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Copyright ОАО «ЦКБ «БИБКОМ» & ООО «Aгентство Kнига-Cервис»
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Учебное пособие
3-
Рекомендовано
,
по с
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050303 (033200) - «Иностранный язык»
«ФЛИНТА»
2013
Copyright ОАО «ЦКБ «БИБКОМ» & ООО «Aгентство Kнига-Cервис»
811.111(075.8)
ББК 81.2
19
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, 2013. — 319 .
ISBN 978-5-9765-0698-5
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811.111(075.8)
ББК 81.2
-923
ISBN 978-5-9765-0698-5
©
“
”, 2013
Copyright ОАО «ЦКБ «БИБКОМ» & ООО «Aгентство Kнига-Cервис»
Îãëàâëåíèå
Ïðåäèñëîâèå..............................................................................................5
Ââåäåíèå. Èíôîðìàöèîííàÿ ñîõðàííîñòü òåêñòà ïðè ïåðåâîäå ............6
Êîíòåêñòóàëüíàÿ îáóñëîâëåííîñòü àíãëèéñêîãî ñëîâà ........................20
Ìíîãîçíà÷íîñòü è êîíòåêñò.....................................................................20
Ïåðåâîä èì¸í è íàçâàíèé........................................................................26
Ïåðåâîä çàãëàâèé....................................................................................32
Ïåðåâîä ãåîãðàôè÷åñêèõ íàçâàíèé..........................................................38
Ïåðåâîä ðåàëèé.......................................................................................41
Ïåðåâîä èíòåðíàöèîíàëèçìîâ.................................................................47
Òåðìèíû è èõ ïåðåâîä..............................................................................51
Ïåðåâîä ñîêðàùåíèé...............................................................................67
Ïåðåâîä íåîëîãèçìîâ..............................................................................71
Ïåðåâîä àíãëèéñêèõ ñëîâîñî÷åòàíèé ....................................................78
Ïåðåâîä àòðèáóòèâíûõ ñî÷åòàíèé...........................................................78
Îäíî÷ëåííûå àòðèáóòèâíûå ñî÷åòàíèÿ...................................................81
Ìíîãî÷ëåííûå àòðèáóòèâíûå ñî÷åòàíèÿ................................................84
Ìíîãî÷ëåííûå àòðèáóòèâíûå ñî÷åòàíèÿ ñ âíóòðåííåé ïðåäèêàöèåé....87
Ïåðåâîä óñòîé÷èâûõ ñî÷åòàíèé...............................................................95
Ãðàììàòè÷åñêèå ïðîáëåìû ïåðåâîäà ..................................................107
Ëåêñèêî-ñòèëèñòè÷åñêèå ïðîáëåìû ïåðåâîäà è ñïåöèôèêà
àíãëèéñêîãî ÿçûêà ........................................................................134
Ïåðåâîä÷åñêîå ïðåîáðàçîâàíèå òåêñòà ...............................................161
Ïîäñòàíîâêà..........................................................................................162
Çàìåíà...................................................................................................167
Âèäû çàìåíû..........................................................................................180
Ïðè¸ì ñåìàíòè÷åñêîãî ðàçâèòèÿ...................................................182
Ïðè¸ì ñìûñëîâîãî ðàçâèòèÿ..........................................................185
Ïðè¸ì àíòîíèìè÷åñêîãî ïåðåâîäà.................................................188
Ïðè¸ì öåëîñòíîãî ïåðåîñìûñëåíèÿ..............................................193
Ïðè¸ì êîìïåíñàöèè.......................................................................194
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Copyright ОАО «ЦКБ «БИБКОМ» & ООО «Aгентство Kнига-Cервис»
Ïåðåñòàíîâêè ........................................................................................ 195
Ñèíòàêñè÷åñêîå ïåðåñòðóêòóðèðîâàíèå ........................................ 197
Ëåêñèêî-ñòèëèñòè÷åñêèå è ãðàììàòè÷åñêèå îñîáåííîñòè
çàãîëîâêîâ ..................................................................................... 206
Ïåðåâîä÷åcêèå îøèáêè ........................................................................ 221
Ðàáîòà ñ òåêñòîì ................................................................................... 243
Òåêñòû äëÿ ïåðåâîäà ñ óïðàæíåíèÿìè ................................................... 243
Òåêñòû äëÿ ñîïîñòàâèòåëüíîãî àíàëèçà................................................. 264
Òåêñòû äëÿ ñàìîñòîÿòåëüíîãî ïåðåâîäà ................................................ 286
Ïåðåâîä÷åñêèå çàäà÷è .......................................................................... 309
Ïåðåäà÷à àíãëèéñêèõ ôîíåì ................................................................ 312
Copyright ОАО «ЦКБ «БИБКОМ» & ООО «Aгентство Kнига-Cервис»
ÏÐÅÄÈÑËÎÂÈÅ
Ïðåäëàãàåìîå ïîñîáèå ïðåäíàçíà÷åíî äëÿ ïðàêòè÷åñêîé ñàìîñòîÿòåëüíîé è àóäèòîðíîé ðàáîòû ñ óïðàæíåíèÿìè è òåêñòàìè ïî
êóðñó «Òåîðèÿ è ïðàêòèêà ïåðåâîäà ñ àíãëèéñêîãî ÿçûêà íà ðóññêèé».
Òåîðåòè÷åñêóþ îñíîâó ïîñîáèÿ ñîñòàâëÿþò ñîâðåìåííûå ðàáîòû â
îáëàñòè òåîðèè ïåðåâîäà, ëèíãâèñòèêè òåêñòà, ñîöèîëèíãâèñòèêè,
ïñèõîëèíãâèñòèêè, ëèíãâîêóëüòóðîëîãèè, ëèòåðàòóðîâåäåíèÿ, òåîðèè
äèñêóðñà. Ðàçíîîáðàçíûå ïî òèïó è öåëÿì óïðàæíåíèÿ ïðåäóñìàòðèâàþò óñâîåíèå òåîðåòè÷åñêîãî ìàòåðèàëà ïî òàêèì òåìàòè÷åñêèì
ðàçäåëàì, êàê «Ïðîáëåìû ñëîâà â ïåðåâîäå è êîíòåêñò», «Àíãëèéñêèå ñëîâîñî÷åòàíèÿ â ïåðåâîäå», êóäà âêëþ÷åíû ïðîáëåìû ïåðåâîäà àòðèáóòèâíûõ è óñòîé÷èâûõ ñëîâîñî÷åòàíèé, «Ãðàììàòè÷åñêèå
ïðîáëåìû ïåðåâîäà», «Ëåêñèêî-ñòèëèñòè÷åñêèå ïðîáëåìû ïåðåâîäà è ñïåöèôèêà àíãëèéñêîãî ÿçûêà», «Ïðîáëåìû ïåðåâîäà àíãëèéñêèõ çàãîëîâêîâ» ñ àíàëèçîì ãðàììàòè÷åñêèõ è ñòèëèñòè÷åñêèõ îñîáåííîñòåé çàãîëîâêîâ, «Ëåêñèêî-ãðàììàòè÷åñêèå òðàíñôîðìàöèè»,
ñâÿçàííûå ñ ðàçíîîáðàçíûìè ëîãèêî-ñåìàíòè÷åñêèìè è ñòðóêòóðíûìè ïðåîáðàçîâàíèÿìè äëÿ äîñòèæåíèÿ àäåêâàòíîãî ïåðåâîäà. Ïîñîáèå âêëþ÷àåò òàêæå ðàçäåë «Àíàëèç ïåðåâîä÷åñêèõ îøèáîê», ïðåäïîëàãàþùèé óçíàâàíèå è àíàëèç ïðè÷èí è ïîñëåäñòâèé îøèáîê, ñîáðàííûõ èç ñîâðåìåííûõ ïåðåâîäîâ, ñäåëàííûõ ïðîôåññèîíàëàìè,
êâàëèôèêàöèþ îøèáîê, èñïðàâëåíèå îøèáîê. Óïðàæíåíèÿ ïîñòðîåíû êàê íà îòäåëüíûõ ôðàãìåíòàõ, ïðåäëîæåíèÿõ, òàê è íà òåêñòàõ,
ñíàáæåíû ÷¸òêèìè çàäàíèÿìè, âûïîëíåíèå êîòîðûõ ïîçâîëÿåò äîñòè÷ü íåîáõîäèìûõ óìåíèé êàê ïðè ñàìîñòîÿòåëüíîé ðàáîòå íàä ïîñîáèåì, òàê è íà àóäèòîðíûõ çàíÿòèÿõ.  ïîñîáèè èñïîëüçóåòñÿ ñîâðåìåííûé ÿçûêîâîé ìàòåðèàë, ïî÷åðïíóòûé èç àíãëî-àìåðèêàíñêèõ èñòî÷íèêîâ.  êà÷åñòâå ñàìîñòîÿòåëüíîãî ïðîáëåìíîãî ïîèñêà
èíôîðìàöèè â ïîñîáèè ïðåäëàãàþòñÿ òåìû äëÿ òåîðåòèêî-ïðàêòè÷åñêèõ ðàçðàáîòîê. Ðàáîòà ñ ïîñîáèåì òðåáóåò òâîð÷åñêèõ óñèëèé,
ðàçâèâàåò âäóì÷èâîå îòíîøåíèå ê òåêñòó è ñàìîìó ïðîöåññó ïåðåâîäà, íàòàëêèâàåò íà íåîáõîäèìîñòü îáîáùåíèé è äîïîëíèòåëüíûõ ïîèñêîâ, ñîçäà¸ò ìîòèâàöèþ ñàìîñîâåðøåíñòâîâàíèÿ â ÿçûêå. Ìàòåðèàë ïîñîáèÿ — ðåçóëüòàò ìíîãîëåòíåé ðàáîòû, â ïðîöåññå êîòîðîé
óñèëèÿ îáó÷àþùåãî è îáó÷àåìûõ îáúåäèíèëèñü â åäèíîå öåëîå.
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Copyright ОАО «ЦКБ «БИБКОМ» & ООО «Aгентство Kнига-Cервис»
Ââåäåíèå
Èíôîðìàöèîííàÿ ñîõðàííîñòü òåêñòà ïðè ïåðåâîäå
 ñàìîì îáùåì âèäå èíôîðìàöèÿ îïðåäåëÿåòñÿ êàê «îáîçíà÷åíèå ñîäåðæàíèÿ, ïîëó÷åííîãî îò âíåøíåãî ìèðà â ïðîöåññå ïðèñïîñîáëåíèÿ ê íåìó íàøèõ îðãàíîâ ÷óâñòâ»1. Ýòî ïîçâîëÿåò ïîíèìàòü
èíôîðìàöèþ êàê íåêîå ñîäåðæàíèå, âîñïðèíèìàåìîå íàìè íåïîñðåäñòâåííî èç îêðóæàþùåé äåéñòâèòåëüíîñòè èëè îïîñðåäîâàííî,
÷åðåç òåêñò/òåêñòû è ïðè íåîáõîäèìîñòè ñîîáùàåìîå íàì/íàìè â
êîíòàêòå ïðè êîììóíèêàöèè. Ïðèìåíèòåëüíî ê ðå÷åâîìó âîñïðèÿòèþ îïðåäåëèì èíôîðìàöèþ êàê «ñâåäåíèÿ, ñîäåðæàùèåñÿ â äàííîì ñîîáùåíèè è ðàññìàòðèâàåìûå êàê îáúåêò ïåðåäà÷è, õðàíåíèÿ
è ïåðåðàáîòêè»2.  íàøåì ïîíèìàíèè èíôîðìàöèÿ — ýòî íåêèå ñâåäåíèÿ (çíàíèÿ), âîñïðèíèìàåìûå, ñîõðàíÿåìûå äëÿ äàëüíåéøåãî
èñïîëüçîâàíèÿ, ïåðåðàáîòêè è ïåðåäà÷è â ïðîöåññå ïîçíàíèÿ. Ïîñêîëüêó â ïåðåâîäå ìû èìååì äåëî êàê ñ îêðóæàþùèì íàñ ðåàëüíûì
ìèðîì, òàê è ñ ìèðîì, õóäîæåñòâåííî îòðàæ¸ííûì â ëèòåðàòóðíûõ
òåêñòàõ (òî åñòü íåêîåé âèðòóàëüíîé, âòîðè÷íîé äåéñòâèòåëüíîñòüþ),
îïðåäåëèì äåéñòâèòåëüíîñòü, âñëåä çà Â.Â. Êðàñíûõ, êàê «âñ¸ ñó-
ùåå, ìàòåðèàëüíîå è èäåàëüíîå, ðåàëüíî ñóùåñòâóþùåå è âîîáðàæàåìîå (â âèäå, íàïðèìåð, âîñïîìèíàíèé î ïðîøëîì, ìå÷òàíèé î áóäóùåì, ïëîäîâ âîîáðàæåíèÿ è ôàíòàçèè), ïðèíàäëåæàùåå
ñîçíàíèþ è ëåæàùåå âíå åãî (íå çà ãðàíèöàìè ñîçíàíèÿ, à èìåííî
âíå åãî, òî åñòü ìàòåðèàëüíûé ìèð, êîòîðûé ìîæåò âîñïðèíèìàòüñÿ
ïî ïÿòè ÷óâñòâåííûì êàíàëàì)»3.
Ðåàëüíàÿ äåéñòâèòåëüíîñòü êàê
ãëàâíàÿ ñîñòàâëÿþùàÿ èíôîðìàöèè íå ìîæåò íå ðàññìàòðèâàòüñÿ
ïðè àíàëèçå ïåðåâîä÷åñêîãî ïðîöåññà.  õîäå âåðáàëüíîé êîììóíèêàöèè, òàê èëè èíà÷å ñâÿçàííîé ñ äåéñòâèòåëüíîñòüþ, èíôîðìàöèÿ â
âèäå ñîîáùåíèÿ ïîñòóïàåò ê ïîëó÷àòåëþ (àäðåñàòó) ÷åðåç îïðåäåë¸í-
1
2
Ñ. 70.
Âèíåð Í. Êèáåðíåòèêà è îáùåñòâî. — Ì.: Èíîñòðàííàÿ ëèòåðàòóðà, 1958. Ñ. 31.
Íåëþáèí Ë.Ë. Òîëêîâûé ïåðåâîä÷åñêèé ñëîâàðü. — Ì.: Ôëèíòà; Íàóêà, 2003.
3
Êðàñíûõ Â.Â. «Ñâîé» ñðåäè «÷óæèõ»: ìèô èëè ðåàëüíîñòü? — Ì.: ÈÒÄÃÊ
«Ãíîçèñ», 2003. Ñ. 10.
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Copyright ОАО «ЦКБ «БИБКОМ» & ООО «Aгентство Kнига-Cервис»
íûé êàíàë îò îòïðàâèòåëÿ (àäðåñàíòà), èñïîëüçóþùåãî äëÿ êîäèðîâàíèÿ ñîîáùåíèÿ îïðåäåë¸ííûé êîä (ÿçûê).  óñëîâèÿõ, êîãäà êîä îòïðàâèòåëÿ è ïîëó÷àòåëÿ îäèí è òîò æå, èìååò ìåñòî îäíîÿçû÷íàÿ êîììóíèêàöèÿ. Êîãäà èõ êîäû ðàçíûå, âîçìîæíû ðàçíûå ñõåìû êîììóíèêàöèè. Íàïðèìåð, îòïðàâèòåëü ñîîáùàåò íåêîòîðóþ èíôîðìàöèþ
èíîÿçû÷íîìó ïîëó÷àòåëþ, çíàþùåìó åãî êîä. Íå èñêëþ÷àÿ âîçìîæíûõ ïîìåõ, ìîæíî óòâåðæäàòü, ÷òî ïîëó÷àòåëü âîñïðèíèìàåò è ïîíèìàåò, ÷àñòè÷íî èëè ïîëíîñòüþ, îòïðàâëåííóþ èíôîðìàöèþ, àäàïòèðóÿ è ïðåîáðàçóÿ å¸ â ñëó÷àå íåîáõîäèìîñòè ïî ñõåìå
îòïðàâèòåëü — ÿçûê 1 — ñîîáùåíèå — ïîëó÷àòåëü — ÿçûê 1.
Ýòà ñõåìà âåðíà è äëÿ îäíîÿçû÷íîé êîììóíèêàöèè, è äëÿ äëÿ
êîììóíèêàöèè, ïðè êîòîðîé îáëàäàòåëü äðóãîãî êîäà îäíîâðåìåííî âëàäååò è êîäîì îòïðàâèòåëÿ. Çàìåòèì, ÷òî â ýòîé ñõåìå âîçìîæíû ïîãðåøíîñòè ïðè¸ìà èíôîðìàöèè, âûðàæàþùèåñÿ â íåïîëíîì, íåòî÷íîì, íåâåðíîì, èñêàæ¸ííîì ïîíèìàíèè.  ñèòóàöèè, êîãäà ïîëó÷àòåëü è îòïðàâèòåëü íå âëàäåþò êîäàìè äðóã äðóãà, òî åñòü
ïîëüçóþòñÿ ðàçíûìè êîäàìè, ïîëó÷àòåëþ òðåáóåòñÿ ïîñðåäíèê, ñïîñîáíûé äîíåñòè äî íåãî ñìûñë ñîîáùåíèÿ, ïîñêîëüêó ýòîò ïîñðåäíèê (ïåðåâîä÷èê) âëàäååò è êîäîì îòïðàâèòåëÿ (ÿçûê 1), è êîäîì ïîëó÷àòåëÿ (ÿçûê 2). Ýòîò ïîñðåäíèê, âûïîëíÿÿ äâå ôóíêöèè (ïîëó÷àòåëÿ 1 è îòïðàâèòåëÿ 2), ïðåîáðàçóåò ñîîáùåíèå â íóæíîé ôîðìå è
â íóæíîì êîäå. Ïðîöåññ ïåðåâîäà, èìåþùèé ìåñòî â äàííîì ñëó÷àå,
ñâÿçàí âçàèìîäåéñòâèåì êîäîâ â õîäå ïðåîáðàçîâàíèÿ, îñóùåñòâëÿåìîãî ïîñðåäíèêîì. Ïî ñðàâíåíèþ ñî ñõåìîé, â êîòîðîé ïåðåâîä÷èê
(ïîëó÷àòåëü 1) ïðåîáðàçóåò êîä îòïðàâèòåëÿ äëÿ ñåáÿ, ÿâëÿÿñü åäèíñòâåííûì ïîëüçîâàòåëåì èíôîðìàöèè ñîîáùåíèÿ, ñèòóàöèÿ ëèøü
÷àñòè÷íî íàïîìèíàåò óæå îïèñàííóþ:
îòïðàâèòåëü — ÿçûê 1 — ñîîáùåíèå — ïîëó÷àòåëü 1 —
ïåðåêîäèðîâàíèå — ÿçûê 2 — ñîîáùåíèå — ïîëó÷àòåëü 2.
Ïðîöåññ ïðåîáðàçîâàíèÿ/ïåðåêîäèðîâàíèÿ èíôîðìàöèîííîãî
ñîîáùåíèÿ ïðè ïåðåâîäå ïðåäïîëàãàåò íàëè÷èå ó ïîñðåäíèêà îïðåäåë¸ííûõ óñëîâèé äëÿ âûïîëíåíèÿ òàêîé çàäà÷è: çíàíèå äâóõ êîäîâ, ïî7
Copyright ОАО «ЦКБ «БИБКОМ» & ООО «Aгентство Kнига-Cервис»
íèìàíèå ñèòóàöèè ñî âñåìè ñîñòàâëÿþùèìè, â êîòîðîé ïðîèñõîäèò êîììóíèêàöèÿ, îïðåäåë¸ííûå ôîíîâûå çíàíèÿ, ïðåñóïïîçèöèè, óìåíèå
íàõîäèòü ñîîòâåòñòâèÿ è ò.ä. Ïðîöåññ âîñïðèÿòèÿ è ïåðåäà÷è èíôîðìàöèè ïåðåâîä÷èêîì îïðåäåëÿåòñÿ öåëûì ðÿäîì çàâèñèìîñòåé. Ñîîòíåñåíèå èíôîðìàöèè, êîòîðóþ íåñóò ëèíãâèñòè÷åñêèå ñðåäñòâà ïåðåâîäèìîãî ìàòåðèàëà, ñ îòðàæ¸ííîé â í¸ì ðåàëüíîé äåéñòâèòåëüíîñòüþ,
ïîçâîëÿåò ïåðåâîä÷èêó äîñòè÷ü ïîíèìàíèÿ ðå÷åâîãî ïðîèçâåäåíèÿ è
îòîáðàòü àäåêâàòíûå ñïîñîáû ïåðåâîäà. Óçíàâàíèÿ è îöåíêè òðåáóþò è
îòðàæ¸ííûå â òåêñòå (â ñëîâàõ, íàïðèìåð) îáúåêòû ðåàëüíîé äåéñòâèòåëüíîñòè, è êîíêðåòíàÿ ñèòóàöèÿ, îïèñàííàÿ â òåêñòå èëè èìåþùàÿ
ìåñòî â àêòå íåïîñðåäñòâåííîé êîììóíèêàöèè ïðè óñòíîì ïåðåâîäå.
Âñ¸ ýòî ñëóæèò îñíîâàíèåì äëÿ èçâëå÷åíèÿ ñìûñëà âûñêàçûâàíèÿ. Ñìûñë âûñêàçûâàíèÿ ñêëàäûâàåòñÿ èç ñîäåðæàíèÿ ôîðìèðóþùèõ åãî (âûñêàçûâàíèå) åäèíèö è ñèòóàöèîííîé èíôîðìàöèè.  òåîðèè ïåðåâîäà ñìûñë îïðåäåëÿåòñÿ êàê ñîäåðæàíèå ðå÷åâîãî ïðîèçâåäåíèÿ â äàííîé êîíêðåòíîé ñèòóàöèè, îòðàæ¸ííîé â äàííîì
êîíêðåòíîì êîíòåêñòå êàê ðåçóëüòàò âçàèìîäåéñòâèÿ ÿçûêîâûõ çíàêîâ è ñôîðìèðîâàííûõ èìè èìïëèöèòíûõ çíà÷åíèé. Ýòî ñîäåðæàíèå ïîïîëíÿåòñÿ è îáóñëîâëåíî êîíòåêñòîì ñèòóàöèè (ó÷àñòíèêè,
âðåìÿ, ìåñòî, óñëîâèÿ) è èìåþùèìèñÿ ó ïåðåâîä÷èêà ôîíîâûìè çíàíèÿìè4. Êàê óòâåðæäàåò Óìáåðòî Ýêî, «íà ñàìîì äåëå â ïðîöåññå
êîììóíèêàöèè ìîãóò îäíîâðåìåííî ó÷àñòâîâàòü ðàçëè÷íûå êîäû è
ñóáêîäû, ñîîáùåíèå ìîæåò ïîðîæäàòüñÿ è âîñïðèíèìàòüñÿ â ðàçëè÷íûõ ñîöèîêóëüòóðíûõ îáñòîÿòåëüñòâàõ (òàê ÷òî êîäû ìîãóò îòëè÷àòüñÿ îò êîäîâ îòïðàâèòåëÿ), àäðåñàò ìîæåò ïðîÿâëÿòü ðàçíîãî ðîäà
«âñòðå÷íûå èíèöèàòèâû», èìåòü ñâîè ñîáñòâåííûå èñõîäíûå ïðåäïîëîæåíèÿ (ïðåñóïïîçèöèè,
presuppositions), ñòðîèòü ñîáñòâåííûå
abductions) — â ñèëó âñåãî
îáúÿñíèòåëüíûå ãèïîòåçû (àáäóêöèè,
ýòîãî ñîîáùåíèå (â òîé ìåðå, â êàêîé îíî âîñïðèíèìàåòñÿ àäðåñàòîì è ïðåâðàùàåòñÿ â
ñîäåðæàíèå íåêîåãî âûðàæåíèÿ) ñòàíîâèò-
ñÿ íå áîëåå ÷åì ïóñòîé ôîðìîé, â êîòîðóþ ìîãóò áûòü âëîæåíû ðàçëè÷íûå ñìûñëû»5.
4
Ìèíüÿð-Áåëîðó÷åâ Ð.Ê. Îáùàÿ òåîðèÿ ïåðåâîäà è óñòíûé ïåðåâîä. — Ì.:
Âîåíèçäàò, 1980. Ñ. 229.
5
Ýêî Ó. Ðîëü ÷èòàòåëÿ. Èññëåäîâàíèÿ ïî ñåìèîòèêå òåêñòà. — ÑÏá.:
Ñèìïîçèóì, 2005. Ñ. 14.
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 ïðåäëàãàåìîé Óìáåðòî Ýêî ñõåìå âñå îòíîøåíèÿ âûãëÿäÿò íå
ñòîëü óïðîù¸ííî, êàê â ðàíåå îïèñàííîé.  ÷èñëî å¸ êîìïîíåíòîâ
âõîäèò îòïðàâèòåëü ñî ñâîèìè êîäàìè è ñóáêîäàìè; çàêîäèðîâàííûé
ñ ïîìîùüþ êîäîâ è ñóáêîäîâ òåêñò; êàíàë; òåêñò êàê âûðàæåíèå, îáóñëîâëåííûé êîíòåêñòîì, îáñòîÿòåëüñòâàìè; àäðåñàò ñî ñâîèìè êîäàìè è ñóáêîäàìè è íåîáõîäèìîñòüþ «ôèëîëîãè÷åñêîãî» óñèëèÿ ðåêîíñòðóèðîâàòü êîä îòïðàâèòåëÿ; èíòåðïðåòèðîâàííûé òåêñò êàê
ñîäåðæàíèå, äåòåðìèíèðîâàííûé àäåêâàòíî ïîíÿòûì êîíòåêñòîì,
îáñòîÿòåëüñòâàìè è ïîòðåáîâàâøèì ïðèìåíåíèÿ ðåêîíñòðóêöèè.
Ïîñêîëüêó ïðè ïåðåâîäå ôàêòè÷åñêè èìååòñÿ äâà àäðåñàòà (ïîñðåäíèê è ïîëó÷àòåëü), ÷àñòü ñõåìû óäâàèâàåòñÿ ñ óñëîâèåì, ÷òî êîäû è
ñóáêîäîäû ó àäðåñàòà-ïîñðåäíèêà è ó àäðåñàòà-ïîëó÷àòåëÿ ðàçíûå è
÷òî ôèëîëîãè÷åñêèå óñèëèÿ äëÿ ðåêîíñòðóêöèè êîäà îòïðàâèòåëÿàâòîðà, ïîëó÷àòåëÿ è îòïðàâèòåëÿ-ïîñðåäíèêà è ó àäðåñàòà-ïîëó÷àòåëÿ ðàçíûå.
Îðèãèíàëüíûé òåêñò è åãî ïåðåâîäíîé âàðèàíò ñîîòíîñÿòñÿ áëàãîäàðÿ íàëè÷èþ íåêîé íåèçìåííîé, èíâàðèàíòíîé ñîäåðæàòåëüíîé
ñóùíîñòè, âûÿâëÿåìîé â ïðîöåññå âîñïðèÿòèÿ òåêñòà, èçâëå÷åíèÿ
åãî ñìûñëà è âûäåëåíèÿ èíâàðèàíòíîé èíôîðìàöèè. Êàê óêàçûâàåò
Ð.Ê. Ìèíüÿð-Áåëîðó÷åâ, «ïðè ñìûñëîâîì àíàëèçå èñõîäíîãî òåêñòà
èñïîëüçóþòñÿ èçâåñòíûå ìåòîäû ñìûñëîâîãî àíàëèçà: ìåòîä âûáîðà
ñëîâà ñ íàèáîëüøåé èíôîðìàöèîííîé íàãðóçêîé, ìåòîä òðàíñôîðìàöèè, ìåòîä âûáîðà ðåëüåôíîãî ñëîâà»6
. Ê ýòîìó ìîæíî äîáàâèòü òàêæå
1) êîíòåêñòóàëüíûé àíàëèç, îáðàù¸ííûé ê êîíòåêñòó, ôîðìèðóåìîìó íåïîñðåäñòâåííî ïðåäûäóùèì è ïîñëåäóþùèì ñëîâàìè, à
òàêæå àíàëèç áîëåå øèðîêîãî êîíòåêñòà, â òîì ÷èñëå è êîíòåêñòà
ñèòóàöèè;
2) äèñêóðñ-àíàëèç, ãäå äèñêóðñ ðàññìàòðèâàåòñÿ «êàê îñîáûé
ñïîñîá îáùåíèÿ è ïîíèìàíèÿ ñîöèàëüíîãî ìèðà (èëè êàêîãî-òî àñ-
7
ïåêòà ìèðà)» ;
3) êîíòåíò-àíàëèç â òîé åãî ÷àñòè, êîòîðàÿ ñâÿçàíà ñ âûÿâëåíèåì ñìûñëîâûõ åäèíèö — ïîíÿòèé, âûðàæåííûõ â îòäåëüíûõ ñëîâàõ,
6
Ìèíüÿð-Áåëîðó÷åâ Ð.Ê. Îáùàÿ òåîðèÿ ïåðåâîäà è óñòíûé ïåðåâîä. — Ì.:
Âîåíèçäàò, 1980. Ñ. 229.
7
Ôèëëèïñ Ë., Éîðãåíñåí Ì.Â. Äèñêóðñ-àíàëèç. Òåîðèÿ è ìåòîä. — Õàðüêîâ:
Èçä-âî «Ãóìàíèòàðíûé Öåíòð», 2004. Ñ. 15.
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òåì îòäåëüíûõ ñìûñëîâûõ àáçàöåâ èëè äðóãèõ ÷àñòåé òåêñòîâ êàê
ýëåìåíòîâ ñîäåðæàíèÿ öåëîñòíîãî òåêñòà, óïîìèíàåìûõ èì¸í, ôàìèëèé, ñîáûòèé, ôàêòîâ, ñìûñë êîòîðûõ ñîñòîèò â àïåëëÿöèè ê ïîòåíöèàëüíîìó àäðåñàòó8.
ñìûñëîâîãî èíâàðèàíòà ïî êëþ÷åâûì ñëîâàì ñ
Èçâëå÷åíèå
ïîìîùüþ äåäóêòèâíûõ îïåðàöèé ñîñòàâëÿåò ãëàâíóþ çàäà÷ó, öåëü
ïåðåâîä÷åñêîãî ïðîöåññà è ÿâëÿåòñÿ ýëåìåíòîì äîñòèæåíèÿ, îïðåäåëÿþùèì äàëüíåéøèå ïåðåâîä÷åñêèå äåéñòâèÿ (íàïðèìåð, âûáîð
çíà÷åíèé ìíîãîçíà÷íûõ ñëîâ, âûáîð ïîäõîäÿùèõ ñèíîíèìîâ, îòðàæàþùèõ íåîáõîäèìûå êîííîòàöèè, âûáîð íàäëåæàùèõ ñòðóêòóð).
Ïîÿâëåíèå âàðèàíòîâ ïåðåâîäà, â îñíîâå êîòîðûõ ëåæèò îáùèé
ñìûñëîâîé èíâàðèàíò, ñâÿçàíî â ïðîöåññå ïåðåâîäà ñ èíôîðìàöèîííûì çàïàñîì ïåðåâîä÷èêà: ðàçëè÷íûå ïåðåâîä÷èêè-ïîñðåäíèêè, à
âìåñòå ñ íèìè è ïîëó÷àòåëè èçâëåêàþò â çàâèñèìîñòè îò ñâîåãî èíôîðìàöèîííîãî çàïàñà (ïåðåâîä÷èêà è ïîëó÷àòåëÿ) ðàçëè÷íûå îáú¸ìû èíôîðìàöèè. Ýòî îçíà÷àåò, ÷òî êàê â îäíîÿçû÷íûõ êîììóíèêàòèâíûõ êîíòàêòàõ, òàê òåì áîëåå â äâóÿçû÷íûõ (ðàçíîÿçû÷íûõ), êîíå÷íûé ðåàëüíûé ïîëó÷àòåëü çàâèñèò îò ïðåîáðàçîâàòåëÿ-ïåðåâîä÷èêà
â èçâëå÷åíèè è ïîíèìàíèè ïðåäëàãàåìîé òåêcòîâîé èíôîðìàöèè.
Åñëè äîáàâèòü ê ýòîìó íåîïðåäåë¸ííîñòü êîãíèòèâíîé áàçû ïîëó÷àòåëÿ, ñòàíîâèòñÿ ïîíÿòíî, íàñêîëüêî âîçðàñòàåò îòâåòñòâåííîñòü
ïåðåâîä÷èêà çà ñòåïåíü åãî ñîáñòâåííîãî èíôîðìàöèîííîãî çàïàñà
è êà÷åñòâà ïåðåâîäà.
Ñ÷èòàåòñÿ, ÷òî èíôîðìàöèîííûé çàïàñ ÿâëÿåòñÿ íåîòúåìëåìûì
ôàêòîðîì, õàðàêòåðèçóþùèì âñåõ ó÷àñòíèêîâ êîììóíèêàòèâíîãî
àêòà — îòïðàâèòåëÿ, ïîñðåäíèêà è ïîëó÷àòåëÿ. Ïîíèìàåìûé êàê
«îáú¸ì èíôîðìàöèè, àññîöèèðóåìûé êîììóíèêàíòàìè ñ íåêîòîðûì
ÿçûêîâûì çíàêîì èëè îáîçíà÷àåìûì èì îáúåêòîì äåéñòâèòåëüíîñòè (äåíîòàòîì)»9, èíôîðìàöèîííûé çàïàñ ðàçíûõ íîñèòåëåé îäíîãî
è òîãî æå ÿçûêà àññîöèèðóåòñÿ ñ ðàçíûì êîëè÷åñòâîì èíôîðìàöèè
îòíîñèòåëüíî îäíîé è òîé æå åäèíèöû ðå÷è. Ýòà âîçìîæíàÿ íåèäåíòè÷íîñòü âîñïðèíÿòîé è ïåðåäàííîé ïðè ïåðåâîäå èíôîðìàöèè êà8
Áîëüøîé ïñèõîëîãè÷åñêèé ñëîâàðü / Ïîä ðåä. Á.Ã. Ìåùåðÿêîâà, Â.Ï. Çèí÷åíêî. — ÑÏá.: Ïðàéì-Åâðîçíàê, 2003. Ñ. 237.
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Ìèíüÿð-Áåëîðó÷åâ Ð.Ê. Òåîðèÿ è ìåòîäû ïåðåâîäà. — Ì.: Ìîñêîâñêèé ëèöåé,
1996. Ñ. 46.
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ñàåòñÿ êàê êîíêðåòíûõ, òàê è àáñòðàêòíûõ åäèíèö. Àáñòðàãèðóÿñü îò
êîíêðåòíîé ðåàëüíîñòè, ïîíÿòèÿ ëèøü ïðèáëèçèòåëüíî, â î÷åíü îáîáù¸ííîì âèäå, îòðàæàþò å¸. Òàêèì îáðàçîì, ïðèáëèçèòåëüíîñòü è
îáîáù¸ííîñòü îòðàæåíèÿ îáú¸ìà ïîíÿòèÿ êàê îáùåïðèíÿòîå ïîëîæåíèå îáúÿñíÿåò, à ãëàâíîå, â ñâîåé îñíîâå çàêëàäûâàåò â âîñïðèÿòèå èçâåñòíûå ðàçëè÷èÿ èçíà÷àëüíî. Ïðè óñëîâèè, ÷òî êîììóíèêàíòû äåìîíñòðèðóþò è ñ òî÷êè çðåíèÿ ðîäíîãî ÿçûêà, è ñ òî÷êè çðåíèÿ
óðîâíÿ âëàäåíèÿ èíîñòðàííûì ÿçûêîì íåêèå âàðèàöèè èìåþùèõñÿ
îáú¸ìîâ èíôîðìàöèè, â ïðîöåññå èíòåðïðåòàöèè ïåðåâîäíîãî ðå÷åâîãî ïðîèçâåäåíèÿ, èíôîðìàöèîííóþ íåðàâíîçíà÷íîñòü ñëåäóåò âîñïðèíèìàòü ïî÷òè êàê äàííîñòü.
Èçâåñòíî ïÿòü ñòåïåíåé èíôîðìàöèîííîãî çàïàñà. Â îïèñàíèè
Ð.Ê. Ìèíüÿðà-Áåëîðó÷åâà10 èíôîðìàöèîííûé çàïàñ ïåðâîé ñòåïåíè ñîçäà¸ò âîçìîæíîñòü ïðàâèëüíîãî èëè íåïðàâèëüíîãî ñîîòíåñåíèÿ îïðåäåë¸ííîé åäèíèöû ñ íåêîåé îáëàñòüþ çíàíèé. Ïðåäïîëîæèì, «little theater
» â ïðåäëîæåíèè «Critics, who first discovered
him (Albee) in the “little theater”, were astonished to find that
» â òàêîì
èíôîðìàöèîííîì îêðóæåíèè áóäåò àññîöèèðîâàòüñÿ ñ ìèðîì èñêóññòâà, è ïðèëàãàòåëüíîå äîáàâèò åìó ñìûñë íåáîëüøîé, ìàëåíüsuch a polite young man was writing such shocking plays
êèé òåàòð
®
òåàòðèê
, è ýòî áóäåò èíôîðìàöèîííûé çàïàñ ïåð-
âîé ñòåïåíè.
Íàëè÷èå èíôîðìàöèîííîãî çàïàñà âòîðîé ñòåïåíè äåìîíñòðèðóåò ñîîòíåñåíèå ëåêñè÷åñêîé åäèíèöû íå ñî âñåé îáëàñòüþ èñêóññòâà,
à ñ å¸ ÷àñòüþ — òåàòðàëüíûì èñêóññòâîì, ÷òî íåíàìíîãî ðàñêðîåò
ñîäåðæàíèå ñî÷åòàíèÿ. Òåì ñàìûì èíôîðìàöèîííûé çàïàñ âòîðîé ñòåïåíè äà¸ò âîçìîæíîñòü ñîîòíîñèòü ëåêñè÷åñêóþ åäèíèöó òîëüêî ñ ðîäîâûìè ïîíÿòèÿìè.  äàííîì ñëó÷àå — òåàòð èç ðàçðÿäà ìàëåíüêèõ.
Èíôîðìàöèîííûé çàïàñ òðåòüåé ñòåïåíè ïîçâîëÿåò âûäåëèòü
íåáîëüøîé, ëþáèòåëüñêèé òåàòð
íåáîëüøîé äðàìàòè÷åñêèé òåàòð, ãäå ëþáèòåëÿìè èãðàåòñÿ, ñòàèñõîäíûé äåíîòàò èç ãðóïïû îäíîðîäíûõ:
. Èíôîðìàöèîííûé çàïàñ ÷åòâ¸ðòîé ñòåïåíè ïðåäïî-
ëàãàåò íàëè÷èå ñèñòåìàòèçèðîâàííîãî çíàíèÿ î äåíîòàòå:
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Ìèíüÿð-Áåëîðó÷åâ Ð.Ê. Òåîðèÿ è ìåòîäû ïåðåâîäà. — Ì.: Ìîñêîâñêèé
ëèöåé, 1996. Ñ. 191.
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âèòñÿ ðåïåðòóàð, êîòîðûé íå ïîéä¸ò íà áîëüøîé ñöåíå; ÷àñòî íåêîììåð÷åñêîãî, ýêñïåðèìåíòàëüíîãî íàïðàâëåíèÿ, îáðàù¸ííûé ê ìàëåíüêîé àóäèòîðèè ëþáèòåëåé òåàòðà. Èíôîðìàöèîííûé óðîâåíü ïÿòîé ñòåïåíè ïðåäïîëàãàåò áîëåå îáøèðíûå ñèñòåìàòèçèðîâàííûå
ñâåäåíèÿ
î
äåíîòàòå,
áîëåå
ãëóáîêîå
ïðîíèêíîâåíèå â ñóùíîñòü ïðåäìåòà, ÿâëåíèÿ, äåéñòâèÿ, â ëèíãâèñòè÷åñêóþ ñóùíîñòü.
Äëÿ ïåðåâîäà äîñòàòî÷íûì ñ÷èòàåòñÿ èíôîðìàöèîííûé çàïàñ
òðåòüåãî óðîâíÿ. Ðàçóìååòñÿ, äåäóêòèâíûå ñïîñîáíîñòè ïåðåâîä÷èêà ïîçâîëÿò åìó ïîïîëíèòü èìåþùèéñÿ èíôîðìàöèîííûé óðîâåíü:
plays», íà ôàìèëèþ
Albee â êîíòåêñòå ïðåäëîæåíèÿ. Íåçíàíèå èìåíè èçâåñòíîãî àìåðè-
îí, ìîæåò áûòü, îáðàòèò âíèìàíèå íà ñëîâî «
êàíñêîãî äðàìàòóðãà, ÷üè ïüåñû ÷àñòî ñòàâÿòñÿ â ðîññèéñêèõ òåàòðàõ, ìãíîâåííî îáíàðóæèòñÿ, åñëè â ó÷åáíîì ïåðåâîäå ýòî èìÿ îçâó÷èâàåòñÿ êàê
Ýëáè, íåñìîòðÿ íà òî, ÷òî â òåêñòå ñîîáùàåòñÿ î äâóõ
ñàìûõ èçâåñòíûõ åãî ïüåñàõ. Çàìåòèì, ÷òî âîñïðèÿòèå ïîëó÷àòåëåì
íåâåðíî ïåðåäàííîãî èìåíè ìîæåò ïîñòàâèòü åãî â òóïèê.
Íåñîìíåííî, ÷åì âûøå ñòåïåíü èíôîðìàöèîííîãî çàïàñà ïåðåâîä÷èêà, òåì áîëüøå âûèãðûâàåò ÷èòàòåëü, ïîëó÷àÿ îò ïåðåâîä÷èêà,
íàïðèìåð, ñ èíôîðìàöèîííûì çàïàñîì ÷åòâ¸ðòîé ñòåïåíè, ÷åðåç
ïðèìå÷àíèÿ ðàçíîîáðàçíûå ñâåäåíèÿ î ñóùíîñòè ÿâëåíèé, ïðåäìåòîâ, äåéñòâèé, ñîáûòèé, ïîçâîëÿþùèå âîñïðèíèìàòü èõ íà óðîâíå
ïîíÿòèé. Ñàìî ñîáîé ðàçóìååòñÿ, ÷òî òàêîé æå óðîâåíü èíôîðìàöèîííîãî çàïàñà â ýòîì ñëó÷àå ïîòðåáóåòñÿ è îò ïîëó÷àòåëÿ. Èç ýòîãî
ñëåäóåò, ÷òî òîëüêî õîðîøî ïîäãîòîâëåííûé ïåðåâîä÷èê ñ îáøèðíûìè ñèñòåìàòèçèðîâàííûìè çíàíèÿìè ìîæåò óäîâëåòâîðèòü ñàìûå
âûñîêèå òðåáîâàíèÿ ïîëó÷àòåëÿ â ñîîòâåòñòâóþùèõ îáëàñòÿõ. Ïðåäïîëîæèì, îòñóòñòâèå çíàíèé ó ïåðåâîä÷èêà â îáëàñòè êóëèíàðèè ïîçâîëÿåò åìó èçîáðåòàòü áëþäî «ñ¸ìãà ïîä ìóññîì», è ýòî íåçàìåäëèòåëüíî ïîðîæäàåò íåäîâåðèå ê åãî ïðîôåññèîíàëüíîé êâàëèôèêàöèè ó ÷èòàòåëÿ, îáëàäàþùåãî ñîîòâåòñòâóþùåé èíôîðìàöèåé î ìóññå
êàê ñëàäêîì êóøàíüå èç ôðóêòîâîãî èëè ÿãîäíîãî ñèðîïà (ñ äîáàâëåíèåì æåëàòèíà èëè ìàííîé êðóïû), âçáèòîì â ïåíó.
Èòàê, óðîâíåì ñâîáîäíîãî èñïîëüçîâàíèÿ ëåêñè÷åñêîé åäèíèöû
ìîæíî ñ÷èòàòü èíôîðìàöèîííûé çàïàñ òðåòüåé ñòåïåíè, õîòÿ ïðèáëèçèòåëüíî ëèøü 40% ëåêñè÷åñêèõ åäèíèö â äîñòàòî÷íîé ñòåïåíè
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Copyright ОАО «ЦКБ «БИБКОМ» & ООО «Aгентство Kнига-Cервис»
îïîçíàþòñÿ â ýòîì ñëó÷àå. Ïðè ýòîì ñâîáîäíîå âëàäåíèå òåêñòîâîé
èíôîðìàöèåé íà ðîäíîì è èíîñòðàííîì ÿçûêàõ ìîæåò îòëè÷àòüñÿ,
ðà2âíî æå êàê îíî çàâèñèò îò êîíêðåòíîé îáëàñòè çíàíèÿ. Ñëåäîâàòåëüíî, äëÿ ïåðåâîä÷èêà îñòàíîâèòüñÿ íà èíôîðìàöèîííîì çàïàñå
òðåòüåé ñòåïåíè îçíà÷àåò íåïîëíîòó îñîçíàíèÿ ïðåäìåòíîãî è ëèíãâèñòè÷åñêîãî êîíòåêñòà è íåâîçìîæíîñòü îâëàäåíèÿ çàêîíàìè ïðåîáðàçîâàíèÿ òåêñòà.
 ñõåìå
îòïðàâèòåëü — èñõîäíûé ÿçûê — èñõîäíûé òåêñò —
ïåðåâîä÷èê-ïîëó÷àòåëü 1 — ðîäíîé ÿçûê (ÿçûê 2) —
ïåðåâîäíîé òåêñò — ïîëó÷àòåëü 2
èíôîðìàöèîííîå ñîîáùåíèå èìååò âîçìîæíîñòü ìîäèôèöèðîâàòüñÿ ïî ìåðå ïðåâðàùåíèÿ â êîíå÷íûé ïðîäóêò, ãäå ðàçíûå ïîëó÷àòåëè
âîñïðèíèìàþò òåêñò óæå â ñèëó ñâîåãî äîñòàòî÷íîãî èëè íåäîñòà-
òî÷íîãî èíôîðìàöèîííîãî çàïàñà ïî-ðàçíîìó. È õîòÿ ýòà ÷àñòü ïðè
îïèñàíèè ïðîöåññà ïåðåâîäà â äàííîì ñëó÷àå íå ÿâëÿåòñÿ îáúåêòîì
èçó÷åíèÿ, âûâîäû, êîòîðûå ñëåäóþò èç ýòîãî ïîëîæåíèÿ, çàñòàâëÿþò çàäóìàòüñÿ î òîì, íàñêîëüêî íåðàâíîçíà÷íûìè ñòàíîâÿòñÿ îòïðàâëåííàÿ è ïîëó÷åííàÿ èíôîðìàöèÿ. Ïðè ïåðåâîäå ñîîòíîøåíèå ïåðåäàâàåìîé îòïðàâèòåëåì è ïðèíÿòîé ïåðåâîä÷èêîì èíôîðìàöèè
çàâèñèò îò ñõîäñòâà è ðàçëè÷èÿ äâóõ ÿçûêîâ ïðè äâóÿçû÷íîé êîììóíèêàöèè, ìåðû è ñòåïåíè âëàäåíèÿ ïåðåâîä÷èêîì ýòèìè ÿçûêàìè,
îñîçíàíèÿ èì êóëüòóðíûõ ðàçëè÷èé, íàëè÷èÿ íåîáõîäèìûõ ôîíîâûõ
çíàíèé, äåòåðìèíèðîâàííûõ òåêñòîì, îò ïðèíàäëåæíîñòè òåêñòà ê
îïðåäåë¸ííîìó ôóíêöèîíàëüíîìó ñòèëþ, îò âåðíîãî àíàëèçà êîíòåêñòà ñèòóàöèè, îò âèäà ïåðåâîäà. Ãëàâíûì òðåáîâàíèåì â ïåðåäà÷å
èíôîðìàöèè â óñëîâèÿõ ñóùåñòâîâàíèÿ ãëóáèííûõ îòëè÷èé â ñåìàíòè÷åñêîé ñòðóêòóðå ñëîâ, ãðàììàòè÷åñêèõ ïîñòðîåíèé ÿâëÿåòñÿ îòðàæåíèå ôàêòè÷åñêîé ñòîðîíû îðèãèíàëà, îçíà÷åííîé êëþ÷åâûìè
ñëîâàìè. Âåðíàÿ ïåðåäà÷à ôàêòè÷åñêîãî ñîäåðæàíèÿ ñîïðÿæåíà ñ
ïîíèìàíèåì ìîòèâîâ è öåëåé ñîçäàíèÿ òåêñòà àâòîðîì è èõ îòðàæåíèÿ â ëîãèêå ñâÿçíîãî òåêñòà. Ïåðåâîä÷èê äîëæåí ïî÷óâñòâîâàòü
àâòîðñêîå îòíîøåíèå ê îïèñûâàåìûì ñîáûòèÿì è ôàêòàì, ñîõðàíÿòü
òîíàëüíîñòü òåêñòà è àâòîðñêóþ ìàíåðó. Âñ¸ ýòî óêàçûâàåò íà íåäî-
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ïóñòèìîñòü âìåøàòåëüñòâà ïåðåâîä÷èêà â òåêñò îðèãèíàëà. Ïåðåâîä÷èê íå äîëæåí ìåíÿòü åãî ëîãèêó, äîáàâëÿòü èëè îïóñêàòü êàêèåòî ÷àñòè, íàâÿçûâàòü àäðåñàòó ïåðåâîäèìîãî òåêñòà ñâîþ òðàêòîâêó,
ñâîè îöåíêè è — îïîñðåäîâàííî — ñâîþ ìåíòàëüíîñòü.
Èç ïðåäûäóùåãî èçëîæåíèÿ ñëåäóåò, ÷òî ðàçëè÷íûå ïîëó÷àòåëè, â òîì ÷èñëå è ïåðåâîä÷èêè, èçâëåêàþò èç òåêñòà ðàçëè÷íîå êîëè÷åñòâî çàëîæåííîé àâòîðîì èíôîðìàöèè âñëåäñòâèå ðàçëè÷íîé ñòåïåíè èíôîðìàöèîííîãî çàïàñà. Îò âîçìîæíûõ ïîòåðü èíôîðìàöèè
òåêñòû äîñòàòî÷íî íàä¸æíî çàùèùåíû ÿçûêîâîé èçáûòî÷íîñòüþ, î
êîòîðîé èçâåñòíî, ÷òî â åâðîïåéñêèõ ÿçûêàõ îíà ñîñòàâëÿåò 60—
70% è ÿâëÿåòñÿ óíèâåðñàëüíûì ñâîéñòâîì ÿçûêà11. Äîêàçàíî, ÷òî
ðàñïðåäåëåíèå èíôîðìàöèè â òåêñòå èìååò êâàíòîâûé õàðàêòåð,
îáóñëîâëåííûé, ïî-âèäèìîìó, îñîáåííîñòÿìè ïåðåðàáîòêè ëèíãâèñòè÷åñêîãî òåêñòà ìîçãîì
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.
Ñëåäóåò óêàçàòü, ÷òî òåêñò êàê ïðîäóêò ðå÷åâîé äåÿòåëüíîñòè,
ëèíååí ñ òî÷êè çðåíèÿ ñëîâåñíîãî îôîðìëåíèÿ, íî ìûñëü ñîñòîèò íå
èç îòäåëüíûõ ñëîâ, à ïîðîæäàåòñÿ â óìå êàê «íåêîå öåëîå, çíà÷èòåëü-
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íî áîëüøåå ïî ñâîåìó ïðîòÿæåíèþ è îáú¸ìó, ÷åì îòäåëüíîå ñëîâî»
.
Âñå èññëåäîâàòåëè óòâåðæäàþò, ÷òî èíôîðìàöèÿ â ðå÷åâîì ïðîèçâåäåíèè ðàñïðåäåëÿåòñÿ íåðàâíîìåðíî, ÷åðåäîâàíèåì èíôîðìàòèâíûõ
è ìàëîèíôîðìàòèâíûõ îòðåçêîâ. Îòðàæàÿ ïðîöåññ ìûøëåíèÿ, èíôîðìàöèÿ ïîñòóïàåò â ïðåäëîæåíèå êâàíòàìè â âèäå ðàçâ¸ðíóòûõ
îáîçíà÷åíèé (íîìèíàöèé), îòíîñÿùèõñÿ ê ñóáúåêòó, îáúåêòó äåéñòâèÿ, îáñòîÿòåëüñòâàì ìåñòà, âðåìåíè, îáðàçà äåéñòâèÿ, îáúåäèí¸ííûõ ãëàãîëüíûì äåéñòâèåì. Ïðè âîñïðèÿòèè èíôîðìàöèè ïðîèñõîäèò ÷ëåíåíèå íà ðå÷åâûå ôðàãìåíòû, ñîäåðæàùèå îäèí èíôîðìàöèîííûé êâàíò. Ïðè ýòîì íåêîòîðàÿ ÷àñòü ôðàãìåíòîâ ìîæåò áûòü
èçáûòî÷íîé èëè ïóñòîé.
Ïðè ïåðåâîäå îáÿçàòåëüíî äîëæíû âîñïðîèçâîäèòüñÿ ëåêñè÷åñêèå åäèíèöû, íåñóùèå èíôîðìàöèþ, êîòîðàÿ íå ìîæåò áûòü ïîäñêàçàíà íè êîíòåêñòîì, íè ñèòóàöèåé. Ýòî – ëåêñè÷åñêèå åäèíèöû, ïå-
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Ìèíüÿð-Áåëîðó÷åâ Ð.Ê. Òåîðèÿ è ìåòîäû ïåðåâîäà. — Ì.: Ìîñêîâñêèé
ëèöåé, 1996. Ñ. 61.
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Ïèîòðîâñêèé Ð.Ã. Èíôîðìàöèîííûå èçìåðåíèÿ ÿçûêà. — Ì.: 1968. Ñ. 73.
Âûãîòñêèé Ë.Ñ. Ìûøëåíèå è ðå÷ü // Ñîáð. ñî÷.  6 ò. Ò. 2. Ïðîáëåìû îáùåé
ïñèõîëîãèè. — Ì.: Ïåäàãîãèêà, 1982. Ñ. 356.
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ðåäàþùèå óíèêàëüíóþ, êëþ÷åâóþ èíôîðìàöèþ. Äðóãîé âèä èíôîðìàöèè, îáíàðóæèâàåìûé ïðè ÷ëåíåíèè òåêñòà íà ôðàãìåíòû, ìîæåò
áûòü ïîíÿò èç êîíòåêñòà, ïîäñêàçàí ñèòóàöèåé, èíôîðìàöèîííûì
çàïàñîì ïîëó÷àòåëÿ. Ýòî — äîïîëíèòåëüíàÿ èíôîðìàöèÿ. Òàêàÿ
èíôîðìàöèÿ â îðèãèíàëå íå óòâåðæäàåòñÿ ýêñïëèöèòíî, à â ïåðåâîäå îíà èç òåêñòà èçâëåêàåòñÿ, ïðèâíîñÿ ÷òî-òî íîâîå â óíèêàëüíóþ.
Óòî÷íÿþùàÿ èíôîðìàöèÿ õîòÿ è íå íåñ¸ò íè÷åãî íîâîãî, êàê áû óäîñòîâåðÿåò, ïîäòâåðæäàåò, óòî÷íÿåò óæå âîñïðèíÿòóþ èíôîðìàöèþ.
Èíôîðìàöèÿ ìîæåò áûòü ïîâòîðíîé ïðè óïîòðåáëåíèè ñèíîíèìîâ,
ïàðàôðàç.
Ëèø¸ííûå ñåìàíòè÷åñêîé èíôîðìàöèè îòðåçêè — îãîâîðêè,
ñëîâà-ïàðàçèòû, èñïðàâëåíèÿ — îïðåäåëÿþòñÿ êàê íóëåâàÿ èíôîðìàöèÿ, õîòÿ ñóùåñòâîâàíèå òàêîãî âèäà èíôîðìàöèè ïðåäñòàâëÿåòñÿ äîñòàòî÷íî ñïîðíûì, èáî âñ¸ ïåðå÷èñëåííîå, íåñîìíåííî, íåñ¸ò
íåêóþ èíôîðìàöèþ.
Ðàññìîòðèì ñëåäóþùèé ïðèìåð:
through pursed lips
Mrs Dursley sipped her tea
. Êëþ÷åâàÿ èíôîðìàöèÿ â ýòîì ïðåäëîæåíèè ñî-
äåðæèòñÿ â óïîìèíàíèè ñóáúåêòà è îáúåêòà äåéñòâèÿ, âûðàæåííîãî
ïèòü ìàëåíüêèìè ãëîòî÷êàìè, ïîòÿãèâàòü
íå÷òî æèäêîå, êàê ïðàâèëî, âèíî, êîôå
ãëàãîëîì «sip» — «
». Íàëè÷èå èìïëèöèòíî
ñîäåðæàùåéñÿ, âîñïðèíèìàåìîé áëàãîäàðÿ çíàíèþ ñåìàíòèêè ãëàãîëà, äîïîëíèòåëüíîé èíôîðìàöèè, ïîëó÷àòåëü ïðåäñòàâëÿåò ñåáå
êàê êîìïîíåíò «ïîòÿãèâàòü æèäêîñòü, ñëîæèâ ãóáû òðóáî÷êîé». Ýòà
æå èíôîðìàöèÿ, óòî÷íÿþùå-ïîâòîðíàÿ, ïðèõîäèò ê íåìó ñ ïîìîùüþ
÷àñòè ñîîáùåíèÿ «through pursed lips». Ÿ ìîæíî ñ÷èòàòü è óòî÷íÿþùåé, è ïîâòîðíîé, ïîñêîëüêó îíà, âî-ïåðâûõ, ïîäòâåðæäàåò òî, ÷òî
èçâåñòíî èç çíà÷åíèÿ ãëàãîëà, â îòëè÷èå, íàïðèìåð, îò ãëàãîëà
«drink», à âî-âòîðûõ, îíà, áóäó÷è âûðàæåíà ýêñïëèöèòíî, ôîðìèðóåò ÿâíûé ïîâòîð. Ïîâòîðíîé ÿâëÿåòñÿ è èíôîðìàöèÿ «her», êîòîðàÿ
î÷åâèäíà èç óïîìèíàíèÿ «Mrs Dursley». Ýòà èíôîðìàöèÿ ïðèíöèïèàëüíî èçáûòî÷íà, ïîñêîëüêó ãðàììàòè÷åñêè ïðàâèëüíî ìîæíî
áûëî íå óïîìèíàòü «her»: ìîæíî ñêàçàòü «sipped tea /coffee/wine».
Òàêèì îáðàçîì, òî, ÷òî èíôîðìàöèîííî óäà¸òñÿ èçâëå÷ü èç ïðåäëîæåíèÿ, âûãëÿäèò òàê: «íåêàÿ ìèññèñ Äóðñëè ïîòÿãèâàëà ñâîé ÷àé
ìàëåíüêèìè ãëîòî÷êàìè, ñëîæèâ ãóáû òðóáî÷êîé». Ïåðåâîä÷èê ïîíÿë ýòî ñëåäóþùèì îáðàçîì: «Ìèññèñ Äóðñëü ïîäæàëà ãóáû è ïîä-
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íåñëà ÷àøêó êî ðòó». Ïåðåâîä÷èê îñòàâèë èç êëþ÷åâîé èíôîðìàöèè
«ìèññèñ Äóðñëü», èíòåðïðåòèðîâàë «ñæàòûå òðóáî÷êîé äëÿ ïèòüÿ
ìåëêèìè ãëîòî÷êàìè ãóáû» êàê «ïîäæàòûå ãóáû» — è ýòà äîáàâëåííàÿ èíôîðìàöèÿ ñôîðìèðîâàëà â ïåðåâîäå êëþ÷åâóþ èíôîðìàöèþ ïåðåâîäíîãî òåêñòà. Ê íåé áûëà äîáàâëåíà èíôîðìàöèÿ «ïîäíåñëà ÷àøêó êî ðòó» è «ïîäæàëà ãóáû», ÷òî, ñ îäíîé ñòîðîíû, ñìåíèëî êîíòåêñò ñèòóàöèè, à ñ äðóãîé ñòîðîíû — å¸ ýìîöèîíàëüíîå
âîñïðèÿòèå. Íà óðîâíå ñèòóàöèè ÷àåïèòèÿ îðèãèíàë è ïåðåâîä ñîïîñòàâèìû êàê óñëîâèå è ïðîöåññ, íî ñ òî÷êè çðåíèÿ èíôîðìàöèè, ñ÷èòàííîé ïîëó÷àòåëåì, â ðåçóëüòàòå îøèáî÷íûõ äåéñòâèé ïåðåâîä÷èêà
ñîîòâåòñòâèå ôàêòè÷åñêè îòñóòñòâóåò.
Ïðåäïîëàãàåòñÿ, ÷òî ãîâîðèòü î ñîõðàííîñòè èíôîðìàöèè ïðè
ïåðåâîäå èëè, ïî êðàéíåé ìåðå, î å¸ ñîîòíîøåíèè, ìîæíî òîëüêî
èñõîäÿ èç ôàêòà, ÷òî îïèñàííûå âèäû èíôîðìàöèè èìåþòñÿ êàê â
òåêñòå îðèãèíàëà, òàê è â òåêñòå ïåðåâîäà. «Ïîäæàòûå ãóáû» ÿâíî íå
ñîîòâåòñòâóþò «ñæàòûì òðóáî÷êîé äëÿ ïèòüÿ ÷àÿ ìàëåíüêèìè ãëîòî÷êàìè» (äîáàâëåííàÿ è îïóùåííàÿ êëþ÷åâàÿ èíôîðìàöèÿ), à «÷àøêà,
ïîäíåñ¸ííàÿ êî ðòó» (äîáàâëåííàÿ êëþ÷åâàÿ èíôîðìàöèÿ), êîòîðóþ
ëèøü îòäàë¸ííî ìîæíî ñâÿçàòü ñ conditio sine qua non — íåâîçìîæíîñòüþ ïèòü, íå ïîäíåñÿ ÷àøêó êî ðòó (èìïëèöèòíàÿ èíôîðìàöèÿ).
Òàêèì îáðàçîì, îêàçûâàåòñÿ, ÷òî ïðè ïåðåâîäå ïðîèçîøëî ñåðü¸çíîå
îïóùåíèå êëþ÷åâîé èíôîðìàöèè; âìåñòå ñ íåé îêàçàëàñü íåâûðàæåííîé èìïëèöèòíàÿ èíôîðìàöèÿ ãëàãîëà «to sip», êîòîðàÿ ïîâòîðåíà â
òåêñòå îðèãèíàëà äâàæäû, à òàêæå äîáàâëåíà êëþ÷åâàÿ èíôîðìàöèÿ.
Âñ¸ ýòî ïðèâîäèò ê èñêàæåíèþ ñîîáùåíèÿ îðèãèíàëà.
Åñëè îáðàòèòüñÿ ê òàêèì âèäàì èíôîðìàöèè, êàê êîãíèòèâíàÿ,
ýìîöèîíàëüíàÿ, ýñòåòè÷åñêàÿ, òî òåêñò ïîñòðàäàë âî âñåõ îòíîøåíèÿõ: íå ñîõðàíèëàñü êîãíèòèâíàÿ èíôîðìàöèÿ, èñêàæåíû ýìîöèîíàëüíàÿ è ýñòåòè÷åñêàÿ ñîñòàâëÿþùèå èíôîðìàöèè. Ïðè÷èíà èíôîðìàöèîííîãî íåñîîòâåòñòâèÿ — ñóáúåêòèâíàÿ: ïîäîáíîãî ðîäà ïðåîáðàçîâàíèé íå òðåáîâàëîñü. Îáúåêòèâíûå ïðè÷èíû äëÿ âîçìîæíîãî
ïðåîáðàçîâàíèÿ ñ öåëüþ ñîõðàíåíèÿ èíôîðìàöèè îðèãèíàëà ðàññìîòðèì íà äðóãîì ïðèìåðå.
He [Adrian Healey] looked at his reflection in the window.
“It’s no good trying to fool me, Healey,” he said, “an Adrian
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always knows when an Adrian is lying”. But an Adrian also
knew that an Adrian’s lies were real: they were lived and felt
and acted out as thoroughly as another man’s truths — if other
men had truths — and he believed it possible that this last lie
might see him through to the grave.
Àäðèàí ãëÿíóë íà ñâî¸ îòðàæåíèå â îêîííîì ñòåêëå. —
Ïûòàòüñÿ îäóðà÷èòü ìåíÿ áåññìûñëåííî, Õèëè, — ñêàçàë îí, — Àäðèàíó âñåãäà èçâåñòíî, êîãäà Àäðèàí âð¸ò. —
Íî Àäðèàí çíàë è òî, ÷òî ëþáàÿ ëîæü Àäðèàíà ðåàëüíà:
êàæäàÿ èç íèõ æèëà, ÷óâñòâîâàëà è äåéñòâîâàëà òàê æå
ïîëíî, êàê ïðàâäà äðóãîãî ÷åëîâåêà — åñëè çà äðóãèìè ÷èñëÿòñÿ êàêèå-ëèáî ïðàâäû, — è Àäðèàí âåðèë, ÷òî, ìîæåò,
ýòà, ïîñëåäíÿÿ ëîæü îñòàíåòñÿ ñ íèì äî ìîãèëû.
Ïðè àíàëèçå ïåðåâîäà êîíêðåòíûõ ôðàãìåíòîâ òåêñòîâ ìîæíî
îáñóæäàòü ñõîäñòâî èëè îòëè÷èÿ ïåðåâîäà îò îðèãèíàëà ñ òî÷êè çðåíèÿ ëåêñè÷åñêîãî âûáîðà, ñïåöèôèêè ðå÷åâûõ ñðåäñòâ ýìîöèîíàëüíî-ýêñïðåññèâíîãî âûðàæåíèÿ, àðõèòåêòîíèêè âûñêàçûâàíèé, èõ
ëîãèêè è ïð. Ïðè ýòîì ÷àñòî çàáûâàåòñÿ ñòîÿùàÿ çà âñåìè ëèíãâèñòè÷åñêèìè ñðåäñòâàìè öåëîñòíîñòíàÿ èíôîðìàöèîííàÿ ñîõðàííîñòü
òåêñòà — óíèâåðñàëüíàÿ õàðàêòåðèñòèêà è ãëàâíûé îáúåêò ïåðåâîä÷åñêîãî ïðîöåññà. Èìåííî íåîáõîäèìîñòü ïåðåäà÷è èíôîðìàöèè â
óñëîâèÿõ ðàçëè÷èÿ ÿçûêîâîãî âûðàæåíèÿ òðåáóåò ïðåîáðàçîâàíèé.
Íàïðèìåð, â öèòèðîâàííîì òåêñòå èç-çà òîãî, ÷òî â àíãëèéñêîì ÿçûêå è ñëîâî «truth», è ñëîâî «lie» èìåþò ôîðìû ìíîæåñòâåííîãî ÷èñëà, à â ðóññêîì ÿçûêå — òîëüêî ñëîâî «ïðàâäà», äëÿ îáÿçàòåëüíîé
ïåðåäà÷è èíôîðìàöèè î íåîäíîêðàòíîñòè, ìíîæåñòâåííîñòè ñëó÷àåâ ëæè â îðèãèíàëå â ïåðåâîäå òðåáóåòñÿ äîïîëíåíèå (ëþáàÿ, êàæäàÿ èç íèõ). Ñ äðóãîé ñòîðîíû, ïåðåâîä÷èê äîí¸ñ äî ÷èòàòåëÿ íå ñîâñåì âåðíóþ èíôîðìàöèþ, âûðàæåííóþ ïàññèâíûìè ôîðìàìè ãëàãîëà «to live», «to feel», «to act», ÷òî íåñëîæíî áûëî ïåðåäàòü
ïðè¸ìîì îò îáðàòíîãî, èáî Àäðèàí ïåðåæèë, ïðî÷óâñòâîâàë, ïðîèãðàë êàæäóþ ëîæü, êàê èíûå ïîñòóïàþò ñ ïðàâäîé.
Èòàê, òèïîëîãèÿ âèäîâ èíôîðìàöèè (êëþ÷åâàÿ, äîïîëíèòåëüíàÿ,
ïîâòîðíî-óòî÷íÿþùàÿ) ìîæåò áûòü ïîëîæåíà â îñíîâó ïðàêòè÷åñêîãî àíàëèçà èíôîðìàöèîííîãî ñîîòíîøåíèÿ îðèãèíàëà è ïåðåâîäà.
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Ïîâòîðíî-óòî÷íÿþùàÿ èíôîðìàöèÿ, â îòëè÷èå îò óíèêàëüíîé êëþ÷åâîé, íåçàâèñèìîé îò êîíòåêñòà, è äîïîëíèòåëüíîé, ïîðîæäàåìîé
êîíòåêñòîì â øèðîêîì ñìûñëå, ïîõîæå, ëèøü äóáëèðóåò ýòè äâà òèïà,
ôîðìèðóÿ íåîáõîäèìóþ ÿçûêîâîìó âûðàæåíèþ èçáûòî÷íîñòü.
Ñòàòóñ íóëåâîé èíôîðìàöèè îêàçûâàåòñÿ íå ñòîëü «ïóñòûì», êàê
ÿâñòâóåò èç âûáðàííîãî äëÿ ñëîâ-ïàðàçèòîâ, îãîâîðîê, îïèñîê è ïð. òåðìèíà. Íóëåâàÿ èíôîðìàöèÿ, ïî íàøåìó ìíåíèþ, — ýòî èíôîðìàöèÿ î
ìîäàëüíîñòè è, êàê òàêîâàÿ, ìîæåò áûòü îòíåñåíà ê äîïîëíèòåëüíîé.
Èíôîðìàöèÿ, êîòîðóþ ïåðåäàþò êîìïîíåíòû âûñêàçûâàíèÿ, îáåñïå÷èâàåòñÿ óðîâíåì êëþ÷åâûõ ñëîâ, íåñóùèõ ôàêòè÷åñêóþ èíôîðìàöèþ,
óðîâíåì ìîäàëüíîñòåé ðàçíîãî âèäà, îáíàðóæèâàåìûõ â êëþ÷åâîé è
äîïîëíèòåëüíîé èíôîðìàöèè, è óðîâíåì èçáûòî÷íîñòè, ñîçäàâàåìûì
ïîâòîðíî-óòî÷íÿþùåé èíôîðìàöèåé. Òåì ñàìûì òåêñòîâàÿ èíôîðìàöèÿ ëåãêî ñâîäèòñÿ ê êîãíèòèâíîé, ýìîöèîíàëüíîé è ýñòåòè÷åñêîé.
Ê ÷èñëó âîçìîæíûõ ïðîöåäóð ñðàâíåíèÿ òåêñòîâ îðèãèíàëà è
ïåðåâîäà äëÿ ïðîâåðêè èõ èíôîðìàöèîííîãî ñîîòâåòñòâèÿ ìîæíî
îòíåñòè ñëåäóþùèå:
1) âûäåëåíèå è ñîïîñòàâëåíèå êëþ÷åâûõ ñëîâ îðèãèíàëà è ïåðåâîäà;
2) îöåíêà ýìîöèîíàëüíîãî ôîíà (ïîçèòèâíîãî/íåãàòèâíîãî) òåêñòà îðèãèíàëà è ïåðåâîäà;
3) óñòàíîâëåíèå èíâàðèàíòíîãî ñîäåðæàíèÿ ïî êîìïîíåíòàì èíâàðèàíòíîãî ñîîòâåòñòâèÿ;
4) àíàëèç êà÷åñòâà ïðîèçâåä¸ííûõ òðàíñôîðìàöèé ïðè ïåðåâîäå äëÿ äîñòèæåíèÿ ïåðåäà÷è ñîäåðæàíèÿ;
5) àíàëèç êëþ÷åâîé èíôîðìàöèè (ïåðåäàííîé, íå ïåðåäàííîé,
äîáàâëåííîé) äëÿ óñòàíîâëåíèÿ íåñîîòâåòñòâèÿ;
6) àíàëèç ðîëè ðàñêðûòîé èìïëèöèòíîé èíôîðìàöèè â ñîäåðæàíèè ñîîáùåíèÿ;
7) àíàëèç ñîâïàäåíèÿ / íåñîâïàäåíèÿ ïîâòîðíî-óòî÷íÿþùåé èíôîðìàöèè;
8) ïðîâåðêà ñîõðàííîñòè ñïåöèôè÷åñêèõ ñòèëèñòè÷åñêèõ õàðàêòåðèñòèê òåêñòà, åãî æàíðîâûõ è ðåãèñòðîâûõ îñîáåííîñòåé
è òîíàëüíîñòè.
Òàêèì îáðàçîì, èíôîðìàöèîííàÿ ñòðóêòóðà ëþáîãî òåêñòà, ïðåäñòàâëÿþùàÿ ñîáîé íåêóþ ñîâîêóïíîñòü ñâåäåíèé, îðãàíèçîâàííûõ
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îòïðàâèòåëåì â îïðåäåë¸ííîé ïîñëåäîâàòåëüíîñòè äëÿ öåëåíàïðàâëåííîãî ñîîáùåíèÿ ïîëó÷àòåëþ, ïðè ïðåîáðàçîâàíèè îðèãèíàëà â
ïåðåâîä ìîæåò áûòü îïèñàíà ñ ïîìîùüþ àíàëèçà âñåõ ñîñòàâëÿþùèõ å¸ âèäîâ èíôîðìàöèè.
 ðåçóëüòàòå ïðàêòè÷åñêîãî ñîïîñòàâëåíèÿ îïóùåííîé è äîáàâëåííîé ïðè ïåðåâîäå èíôîðìàöèè âñåõ âèäîâ îáíàðóæèâàåòñÿ, ÷òî
ïåðåäà÷à íå âñåãäà áûâàåò ïîëíîöåííîé. Äîáàâëåííûå è îïóùåííûå
â õîäå ïåðåâîäà êâàíòû èíôîðìàöèè èìåþò ðàçíóþ êîììóíèêàòèâíóþ íàãðóçêó. Åñëè ñ÷èòàòü äîñòàòî÷íûì äëÿ êîììóíèêàòèâíîãî âîçäåéñòâèÿ ñîõðàíåíèå èíâàðèàíòà, ñîñòàâëÿþùåãî ñóòü ìåæúÿçûêîâîé êîììóíèêàöèè, òî âûÿâëåíèå èíâàðèàíòíîé èíôîðìàöèè òðåáóåò äîêàçàòåëüíîé òåîðåòè÷åñêîé ðàçðàáîòêè.
Ïåðåâîä÷èê, ïðèìåíÿÿ ðàçëè÷íûå òðàíñôîðìàöèè â ðàìêàõ «òåîðèè çàêîíîìåðíûõ ñîîòâåòñòâèé» ß.È. Ðåöêåðà, îñîçíà¸ò, ÷òî åìó
íå âñåãäà óäà¸òñÿ â ïåðåâîäå ïåðåäàòü âåñü èíôîðìàöèîííûé êîìïëåêñ èñõîäíîãî òåêñòà: òðàíñôîðìèðóÿ, îí ñ íåèçáåæíîñòüþ ÷òî-òî
îïóñêàåò è ÷òî-òî äîáàâëÿåò. Íà ýòîì ñòûêå äâóõ òåîðèé — «òåîðèè
íåñîîòâåòñòâèé» (èíôîðìàöèîííîé òåîðèè) è «òåîðèè çàêîíîìåðíûõ ñîîòâåòñòâèé», à òî÷íåå, íà ñòûêå ÿçûêîâîãî âûðàæåíèÿ è ñîäåðæàíèÿ, è ñòîèò âîïðîñ îá èíôîðìàöèè, ïðåäíàçíà÷åííîé äëÿ îáÿçàòåëüíîé ïåðåäà÷è, è èíôîðìàöèè, êîòîðîé ìîæíî ïîæåðòâîâàòü.  çàâèñèìîñòè îò âèäà ïåðåâîäà ïåðåâîä÷èêó âñÿêèé ðàç
ïðèõîäèòñÿ ðåøàòü ïðîáëåìó èíâàðèàíòà ïåðåâîäà ñ ñîæàëåíèåì î
ïðèáëèçèòåëüíîñòè èíôîðìàöèîííîãî ñîîòâåòñòâèÿ.
Îáùèé âûâîä èç àíàëèçà èíôîðìàöèîííîé ñîõðàííîñòè òåêñòà
ïðè ïåðåâîäå íàòàëêèâàåò íà ìûñëü, ÷òî ïåðåâîä íå ìîæåò íå áûòü â
áîëüøîé ìåðå ïðèáëèçèòåëüíûì îòðàæåíèåì èíôîðìàöèè, çàëîæåííîé â îðèãèíàëå. È òåì íå ìåíåå âïîëíå î÷åâèäíî, ÷òî òðåáóåòñÿ äåòàëüíûé àíàëèç âñåõ âèäîâ èíôîðìàöèè äëÿ óñòàíîâëåíèÿ èíôîðìàöèîííîãî èíâàðèàíòà è èíôîðìàöèîííîãî óðîíà ïðè ïåðåâîäå, ÷òîáû ñâåñòè óðîí äî îïòèìàëüíîãî ìèíèìóìà.
Copyright ОАО «ЦКБ «БИБКОМ» & ООО «Aгентство Kнига-Cервис»
Êîíòåêñòóàëüíàÿ îáóñëîâëåííîñòü àíëèéñêîãî ñëîâà
ÌÍÎÃÎÇÍÀ×ÍÎÑÒÜ È ÊÎÍÒÅÊÑÒ
Îáùåèçâåñòíî, ÷òî ïðè ïåðåâîäå òåêñò âîñïðèíèìàåòñÿ íå ïîñëîâíî, à êàê ðÿä ñìûñëîâûõ ÷àñòåé íåêîåãî öåëîãî. Äðîáëåíèå òåêñòà äëÿ âûáîðà åäèíèöû ïåðåâîäà ÷àùå âñåãî ïðîèçâîäèòñÿ íà ïðåäëîæåíèÿ, çàäàþùèå ñëîâó îïðåäåë¸ííûé ñìûñë. Òàêèì îáðàçîì, ðåøåíèå î ñìûñëå îòäåëüíîãî ñëîâà îñíîâûâàåòñÿ íå òîëüêî íà
îñíîâàíèè åãî ñëîâàðíîãî çíà÷åíèÿ, íî è ïðèíèìàÿ âî âíèìàíèå òî
ðåàëüíîå îêðóæåíèå, â êîòîðîì óïîòðåáëÿåòñÿ ñëîâî. Ýòî îêðóæåíèå, äåòåðìèíèðóþùåå ïåðåâîä÷åñêèé âûáîð ïðè ìíîãîçíà÷íîñòè
ñëîâà, ñîñòàâëÿåò êîíòåêñò, ìèíèìàëüíî ñâîäèìûé ê ïðåäûäóùåìó
è ïîñëåäóþùåìó ñëîâó, — òàê íàçûâàåìûé ìèêðîêîíòåêñò. Ïðè ýòîì
ñëåäóåò ïîìíèòü, ÷òî àíàëèòè÷åñêèé õàðàêòåð àíãëèéñêîãî ÿçûêà
ïðåäïîëàãàåò áîëüøóþ çàâèñèìîñòü îòäåëüíîãî ñëîâà îò áëèæàéøåãî
îêðóæåíèÿ è ýòî âûðàæàåòñÿ â òîì, ÷òî íàèáîëåå ÷àñòîòíîé åäèíèöåé ïåðåâîäà ñ àíãëèéñêîãî ÿçûêà ÿâëÿåòñÿ ñëîâîñî÷åòàíèå, â êîòîðîì ðåàëèçóþòñÿ ëåêñè÷åñêàÿ è ãðàììàòè÷åñêàÿ ñî÷åòàåìîñòü èñêîìîãî ñëîâà, åãî ëåêñè÷åñêèé è ãðàììàòè÷åñêèé êîíòåêñò. Îäíàêî —
è îñîáåííî ïðè ðåàëèçàöèè ïîòåíöèàëüíûõ âîçìîæíîñòåé ñëîâà —
ó÷èòûâàåòñÿ êîíòåêñò áîëåå øèðîêèé, íàïðèìåð êîíòåêñò ïðåäëîæåíèÿ, àáçàöà, ãëàâû, âñåãî òåêñòà, — ìàêðîêîíòåêñò. Íåñîìíåííî,
òåêñò ñ åãî ñëîæíûì è âçàèìîñâÿçàííûì ñîäåðæàíèåì îêàçûâàåò âëèÿíèå íà ïîíèìàíèå îòäåëüíûõ ÷àñòåé, â òîì ÷èñëå è ñëîâà. Íå ñëåäóåò
çàáûâàòü î òîì, ÷òî, îáñóæäàÿ äåòåðìèíèðîâàííîñòü ñëîâà êîíòåêñòîì ðàçíîé âåëè÷èíû, ìû äî ñèõ ïîð èìåëè â âèäó ñóãóáî ëèíãâèñòè÷åñêèå (ëåêñè÷åñêèå, ãðàììàòè÷åñêèå, ôðàçåîëîãè÷åñêèå, ñòèëèñòè÷åñêèå) ñâÿçè ñëîâ â âåðáàëüíîì êîíòåêñòå. Ñóùåñòâóåò è íåâåðáàëüíûé êîíòåêñò, ôîðìèðóåìûé âíåÿçûêîâîé äåéñòâèòåëüíîñòüþ. Ýòîò
âèä êîíòåêñòà îòðàæàåòñÿ â ðåàëüíîé äåéñòâèòåëüíîñòè èëè õóäîæåñòâåííî îïèñàííîé ðåàëüíîñòüþ ñîáûòèé ñ ïîìîùüþ óêàçàíèÿ íà ðàçëè÷íûå õàðàêòåðèñòèêè è îòíîøåíèÿ ó÷àñòíèêîâ êîììóíèêàòèâíîãî
àêòà, êîíêðåòíûì âðåìåíåì è ìåñòîì ñîáûòèÿ.
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Ïåðåâîäÿ õóäîæåñòâåííûé òåêñò, ïåðåâîä÷èê îïèðàåòñÿ íà âñþ
èíôîðìàöèþ, ïðåäîñòàâëÿåìóþ åìó òåêñòîì îðèãèíàëà, ÷åðïàÿ å¸
èç òîãî, êàê ìàðêèðîâàíû íà÷àëî è êîíåö òåêñòà, êàêèìè ñðåäñòâàìè
âûðàæåíû âíóòðåííèå ïåðåõîäû ìåæäó ÷àñòÿìè ñâÿçíîãî òåêñòà,
êàêîâû òåìïîðàëüíûå è ïðîñòðàíñòâåííûå óêàçàòåëè ðàçâèâàþùèõñÿ
ñîáûòèé, êàê ñêëàäûâàåòñÿ ëîãèêà òåêñòà, êàêèìè ñðåäñòâàìè èäåíòèôèöèðóþòñÿ ó÷àñòíèêè äèñêóðñà èëè ïåðñîíàæè â òåêñòå, êàêîâû
ñðåäñòâà âûäåëåíèÿ òåõ èëè èíûõ ôàêòîðîâ, êàêîâà ïîçèöèÿ àâòîðà
è ò.ä. Ïîíèìàÿ âàæíîñòü ðàáîòû ñî ñëîâàð¸ì, ïðèâëåêàÿ âñåâîçìîæíûå ôîíîâûå çíàíèÿ, îïèðàÿñü íà àíàëèç ëèíãâèñòè÷åñêîãî êîíòåêñòà è êîíòåêñòà ñèòóàöèè, ïåðåâîä÷èê ìîæåò ðåøàòü ñàìûå ñëîæíûå òåêñòîâûå ïðîáëåìû ñ íåîáõîäèìîé óâåðåííîñòüþ.
Çàäàíèå 1. Îïðåäåëèòå òèïû êîíòåêñòà, áåç êîòîðûõ íåâîçìîæíî
ñäåëàòü àäåêâàòíûé ïåðåâîä ñëåäóþùèõ ïðåäëîæåíèé.
1.
I took walks before supper, round the back lanes, ambling, right
round the Simmonds’ house, thinking of what was going on inside.
2.
3.
Now his flight grew serious.
Class Dismissed
The students attending their first-year course in Latin were convinced their lecturer was completely unaware of what went on in
the lecture room. It was his custom to walk in, deliver the lecture, close his notes and walk out. One morning the students
placed a lighted candle on the lectern to see if he would make
any comment. He came in shortly afterwards, delivered his lecture and made no reference to the candle which burned away steadily. At the end of the lecture, the professor closed his notes as usual, walked out to the door, and, turning, said, “The student who is
one year old today may now come and blow out his candle”.
4.
5.
During those days the subject of Melody didn’t come up.
In ninth grade, he discovered, people began to pair off, to talk
about dates and steadies.
6.
The focus is on understanding, manipulating, and discussing the
content of each chapter.
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7. The basic philosophy underlying the book is that, to prepare for
college work, students should practise with college material.
8. They go to a spa to socialize and relax.
9. The money simply did not exist. Neither did any of the old obligations.
10. Particularly she liked her art teacher, Miss Dietrich, the tall redhaired woman, who taught her to keep her brush strokes firm and
her colors clean, who taught her law and order in doing things.
Çàäàíèå 2. Ïåðåâåäèòå, îáðàùàÿ âíèìàíèå íà âûäåëåííûå ìíîãî-
çíà÷íûå ñëîâà. Êàêèìè ôàêòîðàìè îïðåäåëÿåòñÿ âûáîð èõ
çíà÷åíèé ïðè ïåðåâîäå?
1. There was nothing in her appearance to suggest that she had
2.
3.
4.
5.
6.
7.
8.
9.
10.
just come in after a fortnight on the road.
... a long black dress, voluminous as though she wore several
petticoats under it and stout boots.
When I arrived Mrs Tower, very splendid in a tea-gown a little
too young for her, was alone.
It (neck) was indeed astonishingly young when you compare it
with her weather-beaten face.
But his eyes fell immediately on Mrs Fowler, his face lit up, and
he went towards her with both hands outstretched.
“How much has he persuaded you to settle on him?” “I wanted
to settle a thousand a year, but he wouldn’t hear of it”.
He mopes so terribly since his wife went home.
They became engaged when he was home on leave.
“And why do you think he’s so anxious to marry you?” “I amuse him”.
With the advent of computers, the situation had changed dramatically, the enormous amounts of money could be transferred
instantaneously.
Òåïåðü ñðàâíèòå ñâîè ïåðåâîäû ñ ïåðåâîäàìè, ñäåëàííûìè ïðîôåññèîíàëüíûìè ïåðåâîä÷èêàìè. Íà ÷åì îñíîâûâàþòñÿ èõ ïåðåâîä÷åñêèå
ðåøåíèÿ?
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Íè÷òî â å¸ îáëèêå íå óêàçûâàëî íà òî, ÷òî îíà òîëüêî ÷òî
ïåðåíåñëà äâóõíåäåëüíîå ïóòåøåñòâèå.
2. ... Äëèííîå ÷¸ðíîå ïëàòüå, òàêîå íåîáúÿòíîå, ñëîâíî ïîä íèì
íàäåòî íåñêîëüêî íèæíèõ þáîê, è ïðî÷íûå áàøìàêè.
3. Êîãäà ÿ ïðèø¸ë, ìèññèñ Òàóýð, áëèñòàòåëüíàÿ â ë¸ãêîì
ñâîáîäíîì ïëàòüå, êîòîðîå, ïðàâäà, åñòåñòâåííåé âûãëÿäåëî
áû íà æåíùèíå ÷óòü ìîëîæå, áûëà îäíà.
4. È ïðàâäà, ïðè òàêîì íåìîëîäîì ëèöå øåÿ óäèâèòåëüíàÿ,
ïðîñòî äåâè÷üÿ.
5. Íî ãëàçà åãî òîò÷àñ îáðàòèëèñü ê Äæåéí, ëèöî ïðîñèÿëî, è
îí íàïðàâèëñÿ ê íåé, ïðîòÿíóâ ðóêè.
6. Êàêîå ñîäåðæàíèå îí ó òåáÿ âûïðîñèë ïî áðà÷íîìó êîíòðàêòó?
ß õîòåëà îïðåäåëèòü åìó òûñÿ÷ó ôóíòîâ â ãîä, íî îí è ñëóøàòü
íå ñòàë.
7. Îí òàê óæàñíî ïîäàâëåí ñ òîãî äíÿ, êàê åãî æåíà óåõàëà â
Àíãëèþ.
8. Îáðó÷èëèñü îíè, êîãäà Äæîðäæ îäíàæäû íà âðåìÿ îòïóñêà
ïðèåõàë íà ðîäèíó.
9. À êàê òû ïîëàãàåøü, ïî÷åìó îí òàê æàæäåò íà òåáå æåíèòüñÿ?
Åìó ñî ìíîé âåñåëî.
10. Ñ ïðèõîäîì êîìïüþòåðîâ ñèòóàöèÿ ðåçêî èçìåíèëàñü, ñòàëî
âîçìîæíûì ïåðåâîäèòü îãðîìíûå ñóììû äåíåã ìîëíèåíîñíî.
1.
Çàäàíèå 3. Ïåðåâåäèòå, ïðîàíàëèçèðîâàâ ïðè÷èíû çàòðóäíåíèé.
Êàêèå îñîáåííîñòè êîíòåêñòà âûçûâàþò çàòðóäíåíèÿ?
1.
2.
I suppose you think I was trying to make her bribe me to silence.
She stood in the doorway unnoticed, watching Kate sing one of
her children to sleep.
3.
“This little girl’s no trouble and’s gonna be nice to me, so Ellie,
keep to yourself, this ain’t your date — right? Don’t hem on me.
Don’t hog. Don’t crush. Don’t bird dog. Don’t trail me,” he said
in a rapid meaningless voice.
4.
5.
She didn’t crowd him either.
About a year ago, rumors that Brown had a drug problem began
to surface.
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Many students find it difficult to complete a test in the time allowed. Finishing on time takes practice and requires you to budget the time you have.
7. Mrs Tower pursed her lips.
8. In high school, Honey was known as the Wallflower. She attended school dances and parties by herself, and smiled and tried not
to show how miserable she was.
9. Letters of recommendation represent another form of doublespeak. In their zeal to put nothing outrightly bad in black and
white, recommendors fall into a cold language. In certain contexts, when they say someone is “quiet”, they mean “ineffectual”; “solid”, when they mean “mediocre”; “unflamboyant”, when
they mean “dull”, and “versatile”, when they mean “not particularly good in anything”.
10. She smiled thinly.
6.
Çàäàíèå 4. Ïåðåâåäèòå ïðåäëîæåíèÿ, ïðîàíàëèçèðîâàâ êîíêðåòíûå
óêàçàíèÿ â êîíòåêñòå íà íåîáõîäèìîñòü âûáîðà îïðåäåë¸ííûõ çíà÷åíèé âûäåëåííûõ ñëîâ.
1. Provided that details of their performance are given as soon as
possible after the test, the students should be able to learn from
their weaknesses. In this way a good test can be used as a valuable teaching device.
2. A test which sets out to measure students’ performances as fairly
as possible without in any way setting traps for them can be effectively used to motivate them.
3. Successful communication in situations which simulate real life
is the best test of mastery of a language. It can thus be argued
that fluency in English — a person’s ability to express facts, ideas, feelings and attitudes clearly and with ease, in speech or in
writing, and the ability to understand what he or she hears and
reads — can best be measured by tests which evaluate performance in the language skills. Listening and reading comprehension tests, oral interviews and letter-writing assess performance
in those language skills used in real life.
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4. Some athletes take drugs to improve their performance.
5. They gave a superb performance of Arthur Miller’s play “The
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
Crucible”.
The first performance of the opera was in 1936.
Listening and reading comprehension texts, oral interviews and letter-writing assess performance in those language skills in real life.
Furthermore, no student can be described as being proficient in
a language simply because he or she is able to discriminate between two sounds or has mastered a number of structures of the
language.
Honey’s grades improved dramatically, and she was suddenly even
more popular than her sisters had been in their high school days.
In the meantime, hip-joint technology progressed dramatically.
Your life will change dramatically, when you have a baby.
Cases of brain injury dramatically demonstrate the importance
of transferring information out of short-term and into long-term
memory.
And during the last 200 years there has been dramatic everincreasing destruction of the web of life on earth.
Residents of the Area (Chernobyl nuclear plant) continue to experience dramatic rises in cases of thyroid disease, anemia, and
cancer as well as a drop in immunity levels.
Dictatorship, however, involves costs which the American people will never pay. The cost of our spiritual values. The cost of
the blessed right of being able to say what we please. The cost of
freedom of religion. The cost of seeing our capital confiscated.
The cost of being cast into concentration camp. The cost of being afraid to walk down the street with the wrong neighbor. The
cost of having our children brought up, not as free and dignified
human beings, but as pawns molded and enslaved by a machine.
Çàäàíèå 5. Ïåðåâåäèòå ñëåäóþùèå ïðåäëîæåíèÿ, óÿñíèâ êîíòåêñòóàëü-
íîå çíà÷åíèå ñëîâ, âûçûâàþùèõ òðóäíîñòè.
1. The pattern of destiny seemed clear: down and down, and down.
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2.
3.
4.
5.
6.
7.
8.
9.
10.
Researchers have developed a blood test for pregnant women
which can tell sex of their baby, it was announced yesterday.
In a cybercafe or cyber-pub you may take refreshment while accessing the Internet.
And when we were telepathed we walked forward — one at a
time up the steps into this building.
Van Horne was trying to collect his dignity. “Listen ) <...>,” he
said. “What’s this attitude that I owe you anything? I took you
in, I gave you eats and a little relief from your lousy lives”.
Cybernaut today refers to someone who is “travelling” in
cyberspace — a person who uses computers to communicate.
Julie shifted slightly and I felt another small pressure on my foot,
a very soft naked pressure.
Tenants face huge rent rises. Housing costs set to rocket under
new laws.
Students in a number of Scottish colleges staged their own protests with overnight sleep-ins.
Her good qualities were immediately compromised by the fact
that although willing she was almost unhelpful.
ÏÅÐÅÂÎÄ ÈÌ¨Í È ÍÀÇÂÀÍÈÉ
Ïî õàðàêòåðó íîìèíàöèè èìåíà ñîáñòâåííûå (â îòëè÷èå îò íàðèöàòåëüíûõ èì¸í ñ èõ ôóíêöèåé îòíåñåíèÿ ê êëàññó ïðåäìåòîâ) îáëàäàþò èäåíòèôèöèðóþùåé ôóíêöèåé.  êà÷åñòâå îáúåêòà âûäåëåíèÿ — ðåôåðåíòà — âûñòóïàþò ëþäè, æèâîòíûå, ãåîãðàôè÷åñêèå
îáúåêòû, àñòðîíîìè÷åñêèå îáúåêòû, êîðàáëè, ïàðòèè, êîìïàíèè,
îðãàíèçàöèè, ðàçíîîáðàçíûå îáúåêòû êóëüòóðíîãî íàçíà÷åíèÿ (êíèãè, êàðòèíû, ôèëüìû), ïðåäìåòû êóëüòà è ò.ï. Âñå ýòè âèäû èì¸í ñîáñòâåííûõ îáëàäàþò çíà÷åíèåì ïðåäìåòíîñòè, èíäèâèäóàëèçèðîâàíû,
îñíîâàíû íà ïðèíÿòèè èõ âñåì ãîâîðÿùèì ñîîáùåñòâîì è ìîãóò íåñòè èíôîðìàöèþ îá èõ ñâîéñòâàõ. Íàïðèìåð, î íàöèîíàëüíîé ïðèíàäëåæíîñòè èëè ñâÿçàííîé ñ íèìè àëëþçèåé: Mrs Grundy — êíÿãèíÿ Ìàðüÿ Àëåêñåâíà. Èìåíà ñîáñòâåííûå ÿâëÿþòñÿ ôàêòàìè
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ìåæúÿçûêîâîãî è ìåæêóëüòóðíîãî çàèìñòâîâàíèÿ. Ïðèíöèïû, íà
êîòîðûõ îñíîâàíà ïåðåäà÷à èì¸í ñîáñòâåííûõ, ìíîãî÷èñëåííû è
âåñüìà ïðîòèâîðå÷èâû.  ïðàêòè÷åñêîé äåÿòåëüíîñòè ïåðåâîä÷èê
îïèðàåòñÿ íà èìåþùèåñÿ ó ýòèõ ñëîâ ñîîòâåòñòâèÿ. Èñòî÷íèêè òàêîé èíôîðìàöèè — ýíöèêëîïåäè÷åñêèå ñëîâàðè è ñïðàâî÷íèêè. Áåçýêâèâàëåíòíûå èìåíà ñîáñòâåííûå ïåðåäàþòñÿ ñ ó÷¸òîì íàïèñàíèÿ
è çâó÷àíèÿ, âîçìîæíûõ àíàëîãèé, òðàäèöèé èëè ñóùåñòâóþùèõ ñõåì
ïåðåäà÷è ôîíåì îäíîãî ÿçûêà ôîíåìàìè äðóãîãî. Áëàãîçâó÷èå è ëîãè÷åñêàÿ ãðàììàòè÷åñêàÿ àäàïòàöèÿ ê óñëîâèÿì íîâîãî ÿçûêà ñîçäàþò áëàãîïðèÿòíûå âîçìîæíîñòè äëÿ âíîâü ââåä¸ííîãî èìåíè ñîáñòâåííîãî.  öåëîì ðÿäå èì¸í ñîáñòâåííûõ âîçìîæíû âàðèàöèè è
âûáîð ìåæäó òðàíñêðèïöèåé è òðàíñëèòåðàöèåé. Òåì íå ìåíåå ïåðåâîä÷èê äîëæåí âûñòðîèòü ñèñòåìó ïðèîðèòåòîâ è ñëåäîâàòü åé â ñâîåé
ñòðàòåãèè ïåðåäà÷è èì¸í ñîáñòâåííûõ. Èññëåäîâàòåëü ïåðåâîä÷åñêèõ ïðîáëåì, ñâÿçàííûõ ñ èìåíàìè ñîáñòâåííûìè, Ä.È. Åðìîëîâè÷ ,
1
ïðåäëàãàåò ñëåäóþùèå ðåêîìåíäàöèè äëÿ ïåðåâîäà:
1) óáåäèòüñÿ, ÷òî â òåêñòå âñòðåòèëîñü èìÿ ñîáñòâåííîå êàê íàçâàíèå èíäèâèäóàëüíîãî ïðåäìåòà;
2) îïðåäåëèòü ïî êîíòåêñòó êëàññ ïðåäìåòîâ (äåíîòàòîâ), ê êîòîðîìó îòíîñèòñÿ èìÿ ñîáñòâåííîå;
3) îïðåäåëèòü íàöèîíàëüíóþ ñïåöèôèêó èìåíè (Ïèòåð, Ïåòåð,
Ïüåð, ϸòð);
4) ñâåðèòü ïî ñëîâàðþ íàëè÷èå òðàäèöèîííûõ ñîîòâåòñòâèé;
5) ïîñëå ýòîãî ïðèíèìàòü ðåøåíèå, ðóêîâîäñòâóÿñü õàðàêòåðîì
òåêñòà. Ïðè èñïîëüçîâàíèè òðàíñêðèïöèè ñëåäóåò ó÷èòûâàòü
àíàëîãè÷íûå ñëó÷àè, à òàêæå õàðàêòåð êîíòåêñòà. Âèäû ñîîòâåòñòâèé, îáîáù¸ííûå ïåðåâîä÷åñêîé ïðàêòèêîé, äîñòèãàþòñÿ ñëåäóþùèìè äåéñòâèÿìè.
1. Ïåðåíîñ èìåíè ñîáñòâåííîãî â ãðàôèêå èñõîäíîãî òåêñòà (õàðàêòåðåí äëÿ äåëîâûõ, ãàçåòíûõ òåêñòîâ, íàçâàíèé ìóçûêàëüíûõ
ãðóïï è ñîâðåìåííûõ ìóçûêàëüíûõ ïðîèçâåäåíèé, à òàêæå íàçâàíèé
êîìïàíèé è äðóãèõ ðàçíîîáðàçíûõ ñëó÷àåâ). Íàïðèìåð:
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Åðìîëîâè÷ Ä.È. Èìåíà ñîáñòâåííûå íà ñòûêå ÿçûêîâ è êóëüòóð. — Ì.:
Ð. Âàëåíò, 2001. Ñ. 32—36.
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A handful of technicians escorted Langdon onto the runway to
tend to the X-33.
— X-33 ñî âñåõ ñòîðîí îáëåïèëè òåõíèêè íàçåìíîãî îáñëóæèâàíèÿ.
La Cava Romana! The marble quarries north of the city were less
than three miles away — Êàðüåðû! — ïîäóìàë Ëýíãäîí — La
Cava Romana!
Âî âòîðîì ïðèìåðå äîïîëíèòåëüíî èñïîëüçîâàëîñü ïîÿñíåíèå.
2. Ïåðåâîññîçäàíèå ôîíîãðàôè÷åñêîé ôîðìû ñëîâà ñ ïîìîùüþ
òðàíñêðèïöèè è òðàíñëèòåðàöèè:
“And how are you?” said Winnie-the-Pooh. Eeyore shook his
head from side to side. “Not very how” he said. — A êàê òâî¸
(ñàìî÷óâñòâèå)? — ñïðîñèë Âèííè-Ïóõ. Èà ïîêà÷àë ãîëîâîé. —
Íå î÷åíü êàê! — ñêàçàë îí.
3. Èñïîëüçîâàíèå äðóãîãî èìåíè ñîáñòâåííîãî, èäåíòè÷íîãî îðèãèíàëüíîìó ïî ñåìàíòèêå è êîííîòàöèÿì, â óñëîâèÿõ, êîãäà êîììåíòèðóþùèé, óòî÷íÿþùèé è îïèñàòåëüíûé ïåðåâîä îñëàáëÿåò ýêñïðåññèâíîñòü èìåíè.
Çàäàíèå 1.
Îïðåäåëèòå ñïîñîá ïåðåäà÷è ñëåäóþùèõ èì¸í íà ðóññêèé
ÿçûê, ñîïîñòàâèâ èõ çâó÷àíèå è íàïèñàíèå.
Truman Capote [,tru:m@nÿk@,pouti:] — Òðó2ìýí Êàïî2òå
David Copperfield [
,
deividÿkOp@fi:ld] — Äý2âèä Êî2ïïåðôèëä
Van Eyck [v{nÿ
,
,
aiz@nd] — Áà2ðáðà Ñòðå2éçàíä
aik] — Âàí Ýéê
Barbra Streisand [str
,
Clement Studebaker [ stu:d@beik@] — Êëå2ìåíò Ñòóäåáå2êåð
Jens Otto Harry Jespersen [
Scarlet O’Hara [sk
,
,
,
jesp@sn]
2
,
,
köTb@tÿ fO:kn@ ]
Ôîëêíåð
{l@/ÿ{la:] — Àëëà2õ
Ali Baba [ {liÿ ba:b@] — Àëè2 Áàáà2
Allah [
,
,
Odysseus [@
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,
,
2
2
— Éåíñ Îòòî Õàððè Åñïåðñåí
a:l@tÿouÿ ha:r@/ h@er@] — Ñêà2ðëåò ΒÕà2ðà
William Cuthbert Faulkner [
2
,
disju:s/@,disi@/@,diS@s] — Îäèññå2é
2
2
—Óè ë üÿì Êà ò áåðò
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Odyssey [ Odisi
,
,
2
] — Îäèññåÿ
2
Aida [ai i:d@] — Àèäà
,
2
Oedipus [ i:dip@s] — Ýäèïîâ [êîìïëåêñ]
Ivanhoe [
,
aiv(@)nhou] — Àéâå2íãî
Sherlok Holmes [
,
houmz] — Øå2ðëîê Õîëìñ
Winston Leonard Spencer Churchill [
2
2
2
2
winstnÿ
,
,
len@dÿ spens@ÿÿtS@:tSil] —
Óèíñòîí Ëåîíàðä Ñïåíñåð ×åð÷èëëü
Don Quixote [
dOnÿ,kwiks@t/ki,houti:] — Äîí(-)Êèõî2ò
,
2
Jane Seymour [ si:m@] — Äæåéí Ñåéìóð
Çàäàíèå 2. Íàéäèòå ðóññêèå ñîîòâåòñòâèÿ ñëåäóþùèõ èì¸í. Ïî êàêèì
ïðàâèëàì îíè ïåðåäàíû?
George William Carlisle, Francis Scott Key Fitzgerald, Ella Fitzgerald,
Mercury, Freddy Mercury, Queen of Spades, Joan Sutherland, John
Ronald Reuel Tolkien, James Grover Thurber, George Stubbs,
Methuselah, Grace Kelly, Sigmund Freud, Ray Bradbury, Jane Eyre,
David Wark Griffith, Kim Il Sung, Sean O’Casey, Circe.
Çàäàíèå 3. Ïðîàíàëèçèðóéòå ïðèíöèïû è âàðèàíòíîñòü â ñëåäóþùèõ
èìåíàõ ïî ñëîâàðþ ïåðñîíàëèé Ä.È. Åðìîëîâè÷à .
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Jagger, Mick; Burroughs, Edgar Rice; Dr. Jekyll and Mr. Hyde; Kipling,
Joseph Rudyard; Steinbeck, John Ernst; Webster, Noah; Nixon, Richard Milhous; Wells, Herbert George; Cummings, Edward Estlin;
Balthazar; Bentham, Jeremy; Berlioz, Hector; Flanders Moll; Huges
Langston; Bosch, Hieronymous; MacDowell, Edward Alexander;
Ivanhoe / Wilfred of Ivanhoe.
Çàäàíèå 4. Íàéäèòå ðóññêèå ñîîòâåòñòâèÿ ñëåäóþùèì àíãëèéñêèì èìå-
íàì è èõ óìåíüøèòåëüíûì ôîðìàì. Ïðîñëåäèòå òåíäåíöèè
â èõ ïåðåäà÷å. Ïðîâåðüòå ïî ñëîâàðÿì.
Andrew, Anne, Basil, Charles, Daniel, Edward, Elizabeth, Emma, James,
Jennifer, Margaret, Mary, Richard, Valentine, William.
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Åðìîëîâè÷ Ä.È. Àíãëî-ðóññêèé ñëîâàðü ïåðñîíàëèé. The English-Russian
Who’s Who in Fact and Fiction. — Ì.: Ðóñ. ÿç., 1993. Ñ. 31.
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Çàäàíèå 5.
Êàê ïåðåäàþòñÿ íà ðóññêèé ÿçûê ñëåäóþùèå ôàìèëèè?
Barrimore, Bartlett, Benbow, Blake, Cartwright, Greenaway, Hubbard,
Methew, Mitchell, Poppins, Pritchard, Russell, Simpson, Thurber,
Thorndyke, Thatcher, Vancouver, Wilde, Wilson.
Çàäàíèå 6. Ïðîâåðüòå, ïðàâèëüíî ëè ïåðåäàíû íà ðóññêèé ÿçûê ñëåäóþùèå èìåíà èç ãàçåò.
Ýíäðþ Òîìàñ, ×åííèíã Ïîëëîê, Ëèíäà Òðèïï, Ïîëà Äæîíñ, Ãåíðè
Õàéä, Äåííèñ Õîóï, Áèëë Êëèíòîí, Ñàìþýëü Õàò÷èíñîí, Äæåéìñ
Áîíä, Øîí Êîííåðè, Ðîäæåð Ìóð, Ïèðñ Áðîñíàí, Ìàéêë Êåííåäè,
ßí Ôëåììèíã, Ìàðòèí Ôåíèâýë Äæîóíñ, Äæîí Ðåííè, Íîýëü Êàóàðä,
Ìîíèêà Êëýð, Ïýì Êåëëè.
Çàäàíèå 7. Íå ïîëüçóÿñü ñëîâàðåì, ïåðåäàéòå íà ðóññêèé ÿçûê ñëåäóþ-
ùèå àíãëèéñêèå èìåíà.
James Keir Hardy, David Livingstone, Henry Spencer Moore,
Montezuma, Bernard Law Montgomery, Bethsabe, Augustine Birrell,
John Birch, Frankenstein, James Augustine Aloysius Joyce, Eric Blair,
George Orwell, Walter Raleigh, William Somerset Maugham, Edwin
Mattison Macmillan, John Sholto Douglas Queensberry.
Òåïåðü ñâåðüòåñü ñî ñëîâàðåì
èëè ñ ýíöèêëîïåäèåé. Ñîñòàâüòå äëÿ
ñåáÿ íåêèé ñâîä ïðàâèë ïåðåäà÷è èì¸í ñîáñòâåííûõ.
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Çàäàíèå 8. Ïåðåâåäèòå ñëåäóþùèé òåêñò, îáðàùàÿ âíèìàíèå íà ïåðåäà÷ó èì¸í ñîáñòâåííûõ.
ACKNOWLEDGMENTS
I record first my deep gratitude to two friends, Steven Marcus and
Patricia Meter Spacks, who not only provided me a liberal education
over the course of four summers at the National Humanities Center in
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Íàïðèìåð, Åðìîëîâè÷ Ä.È. Àíãëî-ðóññêèé ñëîâàðü ïåðñîíàëèé. The EnglishRussian Who’s Who in Fact and Fiction. — Ì.: Ðóñ. ÿç., 1993.
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North Carolina, but also, in Steven’s case, found — and not once but
twice — an ideal place for me to work and, in Pat’s case, read — and
not once but twice — the entire manuscript of this book. I am equally
grateful to James M. Cox, who has nourished me with ideas and more
for over twenty years. Josie Dixon, of Cambridge University Press, followed the work from near the beginning to the end with always thoughtful advice. Porter Abbott has offered hospitality and assistance beyond
anything one might have expected. Michael Griffith and Nicola Mason,
of The Southern Review and Louisiana State University Press, cast an
expert editorial eye over the manuscript and, in so doing, improved it
immeasurably. Brenda Mason, also of The Southern Review, did heroic
work in subduing a recalcitrant text to the elegant wonders of the computer. A generous leave policy at Lousiana State University allowed me
to do the book as I thought it had to be done, and the Heyman Center for
the Humanities at Columbia University provided, in 1993—94 and again
in 1996, an undisturbed atmosphere for accomplishing the work. I have
been helped to the same end by conversations with various colleagues
at LSU: Lewis P. Simpson, Dave Smith, J. Gerald Kennedy, Daniel Mark
Fogel, Panthea Reid, John Irwin Fischer, Joseph Kronick, Michelle and
Jess Gellrich, and Nat and Betsy Wing. Graduate students at LSU (of
whom I will name but three to stand for all the others: Margaret Bass,
Donna Perreault, and Martha Regalis) have contributed more than they
can possibly recognize over the past fifteen years, as also have the seventy-two participants in the six seminars for college teachers I directed
for the National Endowment for the Humanities beginning in 1981. I
am indebted 33 to professional colleagues at other universities who made
helpful interventions at important moments: Donald Phillip Verene of
Emory University, Germaine Bree of Wake Forest University, James
McConkey of Cornell University, Gertrud Lenzer of Brooklyn College,
Eugene Stelzig of SUNY/Geneseo, Paul John Eakin of Indiana University, Georges Gusdorf of the University of Strasbourg, Michael
Sheringham of the University of London, James F. Jones, Jr., of Southern Methodist University, Philippe Lejeune of the University of ParisNord, Mary Lydon of the University of Wisconsin, Daniel Albright of
the University of Rochester. <...> Alan Thomas, Randolph Petilos, and
Leslie Keros have been wonderfully sympathetic editors at the Univer-
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Memory and
Narrative with a sure eye and with the author’s interest always at
sity of Chicago Press. Michael Koplow has copyedited
heart. Marianne Jankovski is responsible for the book’s superb design, and Dave Aftandilian has been assiduous in promoting it. To
everyone at the Press I offer thanks. Likewise to the staff at the National Humanities Center where this project (all unknown to myself)
was begun, and in particular to Kent Mullikin, who, while everyone
else has come and gone for twenty years, has remained at the Center,
a steady and steadying figure of intelligence, integrity, and grace.
