship of evaluative vocabulary with the culture of a particular people is clearly detected

when comparing original works of art with their translations. The totality of abstract evaluative values forms a special dimension of the mental space in which objective reality is refracted in a specific way and a value-colored picture of the world is formed. Evaluation 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” .

Every society has basic ethno-cultural concepts that make up the core layer of its spiritual culture. These concepts primarily include ethical and aesthetic concepts that set sustainable 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 yvzene mogshchizaly yakutlar shikelle nur chechep torganlyktan, gYZel bashi, hatta bvten bue nurda yvze shikelle kurene ide. Her dark eyes, like magical yachts, shone from under long eyelashes, which made it seem that her lovely head, delicate white face, her whole figure were illuminated by this radiance.

This is the first description of Hayat given in the story, which presents comparisons traditionally used in the literature of the East when describing a beauty: associations with precious stones (in this case, Yakut, that is, sapphire, although the translator uses the word yahont) and a description of the radiance emanating from the heroine . The translator saves these images, concretizing them by adding details (delicate 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, there should be whiteness of the skin. Therefore, we can say that the translation addition draws 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 completely due to the detailed description.

In the language of the story, a significant place is occupied by vocabulary expressing an aesthetic assessment; in the context of the work, adjectives that speak about the features of the characters' appearance are often

are given with a portrait description presented from the point of view of different characters. When translating, semantic transformations often occur: Egetets yvz kyafete hem son of totyshy, portrait of kyrsetyene karaganda, bik svikemle ideler: achyk matsgay, kekreebrek

kilgen shakty kitz kashlar, ochlary yugaryga ka-ratylyp kuelgan kue hem ozyn myek hem kukragen kierelderebrek, eget symak torysh Heyatka mehebbetle kurendeler. The young man was not bad-looking: an open forehead, slightly curved broad eyebrows, a luxuriant mustache curled up, a valiantly protruding chest. Hayat found him handsome.

Significant changes also occur in the translation of words expressing ethical assessment. Gazize abystay bu egetnets G. sheherendege Salih Fatikhov isemle yash bai, bik teYfshkly hem bik figurative keshe ikenchelegen svilede... . The concept of teUfiyk 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 much narrow down, specify the meaning of the original sentence: This is Salih Fatikhov, the son of one of the bais of the city of G., a young man "very educated and with a good heart". When translating, the universal aspect of ethical meaning (kindness) is preserved, an additional factor of emotionality appears (the heart is connected with emotions), but the religious connotations are completely lost.

Evaluation of the character's actions in some cases can be expressed implicitly and only implied: Kunak kyz Kheyatnyts ana-sy Gazize abystay belen ike kullap kureshte de hezer Heyatny Yzlerene kunakka alyrga kiltenlegen svilede. Lisa greeted Hayat's mother, held out both hands to her, according to the Tatar custom, and cheerfully announced that she had come to take Hayat to her place on Sunday. In this case, we also find an addition in the translation (according to the 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 can be associated with the distinction between absolute (good - bad) and relative (better, worse) signs, when translating

RUSSIAN LANGUAGE AND LITERATURE IN THE TURKISH-SPEAKING WORLD:

MODERN CONCEPTS AND TECHNOLOGIES

de characteristic feature of the evaluation expression is its intensification (strengthening) or de-intensification (weakening). Consider the following examples:

Ozatuchylar kaityp kitteler. Berer quarter shir kitkech, Liza, kuzlaren kukke kuterep, yoldyzlarga svylegen symak kyyafet belen:

Heyat heather EYvelge Heyat tYgel, egetler al-dynda chitlyklanyrga bik yarata hoodie, -dip kuydy.

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

Khayat is no longer the same, she loves to flirt with young people very much.

In this case, the verbs chytlyklanu and flirt are formally 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 to flirt, which also implies some negative assessment of the heroine's behavior, but not very intense - the desire to please someone with one's manners, behavior, to interest oneself; the Tatar verb implies a more explicit negative assessment of the behavior of a Muslim girl, the unacceptability of such behavior from a religious standpoint.

Heyat CYZ atsly hood zamannan uk Yzlerene gaybet satyp utyryrga kere torgan hatynnardan shulai ishetep kile ide . Hayat heard about kept women from women she knew who came to their house to gossip.

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

When translating vocabulary with an estimated value, morphological transformations also occur in some cases. Gazize abystai Lizany bik khvrmetlap kabul itte, lekin vatyk kyna ruscha tel belen, Heyatny atasy rvhsetennen head, andy “erak” shirge schibererge yakhshy-sonmy ikenen atzlatty. Gaziza-

Abystai greeted Liza cordially, but answered in broken Russian that it was inconvenient for her to let her daughter go so far without her husband's permission. When evaluating the actions of the heroine, F. Amirkhan used the verb yakhshysynmau, formed from the adjective yakhshy (good

neck). In Russian, there is no equivalent of this verb, so the word category of state is used in translation inconveniently. In translation, instead of a direct internal ethical assessment (not good), the feeling of embarrassment, embarrassment, awkwardness in front of an external observer is accentuated.

The evaluative vocabulary presented in the language of the story “Hayat” is very heterogeneous; in the context of the work, it is often not universal or fixed in the language system that is important, but appraisal adherent, speech, singled out 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 gashyyk bulip, chukyngan kyzlary turysyn-da ishetken ide. ... the mother's story arose in her memory about the mufti's daughters, who, having fallen in love with non-believers, converted to Christianity.

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

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

Ul, nichek itep bulsa yes, bu mvkatdes kyzlar belen tanyshyrga karar birde. ... He decided by all means to get acquainted with these extraordinary girls.

