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Художественный перевод

CWS / Очные мастерские / Архив мастерских CWS / Осень 2016 / Художественный перевод

Курс: Художественный перевод (с 12 октября по 21 декабря)

Цена курса: 30000 руб.


Концепция мастерской

1. Разные методы перевода, дискуссия о переводческом методе в западном и отечественном переводоведении.  Практическое задание.

2. Изменение культурного контекста при переводе художественного произведения. Знак и фон. Культурный капитал, культурная память. Культурный нарратив и его роль в переводе. Практическое задание.

3. Изменение исторического контекста: аромат эпохи. Синхронический и диахронический перевод, стилистический ключ. Архаизация перевода. Практическое задание. 

4. Художественный перевод и литературная традиция. Трудности восприятия чужой эстетики. Столкновение литературных традиций. Перенос литературных форм и течений из культуры в культуру. Практическое задание.

5. «Всех этих слов на русском нет». Отсутствие лексического пласта, необходимого для перевода. Инокультурные реалии, имена собственные, обсценная лексика, иноязычные вкрапления. Практическое задание.

6. Лингвистические аспекты перевода: грамматика. Проблемы перевода, вытекающие из грамматических различий языков. Обсуждение персонажами грамматических проблем в тексте романа (Дж. Барнс), попытка не выявлять в тексте пол героя (И. Макьюен). Практическое задание.

7. «Неправильная» речь. Перевод речи персонажей, отклоняющейся от литературной нормы. Язык субкультуры, региональные различия, неграмотная речь, речь иностранца и пр. Различия в речи негров и белых (Марк Твен, Фолкнер), американцев и англичан (американка в «Терапии» у Лоджа, Элизабет в «Скорой помощи»), просторечие vs «ломаный английский». Практическое задание.

8. Прагматика перевода: диктат жанра. Перевод драмы, афоризма, «производственного» романа (детектива), лимерика, текста песни, кинотекста и т.д. – т.е. жанров, задающих жесткие прагматические рамки. Перевод детской литературы. Практическое задание. 

9. Художественный прием как предмет перевода. Освоение и «присвоение» художественного приема. Риторика в переводе. Переводческая гладкопись. «Странность» текста как художественная ценность. Упрощение/усложнение текста в переводе. Практическое задание.

10. Переводческая этика: цитирование, «плагиат», отсылка к предыдущим переводам. Деконструкция в переводе. Спор с предшественниками. «Прямая речь» переводчика. Поиск, сноски, комментарии; предисловия и послесловия.

Работа с редактором. Практическое задание.

Вступительное задание

Переведите, пожалуйста, на русский язык предложенный фрагмент:

"JB wasn’t given to introspection, but as he rode the train to his mother’s house that Sunday, he was unable to keep himself from experiencing a vague sort of self-congratulation, combined with something approaching gratitude, that he had the life and family he did.

  His father, who had emigrated to New York from Haiti, had died when JB was three, and although JB always liked to think that he remembered his face – kind and gentle, with a narrow strip of mustache and cheeks that rounded into plums when he smiled – he was never to know whether he only thought he remembered it, having grown up studying the photograph of his father that sat on his mother’s bedside table, or whether he actually did. Still, that had been his only sadness as a child, and even that was more of an obligatory sadness: He was fatherless, and he knew that fatherless children mourned the absence in their lives. He, however, had never experienced that yearning himself. After his father had died, his mother, who was a second-generation Haitian American, had earned her doctorate in education, teaching all the while at the public school near their house that she had deemed JB better than. By the time he was in high school, an expensive private day school nearly an hour’s commute from their place in Brooklyn, which he attended on scholarship, she was the principal of a different school, a magnet program in Manhattan, and an adjunct professor at Brooklyn College. She had been the subject of an article in The New York Times for her innovative teaching methods, and although he had pretended otherwise to his friends, he had been proud of her.

  In high school, where a bit of revisionism seemed necessary in order to distinguish himself and, especially, make his rich white classmates uncomfortable, he blurred the truth of his circumstances somewhat: He became another fatherless black boy, with a mother who had completed school only after he was born (he neglected to mention that it was graduate school she had been completing, and so people assumed that he meant high school), and an aunt who walked the streets (again, they assumed as a prostitute, not realizing he meant as a detective). His favorite family photograph had been taken by his best friend in high school, a boy named Daniel, to whom he had revealed the truth just before he let him in to shoot their family portrait. Daniel had been working on a series of, as he called it, families “up from the edge,” and JB had had to hurriedly correct the perception that his aunt was a borderline streetwalker and his mother barely literate before he allowed his friend inside. Daniel’s mouth had opened and no sound had emerged, but then JB’s mother had come to the door and told them both to get in out of the cold, and Daniel had to obey.

  Daniel, still stunned, positioned them in the living room: JB’s grandmother, Yvette, sat in her favorite high-backed chair, and around her stood his aunt Christine and her girlfriend, Silvia, to one side, and JB and his mother to the other. But then, just before Daniel could take the picture, Yvette demanded that JB take her place. “He is the king of the house,” she told Daniel, as her daughters protested. “Jean-Baptiste! Sit down!” He did. In the picture, he is gripping both of the armrests with his plump hands (even then he had been plump), while on either side, women beamed down at him. He himself is looking directly at the camera, smiling widely, sitting in the chair that should have been occupied by his grandmother.

  Their faith in him, in his ultimate triumph, remained unwavering, almost disconcertingly so. They were convinced – even as his own conviction was tested so many times that it was becoming difficult to self-generate it – that he would someday be an important artist, that his work would hang in major museums, that the people who hadn’t yet given him his chances didn’t properly appreciate his gift. Sometimes he believed them and allowed himself to be buoyed by their confidence. At other times he was suspicious – their opinions seemed so the complete opposite of the rest of the world’s that he wondered whether they might be condescending to him, or just crazy. Or maybe they had bad taste. How could four women’s judgment differ so profoundly from everyone else’s? Surely the odds of theirs being the correct opinion were not good."

Стоимость курса при оплате до 1 сентября 2016 – 25 тыс. руб.

С 1 сентября по 1 октября – 30 тыс. руб.


Виктор Сонькинвиктор сонькин, александра борисенко

Александра Борисенко и Виктор Сонькин на протяжении многих лет ведут семинар по художественному переводу на филологическом факультете МГУ. За эти годы силами их семинара были подготовлены антологии детективной новеллы "Не только Холмс" (Премия “Книга года” в номинации “Дебют" 2009 г.) и "Только не дворецкий!", мгновенно завоевавшие популярность как среди любителей детектива, так и среди исследователей литературы XX века. Борисенко и Сонькин вместе и по отдельности переводили Памелу Трэверс, Г. К. Честертона, Эву Хоффман, Патрисию Данкер, Джулиана Барнса и т. д. Совместно с выпускниками – знаменитого "Черного лебедя" Н. Н. Талеба и комментированный четырехтомник Дороти Сэйерс. Их бывшие ученики работают над шедеврами англоязычной прозы, от "Свободы" Джонатана Франзена до "Щегла" Донны Тартт.

Александра Борисенко

Александра Борисенко – признанный специалист по британской литературе XX века и теории перевода, выступающий в качестве основного приглашенного докладчика на ключевых международных переводоведческих симпозиумах.
Виктор Сонькин – автор исторического путеводителя "Здесь был Рим" и детской энциклопедии "Мы живем в Древнем Риме", лауреат премии "Просветитель" (2013).

Борисенко и Сонькин работают также как переводчики-синхронисты, оба они кандидаты филологических наук.


Курс: Художественный перевод (с 12 октября по 21 декабря)

Цена курса: 30000 руб.


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