The John Simon Guggenheim Memorial Foundation supported my
work at the Humanities Center with a fellowship and has now gained
my redoubled gratitude with a subvention to aid in publication of the
book. Finally, Laura O’Connor has been so much a part of the writing this book that my memory of its making can scarcely draw the
line between what was hers, what was mine. I cannot find words equal
to my indebtedness and so fall back on the simplest of expressions:
thank you.
(From James Olney, Memory & Narrative. The Weave Of Life-Writing,
The University of Chicago Press, 1998, 430 pp., pp. ix—x)
ÏÅÐÅÂÎÄ ÇÀÃËÀÂÈÉ
Çàãëàâèå (íàçâàíèå) ïðåäñòàâëÿåò ñîáîé îäèí èç ñòðóêòóðíûõ
ýëåìåíòîâ òåêñòà è ÿâëÿåòñÿ ñðåäñòâîì ðóáðèêàöèè, îòðàæàþùèì
â ëàêîíè÷íîé ôîðìå ãëàâíóþ èäåþ öåëîñòíîãî òåêñòà èëè åãî ÷àñòåé (çàãîëîâîê).  ïåðåâîä÷åñêîé ëèòåðàòóðå îïèñàíû äâà òèïà çàã4
ëàâèé êíèã èëè ñòàòåé: íàçâàíèå îïèñàòåëüíîå è íàçâàíèå ñèìâîëè÷åñêîå. Îïèñàòåëüíîå íàçâàíèå íåïîñðåäñòâåííî ïåðåäà¸ò òåìó,
êàê ïðàâèëî, íàçûâàåò èìÿ ãëàâíîãî ïåðñîíàæà (Jane Eyre), âîçìîæíî óêàçàíèå íà æàíð (American Tragedy). Ýòîò òèï íàçâàíèé
ðàíåå âûïîëíÿë ôóíêöèþ îãëàâëåíèÿ è îòëè÷àëñÿ äëèíîé (âñïîìíèì ïðîèçâåäåíèÿ ×. Äèêêåíñà). Äëÿ ïåðåâîäà òàêèå çàãîëîâêè íå
äîëæíû ïðåäñòàâëÿòü òðóäíîñòè, òàê êàê îíè íåñóò ïîñëåäîâàòåëü4
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Ëåâûé È. Èñêóññòâî ïåðåâîäà. — Ì.: Ïðîãðåññ, 1973.
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íóþ èíôîðìàöèþ î ñîáûòèÿõ è ëèöàõ. Ïåðåâîä÷èêè ìîãóò èõ ñîêðàùàòü èëè ñîõðàíÿòü öåëèêîì, íàïðèìåð, â öåëÿõ ïåðåäà÷è ñòèëèçàöèè.
Íàçâàíèÿ ñèìâîëè÷åñêèå ïðåäñòàâëÿþò íå îïèñàíèå, à îáðàçíóþ ïåðåäà÷ó òåìû. Òàêèå íàçâàíèÿ ïåðåäàþò ñìûñë òåêñòà êðàòêî, ñèìâîëè÷íî, îñòàâëÿÿ ÷èòàòåëþ âîçìîæíîñòü ïðåäïîëàãàòü åãî
ñîäåðæàíèå. Òàêàÿ ôîðìà ïîäà÷è çàãëàâèÿ ñëåäóåò äâóì ïðèíöèïàì: îíî äîëæíî ëåãêî çàïîìèíàòüñÿ è áûòü ïðîñòûì ïî ôîðìå (äâó÷ëåííûå ñî÷åòàíèÿ, áèíàðíûå ôðàçåîëîãè÷åñêèå åäèíèöû; ðåæå
òð¸õ÷ëåííûå ñî÷åòàíèÿ), à òàêæå áûòü âûðàçèòåëüíûì, áðîñêèì,
ïðèâëåêàòü âíèìàíèå. Àôîðèñòè÷íîñòü ñòðóêòóðû è îáðàçíàÿ âûðàçèòåëüíîñòü ñ ýëåìåíòîì èíòðèãóþùåé çàãàäî÷íîñòè, êàê ïðàâèëî, îòâå÷àåò òðåáîâàíèÿì ñïåöèôèêè ÿçûêîâûõ ñðåäñòâ îðèãèíàëà.
Íàáëþäàÿ çà ïåðåâîäîì íàçâàíèé, ìîæíî îáíàðóæèòü, ÷òî íàðÿäó ñ ñîõðàíåíèåì çàãëàâèÿ ñóùåñòâóåò è ÿâíàÿ òåíäåíöèÿ ê èõ
ïåðåâûðàæåíèþ è äàæå îòêëîíåíèþ îò îðèãèíàëà. ×àñòî ýòî ïðîèñõîäèò ñ íàçâàíèÿìè, â ñîñòàâ êîòîðûõ âõîäÿò íåçíàêîìûå èìåíà
ñîáñòâåííûå è òîïîíèìû, èëè ïî ÷èñòî êîììåð÷åñêèì ñîîáðàæåíèÿì. Ñìûñëîâûå îòêëîíåíèÿ ïðè ýòîì ñëåäóåò ñ÷èòàòü èçäåðæêàìè ïåðåâîäíîãî ïðîöåññà, ðåçóëüòàòîì íåáðåæíîñòè, êîãäà çàãëàâèå ïåðåâîäèòñÿ áåç ïðî÷òåíèÿ âñåãî òåêñòà.  òàêèõ ïåðåâîäàõ
÷àñòî íàáëþäàåòñÿ è æåëàíèå ïåðåâîä÷èêà ïîÿñíèòü, èñòîëêîâàòü
ïðîèçâåäåíèå. Òàê, ïåðåâîä ðîìàíà Ôèëèïà Ðîòà «The Human
Stain» íà ðóññêîì ÿçûêå íàçûâàåòñÿ «Ëþäñêîå êëåéìî» (Philip
Roth. The Human Stain. Vintage Books, New York, 2001. — Winner
of the PEN/Faulkner Award), à åãî êèíåìàòîãðàôè÷åñêîå âîïëîùåíèå «Çàïÿòíàííàÿ ðåïóòàöèÿ», íî íè îäíî èç íàçâàíèé íå ïåðåäà¸ò
ñìûñë îðèãèíàëüíîãî íàçâàíèÿ, ëèøü ÷àñòè÷íî àêöåíòèðóÿ ïîíÿòîå ïåðåâîä÷èêàìè ñîäåðæàíèå. ×àñòî íà ïåðåâîä íàçâàíèÿ âëèÿåò
èçäàòåëü èëè êîíúþíêòóðà ðûíêà. Òåì íå ìåíåå ãëàâíîå óñëîâèå
òî÷íîãî ïåðåâîäà çàãîëîâêà, êàêèì áû îí íè áûë ïî òèïó, — îáñòîÿòåëüíîå ïðî÷òåíèå öåëîñòíîãî òåêñòà, òî÷íàÿ ñâåðêà ñåìàíòèêè ñîñòàâëÿþùèõ çàãîëîâêà ïî ñëîâàðþ è ñîîòíåñåíèå çàãëàâèÿ ñ
ñîäåðæàíèåì òåêñòà, ôîðìîîáðàçóþùèì ýëåìåíòîì êîòîðîãî îíî
ÿâëÿåòñÿ.
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Çàäàíèå 1. Ïðåäëîæèòå âàðèàíòû ïåðåâîäà íàçâàíèé ñëåäóþùèõ
ó÷åáíûõ ïîñîáèé. Ïðîàíàëèçèðóéòå ñïîñîáû è ñðåäñòâà èõ
ïåðåäà÷è.
— teaching grammar through songs.
— a resource book of project work for
young students (elementary to upper intermediate).
3. Activity Box — a resource book for teachers of young students
(elementary to proficiency).
4. Learning to Learn English — a course in learner training by
Gail Ellis and Barbara Sinclair (lower — upper intermediate).
5. Write to Be Read — reading, reflection, and writing (+revision). Using thought-provoking reading selections that explore
values and ideals.
6. Personalizing Language Learning by Griff Griffiths and Kathy
Keohane provides a range of ready-to-use materials and practical guidance for teachers who are looking for ways to make their
language teaching less attached, and more entered on the individual learner.
7. Mentor Courses — a resource book for trainer-trainers by Angi
Malderez and Caroline Bodoczky.
1. Singing Grammar
2. Imaginative Projects
Çàäàíèå 2. Ïåðåâåäèòå ñëåäóþùèå òåêñòû, ïîäãîòîâüòå ïðèìå÷àíèÿ ê
ïåðåâîäèìûì íàçâàíèÿì è èìåíàì.
1. WILLIAM
BLAKE’S LOST SKETCHES
COULD FETCH L 1/2 M AT AUCTION
A scruffy-looking sketch-book which has turned up at Christie’s for
auction next month contains drawings by William Blake (1757—1827).
The book was sold at Christie’s in 1864 for five guineas and vanished
from the view of scholars and specialists. It is expected to fetch at least
‡500,000 but observers fear it will be sold abroad or, even worse, broken up by the new owner and sold piecemeal. The visionary was friendly
with John Varley and John Linnell, also artists. Varley wanted to pro34
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duce a four-volume work proving his theory that a person’s face reveals
his or her character and asked Blake to draw the faces of characters from
history as he “saw” them — tyrants, men of imagination, murderesses
and others. Among them are the young Milton, Thomas `a Becket, Colonel Blood (who stole the crown jewels from the Tower), Mary Queen of
Scots, Ossian, Jack Sheppard the highwayman, and the archer who killed
Richard I and was flayed to death. Christie’s refuses to reveal the identity of the owner except to say that he or she is “a British private collector.” Nor will the firm say where the sketch-book has been since 1864.
But the auctioneers will say that the book has almost certainly been in
Britain for at least 50 years and would need an export licence before it
could be sold abroad.
(The Guardian, 1988)
Wars are frequently named for their cause (War of the Spanish
Succession), national, regional or partisan involvement (Boer
War, Civil War, Wars of the Roses) or length (Hundred Years
War, Thirty Years War). Battles are usually named for their site
or approximate location (Battle of Agincourt, Battle of Hastings,
Battle of Waterloo).
3. Names of plots, mutinies, treaties, laws, and parliaments vary
considerably. Even so, many of them are familiar, such as the
Addled Parliament, Boston Tea Party, Boxer Rebellion, <...>
Commonwealth, <...> Danelaw, <...> Grand Remonstrance,
<...> Long Parliament, Magna Carta, Reformation, Restoration,
<...> Triple Alliance.
4. <...> Fictional characters have been drawn from a wide range of
literature, from classical works to children’s fiction. They embrace both people and animals and include, among others,
Ayesha, Bagheera, Cinderella, Frankenstein, <...> Hiawatha,
Ivanhoe, Mephistopheles, <...> Mowgli, Pantagruel,
Quasimodo, Rob Roy, <...> Tartuffe, Tarzan and Winnie-thePooh.
2.
(Brewer’s Dictionary of Names,
Cassel Publishers, Ltd., 1992, p. xii)
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Çàäàíèå 3. Ïðîàíàëèçèðóéòå ñïîñîáû ïåðåäà÷è íàçâàíèé ïîï-ãðóïï â
ðóññêèõ ãàçåòàõ, çàòåì ïåðåâåäèòå ñëåäóþùèé òåêñò.
Some pop group names are apparently meaningless. Others are
plain surreal, despite their formation from standard English words. An
origin is therefore required, and in most cases is provided for such names as
Black Sabbath, Boomstown Rats, Deep Purple, <...> Genesis, <...> Guns
N’ Roses, Hot Chocolate, Human League, Humble Pie, Iron Maiden,
<...> New Order, Pretty Things, <...> Sex Pistols, Small Faces, Spooky
Tooth, Talking Heads, Tears for Fears, <...> Ten Years After, and Yes. A
sort of subgroup here is formed by names consisting of a monosyllabic
word preceded by The, such as The Clash, The Cream, The Cure, The
Damned, The Doors, The Kinks, The Move, The Who and even The
The. <...> Some groups have based their names on book titles, such as
<...> Manhattan Transfer, Soft Machine, Supertramp. <...> Then there
are the groups with creatively original names, in non-standard English
(or even not in English at all), such as Bananarama, Depeche Mode,
Duran Duran, Led Zeppelin, <...> Procol Harum, Shakatak, Sha Na
Na, Showaddywaddy <...>
(Brewer’s Dictionary of Names,
Cassel Publishers, Ltd., 1992, Musical Names, p. XVII)
Çàäàíèå 4. Ïåðåâåäèòå òåêñòû. Îïðåäåëèòå òðóäíîñòè ïåðåâîäà íàç-
âàíèé è ñâåðüòå èõ ñ ñóùåñòâóþùèìè ïåðåâîäàìè íàçâàíèé.
1. NOTHING LASTS FOREVER
Sidney Sheldon
Sidney Sheldon is the author of The Other Side of Midnight, A
Stranger in the Mirror, Bloodline, Rage of Angels, Master of the Game,
If Tomorrow Comes, Windmills of the Gods, The Sands of Time, Memories of Midnight, The Doomsday Conspiracy, The Stars Shine Down,
Nothing Lasts Forever and Morning, Noon and Night, all Number One
international bestsellers.
His first book, The Naked Face, was acclaimed by the New York
Times as “the best first mystery of the year”. Mr Sheldon has won Tony
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Award for Broadway’s Redhead and an Academy Award for The Bachelor and Bobby Soxer. Rage of Angels, Master of the Game, Windmills
of the Gods, and Memories of Midnight have been made into highly
successful television mini-series.
He has written the screenplays for twenty-three motion pictures,
including Easter Parade (with Judy Garland) and Annie Get Your Gun.
He also created four long-running television series, including Hart to
Hart and I Dream of Jeannie, which he produced.
He was awarded the 1993 Prix Litteraire de Deauville, from the
Deauville Film Festival. Mr Sheldon and his wife live in southern California and London.
2. FAY WELDON
Fay Weldon was born and brought up in New Zealand and went to
St. Andrew’s University, where she graduated in Economics and Psychology. After a decade of odd jobs and hard times, she started writing
and now, though primarily a novelist (Praxis, Puffball, The Life and Loves
of a She-Devil, The Shrapnel Academy, Leader of the Band, and The
Cloning of Joanna May), she has also two collections of short stories
published 39 (Polaroid and Watching Me, Watching You) and writes
radio and television plays.
Çàäàíèå 5. Ïåðåâåäèòå ïðåäëîæåíèÿ, îáðàùàÿ âíèìàíèå íà ïåðåäà÷ó
íàçâàíèé.
1. She visited the Great Zoo with Aunt Sophie and spent Sundays
at the Valleyfair Amusement Park. She went on the hay rides at
Cedar Creek Farm, and watched knights in armor jousting at
the Shakopee Renaissance Festival.
2. They spent three incredible days at a small hotel in Hawaii, called
Sunny Cove.
3. When Hunny was not working, she would go off and explore
Memphis by herself. She visited Graceland, where Elvis Presley
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had lived, and walked down Beale Street, where the blues started. She wandered through the Pink Palace Museum, and the
Planetarium, with its roaring, stumping dinosaur.
Whenever Paige, Kat, and Honey were free on the same day they
went out exploring San Francisco. They visited the Dutch Mill
and the Japanese Tea Garden. They went to Fisherman’s Wharf
and rode the cable car. They went to see plays at the Curran
Theater, and had dinner at the Maharani on Post Street.
5. He took her to the Iron Horse, and they had a delicious dinner.
6. Jason adopted the nasal tone of a tour guide. “Ladies and gentlemen, for your information, the oldest street in San Francisco is Grant
Avenue, the longest is Mission Street — seven and a half miles
long — the widest is Van Ness Avenue at one hundred twenty-five
feet, and you’ll be surprised to know that the narrowest, DeForest
Street, is only four and a half feet. The steepest street we can offer
you is Filbert Street, with a thirty-one and a half percent grade.”
<...> They went up to Coit Tower for a view of the city.
4.
Çàäàíèå 6. Ïåðåâåäèòå íàçâàíèÿ ñëåäóþùèõ îðãàíèçàöèé.
Food and Agricultural Organization; International Labour Organization;
International Bank of Reconstruction and Development; World Health
Organization; European Free Trade Association; European Economic
Community; European Council; Bank for International Settlements;
International Monetary Fund; Royal Institute of International Affairs —
Chatham House.
ÏÅÐÅÂÎÄ ÃÅÎÃÐÀÔÈ×ÅÑÊÈÕ ÍÀÇÂÀÍÈÉ
Ãåîãðàôè÷åñêèå íàçâàíèÿ ïðåäñòàâëÿþò ñîáîé èìåíà ñîáñòâåííûå ãåîãðàôè÷åñêèõ îáúåêòî⠗ êîíòèíåíòîâ, ñòðàí, ãîðîäîâ, ðåê,
ãîð, âîçâûøåííîñòåé, ïóñòûíü, îêåàíîâ, ìîðåé, óëèö è ò.ï. —
îáúåäèí¸ííûå îáùèì òåðìèíîì òîïîíèìû. Óñòîÿâøèåñÿ ãåîãðàôè÷åñêèå íàçâàíèÿ ïðè ïåðåâîäå çàòðóäíåíèé íå âûçûâàþò, ïîñêîëüêó
âêëþ÷åíû â ñîîòâåòñòâóþùèå ñëîâàðè, ýíöèêëîïåäèè, ñïðàâî÷íèêè.
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Èñõîäÿ èç îáùåïðèíÿòîé ïðàêòèêè ïåðåäà÷è òîïîíèìîâ, â èíäèâèäóàëüíûõ ãåîãðàôè÷åñêèõ íàçâàíèÿõ èñïîëüçóåòñÿ òðàíñêðèïöèÿ èëè
òðàíñëèòåðàöèÿ è ïåðåâîä: (Kensington High Street — Êåíñèíãòîí-
Õàé-Ñòðèò); Leicester Square — Ëåñòåð-Ñêâåð (ïëîùàäü â Óýñò-Ýíäå,
çàïàäíûé ðàéîí Ëîíäîíà); Kensington Palace Gardens — Êåíñèíãòîí-Ïàëàñ-Ãàðäåíç. Íåðåäêî â òàêèõ ñëó÷àÿõ äîáàâëÿåòñÿ ïðèìå÷àíèå ïåðåâîä÷èêà: * ÷àñòíàÿ óëèöà â Ëîíäîíå, ïðèìûêàþùàÿ ê ïàðêó
Êåíñèíãòîí Ãàðäåíç, èçâåñòíàÿ ðàñïîëîæåííûìè íà íåé ôåøåíåáåëüíûìè îñîáíÿêàìè è äèïëîìàòè÷åñêèìè ïðåäñòàâèòåëüñòâàìè.
Ñëåäóåò ïîìíèòü, ÷òî ìíîãèå òîïîíèìû ìîãóò áûòü íåèçâåñòíû
ïîëó÷àòåëþ èíôîðìàöèè è òðåáîâàòü óòî÷íåíèÿ íà óðîâíå ðîäîâîãî
ïîíÿòèÿ: Windscale — Óèíäñêåéë (ìåñòå÷êî â ãðàôñòâå Êàìáðèÿ, ãäå
íàõîäèòñÿ îäíà èç ïåðâûõ â Âåëèêîáðèòàíèè àòîìíûõ ýëåêòðîñòàíöèé).
Ðîäîâûå íàðèöàòåëüíûå êîìïîíåíòû ãåîãðàôè÷åñêèõ íàçâàíèé (ðåêà,
îçåðî, çàëèâ, óëèöà, ïëîùàäü è ò.ï.) ïåðåâîäÿòñÿ (Kensington Palace —
Êåíñèíãòîíñêèé äâîðåö) è äàæå äîáàâëÿþòñÿ, èíîãäà äóáëèðóÿ èìåþùèéñÿ â íàçâàíèè êîìïîíåíò (Park Lane — óëèöà Ïàðê Ëåéí).
Çàäàíèå 1. Ïðîàíàëèçèðóéòå ñïîñîáû ïåðåäà÷è òîïîíèìîâ, ïî÷åðï-
íóòûõ èç ðîìàíà Òîìàñà Ãàðäè «Òýññ èç ðîäà ĒÝðáåëüâèëëåé».
Vale of Blakemore — Äîëèíà Áëåêìîð, Stagfoot Lane — Ñòåãôóò-Ëåéí,
Battle Abbey — Àááàòñòâî Áåòòë, Kingsbere — Êèíãñáèð, Millpond —
Ìèëïîíä, Lullstead — Ëóëñòåä, Wellbridge — Óýëëáðèäæ, The Pure
Drop — Õàð÷åâíÿ «×èñòàÿ Êàïëÿ», The Forest of White Hart — Ëåñ
Áåëîãî Îëåíÿ, Wessex — Óýññåêñ, Hambledon-Hill — Õåìáëäîí-Õèëë,
Casterbridge — Êýñòåðáðèäæ, Sandbourn — Ñýíäáîðí.
Çàäàíèå 2. Ñäåëàéòå âûâîäû î ñîîòíîøåíèè òðàäèöèè è òåíäåíöèè â
ïåðåäà÷å òîïîíèìîâ íà ìàòåðèàëå ïåðåâîäà ðîìàíà Øàðëîòòû Áðîíòå «Jane Eyre».
Albion — Àëüáèîí, Lapland — Ëàïëàíäèÿ, Ganges — Ãàíã, Northumberland — Íîðòóìáåðëåíä, Calcutta — Êàëüêóòòà, North Cape —
Íîðäêàï, Island — Èñëàíäèÿ, Jamaica — ßìàéêà, Madeira —
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Ìàäåéðà, Brocklebridge — Áðîêëüáðèäæ,End — Ìàðøýíä, Lowood —
Ëîâóä, Thornfield — Òîðíôèëüä, Ferndean Manor — çàìîê Ôåðíäèí,
Whitcross — Óèòêðîññ, Funchal — Ôóí÷àë.
Çàäàíèå 3. Ïðîàíàëèçèðóéòå ñïîñîáû ïåðåäà÷è ñëåäóþùèõ ãåîãðàôè-
÷åñêèõ íàçâàíèé íà ðóññêèé ÿçûê, ñãðóïïèðóéòå èõ è ñôîðìóëèðóéòå âîçìîæíûå ìîäåëè, èñõîäÿ èç ñîîòíåñåíèÿ
ñîáñòâåííîãî è íàðèöàòåëüíîãî êîìïîíåíòîâ íàçâàíèé.
Rock Creek Park — Ðîê-Êðèê ïàðê, the Golden Gate — ïðîëèâ
Çîëîòûå Âîðîòà, Beverly Hills — Áåâåðëè Õèëñ, Coney Island — Êîíè
Àéëåíä, the Grand Canyon — Ãðàíä-Êàíüîí, Arabian Desert —
Àðàâèéñêàÿ ïóñòûíÿ, the Atlantic Ocean — Àòëàíòè÷åñêèé îêåàí,
Bay of Bengal — Áåíãàëüñêèé çàëèâ, Berkshire — Áåðêøèð, Cape
May — ìûñ Êåéï-Ìåé, Cascade Range — Êàñêàäíûå ãîðû, Central
Valley — äîëèíà Ñåíòðàë-Âàëëè, Cook Islands — îñòðîâà Êóêà, Colorado Springs — ã. Êîëîðàäî-Ñïðèíãñ, Chesapeake Bay — ×åñàïèêñêèé çàëèâ, District of Columbia — îêðóã Êîëóìáèÿ, Cumberland
Peninsula — ïîëóîñòðîâ Êàìáåðëåíä, Lake Erie — îç. Ýðè,
Everglades National Park — íàöèîíàëüíûé ïàðê Ýâåðãëåéäñ, Farewell Cape — ìûñ Ôýðóýëë, Flamborough Head — ìûñ ÔëàìáîðîÕåä, Olympic Mountains — ãîðû Îëèìïèê, Long Island — îñòðîâ
Ëîíã-Àéëåíä, Irish Sea — Èðëàíäñêîå ìîðå, Great Barrier Reef —
Áîëüøîé Áàðüåðíûé ðèô, Great Slave Lake — Áîëüøîå Íåâîëüíè÷üå
îçåðî, Great Sandy Desert — Áîëüøàÿ Ïåñ÷àíàÿ ïóñòûíÿ, Green
Mountains — Çåëåíûå ãîðû, Blue Mountains — ãîðû Áëþ-Ìàóíòèíñ
(Ãîëóáûå ãîðû), Gulf-stream — òå÷åíèå Ãîëüôñòðèì, Hollywood —
Ãîëëèâóä, Johnson City — ã. Äæîíñîí-Ñèòè, Missouri — ð. Ìèññóðè,
Malay Archipelago — Ìàëàéñêèé àðõèïåëàã, Stanley — Ñòýíëè
(âîäîïàä), Yellow-River — ð. Ƹëòàÿ, Yellow Sea — Ƹëòîå ìîðå.
Çàäàíèå 4. Ïðî÷òèòå è ñîîòíåñèòå ñëåäóþùèå ãåîãðàôè÷åñêèå íàçâà-
íèÿ ñ èõ ðóññêèìè íàçâàíèÿìè.
Adirondack Mountains, Alaska, Albany, Lake Amadeus, Arctic Ocean,
Bay City, Berkshire, Black Hills, Blue Mountains, Middle East,
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Bosporus, Gulf of Bothnia, Brasilia, Brazyl, British Commonwealth of
Nations, Byzantium, Cambridge, Central Valley, Chomo-Lungma, Coral
Sea, Cape Farewell, Great Slave Lake, Hiroshima, Hudson Bay, Klondike
River, Las Vegas, Limpopo, Greater London, Firth of Lorne, Malta,
Michigan, Milwaukee, Nice, North Channel, Norwich, Pennine Chain,
Rocky Mountains, Salt Lake City.
ÏÅÐÅÂÎÄ ÐÅÀËÈÉ
Ïåðåâîä êàê ñïîñîá ÿçûêîâîãî ïîñðåäíè÷åñòâà ïðåäïîëàãàåò íå
òîëüêî çíàíèå ïåðåâîä÷èêîì ÿçûêà ïåðåâîäà, íî è îòðàæ¸ííîé â í¸ì
êóëüòóðíî-èñòîðè÷åñêîé ñïåöèôèêè. Ñîïîñòàâëÿÿ ÿçûê îðèãèíàëà è
ïåðåâîäà ñ òî÷êè çðåíèÿ óíèêàëüíîñòè ýëåìåíòîâ êóëüòóðû, ìû îáíàðóæèâàåì öåëûé ðÿä ðåôåðåíòîâ (îòíîñÿùèõñÿ ê ðåàëüíûì ïðåäìåòàì è àáñòðàêòíûì ïîíÿòèÿì), êîòîðûå íå ñîâïàäàþò ïî îñíîâíûì, ñóùåñòâåííûì ïðèçíàêàì èëè ïî âòîðîñòåïåííûì ïðèçíàêàì.
Ýòè ðåôåðåíòû ÿâëÿþòñÿ íîñèòåëÿìè õàðàêòåðíûõ äëÿ äàííîãî íàðîäà àññîöèàöèé, ñëîâà, íàçûâàþùèå èõ, — ýòî ñëîâà-ðåàëèè
. Â
ñâîåé ñîâîêóïíîñòè îíè îòðàæàþò ñïåöèôèêó îïðåäåë¸ííîé êóëüòóðû, ñêëàäûâàþùåéñÿ â ïðîöåññå ôîðìèðîâàíèÿ äóõîâíûõ è ìàòåðèàëüíûõ öåííîñòåé ÿçûêîâîé îáùíîñòè.
Ðåàëèè ÷àùå âñåãî îïðåäåëÿþò ñîâîêóïíî êàê îñîáûé ëåêñèêîñåìàíòè÷åñêèé êëàññ ñëîâ ëèòåðàòóðíîãî ÿçûêà, ñïåöèôè÷åñêîå
ñìûñëîâîå ñîäåðæàíèå êîòîðûõ îáóñëîâëåíî óíèêàëüíîñòüþ èõ ðåôåðåíòîâ. Â.Ï. Êîíåöêàÿ ñ÷èòàåò, ÷òî ýòî «îñîáûé âèä ðåôåðåíòîâ,
êîòîðûå â ñâîåé ñîâîêóïíîñòè îòðàæàþò ñïåöèôèêó îïðåäåë¸ííîé
êóëüòóðû, îáóñëîâëåííóþ îñîáîé ñòðóêòóðîé ìàòåðèàëüíûõ è äóõîâíûõ öåííîñòåé, ñëîæèâøåéñÿ â ïðîöåññå ñòàíîâëåíèÿ è ðàçâèòèÿ
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äàííîé êóëüòóðíî-ãåíåòè÷åñêîé îáùíîñòè» .  ëèòåðàòóðå ïî ðåàëèÿì ìîæíî îáíàðóæèòü ìíîãî÷èñëåííûå òèïîëîãè÷åñêèå ðàçðàáîòêè ðåàëèé: íàöèîíàëüíûå — ïðèíàäëåæàùèå äàííîìó íàðîäó, ÷óæèå çà ïðåäåëàìè ñòðàíû; ðåãèîíàëüíûå — ïåðåøàãíóâøèå ïðåäå-
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Ðóì À.Ð.Ó. Âåëèêîáðèòàíèÿ: Ëèíãâîñòðàíîâåä÷åñêèé ñëîâàðü. — Ì.: Ðóñ. ÿç.,
1999. Ñ. 464.
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ëû ñâîåé ñòðàíû; èíòåðíàöèîíàëüíûå — èìåþùèåñÿ â ëåêñèêå ìíîãèõ ÿçûêîâ, è ò.ä. Ðåàëèè áûâàþò ëîæíûìè èëè ïñåâäîðåàëèÿìè. Ïðè
ñîïîñòàâëåíèè äâóõ ÿçûêîâ, ïðè ïåðåâîäå âûäåëÿþò ðåàëèè âíåøíèå
è âíóòðåííèå. Ïåðâûå îäèíàêîâî ÷óæèå ïî îòíîøåíèþ ê äâóì ÿçûêàì, âíóòðåííèå ÿâëÿþòñÿ ÷óæèìè äëÿ îäíîãî èç ÿçûêîâ. Òåðìèíû
÷àñòî ïåðåñåêàþòñÿ. Íàèáîëåå ëîãè÷íî â ïðåäåëàõ ïåðåâîä÷åñêîãî
ïðîöåññà ðàçëè÷àòü ãåîãðàôè÷åñêèå, ýòíîãðàôè÷åñêèå, ôîëüêëîðíûå, ìèôîëîãè÷åñêèå, áûòîâûå, îáùåñòâåííî-ïîëèòè÷åñêèå, èñòîðè÷åñêèå ðåàëèè.
Íàèáîëåå ÷àñòî âñòðå÷àþòñÿ ðåàëèè — áûòîâûå îáúåêòû (íàçâàíèÿ æèëèù, îïðåäåë¸ííûõ çäàíèé, òðàíñïîðòíûå ñðåäñòâà ðàçíûõ ýïîõ, ïðåäìåòû îäåæäû, íàçâàíèÿ ïèùåâûõ ïðîäóêòîâ, îïðåäåë¸ííûå ïðåäìåòû áûòà, åäèíèöû èçìåðåíèÿ, äåíåæíûå åäèíèöû è ò.ä.).
Äóõîâíûå ðåàëèè îáîçíà÷àþò òðàäèöèè, îáû÷àè, ïðàçäíèêè, èãðû,
àòðèáóòû äóõîâíîé êóëüòóðû. Îáùåñòâåííî-ïîëèòè÷åñêèå ðåàëèè
îáîçíà÷àþò ÿâëåíèÿ, ïðîöåññû îáùåñòâåííîé æèçíè, èíñòèòóòû è
îðãàíèçàöèè, ñîöèàëüíûå ãðóïïû, àäìèíèñòðàòèâíîå äåëåíèå, àòðèáóòû îáùåñòâåííî-ïîëèòè÷åñêîé æèçíè. Ðåàëèè, îáîçíà÷àþùèå
ïðèðîäíûå ÿâëåíèÿ, âêëþ÷àþò íàçâàíèÿ ñïåöèôè÷åñêèõ æèâîòíûõ,
ðàñòåíèé, ÿâëåíèé ïðèðîäû. Êðîìå òîãî, ê ðåàëèÿì îòíîñÿò ñèñòåìû èì¸í ñîáñòâåííûõ (èìåíà, ôàìèëèè, ïðîçâèùà), èñòîðè÷åñêèå è
ãåîãðàôè÷åñêèå íàçâàíèÿ, íàçâàíèÿ óíèêàëüíûõ ÿâëåíèé.
Ñóùåñòâóÿ â ðàçðÿäå òàê íàçûâàåìîé áåçýêâèâàëåíòíîé ëåêñèêè, ðåàëèè èìåþò â ñâî¸ì ñîñòàâå èñòîðèçìû, îáîçíà÷àþùèå ì¸ðòâûå ðåàëèè, íå èìåþùèå õîæäåíèÿ â ñîâðåìåííîé ðåàëüíîñòè, íàïðèìåð bodge
— ìåðà îâñà, à òàêæå âíîâü îáðàçóåìûå ðåàëèè.
Ñîäåðæàíèå ðåàëèé çàôèêñèðîâàíî â àíãëèéñêèõ îáùèõ òîëêîâûõ
ñëîâàðÿõ, ñëîâàðÿõ êóëüòóðû, êàðòèííûõ ñëîâàðÿõ, ÷òî ïîçâîëÿåò
îïðåäåëèòüñÿ ñî ñïîñîáàìè èõ ñåìàíòèçàöèè. Ðåãèñòðàöèÿ òàêèõ ñëîâ
â ðóññêèõ ñëîâàðÿõ ðàçíîãî òèïà, ãäå îíè ÷àñòî îòíîñÿòñÿ ê ðàçðÿäó
èíòåðíàöèîíàëüíûõ ñëîâ, óêàçûâàåò íà ñóùåñòâîâàíèå ñîîòâåòñòâèé.
Ñïîñîáû ñîçäàíèÿ ñîîòâåòñòâèé — óæå èçâåñòíûå òðàíñêðèïöèÿ è òðàíñëèòåðàöèÿ ïðè çàèìñòâîâàíèè ñëîâ-ðåàëèé, êàëüêèðîâàíèå êàê ïîýëåìåíòíàÿ ïåðåäà÷à ñëîæíûõ ñëîâ è ñëîâîñî÷åòàíèé,
âîçìîæíà òàêæå ïåðåäà÷à ñ ïîìîùüþ áëèæàéøåãî àíàëîãà, ïðè êîòîðîé ìîãóò ïðîèñõîäèòü êîíêðåòèçàöèÿ, äèôôåðåíöèàöèÿ è ãåíåðà42
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— íåâåñòêà, çîëîâêà, ñâîÿ÷åíèöà;
— èíäåéñêîå îäåÿëî;
— îòêðûòûé
äëÿ òóðèñòîâ çàïîâåäíèê, îõðàíÿåìûé ãîñóäàðñòâîì (â Âåëèêîáðèòàíèè — ïðèðîäíûé ëåñ, ðàñ÷èùåííûé è èñïîëüçóåìûé êàê ïàðê).
Åù¸ îäèí ñïîñîá ïåðåäà÷è ñîäåðæàíèÿ ðåàëèè — ëåêñè÷åñêàÿ
çàìåíà ñ ñåìàíòè÷åñêèì ðàçâèòèåì öåëîñòíîé åäèíèöû èëè îäíîãî
èç å¸ êîìïîíåíòîâ:
— ðàçã. ïðîñòîðíûé, áåñôîðìåííûé
ñâèòåð < áóêâ. íåðÿõà Äæî.
È íàêîíåö, ìîæåò èñïîëüçîâàòüñÿ îáúÿñíèòåëüíàÿ äåôèíèöèÿ,
ïðè êîòîðîé çíà÷åíèå ðåàëèè ïåðåäà¸òñÿ ðàçâ¸ðíóòûì îáúÿñíåíèåì. Êàê ïðàâèëî, òàêàÿ ïðîöåäóðà ñâîäèòñÿ ê ïåðåâîäó ñëîâàðíîãî
òîëêîâàíèÿ ñëîâà-ðåàëèè. Ðàçóìååòñÿ, êàæäûé òèï ðåàëèé è áëèçêèõ
ê íèì ÿçûêîâûõ ôàêòîâ òðåáóåò èñïîëüçîâàíèÿ îïèñàííûõ ñïîñîáîâ
ïåðåäà÷è ðåàëèé ñ ðàçíîé ñòåïåíüþ ïðåäïî÷òåíèÿ:
— äåæóðíûé àäìèíèñòðàòîð (îòäåëà êðóïíîãî óíèâåðñàëüíîãî ìàãàçèíà) <
áóêâ. îáõîä÷èê ýòàæà;
— îáðàòíàÿ ñòîðîíà ïëàñòèíêè ñ
î÷åíü ïîïóëÿðíûì ïðîèçâåäåíèåì ñ ìàëîèíòåðåñíîé ìóçûêîé, ÷òîòî âðîäå ïðèíóäèòåëüíîãî àññîðòèìåíòà; — æàðã. òðóùîáíàÿ
îêðàèíà <
;
— ñêèëëñåíòåð, ó÷åáíûé öåíòð;
— «áðèòîãîëîâûå» (ãðóïïû ìîëîä¸æè, âûðàæàþùèå ñâî¸
íåäîâîëüñòâî áóðæóàçíûì îáùåñòâîì àêòàìè âàíäàëèçìà ïðîòèâ
÷àñòíîé ñîáñòâåííîñòè). ßâëåíèå è ñëîâî çàôèêñèðîâàíî ñëîâàðÿìè â øåñòèäåñÿòûõ ãîäàõ ïðîøëîãî âåêà, â ðóññêîì îáèõîäå ïîÿâèëîñü ñïóñòÿ äîâîëüíî äîëãîå âðåìÿ â ôîðìå «ñêèíõåäû».
Ðåàëèè ìåðû — ýòî íàèìåíîâàíèÿ åäèíèö âåñà, äëèíû, ïëîùàäè, îáú¸ìà (æèäêîñòåé è ñûïó÷èõ òåë è ò.ä.), óïîòðåáëÿþùèõñÿ â ÿçûêå îðèãèíàëà èñòîðè÷åñêè è â èçâåñòíîé ìåðå ïðîòèâîïîñòàâëåííûõ
òåðìèíàì ìåòðè÷åñêîé ñèñòåìû.
Ïðîáëåìà ïåðåâîäà àíãëî-àìåðèêàíñêèõ åäèíèö èçìåðåíèÿ ðåøàåòñÿ ââåäåíèåì â òîëêîâûå ñëîâàðè ñîîòâåòñòâóþùèõ ñïðàâî÷íûõ òàáëèö.  âîñïðèÿòèè ìåð ìîæíî óñìîòðåòü äâå ñòîðîíû: âîïåðâûõ, íåîáõîäèìîñòü â ïðàâèëüíîì êîëè÷åñòâåííîì ïðåäñòàâëåíèè òàêîãî ðîäà èíôîðìàöèè, âî-âòîðûõ, íåîáõîäèìîñòü îòðàæåíèÿ
ñóãóáî íàöèîíàëüíîãî êîëîðèòà, êóëüòóðû è áûòà. Êàê ýëåìåíòû òåðìèíîëîãèè â òî÷íûõ íàóêàõ, ðåàëèè ìåðû òðåáóþò íåñëîæíîé çàìåíû è ïåðåñ÷¸òà â òåðìèíàõ ìåòðè÷åñêîé ñèñòåìû. Ñòàíîâÿñü îáúåê-
ëèçàöèÿ ïîíÿòèÿ. Íàïðèìåð, sister-in-law
Navajo blanket
forest park
Sloppy Joe
floorwalker
flipside
slurb
slum + suburb skillcentre
skinheads
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òîì õóäîæåñòâåííîé ëèòåðàòóðû, ðåàëèè ìåðû ñïîñîáíû ïðåäàâàòü
äîïîëíèòåëüíûå êîííîòàöèè, ñîçäàâàòü çðèìûé îáðàç âðåìåíè, êóëüòóðû, îáëàñòè æèçíè, àâòîðñêîãî îáðàçà ìûøëåíèÿ è ò.ä. Ïðèáëèçèòåëüíîñòü öèôðîâûõ çíà÷åíèé, î êîòîðîé òåêñò ñîîáùàåò ïåðåâîä÷èêó ñ ïîìîùüþ äîïîëíèòåëüíûõ íàðå÷èé (just, about, somewhat,
nearly, a bit more than, all in all),
äà¸ò âîçìîæíîñòü èõ îêðóãëÿòü.
Çàìåíà èíîñòðàííûõ ìåð â òåðìèíàõ ìåòðè÷åñêîé ñèñòåìû ïðîèçâîäèòñÿ ñ îñòîðîæíîñòüþ, ÷òîáû òåêñò íå óòðàòèë íàöèîíàëüíîãî
êîëîðèòà. Íàïðèìåð, ìîæíî ïðåäñòàâèòü ïðûæîê â 7 ôóòîâ äâóõìåòðîâûì, íî íå ïðûæêîì â 2 ìåòðà 13 ñàíòèìåòðîâ 6 ìèëëèìåòðîâ
ïî ïåðåñ÷¸òó. Îñíîâíûå ïðàâèëà òðåáóþò íå ââîäèòü ðåàëèþ-ìåðó
ðàäè ýêçîòèêè, îòñûëàÿ ÷èòàòåëÿ ê ïðèìå÷àíèÿì. Ïðè ýòîì òàêèå
ìåðû, êàê ìèëÿ, ôóò, óíöèÿ, äþéì, ïðèìå÷àíèé íå òðåáóþò. Âî ôðàçåîëîãè÷åñêèõ åäèíèöàõ ðåàëèè-ìåðû íåéòðàëèçóþòñÿ ïåðåäà÷åé
îáùåãî ñîäåðæàíèÿ. (After
supper walk a mile.)
Àíòðîïîëîãè÷åñêèå
èçìåðåíèÿ ïåðåäàþòñÿ ñ ïîìîùüþ çàìåíû, õîòÿ íàáëþäåíèÿ ïîêàçûâàþò, ÷òî ãîðàçäî ÷àùå èñïîëüçóþòñÿ ôóòû è äþéìû.
Ðåàëèè — äåíåæíûå åäèíèöû îáû÷íî òðàíñêðèáèðóþòñÿ, ñîîòíîøåíèå âàëþò ïîìîæåò ÷èòàòåëþ áûòü â êóðñå äåëà. Ñòèëèñòè÷åñêè íàãðóæåííûå ðåàëèè-äåíüãè ìîãóò ïåðåâîäèòüñÿ ñ ïîìîùüþ ôóíêöèîíàëüíîãî àíàëîãà, îáîáù¸ííî, îáðàçíî (halfpenny — êîïåéêà, ãðîø), ðîäîâèäîâûìè ñîîòâåòñòâèÿìè, ïóò¸ì îïèñàíèÿ, ñ ïîìîùüþ ïðèìå÷àíèé.
Çàìåíû â îáëàñòè òåðìîìåòðèè (øêàëà Ðåîìþðà, Ôàðåíãåéòà)
äîëæíû ïîäòâåðæäàòü äåòàëè êîíòåêñòà, êîòîðûå â äàííîì ñëó÷àå îêàçûâàþòñÿ âàæíåå òåðìèíîëîãè÷åñêèõ ñîîáðàæåíèé.
Ó÷¸ò ñïåöèôè÷åñêèõ êîííîòàöèé, çàëîæåííûõ â ñîäåðæàíèå ýòèõ
ñëîâ, — âàæíàÿ ñîñòàâëÿþùàÿ ïåðåâîä÷åñêîé ðàáîòû. Òàêàÿ ëèíãâîêóëüòóðíàÿ èíôîðìàöèÿ îòûñêèâàåòñÿ â ñëîâàðÿõ è ýíöèêëîïåäèÿõ,
èçâëåêàåòñÿ èç êîíòåêñòà è äîïîëíèòåëüíî îáúÿñíÿåòñÿ â ïðèìå÷àíèÿõ ïåðåâîä÷èêà.
Çàäàíèå 1. Êàêóþ äîïîëíèòåëüíóþ èíôîðìàöèþ èçâëå÷¸ò ÷èòàòåëü èç
ïðèìå÷àíèé ïåðåâîä÷èêà îòíîñèòåëüíî Radio 1, Radio 2,
Radio 3, Radio 4, Radio 5? Ïðè ïîäãîòîâêå ïðèìå÷àíèé
ñðàâíèòå èíôîðìàöèþ ñïðàâî÷íèêîâ è ëèíãâîêóëüòóðíûõ
ñëîâàðåé.
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Çàäàíèå 2. Ïðåäëîæèòå ñïîñîá ïåðåäà÷è ñëåäóþùèõ ðåàëèé è
ïîäãîòîâüòå ïðèìå÷àíèÿ.
999, babes in the wood, British Library, college, elevenses, kangaroo
court, marbles, public school, St Valentine’s Day, Twelfth Night.
Çàäàíèå 3. Íàéäèòå ñëîâàðíûå èñòî÷íèêè, â êîòîðûõ òðàêòóþòñÿ ñëå-
äóþùèå ðåàëèè, è ïîäãîòîâüòå äëÿ ýòèõ ðåàëèé îáúÿñíåíèÿ c óêàçàíèåì âñåõ èñòî÷íèêîâ, â êîòîðûõ îáíàðóæåíà
èíôîðìàöèÿ.
Higher degree, night/day/Sunday/summer school, pop art, Merlin,
Peter Pan, pusher, Ulster, Humpty Dumpty, oncer.
Çàäàíèå 4. Ñðàâíèòå äåíîòàòèâíûå è êîííîòàòèâíûå çíà÷åíèÿ â ñëå-
äóþùèõ èíòåðíàöèîíàëüíûõ ñëîâàõ â äâóõ ÿçûêàõ.
Anglo-Saxons, corporal, hotpot, impeachment, lecturer, lobby, local,
master, the Season, term.
Çàäàíèå 5. Îïðåäåëèòå ñïîñîáû ïåðåäà÷è ñëåäóþùèõ ðåàëèé.
Cottage pie, freshman, Ideal Home Exhibition, lesson, licensing hours,
load-in, Mother’s day, Order of the Garter, Piccadilly Circus, privy purse,
readership.
Çàäàíèå 6. Ñäåëàéòå âûâîäû î âîçìîæíîñòÿõ è ñðåäñòâàõ ïåðåäà÷è
ñìûñëà ðåàëèé-äåíåã â ñëåäóþùèõ ïîñëîâèöàõ è ïîãîâîðêàõ.
Down to the last shilling (farthing) — âñ¸ äî ïîñëåäíåé êîïåéêè; in for
a penny, in for a pound — íàçâàëñÿ ãðóçäåì, ïîëåçàé â êóçîâ, âçÿëñÿ
çà ãóæ, íå ãîâîðè, ÷òî íå äþæ; not a penny to bless oneself with — íå
èìåòü ãðîøà çà äóøîé; cost a pretty penny — îáîéòèñü â èçðÿäíóþ
ñóììó; âëåòåòü â êîïåå÷êó / â êðóãëåíüêóþ ñóììó; a penny saved is a
penny gained — ïåííè ñáåðåæ¸ííîå âñ¸ ðàâíî, ÷òî ïåííè çàðàáîòàííîå; penny wise and pound foolish — ýêîíîìíûé â ìåëî÷àõ è ðàñòî45
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÷èòåëüíûé â êðóïíîì; penny and penny laid up will be many — êîïåéêà
ðóáëü áåðåæåò; not give a twopenny damn — ãðîøà ëîìàíîãî íå ñòîèò,
íå äàòü ãðîøà ëîìàíîãî; turn a useful penny — íåïëîõî/íåäóðíî çàðàáàòûâàòü.
Çàäàíèå 7. Ïåðåâåäèòå òåêñò ãàçåòíîãî îáúÿâëåíèÿ.
CATERHAM SCHOOL
HMS Co-educational Day and Boarding School 700+ Pupils, with over
200 in the Sixth Form
TEACHER OF ENGLISH
Required for September 2004 or January 2005 to join a strong
and successful department
The successful applicant will:
• be a well qualified graduate with real enthusiasm for the subject
• be able to teach throughout the school up to A Level
• demonstrate an imaginative approach to teaching
• have a commitment to promoting high standards
Salary will be in accordance with the Caterham Scale, depending on qualification and experience. All members of staff are expected to contribute to the busy extra-curricular life of the school.
There is a particular opportunity for an input into creative writing and the school magazine.
Accommodation may be available for a suitable candidate. Further details and an application form can be obtained from the
school on:
01883 343028
or from the school website: www.caterhamschool.co.uk
Closing date: 16th July 2004
Caterham School, Yarestone Valley, Caterham, Surrey
CR3 6YA
(TES JOBS, Friday July 9 2004, www.tes.co.uk/jobs, p. 22)
(TES — The Times Educational Supplement)
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ÏÅÐÅÂÎÄ ÈÍÒÅÐÍÀÖÈÎÍÀËÈÇÌÎÂ
Êàê ðåçóëüòàò îáùíîñòè êóëüòóðíî-èñòîðè÷åñêîãî ðàçâèòèÿ öèâèëèçàöèè ÿçûêè ìèðà ñîäåðæàò íåêóþ ñîâîêóïíîñòü ñëîâ, îáëàäàþùèõ ñõîäíîé ôîðìîé, çíà÷åíèåì è ñâÿçàííûõ ïðîèñõîæäåíèåì èç
îäíîãî èñòî÷íèêà. Ýòî òàê íàçûâàåìûå èíòåðíàöèîíàëüíûå ñëîâà è
óñòîé÷èâûå âûðàæåíèÿ, çàèìñòâîâàííûå ÿçûêàìè íåïîñðåäñòâåííî
èç îäíîãî ÿçûêà-èñòî÷íèêà èëè èç îäíîãî ÿçûêà ÷åðåç ïîñðåäñòâî
äðóãèõ ÿçûêîâ. Èíòåðíàöèîíàëèçìû âêëþ÷àþò òåðìèíû íàóêè è òåõíèêè, ïîëèòèêè, êóëüòóðû, èñêóññòâà, áîëüøîå êîëè÷åñòâî àáñòðàêòíîé ëåêñèêè, ãåîãðàôè÷åñêèå íàçâàíèÿ, õàðàêòåðíûå ñëîâà-ðåàëèè
ðàçíûõ íàðîäîâ, íàçâàíèÿ ÿâëåíèé è ïðåäìåòîâ, ïîÿâëÿþùèõñÿ âíîâü
è õàðàêòåðèçóþùèõ îïðåäåë¸ííûå âðåìåííûå ïåðèîäû.
Ïðîöåññ èíòåðíàöèîíàëèçàöèè ñîâðåìåííûõ ÿçûêîâ îáóñëîâëåí
ãëîáàëüíûìè èíòåãðàëüíûìè ïðîöåññàìè â ìèðå â óñëîâèÿõ ðàçâèòûõ ñèñòåì êîììóíèêàöèè. Ñ÷èòàþò, ÷òî â àêòèâíîì ñëîâàðå ðóññêîãî, àíãëèéñêîãî, íåìåöêîãî, ôðàíöóçñêîãî ÿçûêîâ èíòåðíàöèîíàëèçìû ñîñòàâëÿþò áîëåå 10%. Àíãëèéñêèé ÿçûê ÿâëÿåòñÿ îäíèì
èç ñàìûõ àêòèâíûõ èñòî÷íèêîâ èíòåðíàöèîíàëüíûõ çàèìñòâîâàíèé.
Ìîæíî óòâåðæäàòü, ÷òî ïðè óñëîâèè çàèìñòâîâàíèÿ èç îäíîãî
îáùåãî èñòî÷íèêà îäíîâðåìåííî èíòåðíàöèîíàëèçìû ñîõðàíÿþò
áîëüøóþ áëèçîñòü çíà÷åíèÿ â ðàçíûõ ÿçûêàõ è ÿâëÿþòñÿ ýêâèâàëåíòàìè (íàïðèìåð, ìóçûêàëüíûå òåðìèíû, íàçâàíèÿ íàóê, ïîëèòè÷åñêèå òåðìèíû).  óñëîâèÿõ ïîñëåäîâàòåëüíîãî çàèìñòâîâàíèÿ, èç îäíîãî ÿçûêà â äðóãîé, ðàçíîâðåìåííî èíòåðíàöèîíàëèçìû ïðåòåðïåâàþò â êàæäîì îòäåëüíîì ÿçûêå ñïåöèôè÷åñêèå èçìåíåíèÿ,
îáóñëîâëåííûå â êàæäîì ñëó÷àå îñîáåííîñòÿìè ýòîãî ÿçûêà, â ðåçóëüòàòå ÷åãî íà÷èíàþò ðàçëè÷àòüñÿ ïî ôîðìå è çíà÷åíèþ.  ðàçíûõ
ÿçûêàõ èíòåðíàöèîíàëèçìû ïðèîáðåòàþò ñâîþ ñî÷åòàåìîñòü, ÷òî è
ñîñòàâëÿåò òðóäíîñòè äëÿ ïåðåâîä÷èêà, èñõîäÿùåãî ïðè ïåðåâîäå èç
èçâåñòíûõ åìó çíà÷åíèé â ðîäíîì ÿçûêå. Ñõîäíûå â èçâåñòíîé ìåðå
ïî ôîðìå, èíòåðíàöèîíàëèçìû ìîãóò ðàñõîäèòüñÿ â ïðåäìåòíî-ëîãè÷åñêîì ñîäåðæàíèè è ñòèëèñòè÷åñêèõ õàðàêòåðèñòèêàõ.
Ñèëó çàêîíà ïðèîáðåòàåò ïðè ïåðåâîäå èíòåðíàöèîíàëèçìîâ
àíàëèç êîíòåêñòà è ñåìàíòè÷åñêîé ñòðóêòóðû ñëîâà, à òàêæå çíàíèå
òîãî, ÷òî íå âñåãäà ñëåäóåò ïåðåâîäèòü èíòåðíàöèîíàëèçì èíòåðíà47
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öèîíàëèçìîì. Òàê, ðàçâèâøååñÿ èç ëàòèíñêîãî ad facere (to do) ôðàí-
a faire (something to do) áûëî ïåðâîíà÷àëüíî çàèìñòâîâàíî
â àíãëèéñêèé ÿçûê êàê affair, ñòàëî ñèíîíèìîì ñëîâà business è ïðîöóçñêîå
äîëæàëî ðàçâèâàòüñÿ íà íîâîé ïî÷âå, îçíà÷àÿ ïîëèòè÷åñêèå ñîáûòèÿ, ñîáûòèÿ ëè÷íîé æèçíè, íåêèå øîêèðóþùèå ñîáûòèÿ, ñåêñóàëüíûå îòíîøåíèÿ, ðàçëè÷íûå æèçíåííûå ñèòóàöèè è ðàçíîîáðàçíûå
ñîáûòèÿ îáùåñòâåííîéæèçíè.
Èíûìè ñëîâàìè, â àíãëèéñêîì ÿçûêå ó ñëîâà ðàçâèâàëàñü ñåìàíòè÷åñêàÿ ñòðóêòóðà, êîòîðàÿ òðåáîâàëàñü âñåé ñèñòåìîé âîêàáóëÿðà. Òà æå ñèñòåìíàÿ îáóñëîâëåííîñòü ðàçâèòèÿ çíà÷åíèé â ðóññêîì ÿçûêå ïðèâåëà ê ïîÿâëåíèþ ó èíòåðíàöèîíàëèçìà «àôåðà» íåñêîëüêî èíûõ àêöåíòîâ: ðèñêîâàííîå, íåäîáðîñîâåñòíîå äåëî,
ïðåäïðèÿòèå ñ öåëüþ íàæèâû. È ñàìî ñëîâî, è åãî äåðèâàòû â ðóññêîì ÿçûêå (àôåðèñò, àôåðèñòêà) îáëàäàþò óñòîé÷èâîé íåãàòèâíîé
îöåíî÷íîé õàðàêòåðèñòèêîé. Ñîçäà¸òñÿ òàê íàçûâàåìàÿ ñèòóàöèÿ
«ëîæíûõ äðóçåé ïåðåâîä÷èêà», ñóòü êîòîðîé çàêëþ÷àåòñÿ â îòñóòñòâèè îäíîçíà÷íîãî ñåìàíòè÷åñêîãî è ñòèëèñòè÷åñêîãî ñîîòâåòñòâèÿ
ìåæäó èíòåðíàöèîíàëèçìàìè â äâóõ ÿçûêàõ.
Êàê ïðàâèëî, àññîöèàòèâíàÿ ñâÿçü èíòåðíàöèîíàëèçìîâ â ñèëó
ñõîäñòâà ôîðìàëüíûõ ïðèçíàêîâ ïðè ïåðåâîäå óñòàíàâëèâàåòñÿ ñðàçó.
Îòìå÷àþò, ÷òî â 70% ñëó÷àåâ èíòåðíàöèîíàëüíûå ñëîâà ìîãóò áûòü
ïåðåâåäåíû ñîîòâåòñòâóþùèìè ðóññêèìè ïàðàëëåëÿìè. Ïðèáëèçèòåëüíî â 22% ñëó÷àåâ ïåðåâîä ñ ïîìîùüþ ðóññêîé ïàðàëëåëè õîòÿ è
îáåñïå÷èâàåò ïîíÿòíîñòü, íå óäîâëåòâîðÿåò ñòèëèñòè÷åñêèì òðåáîâàíèÿì, ïðèâîäÿ ê ñòèëèñòè÷åñêîìó «çèÿíèþ». 8% ñëó÷àåâ áóêâàëüíîãî ïåðåíîñà èíòåðíàöèîíàëüíûõ ñëîâ èç îäíîãî ÿçûêà â äðóãîé
âåäóò ê èñêàæåíèþ èëè íàðóøåíèþ ñìûñëîâûõ ñâÿçåé òàêîãî ñëîâà
ñ äðóãèìè ñëîâàìè â òåêñòå. Âçÿòûå âìåñòå, ýòè 30% èíòåðíàöèîíàëèçìîâ è ôîðìèðóþò êîðïóñ ëîæíûõ äðóçåé ïåðåâîä÷èêà, òðåáóþùèõ âíèìàòåëüíîãî è îñòîðîæíîãî îáðàùåíèÿ.
Çàäàíèå 1. Ñîïîñòàâüòå ñèñòåìû çíà÷åíèé èíòåðíàöèîíàëüíûõ ñëîâ,
èñòî÷íèêîì êîòîðûõ ÿâëÿåòñÿ àíãëèéñêèé ÿçûê, ñ ñîîòâåòñòâóþùèìè àíãëèéñêèìè ñëîâàìè: áàðòåð, áèõåâèîðèçì,
áðèôèíã, áðîêåð, áýê-âîêàë, âèðòóàëüíîñòü, èìïè÷ìåíò,
êîãíèòèâíîñòü, êîíñàëòèíã, ìèêñåð, ìèêøåð, ìîíèòîðèíã,
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ïåíàëüòè, ðåéòèíã, ðåêîðäåð, ðåñèâåð, ñàéò, ñîóë, ñïèêåð,
ñåíòåíöèÿ, ñóáëèìàöèÿ, òåíäåð, ôîðâàðä, õàêåð, õåíäëèíã.
Çàäàíèå 2. Ïî ñâîåìó ñåìàíòè÷åñêîìó ñîîòíîøåíèþ ëîæíûå äðóçüÿ
ïåðåâîä÷èêà â äâóõ ÿçûêàõ ìîãóò áûòü ïðåäñòàâëåíû ñëåäóþùèìè òèïàìè:
1) ñëîâà, îáîçíà÷àþùèå ðàçíûå ïîíÿòèÿ (òèïîãðàôèÿ — typography);
2) ñõîäíûå ïî çíà÷åíèþ ñëîâà, íî íå ñîâïàäàþùèå ïî ñåìàíòè÷åñêèì ñòðóêòóðàì (apartment — àïàðòàìåíòû);
3) ñëîâà ñî ñõîäíûì çíà÷åíèåì, íî íå ñîâïàäàþùèì ñòèëèñòè÷åñêè
(conversion — êîíâåðñèÿ);
4) íå ñîâïàäàþùèå ïî ñî÷åòàåìîñòè, õîòÿ è ñõîäíûå ïî îáùåìó çíà÷åíèþ ñëîâà (general — ãåíåðàëüíûé).
Ïðîàíàëèçèðóéòå ñîîòíîñèìîñòü ñåìàíòè÷åñêèõ ñòðóêòóð è
òèïîëîãèþ ñëåäóþùèõ ïàð.
Actual — àêòóàëüíûé, ammunition — àìóíèöèÿ, artist — àðòèñò,
cabinet — êàáèíåò, cataract — êàòàðàêòà, chat — ÷àò, circulation —
öèðêóëÿöèÿ, cistern — öèñòåðíà, contribution — êîíòðèáóöèÿ, film —
ôèëüì, fundamental — ôóíäàìåíòàëüíûé, hacker — õàêåð, speculate — ñïåêóëèðîâàòü, tax — òàêñà, translation — òðàíñëÿöèÿ, user —
þçåð.
Çàäàíèå 3. Ïåðåâåäèòå, îáðàùàÿ âíèìàíèå íà èíòåðíàöèîíàëüíûå ñëîâà.
1. Today, in China, people speaking mutually unintelligent dialects
are able to read one another’s writing with no difficulty whatever.
2. In many elementary and secondary schools, the emphasis on
raising test scores has reduced education to test coaching for
students and teachers alike. But multiple choice tests measure
only a very limited range of knowledge and ability. They cannot
measure personal qualities such as perseverance, ability to work
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3.
with others, and creativity; or the understanding, integration,
use and creation of knowledge.
In the last analysis, however, it is the problem-posing and problem-solving aspects of science fiction that may be the most important reason for captivating the reader’s mind.
4.
There are few problems we are likely to encounter in the future —
in space or anywhere else — that have not already been treated
in science fiction. Sci-fi writers have confronted problems of pollution, ecology, and overpopulation, and have even delved into
sociology, archeology, and linguistics.
5.
The Information Age brought in by advanced technology like electronic mail, electronic date processing, cellular telephones, miniature recorders, and portable computers, has made polyphasic
activity possible, because we can get more done in a given time.
6.
Witness the prophetic words of the great philosopher John Stuart
Mill (1806—1873): “It is questionable if all the mechanical inventions yet made have lightened the day’s toil of any human
being.” How true this is despite the promise of “miraculous”
new machinery ranging from a “new and more efficient” vacuum cleaner to the most sophisticated computer. The solution to
living well lies not in new and better technology, but in the selective disuse of it so that life can be enjoyed in a more emotionally fulfilling way.
7.
Schools that encourage academic achievement focus on the importance of scholastic success and on maintaining order and discipline.
8.
Many highly successful individuals have above-average but not
extraordinary intelligence.
9.
Just 5 percent of students at age 17 have advanced reading skills
and strategies that enable them to synthesize and restructure
ideas presented in specialized or complicated texts used by professional and technical workers.
10.
Familiarity with the dictionary will also enable the teacher to predict certain types of errors.
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ÒÅÐÌÈÍÛ È ÈÕ ÏÅÐÅÂÎÄ
Ñëîâà èëè ñëîâîñî÷åòàíèÿ, ñëóæàùèå äëÿ íàçûâàíèÿ îáúåêòîâ
è îáîçíà÷åíèÿ ïîíÿòèé ðàçíîîáðàçíûõ îáëàñòåé çíàíèÿ, îáðàçóþò
ñèñòåìó òåðìèíîâ. Òåðìèíîëîãèÿ êàê íîìåíêëàòóðà òåðìèíîâ, îáðàçóþùàÿ ëåêñè÷åñêóþ ïîäñèñòåìó â êàæäîé îáëàñòè çíàíèÿ, âõîäèò â îáùóþ ëåêñè÷åñêóþ ñèñòåìó ÿçûêà. Ýòî îáøèðíûé êëàññ ñïåöèàëüíîé ëåêñèêè ñ áîëüøèì ñîäåðæàíèåì èíòåðíàöèîíàëüíûõ ñëîâ,
ïîñòðîåííûé ïî çàêîíàì ëåêñèêè êàæäîãî êîíêðåòíîãî ÿçûêà. Òåðìèíû ñîçäàþòñÿ íà ìàòåðèàëå ÿçûêîâ ñ èñïîëüçîâàíèåì ãðåêî-ëàòèíñêîé ëåêñè÷åñêîé áàçû, çàèìñòâóþòñÿ èç ÿçûêà â ÿçûê íåïîñðåäñòâåííî èëè ÷åðåç ïîñðåäñòâî äðóãèõ ÿçûêîâ. Îíè ñîñòàâëÿþò çíà÷èòåëüíóþ ÷àñòü èíòåðíàöèîíàëüíîé ëåêñèêè.  êàæäîì ÿçûêå
òåðìèíû âõîäÿò â ïðîôåññèîíàëüíî îðèåíòèðîâàííûé òåêñò êàê ñîâîêóïíîñòü íàèìåíîâàíèé îáúåêòîâ, ïîíÿòèé, ñâîéñòâ îáúåêòîâ, âçàèìîäåéñòâèÿ îáúåêòîâ.
Ãëàâíûì ñâîéñòâîì òåðìèíà ñëåäóåò ñ÷èòàòü åãî îäíîçíà÷íîñòü
â ïðåäåëàõ îïðåäåë¸ííîé îáëàñòè çíàíèÿ, ò.å. ñîîòíåñ¸ííîñòü ñ îäíèì ïîíÿòèåì èëè äåíîòàòîì. Äðóãèå îòëè÷èòåëüíûå ïðèçíàêè âêëþ÷àþò íåçàâèñèìîñòü îò êîíòåêñòà, ñòèëèñòè÷åñêóþ íåéòðàëüíîñòü è
ñèñòåìíóþ äåòåðìèíèðîâàííîñòü.
Ðàñïîçíàâàíèå òåðìèíîâ â òåêñòå, óìåíèå îòëè÷àòü èõ îò «êâàçè-îìîíèìè÷íûõ» ýëåìåíòîâ ñìåæíûõ îáëàñòåé îáùåÿçûêîâîé ëåêñèêè ñîñòàâëÿåò ñóòü ïåðåâîä÷åñêîé ïðàêòèêè, íå òîëüêî ñâÿçàííîé
ñ íàó÷íî-òåõíè÷åñêèìè òåêñòàìè, íî è ñ õóäîæåñòâåííûìè. Òàê, â îáùåì ñëîâàðå path ðàçâèâàåò äîâîëüíî ìîùíóþ ñåìàíòè÷åñêóþ ñòðóêòóðó è îçíà÷àåò ïóòü, äîðîæêó, òðîïó è òðîïèíêó, à òàêæå êóðñ, ìàðøðóò, ãäå â ñî÷åòàíèè ñî ñëîâîì «ïîë¸ò» îíî ôîðìèðóåò òåðìèíîëîãè÷åñêîå çíà÷åíèå â àâèàöèîííîé òåðìèíîëîãèè (òðàåêòîðèÿ âçë¸òà/
ïîë¸òà), â ôèçèêå — ïðîáåã ÷àñòèöû, â ñïîðòå — áåãîâàÿ äîðîæêà,
êðóã èïïîäðîìà, â ìåäèöèíå — íåðâíûé ïðîâîäÿùèé ïóòü ãîëîâíîãî è ñïèííîãî ìîçãà, â êîìïüþòåðíîì òåêñòå path ìîæåò îçíà÷àòü
âåòâü ïðîãðàììû, ìàðøðóò â ñåòè.
Çíàíèå ñëîâà script òðåáóåò îòëè÷åíèÿ åãî ïåðâîíà÷àëüíîãî çíà÷åíèÿ, ñâÿçàííîãî ñ ïèñüìîì, ïî÷åðêîì, ðóêîïèñíûì øðèôòîì, îò
òåðìèíîâ êèíî, òåàòðà è òåëåâèäåíèÿ — ñöåíàðèé, ðóêîïèñü, ìà-
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íóñêðèïò.  þðèäè÷åñêîé òåðìèíîëîãèè ñëîâî îçíà÷àåò ïîäëèííèê
äîêóìåíòà, â äðóãèõ îáëàñòÿõ — ýòî ïèñüìåííàÿ ðàáîòà ýêçàìåíóþùåãîñÿ, â êîìïüþòåðíîì èñïîëüçîâàíèè — ýòî òåêñòîâûé äðàéâåð.
Ïîäîáíàÿ ñèòóàöèÿ äîêàçûâàåò, ÷òî ñìûñë òåðìèíà íå ìîæåò íå îïðåäåëÿòüñÿ êîíòåêñòîì îáëàñòè çíàíèÿ, ê êîòîðîé ïðèíàäëåæèò òåðìèí. Âíóòðè òàêèõ ñèñòåì âîçìîæíà ñèíîíèìèÿ òåðìèíîâ. Íàïðèìåð,
— ïåðåäà÷à äàííûõ;
—
ïðîãðàììèñò;
— êëàâèàòóðà.
Äðóãîé ïîäâîäíûé êàìåíü ïðè ïåðåâîäå òåðìèíî⠗ íåîäíîñëîâíîñòü ñîîòâåòñòâèé â ñëó÷àå ñ èìåþùèìèñÿ òåðìèíàìè, ñîâïàäàþùèìè ïî ôîðìå è ïî çíà÷åíèþ. Òàê, ïðè ïåðåâîäå íà àíãëèéñêèé ÿçûê
ãëàãîëà «êîíòðîëèðîâàòü» åãî ñîîòâåòñòâèåì íå îáÿçàòåëüíî áóäåò
èíòåðíàöèîíàëüíîå ñëîâî , âîçìîæíû òàêæå è
.
Ïåðåâîä÷èê, ðàáîòàþùèé â êàêîé-òî îáëàñòè çíàíèÿ, îáÿçàí
ñèñòåìàòè÷åñêè ñëåäèòü çà âíîâü âîçíèêàþùåé òåðìèíîëîãèåé, îòìå÷àÿ â ñâîåé êàðòîòåêå íåçàðåãèñòðèðîâàííûå â ñëîâàðÿõ òåðìèíû
è èõ ñîîòâåòñòâèÿ, à òàêæå îâëàäåâàÿ òåõíè÷åñêîé ôðàçåîëîãèåé:
— ïî óìîë÷àíèþ,
— îòêðûòü ôàéë,
— ïåðåõîäèòü â ðåæèì îæèäàíèÿ. Íåëüçÿ îáîéòè âíèìàíèåì è
øèðîêîå èñïîëüçîâàíèå â òåðìèíîëîãèè ðàçíîãî òèïà ñîêðàùåíèé è
àááðåâèàòóð: —
—
—
— çàïîìèíàþùåå óñòðîéñòâî ñ ïðîèçâîëüíûì äîñòóïîì, —
— ýëåêòðîííàÿ äîñêà
îáúÿâëåíèé.
Ñîâðåìåííàÿ òåíäåíöèÿ â ôîðìèðîâàíèè òåðìèíîëîãèè ðàçíûõ
îáëàñòåé (íàïðèìåð, êîìïüþòåðíàÿ, ïñèõîëîãè÷åñêàÿ, ìàòåìàòè÷åñêàÿ) â ðóññêîì ÿçûêå õàðàêòåðèçóåòñÿ øèðîêèì èñïîëüçîâàíèåì
òðàíñêðèïöèè èëè òðàíñêðèïöèè â ñî÷åòàíèè ñ òðàíñëèòåðàöèåé: ìîíèòîð, àâòîòðåêèíã, ìîäóëü, äðàéâåð, ñêàíåð, ìèêðîïðîöåññîð, òðèããåð, äèñïëåé, èíòåðôåéñ, êóðñîð, ñèíäðîì, òåñò è ò.ä. Òàêîé âèä ñîîòâåòñòâèÿ â äâóõ ÿçûêàõ, õîðîøî ïîíÿòíûé ïðîôåññèîíàëàì, áûâàåò
äîñàäíî íåïîíÿòíûì, íàïðèìåð, íåêîìïåòåíòíûì ïîëüçîâàòåëÿì ïåðñîíàëüíûõ êîìïüþòåðîâ, äàæå çíàþùèì àíãëèéñêèé ÿçûê. Îòñþäà
âûòåêàåò äëÿ ïåðåâîä÷èêà íåîáõîäèìîñòü ïðèíèìàòü âî âíèìàíèå èíòåðåñû ïîëüçîâàòåëåé ïðè ïåðåâîäå ðàçíîãî ðîäà èíñòðóêöèé.
Ýêâèâàëåíòû òåðìèíîâ â äâóõ ÿçûêàõ ìîãóò áûòü îáðàçîâàíû êàëüêèðîâàíèåì: — ìûøü,
— ïðîãðàììíîå îáåñïå÷åíèå,
transfer/transmission
coder/programmer
keyboard/keypad
control
check
monitor
by
default
to open a file
to go to
sleep
Ms
Microsoft, WWW
World Wide Web, RAM
Random Access Memory
BBS
mouse
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— âðåìåííàÿ/ïîñòîÿííàÿ ïàìÿòü,
— æ¸ñòêèé äèñê, motherboard — ìàòåðèíñêàÿ ïëàòà. Äëÿ
ñëîæíûõ è ïðîèçâîäíûõ òåðìèíîâ â êà÷åñòâå ñîîòâåòñòâèÿ êàëüêèðîâàíèå íàèáîëåå óäîáíî: rename, restart, storage device — ïåðåèìåíîâàòü, ïåðåçàïóñòèòü, çàïîìèíàþùåå óñòðîéñòâî. Âîçìîæíî òàêæå
èñïîëüçîâàíèå îïèñàòåëüíîãî ïåðåâîäà: backup — ðåçåðâíàÿ êîïèÿ.
Ïåðåâîä ñïåöèàëüíîãî òåêñòà ïðè óñëîâèè íàëè÷èÿ ñîîòâåòñòâóþùåãî ñëîâàðÿ âûçûâàåò òðóäíîñòè íå ñòîëüêî íà óðîâíå íîìåíêëàòóðû ïðåäìåòîâ è ïîíÿòèé ñîîòâåòñòâóþùåé îáëàñòè, ñêîëüêî ïðè
ïåðåâîäå îáùåòåðìèíîëîãè÷åñêîãî ôîíà.
temporary/permanent memory
hard disk
Çàäàíèå 1. Ïåðåâåäèòå òåêñò, ïðîàíàëèçèðóéòå èíäèâèäóàëüíûå òðóä-
íîñòè.
Mayan
. Family of languages in Central America, spoken in the Yucatan
Peninsula and to the south and west, in parts of Guatemala and the Mexi-
Yucatec
can states of Chiapas and Tabasco.
, in the Mexican part of the peninsula and the north of Belize,
has the greatest number of speakers.
The Mayan script is found in three manuscripts that survived the
Spanish conquest, and in earlier inscriptions. Now increasingly deciphered,
it included logograms, often combined on the rebus principle, and phonetic determinatives derived from them. Apparently developed by speakers of the Cholan branch of Mayan (now mainly in the states of Chiapas
and Tabasco) and transmitted to the branch that includes Yucatec.
(Oxford Concise Dictionary of Linguistics by P.H. Matthews,
OUP, 1997, p. 220)
Çàäàíèå 2. Ïåðåâåäèòå, îïðåäåëèâ òðóäíîñòè è èõ ïðè÷èíû. Ñîîòíîñÿ
àíãëèéñêèå òåðìèíû ñ ðóññêèìè, ïîäóìàéòå, åñòü ëè íåîáõîäèìîñòü â ñîçäàíèè íîâûõ?
TECHNIQUE OF ASSESSMENT
There are 6 main techniques of assessment: (1) written assessment; 2)
practical assessment; (3) oral assessment; (4) aural assessment; (5)
pupil questionnaire; (6) coursework (including projects and field work).
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In relation to assessment the three words “Terminal”, “Periodic” and
“Continuous” are often used. “Terminal” assessment measures the attainment of pupils at the end of the course. “Periodic” assessment measures levels of attainment reached at predetermined intervals throughout
the course. “Continuous” assessment — a continuous updating of
judgements about a pupil’s performance.
Assessment has two major stages, the construction of the instrument is designed to elicit responses (setting) and the evaluation of those
responses (marking).
A large part of the process of assessment in the schools is the incidental day-to-day observation of a pupils progress by teacher who built
up his impression of the pupil from routine exchanges in class and from
regular marking of written work.In addition all types of schools use periodic testing of the pupils both informally during lessons and formally by
end-of-term, half-yearly and yearly examinations. Annual monitoring is
now being undertaken in languages and mathematics at the ages of 11
and 15 and in science at the age of 11, 13 and 15. Monitoring of the first
foreign language has begun in 1983. New assessment techniques are
also being developed.
WHAT KINDS OF TESTS ARE USED IN SCHOOLS NOW?
Criterion-referenced tests, that is tests which are designed to find out
whether a part of a taught syllabus has been successfully learned.
Diag-
nostic. They are used to identify strength and weaknesses of individual
children in a specific area of curriculum, for example if a child is having
difficulties in reading. A diagnostic test should pick out those skills in
which he is deficient, so that the teacher can put them right. The category of tests would also include various kinds of individual aptitude tests.
The third category of tests is usually referred to as “
norm-referenced”.
These tests are designed to show how well a pupil (or a group of pupils)
performs in relation to a much larger sample — usually a standardized
norm. Thus a pupil (or a whole class) may appear to be average, or so
much below or above the average for that age group.
(A.A. Barbariga, Schooling in Great Britain, p. 48—50)
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Çàäàíèå 3. Ïåðåâåäèòå òåðìèíû, îáðàòèâ âíèìàíèå íà èõ èíòåðíàöèî-
íàëüíûå êîìïîíåíòû.
Political economy, theory of surplus-value, mode of production, distribution, vulgar materialism, birth rate, average life span, chronic unemployment, non-renewable losses, fundamental question of philosophy,
primacy of matter, natural sciences, dialectics, rational kernel, nature,
world outlook, cubic meter, reduction, multiplication, radical, contribution, limit, intellect, self-correction, transformation, reflect, reflex, to
familiarize someone with, professed beggars, invest, perspective, assembly, final, division, partner, personnel, approximation, integration,
talent, structure, power source, cause-and-effect relations, trial-anderror method, perennial problem.
Çàäàíèå 4. Ïåðåâåäèòå, îïðåäåëèâ îáëàñòü, â êîòîðîé èñïîëüçóþòñÿ
ñëåäóþùèå òåðìèíû.
1. This book challenges the advanced students to complete authen-
tic college assignments and master college-level material.
2. Twenty years later, the researchers found that hostility was again
a strong predictor of death from a variety of causes.
3. The crime surveys further reveal who are more likely to be the
victims: men more than women; the divorced more than married
or widowed; young people more than elderly; lower-income people more than higher-income people; the unemployed and students more than the employed, retirees, and housewives and city
dwellers more than rural residents (U.S. Dept. of Justice, 1983).
Most of these differences seem to result from at least three risk
factors: exposure (frequent contact with potential offenders),
proximity (being in high-crime areas), and lack of guardianship
(not having neighbors, police, burglar alarms, barred windows,
and so on).
4. Besides holding incoming information for a brief period, shortterm memory also holds material that has been retrieved from
long-term memory for temporary use. For this reason, STM is
sometimes called active or working.
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5.
In this chapter you learn the basics of the United States government system, and how the states are related to the national government.
6.
A study of nearly 100 outstanding leaders in different fields revealed that having a good feeling about oneself is one key to effective leadership. We are not talking about cockiness or self worship,
but a sincere self-respect, based on awareness of one’s strengths
and weaknesses and the desire to improve one’s talents.
7.
Computers have become an essential part of modern societies,
serving a variety of functions in science, business, the media,
education, and the home. Many colleges have added a computer
literacy class as part of their graduation requirements.
8.
Although friends, lovers, spouses, and the like are a main source
of pleasure in one’s life, they are equally a main source of frustration and hurt.
9.
10.
Contrary to popular belief, mental illness is extremely common.
Here’s what I want you to do. Start intravenous rehydration — use
lactated Ringer’s solution. Also give him tetracycline. If we can restore his blood volume and fluid immediately, he could be close to
normal in a few hours... He’ll either be cured by then or dead.
Çàäàíèå 5. Îáúÿñíèòå âûäåëåííûå ñëîâà, âîñïîëüçîâàâøèñü ñëîâàð¸ì
êîìïüþòåðíûõ òåðìèíîâ. Ìîæíî ëè áûëî ïåðåâåñòè
âûäåëåííûå òåðìèíû èíûì ñïîñîáîì? Îáúÿñíèòå, ïî÷åìó
îíè ñóùåñòâóþò èìåííî â äàííîé ôîðìå.
1. Ãîâîðÿ î ìóëüòèìåäèà, ëþäè, êàê ïðàâèëî, èìåþò â âèäó
êîìïàêò-äèñêè, íà êîòîðûõ èíôîðìàöèÿ çàïèñàíà ðàçëè÷íûìè
ñïîñîáàìè: â âèäå òåêñòà, ìóçûêè (è äðóãèõ çâóêîâ), âèäåî è
âîîáùå âñåãî-âñåãî-âñåãî.
2. Êýøèðîâàíèå äèñêà: êýøèðóÿ ÷òåíèå, êîìïüþòåð äåëàåò
ïðèìåðíî òî æå, ÷òî äåëàåòå âû, êîãäà âûòàñêèâàåòå èç êàðìàíà öåëóþ ïðèãîðøíþ ñåìå÷åê — íå äîñòàâàòü æå èõ ïî
îäíîé.
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È ñåðâåðà, íà êîòîðûõ ìîæíî áûëî ïîèãðàòü ñ ñåáå ïîäîáíûìè «þçåðàìè», ñòàëè ïëîäèòüñÿ êàê ãðèáû. Ñóùåñòâóåò,
íàïðèìåð, öåëàÿ ñåòü èç áîëåå 600 ñåðâåðîâ â 65 ñòðàíàõ,
íàçûâàåìàÿ ÊÀËÈ.
4. Ôîðìàòèðîâàíèå: Åñëè æå íåîáõîäèìî îòôîðìàòèðîâàòü
áîëüøîé ó÷àñòîê òåêñòà, âîñïîëüçóéòåñü êîìàíäîé <...>
5. Äëÿ èñïîëüçîâàíèÿ êàæäîãî óñòðîéñòâà, ïîäêëþ÷¸ííîãî ê
êîìïüþòåðó, íåîáõîäèì ñïåöèàëüíûé äðàéâåð.
6. ×àòû — ýòî òàêèå ìåñòà â ñåòè, ãäå ìîæíî áîëòàòü â ðåàëüíîì
âðåìåíè. <...> À ïðè æåëàíèè ìîæíî óåäèíèòüñÿ (óéòè â
«ïðèâàò») ñî ñâîåé ïàññèåé, è òîãäà âàø ðàçãîâîð íå óâèäÿò
îñòàëüíûå ïîñåòèòåëè ÷àòà.
3.
Ïîääà¸òñÿ ëè êîìïüþòåðíàÿ òåðìèíîëîãèÿ ðóñèôèêàöèè?
Çàäàíèå 6. Ïåðåâåäèòå ñëåäóþùèå òåêñòû, âûäåëèâ òåðìèíîëîãèþ
ðàçëè÷íûõ îáëàñòåé è ñäåëàâ âûâîäû îòíîñèòåëüíî
ñïîñîáîâ ïåðåâîäà.
1. SOFTWARE MAKES THE GRADE ON ESSAYS
A computer may not be able to write the Great American Novel, but
new software can evaluate a student essay about as well as a teacher
can, researchers say.
The Intelligent Essay Assessor software, being presented today at a
meeting of education researchers in San Diego, mimics the way a teacher
grades essays. The software focuses on content rather than writing ability, but “it turns out the two are highly correlated. Students who know
content write well,” says University of Colorado, Boulder, psychology
professor Thomas Landauer, who has been working on the project for
10 years.
The idea is that “a good essay is an essay that is similar to other
essays that have been good,” says researcher Peter Foltz, New Mexico
State University, Las Cruces.
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Here’s how it works: The teacher feeds the computer material from
textbooks and other sources so that it can “learn” the topic and relationships between words. Then the teacher submits a model essay written by an expert or a sampling of essays that have been graded by a
human. That provides the software with a basis for comparison.
It has been tested on about 2,000 students, including sixth-graders, undergraduates and first-year medical students, and often produces the same grades that humans give, Foltz and Landauer say.
Researchers say the program examines about a dozen predictors of
essay quality.
The essays that don’t conform — they could be extremely poor or
remarkably good — are flagged so humans can decide the grade. <...>
The software also provides feedback on what the essay left out, a feature
that could help students writing term papers.
“We haven’t dared” use the software for creative writing, Landauer
is quick to note. But he hopes the software will prompt teachers to use
more essay tests, which he says “encourage a better kind of learning
than... a multiple-choice test”. <...>
(By Mary Beth Marklein, USA TODAY, April 16, 1998)
2.
Libraries have thousands of books. To find a book, you need to use a
catalog. Some libraries have a computerized catalog system for locating books. The title, author, subject, and other information about each
book is stored in a computer file called a data base. To use a computerized catalog system, you need to go to the library’s computer terminal.
Instructions for using the computer are usually posted near the terminal. If you need help, a librarian can give you instructions. Books can
be found by their subject, title, or author. A computer system can be
faster to use than a manual catalog system, but sometimes not all
books in the library have been entered into the computer data base.
For this reason, if you can’t find the book you need with the computer,
be sure to check with the librarian. Don’t assume the book isn’t in the
library.
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In addition to or instead of a computerized catalog system, a library
will have a card catalog. In the card catalog, each book has three catalog
cards: a title card, an author card, and a subject card. This means that
you can look for a book by its title, author, or subject. Usually you look
for a book by subject, because often you don’t know the author of title.
All the cards are organized alphabetically, but when you go to the book
stacks to actually get the book, you will need to know its “call number”,
a number listed on the book’s catalog card.
(From: BRIDGE TO COLLEGE SUCCESS. Intensive Academic
Preparation for Advanced Students. Boston, 1991, p. 234)
3.
The previous year, he [Beethoven]’d received a commission from
the Royal Philharmonic Society. It was for a symphony, which fitted in
with Beethoven’s plans perfectly. He’d been making the odd sketch for a
symphonic work from as early as 1815, and the commission prompted
him to look at the last movement again. He revisited a text that had
been in his sights for the last thirty years or so. It was by Johann Schiller
and called “An die Freude”, but is most often translated into English as
the “Ode to Joy”. Odd to think now that, when it comes to one of the
most famous symphonies ever written, one of its defining features, the
choral movement, was only added at a very late stage. But for the RPS
gig, the work would be perfect — Beethoven would provide them with a
symphony. By now totally deaf yet, somehow, able to hear music better
than almost anyone on the planet at the time, he set to work hacking
away at Schiller’s words. In the end, he used only about a third of them,
and those he did use he totally rearranged to suit his own symphony.
Nevertheless, the result was the symphony’s finest hour — something
which, today, is enjoyed by millions of concert-goers the world over —
in a way the composer himself never could. It’s said that at first performance, with Beethoven himself conducting, the piece came to close
after a somewhat ragged performance, in which the orchestra and the
chorus had even got out of sync with each other. Nevertheless, got to
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cally drained from trying to keep his brand-new work together. At this
point, he didn’t really know how it had gone. He was, remember, totally
deaf now. He apparently looked deflated and a little disappointed. It was
left to a young alto soloist from the chorus — Caroline, her name was —
to come across to make him aware of how it had been received. She
walked across and physically turned him round 180 degrees. It was only
at this point that Beethoven realized what a hit his new symphony had
been. The entire audience was on its feet, clapping like there was no
tomorrow. Many in the crowd at this point realized that Beethoven had
been unaware of the applause, and this made them clap and cheer even
louder. To Ludwig, the applause seemed to go on for years. Now he knew
his symphony had arrived.
(Stephen Fry’s Incomplete & Utter History of Classical Music.
Classic FM, 2004, p. 132—133)
4. FEARS AND DREADS. WORDS FOR IRRATIONAL FEELINGS
An enquirer of the newsgroup alt.usage.english recently asked for
the word that described an irrational fear of dogs. In such circumstances, a word ending in phobia is bound to be appropriate, because this is
now the standard term for any extreme aversion, irrational fear or dread.
After searching my sources for examples of the appropriate word, curiosity led me to look into similar terms.
It is so strongly associated with modern psychiatry and pop-psychology that it is a little surprising to discover that as a word in its own
right phobia dates back as far as 1786. Its source is the Greek word
meaning “fear; horror”, which also turns up in a closely-related form in
the name of one of the two moons of Mars, Phobos, so called in 1877 by
its discoverer, the American Asaph Hall, after one of the two horses that
in legend pulled the war chariot of the Greek god of war (the other being
Deimos, “panic”, which name he gave to the other moon).
Most people only know a very few of the more common words formed
using the suffix “-phobia”. Claustrophobia is a fear of enclosed spaces,
from the Latin claustrum, originally “bar, bolt, lock” but later “a confined or shut-up space”, from which we also derive cloister, and close in
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the sense of an enclosure, court or quadrangle. Agoraphobia comes from
the Greek word agora which originally meant an assembly but came to
refer to the place of assembly and so any open space, especially a marketplace, thus leading to its sense of a fear of open spaces. Less common is acrophobia, “fear of heights”; this derives from the Greek “akros”
for a thing that is topmost, or at the tip or extremity of something. One
word physically close to that origin is acropolis, literally “upper city”,
but more normally translated “citadel”, as being a structure one usually
wishes to place on a commanding height. The same prefix turns up in
acronym, a word formed from the tips, or beginnings, of other words,
and in acromegaly, literally “large extremities”, in reference to deformations of the hands, feet or face. Rather less obviously it is also related to
acrobat, this being a person who — so far as the origin of the word
elements is concerned — performs on tiptoe. Other standard phobias
are nyctophobia, a fear of the dark (of the night, to be literal about the
Greek root), and ochlophobia a fear of crowds, from the Greek words for
night and crowd, respectively.
Also well known is hydrophobia, literally “fear of water”, as a name
for rabies, which sometimes appears to cause such a sensation in sufferers because it makes the throat swell and so it becomes difficult for
the victim to swallow. Much less common is lyssophobia, the fear of
contracting rabies, formed using the original Greek word for the disease, “lyssa”. There are several other unusual terms for the fear of contracting various diseases: choleraphobia, leprophobia, meningitophobia,
syphilophobia and tuberculophobia are all easy to identify from their roots
(though syphilophobia might equally be a fear of shepherds, since the
disease was named after the shepherd subject of the poem Syphilis, sive
morbus Gallicus, “Syphillis or the French Disease”, by Girolamo
Fracastoro, published in 1530). Toxiphobia is obviously a fear of being
poisoned (from Greek “toxon”, a bow, which has given us toxophily for
the sport of archery, and which generated a Greek compound toxicon,
“a poison for putting on arrows” which was taken into Latin and later
reached us as toxic). All these terms are examples of nosophobia or
pathophobia, “fear of disease”, the former deriving from one Greek word
for disease, “nosos”, the latter from “pathos” (Greek “suffering; disease”, which makes a combining form patho- in medical English as well
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as a standalone word). Or perhaps we can summarise them all as either
algophobia, a fear of pain, or thanatophobia, a fear of death, both derived from the equivalent Greek words.
The suffix has been immensely useful in permitting the English language to generate a whole range of words relating to a morbid fear of
certain groups of outlanders (a condition which in general is usually called
xenophobia, from the Greek “xenos”,
“stranger; foreigner”). As examples, there are Francophobia (or Gallophobia), Hispanophobia,
Russophobia (for most of this century Sovietophobia), Germanophobia
(or Teutonophobia), Polonophobia, Italophobia, and Sinophobia. A common one in British newspapers at the moment is Europhobia, not a fear
of Europe as such, but rather a distaste for or aversion to the European
Union. There are words for a fear of England (Anglophobia) and of Scotland (Scotophobia, which with a lower-case initial letter is also another
word for the fear of the dark, from the Greek “skotos”, “dark”), but there
seem to be no equivalent terms recorded for the Welsh and Irish, though
Cambrophobia and Hibernophobia would serve well enough if needed.
There are phobia terms for many religions, including Islamophobia,
Judeophobia, and Christophobia, not to mention theophobia, an irrational fear of God’s anger, ecclesiophobia, a morbid dread of
ecclesiasticism, pneumatophobia, a terror of spiritual matters,
teleophobia, a fear of design or final causes, or hierophobia, a fear or
horror of sacred things or persons.
But the word is such a useful little suffix that it has been immensely
overused this century both in psychiatry and popular writing, with dozens of compounds being noted in larger dictionaries. Here are some of
the more uncommon ones I’ve found: cremnophobia, a dread of precipices or steep places (from the Greek “kremnos”, an overhanging cliff);
arachnophobia, a morbid fear of spiders (Greek, “arachni”, “spider”),
brontophobia, a dread of thunderstorms and thunder (from the Greek
for “thunder” that turns up also in brontosaurus, the “thunder lizard”);
erythrophobia (a fear or dread of blushing, from the Greek “erythros”,
“red”); gynophobia (a fear of women, from the same root that gives us
gynaecology); ergophobia (dread of work, from the Greek “ergon” that
has been used to create ergonomics, the study of work practices); hypnophobia (a fear of falling asleep, from the same Greek root that appears
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in hypnosis); mycophobia (fear of mushrooms); ailurophobia a dread of
cats (there are several words for this particular malaise, including a variant form elurophobia as well as felinophobia, galeophobia, and
gatophobia; what’s so terrible about cats that so many are needed?),
hippophobia, fear of horses (a hippopotamus is literally a “river horse”,
which will tell you the literal meaning of potamophobia, though it is also
used for a unreasoning fear of any large body of water); hodophobia, fear
of travelling, hylophobia, fear of forests, thalassophobia, a terror of the
sea; neophobia, the fear of change; rupophobia (fear of dirt, or conceiv-
”
with that sense); pyrophobia (fear of fire); and sitiophobia (fear of food,
though the Greek root is such that it ought strictly to be fear of bread or
grain; there is also the related phagophobia, a fear of eating).
It’s so easy to make up such words that most writers seem to have a
go at it at some time or other (either that, or they make lists of words for
phobias). They turn up fairly regularly in the lighter type of article in our
more serious journals and newspapers. For example, several have been
coined in recent years to describe a terror of some newish examples of
technology: computerphobia, cyberphobia, cybertechnophobia,
telephobia and technophobia. My favourite such formation is
anoraknophobia, which could be a terror of trainspotters but is more
likely to be used for a fear of such manifestations of information technology as the World Wide Web, though Wired magazine once defined it as
“the unreasonable fear that joining the digital revolution will somehow
lead one into unprompted fashion mistakes”.
Then there’s ericophobia, a fear of heathland; horophobia, a terror
of clocks and — especially — clockfaces; successophobia (which Douglas Coupland defined as “the fear that if one is successful, then one’s
personal needs will be forgotten”); cyclophobia a dread of cyclists;
deipnophobia, a fear of dinner parties (Greek deipnon, “dinner”),
dromophobia, a terror of crossing streets; linonophobia, a fear of string,
anthophobia, fear of flowers, ombrophobia, a fear of rain, harpaxophobia,
fear of robbers, symmetrophobia, a horror of symmetry; and
triskaidekaphobia the fear of the number 13.
If you have a number of phobias, you may be said to have polyphobia; if your fear is of being afraid, you may suffer from phobophobia. If
ably of sealing wax, since it could be derived from the Greek “rupon
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your fear has no observable cause, you have panophobia, “a causeless
terror”, which is also used along with panphobia for a fear of everything
(the opposite and possibly even more worrying affliction is pantaphobia,
the irrational absence of fear, from pant-, “all; everything” and aphobia,
“fearlessness”). If you are lucky, you may only have paraphobia, a mild
case of phobia.
Since you are reading this, you are unlikely to be suffering from
logophobia, a terror of words in general, though you might have
onomatophobia, a fear of hearing certain words spoken, or have contracted bibliophobia, a horror of books, glossophobia, a fear of speaking,
or papyrophobia, a fear of paper, or even theatrophobia, an aversion to
theatres and plays. I know several authors and playwrights who have a
bad case of criticophobia, a dread of critics.
Let us return to our dogs. If we are to form our phobia words with
due regard to the linguistic origins of their elements, we should stick to
Greek roots. This would make a fear of dogs cynophobia. However, the
OED has a couple of examples of its antonym, for which people have for
some reason coined canophilia, using the Latin “canis”; rightly, the OED
says this is an irregular formation. As a lifelong cat-lover, I can only
concur.
(http://clever.net/quinion/words/cyber.htm,
http://clever.net/quinion/words/phobias.htm)
5. GRILLED STEAK
Basic recipe
150—200 g steak per person
oil or melted butter
freshly ground pepper
Garnish Mˆâ
itre d’H
ôtel butter. Wipe the steaks and trim off any
excess fat. Beat each steak lightly on both sides with a cutlet bat or
rolling-pin. Brush with oil or melted butter and, if possible, leave for 1
hour before cooking. Season with pepper. (Do not salt steaks before
grilling because it makes the juices run.) Heat the grill to a high heat
and oil the grid, or brush with melted butter. Place the meat on the grid
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and cook under the grill until the steak has browned lightly on one side.
Turn the meat over, using palette knife or spoons. Grill quickly to brown
the other side. If the steaks are required medium rare or well-done, lower the grid or the grill heat and continue cooking as required. Serve at
once with a pat of Mˆâitre d’Hôtel butter on top of each helping. Serve
with chipped potatoes, grilled mushrooms, and/or grilled tomatoes, and
a sprig of watercress.
(Mrs Beeton’s Cookery For All,
Pan Books Ltd.,1982)
MˆÂ
ÔTEL
ITRE D’H
BUTTER
2—4 large sprigs parsley
a small pinch of pepper
50 g softened butter
a few drops lemon juice
salt
Blanch the parsley, and chop it finely. Work it into the butter with
the seasonings and lemon juice. Use at once, or pot and chill.
(Ibid, p. 265)
Çàäàíèå 7. Îáúÿñíèòå è èñïðàâüòå îøèáêè ïåðåâîäà è èõ ïîñëåäñòâèÿ,
1.
2.
3.
4.
ïðîàíàëèçèðîâàâ âîçìîæíûé êîíòåêñò è ñëîâàðíûå
çíà÷åíèÿ àíãëèéñêèõ ñëîâ ïî èõ ðóññêèì ñîîòâåòñòâèÿì.
Êîìíàòà áûëà íåáîëüøàÿ, ñâåòëàÿ, ñ áåëûìè ñòåíàìè è ïîëèðîâàííûì ïîëîì, è âñÿ çàñòàâëåíà áàãàæîì.
ß áûë ñîâåðøåííî äåìîðàëèçîâàí, êàê ìîæåò áûòü òîëüêî ñ
ìóæ÷èíîé, âëþáë¸ííûì â æåíùèíó, <...> êîòîðûé çíàåò, ÷òî
åìó áîëüøå íå ïðèä¸òñÿ äåðæàòü å¸ â ñâîèõ îáúÿòèÿõ.
Ÿ àññèñòåíòêà, Îôåëèÿ Ñåëáè, ðàáîòàëà î÷åíü ýôôåêòèâíî.
Èç-çà îãðàíè÷åííîãî áþäæåòà îíà ñîâìåùàëà ôóíêöèè àññèñòåíòà è ìåíåäæåðà.
Íàäåþñü, âû èçâèíèòå ìåíÿ, íî ÿ íèêàê íå ïðèâûêíó ê ìûñëè,
÷òî æåíùèíà ìîæåò áûòü ñóïåðèíòåíäàíòîì øêîë.
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Îíà âçëåòåëà ââåðõ ïî ëåñòíèöå è áðîñèëàñü íà ïîñòåëü. Îíà
íå ïëàêàëà, õîòÿ åé áûëî áû ëåã÷å, åñëè áû îíà âûïëàêàëàñü.
Ÿ áèëà àãîíèÿ: Ìàêñ îòêàçàëñÿ îò íå¸, è ê òîìó æå ñòðàøíî
óíèçèë å¸.
6. À Äæèë áûëà ïðåêðàñíûì ñëóøàòåëåì, òàêòè÷íûì, ïîëíûì
ñèìïàòèè. Èõ ðîëè ïîìåíÿëèñü. Äæåññèêà, ïî-ìàòåðèíñêè
çàáîòëèâàÿ, ñòàëà áëàãîäàðíûì ðåöèïèåíòîì ïîíèìàíèÿ
Äæèë, à Äæèë, íóæäàâøàÿñÿ â çàùèòå, ñòàëà íàïåðñíèöåé
Äæåññèêè, å¸ çàùèòíèöåé è îïåêóíøåé.
7. Íàäåþñü, ÿ íå âòîðãàþñü â âàæíóþ ñåìåéíóþ êîíôåðåíöèþ.
8. Ñòðåíä õîòåë ñêàçàòü ýòîìó ïàðíþ ÷òî-íèáóäü õîðîøåå, âûðàçèòü ñâî¸ âîñõèùåíèå åãî ïðÿìîëèíåéíîñòüþ è ëîÿëüíîñòüþ,
íî ïîíèìàë, ÷òî ýòî òîëüêî ñìóòèò Ðîëëèíçà, ïîýòîìó ïðîìîë÷àë è ïðîñòî çàêðûë çà íèì äâåðü.
9.  òó æå íî÷ü ÿ ïîäåëèëàñü ñ Õýìèøåì ñâîèì ëþáîïûòíûì
îòêðûòèåì, íî îí, îòìàõíóâøèñü, îòâåòèë ìíå, ÷òî ÿ, ïîâèäèìîìó, ãàëëþöèíèðóþ.
10. Ìîé ìîçã ïëîõî ôóíêöèîíèðóåò áåç ôèçè÷åñêîé íàãðóçêè.
11. Ïðåäñòàâëåíèå Ñîôè î Êîðíóîëëå, ãäå îíà íèêîãäà íå áûâàëà,
áàçèðîâàëîñü òîëüêî íà ãëÿíöåâûõ êðàñî÷íûõ ñóâåíèðíûõ
îòêðûòêàõ.
12. Äæèì î÷åíü ðàñïåòóøèëñÿ è ÿâíî íàäåÿëñÿ ïîëíîñòüþ îêêóïèðîâàòü å¸ âíèìàíèå è â áóäóùåì.
13. Îí çàíèìàåòñÿ ôèëîñîôèåé. Ïèøåò î÷åíü èíòåðåñíûå òåçèñû
ïî Âèòãåíøòåéíó, è ÿ íå óäèâëþñü, åñëè åãî äèïëîì íàãðàäÿò
ïðèçîì.
14. Ìåäëåííî, äþéì çà äþéìîì, äåâî÷êà âûïîëçàëà èç-ïîä ñòîëà.
15. Åñëè òû âûéäåøü çàìóæ çà ñàìîãî êðàñèâîãî, ñàìîãî ïîëèðîâàííîãî è íàäåë¸ííîãî âñÿ÷åñêèìè ñâåòñêèìè òàëàíòàìè
÷åëîâåêà, òî ñåé÷àñ òû è ïðåäñòàâèòü ñåáå íå ìîæåøü, êàêèå
ñòðàäàíèÿ òåáÿ îæèäàþò, åñëè ïîòîì îí îêàæåòñÿ íèê÷¸ìíûì
õëûùîì èëè äàæå ïðîñòî ãëóïûì ôàíòàç¸ðîì.
5.
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ÏÅÐÅÂÎÄ ÑÎÊÐÀÙÅÍÈÉ
Ñîêðàùåíèå — ýòî ñïîñîá ñîçäàíèÿ â ÿçûêå ñëîâ íà áàçå óæå
ñóùåñòâóþùèõ ñëîâ ïóò¸ì ñâåäåíèÿ èõ ê îäíîé èç ñîñòàâëÿþùèõ èõ
÷àñòåé (íà÷àëüíûõ áóêâ ïðè àááðåâèàöèè, ÷àñòè ìîðôåìû, ê îäíîé
èç ìîðôåì, ê ÷àñòÿì áîëüøå ìîðôåìû).
Ðàñïðîñòðàí¸ííîñòü ñîêðàùåíèé â ðàçíûõ ÿçûêàõ (íàïðèìåð, â
àíãëèéñêîì ÿçûêå îíè íàñ÷èòûâàþò äî 15—16 òûñÿ÷ åäèíèö ëåêñè÷åñêîãî ñîñòàâà) ñîçäà¸ò ïðè ïåðåâîäå ïðîáëåìû óçíàâàíèÿ ñîêðàùåíèé, àññîöèàöèè èõ ñ ïîëíûìè ïðîòîòèïàìè, ïîíèìàíèÿ èõ ýêñïðåññèâíî-ñòèëèñòè÷åñêîé íàãðóæåííîñòè.
Ñîêðàùåíèÿ îáíàðóæèâàþòñÿ âî âñåõ ñëîÿõ ëåêñèêè: ñðåäè òåðìèíîâ, èì¸í ñîáñòâåííûõ, ñðåäè ðàçíîîáðàçíûõ íàçâàíèé îáúåêòîâ
äåéñòâèòåëüíîñòè, ïîíÿòèé, ñðåäè ðåàëèé, èíîÿçû÷íûõ âêðàïëåíèé.
Îíè èñïîëüçóþòñÿ â ïèñüìåííîé è óñòíîé ðå÷è è ÿâëÿþòñÿ îäíîé èç
õàðàêòåðíåéøèõ ÷åðò ñîâðåìåííîãî àíãëèéñêîãî ÿçûêà. Ñîêðàùåíèþ ïîäâåðãàþòñÿ ñëîâà (ïðîñòûå, ïðîèçâîäíûå, ñëîæíûå), ñëîâîñî÷åòàíèÿ (îò áèíàðíûõ äî ìíîãîñëîâíûõ), ÷òî äåëàåò èõ ôóíêöèîíèðîâàíèå ýêîíîìíûì â ïå÷àòíîì òåêñòå, â òîì ÷èñëå è êîìïüþòåðíîì (sub — submarine, technicolour — technical colour, ASAP — as
soon as possible).
Ðàñøèôðîâêà è ïîíèìàíèå ñîêðàùåíèé, êàê ïðàâèëî, íå âûçûâàåò áîëüøèõ ñëîæíîñòåé ïðè íàëè÷èè êîíòåêñòà è ñëîâàðåé
6
. Âî
— Fahrenheit; fab — fabulous; i.e. — Lat.
id est, that is — òî åñòü; PR — pro portional representation: Do you
think a system of PR makes election fairer?; PR — public relations:
The new PR campaign will promote the Company’s concern for the
environment ; PTO — please turn over; UCLA — University of
California, Los Angeles (Êàëèôîðíèéñêèé óíèâåðñèòåò, Ëîñ-Àíäæåëåñ); WFEA — World Federation of Educational Associations (Âñåìèðíàÿ ôåäåðàöèÿ ïðîñâåòèòåëüñêèõ àññîöèàöèé — ÂÔÄÌ), R — Am.
for restricted.
ìíîãèõ ñëîâàðÿõ ìîæíî íàéòè òîëêîâàíèå àááðåâèàòóð è ñîêðàù¸ííûõ ñëîâ äðóãèõ òèïîâ:
F
6 Íàïðèìåð, Àíãëî-ðóññêèé ñëîâàðü ñîêðàùåíèé / Ñîñò. Í.Î. Âîëêîâà, È.À. Íèêàíîðîâà. — Ì.: Ðóñ. ÿç., 1999.
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 îáùåì âèäå ñõåìó ïåðåäà÷è àíãëèéñêèõ ñîêðàùåíèé íà ðóññêèé ÿçûê ìîæíî ïðåäñòàâèòü ñëåäóþùèì îáðàçîì: ñîêðàùåíèå ïå-
ðåâîäèòñÿ íà ÿçûê ïåðåâîäà èëè ñîêðàùåíèå ïåðåíîñèòñÿ â Ïß ñ
ïîìîùüþ òðàíñêðèïöèè è/èëè òðàíñëèòåðàöèè â âèäå çàèìñòâîâàíèÿ. Ïðè ïåðåâîäå ñîêðàùåíèå ìîæåò áûòü ïåðåäàíî êàê àááðåâèàòóðîé, òàê è ðàçâ¸ðíóòîé ôîðìîé. Äëÿ àááðåâèàòóð â àíãëèéñêîì
ÿçûêå âîçìîæíî ïîáóêâåííîå è ñëîãîâîå (ó àêðîíèìîâ) ïðî÷òåíèå,
ïîýòîìó âîññîçäàíèå àááðåâèàòóð ìîæåò ïîéòè ëèáî ïî ïóòè ïåðåâîññîçäàíèÿ â Ïß ñîîòâåòñòâóþùåé àíãëèéñêîé àááðåâèàòóðû (BBC
—
Áè-Áè-Ñè), ëèáî ñîîòâåòñòâóþùèì ñëîâîì (Neddy — Íåääè, ðàçãîâîðíîå íàçâàíèå Ñîâåòà íàöèîíàëüíîãî ýêîíîìè÷åñêîãî ðàçâèòèÿ —
National Economic Development Council).  äðóãèõ ñëó÷àÿõ äëÿ ïîäûñêàíèÿ ñîêðàù¸ííîãî ñîîòâåòñòâèÿ â êà÷åñòâå áàçû èñïîëüçóåòñÿ
ïîëíûé âàðèàíò ñîîòâåòñòâóþùåé åäèíèöû: UNO — United Nations
Organization — Îðãàíèçàöèÿ Îáúåäèí¸ííûõ Íàöèé; WHO — World
Health Organization — Âñåìèðíàÿ îðãàíèçàöèÿ çäðàâîîõðàíåíèÿ —
ÂÎÇ; AIDS — acquired immune deficiency syndrome — ñèíäðîì ïðèîáðåò¸ííîãî èììóíîäåôèöèòà — ÑÏÈÄ; BOAC — British Overseas
Airways Company — íàçâàíèå àâèàöèîííîé êîìïàíèè Áðèòèø Îâåðñèç Ýðóýéç Êîìïàíè.
Ïðè ïåðåíåñåíèè ñîêðàùåíèÿ â êà÷åñòâå çàèìñòâîâàíèÿ èñïîëüçóþò òðàíñêðèïöèþ èëè òðàíñëèòåðàöèþ, êîòîðûå, èñõîäÿ èç ñîâðåìåííûõ òåíäåíöèé, ñîâìåùàþò: UNESCO — ÞÍÅÑÊÎ, Interpol —
Èíòåðïîë, TELECOM — Òåëåêîì.
