Keyword: «перевод»

The article deals with the problem of translation equivalence as one of the central problems of translation studies, identifying the most difficult issues of translating a law text, demonstrating techniques and methods of translating fragments of law text on a specific language material.

The article is devoted to the study of socio-political vocabulary in the translation lessons. The process of teaching socio-political vocabulary is proposed to be organized in three stages, at each stage the student is given a set of specific tasks and exercises aimed at studying, training and further using socio-political vocabulary in the professional sphere.

This paper analyzes art as a means of communication through the works of Marlene Dumas. Linguistic and cultural differences between languages can be considered a serious obstacle to communication. It highlights the complicity of the goal and the difficulties that can occur for various reasons – such as problems of determining the meaning of a word to a misunderstanding of the structure of a sentence. To answer this question, we compared three approaches to translation: Bell R.T.'s, Douglas P.'s and Newmark P.'s and established that each of the approaches is unique in its own way. But we concluded that Newmark's efficient point of view, in this case, is more appropriate. As for Marlene Dumas, she has an astonishing connection with language. From the beginning, language was an important part of her work. Dumas' writing focus on her own work, discussing subjects like politics, her own ideas and way of thinking, as well as her own cultural position as an artist. Reading her texts, of course, raises questions, just like her paintings. The fact that image and word are inextricably linked with each other is also clear through her exhibitions, where the visitor faces the alternation of painting and aphorism. In fact, Dumas' texts do not give answers; they formulate the same dilemmas as those that her paintings present in visual form. At her most intimate moments of realization, Dumas speaks for herself as a woman who is from different continents; moved from South Africa, where apartheid dominates, to a liberal and tolerant Holland, has a surname of French origin and loves contemporary American art. Clearly she is a woman with a complex personality. She sometimes feels that she is losing herself, her concentration, her personality and her place in this world. And here a question rises once more, what is man without a goal, without a task, and if they are not part of a society or a social group? No one can deny that art is a language free of external and racial features, nationalist symbols, from all sorts of psychological restrictions. It is a language that provides ways of communication for people and nations, but also emphasizes and reveals the true feelings and the purest emotions of man. It is a language that reveals the world of the human essence.

The article objectiveis to raise the issue of making translation studies more academic as amethodological approach.The tool to implement it in the intercultural communication mediationis metatheory and the mental stage modeling. Namely, it is proposed to outline a range of research steps, in the course of which the future translator develops bothculture of thinking and consistentawareness of their professional activities via integrating a meta-research level algorithm and the one of a textpretranslation level. On having got all this, the learner will reject to use dogmatic knowledge and linear methods of translation, and will realize the need to work within interdisciplinary strategies.

The article discusses the intertextual relations of two novels in verse – “Eugene Onegin” by A.S. Pushkin and the «Golden Gate» by the modern Indian writer, poet V. Seth, who writes in English. The object of analysis is the intertextual connection of these works written in different epochs and in different cultures. The Pushkin text in this peculiar "intertextual complex" acts as a source text (pretext) on the basis of which a new text is created, while the latter reproduces not only the pretext form (Onegin stanza), but also the image of the Puskin's hero, that allows us to call the novel by V. Set «Onegin from San Francisco». The search for the intertextual parallels was carried out by analyzing the first chapters of both texts, since namely in these chapters both authors introduce their heroes, and V. Seth literally accentuates «the genetic kinship» of his hero with Pushkin's one.