Ele kypten tygel gene atsar mvkatdes bulip kurengen bu kalfakly kyzlar hezer inde bvten megnelaren shuydylar. These girls in kalfaks, who so recently seemed unusual 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. Khantemirova used the adjective extraordinary, indicating only a sign of exclusivity, and this, on our opinion is quite reasonable.

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

given in one language, using the means of another language is 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 the refinement of form are organically combined with a pronounced national and cultural originality of world perception, requires special attention of the translator. Being a form of thought expression that is universal and applicable in all languages, evaluative vocabulary is still not always amenable to accurate and unambiguous translation from one language to another. As the material of the story “Hayat” by F. Amirkhan shows, when translating language units with an estimated value, 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, concretization of the meaning; various methods of compensating for the meaning components lost during the translation are used, the 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 value in the language of the original

Language and translation makes it possible to see the most important differences in the Tatar and Russian linguistic cultures, allows you to more clearly present the system of value priorities of different linguistic communities.

The article was financially supported by the RFH 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.: Mosk. state un-t, 2004. - 544 p.

3. Sergeeva L. A. Estimated meaning and categorization of evaluative semantics: an experience of interpretive analysis: author. thesis ... Dr. philol. Sciences. - Ufa, 2004. - 45 p.

4. Arutyunova N. D. Language and the human world. - 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 novels / trans. from Tatar G. Khantemirova. - M.: Hood. lit., 1975. - 320 p.

7. Tatar-Russian dictionary / ed. F. Ganiev. - 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.

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

Email: [email protected]

Galieva Alfiya Makarimovna - Candidate of Philosophical Sciences, Associate Professor of the Department of Theory of Literature and Comparative Studies, Kazan Federal University.

To narrow the search results, you can refine the query by specifying the fields to search on. The list of fields is presented above. For example:

You can search across multiple fields at the same time:

logical operators

The default operator is AND.
Operator AND means that the document must match all the elements in the group:

research development

Operator OR means that the document must match one of the values in the group:

study OR development

Operator NOT excludes documents containing this element:

study NOT development

Search type

When writing a query, you can specify the way in which the phrase will be searched. Four methods are supported: search based on morphology, without morphology, search for a prefix, search for a phrase.
By default, the search is based on morphology.
To search without morphology, it is enough to put the "dollar" sign before the words in the phrase:

$ study $ development

To search for a prefix, you need to put an asterisk after the query:

study *

To search for a phrase, you need to enclose the query in double quotes:

" research and development "

Search by synonyms

To include synonyms of a word in the search results, put a hash mark " # " before a word or before an expression in brackets.
When applied to one word, up to three synonyms will be found for it.
When applied to a parenthesized expression, a synonym will be added to each word if one was found.
Not compatible with no-morphology, prefix, or phrase searches.

# study

grouping

Parentheses are used to group search phrases. This allows you to control the boolean logic of the request.
For example, you need to make a request: find documents whose author is Ivanov or Petrov, and the title contains the words research or development:

Approximate word search

For an approximate search, you need to put a tilde " ~ " at the end of a word in a phrase. For example:

bromine ~

The search will find words such as "bromine", "rum", "prom", etc.
You can optionally specify the maximum number of possible edits: 0, 1, or 2. For example:

bromine ~1

The default is 2 edits.

Proximity criterion

To search by proximity, you need to put a tilde " ~ " at the end of a phrase. For example, to find documents with the words research and development within 2 words, use the following query:

" research development "~2

Expression relevance

To change the relevance of individual expressions in the search, use the sign " ^ " at the end of an expression, and then indicate the level of relevance of this expression in relation to the others.
The higher the level, the more relevant the given expression.
For example, in this expression, the word "research" is four times more relevant than the word "development":

study ^4 development

By default, the level is 1. Valid values are a positive real number.

Search within an interval

To specify the interval in which the value of some field should be, you should specify the boundary values in brackets, separated by the operator TO.
A lexicographic sort will be performed.

Such a query will return results with the author starting from Ivanov and ending with Petrov, but Ivanov and Petrov will not be included in the result.
To include a value in an interval, use square brackets. Use curly braces to escape a value.

LOST ILLUSIONS HAYAT

Elvira Mukhametdinova. "Evening Chelny"

Editor's Choice

Prevention of HIV infection in educational institutions Activities of HIV infection at school

Action plan for the prevention of HIV infection with the school staff for the 2019/2020 academic year Event Deadlines...

How to diagnose (determine) gonorrhea - blood test, PCR, provocation methods

Tests for gonorrhea (clapper) are carried out by detecting the pathogen in those places where the causative agent of gonorrhea (gonorrhea) can live - ...

Is psoriasis contagious or not, and is it transmitted from person to person?

Psoriasis is a common skin disease that brings a lot of discomfort. Seeing a person suffering from this disease, others ...

Herpes in the intimate area in women and men - symptoms and treatment of the disease Complications of genital herpes

- persistent infection caused by HSV-1, 2 and proceeding with a specific lesion of the mucous membranes of the genital organs. Appears...

Sexually transmitted diseases (STDs) Gonorrhea four crosses

Gonorrhea (gonorrhea) is one of the most serious sexually transmitted diseases. It is caused by a microbe from the genus Neisseria. It is unpleasant when ...

What is an hour long time called?

It does not take much effort of self-observation to show that the last alternative is true and that we cannot be conscious of either...

Time units

The length of bodies in different frames of reference Let's compare the length of the rod in inertial frames of reference K and K "(Fig.). Suppose that the rod, ...

What are the parts of the world and continents

There is a difference between the concepts of "mainland" and "part of the world." The division into continents is made on the basis of separation by water ...

Which mainland or part. Continents and continents. Historical and cultural concept of "parts of the world", their names

To understand the concepts a little... Continents and parts of the world. What is the difference between these concepts? Let's open the encyclopedia and try with...

New

Popular