Ñîêðàù¸ííûå òåðìèíû, ìíîãèå íàçâàíèÿ, ðåàëèè, ñâÿçàííûå ñ
íàó÷íîé, îáùåñòâåííî-ïîëèòè÷åñêîé, òåõíè÷åñêîé ëåêñèêîé, êàê
ïðàâèëî, îäíîçíà÷íû è ñòèëèñòè÷åñêè íåéòðàëüíû, îäíàêî â îáûäåííîé ëåêñèêå è ñëåíãå îíè ñòèëèñòè÷åñêè îòëè÷àþòñÿ îò ñâîèõ ïîëíûõ ïðîòîòèïîâ (doc — doctor). Ñëåäóåò òàêæå áûòü ïðåäåëüíî âíèìàòåëüíûì ê íàïèñàíèþ ñîêðàùåíèé (íàëè÷èå òî÷åê, ïðîïèñíûå/ñòðî÷íûå áóêâû). Òàê, Ms, MS ñîîòâåòñòâåííî îçíà÷àþò â ïèñüìå îáðàùåíèå
ê äàìå, ÷åé ñåìåéíûé ñòàòóñ íå èçâåñòåí, èëè ñîîòíåñåíû ñ ìåäèöèíñêèì òåðìèíîì multiple sclerosis — ðàññåÿííûé ñêëåðîç. Îñíîâíîå ïðàâèëî, êîòîðûì äîëæåí ðóêîâîäñòâîâàòüñÿ ïåðåâîä÷èê, — ýòî ÷óâñòâî
ìåðû, çàïðåùàþùåå ïåðåâîä÷èêó íàâÿçûâàòü ðîäíîìó ÿçûêó íåóäîáîâàðèìûå àááðåâèàòóðû, îäíîâðåìåííî óêàçûâàþùåå åìó íàïðàâëåíèå
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ïîèñêà òî÷íîãî ñîîòâåòñòâèÿ ñîêðàù¸ííûõ ñëîâ â äâóõ ÿçûêàõ. Ñëåäóåò
îòìåòèòü è ðîëü êîíòåêñòà â äåêîäèðîâàíèè ñîêðàùåíèé, â ïîäãîòîâêå
ïðèìå÷àíèé ê ñîêðàùåíèÿì.
Çàäàíèå 1. Ïðîàíàëèçèðóéòå ñïîñîáû ïåðåäà÷è àíãëèéñêèõ ñîêðàùå1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
íèé íà ðóññêèé ÿçûê.
BIS (Bank for International Settlements) — Áàíê ìåæäóíàðîäíûõ ðàñ÷¸òîâ (ÁÌÐ)
BCU (Base Current Unit) — áàçîâàÿ âàëþòà
GDP (gross domestic product) — ÂÂÏ (âàëîâîé âíóòðåííèé
ïðîäóêò)
GATT (General Agreement on Tariffs and Trade) — ÃÀÒÒ
(Ãåíåðàëüíîå ñîãëàøåíèå ïî òàðèôó è òîðãîâëå)
DOS (disk-operating system) — ÄÎÑ (äèñêîâàÿ îïåðàöèîííàÿ ñèñòåìà)
pan (primary account number) — ÏÝÍ (îñíîâíîé íîìåð ñ÷¸òà)
IMF (International Monetary Fund) — ÌÂÔ (Ìåæäóíàðîäíûé
âàëþòíûé ôîíä)
E-mail (electronic mail) — ýëåêòðîííàÿ ïî÷òà, «åìåëÿ»
quink (quick-drying ink) — áûñòðîñîõíóùèå ÷åðíèëà
WTO (World Trade Organization) — ÂÒÎ (Âñåìèðíàÿ Òîðãîâàÿ Îðãàíèçàöèÿ).
Çàäàíèå 2. Ïåðåâåäèòå, îáðàòèâ âíèìàíèå íà òèïû ñîêðàùåíèé, ñïî-
ñîáû èõ ñåìàíòèçàöèè è íàëè÷èå/îòñóòñòâèå ñîîòâåòñòâèé.
When tip-of-the-tongue (TOT) states occur, people often came
up with words that were similar to the right word before they
finally recalled it.
2. In the last year, interest in preparing America for its hightech
future has fairly exploded.
3. Meaningfulness also reduces the number of chunks of information you have to learn. Thus, if your license plate is 236 mpl, you
might think of 236 maples.
1.
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4. A notable difference between easygoing people and tense worri-
5.
6.
7.
8.
9.
10.
ers seems to be in the frequency with which the latter feel stressful
negative emotions. Indeed, two psychologists have identified a
dimension of personality they call “negative affectivity” (NA) a
person’s tendency to feel negative emotions such as anger, scorn,
revulsion, guilt, rejection, and sadness (Watson and Clark, 1984).
High NA people frequently feel worried and tense, even in the
absence of objective stress. Their low self-esteem and negative
moods are linked to their tendency to brood about (and magnify)
their mistakes and disappointments. They are particularly sensitive to hassles and frustrations, and report greater distress than
low NAs do.
“My father worked for WHO” Who? I give up... “The World
Health Organization. He was a doctor”.
“Wait a minute,” Dinetto called. He turned to the Shadow. “Give
her a C-note”. The Shadow took a hundred-dollar bill out of his
pocket. “Here”.
He still played the guitar and got A’s.
The apartment was in the Marina district, on Filbert Street.
It was perfect for them. 3 Br/2 Ba, nu cpts, lndry, prkg, utils pd.
London/Mayfair apartments LUXURY, spacious 1, 2, 3 BR serviced Apts. Excel central loc. fully equip kit, maid svce. Comp
airport pick-up 73 LHR w/this ad. Contact London Pied-A-Terre,
10 Reeves Mews, Lndn W1Y 3PB. Tel: 011441714996692
But with certain whale populations rising — albeit slightly —
the International Whaling Commission (IWC) is under great
pressure to lift the ban.
Çàäàíèå 3. Ðàñøèôðóéòå ñëåäóþùèå ïî÷òîâûå àááðåâèàòóðû íàçâàíèé
àìåðèêàíñêèõ øòàòîâ.
AB, CA, DE, FL, IA, ID, KS, KY,MI, MO, NE, NJ, NM, OH, OK, PA,
TN, UT, VA, WY.
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Çàäàíèå 4. Ïåðåâåäèòå íà ðóññêèé ÿçûê ñëåäóþùèå àááðåâèàòóðû.
AD, A.M., BC, Cy, DC, d.t., ed., Esq., et al., F.C., fcst, ff.,fn, f.a.c.,
f.o.c., fps, freq., f.v., grad., h.c., HP, inf., i.q., Is., kph, lb., l.c. / loc. cit.,
LD, M.E.T., MF, mph, Misc., modem, MS, Ms, Mrs., n.d., n.s., p., pd,
p.d., Ph.D., pr., P.T.O. / p.t.o., q.v., s., s.a. / s.a.e.l., scuba, sq, ths, tsps,
tr, ts, UHF, um, V., VHF, VIP, VLF, v.s., viz.
Çàäàíèå 5. Íàéäèòå â ðóññêîì ÿçûêå ñîîòâåòñòâèÿ ñëåäóþùèì àááðå-
âèàòóðàì è ñîïîñòàâüòå èõ ñ ïîëíûìè íàçâàíèÿìè. Ñäåëàéòå
âûâîäû î ïðàâèëàõ èõ ïåðåäà÷è.
Amvets, AUS, BSA, CIA, COD, COL, CRC, DNA, DST, FAO, FAQ,
FBI, ICJ, IMF, UFO, UNICEF, UPI, USIA, ZPG.
ÏÅÐÅÂÎÄ ÍÅÎËÎÃÈÇÌÎÂ
Íåîëîãèçìû — ýòî ÿçûêîâûå íîâîîáðàçîâàíèÿ, ñîçäàííûå ïî
çàêîíàì ÿçûêà èëè çàèìñòâîâàííûå, äëÿ îáîçíà÷åíèÿ íîâûõ ïîíÿòèé, ÿâëåíèé, íàèìåíîâàíèé, äåéñòâèé, ñâîéñòâ è êà÷åñòâ èçìåíÿþùåãîñÿ ðåàëüíîãî ìèðà, îùóùàåìûå ïîëüçîâàòåëÿìè ÿçûêà êàê íå÷òî íîâîå, íåîæèäàííîå, îðèãèíàëüíîå. ×àùå âñåãî, ãîâîðÿ î íåîëîãèçìàõ, èìåþò â âèäó íîâóþ êîìáèíàöèþ ìîðôåì èëè âíîâü
ñîçäàííûå èëè çàèìñòâîâàííûå èç äðóãèõ ÿçûêîâ ñëîâà è ìîðôåìû ñ
íîâûìè çíà÷åíèÿìè (ÿâëåíèå íîîñåìèè). Êàê ïðàâèëî, íåîëîãèçìû
ðåãèñòðèðóþòñÿ îñîáûìè ñëîâàðÿìè — ñëîâàðÿìè íåîëîãèçìîâ,
èìåþùèìè îïðåäåë¸ííóþ âðåìåííóþ ñîîòíåñ¸ííîñòü ñ êàêèì-òî
ýòàïîì ðàçâèòèÿ ÿçûêà. Ïî ìåðå âõîæäåíèÿ â îñíîâíîé ñëîâàðíûé
ñîñòàâ îíè ðåãèñòðèðóþòñÿ òîëêîâûìè ñëîâàðÿìè ÿçûêà îðèãèíàëà
è ïåðåâîäà. Ôàêò ôèêñàöèè òàêèõ ñëîâ â òîëêîâîì ñëîâàðå áåç ñîîòâåòñòâóþùåé ïîìåòû óêàçûâàåò íà çàâåðøåíèå èõ «íåîëîãè÷åñêîãî» ïåðèîäà.
Íåîëîãèçìû ìîãóò ïîÿâëÿòüñÿ âî âñåõ æàíðàõ ðå÷è, ðàçâèâàþùèõñÿ äèíàìè÷íî è òðåáóþùèõ íîâûõ âûðàçèòåëüíûõ, òî÷íûõ, ¸ìêèõ ñëîâ.
Îíè îòðàæàþò îáùåñòâåííûé ïðîãðåññ, ïîÿâëåíèå íîâîãî çíàíèÿ, íîâûõ îòðàñëåé íàóê, íîâûõ ïðåäìåòîâ è ïîíÿòèé, íîâûõ òåðìèíîâ.
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Çàòðóäíåíèÿ â ïåðåâîäå íåîëîãèçìîâ âîçíèêàþò êàê ïðîáëåìû
óçíàâàíèÿ íîâûõ ñëîâ ÷óæîãî ÿçûêà, êàê ïðîáëåìû ëåêñèêîãðàôè÷åñêîé ïðàêòèêè, êîãäà íîâîå ñëîâî ïðîõîäèò íåêîòîðûé ïåðèîä àäàïòàöèè ÿçûêîâûì ñîîáùåñòâîì, ïðåæäå ÷åì îíî ïîïàäàåò â ñëîâàðü
íåîëîãèçìîâ. Ñ ýòîé òî÷êè çðåíèÿ ðîëü ïåðåâîä÷èêà îêàçûâàåòñÿ äëÿ
ÿçûêà ïåðåâîäà â êàêîì-òî ñìûñëå «ñóäüáîíîñíîé», ïîñêîëüêó îí
ââîäèò â Ïß íîâîå ïîíÿòèå, íîâîå îáðàçîâàíèå ÷åðåç çàèìñòâîâàíèå ôîðìû è/èëè çíà÷åíèÿ.
Âûáîð ñïîñîáà ïåðåäà÷è íåîëîãèçìà çàâèñèò îò ìíîãèõ îáúåêòèâíûõ è ñóáúåêòèâíûõ ôàêòîðîâ, â òîì ÷èñëå îò ôèëîëîãè÷åñêîé
ïîäãîòîâêè ïåðåâîä÷èêà, åãî ëè÷íîñòè, îïûòà, îò ñòèëÿ òåêñòà, îò
ñëîâîîáðàçîâàòåëüíûõ îñîáåííîñòåé íîâîãî ñëîâà.
Ñðåäñòâàìè ðóññêîãî ÿçûêà íåîëîãèçìû ìîãóò ïåðåäàâàòüñÿ ñ
ïîìîùüþ òðàíñêðèïöèè è òðàíñëèòåðàöèè ñ ïîñëåäóþùåé ñåìàíòèçàöèåé ýòîãî íîâîãî ñëîâà. Ïðè ýòîì ïðîèñõîäèò íå òîëüêî ïåðåâîä,
íî è âîçìîæíîå çàèìñòâîâàíèå ñëîâà â Ïß. Íîâîå ñëîâî ñòàíîâèòñÿ
ìåæúÿçûêîâûì ñèíîíèìîì ñëîâà â Èß, âíåøíå ñõîäíûì ñî ñâîèì
èíîÿçû÷íûì ïðîòîòèïîì: briefing
renazification
— áðèôèíã,
— ðåíàöèôèêàöèÿ.
Ïðîìåæóòî÷íîå ïîëîæåíèå ìåæäó ïåðåâîäîì è ïåðåíîñîì íîâîãî ñëîâà çàíèìàåò êàëüêèðîâàíèå. Êàê ïðè¸ì ñîçäàíèÿ â Ïß ñîîòâåòñòâèÿ äëÿ íåîëîãèçìà îíî ñîñòîèò â ïîêîìïîíåíòíîì ïåðåâîäå
ñîñòàâëÿþùèõ ñëîæíîãî ñëîâà èëè ñëîâîñî÷åòàíèÿ: e-mail — ýëåêòðîííàÿ ïî÷òà, to front-page — ïîìåùàòü íà ïåðâîé ñòðàíèöå. Ïðåèìóùåñòâî âòîðîãî ñïîñîáà ïî ñðàâíåíèþ ñ ïåðâûì ñîñòîèò â òîì,
÷òî åãî çíà÷åíèå íå òðåáóåò ñåìàíòèçàöèè, ò.å. îòäåëüíîãî äîïîëíèòåëüíîãî ïðåäñòàâëåíèÿ.
Åù¸ îäèí ñïîñîá ïåðåäà÷è íåîëîãèçìîâ ïðè ïåðåâîäå îáåñïå÷èâàåòñÿ îïèñàòåëüíûì ïåðåâîäîì, ïðè êîòîðîì ñëîâî òîëêóåòñÿ áåçîòíîñèòåëüíî ê ìîäåëè è ñòðóêòóðå èíîñòðàííîãî ñëîâ. Îïèñàòåëüíûé ïåðåâîä îáðàù¸í íå ñòîëüêî ê ôîðìå èñõîäíîãî ñëîâà, ñêîëüêî
ê åãî çíà÷åíèþ, â çàâèñèìîñòè îò óñïåõà ïåðåâîäà âîçíèêàåò ñîîòâåòñòâèå â Ïß: summit meeting — âñòðå÷à â âåðõàõ / íà âûñøåì
óðîâíå.  àíãëèéñêîì ÿçûêå ñëîâîñî÷åòàíèå ïðåòåðïåëî ñîêðàùåíèå — summit, êîòîðîå ïóò¸ì òðàíñêðèïöèè ïîÿâèëîñü è â ðóññêîì ÿçûêå, ïî àññîöèàöèè ñ ïîëíûì ïðîòîòèïîì îíî íå òðåáóåò äî72
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ïîëíèòåëüíîé ñåìàíòèçàöèè, õîòÿ è çàôèêñèðîâàíî â «Òîëêîâîì ñëîâàðå èíîÿçû÷íûõ ñëîâ» Ë.Ï. Êðûñèíà â çíà÷åíèè «âñòðå÷à, ïåðåãîâîðû ãëàâ ãîñóäàðñòâ». ×àùå âñåãî îïèñàòåëüíî, à òî÷íåå îáúÿñíèòåëüíî, èñïîëüçóåòñÿ ñëîâàðíàÿ äåôèíèöèÿ àíãëèéñêîãî íåîëîãèçìà.
 ðåçóëüòàòå ýòîãî ñïîñîáà ïåðåäà÷è íåîëîãèçìîâ èìååò ìåñòî íåêîòîðîå íåïîëíîå ñîîòâåòñòâèå çà ñ÷¸ò ñóæåíèÿ èëè ðàñøèðåíèÿ ïîíÿòèÿ. Ñëåäóåò áûòü âíèìàòåëüíûì ê ñèñòåìíûì îòíîøåíèÿì âîçíèêøåãî íåîëîãèçìà è â ÿçûêå îðèãèíàëà, è â ÿçûêå ïåðåâîäà: teenager (13—19), tweenager (18—30), teenish (11—12); children —
childer — tiddler.
Äåéñòâèÿ ñ îêêàçèîíàëüíûìè íîâîîáðàçîâàíèÿìè, êîòîðûå íå
çàôèêñèðîâàíû â ñëîâàðÿõ, èñ÷åðïàâøèìè ñâîè ïîòåíöèè îäíèì ñëó÷àåì óïîòðåáëåíèÿ (hapax legomena), ñâÿçàíû ñ àíàëèçîì ñòðóêòóðû ñëîâà, ñ åãî íåïîñðåäñòâåííî ñîñòàâëÿþùèìè è ñ àíàëèçîì çíà÷åíèé îäíîêîðåííûõ ñëîâ. Ïðè îïðåäåëåíèè ñìûñëà íîâîîáðàçîâàíèé ñëåäóåò ïðèíèìàòü âî âíèìàíèå ðîëü àíàëîãèè è ÷àñòîòíîñòü
ñïîñîáîâ îáðàçîâàíèÿ: healthspan—lifespan, body lift—face lift,
blamestorming—brainstorming; miswant, movieoke.
Áîëüøóþ ðîëü â ïîíèìàíèè ñìûñëà, âûðàæåííîãî íåîëîãèçìîì,
èãðàåò êîíòåêñò. Íàïðèìåð, ðàññìîòðåíèå ñëîâà gamesmanship ïîçâîëèò âû÷ëåíèòü äâå åãî ñîñòàâëÿþùèõ: ship, ñóôôèêñà, îçíà÷àþùåãî «ñâîéñòâî, óìåíèå», è gamesman — «èãðîê». Âíèìàòåëüíîå
ïðî÷òåíèå ïîÿñíåíèÿ ê ñëîâó â àíãëèéñêîì ñëîâàðå äàñò âîçìîæíîñòü îòðàçèòü â ñëîâå åãî íåãàòèâíûå êîííîòàöèè — infml the
activity of winning a game by doing things that are not really breaking
the rules but are intended to destroy the confidence of the other player.
Î÷åâèäíî, ÷òî ñîâìåùåíèå îïèñàííûõ ïðè¸ìîâ ïîçâîëèò ïåðåéòè îò
ïîíèìàíèÿ ñìûñëà «áûòü èãðîêîì» ê áîëåå òî÷íîé òðàêòîâêå «óìåíèå âîñïîëüçîâàòüñÿ õèòðîñòüþ, çíàíèåì äëÿ äîñòèæåíèÿ ïîáåäû».
Çàäàíèå 1. Ïðåäëîæèòå ñâîé âàðèàíò ïåðåâîäà ñëåäóþùèõ íîâûõ ñëîâ,
èñõîäÿ èç èõ òîëêîâàíèÿ.
To-ing and froing (N) from to and fro (V) — back and forth motion;
out-doorsy — characteristic of or suitable to the outdoors, unusually
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thing well known;
G-mail (N) — electronic message sent on a GSM
mobile phone by the SMS (short message services) facility (blend of
GSM and e-mail);
camphone (N) — a cellular phone with a small camdatahead
era (blending “cam” from camera + “phone” from telephone);
(N) — a person full of knowledge, usually nerd or overachieving student;
shopathon (N) — a maraphon of shopping; scoundrelism (N) — pracRetro-Tech (N) —
tice of being a scoundrel, or unscrupulous person;
technology of past years.
Çàäàíèå 2. Ïåðåâåäèòå ñëåäóþùèå ïðåäëîæåíèÿ, èñïîëüçóÿ ñîâðåìåí-
íûé ñëîâàðü. Ïðîàíàëèçèðóéòå ñïîñîáû ïåðåâîäà áåçýêâèâàëåíòíîé ëåêñèêè, êîòîðûå ïîçâîëèëè ðåøèòü ïðîáëåìû.
Wallace was the quintessential politician.
Rain on the weekend means people can’t barbecue, so they tend
to go out to dinner more.
3. He stormed off the dance floor.
4. Kat adored him. She mothered him and protected him and fought
his battles for him. He was the only bright spot in Kat’s life.
5. Florida isn’t much like other parts of the country as far as
seasonality is concerned.
6. It was James who waited at the end of Tillerman’s dock, in sleepy
untalkativeness, two applles in his hand.
7. “She doesn’t have any money, not very much, I think”. The eyes
flickered, then returned to expressionlessness.
8. She shook her head and turned abruptly away. He watched her
back, her straight shoulders, the long-legged way she walked.
9. Americans are goal-oriented. They want results both mental and
physical.
10. She told him to wait there, she would go up and get the guitar,
then they would sit outdoors. “I’ll serenade you”.
11. Edmund Sixtus Muskie, who died aged 81, was one of the tantalizing might-have-beens of U.S. presidential politics. He will
be remembered for a moment of public tears and as a veteran
1.
2.
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Democratic Senator who may have been the real victim of President Nixon’s Watergate Machinations.
We use “information structure” to encompass prosodic, grammatical, and morphological systems of marking givenness,
contrastiveness, perspective, grounding, definiteness, and topicality.
13. They are bought by lower-paid, less-educated people.
14. She was real down-to-earth.
15. Forget the half-naked, too-hot-to-wear-much look: when it
wasn’t raining, it was cloudy, damp and chilly.
12.
Çàäàíèå 3. Ïåðåâåäèòå ïðåäëîæåíèÿ íà ðóññêèé ÿçûê. Êàêèìè ñïî-
ñîáàìè ìîãóò áûòü ðåøåíû ïðîáëåìû ñ íîâûìè ñëîâàìè è
ìîäåëÿìè?
1. Today’s mass-market books are worse. These are the books sold in
2.
3.
4.
5.
6.
7.
supermarket and candystore, even lining the shelves of many of the
best bookstores. There are pop-up Cinderellas, coloring-book
Cinderellas, scratch-and-sniff Cinderellas, all inexpensive and available. The point in these books is not the story, but the gimmick.
The shelves were lined by empty defetsitny drink bottles kept for
ornament, and the walls were studded with posters and pendants
of plotless cultural pantheon: the Beatles, the Virgin Mary,
Brigitte Bardot, Bamby, and Armenian folk-hero galopping over
Ararat, <...>, six plastic cherubs.
Liz Taylor’s lookalike grand-daughter talks about her special relationship with the screen legend. Naomy Wilding dips her toe
in the magnificent pool at the Bel Air mansion belonging to Liz
Taylor — the world’s most glamorous, most talked-about and
most married granny.
Librarians are shelf-employed.
She’s a very knowledgable woman.
The question seemed sentimental, unhelpful.
The sit-in that made America sit up...
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8. To the already well-known sit-ins and teach-ins have been add-
ed sing-ins and preach-ins.
9. She has played head-up tennis this week.
10. The eyelyser was developed by scientists at the Canada Addiction Research Foundation in Toronto, Canada.
Çàäàíèå 4. Ïðîàíàëèçèðóéòå çàïèñü òåëåôîííîãî ðàçãîâîðà ðóññêèõ
ýìèãðàíòîâ â Àìåðèêå. Ñäåëàéòå âûâîäû î òèïå àíãëèéñêèõ
ëåêñè÷åñêèõ åäèíèö, ïåðåíåñ¸ííûõ â ðóññêóþ ðå÷ü, èõ ôîíåìíîé ïåðåäà÷å è ñòåïåíè ðóñèôèêàöèè.
— Àëëî, Íàòàøà? Êàê ñàìî÷óâñòâèå?
— Íó, ñýíê Ãàä, ñëàâà Áîãó. Ëèñåí ñþäà: êàðòà íàì ïðèøëà,
íàçûâàåòñÿ «Âèçà Ãîëä». — À, òåáå òîæå ïðèøëà? Ïëîõàÿ, äà? Àãà...
<...> Äà, òû çíàåøü, ÷òî Øóðèê óæå ìàøèíó êóïèë? Íåò, ïî ãàçåòå.
Ñëóøàé, à ó Èãîðÿ Ëåíêèíîãî êàê äåëà? Îí åù¸ ñðàæàåòñÿ ñ òèêåòîì?
Ëîåð ñêàçàë, ÷òî íå èìååò ñìûñëà? Àãà... Ó Æåíüêè â êîëëåäæå âñ¸
îêåéíî? Íó, ãðåéò!
— À ìàëûø? Äà ÷òî òû ãîâîðèøü! Ñîâñåì ïî-ðóññêè íå õî÷åò
ãîâîðèòü? Òû ÷òî, Íàòàøêà, íåëüçÿ íè â êîåì ñëó÷àå! — Õîòü
íàñèëüíî ñàæàé çà áóêâàðü — ýòî æå òàêîé âàíäåðôóëüñêèé ÿçûê!
— À? Äà. Àãà. Éåñ. Îôêîñ. Ê âàì — ñ íàøèì ïëýæå, çàñêî÷èì
íåïðåìåííî! Àãà. Ïèøó-ïèøó, äæàñò à ìîìåíò. — Òàê. Âçÿòü
äâåíàäöàòûé ýãñèò, íà ñâåòîôîðå — íàëåâî. Ïðîñïåëàé åù¸ ðàç
ïëàçó? Àãà. Ïîíÿëà. Øåñòîé áèëäèíã. Õîðîøî. Íó, àé ñè þ òçåí. Ïîêà.
(Ñåðãåé Øïàíåð, Âåëèêèé è ìîãó÷èé áðàéòîíñêèé ÿçûê,
«Íîâîå Ðóññêîå Ñëîâî», Íüþ-Éîðê, ÿíâ. 1996)
Çàäàíèå 5. Ïðîàíàëèçèðóéòå ñïîñîáû ïåðåâîäà îêêàçèîíàëüíûõ
îáðàçîâàíèé â ôðàãìåíòå èç ðîìàíà Ñòèâåíà Ôðàÿ
«Ëæåö». Ïðåäëîæèòå ñâîè âàðèàíòû ïåðåâîäà, èñõîäÿ èç
íåîáõîäèìîñòè îòðàçèòü çíà÷åíèå ñóôôèêñîâ.
— “Now”, said Tom, “we face the problemette of distribution”.
— “More of a problemola than problemette”, said Bullock.
— “A problerama, even”, said Sampson.
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— “I’d go so for as to call it a problemellaroni”, said Bullock. “It’s
a real cunt’, said Tom, no question”.
(Fry Stephen. The Liar. L., 1992, p. 97)
— Íó ëàäíî, — ñêàçàë Òîì, — òåïåðü ïåðåä íàìè ñòîèò
ïðîáëåìêà ðàñïðîñòðàíåíèÿ. — Ñêîðåå ïðîáëåìèíà, ÷åì ïðîáëåìêà, — çàìåòèë Õýðíè. — È äàæå ïðîáëåìîíäèÿ, ñêàçàë Ñýìïñîí. —
ß áû ïîø¸ë òàê äàëåêî, ÷òî íàçâàë áû å¸ ïðîáëåìèñòåðèåé. — ×òî è
ãîâîðèòü, — ñêàçàë Òîì, — òóò íàì ïðèä¸òñÿ ïîïîòåòü.
(Ôðàé Ñ. Ëæåö. — Ì.: Ôàíòîì Ïðåññ, 2004. Ñ. 123)
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Ïåðåâîä àíãëèéñêèõ ñëîâîñî÷åòàíèé
ÏÅÐÅÂÎÄ ÀÒÐÈÁÓÒÈÂÍÛÕ ÑÎ×ÅÒÀÍÈÉ
Åñòåñòâåííîå ïðèñîåäèíåíèå àòðèáóòà ê îïðåäåëÿåìîìó ñóùåñòâèòåëüíîìó — AN — ñîçäà¸ò è â àíãëèéñêîì, è â ðóññêîì ÿçûêå
î÷åíü ðàñïðîñòðàí¸ííûé òèï àòðèáóòèâíîãî ñî÷åòàíèÿ ñ ðàçíîîáðàçíîé òåêñòîâîé íàãðóçêîé. Ïðèìåðû òàêèõ ñî÷åòàíèé ìíîãî÷èñëåííû, â íèõ ðåàëèçóþòñÿ ðàçíûå ñòîðîíû ñåìàíòèêè èõ ñîñòàâëÿþùèõ: It was impossible to date these remains with
of accuracy.
His arguments are simplistic to an
;
of
success;
degree;
degree;
degree;
degree in chemistry; false note (ôàëüøèâàÿ íîòà), false accusation (ëîæíîå îáâèíåíèå), false position (íåëîâêîå ïîëîæåíèå), false start (íåóäà÷íîå íà÷àëî); false tears (íåèñêðåííèå, ïðèòâîðíûå, êðîêîäèëîâû
ñë¸çû); false coin (ôàëüøèâàÿ, ïîääåëüíàÿ ìîíåòà); false hair (íàêëàäíûå âîëîñû), false teeth (èñêóññòâåííûå, âñòàâíûå çóáû), false bottom
(äâîéíîå äíî), false window (äåêîðàòèâíîå îêíî); false imprisonment
(íåïðàâîìåðíîå, ïðîòèâîçàêîííîå çàêëþ÷åíèå ïîä ñòðàæó).
Ãëàâíàÿ ïðè÷èíà îáðàùåíèÿ ê àíàëèçó äàííîãî òèïà àíãëèéñêèõ
ñî÷åòàíèé — òèï ñåìàíòèêî-ñèíòàêñè÷åñêîé ñâÿçè (ïðèìûêàíèå)
ìåæäó åãî êîìïîíåíòàìè, êîòîðûé â îòëè÷èå îò ñîãëàñîâàíèÿ â ðóññêîì AN ñî÷åòàíèè ñîçäà¸ò áîëåå øèðîêèé ñïåêòð âûáîðà êîíêðåòíûõ A äëÿ êîíêðåòíûõ N â óñëîâèÿõ ìíîãîçíà÷íîñòè êîìïîíåíòîâ. Â
îáùèõ ÷åðòàõ àíãëèéñêîå àòðèáóòèâíîå ñî÷åòàíèå ìîæåò ðåàëèçîâûâàòü ïðè÷èííî-ñëåäñòâåííûå, òåìïîðàëüíûå, ëîêàëüíûå ñìûñëû,
ïðè ýòîì ñëåäóåò îòìåòèòü ÿâíóþ òåíäåíöèþ ê çàêðåïëåíèþ è ñòàáèëèçàöèè ñâÿçåé ìåæäó êîìïîíåíòàìè, ê ôîðìèðîâàíèþ çàêðåïë¸ííûõ òèïîâ ñî÷åòàíèÿ: take-home pay — çàðïëàòà ïîñëå âû÷åòîâ,
the-brink-of-war policy — ïîëèòèêà áàëàíñèðîâàíèÿ íà ãðàíè âîéíû, give-and-take policy — ïîëèòèêà âçàèìíûõ óñòóïîê è ò.ä.
Âûáîð ñîîòâåòñòâèÿ ñòàíîâèòñÿ åù¸ ñëîæíåå, åñëè â êà÷åñòâå
àòðèáóòà â òàêèõ ñëîâîñî÷åòàíèÿõ èñïîëüçóåòñÿ äðóãîå ñóùåñòâèòåëüíîå, ìåíÿÿ åãî ôîðìóëó — NN. Ñîïîëàãàÿñü äðóã ñ äðóãîì, ìíîãîçíà÷íûå êîìïîíåíòû àòðèáóòèâíûõ ñî÷åòàíèé ÷àñòî çàòåìíÿþò
ñìûñë è ôóíêöèè äðóã äðóãà, çàñòàâëÿÿ ïåðåâîä÷èêà ïåðåáèðàòü çíàfair degree
extreme degree varying degrees
college
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÷åíèÿ. Åñëè â îðèãèíàëå èìååòñÿ ñîçíàòåëüíîå íàìåðåíèå — èãðà
ñëîâ, òî ïîòðåáóåòñÿ íå òîëüêî ïåðåáîð çíà÷åíèé, íî è îñîçíàííûé
ïîäáîð ñ ïðèâëå÷åíèåì êîíòåêñòà.
Àòðèáóòèâíûå ñî÷åòàíèÿ íàñòîëüêî ÷àñòîòíû, ÷òî èìåþò òåíäåíöèþ ê ôîðìèðîâàíèþ àíàëîãèé òèïà
machine death, firework death,
flood death; Taiwanese protest, Venezuela protest
, õîòÿ ðåøåíèÿ,
êîòîðûå ïðèíèìàåò ïåðåâîä÷èê, íå âñåãäà ñîçäàþòñÿ ïî àíàëîãèè.
Àòðèáóòû ïðè îïðåäåëÿåìûõ ñëîâàõ ìîãóò îáðàçîâûâàòü îäíî÷ëåííûå ñî÷åòàíèÿ, ìíîãî÷ëåííûå ñî÷åòàíèÿ è ìíîãî÷ëåííûå ñî÷åòàíèÿ
îäíî÷ëåííûõ AN-ñî÷åòàíèé âèäíû âîçíèêàþùèå ïðîáëåìû, äåòåðìèíèðîâàííûå ìíîãîçíà÷íîñòüþ è êîíòåêñòîì, íå ãîâîðÿ óæå î âîçìîæíîé ñìåíå îïðåäåëÿåìîãî è îïðåäåëÿþùåãî êîìïîíåíòîâ. Ìíîãî÷ëåííûå AAANñî÷åòàíèÿ òðåáóþò äëÿ ïåðåâîäà ïðåäâàðèòåëüíîãî àíàëèçà
îòíîøåíèé ìåæäó îïðåäåëÿåìûì êîìïîíåíòîì è êàæäûì èç àòðèáóòîâ. Âûäåëåíèå âíóòðè àòðèáóòîâ ñâÿçàííûõ ìåæäó ñîáîé êîìïîíåíòîâ äåëàåòñÿ ïî÷òè èíòóèòèâíî, â òî âðåìÿ êàê îòíîøåíèÿ ñ îïðåäåëÿåìûì ñëîâîì òðåáóþò âíèìàòåëüíîãî îáäóìûâàíèÿ è êîìïàêòíîãî è óïîðÿäî÷åííîãî ðàçìåùåíèÿ àòðèáóòîâ â ïåðåâîäíîì ñî÷åòàíèè.
Íàïðèìåð, â çàãîëîâêå Needlecraft Mail Order Catalogue êàê îòäåëüíûå ñóùíîñòè ñðàçó âûäåëÿþòñÿ Needlecraft è Mail order, êîòîðûå
÷¸òêî îïðåäåëÿþò ñâîþ ñâÿçü ñ catalogue. Ýòè ñâÿçè óñòàíàâëèâàþò
ñ âíóòðåííåé ïðåäèêàöèåé. Äàæå ïðè àíàëèçå
è ïîðÿäîê ñëåäîâàíèÿ êîìïîíåíòîâ ñî÷åòàíèÿ â ïåðåâîäå: êàòàëîã
øâåéíûõ ïðèíàäëåæíîñòåé äëÿ çàêàçîâ ïî ïî÷òå — ïî÷òîâûé êàòàëîã øâåéíûõ ïðèíàäëåæíîñòåé.  ïðåäëîæåíèè
There is also a self-study Optional Further Practice Basic Grammar
Revision section at the back of the book
êîëè÷åñòâî àòðèáóòîâ è èõ ñâÿçîê åù¸ áîëåå óñëîæíÿåò ïåðåâîä
âñëåäñòâèå òîãî, ÷òî âíóòðè îáðàçóþòñÿ ñëåäóþùèå ñèíòàêñè÷åñêèå
åäèíñòâà: revision section, basic grammar, self-study practice,
optional practice, further practice.
Âñ¸ âìåñòå ñîåäèíÿåòñÿ â ñëåäó-
þùèé âàðèàíò ïåðåâîäà:
 êîíöå êíèãè ïîìåù¸í ðàçäåë ïîâòîðåíèÿ îñíîâ ãðàììàòèêè
äëÿ äàëüíåéøåé ñàìîñòîÿòåëüíîé ôàêóëüòàòèâíîé ðàáîòû.
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 ìíîãî÷ëåííûõ àòðèáóòèâíûõ ñî÷åòàíèÿõ ñ âíóòðåííåé ïðåäèêàöèåé ìîæíî âûäåëèòü äâà ïîäòèïà, èñõîäÿ èç ñòðóêòóðû è îáú¸-
ìà àòðèáóòà, ïîñòðîåííîãî ïî ìîäåëè ïðåäëîæåíèÿ, ïîëíîãî èëè íåïîëíîãî, ðàñïðîñòðàí¸ííîãî èëè íåðàñïðîñòðàí¸ííîãî, èíîãäà ñëîæíîãî. Êàê ïðàâèëî, îíè îïðåäåëÿþò òàêèå ñëîâà, êàê warning, call,
demand, appeal, joke, belief, question
. Àëãîðèòì äåéñòâèé ñ òàêèìè
ñî÷åòàíèÿìè äîâîëüíî ïðîñò: àòðèáóò ïðåâðàùàåòñÿ â èíôèíèòèâíóþ êîíñòðóêöèþ, äîïîëíèòåëüíîå ïðèäàòî÷íîå ïðåäëîæåíèå, ïðåäëîæíîå íîìèíàòèâíîå ñî÷åòàíèå:
Meat will go up warning
No smoking
— Ïðîñüáà íå êóðèòü;
— Ïðåäóïðåæäåíèå (ïðåäóïðåæäàþò) î
ïðåäñòîÿùåì ïîâûøåíèè öåí íà ìÿñî / ÷òî öåíû íà ìÿñî ïîâûñÿòñÿ.
Stop village school
ïðåêðàòèòü çàêðûòèå ñåëüñêèõ øêîë
Ïî÷òè âñåãäà ìîæíî ïðåâðàòèòü àòðèáóò â öèòàòó:
closures
call — ïðèçûâ
. «He
didn’t have to believe everything he was told, but he could play waitand-see play» — Îí íå äîëæåí áûë âåðèòü âñåìó, ÷òî åìó ãîâîðèëè,
íî ìîã ïîèãðàòü â èãðó «ïîæèâåì — óâèäèì». È íàêîíåö, ìîæíî
ïåðåäàòü ñîäåðæàíèå àòðèáóòà ñ ïîìîùüþ öåëîñòíîãî ïåðåîñìûñëåíèÿ:
One out, all out
call — Ïðèçûâ ê ñîëèäàðíîñòè; «Break a leg»
wish — ïîæåëàíèå ñ÷àñòëèâîãî ïóòè; let-you-down-gently refusal —
îòêàç â ìÿãêîé ôîðìå; whatever-your-heart-desires opportunities —
íåîãðàíè÷åííûå âîçìîæíîñòè.
Áîëåå ðàçâ¸ðíóòûå àòðèáóòû äðóãîãî ïîäòèïà àòðèáóòèâíûõ ñî÷åòàíèé ñ âíóòðåííåé ïðåäèêàöèåé ïåðåâîäÿòñÿ ñ äîáàâëåíèåì ê îïðåäåëÿåìîìó ñëîâó (òèïà expression, opinion, tone, attitude, look) äîïîëíèòåëüíûõ ñëîâ, êàê áû ââîäÿùèõ àòðèáóò â òêàíü ñî÷åòàíèÿ: He
said it with a please-leave-me-alone expression — Îí ñêàçàë ýòî ñ
êàê áóäòî ïðîñèë îñòàâèòü åãî â ïîêîå.
Èòàê, îñíîâíûå ïðè¸ìû ïåðåâîäà àòðèáóòèâíûõ ñî÷åòàíèé îïðåäåëÿþòñÿ õàðàêòåðîì ñåìàíòè÷åñêèõ îòíîøåíèé âíóòðè àòðèáóòèâíîãî êîìïîíåíòà, ìåæäó îïðåäåëÿåìûì è îïðåäåëÿþùèìè êîìïîíåíòàìè (óêàçàíèå íà ñâîéñòâà, êà÷åñòâà, âðåìÿ, ìåñòî, ïðè÷èíó è
ñëåäñòâèå, ñ âîçìîæíîñòüþ ïåðåõîäà íà àäâåðáèàëüíûé óðîâåíü óêàçàíèÿ) è äåòåðìèíèðîâàíû âíåøíèì êîíòåêñòîì: Frost was succeeded
by a rapid thaw
áûñòðî ñìåíèëñÿ îòòåïåëüþ; The
examining professors sat in frigid disapproval
òàêèì âûðàæåíèåì ëèöà,
— Ìîðîç
— Ïðîôåññîðà íà
ýêçàìåíå çàñòûëè ñ âûðàæåíèåì íåîäîáðåíèÿ íà ëèöàõ.
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Àòðèáóòèâíûå ñî÷åòàíèÿ âñåõ òèïîâ âñòðå÷àþòñÿ â ðàçíîîáðàçíûõ
êîíòåêñòàõ, â ëþáûõ ñòèëÿõ è æàíðàõ, èñïîëüçóþòñÿ â çàãîëîâêàõ è íàçâàíèÿõ, ñîñòàâëÿÿ õàðàêòåðíóþ êàðòèíó æèâîãî àíãëèéñêîãî ÿçûêà.
ÎÄÍÎ×ËÅÍÍÛÅ ÀÒÐÈÁÓÒÈÂÍÛÅ ÑÎ×ÅÒÀÍÈß
Çàäàíèå 1. Ïåðåâåäèòå ñëåäóþùèå îäíî÷ëåííûå àòðèáóòèâíûå ñî÷åòàíèÿ.
Draft programme, non-aligned movement, development trends, intergovernmental agreement, bilateral contacts, mutual interest, world market,
peace envoy, security guarantee, telegram of congratulations, message of
greeting, blood relations, public pressure, beauty problems, consumer
rights, pressure group, generation gap, skeleton staff, noise neurosis, royal
blood, eternal treasures, energy level, survival skill, artificial intelligence,
a playable place, tax dodge, mysterious phenomena, customs duties, latent inflation, stock exchange, the love nest, town talk, travel agency, a
travel award, charity ball, killer instinct, step-by-step instructions, watercolour box, foreign rule, hire-purchase system, gardening calendar.
Çàäàíèå 2. Ïåðåâåäèòå àòðèáóòèâíûå ñî÷åòàíèÿ ñíà÷àëà áåç êîíòåêñòà.
Ïðîàíàëèçèðóéòå îòíîøåíèÿ ìåæäó À è N, çàòåì ñäåëàéòå
ïîïðàâêè íà îñíîâàíèè ïðåäëîæåííûõ êîíòåêñòîâ.
1. Everyday items — The first generation of house-hold robots <...>
will have to be taught to recognize everyday items.
2. A sophisticated robot — It will be a sophisticated robot that can
distinguish between the shepherd’s pie and the food-scrapings
to be washed-off.
3. A one-man show — It was all agreed that this gallery was to put
on a one-man show and give everyone a chance to see my work.
4. Effective Home Security — Whichever way you look at it, protecting your family and your possessions against intruders isn’t
something you can afford to ignore. Security screens add a whole
new dimension to effective home security.
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5.
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8.
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12.
13.
14.
15.
Returned children — Children who lived overseas for many years
return to Japan with a knowledge of the country in which they lived.
Jelly glass — Then he could get up to get a drink of water, and
would stand in the dark kitchen, holding an old jelly glass in his
hand, waiting for the water to run cold from the tap.
High life — 20 reasons to enjoy the high life with us: brand new
building, air conditioner, satellite TV, 24 hours security, best location (advertisement of the hotel).
Vermicelli letters — Soup was served — with vermicelli letters
of the alphabet floating in it.
Cocaine habit — Friends say David never told Jane about his
cocaine habit.
Modelling career — Judi Allen says she didn’t consider a modelling career just six years ago.
Education initiatives — The answer was education, so the company now devotes almost all its charitable budget to education
initiatives.
The Foreign Secretary — The Foreign Secretary said they were
glad to have made such good progress at the Geneva conference
last month.
Platform voice — The effect was also helped rather than hindered by his platform voice, which resembles Alan Bennett playing an old sheep.
Normal week — In a normal week we see more of the person
who sits opposite us than we do our own husbands.
Split second — For some split second he thought he was at the
edge of death.
Çàäàíèå 3. Ïåðåâåäèòå àòðèáóòèâíûå çàãîëîâêè ñíà÷àëà áåç êîíòåêñòà,
çàòåì ïðîàíàëèçèðóéòå, êàêîãî ðîäà ïîïðàâêè äèêòóåò
òåêñò èç çàìåòêè.
1. Bright Ideas
Bridget and Russel Pendleton managed to turn a dark, dreary
house into a light, airy home.
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2. Planting plans
3.
4.
5.
6.
7.
8.
9.
10.
Give your garden a nice look.
The Heroin Babies
They (midwives) could indicate another “heroin baby” — a drug
addict at birth.
Prison Protest
23 prisoners began a roof-top protest at the high-security
Frankland jail near Durham yesterday evening. Initial reports
described the action as peaceful.
Venezuelan Vote
Venezuela’s nine million voters go to the polls tomorrow to elect
a new president.
Animal Magic
Whether your choice is the free-thinking, independent cat or the
loyal, obedient dog, we all love our pets and want to keep them
happy and healthy.
Japanese Challenge
Russian admirers of the Tokyo Ballet have been pleasantly surprised by the company’s obvious progress in a relatively short
time.
Police Seek Hammer Killer
Police seeking the killer of a Southend woman found battered to
death in her bed yesterday said that they wanted to interview her
estranged husband.
Speeding Fines
Traffic police have issued L 32 fixed penalty tickets for speeding
to 594 drivers in one week on a stretch of the A 419 near Swindon, Wiltshire, on which seven people have died in crashes in
the past year.
Jobless Figures Fall
Summer seasonal work pushed West Somerset jobless total down
yet again last month.
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Çàäàíèå 4. Ïåðåâåäèòå ïðåäëîæåíèÿ ñ àòðèáóòèâíûìè ñî÷åòàíèÿìè,
ïðîàíàëèçèðóéòå âîçíèêøèå òðóäíîñòè ïåðåâîäà, îáúÿñíèòå èõ ïðè÷èíû.
1. The warm sunlight had long since left the terraced garden and a
2.
3.
4.
5.
6.
7.
8.
9.
cold breeze had come up off the ocean to stir through the budding irises, making soft, mysterious sounds as it passed.
How lovely the little river is, with its dark, changing wavelets!
A warm wind stirred, the branches of the trees became agitated,
showing the silvery undersides of leaves. Actress Sharon Gliss
has married her long-time love and they are living now in separate houses.
To protect Max’s feet, Michael bought two pairs of leather dog
boots from R.M. Williams, who designed them for working dogs.
The police have several theories about the case but no hard evidence.
There were a lot of husband-hunting women at the party.
Two members of the Christian knights of the Ku-Klux-Klan have
pleaded guilty to setting fire to two black churches in South Carolina.
Still the arrival of her book has sent shock waves through Hollywood.
The bus passenger foresaw the approaching jerk.
ÌÍÎÃÎ×ËÅÍÍÛÅ ÀÒÐÈÁÓÒÈÂÍÛÅ ÑÎ×ÅÒÀÍÈß
Çàäàíèå 5. Ïðîàíàëèçèðîâàâ ñåìàíòè÷åñêèå îòíîøåíèÿ ìåæäó êîìïî-
íåíòàìè ìíîãî÷ëåííîãî àòðèáóòèâíîãî ñî÷åòàíèÿ, ïåðåâåäèòå èõ.
1.
2.
3.
4.
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The pre-Christmas shopping rush
Child car safety.
Round-trip ticket price.
Earth’s First Cosmonaut’s Last Flight.
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5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
Second-floor-landing bulb.
Mind-boggling Hindi Fakir’s trick.
World’s most secret terrorist organizations.
Ladies’ bridge team for Olympiad.
The Most Advanced Singer Sewing Machine Ever Designed.
Air traffic controller’s strike.
Premarital background review.
Free first-month rent.
The city’s first pigeon-induced casualty.
World famous Brussels lace in the elegant downtown stores.
Homeless Unforseeable Future.
A book-of-the-month club main selection.
Nail enamel remover.
Hair loss breakthrough.
Job-oriented computer courses.
Critics’ Exciting Response to “Windmills of the Gods”.
Çàäàíèå 6. Ïåðåâåäèòå ïðåäëîæåíèÿ ñ ìíîãî÷ëåííûìè àòðèáóòèâíûìè
ñî÷åòàíèÿìè. Ïåðå÷èñëèòå ïðè÷èíû çàòðóäíåíèé.
1.
2.
3.
4.
5.
6.
But when he did think of it there was always the question of fifty
guineas entrance fee.
We, the human race, have braved the violent electromagnetic
aura around Jupiter and photographed its puzzling moons.
He dreamed about using a test-tube reproduction technique to
restore extinct animal species.
Freedom Support Act Secondary School Exchange Program.
There in the center of the envelope was her name, written in that
round, childish curve that could only belong to one person.
When the daughter of one of the world’s richest men inherits his
multi-billion-dollar business, she also inherits his position at the
top of the victim’s list of his murderer.
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He agreed to go in for alcohol dependency treatment at Cedars
Sinai Hospital in L.A.
8. They were just about to pay for the wedding when their entry
was drawn as winner of the West Coast Cooler Ultimate Fantasy
Competition.
9. She still holds that title along with Miss Photogenic International, which she collected after competing in the Miss Teen International Finals last year in the U.S.
10. The American Labour Party Political Action Committee Election Campaign Planning Board launched a new fund-rising
drive.
7.
Çàäàíèå 7. Ïåðåâåäèòå ïðåäëîæåíèÿ ñ ìíîãî÷ëåííûìè àòðèáóòèâíûìè
ñî÷åòàíèÿìè, îáðàòèâ âíèìàíèå íà ïîðÿäîê àòðèáóòîâ.
1.
2.
3.
4.
5.
6.
7.
8.
In Britain patients receive comprehensive pre-operative consultation and follow-up care.
It was a luxurious restaurant, but the dish he ordered there was
just a mock turtle soup.
Milk Marketing Board has 5 control departments in England.
The sight of caterpillar will cause a three-day-long yelling session.
He supports his family by running a small-scale batik shirt factory in one room of his home.
In an expensive establishment, there is no excuse for dead lightbulbs and flowers, unemptied waste-paper baskets.
Death row woman’s final pleas for mercy is rejected.
Although Katie Boyle more frequently appears on radio than television these days, she still retains the glamorous good looks
that made her one of the Britain’s most enduringly-popular tel-
9.
10.
evision personalities.
For a delicious low-fat jacket-potato filling, just mix a spoonful
of French mustard with a tub of cottage cheese.
There is also a self-study Optional Further Practice Basic Grammar Revision section at the back of the book.
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ÌÍÎÃÎ×ËÅÍÍÛÅ ÀÒÐÈÁÓÒÈÂÍÛÅ ÑÎ×ÅÒÀÍÈß
Ñ ÂÍÓÒÐÅÍÍÅÉ ÏÐÅÄÈÊÀÖÈÅÉ
Çàäàíèå 8. Ïåðåâåäèòå ïðåäëîæåíèÿ ñ àòðèáóòèâíûìè ñî÷åòàíèÿìè ñ
âíóòðåííåé ïðåäèêàöèåé, ïðîàíàëèçèðóéòå ñèíòàêñè÷åñêèå
ìîäåëè àòðèáóòîâ è ëåêñè÷åñêèå êëàññû îïðåäåëÿåìûõ
ñëîâ. Ïåðå÷èñëèòå èñïîëüçîâàííûå ñðåäñòâà.
He said it with a please-leave-me-alone expression.
Pippa stopped in midstroke, her eyes narrowing with his I-knowsomething-you-don’t-know tone.
3. “You know, you’ve been here almost half a year now”, he said in
an isn’t-it-amazing-how-the-time-flies-when-you’re-having-agood-time tone of mild surprise.
4. His face wore his own I-am-not-against-it expression.
5. It was a “You-must-take-us-as-you-find-us” attitude to things.
6. The all-or-nothing strategy is not unprecedented, but it is rare.
7. Gymnastics is no longer performing its head-in-the-sand trick.
8. Our new “No more diets” column arose much interest.
9. The Earl knew that he was embarrassed at what he thought was
a very hole-in-the-corner wedding.
10. He didn’t have to believe everything he was told, but he could
play a wait-and-see game.
11. Doctor, how often do you receive “Help me! I snore” calls?
12. The Fun-to-Learn Picture Dictionary is a valuable aid to reading and spelling, and is a first step to success in learning.
13. The British engineering industry must be nationalized to overcome the obstructive stick-in-the-mud, “take-or-leave-it” traditions of many engineering firms.
14. But perhaps his greatest legacy is a national grab-whatyoucan
culture.
15. It was just one of the ordinary dust-round-and-sweep-upabit
mornings.
1.
2.
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16. John was of the look-before-you-leap and think-before-youspeak sort.
17. The tiny girl at the centre of the babies-for-sale uproar is blond,
blue-eyed Rachel Marie Hagge, who is just nine months old.
18. Japanese concern with interpersonal harmony and especially
avoiding public displays of disagreement led to the development
of the “come-to-agreement-in-advance” behaviour.
19. She said it with a Do-not-worry-my-husband-will-help-you expression.
20. Gilbert’s question seemed to puzzle her; she turned around and
looked at me with I-don’t-know-what-to-do expression.
21. He found Nelly lying on the ground, her open eyes had help-meanybody-where-are-you expression.
22. She looked at me with a “Fancy-not-recognizing-that-at-thefirst-glance” expression.
23. He passionately read one of those turn-your-world-around books.
24. The eternally-asked, never-to-be-answered question, why people could not mind their own business.
25. There is a sort of Oh-what-a-wicked-world-this-is-and-how-I-
wish-I-could-do-something-to-make-it-better-and-nobler expression about Montmorency that has been known to bring the
tears into the eyes of pious old ladies and gentlemen.
Çàäàíèå 9. Ïåðåâåäèòå ìíîãî÷ëåííûå àòðèáóòèâíûå ñî÷åòàíèÿ ñ âíóò-
ðåííåé ïðåäèêàöèåé. Ñäåëàéòå âûâîäû î âîçìîæíûõ ñïîñîáàõ èõ ïåðåâîäà è óñëîâèÿõ èõ èñïîëüçîâàíèÿ.
1.
2.
3.
4.
5.
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“Never go away” promise.
“Milk will go up” warning.
“Just-out-of-bed hair-do”.
“Eliminate the danger of war” call.
“Buttery bread which has a melt-in-your-mouth” texture when
toasted.
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6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
“I couldn’t give a damn” attitude.
“Allergy-free cooking” demand.
“Save a child from suffering” call.
“Start slimming for spring” call.
“We’ll have a woman president by 2010" women’s belief.
“What is ‘sober-minded’ policy?” question.
“Phone rate rise” warning.
“Do not beat a dead horse” appeal.
“I think it’s a fair deal” opinion.
“Don’t be idolized as a movie star!” call.
Çàäàíèå 10. Ïðåäëîæèòå äðóãèå âàðèàíòû ïåðåâîäà ìíîãî÷ëåííûõ
àòðèáóòèâíûõ ñî÷åòàíèé ñ âíóòðåííåé ïðåäèêàöèåé.
1. “Should I defy my husband?” dilemma — Äèëåììà: Äîëæíà
ëè ÿ èãíîðèðîâàòü ìóæà?
2. “Buy our goods, they’re the best” call — Ïðèçûâ ïîêóïàòü
îòå÷åñòâåííûå òîâàðû, îíè ñàìûå ëó÷øèå.
3. “How to stay alive” novel — Ðîìàí î òîì, êàê îñòàòüñÿ æèâûì.
4. With “take-it-away-it-stinks” gesture — Ñ æåñòîì, êîòîðûé
îçíà÷àë: «Óáåðè! Îò íåãî èñõîäèò çëîâîíèå».
5. “Neither the space nor the time of the military operations will be
limited” warning — Ïðåäóïðåæäåíèå, ÷òî íè ìåñòî, íè âðåìÿ
âîåííûõ îïåðàöèé íå áóäåò îãðàíè÷åíî.
6. “Catch-as-catch-can” sort of occupation — Âèä çàíÿòèÿ ïî
ïðèíöèïó: õâàòàé, ÷òî ìîæåøü.
7. “To hell with you” spirit — Íàñòðîåíèå ïîñëàòü âñåõ ê ÷¸ðòó.
8. “I told you so” eyes — Ãëàçà, ãîâîðÿùèå «ß æå òåáå ãîâîðèë».
9. “You never tire of” tapes — Çàïèñè, îò êîòîðûõ âû íèêîãäà íå
óñòàíåòå.
10. What an aggressive “don’t-you-ever-touch-me” look Emma
had! — Âåñü å¸ âèä, êàçàëîñü, ãîâîðèë: «Íå ñìåéòå ìåíÿ
òðîãàòü».
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He was the boss again, using the “it’s-my-money-now-do-asyou’re-told” voice — Oí ïî-ïðåæíåìó áûë õîçÿèíîì, è â åãî
ãîëîñå ÷óâñòâîâàëñÿ ïðèêàçíîé òîí è ïðåâîñõîäñòâî. / Ñíîâà,
áóäó÷è ðóêîâîäèòåëåì, îí äàâàë ïîíÿòü, ÷òî ýòî åãî äåíüãè,
ïîýòîìó íàäî äåëàòü òî, ÷òî îí ãîâîðèò. / Îí ñíîâà ïðåâðàòèëñÿ â õîçÿèíà, ðàçãîâàðèâàâøåãî ãîëîñîì, â êîòîðîì
ÿâíî ñêâîçèë ïîäòåêñò: ýòî ìîè äåíüãè, òàê ÷òî äåëàéòå, êàê
âàì áûëî ñêàçàíî.
12. Josh grinned at her expression, enjoying the sensation of having
put one over on his usually “ahead-of-any-game” spouse —
Óâèäåâ âûðàæåíèå ëèöà ñâîåé æåíû, Äæîø óõìûëüíóëñÿ,
íàñëàæäàÿñü òåì, ÷òî ñìîã íàêîíåö-òî âûçâàòü òàêèå ýìîöèè
ó ñâîåé âå÷íî âñ¸ çíàþùåé íàïåð¸ä æåíû.
13. You must be ready when I come at eight. And none of this “waittwo-minutes-till-I-primp-an-hour-or-two” kind of business —
Âû äîëæíû áûòü ãîòîâû ê âîñüìè, êîãäà ÿ ïðèäó, è íèêàêèõ
ýòèõ øòó÷åê: ïîäîæäèòå ïàðó ìèíóòîê, ïîêà ÿ ïðèâåäó ñåáÿ â
ïîðÿäîê ÷åðåç ÷àñ-äðóãîé.
14. None of this “stick-the-bag-in-the-oven-and-wait” laziness for
me — Âñå ýòè ñîâåòû äëÿ ëåíèâûõ òèïà «Çàñóíüòå ïàêåò â
äóõîâêó è æäèòå» íå äëÿ ìåíÿ. / ß íå ëþáëþ ïðîäóêòû
áûñòðîãî ïðèãîòîâëåíèÿ äëÿ ìèêðîâîëíîâîé ïå÷è.
15. I had a job at NBC Radio writing copy for The Woman of To11.
morrow; a half-hour program on fashion, food and “how to keep
your husband happy” books — Ó ìåíÿ áûëà ðàáîòà íà ðàäèî
Ýí-Áè-Ñè, ãäå ÿ ñîáèðàëà ìàòåðèàë äëÿ ïîëó÷àñîâîé ïðîãðàììû «Æåíùèíû çàâòðàøíåãî äíÿ». Ïåðåäà÷à ýòà êàñàëàñü
ìîäû, âîïðîñîâ ïèòàíèÿ è êíèã âðîäå «Êàê ñäåëàòü âàøåãî
ìóæà ñ÷àñòëèâûì».
Çàäàíèå 11. Ñäåëàéòå âûâîäû î âîçìîæíûõ ïóòÿõ ïåðåâîäà ïðåäëîæå-
íèé ñ ïåðåíåñ¸ííûì ýïèòåòîì.
1. Jem was a joyful mystery to Alice. She was something to give
thanks for.
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Her name was Connie. She was fifteen and she had a quick nervous giggling habit of craning her neck to glance into mirrors, or
checking other people’s faces to make sure her own was all right.
3. Watching Monica plunging a resolute fork into an eclair, Edith
reflected, with some humility, that she was not good at human
nature.
4. Her host was turned towards her with an anticipatory smile.
5. The examining professors sat in frigid disapproval.
6. She looked a long time at a smiling picture that was set in it and
said musingly: “The Beautiful Mabel Hunter.”
7. The heron’s legs were like stilts under its clumsy body. Its dusky
feathers hung shaggy, ungroomed. It was perfectly motionless.
Its long beak pointed down from a head both unnoble and
unbeautiful. Its beak aimed down into the still, dark water. The
heron occupied its own insignificant corner of the landscape in a
timeless, long-legged solitude.
8. And therein lay the cunning of his scheme. No one would ever
see in it the cautious, painstaking hand of Erwin Martin, head of
the filing department.
9. “The unnamed book,” says Sting, “is written in the breathless
style of a 12-year-old girl”.
10. “Now that,” she said with the wonderful, breathless quality that
he later learned came when she was genuinely excited, “that is a
masterpiece.”
2.
Çàäàíèå 12. Ïðåäëîæèòå âàðèàíòû íàçâàíèé ñëåäóþùèõ ôèëüìîâ.
1. A Chorus Line. XX. Song-and-dance hopefuls sweat for Broad-
way director. (1985).
2. Double Trouble. XX. U.S. singer (Elvis Presley) abroad meets
jewel thieves and English heiress (Annette Day). (1967).
3.
4.
In Your Wildest Dreams.
The Forsyte Saga.
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5. Man for All Seasons.
6. Made for Each Other. XXX. Lawyer marries beloved instead of
7.
8.
9.
10.
boss’s daughter.
Deadly Rivals. XX. A bookish physicist falls for a beautiful model who is accused of being a spy (with Andrew Stevens). (1992).
Goddess of Love. X. The groom at a bachelor party puts a ring
on the finger of a statue of Venus (Vanna White), who comes to
life. With Little Richard. (1988).
Stone Cold. X. An unorthodox police officer (Brian Bosworth)
joins and then destroys a crazed biker’s (Lance Henriksen) gang
for the FBI. (1991).
This Boy’s Life. XXX. A hip 1950s teen (Leonardo DiCaprio)
butts heads with his mother’s (Ellen Barkin) rude second husband (Robert De Niro). (1993).
Çàäàíèå 13. Ïåðåâåäèòå, îïðåäåëèâ òèïû àòðèáóòèâíûõ ñî÷åòàíèé.
1.
It is explained by a must-have mentality which can affect even
the most sensible.
2.
Both explanations have been found to have some basis in fact,
although a majority of the more recent studies favor the social
causation interpretation (Eron and Patterson, 1983; Wheaton,
1978, 1980; Mirowsky and Ross, 1983; Kessler, 1979; Rushing
and Ortega, 1979; Liem and Liem, 1978; Turner and Gartell,
1978).
3.
When a patient is that ill, the doctor-patient relationship changes. We discussed his business problems and his family problems.
4.
The wars and famines and disasters of far-off countries paled by
comparison with the life-and-death crises they coped with twenty-four hours a day.
5.
Five Star: the black British pop group, formed in 1983 as a family
band, with three sisters and two brothers, took a name that related
both to their number and to their aim to be stars, as well as punning
on the superior rating awarded to top hotels and restaurants.
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6. Fitzwilliam Museum: Cambridge’s prime art museum, in
7.
8.
9.
10.
Trumpington Street, was founded in 1816 by bequest of Richard
Fitzwilliam, seventh Viscount Fitzwilliam (1745—1816).
A society that loses its commitment to certain core moral values
becomes one in which everyone does what is right in their own
eyes... If we have no words for sin, we shall soon find we have no
words left to describe responsibility.
This is an excerpt from a freshman-level sociology class lecture
by Dr Bernard B. Berk, associate professor, California state university, Los Angeles.
The paragraphs for this exercise are excerpted from an American
college student’s senior-level history class take-home essay final exam answer.
A strict never-to-be-late warning.
Çàäàíèå 14. Ïåðåäàéòå íà ðóññêèé ÿçûê ñëåäóþùèå íàçâàíèÿ, ñîïðî-
âîäèâ èõ ïðèìå÷àíèÿìè.
Circle Line, Royal Mint, White City, White Paper, Passion Week, Mothering Sunday, Munich Agreement, Lake Country District, March Hare,
Multilateral School.
Çàäàíèå 15. Ïåðåâåäèòå ýòè êëàññèôèöèðîâàííûå ðåêîìåíäàöèè äëÿ
÷òåíèÿ. Ïîäãîòîâüòå ñîâåòû ïåðåâîä÷èêó îòíîñèòåëüíî
ïåðåâîäà íàçâàíèé.
READERS
Level 1 (beginner/elementary)
Comedy: Help! /Philip Prowse/
Murder Mystery: Bad Love /Sue Leather/
Romance: Next Door to Love /Margaret Johnson/
Thriller: Blood Diamonds /Richard Mac Andrew/
Just Like a Movie /Sue Leather/
The Big Picture /Sue Leather/
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Level 2 (Elementary / Lower Intermediate)
Human Interest: Jojo’s Story /Antuanette Moses/
Murder Mystery: The Double Bass Mystery /Jeremy Harmer/
Romance: Different Worlds /Margaret Johnson/
Within High Fences /Penny Hancock/
Science Fiction: Superbird /Brian Tomlinson/
Thriller: A Picture to Remember /Sarah Scott-Malden/
The Man from Nowhere /Bernard Smith/
Level 3 (Lower Intermediate)
Comedy: The Ironing Man /Colin Campbell/
Ghost Story How I Met Myself /David A. Hill/
Horror: The Beast /Carolyn Walker/
Romance: Just Good Friends /Penny Hancock/
Short Stories: Tales of the Supernatural /Frank Brennan/
Thriller: Double Cross /Philip Prowse/
Eye of the Storm /Manly Loader/
Level 4 (Intermediate)
Adventure: Nothing but the Truth /George Kershaw/
Murder Mystery: But Was it Murder? /Jania Barrell/
The University Murders
/Richard Mac Andrew/
Short Stories: The Fruitcake Special and Other Stories
/Frank Brennan/
Thriller: A Matter of Chance /David A. Hill/
High Life, Low Life /Alan Battersby/
Level 5 (Upper Intermediate)
Adventure: The Sugar Glider /Rod Neilsen/
Future Thriller: Dolphin Music /Antuanette Moses/
Human Interest: In the Shadow of theMountain
/Helen Naylor/
Murder Mystery: Emergency Murder /Janet Mc Giffin/
Romance: All I Want /Margaret Johnson/
Jungle Love /Margaret Johnson/
Short Stories: Windows in the Mind /Frank Brennan/
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Level 6 (Advanced)
Human Interest: He Knows Too Much /AlanMaley/
Murder Mystery: Deadly Harvest /Carolyn Walker/
Romance: A Love for Life /Penny Hancock/
Short Stories: The Way Home /Sue Leather/
Frozen Pizza and Other Slices of Life
/Antuanette Moses/
Thriller: Murder Maker /Margaret Johnson/
This Time It’s Personal /Alan Battersby/
Trumpet Voluntary /Jeremy Harmer/
ÏÅÐÅÂÎÄ ÓÑÒÎÉ×ÈÂÛÕ ÑÎ×ÅÒÀÍÈÉ
Ïîìèìî ñëîâ è èõ ñâîáîäíûõ ñî÷åòàíèé â òåêñòå îðèãèíàëà èìååòñÿ çíà÷èòåëüíîå ÷èñëî öåëîñòíûõ ñëîæíûõ åäèíèö, ïðåäñòàâëÿþùèõ ãðóïïó ñëîâ ñ îáùèì çíà÷åíèåì, ÷àñòî íå âûâîäèìûì èç çíà÷åíèÿ êîìïîíåíòîâ. Ýòî óñòîé÷èâûå âûðàæåíèÿ, ïðèäàþùèå ÿçûêó
âûðàçèòåëüíîñòü, àôîðèñòè÷íîñòü, ëàêîíè÷íîñòü è ïîçâîëÿþùèå
ïåðåäàòü îñòðîóìíûå ïîâîðîòû ìûñëè è ïðîâåðåííûå âðåìåíåì íàáëþäåíèÿ è èñòèíû. Ðàçíîîáðàçèå òàêèõ åäèíèö ïî ñîñòàâó êîìïîíåíòîâ, ìîäåëÿì, ïåðåäàâàåìûì ñìûñëàì, ïî ýìîöèîíàëüíûì è ñòèëèñòè÷åñêèì çíà÷åíèÿì, îöåíêàì, à ãëàâíîå — ïî êîììóíèêàòèâíûì ôóíêöèÿì, êîòîðûå îíè âûïîëíÿþò, òðåáóþò îò ïåðåâîä÷èêà
÷àñòîãî îáðàùåíèÿ ê ñëîâàðþ êàê â Èß, òàê è â Ïß.
Ïîèñê ñîîòâåòñòâèé ôðàçåîëîãè÷åñêèõ åäèíèö ïðè ïåðåâîäå ñîïðÿæ¸í ñ ðåøåíèåì öåëîãî êîìïëåêñà ïðîáëåì: ñòåïåíü ñîâïàäåíèÿ
ñåìàíòèêè ôðàçåîëîãèçìîâ, íàëè÷èå èëè îòñóòñòâèå êîííîòàöèé
(ýìîöèîíàëüíûõ, ñòèëèñòè÷åñêèõ, îöåíî÷íûõ, ýòèìîëîãè÷åñêèõ,
êóëüòóðíûõ, èñòîðè÷åñêèõ), íàöèîíàëüíàÿ ñïåöèôèêà, ñîîòâåòñòâèå
êîíòåêñòó îáðàçà, ëåæàùåãî â îñíîâå ôðàçåîëîãèçìà, ïðÿìîå/ïåðåíîñíîå çíà÷åíèå êîìïîíåíòîâ è öåëîãî â ôðàçåîëîãèçìå — âîò
äàëåêî íå ïîëíûé ïåðå÷åíü âîïðîñîâ, îïðåäåëÿþùèõ âûáîð ïåðåâîä÷èêà â êàæäîì îòäåëüíîì ñëó÷àå.
Âàæíûì ìîìåíòîì, îïðåäåëÿþùèì âîçìîæíîñòü îòûñêàíèÿ íåîáõîäèìîãî ñîîòâåòñòâèÿ, ÿâëÿåòñÿ íàëè÷èå áîëüøîãî ÷èñëà
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âàëåíòíûõ óñòîé÷èâûõ åäèíèö, â êîòîðûõ ñîõðàíÿåòñÿ îáùíîñòü
ñìûñëîâ, äåòåðìèíèðîâàííàÿ îáùíîñòüþ ïðîèñõîæäåíèÿ. Íàïðèìåð,
between Scylla and Charybdis, give the green light, as keen as a razor,
to stew in one’s own juice, to cast pearls before swine, to wash one’s
hands, praise to the skies, a storm in a tea-cup, as like as two peas,
to rub salt into someone’s wound, to play into someone’s hands. Òàêèå åäèíèöû, êàê àáñîëþòíûå, òàê è îòíîñèòåëüíûå ýêâèâàëåíòû,
îòíîñÿòñÿ ê èíòåðíàöèîíàëüíûì. Çíà÷èòåëüíûå ñëîæíîñòè äèêòóþòñÿ âàðèàíòíûìè ñîîòâåòñòâèÿìè íå òîëüêî â ñèëó èõ îòíåñ¸ííîñòè ê ðàçíûì îáúåêòàì ðåàëüíîñòè, íî è âñëåäñòâèå âñåãäà ïðèñóòñòâóþùåãî ðàçëè÷èÿ â àêöåíòàõ ñìûñëà, à òàêæå èç-çà áîëüøîé çàâèñèìîñòè îò êîíòåêñòà. Ïîñëåäíèé, ñ îäíîé ñòîðîíû, îãðàíè÷èâàåò
âûáîð, ñ äðóãîé æå — âûíóæäàåò ê äàëüíåéøåìó ïîèñêó äëÿ îòðàæåíèÿ ôóíêöèîíàëüíîé ñâåðõçàäà÷è. Íàëè÷èå ñèíîíèìè÷íûõ ñîîòâåòñòâèé ïîäêëþ÷àåò ê ðàññìîòðåíèþ è ñîïîñòàâëåíèþ ñ êîíòåêñòîì
åù¸ áîëüøåå ÷èñëî ïàðàìåòðîâ, ÷òî îñîáåííî õàðàêòåðíî äëÿ ïàðåìèîëîãè÷åñêèõ åäèíèö (ïîñëîâèö è ïîãîâîðîê), òàêæå îòíîñèìûõ ê
ôðàçåîëîãèçìàì. Íàïðèìåð, make hay while the sun shines, êîòîðîé â ðóññêîì ÿçûêå ñîîòâåòñòâóþò äâå ïîñëîâèöû — «êîñè êîñà,
ïîêà ðîñà» è «êóé æåëåçî, ïîêà ãîðÿ÷î». Ñëåäóåò åù¸ ðàç ïîä÷åðêíóòü, ÷òî âûáîð âàðèàíòà ïåðåâîäà äèêòóåòñÿ êîíòåêñòîì — è òàì,
ãäå èìååòñÿ ñîîòâåòñòâèå íà óðîâíå óñòîé÷èâûõ âûðàæåíèé, è òàì,
ãäå ïîòðåáóåòñÿ îáúÿñíèòåëüíûé ïåðåâîä èëè êàëüêèðîâàíèå. Òîëêîâàíèå ñèòóàöèé, â êîòîðûõ óïîòðåáëÿþòñÿ, íàïðèìåð, ïîñëîâèöû
è ïîãîâîðêè, íåâîçìîæíî áåç òî÷íîãî çíàíèÿ èõ ñëîâàðíîãî îïèñàíèÿ, áåç ïîíèìàíèÿ èõ ïîòåíöèàëüíîãî ïðåîáðàæåíèÿ â ðàçíûõ êîíòåêñòàõ.
Ïðåäëîæåííàÿ À.Â. Êóíèíûì â «Àíãëî-ðóññêîì ôðàçåîëîãè÷åñêîì ñëîâàðå» ñèñòåìà ïåðåâîä÷åñêèõ ñîîòâåòñòâèé ôðàçåîëîãèçìîâ â àíãëèéñêîì è ðóññêîì ÿçûêàõ âêëþ÷àåò ñëåäóþùèå âèäû:
ýêâèâàëåíòû, àäåêâàòíî ïåðåâåä¸ííûå íà ôðàçåîëîãè÷åñêîì óðîâíå; àíàëîãè — ïåðåâîä ôðàçåîëîãèçìà â àíãëèéñêîì ÿçûêå ôðàçåîëîãèçìîì â ðóññêîì, àäåêâàòíûé ïî çíà÷åíèþ, íî èñïîëüçóþùèé
èíûå îáðàçû (give him an inch and he will take a mile; to have a
frog in one’s throat); îïèñàòåëüíûé ïåðåâîä, ïðåäïîëàãàþùèé ïå-
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ðåäà÷ó ñìûñëà (as pleased as Punch î÷åíü äîâîëüíûé); àíòîíèìè÷åñêèé ïåðåâîä (to be no stranger to something áûòü çíàêîìûì ñ
÷åì-ëèáî); êàëüêèðîâàíèå (familiarity brings contempt); êîìáèíèðîâàííûé.
 êà÷åñòâå îäíîãî èç ïîëåçíûõ ïðè¸ìîâ ïðîâåðêè ñìûñëîâîãî
ñõîäñòâà è íàõîæäåíèÿ òî÷íîãî ñîîòâåòñòâèÿ ìîæíî ïðèìåíèòü òîëêîâàíèå ãëóáèííîãî ñìûñëà ôðàçåîëîãèçìà. Ïðè ýòîì íå ñëåäóåò
ïîëàãàòüñÿ íà âîçìîæíîñòü âûâåñòè îáùèé ñìûñë èñõîäÿ èç ñîäåðæàíèÿ êîìïîíåíòîâ ôðàçåîëîãèçìà, íå çàãëÿäûâàÿ â ñëîâàðü. Òàê,
to live in someone’s pocket ïî ñâîèì êîìïîíåíòàì ëåãêî àññîöèèðóåòñÿ
ñ «æèòü çà ÷óæîé ñ÷¸ò», â òî âðåìÿ êàê åãî ñëîâàðíîå çíà÷åíèå — to
live closely with someone. Øèðîêî èñïîëüçóåìûé àíãëèéñêèé ôðàçåîëîãèçì to be born with a silver spoon in one’s mouth, îáû÷íî òîëêóåìûé êàê «ðîäèòüñÿ â ðóáàøêå, áûòü óäà÷ëèâûì», ïî ñâîåìó ñëîâàðíîìó òîëêîâàíèþ to have wealthy parents, to be born into a rich
family èìååò àêöåíò íå ñòîëüêî íà óäà÷å, ñêîëüêî íà èçíà÷àëüíîì
áîãàòñòâå. Óñòîé÷èâûå åäèíèöû â äâóõ ÿçûêàõ ïîëíû ðàçíîîáðàçíûõ
ñêðûòûõ ñìûñëîâ, êîòîðûå óòî÷íÿþòñÿ â êîíòåêñòå, ê êîòîðîìó ïåðåâîä÷èê äîëæåí áûòü ñòîëü æå âíèìàòåëåí, êàê è ê ñëîâàðíîìó òîëêîâàíèþ ôðàçåîëîãèçìà.
Îòñóòñòâèå ñîîòâåòñòâèÿ ïðåäîñòàâëÿåò ïåðåâîä÷èêó ñâîáîäó
êàëüêèðîâàòü ôðàçåîëîãèçì îðèãèíàëà, ÷òî òðåáóåò äîêàçàòåëüíîé
óâåðåííîñòè, ÷òî ñîîòâåòñòâèÿ, ïî êðàéíåé ìåðå, àíàëîãà, äåéñòâèòåëüíî íåò. Çíà÷èòåëüíóþ òðóäíîñòü äëÿ ïåðåâîäà ñîñòàâëÿþò ñëó÷àè ìîäèôèêàöèè ôðàçåîëîãèçìîâ, ñòîëü ÷àñòûå â ñîâðåìåííûõ àíãëèéñêèõ òåêñòàõ. Òàê, ôðàçåîëîãèçì to have butterflies in one’s
stomach, ïðîäîëæåííûé the size of dinosaurs, ïî-âèäèìîìó, ñëåäóåò îáúÿñíèòü â ïðèìå÷àíèè, âîñïîëüçîâàâøèñü ïðè ýòîì áóêâàëüíûì ïåðåâîäîì. Îöåíèâàÿ ïî ñòåïåíè òðóäíîñòè âîçìîæíûå ñïîñîáû îòûñêàíèÿ ôðàçåîëîãè÷åñêèõ ñîîòâåòñòâèé, îòìåòèì, ÷òî ïîäáîð
ýêâèâàëåíòà — íàèáîëåå ïðîñòîé ñëó÷àé. Ïðè âàðèàíòíîñòè ïîäáîð àíàëîãà òðåáóåò îò ïåðåâîä÷èêà õîðîøåãî âêóñà è âëàäåíèÿ ôðàçåîëîãè÷åñêèìè ðåñóðñàìè ðîäíîãî ÿçûêà, à òàêæå ïðîíèêíîâåíèÿ â
êîíòåêñò: not for love or money — íè çà ÷òî íà ñâåòå, íè çà êàêèå
äåíüãè/êîâðèæêè.
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Çàäàíèå 1. Ïðåäëîæèòå ñâî¸ òîëêîâàíèå ñìûñëà è ñïîñîá ïåðåâîäà
ñëåäóþùèõ ïîñëîâèö è ïîãîâîðîê, çàòåì ñâåðüòåñü ñî ñëîâàðåì è ñäåëàéòå âûâîäû îòíîñèòåëüíî ïðè÷èí íåñîâïàäåíèÿ.
A mill cannot grind with the water that is past, never fish in troubled
waters, it’s no use pumping a dry well, the scalded cat fears cold water,
one man’s meat is another man’s poison, you never miss water till the
well is dry, you can take a horse to water but you cannot make him drink,
you cannot get a quart into a pint pot, too much water drowned the
miller, a good maxim is never out of season.
Çàäàíèå 2. Ñîïîñòàâüòå ãëóáèííûé ñìûñë àíãëèéñêèõ è ðóññêèõ ïîñëî-
âèö è ïîãîâîðîê.
1. After rain comes fair weather — ïîñëå íåíàñòüÿ â¸äðî.
2. Beware of a silent dog and still water — áåðåãèñü òèõîé ñîáàêè
3.
4.
5.
6.
7.
8.
9.
10.
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äà òèõîé âîäû.
Birds of a feather flock together — ðûáàê ðûáàêà âèäèò
èçäàëåêà.
The burned child dreads the fire — îáæ¸ãøèñü íà ìîëîêå,
áóäåøü äóòü è íà âîäó.
A cat in gloves catches no mice—áåç òðóäà íå âûòàùèøü è
ðûáêó èç ïðóäà.
The cat would eat fish and would not wet her feet — õî÷åòñÿ
ðûáêó ñúåñòü, äà íå õî÷åòñÿ â âîäó ëåçòü.
Constant dropping wears away a stone — êàïëÿ è êàìåíü
äîëáèò.
The cow knows not the worth of her tail till she loses it — ÷òî
èìååì íå õðàíèì, ïîòåðÿâøè ïëà÷åì.
Don’t swap horses in the middle of the stream — êîíåé íà
ïåðåïðàâå íå ìåíÿþò.
Every flow has its ebb — ñ÷àñòüå ñ áåññ÷àñòüåì íà îäíèõ ñàíÿõ
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Çàäàíèå 3. Ïîñëå àíàëèçà ãëóáèííîãî ñìûñëà óñòîé÷èâûõ âûðàæåíèé,
íàéäèòå åãî ñîîòâåòñòâèå â ðóññêîì ÿçûêå.  ÷¸ì ñõîäñòâî
è îòëè÷èÿ?
1.
2.
3.
4.
5.
6.
7.
8.
9.
He knows how many beans make five.
It’s no use crying over spilt milk.
Look before you leap.
Nothing seek, nothing find.
Paddle your own canoe.
Let every man praise the bridge he goes over.
Time and tide wait for no man.
Don’t have they cloak to make when it begins to rain.
The pitcher goes too often to the well.
Çàäàíèå 4. Ïåðåâåäèòå ñëåäóþùèå êëèøå, íå ïîëüçóÿñü ñëîâàðåì.
Ñâåðüòåñü ñî ñëîâàð¸ì è ïðîêîììåíòèðóéòå ðåçóëüòàò.
Knight adventurer, knight of fortune, knight of industry, knight of brush,
knight of the carpet, knight of the cleaver, knight of the collar, knight of
the cue, knight of the elbow, knight of the field, knight of the forked
order, knight of the grammar, knight of the green cloth, knight of the
knife, knight of the needle/shears/thimble, knight of the pencil, knight
of the pestle, knight of the road, knight of the vapors.
Çàäàíèå 5. Ñîïîñòàâüòå ñëåäóþùèå ôðàçåîëîãè÷åñêèå åäèíèöû ñ ñî-
îòâåòñòâóþùèìè èì åäèíèöàìè â ðóññêîì ÿçûêå. Êàêèìè
ñïîñîáàìè îíè ïåðåäàíû íà ðóññêèé ÿçûê?
Make one’s mouth water, to cry one’s eyes out, to cry with one eye
and laugh with another, eye for eye, four eyes see more than two, in
the twinkling of an eye, saucer eyes, out of the corner of one’s eye,
see with the left eye, see with half an eye, wipe one’s eye, throw one’s
eyes up, catch somebody’s eye, make eyes at somebody, be all eyes, the
naked eye, evil eye, someone’s eyes are bigger than one’s belly, behind
one’s back, out of sight out of mind, my eyes nearly popped.
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Çàäàíèå 6. Ïðîàíàëèçèðóéòå ïî îïðåäåë¸ííûì ïàðàìåòðàì áëèçîñòü
ñìûñëà ñëåäóþùèõ àíãëèéñêèõ óñòîé÷èâûõ åäèíèö è èõ ñîîòâåòñòâèé â ðóññêîì ÿçûêå.
Mother’s milk, meat and drink, one man’s meat is another man’s poison, by hook or by crook, by fair means or foul, to show one’s horns,
show one’s face, show one’s hand, show one’s true colours, know something inside out, know like the back of one’s hand, burn one’s bridges,
cross one’s bridges before one comes to them, as bright as a button,
(he) would give his right hand/one’s ears/eye/teeth/back teeth, rise
from ashes, to pack one’s bags, to keep a dog and bark oneself, like a cat
on hot bricks, beggars can’t be choosers, in one’s birthday suit, my heart
bleeds for you, not to have a snowball’s chance.
Çàäàíèå 7. Ïåðåâåäèòå ñëåäóþùèå ïðåäëîæåíèÿ ñ ôðàçåîëîãè÷åñêè-
ìè åäèíèöàìè ðàçíûõ òèïîâ.
1.
2.
3.
If something can go wrong, then it will go wrong.
Nothing is as easy as it looks.
If you start to do something, you always find that there is something else which has to be done first.
4.
If you explain so clearly that nobody can misunderstand, somebody will.
5.
6.
7.
Most things get worse all the time.
Anything that begins well ends badly.
Machines that have broken down will work perfectly when the
repairman arrives.
8.
9.
10.
11.
Having baths makes telephones ring.
Anything that begins badly ends worse.
If it looks easy, it’s difficult. If it looks difficult it’s impossible.
As soon as you talk about something, if it’s good, it goes away, if
it’s bad, it happens.
12.
13.
Officials make work for each other.
However many socks you have, three of them are always the same
colour.
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Everything is uphill on the bicycle.
Cars prefer to break on Sundays.
Those who can, do. Those who can’t, teach.
Nothing is impossible for people who don’t have to do it themselves.
Everything good in life is either illegal, immoral or fattening.
The lift is always on another floor.
When something breaks down, there are always two things
wrong. You will find only one of them.
A great idea is one that turns a stumbling block into a stepping
stone.
Truth hurts — not the searching after; the searching from.
Swift gratitude is the sweetest.
Foolproof systems don’t take into account the ingenuity of fools.
So speakers and writers suffering from a “tip of the tongue” problem — knowing there is a word with a particular meaning, but not
being able to remember its precise pronunciation or spelling —
could jog their memories by looking through a list of near-synonyms and recognizing the word they were looking for.
Çàäàíèå 8. Ïåðåâåäèòå ñëåäóþùèå ñïåöèôè÷åñêè íàöèîíàëüíûå ôðà1.
2.
3.
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çåîëîãèçìû. Ñîñòàâüòå ïðèìå÷àíèÿ.
Rome was not built in a day.
In Rome do as Romans do.
Three wise men of Gotham Went to sea in a bowl; And if the
bowl had been stronger My song would have been longer.
The most unrealistic about romantic fiction is that the heroine
always marries Mr. Right.
How many men who sailed in search of America went to Davy
Jones’s locker before they ever caught sight of land?
As for qualified guides here, there is no legislation for giving them
a licence, so that any Tom, Dick or Harry can work as a guide.
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7. The election campaign is now taking in a quality of Alice in Won-
derland, where nothing is what it seems, and words mean only
what you want them to mean.
8. “I only hope you’re feeling better”, he said,... “But I’m sure you
are, with so charming a Florence Nightingale to attend you”.
9. Those two children will fight like Kilkenny cats if I leave them
alone in the house.
10. He’s a real Jekyll and Hyde: at home he’s kind and loving, but in
business he’s completely without principles.
Çàäàíèå 9. Ïåðåâåäèòå ñëåäóþùèå ïðåäëîæåíèÿ, îáðàòèâ âíèìàíèå íà
1.
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3.
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8.
9.
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îêêàçèîíàëüíûå ïðåîáðàçîâàíèÿ â óñòîé÷èâûõ åäèíèöàõ.
Political democracy, as it exists and practically works in America, with all its threatening evils, supplies a training school for
making first-class men. It is life’s gymnasium, not of good only,
but of all.
Children these days drink too much sweet juice. <...> They are
born with a sweet tooth, but we develop it too much.
And her eyes, which never left his face, slowly, slowly filled with
tears. He watched the strange water rise in her eyes, like some
slow fountain coming up. And his heart seemed to burn and melt
away in his breast.
If he hadn’t watched every penny all his life he wouldn’t be the
owner of the fine ship lying alongside now.
He hadn’t made any enemies and he might have made a friend.
That made it a terrific year for him.
Uncle Johnny had enjoyed plenty of the forbidden fruit himself.
I found one (room) after making a fool of myself in bad French. I
dined in the brasserie on a half-cooked omelets, the only thing I
could safely order without making another fool of myself, and
then went to bed.
She joked about her illness and said she was a cat with nine lives,
eight of which had been lived to the full.
I was his personal guinea pig, you understand?
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10. Like her father, she was she said the religious black sheep of the
family.
Çàäàíèå 10. Íàéäèòå îøèáêè â ïåðåâåä¸ííûõ ïðåäëîæåíèÿõ. Äîêàæèòå
1.
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èõ îøèáî÷íîñòü è ïðåäëîæèòå ïðàâèëüíûå âàðèàíòû.
Äàãàëä áûë îäåò ïîäîáíûì æå îáðàçîì, è Ïýíñè îòêðûòî åëà
åãî ãëàçàìè ñ ÿâíûì îäîáðåíèåì.
Õîòÿ Äæîðäæèíà ìîãëà ñêàçàòü, ÷òî áîëüøå íå âëþáëåíà â
Íèêà Ýëáåòà, ôàêò, êîòîðûé íóæíî ÷åñòíî ïðèçíàòü, ñîñòîÿë
â òîì, ÷òî îí âñ¸ åù¸ ìîæåò êðóòèòü åþ âîêðóã ñâîåãî ìèçèíöà.
Äåëî áûëî â ñàìîì ïî ñåáå âîçâðàùåíèè â Èíäèàíîïîëèñ, ïîäîáíîì âîçâðàùåíèþ ñîáàêè ê ñâîåé ñîáñòâåííîé áëåâîòèíå.
Âû óçíàëè, ÷òî ñòàðûé ïðîéäîõà îòáðîñèë êîñòè, è âû ðåøèëè,
÷òî ó âàñ ðàçâÿçàíû ðóêè.
— ß ïðîñòî ðàçúÿñíèë òåáå, ÷òî ìîæåò ñëó÷èòüñÿ, åñëè òû
âëèïíåøü. — Íî òû ïîïàäåøü â òþðüìó. — Çíà÷èò, ýòî ìîè
ïîõîðîíû.
Íóæíî áûëî äàòü åé âûãîâîðèòüñÿ. Åñëè ðàçãîâàðèâàòü ðåçêî,
îíà ïîäíèìåòñÿ íà äûáû.
Ïîñëå òîãî êàê âû ïîìîåòåñü è ïåðåîäåíüòåñü, ïîéäèòå è
ïîãîâîðèòå ñ îòöîì. Îí ìå÷òàåò îñòàòüñÿ ñ âàìè îäèí íà îäèí.
Äî ñèõ ïîð åãî ðàáîòà ñ øåðèôîì Ðîññîì â çàõóäàëîì ãîðîäêå
Ðîêâèëëå áûëà âîëüãîòíîé, ïðåäñòàâëÿÿ èç ñåáÿ îäíó ñïëîøíóþ ìèñêó, ïîëíóþ ñïåëûõ ñëàäêèõ âèøåí.
Äæóëèàí îáåçóìåë, ñëîâíî æèòåëü Áåäëàìà.
— Ïîñëå ýòîãî âû âèäåëè ìèñòåðà Ðåíñîìà? Õàñëåð îïóñòèë
âçãëÿä. — Íåò. Ïîçæå âå÷åðîì, êîãäà ÿ óçíàë îá óáèéñòâå, ó
ìåíÿ áûëî îùóùåíèå, áóäòî òîï÷óò ìîþ ìîãèëó.
Çàäàíèå 11. Èñïðàâüòå îøèáêè â ñî÷åòàåìîñòè.
1.
Îíà îêàçàëàñü áîéêîé áðþíåòêîé ñ äîáðîæåëàòåëüíûìè ãëàçàìè è êó÷êîé âåñíóøåê íà íîñó, å¸ äëèííûå âîëîñû áûëè çàâÿçàíû ñçàäè â õâîñò.
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ß õî÷ó ñíÿòü ìàøèíó.
Ó ìåíÿ íàêîïèëîñü øåñòü íåäåëü íåèñïîëüçîâàííîãî îòïóñêà
ïî áîëåçíè. Ïîýòîìó ñ ñåãîäíÿøíåãî äíÿ ÿ â îòïóñêå ïî áîëåçíè, ëå÷ó ñìåù¸ííóþ ïëàñòèíêó ïîçâîíî÷íèêà.
 ñðåäíåé ÷àñòè ëåñòíèöû íà ïëîùàäêå âòîðîãî ýòàæà ñòîÿëè
îãðîìíûå äåäîâñêèå ÷àñû. <...> Íà ïëîùàäêå ëåñòíèöû
âíóòðè äîìà ñíîâà çàáèëè äåäóøêèíû ÷àñû.
— Ýòî ÷òî, íîâûé ôàñîí? — ïîääðàçíèë Òýò÷ Âèêòîðèþ,
ïîêàçûâàÿ íà ïðåñëîâóòîå êîôåéíîå ïÿòíî.
Ó íåãî åñòü òàì ñïèðòîâêà, íà êîòîðîé îí äåëàåò ñåáå êîôå è
ïüåò åãî ñ ñýíäâè÷åì-äðóãèì.
— Ýòî î÷åíü ìàëî, — èçâèíèëàñü îíà, ïîñìîòðåâ ñíà÷àëà íà
ìóæà, ïîòîì íà íåìóäðåíîå óãîùåíèå — íàðåçàííîå äîëüêàìè
çàæàðåííîå ìÿñî, ñîóñ, ïå÷åíüå.
Êåéò íåíàâèäåëà ïèñàòü. Ó íå¸ íå áûëî äàðà ñëîâà.
Ýòî ÿ íàøëà åãî, Õàãåí, íà ïîñëåäíåé íåäåëå.
Ôèãóðà áûëà èñêàæåíà, åäâà óçíàâàåìà. Ýäèò íà ïîñëåäíåé
ñòàäèè áåðåìåííîñòè, ñ ïåðåêîøåííûì ñòðàõîì ëèöîì.
Çàäàíèå 12. Âûáåðèòå íàèáîëåå ïðàâèëüíûé âàðèàíò ïåðåâîäà â óñëîâèÿõ íåäîñòàþùåãî êîíòåêñòà.
He hadn’t the nerve for that either. (Íà ýòî ó íåãî òîæå íå
õâàòèëî áû äóõà. / Ó íåãî êèøêà áûëà òîíêà. / Åãî íåðâû íå
âûäåðæàëè.)
2. Mrs Tower kept her face bravely. (Ìèññèñ Òàóýð ìóæåñòâåííî
ñíåñëà óäàð / íå èçìåíèëà âûðàæåíèÿ ëèöà / íèêàê íå
îòðåàãèðîâàëà / âñòðåòèëà ïðåäëîæåíèå ñïîêîéíî.)
3. “You’ve got a very high colour, Marion,” said Jane, looking at
her amiably through her great round spectacles. (Ó òåáÿ
ïðåêðàñíûé ðóìÿíåö / òû ðàñêðàñíåëàñü / ó òåáÿ òåìïåðàòóðà.)
4. There was no way Kat’s death could ever be blamed on him.
(Îáâèíåíèå â ñìåðòè Êýò íèêîèì îáðàçîì íå ìîãëî ïàñòü íà
1.
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íåãî. / Íå áûëî íèêàêîé åãî ñâÿçè ñî ñìåðòüþ Êýò. / Íå áûëî
íèêàêîãî ñïîñîáà äîêàçàòü åãî âèíó â ñìåðòè Êýò.)
5. Every time she opens her mouth she puts a nail in her coffin.
6.
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10.
(Ñòîèò åé îòêðûòü ðîò, êàê îíà íà÷èíàåò çàáèâàòü ãâîçäè â
ñîáñòâåííûé ãðîá. / Êàæäûé ðàç, êîãäà îíà îòêðûâàåò ðîò,
îíà çàáèâàåò ãâîçäü â ñîáñòâåííûé ãðîá. / Êàæäûé ðàç, êîãäà
îíà íà÷èíàåò ãîâîðèòü, îíà êëàä¸ò ãâîçäü íà ñîáñòâåííûé ãðîá.)
(Gilbert says I’m very young for my age.) I told you I shouldn’t
like to marry a man with one foot in the grave. (ß âåäü ñêàçàëà
òåáå, ÷òî íå ñîáèðàþñü âûõîäèòü çà êàêîãî-íèáóäü äðÿõëîãî
ñòàðöà / çà ðàçâàëèíó, êîòîðàÿ óæå ñòîèò îäíîé íîãîé â ãðîáó /
îäíîé íîãîé â ìîãèëå.)
They can’t wait for me to kick the bucket. (Îíè æäóò íå äîæäóòñÿ, êîãäà ÿ ñûãðàþ â ÿùèê. / Îíè íå ìîãóò äîæäàòüñÿ, êîãäà
ÿ ñäîõíó / êîãäà ÿ óìðó.)
Mallory felt a cold chill go through him. (Ó Ìàëëîðè ïîìóòèëîñü
â ãîëîâå. / Ìàëëîðè ïî÷óâñòâîâàë õîëîäíûé îçíîá / Ìàëëîðè
ïî÷óâñòâîâàë, êàê îí ïîõîëîäåë.)
Things were getting out of hand. (Âåùè âàëèëèñü èç ðóê. / Äåëî
âûøëî èç-ïîä êîíòðîëÿ. / Âñ¸ ðóøèëîñü.)
“Why would she kill herself? She had everything to live for”.
(Çà÷åì åé ñåáÿ óáèâàòü? Ó íå¸ áûëî âñ¸, ÷òîáû æèòü. / Åé áû
æèòü äà æèòü. / Åé áûëî ðàäè ÷åãî æèòü.)
Çàäàíèå 13. Íàéäèòå ñîîòâåòñòâóþùèå øòàìïû â ðóññêîì ÿçûêå.
1. The inspector turned to Mallory. “Dr Mallory, you’re under ar2.
3.
4.
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6.
rest for the murder of Dr Kate Hunter”.
Do not address the driver unless the bus is stationary.
Do not alight while the bus is in motion.
Tickets must be purchased before boarding the train.
The public house is closed until further notice.
We don’t have absolutely rigid rules, but I’d say that as a rule of
thumb we want at least three examples of a new word before we
would include it into a dictionary.
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“How do you read?” — “We read you well.”
He refused point-blank.
This is your doing!
I have a running nose.
Invalid without signature.
Wrong number!
— I want three tickets on the 17.25 train to York. Second class
sleeper, please. — Return tickets, sir? — No, single, please.
14. Queue up here for bus No. 24.
15. He kissed me good-bye.
7.
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Çàäàíèå 14. Ïåðåâåäèòå òåêñò, îáðàùàÿ âíèìàíèå íà óñòîé÷èâûå ñî-
÷åòàíèÿ.
MORNING, NOON AND NIGHT
Sidney Sheldon
The Stanford family is one of the most respected in America — but
behind the facade of fame and glamour lies a hidden web of blackmail,
drugs and murder...
When Harry Stanford, one of the wealthiest men in the world, mysteriously drowns while cruising on his yacht, it sets off a chain of events
that reverberates around the globe... At the family gathering following
the funeral in Boston, a strikingly beautiful woman appears. She claims
to be Stanford’s daughter and entitled to a share of the tycoon’s estate.
Is she genuine or is she an impostor?
Sweeping from the splendours of the Italian Riviera, to the fashion salons of Paris and New York, and the elite opulence of Boston and
Florida, Morning, Noon and Night twists and turns its way through
intrigue, smoke and mirrors to a surprise ending you’ll never forget...
“Sheldon is a writer working at the height of his power... I hung on till
the very end”.
(New York Times)
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Ãðàììàòè÷åñêèå ïðîáëåìû ïåðåâîäà
Ãðàììàòè÷åñêèå ÿâëåíèÿ, çàêîíû, ïðàâèëà ÿâëÿþòñÿ íåîòúåìëåìûìè ñâîéñòâàìè êàæäîãî îòäåëüíîãî ÿçûêà, îáóñëîâëåíû åãî
âíóòðåííåé ñòðóêòóðîé è â ñâîåé ñîâîêóïíîñòè îòëè÷íû îò ãðàììàòè÷åñêèõ ÿâëåíèé, çàêîíîâ è ïðàâèë äðóãîãî ÿçûêà, íåñìîòðÿ íà îáùèå ãëóáèííûå ÷åðòû. Ýòî âåðíî, ïîòîìó ÷òî â ñõîäñòâå âñåãäà îáíàðóæèâàåòñÿ ðàçëè÷èå.
 ïåðåâîä÷åñêîé ðàáîòå õîðîøåå çíàíèå ãðàììàòèêè äåëàåò å¸
îòíîñèòåëüíî ñâîáîäíîé îò âîçíèêíîâåíèÿ ãðàììàòè÷åñêèõ ïðîáëåì,
ïîçâîëÿåò ðåøàòü ãðàììàòè÷åñêîå íå òîëüêî ãðàììàòè÷åñêèìè, íî è
ëåêñè÷åñêèìè ñðåäñòâàìè. Òåðìèí «ïåðåâîä» â ïðèìåíåíèè åãî ê
ãðàììàòè÷åñêèì ôîðìàì è êîíñòðóêöèÿì îçíà÷àåò âûáîð ãðàììàòè÷åñêîãî îôîðìëåíèÿ â ÿçûêå ïåðåâîäà ñ ó÷¸òîì ñìûñëîâîãî îôîðìëåíèÿ â ÿçûêå îðèãèíàëà. Èìåííî çäåñü è îêàçûâàåòñÿ íåîáõîäèìûì
çíàíèå îñîáåííîñòåé ñîîòâåòñòâèÿ äâóõ ãðàììàòè÷åñêèõ ñèñòåì: íàïðèìåð, ñîîòâåòñòâèå ñèñòåìû âðåì¸í è âèäîâ. Íå ìåíåå âàæíî ïîíèìàíèå òîãî, ÷òî ëþáîå íåñîîòâåòñòâèå âîñïîëíÿåòñÿ ðàçíûìè
ñðåäñòâàìè ÿçûêà ïåðåâîäà, êàê ãðàììàòè÷åñêèìè, òàê è ëåêñè÷åñêèìè.
 îñíîâàíèè âñåõ ïåðåâîä÷åñêèõ ñîïîñòàâëåíèé ëåæèò çíàíèå î
âîçìîæíîñòè ïîëíîãî èëè ÷àñòè÷íîãî ñîîòâåòñòâèÿ. Ýòè ñîîòâåòñòâèÿ
ìîãóò áûòü îäíîèì¸ííûìè, ò.å. ïðåäïîëàãàòü àíàëîãè÷íîå îïðåäåëåíèå â äâóõ ÿçûêàõ è èìåòü àíàëîãè÷íîå çíà÷åíèå, è ïåðåêðåñòíûìè, ò.å. ñóùåñòâîâàòü êàê ñèíîíèìè÷íûå, âûïîëíÿòü èäåíòè÷íóþ
ôóíêöèþ (íàïðèìåð, îïðåäåëèòåëüíûå ïðèäàòî÷íûå ïðåäëîæåíèÿ è
ïðè÷àñòíûå îáîðîòû). Ñîîòâåòñòâèÿ ìîãóò áûòü ÷àñòè÷íûìè, êîãäà
êàêàÿ-òî êàòåãîðèÿ â ÿçûêå îðèãèíàëà ïðåäñòàâëåíà äâóìÿ êàòåãîðèÿìè â ÿçûêå ïåðåâîäà: àíãëèéñêîå ïðè÷àñòèå ñîîòâåòñòâóåò ïðè÷àñòèþ è äååïðè÷àñòèþ â ðóññêîì ÿçûêå. Àíãëèéñêèé èíôèíèòèâ îòëè÷àåòñÿ îò ðóññêîãî áîëüøèì êîëè÷åñòâîì ôîðì ñ ðàçíûìè ôóíêöèÿìè è çíà÷åíèÿìè. Îòñóòñòâèå îäíîèì¸ííîãî ñîîòâåòñòâèÿ
(íàïðèìåð, ãåðóíäèÿ, àðòèêëÿ è äð.) íå îçíà÷àåò, ÷òî èõ íåëüçÿ ïåðåäàòü äðóãèìè ñðåäñòâàìè ÿçûêà ïåðåâîäà.
Äëÿ àäåêâàòíîé ïåðåäà÷è çíà÷åíèé àíãëèéñêèõ ãðàììàòè÷åñêèõ
ÿâëåíèé ïåðåâîä÷èê ìîæåò ïðèáåãàòü ê ðàçíîãî ðîäà ïðåîáðàçîâà107
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íèÿì: çàìåíà ÷àñòåé ðå÷è, èçìåíåíèå ïîðÿäêà ñëîâ èëè ñòðóêòóðû â
öåëîì. Ïðåäïîëîæèì, äëÿ ïåðåâîäà ïðåäëîæåíèÿ, â ñîñòàâå êîòîðîãî èìååòñÿ Complex object, äîïîëíèòåëüíîå ïðèäàòî÷íîå — ïðèâû÷íûé âàðèàíò çàìåíû, ïðè ýòîì âûáîð ñîþçà áóäåò çàâèñåòü îò ãëàãîëüíîãî êîìïîíåíòà:
I saw him run — ß âèäåëà, ÷òî îí áåæàë.
I saw him running — ß âèäåëà, êàê îí áåæàë.
Ïðè÷èíû íåîáõîäèìûõ çàìåí ìîãóò áûòü ïðîäèêòîâàíû ãëóáèííûìè ãðàììàòè÷åñêèìè îòëè÷èÿìè, êàêèì, íàïðèìåð, ÿâëÿåòñÿ îòñóòñòâèå â àíãëèéñêîì ÿçûêå ïðîòèâîïîñòàâëåíèÿ ìåñòîèìåíèé «òû»
è «âû»: äåòåðìèíèðîâàííîå êîíòåêñòîì àíãëèéñêîå «you» îçíà÷àåò
è òî è äðóãîå. Ñòîëü æå çàâèñèò îò âíèìàòåëüíîãî ïðî÷òåíèÿ êîíòåêñòà âûáîð ðîäà äëÿ íàçâàíèé ðÿäà ïðîôåññèé (singer, writer, cook,
driver).  ïîñîáèÿõ ïî ïåðåâîäó ÷àñòî ðàññìàòðèâàþòñÿ ïàññèâíûå
êîíñòðóêöèè â àíãëèéñêîì ÿçûêå ñ èõ ðàçíîîáðàçèåì ôîðì; ðàçíûå
ñðåäñòâà âûðàæåíèÿ ìîäàëüíîñòè; ôóíêöèîíàëüíàÿ ïîäâèæíîñòü
÷àñòåé ðå÷è â àíãëèéñêîì ÿçûêå; ïðèìûêàíèå êàê ðàñïðîñòðàí¸ííûé òèï ñèíòàêñè÷åñêîé ñâÿçè, ïðè êîòîðîì ñîïîëîæåíèå ñëîâ òðåáóåò âíèìàòåëüíîãî ðàññìîòðåíèÿ èõ âçàèìîäåéñòâèÿ; èíâåðñèÿ è å¸
ýìôàòè÷åñêèå ôóíêöèè; ñìûñëû, ïðèâíîñèìûå àðòèêëÿìè; ðàçíîãî
ðîäà îáîðîòû è ñëîæíûå êîíñòðóêöèè.
Çàäàíèå 1. Ïåðåâåäèòå, îïðåäåëèâ ñóùíîñòü ãðàììàòè÷åñêèõ ÿâëåíèé,
âûçâàâøèõ çàòðóäíåíèå. Îáîñíóéòå âûáîð ñîîòâåòñòâèÿ.
Quite a number (of unemployed) have been pressured into taking low-paid jobs.
2. She said, “I thought he was your friend,” I said, “He was my
friend”.
3. Up the stairs he went in the utter darkness, up, up, and she was
wild with fear.
4. Rolf had been gone three hours or more by the time the phone
rang with the call from Dicky.
5. He must have had superman hearing.
1.
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6. She jumped up and ran sobbing out of the room. Springing up,
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
George Lee blustered: “What d’you mean? I won’t have my wife
bullied and frightened out of her life! She’s very sensitive”.
Jeff sat silent while the two men talked — he had worn the gray
flannels and blazer — and stared unseeing at the toes of his polished shoes.
“Has everyone had his say?” shouted Reverend Fitzgerald.
While it was true that the Church had rules to keep priests in
line, Father O’Brien had not shilly-shallyed when it came time
to do his duty. He had not hemmed and hawed as some men
might have done.
The whole point of getting things done is knowing what to leave
undone.
Student teachers very much enjoy being introduced to other
members of the faculty and being included in conversations in
the faculty room. Again this gives them a feeling of belonging.
Constance lit a cigarette and looked at the framed photograph
on the mantlepiece.
In the pursuit of thinness, a young woman starves herself until
she looks like a scarecrow.
“Ah!” said Mrs Tower, and into the exclamation put volumes.
New Orleans was having a storm.
She forced a note of cheerfulness into her voice. “Tell me what’s
happening in Philadelphia.”
From the open door there reeked a horrible, poisonous exhalation, which set us gasping and coughing.
I felt sure he would happily have lent them [binoculars] to me
had he been at home.
I muttered an apology and stepped aside and as I did so my foot
struck a half-filled milk bottle and I knocked it over, the milk
running out on the grass.
Rather popular are also the reports about the flights of astronauts and space research matters in general.
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Çàäàíèå 2. Ïåðåâåäèòå, îáðàùàÿ âíèìàíèå íà ñïåöèôèêó àíãëèéñêèõ
ìîäàëüíûõ ãëàãîëîâ.
1.
I must have been an unsatisfactory child for grownups to deal
with.
2.
He shook his head in self-derision. The thousand dollars. We
could have used that money for our honeymoon. But it’s worth
losing it to have you.
3.
Naturally we would like to help; and if we could, perhaps we
should. But we can’t be of any use in the long run — particularly
if we weaken ourselves.
4.
Someone must protect the material and intellectual seed grain
for the future. It seems to me that someone is the US, we owe it
to our children — and to their children’s children’s children’s
children.
5.
He could just about catch the last steamer that could get up to
Chungking and then no one could travel till the following spring,
except by junk.
6.
It seems to me quite fantastic that Amyas should have killed himself but I suppose he could have done so. In fact, he must have
done so.
7.
8.
9.
10.
You could have helped me.
I could have won if I hadn’t fallen over.
I should be delighted if I could join you.
These chocolates ought not to cost more than two shillings a
pound.
11.
12.
13.
14.
You might find it easier to leave me out altogether.
May you be happy.
You need not come here today.
Suddenly the young lady laughed loudly and nervously, though
her laughter could rather be taken for a fit of coughing.
15.
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Çàäàíèå 3. Ïåðåâåäèòå, îáðàòèâ âíèìàíèå íà ãëàãîë «to be» â ðàçíûõ
ôóíêöèÿõ.
1. And if there’s any trouble I guarantee to get you out of it.
2. You are not being very careful.
3. He’s being sick.
4. They are to meet in Tokyo next week.
5. To be taken three times a day before meals.
6. You were being stupid.
7. Tell her she’s not to be back late.
8. They are nowhere to be seen.
9. If you don’t disturb me I’ll be able to work out the problem.
10. Is the tea all gone?
11. She’s beautiful to look at.
12. She was curious to see what his next step would be.
13. He’s never (seldom, scarcely ever, hardly ever) at home.
14. This was the first time I’ve ever heard her protest.
15. The train arriving at platform one is the 17.22 for York.
16. You’re late. No, I’m not.
17. It’s a bit too cold today, isn’t it?
18. It’s a boring place to live in.
19. The difficulty with you is that you won’t listen to anybody.
20. Nobody likes being laughed at.
21. He is a man to do it.
22. You’re a very nice shape.
23. What shoe size are you?
24. It was too good an opportunity to miss.
25. He was a rather fat man of medium height, with a grey beard.
Çàäàíèå 4. Ïåðåâåäèòå ïðåäëîæåíèÿ, ñäåëàâ âûâîäû îòíîñèòåëüíî
ñïîñîáîâ ïåðåâîäà ñòðóêòóðû ñ ââîäíûì «it».
1.
It must be hard to live on your salary.
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2.
3.
4.
5.
6.
7.
8.
It’s pointless to argue.
It’s unusual to see Mary with a boy.
Is it customary to tip drivers?
Will it suit you to meet her tomorrow evening?
It didn’t occur to you to phone, I suppose?
It struck me that they were behaving strangely.
It occurred to me that she might have forgotten my telephone
number.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
It appears that June might change her mind.
It doesn’t interest me whether you succeed or not.
It’s a mystery what she sees in him.
It will suit me best for you to finish your work in half an hour.
It was so nice seeing her there.
It looks as if it’s going to rain.
It’s not as if it happened to her the first time.
It’s no use trying to explain.
It was on Monday that he arrived at last.
We find it difficult to fulfil your task.
He thought it peculiar she hadn’t sent him a telegram.
It’s three minute’s walk to the nearest bank.
It rained much last night.
It took me years to forget her.
He made it clear that he was disappointed.
It’s time you thought about your future.
Is it true that she’s seriously ill?
Çàäàíèå 5. Ïåðåâåäèòå ñëåäóþùèå ïðåäëîæåíèÿ. Ïðîàíàëèçèðóéòå,
êàê ïåðåâîäÿòñÿ âðåìåíà íà ñòûêå.
1. They spent three incredible days at a small hotel in Hawaii, called
Sunny Cove, and it was as though they had never been apart.
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2. “Dr Taylor, when you administered the insulin to John Cronin,
were you aware that he had put you in his will for one million
dollars?” “No. I was stunned when I learned about it.”
3. Paige drove home and stayed awake the rest of the night, thinking about what she had done.
4. He had no notion what her age was.
5. The fact that he did his best to miss this train of misfortune made
him feel guilty.
6. The fading of old codes and the emergence of new ones have
prompted some thinkers of our day to question whether writing
has the capacity to survive when computers and electronic devices offer vastly more efficient means of communication.
7. Galileo said that the Earth moves and that the Sun is fixed; the
Inquisition said that the Earth is fixed and the sun moves; the
Newtonian astronomers, adopting an absolute theory of space,
said that both the Sun and the Moon move.
8. In fact, I should say that since Kepler’s time in astronomy, since
Galileo’s time in physics, since Lavoisier’s time in chemistry,
and since Darwin’s time in biology no discovery or theory, however revolutionary it has seemed, has actually overturned the
structure of science or any major branch of it. The structure has
merely been improved and refined.
9. Jeff felt so sorry for her he didn’t know what to say. He wished he
hadn’t brought up the question at all.
10. It is the fact she has never left her native village.
Çàäàíèå 6. Ïåðåâåäèòå ñëåäóþùèå êëèøå è øòàìïû.
1. As far as our particular tasks are concerned.
2. It must be noted that.
3. It has long and generally been assumed.
4. It should be pointed out that.
5. It was reported that.
6. Another important point to be mentioned.
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7.
8.
9.
10.
11.
12.
13.
14.
15.
It should be emphasized that.
You can’t deny that.
It so happened that.
Come to think of it.
If that’s the way you think/feel/look at it.
Now that we considered it.
I proceed from the fact that.
You are carrying it too far.
It’s quite a different thing.
Çàäàíèå 7. Ïåðå÷èñëèòå âîçìîæíûå ñïîñîáû ïåðåâîäà àíãëèéñêèõ ïàñ-
ñèâíûõ êîíñòðóêöèé è ïåðåâåäèòå ñëåäóþùèå ïðåäëîæåíèÿ.
When the witness was sworn in, Gus Venable said, “You’re an
orderly at Embrocadero County Hospital”.
2. The attending physician Paige had been assigned to was Dr
William Radnor.
3. Mrs Tower had been seized with the prevailing passion for decoration.
4. It was revealed later by police and museum representatives that
none of the paintings was insured.
5. One morning George and the consul were in the courtyard looking
at some curios that have been brought for their inspection when
there was a loud knocking at the great door of the consulate.
6. A chair borne by four coolies entered, advanced, and was set down.
7. George was seized with the courage of despair.
8. In the past when women devoted their time and energy exclusively to home and family, dependents like children, the elderly,
the sick, the disabled, the handicapped, and the retarded were
taken care of mostly at home.
9. Students are often taught to study new vocabulary as a part of
language development. In college the amount of new vocabulary can be frightening, and students need to learn to give priori1.
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ty to the key terms for each course instead of trying to learn every new word.
10. An integrated approach is used in which students practise read-
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
ing, writing, listening, and speaking skills. Independent thinking is encouraged through questions for analysis following the
lectures and readings.
Latest reports from the northwest provinces state that at least
sixteen people lost their lives in Saturday’s floods. A further nine
people, mostly children are reported missing, believed dead.
Seven small boys, however, had a miraculous escape when they
were swept onto the branches of some tall trees.
Students taking this test are being given a real feel for the language they are learning.
Other unhappy emotions, notably depression, helplessness,
loneliness, panic, and anxiety, have also been linked to illness.
People aged 17 to 74 were first asked to write down as many
names of classmates as they could remember.
Students are asked to work with and analyze ideas to use language as a means of communicating these ideas.
This park was ringed with trees, crossed by sidewalks, circled by
a four-lane road.
Nothing remained in her drawing-room with which she had any
association, or to which any sentiment was attached.
No charges were filed, but Murphy is considering legal action.
The original wood engravings for the illustrations to L. Carrol’s
Alice in Wonderland stories <...> have been discovered in the
vaults of a London bank.
The international “no animal testing in the cosmetic industry”
call was due to be enforced next year.
Çàäàíèå 8. Ïåðåâåäèòå ñëåäóþùèå ïðåäëîæåíèÿ, ïðîàíàëèçèðîâàâ
âîçìîæíûå âàðèàíòû ïåðåâîäà ïàññèâíûõ êîíñòðóêöèé.
1.
It seemed to Tracy that the Goya exhibition was more heavily
guarded than the others, and it well deserved to be.
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2. The testing of a masterpiece is a very delicate operation, for if it
3.
4.
5.
6.
7.
8.
9.
10.
is done carelessly, it can destroy something both priceless and
irreplaceable.
Somehow, Cooper felt that whatever had been planned had already happened. He looked around the walls of the salon. None
of the paintings was missing.
Tomorrow the Prince of Luxemburg arrives on a state visit, and
the newspapers say he will be taken on a tour of the Prado.
No one is permitted inside the caves without a guide, but from
the moment the caves are opened to the public in the morning,
they are filled with tourists.
One by one, the detectives escorted the passengers to a station
waiting room that had been roped off, and they were expertly
body searched. The passengers, many of them people of prominence, were outraged by this indignity.
Lester was only too eager to please. And to be pleased.
She’s right, Tracy thought numbly. I’m finished. I’m a number.
Nameless, faceless.
The prisoners were marched into a large, white-tiled room, where
a fat, middle-aged man in a soiled smock stood next to an examination table.
And he found himself being unceremoniously ushered out of the
office.
Çàäàíèå 9. Ñðàâíèòå ñäåëàííûé âàìè ïåðåâîä ïðåäûäóùåãî óïðàæíå-
íèÿ ñ ïðîôåññèîíàëüíûì ïåðåâîäîì.
1. Òðåéñè ïîêàçàëîñü, ÷òî âûñòàâêà êàðòèí Ãîéè îõðàíÿëàñü åù¸
ëó÷øå, ÷åì îñòàëüíûå. Ýêñïîçèöèÿ çàñëóæèâàëà ýòîãî.
2. Ïðîâåðêà øåäåâðà — î÷åíü òîíêàÿ, äåëèêàòíàÿ îïåðàöèÿ,
ïîòîìó ÷òî, åñëè å¸ âûïîëíèòü íåáðåæíî, ìîæíî íàðóøèòü
÷òî-òî áåñöåííîå è íåçàìåíèìîå.
3. Òåì íå ìåíåå Êóïåð ÷óâñòâîâàë, ÷òî òî, ÷òî îíà ïëàíèðîâàëà,
ñâåðøèëîñü. Îí îãëÿäåë ñòåíû çàëà. Íè îäíà èç êàðòèí íå
èñ÷åçëà.
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4. Çàâòðà ïðèáûâàåò ïðèíö Ëþêñåìáóðãñêèé ñ îôèöèàëüíûì
5.
6.
7.
8.
9.
10.
âèçèòîì, è â ãàçåòàõ ïèøóò, ÷òî îí ñîâåðøèò ýêñêóðñèþ ïî
Ïðàäî.
Íèêîìó íå ðàçðåøàëîñü âõîäèòü áåç ãèäà, è óòðîì, â ìîìåíò
îòêðûòèÿ ïåùåð, òóðèñòû òîëïÿòñÿ ó âõîäà.
Äåòåêòèâû ñîïðîâîæäàëè êàæäîãî ïàññàæèðà íà âîêçàë â çàë
îæèäàíèÿ, êîòîðûé áûë îöåïëåí, òàì èõ îáûñêèâàëè ñ ãîëîâû äî íîã. Ïàññàæèðû, ìíîãèå èç êîòîðûõ çàíèìàëè âèäíîå
ïîëîæåíèå â îáùåñòâå, âîçìóùàëèñü.
Ëåñòåð áûë ðàä óãîäèòü. È ðàäîâàëñÿ, êîãäà åìó óãîæäàëè.
«Îíà ïðàâà», — ïîäóìàëà Òðåéñè îöåïåíåëî. «Ñî ìíîé ïîêîí÷åíî. ß íîìåð. Áåçûìÿííûé, áåçëèêèé».
È èõ ïîãíàëè, êàê ñòàäî ïî äëèííîìó êîðèäîðó. Çàêëþ÷¸ííûõ
âûñòðîèëè â îãðîìíîé îáëèöîâàííîé áåëûì êàôåëåì êîìíàòå, ãäå ó ãèíåêîëîãè÷åñêîãî êðåñëà ñòîÿë òîëñòûé ñðåäíèõ ëåò
ìóæ÷èíà â ãðÿçíîì ðàáî÷åì õàëàòå.
Åãî íåìåäëåííî âûäâîðèëè èç êàáèíåòà.
Çàäàíèå 10. Cäåëàéòå âûâîäû î ñïîñîáàõ ïåðåâîäà îòðèöàíèÿ íà ðóñ1.
2.
3.
4.
5.
ñêèé ÿçûê.
Life without my early-morning conferences was unthinkable.
“I didn’t do anything. It was mostly the Tillermans. But they
didn’t really do anything, either”. “We never do. But sometimes,
things get done. Don’t they?”
Nobody really knows how many words are in English, but at a
rough guess, I’d say there were probably half a million words in
English and we probably get about 2000 new ones every year.
In short, the first seven or so years of my life were not too great a
variation on Dick and Jane, the schoolbook figures who, if my
memory serves me correctly, were blond Anglo-Saxons, not immigrants, not migrants, like the Puerto Ricans, and not the children of either immigrants or migrants.
He could not bear to look at her any more. Nothing matched,
but everything harmonized.
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6.
7.
I am no disbeliever in spiritual purpose and no vague believer.
I had better explain that I was a frequent visitor to the headmaster’s study because of the latest thing I had done or left undone.
As we now say, I was not integrated. I was, if anything, disintegrated; and I was puzzled. Grownups never made sense.
8.
9.
You don’t get something for nothing.
Apparently with No Surprise
Apparently with no surprise
To any happy Flower
The Frost beheads it at its play —
In accidental power —
The blond Assassin passes on —
The Sun proceeds unmoved
To measure off another Day
For an Approving God.
(Emily Dickinson, 1884)
He had no intention of seeing any patients.
Paige was listening in disbelieve.
Those countries haven’t changed since we were kids.
No one had ever told Honey that before.
We don’t know any Dr Mallory.
People never can resist those who make them laugh. — She
never makes me laugh.
16. I’ve done nothing for her.
17. I’d said the same things for thirty years and no one ever saw
anything to laugh at.
18. If you wait until the wind and the weather are just right, you will
never sow anything and never harvest anything.
19. Never go to a meeting lipstickless. This is an easy way to look
professional and polished, even if you wear little else on face.
20. Scientific studies have shown that unless material is reviewed, most
of it will be forgotten in a surprisingly short amount of time.
10.
11.
12.
13.
14.
15.
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What I am trying to say is that doubting is far more important to
the advance of science than believing is and that, moreover,
doubting is a serious business that requires extensive training
to be handled properly. People without training in a particular
field do not know what to doubt and what not to doubt; or, to put
it conversely, what to believe and what not to believe. I am very
undemocratic, but one man’s opinion is not necessarily as good
as the next man’s. To be sure, I feel uneasy about seeming to
kowtow to authority in this fashion. After all, you all know of instances where authority was wrong, dead wrong. Look at
Columbus, you will say. Look at Galileo...
22. When I had children of my own I had them baptized, again ostensibly to please Mummy and Daddy, but secretely because I
should have felt uneasy myself otherwise. Also, it enabled us to
send them to a Catholic primary school in due course. Martin
didn’t object, in spite of being a nonbeliever himself, because he
recognized that the local Catholic primary school was better than
the state ones and we couldn’t afford private education at that
stage of our lives.
23. The official statistics do not include victimless crimes such as
prostitution and gambling. Neither do they present most of the
white-collar crimes, such as income tax evasion, committed by
seemingly respectable citizens, fraud against consumers and
price fixing committed by corporations, and bribe taking and illegal wiretapping perpetrated by governmental officials.
24. He wasn’t doing very well in school, at the best; and somehow,
over that first seventh grade semester, he had become a real nobody. He had gone from being nobody much to somebody nobody liked. He wasn’t disliked, exactly, he was just in the way. It
used to be that he was sort of there on the playground for a soccer game, or at his desk in the classroom. Nobody minded him
there, but nobody actually wanted him there; not because he
was disliked, but because he was in the way. Like a fly in the
room.
25. Helen has not heard this joke before, and she laughs.
21.
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Çàäàíèå 11. Ïðîàíàëèçèðóéòå ïåðåâîä ñëåäóþùèõ ïðåäëîæåíèé ñ îò-
ðèöàíèåì.
He (Daniel Cooper) was certain that Tracy Whitney was not there
as a visitor. — Êóïåðà íå ïîêèäàëà óâåðåííîñòü, ÷òî Òðåéñè
Óèòíåé ïðèøëà ñþäà íå êàê ïîñåòèòåëü.
2. Neither of them believed the other. — Íè îäèí èç íèõ íå âåðèë
äðóãîìó.
3. Daniel Cooper hurried forward, but she was nowhere in sight. —
Äàíèýëü Êóïåð ïîñïåøèë âïåð¸ä, íî íèãäå íå íàø¸ë å¸.
4. Obviously, I never really knew you. — Î÷åâèäíî, ÿ íèêîãäà
ïî-íàñòîÿùåìó íå çíàë, ÷òî òû çà ÷åëîâåê.
5. He had never even given her a chance to explain. — Îí òàê è íå
äàë åé âîçìîæíîñòü îáúÿñíèòü âñ¸.
1.
Çàäàíèå 12. Ïåðåâåäèòå ïðåäëîæåíèÿ ñ äâîéíûì îòðèöàíèåì, ñìÿã÷èâ
èçëèøíþþ êàòåãîðè÷íîñòü.
He talked about academic pressures on a student of less than
average ability, and he didn’t look at Jeff. He suggested testing,
to get a precise fix on just what the limits were, he suggested
therapy because “socialization was well below norm”. The professor didn’t disagree.
2. Gran said — do you know what she said? I don’t dislike the man,
as if — as if that was a big compliment.
3. “I can only hope the surprise is not unpleasant,” the Professor
answered. “No, sir. It isn’t”.
4. If she could come into this world in the middle of a ground shaker, as parts of Montego Bay slipped into the sea, and fires came
down from the mountains, then nobody had no excuses about
nothing no how.
5. It was not unnatural if Gilbert felt a certain embarrassment, and
I was too busy preventing myself from laughing to think of anything to say. Mrs Fowler alone kept perfectly calm.
6. She seemed not to be unconscious of the sensation she made
but took it as a matter of fact.
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7.
8.
9.
10.
The thought didn’t displease me.
I didn’t do nothing.
He rarely said nothing at planning meetings.
It is not impossible to use a double negation.
Çàäàíèå 13. Ïåðåâåäèòå ñëåäóþùèå ïðåäëîæåíèÿ, îáðàòèâ âíèìàíèå
íà ãðàììàòè÷åñêèå ïðîáëåìû ñëîâîîáðàçîâàíèÿ.
He looked surprisedly at Mary.
Don’t be angry, Papa. I said without thinking but knowingly.
Triumphantly, wonderingly, she cried, “There!”
Cecio smiled sneeringly.
The shops are bigger, more plate-glassy.
In a tongue like English, where some flexional endings survive,
morphology and syntax may be said to play complementary roles
in bearing the burden of meaningfulness.
7. “I have tickets for the theater tonight, Paige. I thought that the
two of us could go”. “Thanks,” Paige said. “I’m engaged to someone”. “Then I suggest you get unengaged”.
8. I’m a firm believer in love at first sight.
9. Now, call me odd, but I’ve got a recording of Stimmung — on
1.
2.
3.
4.
5.
6.
vinyl, if you will! — and I think it’s absolutely fab.
10. “Jane is a humorist”. said Mrs. Tower. “Didn’t you see them all
laughing at what she said?”
11. It is very common that children are faddy eaters.
12. I think you put something in my drink to make me talkative. I
think you put something in my drink to make me kissative.
13. Many students look forward to college life eagerly but also a little fearfully.
14. I was good at English, I had poems printed pseudonymously in
the school magazine.
15. There was such a charming unpretentiousness about him that
Tracy found herself warming up to him.
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He’s the last of the big-time spenders.
Her (actress Silvana Luardi’s) luminous eyes, which had thrilled
millions of adoring fans, pooled over with large tears, and Inspector Ricci was ready to slay dragons for her.
18. Their talks would be formal, at first — a frigid questionand-answer period, with Robbie frightened and almost sick and Nora
depressingly unreproachful.
19. How much can a language borrow without, so to speak, going
into receivership?
20. Finnish music was and still is Johann Julius Christian Sibelius.
By 1903, aged thirty-eight, he was a bit of a local, national and
pretty much, international hero. His work, Kullervo
16.
17.
, had made
him a bit of a celeb, some twelve years ago.
Çàäàíèå 14. Ïðîàíàëèçèðóéòå òðóäíîñòè ïåðåâîäà ñëåäóþùèõ ïðåäëî-
æåíèé.
1.
I’m a throwback. I don’t happen to think money is the end-all
and be-all of life.
2.
“Perhaps he might find time to record a few words for you. I could
ask him”. “Oh, that would be wonderful”, Tracy enthused.
3.
Tracy went about her work mechanically, speaking to no one,
cocooned in her own thoughts.
4.
“It’s interesting”, Tracy said thoughtfully, “that the countries
that attack America for being too money-oriented” are always
the first to beg us for loans”.
5.
An organist was in the boat, filling the air with a melodic serenade that echoed across the water.
6.
7.
8.
9.
Zuckerman looked up at him uncomprehendingly.
“I may never want to leave the ship”, Tracy marveled.
She said hostilely, “I’m not too happy with you either”.
My God, you might as well be marrying a stable hand. He’s handsome — granted. And he has a fab bod. But outside of sex, you
have absolutely nothing in common.
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10.
But remember, sonny, you can’t con people unless they’re greedy
to begin with.
Çàäàíèå 15. Ñðàâíèòå ïåðåâîä ïðåäûäóùåãî óïðàæíåíèÿ ñî ñâîèì.
Ðåøåíû ëè âàøè ïðîáëåìû?
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
ß â îòëè÷èå îò ðîäèòåëåé íå äóìàþ, ÷òî äåíüãè ýòî êîíåö è
íà÷àëî âñåãî â æèçíè.
Âîçìîæíî, ÷òî îí è ñìîã áû íàéòè âðåìÿ íàïèñàòü íåñêîëüêî
ñëîâ äëÿ âàñ. ß ìîãó ñïðîñèòü åãî. — Î, ýòî çàìå÷àòåëüíî, —
âîîäóøåâèëàñü Òðåéñè.
Òðåéñè âûïîëíÿëà ðàáîòó ìåõàíè÷åñêè, íè ñ êåì íå ðàçãîâàðèâàÿ, çàíÿòàÿ ñâîèìè ñîáñòâåííûìè ìûñëÿìè.
— Ñàìîå èíòåðåñíîå, — îòêëèêíóëàñü Òðåéñè çàäóì÷èâî, —
÷òî ñòðàíû, êîòîðûå íàïàäàþò íà Àìåðèêó çà å¸ õîðîøóþ
îðèåíòàöèþ â áàíêîâñêîì äåëå, âñåãäà ïåðâûå ñàìè æå è
ïðîñÿò ó íå¸ ññóäû.
 ëîäêå ñèäåë îðãàíèñò, èñïîëíÿâøèé ïðåëåñòíóþ ñåðåíàäó,
êîòîðîé âòîðèëî ïîäçåìíîå ýõî.
Öóêåðìàí ñìîòðåë íà íåãî íåïîíèìàþùå.
«ß áû íèêîãäà íå õîòåëà ïîêèäàòü ýòî ñóäíî», — íå ïåðåñòàâàëà óäèâëÿòüñÿ Òðåéñè.
Îíà çàÿâèëà âðàæäåáíî.
— Áîþñü, ÷òî è ñî ìíîé âàì òîæå íå ïîâåçëî.
Ðàäè Áîãà, Ëóèçà, âåäü îí — íè÷òî. Áîæå ìîé, ñ òàêèì æå
óñïåõîì òû ìîãëà áû âûéòè çàìóæ çà êîíþõà. Äîïóñêàåì, ÷òî
îí êðàñèâ. È îí ïîòðÿñàþùèé ïàðåíü. Íî, äîðîãàÿ, êðîìå
ñåêñà ó âàñ àáñîëþòíî íåò íè÷åãî îáùåãî.
Íî çàïîìíè, ñûíîê, òû íå èìååøü ïðàâà îáìàíûâàòü ëþäåé,
ïîêà îíè íå îäåðæèìû æàæäîé íàæèâû.
Çàäàíèå 16. Ïåðåâîäÿ ñëåäóþùèå ïðåäëîæåíèÿ, ïîäóìàéòå î âàðèàí-
òàõ ñ çàìåíîé ÷àñòåé ðå÷è.
1. The naked lady was the Venus of Milo. She was Love. She was
not worried about the towel. She was just busy being beautiful.
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2. “I’ll talk to you tomorrow”. He gave her a brief kiss, and she
3.
4.
5.
6.
7.
8.
9.
watched him disappear down in the hallway.
He was a heavy contributor to a medical school in Knoxville, Tennessee.
“I always think one should make a hearty meal before starting
out on a journey”, she said.
He rode his bike over through unseasonally warm weather.
I asked about Jane. “She’s very well”, said Mrs Tower with a
certain dryness.
But he was desperate now, he was not going to take any risks.
I’ve been a widow a very long time and I’ve led a very quiet life. I
thought I’d like a change.
I could see that she was in a passion, for under her rouge her
cheeks glowed with angry red.
10. She gave Gilbert a shy little smile.
Çàäàíèå 17. Ïåðåâåäèòå ñëåäóþùèå èíôèíèòèâíûå êîíñòðóêöèè.
We appear to have made a small mistake.
She seems to have lost something.
He was sorry not to have come on weekend.
I’d like to have told him about my respect.
I’m supposed to go there on Friday.
We meant to have stayed there for a week.
Henry was to have brought some bread.
According to the weather forecasts, it ought not to rain on the
day of race.
9. It is better to love in vain than never to love at all.
10. He thought to be lucky to have gone as far as this.
11. He is sure to be back any minute now.
12. There was a rumour that at last they were likely to be married.
13. Irving proved to be a long, sallow-faced butler chap, solemn as
an undertaker.
1.
2.
3.
4.
5.
6.
7.
8.
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He appeared to be an ideal home man.
The house is difficult to manage.
He turned out to have no feeling for his nephew.
The rider was seen to disappear in the distance.
Philip Bosinney was known to be a young man without fortune.
The manuscript is believed to have been written in the 15th century.
20. The gods had given Irene dark-brown eyes and golden hair, which
is said to be the mark of a weak character.
21. He seems to be enjoying himself.
22. He is expected to find a solution.
23. I’m too tired to work.
24. But Zoe motioned him to stay.
25. For a year she made these visits frequently until at length Mervyn
threated to give himself up to the police.
14.
15.
16.
17.
18.
19.
Çàäàíèå 18. Ïåðåâåäèòå, îáðàùàÿ âíèìàíèå íà ïîðÿäîê ñëîâ.
Only yesterday did I realize what was going on.
On the stairs was sitting a small dark-haired girl.
Had I known what expected her there, I would never have left her
alone.
4. They went to concerts a great deal, as did most of their friends.
5. Hardly ever had she arrived when the storm broke out.
6. How beautiful are the flowers!
7. Seldom had I been in such a peculiar situation.
8. Never has he done better.
9. Hardly had they returned when we had a new problem to cope
with.
10. He should definitely have been working all the morning.
11. On no account are visitors allowed to feed the animals.
12. Only after a year did I begin to see the results of my work.
1.
2.
3.
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Only in a few countries does the whole population enjoy a reasonable standard of life.
14. You should always be polite. I always am polite.
15. I opened the box. Inside was another box.
16. He suddenly lifted his hand. / He lifted his hand suddenly.
17. Down came the rain.
18. I bought a new dress yesterday.
19. I, certainly, do like you.
20. Once I wanted to be a doctor.
21. In January it snowed all the time.
22. Sometimes we have parties in the garden.
23. Occasionally I try to write poems.
24. Here comes your bus.
25. Actually you’re mistaken.
13.
Çàäàíèå 19. Ïåðåâåäèòå ñëåäóþùèå ïðåäëîæåíèÿ ñ èíâåðñèåé. Ñäåëàé-
òå âûâîäû î ñïîñîáàõ å¸ ïåðåäà÷è.
But not one of them did he want.
It is with that particular tongue that I am principally associated.
There was a pond in the park, and to this my friend led the way.
In vain did Elizabeth attempt to make her reasonable.
It was on the 14th of April that I received a telegram.
In Cossethay and Ilkston she was always an alien.
Oh, she did look sweet.
“A joke that was”, she said.
How strange and hard and unfriendly seemed these foreign hotel bedrooms.
10. Accustomed as I was to my friends amazing powers in the use of
disguises, I had to look three times before I was certain that it
was indeed he.
1.
2.
3.
4.
5.
6.
7.
8.
9.
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Çàäàíèå 20. Ïåðåâåäèòå, îáðàùàÿ âíèìàíèå íà ôóíêöèè è çíà÷åíèå àð-
òèêëåé.
1. “Your honor, as you know, one of the witnesses I had hoped to
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
call is a Dr Lawrence Barker. Unfortunately he is still suffering
from the effects of a stroke and is unable to be in the courtroom
to testify”.
He slammed a fist down against the photograph of a woman on
the cover of Time magazine. The caption read: Dr Paige Taylor —
Angel of Mercy or the Devil’s Disciple?
In addition, there was a staff shortage because of a flu epidemic.
She loved taking care of people, helping them and nurturing
them. She was terrified by the idea of becoming a doctor, and
being responsible for people’s lives, but she knew that she must
not disappoint her father. You’re a Taft.
Whoever says that is a liar.
I’ve got a feeling that you’re going to be famous one day, baby.
But you have to get an education first. This is America. You can
become anybody you want to be.
“But I’m sure everything will be all right”. “I hope so. I just have
a bad feeling”.
To add to Honey’s misery, she was inordinately shy. Consciously
or unconsciously, her family had implanted in her a feeling of
deep inferiority.
The less a man knows, the more content he is with his intellectual capacity and outlook, it requires a great man to realize the
imperfection of his knowledge.
If I hear that “The President was not in Washington then”, when
was the “then”?
And they don’t know one thing about you and never did, and
Honey, you’re better than them because not a one of them would
have done this for you.
The US shuttle Atlantis blasted off successfully from Cape
Canaveral... on a secret mission to deploy a 500 million spy
satellite.
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13. The study of language, as distinguished from the study of a lan-
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
guage, may be said to go back to the old Greek philosophers and
grammarians, who speculated about the nature, origin and function of speech. The philosophical investigations in this field, however, proved quite sterile, possibly because of the deductive logic
which started out with a hypothesis and sought to make facts fit
it.
Move the books off the chair and sit down.
I hate the telephone.
Shut the door.
I had trouble with the car this morning.
I’ve lost a button.
There’s a letter for you!
A man came up to a policeman and asked him a question. The
policeman didn’t understand the question, so he asked the man
to repeat it.
He went to bed. / He went to the bed.
He’s at school. / I’ll meet you at the school.
Tracy’s house in Eaton Square was a haven. <...> She had money in safe-deposit boxes all over Europe, the house in London,
and a chalet in St. Moritz. Everything she would ever need. Except for someone to share it with.
I’ll give the pen back to John or Henry, or whoever it belongs to.
Within are the very words which were upon my father’s last message: “K.K.K.”
Çàäàíèå 21. Ïðî÷èòàéòå òåêñò îðèãèíàëà è ñäåëàéòå ïðåäïîëîæåíèÿ
îòíîñèòåëüíî ïåðåäà÷è à) íåîïðåäåë¸ííîãî àðòèêëÿ, á)
îïðåäåë¸ííîãî àðòèêëÿ.
I remember a significant incident that occurred just a day or two after
Bobby and I arrived in New York. I was standing up in a very crowded
Lexington Avenue bus, holding on to the enamel pole near the driver’s
seat, buttocks to buttocks with the chap behind me. For a number of
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blocks the driver had repeatedly given those of us bunched near the
front door a curt order to “step to the rear of the vehicle”. Some of us
had tried to oblige him. Some of us hadn’t. At length, with a red light
in his favor, the harassed man swung around in his seat and looked up
at me, just behind him. At nineteen I was a hatless type, with a flat,
black, not particularly clean, Continental-type pompadour over a badly broken-out inch of a forehead. He addressed me in a lowered, an
almost prudent tone of voice. “All right, buddy”, he said, “let’s move
that ass”. It was the “buddy”, I think, that did it. Without even bothering to bend a little — that is, to keep the conversation at least as private, as de bon goˆut, as he’d kept it — I informed him, in French, that
he was a rude, stupid, overbearing imbecile, and that he’d never know
how much I detested him. Then, rather elated, I stepped to the rear of
the vehicle.
Òåïåðü ïðîâåðüòå ñâîè ïðåäïîëîæåíèÿ, âîñïîëüçîâàâøèñü ïåðåâîäîì-ýòàëîíîì.
Õîðîøî ïîìíþ îäèí ñëó÷àé — äíÿ ÷åðåç äâà ïîñëå íàøåãî ñ
Áîááè ïðèåçäà â Íüþ-Éîðê. ß ñòîÿë â ïåðåïîëíåííîì àâòîáóñå íà
Ëåêñèíãòîí-àâåíþ, äåðæàñü çà ýìàëèðîâàííûé ïîðó÷åíü îêîëî ñèäåíüÿ âîäèòåëÿ, ñïèíîé ê ñïèíå ñî ñòîÿâøèì ñçàäè ÷åëîâåêîì. Íåñêîëüêî ðàç âîäèòåëü ïîâòîðÿë òåì, êòî òîëïèëñÿ îêîëî íåãî: «Ïðîéäèòå íàçàä!» Êòî ïîñëóøàëñÿ, êòî — íåò. Íàêîíåö, âîñïîëüçîâàâøèñü êðàñíûì ñâåòîì, óìó÷åííûé âîäèòåëü êðóòî îáåðíóëñÿ è
ïîñìîòðåë íà ìåíÿ — ÿ ñòîÿë ñ íèì ðÿäîì. Áûëî ìíå òîãäà äåâÿòíàäöàòü ëåò, øëÿïû ÿ íå íîñèë, è ãëàäêèé, ÷¸ðíûé, íå îñîáåííî ÷èñòûé ÷óá íà åâðîïåéñêèé ìàíåð ñïóñêàëñÿ íà ïðûùàâûé ëîá. Âîäèòåëü îáðàòèëñÿ êî ìíå íåãðîìêèì, äàæå, ÿ áû ñêàçàë, îñòîðîæíûì
ãîëîñîì. — Íó-êà, áðàòåö, — ñêàçàë îí, — óáåðè-êà çàä! — Ýòî
«áðàòåö» è âçáåñèëî ìåíÿ îêîí÷àòåëüíî. Íå ïîòðóäèâøèñü õîòÿ áû
íàêëîíèòüñÿ ê íåìó, òî åñòü ïðîäîëæàòü ðàçãîâîð òàêèì æå ÷àñòíûì
^ êàê îí, ÿ ñîîáùèë åìó ïî-ôðàíöóçñïîðÿäêîì, â òàêîì æå bon gout,
êè, ÷òî îí ãðóáûé, òóïîé, íàãëûé òèï è ÷òî îí äàæå íå ïðåäñòàâëÿåò
ñåáå, êàê ÿ åãî íåíàâèæó. È òîëüêî òîãäà, îáëåã÷èâ äóøó, ÿ ïðîáðàëñÿ â êîíåö àâòîáóñà.
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Çàäàíèå 22. Ïåðåâåäèòå ñëåäóþùèå ïðåäëîæåíèÿ, îïðåäåëèâ ôóíêöèè
àðòèêëÿ: à) äëÿ âûäåëåíèÿ ñìûñëîâîãî öåíòðà; á) â ôóíêöèè íåîïðåäåë¸ííîãî èëè óêàçàòåëüíîãî ìåñòîèìåíèÿ;
â) â ýìôàòè÷åñêîé ôóíêöèè. Ñäåëàéòå âûâîäû î ñïîñîáàõ
ïåðåâîäà.
1. “Tomorrow I’m meeting Charles’s parents”. She deepened her
voice as though making a pronouncement. “The Stanhopes, of
Chestnut Hill”, she sighed. “They’re an institution. I have butterflies the size of dinosaurs”.
2. Tracy looked around at lovely oak-paneled room with its shelves
of leather-bound volumes, the two Corots, a small Copley, and a
Reynolds.
3. Filled with a strange, unreasoning fear, Tracy moved past a gi-
ant magnolia tree toward the front door. She had been given her
own key to the house when she was in the seventh grade and had
carried it with her since, as a talisman, a reminder of the haven
that would always be there waiting for her.
4. This is the first time a breath of scandal has ever touched the
Stanhope family.
5. Tracy, did you plead guilty to attempted murder and stealing a
painting?
6. You tell me where you got that painting hidden, Tracy, baby, and
I’ll split the money with you.
7. He told the police he caught you sneaking with the Renoir, and
when he tried to stop you, you shot him and ran.
8. “I don’t understand what they were talking about”. There was
confusion in Tracy’s eyes. “I don’t know anything about a painting”.
9. Your Honor, I see no point in wasting the court’s time. This wom-
an broke into Mr Romano’s home, armed with a thirty-twocaliber revolver, stole a Renoir painting worth half a million dollars, and when Mr Romano caught her in the act, she shot him
in cold blood and left him for dead.
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10. Then let me lay it out for you. Romano will put in an insurance
claim for half a million dollars for the Renoir he’s hidden away
somewhere, and he’ll collect. The insurance company will be after you, not him. When things cool down, he’ll sell the painting
to a private party and make another half million thanks to your
do-it-yourself approach.
Çàäàíèå 23. Cäåëàéòå âûâîäû î ñïîñîáàõ ïåðåäà÷è ýìôàçû ïðè ïåðå-
âîäå.
1. And yet wonderful was the touch of her shoulders, beautiful the
2.
3.
4.
5.
6.
7.
8.
shining of her face.
“And they’ve already selected your wife”, Tracy guessed. Charles
took her in his arms. “That doesn’t matter a damn. It’s whom
I’ve selected that counts”.
They delivered the crabs and split the money — putting aside
enough for a five-gallon tank of gas and ten pounds of salted eel.
Jeff had tried not to split the money, because he certainly didn’t
need it; but the Tillermans didn’t work that way, although as far
as he could tell they did it.
She really did feel for them, she really tried.
And he thought, sitting in the little boat, alone on the creek,
alone with the creek and the sky and the marshes, that he might
want to know more. [about himself]
Jeff did get up from the table then.
The professor didn’t ask whether Jeff was strong enough to bike
the miles to the school, but he did suggest that Jeff might want
to build up his muscles.
Just as the traitist approach was inadequate to explain leadership, so was the behavioral approach. Instead, most researchers
today conclude that no one leadership style is right for every manager under all circumstances. Instead, the contingencysituational approach prescribes that the style to be used is contingent on factors such as the situation, the people, the task, the
organization, and other environment variables.
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9.
It was the headmaster of my grammar school who first brought
the subject of thinking before me, though neither in the way, nor
with the result he intended.
10.
It was with a sigh of relief that he saw at last the crenellated
walls of the lonely Chinese city.
11.
12.
All I want to know is what’s a Scotchman like you doing here?
What he really hated was that she seemed to have shown them
all up.
13.
What I do think is that you’re being very rude to somebody who
is prepared to like you a good deal.
14.
And what happens to little people when they meddle into the
affairs of the great is that they get hurt.
15.
16.
17.
That’s what people do nearly all the time.
The only crazy I was when I married him.
What I mean is that people are always getting mad at me and
even disgusted.
18.
The trouble with our young writing men is that they are still too
romantic.
19.
20.
All what matters is that we love one another.
What puzzles me, friend, is how you can believe in so many incompatible ideas.
Çàäàíèå 24.
Ìîæíî ëè ïåðåäàòü ýìôàçó â àíãëèéñêîì ÿçûêå èäåíòè÷íûìè ñðåäñòâàìè ðóññêîãî ÿçûêà?
WILL YOU STOP JUMPING AROUND LIKE A LOT OF
BLOODY BALLET DANCERS AND HOLD STILL?
2. I want you to know that you must never be late again, NEVER!
Understand?
3. “It’s up there... up there... somewhere”.
4. “Kill the beast! Cut his throat! Spill the blood!”
1.
5.
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Unless this young man is a much bigger fool than I think him
he must know that there’s nothing in the way of aching that you
can’t do.
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Old Jolion was as lonely as any in London.
For this there is no hope.
What a grand woman.
Lord Charles was the oldest and the most constant of Julia’s
admirers.
10. Oh, she did look sweet.
11. It was two years later that Jimmie Langton discovered her.
12. There will be no settlement, not until the two sides agree on
cease-fire.
13. Ususally she could forget things that troubled her, but this time
it was not so easy.
14. Wild he was at the fright I made of myself.
15. On the whole, I liked the picture.
6.
7.
8.
9.
Çàäàíèå 25. Ïåðåâåäèòå òåêñò, ïðåäâàðèòåëüíî ïðîàíàëèçèðîâàâ åãî
ãðàììàòè÷åñêèå îñîáåííîñòè.
THE DOOMSDAY CONSPIRACY
Sidney Sheldon
(A devastatingly topical novel from the world’s master storyteller)
Robert Bellamy of US naval intelligence, a disillusioned man recovering from broken marriage, is despatched on a top secret mission. A
weather balloon, he is told, carrying sensitive military information, has
crashed in Switzerland and Bellamy must locate the ten witnesses to
the incident. But when he arrives in Switzerland he discovers that it
wasn’t a weather balloon that crashed after all, but a UFO with two
dead aliens aboard, whose remains have since vanished... As the story
unfolds, Bellamy gradually discovers the full, terrible nature of Operation Doomsday, a conspiracy of such magnitude as to threaten the destruction of the Earth’s environment. He also rebuilds his own shattered life, finding true love and hope for the future again.
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Ëåêñèêî-ñòèëèñòè÷åñêèå ïðîáëåìû ïåðåâîäà
è ñïåöèôèêà àíãëèéñêîãî ÿçûêà
Ñòèëèñòè÷åñêàÿ ñîñòàâëÿþùàÿ òåêñòà1 ÿâëÿåòñÿ åãî íåîòúåìëå-
ìîé õàðàêòåðèñòèêîé, è ïåðåâîä áåç ó÷¸òà ñòèëèñòè÷åñêîé îòíåñ¸ííîñòè êîìïîíåíòîâ âûñêàçûâàíèÿ íàíîñèò áîëüøîé âðåä òåêñòó.
Âñëåä çà Â.Â. Âèíîãðàäîâûì2 áóäåì ïîíèìàòü ñòèëü êàê «îáùåñòâåí-
íî îñîçíàííóþ è ôóíêöèîíàëüíî îáóñëîâëåííóþ, âíóòðåííå îáúåäèí¸ííóþ ñîâîêóïíîñòü ïðè¸ìîâ óïîòðåáëåíèÿ, îòáîðà è ñî÷åòàíèÿ
ñðåäñòâ ðå÷åâîãî îáùåíèÿ», âûïîëíÿþùóþ îïðåäåë¸ííûå öåëè.
Ëèíãâîñòèëèñòèêà ÿçûêà îïèñûâàåò îñîáåííîñòè ëåêñè÷åñêîé
ñèñòåìû ÿçûêà, åãî ãðàììàòè÷åñêîãî ñòðîÿ, ôðàçåîëîãèè, ôîíåòè÷åñêîé ñèñòåìû è ñðåäñòâà äîñòèæåíèÿ âûðàçèòåëüíîñòè (ôèãóðû
ðå÷è). Ëþáîé òåêñò íåñ¸ò èíôîðìàöèþ, âîññîçäàòü êîòîðóþ äîëæåí
ïåðåâîä÷èê. Ïðè àíàëèçå ïåðåâîäèìîãî òåêñòà ïåðåâîä÷èê îïðåäåëÿåò ñòèëèñòè÷åñêèå ôóíêöèè ñëîâ, îòìå÷àåò â òåêñòå íàëè÷èå ðàçëè÷íûõ ñòèëèñòè÷åñêèõ ïðè¸ìîâ è íàõîäèò ñîîòâåòñòâóþùèå ïî ñìûñëó è ñòèëþ ñðåäñòâà â ÿçûêå ïåðåâîäà. Îñîçíàíèå èñõîäíîé ýìîöèîíàëüíî-ýñòåòè÷åñêîé èíôîðìàöèè òåêñòà âîçíèêàåò êàê ðåçóëüòàò
óçíàâàíèÿ æàíðîâîé îòíåñ¸ííîñòè òåêñòà è ïîíèìàíèÿ ñìûñëà òåõ
îáðàçíûõ ÿçûêîâûõ ñðåäñòâ, êîòîðûå âûáèðàåò àâòîð. ×àùå âñåãî â
ïîñîáèÿõ ïî ïåðåâîäó àíàëèçèðóþòñÿ ìåòàôîðû è ñðàâíåíèÿ, ìåòîíèìèè, èðîíèÿ, ýïèòåòû (â îñîáåííîñòè ïåðåíåñ¸ííûé ýïèòåò), èãðà
ñëîâ (îñíîâàííàÿ íà ïåðåíîñíîì çíà÷åíèè ñëîâà, íà ðàñøèðåíèè
ôðàçåîëîãè÷åñêè ñâÿçàííûõ çíà÷åíèé, íà îìîíèìèè), èíòåðòåêñòóàëüíûå ýëåìåíòû (öèòàòû, àëëþçèè), à òàêæå ïåðèôðàç è èñïîëüçîâàíèå àëëèòåðàöèè.
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Ñì. îá ýòîì â ó÷åáíèêàõ ïî ñòèëèñòèêå, à òàêæå â ïîñîáèÿõ ïî ïåðåâîäó:
Êîìèññàðîâ Â.Í., Ðåöêåð ß.È., Òàðõîâ Â.È. Ïîñîáèå ïî ïåðåâîäó ñ àíãëèéñêîãî ÿçûêà
íà ðóññêèé. ×àñòü II. Ãðàììàòè÷åñêèå è æàíðîâî-ñòèëèñòè÷åñêèå îñíîâû ïåðåâîäà. —
Ì.: Âûñø. øê., 1965;
Àëåêñååâà È.Ñ.
Ïðîôåññèîíàëüíûé òðåíèíã ïåðåâîä÷èêà:
Ó÷ å á í . ï î ñ î á è å ï î ó ñ ò í î ì ó è ï è ñ ü ì å í í î ì ó ï å ð å â î ä ó ä ë ÿ ï å ð å â î ä ÷ è ê î â è
ïðåïîäàâàòåëåé. — ÑÏá.: Ñîþç, 2001. Ñ. 162—262;
Êàçàêîâà Ò.À. Ïðàêòè÷åñêèå
Russian: Ó÷åá. ïîñîáèå. — ÑÏá.: Ñîþç, 2003. ×. 4.
Ñòèëèñòè÷åñêèå ïðè¸ìû ïåðåâîäà. Ãë. 1—3.
2
Èòîãè îáñóæäåíèÿ âîïðîñîâ ñòèëèñòèêè // Âß. 1955. ¹ 1. Ñ. 73.
îñíîâû ïåðåâîäà. English
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Ñòèëèñòè÷åñêèå ïîãðåøíîñòè ïðè ïåðåâîäå, êàê ïðàâèëî, ñ÷èòàþòñÿ ìåíåå çíà÷èìûìè ïî ñðàâíåíèþ ñî ñìûñëîâûìè. Îíè ñíèæàþò
êà÷åñòâî ïåðåâîäà, õîòÿ è íå çàòðàãèâàþò ñóùåñòâåííî êîíêðåòèêè ïåðåäàâàåìîãî ñîîáùåíèÿ. Â.Í. Êîìèññàðîâ îòíîñèò èõ ê îøèáêàì òðå3
òüåãî ðîäà, âêëþ÷àÿ â èõ ÷èñëî «îòêëîíåíèå îò ñòèëèñòè÷åñêèõ íîðì
Ïß, èñïîëüçîâàíèå ìàëîóïîòðåáèòåëüíûõ â äàííîì òèïå òåêñòîâ åäèíèö, çëîóïîòðåáëåíèå èíîÿçû÷íûìè çàèìñòâîâàíèÿìè èëè òåõíè÷åñêèìè
æàðãîíèçìàìè è ò.ä.». Ð.Ê. Ìèíüÿð-Áåëîðó÷åâ îòíîñèò ê ñòèëèñòè÷åñêèì îøèáêàì «ïîÿâëåíèå íåñîîòâåòñòâèé â âèäå êâàíòîâ íåïåðåäàííîé
èëè ïðèáàâî÷íîé, ïîâòîðíîé èëè íóëåâîé èíôîðìàöèè»4. Òàêîé ïîäõîä
íåñêîëüêî ñóæàåò è ñíèæàåò ðîëü ñòèëèñòè÷åñêîé èíôîðìàöèè òåêñòà.
Ïåðåâîä÷åñêèå òðóäíîñòè ñòèëèñòè÷åñêîãî õàðàêòåðà è, êàê ñëåäñòâèå,
îøèáêè âîçíèêàþò â ñèëó íåîðäèíàðíîñòè è íåîæèäàííîñòè ìåòàôîð,
ìåòîíèìèé, ñðàâíåíèé, èãðû ñëîâ, àëëþçèé, ýïèòåòîâ, îñîáåííîñòåé
ñèíòàêñèñà. Èõ âðÿä ëè ìîæíî ñîîòíåñòè òîëüêî ñ íåîáõîäèìîñòüþ ïîâòîðíîé èëè íóëåâîé èíôîðìàöèè ïðè ïåðåâîäå. Ñóùåñòâîâàíèå ñâîåîáðàçíûõ «ÿçûêîâ» ïå÷àòè, íàóêè, ðåêëàìû, äèïëîìàòèè è ò. ï. òàêæå
òðåáóåò îáÿçàòåëüíîãî ó÷¸òà è çíàíèÿ ïðè ïåðåâîäå. Íå ñëåäóåò çàáûâàòü è îá èíäèâèäóàëüíîé àâòîðñêîé ìàíåðå, ïåðåäà÷à êîòîðîé âûçûâàåò ñëîæíîñòè è íåîáõîäèìîñòü âíèìàòåëüíîãî ñëåäîâàíèÿ5. Îáîáùàÿ
ðàññîãëàñîâàíèå â ïðîÿâëåíèè â îðèãèíàëå è âîññîçäàíèè â ïåðåâîäå
èíäèâèäóàëüíîãî ñâîåîáðàçèÿ, À. Â. Ô¸äîðîâ îòíîñèò ê ÷èñëó íåóäà÷
ñãëàæèâàíèå, îáåçëè÷èâàíèå òåêñòà, ôîðìàëèçì â âîñïðîèçâåäåíèè
ñîäåðæàíèÿ ñ íàðóøåíèåì íîðìû ÿçûêà ïåðåâîäà, èñêàæåíèå è ïðîèçâîëüíîå òîëêîâàíèå ïîäëèííèêà6. Ïîÿñíèì ïåðå÷èñëåííûå íàðóøåíèÿ
íà ïðèìåðå ïåðåâîäà ñòèõîòâîðåíèÿ «Ãèïïîïîòàì» Ò.Ñ. Ýëèîòà, èñïîëüçîâàííîãî êàê ýïèãðàô ê ðîìàíó Ñ. Ôðàÿ «Ãèïïîïîòàì»7:
Òîëñòîçàäîìó ãèïïîïîòàìó
Áîëîòèñòî áóëòûõàåòñÿ:
Ìíèì: îí áåññìåðòåí, à åìó
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Êîìèññàðîâ Â.Í. Òåîðèÿ ïåðåâîäà (ëèíãâèñòè÷åñêèå àñïåêòû). — Ì.: Âûñøàÿ
øêîëà, 1990. Ñ. 244.
4
Ìèíüÿð-Áåëîðó÷åâ Ð.Ê. Òåîðèÿ è ìåòîäû ïåðåâîäà. — Ì.: Ìîñêîâñêèé ëèöåé,
1996. Ñ. 130.
5
6
7
Ô¸äîðîâ À.Â. Îñíîâû îáùåé òåîðèè ïåðåâîäà. — Ì.: ÂØ, 1983. Ñ. 299.
Ôðàé Ñ. Ãèïïîïîòàì. — Ì.: Ôàíòîì Ïðåññ, 2003.
Òàì æå. Ñ. 293.
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Íà ïëîòü è êðîâü èêàåòñÿ.
The broad-backed hippopotamus
Rests on his belly in the mud;
Although he seems so firm to us
He is merely flesh and blood.
Äàæå íåèñêóø¸ííîìó â ïîýçèè ÷èòàòåëþ ñòèëèñòè÷åñêèé âûáîð
ïåðåâîä÷èêà ïîêàæåòñÿ ñòðàííûì è íå ñîâñåì ïîíÿòíûì: ÷òî èìååòñÿ
â âèäó ïîä ôðàçîé «åìó íà ïëîòü è êðîâü èêàåòñÿ» èëè îòêóäà ïðèøëà
ôðàçà «ìíèì: îí áåññìåðòåí», êîòîðûå ïðèäàþò ïåðåâîäó ïàðîäèéíûé õàðàêòåð èç-çà íåñîâìåñòèìîñòè âûáðàííûõ ñðåäñòâ, åñëè îáðàòèòü âíèìàíèå íà íåóìåñòíîñòü «áîëîòèñòî áóëòûõàåòñÿ» äëÿ ïåðåäà÷è ïðîñòîé ìûñëè, ÷òî ãèïïîïîòàì ñïîêîéíî ëåæèò, ïîãðóçèâøèñü ïî
ñàìûé æèâîò â òèíó. Ñìåíèëàñü è òîíàëüíîñòü ñòèõîòâîðåíèÿ: âìåñòî
ìèðíîé êàðòèíû, ðèñóþùåé îãðîìíîå æèâîòíîå, ìèðíî îòäûõàþùåå
â áîëîòå è êàæóùååñÿ òàêèì, íà ïåðâûé âçãëÿä, íåïðîáèâàåìûì, íî
íà ñàìîì äåëå òàêèì æå èç ïëîòè è êðîâè, êàê îêðóæàþùèå, âîçíèêàåò îáðàç áåñïîêîéíîãî íåïðèâëåêàòåëüíîãî ìîíñòðà, êîòîðîìó, ïî
ïðåäñòàâëåíèÿì ïåðåâîä÷èêà, çàäóìàâøåãîñÿ î áåññìåðòèè ãèïïîïîòàìîâ, èêàåòñÿ íà êðîâü è ïëîòü. Ïîñëåäíÿÿ ñòðîêà íåñ¸ò íåîäíîçíà÷íûé ñìûñë, ÷òî íèêàê íå ñîîòâåòñòâóåò çàìûñëó àâòîðà. Ñìûñë ýïèãðàôà, êîòîðûé äîëæåí áûë îáúÿñíèòü àâòîðñêèé çàìûñåë, îêàçûâàåòñÿ äàëåêèì îò ðåàëüíîãî è íå ñîâñåì ïîíÿòíûì ÷èòàòåëþ. Ðåøåíèå
ñòèëèñòè÷åñêèõ ïðîáëåì ïðè ïåðåâîäå íåñîìíåííî ñâÿçàíî ñ èíòóèòèâíûì ïîíèìàíèåì «çàêîíîìåðíîñòåé ïðåäïî÷òåíèÿ îäíèõ è èçáåãàíèÿ (èíîãäà çàïðåòà) òåõ èëè èíûõ ÿçûêîâûõ ñðåäñòâ» .
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Çàäàíèå 1. Ïðè ïåðåâîäå ñëåäóþùèõ òåêñòîâ óÿñíèòå ïðèíöèïû îòáî-
ðà ñëîâ è ãðàììàòè÷åñêèõ ñðåäñòâ â îðèãèíàëàõ. Îïðåäåëèòå æàíðîâóþ ïðèíàäëåæíîñòü òåêñòîâ.
I. ATTENDANCE AND PARTICIPATION
It is essential to the learning objectives of this program that you are
both in attendance and participating. If you miss class, you not only
Ëåáåäåâà Ë.Á. Áåññîçíàòåëüíîå â ÿçûêîâîì ñòèëå // Ëîãè÷åñêèé àíàëèç ÿçûêà.
Îáðàç ÷åëîâåêà â êóëüòóðå è ÿçûêå / Îòâ. ðåä. Í.Ä. Àðóòþíîâà, È.Á. Ëåâîíòèíà. —
Ì.: Èíäðèê, 1999. Ñ. 135.
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miss part of the
learning in this course, but you may also create difficul-
ties for other students. You are an adult and you’ll be treated as such. It
will be assumed that if you are not in class it’s because circumstances
beyond your control have prevented you from attending. Yet, please understand that you are still responsible for ALL information provided,
arguments given, or schedule changes discussed in your absence.
PARTICIPATION GRADE
To get the full benefit of this course, important to participate actively in class. That includes coming to class, arriving on time, doing the
work assigned, volunteering answers to questions raised in class, and
when something is unclear, asking questions in class, coming to my
office or sending me e-mail. The participation grade will be based on a
100 point scale like the other grades. For participation, however, you
will start the semester with 100 points then lose or gain points according to the following policies:
– Because a student cannot participate if he or she is not in class,
unexcused absences and regular lateness and/or early departure will result in deductions as follows, following the official rules
of the English Department: four absences (or the equivalent in
terms of lateness, etc.) will lower your grade by one letter grade.
If you miss five to seven classes, you should consider withdrawing from the class. Eight or more absences are the equivalent of
having missed at least a whole month of classes. You cannot be
given a passing grade for the course of this type if you miss that
much class time.
– Because it is not possible for the teacher to see one’s progress
throughout the course, students are to hand in ALL required
assignments. Failure to do so will result in a failing grade for that
portion of the grade. — All written work submitted should be
done by individuals working alone, unless other directions are
explicitly issued. Aside from this, however, study groups for reading or discussion of issues are perfectly appropriate and encouraged.
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MISSING CLASS
– You will lose three points for each class you miss unless you receive an excused absence. You may obtain an excused absence
by: 1. giving a valid reason IN WRITING and in advance that
you will not be able to attend on a certain day or 2. by bringing
acceptable documentation after the fact in emergency situations.
(Acceptable documentation would include a doctor’s excuse, a
towing bill, a program from a funeral, etc.)
– Excused absences are limited to two. More than that are counted as unexcused regardless of cause and count against your participation grade.
– EMU rules say that if you miss a total of two weeks or more of
class, you should drop the course. — Excused-absence makeup
work must be completed within one week. But no makeup work
may be turned in past the last day of class except the final.
– By EMU rules, you may only receive a grade “incomplete” if you
involuntarily had to miss at the end of the semester (such as
illness) but were passing the class.
GRADING
Each assignment — whether quiz, test, exercise or story — will be
graded on a 100-point scale. At the end of the semester, if your overall
average is 90. (The amount each component of your grade will count is
as follows: paper one 100, paper two 100, test one 100, test two 100,
test three 100, test four 100, average of all quizzes 200, participation
100. Total 900) or above, you will receive at least an A”. If 80 or above,
you will receive at least a B”, and so on, according to the following scale:
93+ — A, 90–92 — A”, 87–89 — B+, 83–86 — B, 80–82 — B”,
77–79 — C+, 73–76 — C, 70–72 — C”, 67–69 — D+, 63–66 —
D, 60–62 — D”, 59 and below — E.
CLASSROOM COURTESY POLICIES
Students should be polite to each other and the professor.
1. Different viewpoints are encouraged, but disagreements should remain focused on issues and not get personal or disparage someone’s
race, ethnic background, sex, etc.
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2. Arrive early or on time, and stay the whole time.
– Arriving late or leaving early disrupts the class and shows disrespect for the instructor and fellow classmates.
– Announcements are usually made at the beginning of class. Arrive late, and you might not hear about a paper’s or test’s due
date being moved back or change in assignments.
– If you arrive late, get the notes for what you missed. But get these
from another student. Do not ask the teacher to fill you in on
what you missed.
– If you arrive late or miss a class, it is discourteous to ask questions like: Did you cover anything important? Could you tell me
what we covered? I missed the announcements; did you say
anything about... ?
– If you arrive during a quiz, you will not be given extra time to
finish. If you arrive after the quiz has been collected, you will not
be given a chance to take it unless you bring acceptable documentation.
– Students are encouraged to come by during office hours to discuss problems they may have with the course. But if you miss
class, you are responsible for getting notes and assignments from
a classmate rather than from me. The teacher WILL NOT REPEAT EXERCISES, QUIZZES, TESTS OR LECTURES FOR
STUDENTS WHO ARE LATE OR WHO MISS.
3. Turn your cell phone before class. If you forget to, and it starts ringing in class, do not further interrupt class by answering it or carrying
on a conversation over it.
4. Grades are private matters. — Don’t disrupt class with angry outbursts
about a grade on a paper just turned back. — Don’t take up class time
asking for an explanation of a grade. Instead, see the instructor after
class and, if necessary, make an appointment to discuss it.
ACADEMIC INTEGRITY
For all of the assignments you will complete for this course, there is
an expectation that everything you submit, either individually or as a
group, will be of your own original work. Use of material from outside
sources MUST ALWAYS include proper attribution. If plagiarism or use
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of non-original work is suspected (i.e., work by other students, on-line
services, etc.) the matter will be investigated according to university
policy. The same applies if there is suspicion of cheating on any portion
of an examination. In short, do your own work! Failure to do so may
result in expulsion from the university.
II. AMENDMENT XIV
(The Fourteenth Amendment was ratified July 9, 1868)
Section 1. All persons born or naturalized in the United States and
subject to the jurisdiction thereof, are citizens of the United States and
of the State wherein they reside. No State shall make or enforce any law
which shall abridge the privileges or immunities of citizens of the United States; nor shall any State deprive any person of life, liberty, or property, without due process of law; nor deny to any person within its jurisdiction the equal protection of the laws.
AMENDMENT XXII
Section 1. No person shall be elected to the office of the President
more than twice, and no person who held the office of President, or acted as President, for more than two years of a term to which some other
person was elected President shall be elected to the office of the President more than once. But this article shall not apply to any person holding the office of President when this article was proposed by the Congress, and shall not prevent any person who may be holding the office of
President, or acting as President, during the term within which this article becomes operative from holding the office of President or acting as
President during the remainder of such term.
(The Declaration of Independence and the Constitution of the
United States of America, 1998, by the Cato Institute, pp. 48—55)
III.
CORRESPONDING HILARY TO PHILIP
Dearest,
A man from Johnson’s came round this morning with a huge bunch of
red roses which he said you had sent by Interflora. I said there must be some
mistake because it wasn’t my birthday or anything, but he wouldn’t take them
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back to the shop. I phoned Johnson’s and they said, yes, you had ordered
them. Philip, is anything the matter? It’s not like you. Roses in January must
have cost the earth. They were hothouse, naturally, and are dying already.
Did you get my last letter about not being able to find Let’s Write a
Novel? It seems a long time since we heard from you. Have you started
teaching yet?
I met Janet Dempsey at the supermarket and she said that Robin
was determined to move if he doesn’t get promotion this session. But
surely they can’t give him senior lectureship before you, can they? He’s
so much younger.
Write soon, love from
Hilary
P.S. The noise from the washing-machine is getting worse.
(From David Lodge Changing Places,
Penguin Books in Great Britain, 1978, p. 122)
Õèëàðè — Ôèëèïïó
Äîðîãîé ìîé!
Ñåãîäíÿ óòðîì ê íàì çàÿâèëñÿ ïîñûëüíûé ñ îãðîìíîé îõàïêîé àëûõ
ðîç, êîòîðûå, ïî åãî ñëîâàì, òû ïîñëàë ÷åðåç «Èíòåðôëîðó». ß ñêàçàëà,
÷òî òóò êàêàÿ-òî îøèáêà, ïîòîìó ÷òî ó ìåíÿ íè äåíü ðîæäåíèÿ, íè êàêîåòî äðóãîå ñîáûòèå, è ïîïðîñèëà åãî âåðíóòü öâåòû â ìàãàçèí. ß äàæå ïîçâîíèëà òóäà, íî îíè ïîäòâåðäèëè, ÷òî ýòè öâåòû äåéñòâèòåëüíî çàêàçàë
òû. Ôèëèïï, ÷òî ñëó÷èëîñü? Ýòî íà òåáÿ íå ïîõîæå. Ðîçû â ÿíâàðå — ýòî
öåëîå ñîñòîÿíèå. Îíè, ðàçóìååòñÿ, òåïëè÷íûå è ñðàçó æå çàâÿëè.
Ïîëó÷èë ëè òû ïèñüìî, ãäå ÿ ïèøó, ÷òî íå íàøëà «Êàê íàïèñàòü
ðîìàí»? Òû ÷òî-òî äàâíî íå ïèñàë íàì. Òû óæå íà÷àë ïðåïîäàâàòü?
 ñóïåðìàðêåòå ÿ âñòðåòèëà Äæåíåò Äåìïñè, è îíà ìíå ñêàçàëà,
÷òî åñëè â ýòîì ñåìåñòðå Ðîáèíó íå äàäóò ñòàðøåãî ïðåïîäàâàòåëÿ,
îí óéä¸ò. Íî îíè âåäü íå ìîãóò äàòü åìó ýòó ñòàâêó â îáõîä òåáÿ? Îí
æå åù¸ òàê ìîëîä.
Æäó îòâåòà, öåëóþ.
Õèëàðè
P.S. Ñòóê â ñòèðàëüíîé ìàøèíå çàìåòíî óñèëèëñÿ.
(Äýâèä Ëîäæ. Àêàäåìè÷åñêèé îáìåí.
Ïîâåñòü î äâóõ êàìïóñàõ. David Lodge. Changing Places.
Áèáëèîòåêà Ëóêè Áîìàíóàðà — http://www.bomanuar.com)
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IV.
Dear Harry,
Ron wrote to me and told me about his phone call to your Uncle
Vernon. I do hope, you’re all right.
I’m on holiday in France at the moment and I didn’t know how I was
going to send this to you — what if they’d opened it at customs? — but
then Hedwig turned up! I think she wanted to make sure you got something for your birthday for a change. I bought your present by owl-order;
there was an advertisement in the Daily Prophet (I’ve been getting it
delivered; it’s so good to keep up with what’s going on in the wizarding
world). Did you see that picture of Ron and his family a week ago? I bet
he’s learning loads. I’m really jealous — the ancient Egyptian wizards
were fascinating.
There’s some interesting local history of witchcraft here, too. I’ve
rewritten my whole History of Magic essay to include some of the things
I’ve found out. I hope it’s not too long — it’s two rolls of parchment
more than Professor Binns asked for.
Ron says he’s going to be in London in the last week of the holidays.
Can you make it? Will your aunt and uncle let you come? I really hope you
can. If not, I’ll see you on the Hogwarts Express on September first!
Love from
Hermione
V.
Hallucination n. A perceptual experience similar to a true perception but not resulting from stimulation of a sense organ, generally occurring under a *hallucinogen or hypnosis, or a symptom of schizophrenia or a *neurological disorder, but excluding dreams occurring while
asleep, *hypnagogic images experienced while falling asleep, and *hypnopompic images experienced while awakening. To be distinguished in
careful usage from an *illusion, in which a real object or event is
misperceived or misinterpreted. See also alcohol hallucinosis, audible
thought, auditory hallucination, delirium tremens, gustatory hallucination, hallucinogen, hallucinosis, mood-congruent, mood-incongruent,
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phrenia, somatic hallucination, tactile hallucination, visual hallucination. Compare delusion. [From alucinari to wander in the mind + ation indicating a process or condition]
(An entry from Oxford Dictionary of Psychology
by Andrew M. Colman. — OUP, 2003. — P. 322)
Creativity n. The production of ideas and objects that are both novel or original and worthwhile or appropriate, that is, useful, attractive,
meaningful, or correct. According to some researchers, in order to qualify as creative, a process of production must in addition be heuristic or
open-ended rather than *algorithmic (having a definite path to a unique
solution). See also convergence-divergence, multiple intelligences,
triarchic theory of intelligence. creative adj.
(An entry from Oxford Dictionary of Psychology
by Andrew M. Colman. — OUP, 2003 — P. 175)
VI.
Emmy The name is that of the gold-plated statuette awarded to a
deserving television programme or performer by the American Academy
of Television Arts and Sciences. It is said to be an alteration of Immy, a
colloquial term for an image orthicon tube in a television camera, but
could equally have evolved from “Academy”. It also happens to suggest
the personal name EMMA. The British equivalent is the BAFTA award
made by the British Academy of Film and Television Arts.
(From Brewer’s Dictionary of Names by Adrian Room. —
Cassell Publishers, Ltd., 1992, p. 170)
VII. CARVING
Carving is an acquired skill requiring practice and really sharp knife.
A sharp knife is essential since it can be used lightly and is always under
control. Carving knives should be sharpened before use either with a
hone, steel, patent sharpener or an oilstone. <...>
Sharpening a Carving Knife
Hold the steel in your left hand (if you are right-handed), with your
thumb on top of the handle. Hold the carving knife in your right hand.
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Angle both the steel and the knife upwards. Place the hill of the blade on
the handle end of the steel, almost flat against it, and draw the blade
sharply against the steel with a stroking movement. Repeat, but start
with the blade under the steel, and sharpen the other side of the knife.
Go on doing this, alternately holding the knife on top of the steel and
under it, until the knife has a sharp, tapered, cutting edge. About 6
strokes on each side should be enough to sharpen any good quality knife.
(Mrs Beeton’s Cookery For All. — Pan Books, London, 1984, p. 105)
VIII. DAY TRAINING PROGRAM
The Center for the disabled
Experience The Difference. The Day Training Program is designed
to provide a broad spectrum of service for multiple handicapped and
neurologically impaired adults. With 148 the specific needs of each consumer in mind, Day Training allows flexibility in programming for the
profoundly/severely involved person who needs skills in communication, movement and socialization. Additional emphasis is placed upon
developing adapted vocational experiences for the severely involved consumer who requires technology input or additional support to participate in work activities.
ACTIVITIES INCLUDE:
Woodworking
Craft Production & Sales
Functional Work
Contract Work
Pre-Voc Training
Sensory Groups
Computer Training
Augmentative Communication
Socialization
Movement Group
The Center for the disabled Day Training Program can provide a
real difference in programming for the severely involved individual looking for an option in Adult Programs.
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CLINICAL SERVICES AVAILABLE:
Physical Therapy
Occupational Therapy
Speech Therapy
Medical Rehabilitation
Nursing
Social Services
Psychological Services
SPECIAL CLINICS:
Technology
Audiology
Dental
Neurology
Hand
Orthopedics
Psychiatric
Psychiatry
Podiatry
OTHER SERVICES:
Weekend Respite
Adapted Equipment and Health Related Services
Evening Adult Education Courses
For More Information:
Day Training Program
The Center for the disabled
314 South Manning Boulevard
Albany, New York 12208
(518) 489-8336
IX.
Bus tickets. Field work by Iona and Peter Opie in the 1950s revealed a cluster of beliefs concerned with the humble bus or tram ticket.
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Children all over the country reported various ways in which the serial
number printed on the ticket could be interpreted, the simplest being
that if the numbers added up to 21 it was lucky for you and should be
kept. More complex ways of calculating the number revealed the initials
of your future spouse, when you would be married, and so on. Several
reported the use of the rhyme more usually associated with *magpies:
“One for sorrow, two for joy”, etc. Ticket customs are still carried out by
some children (SR).
Father’s Day. This celebration, on the third Sunday in June, has
no basis in tradition: it was invented in the 1970s in imitation of *Mothering Sunday/*Mother’s Day, for commercial profit. Greeting cards and
gifts are given.
Mother’s Day. Created almost single-handedly by Miss Anna Jarvis
of Philadelphia who persuaded Congress, in 1913, that the second Sunday in May would be dedicated to honouring mothers and
motherhood.This was brought to Britain by American soldiers during
the Second World War, and was later taken up by commercial interests,
becoming extremely popular from the 1950s onwards. In Britain, however, the day chosen for Mother’s Day was Mid-Lent Sunday, which
had previously been the traditional day for *Mothering Sunday, which it
in effect replaced. On the modern Mother’s Day, children (and husbands)
send cards, chocolates, flowers, etc., to their mothers, and many families make the mother breakfast in bed, or take over the housework for
the day.
(From Oxford Dictionary of English Folklore
by Jacqueline Simpson & Steve Roud. — OUP, 2003. — P. 248)
X.
“Comrades!” he cried. “You do not imagine, I hope, that we pigs
are doing this in a spirit of selfishness and privilege? Many of us actually
dislike milk and apples. I dislike them myself. Our sole object in taking
these things is to preserve our health. Milk and apples (this has been
proved by Science, comrades) contain substances absolutely necessary
to the well-being of a pig. We pigs are brain-workers. The whole management and organization of this farm depend on us. Day and night we
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are watching over your welfare. It’s for your sake that we drink that milk
and eat those apples. Do you know what would happen if we pigs failed
in our duty? Jones would come back! Yes, Jones would come back! Surely, comrades,” cried Squealer almost pleadingly skipping from side to
side and whisking his tail, “surely there is no one among you who wants
to see Jones come back?”
(G. Orwell. Animal Farm. — L., 1944. — P. 29)
XI. WHAT HAPPENS IF YOU TRY TO SATISFY SOME PEOPLE
There was a blind man in a household to whom the others gave the
best of all things: food, clothing, covers, and all. Yet he was filled with
discontent and wailed all day and night because of ill-treatment. The
family drank water and gave the blind man milk; they had one cup of rice
and gave him three; they had half a loaf of bread and gave him three
loaves; but still he complained. In fury and despair the family killed a
lamb, roasted it, placed it on a platter, and put it before the blind man.
He smelled it, began touching it to find out how large it was and then
began to eat. But before he had swallowed the first bite he said: “If this
much comes to me, how much goes to you?”
XII. FORTY WINKS TRAVEL PILLOW
The Forty Winks Travel Pillow is the luxury way to sleep away long
tiring journeys. Its unique construction allows a fresh clean pillow to be
used each time you travel. The outer Poly/Cotton pillowcase may be
removed and washed after each journey. You may also use the pillow in
the bath by removing the outer pillowcase when required. Whether travelling by plane, bus or car the Forty Winks Travel Pillow will help you to
arrive fresh, relaxed and in good shape.
XIII. NOTES FROM ALL OVER THE WORLD
Terminally Dry Eyes
Working long hours at a computer can cause eye strain.
Japanese researches studied some 50 office workers who spent an
average of three hours a day at a terminal. Since blinking keeps eyes
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moist — thus reducing strain — the researchers counted blinking rates
under different conditions. The workers averaged 22 blinks a minute
when relaxed, ten blinks a minute while reading a book and just seven a
minute while reading text on a computer screen. The computer workers
also kept their eyes open wider, which meant moisture evaporated more
quickly.
If you work at a computer screen, close your eyes periodically. That
spreads a tear film and rests your eyes. And remember to blink more
often.
(Reader’s Digest, Dec 1993, p. 148)
Ever been tempted to call someone a “crazy potato” or a “horseraddish rascal”? According to Queens College anthropology professor
Edgar Gregersen, you may have if you’re Gipsy or Japanese.
Gregersen compiled a list of insults in over 175 languages, from
Albania to Zulu, and discovered that different cultures often have radically different notions of what is considered insulting. “Japan’s insults
are often related to vegetables and tend to suggest that someone is irrational,” he said. “‘You out-of-focus eggplant’ is one example.” While
some cultures’ insults are characterized by violence or sex, others are
notable for their humor. Gregersen cited Yiddish expressions which range
from the amusing, such as “go bother the bed-bugs”, to the elaborate,
as in “you should grow like an onion with your head in the ground and
your feet above”.
(Ibid, p. 121)
The longest place-name now in use in the world is taumatawhakatangihangakoauauatomateaturipukakapikimaungahoronukupokaiwhenuakitanatahu, the unofficial 85-letter version of the name of a hill
(1000 feet above sea level) in the Southern Hawke’s Bay district of the
North Island, New Zealand. The translation from Maori is “the summit
where Tamatea, the man who slid on his knees, climbed mountains,
swallowed up the land travelling far and wide, played his flute to his
loved one”.
(Guinness Book of Records, 1993 — Facts on File)
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XIV. EDWARD ALBEE
(b. 1928)
Maxwell Anderson, the American dramatist, wrote that the real
theater is always religion. He meant that a good play is, to the audience,
an expression of truth. Are Albee’s plays good? If he writes the truth, he
writes it in terms that seem neither true nor good. His classic play, THE
AMERICAN DREAM, is about a woman who mutilates her son. The
woman is everything a woman should not be. She is evil and ignorant to
an extreme that makes the audience laugh at her. The same audience
cries later. They are puzzled by their own emotions. They are also puzzled by Albee, himself.
Critics, who first discovered him in the “little theater”, were astonished to find that such a polite young man was writing such shocking
plays.
Albee is considered a difficult writer. WHO’S AFRAID OF VIRGINIA WOOLF?, his most popular play, is realistic and, at times, funny. The characters are, at first, quite an ordinary college professor and
his wife. They enjoy games. Then they become a pair of fiends, hideously cruel to each other and to any fresh victims they might bring into their
house. At the same time, we feel sympathy for them because one of their
games is imagining the son they never really had. The play is sometimes
witty, sometimes highly dramatic, and sometimes too cruel to bear. Yet,
when the husband brings about the death of his imaginary son, all the
sadism that Albee has shown on stage turns to sorrow.
Critics have argued about Albee’s philosophy. Most of them feel
that he hates women. Some of them think that he is writing against
middle-class complacency. But neither point of view explains why audiences feel such profound emotion when they see one of the plays.
A reader must conclude that Albee is concerned with the souls of
his miserable characters. Their hatefulness does not mean that Albee
believes in the basic hatefulness of man but that he believes in the possibility of goodness. After showing us how cruel people can be, he asks
us to weep for them. What he shows us on the stage is our own weakness. Chastened and ready for tears, we experience the moment of truth
that Anderson called good theater. All Albee’s plays have the same dra-
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matic power. Audiences may not understand the plays, but they feel them
deeply. For this reason, it is safe to predict that Edward Albee will be
talked about for some years to come.
(By Margaret Sheppard)
XV. THE POPULATION BOMB
ABOUT TO EXPLODE
In 60 years human beings have increased from two to five billion.
But that is nothing compared with the future, argues Norman Myers.
We don’t hear much about the population any more, except occasional noises that the issue is pretty much over on the grounds that fertility rates have been declining in most of the developing world. But the
problem is as problematical as ever. True, there is better news on certain fronts. Overall, however, the population explosion is poised to enter
its most dramatic phase.
The past 60 years have seen a far greater increase in human numbers, from two billion to five billion, than in humankind’s entire history.
But that is nothing compared with what is to come. During the next 40
years we may well see another five billion added.
Moreover, this is a medium projection. If more countries follow the
regrettable example of the Philippines and most countries of sub-Saharan Africa by allowing their population growth rate to keep on risking,
the ultimate total for humankind’s numbers is projected to reach well
over 14 billion people.
But if, by contrast, most countries follow the splendid examples of
China, South Korea, Taiwan, Java, Thailand, Kerala State in India, Sri
Lanka, Tunisia and Cuba, we shall end up with a projected total of little
more than eight billion people. The difference of six billion people is way
more than exist on Earth right now.
According to the World Hunger Project at the University of Rhode
Island, if all humans were to confine themselves to a strictly vegetarian
diet, Earth could, with present levels of agro-technology and equal distribution of food, support a maximum of six billion people.
If people were to derive 15 per cent of their calories from animal
protein, as do many people in South America of today, the total would
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slump to four billion; and if they gained 25 per cent from animal protein,
as is the case with most people in North America, then the Earth could
support only three billion.
But as professor Paul Ehrlich of Stanford University points out, between 1985 and 1988 world population increased by 5 per cent, while
per-capita food output declined 5 per cent.
What do we need to do if we are to slow population growth much
faster than to date? <...> Plainly we all need to look at our population
situation with regard to Earth’s carrying capacity.
XVI. WILL AMERICA GROW UP BEFORE IT GROWS OLD?
Politicians don’t balance the budget, citizens (who believe Medicare and Social Security are a birthright) don’t save for their old age. So
by the time baby boomers retire, the cupboard will be bare, and we’ll all
be bare-a..., unless we produce more, retire later, rediscover thrift. A
passionate plea for reform before it’s too late. (Random House, $21)
(By Peter G. Peterson)
XVII. William Faulkner
(1897—1962)
ADDRESS UPON RECEIVING
THE NOBEL PRIZE FOR LITERATURE (1950)
I feel that this award was made not to me as a man, but to my work —
a life’s work in the agony and sweat of the human spirit, not for glory and
least of all for profit, but to create out of the materials of the human spirit
something which did not exist before. So this award is only mine in trust.
It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would
like to do the same with the acclaim too, by using the moment as a
pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is
already that one who will some day stand here where I’m standing.
Our tragedy today is general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of
the spirit. There is only the question: When will I be blown up? Because
of this, the young man or woman writing today has forgotten the prob-
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lems of the human heart in conflict with itself which alone can make good
writing because only that is worth writing about, worth the agony and sweat.
He must learn them again. He must teach himself that the basest
of all things is to be afraid; and, teaching himself that, forget it forever,
leaving no room in his workshop for anything but the old verities and
truths of the heart, the old universal truths lacking which any story is
ephemeral and doomed — love and honor and pity and pride and compassion and sacrifice. Until he does so, he labors under a curse. He writes
not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion. He griefs grieve on no universal bones, leaving no scars. He writes
not of the heart but of the glands.
Until he relearns these things, he will write as though he stood and
watched the end of man. I decline to accept the end of man. It is easy
enough to say that man is immortal simply because he will endure: that
when the last ding-dong of doom has changed and faded from the last
worthless rock hanging tideless in the last red and dying evening, that
even then there will still be one more sound: that of his puny inexhaustible
voice, still talking. I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among
creatures has an inexhaustible voice, but because he has a soul, a spirit
capable of compassion and sacrifice and endurance, The poet’s, the writer’s, duty is to write about these things. It is his privilege to help man
endure by lifting his heart, by reminding him of the courage and honor
and hope and pride and sacrifice which have been the glory of his past.
The poet’s voice need not merely be the record of man, it can be one of the
props, the pillars to help him endure and prevail (http://nobelprize.org/
nobel-prizes/literature/laureates/1949/faulkner-speech.html).
Çàäàíèå 2. Ïåðåâåäèòå ïðåäëîæåíèÿ, îïðåäåëèâ ñòèëèñòè÷åñêóþ òðóä-
íîñòü.
1. The room’s single window held stony moonlight. Bald Novem-
ber reigned outside.
2. I stayed five days by lake Sevan, and every morning its waters
fascinated me again. Sometimes, shaken by wind, the whole lake
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ples whose agitation seemed outlandish in those dead shores.
But more often the water lay in a trance — less a lake than a
huge, unblinking eye of glass, sated and colourless: the eye of
the earth itself.
— I had to execute him, Bernd. — “Um die Ecke bringen” —
that’s the gangster talk, Rolf. Let’s face the truth. You murdered
him. Assassinated him. — Only public officials can be assassinated, and even then the victims have to be tyrants. Executions
are part of a process of law. Face it. You murdered him. — You
play with words...
4. (Russia is) “a riddle wrapped in a mystery inside an enigma”.
5. And yet the will was there, the indomitable will, the refusal to
give up, give in, give way, stand down, stay behind. Admirable
Mrs. Pusey, thought Edith.
6. Cups of mineral water were distributed in mid-flight. Everybody
drank, then relapsed into Pravda, Soviet Sport or sleep.
7. “London want you to stay on,” I said. “For two years at least.” —
“London is Oliver Twist. London always want more.”
8. The two met in 1987 at a jam session in New York organized by
mutual friends. Both say it was “love at first sound”.
9. Little Green Lie.
10. I’m grateful to the editors of this excellent publication for the
hospitality of their pages.
11. Chapter and Verse!
My nephew was going to be a page boy at my wedding. 158 When
asked by a friend what he was going to be, Master Three-AndA-Half proudly announced: “A book”.
12. So Let’s Play!
While sitting in the car waiting for her father to come back with
lunch, Miss Three was trying to convince me she should be allowed out into the playground. I explained that the boys who
were playing there were too rough. “But, Miss,” said Miss Three,
“they’ll be smooth soon”.
13. Two schoolboys were back in Dublin yesterday after crossing the
Atlantic in the second of the two stowaway adventures in a week.
3.
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14. She paused in front of one of his most recent works, a bold, im15.
16.
17.
18.
19.
20.
pressionistic treatment of the New York skyline.
“We never tire of King’s lurid brainchildren” [about S. King’s
“The Dark Half”].
When I don’t write I feel my world shrinking. I feel I lose my fire,
my color.
They settled into an unsatisfactory co-existence.
I have no desire to remain and watch you mooning after some
girl.
“It seems that your lordship’s grandfather was regarded by the
Brandons as being of... questionable reputation where females
were concerned.” Julien laughed. “A rake and a licentious womanizer is what you mean, is it not, Mannering?”
Potatoes
A much underutilized vegetable, the potato, but one which I think
we’ll be seeing more and more of in the shops. This is a trendy
way of doing them that I got off my friend Jill who lives in
Beckenham.
Ingredients
One potato, two potato, three potato, four (Whatever you need
really)
Method
Cut the potatoes as if slicing them but don’t cut right through.
(No, you don’t peel them first, I’d have said so if I’d wanted you
to peel them Stop butting in.) Dot with butter, wrap in foil, put
them in the oven and ignore them for a good while. Theoretically they should open out and look very pretty but I wouldn’t
bank on it.
An alternative to this recipe but still using this versatile vegetable is POTATO PUREE. Just boil up some potatoes and mash
them. This will be sure to impress your guests.
(From CARELESS COOKING by Val Policella. —
Sphere Books Limited, 1989, p. 53)
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Çàäàíèå 3. Ïðåäëîæèòå âàðèàíòû ïåðåâîäà ñëåäóþùèõ ïðåäëîæåíèé
ñ ãðàôîíàìè.
1. You are a walking panner-rammer!
2. Fare-hoo-well, my li-hit-til house, my sis-hit-ter dear. They’ve
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
to-hook me for the white man’s war.
“No, no, no. No doctair? Vell, den, eet does not mattair”.
“Yeah? Whacha want?”
“Woudjer believe it!”
“Whadda ya think I am for chrissake?”
“Lemme get this straight now!”
“I dunno, I dunno, I dunno”.
“Don’t wanna sleep. Don’t wanna die”.
“Once we are in toon with the in-fy-nyte — then there is a power within us... that can create the world ahoo”.
“You are rockin’ the boat kinda early”.
“Noner yer bidnis”.
“Please, doan hit me no mo’, cap’n”.
“Show us the yachts for po’ folks”.
“Hey, what tha — Help! Leggo!”
Çàäàíèå 4. Ïðåäëîæèòå ñâî¸ ðåøåíèå ñëåäóþùåé ïåðåâîä÷åñêîé ïðî-
áëåìû, âîçíèêøåé ó ïåðåâîä÷èöû ðîìàíà Â. Õîëüò «Ïðûæîê òèãðà» (“The Spring of Tiger”):
«Òèãð, — òóò Òîáè ïðî÷èòàë ñòèõè, êîòîðûå ÿ íàäîëãî çàïîìíèëà:
Óâû, ëþáîâü!
Äëÿ æåíùèí èñêîíè
Íåò íè÷åãî ïðåêðàñíåé è îïàñíåé:
Íà ýòó êàðòó ñòàâÿò æèçíü îíè.
×òî ñòðàñòè îáìàíóâøåéñÿ íåñ÷àñòíåé?
Êàê ãîðåñòíû å¸ ïóñòûå äíè!
À ìåñòü ëþáâè — ïðûæêà ïàíòåð óæàñíåé!
Ñòðàøíà èõ ìåñòü!
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Íî, óâåðÿþ âàñ,
Îíè ñòðàäàþò ñàìè, ìó÷à íàñ!
9
Áàéðîí ïðîèçâåë íà ìåíÿ áîëüøîå âïå÷àòëåíèå, è ìû ñòàëè
èçó÷àòü åãî ïðîèçâåäåíèÿ. <...> Ìíå íå ïðèõîäèëî â ãîëîâó, ÷òî
ïåðåìåíà æèçíè îæèäàåò ñâîåãî ÷àñà è ãîòîâà âûïðûãíóòü, êàê òèãð».
Çàäàíèå 5. Îïðåäåëèòå ñòèëèñòè÷åñêèå ñðåäñòâà, èñïîëüçîâàííûå â
äàííûõ îòðûâêàõ, ïåðåâåäèòå èõ è ñäåëàéòå âûâîäû î âîçìîæíîñòè/íåâîçìîæíîñòè èñïîëüçîâàíèÿ èäåíòè÷íûõ
ñðåäñòâ ïðè ïåðåâîäå.
He wished she would not look at him in this new way. For things
were changing, something was changing now, this minute, just
when he thought they would never change again, just when he
found a way to live in that changelessness.
2. There was then a calling over names, and great work of signing,
sealing, stamping, inking, and sanding, with exceedingly blurred
and undecipherable results.
3. Jo... nods and shambles, and shivers, and smears, and blinks,
and half laughs, and half cries a farewell to her, and takes his
creeping way along after Allan Woodcourt.
4. “Thquire!” said Mr. Sleary, who was troubled with asthma, and
whose breath came far too thick and heavy for letters, “Your
thervant! Thith ith a bad pieth of bithinith, thith ith. You’ve heard
of my clown and his dog being thuppothed to have morrithed?”
5. Deep into the darkness peering, long I stood there wondering,
doubting, dreaming dreams no mortals ever dared to dream before.
6. You, lean, long, lanky lath of a lousy bastard!
7. The river — with the sunlight flashing from its dancing wavelet,
gilding gold the grey-and-green beech trunks, glinting through
the dark, cool wood paths, chasing shadows o’er the shallows,
1.
9
 êíèãå ïîñëå ñòèõîâ åñòü ññûëêà, ÷òî öèòàòà èç Áàéðîíà äàíà â ïåðåâîäå
Ò. Ãíåäè÷.
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flinging diamonds from the mill-wheels, throwing kisses to the
lilies, wantoming with the weirs’ white waters, silvering
mossgrown walls and bridges, brightening every tiny townlet,
making sweet each lame and meadows, lying tangled in the rushes, peeping, laughing, from each inlet, gleaming gay on many a
far sail, making soft their air with glory — is a golden fairy stream.
8.
I told Mrs. Trafford the bare facts of my story and she listened
attentively. Now and then she nodded her head. But I could not
hope to make her understand the commotion I had found in
Blackstable. The town was beside itself with excitement. Nothing so thrilling has happened there for years and no one could
talk of anything else. Humpty-dumpty had had a great fall.
9.
And yet, despite her rage — in the center of this very misery —
love itself — strong, vital, burning love — the very core of it.
10.
Her eyes flashed with transcendent and yet helpless and defeated misery.
11.
That pretty face! That graceful rounded figure! Those large bluegrey, shy and evasive eyes!
12.
In a far corner of the tent Adolf was bending his cat-like moustaches over a kettle.
13.
He finished his dinner and the financial page of the Sun at a
quarter to nine, as he always did.
14.
We develop a throw-away mentality to match our throw-away
products.
15.
The April sky that spread over the empty highway, trees, and
rocks was now more open, white with the chrystal light of early
spring.
Çàäàíèå 6. Ïåðåâåäèòå, îáðàùàÿ âíèìàíèå íà íåîáõîäèìîñòü âûáîðà
ñðåäñòâ óñèëåíèÿ â ðóññêîì ÿçûêå â çàâèñèìîñòè îò êîíòåêñòà.
1. That’s frightfully nice of you!
2. He’s frightfully good at his work.
3. Thank you frightfully.
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Here I am, aged thirty-five and more horribly in love than I was
ever before.
5. Once this place was tremendously alive.
6. He admired her tremendously.
7. She was desperately afraid.
8. She writes in good bold hand.
9. That’s real nice!
10. She was thrown into the sea stark naked.
11. The sandwiches will be stone cold.
12. I’m so glad!
13. I think it’s just wonderful.
14. It’ll be even better.
15. Might be a lot worse.
16. I treated Tom Stone a great deal better.
17. She had thirty guitars and played all of them horridly.
18. Now I’m all wet.
19. Your note has perked me up no end.
20. She’s truly pretty.
21. He not only invited me in, but he actually offered me a drink.
22. It’s certainly very beautiful, but it’s fat too expensive.
23. The company’s prospects look decidedly gloomy.
24. Yes, indeed beautiful weather.
25. They [Britain’s most eligible millionaires] are cute, single and
gloriously rich!
4.
Çàäàíèå 7. Ïåðåâåäèòå, îáðàòèâ âíèìàíèå íà ñïåöèôèêó ñïîñîáà âû-
ðàæåíèÿ â ñðàâíåíèè ñ ðóññêèì ÿçûêîì.
1. She felt the colour rising in her cheeks.
2. We decided on marriage.
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3.
4.
I became pregnant to a wonderful guy.
Under her frizzy brown hair — her perm always on its last legs —
her rimless glasses shone forth with goodness.
5.
6.
7.
8.
9.
10.
It took him a minute and a half to die.
He answered the telephone.
Then he would polish his spectacles nervously on a handkerchief.
I may add that I stood godfather to the little girl, Carla.
He stopped mid-sentence.
In 1920 he married Celia Iney Reckham, by whom he had three
children.
11.
His English was fluent since he had, he explained, been in the
country since he was sixteen and had married an English wife.
12.
He was also very proud of his remaining eye, which he claimed
was capable of twenty/twenty vision.
13.
14.
Try the skeleton-key on the door.
He thought what awful bad luck it (stammer) was on the poor
chap.
15.
“You have a great deal of talent with words,” he told her, and in
that moment, Allison would have died for him.
16.
I did not have to wait. For there was another letter by hand for
me.
17.
When President John Adams and his wife Abigail moved into
this now world-famous house at 1600 Pennsylvania Avenue, they
were taken aback.
18.
They exchanged greetings for they were, after all, civilized men
who had been born on the same street in the same town, and
had attended school together as boys.
19.
It took many months to understand this, and many years to accept it.
20.
21.
She bought a new umbrella in quick-dry nylon.
Kiefer Sutherland, ex-fiance of box-office queen Julia Roberts,
has jilted her for a topless go-go dancer.
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22.
Once a week, John and Brian lock themselves away to brainstorm another off-the-wall idea.
23.
Perhaps it was that sense of humor which helped Natalie recover from a near-fatal ride to Sydney last September.
24.
Millions of newly out-of-work former state employees could trigger social unrest.
25.
With 800 million people living in the rural areas, this is a lesswell-off but still lucrative mass market.
26.
A curious aspect of the near-death experience, or NDR, is the
prophetic vision that sometimes concludes it. After NDRers have
left their bodies and traveled through a tunnel to the “great light”,
they sometimes report seeing scenes of Earth’s future.
27.
The two Calvert boys, Raiford and Cade, were there with their
dashing blonde sister, Cathleen, teasing the darkfaced Joe
Fontaine and Sally Munroe, his pretty bride-to-be.
28.
Vacationers will travel by a yet-to-be-built spaceplane that the
company (Tokyo-based Shimizu Corporation) hopes to establish somewhere in the Pacific basin.
29.
Ours is the age of substitutes: instead of language we have jargon; instead of principles, slogans; and instead of genuine ideas, bright suggestions.
30.
31.
32.
Some of them [potatoes] were very plump.
You will hand in your notes as is to your instructors.
Presently it was time to go, and the Swedish girl raised her hands
above the head and clapped them twice together to summon the
waiter.
33.
Elementary school teachers can introduce young students to the
study of literature by telling them fairy tales...
34.
35.
They will also house offices, trade and exhibition halls.
Julien gave a bark of laughter, his shoulders shaking.
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Ïåðåâîä÷åñêîå ïðåîáðàçîâàíèå òåêñòà
Çàìûñåë ðå÷åâîãî ïðîèçâåäåíèÿ âîïëîùàåòñÿ åãî àâòîðîì ñâîáîäíûì âûáîðîì ñëîâ ÿçûêà, íà êîòîðîì ñîçäà¸òñÿ òåêñò, íà îñíîâå
çàêîíîâ ýòîãî ÿçûêà, îïðåäåëÿþùèõ òî÷íûé âûáîð íóæíîãî ñëîâà
èëè åãî ñèíîíèìîâ, ñî÷åòàåìîñòü ñëîâ, ñâÿçè ñëîâ â ïðåäëîæåíèè.
Ïî íåîáõîäèìîñòè àâòîð óïîòðåáëÿåò ðàçíûå âèäû óñòîé÷èâûõ âûðàæåíèé è èíîãäà ñîçäà¸ò íîâûå (îêêàçèîíàëüíûå) ñëîâà, ðåàëèçóþùèå òå ñìûñëîâûå è ñòèëèñòè÷åñêèå îòòåíêè, êîòîðûå îòðàæàþò
àâòîðñêóþ èíòåíöèþ. Íàïðèìåð, â ñâîåé êíèãå Incomplete & Utter
History of Music Ñòèâåí Ôðàé, óäèâëÿÿñü îãðîìíîìó ÷èñëó êîíöåðòîâ (400), íàïèñàííûõ Àíòîíèî Âèâàëüäè, ññûëàåòñÿ íà È. Ñòðàâèíñêîãî, êîòîðûé “... was expressing the not uncommon view, it has to be
said, that many of Vivaldi’s concertos can sound a little... well, samey”
(«åãî ìíåíèå ðàçäåëÿåò íåìàëîå ÷èñëî ëþäåé; è òî ñêàçàòü, ìíîãèå
êîíöåðòû Âèâàëüäè çâó÷àò íåñêîëüêî... íó... îäèíàêîâî»1).
Àâòîð ñòðîèò íåêîòîðóþ ïîñëåäîâàòåëüíîñòü âûñêàçûâàíèé â
ñîîòâåòñòâèè ñ òåìîé è ðåìîé, ñîçäà¸ò àáçàöû îïðåäåë¸ííîé íàïîëíÿåìîñòè, â ðåçóëüòàòå ÷åãî ïîÿâëÿåòñÿ ñâÿçíûé çàêîí÷åííûé òåêñò,
îòðàæàþùèé àâòîðñêèå èäåè, öåëè, ïðåäñòàâëåíèÿ, ìíåíèÿ, îòíîøåíèÿ.  ïåðåâîä÷åñêîé òåîðèè òåêñò ïîíèìàåòñÿ êàê ëþáîå ðå÷åâîå ïðîèçâåäåíèå.
Äëÿ ïåðåâîä÷èêà âòîðè÷íîñòü åãî äåÿòåëüíîñòè îáîðà÷èâàåòñÿ
èçâåñòíîé íåñâîáîäîé äåéñòâèé. Îí âûðàæàåò, òî÷íåå, ïåðåâûðàæàåò
ìûñëè äðóãèõ. Ñëåäóÿ ïîðÿäêó èçëîæåíèÿ, ñòðîÿ ôðàçû è ïðåäëîæåíèÿ â ñîîòâåòñòâèè ñ èñõîäíûì òåñòîì, îí íàõîäèòñÿ â ïîñòîÿííîì
ïîèñêå ñîîòâåòñòâèé àâòîðñêèì ñëîâàì è ñëîâîñî÷åòàíèÿì — òåêñòàì. Ïðè ðåøåíèè çàäà÷ ïåðåäà÷è ñîäåðæàíèÿ ïåðåâîä÷èêó íåîáõîäèìî õîðîøî îðèåíòèðîâàòüñÿ â îïèñûâàåìûõ ñîáûòèÿõ, èõ ïîñëåäîâàòåëüíîñòè, êîíêðåòíûõ ñèòóàöèÿõ, ïðîòåêàþùèõ â îïðåäåë¸ííîå âðåìÿ, â îïðåäåë¸ííîì ìåñòå (ïðåäìåòíûé ìèð), â îáñòîÿòåëüñòâàõ,
âçàèìîîòíîøåíèÿõ ïåðñîíàæåé (ñóáúåêòîâ êîììóíèêàòèâíîãî àêòà),
â ðàçíîîáðàçíûõ êîííîòàöèÿõ (àâòîðñêèõ, ïåðñîíàæåé, ñâîèõ
1 Ôðàé Ñ. Íåïîëíàÿ, íî îêîí÷àòåëüíàÿ èñòîðèÿ êëàññè÷åñêîé ìóçûêè.
Ôðàãìåíòû êíèãè: Ïåð. ñ àíãë. Ñ. Èëüèíà // Èíîñòð. ëèò. 2006. ¹ 7. Ñ. 227.
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ñîáñòâåííûõ) è ïðî÷èõ ôàêòîðàõ, ñîñòàâëÿþùèõ ïðàãìàòè÷åñêèé
ôîí òåêñòà. Ïåðåâîä÷èê ïðåîäîëåâàåò êóëüòóðíûå áàðüåðû è îáÿçàí ó÷èòûâàòü êîãíèòèâíóþ áàçó ïðåäïîëàãàåìîãî ïîëó÷àòåëÿ èíôîðìàöèè.
 ïðîöåññå ïåðåâîäà ïåðåâîä÷èê ïîñòîÿííî ñîâåðøàåò ðàçíîãî
ðîäà äåäóêòèâíûå îïåðàöèè, «ðàçâîðà÷èâàÿ» è «ñâîðà÷èâàÿ» ñåìàíòè÷åñêîå ñîäåðæàíèå ñëîâ, ñëîâîñî÷åòàíèé, ïðåäëîæåíèé, êîäèðóþùèõ ñîîáùåíèå, äîáèâàÿñü àäåêâàòíîé ïåðåäà÷è ñîäåðæàíèÿ è
ôîðìû ïåðâîèñòî÷íèêà ñðåäñòâàìè íîðìàòèâíîãî ðîäíîãî ÿçûêà,
èñïîëüçóÿ åãî óçóàëüíî çàêðåïë¸ííûå ìîäåëè. Îí ïîñòîÿííî âåä¸ò
âíóòðåííèé ìîíîëîã ñ àâòîðîì/àäðåñàíòîì/îòïðàâèòåëåì è ñ ïîëó÷àòåëåì/àäðåñàòîì, ðàäè êîòîðîãî ñîâåðøàåòñÿ ïåðåâîä÷åñêîå ïîñðåäíè÷åñòâî.
 îñíîâàíèè ïåðåâîä÷åñêîãî êðåäî ëåæèò ïîíèìàíèå íåïðèêîñíîâåííîñòè àâòîðñêîãî òåêñòà, êîòîðûé ïåðåâîä÷èê ïî ñâîåé âîëå íå
èìååò ïðàâà èçìåíèòü, ñîêðàùàÿ, ðàñøèðÿÿ, äîïóñêàÿ ôðàãìåíòàðíîå èçúÿòèå èëè äîïîëíåíèå èíôîðìàöèè. Ïåðåâîä÷èê äîëæåí ñòðåìèòüñÿ ê ñîçäàíèþ ìàêñèìàëüíî ïðèáëèæåííîãî ê îðèãèíàëó âàðèàíòà ïåðåâîäà, çà êà÷åñòâî êîòîðîãî íåñ¸ò îòâåòñòâåííîñòü.  âûõîäíûõ
äàííûõ ïåðåâîäíûõ òåêñòîâ ýòà îòâåòñòâåííîñòü îòðàæåíà â îáÿçàòåëüíîì óïîìèíàíèè èìåíè ïåðåâîä÷èêà. Ïðè âûïîëíåíèè ó÷åáíûõ
ïåðåâîäîâ ñëåäóåò âñåãäà ïîìíèòü î íåîáõîäèìîñòè ïîëíîãî ïîíèìàíèÿ èñõîäíîãî òåêñòà â êàæäîì åãî ôðàãìåíòå è îáÿçàòåëüíîñòè òî÷íîãî ïåðåâûðàæåíèÿ åãî ñîäåðæàíèÿ.
ÏÎÄÑÒÀÍÎÂÊÀ
 ïðîöåññå ïåðåâîäà óíèâåðñàëüíîé çàäà÷åé ïåðåâîä÷èêà ÿâëÿåòñÿ ïîèñê ñîîòâåòñòâèé. Ïðè ñîîòíåñåíèè ÿçûêîâ äðóã ñ äðóãîì íà
ðàçíûõ ÿçûêîâûõ óðîâíÿõ îáíàðóæèâàþòñÿ ñîîòâåòñòâèÿ, è ýòî ïîíÿòèå îáðàçóåò îñíîâîïîëàãàþùóþ êàòåãîðèþ òåîðèè è ïðàêòèêè
ïåðåâîäà.  îáùåì âèäå ñîîòâåòñòâèå ïîíèìàåòñÿ êàê ýëåìåíò îäíîãî ÿçûêà, ðåãóëÿðíî ñîîòíîñèìûé â ïëàíå ñîäåðæàíèÿ ñ ýëåìåíòîì/ýëåìåíòàìè äðóãîãî ÿçûêà, â ðåçóëüòàòå ÷åãî îíè ôóíêöèîíàëüíî èäåíòè÷íû. «Ïîñòîÿííûå ðàâíîçíà÷íûå ñîîòâåòñòâèÿ, íå çàâè-
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ñÿùèå îò êîíòåêñòà»2, íàçûâàþò ýêâèâàëåíòíûìè.  ëåêñèêå ñîïîñòàâëÿåìûõ ÿçûêîâ ýêâèâàëåíòû ñóùåñòâóþò íà óðîâíå ñëîâà, ñëîâîñî÷åòàíèÿ, ôðàçåîëîãè÷åñêèõ åäèíèö. Ïðè îäíîçíà÷íîñòè òàêèõ
åäèíèö, êàê, íàïðèìåð, òåðìèíû, èëè ïðè ñîâïàäåíèè âñåõ çíà÷åíèé
ïåðåâîä÷èê èìååò äåëî ñ
àáñîëþòíûìè (ïîëíûìè) ýêâèâàëåíòàìè.
Ýòîò òèï ýêâèâàëåíòíîñòè îáíàðóæèâàþò òåðìèíû, èìåíà ñîáñòâåííûå, ãåîãðàôè÷åñêèå íàçâàíèÿ, íåêîòîðûå èíòåðíàöèîíàëüíûå ñëîâà, ïîñëîâèöû è ïîãîâîðêè. Íàïðèìåð, with a heavy/light heart, in
the seventh heaven, to have the last word, bite the hand that feeds you.
Îäíîâðåìåííî ñóùåñòâóþò òàê íàçûâàåìûå
îòíîñèòåëüíûå ýêâèâà-
ëåíòû, ó êîòîðûõ ïðè èäåíòè÷íîì ñîäåðæàíèè è ñîâïàäåíèè ñëîâåñíîãî ñîñòàâà âîçìîæíû íåçíà÷èòåëüíûå ðàñõîæäåíèÿ ìîðôîëîãè÷åñêîãî, ñòèëèñòè÷åñêîãî è ëåêñè÷åñêîãî õàðàêòåðà. Ðîëü ýêâèâàëåíòíûõ ñîîòâåòñòâèé â òåêñòå ÷ðåçâû÷àéíî âàæíà, ïîñêîëüêó îíè
ôîðìèðóþò ïîíèìàíèå òåêñòà, îïðåäåëÿþò åãî ñèòóàöèîííóþ êîíêðåòèêó, ÿâëÿÿñü åãî êëþ÷åâûìè ýëåìåíòàìè.
Äðóãîé òèï ñîîòâåòñòâèÿ —
âàðèàíòíûå ñîîòâåòñòâèÿ, êîòîðûå
óñòàíàâëèâàþòñÿ ìåæäó åäèíèöàìè äâóõ ÿçûêîâ â òîì ñëó÷àå, åñëè â
ÿçûêå ïåðåâîäà, íàïðèìåð, ñóùåñòâóåò íåñêîëüêî ñëîâ äëÿ ïåðåäà÷è
çíà÷åíèé ìíîãîçíà÷íîãî ñëîâà, ÷àñòî ñîîòíîñèìûõ ñ ðàçíûìè äåíîòàòàìè. Âûáîð ñîîòâåòñòâèÿ â ýòîì ñëó÷àå îïðåäåëÿåòñÿ êîíêðåòíûì êîíòåêñòîì (âåðáàëüíûì è íåâåðáàëüíûì), à òàêæå ôîíîâûìè
çíàíèÿìè, ïîñêîëüêó ýòîò âèä ñîîòâåòñòâèÿ ÿâëÿåòñÿ êîíòåêñòóàëüíî äåòåðìèíèðîâàííûì. Íàïðèìåð, â ñëåäóþùåì ïðåäëîæåíèè ñëîâî
porch ÿâëÿåòñÿ âàðèàíòíûì ñîîòâåòñòâèåì:
Edwin Pratt was shot to death Sunday night when he went to
investigate a noise on the front porch of his home.
Ñëîâàðíûå çíà÷åíèÿ ýòîãî ñëîâà ïîäúåçä, êðûëüöî, ïàïåðòü
öåðêâè; â àìåðèêàíñêîì âàðèàíòå àíãëèéñêîãî ÿçûêà ê íèì äîáàâëÿþòñÿ òàêæå âåðàíäà, áàëêîí, ïîðòèê, êðûòàÿ ãàëåðåÿ, è îíè
2
Ðåöêåð ß.È. Òåîðèÿ ïåðåâîäà è ïåðåâîä÷åñêàÿ ïðàêòèêà. — Ì.: ÈÌÎ, 1974.
Ñ. 10—11.
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ñî âñåé î÷åâèäíîñòüþ íîìèíèðóþò ðàçíûå îáúåêòû ðåàëüíîé äåéñòâèòåëüíîñòè. Ðàçóìååòñÿ, íåêîòîðîå îãðàíè÷åíèå íà âûáîð ñîîòâåòñòâèÿ íàêëàäûâàåòñÿ êîíòåêñòóàëüíûì îêðóæåíèåì (of his home),
à òàêæå çíàíèåì, ÷òî òåêñò âçÿò èç àìåðèêàíñêîé ãàçåòû. Òåì íå ìåíåå, åñëè íåò äîïîëíèòåëüíûõ óêàçàíèé èëè îïðåäåë¸ííîé ëèíãâîêóëüòóðíîé èíôîðìàöèè, ïåðåâîä÷èêó íà ñâîé ñòðàõ è ðèñê ïðèõîäèòñÿ âûáèðàòü ìåæäó êðûëüöîì, âåðàíäîé, áàëêîíîì è äàæå ïîðòèêîì. À âîçìîæíî, ïðèíèìàòü è êàðäèíàëüíûå ðåøåíèÿ, ñîçäàâàÿ
íîâûå ñîîòâåòñòâèÿ.
Ïîìèìî ýêâèâàëåíòíûõ è âàðèàíòíûõ ñîîòâåòñòâèé ñóùåñòâóåò åù¸ îäèí âèä ñîîòâåòñòâèé — êîíòåêñòóàëüíûå ñîîòâåòñòâèÿ,
êîòîðûå ñîçäàþòñÿ ïåðåâîä÷èêîì íà îñíîâå âñåé ñîâîêóïíîñòè êîíòåêñòóàëüíûõ äàííûõ â óñëîâèÿõ, êîãäà íåêîå ñëîâî â ñîñòàâå ïðåäëîæåíèÿ ðåàëèçóåò ñâî¸ ïîòåíöèàëüíîå çíà÷åíèå, íå çàôèêñèðîâàííîå ñëîâàðÿìè.  ýòèõ ñëó÷àÿõ ïåðåâîä÷èê ñîçäà¸ò êîíòåêñòóàëüíîå ñîîòâåòñòâèå, êîòîðîå â îïðåäåë¸ííûõ óñëîâèÿõ ìîæåò
çàêðåïèòüñÿ â ÿçûêå, ñíà÷àëà ñòàâ óçóàëüíûì, à çàòåì ïåðåéäÿ â
âàðèàíòíîå.
Î÷åâèäíî, ÷òî ïåðåâîä÷åñêèå äåéñòâèÿ ñ ðàçíûìè òèïàìè ñîîòâåòñòâèé áóäóò ðàçíûìè.  òî âðåìÿ êàê ïîèñê çàðåãèñòðèðîâàííûõ
ñëîâàðÿìè ýêâèâàëåíòíûõ è âàðèàíòíûõ ñîîòâåòñòâèé òðåáóåò ïîäñòàíîâî÷íûõ äåéñòâèé è ïðåäïîëàãàåò îáîñíîâàííûé âûáîð óæå ñóùåñòâóþùèõ ñîîòâåòñòâèé, ðåøåíèå ïðîáëåì îêêàçèîíàëüíî ðåàëèçóþùèõñÿ ïîòåíöèé ñëîâà ñâÿçàíî ñ íåîáõîäèìûìè çàìåíàìè è óñòàíîâëåíèåì ñîîòâåòñòâèÿ ñ ïîìîùüþ íåêèõ ëîãè÷åñêèõ îïåðàöèé.
Ðàññìîòðèì ïîäñòàíîâî÷íûå äåéñòâèÿ ïåðåâîä÷èêà, ïðèìåíÿåìûå èì â õîäå ïåðåâîäà.  êà÷åñòâå ïîäñòàíîâêè èñïîëüçóþòñÿ íå
òîëüêî èìåþùèåñÿ â ñëîâàðå ñëîâà, íî è èõ äåôèíèöèè. Òåì ñàìûì
ñîîòâåòñòâèå ñîçäà¸òñÿ ïðè¸ìîì îïèñàòåëüíîãî ïåðåâîäà, â ðåçóëü-
òàòå êîòîðîãî, êàê ïðàâèëî, ïîÿâëÿþòñÿ âåñüìà ãðîìîçäêèå, íî ñåìàíòè÷åñêè ðàâíîçíà÷íûå âàðèàíòû ïåðåâîäà. Òàêàÿ ñèòóàöèÿ âîçíèêàåò ïðè çàèìñòâîâàíèè áåçýêâèâàëåíòíîé ëåêñèêè, äëÿ êîòîðîé
îïèñàòåëüíûé ïåðåâîä ÿâëÿåòñÿ è ñðåäñòâîì ñåìàíòèçàöèè, è ïðîáîé âîçìîæíîãî áóäóùåãî ñîîòâåòñòâèÿ. Çàèìñòâóÿ èíîÿçû÷íîå ñëîâî, ââîäÿ åãî â êà÷åñòâå îêêàçèîíàëüíîãî â ÿçûê, ïåðåâîä÷èê äîëæåí áûòü óâåðåí, ÷òî ñîîòâåòñòâèå îòñóòñòâóåò, ÷òî çàèìñòâîâàíèå
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íåîáõîäèìî è ïîïîëíèò — â ñëó÷àå åãî âûõîäà çà ðàìêè ïåðåâîäèìîãî òåêñòà — ÿçûê ïåðåâîäà. Ïîÿñíèì ñêàçàííîå íà ïðèìåðå:
Çàòî òåïåðü, ÷åðåç äåñÿòü íåäåëü ïîñëå îïóáëèêîâàíèÿ, èñòîðè÷åñêèé ðîìàí ðàñêóïàëñÿ, êàê ãîðÿ÷èå ïèðîæêè. È Êýòðèí, âäîáàâîê ê ðîéàëòè — îò÷èñëåíèÿì çà êàæäûé ïðîäàííûé ýêçåìïëÿð êíèãè, — ïîëó÷èëà îò èçäàòåëüñòâà ùåäðûé àâàíñ çà ïðîäîëæåíèå ðîìàíà.
 ðàññìàòðèâàåìîì ïðèìåðå, äåìîíñòðèðóþùåì îïèñàòåëüíûé
ïåðåâîä, îêàçûâàåòñÿ íàðóøåííûì ãëàâíîå ïðàâèëî: íå áûëî íèêàêîé íåîáõîäèìîñòè âî ââåäåíèè íîâîãî ñëîâà, ïîñêîëüêó â ðóññêîì
ÿçûêå åñòü òåðìèí «àâòîðñêèé ãîíîðàð», ñîîòâåòñòâåííî, íåçà÷åì
áûëî èñïîëüçîâàòü è îïèñàòåëüíûé ïåðåâîä. Òàêèì îáðàçîì, õîòÿ
ôîðìàëüíî âñ¸ áûëî ñäåëàíî ïî ïðàâèëàì, â ñàìîì ñóùåñòâåííîì
ìîìåíòå ïåðåâîä÷èê îêàçàëñÿ íå íà âûñîòå. Çàèìñòâîâàíèå ñëî⠗
àêò î÷åíü îòâåòñòâåííûé, îí òðåáóåò òùàòåëüíîé ïðîâåðêè è òîíêîãî ëèíãâèñòè÷åñêîãî ÷óòüÿ.
Ïîäñòàíîâî÷íûìè ñëåäóåò ñ÷èòàòü äåéñòâèÿ ïåðåâîä÷èêà, åñëè
ïðè ââåäåíèè èíîÿçû÷íîãî ñëîâà èëè ñëîâîñî÷åòàíèÿ â ÿçûê ïåðåâîäà — ïðè çàèìñòâîâàíèè — îí íàõîäèò ñîîòâåòñòâèÿ èõ êîìïîíåíòàì. Òàêàÿ ïîäñòàíîâêà íîñèò íàçâàíèå «êàëüêèðîâàíèå» — ïîêîìïîíåíòíàÿ ïîäñòàíîâêà, âîññîçäàþùàÿ ñòðóêòóðó îðèãèíàëüíîãî ñëîâà èëè ñëîâîñî÷åòàíèÿ. Ïîñêîëüêó òîëüêî ôîðìàëüíàÿ
ïåðåäà÷à íå âñåãäà äà¸ò ïðåäñòàâëåíèå î çíà÷åíèè öåëîãî, îíà ÷àñòî
ñîïðîâîæäàåòñÿ äîïîëíèòåëüíîé ñåìàíòèçàöèåé â âèäå îïèñàòåëüíîé äåôèíèöèè: semiconductor, earthquake, hyperspace, Earthman,
skyscraper; optic fiber, pop culture, hidden camera, synthetic culture.
Õîòÿ, êàê ïðàâèëî, çíà÷åíèå êàëüêè ïîíÿòíî, ïîñëåäíèé ïðèìåð ïðè
êàëüêèðîâàíèè íå ñîâñåì ÿñåí. Ñ ïîìîùüþ äåñêðèïòèâíîé äåôèíèöèè, êîòîðàÿ ìîæåò ñîïðîâîæäàòü êàëüêó, å¸ ñîäåðæàíèå ñòàíîâèòñÿ ïîíÿòíûì äëÿ òåõ, êòî íå çíàåò, ÷òî ýòî «ïðîäóêöèÿ ñðåäñòâ
ìàññîâîé èíôîðìàöèè, ðàññ÷èòàííàÿ íà âêóñû ìàññîâîãî ïîòðåáèòåëÿ, íàïðèìåð ìûëüíàÿ îïåðà». Ïðèíöèïèàëüíî ãîâîðÿ, êàëüêèðîâàíèå âïîëíå ñàìîäîñòàòî÷íûé ñïîñîá ââåäåíèÿ íîâûõ ñëîâ, òåðìèíîâ è ïð. â ÿçûê ïåðåâîäà, íåîáõîäèìîñòü äîïîëíèòåëüíîé ñå-
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ìàíòèçàöèè ñëåäóåò ðàññìàòðèâàòü â íåêîòîðîì ñìûñëå êàê èçäåðæêè ïðîèçâîäñòâà.
Ïðè çàèìñòâîâàíèè ïðîñòûõ ñëîâ òàêæå èìååò ìåñòî ïîäñòàíîâêà, íî íà äðóãîì, ôîíåòè÷åñêîì, óðîâíå. Ýòîò ïðè¸ì íàçûâàåòñÿ òðàíñêðèïöèåé ïðè ïåðåäà÷å çâó÷àíèÿ ñëîâà è òðàíñëèòåðàöèåé ïðè ïåðåäà÷å åãî íàïèñàíèÿ, ãðàôè÷åñêîãî îáðàçà: PR — ïèàð, happening —
õýïïåíèíã, hooligan (ïåðâîíà÷àëüíî èðëàíäñêîå Houlihan) — õóëèãàí, mixer — ìèêñåð è ìèêøåð. Î÷åâèäíî, ÷òî íà ïåðâûõ ïîðàõ âíîâü
ïîÿâèâøååñÿ ñëîâî òðåáóåò îáúÿñíåíèÿ, òîëêîâàíèÿ â âèäå îïèñàòåëüíîé äåôèíèöèè, çàòåì íåîáõîäèìîñòü â òîëêîâàíèè îòïàäàåò,
äåôèíèöèÿ óòðà÷èâàåòñÿ, è ââåä¸ííîå ñëîâî ïðîäîëæàåò ñâî¸ ñàìîñòîÿòåëüíîå ñóùåñòâîâàíèå: inauguration — èíàóãóðàöèÿ (òîðæåñòâåííàÿ öåðåìîíèÿ âñòóïëåíèÿ/ââåäåíèÿ íîâîãî ïðåçèäåíòà â äîëæíîñòü); Internet. Âîçìîæíû è â íåêîòîðûõ îáëàñòÿõ çíàíèÿ ïðåèìóùåñòâåííî èñïîëüçóþòñÿ áåñïåðåâîäíûå çàèìñòâîâàíèÿ òèïà
Pink Floyd, Genesis, Yesterday.
Ïðè îòñóòñòâèè ñîîòâåòñòâèÿ, êàê, íàïðèìåð, â ñëó÷àå ñ íîâûìè
ñëîâàìè, îíî ñîçäà¸òñÿ âñåìè âîçìîæíûìè ñïîñîáàìè, â òîì ÷èñëå ñ
îïîðîé íà áëèæàéøèå àíàëîãè, êîòîðûå âîçíèêàþò áëàãîäàðÿ ïîäñòàíîâêå è ìîãóò ïðåâðàòèòüñÿ â ðåãóëÿðíî èñïîëüçóåìûå ñîîòâåòñòâèÿ:
municipal council — àäìèíèñòðàöèÿ ãîðîäà, mayor — ãëàâà ãîðîäà.
 òî âðåìÿ êàê ïîèñê çàðåãèñòðèðîâàííûõ â ñëîâàðÿõ ñîîòâåòñòâèé (ýêâèâàëåíòíûõ è âàðèàòèâíûõ) ïðåäïîëàãàåò ïîäñòàíîâî÷íûå
äåéñòâèÿ ïåðåâîä÷èêà, ðåøåíèå ïðîáëåì ñ îêêàçèîíàëüíî ðåàëèçóþùèìèñÿ â êîíòåêñòå ïîòåíöèàëüíûìè çíà÷åíèÿìè ñëîâ ñâÿçàíî ñ
ñîçäàíèåì êîíòåêñòóàëüíûõ ñîîòâåòñòâèé è òðåáóåò äðóãèõ ïîäõîäîâ.
Êîíòåêñòóàëüíûå ñîîòâåòñòâèÿ ìîãóò ñîçäàâàòüñÿ êàê èíäèâèäóàëüíîå óïîòðåáëåíèå äðóãèõ, íå çàôèêñèðîâàííûõ ñëîâàðÿìè ñëîâ íà
îñíîâå àíàëèçà óçêîãî, øèðîêîãî, ñèòóàöèîííîãî êîíòåêñòà, ñ ó÷¸òîì ïðåäêîíòåêñòà è äàæå ïîñòêîíòåêñòà. Óäà÷íîå ðåøåíèå êîíêðåòíîé ïðîáëåìû ïðè óñëîâèè çàêðåïë¸ííîñòè ïîäîáíîãî óïîòðåáëåíèÿ ìîæåò ïðåâðàòèòü îêêàçèîíàëüíîå ñîîòâåòñòâèå â óçóàëüíîå è
äàëåå — â âàðèàòèâíîå. Èòàê, â îñíîâå îïèñàííûõ îïåðàöèé ïî ïåðåâûðàæåíèþ òåêñòà îðèãèíàëà â òåêñò ïåðåâîäà ñîîòâåòñòâèÿ ëèáî
ñóùåñòâóþò, ëèáî ñîçäàþòñÿ âíîâü (â òîì ÷èñëå è çàèìñòâîâàíèåì),
ëèáî çàìåíÿþòñÿ áëèæàéøèìè àíàëîãàìè íà îñíîâàíèè âûâåäåíèÿ
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èõ ñ ïîìîùüþ ëîãè÷åñêèõ îïåðàöèé. Ïðîñëåæèâàÿ ðîëü êîíòåêñòà â
âûáîðå ñîîòâåòñòâèé, ìîæíî óâèäåòü, êàê îíà âîçðàñòàåò îò ýêâèâàëåíòíûõ ñîîòâåòñòâèé, íåçàâèñèìûõ îò êîíòåêñòà, ê âàðèàíòíûì, ãäå
òðåáóåòñÿ àíàëèç è ëèíãâèñòè÷åñêîãî êîíòåêñòà, è êîíòåêñòà ñèòóàöèè, è, íàêîíåö, ê êîíòåêñòóàëüíûì ñîîòâåòñòâèÿì, ãäå çàìåíà äåòåðìèíèðîâàíà òåêñòîâûìè è ñèòóàöèîííûìè ôàêòîðàìè.
ÇÀÌÅÍÀ
Îïðåäåëèì çàìåíó êàê äåòåðìèíèðîâàííóþ íîðìàìè ÿçûêà ïåðåâîäà è êîíêðåòíûì êîíòåêñòîì ëåêñèêî-ãðàììàòè÷åñêóþ òðàíñôîðìàöèþ ýëåìåíòîâ òåêñòà îðèãèíàëà â ýëåìåíòû, íå ÿâëÿþùèåñÿ
èõ ñëîâàðíûìè ñîîòâåòñòâèÿìè â ïåðåâîäå. Ïðåæäå ÷åì îïèñûâàòü
êîíêðåòíûå òèïû ïðîèçâîäèìûõ çàìåí, ðàññìîòðèì â íèõ ðîëü ñèòóàöèè, å¸ ñóùíîñòü.
Òðàêòîâêà ïîíÿòèÿ ñèòóàöèÿ â ïåðåâîä÷åñêîé òåîðèè äàëåêî íå
îäíîçíà÷íà. ×èñòî ýìïèðè÷åñêè ïîíÿòíî, ÷òî ñèòóàöèÿ ÿâëÿåòñÿ ñîñòàâëÿþùåé êàæäîãî êîíêðåòíîãî êîììóíèêàòèâíîãî àêòà.  ïåðåâîäå îíà ôîðìèðóåòñÿ è äèêòóåòñÿ ðàçíûìè ó÷àñòíèêàìè êîììóíèêàòèâíîãî àêòà — îòïðàâèòåëåì, ïîñðåäíèêîì, ïîëó÷àòåëåì; ìåñòîì, âðåìåíåì, îáñòîÿòåëüñòâàìè è ïðî÷èìè óñëîâèÿìè. Òàêàÿ
ñèòóàöèÿ â óñëîâèÿõ, íàïðèìåð, óñòíîãî ïåðåâîäà ìîæåò áûòü âíåøíåé ïî îòíîøåíèþ ê ñìûñëó ïåðåâîäèìîãî ìàòåðèàëà.
Åñëè æå ðàññìàòðèâàòü ñèòóàöèþ èçíóòðè, èäÿ îò òåêñòà, îíà êàê
áû ïðîíèçûâàåò âûñêàçûâàíèå, ïîñêîëüêó ñèòóàöèîííûå ìîìåíòû
(ïåðñîíàæè, ñîâåðøàþùèå íåêèå äåéñòâèÿ â îïðåäåë¸ííîì ìåñòå,
âî âðåìåíè, â èçâåñòíûõ ïðè÷èííî-ñëåäñòâåííûõ îáñòîÿòåëüñòâàõ)
ÿâëÿþòñÿ ÷àñòüþ òåêñòà. Óñòíûé ïåðåâîä÷èê, âîñïðèíèìàþùèé âíåøíèå óñëîâèÿ êîíòàêòà è ñóòü ïåðåâîäèìîãî ìàòåðèàëà ïî îòäåëüíîñòè è íåïîñðåäñòâåííî, îêàçûâàåòñÿ â èíîì ïîëîæåíèè ïî ñðàâíåíèþ ñ ïåðåâîä÷èêîì ïèñüìåííîãî òåêñòà, äëÿ êîòîðîãî ñèòóàöèÿ
âêëþ÷åíà â ñàì òåêñò è ïîýòîìó îêàçûâàåò áîëåå äåòåðìèíèðóþùåå
âëèÿíèå íà âûáîð ïåðåâîä÷åñêèõ ðåøåíèé. È òåì íå ìåíåå íåëüçÿ
íå ñîãëàñèòüñÿ ñ òåì, ÷òî çíà÷èòåëüíàÿ ÷àñòü èíôîðìàöèè â àíãëèéñêèõ òåêñòàõ â ñèëó õàðàêòåðíîé äëÿ íèõ èìïëèöèòíîñòè îñòà¸òñÿ çà
ïðåäåëàìè ñîáñòâåííî ñîîáùåíèÿ, êàê, íàïðèìåð, â àòðèáóòèâíûõ
ñî÷åòàíèÿõ, øèðîêî èñïîëüçóåìûõ â êà÷åñòâå çàãîëîâêîâ è íàçâà-
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íèé3.
Ïî ðàçíûì ïðè÷èíàì, ãëàâíàÿ èç êîòîðûõ — àíàëèòè÷åñêèé
õàðàêòåð àíãëèéñêîãî ÿçûêà, âûðàæåííàÿ ñëîâàìè èíôîðìàöèÿ òðåáóåò íåêîòîðîãî «äîìûñëèâàíèÿ». Ñþäà æå îòíîñèòñÿ î÷åâèäíàÿ
òåíäåíöèÿ ê ìíîãîçíà÷íîñòè, ñëîâîîáðàçîâàòåëüíàÿ ìîáèëüíîñòü
àíãëèéñêîãî ñëîâà, êîãäà, êàê ýòî ïðîèñõîäèò ïðè êîíâåðñèè, ñìûñë
íîâîãî ñëîâà óòî÷íÿåòñÿ êîíòåêñòîì ñèòóàöèè ãîðàçäî áîëüøå, ÷åì
ñâÿçüþ ñ ïðîòîòèïîì. Ðàññìîòðèì ñëó÷àé íåîæèäàííîãî äîìûñëèâàíèÿ íà ïðèìåðå ñëåäóþùåãî ïåðåâîäà:
Not even the feminine association with the left-hand side could escape
the Church’s defamation. In France and Italy, words for “left” —
gauche and sinistra — came to have negative overtones, while their
right-hand counterparts rang of righteousness, dexterity and
correctness. To this day, radical thought was considered left wing,
irrational thought was left brain, and anything evil, sinister. — Äàæå
æåíñêèå îðãàíèçàöèè ñ «ëåâûì óêëîíîì» íå èçáåæàëè ãîíåíèé ñî
ñòîðîíû Öåðêâè. Âî Ôðàíöèè è Èòàëèè ñàìî ñëîâî «ëåâûé» —
gauche è sinistra — ïðèîáðåëî íåãàòèâíûé îòòåíîê, â òî âðåìÿ êàê
ñëîâî «ïðàâûé» ñòàëî ïî÷òè ïîëíûì ñèíîíèìîì ïðàâîòû, ïðàâèëüíîñòè, ïðàâåäíîñòè. Ïî ñåé äåíü ðàäèêàëüíî ìûñëÿùèõ ïîëèòèêîâ
íàçûâàþò ëåâûì êðûëîì, èððàöèîíàëüíîå ìûøëåíèå — ëåâûì, à
ñëîâî sinister ïåðåâîäèòñÿ êàê «ïëîõîé», «äóðíîé», «çëîé».
Ñ ôîðìàëüíîé òî÷êè çðåíèÿ feminine association ïîä âëèÿíèåì
òèïè÷íîé ðóññêîé ìîäåëè àòðèáóòèâíîãî ñî÷åòàíèÿ âïîëíå ìîæåò
áûòü ïîíÿòî êàê æåíñêèå îðãàíèçàöèè, õîòÿ áîëåå øèðîêèé êîíòåêñò
ïðåäëàãàåò èíîå òîëêîâàíèå, â êîòîðîì îáå ñîñòàâëÿþùèå àòðèáóòèâíîãî ñî÷åòàíèÿ ðåàëèçóþò ñîâñåì äðóãèå çíà÷åíèÿ: ðå÷ü èä¸ò íå î
æåíñêèõ îðãàíèçàöèÿõ, à îá àññîöèàòèâíûõ ñâÿçÿõ âñåãî ïðèñóùåãî
æåíùèíå — ñ íåãàòèâíîé îöåíêîé. È òîãäà íà ïåðåäíèé ïëàí âûñòóïàåò ãðàììàòè÷åñêàÿ íàêëàäêà â ïåðåâîäå — åäèíñòâåííîå ÷èñëî, à
íå ìíîæåñòâåííîå ó ñëîâà association. Èìåííî çäåñü îøèáñÿ ïåðåâîä÷èê, íå ñîâëàäàâ ñ ìíîãîçíà÷íîñòüþ.
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Êîìèññàðîâ Â.Í. Ñëîâî î ïåðåâîäå (Î÷åðê ëèíãâèñòè÷åñêîãî ó÷åíèÿ î
ïåðåâîäå). — Ì.: ÈÌÎ, 1973. Ñ. 142.
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 ëþáîì ñëó÷àå âïîëíå ïðàâîìåðíî òðàêòîâàòü ñèòóàöèþ êàê
ñîâîêóïíîñòü êîìïîíåíòîâ ðåàëüíîé äåéñòâèòåëüíîñòè, îôîðìëÿþùèõ êàê îáñòîÿòåëüñòâà êîììóíèêàòèâíîãî àêòà â öåëîì — âíåøíÿÿ
ñèòóàöèÿ, òàê è îáñòîÿòåëüñòâà â ñàìîì ñîîáùåíèè — âíóòðåííÿÿ
ñèòóàöèÿ. Èìåííî òàê ñèòóàöèþ îïðåäåëÿåò Ã.Â. Êîëøàíñêèé: êàê
ñîâîêóïíîñòü êîìïîíåíòîâ ðåàëüíîé äåéñòâèòåëüíîñòè, ñóùåñòâóþùèõ â ìîìåíò ðå÷åâîãî äåéñòâèÿ èëè îïèñûâàåìûõ â âûñêàçûâàíèè. Ë.Ñ. Áàðõóäàðîâ, ðàññìàòðèâàÿ ñèòóàöèþ êàê ôàêòîð, äåòåðìèíèðóþùèé âûáîð ñîîòâåòñòâèÿ ïðè ïåðåâîäå, ïîä÷¸ðêèâàåò, ÷òî
êîíòåêñò êàê ÿçûêîâîå îêðóæåíèå èãðàåò ãëàâíóþ ðîëü, â òî âðåìÿ
êàê ñèòóàöèÿ êàê ýêñòðàëèíãâèñòè÷åñêèé ôàêòîð ïîçâîëÿåò ïîíÿòü
ñìûñë ðå÷åâîãî ïðîèçâåäåíèÿ, ýëèìèíèðóÿ ìíîãîçíà÷íîñòü è ýíòðîïèþ êàê ìåðó èíôîðìàöèîííûõ ïîòåðü ïðè ïåðåäà÷å ñîäåðæàíèÿ
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.
Îòìåòèì, ÷òî òåêñòîâàÿ ñèòóàöèÿ ôîðìèðóåò ãëàâíûå äåéêòè÷åñêèå
(óêàçàòåëüíûå) ïàðàìåòðû èíôîðìàöèè, ïîäêðåïëÿþùèå ñìûñëû,
ïîñòóïàþùèå èç ëèíãâèñòè÷åñêîãî êîíòåêñòà çà ñ÷¸ò âðåìåííîãî è
ïðîñòðàíñòâåííîãî, ëè÷íîñòíîãî, ñîöèàëüíîãî è ýìîöèîíàëüíîãî
äåéêñèñà. Ðàñêðûâàÿ çíà÷åíèå èíîÿçû÷íîãî ñëîâà â êîíòåêñòå, ïåðåâîä÷èê èçâëåêàåò åãî ñìûñë (òî åñòü òî çíà÷åíèå, êîòîðîå ñëîâî,
ñëîâîñî÷åòàíèå, ïðåäëîæåíèå ðåàëèçóåò â êîíêðåòíîì âûñêàçûâàíèè ñ ó÷¸òîì ñåìàíòèêè åäèíèö è ñèòóàöèîííîé èíôîðìàöèè), îáóñëîâëåííûé êàê ëèíãâèñòè÷åñêèìè îñîáåííîñòÿìè ñëîâà è åãî êîíòåêñòîì, òàê è âíåøíèìè ýêñòðàëèíãâèñòè÷åñêèìè ôàêòîðàìè. Ê
÷èñëó ïîñëåäíèõ îòíîñÿòñÿ, ïî ìíåíèþ òåîðåòèêîâ ïåðåâîäà , òàêèå
âèäû ñèòóàöèè, êàê ïðåäìåòíàÿ îáñòàíîâêà è ðå÷åâàÿ ñèòóàöèÿ.
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Ïðåäìåòíàÿ îáñòàíîâêà êàê ñîñòàâëÿþùàÿ îïèñûâàåìîé â òåêñòå ñèòóàöèè îïðåäåëÿåòñÿ âðåìåíåì è ìåñòîì è îáðàçóåò äåéêòè÷åñêèé êîìïîíåíò ñèòóàöèè. Ïî ñëîâàðíîìó îïðåäåëåíèþ (Íåëþáèí), ïðåäìåòíàÿ îáñòàíîâêà âêëþ÷àåò ïðåäìåòû è ñâÿçè ìåæäó íèìè
äëÿ îïèñàíèÿ êîíêðåòíîãî ôðàãìåíòà ðåàëüíîé äåéñòâèòåëüíîñòè.
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ßçûê è ïåðåâîä. Âîïðîñû îáùåé è ÷àñòíîé òåîðèè ïåðåâîäà. — Ì.: ÈÌÎ,
1975. Ñ. 169—173.
Ãàê Â.Ã. Î ìîäåëÿõ ÿçûêîâîãî ñèíòåçà // Èí. ÿç. â øêîëå. 1969. ¹ 4. Ñ. 20;
Ðåöêåð ß.È. Òåîðèÿ ïåðåâîäà è ïåðåâîä÷åñêàÿ ïðàêòèêà. — Ì.: ÈÌÎ, 1974. Ñ. 31—
37; Ìèíüÿð-Áåëîðó÷åâ Ð.Ê. Òåîðèÿ è ìåòîäû ïåðåâîäà. — Ì.: Ìîñêîâñêèé ëèöåé,
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1996. Ñ. 44—58.
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Ðå÷åâàÿ ñèòóàöèÿ, ïîíèìàåìàÿ êàê óñëîâèÿ è îáñòîÿòåëüñòâà, â
êîòîðûõ ïðîèñõîäèò àêò êîììóíèêàöèè, ïî ìíåíèþ Ðåöêåðà6, ôîðìèðóåòñÿ òàêèìè ýëåìåíòàìè, êàê ëè÷íîñòü àâòîðà, ëè÷íîñòü ïîëó÷àòåëÿ, êîììóíèêàòèâíàÿ óñòàíîâêà/öåëü è å¸ âîçìîæíûé (îæèäàåìûé) ðåçóëüòàò, à òàêæå ñâÿçàíà ñ õàðàêòåðîì èñòî÷íèêà, â êîòîðîì
îïóáëèêîâàí ïåðåâîäèìûé ìàòåðèàë. Íåñîìíåííî, ÷òî çíàíèå îá
àâòîðå òåêñòà èëè ïåðñîíàæå òîãî èëè èíîãî ïðîèçâåäåíèÿ íå ìîæåò
íå îòðàæàòüñÿ â ñëîâàõ, êîòîðûå âûáèðàåò ïåðåâîä÷èê äëÿ èõ õàðàêòåðèñòèêè. Òàê, â îäíîì èç ðîìàíîâ î Ãàððè Ïîòòåðå äÿäÿ Âåðíîí,
âûíóæäåííûé ïåðåñåëèòü Ãàððè èç ÷óëàíà â îäíó èç ñïàëåí Äàäëè,
ïðîèçíîñèò:
“Don’t ask questions!” snapped his uncle. “Take this stuff upstairs, now.” — Íå çàäàâàé âîïðîñîâ! — ðÿâêíóë äÿäÿ Âåðíîí.
Ñîáèðàé áàðàõëî è òàùè åãî íàâåðõ, íåìåäëåííî.
Èç âñåãî ìíîæåñòâà çíà÷åíèé ñëîâ snap è stuff ïåðåâîä÷èê îòáèðàåò òå, êîòîðûå îòðàæàþò íåïðèÿòíûå äëÿ äÿäè îáñòîÿòåëüñòâà,
åãî îòíîøåíèå ê ïëåìÿííèêó, åãî ïîæèòêàì/èìóùåñòâó/âåùàì. Ðàçóìååòñÿ, îí ñëåäóåò çà àâòîðîì â ïåðåäà÷å âñåõ ýòèõ îòíîøåíèé,
òåì âàæíåå â÷èòûâàòüñÿ â òåêñò, ÷òîáû èõ îáíàðóæèòü è ïðàâèëüíî
ïåðåäàòü.
Àäðåñàò âûñêàçûâàíèÿ ïðè ïåðåâîäå ïðÿìîé ðå÷è òàêæå ÷àñòî
ñîñòàâëÿåò ïåðåâîä÷åñêóþ ïðîáëåìó, äëÿ ðåøåíèÿ êîòîðîé âî âíèìàíèå äîëæíû áûòü ïðèíÿòû ñîöèàëüíûå, ïñèõîëîãè÷åñêèå, êóëüòóðíûå è ñèòóàöèîííûå ôàêòîðû. Íàáëþäåíèÿ çà ñîâðåìåííîé àíãëîôîííîé ïåðåâîäíîé ïðîçîé ïîêàçûâàþò ïðåîáëàäàíèå «òû» äëÿ
ïåðåâîäà «you».
Ñðåäè âîçíèêàþùèõ ïðè ïåðåâîäå ïðîáëåì — âûáîð ñòèëèñòè÷åñêè îêðàøåííûõ ñëîâ äëÿ ïåðåäà÷è ñëåíãà è ñíèæåííîé ëåêñèêè.
Ýòè ïðîáëåìû íå âñåãäà ìîæíî ðåøèòü ïîäñòàíîâêîé.
Èñòî÷íèê ïåðåâîäèìîãî òåêñòà — òàêæå îäèí èç ôàêòîðîâ, îêàçûâàþùèé âëèÿíèå íà âûáîð ïðè ïåðåâîäå. Îòíåñ¸ì ñþäà æàíð òåêñòà, íàïðèìåð êîíêðåòíàÿ àíãëèéñêàÿ ãàçåòà (Guardian), ðàññ÷èòàí6
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íàÿ íà îïðåäåë¸ííîãî ÷èòàòåëÿ, òåìàòèêó, ðàäèêàëüíîñòü âûðàæåííûõ ìíåíèé è óñòàíîâîê, ÿçûê, êîãíèòèâíóþ îáùíîñòü ïîëó÷àòåëÿ è
îòïðàâèòåëÿ èíôîðìàöèè, òî åñòü ôàêòîðû, äèêòóþùèå ïåðåâîä÷åñêèé âûáîð.
Òàêèì îáðàçîì, ñèòóàöèÿ ñî âñåìè å¸ êîìïîíåíòàìè ñëóæèò äëÿ
ïåðåâîä÷èêà èñòî÷íèêîì âàæíîé èíôîðìàöèè, ïîçâîëÿþùèì åìó
âåñòè ïîñòîÿííûé äèàëîã ñ ïîëó÷àòåëåì ïåðåâîäà, ÷èòàòåëåì. Ó÷¸ò
âûíåñåííûõ â ïðèìå÷àíèÿ ôàêòîðîâ ñîäåðæàíèÿ, êîòîðûå ÷èòàòåëü
ïåðåâîäà ìîæåò íå çíàòü èëè íå îñîçíàâàòü, îòðàæàåò ïðîôåññèîíàëèçì ïåðåâîä÷èêà. Âîò êàêèì îáðàçîì òðè ðàçíûõ ïåðåâîä÷èêà ðåøàþò ïðîáëåìó ïåðåäà÷è èíôîðìàöèè, ïîíÿòíîé àíãëèéñêîìó ÷èòàòåëþ, íî íå èçâåñòíîé ðóññêîìó ïîëó÷àòåëþ òåêñòà. Ðå÷ü èä¸ò î áàíøè:
Õàííà øëà êàê-òî ðàç äîìîé ÷åðåç ïëÿæ è óñëûøàëà áàíøè. —
Äà âåòåð ýòî ïðîñòî áûë, è âñ¸ — ñêàçàë Õåíðè, — äóåò ñêâîçü
ðàñùåëèíó â ñêàëå, îòñþäà è âîé. Íî Áðèäæèò ñêàçàëà, ÷òî Õàííà âèäåëà áåñïëîòíóþ ôèãóðó, êàê áóäòî èç òóìàíà, â ÿðäå îò òîãî
ìåñòà, ãäå îíà ñòîÿëà.
Ïåðåâîä÷èê ñ÷¸ë, ÷òî ÷èòàòåëþ âñ¸ ÿñíî îòíîñèòåëüíî áàíøè èç
êîíòåêñòà, îäíàêî âîçíèêøèõ ó ÷èòàòåëÿ ïðåäïîëîæåíèé îêàçûâàåòñÿ íåäîñòàòî÷íî äëÿ ïîëíîãî ïîíèìàíèÿ. Äðóãîé ïåðåâîä÷èê, ïîâèäèìîìó, âîñïîëüçîâàëñÿ îïèñàòåëüíîé äåôèíèöèåé, è òåêñò ñòàë
ÿñíåå:
È òóò òèøèíó íàðóøèë ÷åé-òî âûñîêèé âîé, íàïîìèíàþùèé ïëà÷
áàíøè — ïðèâèäåíèÿ, ïðåäâåùàþùåãî ñìåðòü.
Îäíàêî ïîëíàÿ ÿñíîñòü èìåëà ìåñòî â ðåçóëüòàòå èíôîðìàòèâíîãî ïðèìå÷àíèÿ ïåðåâîä÷èêà â òðåòüåì ñëó÷àå:
Ïîñêîëüêó Êàðë ïîëó÷èë òðàâìó ÷åðåïà, à õàðàêòåð å¸ áûë ïîêà
íåÿñåí, óñïîêîèòåëüíûõ åìó íå äàâàëè. Íå îáðàùàÿ âíèìàíèÿ
íà óæàñíóþ ãîëîâíóþ áîëü, îí áóøåâàë îñòàòîê äíÿ è âñþ áåñïîêîéíóþ íî÷ü. Îí çàâûâàë, ñëîâíî áàíøè*, ïðîêëèíàÿ Áîãà,
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äüÿâîëà è ãíóñíûõ íèããåðîâ, êîòîðûå ëèøèëè åãî åäèíñòâåííîãî
øàíñà íà ïîáåã.
 øîòëàíäñêîé è èðëàíäñêîé ìèôîëîãèè — äóõ, ñòîíû êîòîðîãî ïðåäâåùàþò
ñìåðòü.
*
×èòàòåëü ìîæåò áûòü âïîëíå óäîâëåòâîð¸í ïîëó÷åííîé êðàòêîé
èíôîðìàöèåé, îäíàêî â õîäå å¸ ïîèñêà äîáðîñîâåñòíîìó ïåðåâîä÷èêó ïðèõîäèòñÿ ïðîñìàòðèâàòü ðàçíûå èñòî÷íèêè, îò ñëîâàðåé äî íàó÷íûõ èññëåäîâàíèé .
Îïðåäåëèì ïðèìå÷àíèÿ ïåðåâîä÷èêà êàê «âûíåñåííóþ çà ïðåäåëû ñîáñòâåííî ïåðåâîäèìîãî òåêñòà èìïëèöèòíî ñîäåðæàùóþñÿ â
åãî îòäåëüíûõ åäèíèöàõ èíôîðìàöèþ, ðàññìàòðèâàåìóþ ïåðåâîä÷èêîì êàê íåîáõîäèìóþ äëÿ ïîëíîãî ïîíèìàíèÿ òåêñòà ÷èòàòåëåì» .
Îáúåêòû ïåðåâîä÷åñêèõ ïðèìå÷àíèé ðàçíîðîäíû, ñ÷èòûâàåìàÿ
èíôîðìàöèÿ áûâàåò êàê ëèíãâèñòè÷åñêîé, òàê è ýíöèêëîïåäè÷åñêîé.
Õàðàêòåð è ãëóáèíà êîììåíòèðîâàíèÿ íå âñåãäà óäîâëåòâîðÿþò ÷èòàòåëÿ, òåì íå ìåíåå, ïîëó÷àÿ êðàòêèå ïîçíàâàòåëüíûå ïðèìå÷àíèÿ,
îí èíôîðìàöèîííî óðàâíèâàåòñÿ äî íåêîòîðîé ñòåïåíè ñ ÷èòàòåëåì
îðèãèíàëüíîãî òåêñòà.
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Çàäàíèå 1. Ïðîàíàëèçèðóéòå ñëåäóþùèå ïðèìåðû ñ òî÷êè çðåíèÿ íå-
îáõîäèìîñòè ïðèìå÷àíèé. Îöåíèòå êà÷åñòâî ïðèìå÷àíèÿ,
åãî îáúåêò, ïðåäïîëîæèòå ðåàêöèþ ÷èòàòåëÿ íà ïðèìå÷àíèå. Êàê åù¸ ìîæíî ðåøèòü âîçíèêøóþ ïðîáëåìó?
1.
Ñåãîäíÿ, íàïðèìåð, åé áûëî ïî-íàñòîÿùåìó ïëîõî. Îíà ìå÷òàëà òîëüêî î òîì, êàê îêàæåòñÿ äîìà, ïðèìåò äóø, âûïüåò ïàðó
òàáëåòîê òàéëåíîëà è ëÿæåò â ïîñòåëü. (Ïðèìå÷àíèÿ íåò.)
Ìèõàéëîâà Ò.À. Ïåðñîíèôèêàöèÿ ñìåðòè â èðëàíäñêîé ýïè÷åñêîé è
ôîëüêëîðíîé òðàäèöèè: áàíøè // Ëîãè÷åñêèé àíàëèç ÿçûêà. Îáðàç ÷åëîâåêà â
êóëüòóðå è ÿçûêå / Îòâ. ðåä. Í.Ä. Àðóòþíîâà, È.Á. Ëåâîíòèíà. — Ì.: Èíäðèê, 1999.
Ñ. 261—271.
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Ñàïîãîâà Ë.È. ×èòàòåëü è ïåðåâîä÷èê: ïðèìå÷àíèÿ ïåðåâîä÷èêà // Òåçèñû
Âñåðîñ. íàó÷.-ïðàêò. êîíô. «Ðàçâèâàþùèéñÿ ÷åëîâåê â ïðîñòðàíñòâå êóëüòóðû:
ïñèõîëîãèÿ ãóìàíèòàðíîãî çíàíèÿ». — Òóëà: Òóëüñêèé ãîñ. óí-ò, 2004. Ñ. 233.
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2.
Íà ñòåíàõ âèñÿò êàðòèíû ïðåäñòàâèòåëåé ñàìûõ ðàçíûõ ñòèëåé è íàïðàâëåíèé — Ñàðäæåíò, Ñåçàíí, Ýíäðþ Óàéåò .
*
Äæîí Ñèíãåð Ñàðäæåíò (1856—1925) — àìåðèêàíñêèé õóäîæíèê, ìàñòåð
ñâåòñêèõ ïîðòðåòîâ. Ïîëü Ñåçàíí (1839—1906) — ôðàíöóçñêèé õóäîæíèê,
îäèí èç êðóïíåéøèõ ïðåäñòàâèòåëåé ïîñòèìïðåññèîíèçìà. Ýíäðþ Íüþýëë
Óàéåò (1917—1979) — àìåðèêàíñêèé æèâîïèñåö-ðåàëèñò.
*
3.
Ïîäîáíî Ãàíñó è Ãðåòåëü
*
, îòìå÷àâøèì äîðîãó õëåáíûìè
êðîøêàìè, Ðîííè, õîòü è íåïðåäíàìåðåííî, îòìå÷àëà ñâîé
ïóòü áóñèíàìè, ñîðâàííûìè ñ ïëàòüÿ.
*
Ïåðñîíàæè ñêàçêè áðàòüåâ Ãðèìì.
4. Òîì èñïûòûâàë îùóùåíèå deja vu*.
*
Deja vu — óæå âèäåííîå (ôðàíö
.).
5. Åäâà âîéäÿ â öåðêîâü, Ðîííè îêàçàëàñü â öåíòðå âíèìàíèÿ.
Îíà áûëà Õåñòåð Ïðèíí ñ àëîé áóêâîé À íà ãðóäè*.
Îíà áûëà
áèáëåéñêîé áëóäíèöåé, ïîáèâàåìîé êàìíÿìè.
Õåñòåð Ïðèíí — ãåðîèíÿ ðîìàíà àìåðèêàíñêîãî ïèñàòåëÿ-ðîìàíòèêà
Íàòàíèýëÿ Ãîòîðíà (1804—1864) «Àëàÿ áóêâà» (1850). Áóêâà À íà å¸ ãðóäè —
êëåéìî ïîçîðà, êîòîðûì ïóðèòàíñêîå îáùåñòâî íàêàçûâàåò å¸ çà èçìåíó ìóæó.
*
6. Â å¸ ãëàçàõ Ôðåääè Êðþãåð* áûë àíãåëîì ïî ñðàâíåíèþ ñ ýòèì
÷åëîâåêîì.
Ôðåääè Êðþãåð — ìîíñòð-óáèéöà, ïåðñîíàæ ïîïóëÿðíîãî êèíîñåðèàëà
«Êîøìàð íà óëèöå Âÿçîâ».
*
7. Äæåððè Ôàéíìåí*, òû õîðîøèé ÷åëîâåê!
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Fineman — õîðîøèé ÷åëîâåê (àíãë.).
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8.
Îòúåçä â Âàøèíãòîí áûë íàçíà÷åí íà ïÿòíèöó ïîñëå Äíÿ òðóäà , òàê ÷òî âðåìåíè íà ïîäãîòîâêó îñòàâàëîñü ìàëî.
*
*
Äåíü òðóäà ïðàçäíóåòñÿ â ÑØÀ â ïåðâûé ïîíåäåëüíèê ñåíòÿáðÿ.
9.
— Óðîäñòâî ñàòàíû íè÷òî ïðåä çëîáíîé æåíùèíû óðîäñòâîì
*
,
— çàäóì÷èâî ïðîäåêëàìèðîâàë Òîì.
*
Öèòàòà èç òðàãåäèè Ó. Øåêñïèðà «Êîðîëü Ëèð». Ïåðåâîä Á. Ïàñòåðíàêà.
10.
Ñàìèõ ïî ñåáå èñòîðèè, ãåîãðàôèè, ðåëèãèè, ÿçûêà è äàæå
îáùåé âîëè íåäîñòàòî÷íî, äëÿ òîãî ÷òîáû äàòü îïðåäåëåíèå
íàöèè. Íàöèÿ — ýòî ôàêò ïñèõîëîãèè. Íàöèÿ — ýòî òî, ÷òî â
íåé åñòåñòâåííî è èñêîííî, òî, ÷òî ïðèäà¸ò ñèëû ñàìîìó ñëîâó «íàöèÿ»
*
. Íàöèÿ — ýòî õàðàêòåð.
Çäåñü Ìàäàðèàãà îòìå÷àåò èãðó ñëî⠗ natural, native, nation, — êîòîðóþ
áåç íàñèëèÿ íàä ðóññêèì ÿçûêîì ïåðåäàòü íå óäà¸òñÿ.
*
11. Åìó ïðèøëî â ãîëîâó, ÷òî òàê æå äîëæåí áûë ÷óâñòâîâàòü ñåáÿ
Ôðàíêåíøòåéí*, êîãäà ñîçäàííûé èì ìîíñòð ñòàë ïîäàâàòü
ïåðâûå ïðèçíàêè æèçíè.
Ôðàíêåíøòåéí — ïåðñîíàæ çíàìåíèòîãî «ãîòè÷åñêîãî» ðîìàíà Ìýðè Øåëëè
(1797—1851) «Ôðàíêåíøòåéí, èëè Ñîâðåìåííûé Ïðîìåòåé» (1818),
ñîçäàòåëü ÷åëîâåêîïîäîáíîãî ÷óäîâèùà.
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12. Ðîííè ïîäúåõàëà ê òð¸õýòàæíîìó êèðïè÷íîìó îñîáíÿêó âèê-
òîðèàíñêîé ýïîõè, âïîñëåäñòâèè ïðåâðàù¸ííîìó â êîíäîìèíèóì*.
Òîì çàíèìàë öåëûé ýòàæ.
Êîíäîìèíèóì — æèëîé äîì, â êîòîðîì âñå êâàðòèðû íàõîäÿòñÿ â
ñîáñòâåííîñòè æèëüöîâ.
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13.
Ñòðîãàÿ ñåðàÿ þáêà ìÿãêî êîëûõàëàñü âîêðóã èäåàëüíûõ íîæåê, êàçàâøèõñÿ íåïðàâäîïîäîáíî äëèííûìè äëÿ å¸ ïÿòè ôóòîâ ïÿòè äþéìîâ ðîñòà .
*
*
Ïÿòü ôóòîâ ïÿòü äþéìî⠗ 1 ì 65 ñì.
14.
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Ïîñìîòðåâ íà òåðìîìåòð, Àíäæè ïðèêóñèëà ãóáó. Ðòóòü îñòàíîâèëàñü ìåæäó ñòà òðåìÿ è è ñòà ÷åòûðüìÿ ãðàäóñàìè
*
.
Ïðèìåðíî 39,7°.
15.
 öåðêâè Ñàíòà Ìàðèÿ èí Òðàñòåðå ñëóæàò ìåññó: ïÿòü
çàêóòàííûõ â ïðîñòûå øàëè ïîæèëûõ æåíùèí, ñêëîíèâøèñü
ê õîëîäíîìó, ïðîäóâàåìîìó ñêâîçíÿêàìè êàìåííîìó ïîëó,
ñëóøàþò ñîííîå áîðìîòàíèå ìîëîäîãî ñâÿùåííèêà: «Êèðèå
åëåéñîí, Êèðèå åëåéñîí, Êðèñòå åëåéñîí, Êèðèå åëåéñîí,
Êèðèå åëåéñîí»
*
.
*
Ãîñïîäè ïîìèëóé, Ãîñïîäè ïîìèëóé, Õðèñòîñ ïîìèëóé. . . — ñëîâà îáðàùåíèÿ
ê Áîãó, êîòîðûìè, â èõ ãðå÷åñêîì âàðèàíòå, íàçâàíà ïåðâàÿ ÷àñòü êàòîëè÷åñêîé ìåññû.
Èòàê, íàðÿäó ñ ïðîñòûìè ïîäñòàíîâêàìè ïåðåâîä÷èê âåñüìà ÷àñòî ñòîèò ïåðåä íåîáõîäèìîñòüþ ñîâåðøàòü íåêîòîðûå ïðåîáðàçîâàíèÿ, îòõîäû, îáóñëîâëåííûå íåâîçìîæíîñòüþ èñïîëüçîâàíèÿ ñîîòâåòñòâèé êàê «èçîìîðôíûõ ñðåäñòâ, íàëè÷íûõ â îáîèõ ÿçûêàõ» .
Òåðìèí «çàìåíà», ïðåäëîæåííûé ß.È. Ðåöêåðîì, îïèñûâàåò ñóòü
óìñòâåííûõ îïåðàöèé, ïðîèçâîäèìûõ ïåðåâîä÷èêîì, êîãäà îí ëîãè÷åñêè âûâîäèò ðåàëèçîâàííûå â òåêñòå ñìûñëû íà îñíîâàíèè ôîðìàëüíî-ëîãè÷åñêèõ îòíîøåíèé ïîíÿòèé â äâóõ ÿçûêàõ, îòðàæàþùèõ
èõ ðàâíîçíà÷íîñòü, êîíòðàäèêòîðíîñòü, ïîä÷èí¸ííîñòü, ïåðåêðåùè9
Ãàê Â.Ã. Ìåæúÿçûêîâàÿ àñèììåòðèÿ è ïðîãíîçèðîâàíèå òðàíñôîðìàöèé ïðè
ïåðåâîäå // Ñá. íàó÷í. òðóäîâ ÌÃÏÈÈß. Âûï. 127. — Ì., 1978. Ñ. 15.
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âàíèå è âíåïîëîæåííîñòü10. Çàìåíà ïðåäïîëàãàåò äåòåðìèíèðîâàí-
òðàíñôîðìàöèþ
íóþ íîðìàìè ÿçûêà ïåðåâîäà è êîíêðåòíûì êîíòåêñòîì ëåêñèêî-
ýëåìåíòîâ òåêñòà îðèãèíàëà â
ýëåìåíòû òåêñòà â ïåðåâîäå, íå ÿâëÿþùèåñÿ èõ ñëîâàðíûìè ñîîòâåòñòâèÿìè, íî ôóíêöèîíàëüíî è èíôîðìàòèâíî àäåêâàòíûìè èì.
Îïðåäåëÿÿ ñóùíîñòü ïðåäëîæåííûõ èì ðàçíîâèäíîñòåé ëåêñè÷åñêèõ îïåðàöèé (êîíêðåòèçàöèÿ, äèôôåðåíöèàöèÿ, ãåíåðàëèçàöèÿ,
ñìûñëîâîå ðàçâèòèå, öåëîñòíîå ïðåîáðàçîâàíèå, àíòîíèìè÷åñêèé
ïåðåâîä, êîìïåíñàöèÿ ïîòåðü), ß.È. Ðåöêåð âèäèò å¸ â «çàìåíå ïåðåâîäèìîé ëåêñè÷åñêîé åäèíèöû ñëîâîì èëè ñëîâîñî÷åòàíèåì èíîé
âíóòðåííåé ôîðìû, àêòóàëèçèðóþùèì òó ñëàãàåìóþ èíîñòðàííîãî
ñëîâà (òó ñåìó), êîòîðàÿ ïîäëåæèò ðåàëèçàöèè â äàííîì êîíòåêñòå»11.
ãðàììàòè÷åñêóþ
Äàëüíåéøàÿ ðàçðàáîòêà ïðåäëîæåííûõ ß.È. Ðåöêåðîì èäåé êàñàåòñÿ êàê ñóòè è òèïîëîãèè òðàíñôîðìàöèé, òàê è êîíêðåòíûõ ïðè÷èí, âûçûâàþùèõ íåîáõîäèìîñòü òðàíñôîðìàöèé, êîíêðåòíûõ óñëîâèé, ñëóæàùèõ èìïóëüñîì äëÿ ïðåîáðàçîâàíèé, à òàêæå ñëåäñòâèé
ïðîèçâåä¸ííûõ è íåïðîèçâåä¸ííûõ òðàíñôîðìàöèé. Ïî ìíåíèþ Ëàòûøåâà , ñóòü ëåêñè÷åñêèõ òðàíñôîðìàöèé çàêëþ÷àåòñÿ â çàìåíå
åäèíèö îðèãèíàëà íå ñèñòåìíûìè (ñëîâàðíûìè) ëåêñè÷åñêèìè ýêâèâàëåíòàìè èëè âàðèàíòàìè Ïß, à êîíòåêñòóàëüíûìè, îáíàðóæåííûìè â íåêèõ êîíêðåòíûõ òåêñòîâûõ óñëîâèÿõ è íå çàðåãèñòðèðîâàííûìè ñëîâàð¸ì êàê ñîîòâåòñòâèÿ äàííûõ åäèíèö îðèãèíàëà. Ïðîèñõîäèò ïîäáîð ñðåäñòâ âûðàæåíèÿ äëÿ ïåðåäà÷è ìûñëè îðèãèíàëà,
çàòðàãèâàþùèé «ëèøü ïîâåðõíîñòíûé ñëîé ðå÷åìûñëèòåëüíîãî ïðîöåññà... â ñîîòâåòñòâèè ñ óæå èìåþùåéñÿ ñõåìîé ìûñëè». Ñëåäóåò
ïîä÷åðêíóòü, ÷òî ïîäáîð ëåêñè÷åñêèõ ñðåäñòâ èíäèâèäóàëåí, ÷àñòî
îíè òðåáóþò ìîðôîëîãè÷åñêîé è ñèíòàêñè÷åñêîé ïîääåðæêè, ïîýòîìó ëåêñèêî-ñåìàíòè÷åñêèå òðàíñôîðìàöèè îäíîâðåìåííî ÿâëÿþòñÿ
è ëåêñèêî-ãðàììàòè÷åñêèìè.
Òðàíñôîðìàöèþ â îáùåì çíà÷åíèè ñëåäóåò ñ÷èòàòü ìåòîäîëîãè÷åñêîé îñíîâîé áîëüøèíñòâà ïðè¸ìîâ ïåðåâîäà
12
. Ïîä ïðè¸ìîì áó-
Ëàòûøåâ Ë.Ê. Òåõíîëîãèÿ ïåðåâîäà. — Ì.: ÍÂÈ-Òåçàóðóñ, 2000. Ñ. 11.
Ðåöêåð ß.È. Òåîðèÿ è ïåðåâîä÷åñêàÿ ïðàêòèêà. — Ì.: Ìåæäóíàð. îòíîøåíèÿ,
1974. Ñ. 38.
12 Ëàòûøåâ Ë.Ê. Òåõíîëîãèÿ ïåðåâîäà. — Ì.: ÍÂÈ-Òåçàóðóñ, 2000. Ñ. 255.
10
11
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äåì ïîíèìàòü âîñòðåáîâàííûå â ïðîöåññå ïåðåâîäà íåïîñðåäñòâåííûå äåéñòâèÿ, îïåðàöèè ïî ïðåîáðàçîâàíèþ òåêñòà îðèãèíàëà â òåêñò
ïåðåâîäà.  óçêîì çíà÷åíèè ýòîò òåðìèí îçíà÷àåò ñïîñîá ïåðåâîäà,
ïðåäïîëàãàþùèé «îòõîä îò ñåìàíòèêî-ñòðóêòóðíîãî ïàðàëëåëèçìà
ìåæäó îðèãèíàëîì è ïåðåâîäîì»13. Ïðè¸ìû ïåðåâîäà ìîãóò áûòü
ïðåäñòàâëåíû òðàíñôîðìàöèåé ëåêñè÷åñêèõ, ãðàììàòè÷åñêèõ, ñåìàíòè÷åñêèõ ýëåìåíòîâ èñõîäíîãî òåêñòà ñ îáÿçàòåëüíûì ñîõðàíåíèåì
èõ èíôîðìàöèè.
 ïåðåâîä÷åñêîé ëèòåðàòóðå îáñóæäàþò ëåêñè÷åñêóþ òðàíñôîðìàöèþ êàê ñìåíó âíóòðåííåé ôîðìû ëåêñè÷åñêîé åäèíèöû. Ÿ ìîæíî îïðåäåëèòü êàê ïðåîáðàçîâàíèå íà óðîâíå ëåêñèêè, îáóñëîâëåííîå ðàçëè÷èåì â îáú¸ìå ïîíÿòèÿ, ñî÷åòàåìîñòè, ïðèâû÷íîãî äëÿ êàæäîãî íîñèòåëÿ ÿçûêà óçóñà, ñòèëèñòè÷åñêîé õàðàêòåðèñòèêè ñëîâ.
ëåêñè÷åñêîå â åäèíèöàõ ÿçûêà â êîíå÷íîì ñ÷¸òå îçíà÷àåò ñåìàíòè÷åñêîå, â òðàíñôîðìàöèîííûõ ïðè¸ìàõ ýòîãî âèäà ñìûñë
ëåêñè÷åñêèõ åäèíèö âñåãäà ðàñêðûâàåòñÿ ñ ïîìîùüþ îïåðàöèé ëîãè÷åñêîãî ìûøëåíèÿ íàä îáú¸ìîì ïîíÿòèÿ àíàëèçèðóåìîãî ñëîâà,
åãî ëèíãâèñòè÷åñêèì êîíòåêñòîì è ñèòóàöèåé.
Ãðàììàòè÷åñêèå òðàíñôîðìàöèè ñîîòíîñÿòñÿ ñ ãðàììàòè÷åñêèìè ïðåîáðàçîâàíèÿìè èñõîäíîãî òåêñòà â ìîðôîëîãèè è ñèíòàêñèñå ñîãëàñíî íîðìàì ÿçûêà ïåðåâîäà. Îíè ìîãóò áûòü îáóñëîâëåíû
êàê ëåêñè÷åñêèìè, òàê è ãðàììàòè÷åñêèìè ðàçëè÷èÿìè ÿçûêîâ è âûðàæàþòñÿ â çàìåíå ôîðì ñëîâ è ñèíòàêòèêî-ñòðóêòóðíîé ïåðåñòðîéêå
(çàìåíû è ïåðåñòàíîâêè). Êàê ãðàììàòè÷åñêèå ðàññìàòðèâàþòñÿ,
íàïðèìåð, çàìåíà ïðè ïåðåâîäå ïàññèâà íà àêòèâ, çàìåíà îòñóòñòâóþùèõ â ÿçûêå êîíñòðóêöèé (àáñîëþòíàÿ ïðè÷àñòíàÿ è áåñïðè÷àñòíàÿ êîíñòðóêöèÿ, èíôèíèòèâíûå êîìïëåêñû, ãåðóíäèàëüíûå îáîðîòû) ñîîòâåòñòâóþùèìè èì â ÿçûêå ïåðåâîäà ñðåäñòâàìè. Ñ òî÷êè
çðåíèÿ ñèíòàêñèñà òðàíñôîðìàöèè ìîãóò èìåòü ìåñòî ïðè ïðåâðàùåíèè ïðîñòûõ ïðåäëîæåíèé â ñëîæíûå, ñëîæíûõ — â ïðîñòûå.
Ñþäà æå îòíîñÿòñÿ ïåðåñòàíîâêè â ïîðÿäêå ñëîâ, îáóñëîâëåííûå
òåìà-ðåìàòè÷åñêèìè îòíîøåíèÿìè, âçàèìîïåðåõîäû è ïåðåñòàíîâêè ïðèäàòî÷íîãî è ãëàâíîãî ïðåäëîæåíèé â ñëîæíîïîä÷èí¸ííûõ
Ïîñêîëüêó
13
Íåëþáèí Ë.Ë. Òîëêîâûé ïåðåâîä÷åñêèé ñëîâàðü. — Ì.: Ôëèíòà; Íàóêà, 2003.
Ñ. 230.
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ïðåäëîæåíèÿõ. Íåîáõîäèìîé ïðåäïîñûëêîé ãðàììàòè÷åñêèõ ïðåîáðàçîâàíèé ïðè ïåðåâîäå ÿâëÿåòñÿ îáÿçàòåëüíîñòü ñîõðàíåíèÿ
íîðì ÿçûêà ïåðåâîäà è òî÷íàÿ ïåðåäà÷à ëîãè÷åñêèõ àêöåíòîâ â èñõîäíîì òåêñòå.
 ñâÿçè ñ ýòèì âîçíèêàåò íåîáõîäèìîñòü äîïîëíåíèÿ èëè îïóùåíèÿ êàê ïðè¸ìîâ âîñïîëíåíèÿ èëè óñòðàíåíèÿ ôîðìàëüíî âûðàæåííûõ îòðåçêîâ èíôîðìàöèè â ñîîòâåòñòâèè ñ íîðìàòèâíûìè
òðåáîâàíèÿìè ÿçûêà ïåðåâîäà. Òàêàÿ ñèòóàöèÿ ìîæåò äèêòîâàòüñÿ ñîîòâåòñòâèåì ñëîâà â îðèãèíàëå ñëîâîñî÷åòàíèþ â ïåðåâîäå
èëè óçóàëüíûìè ïðè÷èíàìè, ïðèíÿòûìè ñòàíäàðòàìè ñêðóïóë¸çíî òî÷íîãî óêàçàíèÿ íà âåñ, ðîñò, ïðîäîëæèòåëüíîñòü ñîáûòèÿ:
120 minute talk.
Ðàññìîòðèì íà ñëåäóþùèõ ïðèìåðàõ óñëîâèÿ è ïðè÷èíû äîïîëíåíèÿ è îïóùåíèÿ. Äîïîëíåíèÿ ïðè ïåðåâîäå âûçûâàþòñÿ íåîáõîäèìîñòüþ ëåêñè÷åñêîãî âîñïîëíåíèÿ ïðèâû÷íûõ ñî÷åòàíèé èìïëèöèòíî ñîäåðæàùèõñÿ ñìûñëîâ â ãëóáèííûõ ñòðóêòóðàõ ñëîâ è ñëîâîñî÷åòàíèé: to propose
— ïðåäëàãàòü — âíîñèòü ïðåäëîæåíèå; äåëàòü
ïðåäëîæåíèå — ïðåäëàãàòü ðóêó è ñåðäöå; âûäâèãàòü ÷üþ-ëèáî êàíäèäàòóðó.
Îïóùåíèå ñâÿçàíî ñ ñåìàíòè÷åñêîé èçáûòî÷íîñòüþ ïëàíà ñîäåðæàíèÿ â îäíîì èç ÿçûêîâ â ïðîòèâîâåñ íîðìàì ïëàíà âûðàæåíèÿ
â äðóãîì ÿçûêå: He leaped
and rushed across the road to
meet them. Îïóùåíèå âûäåëåííîé ÷àñòè âîçìîæíî èëè íåîáõîäèìî,
ïîñêîëüêó îíà ÿâëÿåòñÿ ïîâòîðîì èíôîðìàöèè, âûðàæåííîé â ñåìàíòèêå ãëàãîëà
— to jump (move your body off the ground
using your legs) into the air or over a long distance, ãäå ñ å¸ ïîìîùüþ
óòî÷íÿåòñÿ íàïðàâëåíèå äâèæåíèÿ.
Î÷åâèäíî, ÷òî êàêèìè áû ïðè÷èíàìè íå îáóñëîâëèâàëîñü ïðåäïðèíÿòîå ïðåîáðàçîâàíèå, îíî çàòðàãèâàåò âñå ÿçûêîâûå óðîâíè è
èìååò ñëîæíóþ ÿçûêîâóþ ïðèðîäó. Íè äîïîëíåíèå, íè îïóùåíèå,
îäíàêî, íå îçíà÷àåò ââåäåíèÿ äîïîëíèòåëüíîé èíôîðìàöèè èëè èçúÿòèÿ ÷àñòè ñîäåðæàíèÿ, ïîñêîëüêó òî, ÷òî ïðîèñõîäèò, ñâÿçàíî ïðè
äîïîëíåíèè ñ ôîðìàëüíîé ðàçíîóðîâíåâîñòüþ ñîîòâåòñòâèé.  ñëó÷àå ñ îïóùåíèåì èìååò ìåñòî èçáûòî÷íîñòü ñðåäñòâ âûðàæåíèÿ â
îäíîì èç ÿçûêîâ.
to his feet
to leap
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Çàäàíèå 2. Ïåðåâåäèòå ñëåäóþùèå ñî÷åòàíèÿ, âûÿñíèâ ïðè÷èíû äî-
ïîëíåíèÿ èëè îïóùåíèÿ.
Adequately safeguarded disarmament, time bomb, Lennon’s £17,250
letter, drink drive law, National Aeronautics and Space Administration,
new hi-tech navigator system, the student welfare officer, the Association of Recognized English Language Services, championship game,
wedding reception, job interview, citified clothing, junior college, my
three-and-a-half-year-old self.
Çàäàíèå 3. Ïåðåâåäèòå, îáúÿñíèâ òèïè÷íûå óñëîâèÿ äëÿ äîïîëíåíèÿ
èëè îïóùåíèÿ.
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You can find required information within seconds.
The jet airliner carried 78 passengers and 4 crew.
Ex-Superintendent Hale pulled thoughtfully at his pipe.
He leapt to his feet and hurried across the road to meet them.
Each time we prepare a plan, it’s vetoed by someone at the top.
Too often our society treats art as ancient Egyptian priests treated the gods they worshipped: as the exclusive preserve of an
initiated elite to be revered and protected from the uninitiated
masses. We distort paintings by putting them behind glass in
museums, and we dutifully applaud a Beethoven symphony at
just the right moment, looking with frozen faces and condemnatory nods at those uninitiated who applaud at inappropriate times.
Poirot slowed up a little as he approached the big block of flats
overlooking Regent’s Park.
Her startled glance descended like a beam of light, and settled
for a moment on the man’s face. He was fortyish and rather fat.
I took my obedient feet away from him.
I am thinking an unmentionable thing about your mother.
She was still fat after childbirth; the destroyer of her figure sat at
the table.
Jane set her bathing-suited self to washing the lunch dishes.
He inched himself into the water.
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14. Frank Harrington was a thin sixty-year-old.
15. When he was expelled, he had not been afraid to come home and
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face his father. “I got bounced, Dad,” he said. “What the hell
for?” “Too much drinking and girling, I guess.”
The proposal was rejected and repudiated.
The marriage was declared null and void.
He was on pins and needles while answering my questions.
With the name of this man are associated the basic socioeconomic transformations effected in Egypt in the interest of the
broad mass of working men and women.
In America, cigarettes have been referred to as “coffin nails” for
more than a century.
ÂÈÄÛ ÇÀÌÅÍ
Êîíêðåòèçàöèÿ — ïðè¸ì èñïîëüçîâàíèÿ â ïåðåâîäå ñëîâà ñ áîëåå êîíêðåòíûì çíà÷åíèåì ïî ñðàâíåíèþ ñ óïîòðåáë¸ííûì â îðèãèíàëå, îñíîâàííûé íà ðîäî-âèäîâûõ ïîíÿòèéíûõ îòíîøåíèÿõ. Îí ïðèìåíÿåòñÿ ïðè îòñóòñòâèè â äâóõ ÿçûêàõ ñîîòâåòñòâèÿ îäíîãî óðîâíÿ
èëè ïðè íåâîçìîæíîñòè ïî ñòèëèñòè÷åñêèì, ãðàììàòè÷åñêèì, ëåêñè÷åñêèì ïðè÷èíàì âîñïîëüçîâàòüñÿ èìåþùèìñÿ ñîîòâåòñòâèåì.
Íàïðèìåð, mother-in-law â çàâèñèìîñòè îò êîíòåêñòà ìîæåò áûòü
meal
êîíêðåòèçèðîâàíî êàê «ñâåêðîâü» èëè «òåùà», à
ìîæåò òðàíñôîðìèðîâàòüñÿ â «çàâòðàê», «îáåä», óæèí» èëè ïî óñëîâèÿì êîíòåêñòà ñìåíèòü ÷àñòü ðå÷è.
Ãåíåðàëèçàöèÿ ïðåäïîëàãàåò èñïîëüçîâàíèå â ïåðåâîäå ñëîâà ñ
áîëåå îáùèì çíà÷åíèåì ïî ñðàâíåíèþ ñ èñõîäíûì òåêñòîì:
I saw a man 6 feet 2 inches tall. — ß óâèäåë âûñîêîãî ìóæ÷èíó.
Î÷åâèäíî, ÷òî òàêîå ðåøåíèå áóäåò ê ìåñòó, åñëè òî÷íûå äàííûå
íå ñîñòàâëÿþò âàæíóþ èíôîðìàöèþ òåêñòà.  êîíòåêñòàõ, ñâÿçàííûõ ñ ïðîäîëæèòåëüíîñòüþ áåñåäû, â ðóññêîì óçóñå íå ïðèíÿòî óêàçûâàòü òî÷íîå âðåìÿ, â íèõ ïðåäïî÷òèòåëüíåå óêàçûâàòü âðåìÿ ïðè180
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áëèçèòåëüíî (÷àñ, áîëüøå ÷àñà) èëè, ÷òî áûâàåò ÷àùå, èñïîëüçîâàòü
âûðàæåíèÿ «êðàòêàÿ» èëè «ïðîäîëæèòåëüíàÿ áåñåäà». Èìåííî êîíòåêñò îïðåäåëÿåò ìåðó ïðèáëèçèòåëüíîñòè èëè òî÷íîñòè â ñèòóàöèÿõ
ñ óêàçàíèåì ðîñòà.  ñîâðåìåííûõ ïåðåâîäíûõ òåêñòàõ ÷àùå âñòðå÷àåòñÿ áóêâàëüíûé ïåðåíîñ ôóòîâ è äþéìîâ, ëèøü èçðåäêà ñ ïðèìå÷àíèåì, ñîäåðæàùèì ïåðåñ÷¸ò â ñàíòèìåòðàõ. Ðàçóìååòñÿ, äëÿ ÷èòàòåëÿ, íå çíàþùåãî ñîîòíîøåíèÿ åäèíèö èçìåðåíèÿ, ÷àñòü èíôîðìàöèè èñ÷åçàåò.
Ïðè êîíêðåòèçàöèè, äèôôåðåíöèàöèè (âèä çàìåíû äðóãèì ñëîâîì òîãî æå óðîâíÿ) è ãåíåðàëèçàöèè ïåðåâîä÷èê ïîëüçóåòñÿ ëåêñè÷åñêèìè ñîîòíîøåíèÿìè ðàçíîãî îáú¸ìà ïîíÿòèÿ, ñâîäÿ êîíêðåòíûå
ñìûñëû ê îáùèì, èëè íàîáîðîò, â ïðåäåëàõ ðîäî-âèäîâûõ ñîîòíîøåíèé. Íàïðèìåð, rose — ðîçà ìîæåò â ïåðåâîäå áûòü íàçâàíà öâåòêîì, è çäåñü çàìåíà ïîçâîëÿåò èçáåæàòü ïîâòîðà ñ ïîìîùüþ âòîðè÷íîé íîìèíàöèè.
Íàëè÷èå â ñåìàíòè÷åñêîé ñòðóêòóðå ìíîãîçíà÷íîãî ñëîâà îáùèõ
è ñïåöèàëüíûõ çíà÷åíèé òðåáóåò îò ïåðåâîä÷èêà âíèìàòåëüíîãî îòíîøåíèÿ ê êîíòåêñòó. Òàê, ñëîâî cake îçíà÷àåò è òîðò, è êåêñ, è ñëàä-
êèé ïèðîã, è ïèðîæíîå, è ëåï¸øêó, è îëàäüþ, è áëèí÷èê, à ñ ðàçíûìè
óòî÷íèòåëÿìè åù¸ è ñûðíèê, è ðûáíóþ êîòëåòó, áðóñîê, áðèêåò, ñëèòîê, ñãóñòîê è ò.ä.  ýòîì ñëó÷àå ïðîñòàÿ ïðîöåäóðà ïîäñòàíîâêè îäíîãî èç ïðåäëàãàåìûõ âàðèàíòîâ çíà÷åíèÿ êàê áû ñîäåðæèò â ñåáå
ðåàëüíîå îñíîâàíèå äëÿ ïðîöåäóðû çàìåíû.
Çàäàíèå 4. Ïåðåâåäèòå, îáúÿñíèâ ïðè÷èíû, âûçâàâøèå íåîáõîäèìîñòü
êîíêðåòèçàöèè èëè ãåíåðàëèçàöèè.
When I first arrived in Palm Springs, I was a vegetable. I could do
little more than sit zombie-like in the sun and stare at the desert.
2. During the last few years it’s been a case of the tail wagging the
dog — the company has been completely controlled by the workers’ demands, and the boss has been able to take no action without their agreement.
3. WRONG-WAY DRIVER, 85 An 85-year-old man, who drove the
wrong way along the A-30 near Redruth, Cornwall for four miles,
caused five accidents.
1.
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4. Living is an eternal wanting more, in the coarsest grocer and in
5.
6.
7.
8.
9.
10.
the sublimest mystic.
At 21 they feel they have lost their childhood, at 30 their youth,
at 40 they worry about middle age, at 50 they see old age round
the corner.
Sci-fic writers often speculate about an invasion by beings from
outer space and how they would react to our civilization.
It’s a funny thing that as soon as there’s fog on the motorway,
people drive faster.
Placing the paper bag, his briefcase and the remains of a takeaway dinner on the kitchen table, he made straight for the living-room.
Your stars.
A huge white cat came out of the hedges.
ÏÐÈ¨Ì ÑÅÌÀÍÒÈ×ÅÑÊÎÃÎ ÐÀÇÂÈÒÈß
Îñíîâîïîëàãàþùàÿ ëîãè÷åñêàÿ îïåðàöèÿ, ñóòü êîòîðîé çàêëþ÷àåòñÿ â âûâåäåíèè ñîîòâåòñòâèÿ èç çíà÷åíèÿ èñõîäíîé åäèíèöû ñ
ïîìîùüþ ìåòàôîðè÷åñêèõ èëè ìåòîíèìè÷åñêèõ çàìåí, íîñèò íàçâàíèå ïðè¸ìà ñåìàíòè÷åñêîãî ðàçâèòèÿ
. ß.È. Ðåöêåð íåáåçîñíîâà-
òåëüíî ñ÷èòàë, ÷òî ïðè ïåðåâîäå ÷àñòî íåñóùåñòâåííî, êàêèìè ñðåä14
ñòâàìè âûðàæåíî ïåðåäàâàåìîå ñîäåðæàíèå . ßçûê ïåðåâîäà îáëàäàåò ïîðàçèòåëüíûì ðàçíîîáðàçèåì âîçìîæíûõ çàìåí âíóòðè òåõ
îòíîøåíèé, êîòîðûå âûðàæàåò âûñêàçûâàíèå.  ïåðåâîä÷åñêîé ïðàêòèêå ìîæíî íàáëþäàòü âîçìîæíîñòü çàìåíû ïðîöåññà, äåéñòâèÿ,
ñîñòîÿíèÿ èõ ïðè÷èíîé; çàìåíó ïðè÷èíû èëè óñëîâèÿ — ñëåäñòâèåì; ìîòèâà — ðåçóëüòàòîì; ÿâëåíèÿ èëè åãî ïðèçíàêà — ïðè÷èíîé;
ñðåäñòâî — ðåçóëüòàòîì èëè öåëüþ; ïðîöåññ — ïðèçíàêîì, ïðåäìåòîì; ïðè÷èíó — ïðîöåññîì è ò.ä. Ïðè ýòîì ñëîâàðíîå ñîîòâåòñòâèå â ïåðåâîäå çàìåíÿåòñÿ ëîãè÷åñêè âûâåäåííûì êîíòåêñòó-
14
Ñ. 45.
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Ðåöêåð ß.È. Òåîðèÿ ïåðåâîäà è ïåðåâîä÷åñêàÿ ïðàêòèêà. — Ì.: ÈÌÎ, 1974.
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àëüíûì. Ðàññìîòðèì ýòîò ïðè¸ì íà ïðèìåðå ïåðåâîäà ñëåäóþùåãî
òåêñòà:
My resignation to mediocrity was strange, since by nature I am a
perfectionist.
Ñìûñë ñëîâà resignation èçâëå÷¸ì èç ñîîòâåòñòâóþùåãî ãëàãîëà: óñòóïèòü, ïîêîðÿòüñÿ, ïðèìèðèòüñÿ, ñìèðèòüñÿ, óñòóïèòü ® îïóñòèòüñÿ äî;
ïåðåâåä¸ì êàê «ïîñðåäñòâåííîñòü»;
òðåáóåò ñåìàíòè÷åñêîé ðàçðàáîòêè, ïîñêîëüêó íåîáõîäèìà
ñìåíà ÷àñòè ðå÷è, ïðè÷¸ì â êà÷åñòâå ãëàâíîé çàäà÷è ñòîèò âûðàæåíèå ïðîòèâîïîñòàâëåíèÿ ïîñðåäñòâåííîñòè. Òàêèì âàðèàíòîì ìîæåò
áûòü èäåÿ ñîâåðøåíñòâà. Èòàê, â ðåçóëüòàòå âñåõ çàìåí:
tionist
mediocrity
perfec-
Ñòðàííî, ÷òî ÿ îïóñòèëàñü äî ïîñðåäñòâåííîñòè, âåäü ïî ñâîåé
ïðèðîäå ÿ âî âñ¸ì ñòðåìëþñü ê ñîâåðøåíñòâó.
Èñõîäÿ èç ñîäåðæàíèÿ âûñêàçûâàíèÿ, ìû ïðîèçâåëè â ýòîì ïðèìåðå ëîãè÷åñêèå îïåðàöèè íàä íåñêîëüêèìè ñëîâàìè, îäíàêî ÷àñòî
ëîãè÷åñêîìó ðàçâèòèþ ïîäâåðãàåòñÿ âñ¸ ïðåäëîæåíèå öåëèêîì:
A little water stood in her eyes. With a handkerchief of the finest
lawn she wiped them stealthily.
ßñíî, ÷òî ìåòàôîðè÷åñêàÿ âîäà â ïåðåâîäå êîíêðåòèçèðóåòñÿ â
«ñë¸çû», å¸ ìàëîå êîëè÷åñòâî ìîæíî îáîçíà÷èòü êàê ñëåçèíêè, è
áóêâàëüíûé ñìûñë ïðåäëîæåíèÿ «Íåìíîãî âîäû âûñòóïèëî íà å¸
ãëàçàõ» ïðåîáðàçóåòñÿ â îñìûñëåííîå è ïðèâû÷íîå
Íà å¸ ãëàçàõ ïîêàçàëèñü/âûñòóïèëè ñëåçèíêè, è îíà óêðàäêîé
âûòåðëà èõ ïëàòî÷êîì èç òîí÷àéøåãî áàòèñòà.
Çàìåòèì, ÷òî áóêâàëüíûé ïåðåâîä êàê ïðåäâàðèòåëüíàÿ ñòàäèÿ
ïåðåâîäà ÿâëÿåòñÿ õîðîøåé îñíîâîé äëÿ ïåðåôðàçèðîâàíèÿ è äîâåäåíèÿ ïåðåâîäà äî íîðìàòèâíîãî âèäà. Äðóãîå çàìå÷àíèå îòíîñèòåëüíî ñåìàíòè÷åñêîãî ðàçâèòèÿ ñîñòîèò â òîì, ÷òî â í¸ì èñïîëüçóþòñÿ
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âñåâîçìîæíûå ëîãè÷åñêèå îïåðàöèè, â ñèëó ÷åãî ýòîò òåðìèí ñëåäóåò ñ÷èòàòü îáùèì, ïî îòíîøåíèþ ê êîòîðîìó, íàïðèìåð, êîíêðåòèçàöèÿ è ãåíåðàëèçàöèÿ ÿâëÿþòñÿ ÷àñòíûìè. Òðåòüå çàìå÷àíèå îòíîñèòñÿ ê ëåêñèêîãðàôè÷åñêîìó îïèñàíèþ ñåìàíòè÷åñêîé ñòðóêòóðû
ñëîâ â îäíîÿçû÷íûõ è äâóÿçû÷íûõ ñëîâàðÿõ: â íèõ ïðîñëåæèâàåòñÿ
ëîãèêà ñòàíîâëåíèÿ çíà÷åíèÿ ñëîâà, è èìåííî å¸ äàëüíåéøåå ðàçâèòèå ñîñòàâëÿåò ñóòü ïðè¸ìà ñåìàíòè÷åñêîãî ðàçâèòèÿ ñëîâà, áåç êîòîðîãî íå îáõîäèòñÿ ýòîò âèä òðàíñôîðìàöèè. Íà óðîâíå ïðåäëîæåíèÿ ñìûñëîâîå ðàçâèòèå çàòðàãèâàåò áîëåå îáøèðíûé ìàòåðèàë:
The stately tomb of Sir Isaac Newton had a lone visitor. ® Ê âíó-
øèòåëüíîé ãðîáíèöå ñýðà Èñààêà Íüþòîíà ïðèáëèçèëñÿ îäèíîêèé ïîñåòèòåëü.
 ýòîì âàðèàíòå ïåðåâîäà ïðîèçîøëà ñìåíà ïîäëåæàùåãî ñ öåëüþ ïðèäàíèÿ ïðåäëîæåíèþ íîðìàòèâíîé ôîðìû. Äðóãîé âîçìîæíûé âàðèàíò
Ó âåëè÷åñòâåííîãî íàäãðîáèÿ ñýðà Èñààêà Íüþòîíà ïîÿâèëñÿ/
ñòîÿë îäèíîêèé ïîñåòèòåëü.
ðåøàåò ïðîáëåìó ïåðåâîäà ãëàãîëà «had», êîòîðûé â ñèëó îáùåãî
çíà÷åíèÿ òðåáóåò êîíêðåòèçàöèè, è âñ¸ ýòî â ðàìêàõ ñóáúåêòíîîáúåêòíîé ïåðåîðèåíòàöèè, òðåáóåìîé íîðìàìè ÿçûêà ïåðåâîäà.
Ðîëü êîíòåêñòà ïðè èñïîëüçîâàíèè ñåìàíòè÷åñêîãî ðàçâèòèÿ îêàçûâàåòñÿ ÷ðåçâû÷àéíî âàæíîé:
So far the evidence they had uncovered was unhelpful.
Êîíêðåòíûé ñìûñë ïðåäëîæåíèÿ ñîñòîèò â òîì, ÷òî îáíàðóæåííûå äàííûå, ôàêòû, ñâèäåòåëüñòâà, óëèêè, íàõîäêè, äîêàçàòåëüñòâà
áûëè áåñïîëåçíûìè (íå ïîìîãàëè). Íà îñíîâàíèè êîíòåêñòà ïåðåâîä÷èöà îñòàíàâëèâàåò ñâîé âûáîð, èñõîäÿ èç ñèòóàöèè, íà óëèêàõ
è óòî÷íÿåò èõ êàê âåùåñòâåííûå. Ãëàãîëüíóþ ÷àñòü ïðåäëîæåíèÿ
îíà ãåíåðàëèçóåò òàêæå íà îñíîâàíèè îïèñûâàåìîé ñòàäèè ðàññëåäîâàíèÿ:
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Ïîêà äîáûòûå èìè âåùåñòâåííûå óëèêè ñèòóàöèþ íå ïðîÿñíÿëè.
Êîíòåêñò çàñòàâëÿåò ïåðåâîä÷èêà ïîñòîÿííî áàëàíñèðîâàòü ìåæäó ìíîæåñòâåííûìè ñïîñîáàìè âûðàæåíèÿ ìûñëè, äåòåðìèíèðóÿ è
óòî÷íÿÿ êîíå÷íûé ðåçóëüòàò.
Ïðåäìåòíûé ñèòóàöèîííûé ìèð âìåñòå ñ êîíòåêñòîì ñîáûòèé è
èõ ëîãèêîé òàêæå ÿâëÿåòñÿ ñîñòàâëÿþùèì ôàêòîðîì òðàíñôîðìàöèîííûõ îïåðàöèé.  ñëåäóþùåì ïðåäëîæåíèè áåç ó÷¸òà êîíòåêñòà,
ëèøü ñèëîé âîîáðàæåíèÿ ðåøàþòñÿ ÿçûêîâûå ïðîáëåìû, è íå ñàìûì ëó÷øèì îáðàçîì:
Lieutenant Collet helped himself to a Perrier from Teabing’s
refrigerator and strode back out through the drawing room. ® Ëåé-
òåíàíò Êîëëå äîñòàë èç õîëîäèëüíèêà Òèáèíãà áóòûëî÷êó ïåðüå
è âûøåë ÷åðåç êóõíþ â êîðèäîð.
Ïðåäïîëàãàåì, ÷òî êóõíÿ ïîÿâèëàñü â òåêñòå ïåðåâîäà êàê ïðèâû÷íîå ìåñòî õîëîäèëüíèêà, èç êîòîðîãî äîñòàëè ìèíåðàëüíóþ âîäó.
Ïî÷åìó ïîÿâèëñÿ êîðèäîð, íå ñîâñåì ÿñíî. Íåîáõîäèìîñòü âûðàæåíèÿ ìåñòà, êóäà âîçâðàùàëñÿ ëåéòåíàíò Êîëëå (strode back out)
òðåáîâàëà âñåãî ëèøü ïðîñìîòðà ïðåäêîíòåêñòà íà òîé æå ñòðàíèöå òåêñòà (Moving down a lavish hallway, Collet entered the vast
ballroom study where the chief PTS examiner was busy dusting for
fingerprints.). Èòàê, ëåéòåíàíò Êîëëå âîçâðàùàëñÿ ÷åðåç ãîñòèíóþ
â îãðîìíûé, êàê òàíöåâàëüíûé çàë, êàáèíåò. Âîçìîæíî, äëÿ ÷èòàòåëÿ íå ñòîëü óæ âàæíû âñå ïåðåäâèæåíèÿ ëåéòåíàíòà Êîëëå, íî
òàêîâ òåêñò, è åãî ëîãèêà íå äîïóñêàåò íåíóæíûõ ïðîìåæóòî÷íûõ
õîäîâ.
Çàäàíèå 5. Ïðîàíàëèçèðóéòå ñëó÷àè ñìûñëîâîãî ðàçâèòèÿ â ïðåäëî-
æåííûõ ïåðåâîäàõ è ïðåäëîæèòå ñâîè âàðèàíòû.
1.
Halloa, George, I was so afraid I’d missed you again. Halloa,
Mabel, he faltered. — Ïðèâåò, Äæîðäæ. ß òàê áîÿëàñü ñíîâà
íå çàñòàòü òåáÿ íà ìåñòå! — Ïðèâåò, Ìåéáë, — åëå âûãîâîðèë îí.
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We went upstairs and five minutes later were on the doorstep. —
Ìû ïîäíÿëèñü ê äàìàì, à ÷åðåç ïÿòü ìèíóò áûëè óæå íà óëèöå.
3. I had nothing to do and I could trust Mrs. Tower to give me a
good dinner. — Âå÷åð ó ìåíÿ áûë ñâîáîäåí, à ÷òî îáåä ó ìèññèñ
Òàóýð áóäåò îòìåííûé, ÿ íå ñîìíåâàëñÿ.
4. She said it always made her nervous not to be on the platform in
good time. — Äæåéí ñêàçàëà, ÷òî âñåãäà î÷åíü áîèòñÿ
îïîçäàòü ê ïîåçäó.
5. But Jane went through the menu conscientiously. — Íî Äæåéí
äîáðîñîâåñòíî âêóøàëà áëþäî çà áëþäîì.
6. Once more from the top of the table I heard a guffaw and guessed
that Jane had said another amusing thing. — C äðóãîãî êîíöà
ñòîëà êàê ðàç äîíåññÿ íîâûé âçðûâ ñìåõà, âèäíî, Äæåéí
îïÿòü ñêàçàëà ÷òî-òî çàáàâíîå.
7. She found some difficulty in telling me exactly what had occurred. —
Íå ñðàçó îíà ñóìåëà îáúÿñíèòü ìíå, ÷òî æå ïðîèçîøëî.
8. It’s possible that she uses false passports some of the time, but
the probabilities are that she also uses her real identity. —
Âîçìîæíî, ÷òî îíà âðåìÿ îò âðåìåíè èñïîëüçîâàëà ôàëüøèâûå ïàñïîðòà, íî åñòü âåðîÿòíîñòü, ÷òî îíà òàêæå ïîëüçîâàëàñü ñâîèì íàñòîÿùèì èìåíåì.
9. The Philadelphia Trust and Fidelity Bank had a large international division and at lunch Tracy and her fellow workers would
discuss each morning’s activities. It was a heady conversation. —
Ôèëàäåëüôèÿ òðàñò ýíä ôàéäåëèòè áýíê èìåë ìíîãî ìåæäóíàðîäíûõ îòäåëåíèé, çà ëåí÷åì Òðåéñè è å¸ ñîñëóæèâöû îáû÷íî îáñóæäàëè âñþ ïðîäåëàííóþ óòðîì ðàáîòó, è ýòî ÿâëÿëîñü
îñíîâíîé òåìîé.
10. She opened the drawer of the bedside table and carefully removed
the gun. It was shiny black, and terrifyingly cold. — Îíà îòêðûëà
ÿùèê òóàëåòíîãî ñòîëèêà è îñòîðîæíî äîñòàëà ðåâîëüâåð,
îòëèâàâøèé âîðîíåíûì áëåñêîì è òÿãîñòíî õîëîäèâøèé ðóêó.
11. The secret desires of American men and women were revealed
yesterday in a nation-wide survey by an advertising firm. —
2.
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Ïîñëå îïðîñà, ïðîâåä¸ííîãî ïî âñåé ñòðàíå ôèðìîé, ñïåöèàëèçèðóþùåéñÿ â ðåêëàìå, òàéíûå ìå÷òû àìåðèêàíöåâ è
àìåðèêàíîê ïåðåñòàëè áûòü ñåêðåòîì.
Bob Hoskins: Cher sweet-talked me into bed. — Áîá Õîñêèíñ:
Øåð ñîáëàçíèëà ìåíÿ ñëàäêèìè ðå÷àìè.
13. “He came home when Damon died — we all pulled together
and that was a tremendous comfort”, Bryce says. — «Êîãäà
Äåéìîí óìåð, îí ïðèåõàë äîìîé, ìû ñîáðàëèñü âñå âìåñòå, è
ýòî áûëî âåëè÷àéøèì îáëåã÷åíèåì», — ãîâîðèò Áðþñ.
14. Teaching children money sense. — Êàê íàó÷èòü äåòåé ñ÷èòàòü
äåíüãè / Ó÷èì äåòåé ðàçóìíî òðàòèòü äåíüãè / Ó÷èòü äåòåé
ïðàâèëüíî îòíîñèòüñÿ ê äåíüãàì / ïîíèìàòü ñìûñë äåíåã.
15. Joseph Pervin, the father of the family, had been a man of no
education, who had become a fairly large horse dealer. — Äæîçåô Ïåðâèí, îòåö ñåìüè, áóäó÷è íåîáðàçîâàííûì, ñòàë äîñòàòî÷íî èçâåñòíûì êîííûì äèëåðîì. / Ãëàâà ñåìüè Äæîçåô
Ïåðâèí, íå èìåÿ íèêàêîãî îáðàçîâàíèÿ, ñòàë âåñüìà ñîñòîÿòåëüíûì òîðãîâöåì ëîøàäüìè.
12.
Çàäàíèå 6. Êàêèå ìàíèïóëÿöèè ñî ñìûñëîì íåîáõîäèìî ïðîèçâåñòè,
÷òîáû àäåêâàòíî ïåðåäàòü ñîäåðæàíèå ïðåäëîæåíèé? Ïåðåâåäèòå, âîñïîëüçîâàâøèñü îïåðàöèåé ñìûñëîâîãî ðàçâèòèÿ.
He was a generous man — an altogether warm-hearted and lovable man. Not only was he a great painter, but he was a man
whose friends were devoted to him.
2. Her eyes welled up with tears.
3. In addition to his widow, Pratt is survived by a young daughter.
4. About 100 passengers held hostage in a Japanese airliner, went
into the third day of imprisonment today on the runway of Seoul
Airport.
5. Women are all waterproof and kissproof nowadays.
6. It seems to me quite fantastic that Amyas should have killed himself — but I suppose he could have done so. In fact, he must
have done so.
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7. After marking a batch of written work, the teacher might wish to
select certain common error as a focus for remedial work in types
of error.
8. My hair was in one of its totally-out-of-control and in direneedofa-haircut phases.
9. This unguarded confession must be treated with caution. After
all, the man makes a living by colourfully elasticating the truth.
10. She looked so vulnerable, yet so admirably strong and determined to emerge from her collapsed marriage a strong woman.
ÏÐÈ¨Ì ÀÍÒÎÍÈÌÈ×ÅÑÊÎÃÎ ÏÅÐÅÂÎÄÀ
Îáùèé âûâîä, ê êîòîðîìó ìîæíî ïðèéòè, àíàëèçèðóÿ óæå îïèñàííûå òðàíñôîðìàöèè, çàêëþ÷àåòñÿ â òîì, ÷òî ïðåîáðàçîâàíèå, êàêèì áû îíî íè áûëî, êàê ïðàâèëî, çàòðàãèâàåò íå òîëüêî ëåêñè÷åñêèé,
íî è äðóãèå ÿçûêîâûå óðîâíè. Èíà÷å ãîâîðÿ, ëþáàÿ òðàíñôîðìàöèÿ
òðåáóåò ïîñëåäóþùåé ïîäñòðîéêè âñåãî îñòàëüíîãî ñîñòàâà âûñêàçûâàíèÿ. Ýòî îñîáåííî îò÷åòëèâî âèäíî íà îïåðàöèè, íàçûâàåìîé àíòî-
íèìè÷åñêèé ïåðåâîä /ïåðåâîä îò îáðàòíîãî /êîíâåðñíàÿ îïåðàöèÿ.
Ïðåäïî÷òèòåëüíûì, ïî íàøåìó ìíåíèþ, íàçâàíèåì ÿâëÿåòñÿ ïåðåâîä
îò îáðàòíîãî. Ýòà îïåðàöèÿ áàçèðóåòñÿ íå ñòîëüêî íà àíòîíèìèè,
ñêîëüêî íà ïðîòèâîïîñòàâëåíèè, îïïîçèöèè, è å¸ ñóòü çàêëþ÷àåòñÿ â
ñìåíå çíàêà âûñêàçûâàíèÿ â õîäå ïåðåâûðàæåíèÿ ñìûñëà íà îñíîâàíèè íîðìàòèâíûõ, óçóàëüíûõ èëè ñòèëèñòè÷åñêèõ òðåáîâàíèé Ïß.
Ëåêñèêî-ãðàììàòè÷åñêàÿ òðàíñôîðìàöèÿ, ïðè êîòîðîé ïðîèñõîäèò çàìåíà óòâåðäèòåëüíîé ôîðìû âûñêàçûâàíèÿ îòðèöàòåëüíîé
è íàîáîðîò, ñîïðîâîæäàåòñÿ çàìåíîé ëåêñè÷åñêîé åäèíèöû Èß ëåêñè÷åñêîé åäèíèöåé Ïß ñ îáðàòíûì çíàêîì, ñ ïðîòèâîïîëîæíûì
ñìûñëîì. Íàïðèìåð:
Did you remember to send the letters? — Òû íå çàáûëà îòïðàâèòü
ïèñüìà?
Ýòà îïåðàöèÿ ÷àñòî ïðîèçâîäèòñÿ èíòóèòèâíî, ïî ïðèâû÷íûì
êàíîíàì ðîäíîé ðå÷è:
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Will you marry the cop? I wish I know. — Ñàìà íå çíàþ. /Õîòåëà
áû ÿ çíàòü.
Âñåãäà ëè îáÿçàòåëüíî àêöåíòèðîâàíèå îáðàòíîãî çíàêà? Âñåãäà, åñëè çàòðàãèâàþòñÿ íîðìàòèâíûå òðåáîâàíèÿ. Íå âñåãäà, åñëè
èñõîäèòü èç îáùåãî êîíòåêñòà è òîíàëüíîñòè ñèòóàöèè. Âûáîð ìîæåò îïðåäåëÿòüñÿ íà ýìîöèîíàëüíîì óðîâíå âîñïðèÿòèÿ ñèòóàöèè,
èñõîäÿ èç êîíòåêñòà:
Nothing has changed in my home town. — Íè÷òî íå èçìåíèëîñü
â ìî¸ì ðîäíîì ãîðîäå. / Âñ¸ îñòàâàëîñü ïî-ïðåæíåìó â ìî¸ì
ðîäíîì ãîðîäå.
 ïðåäåëàõ äàííîãî ïåðåâîä÷åñêîãî ïðåîáðàçîâàíèÿ ñëåäóåò òàêæå ðàññìîòðåòü ñëó÷àè, êîãäà îäíî è òî æå âûñêàçûâàíèå ìîæíî
ïðåäñòàâèòü ñ ïðîòèâîïîëîæíûõ ñòîðîí: êóïèòü — ïðîäàòü, îñòàâèòü — íå îòíÿòü. Èìåííî ýòà çàìåíà îáîçíà÷àåòñÿ òåðìèíîì êîíâåðñíàÿ òðàíñôîðìàöèÿ15:
There are so many things I want to know about the real you. The
real me’s a lot less exciting than the imaginary one. — Ìíå áû
î÷åíü õîòåëîñü óçíàòü, êàêàÿ òû íàñòîÿùàÿ. ß âîîáðàæàåìàÿ êóäà
áîëåå èíòåðåñíà, ÷åì ÿ íà ñàìîì äåëå.
Ñëåäóåò ïîä÷åðêíóòü, ÷òî íåîáõîäèìîñòü êîíâåðñíîé òðàíñôîðìàöèè âîçíèêàåò êóäà ÷àùå, ÷åì êàæåòñÿ íà ïåðâûé âçãëÿä.
Çàäàíèå 7. Ïðîàíàëèçèðóéòå ñëåäóþùèå òåêñòû ñ ïåðåâîäàìè. Ðåøè-
òå, íàñêîëüêî îïðàâäàí ïåðåâîä îò îáðàòíîãî.
1. I don’t forget anything, me. Mnemosyne was, let us not forget it,
the mother of the Muses. — ß âñ¸ ïîìíþ. Ìíåìîçèíà, íå
ñëåäóåò ýòîãî çàáûâàòü, áûëà ìàòåðüþ âñåõ ìóç.
2.
Cartwright appeared to be alone in the practice-room. Adrian
pushed the door open and went in. “Hi, he said, don’t stop, it’s
15
Ëàòûøåâ Ë.Ê. Òåõíîëîãèÿ ïåðåâîäà. — Ì.: ÍÂÈ-Òåçàóðóñ, 2000. Ñ. 261—262.
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good.” “Oh, it’s terrible really,” said Cartwright, I can’t get the
left hand working smoothly,” “That’s not what I’ve heard,” said
Adrian and immediately wanted to bite off his tongue. — Ñóäÿ
ïî âñåìó, Êàðòðàéò áûë â êëàññå îäèí. Àäðèàí òîëêíóë äâåðü
è âîø¸ë. — Ïðèâåò, — ïðîèçí¸ñ îí. Íå îñòàíàâëèâàéñÿ, ó
òåáÿ õîðîøî ïîëó÷àåòñÿ. — Ïî-ìîåìó, óæàñíî, — ñêàçàë
Êàðòðàéò. Íèêàê íå äîáüþñü áåãëîñòè ëåâîé ðóêè. — ß
ñëûøàë ñîâñåì äðóãîå, — îòâåòèë Àäðèàí, è åãî òóò æå
îõâàòèëî æåëàíèå îòêóñèòü ñåáå ÿçûê.
3.
In AD 79 the city of Pompei was buried under a layer of ash seven meters deep. —  79 ãîäó íàøåé ýðû ãîðîä Ïîìïåè áûë
çàñûïàí ñëîåì ïåïëà âûñîòîé ñåìü ìåòðîâ.
4.
5.
The idea was a good one. — Íåïëîõàÿ èäåÿ.
He had grown accustomed to dealing with surprises. — Ê
òðóäíîñòÿì è íåïðèÿòíûì ñþðïðèçàì åìó áûëî íå ïðèâûêàòü.
6.
All the same, it wasn’t what you’d call the perfect end to the day,
Harry thought, as he lay awake much later listening to Dean
and Seamus falling asleep (Newille wasn’t back from the hospital wing). — «×òî òàì íè ãîâîðè, à ýòî íå ëó÷øåå çàâåðøåíèå
äëÿ òàêîãî äíÿ», äóìàë Ãàððè íåñêîëüêî ÷àñîâ ñïóñòÿ, ëåæà ñ
îòêðûòûìè ãëàçàìè è ïðèñëóøèâàÿñü ê ìåðíîìó äûõàíèþ
Äèíà è Ñèìóñà (â ñïàëüíå èõ áûëî ïÿòåðî, íî Íåâèëë âñ¸ åù¸
íàõîäèëñÿ â áîëüíè÷íîì êðûëå).
7.
“I have just been told by a student that I have no right to call myself a lawyer, Master,” said Menzies. “I await an apology.” — ß
òîëüêî ÷òî óñëûøàë îò ñòóäåíòà, ìàãèñòð, ÷òî íå èìåþ ïðàâà
íàçûâàòü ñåáÿ þðèñòîì, — çàÿâèë Ìåíçèñ. È ÿ æäó èçâèíåíèé.
8.
Only one man saw that and kept it to himself. — Òîëüêî îäèí
÷åëîâåê óâèäåë òîëñòÿêà, îäíàêî äåëèòüñÿ óâèäåííûì íè ñ êåì
íå ñòàë.
9.
Now, in almost every particular my life had altered. — Òåïåðü æå
âñÿ ìîÿ æèçíü èçìåíèëàñü ïðàêòè÷åñêè âî âñåõ îòíîøåíèÿõ.
10.
“Everyone here? You here, still got yer toad?” — Âñå çäåñü? —
ïîèíòåðåñîâàëñÿ Õàãðèä. — Ýé, òû íå ïîòåðÿë åù¸ æàáó?
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Çàäàíèå 8. Ïåðåâåäèòå, èñïîëüçîâàâ ïðè¸ì ïåðåâîäà îò îáðàòíîãî.
Êàêèå ïðè÷èíû âûçûâàþò â í¸ì íåîáõîäèìîñòü â êàæäîì
îòäåëüíîì ñëó÷àå?
He had no excuse for holding the train any further. There was
nothing more he could do.
2. Wherever they went, Daniel Cooper and the two detectives were
never far behind.
3. It was not long before we came across the first bodies.
4. Stay out of the sun.
5. He was the last person I expected to meet in New York.
6. He that seeks trouble, never misses.
7. He had all the confidence in the world, and not without reason.
8. Still two weeks of success is definitely not nothing and phone
calls were coming in from agents for a week.
9. “So far as I’m concerned, the most incredible thing about you is
that you got away from Cambridge unmarried”. She looked down.
“I very hardly didn’t.” “But past now?” “Yes. Very past.”
10. He was seldom, indeed, far from Irene’s side at public functions.
1.
Çàäàíèå 9. Âûáåðèòå ëó÷øèé âàðèàíò ïåðåâîäà. Îáîñíóéòå ñâîé âûáîð.
1. There was not a moment to be lost. — Âðåìåíè áûëî â îáðåç. /
Íåëüçÿ áûëî òåðÿòü âðåìåíè.
2. And there were few persons who did not look upon it (to be Mrs
Tower’s guest) as a treat to be bidden to one of them. — Åäâà
ëè íå âñÿêèé ïðèãëàø¸ííûé íà îäèí èç òàêèõ âå÷åðîâ
ðàäîâàëñÿ åìó êàê ïðàçäíèêó. / È ìàëî êòî èç ïðèãëàø¸ííûõ
íå ñ÷èòàë ýòî óäîâîëüñòâèåì, êîòîðîå åìó íèñïîñëàíî
ñóäüáîé.
3. I hope you’ll like me, Mrs Tower, — he said. — Íàäåþñü âàì
ïîíðàâèòüñÿ, ìèññèñ Òàóýð, — ñêàçàë îí. / Íàäåþñü, âû ìåíÿ
ïîëþáèòå, ìèññèñ Òàóýð, — ñêàçàë îí.
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4. “We shall neither of us see fifty again, Jane,” she said. — Äà,
Äæåéí, íàì ñ òîáîé óæå ñòóêíóëî ïî ïÿòüäåñÿò. / Íèêîìó èç
íàñ ñ òîáîé óæå áîëüøå íå íàñòóïèò ñíîâà ïÿòüäåñÿò.
5. It was a scandal not to show anything so fine. — Ïðîñòî ñòûä è
ñðàì ïðÿòàòü òàêóþ êðàñîòó. / Ïðîñòî ñêàíäàë, ÷òî òàêóþ
êðàñîòó íå ïîêàçûâàþò.
6. You’re the only person who ever thought so. — Êðîìå âàñ, íèêòî
íè÷åãî ïîäîáíîãî íå äóìàë. / Âû åäèíñòâåííûé, êòî êîãäàëèáî ìîã òàê ïîäóìàòü.
7. And the gay, pleasant party didn’t break up till two in the morn-
ing. — È ïðèÿòíàÿ âåñåëàÿ âå÷åðèíêà ïðîäîëæàëàñü äî äâóõ
÷àñîâ óòðà. / Âå÷åð ïðîø¸ë ïðèÿòíî è âåñåëî, ðàçúåõàëèñü
òîëüêî â äâà ÷àñà íî÷è.
8. Things did not happen at all in the way she expected. — Âñå
ïðîèçîøëî ñîâñåì íå òàê, êàê îíà îæèäàëà. / Âñ¸ íå òàê ïðîèçîøëî, êàê îíà ïðåäïîëàãàëà.
9. You know, when I married Gilbert and settled in London and peo-
ple began to laugh at what I said, no one was more surprised
than I was. — Çíàåòå, êîãäà ÿ âûøëà çà Ãèëáåðòà è ñòàëà æèòü
â Ëîíäîíå è âñå íà÷àëè ñìåÿòüñÿ, ÷òî áû ÿ íè ñêàçàëà, ÿ
óäèâëÿëàñü áîëüøå âñåõ. / Ïîíèìàåòå, êîãäà ÿ âûøëà çàìóæ
çà Ãèëáåðòà è ïåðååõàëà â Ëîíäîí è ëþäè ñòàëè ñìåÿòüñÿ íàä
âñåì, ÷òî áû ÿ íè ñêàçàëà, íèêòî òàê íå óäèâëÿëñÿ, êàê ÿ.
10. Really when he came to think of it, he did not want to ask Angela
Warren any questions at all. The only question he did want to
ask her could wait. — Ñîáñòâåííî, åìó íå î ÷åì áûëî ñïðàøèâàòü Àíäæåëó Óîððåí. Åäèíñòâåííûé âîïðîñ, íà êîòîðûé
îí õîòåë áû ïîëó÷èòü îòâåò, ìîã ïîäîæäàòü. /  ñóùíîñòè,
åñëè ïîäóìàòü, îí âîâñå íå õîòåë çàäàâàòü âîïðîñû Àíäæåëå
Óîððåí. Åäèíñòâåííûé âîïðîñ, êîòîðûé îí äåéñòâèòåëüíî
õîòåë çàäàòü, ìîã ïîäîæäàòü.
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ÏÐÈ¨Ì ÖÅËÎÑÒÍÎÃÎ ÏÅÐÅÎÑÌÛÑËÅÍÈß
Ïðè¸ì öåëîñòíîãî ïåðåîñìûñëåíèÿ òàêæå ÿâëÿåòñÿ â ñâîåé
îñíîâå ïðè¸ìîì ñìûñëîâîãî ðàçâèòèÿ ñ çàìåíîé âíóòðåííåé ôîðìû
îáðàçîâàíèÿ, íî ñ ñîõðàíåíèåì ñîäåðæàíèÿ âûñêàçûâàíèÿ. ß.È. Ðåöêåð îïðåäåëÿåò åãî êàê îïåðàöèþ ñ ïëàíîì ñîäåðæàíèÿ, êîòîðûé
16
îñòà¸òñÿ ñîõðàííûì ïðè ñìåíå ïëàíà âûðàæåíèÿ. Öåëîñòíîå
ïåðåîñìûñëåíèå èñïîëüçóåòñÿ äëÿ ïåðåäà÷è òèïè÷íûõ ðàçãîâîðíûõ
ôîðìóë, ïîñëîâèö, ïîãîâîðîê è äðóãèõ ñèòóàòèâíûõ óñòîé÷èâûõ
âûðàæåíèé. Íàïðèìåð:
Dinner is served — Êóøàòü ïîäàíî. Many happy returns —
Ìíîãàÿ ëåòà / Ïîçäðàâëÿþ ñ äí¸ì ðîæäåíèÿ.
Keep your hair on — Íå ëåçü â áóòûëêó. His fingers are all thumbs —
Îí òàêîé íåóêëþæèé.
To lose face — Òåðÿòü ðåïóòàöèþ, óâàæåíèå, ëèöî.
Ñìûñëîâîå ðàçâèòèå â öåëîñòíîì ïåðåîñìûñëåíèè äîñòèãàåò
áîëüøîé ïîëíîòû âñëåäñòâèå òîãî, ÷òî ïðåîáðàçóåòñÿ óñòîé÷èâîå
âûðàæåíèå ñ çàêðåïë¸ííûì è ñèòóàòèâíî ïðèâÿçàííûì ñìûñëîì. Â
ñóùíîñòè, ïîñêîëüêó òàêîãî ðîäà ñîîáùåíèÿ êîäèðóþò îïðåäåë¸ííûå
íàáîðû ñèòóàöèé, ñîîòâåòñòâèÿ èìåþòñÿ â êàæäîì ÿçûêå, ïî áîëüøåé
÷àñòè îíè ýêâèâàëåíòíû. Ïåðåâîä÷åñêèå äåéñòâèÿ â òàêîì ñëó÷àå
ñâîäÿòñÿ íå ñòîëüêî ê çàìåíàì, ñêîëüêî ê ïîäñòàíîâêàì. Îäíàêî ñàì
ìåõàíèçì ïîèñêà ñîîòâåòñòâèÿ îáëàäàåò èçâåñòíîé ñïåöèôèêîé: îí
ñâîäèòñÿ ïðåæäå âñåãî ê îòîæäåñòâëåíèþ ñèòóàöèè è ëèøü çàòåì ê
çàìåíå îäíîãî ñïîñîáà âûðàæåíèÿ äðóãèì.
Çàäàíèå 10. Íàéäèòå ñîîòâåòñòâèÿ è ïðîàíàëèçèðóéòå ñðåäñòâà,
èñïîëüçîâàííûå äëÿ öåëîñòíîãî ïåðåîñìûñëåíèÿ.
Authorized personnel only. Go while goings go. Full and by. Rain or shine.
Fares, please. Brown, Jones and Robinson. Good riddance. Dumb dogs
are dangerous. A pea for a bean. Double Dutch. Draw in your claws.
16 Ðåöêåð ß.È. Òåîðèÿ ïåðåâîäà è ïåðåâîä÷åñêàÿ ïðàêòèêà. — Ì.: ÈÌÎ, 1974.
Ñ. 53—54.
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They are both of a hair. Paul’s eyes draw straws. Man can die but once.
I think it’s a bit thick. Save your pains. Tough luck. Mind your eye. Get
and gone. Bad’s the best.
Çàäàíèå 11. Ïåðåâåäèòå ñëåäóþùèå îáúÿâëåíèÿ è óêàçàòåëè.
1. Left-luggage office. 2. Wet paint. 3. Reserved. 4. Keep left. 5. No
parking. 6. Horns forbidden. 7. Smokers to the rear. 8. Used tickets. 9.
Cross here. 10. Be tidy. 11. No admittance. 12. Slow down. 13. Out of
order. 14. Road closed. 15. Watch your step. 16. No smoking beyond
this point. 17. Do not touch. 18. Keep all the aisles clear. 19. Don’t take
chances. 20. First Aid.
ÏÐÈ¨Ì ÊÎÌÏÅÍÑÀÖÈÈ
Êîìïåíñàöèÿ ïîòåðü åñòü ïðè¸ì âîñïîëíåíèÿ ñåìàíòèêî-ñòè-
ëèñòè÷åñêîé èíôîðìàöèè, âûðàæåííîé åäèíèöåé èñõîäíîãî òåêñòà,
íî óòðà÷åííîé ïðè å¸ ïåðåâîäå (âñëåäñòâèå íåâîçìîæíîñòè å¸ ðåàëèçàöèè) è ïåðåíåñ¸ííîé íà äðóãîé ÿçûêîâîé óðîâåíü èëè íà äðóãóþ
åäèíèöó. Ðàññìîòðèì äåéñòâèÿ ïåðåâîä÷èêà íà ñëåäóþùåì ïðèìåðå:
Clyde, whose education was not a little superior to that of his guide,
commented quite sharply in his own mind on the use of such words
as “knowed” and “gotta” and so on. — Êëàéä, ãîðàçäî áîëåå
îáðàçîâàííûé, ÷åì åãî ñïóòíèê, ìûñëåííî ñ íåîäîáðåíèåì îòìå÷àë íåïðàâèëüíîñòè åãî ïðîèçíîøåíèÿ è æàðãîííûå ñëîâå÷êè...
Îïóñòèì íåòî÷íîñòü â íà÷àëå ïåðåâîäà è, îñòàíîâèâ íà ýòîì
ìåñòå ïåðåâîä÷èêà, óâèäèì, ÷òî îí âîñïîëüçîâàëñÿ ãåíåðàëèçàöèåé,
çàìåíèâ êîíêðåòíûå ñëîâà èñõîäíîãî òåêñòà âïîëíå àäåêâàòíûìè
ñðåäñòâàìè. Äåéñòâèòåëüíî, íåãðàìîòíóþ ïðîñòîðå÷íóþ ôîðìó ãëàãîëà «know» è ðåäóöèðîâàííóþ ôîðìó «got to» áûëî áû íåëîãè÷íî
ïåðåâåñòè âåñüìà ïîäõîäÿùèìè «çíàøü, çíàìî» è «äîëæîí» èç-çà
èõ àáñîëþòíîé «ðóññêîñòè». È ïåðåâîä÷èê ïûòàåòñÿ êîìïåíñèðîâàòü ëåêñèêî-ñòèëèñòè÷åñêèå ïîòåðè â ïðîäîëæåíèè òåêñòà ïåðåâîäà ñ ïîìîùüþ ëåêñèêî-ñòèëèñòè÷åñêèõ ñðåäñòâ:
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— Ñïåðâà ãëÿäè, êòî ÷òî äåëàåò, äà êàê, òîãäà è ñàì íàâîñòðèøüñÿ. Âîò êàê çâÿêíåò çâîíîê, òâîé ÷åðåä — âñêàêèâàé è
áåãè. Îíè òóò ëþáÿò, ÷òîá ïîæèâåé, ïîíÿë? Êîëè êòî âîéä¸ò â
ïîäúåçä... çâàë ñòàðøîé.
 ñëåäóþùåì ïðèìåðå ðàññìîòðèì óäà÷íûé ïðè¸ì êîìïåíñàöèè
íà ãðàôè÷åñêîì óðîâíå:
Do you remember when you wrote to him to come on Twelfth Night,
Emmy, and spelled twelfth without the f? — Ïîìíèøü, Ýììè, êàê
òû åãî ïðèãëàñèëà ê íàì íà êðåùåíüå è íàïèñàëà «è» âìåñòî «å».
Îðôîãðàôè÷åñêàÿ îøèáêà îäíîãî ïëàíà áûëà óìåëî ñêîìïåíñèðîâàíà äðóãîé.
Ñåìàíòè÷åñêàÿ êîìïåíñàöèÿ ïðèçâàíà âîñïîëíèòü ïðîáåëû, äåòåðìèíèðîâàííûå ñóùåñòâîâàíèåì áåçýêâèâàëåíòíîé ëåêñèêè (îáîçíà÷åíèå ðåàëèé — ãåîãðàôè÷åñêèõ, ýòíîãðàôè÷åñêèõ, ôîëüêëîðíûõ, ìèôîëîãè÷åñêèõ, áûòîâûõ, îáùåñòâåííî-ïîëèòè÷åñêèõ, èñòîðè÷åñêèõ è ò.ä.). Èíôîðìàöèÿ òàêîãî ðîäà âîñïîëíÿåòñÿ ñ ïîìîùüþ
ïðèìå÷àíèÿ, ïîçâîëÿþùåãî äîíåñòè çàëîæåííóþ â òåêñò èíôîðìàöèþ, íå äîïóñêàÿ áîëüøèõ ðàçëè÷èé ìåæäó ïîëó÷àòåëåì îðèãèíàëà
è ïîëó÷àòåëåì ïåðåâîäà.
Ñòèëèñòè÷åñêàÿ êîìïåíñàöèÿ — îäíà èç ñëîæíûõ çàäà÷ ïåðåâîä÷èêà — íà óðîâíå ñòèëèñòè÷åñêèõ ïðè¸ìîâ îñóùåñòâëÿåòñÿ ñ
ïîìîùüþ ñîîòâåòñòâóþùèõ ñðåäñòâ â ÿçûêå ïåðåâîäà è äîâîëüíî
÷àñòî ñâîäèòñÿ ê íåéòðàëèçàöèè ñ óòðàòîé âûðàçèòåëüíîñòè.
ÏÅÐÅÑÒÀÍÎÂÊÈ
Ïåðåñòàíîâêè êàê âèä ãðàììàòè÷åñêèõ òðàíñôîðìàöèé ïðè ïåðåâîäå ïðåäïîëàãàþò ñìåíó ïîçèöèé ÷ëåíîâ ïðåäëîæåíèÿ (èçìåíåíèå ïîðÿäêà ñëîâ ïî ñðàâíåíèþ ñ òåêñòîì îðèãèíàëà), îáóñëîâëåííóþ ëîãèêîé ìûñëè è íîðìàìè ÿçûêà ïåðåâîäà. Îäíîé èç ãëàâíûõ
ïðè÷èí, òðåáóþùèõ ïîäîáíîé òðàíñôîðìàöèè, ÿâëÿåòñÿ ðàçíàÿ òåìàðåìàòè÷åñêàÿ ñòðóêòóðà âûñêàçûâàíèÿ â äâóõ ÿçûêàõ. Ñ÷èòàåòñÿ, ÷òî
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â ðóññêîì ÿçûêå ïîðÿäîê ñëîâ ñâîáîäíûé, â òî âðåìÿ êàê â àíãëèéñêîì ÿçûêå îí çàêðåïë¸í è èåðàðõè÷åí: ãëàâíóþ ïîçèöèþ â ïðåäëîæåíèè çàíèìàþò ãëàâíûå ÷ëåíû ïðåäëîæåíèÿ, çà êîòîðûìè ñëåäóþò
âòîðîñòåïåííûå, òàêæå â îïðåäåë¸ííîì ïîðÿäêå (äîïîëíåíèÿ, îáñòîÿòåëüñòâà ìåñòà, îáñòîÿòåëüñòâà âðåìåíè).  ðåçóëüòàòå ýòîãî,
êàê ïðàâèëî, íîâàÿ ñóùåñòâåííàÿ èíôîðìàöèÿ â ðóññêîì ÿçûêå ðàçìåùàåòñÿ â êîíöå âûñêàçûâàíèÿ, â òî âðåìÿ êàê â àíãëèéñêîì ÿçûêå
îíà èä¸ò â íà÷àëå.
Ïðè ñâîáîäíîì ïîðÿäêå ñëîâ â ðóññêîì ÿçûêå íà ïåðâîì ìåñòå
îáû÷íî èäóò ðàçíîãî ðîäà îáñòîÿòåëüñòâà, çàòåì ïîäëåæàùåå è ãðóïïà ñêàçóåìîãî.  àíãëèéñêîì ÿçûêå ðàçìåùåíèå îáñòîÿòåëüñòâ íà
ïåðâîé ïîçèöèè ÿâëÿåòñÿ èíâåðñèåé. Îäíàêî, åñëè ïðè ïåðåâîäå àíãëèéñêîãî ïðåäëîæåíèÿ «I took walks before supper» ñëåäîâàòü ïîðÿäêó àíãëèéñêîãî òåêñòà, ïðåäëîæåíèå ïðèîáðåòàåò íåñêîëüêî íååñòåñòâåííîå çâó÷àíèå.  í¸ì ÿâñòâåííåå àêöåíòèðóþòñÿ îáñòîÿòåëüñòâî âðåìåíè, êîòîðîå íàõîäèòñÿ íå íà ìåñòå. Î÷åâèäíî, ÷òî
ïðàâèëüíûé ïåðåâîä îñíîâûâàåòñÿ íà èíòóèòèâíîì ïîíèìàíèè òåìàòè÷åñêîé (èçâåñòíîé) è ðåìàòè÷åñêîé (íîâîé, ñåìàíòè÷åñêè âàæíîé) èíôîðìàöèè.
Ðàçóìååòñÿ, ñëó÷àè ñîâïàäåíèÿ ïîðÿäêà ñëîâ ïðè ïåðåâîäå îòíþäü íå ðåäêè, òåì íå ìåíåå áåçäóìíîå ñëåäîâàíèå ïðè ïåðåâîäå àíãëèéñêîìó ïîðÿäêó ñëîâ ñïîñîáíî íàðóøèòü ëîãèêó ïîâåñòâîâàíèÿ è
çâó÷àíèå ðóññêîé ðå÷è. Ïåðåñòàíîâêè â áîëåå ñëîæíûõ ñèíòàêñè÷åñêèõ ïîñòðîåíèÿõ (ñëîæíîïîä÷èí¸ííîå èëè ñëîæíîñî÷èí¸ííîå
ïðåäëîæåíèÿ) òàêæå îáóñëîâëèâàþòñÿ õàðàêòåðîì îòíîøåíèé ìåæäó èõ ñîñòàâëÿþùèìè17.
Ëàêîíèçì àíãëèéñêîãî ïðåäëîæåíèÿ, îáåñïå÷åííûé ïðèìûêàíèåì êàê òèïîì ñâÿçè, õàðàêòåðíûì äëÿ àíàëèòè÷åñêèõ ÿçûêîâ, à
òàêæå ðàñïðîñòðàí¸ííîñòüþ â àíãëèéñêîì ÿçûêå ðàçíîãî ðîäà êîìïëåêñîâ, ïðè ïåðåâîäå ÷àñòî òðåáóåò èñïîëüçîâàíèÿ ïðè¸ìà äåêîìï-
ðåññèè, ÷òîáû íå íàðóøàëèñü íîðìû ðóññêîãî ÿçûêà. Èç-çà ïîÿâëÿþùèõñÿ â ýòîì ñëó÷àå äîïîëíèòåëüíûõ ñëîâ è ïîÿñíåíèé ïåðåâîäíîå
ïðåäëîæåíèå ïî ñðàâíåíèþ ñ îðèãèíàëüíûì íàïîìèíàåò ðàçæàòóþ
17
Ëåâèöêàÿ Ò.Ð., Ôèòåðìàí À.Ì
Ñ. 19—21.
196
. Ïðîáëåìû ïåðåâîäà. — Ì.: ÈÌÎ, 1976.
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ïðóæèíó. Ïðè ýòîì òàêæå âîçíèêàþò ðàçíîãî ðîäà ïåðåñòàíîâêè è
îáíàðóæèâàåòñÿ íåñîâïàäåíèå ïîðÿäêà ñëîâ, ÷àñòåé ðå÷è, ñìåíà ðàñïîëîæåíèÿ ãëàâíîãî è ïðèäàòî÷íîãî ïðåäëîæåíèé è ïðî÷èå ïðåîáðàçîâàíèÿ. Ïðåîáðàçîâàíèå òåêñòà îðèãèíàëà â òåêñò ïåðåâîäà ñîñòîèò èç áîëüøîãî ÷èñëà âçàèìîñâÿçàííûõ è âçàèìîîáóñëîâëåííûõ
îïåðàöèé, ïî-ðàçíîìó ñèñòåìàòèçèðîâàííûõ ó ðàçíûõ àâòîðîâ. Ãîâîðÿ î íèõ â òåðìèíàõ ïîäñòàíîâîê, çàìåí, ïåðåñòàíîâîê, ìû îñîçíàåì, ÷òî èõ íåîáõîäèìîñòü ïîðîæäàåòñÿ ãëóáèííûìè ðàçëè÷èÿìè
ÿçûêîâ âî âñåõ èõ àñïåêòàõ.  ïîïûòêå äîñòè÷ü ôóíêöèîíàëüíîãî
òîæäåñòâà òàì, ãäå ýòè ðàçëè÷èÿ íåâîçìîæíî ïðåîäîëåòü ñàìûì òùàòåëüíûì ïîèñêîì ñëîâàðíûõ ñîîòâåòñòâèé, ïåðåâîä÷èê îòûñêèâàåò
îñíîâàíèÿ äëÿ çàìåí â êîíòåêñòå, ðåøàåòñÿ íà ïåðåñòàíîâêè, èñõîäÿ
èç ëîãèêè è ñòðóêòóðû òåêñòà. Òðàíñôîðìàöèÿ òåêñòà îðèãèíàëà íå
ïðèìåíÿåòñÿ êàê èñêóññòâî ðàäè èñêóññòâà, îíà åñòü ñëåäñòâèå îïðåäåë¸ííûõ îñîáåííîñòåé ÿçûêîâ è êàæäîãî îòäåëüíîãî òåêñòà. Ñóùåñòâåííûì óñëîâèåì âûáîðà êîíêðåòíîãî âèäà ïðåîáðàçîâàíèÿ
ÿâëÿåòñÿ ñîõðàííîñòü èíôîðìàöèè, çàëîæåííîé â òåêñòå, åãî ýìîöèîíàëüíîé õàðàêòåðèñòèêè, åãî ýñòåòè÷åñêèõ êà÷åñòâ.
ÑÈÍÒÀÊÑÈ×ÅÑÊÎÅ ÏÅÐÅÑÒÐÓÊÒÓÐÈÐÎÂÀÍÈÅ
Çàäàíèå 12. Ïåðåâåäèòå ñëåäóþùèå ïðåäëîæåíèÿ íà ðóññêèé ÿçûê. Êà-
êèå èçìåíåíèÿ â ñèíòàêñèñå òðåáóþòñÿ è ïî êàêîé ïðè÷èíå?
1. She wore a green-and-white silk Givency dress that set off a figure
2.
3.
4.
5.
that made the women turn and watch her enviously, and men gape.
They had been so convincing. She blushed to think how she had
fallen for the ancient good cop — bad cop routine. <...> She
had gone too much to be outwitted by two con artists.
He considered this concert to be a must-see musical event.
And Tracy found herself moving toward the bench. The judge
was scanning a sheet of paper in front of him, his head bobbing
up and down.
She belonged completely to him, she was his to destroy.
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Ñðàâíèòå âàøè ïåðåâîäû ñ ïðåäëîæåííûìè. Êàêèå ïðåîáðàçîâàíèÿ
áûëè ïðîèçâåäåíû?
1. Ÿ çåëåíîâàòîå ñ áåëûì ïëàòüå îò Æèâàíøè òàê ñìåëî ïîä2.
3.
4.
5.
÷¸ðêèâàëî ôèãóðó, ÷òî çàñòàâëÿëî æåíùèí ñ çàâèñòüþ îãëÿäûâàòüñÿ, à ìóæ÷èí ñòîÿòü, ðàçèíóâ ðîò.
Îíà ïîêðàñíåëà, äóìàÿ î òîì, êàê ïîïàëàñü íà ñòàðûé, èñêóñíî ðàçûãðàííûé òðþê ñ áàíäèòàìè-ïîëèöåéñêèìè. <...>
Îíà ïåðåæèëà ñëèøêîì ìíîãî äëÿ òîãî, ÷òîáû å¸ îáâåëè âîêðóã ïàëüöà äâà ïðîõîäèìöà.
Îí ñ÷èòàë ýòîò êîíöåðò ìóçûêàëüíûì ñîáûòèåì, êîòîðîå ñëåäîâàëî îáÿçàòåëüíî ïîñåòèòü.
È Òðåéñè ïîéìàëà ñåáÿ íà òîì, ÷òî èä¸ò ê ñêàìüå ñóäüè. Ñóäüÿ òùàòåëüíî èçó÷àë ëèñòîê áóìàãè, ëåæàùèé ïåðåä íèì,
äåðãàÿ ãîëîâîé ââåðõ è âíèç.
Îíà ïîëíîñòüþ ïðèíàäëåæàëà åìó, îí èìåë ïðàâî å¸ óíè÷òîæèòü.
Çàäàíèå 13. Ïåðåâåäèòå ñëåäóþùèå ïðåäëîæåíèÿ, ïðèìåíèâ ïðè¸ì
çàìåíû ÷àñòåé ðå÷è.
1. The most effective way to teach writing is to teach it as a process
2.
3.
4.
5.
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of brainstorming, composing, revising and editing.
Ways to work through a personal crisis.
Miss Mattie, the stay-at-home twin, was a missionary in China
in her youth.
He stamped up and down the room, square-boned young man
with enormous lips and pink flesh and small poodlelike eyes...
Translating and interpreting require a perfect command of two
languages, and most of us do not command even one. Dictionaries are of limited help, because most words in one language
have a dozen possible translations in another, which means that
to use a dictionary properly you must first have command of the
two languages, in which case you are not too likely to need the
dictionary.
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Çàäàíèå 14. Ïðîàíàëèçèðóéòå ïåðåâîä÷åñêèå ïðåîáðàçîâàíèÿ, ïðîèç-
âåä¸ííûå â ñëåäóþùèõ ïðåäëîæåíèÿõ. Ïðåäëîæèòå ñîáñòâåííûå âàðèàíòû.
Of course, his birthdays were never exactly fun — last year, the
Dursleys had given him a coat-hanger and a pair of Uncle
Vernon’s old socks. Still, you weren’t eleven every day. —
Êîíå÷íî, íåëüçÿ ñêàçàòü, ÷òî ó íåãî áûëè âåñåëûå äíè ðîæäåíèÿ, — íàïðèìåð, â ïðîøëîì ãîäó Äóðñëè ïîäàðèëè åìó
âåøàëêó äëÿ êóðòêè è ïàðó ñòàðûõ íîñêîâ äÿäè Âåðíîíà. Òàê
÷òî è â ýòîì ãîäó îò äíÿ ðîæäåíèÿ íè÷åãî îñîáåííîãî æäàòü
íå ñòîèëî. Íî âñ¸ æå íå êàæäóþ íåäåëþ òåáå èñïîëíÿåòñÿ
îäèííàäöàòü.
2. Will Robert Langdon and Sophie Neveu be seeking accountability from your department? Will this cost Captain Fache his
job? — Áóäóò ëè Ðîáåðò Ëýíãäîí è Ñîôè Íå⸠ïðåäúÿâëÿòü
îôèöèàëüíûå ïðåòåíçèè âàøåìó âåäîìñòâó? Âî ÷òî îáîéä¸òñÿ
êàïèòàíó Ôàøó ýòà îøèáêà?
3. As he looked at Dudley in his new knickerbockers, Uncle Vernon
said gruffly that it was the proudest moment of his life. — Ãëÿäÿ
íà Äàäëè, ãîðäî âûøàãèâàþùåãî â ñâîåé íîâîé ôîðìå, äÿäÿ
Âåðíîí ðàñòðîãàëñÿ è âîð÷ëèâûì ãîëîñîì — âîð÷àë îí
ïðèòâîðíî, ïðÿ÷à ñâîè ýìîöèè, — çàìåòèë, ÷òî ýòî ñàìûé
ïðåêðàñíûé ìîìåíò â åãî æèçíè.
4. “New students!” said the Fat Friar, smiling at them. “About to
be sorted, I suppose?” A few people nodded mutely. — Íåñêîëüêî ÷åëîâåê íåóâåðåííî êèâíóëè.
5. The actors will appear in the soon-to-be-released film. — Àêòåðû ïîÿâÿòñÿ â ôèëüìå, êîòîðûé ñêîðî âûéäåò íà ýêðàíû.
6. He poured her out a stiff doze of whisky, added a drop of soda,
and made her drink it. — Îí íàëèë åé ïîðÿäî÷íóþ äîçó âèñêè,
äîáàâèë êàïëþ ñîäîâîé è çàñòàâèë âûïèòü.
7. “How are ya?” he said, in a rather hospital-room voice. — «Êàê
òû ñåáÿ ÷óâñòâóåøü?» — ñïðîñèë îí òîíîì ïîñåòèòåëÿ â
áîëüíèöå.
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8. Lane, walking toward her quickly but with a slow face, reasoned
to himself, with suppressed excitement, that he was the only one
on the platform who really knew Franny’s coat. — Ëýéí, èäÿ ê
íåé íàâñòðå÷ó áûñòðûì øàãîì, íî ñ íåâîçìóòèìûì ëèöîì,
âäðóã ïîäóìàë, ÷òî íà âñ¸ì ïåððîíå òîëüêî åìó îäíîìó ïîíàñòîÿùåìó çíàêîìà øóáêà Ôðýííè.
9. His car turned to a single track road. — Ïîñëå ïîâîðîòà åãî
ìàøèíà îêàçàëàñü íà îäíîðÿäíîé äîðîãå.
10. Every year, on the first Saturday in June, the Count de Matigny
sponsored a charity ball for the benefit of the Children’s Hospital
in Paris. Tickets for the white-tie affair were a thousand dollars
apiece, and society’s elite flew from all over the world. — Êàæäûé
ãîä, â ïåðâóþ ñóááîòó èþíÿ, ãðàô äå Ìàòèíè óñòðàèâàåò
áëàãîòâîðèòåëüíûé áàë ñ öåëüþ îêàçàíèÿ ìàòåðèàëüíîé
ïîìîùè äåòñêîé áîëüíèöå â Ïàðèæå. Áèëåòû-ïðèãëàøåíèÿ,
íà êîòîðûõ çíà÷èëîñü, ÷òî ìóæ÷èíû äîëæíû ÿâèòüñÿ âî ôðàêàõ, à äàìû — â âå÷åðíèõ òóàëåòàõ, ñòîèëè ïî òûñÿ÷å äîëëàðîâ
êàæäûé, è âûñøèé ñâåò, ÷òîáû ïðèíÿòü ó÷àñòèå â âå÷åðå, ñëåòàëñÿ ñî âñåõ êîíöîâ çåìíîãî øàðà.
Çàäàíèå 15. Êàêèå ïðåîáðàçîâàíèÿ òðåáóþòñÿ äëÿ àäåêâàòíîãî ïåðåâîäà
ñëåäóþùèõ ïðåäëîæåíèé?
1. Tigger took a large mouthful of honey... and he looked up at the
ceiling with his head on one side, and made exploring noises
with his tongue, and considering noises, and what-have-we-gothere noises... and then he said in a very decided voice: “Tiggers
don’t like honey”.
2. If family trees were charted indefinitely backward, they would
eventually converge on a small group of ancients who were ancestors of us all.
3. Their [Albee’s miserable characters] hatefulness does not mean
that Albee believes in the basic hatefulness of man, but that he
believes in the possibility of goodness.
4. Even if an effective AIDS vaccine were discovered tomorrow, its
development would presumably be of little benefit to the 3 mil200
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lion to 5 million people around the globe who already harbor the
virus in their body.
5. Yet even if this vaccine never helps a single person with full6.
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12.
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14.
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fledged AIDS, the Walter Reed team has sketched out a blueprint for a potential weapon against the disease.
If I hadn’t had children, I would have had more money and material things, I probably would have gone more places, gotten more
sleep, pampered myself more. My life would have been much
more boring and predictable.
I refuse as I age, to deny my years.
Everything is equal in the snow: all trees, all lawns, all streets,
all rooftops, all cars.
Today, the quasi-palace that President Theodore Roosevelt officially named the White House bears little resemblance to the
place that the Adamses found so inhospitable.
It’s a rare sailor who hasn’t been caught offshore by a sudden
squall.
Children need freedom and the chance to use their limbs.
He (the child) may be put down and expected to behave like a
grown-up child.
They feel the children are safe, sleep longer, keep quieter and do
not make a mess.
Moreover, in the hot months, the less back-nestling the better.
You are sleep-deprived if you regularly need an alarm to wake
up, Coren says. “If you sleep enough, your body will tell you to
get going on its own.”
Çàäàíèå 16. Êàêèå ïðåîáðàçîâàíèÿ íå áûëè ïðîèçâåäåíû ïðè ïåðåâîäå ñëåäóþùèõ ïðåäëîæåíèé? Ïðåäëîæèòå ñâîè âàðèàíòû.
1. Then the electric lights came on and it was pleasant along the
streets looking in the windows. — Çàòåì ïîÿâèëîñü ýëåêòðè÷åñòâî, è áûëî ïðèÿòíî áðîäèòü ïî óëèöàì, ñìîòðÿ â îêíà.
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2. A last-minute song choice brought young New-Zealand-born
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model, actress and singer Collette out of obscurity. — Îêîí÷àòåëüíûé âûáîð ïåñíè ïðèí¸ñ þíîé íîâîçåëàíäñêîé ìîäåëè,
àêòðèñå è ïåâèöå Êîëëåò èçâåñòíîñòü.
Her face was still lily white. — Ÿ áåëîå íåïîäâèæíîå ëèöî
íàïîìèíàëî ëèëèþ.
But it was that awful creepy bodiless voice! — Ýòî áûë óæàñíûé,
áåçæèçíåííûé, âûçûâàþùèé ñòðàõ ãîëîñ!
But White Fang, uncompaniable, solitary, morose, scarcely looking to right or left, redoubtable, forbidding of aspect, remote and
alter, was accepted as an equal by his puzzled elders. — Íî
Áåëûé Êëûê, íåðàçãîâîð÷èâûé, îäèíîêèé, óãðþìûé, åäâà
ïîâîðà÷èâàþùèé ãîëîâó ïî ñòîðîíàì, ñîìíåâàþùèéñÿ, ñ
ãðîçíûì âèäîì, îòäàë¸ííûé è îò÷óæä¸ííûé, áûë ïðèíÿò êàê
ðàâíûé îçàäà÷åííûìè ñòàðûìè âîëêàìè.
Charity Balls — Øàðû ìèëîñåðäèÿ.
There was an unmistakable air of tragedy about her, and a rare,
childlike vulnerability that made him want to protect her forever. —
Ÿ îêðóæàëè äóõ òðàãåäèè, êîòîðûé íè ñ ÷åì íåëüçÿ áûëî ñïóòàòü, è ðåäêàÿ, äåòñêàÿ ðàíèìîñòü, êîòîðàÿ áóäèëà â í¸ì
æåëàíèå âå÷íî å¸ çàùèùàòü.
“Do you really need all these filing cabinets?” she had demanded suddenly. — «Âàì äåéñòâèòåëüíî íóæíû âñå ýòè êàáèíåòû
äëÿ àðõèâîâ?» — îíà ñïðîñèëà âíåçàïíî.
He is at the centre of a tug-of-love case involving his grandson. —
Âìåñòå ñ âíóêîì îí âîâëå÷¸í â ëþáîâíóþ èíòðèãó.
Guests staying overnight at Windsor Castle are intrigued by an
elaborate set of Victorian chamber pots in glass cases and Philip’s
huge collection of walking sticks. — Ãîñòè, îñòàâøèåñÿ íà íî÷ü
â Âèíäçîðñêîì çàìêå, çàèíòðèãîâàíû èñêóñíî ñäåëàííûì
íàáîðîì âèêòîðèàíñêèõ êîðîëåâñêèõ êóáêîâ è îãðîìíîé
êîëëåêöèåé òðîñòåé Ôèëèïïà.
Èòàê, ïîìèìî ñóùåñòâóþùèõ ñîîòâåòñòâèé è ñïîñîáîâ èõ èñïîëüçîâàíèÿ, ïðè ïåðåâîäå ìîæíî, ðóêîâîäñòâóÿñü íîðìàòèâíûìè
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òðåáîâàíèÿìè Ïß, ïðèáåãíóòü ê äîáàâëåíèþ è îïóùåíèþ; êîíêðåòèçàöèÿ, äèôôåðåíöèàöèÿ, ãåíåðàëèçàöèÿ ïðåäïîëàãàþò çàìåíó ëåêñèêî-ñåìàíòè÷åñêîãî õàðàêòåðà; ñåìàíòè÷åñêîå ðàçâèòèå ïîçâîëÿåò
âûâåñòè âàðèàíò ïåðåâîäà íà îñíîâàíèè ñåìàíòè÷åñêîé ñòðóêòóðû
ñëîâà, ñî÷åòàíèÿ è ïðåäëîæåíèÿ (ìåòîíèìè÷åñêèé ïåðåâîä); ïåðåâîä îò îáðàòíîãî ÿâëÿåòñÿ ïðè¸ìîì ñìåíû çíàêà è çàòðàãèâàåò ÿâëåíèÿ ëåêñè÷åñêîãî, ñåìàíòè÷åñêîãî è ãðàììàòè÷åñêîãî ïîðÿäêà
(ñìåíà ïàññèâíîãî çàëîãà àêòèâíûì, íàïðèìåð), óïîðÿäî÷åííûå íîðìàìè è ëîãèêîé ÿçûêà. Ãëóáèííûå ñåìàíòè÷åñêèå ðàçëè÷èÿ óðàâíèâàþòñÿ ñ ïîìîùüþ öåëîñòíîãî ïåðåîñìûñëåíèÿ. Ïåðåñòàíîâêè ïîçâîëÿþò ïðèâåñòè â ñîîòâåòñòâèå ñ íîðìàòèâíûìè òðåáîâàíèÿìè Ïß
ïîðÿäîê ñëîâ, ñëåäîâàíèå ñîñòàâëÿþùèõ ñëîæíîñî÷èí¸ííûõ è ñëîæíîïîä÷èí¸ííûõ ïðåäëîæåíèé, à òàêæå ðàçëè÷íûõ îáîðîòîâ è êîìïëåêñîâ. Ñþäà æå ïîäêëþ÷èì âîçìîæíîñòü èíòåãðàöèè ÷àñòåé â öåëîå. È íàêîíåö, êîìïåíñàöèÿ ñåìàíòè÷åñêèõ ïîòåðü ïðè óìåëîì èñïîëüçîâàíèè äà¸ò âîçìîæíîñòü ïðèáëèçèòü âàðèàíò ïåðåâîäà ê
îðèãèíàëó, ÷òî ÿâëÿåòñÿ ñëîæíûì è ìíîãîñòóïåí÷àòûì ïðîöåññîì.
Ãîâîðÿ î ïðåîáðàçîâàíèÿõ â òåðìèíàõ ïîäñòàíîâîê, çàìåí, ïåðåñòàíîâîê, ìû îñîçíàåì, ÷òî èõ íåîáõîäèìîñòü ïîðîæäàåòñÿ ãëóáèííûìè ðàçëè÷èÿìè ÿçûêîâ âî âñåõ èõ àñïåêòàõ.
Íåèçìåííîñòü ñîäåðæàòåëüíîé ñóùíîñòè ñîîáùåíèÿ ïðè ïåðåâîäå îðèãèíàëüíîãî òåêñòà, ðàññìàòðèâàåìîé êàê èíôîðìàöèÿ, ïðåäíàçíà÷åííàÿ äëÿ ïåðåäà÷è, ÿâëÿåòñÿ ãëàâíûì ïîëîæåíèåì ëþáîãî
ïðåîáðàçîâàíèÿ òåêñòà. Îíà ñîñòàâëÿåò îñíîâó ïîíÿòèÿ èíâàðèàíò
â ïåðåâîäå. Èìåííî èíâàðèàíò îáúåäèíÿåò è ðàçëè÷àåò ìíîãî÷èñëåííûå âîçìîæíûå âàðèàíòû ïåðåâîäà.
Óõîäÿ îò íåÿñíîñòåé, íåòî÷íîñòåé, èñêàæåíèÿ ñìûñëà îðèãèíàëà, ïåðåâîä÷èê èñïîëüçóåò ðàçíîîáðàçíûå ïðè¸ìû, ïðèåìëåìûå ñ
òî÷êè çðåíèÿ íîðì ÿçûêà ïåðåâîäà.
Òåîðåòè÷åñêè ìîæíî âûäåëèòü ñëåäóþùèå ïðè÷èíû, âûçûâàþùèå íåîáõîäèìîñòü òðàíñôîðìàöèé. Îíè ìîãóò âûñòóïàòü ïî îòäåëüíîñòè è ñîâìåñòíî è òðåáîâàòü îñîçíàííûõ ïåðåâîä÷åñêèõ äåéñòâèé.
Ñðåäè ýòèõ ïðè÷èí íàèáîëåå ÷àñòî âûçûâàåò íåîáõîäèìîñòü ïðåîáðàçîâàíèÿ íåñîâïàäåíèå îáú¸ìîâ ïîíÿòèé è ñåìàíòè÷åñêèõ ñòðóêòóð ñëîâ â äâóõ ÿçûêàõ. Ïîìèìî òùàòåëüíîãî àíàëèçà ñëîâàðíûõ äàííûõ, òðåáóåòñÿ íå ìåíåå ñêðóïóë¸çíûé àíàëèç êîíòåêñòà. Âñëåäñòâèå
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òîãî ÷òî àíãëèéñêîå ñëîâî ÷ðåçâû÷àéíî äåòåðìèíèðîâàíî êîíòåêñòîì, ñëåäóþùàÿ ïðè÷èíà, òåñíî ñâÿçàííàÿ ñ ïåðâîé, êàñàåòñÿ ðàçëè÷èé â ñî÷åòàåìîñòè.
Ïîñêîëüêó ñî÷åòàåìîñòü ñëîâ îïðåäåëÿåòñÿ ëåêñèêî-ãðàììàòè÷åñêèìè íîðìàìè ÿçûêà, îêàçûâàåòñÿ, ÷òî ðàçíîãî ðîäà ëåêñè÷åñêèå è ãðàììàòè÷åñêèå ïðåîáðàçîâàíèÿ äèêòóþòñÿ íîðìàìè è óçóñîì
ÿçûêà ïåðåâîäà. Óçóñ ÿçûêà ïåðåâîäà (òðàäèöèîííî ïðèíÿòîå óïîòðåáëåíèå ñëîâà, îáîðîòà ðå÷è, ìîäåëè) ÿâëÿåòñÿ ïðåäïî÷òèòåëüíûì,
êàêèìè áû ïðèâëåêàòåëüíûìè íå êàçàëèñü íîâûå âîçìîæíîñòè, íàâÿçûâàåìûå ÿçûêîì îðèãèíàëà. Íàïðèìåð, ïî-ðóññêè «ïðîøëûì
ëåòîì» — íîðìà, à «ïðîøëûì àâãóñòîì», ÷òî íå ïðîòèâîðå÷èò àíãëèéñêîìó óçóñó, âûçûâàåò ïðîòåñò. È íàêîíåö, åù¸ îäíà ïðè÷èíà
ïðåîáðàçîâàíèÿ êðîåòñÿ â íåîáõîäèìîñòè ñîáëþäåíèÿ ñòèëèñòè÷åñêîãî ñîîòâåòñòâèÿ. Ýòî îêàçûâàåòñÿ íå ñàìûì ë¸ãêèì äåëîì, è èìåííî
ïîýòîìó ïî÷òè âñÿ ïåðåâîä÷åñêàÿ ïðîäóêöèÿ äåìîíñòðèðóåò ñòèëèñòè÷åñêóþ íåàäàïòèðîâàííîñòü, âûðàæàþùóþñÿ â íèâåëèðîâàííîì,
ñòèëèñòè÷åñêè óñðåäí¸ííîì ðóññêîì ÿçûêå èëè, íàîáîðîò, â íåîæèäàííûõ ñòèëèñòè÷åñêèõ íåñîñòûêîâêàõ.
Ñîïðèêàñàÿñü ïðè ïåðåâîäå ñ æèâûì ÿçûêîì, ïåðåâîä÷èê íå
ìîæåò íå îòìåòèòü, ÷òî èçâåñòíîå äåëåíèå ïðîèçâîäèìûõ èì ïðåîáðàçîâàíèé íå óêëàäûâàåòñÿ â ðàìêè ëåêñè÷åñêèõ, ãðàììàòè÷åñêèõ,
ñòèëèñòè÷åñêèõ òðàíñôîðìàöèé. Âåñüìà ÷àñòî ýòî íå ñòîëüêî ëåêñè÷åñêèå, ñêîëüêî ëåêñèêî-ñåìàíòè÷åñêèå, ëåêñèêî-ãðàììàòè÷åñêèå, ëåêñèêî-ñòèëèñòè÷åñêèå çàìåíû. Ïåðåâîä÷èê äîëæåí óçíàâàòü
êîíêðåòíûå ÿâëåíèÿ, êîòîðûå òðåáóþò îïðåäåë¸ííûõ îïåðàöèé. Â
åãî àðñåíàëå äîëæíî áûòü çíàíèå î âîçìîæíûõ ïðè¸ìàõ. Îí äîëæåí
ïðåäâèäåòü ðåçóëüòàò ñâîèõ ïðåîáðàçîâàíèé, ðàâíî æå êàê è ðåçóëüòàò íåïðîèçâåä¸ííûõ òðàíñôîðìàöèé. Âî ãëàâå óãëà ñòîèò ÿçûê ïåðåâîäà ñ åãî ïðàâèëàìè è òðåáîâàíèÿìè.
Çàìåíû ìîãóò áûòü îáóñëîâëåíû íå òîëüêî ëåêñè÷åñêèìè, íî è
ãðàììàòè÷åñêèìè òðåáîâàíèÿìè ÿçûêà. Òàê, çàìåíà ïàññèâíîé êîíñòðóêöèè â îðèãèíàëå àêòèâíîé èëè íåîïðåäåë¸ííî-ëè÷íîé íå ñàìîöåëü, îíà äèêòóåòñÿ íîðìàìè Ïß, à çàìåíà ÷àñòåé ðå÷è, íàïðèìåð â
àòðèáóòèâíûõ ñî÷åòàíèÿõ, ïðîèñõîäèò â ðåçóëüòàòå íåâîçìîæíîñòè
îáîéòèñü áåç íå¸. Ïðîñòîå ïðåäëîæåíèå ñ êîìïëåêñîì èëè îáîðîòîì â ïåðåâîäå áåç òðóäà ïðåâðàùàåòñÿ â ñëîæíîå. Ïðîöåññ ïðåîá-
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ðàçîâàíèÿ òåêñòà â óñëîâèÿõ îòñóòñòâèÿ ñîîòâåòñòâèé äîëæåí áûòü
äåòåðìèíèðîâàí, ïî ìíåíèþ Ë.Ê. Ëàòûøåâà, òðåìÿ êðèòåðèÿìè:
«ìîòèâèðîâàííîñòüþ òðàíñôîðìàöèè», «ìèíèìàëüíîñòüþ òðàíñôîðìàöèè», è «îãðàíè÷åííîñòüþ ìåðû ïåðåâîä÷åñêîé òðàíñôîðìàöèè»18. Ïåðâûé ïðåäïîëàãàåò, ÷òî â òðàíñôîðìàöèè ïî òàêèì-òî ïðè÷èíàì åñòü íåîáõîäèìîñòü, êîòîðàÿ ñòàíîâèòñÿ î÷åâèäíîé ïðè ñîïîñòàâëåíèè òðàíñôîðìèðîâàííîãî è íåòðàíñôîðìèðîâàííîãî âàðèàíòîâ.
Ôàêòè÷åñêè ýòî îçíà÷àåò íåäîïóùåíèå ïðîèçâîëüíûõ òðàíñôîðìàöèé.
Âòîðîé êðèòåðèé îçíà÷àåò îáÿçàòåëüíîñòü ïîèñêà ñðåäñòâ ìèíèìàëüíîãî âîçäåéñòâèÿ, ñ ïîìîùüþ ÷åãî ïåðåäà¸òñÿ çàëîæåííîå â òåêñò ñîäåðæàíèå. Òðåòèé êðèòåðèé, òåñíî ñâÿçàííûé ñî âòîðûì, îçíà÷àåò, ÷òî
â ñëó÷àå, êîãäà ðàñõîæäåíèÿ ìåæäó ÿçûêàìè íåâîçìîæíî íèâåëèðîâàòü ñ ïîìîùüþ òðàíñôîðìàöèé (èõ âîçìîæíîñòè òîæå îãðàíè÷åíû),
òðàíñôîðìàöèè íåäîïóñòèìû, èõ ñëåäóåò èñêëþ÷èòü. Ñîõðàíÿÿ èíôîðìàöèþ îðèãèíàëà, ìîæíî âîñïîëüçîâàòüñÿ ïðèìå÷àíèåì.
 õîäå ïåðåâîññîçäàíèÿ ñîäåðæàíèÿ èñõîäíîãî òåêñòà ñðåäñòâàìè ÿçûêà ïåðåâîäà ïîñðåäíèê âñòðå÷àåòñÿ ñ ðàñõîæäåíèÿìè ìåæäó
ÿçûêàìè, íîñÿùèìè ñèñòåìíûé õàðàêòåð, âûçâàííûìè íåñîâïàäåíèåì íîðì è óçóñîâ Èß è Ïß, êîòîðûå íàêëàäûâàþòñÿ íà ðàçëè÷èå
êîãíèòèâíûõ áàç ïîëó÷àòåëÿ èíôîðìàöèè, ãîâîðÿùåãî íà èñõîäíîì
ÿçûêå, è ïîëó÷àòåëÿ ïåðåâîäíîé èíôîðìàöèè.
Ïðèìåíåíèå òðàíñôîðìàöèé — àêò òâîð÷åñêèé. Ýòî îçíà÷àåò,
÷òî êà÷åñòâî è ìåðà òðàíñôîðìàöèè èñõîäíîãî òåêñòà ïðè ïåðåâîäå
â êàæäîì îòäåëüíîì ñëó÷àå îáóñëîâëåíû âñåé ñîâîêóïíîñòüþ ñîñòàâëÿþùèõ òåêñòà. Ñëåäñòâèåì íåèñïîëüçîâàíèÿ òðàíñôîðìàöèè áóäåò
áóêâàëüíûé ïåðåâîä ñ ÷¸òêèì îùóùåíèåì ó ïîëó÷àòåëÿ, ÷òî ïî-ðóññêè òàê íå ãîâîðÿò. Âíèìàòåëüíûé ÷èòàòåëü ñïîñîáåí è ñàì íàéòè
ïîäõîäÿùèé âàðèàíò:
Ïîë Äðåéê, ïðîáèâ ñåáå äîðîãó ñêâîçü òîëïó, îòêðûë äâåðöó áàðüåðà, íà êîí÷èêàõ ïàëüöåâ (ïîäíÿâøèñü íà öûïî÷êè?), è ñòàë
øåïòàòü åìó íà óõî.
Íåñîáëþäåíèå íîðìû òðàíñôîðìàöèè ïðèâîäèò ê òîëêîâàíèþ
âìåñòî ïåðåâîäà. Ëîãè÷åñêèå äåéñòâèÿ ñîïðîâîæäàþò âåñü ïðîöåññ
ïåðåâîäà, íàó÷èòüñÿ ýòîìó ìîæíî â îïûòå, ïðîÿâëÿÿ áîëüøóþ îòâåòñòâåííîñòü çà ñâîþ ðàáîòó.
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Ëàòûøåâ Ë.Ê. Òåõíîëîãèÿ ïåðåâîäà. — Ì.: ÍÂÈ-Òåçàóðóñ, 2000. Ñ. 39—40.
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Ëåêñèêî-ñòèëèñòè÷åñêèå è ãðàììàòè÷åñêèå
îñîáåííîñòè çàãîëîâêîâ
Îñîáåííîñòè ñòðóêòóðû è ëåêñè÷åñêîãî íàïîëíåíèÿ çàãîëîâêîâ, êàê è îñîáåííîñòè ïåðåâîäà íàçâàíèé õóäîæåñòâåííûõ è íàó÷íûõ ïðîèçâåäåíèé, îïðåäåëÿþòñÿ ñîäåðæàíèåì ýòèõ ïðîèçâåäåíèé
è èõ ïðèíàäëåæíîñòüþ ê îïðåäåë¸ííîìó ñòèëþ. Íåìàëîâàæíîå çíà÷åíèå èìååò è àâòîðñêàÿ èíòåíöèÿ, îòðàæàþùàÿ ñóáúåêòèâíîå îòíîøåíèå àâòîðà ê ñîáûòèþ, äåéñòâóþùèì ëèöàì, ê ïîëó÷àòåëþ
èíôîðìàöèè.
 ñëó÷àå ñ ãàçåòíûìè çàãîëîâêàìè òàêèì ðåøàþùèì ôàêòîðîì
áóäåò ãàçåòíî-èíôîðìàöèîííûé ñòèëü, êîòîðûé ìîæíî îïðåäåëèòü
êàê ñèñòåìó ÿçûêîâûõ ñðåäñòâ (ëåêñè÷åñêèõ, ãðàììàòè÷åñêèõ, ìîðôîëîãè÷åñêèõ, ôîíîãðàôè÷åñêèõ, ôðàçåîëîãè÷åñêèõ, ñòèëèñòè÷åñêèõ), ñ
ôóíêöèåé èíôîðìàòèâíîãî, èäåîëîãè÷åñêîãî è ïîáóäèòåëüíîãî âîçäåéñòâèÿ íà ÷èòàòåëÿ. Ýëåìåíòàðíîé åäèíèöåé ãàçåòíî-èíôîðìàöèîííîãî ñòèëÿ âûñòóïàåò â îáùåñòâåííî-ïîëèòè÷åñêèõ òåêñòàõ
çàìåòêà/ñîîáùåíèå — news item, news story. Çàìåòêà — òåêñò èíôîðìàòèâíîãî òèïà, âêëþ÷àþùèé â êà÷åñòâå êîìïîçèöèîííûõ êîìïîíåíòîâ çàãîëîâîê, ââîäíûé àáçàö/çà÷èí — lead, summary lead è ðàçâåðíóòîå èçëîæåíèå ñîîáùåíèÿ.
Åñëè ñðàâíèòü çàãîëîâîê, çà÷èí è ðàçâåðíóòîå ñîîáùåíèå ñ òî÷êè çðåíèÿ èõ ôóíêöèé, òî çàäà÷à çàãîëîâêà ñîñòîèò â òîì, ÷òîáû ñâîåé íåìíîãîñëîâíîñòüþ, äèíàìè÷íîñòüþ, ÷àñòî áðîñêîñòüþ èëè ãðàôè÷åñêîé îðèãèíàëüíîñòüþ ïðèâëå÷ü âíèìàíèå ÷èòàòåëÿ ê çàìåòêå.
Çà÷èí, â êðàòêîé ôîðìå ðåçþìèðóÿ ñîäåðæàíèå çàìåòêè èëè íàèáîëåå âàæíîé å¸ ÷àñòè, îòâå÷àåò íà âîçíèêàþùèå â ñâÿçè ñ íåþ âîïðîñû ÷èòàòåëÿ: êòî, ÷òî, ãäå, êîãäà, ïî÷åìó, êàê, îòêóäà èíôîðìàöèÿ.
Âñå äåòàëè, â êîòîðûõ ìîæåò áûòü çàèíòåðåñîâàí ÷èòàòåëü, îí ïîëó÷àåò èç ïîëíîãî ñîîáùåíèÿ.  îòñóòñòâèå âðåìåíè ìîæíî îãðàíè÷èòüñÿ çàãîëîâêîì è çà÷èíîì. Îòñþäà èõ èíôîðìàöèîííàÿ öåííîñòü
è ïðåèìóùåñòâà.
Âûïîëíåíèå îáùåñòâåííî-ïîëèòè÷åñêèìè òåêñòàìè èõ èíôîðìàöèîííîé, èäåîëîãè÷åñêîé è ïîáóäèòåëüíîé ôóíêöèé îñóùåñòâëÿåòñÿ â ãàçåòå, òåëå- è ðàäèîïåðåäà÷å/âûñòóïëåíèè ñ ïîìîùüþ îïðåäåë¸ííûõ ÿçûêîâûõ ñðåäñòâ, îñîáåííîñòè êîòîðûõ îáíàðóæèâà206
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þòñÿ âî âñåõ ñîñòàâëÿþùèõ ãàçåòíûõ ìàòåðèàëîâ. Ïðåæäå âñåãî ýòî
íåîáõîäèìîñòü â äîõîä÷èâîñòè è ïîíÿòíîñòè èíôîðìàöèè, îæèäàíèå
íåïîñðåäñòâåííîé ðåàêöèè èëè ðåçóëüòàòà, êîòîðûå äîñòèãàþòñÿ ñ
ïîìîùüþ êëèøèðîâàííîñòè ðå÷è, óïîòðåáëåíèåì øòàìïîâ (common
knowledge is, he is reported to). Äðóãàÿ îñîáåííîñòü — áîëüøàÿ
íàñûùåííîñòü ðàçíîé òåðìèíîëîãèåé âî âñåõ îáëàñòÿõ æèçíè. Òðåòüÿ îñîáåííîñòü — òåíäåíöèÿ ê êîìïðåññèè ÿçûêîâûõ åäèíèö âñåõ
óðîâíåé. Ýòî ýëëèïñèñ êàê ïðè¸ì ñèíòàêñè÷åñêîé êîìïðåññèè, íà
óðîâíå ëåêñèêè — ýòî óïîòðåáëåíèå ñîêðàùåíèé âñåõ òèïîâ, ýòî
èñïîëüçîâàíèå ÷àñòîòíûõ ìíîãîçíà÷íûõ ñëîâ, ïðèîáðåòàþùèõ â óñëîâèÿõ ãàçåòû øèðîêîçíà÷íîñòü. Ðå÷ü èä¸ò î òàê íàçûâàåìîé «ãàçåòíîé ëåêñèêå (headline vocabulary)». Ýòîò âîêàáóëÿð ôîðìèðóåò
ñâîåîáðàçíûé çàãîëîâî÷íûé æàðãîí èç ãëàâíûì îáðàçîì îäíîñëîæíûõ ìíîãîçíà÷íûõ ñëîâ ñ äèíàìè÷íîé ñåìàíòèêîé, íàñûùåííûõ ñòèëèñòè÷åñêè: aid, ban, bar, bid, blaze, boss, claim, crack, crash, cut,
dash, go ahead, hit, head, imply, involve, move, plea, poll, probe,
quit, quiz, rap, riddle, rush, slash, speed, stir, stimulate, strife, talks,
threat, vow, wed è ò.ä. Îäíîñëîæíàÿ ñòðóêòóðà òàêèõ ñëîâ ïîçâîëÿåò ëåãêî ìîäèôèöèðîâàòü èõ ñìûñëû è ôóíêöèè ñ ïîìîùüþ ïîñëåëîãîâ è êîíâåðñèè. Ýòà ëåêñèêà ÷àñòî è âåñüìà òîíêî îáûãðûâàåòñÿ: òàê, «A wet open air concert in London by opera singer Luciano
Pavarotti» îïèñûâàåòñÿ êàê «Torrential Rain in Most Arias» — ìíîãîóðîâíåâîé èãðîé ñëîâ è çâóêîâ. Íàèáîëåå ÷àñòî èñïîëüçóåìûå íàðå÷èÿ (clearly, completely, considerably, essentially, fairly, greatly,
significantly, reasonably) íåñóò ìîäàëüíî-ýêñïðåññèâíóþ íàãðóçêó,
ïîçâîëÿÿ îòðàçèòü íàïðÿæ¸ííûé áåã âðåìåíè, ñìåíó ñîáûòèé, îáùåñòâåííûõ íàñòðîåíèé, îáñóæäàåìûõ òåì.
Êàê ïðàâèëî, â ãàçåòíî-èíôîðìàöèîííûõ ñîîáùåíèÿõ øèðîêî
èñïîëüçóþòñÿ èìåíà, ðàçëè÷íûå íàçâàíèÿ, èñòîðè÷åñêèå ýêñêóðñû,
ëèòåðàòóðíûå è áèáëåéñêèå àëëþçèè, ðàçíîîáðàçíûå öèòàòû èç õóäîæåñòâåííûõ ïðîèçâåäåíèé è òåêóùåé ïðåññû, èç ìèðà êèíî è òåàòðà.  ýòîì çàêëþ÷àåòñÿ ÷åòâ¸ðòàÿ îñîáåííîñòü îáùåñòâåííî-ïîëèòè÷åñêîãî ñòèëÿ — ïîäêðåïëåíèå ôàêòîëîãè÷åñêîé äîñòîâåðíîñòè
èíôîðìàöèè. Îò ïåðåâîä÷èêà òðåáóþòñÿ îñíîâàòåëüíûå ôîíîâûå
çíàíèÿ: èíôîðìàöèîííàÿ âñåÿäíîñòü ñîâðåìåííûõ ãàçåò è æóðíàëîâ
òðåáóåò ïî÷òè áåçìåðíîé ýðóäèöèè è ÷óâñòâà ñòèëÿ.
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Ïÿòàÿ îñîáåííîñòü — ñòèëèñòè÷åñêàÿ íåîäíîðîäíîñòü, ðàçíîïëàíîâîñòü ãàçåòû, òî÷íåå ñòèëèñòè÷åñêàÿ ìåøàíèíà, êîòîðàÿ ÿâëÿåòñÿ ñëåäñòâèåì íåîáõîäèìîñòè îõâàòèòü èíôîðìàöèåé ðàçíûå
ñëîè îáùåñòâà. Ðàçðûâàåìûé äâóìÿ çàäà÷àìè — èíôîðìèðîâàòü è
óáåäèòü — â óñëîâèÿõ íåäîëãîé èíôîðìàöèîííîé æèçíè ãàçåò, ãàçåòíî-èíôîðìàöèîííûé ñòèëü íå ìîæåò íå áûòü èçîáðåòàòåëüíûì:
ñ îäíîé ñòîðîíû — êëèøå, ñ äðóãîé — ñòèëèñòè÷åñêèå íàõîäêè è
èçûñêè, èìåþùèå öåëüþ ïîðàçèòü âîîáðàæåíèå, êðàñî÷íî, íîâî, íî
êðàòêî îïèñàòü, ñðàâíèòü, ïðîòèâîïîñòàâèòü.
Øåñòàÿ îñîáåííîñòü — ïðèñòðàñòèå ê ñëîâîòâîð÷åñòâó. Ñîçäàíèå íåîëîãèçìîâ èç èñêîííîãî ìàòåðèàëà è ÷åðåç çàèìñòâîâàíèå äåëàåò ãàçåòíûå òåêñòû èñòî÷íèêîì è ñðåäîé áûòîâàíèÿ íîâîîáðàçîâàíèé â ÿçûêå. Åñëè äîáàâèòü ê ýòîìó ïðèâåðæåííîñòü ãàçåòíî-èíôîðìàöèîííîãî ñòèëÿ ê öèòèðîâàíèþ, ïðÿìîìó è àëëþçèéíîìó, ê
ìîäèôèêàöèè ôðàçåîëîãè÷åñêèõ åäèíèö ðàçíûõ òèïîâ, åù¸ î÷åâèäíåé ñòàíîâèòñÿ öåïî÷êà êîíòðàñòîâ: «êðàòêîñòü — ðàçâ¸ðíóòîñòü»,
«ôàêòîëîãè÷åñêàÿ äîñòîâåðíîñòü — ýâôåìèñòè÷íîñòü», «øòàìïû —
íåîëîãè÷åñêèå èçûñêè», «îáðàçîâàíèÿ ïî àíàëîãèè — íåîæèäàííàÿ îáðàçíîñòü» è ò.ä.
Èòàê, ãàçåòíûé òåêñò è âñå åãî êîìïîíåíòû — ýòî èíôîðìàòèâíîñòü è ýêñïðåññèâíîñòü, íåîëîãèçìû è êëèøå, êíèæíî-ïèñüìåííûå,
íåéòðàëüíûå è ñíèæåííûå ýëåìåíòû ðå÷è, ýòî êîìïðåññèÿ ôîðìû è
âûðàçèòåëüíàÿ ¸ìêîñòü ñîäåðæàíèÿ, ýòî òîíêàÿ èãðà ñ ÷èòàòåëåì,
êîòîðîãî íóæíî ïðèâëå÷ü, óâëå÷ü, óáåäèòü, ðàçóáåäèòü.
Ñòðàòåãèÿ è òàêòèêà ïåðåâîäà çàãîëîâêîâ çèæäåòñÿ íà òî÷íîì
ïîíèìàíèè èõ ñìûñëà è ôóíêöèîíàëüíûõ ñâåðõçàäà÷. Çàãîëîâêè â
ãàçåòíîé çàìåòêå ýëëèïòè÷íû è âûäåðæàíû â òåëåãðàôíîì ñòèëå. Ýòî
îçíà÷àåò, ÷òî â íèõ ìîãóò îòñóòñòâîâàòü àðòèêëè, ñâÿçêè â èìåííîì
ñêàçóåìîì è ïàññèâå (Contract Signed; Protester Jailed), ôîðìû áó-
äóùåãî âðåìåíè è ïðîøåäøåãî. Ïðè ýòîì ïåðâûå çàìåùàþòñÿ èíôèíèòèâîì, âòîðûå — ïðè÷àñòèåì è Present Indefinite:
in Russia.
They to Meet
Ýëëèïòè÷íîñòü çàãîëîâêîâ ìîæåò ïðèâîäèòü ê èõ ìíîãîçíà÷íîñòè, à â ñëîâàõ — ê øèðîêîçíà÷íîñòè, îò÷åãî êîíòåêñò äîëæåí áûòü
ïîñòîÿííî â çîíå âíèìàíèÿ. Ýòî êàñàåòñÿ è ãëàãîëüíûõ, è íîìèíà-
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òèâíûõ, è, â îñîáåííîñòè, àòðèáóòèâíûõ çàãîëîâêîâ. Íàïðèìåð: The
Unfairer Sex Last year, 40 of complaints about sex discrimination in
firms hiring policies came from men.
Çàãîëîâîê è çà÷èí êàê íåïîñðåäñòâåííûå íîñèòåëè èíôîðìàöèè
ïðåäëàãàþò ñëåäóþùèé ïîðÿäîê äåéñòâèé ïðè ïåðåâîäå: ïîñêîëüêó
ñìûñë çàãîëîâêà íå ñîâñåì ÿñåí èç çàãîëîâêà, ïðåäñòàâëÿþùåãî ñîáîé àòðèáóòèâíîå ñî÷åòàíèå, äàæå åñëè ñðàçó îáðàòèòü âíèìàíèå íà
ëåæàùèé â îñíîâå ôðàçåîëîãèçì fair(er) sex, ïåðåâîä÷èê ïåðåõîäèò
ê àíàëèçó çà÷èíà. Ïðî÷òåíèå çà÷èíà ïîçâîëÿåò ïðåäïîëîæèòü, ÷òî
ðå÷ü èä¸ò î äèñêðèìèíàöèè ìóæ÷èí ïðè óñòðîéñòâå íà ðàáîòó. Ïðåäïîëàãàåìûé õîä ìûñëåé òàêîâ: åñëè fair sex — ñëàáûé ïîë, òî ñèëüíûé ïîë âïîëíå ìîã áû áûòü îáðàçîâàí ñ ïîìîùüþ îòðèöàíèÿ: íåñëàáûé = ñèëüíûé. Ñîìíåíèÿ âûçûâàåò ñðàâíèòåëüíàÿ ñòåïåíü
unfairer, óêàçûâàþùàÿ íà òî, ÷òî â ñëîâå, ïî-âèäèìîìó, ðåàëèçóåòñÿ
äðóãàÿ èïîñòàñü fair — îìîíèì «÷åñòíûé, ñïðàâåäëèâûé», êîòîðûé
óïîòðåáëÿåòñÿ â óñòîé÷èâîì âûðàæåíèè «fair employment practices» —
ñïðàâåäëèâûé, áåç äèñêðèìèíàöèè ïðè¸ì íà ðàáîòó.
Èòàê, çàêîäèðîâàííàÿ â çàãîëîâêå èãðà ñëîâ, â êîòîðîé ñòîëêíóëèñü îìîíèìû, ïðèâîäèò ê âàðèàíòó ïåðåâîäà, â êîòîðîì, ñîãëàñíî êîíòåêñòó çà÷èíà, ðåàëèçóåòñÿ ñìûñë — ïîñòàâëåííûé â áîëåå
íåñïðàâåäëèâûå óñëîâèÿ ïîë, ñèëüíûé, à íå ñëàáûé: ýòîò ñëàáûé
ñèëüíûé ïîë.
Èòàê, îñíîâíîå ïðàâèëî ïåðåâîäà çàãîëîâêà — ïåðåâîäèòü åãî
íà îñíîâàíèè èíôîðìàöèè çà÷èíà èëè ïîëíîãî òåêñòà ñîîáùåíèÿ.
Âòîðîå ïðàâèëî êàñàåòñÿ óïîìèíàíèÿ èñòî÷íèêà èíôîðìàöèè, êîòîðûé â ðóññêîì ïåðåâîäå äîëæåí ïðåäâàðÿòü èíôîðìàöèþ.  ðóññêîì
ÿçûêå èñòî÷íèê èíôîðìàöèè îòíîñèòñÿ ê èçâåñòíîé èíôîðìàöèè, â
òî âðåìÿ êàê ñîîáùàåìîå ñîáûòèå ñîñòàâëÿåò ðåìó, êîòîðàÿ â ðóññêîì òåêñòå èìååò òåíäåíöèþ ðàñïîëàãàòüñÿ áëèæå ê êîíöó âûñêàçûâàíèÿ. Ïîñëåäíåå çàìå÷àíèå îòíîñèòåëüíî ðàçëè÷èé ïðàâèë ïîñòðîåíèÿ èíôîðìàöèè çà÷èíà â àíãëèéñêîì òåêñòå è â òåêñòå ïåðåâîäà êàñàåòñÿ íåîáõîäèìîñòè â èçìåíåíèè ïîðÿäêà ñëåäîâàíèÿ â í¸ì
îáñòîÿòåëüñòâ, êîòîðûå âûíîñÿòñÿ íà íà÷àëî ñîîáùåíèÿ. Ñëåäóåò
ïîìíèòü, ÷òî äåëî íå â ôîðìàëüíîì ïåðåìåùåíèè êîìïîíåíòîâ ñîîáùåíèÿ, à â òî÷íîñòè ïåðåäà÷è ñìûñëà â åãî ïðèâû÷íûõ ôîðìàõ.
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Çàäàíèå 1. Ïåðåâåäèòå çàãîëîâêè, ïðîàíàëèçèðîâàâ èõ ñ òî÷êè çðåíèÿ
ïîëíîòû èõ ñîñòàâà.
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The Tragic Truth About John Blake.
Lord Elis Thomas Remarries in Quiet Register Office.
Museum at the Kresty Prison to Be Open for All.
And They Said It Wouldn’t Last
The doubters said the age gap is too great, but <...> they are
still together and very much in love.
The White House Seems to Be in an If-you-can’t-lick-’em
join-’ em Mood.
Life the Temptress Admittedly, Saudi women have a taste for an
active and diverse business life.
Contrast Harmony is Yours!
Of Land, Water and Daily Bread.
Any More?
Recently, another — 16th party has made its appearance on
Mongolia’s political scene.
Quick!
Shirt Jobs Lost.
Anatomy of a Riot.
Britain’s Jails under Stress.
French Pilots Strike.
Bright Future, Present Problems.
Safe-and-sound and on Time.
Putting the Brakes on Crime.
The Search for Meaning.
Through a Newcomer’s Eyes.
Circus Fire.
Çàäàíèå 2. Ïðîàíàëèçèðîâàâ ñèíòàêñè÷åñêóþ ñòðóêòóðó çàãîëîâêîâ,
ïåðåâåäèòå èõ.
1. Darwin theory is right, say scientists.
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It’s the inspiration you’ve been missing!
Don’t turn a dream into a nightmare.
What ducks have taught us about.
“Hospitals bring me in a cold sweat”.
The Verdict: Death.
Anorexia: Eating Disorder Investigation.
Escape Stress: Rent An Igloo.
Wanted: holiday-makers to go bounty hunting.
Miracles.
If.
Sweet Tooth.
Rubbish.
Di-Vorce!
Meet the man who can fly!
An exhibition that never was.
A genius that was not to be.
The little girl who grew into a monster.
Curse That Scared a Thief.
The Hit Song That Changed My Life.
Çàäàíèå 3. Ïåðåâåäèòå çàãîëîâêè ñ àòðèáóòèâíûìè ñî÷åòàíèÿìè. Ïå1.
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ðå÷èñëèòå ïðîáëåìû èõ ïåðåâîäà.
England’s New “Retro” Government.
Late-Coming Regrets.
British Council Education Counselling Service.
It’s a cold-war love story with a happy end.
Weekend Mum.
Knife-in-head Attacker is sent to Broadmoor.
The Interest Free Time Machine.
Bedtime Prayers.
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9. The new long-hair look.
10. Miracle Weight-Loss Foods.
Çàäàíèå 4. Ïåðåâåäèòå çàãîëîâêè, ïðîàíàëèçèðîâàâ ñìûñëîâóþ ðîëü
âîïðîñèòåëüíîãî è âîñêëèöàòåëüíîãî çíàêîâ.
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Look, it’s a flying stretched limo!
Seal the Deal!
Hail, Mary!
Have a Nice Time!
Lucky for Some!
Move over, You Adults!
What a lot we’ve got!
What a Difference a Dye Makes!
That’s bizarre!
A Clue to Early Man?
Fair Play?
So, is it for sale?
What, me worry?
Why are we doing this?
Girl crazy: is one ever enough for him?
Why a Man Wants His Wife to Have a Second Husband?
Now what’s to do?
Why Human Cloning Research Should Not Be Banned?
“Fame: Is it worth it?”
Space Travellers?
Will Britain Go Vegetarian?
Detox for Chocoholics?
What Happens Next?
“Forward into What Century?”
Whatever Happened to American Moral Standards?
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Too damned beautiful?
The end is nigh. . . but when?
Is Fat That Bad?
Two’s a company. Three’s a crowd?
You Call That Progress?
Çàäàíèå 5. Ïîñëå àíàëèçà çíà÷åíèÿ èñïîëüçîâàííûõ â çàãîëîâêàõ âðå-
ìåí ïåðåâåäèòå çàãîëîâêè.
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It’s another eco war.
It’s a lovely age.
Girl had a detective in her boot.
India was desperate to be independent.
Several people died in a dramatic early-morning raid.
Police with tracker dogs fail to find lead.
Where are you dying to go?
Julia Roberts is Working Out.
“Maxwell is Seeking Japanese Partners.”
Talks to begin this week.
Politicians to discuss rubbish.
Honeymoon couple survive balloon crash.
Politicians to discuss rubbish.
Earprint Evidence to Be Used in Court.
UK to go ahead with drive to reduce EU road deaths.
Britain to keep its military strength.
Sales intermission will last 5–10 minutes.
The press release will be given in conference hall at 12.
Passengers hit by cancelled trains.
Stolen painting found by tree.
Sent to prison to lose weight.
Your Work Worries Solved.
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Solicitor jailed for drug-dealing.
Drivers alerted to risky day on roads.
Nepalese Govt Faces No-Trust Vote.
Michael Jackson appeals to Pope.
My wife needs a husband.
Clinton starts his war on cigarettes.
Boy, 6, dies in busy pool at holiday camp.
The Funeral Business is Eternal.
Çàäàíèå 6. Ïðåäëîæèòå íåñêîëüêî âàðèàíòîâ ïåðåâîäà. Óêàæèòå, êà1.
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êîé èíôîðìàöèè íå õâàòàåò äëÿ ïðèíÿòèÿ îäíîçíà÷íîãî
ðåøåíèÿ.
Emu is postponed — official.
Murderer takes the bus.
Chiltern to visit schools.
The Most Delicious Reader Revenge Stories.
Fine China.
Women Who Rock.
Cyprus Tries to Shore Up Tourism.
Laborous.
All Ready to Celebrate.
Biologists Teach Sea Lions to Film Whales Underwater.
Get It Off Me!
Most Unlikely!
Purple Power.
Deals on Wheels.
Handle with Flare.
Çàäàíèå 7. Ïåðåâåäèòå ñëåäóþùèå ãàçåòíûå çàãîëîâêè.
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Do They Mean Me?
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ANF Plan Attacked.
A Win-Win Combination.
Cheers!
Needled.
I do, I do, I do: Beautiful brides.
Giving Flowers? Beware of Some Thorny Issues.
Unwinding the Red Tape: Seek, and Ye Shall not Find.
“Malta — island of speaking stones”.
Heart Woman.
Òåïåðü, îðèåíòèðóÿñü íà ïðåäëîæåííûé êîíòåêñò, âíåñèòå íåîáõîäèìûå ïîïðàâêè â ñâîé ïåðåâîä.
1. The Art of Deciphering Job Ads.
2. The British government’s plan to create a so called “Atlantic nu3.
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clear force” was condemned.
Negotiations between the sides at war.
If the art of choosing only the best of what life offers is good taste,
then the art of choosing a fine wine is exquisite taste...
All American military personnel are to be vaccinated against anthrax, believed to be stockpiled by Iraq?
“Just say Yes! to these fabulous wedding dresses, designed to
make your day!”
When giving somebody flowers one should bear in mind the rules
and traditions of the flower-giving lest none should get offended.
Futile attempts to obtain some secret information from the officials.
Not all the stones of Malta, though, are merely silent witnesses
of the past. From the Middle Ages on, they speak a clearer language.
The woman who received the heart and lungs of Leah Betts, the girl
who died after taking ecstasy at her 18 birthday party, is stable
th
after being moved out of intensive care at Papworth Hospital.
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Çàäàíèå 8. Ïðîâåðüòå òî÷íîñòü ïåðåâîäà çàãîëîâêîâ. Àðãóìåíòèðóé-
òå ñâîè ïîïðàâêè.
1.
Intuition: Your Secret Success Power — Èíòóèöèÿ: Âàøà
ñåêðåòíàÿ ñèëà, ïîëüçóþùàÿñÿ óñïåõîì.
2.
“Should You Get a Flue Shot?” — Äîëæíû ëè âû ñäåëàòü
ïðèâèâêó ïðîòèâ ãðèïïà?
3.
“Your daughter won’t suffer from being an only child” — Âàøà
äî÷ü, áóäó÷è åäèíñòâåííûì ðåáåíêîì, íå áóäåò ñòðàäàòü.
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Fashion News — «Ìîäíûå» íîâîñòè.
It’s a nose ring — Ýòî íîñîâîé çâîíîê.
Short-term memory loss — Âðåìåííàÿ ïîòåðÿ ïàìÿòè.
Passing As a Hubby — Ïóòåøåñòâóÿ ìóæåì.
Employers we love — Ëþáèìûå íà÷àëüíèêè.
The Japanese House as a Miniature Universe — ßïîíñêèé äîì
êàê ìèíèàòþðíàÿ âñåëåííàÿ.
10.
11.
12.
Confidential — Î÷åíü ëè÷íîå.
All by myself —  ïîëíîì îäèíî÷åñòâå.
The Westernzation of the Japanese Home — Çàïàäíûé óêëîí
â äèçàéíå ÿïîíñêîãî äîìà.
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15.
A Quarter Past Now — ×åðåç ÷åòâåðòü ÷àñà.
It’s a Mitsu-bargain — Ýòî ñäåëêà ñ Ìèöóáèñè.
The Many Faces of World Evil — Ìíîæåñòâî ëèö âñåìèðíîãî
çëà.
16.
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20.
Ulster Jail Protest Ends — Ðåçóëüòàò ïðîòåñòà òþðüìû â Îëüñòåðå.
First and Last and Always — Ñíà÷àëà è â êîíöå è âñåãäà.
A New Focus on Britain — Íîâûé âçãëÿä íà Áðèòàíèþ.
Armed Response — Âîîðóæ¸ííûé îòâåò.
Labour Sails into Clear Blair Water — Ëåéáîðèñòû ïóñòèëèñü
â ïëàâàíèå ïî ÷èñòûì âîäàì Òîíè Áëýðà.
Çàäàíèå 9. Ïåðåâåäèòå, îáðàòèâ âíèìàíèå íà ñòèëèñòè÷åñêèå îñîáåí-
íîñòè çàãîëîâêîâ.
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Glad Hatter A paper hat is no longer a larky crown that you pull
out of a Christmas cracker. It is the latest environment-friendly
fashion. Kangol has just launched a range of biodegradable hats
made from Scandinavian virgin pulp.
3. Dealing with a Difficult Boss.
4. Trust in God But Lock Your Car.
5. No Pay, No Grain.
6. Heroes for Today.
7. Everything’s Not Okey.
8. To Eat or Not to Eat.
9. BP Has Found Oil in Space.
10. Punishment without Crime.
11. The Furious and the Faithful.
12. The Kurils are Russian — lock, stock and barrel.
13. New Broom out to make Clean Sweep.
14. Help for a He-Man.
15. Sleepy, Banal and Unfunny.
It’s said that sleep is a form of criticism.
2.
Çàäàíèå 10. Ïåðåâåäèòå ñëåäóþùèå çàãîëîâêè, îïðåäåëèâ ãëàâíóþ
òðóäíîñòü èõ ïåðåâîäà.
1. Facing Facts.
I asked my grandson if he’d made any new friends at school. “Yes,”
he replied. “Craig and Scott. They’re twins. Do you know, what
twins are, Nan?” Hoping to hear more, I said: “No, what are
twins?” “Well, Nan, twins are two boys with the same face each”.
2. I’ve Lost My Jackpot.
Jack Nickolson, a famous actor, was told: “Slim down or you
won’t get the part”.
3. It Won’t Wash.
The pain of being on location Vanessa Redgrave, Rod Steiger,
Keith Carridine and the rest of the cast of the film The Ballad of
the Sad Cafe of Texas are having to do some of their own wash217
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ing, because the only laundry in the little Texan town where their
film is set refuses to do undergarments — something to do with
a local religious modesty, the stars were told.
4.
5.
It’s So In to Be Out.
Or a Miss?
Miss Six-And-A-Half came up to me and was extremely confused. She asked: “Is Mississipi spelt with a Miss or a Mrs?”
Êàêèå ïðîáëåìû â ïåðåâîäå ýòèõ ïðåäëîæåíèé áûëè ó êîìïüþòåðà?
Ìíîãî ëè îáùåãî ìåæäó òðóäíîñòÿìè êîìïüþòåðà è ÷åëîâåêà,
âûïîëíÿþùåãî ïåðåâîä?
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Ñòîëêíîâåíèå ñ ïðåäëîæåíèÿìè ß ñïðîñèë ìîé grandson, åñëè
îí ñäåëàë ëþáûå íîâûå äðóçåé â øêîëå. «Äà,» îí îòâåòèë.
«Crig è Scott. Îíè — òâèíû. Âû çíàåòå, êàêîâû òâèíû, Nan?»
Íàäåþùèéñÿ ñëûøàòü áîëüøå, ÿ ñîîáùèë: «Íåò, ÷òî ÿâëÿåòñÿ
òâèíàìè?» «Õîðîøî, Nan, òâèíû — äâà ìàëü÷èêà ñ òåì æå
ñàìûì ëèöîì êàæäûé».
ß ïîòåðÿë ìîé êóø Ãíåçäî (ðàçúåì) Nickolson, çíàìåíèòûé
àêòåð, ñîîáùàëîñü: «Òîíêèé (ñëàáûé) èëè âû áóäåòå ïîëó÷àòü
÷àñòü».
Ýòî íå áóäåò ïðîìûâàòü Áîëü íàõîæäåíèÿ íà ðàñïîëîæåíèè
(ìåñòîíàõîæäåíèè) Vanessa Redgrave, Ñòåðæåíü Steiger, Keith
Carridine è îñòàëüíàÿ ÷àñòü ïðèâåäåíèÿ ïëåíêè áàëëàäà
Ìðà÷íîãî Êàôå Øòàòà Òåõàñ äîëæíà, ÷òîáû äåëàòü ÷àñòü èõ
ñîáñòâåííîé ìîéêè, ïîòîìó ÷òî åäèíñòâåííàÿ ïðà÷å÷íàÿ â
íåáîëüøîì Øòàòå Òåõàñ ãîðîä, ãäå èõ ïëåíêà óñòàíîâëåíà,
îòêàçûâàåòñÿ äåëàòü undergarments — ÷òî-íèáóäü, ÷òîáû
äåëàòü ñ ëîêàëüíîé ðåëèãèîçíîé ñêðîìíîñòüþ, çâåçäû ñîîáùàëîñü.
Ýòî Òàê Â áûòü Ñíàðóæè.
Èëè Ms? Ìèññ Six-And-a-Half ïîÿâëÿåòñÿ êî ìíå, è áûë
÷ðåçâû÷àéíî ñïóòàí. Îíà ñïðîñèëà: «ßâëÿåòñÿ ëè Mississipi
spelt ñ Ìèññ èëè Ãîñïîæîé?»
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Çàäàíèå 11. Ïåðåâåäèòå, îáðàùàÿ âíèìàíèå íà ðàçëè÷íûå ñðåäñòâà
âûðàçèòåëüíîñòè.
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20.
You’ll never believe it’s only make believe.
Spies, spooks and suspense.
“Good golly Miss Dolly” story.
“7 + 1” Meeting.
Window to Windows.
Will the West Invest?
Mideast give-and-take: More take than give.
Pulling Back the Welcome Mat.
A very royal occasion in Tokyo.
Eye on the Big Apple.
Wanted: 60 heroes to take AIDS jab.
Use brain, not brawn.
Best of the Fest.
From Cop to Pop.
Crime time in prime time.
Hell, High Water and Hype.
The El Ni no panic is in full bloom. The major anticipated event for
California is heavy rain. The El Nino hype is simply stirring fear.
Country’s Riding in the Saddle, but Not So High.
After years of explosive growth, however, the popularity of the
genre now has plateaued.
Full Monty!
Japan makes a stand, sort of.
How ‡2.000 went up in a smoke.
Çàäàíèå 12. Ïåðåâåäèòå çàãîëîâêè è íàçâàíèÿ, îáúÿñíèâ èõ ñìûñë â
ïðèìå÷àíèè.
1. “England, My England”.
2. “You Touched Me”.
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“Van Gogh or No Van Gogh?”
“Samson and Delilah”.
All Authors are Equal.
Rich man, poor man.
“A Friend in Need”.
“The Three Horsemen of Apocalypse”.
Beware of your “buyer”.
Paradise Lost: the Decline of Delhi.
Mirror, mirror on the wall.
A Surfeit of Skeletons in the Family Cupboard.
It’s a mad, mad world.
Decline and Fall of the World as We Knew It.
Çàäàíèå 13. Ïåðåâåäèòå çàãîëîâêè ñ ôðàçåîëîãè÷åñêèìè åäèíèöàìè.
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Âåçäå ëè ïîäõîäèò ñëîâàðíîå òîëêîâàíèå?
Karen is Left High and Dry.
As Good as it Gets.
It’s No Cracker Unfortunately.
The Proof of the Pudding.
He Who Pays the Piper Calls the Tune.
Dancing Between Two Stools.
When Greek Meets Greek.
The Victims of his Virtues.
A Whale of a Kiss.
Safe and Sound.
The Lesser of the Two Evils.
Washington Washes its Hands.
Big Oil Sell-Offs Laudable, But Haste May make Waste.
Nothing Venture, Nothing Gain.
Yummy, yummy, yummy, I’ve got bugs in my tummy.
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Çàäàíèå 14. Ïåðåâåäèòå çàãîëîâêè, ñîäåðæàùèå ïðîòèâîïîñòàâëåíèÿ.
Ïðîàíàëèçèðóéòå ïðè÷èíû âîçíèêøèõ ïðîáëåì.
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Cold Peace or Hot War?
Dos and Don’ts in London.
Little books, Giant Success.
If it turns you off, you don’t have to turn it on.
Down but Not Out.
Yanks in, Brits out.
Moving out, Moving up.
Looking Good, Feeling Great!
“Maxi Sound, Mini Size”.
No Stairs, No Lifts.
When in Rome...
There’s No Place Like Home, Unless it’s the Office.
Sell It While It’s Hot, Collect It When It’s Not.
Where it’s as Right as Rain.
Stations May Kiss Romance Good-bye.
Romantic farewells at railway stations may soon be a thing of the
past in Warrington, where “no-kissing” zones will be soon set up.
Ïåðåâîä÷åcêèå îøèáêè
Íåäîñòàòêè â ïåðåäà÷å èñõîäíîãî ñîäåðæàíèÿ ïðè ïåðåâîäå ñâîäÿòñÿ îáû÷íî ê èñêàæåíèÿì, íåòî÷íîñòÿì, íåÿñíîñòÿì, ëÿïàì, ïðîïóñêàì. Îïðåäåëèì èñêàæåíèå êàê «ñóáúåêòèâíî îáóñëîâëåííîå îòêëîíåíèå, â ðåçóëüòàòå êîòîðîãî âîçäåéñòâåííûé ïîòåíöèàë ïåðåâîäíîãî
òåêñòà (ÏÒ) íå ñîîòâåòñòâóåò âîçäåéñòâåííîìó ïîòåíöèàëó èñõîäíîãî
òåêñòà (ÈÒ)»: ïåðåâîäíîé òåêñò ñîîáùàåò ëîæíóþ èíôîðìàöèþ è ââîäèò ïîëó÷àòåëÿ â çàáëóæäåíèå îòíîñèòåëüíî ñîäåðæàíèÿ ñîîáùåíèÿ,
âûçûâàÿ íåàäåêâàòíûå ïðåäñòàâëåíèÿ è ýìîöèè1. Íàïðèìåð:
Ëàòûøåâ Ë.Ê. Ïåðåâîä: ïðîáëåìû òåîðèè, ïðàêòèêè è ìåòîäèêè
ïðåïîäàâàíèÿ: Êí. äëÿ ó÷èòåëÿ øê. ñ óãëóáë. èçó÷. íåì. ÿç. — Ì.: Ïðîñâåùåíèå,
1988. Ñ. 134—139.
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I’m not saying his heart isn’t in the right place, said Professor
Mcgonagall grudgingly, but you can’t pretend he’s not careless. —
ß íå ñòàâëþ ïîä ñîìíåíèå åãî ïðåäàííîñòü âàì, íåîõîòíî
âûäàâèëà èç ñåáÿ ïðîôåññîð Ìàêãîíàãàëë. — Íî âû âåäü íå
ñòàíåòå îòðèöàòü, ÷òî îí íåáðåæåí è ëåãêîìûñëåí.
 àíãëèéñêîì òåêñòå óòâåðæäàåòñÿ, ÷òî ó Õàãðèäà äîáðîå ñåðäöå, íî ýòî íå îáÿçàòåëüíî çíàê ëè÷íîé ïðåäàííîñòè. Ñèòóàöèÿ ïîäñêàçûâàåò, ÷òî «grudgingly» ïåðåäà¸ò ïðîèçâîäíîå çíà÷åíèå ãëàãîëà «grudge — have a feeling of anger towards someone because they
have done something to you that does not seem right or fair». Ñëåäîâàòåëüíî, ïðîôåññîð Ìàêãîíàãàëë âîð÷ëèâî/ñåðäèòî/íåäîâîëüíî óòâåðæäàëà, ÷òî Õàãðèä äîáð è çàáîòëèâ, íî íåîñòîðîæåí è äåéñòâóåò
íåîáäóìàííî, òåì ñàìûì òåêñò îðèãèíàëà â ïåðåâîäå èñêàæ¸í ýìîöèîíàëüíî è ñîäåðæàòåëüíî. Èñêàæåíèå ìîæåò ïðîâîöèðîâàòüñÿ
íåâåðíûì ïðî÷òåíèåì îðèãèíàëà, ïëîõèì çíàíèåì ÿçûêà, íåáðåæíîñòüþ ïåðåâîä÷èêà, ñóáúåêòèâíûì ïîíèìàíèåì ïåðñîíàæåé è ñèòóàöèè, âñëåäñòâèå ÷åãî âîçíèêàåò «îòñåáÿòèíà».
Áîëüøèíñòâî òåîðåòèêîâ ïåðåâîäà ñ÷èòàþò, ÷òî «
íåòî÷íîñòü
îòëè÷àåòñÿ îò èñêàæåíèÿ ìåíüøåé ñòåïåíüþ äåçèíôîðìèðóþùåãî
âîçäåéñòâèÿ, ìåíüøåé ñòåïåíüþ íåàäåêâàòíîñòè ïîòåíöèàëüíîãî
êîììóíèêàòèâíîãî ýôôåêòà».  ýòîì ñëó÷àå íàáëþäàåòñÿ íåïîëíîòà ïåðåäà÷è ñîäåðæàíèÿ, íåêàÿ ïðèáëèçèòåëüíîñòü:
The men exchanged dubious giggles and off-colour jokes. —  ðÿäàõ ìîëîäûõ ëþäåé ïîñëûøàëèñü ñìåøêè è íå ñëèøêîì óäà÷íûå
øóòêè.
Íà ñàìîì äåëå, ãåíåðàëèçàöèÿ off-colour jokes íå ïðèâåëà ê àäåêâàòíîìó ïåðåâîäó: ñìåõ áûë íåïðèñòîéíûé, à øóòêè äâóñìûñëåííûìè, ñàëüíûìè, ãðóáûìè.
Íåÿñíîñòü îïðåäåëÿåòñÿ êàê òàêîé ôóíêöèîíàëüíî-ñîäåðæàòåëüíûé èçúÿí ïåðåâîäíîãî òåêñòà, â ðåçóëüòàòå êîòîðîãî çàòåìíÿåòñÿ ñìûñë ïåðåâîäíîãî âûñêàçûâàíèÿ, äîñòàòî÷íî ÷åòêî âûðàæåííûé â èñõîäíîì òåêñòå, ò.å. â ïåðåâîäå íå âïîëíå ÿñíî, ÷òî õîòåë ñêàçàòü àâòîð. Íåÿñíîñòü — ðåçóëüòàò êàêîãî-òî èíôîðìàöèîííîãî
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äåôåêòà: Îíà ñåëà, ðàçìÿëà ïàëüöû è íà÷àëà èãðàòü «Èòàëüÿíñêèé
êîíöåðò» Áàõà, êîòîðûé íà÷èíàëñÿ ñ ôà-ìàæîð. Èç ïðèâåä¸ííîãî
ïåðåâîäà òðóäíî ïîíÿòü, ÷òî ñ ÷åãî íà÷èíàëîñü.
Îäíàêî íå âñåãäà óòðàòà êàêîãî-òî èíôîðìàöèîííîãî êîìïîíåíòà
âåä¸ò ê íåÿñíîñòè: èñ÷åçíîâåíèå êëþ÷åâîé èíôîðìàöèè, çàìåíà å¸
òîëüêî ÷àñòüþ ìîæåò ïðîéòè íåçàìå÷åííîé. Åñëè â ðàñïîðÿæåíèè
ïîëó÷àòåëÿ íåò îðèãèíàëà, åìó òðóäíî äîãàäàòüñÿ, ÷òî â ñëåäóþùåì
ïðèìåðå ïðîèçîøëà ïîäìåíà îäíîãî ñëîâà äðóãèì:
Silas was not surprised to find the door unlocked. He opened it and
stepped into the minimalist foyer. — Ñàéëàñ ïåðåñåê äâîð è, ïîäîéäÿ ê äâåðè, íå ñëèøêîì óäèâèëñÿ, óâèäåâ, ÷òî îíà íå çàïåðòà.
Îí îòâîðèë åå è øàãíóë â ñêðîìíî îáñòàâëåííóþ ïðèõîæóþ.
«Ñêðîìíûé» — íåïðèòÿçàòåëüíûé, íå îáúÿâëÿþùèé áîëüøèõ
òðåáîâàíèé, äîâîëüñòâóþùèéñÿ ìàëûì, íåáðîñêèé, ïðîñòîé, ñäåðæàííûé. ×àñòü èíôîðìàöèè ñëîâà «minimalist» íå áûëà îòðàæåíà â
ïåðåâîäå: «minimalism is a theory in art, design and theatre which
involves using the smallest range of materials, colours etc, possible and
only the most simple shapes and designs».  ïåðåâîäå ñîõðàíåíà âíåøíÿÿ ñòîðîíà ñìûñëà, âíóòðåííÿÿ æå — ïðèíöèïèàëüíîå ñëåäîâàíèå íåêèì âçãëÿäàì, ÿâëÿþùàÿñÿ ôóíêöèîíàëüíî êëþ÷åâîé, îñòàëàñü çà ïðåäåëàìè ïåðåäà÷è. Èíîãäà íåÿñíîñòü ïîÿâëÿåòñÿ â
ðåçóëüòàòå êàêèõ-òî ñèíòàêñè÷åñêèõ ïðåîáðàçîâàíèé, èç-çà íåóïîðÿäî÷åííîãî ñëåäîâàíèÿ èíôîðìàöèè. Îíà ìîæåò âîçíèêíóòü â ðåçóëüòàòå íåâåðíûõ àññîöèàòèâíûõ õîäîâ, êàê âèäíî èç ñëåäóþùåãî
ïðèìåðà:
Äðóãèå æå íàðêîòèêè ó áîëüíûõ, ñòðàäàþùèõ àòåðîñêëåðîçîì,
âûçûâàþò ÿâëåíèå ïñèõè÷åñêîé íåäîñòàòî÷íîñòè.
Ïî âñåé âèäèìîñòè, «ïñèõè÷åñêàÿ íåäîñòàòî÷íîñòü» ïîÿâèëàñü
âìåñòî «ïñèõè÷åñêèõ ðàññòðîéñòâ» ïî àíàëîãèè ñ «ñåðäå÷íîé íåäîñòàòî÷íîñòüþ».
Òàêîå îáùåå ïîíèìàíèå äåôåêòíîñòè ïåðåâîäà ïðèâîäèò ê íåñêîëüêî ðàçìûòûì ãðàíèöàì ìåæäó èñêàæåíèåì, íåòî÷íîñòüþ è íå-
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ÿñíîñòüþ. Ñòåïåíü èçúÿíà îïðåäåëèòü ñëîæíî, ïðè÷èíû è òèï íàðóøåíèÿ íå âñåãäà ñâÿçàíû.
Î÷åâèäíî, ÷òî äëÿ òîãî, ÷òîáû èçáåæàòü îøèáî÷íûõ ðåøåíèé,
íåîáõîäèìî çíàòü òå ôàêòîðû, êîòîðûå ñîçäàþò óñëîâèÿ äëÿ îøèáêè. Îäíèì èç íèõ ÿâëÿåòñÿ ëèíãâîêóëüòóðîëîãè÷åñêîå ðàçëè÷èå ÿçûêîâ. Èíòåðíàöèîíàëüíûå ñëîâà ñ èõ ðàçëè÷èÿìè ëåãêî ïðèâîäÿò ê
îøèáêå, åñëè ñâîåâðåìåííî íå ïîäñòðàõîâàòüñÿ è íå ïîñìîòðåòü â
ñëîâàðå òàêîå, íà ïåðâûé âçãëÿä, ïðîñòîå è ÿñíîå ïî ñìûñëó ñëîâî.
Íàïðèìåð, èç ñëîâàðÿ ìîæíî óçíàòü, ÷òî àíãëèéñêîå ñëîâî asparagus
ÿâëÿåòñÿ è íàçâàíèåì äåêîðàòèâíîãî ðàñòåíèÿ (àñïàðàãóñ), è îâîùíîãî ðàñòåíèÿ (ñïàðæà). Òîãäà ÷èòàòåëü ïåðåâîäà íå áóäåò óäèâëÿòüñÿ, ÷òî êàêîé-òî àíãëè÷àíèí ïî âîëå ïåðåâîä÷èêà åñò àñïàðàãóñ.
×àùå âñåãî ñðåäè ãëóáèííûõ ïðè÷èí, ïðîâîöèðóþùèõ ïîÿâëåíèå íåïðàâèëüíûõ ðåøåíèé, îêàçûâàþòñÿ ðàçëè÷èå â îáú¸ìå ëåêñè÷åñêîãî çíà÷åíèÿ, íåñîâïàäåíèå ñåìàíòè÷åñêèõ ñòðóêòóð ìíîãîçíà÷íûõ ñëîâ, âåäóùåå ê ðàçëè÷èÿì â ñî÷åòàåìîñòè è ðàçëè÷èÿì â óçóñå.
Óçóàëüíûå íåäî÷¸òû ïîðîæäàþò îùóùåíèå íåîáû÷íîñòè, «íåðóññêîñòè», ñòèëÿ ðå÷è, âîçíèêàþùåå èç-çà ïåðåíåñåíèÿ ÷óæåðîäíûõ çíà÷åíèé, íåñîáëþäåíèÿ íîðì ñî÷åòàåìîñòè, èñïîëüçîâàíèÿ íåïðèâû÷íûõ âûðàæåíèé â êàêèõ-òî ñèòóàöèÿõ. Îòñóòñòâèå çíàíèé ïðè èçëèøíåé ñàìîóâåðåííîñòè è íåáðåæíîñòè ïðèâîäèò ê íåàäåêâàòíîìó
ýìîöèîíàëüíîìó è ýñòåòè÷åñêîìó ýôôåêòó.
Ñðåäè êîíêðåòíûõ ïðîâîöèðóþùèõ îøèáêè ôàêòîðîâ ìîæíî
îáíàðóæèòü, ïîìèìî îïèñàííûõ Ë.Ê. Ëàòûøåâûì «ëîâóøåê», äîâîëüíî áîëüøîå ÷èñëî ñëó÷àåâ, â êîòîðûõ ìîæíî ïîñòàðàòüñÿ èçáåæàòü íåâåðíûõ ðåøåíèé. Ýòî ïðåæäå âñåãî ÷åòûðå òèïà ëîæíûõ äðóçåé ïåðåâîä÷èêà:
• ïîëíîñòüþ ðàñõîäÿùèåñÿ â çíà÷åíèÿõ (compositor);
• ñîâïàäàþùèå ëèøü â îäíîì çíà÷åíèè (navigation, ammunition);
• ÷àñòè÷íî ñîâïàäàþùèå è ðàñõîäÿùèåñÿ â çíà÷åíèÿõ;
• îñîáàÿ ãðóïïà ëîæíûõ äðóçåé ïåðåâîä÷èêà, ðàçëè÷àþùèõñÿ
ðåàëüíûì íàïîëíåíèåì òèïà pound, dollar.
Áåçäóìíî ñëåäóÿ àíãëèéñêîìó îáðàçöó, íàïðèìåð, «transparent
elections» ïåðåâîäÿò êàê «òðàíñïàðàíòíûå âûáîðû», èìåÿ â âèäó
«ïðîçðà÷íûå», ÷òî âïîëíå ñîãëàñóåòñÿ ñ âîçìîæíîñòÿìè àíãëèéñêîãî ïðèëàãàòåëüíîãî «transparent», íî íèêàê íå âûòåêàåò èç òîãî,
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÷òî ðóññêîå ñëîâî «òðàíñïàðàíòíûé» ñîîòíîñèòñÿ ñî ñëîâîì «òðàíñïàðàíò», âûçûâàþùèì ñîâñåì äðóãèå àññîöèàöèè.
Ðàçíèöà â îáú¸ìå çíà÷åíèÿ ïðîâîöèðóåò îøèáêè íå òîëüêî ïðè
ïåðåäà÷å èíòåðíàöèîíàëüíûõ ñëîâ, è ýòî îáúÿñíÿåòñÿ íå òîëüêî íåóìåíèåì ïîëüçîâàòüñÿ ñëîâàðåì ïî-ïåðåâîä÷åñêè, ïðîñìàòðèâàÿ âñþ
èíôîðìàöèþ ñëîâàðíîé ñòàòüè ìíîãîçíà÷íîãî ñëîâà, íî è íåâíèìàòåëüíûì ïðî÷òåíèåì êîíòåêñòà. Ïðàâèëüíî âûáèðàåò çíà÷åíèå ñëîâà «stall» ïåðåâîä÷èê â ñëåäóþùåì ïðåäëîæåíèè:
It’s a book he bought second-hand years ago, off a sixpenny stall. —
Ýòó êíèãó îí êóïèë íà êíèæíîì ðàçâàëå çà øåñòü ïåíñîâ íåñêîëüêî ëåò òîìó íàçàä.
Õîòÿ ñ òî÷êè çðåíèÿ òî÷íîñòè ïåðåâîäà ýòîò âàðèàíò íåáåçóïðå÷åí, òåì íå ìåíåå èç âñåõ âîçìîæíîñòåé äëÿ ïåðåâîäà àíàëèçèðóåìîãî ñëîâà âûáðàí áûë ñàìûé ïîäõîäÿùèé.
Åù¸ îäíà ëîâóøêà — âíóòðåííÿÿ ôîðìà ñëîâà, êîòîðàÿ ìîæåò
íàâÿçûâàòü ïåðåâîä÷èêó èíûå çíà÷åíèÿ, ÷åì ðåàëüíî èìåþùèåñÿ â
ÿçûêå. Àíãëèéñêîå ñëîâî «underling» íå îçíà÷àåò «ïîäîíîê» èëè
«íè÷òîæåñòâî», êàê ìîæíî áûëî âûâåñòè èñõîäÿ èç åãî ôîðìû, à
çíà÷èò «ìåëêàÿ ñîøêà» ñ óíè÷èæèòåëüíûì îòòåíêîì.
Ëîâóøêè ñîçäàþòñÿ è òàê íàçûâàåìûìè «çàáûòûìè» çíà÷åíèÿìè ìíîãîçíà÷íûõ ñëîâ (freak, vague).
Îáû÷íîé ëîâóøêîé îêàçûâàþòñÿ óñòîé÷èâûå åäèíèöû, êîòîðûå
ñîäåðæàò «ëåêñè÷åñêîå èíîñêàçàíèå», ôèãóðàëüíîå çíà÷åíèå. Íàïðèìåð, «mind your eye» îçíà÷àåò íå «áåðåãè ãëàç», à «îñòîðîæíî,
ïîáåðåãèñü». Õîòÿ «easy on the eye» òàê ïîõîæå íà «ëåãêî óâèäåòü»,
íà ñàìîì äåëå, åãî çíà÷åíèå «ïðèÿòíûé íà âçãëÿä», ÷òî âèäíî èç ñëåäóþùåãî ïðèìåðà:
The new seats, long distance drivers tell us, are as easy on the back
as they are on the eye. — Íîâûå ñèäåíüÿ, ïî ìíåíèþ äàëüíîáîéùèêîâ, óäîáíû äëÿ ñïèíû è êðàñèâû.
Íåâåðíûé âûáîð ïðÿìîãî çíà÷åíèÿ âìåñòî ôèãóðàëüíîãî â ñåìàíòè÷åñêîé ñòðóêòóðå ìíîãîçíà÷íîãî ñëîâà «ladder» ïðåâðàùàåò
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çàòÿæêó, ñòðåëêó â ÷óëêå â ëåñòíèöó, ÷òî ñâèäåòåëüñòâóåò î íåçíàíèè
ïðåäìåòà è íåáðåæíîñòè îäíîâðåìåííî.
Ê ëîâóøêàì îòíåñåíû è íåñîçâó÷íûå â äâóõ ÿçûêàõ ãåîãðàôè÷åñêèå íàçâàíèÿ — Munich (Ìþíõåí), èìåíà ñîáñòâåííûå — Sean
(Øîí, à íå Ñèí). Àíãëèéñêèå ñëîâàðè ïðåäóïðåæäàþò: «Sean — the
name, usually pronounced Shawn by the English but Shahn by the
Irish, is an Irish form of John».
Ìîæíî ïðîäîëæèòü ñïèñîê ëèíãâèñòè÷åñêèõ ñèòóàöèé, êîòîðûå
ìîãóò ïðèâåñòè ê îøèáî÷íîìó ïåðåâîä÷åñêîìó ðåøåíèþ. Òàê, äîâîëüíî ÷àñòî íåãëóáîêîå çíàíèå ñèíîíèìè÷åñêèõ ðàçëè÷èé ïðèâîäèò ê
îøèáî÷íîìó âûáîðó. Ýòî ìîæíî âèäåòü íà ïðèìåðå èñïîëüçîâàíèÿ
òàêèõ ìîäàëüíûõ ñëîâ, êàê «âïîëíå», «äîâîëüíî», «äîñòàòî÷íî»,
«âåñüìà», ñìûñë êîòîðûõ îêàçûâàåòñÿ èíäèâèäóàëüíûì è â àíãëèéñêîì, è â ðóññêîì ÿçûêàõ, êðîìå òîãî, èõ ïåðåâîä â çíà÷èòåëüíîé
ìåðå îáóñëîâëåí êîíòåêñòîì:
Âîçìîæíî, ó ìèññèñ Ñâåéí ñëîìàëàñü ìàøèíà, îíà âïîëíå äîïîòîïíàÿ.
Íå ñîâñåì ïîíÿòåí âûáîð ýìîöèîíàëüíî-îöåíî÷íîãî ñëîâà è â
ñëåäóþùåì òåêñòå:
Ëåñ âûáðàëà ìåíþ, â êîòîðîå âõîäèëè âîçìóòèòåëüíî âêóñíûå
ð¸áðûøêè è çàæàðåííûå äî õðóñòà öûïëÿòà.
Íå ñòîëü áóêâàëüíî è ïðèâû÷íåå áûëî áû ïåðåâåñòè — âîñõèòèòåëüíî, íåâåðîÿòíî. Ïðè âûáîðå ñèíîíèìà â ïåðåâîäå âàæíîå çíà÷åíèå èìååò ñòèëèñòè÷åñêàÿ îêðàøåííîñòü ñëîâ â ñèíîíèìè÷åñêîì
ðÿäó. Ïåðåâåäÿ «wrong career path» êàê «íåâåðíàÿ êàðüåðíàÿ ñòåçÿ», ïåðåâîä÷èê íå ïî÷óâñòâîâàë, ÷òî ñëîâà åãî áóêâàëüíîãî ïåðåâîäà ñòèëèñòè÷åñêè íå ñîñòûêîâûâàþòñÿ.
Íåêîòîðûå õàðàêòåðíûå ãðàììàòè÷åñêèå ìîäåëè, íàïðèìåð, «as
A as A (as quick as possible)» ÷àñòî ïåðåâîäÿòñÿ áóêâàëüíî — «òàê
áûñòðî, êàê âîçìîæíî» âìåñòî «êàê ìîæíî áûñòðåå». Òàêîé ñòðóêòóðíûé áóêâàëèçì òàêæå ïðåäñòàâëÿåò ñîáîé ëîâóøêó.
 ñëåäóþùåì ïðèìåðå îòñóòñòâèå òðàíñôîðìàöèè ïðèâîäèò ê
íåÿñíîñòè è äàæå ïðèâíîñèò íåêèé þìîðèñòè÷åñêèé ýëåìåíò:
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Ïîäíÿâ ãîëîâó, Íåéë ðàçãëÿäåë ëèöî — òî ñàìîå, êîòîðîå ïðåñëåäîâàëî åãî ïî íî÷àì, êîãäà ñïàë ® âî ñíå.
Íåñêîëüêî äâóñìûñëåííî çâó÷èò è ñëåäóþùèé ïåðåâîä:
Ñòàäî îò áóðè íå ïîñòðàäàëî. Íàñêîëüêî ìîã ñóäèòü Äæåê, îíè
íå ïîòåðÿëè íè îäíîé ãîëîâû.
Èç êîíòåêñòà èçâåñòíî, ÷òî â ñòàäå áûëè êîðîâû, ìîæíî áûëî
ëèáî êîíêðåòèçèðîâàòü (íè îäíîé êîðîâû), ëèáî îáîáùèòü (íè îäíîãî æèâîòíîãî).
Íåïðîäóìàííàÿ, íå ñîãëàñîâàííàÿ äî êîíöà ñ êîíòåêñòîì çàìåíà ïðè ïåðåâîä÷åñêîì ïðåîáðàçîâàíèè òåêñòà òàêæå ìîæåò îáåðíóòüñÿ îøèáêîé: ïðåäñòàâëÿåòñÿ, ÷òî ïðîñòîðå÷íûé ãëàãîë «òàðàõòåòü»
ïðè êîíêðåòèçàöèè àíãëèéñêîãî «chatter» ñòèëèñòè÷åñêè âûäåëÿåòñÿ íà ôîíå àáñîëþòíî íåéòðàëüíîãî òåêñòà:
Èõ îôèöèàíòêà âåñåëî òàðàõòåëà è íàëèâàëà èì îäíó ÷àøêó êîôå
çà äðóãîé, ïîêà îíè íåñïåøíî çàâòðàêàëè.
 òî æå âðåìÿ íå ïðåäïðèíÿòàÿ òðàíñôîðìàöèÿ îñòàâëÿåò âïå÷àòëåíèå ÷åãî-òî íå äîâåä¸ííîãî äî êîíöà: «more or less painful
feeling», ïåðåâåä¸ííîå êàê «áîëåå èëè ìåíåå áîëåçíåííîå ÷óâñòâî»,
çâó÷àëî áû ïî-ðóññêè, åñëè èñïîëüçîâàòü ñåìàíòè÷åñêîå ðàçâèòèå, —
«äîâîëüíî, âåñüìà». Òàêèì îáðàçîì, íåâåðíî âûáðàííàÿ èëè íå äîâåä¸ííàÿ äî êîíöà òðàíñôîðìàöèÿ òîæå ÿâëÿåòñÿ ëîâóøêîé.
Ëîâóøêè âîçíèêàþò â ñëó÷àå íåçíàíèÿ òåðìèíà, êîãäà ïåðåâîä÷èê ðåøàåòñÿ ñàì «èçîáðåòàòü âåëîñèïåä»:
Äà, òàêîé ìåòîä õîðîø ñ ëþäüìè, ÷åé èíòåëëåêòóàëüíûé ðåéòèíã êîëåáëåòñÿ îò 65 äî 115.
Íåñëîæíî äîãàäàòüñÿ, â òåêñòå ðå÷ü øëà î êîýôôèöèåíòå èíòåëëåêòóàëüíîñòè. Çíàíèå îáùåïðèíÿòûõ òåðìèíîâ îêàçûâàåòñÿ
íåìàëîâàæíûì ïåðåâîä÷åñêèì ôàêòîðîì, ïðåäîòâðàùàþùèì îøèáêè. Ñëåäóåò çàìåòèòü, ÷òî ñëîâîîáðàçîâàòåëüíûå ïðè÷èíû íåðåäêî
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âûçûâàþò ó ïåðåâîä÷èêîâ æåëàíèå ïðèâíåñòè ÷òî-òî ñâî¸ â ðîäíîé
ÿçûê. Âìåñòî îáäóìàííîãî ïîèñêà ñèíîíèìè÷íîãî ñëîâà èëè èíîé
ñòðóêòóðû ñ çàìåíîé ÷àñòè ðå÷è îíè ñ÷èòàþò ïðàâîìåðíûì ïåðåâåñòè ïðåäëîæåíèå
«It made her snobbish». — Ýòî äåëàëî å¸ ñíîáèñòêîé.
Äàæå çàìåíà «ñíîáèñòêè» íà «ñíîáêó» íå óëó÷øèò ïåðåâîä, â
òî âðåìÿ êàê íåáîëüøàÿ òðàíñôîðìàöèÿ ñïîñîáíà âñ¸ ïîñòàâèòü íà
ìåñòî ®  ýòîì ïðîÿâëÿëñÿ å¸ ñíîáèçì/âûñîêîìåðèå.
Íå âñåãäà óìåñòíî çàèìñòâîâàíèå, äàæå åñëè ñîñòàâëÿþùåå ñ
íèì ïàðó ñëîâî èìååòñÿ â ÿçûêå. Òàê, â ïðåäëîæåíèè
«Åþ âîñõèùàëèñü. Ìàòðèàðõ ñåìüè Êèíêåéäîâ, îíà äàæå â ñâîè
øåñòüäåñÿò äåâÿòü ëåò îñòàâàëàñü âåñüìà ñòàòíîé æåíùèíîé»
ïåðåâîä÷èê èñïîëüçóåò ñëîâî «ìàòðèàðõ», íå çàðåãèñòðèðîâàííîå
ñëîâàðÿìè. Ñëîâó «ïàòðèàðõ», â êîòîðîì ñåìà ïîëà õîðîøî ñîãëàñóåòñÿ ñ ìóæñêèì ðîäîì, âîçìîæíî, è íå ïîìåøàë áû àíòîíèì, íî
íàëè÷èå â ñëîâå ìóæñêîãî ðîäà ñåìû, óêàçûâàþùåé íà æåíñêèé ïîë,
âûçûâàåò ñîìíåíèå è íåïðèÿòèå.
Ïðèâíåñåíèå èíîñòðàííûõ ðåàëèé â ðîäíîé ÿçûê, îñîáåííî òàì,
ãäå îíè íàðóøàþò óñòîÿâøèéñÿ óçóñ, íàíîñèò óùåðá ÿçûêó ïåðåâîäà
è çàñòàâëÿåò ïîëó÷àòåëÿ èíôîðìàöèè äåëàòü ïîïðàâêè. Äóìàåòñÿ,
÷òî îí âðÿä ëè âîñïðèíèìàåò òàêèå ñëó÷àè êàê âîçìîæíîñòü ñîïîñòàâèòü äâà ÿçûêà:
Îí íà äþæèíó ëåò ñòàðøå Ôàííè, è îí ÷åëîâåê îïûòíûé.
èëè
Ìû æå áûëè ñ íèì â÷åðà íî÷üþ, à ÿ òàê äî äâóõ ÷àñîâ óòðà.
(ïî-ðóññêè — äâà ÷àñà íî÷è)
Ëîâóøêè äëÿ ïåðåâîä÷èêà ñîçäàþòñÿ ñèñòåìíûì ðàçëè÷èåì ÿçûêîâ âî âñåõ èõ àñïåêòàõ, ÷òî òðåáóåò ïðîâåðêè è âíóòðåííåãî ñëóõà â
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êàæäîì àêòå ïåðåâîäà ïî ïðèíöèïó: ïðåäóïðåæä¸í — çíà÷èò âîîðóæ¸í. Òåì íå ìåíåå ÷èñòî îáúåêòèâíûå ïðè÷èíû ïðè ïåðåâîäå ìîãóò è
íå ïðèâîäèòü ê îøèáî÷íûì ðåøåíèÿì. Ïî-âèäèìîìó, óñëîâèÿ äëÿ
îøèáêè íàêàïëèâàþòñÿ âñëåäñòâèå íàëîæåíèÿ íà íèõ ëèíãâîêóëüòóðíûõ, ñîöèîêóëüòóðíûõ ôàêòîðîâ. È âñ¸ æå, ïî íàøåìó ìíåíèþ, êîãäà
ìû ãîâîðèì î ïåðåâîä÷åñêèõ îøèáêàõ, ñàìûé ñèëüíûé ôàêòîð —
ñóáúåêòèâíûé. Ïðèâåñòè ê îøèáêå äàæå òàì, ãäå îíà íè÷åì îáúåêòèâíî íå ñïðîâîöèðîâàíà, ìîãóò íåîñâåäîìë¸ííîñòü, ïëîõîå ïðåäñòàâëåíèå î ÷¸ì-ëèáî, íåîáäóìàííîñòü äåéñòâèÿ, íåîñîçíàíèå ïîñëåäñòâèé
è íåóìåíèå èõ ïðåäâèäåòü, ëåãêîìûñëèå è íåáðåæíîñòü, ëåíü, áåçîòâåòñòâåííîñòü, íåâíèìàòåëüíîñòü, íåñïîñîáíîñòü ê ëîãè÷åñêîìó ìûøëåíèþ, áåñêóëüòóðüå, íåóìåíèå ó÷èòüñÿ, çàáëóæäåíèÿ è ìíîãîå äðóãîå.
Çàäàíèå 1. Íàéäèòå äåôåêòû ïåðåâîäà â óïðàæíåíèÿõ I—X. Ïðåäëî-
Çàäàíèå 2.
Çàäàíèå 3.
Çàäàíèå 4.
Çàäàíèå 5.
Çàäàíèå 6.
Çàäàíèå 7.
Çàäàíèå 8.
Çàäàíèå 9.
æèòå àíãëèéñêîå ñëîâî èëè ïðåäëîæåíèå, ñîîòâåòñòâóþùåå
íåâåðíî ïåðåâåä¸ííîìó ìåñòó. Îáúÿñíèòå ïðèðîäó îøèáêè è èñïðàâüòå å¸.
×òî â ñëåäóþùèõ ïðåäëîæåíèÿõ (óïðàæíåíèÿ I, II) âûçûâàåò ñîìíåíèÿ â ïðàâèëüíîñòè ïåðåâîäà? Ïîïðîáóéòå âîññòàíîâèòü àíãëèéñêèé òåêñò.
 óïðàæíåíèÿõ I—III íàéäèòå ñëó÷àè áóêâàëüíîãî ïåðåâîäà è íåçàâåðø¸ííûõ òðàíñôîðìàöèé.
Ïðîàíàëèçèðóéòå ïîñëåäñòâèÿ íåâåðíûõ ñòèëèñòè÷åñêèõ
ðåøåíèé. Âñëåäñòâèå ÷åãî ïðîèñõîäÿò ñòèëèñòè÷åñêèå íàðóøåíèÿ?
Íàéäèòå ãðàììàòè÷åñêèå íàðóøåíèÿ â óïðàæíåíèÿõ I—V.
Îáúÿñíèòå ñóòü îøèáîê.
Ïðîàíàëèçèðóéòå ïðèìåðû íàðóøåíèÿ ñî÷åòàåìîñòè â óïðàæíåíèÿõ III, IV, V.
Ïðîàíàëèçèðóéòå ñëó÷àè íåâåðíîãî ïåðåâîäà Ô. Å.
Ðàññìîòðèòå ñëó÷àè íåâåðíîãî âûáîðà ñëîâà/çíà÷åíèÿ è
îòñóòñòâèå íåîáõîäèìûõ òðàíñôîðìàöèé.
 óïðàæíåíèÿõ I—X íàéäèòå îøèáêè â ïåðåâîäå íàðå÷èé
ìåðû è ñòåïåíè.
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Çàäàíèå 10. ×òî ïîíèìàåòñÿ ïîä âûðàæåíèåì «òàê ïî-ðóññêè íå ãîâîðÿò». Ïðåäëîæèòå îáúÿñíåíèå ïðè÷èí è ïðåäëîæèòå ïðàâèëüíûé âàðèàíò â óïðàæíåíèÿõ V—X.
Çàäàíèå 11. ×åì îáúÿñíÿþòñÿ îøèáêè â ïåðåäà÷å èì¸í è íàçâàíèé?
Ïðîàíàëèçèðóéòå ïðèìåðû èç óïðàæíåíèé III—VII.
Çàäàíèå 12. Íàéäèòå â óïðàæíåíèÿõ IV—VIII ñëó÷àè, òðåáóþùèå ïåðåâîä÷åñêîãî ïðèìå÷àíèÿ, ÷òîáû èçáåæàòü íåÿñíîñòè, íåòî÷íîñòè, èñêàæåíèÿ.
Çàäàíèå 13. Ïðîàíàëèçèðóéòå ïðèìåðû â óïðàæíåíèÿõ VIII—X îïðåäåëèòå ïðè÷èíû è òèï îøèáêè.
Çàäàíèå 14. Îïðåäåëèòå â óïðàæíåíèÿõ I—X äåñÿòü òðóäíî ïîíèìàåìûõ, íåÿñíûõ ïðåäëîæåíèé. Èç-çà ÷åãî ýòî ïðîèñõîäèò?
Çàäàíèå 15. Êàêîâû ïîñëåäñòâèÿ èñïîëüçîâàíèÿ ëîæíûõ äðóçåé ïåðåâîä÷èêà? Ñäåëàéòå îáùèå âûâîäû ïî âñåì óïðàæíåíèÿì.
I.
Îíà áûëà çàõâàòûâàþùå êðàñèâà, è Òîíè íå ñìîã ðàñêóñèòü
å¸ âåðîëîìíîé íàòóðû.
2. — Òû íå ñäåëàåøü ìíå âûïèòü? — ïîïðîñèëà îíà. Ðåøåíèå
ïîäîáíîãî âîïðîñà ïîòðåáóåò ïî ìåíüøåé ìåðå áðåíäè ñ
ñîäîé.
3. Ó ìåíÿ òàêîå ÷óâñòâî, ÷òî ÿ ïîïàëà íà ñòðàíèöû ðîìàíà
Ìîëüåðà «Ðåáåêêà» è íå ìîãó íàéòè ïóòè íàçàä.
4. — Ñèí Ìàéêë Ãëèâè, — ïðåäñòàâèëñÿ îí. — Êóçåí åãî
ñâåòëîñòè.
5. — Òû ïðåëåñòü, Çàðîí, — ïîäñêî÷èëà ðûæàÿ àôåðèñòêà. —
Õî÷åøü, ÿ îäîëæó òåáå íîâîå ïëàòüå? Èëè, ìîæåò,
âîñïîëüçóåøüñÿ ìîåé ãóáíîé ïîìàäîé?
6. Ìèñòåð Ãîáè ïå÷àëüíî ïîêà÷àë ãîëîâîé è çàÿâèë: —  êàæäîé
ñåìüå åñòü ñâîÿ ÷¸ðíàÿ îâöà.
7. — Íå ïîïðîñèòü ëè Äæîðäæà äîñòàòü äëÿ âàñ òàêñè? —
ñïðîñèë Ïóàðî.
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— Âû ñòàðàåòåñü ìåíÿ çàïóãàòü. — Íó, ÷òî âû, ìàäåìóàçåëü.
ß íèêîãäà íå ñòðàäàë ìåëîäðàìàòèçìîì.
9. Çàòåì âèñåë ïîðòðåò ìóæ÷èíû ëåò òðèäöàòè ñ ãàêîì.
10. Äåëëà Ñòðèò ïîñòóïèëàñü ñâîåé æåíñêîé ïðåðîãàòèâîé:
êèâíóâ â ñòîðîíó Ïîë Äðåéêà, îíà ñêàçàëà: — Îáñëóæèâàéòå
åãî â ïåðâóþ î÷åðåäü, îí è ïðàâäà æäåò ñ ìèíóòû íà ìèíóòó
âûçîâ ïî òåëåôîíó.
11. Ïóàðî âîø¸ë â îáùóþ êîìíàòó.  äàííûé ìîìåíò îíà ïîêàçàëàñü åìó óæàñíî áåçëèêîé. Îáîè íà ñòåíàõ èìèòèðîâàëè
äåðåâÿííóþ îáøèâêó. Ìåáåëü áûëà äîñòàòî÷íî óäîáíîé, íî
ñàìîé ñòàíäàðòíîé.
12. Äðóãèå æå íàðêîòèêè ó áîëüíûõ, ñòðàäàþùèõ àòåðîñêëåðîçîì,
âûçûâàþò ÿâëåíèå ïñèõè÷åñêîé íåäîñòàòî÷íîñòè.
8.
II.
Ÿ ðîñêîøíûå ò¸ìíûå âîëîñû óæå áûëè ïîäåðíóòû ñåäèíîé.
Íà âñ¸ì åãî îáëèêå ëåæàëà ïå÷àòü íåèññÿêàåìîé ðåáÿ÷ëèâîñòè.
3. È âñ¸ æå âû îáåñïîêîåíû çà íå¸, ìèñòåð Áåéêåð.
4. Óòðîì, êîãäà ÿ âêóøàë ïîäìîêøèé òîñò ñ ïàøîòîì, â ïàëàòó
âîø¸ë õèðóðã-îðäèíàòîð.
5. Ñëàáûé ðåá¸íîê âûðîñ â ñèëüíîãî îáðàçîâàííîãî þíîøó, ñîîáðàçèòåëüíîãî è ïîäâèæíîãî.
6. Îñòûâøèé óæèí, ñîñòîÿâøèé èç õîëîäíîãî öûïëåíêà è çàëèòîãî ñâåðíóâøèìñÿ ñîóñîì àñïàðàãóñà, íå âûçûâàë ó íå¸ àïïåòèòà.
7. «Ñëóøàþ âàñ», — îáðàòèëàñü ê Ñòîóíó ïðîäàâåö, äåâóøêàïîäðîñòîê, æóþùàÿ æåâàòåëüíóþ ðåçèíêó.
8. «Âû çíàåòå Ïàðèæ?» — «Â îïðåäåë¸ííîé ñòåïåíè».
9. Íåðâû ó ìåíÿ ñîâñåì ñäàëè. ß äàæå íà÷àë êóñàòü íîãòè. Ñòîèëî îñòàòüñÿ îäíîìó è çàäóìàòüñÿ, êàê ìàøèíàëüíî ïàëüöû
îòïðàâëÿëèñü â ðîò, è ÿ îáãëàäûâàë èõ äî êðîâè.
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10. «Òåáå íå òðóäíî ÷èòàòü ïðè òàêîì îñâåùåíèè? Ñòàíîâèòñÿ
òåìíåå». «Åù¸ äîñòàòî÷íî ñâåòëî».
11. Ýòî áûë ãîëóáîé ãëàç, ÷óòü âûöâåòøèé, ñ êóäðÿâûìè ðåñíèöàìè, à ó åãî âëàäåëèöû áûë ãîëîñ, ïîõîæèé íà ÷èðèêàíüå
âîðîáüåâ íà äóáàõ.
III.
1. Ìíîãî âîäû óòå÷¸ò çà ýòî âðåìÿ. Ñèëüâèè íàäîáíî ïîäðàñòè —
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11.
ïðåâðàòèòüñÿ èç ãàäêîãî óò¸íêà â ëåá¸äêó.
 ñàìîì äåëå, çâó÷èò ïðèìàí÷èâî.
Âû ìåíÿ åù¸ íå ðàñêóñèëè. Èìåþ ñêðûòûé óìûñåë.
Ïðîñíóâøèñü ïî óòðó, îí îáíàðóæèë ìåíåå ÷åì â ôóíòå îò
ñâîåãî ëèöà ëèöî Äæåíèñ.
Ñåé÷àñ ÷àñ ìîåãî îáåäà. Âû çàñûïàëè ìåíÿ ñâîèìè âîïðîñàìè, ñýð, è èì íåò êîíöà.
Ëîøàäêà ïðèáëèçèëàñü ê Óèìñè ñ óäèâèòåëüíîé áûñòðîòîé,
íåñîìíåííî, ñâÿçûâàÿ Óèìñè â ñâî¸ì ïðîñòåíüêîì ëîøàäèíîì óìå ñ îâöîé, è áûëà ìãíîâåííî ïîéìàííîé.
Ôðèäà Ðèìåíøíàéäåð áûëà ïûøóùåé çäîðîâüåì æåíùèíîé,
äàëåêî çà ñîðîê ñ êðåïêèì òåëîì è ñèëüíàÿ äóõîì.
Èíñïåêòîð áëåñíóë êîðîíêàìè äëÿ çóáî⠗ ãðèìàñà åãî ïðèçâàíà áûëà èçîáðàçèòü óâàæèòåëüíóþ óëûáêó.
Ñíîâà è ñíîâà Êåéò õîòåëà îòêàçàòüñÿ îò ýòîé çàòåè. Îíà áûëà
óáåæäåíà, ÷òî ó íå¸ íåò íåðâà, êîòîðûé ìîã áû ñäåëàòü å¸
àêòðèñîé.
Ýòî ñëó÷èëîñü â èþëå ïðîøëîãî ãîäà, áîëüøå âîñåìíàäöàòè
ìåñÿöåâ íàçàä.
Ñïèíà è ïëå÷è Êýòðèí íàïðÿãëèñü, à ðóêè â êîæàíûõ ïåð÷àòêàõ êàøòàíîâîãî öâåòà èç ïîñëåäíèõ ñèë äåðæàëè âîææè.
IV.
1. Ÿ êîæà áûëà ñìóãëîé, ãëàçà ÷¸ðíûìè è âëàæíûìè, à âîëîñû
ðàñïóùåíû ïî øèêàðíûì òàáà÷íîãî öâåòà ïëå÷àì.
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Îìëåò íàäî åñòü ñâåæèì.
Íåçàäîëãî äî ýòîãî ïðîèñøåñòâèÿ ìèññèñ Ëèíêðîôò ïðåäëîæèëà ìíå ñîïðîâîæäàòü äåâóøåê âî âðåìÿ âåðõîâûõ ïðîãóëîê.
4. Âû, îäíàêî, õðàáðÿ÷êà.
5. Ìèëäðåä îïÿòü âçäðîãíóëà è íàòÿíóòî ðàññìåÿëàñü, ïîòîì
ñêàçàëà: «Íå èíà÷å, êòî-òî õîäèò ïî ìîåé ìîãèëå».
6. ß âçãëÿíóë íà ñâîè ÷àñû, âñòàë è ñêàçàë: «Î Ãîñïîäè, ìèññèñ
Øîòòëõàóñòåð, ìû ñ âàìè òàê ïðèÿòíî ïîáîëòàëè, ÷òî ÿ ñîâñåì çàáûë î âðåìåíè. Î÷åíü âàì áëàãîäàðåí çà òåðïåíèå è
äîáðîòó».
7. «Êòî áû íè ïîõèòèë âàøèõ äåòåé, ñäåëàíî âñ¸ î÷åíü ýôôåêòèâíî», — ïîêà÷àë ãîëîâîé èíñïåêòîð.
8. Âûñîêèé è õóäîé, ùåïåòèëüíûé â äâèæåíèÿõ, îí áûë ÷åëîâåêîì âïîëíå îñîçíàþùèì ñâîþ âàæíîñòü.
9. Ïîòîì îí ïðèæàëñÿ ùåêîé ê å¸ ïîäáîðîäêó è äðîæàùèì, êàê
áàíàíîâûé ëèñò íà âåòðó, ãîëîñîì ïðîèçí¸ñ...
10. Íàéò áûë ñèìïàòè÷íûì ìîëîäûì ïàðíåì ñ òåìíûìè âîëîñàìè, âûðàçèòåëüíûìè êàðèìè ãëàçàìè è ñèëüíûì òåëîì, êîòîðîå äåëàëî åãî èäåàëüíûì ðàáî÷èì <...> Äàóíèíã Ëàóðè
ñ÷èòàë Íàéòà îäíèì èç ëó÷øèõ ìóæ÷èí, êîòîðûõ îí êîãäàëèáî íàíèìàë çà äâàäöàòü ëåò.
11. Ïîäæàðåííàÿ íà ìàñëå ÿè÷íèöà ñìîòðåëà â ïîòîëîê òðåìÿ
æåëòûìè ãëàçêàìè. Âîêðóã ëåæàëè äëèííûå õðóñòÿùèå êóñî÷êè áåêîíà, ðÿäîì òàðåëêà ñ ÷åòûðüìÿ îáú¸ìèñòûìè òîñòàìè, óñûïàííûìè âèòîé ìàñëÿíîé ñòðóæêîé êðåìîâîãî öâåòà. Äàëüøå áîêàë ïåíèñòîãî ëèìîíàäà. Áëþäî êëóáíèêè, ïîëèòîå áåëûì ñîóñîì. È â äîâåðøåíèå âñåãî êîôåéíèê, èç
êîòîðîãî äîíîñèëñÿ àðîìàò ñâåæåñâàðåííîãî êîôå.
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1.
«Ñèäíåÿ Õýððîó óáèë îí?» — «Ïî-ìîåìó, îí è ñàì íå çíàåò —
îí èëè íå îí: îí ñîâñåì ñáèò ñ ïàíòàëûêó».
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Ýòî áûëî â ïðîøëîì ìàå íà ìåìîðèàëüíûé äåíü.
— Âàì íàäî âûïèòü, äðóçüÿ. ×òî âàì íàëèòü? — Íåò, áëàãîäàðþ, — îòêàçàëñÿ Óýëìàí. Ìèññèñ Ýéáðàìñ ïðîñòî ïîìîòàëà ãîëîâîé.
4. — Ýòî äîñòàòî÷íî âåñêàÿ ïðè÷èíà äëÿ ìîåãî ïðèõîäà. — ß
áû ïðåäïî÷¸ë ìåíåå äèñêóòàáåëüíóþ.
5.  ýòîò ïåðèîä Áðàéàí Õýéñ ëîâêî èçáàâèëñÿ îò ñâîåãî ïàðòíåðà, êîòîðûé áûë ñëèøêîì ïîòðÿñ¸í ñëó÷èâøèìñÿ, ÷òîáû
ïðîäîëæàòü ñóðîâóþ áîðüáó çà âûæèâàíèå â äæóíãëÿõ øîóáèçíåñà. Õýéñ ñòàë åäèíîëè÷íûì âëàäåëüöåì ñòóäèè, îí ëàâèðîâàë íàõðàïîì ñêâîçü ñëîæíûå ãîäû — 1931-é, 1932-é,
1933-é.
6. Äîêòîð äðÿáëî ïîæàë ìíå ðóêó, æ¸ñòêî êîëüíóë âçãëÿäîì. Â
åãî óìíûõ ãëàçàõ æèëà òðåâîãà.
7. Êýéò íåíàâèäåëà ïèñàòü. Ó íå¸ íå áûëî äàðà ñëîâà.
8. Ýòà øóòêà â 1987 ãîäó áûëà íàñòîëüêî ïðèâû÷íîé, ÷òî îáðåëà ÷óòü ëè íå ñòàòóñ êàòåõèòè÷åñêîãî îòâåòà.
9. Êàæäàÿ êëåòêà åãî òåëà ñîêðàùàëàñü ïðè îäíîé òîëüêî ìûñëè, ÷òî ïðèäåòñÿ áåç ïðåäâàðèòåëüíîé ïðîâåðêè ñàìèì ëåçòü
â ýòó òåìíóþ ëîâóøêó.
10. Îí ñàì ïîäàðèë ãîä òîìó íàçàä Ìàðáëà æåíå, êîãäà îíà óâèäåëà áåëîãî êîò¸íêà â îêíå ìåñòíîé ëàâêè, ãäå ïðîäàâàëèñü
äîìàøíèå æèâîòíûå, è ñ òåõ ïîð êîò ïîëüçîâàëñÿ å¸ ëþáîâüþ è çàáîòîé.
11. Ìû íå îáèäåëèñü è ïðîñòèëè åãî çà ýòó íåòàêòè÷íîñòü.
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Ýòî áûëî îòâðàòèòåëüíî çëîáíîå ëèöî, íå÷åëîâå÷åñêîå ëèöî.
×óìàçàÿ êîæà áûëà ãðóáîé, ñ îãðîìíûìè ïîðàìè.
Äåíåã ó íåãî íå áûëî íè ãðîøà, çàòî áûëà ó íåãî ïðèâû÷êà
ïîñòîÿííî ìåíÿòü ìåñòîæèòåëüñòâî.
— Âîçìîæíî, ó ìèññèñ Ñâåéí ñëîìàëàñü ìàøèíà, îíà âïîëíå äîïîòîïíàÿ. — Áóäåì íàäåÿòüñÿ, íè÷åãî íå ñëó÷èëîñü.
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Îíà óìåëà îáâîäèòü ìóæ÷èí âîêðóã ñâîåãî ìàëåíüêîãî ïàëü÷èêà, íå òàê ëè?  òàêîì ñëó÷àå îíà ñóìååò îáâåñòè è åãî.
5. Äîâîëüíî õîðîøî çíàÿ èõ ñóïåðèíòåíäàíòà, ìíå óäàëîñü çàñòàâèòü èõ íàäàâèòü íà ýòîò áàíê.
6. Îäíàêî âñêîðå è åìó è Óèìñè ñòàëî ÿñíî, ÷òî â ñâî¸ì ïèñüìå
ìèññ Êîí ðàññêàçàëà íå÷òî èíîå, êàê ñîâåðøåííóþ ïðàâäó.
7. Íî îí íåíàâèäåë ãîâîðèòü îá ýòîì, åãî ðàçäðàæàëè íàñòîé÷èâûå æóðíàëèñòû, êîòîðûå ïðîñèëè ïðîêîììåíòèðîâàòü
ñïîðíîå ïîëîæåíèå åãî ñûíà â àäìèíèñòðàöèè.
8. Êàê-òî ïîçäíèì âå÷åðîì îíè ïðîñëóøàëè âñþ «Ñèìôîíèþ
íîâîãî ìèðà».
9. — Ó âàñ åñòü ìóæ? — Íåò. Áûë â òå÷åíèå ãîäà, íî ýòî îêàçàëîñü ñëèøêîì äîëãèì ñðîêîì. ß ïðûãíóëà, íå ïîñìîòðåâ, êóäà,
è íèêîãäà áîëüøå ýòîãî íå ñäåëàþ.
10. Ïèùà íà ïîáåðåæüå ñïîñîáñòâóåò îáðàçîâàíèþ ñûïè.
11. ×åðåç ïîë÷àñà êî ìíå ïðèñîåäèíèëàñü Äæèííè Ãåéñ, î÷åíü
ýëåãàíòíàÿ â òåìíî-çåë¸íîì âå÷åðíåì ïëàòüå è òóôëÿõ íà
âûñîêîì êàáëóêå. Ñ ëîêòÿ ñâèñàëà øêóðêà íîðêè.
4.
VII.
Íàêîíåö Êåéò äîáðàëàñü äî äîìà. Ýòî áûëà êðîõîòíàÿ äâóõýòàæíàÿ õèáàðêà, ñ îáëóïèâøèìèñÿ ñòàâíÿìè, âûöâåòøèìè
øòîðêàìè è ñêðèïó÷åé äâåðüþ.
2. ×òîáû ÷åì-òî ñåáÿ çàíÿòü, îí ïîòÿíóëñÿ çà òðóáêîé è êèñåòîì. Íàáèë ÷àøå÷êó òàáàêîì, ðàñêóðèë òðóáêó.
3. ß ïî÷óâñòâîâàë ñåáÿ çàòåðÿííûì â ïðîñòðàíñòâå, ïîäîáíî ïàäó÷åé çâåçäå.
4. Îíè îáà íåñîñòîÿòåëüíû ñóùåñòâîâàòü â îäèíî÷åñòâå. Âìåñòå, åñëè áû îíè ìîãëè ïîæåíèòüñÿ, èç íèõ ïîëó÷èëàñü áû î÷åíü
íåïëîõàÿ ïàðà.
5. Ñ äâóõ äî ÷åòûð¸õ ÷àñîâ ÿ ëåæàë íà ïîñòåëè â ñâîåé êîìíàòå
è, ñòàðàÿñü îòâëå÷üñÿ îò îäîëåâàâøèõ ìåíÿ ìûñëåé, ïåðåñ÷èòûâàë ìóõ.
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Îíà íå âûíîñèëà ñìîòðåòü íà ñåáÿ â çåðêàëî, õîòÿ ãîäû ïî÷òè íå ñêàçàëèñü íà å¸ êðàñîòå.
7. Îí äîñòàë èç ñðåäíåãî ÿùèêà ñòîëà äâà ñòàêàíà è ïëîñêóþ
ôëÿæêó è íàëèë íàì îáîèì âèñêè. ß âçÿë ñâîé ñòàêàí, ïîäîø¸ë ê ñòîÿùåìó ó ñòåíû àâòîìàòó, áðîñèë òóäà íèêåëåâóþ
ìîíåòêó.
8. ß òîëüêî ðàçìûøëÿþ íàîáóì.
9. — Êàê ïîæèâàåò Ìàéåð? — Âåëåë ïåðåäàòü òåáå ñâîþ ëþáîâü. Êàê âñåãäà, âåñü çàðîñ è ïîãðóæ¸í â ñâîè ìûñëè.
10. «Ãîñïîäè, ÷òî çà ãëàçà <ó ñîáàêè>», — ïîäóìàë Íåâèë. «Êàêîé â íèõ ñîíì ïåðåæèâàíèé! Íåäîâåðèå, íàäåæäà, îäèíî÷åñòâî».
11. Ñýéäæ îñòàíîâèëàñü ðÿäîì è, ïîêà ëîøàäè òîðîïëèâî óòîëÿëè æàæäó, Äæèì ïîëåç â ïåðåìåòíóþ ñóìêó è äîñòàë äâà ñàíäâè÷à, àêêóðàòíî óïàêîâàííûõ â ïðîìàñëåííóþ áóìàãó.
6.
VIII.
Áûë ëè îí ïðàâ? Äåéñòâèòåëüíî ëè îíà çàâèäîâàëà ñ÷àñòüþ
ñåñòðû? Íåóæåëè îíà ìîæåò áûòü ìåëêîòðàâ÷àòîé?
2. Æèçíü íå î÷åíü-òî ìèëîâàëà Ìýêñèí. Ïîýòîìó îíà è ãîòîâà
ñêàçàòü âñ¸, ÷òî óãîäíî, — ëèøü áû ïåðåä íåé ïîëîæèëè èçðÿäíûé êóø.
3. Äæîðäæ Ìåäëåí áûë êîðåíàñòûì ÷åëîâåêîì, ñ ñåðü¸çíûì
ïîíèìàþùèì ëèöîì. Îí áûë íåâûñîê, ëûñîâàò. Òâ¸ðäûì
øàãîì Ìåäëåí ïðîø¸ë íà ìåñòî ñâèäåòåëÿ, ïðèí¸ñ êëÿòâó è
âçãëÿíóë íà îáâèíèòåëÿ.
4. Ìîðèí íèêîãäà íå ñåðäèëàñü äîëãî. Îíà ñ äåòñòâà îòëè÷àëàñü
íåçëîáèâîñòüþ, âñåãäà ñòàðàÿñü âñ¸ óëàäèòü, â îòëè÷èå îò
Äæåññ, êîòîðàÿ ìîãëà òî÷èòü çóá íà êîãî-íèáóäü ìíîãî äíåé —
÷åðòà, êîòîðàÿ ïðîñòî ñâîäèëà ñ óìà èõ ìàòü.
5. Îí èñ÷åç òàê áûñòðî, ÷òî ÿ íå óñïåë åù¸ ðàç ïðåäóïðåäèòü...
6. Âñÿ æèçíü ó íå¸ áûëà âïåðåäè, è ìèð ðàñêèäûâàëñÿ ïåðåä
íåé.
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Öåëûé ãîä ïîñëå òîãî, êàê åãî ñþäà ïîìåñòèëè, îí â¸ë ñåáÿ
ïðîñòî ïðåêðàñíî è äàæå äåëàë âèäèìîñòü ñîòðóäíè÷åñòâà ñ
âðà÷àìè. È êàê ðåçóëüòàò — ýòî áûëî åù¸ ïðè ñòàðîì äèðåêòîðå — ìåðû áåçîïàñíîñòè ïî îòíîøåíèþ ê íåìó ñëåãêà îñëàáèëè.
8. Îíà íàïðàâèëàñü ê íåìó âäîëü äëèííîãî êîðèäîðà, ïîñòóêèâàÿ êàáëóêàìè òóôåëü ïî òâ¸ðäîìó ãðàíèòíîìó ïîëó, íàáëþäàÿ, êàê ñ êàæäûì øàãîì âñ¸ îò÷åòëèâåå ñòàíîâèëèñü ÷åðòû
ëèöà Ðèêà Ôåðãþñîíà. Èñõîäèâøàÿ îò íåãî îáùàÿ ðàñïëûâ÷àòàÿ óãðîçà — áåëûé ìóæ÷èíà, çà 25, ïÿòü ôóòîâ äåñÿòü
äþéìîâ ðîñòà, 170 ôóíòîâ âåñà, áëîíäèí, êàðèå ãëàçà — ñòàíîâèëàñü áîëåå êîíêðåòíîé, èíäèâèäóàëüíîé: ñëåãêà ñóòóëûå
ïëå÷è, íåóõîæåííûå âîëîñû, ñîáðàííûå â âèäå êîíñêîãî õâîñòà, ãëàçà, êàê ó êîáðû, ñ ïðèïóõøèìè âåêàìè, íîñ, êîòîðûé
áûë íåñêîëüêî ðàç ñëîìàí è íåïðàâèëüíî ñðîññÿ, è íå ñõîäèâøàÿ ñ ëèöà íàãëàÿ óõìûëêà.
9. — Åñòü ëè ñåðìÿæíàÿ èñòèíà â ýòèõ ñëîâàõ? — ñïðîñèë îí,
îòïèâàÿ áîëüøîé ãëîòîê ïèâà ïðÿìî èç áóòûëêè. Äæåññ ïîíÿëà, ÷òî çàáûëà äàòü åìó ñòàêàí. — Èñòèíà çàêëþ÷àåòñÿ â
òîì, ÷òî âàøå ïðèñóòñòâèå ñòàâèò ìåíÿ â î÷åíü íåëîâêîå ïîëîæåíèå.
10. Îí ïðèñëîíèëñÿ ê äâåðíîìó êîñÿêó. — Íàäåâàéòå ñâî¸ ïàëüòî. — Ìî¸ ïàëüòî? — Íó äà, ÿ ïîäóìàë, ÷òî, ìîæåò áûòü, ìû
÷òî-íèáóäü ïîæóåì è ñõîäèì â êèíî.
11. — Êóäà âû øëè? Âåäü íà àñôàëüòå áûëè ñëûøíû âàøè øàãè.
— ß ïðèäåðæèâàëàñü òðàâÿíîãî ãàçîíà.
7.
IX.
1.
— Ïî÷åìó ÷åòûðå? Äæåññ ðàññìåÿëàñü, ïî÷óâñòâîâàëà ñåáÿ
ìàëåíüêîé äåâî÷êîé. — Äóìàþ, ïîòîìó, ÷òî ýòî ëþáèìàÿ
öèôðà ìîåãî ïëåìÿííèêà. À îíà åìó íðàâèòñÿ ïîòîìó, ÷òî ýòî
ëþáèìàÿ öèôðà Áîëüøîé Ïòèöû — ãåðîÿ òåëåâèçèîííîé
ïåðåäà÷è «Óëèöà Ñèñåéì».
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Ýòî áûë ìîé ìëàäøèé áðàò Êàðë Ðåìåíòîí. <...> Îí íà ñåìü
ëåò ìîëîæå ìåíÿ, õîòåë áûòü ïîâåñîé ïîñëå ñìåðòè æåíû.
3. — Ñêàæèòå, ñóäüÿ, áûëè ëè âû ëè÷íî çíàêîìû ñ Ýäâàðäîì
Íîðòîíîì? — <...> Ïîíèìàåòå, ñ ìèñòåðîì Íîðòîíîì áûëî
äîâîëüíî òðóäíî âåñòè êàêèå-ëèáî äåëà, è ÿ íè ðàçó íå áûë
âûíóæäåí îáðàùàòüñÿ íåïîñðåäñòâåííî ê íåìó.
4. Êóïèâ ñåáå â óãëîâîé ëàâêå ïðèãîðøíþ ñèãàð, ÿ âçãëÿíóë
ââåðõ, íà íåñóùóþñÿ ñêâîçü ìîðîñü äîæäÿ «áåãóùóþ ñòðîêó» íàä Òàéìñ-Òàóýð.
5. — Îí ïîêàçàëñÿ ìíå çåëåíûì ìàëü÷èøêîé. Äóìàåøü, ìû
ìîæåì åìó äîâåðèòüñÿ? — Íå êàíþ÷ü. Ó Ãàððè áîëüøå ñòà
áîåâûõ âûëåòîâ. <...> — Βêåé, äîðîãîé, ÿ íå áóäó áîëüøå
êàíþ÷èòü, ïðîñòî ÿ íåðâíè÷àþ.
6. Îí ïðîäîëæàë â òîì æå äóõå, âñ¸ áîëåå íåóñòîé÷èâûì ãîëîñîì, â òî âðåìÿ, êàê ìàøèíà ì÷àëàñü íà ñåâåð.
7. Ïðàâäà, ìû óæå ñòàðû, è ñóäüáà íàñ óæå íå ðàç ÷åñòèëà, à âñ¸
æå ñ ãîëîäó ìû åù¸ íå óìåðëè.
8. Âìåñòå ñ Ýìåðñîíîì <îí> ðàçðàáàòûâàë äëÿ ðåá¸íêà ó÷åáíóþ ïðîãðàììó, êîòîðàÿ óäèâèëà áû ñðåäíåãî ïðåïîäàâàòåëÿ
ïóáëè÷íîé øêîëû.
9. Ìû ïåðåæèâàåì î÷åíü áîëåçíåííûé ïåðèîä íàøåé èñòîðèè.
Ìû íàõîäèìñÿ â êàêîì-òî õîëîäíîì æåñòîêîì ìèðå, â êîòîðîì âðàã ïûòàåòñÿ ïîáåäèòü íàñ íå âíåøíå, à èçíóòðè. Íàì
ïûòàþòñÿ íàâÿçàòü èäåþ ñòðàõà è ïîäîçðèòåëüíîñòè, íàñ ïðèçûâàþò ñëåäèòü çà ñâîèì ñîñåäîì, äîêàçûâàòü ñâîþ ëîÿëüíîñòü.
10. Ñóäÿ ïî ëèöó, äåâóøêå áûëî ïî÷òè 24 ãîäà. Âîëîñû öâåòà ìåäè,
îòëè÷íàÿ ôèãóðà.
11. — ß íå ïðåòåíäóþ íà òî, ÷òîáû áûòü çíàòîêîì ìóæ÷èí, —
çàÿâèëà Äæåññ è óñëûøàëà, êàê å¸ âíóòðåííèé ãîëîñ ðàññìåÿëñÿ íàä íåé, — íî ÿ íèêàê íå ìîãó ñîãëàñèòüñÿ ñ òåì, ÷òî ìóæ÷èíà, êîòîðûé ïðèñòàâèë íîæ ê øåéíîé âåíå æåíùèíû, äåéñòâèòåëüíî âåðèò â òî, ÷òî îíà ñîãëàñíà íà ïîëîâîé àêò. —
Äæåññ ñäåëàëà ïàóçó, òùàòåëüíî ïîäáèðàÿ î÷åðåäíûå ñëîâà.
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X.
Ìîÿ ïåðâàÿ æåíà íåíàâèäåëà ìûòü ïîñóäó, òàê ÷òî ÿ âñêîðå
ïðèâûê îáõîäèòüñÿ áåç ñòàêàíîâ è ïîñóäû.
2. Îêîëî äåñÿòêà ÿéöåêëåòîê æåíû îïëîäîòâîðÿþò ñïåðìîé
ìóæà â ñîñóäå, èìåíóåìîì «áëþäîì ïåòðè».
3. — Ãäå âû ïðîâåëè íî÷ü? —  ìîòåëå. — Ãäå? — ß íå çíàþ
ýòî ìåñòî, ÿ çäåñü ÷óæîé.
4. Âàøà çàäà÷à çàêëþ÷àåòñÿ òîëüêî â òîì, ÷òîáû îãðàäèòü ìåíÿ
è ìîåãî ñûíà îò âñÿêèõ ïîïîëçíîâåíèé èçâíå.
5. Îãëÿíóâøèñü, Âèêòîðèÿ óâèäåëà, ÷òî íàäðûâíî òîùèé ìîëîäîé ìóæ÷èíà, íàáëþäàâøèé çà íåé ñêâîçü äâåðíîé ïðîåì, ïðîñëåäîâàë çà íåé ê çàìêó.
6. Ïîñëå óõîäà ïîâàðèõè âî äâîðå îñòàëñÿ ëèøü ×åí, âäóì÷èâî
ïðîòèðàâøèé çåðêàëî âîäèòåëÿ.
7. Ñëó÷èëîñü òàê, ÷òî Ìîàíà Ëåííîêñ îêàçàëàñü íå â ñîñòîÿíèè
ïîéòè ê øåðèôó, ïîñêîëüêó îíà ñåáÿ ïëîõî ÷óâñòâîâàëà è áûëà
ðàññòðîåíà ãðàáåæîì è òåì, ÷òî å¸ ñåìüÿ çàìåøàíà â óáèéñòâå.
8. Îí áûë ìàëåíüêèé ñ ïðèïëþñíóòîé ãîëîâîé è òîëñòûìè î÷êàìè.
9. Íà ãîëóáîå íåáî áûëî òðóäíî ñìîòðåòü íåçàùèù¸ííûìè ãëàçàìè.
10. Äëÿ 750 ã êîëáàñû: 600 ã ïîñòíîãî ìÿñà, íåìíîãî ñâèíîãî æèðà
è îáðåçêîâ.
11. Ãàðëàíä — ÷åðòîâñêè ïðîéäîøëèâûé ÷åëîâåê.
1.
Çàäàíèå 16. Ècïðàâüòå îøèáêè, ñîïîñòàâèâ îðèãèíàë è ïåðåâîä.
Îáúÿñíèòå ïðè÷èíû è ñëåäñòâèÿ ïðèìåíåííûõ èëè íåïðèìåíåííûõ ïðåîáðàçîâàíèé.
1.
Instantly, she was wakened from her late-at-night trance. — Òîò÷àñ îíà ïðîáóäèëàñü îò òðàíñà, â êîòîðûé îíà âïàäàëà ïîçäíåé íî÷üþ.
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2. The waiter had come forward to serve Lane’s frog’s legs and salad,
3.
4.
5.
6.
7.
8.
9.
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and Franny looked up at him. — Ïîäîø¸ë îôèöèàíò ñ ëÿãóøà÷üèìè íîæêàìè è ñàëàòîì äëÿ Ëåéíà, è Ôðýííè ïîäíÿëà íà
íåãî ãëàçà.
At the back of the house was a small bricked house-yard. — Çà
äîìîì íàõîäèëñÿ ìàëåíüêèé êèðïè÷íûé äâîð.
It’s really very simple. Joe Romano used you as a patsy, the same
way he used your mother. You walked right into a set-up. — I
still don’t understand. — Íà ñàìîì äåëå, âñ¸ î÷åíü ïðîñòî.
Äæî Ðîìàíî îáâ¸ë âàñ âîêðóã ïàëüöà, êàê è âàøó ìàòü. Âû
ïîïàëè â íåïðèÿòíóþ èñòîðèþ. — ß íåäîïîíèìàþ.
Two million dollars’ worth of jewelry had been stolen from the
wall safe of a Mr. Van Ruysen, a Belgian stockbroker, who had
been involved in some questionable financial dealings. — Èç
ñòåííîãî ñåéôà ìèñòåðà Âàí Ðàóçåíà, áåëüãèéñêîãî áèðæåâîãî ìàêëåðà, çàìåøàííîãî â ðÿäå ïîäîçðèòåëüíûõ ôèíàíñîâûõ ñäåëîê, óêðàëè äðàãîöåííîñòè ñòîèìîñòüþ äâà ìèëëèîíà
äîëëàðîâ.
... And in Amsterdam, [it was Room 325] at the Amstel, where one
was lulled to sleep by the soothing lapping of the canal waters.
— À â Àìñòåðäàìå — íîìåð òðèñòà äâàäöàòü ïÿòü â «Àìñòåëå», îêíà êîòîðîãî âûõîäèëè íà âîäó êàíàëîâ.
This time, she laughed out loud, a delightful, infectious trill. —
 ýòîò ðàç îíà çàñìåÿëàñü ðàäîñòíîé çàðàçèòåëüíîé òðåëüþ.
Thomas Burnes n‘e Jeff Stevens — sat at the plane window
looking out as the aircraft took off <...> Dennis Trevor — a.k.a.
Brandon Higgins — seated next to him, looked at him in surprise.
— Òîìàñ Áàóýðñ, óðîæä¸ííûé Äæåô Ñòèâåíñ, ñèäåë ó èëëþìèíàòîðà è ñìîòðåë, êàê ñàìîëåò îòðûâàåòñÿ îò çåìëè <...>
Äåííèñ Òðåâîð, íåêèé Áðåíäîí Õèããèíñ, ñèäåâøèé ðÿäîì ñ
íèì, óäèâë¸ííî ñìîòðåë íà íåãî.
The manner in which Tracy Whitney had outwitted them at the
airport was the most ingenious con he had ever witnessed. A
scam on top of a scam. — Òà ìàíåðà èñïîëíåíèÿ, ïðè ïîìîùè
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êîòîðîé Òðåéñè ïðîâåëà èõ â àýðîïîðòó, îêàçàëàñü ñàìûì ãåíèàëüíûì òðþêîì, êîòîðîìó îí êîãäà-ëèáî áûë ñâèäåòåëåì.
10.
It’s a book he bought second-hand years ago, off a sixpenny
stall. — Ýòó êíèãó îí êóïèë íà êíèæíîì ðàçâàëå çà øåñòü
ïåíñîâ íåñêîëüêî ëåò òîìó íàçàä.
Çàäàíèå 17. Îáúÿñíèòå, ïî÷åìó ñîäåðæàíèå ñëåäóþùèõ ïðåäëîæåíèé
íå äî êîíöà ÿñíî. Ïðåäëîæèòå ñâîé âàðèàíò ðåøåíèÿ ïðîáëåìû.
Ïîðàçèòåëüíî âñ¸-òàêè, êàê áûñòðî Ëèìàñ ñîîáðàçèë, ÷òî
èìåííî Ìóíäò íà÷åðòàë íà ñòåíå åãî Âàëòàñàðîâû ïèñüìåíà.
2. Òî òóò, òî òàì ëåñíûå îâðàãè è ïîæàðû îáðàçîâàëè óçêèå ïðîñâåòû, ïîõîæèå íà Ààðîíîâó òðîïó ñðåäè ÷óäåñíûì îáðàçîì
ðàññòóïèâøåãîñÿ ìîðÿ äåðåâüåâ.
3. Ó íåãî áûëè ðûæèå óñèêè è îáëàñòíîé ãîâîð, íàâåðíÿêà ïðè÷èíÿâøèé åìó íåèìîâåðíûå ñòðàäàíèÿ. (Î ñëóæàùåì áðèòàíñêîãî àýðîïîðòà)
4. Îíà ïîìîãëà åìó âûìûòüñÿ è ïîáðèòüñÿ è îòûñêàëà ïàðó ÷èñòûõ ïðîñòûíåé. Ïîòîì ïîêîðìèëà åãî ñòóäíåì è êóðèöåé,
êóïëåííûìè â àïòåêå.
5. Âñêîðå ÿ óñëûøàë ÷üè-òî øàãè, è â äîì âîø¸ë Ñóòòîí, äåðæà
â ðóêàõ ïî âåäðó ñ âîäîé. Óâèäåâ ìåíÿ, åãî ëèöî ðàñïëûëîñü â
óëûáêå, íî ãëàçà îñòàëèñü ñåðü¸çíûìè.
6. ×åðåç ãîä, êîãäà îí áûë æåíàò íà Îëèìïèè, à îíà — íà Äèìèòðèè, îíè âëþáèëèñü â äðóã äðóãà.
7. «Ñàíñåò» áûë îáùåèçâåñòíûì äíîì äëÿ îïóñòèâøèõñÿ ëþäåé, íàõîäÿùèõñÿ íà âîëîñîê îò ãèáåëè, íåñïîñîáíûõ èëè íå
æåëàþùèõ ïðî÷åñòü îáúÿâëåíèÿ íà ñòåíå, áîÿùèõñÿ ïðî÷åñòü
ïðèãîâîð íåóäà÷íèêó â ïîíèìàþùèõ ãëàçàõ ðîäíûõ è äðóçåé,
êîãäà èõ ëîäêó ìåäëåííî ïðèáèâàëî ê áåðåãó.
8. ß äîñòàë òåëåôîííûé íîìåð ó Àëëàíà Êàððà, êîòîðûé óâåðèë
ìåíÿ, ÷òî âû íå îáèäåëèñü. Êñòàòè, îí ïðîñèë çàñâèäåòåëüñòâîâàòü ñâîþ ëþáîâü.
1.
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(Ðàçìûøëåíèÿ î âàííîé ñ îêíàìè, âûõîäÿùèìè íà îêåàí)
Åñëè áûëà âîçìîæíîñòü ñìîòðåòü íàðóæó, çíà÷èò, ñóùåñòâîâàëà âåðîÿòíîñòü, ÷òî íåêèé Ïîäãëÿäûâàþùèé Òîì ñìîæåò
çàãëÿíóòü âíóòðü.
10.  Áåâåðëè Õèëëñ òåëåôîííàÿ êíèãà áûëà òîëùèíîé ñ ÷àñû
Ïüÿæå.
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Ðàáîòà ñ òåêñòîì
ÒÅÊÑÒÛ ÄËß ÏÅÐÅÂÎÄÀ Ñ ÓÏÐÀÆÍÅÍÈßÌÈ
I.
ACCIDENTS DARKEN DAYLIGHT-SAVING TIME
* What a difference an hour makes?
* The loss of one hour’s sleep when most Americans “spring forward” Sunday to daylight saving time causes an average increase of 7%
to 8% in traffic accidents, says the researcher Stanley Coren.* He speculates the hour’s change disrupts sleep patterns, affecting judgement
and attention.
* Conversely, the switch back to standard time in the fall causes a
7% to 8% decrease.
As a nation, Coren says, we don’t sleep enough. * “Our sleep deprivation is so great that we skate on the brink of disaster.” * U.S. research shows the cost of sleep-related accidents of all kinds in 1988 was
$56 billion, including 24,318 deaths and 2,474,430 disabling injuries.
* Part of the problem, Coren says, is a “macho” work ethic that
sees sleep as a waste of time. However, “Evolution designed us to sleep
about 10 hours a night.” In 1910, before the invention of the modern
light bulb, we slept about 9 hours: today, it’s about 7 1/2.
You are sleep-deprived if you regularly need an alarm to wake up,
Coren says. “If you sleep enough, your body will tell you to get going on
its own.”
Coren studied 9,593 Canadian traffic accidents before and after the
spring shift to daylight saving time and 12,010 at the fall shift. * He
expects an on-going study of U.S. statistics. Research is reported in
Today’s New England JOURNAL OF MEDICINE and in his book,
SLEEP THIEVES (Free Press, $24). As for this Sunday, make up for
the hour’s loss in sleep by skipping the late show and going to bed an
hour earlier.
(USA TODAY 4.IV.1996)
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Çàäàíèÿ
1. Ïðî÷òèòå òåêñò, îïðåäåëèâ òåìó è îòíîøåíèå ê ïðîáëåìå.
2. Ïåðåâåäèòå òåêñò, îáðàòèâ îñîáîå âíèìàíèå íà ñìûñë ïðåäëîæåíèé,
ïîìå÷åííûõ çâåçäî÷êîé. Íàéäèòå â ñëîâàðå âñå ñëîâà, êîòîðûå çàòðóäíÿþò
âàñ, ïåðåäàéòå ñâîèìè ñëîâàìè ñîäåðæàíèå ýòèõ ïðåäëîæåíèé.
3. Êàêèå âàðèàíòû ïåðåâîäà âîçìîæíû äëÿ sleep-deprivation, sleep-
deprived; sleep-related accidents; sleep patterns; daylight-saving time;
disabling injures; “macho” work ethic; at the spring/fall shift?
4. Ïðåäëîæèòå ïðèìå÷àíèÿ ïåðåâîä÷èêà ê day-saving time, standard
time, macho, spring forward, switch back.
5. Ïðè àíàëèçå èíòåðíàöèîíàëüíûõ ñëîâ ïðîêîììåíòèðóéòå ñëó÷àè
«ëîæíûõ äðóçåé ïåðåâîä÷èêà, â òîì ÷èñëå speculate, accident, pattern,
evolution, à òàêæå óïîòðåáëåíèå billion.
6. Íàéäèòå ïðàâèëà ïåðåäà÷è íàçâàíèé è ïðåäëîæèòå âàðèàíòû äëÿ
Today’s New England Journal of Medicine.
7. ×òî ðåàëüíî çàòðóäíÿåò âàñ ïðè ïåðåâîäå ïåðâîãî àáçàöà òåêñòà?
8. Ãäå è ïî÷åìó íóæíî ïîñòàâèòü ñîîòâåòñòâèå ñëîâó enough â
ïðåäëîæåíèè As a nation...? Êàêîé èç ïðåäëàãàåìûõ âàðèàíòîâ
• ìû íåäîñòàòî÷íî ñïèì;
• ãðàæäàíå/àìåðèêàíöû ñïÿò íåäîñòàòî÷íî;
• íàøà íàöèÿ íåäîñûïàåò;
• íàøà íàöèÿ ñïèò íåäîñòàòî÷íî;
• êàê íàöèÿ ìû ñïèì íåäîñòàòî÷íî;
• íåäîñòàòîê ñíà ñóùåñòâóåò â ìàñøòàáàõ âñåé íàöèè;
• êàê è âñå ëþäè, ìû ñïèì íåäîñòàòî÷íî;
• áëèæå âñåãî ñîîòíîñèòñÿ ñ âàøèìè àðãóìåíòàìè? Îáðàòèòå âíèìàíèå
íà äîïîëíèòåëüíûå ôàêòîðû, âëèÿþùèå íà âûáîð âàðèàíòà.
9.1. Óêàæèòå, êàêèå òðàíñôîðìàöèè áûëè ïðîèçâåäåíû â ïåðåâîäå
ïðåäëîæåíèÿ Our sleep deprivation...:
• Íàøå íàðóøåíèå ñíà òàê âåëèêî, ÷òî ìû áàëàíñèðóåì íà ãðàíè
êàòàñòðîôû;
• Íåäîñûïàíèå ñíà íàñòîëüêî âåëèêî, ÷òî ìû áàëàíñèðóåì íà ãðàíè
êàòàñòðîôû;
• Ëèøåíèå íàñ ñíà íàñòîëüêî âåëèêî, ÷òî ìû õîäèì ïî êðàþ ïðîïàñòè;
• Ìû ñòîëü ñèëüíî ëèøåíû íîðìàëüíîãî ñíà, ÷òî ñòîèì íà êðàþ ïðîïàñòè/ñêîëüçèì ïî êðàþ ïðîïàñòè/íàõîäèìñÿ íà ãðàíè êàòàñòðîôû;
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• Íàøå íåäîñûïàíèå òàê âåëèêî, ÷òî ìû êàòèìñÿ ê êðàþ ïðîïàñòè;
• Íàøà ïîòåðÿ ñíà íàñòîëüêî âåëèêà, ÷òî ìû áàëàíñèðóåì íà êðàþ
ïðîïàñòè;
• Íåäîñòàòîê ñíà òàê âåëèê, ÷òî ìû áàëàíñèðóåì ìåæäó êðàåì è
ïðîïàñòüþ;
• Íåäîñòàòîê ñíà íàñòîëüêî âåëèê, ÷òî ìû âñå õîäèì ïî îñòðèþ íîæà/
èãðàåì ñ îãí¸ì;
• Íåäîñòàòîê â ñíå òàêîé, ÷òî ìû íàõîäèìñÿ íà ãðàíè êàòàñòðîôû;
• Ìû íàñòîëüêî ìàëî ñïèì, ÷òî ýòî ìîæåò ïðèâåñòè ê êàòàñòðîôå.
Ïîñëå àíàëèçà ñäåëàéòå ñâîé âûáîð è îáîñíóéòå åãî.
9.2. Êàêèå ïåðåâîä÷åñêèå òðàíñôîðìàöèè âîçìîæíû ïðè ïåðåäà÷å
ñìûñëà If you sleep enough, your body will tell you to get going on its own?
10.1. Êàê ïåðåâåñòè çàãîëîâîê? Êàêîé èç ïðåäëîæåííûõ íèæå ïåðåâîäîâ áîëüøå ñîîòâåòñòâóåò îðèãèíàëó è ïî÷åìó?
• Ïåðåõîä íà ëåòíåå âðåìÿ îìðà÷àþò íåñ÷àñòíûå ñëó÷àè/ÄÒÏ/, àâàðèè;
• Íåñ÷àñòíûå ñëó÷àè îìðà÷àþò ïåðåõîä íà ëåòíåå âðåìÿ;
• Ýêîíîìÿ âðåìÿ, íåñ÷àñòíûå ñëó÷àè ëèøàþò äíåâíîãî ñâåòà;
• ÄÒÏ îìðà÷àþò ñýêîíîìëåííûé ÷àñ ëåòíåãî âðåìåíè;
• Íåñ÷àñòíûå ñëó÷àè/êàòàñòðîôû îìðà÷àþò ïåðåõîä íà ëåòíåå âðåìÿ;
• ÄÒÏ/íåñ÷àñòíûå ñëó÷àè íà äîðîãàõ îìðà÷àþò ñâåòîâîé äåíü;
• Íåñ÷àñòíûå ñëó÷àè îìðà÷àþò âðåìÿ ýêîíîìèè äíåâíîãî ñâåòà;
• Ñýêîíîìëåííûé ÷àñ ëåòíåãî âðåìåíè óíîñèò æèçíü;
• Íåñ÷àñòíûå ñëó÷àè îìðà÷àþò ñåçîííûé ïåðåâîä ÷àñîâ/âðåìåíè;
10.2. Îòìåòüòå ñàìûå íåóäà÷íûå èç ïðåäëîæåííûõ ïåðåâîäîâ,
îáîñíîâàâ êðèòèêó:
•
•
•
•
•
•
•
•
•
•
•
Íà ÷òî ìîæåò ïîâëèÿòü îäèí ÷àñ;
Êàêîå çíà÷åíèå èìååò îäèí ÷àñ?
×òî ìåíÿåò/ìîæåò èçìåíèòü (îäèí/ýòîò) ÷àñ?
Êàêóþ ðîëü èãðàåò îäèí ÷àñ?
Ìåíÿåò ëè ÷òî-íèáóäü ÷àñ?
Êàêóþ ðàçíèöó ìîæåò ñäåëàòü/äåëàåò îäèí ÷àñ?
Âàæåí ëè ëèøíèé ÷àñ äëÿ ñíà?
Êàêóþ ïåðåìåíó ìîæåò ñäåëàòü ÷àñ?
Åñòü ëè ðàçíèöà â îäíîì ÷àñó?
×òî çà ðàçíèöó äåëàåò ÷àñ?
×òî äà¸ò îäèí ÷àñ?
11. Ïåðå÷èñëèòå èíäèâèäóàëüíûå òðóäíîñòè ïåðåâîäà, îòðåäàêòèðóéòå
ïåðåâîä.
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II.
BAD-WEATHER ALERT
It’s rare sailor who hasn’t been caught offshore by a sudden squall.
Traditionally, the only way to avoid such a frightening experience has
been to stay glued to the radio — hardly the best way to relax. But now
a pair of Australian inventors have come to the technological rescue with
a hand-held receiver that automatically alerts sailors to changing weather
conditions.
Called Weatheralert, the receiver is about the size of a paperback
book and is said to be simple to operate. As set up in Australia, routine
weather reports are instantly transmitted to Weatheralert receivers on
boats. A series of beeps notifies a sailor that a report — giving wind
speed, air temperature and other data — has been received. The sailor
then punches on the battery-operated system and reads the report on a
crystal display screen. If the sailor prefers a paper copy, the receiver can
be hooked up to a printer. When a weather warning is issued, there’s a
longer series of beeps, which continues to sound every ten minutes —
much like a snooze alarm — until the signal is acknowledged.
Weatheralert, which comes with a seven-inch antenna, has a range
of 50 kilometres and will operate continuously for four days before recharging is necessary. A “cradle”, in which the receiver rests, recharges the system. Weatheralert was conceived by retired Sydney businessman Alan Treloar and his partner, David Henderson. They say the
product will take much of the guesswork out of sailing and reduce the
number of boating accidents caused by bad weather. The system which
is sold by Storm Warning Systems Ltd., costs $280. It’s being marketed in Australia now and will soon be available in New Zealand and
Hong Kong.
(Newsweek, New York, N.Y.)
Çàäàíèÿ
1. Ïðî÷èòàéòå òåêñò, îïðåäåëèòå òðóäíûå ìåñòà.
2. Ïðîàíàëèçèðóéòå òåðìèíû, ïðåäëîæèòå èõ ïåðåâîä â äàííîì
êîíòåêñòå, ñäåëàéòå îáùèå âûâîäû î ïåðåâîäå òåðìèíîâ.
3. Îáîñíóéòå ïåðåâîä çàãîëîâêà.
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4. Äàéòå êðèòè÷åñêèé àíàëèç ïåðåâîäîâ íàçâàíèÿ ïðèáîðà: Ïðèáîð
«Ñèíîïòèê», Áóðåâåñòíèê, Øòîðìîìåð, Ïîãîäîìåð, Ïîãîäíûé ñòðàæ,
Áäèòåëü ïîãîäû, Ìåòåîñèãíàë, Îïðåäåëèòåëü ïîãîäû, Âåòàëåðò, Ïîãîäíûé
ðàäàð, Ïîãîäîäàò÷èê, Ïîãîäíûé ñòîðîæ/ñòðàæ, Ïðîãíîç-ñèãíàë. Êàêèìè
ñïîñîáàìè îíè ïåðåâåäåíû?
5. Âíåñèòå íåîáõîäèìûå ðåäàêòîðñêèå ïîïðàâêè â ïîëó÷åííûé âàðèàíò
ïåðåâîäà, ñðàâíèâ åãî ñ ñîáñòâåííûì.
III.
BOOKS AUDREY HEPBURN
By Barry Paris
A comprehensive new biography of the peerless Audrey Hepburn.
It’s all here — the grim childhood in war-torn Holland, early stage success, movie stardom, unfaithful husbands, final years with a man who
became her anchor. She was sometimes vain (a director was fired because Hepburn didn’t like the way she looked in the dailies), sometimes
unrealistic (she fought to be allowed to sing in My Fair Lady, a fight she
couldn’t win), and she always maintained she was lucky. She spent her
last years traveling for UNICEF (“I’ve been to hell,” she said of Somalia), working to bring water, drugs, and food to dying children. The story
of an actress who became a real-life heroine. Watch for our exciting excerpt in next month’s Cosmo. (Putnam, $5)
Çàäàíèÿ
1. Ïðî÷òèòå òåêñò, îòìå÷àÿ íå äî êîíöà ÿñíûå ìåñòà, òðåáóþùèå
ñëîâàðíîé ðàáîòû.
2.
•
•
•
•
•
•
Ñîâïàë ëè ñïèñîê âàøèõ òðóäíîñòåé ñ ïðåäëîæåííûìè äëÿ àíàëèçà?
Barry Paris
Audrey Hepburn
peerless
stardom
vain
A director was fired because Hepburn didn’t like the way she looked in
the dailies
• unrealistic
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• maintain
• for UNICEF
• anchor
• working to bring water, drugs, and food to dying children
3. Êàêèå òðóäíîñòè îáíàðóæèëèñü â ïåðåâîäå àòðèáóòèâíûõ ñî÷åòàíèé
òåêñòà? Comprehensive new biography, peerless Audrey Hepburn, grim childhood, war-torn Holland, early stage success, movie stardom, unfaithful husbands, final/last years, a real-life heroine.
4. Ïåðåâåäèòå òåêñò. Îòìåòüòå ôàêòîðû, îáóñëîâèâøèå âûáîð ðåøåíèé, óäà÷è è ñîìíåíèÿ.
5. Ìîæíî ëè ïðèíÿòü ñëåäóþùèå ïåðåâîä÷åñêèå ðåøåíèÿ? Îáîáùèòå
òåíäåíöèè, ïðåäëîæèòå ïîïðàâêè è ñîáñòâåííûå òðàêòîâêè:
• Ýòî íîâàÿ îáøèðíàÿ áèîãðàôèÿ íåñðàâíåííîé Îäðè Õåïá¸ðí.
• Ýòî íîâàÿ ïîäðîáíàÿ áèîãðàôèÿ íåñðàâíåííîé Îäðè Õåïá¸ðí.
• Íîâûå ôàêòû èç æèçíè íåñðàâíåííîé Îäðè Õåïá¸ðí.
• Ýòî íîâàÿ èñ÷åðïûâàþùàÿ áèîãðàôèÿ íåñðàâíåííîé Îäðè Õåïá¸ðí.
• Ïîëíàÿ èñòîðèÿ æèçíè áåñïîäîáíîé Îäðè Õåïá¸ðí.
• Ýòî íîâàÿ ïîëíàÿ áèîãðàôèÿ íåñðàâíåííîé Îäðè Õåïá¸ðí.
• Ýòî íîâûå èñ÷åðïûâàþùèå ôàêòû áèîãðàôèè Îäðè Õåïá¸ðí.
• Ýòî ñîâðåìåííàÿ áèîãðàôèÿ, îõâàòûâàþùàÿ âñå ñòîðîíû æèçíè
íåñðàâíåííîé Îäðè Õåïá¸ðí.
6. Êàêîé ðóññêèé ýïèòåò äëÿ «grim» íàèáîëåå ïîäõîäèò ê «äåòñòâó»:
ìðà÷íîå äåòñòâî, ñóðîâîå äåòñòâî, òÿæåëîå äåòñòâî, òðóäíîå äåòñòâî,
áåçðàäîñòíîå äåòñòâî? Ñðàâíèòå ñ äàííûìè Oxford Collocations Dictionary
(happy, deprived, difficult, lonely, traumatic, unhappy, normal, early, late).
7. Ìîæíî ëè ïðè ïåðåâîäå ïðåäëîæåíèÿ «It’s all here...» îáîéòèñü áåç
äîáàâëåíèÿ? Îöåíèòå äîñòîèíñòâà è íåäîñòàòêè ñëåäóþùèõ âàðèàíòîâ
ïåðåâîäà ýòîãî ïðåäëîæåíèÿ:
• Áåçðàäîñòíîå äåòñòâî â îáúÿòîé âîéíîé Ãîëëàíäèè, ðàííèé ñöåíè÷åñêèé óñïåõ, çâ¸çäíàÿ êàðüåðà, íåâåðíûå ìóæüÿ, ïîñëåäíèå ãîäû
æèçíè, ïðîâåä¸ííûå ñ ÷åëîâåêîì, âñåëèâøèì â íå¸ âåðó — âñ¸
ýòî íàøëî îòðàæåíèå íà ñòðàíèöàõ êíèãè.
• Çäåñü âñ¸ — è ñóðîâîå/òÿæ¸ëîå äåòñòâî â ðàçðóøåííîé âîéíîé
Ãîëëàíäèè, ðàííèé ñöåíè÷åñêèé óñïåõ, çâåçäà êèíî, íåâåðíûå
ìóæüÿ, ïîñëåäíèå ãîäû ñ ìóæ÷èíîé, êîòîðûé ñòàë åé îïîðîé.
• Ó íå¸ áûëî âñ¸ — òðóäíîå äåòñòâî â îõâà÷åííîé âîéíîé Ãîëëàíäèè,
ðàííèé óñïåõ íà ñöåíå, êèíîêàðüåðà çâåçäû/êàðüåðà êèíîçâåçäû,
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íåâåðíûå ìóæüÿ, ïîñëåäíèå ãîäû ñ ìóæ÷èíîé, êîòîðûé ñòàë åé
îïîðîé è ïîääåðæêîé.
• Îíà âêëþ÷àåò âñ¸: ôàêòû èç ìðà÷íîãî äåòñòâà â ðàçðûâàåìîé
âîéíîé Ãîëëàíäèè, ðàííèé ñöåíè÷åñêèé óñïåõ, çâ¸çäíàÿ êàðüåðà â
êèíî, íåâåðíûå ìóæüÿ, ïîñëåäíèå ãîäû ñ ÷åëîâåêîì, ñòàâøèì å¸
ñèìâîëîì ñïàñåíèÿ.
• Âñ¸ çäåñü — ìðà÷íîå äåòñòâî â îõâà÷åííîé âîéíîé Ãîëëàíäèè,
ðàííèé ñöåíè÷åñêèé óñïåõ, çâ¸çäíàÿ êàðüåðà â êèíî, íåâåðíûå
ìóæüÿ, ïîñëåäíèå ãîäû ñ ÷åëîâåêîì, êîòîðûé ñòàë äëÿ íå¸ îïîðîé
è ïîääåðæêîé.
• Çäåñü åñòü âñ¸ — ïîëíîå ëèøåíèé äåòñòâî â ðàçðóøåííîé âîéíîé
Ãîëëàíäèè, ïåðâûé óñïåõ íà ñöåíå, çâåçäà êèíî, íåâåðíûå ìóæüÿ,
ïîñëåäíèå ãîäû æèçíè ñ ìóæ÷èíîé, êîòîðûé ñòàë äëÿ íå¸ îïîðîé.
• Çäåñü ñîáðàíû âñå ôàêòû å¸ æèçíè — ìðà÷íîå äåòñòâî â Ãîëëàíäèè,
ðàçðóøåííîé âîéíîé; ðàííèé óñïåõ íà òåàòðàëüíûõ ïîäìîñòêàõ;
çâåçäà êèíî; íåâåðíûå ìóæüÿ; ïîñëåäíèå ãîäû, ïðîâåä¸ííûå ñ
÷åëîâåêîì, êîòîðûé ñòàë å¸ ñïàñåíèåì.
8. Åñëè ñâåñòè ïðè ïåðåâîäå âñå ïëþñû è óáðàòü âñå ìèíóñû ïðåäëîæåííûõ âàðèàíòîâ, êàêîé ñâîäíûé âàðèàíò ìîæíî áûëî áû ñîñòàâèòü?
9. Îòðåäàêòèðóéòå ñëåäóþùèå âàðèàíòû ïåðåâîäà ôðàãìåíòà òåêñòà
(She fought to be allowed to sing in My Fair Lady, a fight she could not win):
• Åé ïðèøëîñü áîðîòüñÿ çà ðàçðåøåíèå ïåòü â ôèëüìå «Ìîÿ
ïðåêðàñíàÿ ëåäè», áîðüáà, â êîòîðîé åé íå óäàëîñü ïîáåäèòü.
•
Îíà áîðîëàñü çà ïðàâî èñïîëíÿòü ïàðòèþ â ìþçèêëå «My Fair
Lady», õîòÿ òàê è íå ñìîãëà ýòîãî äîáèòüñÿ.
• Îíà áîðîëàñü çà òî, ÷òîáû åé ïîçâîëèëè ïåòü â ôèëüìå «Ìîÿ
ïðåêðàñíàÿ ëåäè», áîðüáà, êîòîðóþ îíà íå ñìîãëà âûèãðàòü.
•
Îíà îñïàðèâàëà ïðàâî èñïîëíÿòü ïåñíè â ôèëüìå «Ìîÿ ïðåêðàñíàÿ
ëåäè», áîðîëàñü çà òî, ÷òî íå ñìîãëà ïîëó÷èòü.
•
Îíà áîðîëàñü çà ïðàâî ïåòü â ôèëüìå «Ìîÿ ïðåêðàñíàÿ ëåäè»,
áîðüáà, êîòîðóþ åé íå óäàëîñü âûèãðàòü.
•
Îíà áîðîëàñü çà ïðàâî ñïåòü â ôèëüìå «Ìîÿ ïðåêðàñíàÿ ëåäè»,
õîòÿ øàíñîâ íà ïîáåäó ó íå¸ íå áûëî.
•
Îíà íàñòàèâàëà íà òîì, ÷òîáû ñàìîé ïåòü â ôèëüìå «Ìîÿ ïðåêðàñíàÿ ëåäè», õîòÿ ýòî áûëî íåâîçìîæíî.
•
Îíà áîðîëàñü çà ïðàâî ñïåòü â ôèëüìå «Ìîÿ ïðåêðàñíàÿ ëåäè», íî
ïðîèãðàëà ýòó áèòâó.
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• Îíà áîðîëàñü, ÷òîáû å¸ äîïóñòèëè ïåòü â ôèëüìå «Ìîÿ ïðåêðàñíàÿ
ëåäè», áîðüáà, êîòîðóþ îíà íå ñìîãëà âûèãðàòü.
• Îíà äîáèâàëàñü ïðàâà ïåòü â ôèëüìå «Ìîÿ ïðåêðàñíàÿ ëåäè»,
çàðàíåå çíàÿ, ÷òî ýòîìó íå ñóæäåíî ñáûòüñÿ.
10. Íàéäèòå ñðåäè ïðåäëàãàåìûõ âàðèàíòîâ ïåðåâîäà òå, êîòîðûå
âûçâàíû íåäîïîíèìàíèåì òåêñòà îðèãèíàëà. Îáúÿñíèòå ïðè÷èíó íåäîïîíèìàíèÿ. Ïðîêîììåíòèðóéòå êëþ÷åâûå ïóíêòû îøèáî÷íûõ âàðèàíòîâ.
• Èíîãäà îíà áûëà òùåñëàâíà (îäèí óïðàâëÿþùèé áûë óâîëåí,
ïîòîìó ÷òî Õåïá¸ðí íå ïîíðàâèëîñü, êàê îíà âûãëÿäåëà â
åæåäíåâíîé ãàçåòå).
• Èíîãäà îíà áûëà âçäîðíîé (ðåæèññ¸ðà ìîãëè óâîëèòü ëèøü çà òî,
÷òî åé íå íðàâèëàñü å¸ âíåøíîñòü íà ñòðàíèöàõ ãàçåò).
• Èíîãäà îíà áûëà âçäîðíîé (ðåäàêòîð áûë óâîëåí ïîòîìó, ÷òî
Õåïá¸ðí íå ïîíðàâèëîñü, êàê îíà âûãëÿäåëà íà ñòðàíèöàõ
åæåäíåâíîé ãàçåòû).
• Èíîãäà îíà áûëà òùåñëàâíîé (ðåæèññ¸ð ïîëó÷èë ãðàä êðèòè÷åñêèõ
çàìå÷àíèé, ïîòîìó ÷òî Õåïá¸ðí íå íðàâèëîñü, êàê îíà âûãëÿäåëà
íà ñòðàíèöàõ ãàçåò).
• Èíîãäà îíà áûëà âçäîðíîé (ðåæèññ¸ð âñïûõèâàë îò íåãîäîâàíèÿ,
ïîòîìó ÷òî Õåïá¸ðí íå íðàâèëîñü, êàê îíà âûãëÿäåëà íà ñòðàíèöàõ
ãàçåò).
• Èíîãäà îíà áûëà òùåñëàâíîé (äèðåêòîð áûë óâîëåí, ïîñêîëüêó åé
íå íðàâèëîñü, êàê îíà âûãëÿäåëà â ãàçåòàõ).
• Èíîãäà îíà áûëà òùåñëàâíà (äèðåêòîð áûë óâîëåí òîëüêî çà òî,
÷òî åé íå íðàâèëîñü, êàê îí ñíèìàë â ãàçåòàõ).
• Âðåìåíàìè îíà áûëà íåñíîñíîé (óâîëèëà ðåæèññ¸ðà, ïîòîìó ÷òî
Õåïá¸ðí íå ïîíðàâèëîñü, ÷òî îíà èñêàëà äðóãóþ ãàçåòó).
• Èíîãäà îíà êàçàëàñü ãëóïîé (ðåæèññ¸ðà óâîëèëè çà òî, ÷òî Õåïá¸ðí
íå íðàâèëîñü, êàê îí âûãëÿäèò).
• Èíîãäà òùåñëàâíà (ðåæèññ¸ð áûë óâîëåí, òàê êàê Õåïá¸ðí íå
íðàâèëèñü å¸ ñíèìêè â åæåäíåâíûõ ãàçåòàõ).
11. Îòðåäàêòèðóéòå ó÷åáíûé òåêñò ïåðåâîäà.
Îäðè Õåïá¸ðí
Áàðè Ïýðèñ
Ïîëíàÿ èñòîðèÿ æèçíè áåñïîäîáíîé Îäðè Õåïá¸ðí. Âñ¸ çäåñü —
ìðà÷íîå äåòñòâî â îõâà÷åííîé âîéíîé Ãîëëàíäèè, ðàííèé ñöåíè÷åñêèé óñïåõ,
çâ¸çäíàÿ êàðüåðà â êèíî, íåâåðíûå ìóæüÿ, ïîñëåäíèå ãîäû ñ ÷åëîâåêîì,
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êîòîðûé ñòàë äëÿ íå¸ îïîðîé è ïîääåðæêîé. Èíîãäà îíà áûëà âçäîðíîé
(ðåäàêòîð áûë óâîëåí, ïîòîìó ÷òî åé íå ïîíðàâèëîñü, êàê îíà âûãëÿäèò íà
ñòðàíèöàõ ãàçåò). Èíîãäà ïåðåîöåíèâàëà ñâîè âîçìîæíîñòè (îíà íàñòàèâàëà
íà òîì, ÷òîáû ñàìîé ïåòü â ôèëüìå «Ìîÿ ïðåêðàñíàÿ ëåäè», õîòÿ ýòî áûëî
íåâîçìîæíî, íî îíà âñåãäà óòâåðæäàëà, ÷òî óäà÷à óëûáàåòñÿ åé). Ïîñëåäíèå
ãîäû æèçíè îíà ìíîãî åçäèëà ïî äåëàì Ôîíäà ÎÎÍ ïîìîùè äåòÿì («ß
ïîáûâàëà â àäó!» — ñêàçàëà îíà î Ñîìàëè), îáåñïå÷èâàÿ äîñòàâêó
ïðîäîâîëüñòâèÿ óìèðàþùèì äåòÿì. Èñòîðèÿ àêòðèñû, êîòîðàÿ ñòàëà
èñòîðèåé íàñòîÿùåé ãåðîèíè â æèçíè. ×èòàéòå çàõâàòûâàþùèå îòðûâêè â
ñëåäóþùåì âûïóñêå æóðíàëà «Êîñìîïîëèòåí» (Ïóòíàì, 5$).
12. Îòðåäàêòèðóéòå ñâîé âàðèàíò ïåðåâîäà.
13. Ïðîêîììåíòèðóéòå ñëåäóþùèå óòâåðæäåíèÿ îòíîñèòåëüíî
ïåðåâîäèìîãî òåêñòà:
• Ïðè ïðî÷òåíèè òåêñò ïîêàçàëñÿ â öåëîì äîñòàòî÷íî ïîíÿòíûì.
• Çàòðóäíåíèÿ â ïåðåâîäå âûçâàíû íåêîòîðûìè ñëîâàìè è âûðàæåíèÿìè (UNICEF, stardom, look in the dailies).
• Ïðèøëîñü ïðèáåãàòü ê çàìåíå ÷àñòåé ðå÷è, èçìåíåíèþ ïîðÿäêà
ñëîâ, ñòðóêòóðíûì ïðåîáðàçîâàíèÿì.
• Òðóäíîñòü ïðåäñòàâëÿë âûáîð ñëîâ èç ñèíîíèìè÷åñêîãî ðÿäà.
• Äëÿ ïåðåâîäà ñî÷åòàíèÿ «Next month’s Cosmo» ïîòðåáîâàëîñü
êîíòåêñòóàëüíîå ðàçâ¸ðòûâàíèå.
• Ìíîãèå àòðèáóòèâíûå ñî÷åòàíèÿ ïîòðåáîâàëè äîïîëíåíèÿ: final
years — ïîñëåäíèå ãîäû æèçíè.
• Ïðåäëîæåíèå «A director was fired because Hepburn didn’t like the
way she looked in the dailies» â îðèãèíàëå íå î÷åíü ïîíÿòíî ïî
ñìûñëó: êòî ýòîò/ýòà «he»/«she»?
•  òåêñòå ìíîãî øòàìïîâ.
• Òåêñò ïðîñòîé, ãðàììàòè÷åñêè ñîâñåì íåòðóäíûé.
• Ïî-âèäèìîìó, ñëåäîâàëî ïîäóìàòü î ïðèìå÷àíèÿõ.
CUDDLING IS A THERAPY
Babies cuddled by their mothers for at least twenty minutes immediately after birth cry less, sleep better and feed more easily than other
babies, a two-year research project has revealed.
The study of some 600 mothers and their babies living among a
population of about 40,000 was undertaken in Britain by Dr De Wet
Vorster of the Child and Family Consultation Service at Mound Gould
Hospital in Plymouth, Southwest England.
IV.
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Dr Vorster found that the first half hour after birth is an important
time as babies are particularly alert then.
“However I am not claiming that all is lost if no contact takes place
during the first half-hour. It can be done later on, but the first half hour
is a time of heightened awareness which gives a good start,” he says.
Until recently the normal practice has been to take the baby away
from the mother to give her an opportunity to rest and recover.
“The midwives who assisted in the project have seen the results of
holding or cuddling the baby,” Dr Vorster says.
The results made them more aware of the benefits and now the contact period has been lengthened.
If it is impossible for the mother to hold the baby then the father,
another relative or nurse should do so, he says.
At two years, health visitors checked the interaction of the children
with their mothers to see how adequate the bond between them was.
The results plus the data obtained by midwives who attended the
births, convinced Dr Vorster that holding resulted in more contended
babies and children.
It was also noted that holding and cuddling children that were
overactive, caustic or had nervous problems had therapeutic effect on
them. “Although it is not the only valuable method of treatment, it is
very important,” says Dr Vorster.
“Instead of hitting the child as a punishment for misbehaviour it is
better to hold them tightly but lovingly. This restrains and soothes them
and reinforces the bond between them. Cuddling or holding the child on
other occasions such as when reading a bedtime story also helps.”
The treatment was found to work best on children up to the age of
five but even teenagers who have come to Dr Vorster for psychiatric treatment have shown marked improvement in their behaviour.
(National Herald. Wednesday, March 15, 1989)
Çàäàíèÿ
1. Ïðî÷èòàéòå òåêñò è òåçèñíî èçëîæèòå åãî ñóòü.
2. Ïðåäëîæèòå íåñêîëüêî âàðèàíòîâ ïåðåâîäà çàãîëîâêà, ïðèâåäÿ
àðãóìåíòû â ïîëüçó êàæäîãî.
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3. Ñäåëàéòå ñëîâàðíóþ ðàçðàáîòêó ñëîâ, òðåáóþùèõ óòî÷íåíèÿ â
ñëîâàðÿõ.
4. Êàêèå ïðåîáðàçîâàíèÿ íåîáõîäèìû äëÿ àäåêâàòíîãî ïåðåâîäà less,
alert, heightened awareness, sensitive, benefit, health visitors, baby, child,
contended, caustic, restrain, adequate treatment, misbehaviour â êîíòåêñòå
ãàçåòíîé çàìåòêè?
5. Êàêèå ìåñòà, ïîìèìî íåèçâåñòíûõ ñëîâ, îêàçàëèñü òðóäíûìè è
ïî÷åìó?
6. Êàêèå èç èçâåñòíûõ îïåðàöèé áûëè èñïîëüçîâàíû äëÿ ïåðåâîäà?
7. Ïåðå÷èñëèòå àòðèáóòèâíûå ñî÷åòàíèÿ, âûçâàâøèå çàòðóäíåíèÿ â
ïåðåâîäå.
8. Êàêèå ñèíòàêñè÷åñêèå ïåðåñòàíîâêè ïîòðåáîâàëèñü ïðè îáùåé
ðåäàêöèè ïîëíîñòüþ ïåðåâåä¸ííîãî òåêñòà?
9. Ñäåëàéòå âûâîäû îòíîñèòåëüíî ïåðåâîäà ñòðóêòóð ñ ãëàãîëîì «to be».
10. Îòðåäàêòèðóéòå òåêñò ñâîåãî ïåðåâîäà è íàçâàíèå.
V. EVERYONE’S GENEALOGICAL MOTHER
Biologists speculate that «Eve» lived in sub-Saharan Africa
If family trees were charted indefinitely backward, they would eventually converge on a small group of ancients who were ancestors of us
all. Now biologists suggest in a report to Nature that a single female
living between 140,000 and 280,000 years ago in Africa was an ancestor of everyone on the earth today. Inevitably — and to the probable
delight of creationists — many scientists are calling her “Eve”.
The authors point out that the hypothetical Eve, unlike the biblical
one, was in no sense the ancestral mother of all humans. There were
other females reproducing at the time who have modern descendants.
But Eve is the only one who appears in everyone’s genealogy, a conclusion the biologists reached by studying mitochondrial DNA
(mtDNA).
Most of the DNA in human cells is in the cell nucleus, in the form
of chromosomes. Since chromosomes come from both parents, this
nuclear DNA is reshuffled with each generation, confusing the line of
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inheritance. But there is also DNA outside the nucleus in mitochondria,
substructures within each cell that are responsible for producing energy
the cell needs. Since the sperm’s mitochondria do not survive fertilization intact, mtDNA is inherited solely through the mother. The only way
it can change over the generations is through mutation. And that mutation, evidence suggests, proceeds at a steady, known rate. To calculate
how much time has elapsed since the mutations that gave rise to today’s variations began, the scientists need merely determine how much
change has taken place.
To measure this change, the biologists — Allan Wilson, currently
on sabbatical from the University of California, Berkley; Rebecca Cann,
now of the University of Hawaii; and Mark Stoneking, at Berkeley —
examined mtDNA from 147 individuals representing five broad geographic regions. The scientists analyzed the samples by mixing them with
restriction enzymes, proteins that cut strands of DNA at specific sites.
After comparing the resulting fragments, the scientists used a computer to analyse the differences between the mtDNA samples and construct a “family” tree. Those differences were so small that they could
be explained by assuming the existence of one ancestral mtDNA. Then
the biologists extrapolated backward to calculate when that mtDNA
existed — in other words, when Eve lived.
The facts that mtDNA is maternally inherited and that Eve’s alone
has survived mean that she was the only one among her female contemporaries whose descendants included some females in all succeeding
generations. Descendants of the other females alive during Eve’s time
eventually included generations that produced no children or only males,
thus halting propagation of their mtDNA.
By considering the geographic origins of the 147 people, the biologists were even able to determine where Eve lived: samples from those
of sub-Saharan African descent showed the most intragroup differences, implying that their mtDNA had had more time to change and thus
that their ancestors arose earliest. This finding plus the structure of the
family tree indicated sub-Saharan origin, a conclusion that agrees with
current archaeological and anthropological theory. <...>
(Time, New York, N.Y.)
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Çàäàíèÿ
1. Ïðî÷òèòå òåêñò, êðàòêî èçëîæèòå åãî îñíîâíûå ïðîáëåìû.
2. Ñîñòàâüòå òåðìèíîëîãè÷åñêèé ãëîññàðèé.
3. Ïåðåâåäèòå ôîðìóëû ââåäåíèÿ èíôîðìàöèè (Biologists speculate
that...).
4. Ïåðåâåäèòå, îïèðàÿñü íà êîíòåêñò, ñëåäóþùèå ñëîâà è ñî÷åòàíèÿ:
family trees, to chart, creationists, one ancestral mother of all humans, nuclear DNA is reshuffled with each generation, to elapse, on sabbatical from the
University of California, to halt propagation, sub-Saharan Africa.
5. Ñäåëàéòå ñîêðàù¸ííûé ïåðåâîä òåêñòà, âûáðàâ ñàìûå ñóùåñòâåííûå
åãî ìåñòà è ñîõðàíèâ ëîãèêó äîêàçàòåëüñòâ.
VI. GEORGE’S MARVELLOUS MEDICINE
by Roald Dahl
“You know what’s the matter with you?” the old woman said, staring at George over the rim of the teacup with those bright wicked little
eyes. “You’re growing fast. Boys who grow too fast become stupid and
lazy”.
“But I can’t help it if I’m growing fast, Grandma”, George said. “Of
course you can”, she snapped. “Growing’s a nasty childish habit”.
“But we have to grow, grandma. If we didn’t grow, we’d never be
grown-ups”.
“Rubbish, boy, rubbish”, she said. “Look at me. Am I growing?
Certainly not”.
“But you did once, Grandma”.
“Only very little”, the old woman answered. “I gave up growing when
I was extremely small, along with all other nasty childish habits like laziness and disobedience and greed and sloppiness and untidiness and
stupidity. You haven’t been given up any of these things, have you?”
“I’m still only a little boy, grandma”.
“You’re eight years old”, she snorted. “That’s old enough to know
better. If you don’t stop growing soon, it’ll be too late”.
“Too late for what, Grandma?”
“It’s ridiculous”, she went on. “You’re nearly as tall as me already”.
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George took a good look at Grandma. She certainly was a very tiny
person. Her legs were so short she had to have a footstool to put her feet
on, and her head only came half-way up the back of the armchair.
“Daddy says it’s fine for a man to be tall”, George said.
“Don’t listen to your daddy,” Grandma said. “Listen to me”.
“But how do I stop myself growing?” George asked her.
“Eat less chocolate”, Grandma said. “Does chocolate make you
grow?”
“It makes you grow the wrong way”
, she snapped. “Up instead of
down”.
Grandma sipped some tea but never took her eyes from the little
boy who stood before her. “Never grow up”, she said.
“Always down”.
“Yes, grandma”. “And stop eating chocolate. Eat cabbage instead”.
“Cabbage! Oh, no, I don’t like cabbage”, George said. “It’s not what
you like or don’t like”, Grandma snapped. “It’s what’s good for you that
counts. From now on, you must eat cabbage. Three times a day. Mountains of cabbage! And if it’s got caterpillars in it, so much the better!”
Çàäàíèÿ
1. Ïðî÷èòàéòå òåêñò, âûäåëèòå ñëîâà, òðåáóþùèå óòî÷íåíèÿ â ñëîâàðÿõ.
2. Ïåðåâåäèòå òåêñò.
3. Àðãóìåíòèðóÿ, îòáåðèòå ëó÷øèå èç ïðåäëîæåííûõ âàðèàíòîâ
ïåðåâîäà ñëåäóþùèõ ïðåäëîæåíèé, ïðåäëîæèòå äðóãèå:
• Òû çíàåøü, â ÷¸ì òâîÿ áåäà? / Õî÷åøü çíàòü, ÷òî ñ òîáîé? /
Çíàåøü,÷òî ñ òîáîé òàêîå? / Çíàåøü, ÷òî ñ òîáîé ïðîèñõîäèò?
• Âîò óæ íåò, ìîæåøü. / Åù¸ êàê ìîæåøü. / Òû ìîæåøü.
• Íó, ÷òî çà åðóíäà! / ×åïóõà ïîëíåéøàÿ! / Âçäîð! / ×óøü è åðóíäà!
• Íåò, êàïóñòó ÿ íå ëþáëþ! /Ôó, òåðïåòü íå ìîãó êàïóñòó! /Êàïóñòó?
Î íåò, ÿ íåíàâèæó êàïóñòó!
• Âîïðîñ íå â òîì, ÷òî òû ëþáèøü èëè íå ëþáèøü. / Ðå÷ü íå î òîì,
÷òî òû ëþáèøü, à ÷òî íåò. / Äåëî íå â òîì, ÷òî òåáå íðàâèòñÿ, à ÷òî
íåò.
4. Îòðåäàêòèðóéòå ñâîé ïåðåâîä.
5. Îïðåäåëèòå òðóäíîñòè è ñïåöèôèêó ïåðåâîäà äèàëîãà.
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VII. GRIEG IN MINIATURE
Edvard Grieg has suffered at the hands of posterity. Although the
composer of some of the most popular music of the romantic era, the A
minor Piano Concert — too often regarded contemptuously in some
quarters as a “warhorse” — the incidental music to Ibsen’s epic drama
Peer Gynt, he remains as elusive figure today, cruelly confined to the
fringes of the repertoire by orchestras, pianists, chamber musicians, and,
above all, vocal recitalists. Occasionally, a Scandinavian singer will include the evergreen Je elskar dej (I Love You) and one or two others in
mixed programmes, but they are a small fraction of an output of over
120 published art and folk songs.
The neglect of Grieg’s superb piano music, of his Cello and three
fine Violin Sonatas, is a mystery today when so much second-rate music of the baroque period is being unearthed on the back of the authenticity movement.
Finn Benestad and Dag Schjelderup-Ebbe go some way to explaining the enigma of Grieg’s posthumous reputation in their lavishly produced biography-cum-study of the man and his work. They treat their
subject with an understandable measure of nationalist pride for Grieg
remains the only Norwegian composer to have penetrated the international musical consciousness, albeit with a tiny proportion of works. But
they never shy away from discussion of his shortcomings.
Essentially Grieg was a miniaturist, a natural and easy melodist
like Dvorak — whose Bohemian Nationalism exactly parallels Grieg’s
fascination with the folk music of his country — but one who failed to
master the great “classical” forms of the sonata, the symphony and the
string quartet.
In a sense he became a victim of his own success as composer for
the home and the salon. Unlike Dvorak, though, he lacked the confidence to resist his publishers continuous demand for his commercially
lucrative piano pieces and songs.
His nationalist instincts, though tempered by his training in Leipzig which left him with mixed feelings about Germany and German
music, led him increasingly towards an aesthetic populism which reacted against the elitism of music as High Art.
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His biographers quote his response to a performance of Wagner’s
Percifal at Bayreuth in 1886: “How strange that art is so aristocratic,
that out of the whole family of man only an infinitely small minority is
capable of understanding its mysteries. Just imagine if everyone could
experience this beauty!”
Grieg’s misfortune, perhaps, was to seek through a nationalist style
rooted in popular melody to open up the realism of art music to the widest possible audiences and to find himself condemned for narrowness
and parochialism.
But the authors of this book, sumptuously illustrated and packed
with musical examples and relevant source material in wide left hand
margins, have made as strong as possible a case for re-evaluation of one
of the music’s most likeable major minor masters.
(By Hugh Canning, The Guardian, 1988, 9.XII:
Edvard Grieg, by Finn Benestad and Dag Schjelderup-Ebbe)
Çàäàíèÿ
1. Ïðî÷òèòå òåêñò ðåöåíçèè. ×òî íîâîãî äîáàâèë îí ê òîìó, ÷òî âàì
èçâåñòíî î êîìïîçèòîðå? Íàéäèòå íåäîñòàþùèé øèðîêèé êîíòåêñò.
2. Ïîäãîòîâüòå êîììåíòàðèé ñëåäóþùèõ ìåñò òåêñòà: Ibsen, epic drama Per Gynt, «Je elskar dej», cello violin, baroque period, biographycumstudy, the only Norvegian composer, miniaturist, Dvorak, Bohemian nationalism, Wagner, Parsifal, Bayreuth (1886).
3. Îáúÿñíèòå ñìûñë íàçâàíèÿ ðåöåíçèè.
4. Íàéäèòå â òåêñòå èãðó ñëîâ, ïîïðîáóéòå ïåðåâåñòè.
5. Ïåðåâåäèòå òåêñò, îáðàòèâ âíèìàíèå íà ìóçûêàëüíûå òåðìèíû: the
A minor Piano Concerto, incidental music, chamber musicians, vocal recitalists, string quartet, piano pieces, art music, repertoir è ò.ä.
VIII. TEACHING BY RULEBOOK
Many reasons have been advanced for teachers’ low morale: *poor
pay, *shortage of resources, pupil indiscipline, *unsuitable and *shabby buildings.While all these play a part, none is so important as loss of
status and respect. A teacher is now less likely to *command respect
than to be pitied as someone who cannot find a better job.
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When I started teaching 40 years ago pay was low and *working conditions were poor, yet many teachers produced and foremost, teachers.
After a ten-year break, I recently returned to work as a supply teacher,
and immediately noticed the growth of bureaucracy and administration.
In the staffroom, piles of papers were everywhere: course particulars,
information on schemes of work, pamphlets, booklets, sheets, records.
The noticeboard was crammed with details of meetings and in-service
seminars. Each day, more papers arrived, more notices were posted. In
the classroom, the teacher’s desk was submerged under piles of handbooks, brochures and articles. The school seemed to be drowning in a
sea of words.
Many of these words have been generated by the introduction of the
National Curriculum. Although this is badly needed and should do wonders for standards, the way it is being implemented is proving a great
burden to the conscientious. The proposals for English alone occupy
more than 70 *closely printed pages, *covering a minute detail of every
aspect of the subject, its teaching and assessment. One gets the impression that teachers are so little trusted that everything they do in
class must be set out for them.
The assessments require detailed analysis of each pupil’s progress...
*Continuous assessment, which in effect means assessment during lessons, is needed to evaluate pupils’ progress in the many “strands”. When
it is recognized that in a lesson each child in an average class can expect
about one minute of a *teacher’s individual attention, the problem becomes apparent.
There are other worries too. <...> Meetings make up a large part of
the teacher’s work load. A senior teacher in a school for 1,750 pupils
regularly attends year-teacher’s meetings, house-meetings, meetings
of subject teachers, meetings with *local employers, parents’ meetings,
and management meetings. <...> There are times when a teacher has a
meeting every night of the week.
Teachers still have their *routine paper-work to keep up: lesson preparation, marking and assessment, reports and the compilation of pupil
profiles. <...>
This is by no means the end of the story. Cross-consultation with
other subject teachers in order to correlate subject content is necessary.
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Checking projects, writing testimonials for university applicants, pastoral work, liaison with other schools — the list goes on and on.
The burden of *excessive administration can and should be lightened.
<...> At present, the sheer volume of administration is overwhelming
teachers, and it is no wonder morale has plummeted. These reforms would
free them to do the one thing most teachers want to do: teach.
(By John Sanders, The Times, 1990)
Çàäàíèÿ
1. Ïðî÷òèòå òåêñò, òåçèñíî èçëîæèòå åãî ñîäåðæàíèå.
2. Ïðî÷èòàâ òåêñò, îòìåòüòå íåÿñíîñòè è íàéäèòå â ñëîâàðå íåçíàêîìûå ñëîâà.
3. Íàéäèòå ñîîòâåòñòâèÿ ñëåäóþùèõ òåðìèíîâ: pupil, indiscipline, supply
teacher, staffroom, course particulars, information on schemes of work, pamphlet, sheet, record, in-service seminar, assessment, pupil’s progress, yearteachers’ meetings, house meetings, management meetings, “sanctions”
meetings, “options” meetings for third-year and fifth-year pupils, subject teacher, lesson preparation, marking, reports and the compilation of pupil profiles.
4. Ñäåëàéòå ñâîè çàêëþ÷åíèÿ î «ëîæíûõ äðóçüÿõ ïåðåâîä÷èêà».
5. Ïðîêîììåíòèðóéòå ïåðåâîä ñëîâîñî÷åòàíèé, âûäåëåííûõ çâ¸çäî÷êîé.
6. Ïðîàíàëèçèðóéòå óñòîé÷èâûå âûðàæåíèÿ â òåêñòå. Óäàëîñü ëè
ïåðåâåñòè èõ, íå çàãëÿäûâàÿ â ñëîâàðü?
7. Êàê ïåðåâåäåíû ââîäíûå ñëîâà è âûðàæåíèÿ?
8. Ïåðåâåäèòå òåêñò.
9. Îáúÿñíèòå ñìûñë çàãîëîâêà è àðãóìåíòèðóéòå åãî ïåðåâîä.
10. Êàêèå ìåñòà ïðè îáùåé ðåäàêöèè ïîòðåáîâàëè èçìåíåíèé?
IX.
THE LANGUAGE OF THE FUTURE?
Around the world, millions of people of all ages are taking up the
study of Japanese — and not just for the fun of it. Foreign business
executives sometimes call the Japanese language a nontariff barrier to
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trade. They are not the first to express frustration with a complex and
subtle tongue. In the 17th century European Jesuits called Japanese
“the devil’s language” and believed it was designed to frustrate their
missionary efforts in the country. The language barrier may never fall
completely, but today more and more people are trying to scale it. In
New York City and Paris, Kuala Lumpur and Taipei, record numbers of
people are studying Japanese — 3 million worldwide, according to
Shigeru Komai, deputy director of the Japanese Language Institute, a
branch of the quasigovernmental Japan Foundation in Tokyo. <...>
The study of Japanese is booming because knowing the language
is seen as a ticket to a better-paying job. Says Hiroyasu Sasaki of the
International Center at Waseda University in Tokyo: “Before, people
came here to be scholars. Now they come to be businessmen”. Mary
Ellen Young, a teacher of Japanese at the Kenwood Academy, a public
high school in Chicago, says pupils in her classes often say, “My father
told me that Japanese is the language of the future”. By contrast, she
says, 10 years ago, Japanese seemed “so exotic, so strange, so foreign
that people were kind of scared of it”.
For Alice Young, a Japanese-speaking partner and head of the Japan Corporate Group at the New York law firm of Milbank, Tweed, Hadley
& McCloy, knowledge of the language has already paid off: she helped
work out the details of the Mitsubishi Estate Co.’s purchase of the controlling interest in Rockefeller Center. Says she: “There is a whole new
breed in the legal profession who have tried to master Japanese in order
to get involved in U.S.-Japanese business dealings”.
Many of them study at the Japan Society in New York City, which
caters primarily to adults. “Currently we have more than 2,500 students registered for classes on various levels,” says Reiko Sassa, director of the program.”All five evening classes are filled to capacity,
and we also have lunchtime and daytime classes.” To help alleviate the
demand for additional courses, the Toyota Motor Corp. has just announced plans to give the society a $1,25 million grant for a new building, which will contain additional classrooms, a language laboratory
and a library.
(By Marguerite Johnson, Time, 1991)
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Çàäàíèÿ
1. Ïðî÷òèòå ñòàòüþ, îïðåäåëèâ îñíîâíóþ èäåþ.
2. Ïåðåäàéòå èìåíà ñîáñòâåííûå è íàçâàíèÿ.
3. Ïðîàíàëèçèðóéòå ïðåäëîæåíèÿ ñ íåîïðåäåë¸ííûì àðòèêëåì,
îïðåäåëèòå èõ ôóíêöèþ è ñïîñîáû ïåðåäà÷è.
4. Ïåðåâåäèòå òåêñò. Óêàæèòå òðóäíûå ìåñòà, ïðè÷èíû çàòðóäíåíèé.
5. Îòðåäàêòèðóéòå òåêñò. Âûäåëèòå â í¸ì íàèáîëåå ñóùåñòâåííóþ
èíôîðìàöèþ.
X. WHERE HAVE ALL THE DINOS GONE?
The real reason dinosaurs became extinct
Of all the *mysteries of the dinosaurs, none has generated more
*speculation than why the beasts vanished some 65 million years ago.
Increasingly, the evidence points to an explanation that’s *literally out
of this world: a giant meteor or comet that crashed into the earth, blasting huge clouds of *debris aloft. With sunlight choked off for months,
plant life would have dwindled, robbing the dinosaurs of their chief food
supply. Small *omnivorous *mammals could have gotten by with scavenging.
The *impact theory was suggested seven years ago by physicist Luis
Alvarez of Lawrence Berkley Laboratory, who found high concentrations
of the element *iridium in *clay throughout the world, deposited just
when the dinosaurs vanished. *Iridium is rare on earth but is richly concentrated in comets and meteors. That suggested an impact occurred,
and that its force was enough to eject a dust cloud that settled over the
*globe.
New researchers at the U.S. Geological Survey in Denver have bolstered Alvarez’s theory. Bruce Bohor and co-workers examined the
crystal structure of quartz particles from the similar clay *deposits at
seven sites. In every instance, the quartz showed signs of being struck
by an *enormous shock wave. The only other places such *shocked
quartz is found are known *meteor-impact craters and underground
nuclear-test sites.
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Volcanic eruptions also give off high concentrations of iridium, and
had been suggested as an *alternative explanation for Alvarez discoveries. But volcanoes pack too little punch to shock quartz grains. *A meteor 6 miles across, on the other hand, striking the earth at 45,000 miles
per hour, would release as much energy as several billion atomic bombs.
The resulting prehistoric nuclear winter could have sent the dinosaur
*to oblivion.
(Moscow News Weekly, No. 35, 1987)
Çàäàíèÿ
1. Ïåðåâåäèòå òåêñò è çàãîëîâîê.
2. Îáðàòèòå âíèìàíèå íà «ëîæíûõ äðóçåé ïåðåâîä÷èêà», ñäåëàéòå
âûâîäû îòíîñèòåëüíî òàêòèêè èõ ïåðåâîäà.
3.  ÷¸ì çàêëþ÷àþòñÿ òðóäíîñòè ïåðåâîäà âòîðîãî àáçàöà òåêñòà?
4. Ïåðåâåäèòå ñëîâà è ñî÷åòàíèÿ, ïîìå÷åííûå çâ¸çäî÷êîé.
5. Ñðàâíèòå ñâîé ïåðåâîä ïðåäëîæåíèÿ «Of all the mysteries of the dinosaurs none has generated more speculation than why the beasts vanished
some 65 million years ago» ñ ïðåäëîæåííûìè è äàéòå èõ àíàëèç:
• Ñðåäè âñåõ çàãàäîê äèíîçàâðîâ íè îäíà íå âûçûâàëà òàê ìíîãî
ðàçìûøëåíèé, êàê òà, â êîòîðîé ãîâîðèòñÿ, ÷òî æèâîòíûå âûìåðëè
65 ìèëëèîíîâ ëåò òîìó íàçàä.
• Íè îäíà èç òàéí, ñâÿçàííûõ ñ ñóùåñòâîâàíèåì äèíîçàâðîâ, íå
âûçâàëà ïîÿâëåíèÿ òàêîãî ìíîæåñòâà òåîðèé, êàê çàãàäêà
èñ÷åçíîâåíèÿ ýòèõ æèâîòíûõ îêîëî 65 ìèëëèîíîâ ëåò íàçàä.
• Íè îäíà èç çàãàäîê, ñâÿçàííûõ ñ äèíîçàâðàìè, íå ïîðîäèëà
áîëüøåãî êîëè÷åñòâà âåðñèé, ÷åì âîïðîñ, ïî÷åìó âñ¸-òàêè ýòè
æèâîòíûå âíåçàïíî èñ÷åçëè ïðèìåðíî 65 ìèëëèîíîâ ëåò íàçàä.
• Èç âñåõ òàéí, ñâÿçàííûõ ñ ñóùåñòâîâàíèåì äèíîçàâðîâ, íè îäíà íå
âûçâàëà áîëüøèõ ñïîðîâ, ÷åì, ïî÷åìó ýòè æèâîòíûå èñ÷åçëè îêîëî
65 ìèëëèîíîâ ëåò íàçàä.
• Èç âñåõ çàãàäîê, ñâÿçàííûõ ñ äèíîçàâðàìè, íè îäíà íå ïîðîäèëà
ñòîëüêî òåîðèé, êàê ïðè÷èíà âíåçàïíîãî èñ÷åçíîâåíèÿ ýòèõ
æèâîòíûõ 65 ìèëëèîíîâ ëåò òîìó íàçàä.
6. Ïðî÷èòàâ òåêñò, âûäåëèòå ìåñòà, òðóäíûå äëÿ ïîíèìàíèÿ. Îáúÿñíèòå ïðè÷èíû çàòðóäíåíèé.
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7. Ïîäãîòîâüòå ëèíãâîñòðàíîâåä÷åñêèé êîììåíòàðèé ýïîõè, èì¸í
ñîáñòâåííûõ, ïîíÿòèé, âûðàæåííûõ ñëîâàìè: guinea, scholar, specialist,
sketch-book, collector, export licence, character, Christie’s auction, visionary,
highwayman, archer, piecemeal.
8. Êàê ïåðåâåäåíû èíòåðíàöèîíàëüíûå ñëîâà?
9. Ïåðåâåäèòå òåêñò. Âûäåëèòå ìåñòà, â ïðàâèëüíîñòè ïåðåâîäà êîòîðûõ îñòàëèñü ñîìíåíèÿ.
10. Îòðåäàêòèðóéòå ïåðåâîä. ×òî ïîòðåáîâàëî ðåäàêöèè?
ÒÅÊÑÒÛ ÄËß ÑÎÏÎÑÒÀÂÈÒÅËÜÍÎÃÎ ÀÍÀËÈÇÀ
Ãëàâíûì îáúåêòîì ñîïîñòàâèòåëüíîãî àíàëèçà ïåðåâîäîâ áåçóñëîâíî ÿâëÿåòñÿ ñîõðàííîñòü èíôîðìàöèè. Ìîæíî ïðåäëîæèòü ñëåäóþùèå ïàðàìåòðû ïîñëåäîâàòåëüíîãî àíàëèçà:
à) ñîîòíåñèòå êëþ÷åâûå ñëîâà è ðàññìîòðèòå èõ ñõîäñòâî è ðàçëè÷èå;
á) óñòàíîâèòå èäåíòè÷íîñòü èíâàðèàíòíîãî ñîäåðæàíèÿ;
â) ïðîèçâåäèòå îöåíêó ñõîäñòâà ýìîöèîíàëüíîãî ôîíà ïåðåâîäîâ:
ã) ðàññìîòðèòå èäåíòè÷íîñòü/íåèäåíòè÷íîñòü ïðîèçâåä¸ííûõ
òðàíñôîðìàöèé;
ä) ïðîàíàëèçèðóéòå ñîîòâåòñòâèå êëþ÷åâîé èíôîðìàöèè, âûäåëèâ ñëó÷àè ïåðåäàííîé, íåïåðåäàííîé, äîáàâëåííîé èíôîðìàöèè;
å) íàéäèòå ñëó÷àè ðàñêðûòèÿ äîïîëíèòåëüíîé èìïëèöèòíî ñîäåðæàùåéñÿ èíôîðìàöèè;
æ) ïîíàáëþäàéòå, êàê ïåðåâåäåíà óòî÷íÿþùå-äîïîëíèòåëüíàÿ
èíôîðìàöèÿ;
ç) ñîîòíåñèòå ñòèëèñòè÷åñêèå õàðàêòåðèñòèêè òåêñòà.
Êîíêðåòíàÿ öåëü ñîïîñòàâëåíèÿ ìîæåò äèêòîâàòü è äîïîëíèòåëüíûå îáúåêòû âíèìàíèÿ, ïðèâíåñåíèå îöåíî÷íûõ ìîìåíòîâ.
Ïîñëåäíèå äîëæíû áûòü äîêàçàòåëüíû. Îáÿçàòåëüíûì óñëîâèåì
ñîïîñòàâèòåëüíîãî àíàëèçà ÿâëÿåòñÿ íàëè÷èå ñîáñòâåííîãî âàðèàíòà ïåðåâîäà.
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I.
BACK-NESTLING
Many African mothers carry, or nestle, their babies on their backs.
This custom has advantages for both mother and child. A working mother
who has nobody to look after the baby, knows he is safe on her back,
while her hands are free for her work. Meanwhile, the baby stays in close
contact with his mother and feels warm and safe. This sense of security
may be suddenly broken, however, when the child can no longer be carried. He may be put down and expected to behave like a grown-up child.
But he has been over-protected for so long through nestling that he now
feels very insecure and may behave like a baby.
Children need freedom and the chance to use their limbs. They need
to be able to observe and explore their environment. They also need to
learn how to make and do things on their own. Therefore even when
mothers must carry their babies everywhere, they should try to set them
free whenever possible. Moreover, in the hot months, the less backnestling the better.
Many women, however, prefer to carry their children all day long.
They feel the children are safe, sleep longer, keep quieter and do not
make a mess! I once visited a friend’s home where the mama-nurse was
nestling my friend’s eleven-month-old child. Seeing he was restless, I
asked the mama-nurse to put him down. At first she didn’t want to because she thought the child would make the room untidy. When she
finally agreed I asked for some kitchen pots, spoons, unopen tins and
boxes since there were no toys to play with. Immediately the child started examining them one by one. Then he started banging the pots and
boxes with the spoons. The different sounds fascinated him. But mamanurse didn’t like the noise or the mess.
(Jane Willis. Teaching English Through English.
Longman, 1981, p. 146)
ÄÅÒÈ ÇÀ ÑÏÈÍÎÉ
 Àôðèêå ìíîãèå ìàòåðè íîñÿò ñâîèõ äåòåé íà ñïèíå, ïðèñòðàèâàÿ èõ óþòíî, êàê â ãí¸çäûøêå. Ýòîò îáû÷àé äà¸ò ïðåèìóùåñòâà êàê
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ìàòåðè, òàê è ðåá¸íêó. Ðàáîòàþùàÿ ìàòü, êîòîðîé íå ñ êåì îñòàâèòü
ðåá¸íêà, çíàåò, ÷òî çà å¸ ñïèíîé îí â áåçîïàñíîñòè, à å¸ ðóêè ñâîáîäíû äëÿ ðàáîòû. È ðåá¸íîê â ýòî âðåìÿ íàõîäèòñÿ â òåñíîì êîíòàêòå ñ ìàòåðüþ, åìó òåïëî è ñïîêîéíî. Ýòî ÷óâñòâî çàùèù¸ííîñòè
ìîæåò, îäíàêî, âíåçàïíî èñ÷åçíóòü, êîãäà ðåá¸íêà óæå áîëüøå íåâîçìîæíî íîñèòü çà ñïèíîé. Åãî ìîãóò ñïóñòèòü íà çåìëþ, ïðåäïîëàãàÿ, ÷òî îí áóäåò âåñòè ñåáÿ êàê âçðîñëûé. Íî îí, òàê äîëãî ïðåáûâàÿ â ïîëíîé áåçîïàñíîñòè, ïðèñòðîèâøèñü ó ìàòåðè çà ñïèíîé,
íà÷èíàåò ÷óâñòâîâàòü ñåáÿ áåççàùèòíûì è âåä¸ò ñåáÿ êàê ìëàäåíåö.
Äåòÿì òðåáóåòñÿ ñâîáîäà äâèæåíèÿ è âîçìîæíîñòü øåâåëèòü ðóêàìè è íîãàìè. Èì íåîáõîäèìî ðàññìàòðèâàòü è èññëåäîâàòü îêðóæàþùóþ îáñòàíîâêó. Èì íàäî ñàìèì íàó÷èòüñÿ îñâàèâàòü ïðåäìåòû.
Ïîýòîìó, äàæå åñëè ìàòåðÿì ïðèõîäèòñÿ ïîâñþäó íîñèòü ñâîèõ ìàëûøåé, îíè ïðè ïåðâîé æå âîçìîæíîñòè äîëæíû äàâàòü èì ñâîáîäó.
Áîëåå òîãî, â æàðêîå âðåìÿ, ÷åì ìåíüøå íîñèòü äåòåé çà ñïèíîé, òåì
ëó÷øå. Òåì íå ìåíåå ìíîãèå æåíùèíû ïðåäïî÷èòàþò íîñèòü äåòåé çà
ñïèíîé öåëûìè äíÿìè. Èì êàæåòñÿ, ÷òî äåòè ïîä ïðèñìîòðîì, ñïÿò
äîëüøå, ìåíüøå êàïðèçíè÷àþò è íå óñòðàèâàþò áåñïîðÿäêà.
Îäíàæäû ÿ áûëà â ãîñòÿõ ó îäíîé ñâîåé ïîäðóãè, à òàì íÿíÿíåãðèòÿíêà íÿí÷èëà å¸ ãîäîâàëîãî ìàëûøà, ïðèñòðîèâ åãî çà ñïèíîé. ß ïîïðîñèëà íÿíþ ñíÿòü ìàëü÷èêà ñî ñïèíû. Ñíà÷àëà îíà íå
õîòåëà ýòîãî äåëàòü, îáúÿñíÿÿ, ÷òî ðåá¸íîê óñòðîèò â êîìíàòå áåñïîðÿäîê. Êîãäà æå, â êîíöå êîíöîâ, ÿ å¸ óãîâîðèëà, ïðèøëîñü ïîïðîñèòü, ÷òîáû îíà ïðèíåñëà èç êóõíè íåñêîëüêî êàñòðþëü, ëîæåê,
çàêðûòûõ áàíîê è êîðîáîê, òàê êàê ó ðåá¸íêà íå îêàçàëîñü íèêàêèõ
èãðóøåê. Ìàëûø òóò æå ïðèíÿëñÿ êîëîòèòü ëîæêàìè ïî êàñòðþëÿì
è êîðîáêàì. Íîâûå çâóêè çàâîðàæèâàëè åãî. Íÿíå æå íå ïîíðàâèëñÿ
íè øóì, íè áåñïîðÿäîê.
II.
MABEL
By Somerset Maugham
One morning George and the consul were in the courtyard looking
at some curios that had been brought for their inspec tion when there
was a loud knocking at the great door of the consulate. The door-man
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flung it open. A chair borne by four coolies entered, advanced, and was
set down. Mabel stepped out. She was neat and cool and fresh. There
was nothing in her appearance to suggest that she had just come in
after a fortnight on the road. George was petrified. He was as pale as
death. She went up to him.
“Hulloa, George, I was so afraid I’d missed you again”.
“Hulloa, Mabel”, he faltered.
He did not know what to say. He looked this way and that. She stood
between him and the doorway. She looked at him with a smile in her
blue eyes.
“You haven’t altered at all”, she said. “Men can go off so dreadfully
in seven years and I was afraid you’d go fat and bald. I’ve been so nervous. It would have been so terrible if after all these years I simply hadn’t
been able to marry you after all”.
She turned to George’s host. “Are you the Consul?”
“I am”.
“That’s all right. I’m ready to marry him as soon as I’ve had a bath”.
And she did.
1. ÌÅÉÁË
Ñîìåðñåò Maugham
Äæîðäæ îäíèì óòðîì è êîíñóë áûëè âî âíóòðåííåì äâîðå, ñìîòðÿùåì íà íåêîòîðûé curios, êîòîðûé áûë ïðèíåñ¸í äëÿ èõ îñìîòðà,
êîãäà èìåëñÿ ãðîìêèé óäàð â áîëüøîé äâåðè êîíñóëüñòâà. Äâåðü-÷åëîâåê áðîñàë ýòî îòêðûòûé. Ñòóë, êîòîðûé ïåðåíîñèò ÷åòûðå coolies
ââåä¸ííûé, ïðîäâèíóòûé è áûë óñòàíîâëåí âíèç. Ìåéáë âûøëà. Îíà
áûëà îïðÿòíà è ïðîõëàäíà è íîâà (ñâåæàÿ). Íå èìåëîñü íè÷åãî â å¸
ïîÿâëåíèè, ÷òîáû ïðåäëîæèòü, ÷òîáû îíà òîëüêî ÷òî âîøëà ïîñëå
äâóõ íåäåëè íà ïóòè. Äæîðäæ áûë îöåïåíåâøèé. Îí áûë ñòîëü æå
áëåäåí êàê ñìåðòü. Îíà ïîâûñèëàñü ê íåìó.
«Ïðèâåò, Äæîðäæ, ÿ òàê áîÿëñÿ, ÷òî ÿ ïðîïóñòèë âàñ ñíîâà».
«Ïðèâåò, Ìåéáë», îí êîëåáàëñÿ.
Îí íå çíàë, ÷òî ãîâîðèòü. Îí ñìîòðåë íà ýòîò ïóòü è ýòî. Îíà
ñòîÿëà ìåæäó íèì è äâåðíûì ïðî¸ìîì. Îíà ñìîòðåëà íà íåãî ñ óëûáêîé â å¸ ñèíèõ ãëàçàõ.
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«Âû íå èçìåíèëèñü âîîáùå», ñêàçàëà îíà. «Ëþäè ìîãóò èäòè îò
òàê óæàñíî ÷åðåç ñåìü ëåò, è ÿ áîÿëñÿ, ÷òî âû áóäåòå èäòè æèð è
ëûñûé. ß áûë íàñòîëüêî âîçáóæä¸í. Áûëî áû íàñòîëüêî óæàñíî, åñëè
â êîíöå êîíöîâ ýòè ãîäû ÿ ïðîñòî íå áûëè ñïîñîáíû ïðèíåñòè ìåíÿ,
÷òîáû æåíèòüñÿ íà Âàñ â êîíöå êîíöîâ».
Îíà îáðàòèëàñü õîçÿèíó Äæîðäæà.
«ßâëÿþòñÿ ëè Âû Êîíñóë?»
«ß».
«Ýòî â ïîðÿäêå (õîðîøî). ß ãîòîâ æåíèòüñÿ íà í¸ì, êàê òîëüêî ÿ
èìåë âàííó».
È îíà äåëàëà.
2. ÌÅÉÁË
Óèëüÿì Ñîìåðñåò Ìîýì
Êàê-òî óòðîì êîíñóë è Äæîðäæ ñòîÿëè âî äâîðå, ðàçãëÿäûâàÿ
ðàçíûå äèêîâèíû, êîòîðûå ïðèíåñëè èì ïîêàçàòü êèòàéöû. Âäðóã ñî
ñòîðîíû ãëàâíûõ âîðîò êîíñóëüñòâà äîí¸ññÿ ãðîìêèé ñòóê. Øâåéöàð øèðîêî ðàñïàõíóë ñòâîðêè — è ÷åòâåðî êóëè âíåñëè âî äâîð
ïîðòøåç, ïîñëå ÷åãî ïîñòàâèëè åãî íà çåìëþ. Îòòóäà âûøëà Ìåéáë.
Îíà áûëà îïðÿòíî îäåòà, ñïîêîéíà è îñëåïèòåëüíî õîðîøà. Íè÷òî â
å¸ îáëèêå íå óêàçûâàëî íà òî, ÷òî îíà òîëüêî ÷òî ïåðåíåñëà äâóõíåäåëüíîå ïóòåøåñòâèå.
Äæîðäæ îêàìåíåë. Îí áûë áëåäåí êàê ñìåðòü. Ìåéáë øàãíóëà
ê íåìó:
— Ïðèâåò, Äæîðäæ. ß òàê áîÿëàñü ñíîâà íå çàñòàòü òåáÿ íà
ìåñòå!
— Ïðèâåò, Ìåéáë, — åëå âûãîâîðèë îí.
Îí íå çíàë, ÷òî ñêàçàòü, è ñòàë îçèðàòüñÿ. Îíà ñòîÿëà ìåæäó
íèì è äâåðüþ è ðàçãëÿäûâàëà åãî.  ãîëóáûõ ãëàçàõ å¸ ìåëüêíóëà
óñìåøêà.
— À òû ñîâñåì íå èçìåíèëñÿ, — ñêàçàëà îíà, — ìóæ÷èíà çà
ñåìü ëåò ìîæåò î÷åíü îïóñòèòüñÿ, è ÿ áîÿëàñü, ÷òî òû ðàñòîëñòåë è
îáëûñåë. ß òàê íåðâíè÷àëà! Áûëî áû óæàñíî, åñëè ïîñëå ñòîëüêèõ
ëåò ÿ òàê è íå ñìîãëà áû âûéòè çà òåáÿ çàìóæ.
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Ìåéáë ïîâåðíóëàñü ê õîçÿèíó äîìà. — Âû êîíñóë? — ñïðîñèëà
îíà. — Äà. — Òîãäà âñ¸ â ïîðÿäêå. ß ãîòîâà âûéòè çà ýòîãî ÷åëîâåêà, êàê òîëüêî ïðèìó âàííó. Òàê îíà è ñäåëàëà.
(Óèëüÿì Ñîìåðñåò Ìîýì. Ìåéáë /
Ïåð. À. Êóäðÿâèöêîãî // Ðàáîòíèöà. 1992. ¹ 5—6. Ñ. 18—19)
III.
THE HUMAN STAIN
It was four years later, in 1954, that they nearly collided outside
Grand Central Station and stopped to take each other’s hand and to talk
just long enough to stir up the original wonder they’d awakened in each
other at twenty-two and eighteen and then to walk on, crushed by the
certainty that nothing as statistically spectacular as this chance meeting could possibly happen again. He was married by then, an expectant
father, in the city for the day from his job as a classics instructor at
Adelphi, and she was working in an ad agency down the street on
Lexington Avenue, still single, still pretty, but womanly now, very much
a smartly dressed New Yorker and clearly someone with whom the trip
to East Orange might have ended on a different note if only it had taken
place further down the line. The way it might have ended — the conclusion against which reality had decisely voted — was all he could think
about. Stunned by how little she’d gotten over her and she’d gotten over
him, he walked away understanding, as outside his reading in classical
Greek drama he’d never had to understand before, how easily life can be
one thing rather than another and how accidentally a destiny is made... on
the other hand, how accidental fate may seem when things can never
turn out other than they do. That is, he walked away understanding nothing, knowing he could understand nothing, though with the illusion that
he would have metaphysically understood something of enormous importance about this stubborn determination of his to become his own
man if... if only such things were understandable.
(Philip Roth, The Human Stain,
First Vintage International Edition, 2001, pp. 125—126)
×åòûðå ãîäà ñïóñòÿ, â ïÿòüäåñÿò ÷åòâ¸ðòîì, îíè ñòîëêíóëèñü ó
âîêçàëà Ãðàíä-Ñåíòðàë. Îñòàíîâèëèñü, ïîäàëè äðóã äðóãó ðóêè, ïî269
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ãîâîðèëè êàê ðàç ñòîëüêî âðåìåíè, ÷òîáû ðàñøåâåëèòü èçóìëåíèå,
êîòîðîå âûçûâàëè äðóã ó äðóãà â äâàäöàòü äâà è âîñåìíàäöàòü, — è
ðàçîøëèñü, ïîäàâëåííûå òåì íåïðåëîæíûì ôàêòîì, ÷òî ñòàòèñòèêà
íå ïðåïîäíåñ¸ò èì áîëüøå òàêîãî ïîäàðêà, êàê ýòà ñëó÷àéíàÿ âñòðå÷à. Îí óæå áûë â òî âðåìÿ æåíàò, ñêîðî äîëæåí áûë ñòàòü îòöîì,
ïðåïîäàâàë àíòè÷íóþ ñëîâåñíîñòü â Îäåëôè-êîëëåäæå è â ãîðîäå
ïîÿâëÿëñÿ íå ÷àñòî. Îíà ðàáîòàëà â ðåêëàìíîì áþðî íà Ëåêñèíãòîí-àâåíþ, ïî-ïðåæíåìó áûëà íå çàìóæåì, ïî-ïðåæíåìó áûëà êðàñèâà, íî òåïåðü óæå íå äåâè÷åñêîé, à æåíñêîé êðàñîòîé — íàñòîÿùàÿ æèòåëüíèöà Íüþ-Éîðêà, î÷åíü ñòèëüíî îäåòàÿ è ÿâíî òàêàÿ, ñ
êîòîðîé ïîåçäêà â Èñò-Îðèíäæ, ñëó÷èñü îíà ïîçæå, ÷åì ñëó÷èëàñü,
âïîëíå ìîãëà áû êîí÷èòüñÿ èíà÷å. Êàê îíà ìîãëà áû êîí÷èòüñÿ, åñëè
áû ðåàëüíîñòü íå ïîñïåøèëà âûíåñòè ñâîé âåðäèêò, — ìûñëü îá ýòîì
íå äàâàëà åìó ïîêîÿ. Îøåëîìë¸ííûé òåì, íàñêîëüêî ñâåæà îêàçàëàñü ðàíà ó íèõ îáîèõ, îí ø¸ë ïî ãîðîäó, ïîíèìàÿ, êàê íèêîãäà ðàíüøå íå ïîíèìàë âíå ñâîèõ çàíÿòèé àíòè÷íîé äðàìàòóðãèåé, ÷òî æèçíü
ñ ïðåâåëèêîé ë¸ãêîñòüþ ìîæåò âûáðàòü îäíî è äðóãîå ðóñëî, ÷òî ñóäüáó òâîðèò ñëó÷àéíîñòü... è, ñ äðóãîé ñòîðîíû, ÷òî êàæóùàÿñÿ ñëó÷àéíîñòü ìîæåò áûòü ïðîÿâëåíèåì íåïðåëîæíîé ñóäüáû. Ñëîâîì,
îí ø¸ë, íå ïîíèìàÿ ðîâíî íè÷åãî, çíàÿ, ÷òî íå ñïîñîáåí íè÷åãî ïî-
íÿòü, íî òåøà ñåáÿ èëëþçèåé, ÷òî ïîíÿë áû íå÷òî ìåòàôèçè÷åñêè
çíà÷èìîå, íå÷òî êîëîññàëüíî âàæíîå î ñâî¸ì óïðÿìîì ðåøåíèè ñòàòü
õîçÿèíîì ñîáñòâåííîé æèçíè, åñëè áû... åñëè áû òîëüêî òàêèå âåùè
áûëè äîñòóïíû ïîíèìàíèþ.
(Ðîò Ô. Ëþäñêîå êëåéìî: Ðîìàí / Ïåð. ñ àíãë. Ë. Ìîòûëåâà. —
Ì.: Èíîñòðàíêà: 2005. Ñ. 171—172)
IV.
WINNIE-THE-POOH
By A. A. Milne
The first thing Pooh did was to go to the cupboard to see if he had
quite a small jar of honey left; and he had, so he took it down. “I’m giving
this to Eeyore”, he explained, “as a present. What are you going to give?”
“Couldn’t I give it too?” said Piglet. “From both of us?”
“No”, said Pooh. “That would not be a good plan”.
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“All right, then, I’ll give him a balloon. I’ve got one left from my
party. I’ll go and get it now, shall I?”
“That, Piglet, is a very good idea. It is just what Eeyore wants to
cheer him up. Nobody can be uncheered with a balloon”.
So off Piglet trotted; and in the other direction went Pooh, with his
jar of honey.
It was a warm day, and he had a long way to go. He hadn’t gone
more than half-way when a sort of funny feeling began to creep all over
him. It began at the tip of his nose and trickled all through him and out
at the soles of his feet. It was just as if somebody inside him were saying,
“Now then, Pooh, time for a little something”.
“Dear, dear”, said Pooh, “I didn’t know it was as late as that”. So
he sat down and took the top off his jar of honey. “Lucky I brought this
with me”, he thought. “Many a bear going out on a warm day like this
would never have thought of bringing a little something with him”. And
he began to eat.
“Now let me see”, he thought, as he took his last lick of the inside
of the jar, “where was I going? Ah, yes, Eeyore”. He got up slowly.
And then, suddenly, he remembered. He had eaten Eeyore’s birthday present!
“Bother!” said Pooh. “What shall I do? I must give him something”.
For a little while he couldn’t think of anything. Then he thought: “Well,
it’s a very nice pot, even if there’s no honey in it, and if I washed it clean,
and got somebody to write ’A Happy Birthday’ on it, Eeyore could keep
things in it, which might be Useful.” So, as he was just passing the Hundred Acre Wood, he went inside to call on Owl, who lived there.
(Milne A.A. Winnie-the-Pooh. —
Moscow: Raduga Publishers, 1983, pp. 70—71)
Ïóõ ïåðâûì äåëîì ïîäîø¸ë ê áóôåòó, ÷òîáû óäîñòîâåðèòüñÿ, åñòü
ëè ó íåãî ïîäõîäÿùèé, íå îñîáåííî áîëüøîé ãîðøî÷åê ñ ìåäîì. Ãîðøî÷åê îêàçàëñÿ íà ìåñòå, è Ïóõ ñíÿë åãî ñ ïîëêè.
— ß åãî îòíåñó Èà, — îáúÿñíèë îí. —  ïîäàðîê. À òû ÷òî åìó
äóìàåøü ïîäàðèòü?
— À ìîæíî ÿ òîæå åãî ïîäàðþ? — ñïðîñèë Ïÿòà÷îê. —Êàê
áóäòî îò íàñ îáîèõ.
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— Íåò, — ñêàçàë Ïóõ. — Ýòî òû ïëîõî ïðèäóìàë.
— Íó, òîãäà ëàäíî. ß ïîäàðþ Èà âîçäóøíûé øàðèê. Ó ìåíÿ îñòàëñÿ îäèí îò ïðàçäíèêà. ß ñåé÷àñ çà íèì ñõîæó, õîðîøî?
— Âîò ýòî òû î÷åíü õîðîøî ïðèäóìàë, Ïÿòà÷îê! Âåäü Èà íóæíî
ðàçâåñåëèòü. À ñ âîçäóøíûì øàðèêîì êòî õî÷åøü ðàçâåñåëèòñÿ!
Íèêòî íå ìîæåò ãðóñòèòü, êîãäà ó íåãî åñòü âîçäóøíûé øàðèê!
Íó, è Ïÿòà÷îê ïóñòèëñÿ ðûñöîé äîìîé, à Ïóõ ñ ãîðøî÷êîì ìåäà
íàïðàâèëñÿ ê ðó÷üþ.
Äåíü áûë æàðêèé, à ïóòü íåáëèçêèé, è, íå ïðîéäÿ è ïîëïóòè, Ïóõ
âäðóã ïî÷óâñòâîâàë êàêîå-òî ñòðàííîå ùåêîòàíèå. Ñíà÷àëà ó íåãî
çàùåêîòàëî â íîñó, ïîòîì â ãîðëå, à ïîòîì çàñîñàëî ïîä ëîæå÷êîé è
òàê ïîñòåïåííî äîøëî äî ñàìûõ ïÿòîê. Êàçàëîñü, ñëîâíî êòî-òî âíóòðè ó íåãî ãîâîðèë: «Çíàåøü, Ïóõ, ñåé÷àñ ñàìîå âðåìÿ ÷åì-íèáóäü
íåìíîæêî...»
— Àé-àé, ñêàçàë Ïóõ, — ÿ è íå çíàë, ÷òî óæå òàê ïîçäíî!
Îí ñåë íà çåìëþ è ñíÿë êðûøêó ñî ñâîåãî ãîðøêà.
— Êàê õîðîøî, ÷òî ÿ âçÿë åãî ñ ñîáîé, — ñêàçàë îí. — Íåìàëî
ìåäâåäåé â òàêîé æàðêèé äåíü è íå ïîäóìàëè áû çàõâàòèòü ñ ñîáîé
òî, ÷åì ìîæíî íåìíîæêî ïîäêðåïèòüñÿ!
— À òåïåðü ïîäóìàåì, — ñêàçàë îí â ïîñëåäíèé ðàç îáëèçàâ
äîíûøêî ãîðøêà, — ïîäóìàåì, êóäà æå ýòî ÿ ñîáèðàëñÿ èäòè. Àõ äà,
ê Èà.
Âèííè-Ïóõ íå ñïåøà âñòàë. È òóò îí âäðóã âñ¸ âñïîìíèë. Îí æå
ñúåë Ïîäàðîê!
— Àé-àé-àé! — ñêàçàë Ïóõ. — ×òî ìíå äåëàòü? ß æå äîëæåí
ïîäàðèòü åìó ÷òî-íèáóäü! Àé-àé-àé-àé-àé!
Ñïåðâà îí ïðÿìî íå çíàë, ÷òî è äóìàòü. À ïîòîì îí ïîäóìàë:
«Âñ¸-òàêè ýòî î÷åíü õîðîøåíüêèé ãîðøî÷åê, õîòÿ â í¸ì è íåò
ìåäó. Åñëè ÿ åãî êàê ñëåäóåò âûìîþ è ïîïðîøó êîãî-íèáóäü íàïèñàòü
íà í¸ì: «Ïîçäðàâëÿþ ñ äí¸ì ðîæäåíèÿ», Èà ñìîæåò äåðæàòü â í¸ì
âñ¸, ÷òî õî÷åøü. Ýòî áóäåò ïîëåçíàÿ âåùü!»
È òàê êàê îí â ýòî âðåìÿ áûë î÷åíü íåäàëåêî îò äîìà Ñîâû — à
âñå â Ëåñó áûëè óâåðåíû, ÷òî Ñîâà ïðåêðàñíî óìååò ïèñàòü, — îí
ðåøèë çàéòè ê íåé â ãîñòè. (Ìèëí À. À. Âèííè-Ïóõ è âñå-âñå-âñå. —
Ì.: Äåòñêàÿ ëèòåðàòóðà,1969. Ñ. 52—53)
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V.
Ñîïîñòàâüòå èíôîðìàöèþ, ïîëó÷åííóþ èç äâóõ ïåðåâîäîâ
ôðàãìåíòà ðîìàíà Àéðèñ Ìåðäîê «A Fairly Honourable Defeat».
Hilda and Rupert Foster, celebrating their twentieth wedding anniversary with a bottle of rather dry champagne, were sitting in the evening
sun in the garden of their house in Priory Grove, London, S.W.10. Hilda,
a plumper angel now, reclined limply, exhibiting shiny burnished knees
below a short shift dress of orangy yellow. Her feet were bare. Her undulating dark hair showed some needle-thin lines of grey. Her burly boyish-faced husband, whom she had at last persuaded to stop wearing
shorts, sat open-shirted, cooking in the sun. He was red, hoping later to
be brown. His shock of abundant fair hair had faded with the years, becoming unglistening and dry while still undeniable blond. They were a
handsome pair. They were altruistic, but treated themselves judiciously
to luxuries. The latest one, to which they had not yet become accustomed, was a diminutive swimming pool which made a square of flashing shimmering blue in the middle of the court-yarded garden. The garden was enclosed by an old redbrick wall which was surmounted by a
trellis bearing an enlacement of Albertine and Little White Pet, all now
in outrageous flower. The air was dense with smells of roses and of the
camomile which Hilda was attempting to grow between the paving
stones.
(Iris Murdoch, A Fairly Honourable Defeat,
Penguin Books, 2001, pp. 3–4)
1.
Ñèäÿ â ñàäó ñâîåãî äîìà ïî àäðåñó: Ïðàéîðè-ãðîóâ, Ëîíäîí, Þ-Ç,
10, Õèëüäà è Ðóïåðò Ôîñòåð ïðàçäíîâàëè, ðàñïèâàÿ áóòûëêó ïîëóñóõîãî øàìïàíñêîãî, äâàäöàòèëåòèå ñâîåé ñâàäüáû. Õèëüäà — óæå
÷óòü ðàñïîëíåâøàÿ ïðåõîðîøåíüêàÿ æåíùèíà — âîëüãîòíî ðàñêèíóëàñü, âûñòàâèâ êîëåíêè èç-ïîä ïîäîëà êîðîòêîãî, ñâîáîäíîãî êðîÿ
îðàíæåâî-çîëîòèñòîãî ïëàòüÿ. Íîãè å¸ áûëè áîñû. Âîëíèñòûå ò¸ì273
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íûå âîëîñû ïðîøèòû êîå-ãäå òîíêèìè ïðÿäêàìè ñåäèíû. Ÿ ìóæ,
ñîõðàíèâøèé â ëèöå ÷òî-òî ìàëü÷èøåñêîå, êðóïíûé è ñèëüíûé, òîëüêî íåäàâíî ïîñëå å¸ óãîâîðîâ èñêëþ÷èâøèé èç ñâîåãî ãàðäåðîáà
øîðòû, ñèäåë ðàññòåãíóâ ðóáàøêó è ïîäñòàâèâ ãðóäü ñîëíöó, íàäåÿñü, ÷òî êðàñíîâàòàÿ êîæà ïðèîáðåò¸ò íàêîíåö æåëàåìûé êîðè÷íåâûé öâåò. Åãî ãóñòàÿ ñâåòëàÿ øåâåëþðà ñ ãîäàìè âûöâåëà, âîëîñû
ïîòåðÿëè áëåñê è ñòàëè ñóõèìè, íî âñ¸-òàêè íå îñòàâëÿëè ñîìíåíèé
â òîì, ÷òî ðàñòóò íà ãîëîâå ïðèðîäíîãî áëîíäèíà. Ñóïðóãè êðàñèâî
ñìîòðåëèñü âìåñòå. Âñåãäà ãîòîâûå ïîìî÷ü äðóãèì, îíè è ñåáå íå
îòêàçûâàëè â òðàòàõ íà óäîâîëüñòâèÿ. Ïîñëåäíèì, âñ¸ åù¸ îùóùàåìûì êàê íîâèíêà, ïðèîáðåòåíèåì áûë íåáîëüøîé ïëàâàòåëüíûé áàññåéí — ñâåðêàþùèé áë¸ñòêàìè èñêð ñèíèé êâàäðàò â ñåðåäèíå îãîðîæåííîãî, ïðÿìîóãîëüíîé ôîðìû ñàäà. Îêðóæàëè ñàä ñòàðûå êðàñíî-êèðïè÷íûå ñòåíû ñ óêðåïë¸ííîé íà íèõ ðåø¸òêîé, óâèòîé ïûøíî
öâåòóùèìè ñåé÷àñ ñòåáëÿìè «àëüáåðòèíîê » è «áåëûõ ìàëûøåê».
Çàïàõ ðîç ñìåøèâàëñÿ ñ çàïàõîì ðîìàøêè, êîòîðóþ Õèëüäà ïûòàëàñü
âûðàùèâàòü â æåëîáêàõ ìåæäó âûìîñòèâøèìè ñàä ïëèòàìè.
(Àéðèñ Ìåðäîê. ×åñòíûé ïðîèãðûø / Ïåð. ñ àíãë. Â.Í. Êîáåö. —
ÑÏá.: Ëèìáóñ Ïðåññ, 2005. 592 ñ. Ñ. 5—6)
2.
Õèëüäà è Ðóïåðò Ôîñòåðû îòìå÷àëè äâàäöàòóþ ãîäîâùèíó ñâîåé
ñâàäüáû, ñèäÿ çà áóòûëêîé ñóõîãî øàìïàíñêîãî â ñàäó ñâîåãî äîìà
íà Ïðàéîðè-Ãðîóâ â 10-ì þãî-çàïàäíîì îêðóãå Ëîíäîíà. Áûë âå÷åð,
íî ñîëíöå åù¸ íå çàøëî. Õèëüäà, íàïîìèíàþùàÿ ïóõëåíüêîãî àíãåëî÷êà, ðàññëàáëåííî îòêèíóëàñü íàçàä, îòêðûâ ÿðêî áåëåþùèå êîëåíè ïîä êîðîòêèì îðàíæåâî-æ¸ëòûì ïëàòüåì-ðóáàøêîé. Îáóâè íà
íåé íå áûëî. Â å¸ âîëíèñòûõ ò¸ìíûõ âîëîñàõ ïðîñâåðêèâàëè íèòî÷êè ñåäèíû. Ÿ ìóæ, ðàñïîëíåâøèé, íî ñîõðàíèâøèé ëèöî ìàëü÷èøêè (îíà ñîâñåì íåäàâíî óáåäèëà åãî íå íîñèòü áîëüøå øîðòû), ñèäåë, ðàññòåãíóâ ðóáàõó, ãðåÿñü â ëó÷àõ âå÷åðíåãî ñîëíöà. Êîæà åãî
îáãîðåëà äî êðàñíîòû, íî îí íàäåÿëñÿ, ÷òî ñî âðåìåíåì îíà ïîñìóãëååò. Åãî ãóñòûå ñâåòëûå âîëîñû ñ ãîäàìè âûöâåëè, ñòàëè ñóõèìè è
ïîòóñêíåëè, íî íå óòðàòèëè ñâîåãî íåîñïîðèìî ñâåòëîãî îòòåíêà. Îíè
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áûëè êðàñèâîé ïàðîé. Ñêëîííûå ê àëüòðóèçìó, îíè áëàãîðàçóìíî íå
îòêàçûâàëè ñåáå â óäîâîëüñòâèÿõ. Ê ïîñëåäíåìó èç íèõ îíè åù¸ íå
óñïåëè ïðèâûêíóòü. Ýòî áûë ìèíèàòþðíûé áàññåéí — êâàäðàò ñâåðêàþùåé, èñêðÿùåéñÿ ãîëóáèçíû ïîñðåäè ñàäà âî âíóòðåííåì äâîðèêå. Ñàä áûë îãîðîæåí ñòàðîé ñòåíîé èç êðàñíîãî êèðïè÷à, ïîâåðõ
êîòîðîé øëà óçîðíàÿ ðåø¸òêà, ãóñòî çàïëåò¸ííàÿ áóéíî öâåòóùèìè
âüþùèìèñÿ ðàñòåíèÿìè. Âîçäóõ áûë íàïî¸í çàïàõîì ðîç è ðîìàøêè, êîòîðóþ Õèëüäà çàäóìàëà âûðàñòèòü ìåæäó êàìíåé áðóñ÷àòêè.
(̸ðäîê À. Äîâîëüíî ïî÷¸òíîå ïîðàæåíèå: Ðîìàí / Ïåð. ñ àíãë.
Ì. Àáóøèêà. — ÑÏá.: Àçáóêà-êëàññèêà, 2004. Ñ. 9—10)
VI. MABEL
by Somerset Maugham
They became engaged when he was home on leave; and when he
returned to Birma it was arranged that she should join him in six months.
But one difficulty cropped up after another; Mabel’s father died, the war
came, George was sent to a district unsuitable for a white woman; so
that in the end it was seven years before she was able to start. He made
all arrangements for the marriage, which was to take place on the day of
her arrival, and went down to Rangoon to meet her. On the morning on
which the ship was due he borrowed a motor-car and drove along to the
dock. He paced the quay.
Then, suddenly, without warning, his nerve failed him. He had not
seen Mabel for seven years. He had forgotten what she was like. She
was a total stranger. He felt a terrible sinking in the pit of his stomach
and his knees began to wobble. He couldn’t go through with it. He must
tell Mabel that he was very sorry, but he couldn’t marry her. But how
could a man tell a girl a thing like that when she had been engaged to
him for seven years and had come six thousand miles to marry him? He
hadn’t the nerve for that either. George was seized with the courage of
despair.
(In: Reading and Talking English
by L. S. Golovchinskaya. — M.: 1971, pp. 283—284)
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Îáðó÷èëèñü îíè, êîãäà Äæîðäæ îäíàæäû íà âðåìÿ îòïóñêà ïðèåõàë íà ðîäèíó. Êîãäà æå ïðèøëà ïîðà âîçâðàùàòüñÿ â Áèðìó, îíè
óñëîâèëèñü, ÷òî îíà ïðèåäåò ê íåìó ÷åðåç ïîëãîäà. Íî òóò ñòàëè âîçíèêàòü âñÿ÷åñêèå ïðåïÿòñòâèÿ: ñíà÷àëà óìåð îòåö Ìýéáë, çàòåì íà÷àëàñü âîéíà è Äæîðäæà íàïðàâèëè â ðàéîí, ãäå áåëîé æåíùèíå æèòü
íåâîçìîæíî, òàê ÷òî ïðîøëî öåëûõ ñåìü ëåò, ïîêà Ìýéáë ïîëó÷èëà
íàêîíåö âîçìîæíîñòü âûåõàòü ê æåíèõó. Äæîðäæ âñ¸ ïðèãîòîâèë ê
ñâàäüáå, êîòîðàÿ äîëæíà áûëà ñîñòîÿòüñÿ â äåíü ïðèåçäà åãî íåâåñòû, è îòïðàâèëñÿ â Ðàíãóí å¸ âñòðå÷àòü.  òî óòðî, êîãäà ñóäíî äîëæíî áûëî ïðèáûòü â ïîðò, îí îäîëæèë ìîòîðêó è íàïðàâèëñÿ ê äîêàì.
Òàì îí äîëãî ìåðèë øàãàìè ïðèñòàíü.
È òîãäà îí âäðóã ïàë äóõîì. Ñ Ìýéáë îí íå âèäåëñÿ ñåìü ëåò è
çàáûë äàæå, êàê îíà âûãëÿäèò. Îíà êàçàëàñü åìó çàãàäî÷íîé íåçíàêîìêîé. Ó íåãî çàñîñàëî ïîä ëîæå÷êîé, êîëåíè íà÷àëè äðîæàòü. Îí
ýòîãî âñåãî íå âûäåðæèò! Íàäî ïðåäóïðåäèòü Ìýéáë, ÷òî îí î÷åíü
ñîæàëååò, íî íå ìîæåò, ïðîñòî íå ñïîñîáåí íà íåé æåíèòüñÿ. Îäíàêî
êàê ìóæ÷èíå ñêàçàòü òàêóþ âåùü äåâóøêå, õðàíèâøåé åìó âåðíîñòü
ñåìü ëåò è ïðèåõàâøåé ê íåìó çà øåñòü òûñÿ÷ ìèëü, ÷òîáû âûéòè çà
íåãî çàìóæ? Íà ýòî ó íåãî òîæå íå õâàòèëî áû äóõà. Äæîðäæà îõâàòèëî ìóæåñòâî îò÷àÿíüÿ. Ó ïðè÷àëà ñòîÿëî ñóäíî, ãîòîâèâøååñÿ ê îòïëûòèþ â Ñèíãàïóð. Äæîðäæ òîðîïëèâî íàïèñàë çàïèñêó Ìýéáë è áåç
âñÿêîãî áàãàæà, ñ ïóñòûìè ðóêàìè ñòóïèë íà áîðò ñóäíà.
(Óèëüÿì Ñîìåðñåò Ìîýì. Ìåéáë / Ïåð. À. Êóäðÿâèöêîãî //
Ðàáîòíèöà. 1992. ¹ 5—6. Ñ. 18—19)
VII. A CLOCKWORK ORANGE
By Anthony Burgess
A CLOCKWORK ORANGE is a nightmarish fantasy of a Future
England where the hoodlums take over after dark.
Its subject is the dubious redemption of one such hoodlum, Alex,
told by himself. The society is limp and listless socialism at some future
time when men are on the moon: hardly anyone still reads, although
streets are named Amis Avenue, and Priestley place, Jonny Zhivago, a
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quarters Russian; everybody “not a child nor with child nor ill” must
work; criminals have to be rehabilitated because all the prison space will
soon be needed for politicals; there is an opposition and elections, but
they reelect the Government.
“We always help our friends, don’t we?” And then he took my rooker
and some veck creeched: “Smile!” and I smiled like bezoomny without
thinking, and then flash flash crack flash bang there were pictures taken
of me and the Intinfmin all droogy together. “Good boy,” said this great
chelloveck. “Good good boy. And now, see, a present.” What was brought
in now, brothers, was a big shiny box, and I vidded clear what sort of a
veshch it was. It was a stereo. It was put down next to the bed and opened
up and some veck plugged its lead into the wall-socket. “What shall it
be?” asked a veck with otchkies on his nose, and he had in his rookers
lovely shiny sleeves full of music. “Mozart? Beethoven? Schon# berg? Carl
Orff?” “The Ninth,” I said. “The Glorious Ninth.” And the Ninth it was,
oh my brothers. Everybody began to leave nice and quiet while I laid there
with my glazzies closed, slooshying the lovely music. The Min said: “Good
good boy,” patting me on the pletcho, then he ittied off. Only one veck
was left, saying: “Sign here, please.” I opened my glazzies up to sign, not
knowing what I was signing, and not, oh my brothers, caring either. Then
I was left alone with the Glorious Ninth of Ludwig van. Oh, it was gorgeosity
and yumyumyum. When it came to the Scherzo I could viddy myself very
clear running and running on like very light and mysterious nogas, caring
the whole litso of the creeching world with my cut-throat britva. And there
was the slow movement and the lovely last singing movement still to come.
I was cured all right (http://www.litru.ru/index.html).
1.
— Ìû âñåãäà ïîìîãàåì íàøèì äðóçüÿì è ñòîðîííèêàì!
Òóò êòî-òî êðèêíóë: «Óëûáêà!», è ÿ ìàøèíàëüíî îñêëàáèëñÿ.
Çàòðåùàëè êàìåðû, çàñâåðêàëè ôîòîâñïûøêè, çàïå÷àòëåâàÿ ýòîò
çàìå÷àòåëüíûé ìîìåíò. — Òû îòëè÷íûé ïàðåíü, Àëåêñ, — îäîáðèòåëüíî ïîõëîïàë ìåíÿ ïî ïëå÷ó ýòîò âåëèêèé ìýí. — À ñåé÷àñ íåáîëüøîé ãèôò îò ïðàâèòåëüñòâà.
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Äâà ìîðäîâîðîòà, ñ êîòîðûìè ÿ ïðåäïî÷¸ë íå âñòðå÷àòüñÿ áåç
àäâîêàòà èëè íà õóäîé êîíåö áåç ìîåãî êàòòåðà â êàðìàíå, âíåñëè
áîëüøîé áëåñòÿùèé ÿùèê. Ýòî áûëà âåëèêîëåïíàÿ ñòåðåîñèñòåìà.
Ÿ ïîñòàâèëè âîçëå êðîâàòè, ðàñïàêîâàëè è ïîäêëþ÷èëè ê ñåòè.
— Íó, ÷òî òåáå ïîñòàâèòü? — ñïðîñèë íåçíàêîìûé ìýí â î÷êàõ.
 ðóêàõ ó íåãî áûëà öåëàÿ êèïà íîâåíüêèõ áëåñòÿùèõ äèñêîâ. —
Ìîöàðòà? Áåòõîâåíà? ظíáåðãà? Êàðëà Îðôà?
— Äåâÿòóþ, õîðàëüíóþ, — çàâîðîæåííî ïðîøåïòàë ÿ.
Çàçâó÷àëè áîæåñòâåííûå àêêîðäû. Ïóáëèêà íà÷àëà ïîòèõîíå÷êó ðàññàñûâàòüñÿ. ß îòêèíóëñÿ íà ïîäóøêè è áëàæåííî çàêðûë àéçû.
«Óìíûé, ñîîáðàçèòåëüíûé ïàðåíü», — ñêàçàë Ìèíèñòð íà ïðîùàíüå è âûøåë.  ïàëàòå îñòàâàëèñü òîëüêî äâîå: ìýí â î÷êàõ è ìåäñåñòð¸íêà. Ìýí íåñìåëî òðîíóë ìåíÿ çà ðóêàâ.
— Ðàñïèøèòåñü, ïîæàëóéñòà, çäåñü.
ß îòêðûë àéçû è ïîñëóøíî ïîäïèñàë, äàæå íå âçãëÿíóâ, ÷òî ýòî.
Äà ìíå ýòî áûëî êàê-òî âñ¸ ðàâíî.
Ìåäñåñòðà îäàðèëà ìåíÿ ìíîãîîáåùàþùåé óëûáêîé è âûøëà
âñëåä çà î÷êàðèêîì. Ìû ñ Ëþäâèãîì Èâàíîì îñòàëèñü îäíè.
Åãî ñêîðáíî-òîðæåñòâåííàÿ ìóçûêà ïîäõâàòèëà ìåíÿ è ïîíåñëà, êàê â äîáðûå ñòàðûå âðåìåíà. Êîãäà çàçâó÷àëî ñêåðöî, ÿ óâèäåë
ñåáÿ, áåãóùåãî ïî îãðîìíîìó áåçáðåæíîìó ìîðþ, êðîìñàþùåãî ñâîèì êàòòåðîì èñêàæ¸ííîå ãðèìàñîé áîëè ëèöî ìèðà.
Íàêîíåö-òî ÿ ñíîâà áûë çäîðîâ.
(Þíîñòü. 1991. ¹ 4. C. 82—83. Ïåð. Å. Ñèíåëüùèêîâà)
2.
— Ìû âåäü âñåãäà ïîìîãàåì ñâîèì äðóçüÿì, âåðíî? — Òóò îí
ñíîâà âçÿë ìåíÿ çà ðóêó, êòî-òî êðèêíóë: «Óëûáî÷êó!», ÿ, êàê bezumni,
áåç åäèíîé ìûñëè â bashke îñêëàáèëñÿ, è — ù¸ëê, áóì, òðàõ — çàðàáîòàëè ôîòîðåïîðò¸ðû, ñíèìàÿ ìåíÿ ñ ìèíâíóäåëîì â îáíèìêó.
— Ìîëîäåö, — ïîõâàëèë ìåíÿ âåëèêèé äåÿòåëü. — Òû õîðîøèé ïàðåíü. Âîò, ýòî òåáå â ïîäàðîê. Ïîäàðîê — ñèÿþùèé ïîëèðîâàííûé ÿùèê — òóò æå âíåñëè â äâåðü, è ÿ ñðàçó ïîíÿë, ÷òî ýòî òàêîå. Ñòåðåîóñòàíîâêà. Ÿ ïîñòàâèëè ðÿäîì ñ êðîâàòüþ, ñîåäèíèëè
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øíóðû, è êàêîé-òî vek èç ñâèòû ìèíèñòðà âêëþ÷èë å¸ â ðîçåòêó. —
Íó, êîãî ïîñòàâèì? — ñïðîñèë î÷êàñòûé diadia, òàñóÿ ïåðåäî ìíîé
öåëóþ ñòîïêó ïëàñòèíîê â ãëÿíöåâûõ ðîñêîøíûõ îá¸ðòêàõ. — Ìîöàðòà? Áåòõîâåíà? ظíáåðãà? Êàðëà Îðôà?
— Äåâÿòóþ, — ñêàçàë ÿ. — Ìîþ ëþáèìóþ Äåâÿòóþ.
È Äåâÿòàÿ çàçâó÷àëà, áëëèí. Íàðîä íà öûïî÷êàõ, ìîë÷à ñòàë
ðàñõîäèòüñÿ, à ÿ ëåæàë ñ çàêðûòûìè ãëàçàìè è ñëóøàë âîñõèòèòåëüíóþ ìóçûêó.
— Òû õîðîøèé, õîðîøèé ïàðåíü, — òðîíóâ ìåíÿ çà ïëå÷î, ïðîãîâîðèë ìèíèñòð è âûøåë.
Êàêîé-òî vek, îñòàâøèéñÿ ïîñëåäíèì, ñêàçàë:
— Âîò, çäåñü ïîäïèøè.
ß îòêðûë glazzja è ïîäïèñàë, à ÷òî ïîäïèñàë — áåç ïîíÿòèÿ, äà è
íå æåëàë ÿ, áëëèí, íè÷åãî poni matt. Ïîñëå ýòîãî ìåíÿ îñòàâèëè íàåäèíå ñ âåëèêîëåïèåì Äåâÿòîé Ëþäâèãà âàíà.
Î, êàêîé ýòî áûë kaif, êàêîé, baldiozh! Êîãäà íà÷àëîñü ñêåðöî,
ìíå óæå âèäåëîñü, êàê ÿ, ðàäîñòíûé, ëåãêîíîãèé, âîâñþ ïîëîñóþ âîïÿùèé îò óæàñà áåëûé ñâåò ïî morder ñâîåé âåðíîé î÷åíü-î÷åíü îïàñíîé britvoi. À âïåðåäè áûëà åù¸ ìåäëåííàÿ ÷àñòü, à ïîòîì åù¸ òà, ãäå
ïî¸ò õîð. ß äåéñòâèòåëüíî âûçäîðîâåë.
(Çàâîäíîé àïåëüñèí / Ïåð. Â. Áîøíÿêà. —
Ì.: Ïàòðèîò, 1993. Ñ. 124—125)
VIII. ALICE’S ADVENTURES IN WONDERLAND
By Lewis Carroll
Alice opened the door and found that it led into a small passage, not
much larger than a rat-hole: she knelt down and looked along the passage into the loveliest garden you ever saw. How she longed to get out of
that dark hall, and wander about among those beds of bright flowers and
those cool fountains, but she could not even get her head through the
doorway; “and even if my head would go through,” thought poor Alice,
“it would be of very little use without my shoulders. Oh, how I wish I
could shut up like a telescope! I think I could, if I only knew how
to begin.” For, you see, so many out-of-the-way things had happened
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lately, that Alice had begun to think that very few things indeed were
really impossible.
There seemed to be no use in waiting by the little door, so she went
back to the table, half hoping she might find another key on it, or at any
rate a book of rules for shutting people up like telescopes: this time she
found a little bottle on it (“which certainly was not there before,” said
Alice), and tied round the neck of the bottle was a paper label, with the
words “DRINK ME” beautifully printed on it in large letters.
It was all very well to say “Drink me”, but the wise little Alice was
not going to do
that
in a hurry. “No, I’ll look first,” she said, “and see
whether it’s marked ’poison’ or not”; for she had read several nice little
stories about children who had burnt, and eaten up by wild beasts, and
other unpleasant things, all because they
would not remember the sim-
ple rules their friends had taught them: such as, that a red-hot poker will
burn you if you hold it too long; and that, if you cut your finger
very
deeply with a knife, it usually bleeds; and she had never forgotten that, if
you drink much from a bottle marked “poison”, it is most certain to
disagree with you, sooner or later.
However, this bottle was
not marked “poison”, so Alice ventured to
taste it, and, finding it very nice (it had, in fact, a sort of mixed flavour of
cherry-tart, custard, pine-apple, roast turkey, toffee, and hot buttered
toast), she very soon finished it off.
* * *
“What a curious feeling!” said Alice. “I must be shutting up like a
telescope!” And so it was indeed: she was now only ten inches high, and
her face brightened up at the thought that she was now the right size for
going through the little door into that lovely garden.
1.
Àíÿ îòâîðèëà äâåðöó è óâèäåëà, ÷òî îíà âåä¸ò â óçêèé ïðîõîä âåëè÷èíîé ñ êðûñèíóþ íîðêó. Îíà âñòàëà íà êîëåíè è, âçãëÿíóâ â ãëóáèíó ïðîõîäà, óâèäåëà â êðóãëîì ïðîñâåòå óãîëîê ÷óäåñíåéøåãî ñàäà.
Êàê ïîòÿíóëî å¸ òóäà èç ñóìðà÷íîé çàëû, êàê çàõîòåëîñü åé òàì
ïîáðîäèòü ìåæäó âûñîêèõ íåæíûõ öâåòîâ è ïðîõëàäíûõ ñâåòëûõ
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ôîíòàíîâ! Íî è ãîëîâû îíà íå ìîãëà áû ïðîñóíóòü â äâåðü. «À åñëè á
è ìîãëà, — ïîäóìàëà áåäíàÿ Àíÿ, — òî âñ¸ ðàâíî áåç ïëå÷ äàëåêî íå
óéäåøü. Àõ, êàê ÿ áû õîòåëà áûòü â ñîñòîÿíèè ñêëàäûâàòüñÿ, êàê ïîäçîðíàÿ òðóáà! Åñëè á ÿ òîëüêî çíàëà, êàê íà÷àòü, ìíå, ïîæàëóé, óäàëîñü áû ýòî». Âèäèòå ëè, ñëó÷èëîñü ñòîëüêî íåîáû÷àéíîãî çà ïîñëåäíåå âðåìÿ, ÷òî Àíå óæå êàçàëîñü, ÷òî íà ñâåòå î÷åíü ìàëî äåéñòâèòåëüíî íåâîçìîæíûõ âåùåé.
Ïîñòîÿëà îíà ó äâåðöû, ïîòîïòàëàñü äà è âåðíóëàñü ê ñòîëèêó,
ñìóòíî íàäåÿñü, ÷òî íàéä¸ò íà í¸ì êàêîé-íèáóäü äðóãîé êëþ÷ èëè ïî
êðàéíåé ìåðå êíèæêó ïðàâèë äëÿ ëþäåé, æåëàþùèõ ñêëàäûâàòüñÿ
ïî ïðèìåðó ïîäçîðíîé òðóáû; íà ýòîò ðàç îíà óâèäåëà íà í¸ì ñêëÿíî÷êó (êîòîðîé ðàíüøå, êîíå÷íî, íå áûëî, ïîäóìàëà Àíÿ), è íà áóìàæíîì ÿðëû÷êå, ïðèâÿçàííîì ê ãîðëûøêó, áûëè íàïå÷àòàíû êðàñèâî è êðóïíî äâà ñëîâà:
«ÂÛÏÅÉ ÌÅÍß».
Î÷åíü ëåãêî ñêàçàòü: «Âûïåé ìåíÿ», íî óìíàÿ Àíÿ íå ñîáèðàëàñü äåéñòâîâàòü îïðîìåò÷èâî.
— Ïîñìîòðþ ñïåðâà, — ñêàçàëà îíà, åñòü ëè íà íåé ïîìåòêà
«ÿä».
Îíà ïîìíèëà, ÷òî ÷èòàëà íåêîòîðûå ìèëûå ðàññêàçèêè î äåòÿõ,
êîòîðûå ïîæèðàëèñü äèêèìè çâåðÿìè è ñ íåêîòîðûìè ñëó÷àëèñü âñÿêèå äðóãèå íåïðèÿòíîñòè, — âñ¸ òîëüêî ïîòîìó, ÷òî îíè íå ñëóøàëèñü äðóæåñêèõ ñîâåòîâ è íå ñîáëþäàëè ñàìûõ ïðîñòûõ ïðàâèë, êàê,
íàïðèìåð: åñëè áóäåøü äåðæàòü ñëèøêîì äîëãî êî÷åðãó çà ðàñêàë¸ííûé äîêðàñíà êîí÷èê, òî îáîææ¸øü ðóêó; åñëè ñëèøêîì ãëóáîêî
âîòêí¸øü â ïàëåö íîæ, òî ìîæåò ïîéòè êðîâü, è, íàêîíåö, åñëè ãëîòí¸øü èç áóòûëî÷êè, ïîìå÷åííîé — «ÿä», òî ðàíî èëè ïîçäíî ïî÷óâñòâóåøü ñåáÿ íåâàæíî.
Íî â äàííîì ñëó÷àå íà ñêëÿíêå íèêàêîãî ïðåäîñòåðåæåíèÿ íå
áûëî, è Àíÿ ðåøèëàñü èñïðîáîâàòü ñîäåðæèìîå. È òàê êàê îíî âåñüìà åé ïîíðàâèëîñü (åù¸ áû! Ýòî áûë êàêîé-òî ñìåøàííûé âêóñ
âèøíåâîãî òîðòà, ñëèâî÷íîãî ìîðîæåíîãî, àíàíàñà, æàðåíîé èíäåéêè, òÿíó÷åê è ãîðÿ÷èõ ãðåíêîâ ñ ìàñëîì), òî ñêëÿíêà âñêîðå îêàçàëàñü ïóñòà.
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***
«Âîò ñòðàííîå ÷óâñòâî! — âîñêëèêíóëà Àíÿ. — Äîëæíî áûòü, ÿ
çàõëîïûâàþñü, êàê òåëåñêîï». Äåéñòâèòåëüíî, îíà òåïåðü áûëà íå âûøå
äåñÿòè äþéìîâ ðîñòó, è âñÿ îíà ïðîñèÿëà ïðè ìûñëè, ÷òî ïðè òàêîé âåëè÷èíå åé ëåãêî ìîæíî ïðîéòè â äâåðöó, âåäóùóþ â äèâíûé ñàä.
(Êýððîëë Ë. Ïðèêëþ÷åíèÿ Àëèñû â Ñòðàíå ÷óäåñ.
Íàáîêîâ Â. Àíÿ â ñòðàíå ÷óäåñ. — Íà àíãë. è ðóññê. ÿç.
Ì.: Ðàäóãà, 1992. Ñ. 161—162)
2.
Îíà îòêðûëà äâåðöó è óâèäåëà çà íåé íîðó, ñîâñåì óçêóþ, íå øèðå
êðûñèíîé. Àëèñà âñòàëà íà êîëåíè è çàãëÿíóëà â íå¸ — â ãëóáèíå
âèäíåëñÿ ñàä óäèâèòåëüíîé êðàñîòû. Àõ, êàê åé çàõîòåëîñü âûáðàòüñÿ èç òåìíîãî çàëà è ïîáðîäèòü ìåæäó ÿðêèìè öâåòî÷íûìè êëóìáàìè è ïðîõëàäíûìè ôîíòàíàìè! Íî îíà íå ìîãëà ïðîñóíóòü â íîðó äàæå
ãîëîâó.
— Åñëè á ìîÿ ãîëîâà è ïðîøëà, — ïîäóìàëà áåäíàÿ Àëèñà, —
÷òî òîëêó! Êîìó íóæíà ãîëîâà áåç ïëå÷åé? Àõ, ïî÷åìó ÿ íå ñêëàäûâàþñü, êàê ïîäçîðíàÿ òðóáà! Åñëè á ÿ òîëüêî çíàëà, ñ ÷åãî íà÷àòü, ÿ áû,
íàâåðíî, ñóìåëà.
Âèäèøü ëè, â òîò äåíü ñòîëüêî áûëî âñÿêèõ óäèâèòåëüíûõ ïðîèñøåñòâèé, ÷òî íè÷òî íå êàçàëîñü åé òåïåðü ñîâñåì íåâîçìîæíûì.
Ñèäåòü ó ìàëåíüêîé äâåðöû íå áûëî íèêàêîãî ñìûñëà, è Àëèñà
âåðíóëàñü ê ñòåêëÿííîìó ñòîëèêó, ñìóòíî íàäåÿñü íàéòè íà í¸ì äðóãîé êëþ÷ èëè íà õóäîé êîíåö ðóêîâîäñòâî ê ñêëàäûâàíèþ íàïîäîáèå
ïîäçîðíîé òðóáû. Îäíàêî íà ýòîò ðàç íà ñòîëå îêàçàëñÿ ïóçûð¸ê.
— ß ñîâåðøåííî óâåðåíà, ÷òî ðàíüøå åãî çäåñü íå áûëî! — ñêàçàëà ïðî ñåáÿ Àëèñà.
Ê ãîðëûøêó ïóçûðüêà áûëà ïðèâÿçàíà áóìàæêà, à íà áóìàæêå
êðóïíûìè êðàñèâûìè áóêâàìè áûëî íàïèñàíî: «ÂÛÏÅÉ ÌÅÍß!»
Ýòî, êîíå÷íî, áûëî î÷åíü ìèëî, íî óìíåíüêàÿ Àëèñà ñîâñåì íå
òîðîïèëàñü ñëåäîâàòü ñîâåòó.
— Ïðåæäå âñåãî íàäî óáåäèòüñÿ, ÷òî íà ýòîì ïóçûðüêå íèãäå
íåò ïîìåòêè: «ßä!» — ñêàçàëà îíà.
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Âèäèøü ëè, îíà íà÷èòàëàñü âñÿêèõ ïðåëåñòíûõ èñòîðèé î òîì, êàê
äåòè ñãîðàëè æèâü¸ì èëè ïîïàäàëè íà ñúåäåíèå äèêèì çâåðÿì, — è
âñå ýòè íåïðèÿòíîñòè ïðîèñõîäèëè ñ íèìè ïîòîìó, ÷òî îíè íå æåëàëè ñîáëþäàòü ïðîñòåéøèõ ïðàâèë, êîòîðûì îáó÷àëè èõ äðóçüÿ: åñëè
ñëèøêîì äîëãî äåðæàòü â ðóêàõ ðàñêàë¸ííóþ äîêðàñíà êî÷åðãó, â
êîíöå êîíöîâ îáîææ¸øüñÿ; åñëè ïîãëóáæå ïîëîñíóòü ïî ïàëüöó íîæîì, èç ïàëüöà îáû÷íî èä¸ò êðîâü; åñëè ðàçîì îñóøèòü ïóçûð¸ê ñ
ïîìåòêîé «ßä!», ðàíî èëè ïîçäíî ïî÷òè íàâåðíÿêà ïî÷óâñòâóåøü
íåäîìîãàíèå. Ïîñëåäíåå ïðàâèëî Àëèñà ïîìíèëà òâ¸ðäî.
Îäíàêî íà ýòîì ïóçûðüêå íèêàêèõ ïîìåòîê íå áûëî, è Àëèñà
ðèñêíóëà îòïèòü èç íåãî íåìíîãî. Íàïèòîê áûë î÷åíü ïðèÿòåí íà âêóñ
— îí ÷åì-òî íàïîìèíàë âèøíåâûé ïèðîã ñ êðåìîì, àíàíàñ, æàðåíóþ èíäåéêó, ñëèâî÷íóþ ïîìàäêó è ãîðÿ÷èå ãðåíêè ñ ìàñëîì. Àëèñà
âûïèëà åãî äî êîíöà.
***
— Êàêîå ñòðàííîå îùóùåíèå! — âîñêëèêíóëà Àëèñà. — ß, âåðíî, ñêëàäûâàþñü, êàê ïîäçîðíàÿ òðóáà.
È íå îøèáëàñü — â íåé ñåé÷àñ áûëî âñåãî äåñÿòü äþéìîâ ðîñòó.
Îíà ïîäóìàëà, ÷òî òåïåðü ëåãêî ïðîéä¸ò ñêâîçü äâåðöó â ÷óäåñíûé
ñàä, è î÷åíü îáðàäîâàëàñü.
(Êýððîëë Ë. Ïðèêëþ÷åíèÿ Àëèñû â Ñòðàíå ÷óäåñ.
Ñêâîçü çåðêàëî è ÷òî òàì óâèäåëà Àëèñà,
èëè Àëèñà â Çàçåðêàëüå / Ïåð. ñ àíãë. Í. Äåìóðîâîé. —
Ì.: Ïðàâäà, 1985. Ñ. 19—21)
3.
Àëèñà îòâîðèëà äâåðöó: òàì áûë âõîä â óçåíüêèé êîðèäîð, ÷óòü
ïîøèðå êðûñèíîãî ëàçà. Îíà âñòàëà íà êîëåíêè, çàãëÿíóëà â îòâåðñòèå — è àõíóëà: êîðèäîð âûõîäèë â òàêîé ÷óäåñíûé ñàä, êàêèõ âû,
ìîæåò áûòü, è íå âèäûâàëè.
Ïðåäñòàâëÿåòå, êàê åé çàõîòåëîñü âûáðàòüñÿ èç ýòîãî ìðà÷íîãî
ïîäçåìåëüÿ íà âîëþ, ïîãóëÿòü ñðåäè ïðîõëàäíûõ ôîíòàíîâ è êëóìá ñ
ÿðêèìè öâåòàìè?! Íî â óçêèé ëàç íå ïðîøëà áû äàæå îäíà Àëèñèíà
ãîëîâà. «À åñëè áû è ïðîøëà, — ïîäóìàëà áåäíÿæêà, — òîæå õîðî283
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øåãî ìàëî: âåäü ãîëîâà äîëæíà áûòü íà ïëå÷àõ! Ïî÷åìó ÿ òàêàÿ áîëüøàÿ è íåñêëàäíàÿ! Âîò åñëè áû ÿ óìåëà âñÿ ñêëàäûâàòüñÿ, êàê ïîäçîðíàÿ òðóáà èëè, åù¸ ëó÷øå, êàê âååð, — òîãäà áû äðóãîå äåëî!
Íàó÷èë áû ìåíÿ êòî-íèáóäü, ÿ áû ñëîæèëàñü — è âñ¸ â ïîðÿäêå!»
(Áóäü âû íà ìåñòå Àëèñû, âû áû, ïîæàëóé, òîæå ðåøèëè, ÷òî
ñåé÷àñ íè÷åãî íåâîçìîæíîãî íåò!)
Òàê èëè èíà÷å, ñèäåòü ïåðåä çàâåòíîé äâåðöåé áûëî ñîâåðøåííî
áåñïîëåçíî, è Àëèñà âåðíóëàñü ê ñòåêëÿííîìó ñòîëèêó, ñìóòíî íàäåÿñü, ÷òî, ìîæåò áûòü, òàì âñ¸-òàêè íàéä¸òñÿ äðóãîé êëþ÷ èëè, íà õóäîé êîíåö, êíèæêà: «Ó×ÈÑÜ ÑÊËÀÄÛÂÀÒÜÑß!» Íè òîãî, íè äðóãîãî îíà, ïðàâäà, íå íàøëà, çàòî îáíàðóæèëà õîðîøåíüêèé ïóçûð¸ê
(«Ðó÷àþñü, ÷òî ðàíüøå åãî òóò íå áûëî», — ïîäóìàëà Àëèñà), ê ãîðëûøêó êîòîðîãî áûë ïðèâÿçàí áóìàæíûé ÿðëûê (êàê íà áóòûëî÷êå ñ
ëåêàðñòâîì), à íà í¸ì áîëüøèìè áóêâàìè áûëî ÷¸òêî íàïå÷àòàíî:
«ÂÛÏÅÉ ÌÅÍß!»
Êîíå÷íî, âûãëÿäåëî ýòî î÷åíü çàìàí÷èâî, íî Àëèñà áûëà óìíàÿ
äåâî÷êà è íå ñïåøèëà îòêëèêíóòüñÿ íà ëþáåçíîå ïðèãëàøåíèå.
— Íåò, — ñêàçàëà îíà, — ÿ ñíà÷àëà ïîñìîòðþ, íàïèñàíî òóò
«ßä!» èëè íåò.
Îíà íåäàðîì ïåðå÷èòàëà ìíîæåñòâî ïîó÷èòåëüíûõ ðàññêàçîâ ïðî
äåòåé, ñ êîòîðûìè ñëó÷àëèñü ðàçíûå íåïðèÿòíîñòè — áåäíûå êðîøêè
è ïîãèáàëè â ïëàìåíè, è äîñòàâàëèñü íà ñúåäåíèå äèêèì çâåðÿì, —
è âñ¸ òîëüêî ïîòîìó, ÷òî îíè çàáûâàëè (èëè íå õîòåëè ïîìíèòü!) ñîâåòû ñòàðøèõ. À âåäü, êàæåòñÿ, òàê ïðîñòî çàïîìíèòü, ÷òî, íàïðèìåð, ðàñêàë¸ííîé äîêðàñíà êî÷åðãîé ìîæíî îáæå÷üñÿ, åñëè áóäåøü
äåðæàòü å¸ â ðóêàõ ñëèøêîì äîëãî; ÷òî åñëè Î×ÅÍÜ ãëóáîêî ïîðåçàòü ïàëåö íîæîì, èç ýòîãî ïàëüöà, êàê ïðàâèëî, ïîéä¸ò êðîâü, è òàê
äàëåå è òîìó ïîäîáíîå.
È óæ Àëèñà-òî îòëè÷íî ïîìíèëà, ÷òî åñëè âûïüåøü ñëèøêîì
ìíîãî èç áóòûëêè, íà êîòîðîé íàðèñîâàíû ÷åðåï è êîñòè è íàïèñàíî
«ßä!», òî ïî÷òè íàâåðíÿêà òåáå íå ïîçäîðîâèòñÿ (òî åñòü ñîñòîÿíèå
òâîåãî çäîðîâüÿ ìîæåò óõóäøèòüñÿ). Îäíàêî íà ýòîé áóòûëî÷êå íå
áûëî íè ÷åðåïà, íè êîñòåé, íè íàäïèñè «ßä!», è Àëèñà ðèñêíóëà ïîïðîáîâàòü å¸ ñîäåðæèìîå.
À òàê êàê îíî îêàçàëîñü íåîáûêíîâåííî âêóñíûì (íà âêóñ —
òî÷ü-â-òî÷ü ñìåñü âèøíåâîãî ïèðîãà, îìëåòà, àíàíàñà, æàðåíîé èí284
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äþøêè, òÿíó÷êè è ãîðÿ÷èõ ãðåíêîâ ñ ìàñëîì), îíà ñàìà íå çàìåòèëà,
êàê ïóçûð¸ê îïóñòåë.
— Îé, ÷òî æå ýòî ñî ìíîé äåëàåòñÿ! — ñêàçàëà Àëèñà. — ß,
íàâåðíîå, è ïðàâäà ñêëàäûâàþñü, êàê ïîäçîðíàÿ òðóáà!
Ñïîðèòü ñ ýòèì áûëî òðóäíî: ê ýòîìó âðåìåíè â íåé îñòàëîñü
âñåãî ëèøü ÷åòâåðòü ìåòðà. Àëèñà òàê è ñèÿëà îò ðàäîñòè, óâåðåííàÿ, ÷òî îíà òåïåðü ñâîáîäíî ìîæåò âûéòè â ÷óäåñíûé ñàä.
(Êýððîëë Ë. Àëèñà â Ñòðàíå ÷óäåñ.
Ïåðåñêàç ñ àíãëèéñêîãî Áîðèñà Çàõîäåðà)
4.
Íåäîëãî äóìàÿ, Àëèñà ïîïðîáîâàëà îòêðûòü êëþ÷èêîì è ýòó
äâåðöó, è, ê âåëè÷àéøåìó å¸ âîñòîðãó, êëþ÷ ïîäîø¸ë! Çà ýòîé äâåðöåé ñêðûâàëñÿ ïðîõîä ïî ðàçìåðàì ÷óòü áîëüøå êðûñèíîé íîðû.
Àëèñà ïðèñåëà íà êîðòî÷êè è óâèäåëà, ÷òî îí âåä¸ò â ñàä íåîïèñóåìîé êðàñîòû. Êàê åé õîòåëîñü ïîïàñòü â ýòîò ñàä, âûáðàòüñÿ èç ýòîãî
óæàñíîãî ìðà÷íîãî ïîäçåìåëüÿ è ïîáðîäèòü ñðåäè òåõ ïðåêðàñíûõ
öâåòîâ è ïðîõëàäíûõ ôîíòàíîâ! Îäíàêî Àëèñà íå ìîãëà ïðîñóíóòü
òóäà äàæå ãîëîâó. «À åñëè ãîëîâà è ïðîëåçåò», — äóìàëà îíà, — «îò
ãîëîâû áåç ïëå÷ ïðîêó ìàëî. Êàê áû ÿ õîòåëà ñæàòüñÿ, êàê ãàðìîøêà! Äà ÿ áû è ñæàëàñü, êîëü çíàëà áû êàê ýòî ñäåëàòü». Êàê âèäèòå, ñ
Àëèñîé çà ñòîëü êîðîòêîå âðåìÿ ïðèêëþ÷èëîñü äîâîëüíî-òàêè ìíîãî ÷óäåñ, ïîýòîìó îíà ïðàêòè÷åñêè íà÷àëà âåðèòü, ÷òî íà ñâåòå íåò
íè÷åãî íåîñóùåñòâèìîãî.
Ñòîÿòü âîçëå äâåðöû è ÷åãî-òî æäàòü íå áûëî ñìûñëà, è Àëèñà âåðíóëàñü ê ñòîëèêó. Â å¸ äóøå òåïëèëàñü ñëàáàÿ íàäåæäà íàéòè íà í¸ì
äðóãîé êëþ÷ èëè, íà õóäîé êîíåö, êíèæêó ñ ïðàâèëàìè ïî ñêëàäûâàíèþ
÷åëîâåêà â ãàðìîøêó (íà ÷òî íàäåæäû áûëî åù¸ ìåíüøå). Ïîäîéäÿ ê
ñòîëèêó, Àëèñà îáíàðóæèëà íà í¸ì ìàëåíüêèé ïóçûð¸ê. «Äî ýòîãî åãî
çäåñü êîíå÷íî æå íå áûëî», — ñêàçàëà Àëèñà ñ âîçìóùåíèåì. Ê ãîðëûøêó ïóçûðüêà áûë ïðèâÿçàí áóìàæíûé ÿðëû÷îê, íà êîòîðîì çîëîòèñòûìè êðóïíûìè áóêâàìè êðàñîâàëàñü íàäïèñü: «ÂÛÏÅÉ ÌÅÍß».
Àëèñà íå ñïåøèëà ñëåäîâàòü ýòîìó ïðåäïèñàíèþ. «Íó óæ
íåò!» — äóìàëà îíà, — «Ìàëî ëè ÷òî òàì íàïèñàíî. Ñïåðâà íàäî
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ïîñìîòðåòü, íåò ëè ãäå-íèáóäü íà ïóçûðüêå ïîìåòêè “ßĔ». Àëèñà â
ñâî¸ âðåìÿ äîñòàòî÷íî íàñëóøàëàñü ÷óäåñíåíüêèõ ïîó÷èòåëüíûõ ðàññêàçèêîâ î äåòèøêàõ, êîòîðûå ïîïàäàëè â ëàïû Áàðìàëåÿ, Áàáû ßãè è
ïðî÷åé íå÷èñòè. À âñ¸ ïîòîìó, ÷òî îíè çàáûâàëè ïðîñòåéøèå èñòèíû:
åñëè áóäåøü áàëîâàòüñÿ ñî ñïè÷êàìè, òî íåïðåìåííî îáîææ¸øüñÿ;
åñëè áóäåøü èãðàòü ñ íîæèêîì — ïîðåæåøüñÿ; åñëè âûïèòü èç áóòûëüêà ñ ïîìåòêîé «ßÄ», òî ðàíî èëè ïîçäíî òåáå ñäåëàåòñÿ ïëîõî.
Ïîñêîëüêó íà ïóçûðüêå áîëüøå íèêàêèõ íàäïèñåé íå áûëî, Àëèñà îòâàæèëàñü ïîïðîáîâàòü åãî ñîäåðæèìîå. Îíà áûñòðî îïóñòîøèëà ïóçûð¸ê, òàê êàê âêóñ æèäêîñòè áûë î÷åíü ïðèÿòíûì: ñìåñü âèøíåâîãî ïèðîãà, ìîðîæåíîãî, àíàíàñà, æàðêîãî èç êóðèöû, ëåäåíöîâ
è ñâåæåâûïå÷åííûõ áóëîê.
***
«Ïîðàçèòåëüíîå ÷óâñòâî!» — âîñêëèêíóëà Àëèñà — «ß, ïîõîæå, ñæèìàþñü, êàê ãàðìîøêà». È âåðíî, òåïåðü å¸ ðîñò íå ïðåâûøàë è äâàäöàòè ñàíòèìåòðîâ. Àëèñà îáðàäîâàëàñü, âåäü îíà äîñòèãëà êàê ðàç íóæíûõ ðàçìåðîâ, ÷òîáû ïðîéòè â äâåðöó.
(Ïðîåêò «Speaking in Tongues. Ëàâêà ßçûêîâ».
Ë. Êýððîëë. Àëèñà â Ñòðàíå ×óäåñ. Ïåðåâ¸ë Àíäðåé Êîíîíåíêî
(ïîä ðåä. Ñ.Ñ. Çàèêèíîé). 1998—2000)
ÒÅÊÑÒÛ ÄËß ÑÀÌÎÑÒÎßÒÅËÜÍÎÃÎ ÏÅÐÅÂÎÄÀ
I.
POINTS TO PONDER
Sheila B. Cabrera:
I refuse as I age to deny my years. When asked at 30, I’ll be 30.
When the question comes up at 45, I’ll take 45. For what year could I
subtract? The one in which my son or daughter was born? Or the year I
first fell in love? How about one less favourable? Like the year I came
down with pneumonia. Or one of those grief-filled years spent saying
good-bye to someone close? Maybe I could choose the seemingly insignificant. That year I saw a falling star? Or the one spent not enthrolled
with life, just content with it? No, I think I’ll keep them all, the good
years, the bad and the not so memorable.
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To deny one would be to deny myself. Because added up they are
my life.
Doctor R. Coontz:
(Reader’s Digest, Jan 1994, p. 107)
Some people think only intellect counts: knowing how to solve problems, knowing how to get by, knowing how to identify an advantage and
seize it. But the many functions of intellect are insufficient without courage, love, friendship, compassion and empathy.
We care. It is our curse. It is our blessing.
(Reader’s Digest, Dec 1993, p. 101)
Adrienne Ivey (“Rainbows, roses and butterflies”):
Everything is equal in the snow: all trees, all lawns, all streets, all
rooftops, all cars. Everything is white, white, white as far as you can see.
Covered by snow, the well-kept and neglected lawns look the same. The
snow hides
shiny newness of a just-bought car as effectively as it does
the rust and dents of a ten-year-old one. Everything looks clean and
fresh and unmarred by time or use. Snow, like the silent death it counterfeits, is a great leveler.
Marianne Neifert, M.D.:
(Reader’s Digest, Dec 1993, p. 102)
If I hadn’t had children, I would have had more money and material
things. I probably would have gone more places, gotten more sleep, pampered myself more. My life would have been much more boring and predictable. As a result of being parent, I have laughed harder, cried more
often. I have worried more and hurried more. I’ve had less sleep, but
somehow I’ve had more fun. I’ve learned more, grown more. My heart
ached harder, and I have loved to a capacity beyond my imagination. I’ve
given more of myself, but I’ve derived more meaning from life.
(Reader’s Digest, Jan 1994, pp. 107—108)
Elie Wiesel:
There is divine beauty in learning. To learn means to accept the postulate that life did not begin at my birth. Other have been here before me,
and I walk in their footsteps. The books I have read were composed by
generations of fathers and sons, mothers and daughters, teachers and
disciples. I am the sum total of their experiences, and so are you.
(Ibid, p. 108)
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II.
ARE YOU AFRAID?
Belinda Green advises on fighting your fears and your foes... Here
are a few tips that may help. There are different ways of handling different situations.
Firstly, if someone is doing the old dirty phone call trick, have a
whistle by the phone. When they ring, give a good, long, loud blast on
the whistle and hang up. Don’t respond or abuse them...
If you are in a situation that could be sticky, always look for early
warning signs. Often you can be attacked by someone you already know.
Two thirds of rape-victims know their attackers.
There are ways of getting out of all sorts of different situations. . .
even of escaping a knife attack. Here are some things to remember in
times of fear:
Be alert.
Avoid danger.
The best weapon is to run and scream: don’t hang around.
In an awkward situation, be aware of your environment.
Look for something to use as a weapon.
Never let the attacker get behind you.
Go for vital areas: eyes, throat and groin.
Always keep him in sight. If possible, try to appear calm. Talk to the
attacker to get his confidence. Then run and scream.
Try not to provoke.
If the attacker is grabbing you, try to take a lower stance than him.
Keep your legs apart, with one leg back so you are strong and well balanced. Three simple techniques are:
1. If grabbed on your sleeve or your clothing, take a balanced stance
and swing your arm around in a “snake-like” circular motion.
2. If punched, take a lower balanced stance, cross your arms and
push the punch up and away from your face.
3. If grabbed front-on around the arms, put your hands together,
with one elbow up. Make swinging turns. Knock him out of the way with
your elbows. Put your whole body behind the force.
Telephone or even whack the intruder over the head with the receiver handle.
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Throw a jug of water to shock.
Stab with a pen, a nail file, or a sharp instrument.
Grind your high heel into his foot.
Don’t hang around. Run!
III.
CYBERPLAGUE
Help! A prefix out of control!
William Gibson couldn’t have guessed how the word he invented
would breed and infect the lexicon. That word, cyberspace, appeared
just at the time when we needed a term for the electronic realm. Gibson
is best known for using it in his 1984 novel Neuromancer, but he had
actually invented it two years previously in a short story in Omni.
Cyber as a prefix was at first a handy and well-behaved little thing.
It first appeared in the word cybernetics, which was coined by Norbert
Wiener in his book of that name in 1948. Wiener derived it from the
Greek for steersman and the idea of control is central to it. We quickly
had a small rash of cyber words, such as cybernetician, cybernate and
cybernation; cyborg was invented about 1960 to describe a person whose
abilities have been transformed or augmented by mechanical elements
built into the body; followers of the BBC television series Dr. Who will
remember the Cybermen; an early edition of the Avengers in October
1965 invented the term cybernaut to mean a type of robot (this programme featured the archetypical mad scientist and the writer gave him
the line: “Think yourself fortunate, Mr Steed, the Cybernaut was programmed to stun, not kill.”). Generally, though, we could take it or leave
it alone and the prefix settled down to a specialist and unpushy role.
But Gibson’s reuse of it spawned a mass of imitative and derivative
words, a process which, ironically, is now completely out of control. My
own files have more than 200 combinations trawled from science fiction, computer magazines, books and newspapers, and I’m getting
cyber-sick of them. Few will stay the course, though a small number
look like achieving an entry in the dictionaries. The plague of neologisms even prompted Newsweek in 1994 to speak of “cybertedium”.
Thankfully, the peak of journalists’ misplaced inventiveness seems to
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have passed, but the prefix is still very much alive. So famous has the concept and the coiner of cyberspace become that in the US television series
Wild Palms, in which Gibson plays himself in the future, the question “Aren’t
you the person who invented the word “cyberspace” back then?” provokes
the snarling reply “Yes, and they’ve never let me forget it!”
The meaning of the word “cyberspace” has evolved over the past
decade. Its original sense in Neuromancer was of electronic space as
perceived by what we would now call virtual reality: the brain and senses
were directly linked with the world of computers and communications
and so could experience it as an actual landscape. With the explosive
growth of interest in the Internet its popular sense shifted to a weakened
one that referred to the intangible (and hence mysterious) electronic
domain: “the place where telephone conversations happen”, as Bruce
Sterling defined it. More recently still, it has moved towards becoming a
loose synomym for “electronic”.
One of the key related words is cyberpunk. This had been coined by
Bruce Bethke (in his story Cyberpunk, in Amazing Stories in 1983) and
was immediately taken up by Gardner Dozois, the anthologist and editor of Asimov’s SF Magazine, to describe the subgenre of science fiction of which Neuromancer was a canonical example. Cyberpunk novels
are morally ambiguous; they describe marginalized people struggling
to survive in bleak urbanized futuristic worlds dominated by global businesses or governments, whose control is enhanced by artificial intelligence; plots often involve electronically-augmented individuals (the 1982
film Bladerunner is pure cyberpunk in concept). In the mid eighties,
some science-fiction writers and others saw parallels between these future worlds and current society, and began to describe themselves as
cyberpunks. Later on, a group of computer scientists and others interested in computer security and cryptography named themselves
cypherpunks in imitation.
Here’s a brief listing of some of the many compounds starting in
cyber:
Not surprisingly, there’s a large group of words which describe people who work with words online: cyber-scribe, cyber-publisher, cybernovellist and, of course, cyber-journalist; such people no doubt work in
cyberlibraries and write or read cyberthrillers and cyberzines.
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The introduction of electronic money and online trading has provoked cybercash, cyber economy, cyberbuck, cyber dollar, cyber-money
and other terms to do with cyber-shopping and cybercommerce.
Cybernaut today refers to someone who is “travelling” in
cyberspace — a person who uses computers to communicate.
The cyberculture is the society of people linked by, and communicating through, electronic means such as Usenet and the Internet; the
cyberworld is either the whole of cyberspace, or that part of it relating to
virtual reality environments.
In a cybercaf.e or cyber-pub you may take refreshment while accessing the Internet; a cyber-nightclub is also designed for enjoyment,
but it’s a virtual space you connect to using the Internet.
The concept of cyberfeminism recognises the non-discriminatory
advantages of cyberspace to women (the British academic Sadie Plant
describes herself as a cyberfeminist, a word she may have invented and
the only person I’ve discovered who does so); cyberhippies, also known
as Cyberians, are a high-tech development of the 1960s hippie culture,
embracing technology rather than shunning it.
A cyberlawyer is either an expert on the law relating to online communications (cyberlaw), or studies the implications of computers and
communications for the practice of law.
A cybersurfer surfs the Internet in search of interesting things, perhaps cybersex, which is either explicit sexual material transmitted by
electronic means or, more particularly, simulated sex using virtual reality techniques.
The word cyber appears alone as an adjective and verb, relating generally to computer-mediated communications or virtual sensations (I’ve
had reports of cyber as a noun, but haven’t yet found an example); the
adjective cyberish is sometimes found, as is the adverb cyberly.
After this relentless barrage of neologisms and cyberhype you might
be forgiven if you discovered you were suffering from cyberphobia, a fear
of electronic communications or of its technology, but then you wouldn’t
be reading this, would you?
(Articles on Aspects of English, A series written by Michael Quinion
http://clever.net/quinion/words/cyber.htm,
http://clever.net/quinion/words/phobias.htm)
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IV.
GIRL
By Jamaica Kincaid
(1978)
Wash the white clothes on Monday and put them on the stone heap;
wash the color clothes on Tuesday and put them on the clothes-line to
dry; Don’t walk barehead in the hot sun; cook pumpkin fritters in very
hot sweet oil; soak your little clothes after you take them off; when buying cotton to make yourself a nice blouse, be sure that it doesn’t have
gum on it, because that way it won’t hold up well after a wash; soak salt
fish overnight before you cook it; is it true that you sing benna in Sunday
school? Always eat your food in such a way that it won’t turn someone
else’s stomach; on Sundays try to walk like a lady and not like the slut
you are so bent on becoming; don’t sing benna in Sunday school; you
mustn’t speak to wharf-rat boys, not even to give directions; don’t eat
but I don’t sing benna on
Sunday at all and never in Sunday school; this is how to sow on a
fruits on the street — flies will follow you;
button; this is how to make a buttonhole for the button you have just
sewed on; this is how to hem a dress when you see the hem coming
down and so to prevent yourself from looking like the slut I know you are
so bent on becoming; this is how you iron your father’s khaki shirt so it
doesn’t have a crease; this is how you iron your father’s khaki pants so
that they don’t have a crease; this is how you grow okra — far from the
house, because okra tree harbors red ants; when you are growing
dasheen, make sure it gets plenty of water or else it makes your throat
itch when you are eating it; this how you sweep a corner; this is how you
sweep a whole house; this is how you sweep a yard; this is how you smile
to someone you don’t like too much; this is how you smile to someone
you don’t like at all; this is how you smile to someone you like completely; this is how you set a table for tea; this is how you set a table for
dinner; this is how you set a table for dinner with an important guest;
this is how you set a table for lunch; this is how you set a table for breakfast; this is how to behave in the presence of men who don’t know you
very well, and this is the way they won’t recognize immediately the slut
I have warned you against becoming; be sure to wash every day, even if
it is with your own spit; don’t squat down to play marbles — you are not
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a boy, you know; don’t pick people’s flowers — you might catch something; don’t throw stones at blackbirds, because it might not be a blackbird at all; this is how to make bread pudding; this is how to make doukona;
this is how to make pepper pot; this is how to make a good medicine for a
cold; this is how to make a good medicine to throw away a child before it
even becomes a child; this is how to catch a fish; this is how to throw back
a fish you don’t like, and that way something bad won’t fall on you; this is
how to bull a man; this is how a man bullies you; this is how to love a man,
and if this doesn’t work there are other ways, and if they don’t work don’t
feel too bad about giving up; this is how to spit up in the air if you feel like
it, and this is how to move quick so it doesn’t fall on you; this is how to
make ends meet; always squeeze bread to make sure it’s fresh; but what
if the baker won’t let me feel the bread?; you mean to say that after all
you are really going to be the kind of woman who the baker doesn’t let
Gloria Mason Henderson, Bill Day, Sandra Stevenson
Waller? LITERATURE AND OURSELVES — A Thematic Introduction
for Readers and Writers, Longman, 1997, 2-nd ed. Pp. 274—275)
near the bread? (
V. HOW TO REMEMBER WHERE YOU PUT SOMETHING
By Peg Bracken
The only way is to make a mental note — when you are putting
something somewhere — or what you’re putting it next to. As you drop
your car keys, say into the zipper compartment of your brown bag, you
visualise vividly the brown grogsgrain lining of that compartment.
This is a pure double-think. It is twice as much trouble, but it gives
twice the chance of finding your car keys, if you can remember where
you put the brown bag.
Indeed, there are many queer ways of remembering queer things.
Not all of them are infallible. I know a three-year-old girl named
Susan who could invariably find middle C on the piano after her mother
had pointed it out to her only once. Her mother was impressed, naturally enough, by her small daughter’s aptitude, but one day, after the piano
keys had been cleaned, Susie couldn’t find middle C any more. Middle
C had been where the egg was.
Then there is
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Cooking rice —
Water’s twice.
Meaning of course, that you cook one cup of raw rice in two cups of
water, this is a handy rule-of-thumb — especially if you keep rice in a
canister and are consequently without the directions on the box.
Or
One big T equals teaspoons 3
One of my friends mutters this periodically, to keep herself reminded; for it has always seemed wrong to her that such should be the case.
She feels that — logically — only two teaspoons belong to a tablespoon. I was about to remind her that there are three feet in every linear
yard too. Then decided that it might confuse her permanently into putting
36 teaspoons into every tablespoon, and I didn’t mention it. Related to
the rhyming crutches are chants and litanies. These are handy too, as
music students have known for years. I know a Dartmouth graduate who
says he’ll never again be able to hear the noble second theme of the
second movement of Beethoven’s Fifth Symphony without hearing, in
his mind, the words:
Uncle—John—has—come—home!
Uncle—John—has—come—home!
Uncle JOHNNNN! Uncle JOHNNNN!
Similar to this, and more fact-filled, is
Bar-ca-role from Tay-uls of Hoff-mann
By-yyy Off-en-bach, boop boop
Offenbach wouldn’t have cared for the boop boop, probably, but
you need something there for makeweight, as you’ll see if you hum it
over.
Then, of course, there are dozens of stratagems to help you to remember odds and ends.
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Like the g in stalagmite. Not that stalagmites crop up every day,
but still when they do, it’s good to remember that g is for grow, and if
you think of grow, you think of growing up, which is what stalagmites
do. This leaves only stalactites to worry about, but since they’re always stuck tight to the ceiling of whatever cave you’re in, they are fairly simple.
(Peg Bracken, The I Hate to Housekeep Book, Sphere, 1970, p. 97)
VI. MUMMIES MADE IN EGYPT
The ancient Egyptians had one great wish: to live forever. They believed that a new life began when a person died. His ba, or soul, and ka,
his invisible twin, were released from his body and lived on in his tomb.
The ba would keep contact with the living family and friends of the dead;
the ka traveled back and forth from the other world where they lived with
the gods and goddesses of the dead.
In order for a person to live forever, the ba and ka had to be able to
recognize the body, or they could not return to it. That is why the body
had to be preserved, or mummified. The earliest Egyptians were mummified naturally. The corpse was buried in the ground, and the hot sands
dried out the body until it turned as hard as stone — into a fossil.
As time went on, burials became more elaborate. The dead were
wrapped in a shroud of cloth or skin and buried in caves or in pits lined
with wood or stone. But bodies not buried in the sand became exposed to
dampness, and bacteria. They decayed. So people learned how to embalm, or mummify, their dead. Mummification was a long, complicated,
expensive process — especially the mummification of pharaohs, the kings
of Egypt. It was believed a pharaoh became a god when he died.
Embalmers worked seventy days to prepare a body. For a royal
burial, they worked in workshops near the tomb where the mummy
would be buried. Priests held ceremonies for each step of the process.
Embalmers removed the brain and then took out the liver, stomach
and intestines. Each of these organs was embalmed in a chemical,
natron, and put in its own container, called a canopic jar. The heart
was left in its place.
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Small bundles of natron wrapped in linen were stuffed inside the
body, and the outside was covered with natron, too. The chemical dried
out the body the same way the sand had done.
After forty days embalmers removed the natron packs, sponged clean
the dried, shrunken body, and brushed it with oils, ointments, spices
and resin. The head and body were stuffed with new packing soaked in
the same substances. The arms were crossed, and the mummy’s fingernails and toenails were dyed and covered with caps of gold. The mummy
was adorned with jewels of gold and precious stones. Then the body was
carefully bound with long, narrow strips of linen. Linen shrouds were
laid alternately with the bindings, and every few layers were glued together with resin. After twenty layers of shrouds and binding, the mummy’s body took on its normal size.
Magical objects were tucked in-between the mummy’s wrapping.
Small figures called shabtis held farm tools; they would work in the fields
of the other world for the mummy.
The bounded head was covered with a portrait mask so that if anything happened to the mummy the ba and the ka would still be able to
recognize it. The head with its mask was bound, and then the mummy
was wrapped in a shroud and given a last coat of resin.
Meanwhile, skilled artists, sculptors, and carpenters prepared for
the burial. They built the coffin — or a nest of coffins — which they
painted inside and out with gods, goddesses, and magic spells of protection. They made jewelry and furniture that would be buried in the
tomb and a splendid stone sarcophagus to hold the coffin.
Tombs were more important than houses to Egyptians, and people
built them during their lifetimes. For centuries, the dead were usually
buried in brick and stone tombs called mastabas.
As years went by, tombs became bigger, stronger, and more elaborate. For a long time pharaohs had pyramids built for themselves.
Later, pharaohs were buried in secret underground tombs in a deserted place that is known as the Valley of the Kings. Tunnels, passages, chambers, and the tomb itself were cut deep in the rock. They
were magnificently carved and painted, but they were hidden as a
protection from robbers who might try to steal the mummies and their
treasures.
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It is said that the first Egyptian to be mummified was Osiris, a legendary king. He was embalmed by Anubis, the jackal god, and when
Osiris died, he became King of the Underworld and Prince of the Dead.
It was to his kingdom the dead wished to go.
VII. ON THE RIGHT LINES
By David McKie
Who said: “Whenever I hear the word “culture” I reach for my gun”?
Do we hear Hermann Goering? Go to the back of the class. It wasn’t
Goering, but Hanns Johst, described by Jonathon Green as a “mediocre
Nazi playwright”; and what he said, in translation, was: “When I hear the
word culture I release the safety catch of my Browning” which given the
other connotations of Browning, makes the line incomparably richer.
Who said: “a lie can be half way round the world before the truth
has got its boots on”? Green says it was James Callaghan; and though
it sounds rather more Adlai Stevenson, from whom some of Callaghan’s
colleagues believed he had borrowed it, you have to give the benefit of
the doubt to a man who knows that the words “Crisis? what crisis” were
never spoken by Callaghan, but were thrust into his mouth by some
brutal and unhygienic sub on the Sun.
And who said, after a visit to the Soviet Union in 1919: “I have seen
the future and it works?” Lincoln Steffens. But here we run into trouble.
Try looking it up in the index and you won’t get very far. The index is grouped
by themes, not specific subjects, which makes the book harder to use: and
although one of the themes is “future”, the Steffens quotation is not referred to. To find the source you would have to look it up under Steffens;
which almost by definition is something you would not do.
Green is not entirely to blame for that, in the sense that his book is
designed for dipping into rather than looking things up. But you can
certainly blame the indexer (significantly uncredited) who’s a somewhat
fallible person. When Bevan, for instance, calls conservatives “lower than
vermin”, that’s not listed under “Conservatism”; and I counted four references to pessimists (from Anon, Arnold Bennett, James Branch Cabell
and Elbert Hubbard) which aren’t given under Pessimism.
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Green would no doubt reply that it isn’t that sort of book. Its purpose is to widen horizons, to open up the highways and byways of literature and life. And that it often does. It claims to know who invented (or
at least who popularised) everyday concepts from Cold War and Iron
Curtain to “smoke-filled rooms” and “we wuz robbed”. Entertainment
is quite as important as information. E. M. Forster is swiftly succeeded
by Bruce Forsyth: Einstein is cheek by jowl with the Reverend Ike
Eikerenkoter, American evangelist (“Don’t wait for pie in the sky when
you die: get yours now, with ice cream on top”.) R.H. Tawney rates just
one reference, the same as Jimmy Clitheroe.
It’s rewarding to learn that the line “Me Tarzan, you Jane” was written by Ivor Novello; that Queen Elizabeth the Queen Mother once said
of Mrs Dale’s Diary: “it is the only way of knowing what goes on in a
middle-class family”; and that Jean-Paul Sartre was the nephew of Albert
Schweitzer.
There are thoughts here, from writers as diverse as Chandler and
Camus, that could easily fuel an hour of disputation. Life is richer for knowing that, according to Nelson Algren, you should never play cards with a
man named “Doc” or eat at a place called “Mom’s”. One will treasure,
and possibly pinch Robert Frost’s assertion that “if society fits you comfortably, you call it freedom”; or Logan Pearsall Smith’s: “there are few
sorrows, however poignant, in which a good income is of no avail.”
The trouble is that for Green every line is a gobbet; the sort of thing
you were set in the six form to explain and set in context. And though
some of his interpolations inform and beguile, many more have a plonking banality which would hardly pass in the six form. “The more ridiculous a belief system” wrote Wayne R. Bartz “the higher the probability
of its success.” “Human gullibility,” Green leans over to tell you, “is the
basis of Bartz’s comment.”
It is as if he’d been carried away in his judgement of his readership
by a line he quotes from Churchill: “it is a good thing for an uneducated
man to read books of quotations”.
This group of deserving people must also have read his proofs. There
are far more errors than you might expect to find in a random trawl. <...>
(Says Who? A Guide to the Quotations of the Century,
by Jonathon Green, Longman)
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VIII. STILL JUST WRITING
By Anne Tyler (b. 1941)
Fiction writer Anne Tyler lives in Baltimore with her husband, Iranian psychiatrist and writer Taghi Modaressi, and their children. The
warm, tolerant, and amused tone of “Still Just Writing” is characteristic
of much of Tyler’s fiction, which focuses on family life. Among her novels are DINNER AT THE HOMESICK RESTAURANT (1982) and THE
ACCIDENTAL TOURIST (1985), which won the National Book Critics
Circle Award. This essay shows her characteristic modesty, wit, and gentleness, along with her distinctive voice, as she juggles the often competing roles of wife, mother, and writer.
While I was painting the downstairs hall I thought of a novel to write.
Really I just thought of a character; he more or less wandered into my
mind, wearing a beard and a broad-brimmed leather hat. I figured that I
sat down and organized this character on paper, a novel would grow up
around him. But it was March and the children’s spring vacation began
the next day, so I waited.
After spring vacation the children went back to school, but the dog
got worms. It was a little complicated at the vet’s and I lost a day. By then
it was Thursday; Friday is the only day I can buy the groceries, pick up
new cedar chips for the gerbils, scrub the bathrooms. I waited till Monday.
Still, that left me four good weeks in April to block out the novel.
By May I was ready to start actually writing, but I had to do it in
patches. There was the follow-up treatment at the vet, and then a halfday spent trailing the dog with a specimen tin so the lab could be sure
the treatment had really worked. There were visits from the washingmachine repairman and the Davey tree man, not to mention briefer interruptions by the meter reader, five Jehova’s Witnesses, and two Mormons. People telephoned wanting to sell me permanent light bulbs and
waterproof basements. An Iranian cousin of my husband’s had a baby;
the cousin’s uncle died; then the cousin’s mother decided to go home to
Iran and needed to know where to buy a black American coat before she
left. There are no black American coats; don’t Americans wear mourning? I told her no, but I checked around at all the department stores
anyway because she didn’t speak English. Then I wrote chapters one
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and two. I had planned to work till 3:30 every day, but it was a month of
early quittings: once for the children’s dental appointments, once for
the cat’s rabies shot, once for our older daughter’s orthopedist, and twice
for her gymnastics meets. Sitting on the bleachers in the school gymnasium, I told myself I could always use this in a novel someplace, but I
couldn’t really picture writing a novel about 20 little girls in leotards
trying to walk the length of a wooden beam without falling off. By the
time I’d written chapter three, it was Memorial Day and the children
were home again.
(Gloria Mason Henderson, Bill Day, Sandra Stevenson Waller.
LITERATURE AND OURSELVES.
A Thematic Introduction for Readers and Writers,
Longman. 1997, 2nd edition)
IX.
THINKING AS A HOBBY
By William Golding
(1911—1993)
While I was still a boy, I came to the conclusion that there grades of
thinking; and since I was later to claim thinking as my hobby, I came to an
even stranger conclusion — namely, that I myself could not think at all.
I must have been an unsatisfactory child for grownups to deal with.
I remember how incomprehensible they appeared to me at first, but not,
of course, how I appeared to them. It was the headmaster of my grammar school who first brought the subject of thinking before me — though
neither in the way, nor with the result intended. He had some statuettes
in his study. They stood on a high cupboard behind his desk. One was a
lady wearing nothing but a bath towel. She seemed frozen in an eternal
panic lest the bath towel slip down any farther; and since she had no
arms, she was in an unfortunate position to pull the towel up again.
Next to her, crouched the statuette of a leopard, ready to spring down at
the top drawer of a filing cabinet labeled A-AH. My innocence interpreted this as the victim’s last despairing cry. Beyond the leopard was a
naked, muscular gentleman, who sat, looking down, with his chin on
his fist and his elbow on his knee. He seemed utterly miserable.
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Some time later, I learned about these statuettes. The headmaster
had placed them where they would face delinquent children, because
they symbolized to him the whole of life. The naked lady was the venus
of Milo. She was love. She was not worried about the towel. She was
just busy being beautiful. The leopard was nature, and he was being
natural. The naked, muscular gentleman was not miserable. He was
Rodin’s Thinker, an image of pure thought. It is easy to buy small plaster models of what you think life is like. <...>
If I were to go back to the headmaster’s study and find the dusty
statuettes still there, I would arrange them differently. I would dust Venus and put her aside, for I have come to love her for the fair things she
is. But I would put the Thinker, sunk in his desperate thought, where
there were shadows before him — and at his back, I would put the leopard, crouched and ready to spring.
(Gloria Mason Henderson, Bill Day, Sandra Stevenson Waller.
LITERATURE AND OURSELVES. A Thematic Introduction for Readers and
Writers, Longman. 1997, 2nd edition)
X. WAIT FOR HEAVEN
By Anne Tyler
I was standing in the schoolyard waiting for a child when another
mother came up to me. “Have you found work yet?” she asked. “Or are
you still just writing?”
Now, how am I supposed to answer that?
I could take offense, come to think of it. Maybe the reason I didn’t is
that I halfway share her attitude. They’re
paying me for this? For just
writing down untruthful stories? I’d better look around for more permanent employment. For I do consider writing to be a finite job. I expect
that any day now, I will have said all I have to say; I’ll have used up all my
characters, and then I’ll be free to get on with my real life. When I make
a note of new ideas on index cards, I imagine I’m clearing out my head,
and that soon it will be empty and spacious. I file the cards in a little blue
box, and I can picture myself using the final card one day — ah! through
at last! — and throwing the blue box away. I’m like a dentist who con-
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tinually fights tooth decay, working towards the time when he’s conquered it altogether and done himself out of job. But my head keeps
loading up again; the little blue box stays crowded and messy. Even when
I feel I have no ideas at all, and can’t possibly start the next chapter, I
have a sense of something still bottled in me, trying to get out.
People have always seemed funny and strange to me, and touching
in unexpected ways. I can’t shake off a sort of mist or irony that hangs
over whatever I see. Probably that’s what I’m trying to put across when
I write; I may believe that I’m the one person who holds this view of
things. And I’m always hurt when a reader says that I choose only bizarre or eccentric people to write about. It’s not a matter of choice; it
just seems to me that even the most ordinary person, in real life, will
turn out to have something unusual at his center. I like to think that I
might meet up with one of my past characters at the very next street
corner. The odd thing is, sometimes I have. And if I were remotely religious, I’d believe that a little gathering of my characters would be wait-
Then what happened?” I’d ask them.
“How things worked out, since the last time I saw you?”
ing for me in heaven when I died. “
(Gloria Mason Henderson, Bill Day, Sandra Stevenson Waller.
LITERATURE AND OURSELVES. A Thematic Introduction for Readers and
Writers, Longman. 1997, 2nd edition)
XI. WHAT DOES A STOMACH DO?
The «cultural literacy» guru focuses on elementary school Author
E. D. Hirsch Jr. set educators squabbling with his 1987 best seller Cultural Literacy, which tried to establish the minimum shared knowledge
that American schools ought to provide. The University of Virginia English professor listed 4,600 items, ranging from the electron to the Emancipation Proclamation, that every educated adult should be able to identify. Now Hirsch is taking his program of core knowledge to the elementary-school level. In the first two of the six-textbook series for Grades 1
through 6, he boldly proposes the things tots ought to learn. What Your
1st Grader Needs to Know (Doubleday; $15) asks youngsters, among
other things: What did Little Miss Muffet sit on? What does a stomach
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do? Which is the biggest continent? Who was Louis Armstrong? The second-grade volume advances to questions about Robin Hood, the Great
Wall of China, counting to 100 and the human sperm and egg.
Fundamentally, Hirsch is aiming at a controversial objective: A national core curriculum for U.S. students. The professor created the Core
Knowledge Foundation of Charlottsville, Va., which spent four years
defining material for each grade. The Hirsch cannon was tested last year
at a Florida elementary school. The materials represent a consensus
among hundreds of educators consulted by the foundation. “I do not
believe there is such a thing as one best core knowledge,” Hirsch says.
“What’s absolutely essential is getting political agreement about a specific core, so that we can get on with the job.” One omission: Bible stories (teacher consultants deemed them unduly sectarian). However,
Hirsch was careful to include facts and achievements concerning women, Native Americans, blacks and Hispanics.
Hirsch argues that the lack of a nation-wide curriculum is itself an
aspect of discrimination, since privileged youngsters are more likely to
pick up essential knowledge even without help from schools. “Ours is a
very, very unfair system,” he asserts. His books represent one man’s
idiosyncratic attempt to change it.
(Time, 1991, No. 39, p. 58)
XII. WHEN GRATEFUL BEGINS TO GRATE
By Ellen Goodman
(1979)
I know a woman who is a grateful wife. She has been one for years.
In fact, her gratitude has been as deep and constant as her affection.
And together they have traveled a long, complicated road.
In the beginning, this young wife was grateful to find herself to a
man who let her work. That was in 1964, when even her college professor said without a hint of irony that the young wife was “lucky to be
married to a man who let her work”. People talked like that then.
Later, the wife looked around her at the men her classmates and
friends had married and was grateful that her husband wasn’t threat-
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ened, hurt, neglected, insulted — the multiple choice of the mid-sixties —
by her job.
He was proud. And her cup overran with gratitude. That was the
way it was.
In the late sixties when other, younger women were having consciousness-raising groups, she was having babies and more gratitude.
You see, she discovered that she had a Helpful Husband. Nothing
in her experience had led her to expect this. Her mother was not married
to one; her sister was not married to one; her brother was not one.
But at four o’clock in the morning, when the baby cried and she was
exhausted, sometimes she would nudge her husband awake (wondering only vaguely how he could sleep) and asked him to feed the boy. He
would say sure. And she would say thank you.
The Grateful Wife and the Helpful Husband danced the same pas de
deux for a decade. When the children were small and she was sick, he
would take charge. When it their turn to carpool and she had to be at work
early, he would drive. If she was coming home late, he would make dinner.
All you have to do is ask, he would say with a smile.
And so she asked. The woman who had minded her Ps and Qs as a
child minded her pleases and thank yous as a wife. Would you please put
the baby on the potty? Would you please stop at the store tonight for
milk? Would you please pick up Joel at soccer practice? Thank you. Thank
you. Thank you.
It is hard to know when gratitude first began to grate on my friend.
Or when she began saying please and thank you dutifully rather than
genuinely.
But it probably began when she was tired one day or night. In any
case, during the car-time between one job and the other, when she would
run lists through her head, she began feeling less thankful for her
moonlightning job as a household manager. She began to realize that
all the items of their shared life were stored in her exclusive computer.
She began to realize that her queue was so full of minutia that she
had no room for anything else.
The Grateful Wife began to wonder why she should say thank you
when a father took care of his children and why she should say please
when a husband took care of his house.
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She began to realize that being grateful meant being responsible.
Being grateful meant assuming that you were in charge of children and
laundry and running out of toilet paper. being grateful meant having to
ask. And ask. And ask.
Her husband was not an oppressive or even thoughtless man. He
was helpful. But helpful doesn’t have to remember vacuum cleaner bags.
And helpful doesn’t keep track of early dismissal days. Helpful doesn’t
keep a Christmas-present list in his mind. Helpful doesn’t have to know
who wears what size and colors. Helpful is asked. Anything you ask.
Please and thank you.
The wife feels, she says, vaguely frightened to find herself angry at
saying please and thank you. She wonders if she is, indeed, an ingrate.
But her wondering doesn’t change how she feels or what she wants. The
wife would like to take just half the details that clog her mind like grit in
a pore, and hand them over to another manager.
The wife would like someone who would be grateful when she volunteered to take
his turn at the market, or his week at the laundry.
The truth is that after all those years when she danced her part perfectly, she wants something else. She doesn’t want a helpful husband.
She wants one who will share. For that, she would be truly grateful.
(Gloria Mason Henderson, Bill Day, Sandra Stevenson Waller.
LITERATURE AND OURSELVES. A Thematic Introduction for Readers and
Writers, Longman. 1997, 2nd edition, pp. 276—277)
XIII. THE HOUSE THAT BELONGS TO ALL AMERICANS
We own it, rent it out every
four years — and hope the
tenants will be honest, wise
and not wreck the place
When President John Adams and his wife, Abigail, moved into this
now world-famous house at 1600 Pennsylvania Avenue, they were taken aback by what they found. The family arrived during a raw November
in 1800 for the last four months of Adam’s term. The house was still far
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from completion, lacking even a privy. The First Lady hung the wash to
dry in the frigid East Room. To stay warm in “this great castle”, she
confided to her daughter, the couple had to keep 13 fireplaces going and
soon ran out of firewood. “I know not what to do”, Abigail wrote.
When Thomas Jefferson began his eight years there in 1801, it was
the biggest house in America, even without its current porticoes, colonnades and wings. Jefferson called it “big enough for two emperors, one
pope and the grand lama”.
Today, the quasi-palace that President Theodore Roosevelt officially named the White House bears little resemblance to the place the
Adamses found so inhospitable.
Although it could fit inside Buckingham Palace or the Kremlin,
there’s much more to the White House than meets the eye: 18 acres of
lawns and gardens, 132 rooms, 412 doors (with brass knobs to polish),
32 bathrooms, 45 chandeliers, 66 sculptures, 492 paintings, 468 prints
and drawings.
The second-floor family quarters measure 5600 square feet and include 17 bedrooms and 29 fireplaces. To paint the building’s outside
walls gleaming white — it has had more than 30 coats so far — requires 570 gallons of paint. Running the residence alone takes 87 fulltime employees and a yearly outlay of almost $8 million. Over the bustling West Wing, the President’s Oval Office is the heart of a governing
hive. Total operating costs of the White House Office are approximately
$39 million a year.
The White House is the only head-of-state residence in the world
that regularly admits the public: an average of 7000 visitors each day it
is open, plus the average year’s 100,000 official guests at dinners and
receptions. But beyond the physical plant, the trappings and the visitors, the White house is a place haunted by nearly two centuries of Presidential trials and successes.
In our era, the White House has become the world’s biggest political prize, the universally recognized symbol of the last superpower on
earth and the quintessence of American stability. Presidents come and
go, but blessed with democratic legitimacy, they occupy a hallowed place
that other Americans have every right to consider their own.
(Reader’s Digest, Jan. 1994)
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XIV. THE SILENT KILLER
By Ann Robinson
High blood pressure (BP) is known as the silent killer. It contributes to heart disease — the commonest cause of death in western nations — plus strokes, kidney damage, eye problems, and hardening of
the arteries.
People with very high BP are about four time more likely to suffer a
heart attack than people with low BP. It is believed to affect about 15 per
cent of people over the age of 30, but only half are known to their general
practitioner.
There’s no such thing as normal BP, only a range within which people fall, depending mainly on age and sex. It is described by an upper
(systolic) and lower (diastolic) figure recording the pressure of blood in
blood vessels.
BP can be as low as 60/30 during sleep and shoots up to 150/90 during sexual intercourse. It varies throughout the day and many normal, mildly stressful activities such as driving can cause it to rise. When pressure is
high for a long time it indicates that the blood vessels are damaged.
Most people feel fit and well when they learn they have high BP
(hypertension). Contrary to belief, headache, dizziness, or palpitations
are really signs of the condition. BP over 160/95 must be treated, although there is dispute over the importance of treating borderline cases
(over 140/90) and elderly people.
No one should be told that their BP is raised on a single measurement.
Ideally, at least three measurements should be taken over a few weeks. Simply
visiting the doctor is enough to cause a transient rise in BP.
General practitioners have been urged to measure BP at least once
every five years, as it rises from birth to adulthood and in men continues
to rise with age. It is lower in women until the menopause, when it starts
to rise.
Apart from age, sex, and a family history of hypertension, environmental and lifestyle factors are important. Obesity, dietory factors, and
heavy drinking have been shown to contribute to its development. The
first step in reducing BP is changes in lifestyle. Moderating salt intake
can help and also ensure that BP does not rise so fast with age.
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Vegetarians have lower BP than meat-eaters, which may be due to
the beneficial effects of high levels of potassium in fruit and vegetables.
High BP is also more common in soft water areas. The magnesium in
hard water may be protective.
Simply losing weight may be enough to reduce hypertension without resort to medication. For each stone increase in weight, systolic pressure increases by 4 mm of mercury. Continuing to smoke increases the
risk of a heart attack or stroke. And people who drink more than 10 pints
of beer or 20 glasses of wine a week should cut down.
Stress control and relaxaion techniques, such as yoga, meditation,
and biofeedback, can be remarkably effective in lowering raised BP.
Hypertensives should also consider stopping or changing any drugs
which cause BP to rise, such as some contraceptive pills.
While lifestyle modification may do the trick, medication is often
necessary. Today’s range of drugs, aiming to reduce diastolic pressure
to below 90 mm in most cases, can all have unpleasant side-effects,
including headaches, sleepiness, flushing, and impotency in men. They
include betablockers, diuretics, calcium antagonists, and ACE inhibitors.
The most important advice for anyone with mild to moderately high
BP is to learn to relax, to lose excess weight, to drink less, and to stop
smoking.
The diet should also be improved by reducing consumption of saturated fat, salt and sugar, and increasing consumption of fruit, vegetables, and unrefined carbohydrates.
Regular exercise strengthens the cardio-vascular system and aids
weight loss. Home monitoring devices are a new development in control
(the cheapest machine costs around ‡30) but their reliability is reported to be variable.
(National Herald. Wednesday, March 15, 1989)
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Ïåðåâîä÷åñêèå çàäà÷è
Ïîíàáëþäàéòå, êàê ñ àíãëèéñêîãî ÿçûêà íà ðóññêèé ïåðåâîäÿòñÿ ñóùåñòâèòåëüíûå ñî çíà÷åíèåì ðîäñòâåííûõ îòíîøåíèé (in-laws, íàïðèìåð, brotherinlaw). ßâëÿþòñÿ ëè èõ àíàëîãàìè â ðóññêîì ÿçûêå ñëîâà çÿòü, ñâîÿê, äåâåðü?
II. Íàéäèòå ïðîòèâîðå÷èÿ ìåæäó òåîðèåé è ïðàêòèêîé ïåðåâîäà
ãåîãðàôè÷åñêèõ íàçâàíèé. Ïðèâåäèòå ïðèìåðû, îáúÿñíèòå
ïðîòèâîðå÷èÿ, îáúÿñíèòå èõ ïðè÷èíû è ïðåäëîæèòå âîçìîæíûå ðåøåíèÿ.
III. Îïèøèòå ñîâðåìåííûå òåíäåíöèè â ïåðåäà÷å íàçâàíèé â ìèðå
ìóçûêè. Âîñïîëüçóéòåñü ðàçíûìè èñòî÷íèêàìè ïðèìåðîâ:
ñïåöèàëüíàÿ ëèòåðàòóðà, ãàçåòû, ñîâðåìåííàÿ ìóçûêàëüíàÿ
ëèòåðàòóðà.
IV. Íàéäèòå â ñîâðåìåííûõ ãàçåòàõ èëè æóðíàëàõ ïðèìåðû ñîâðåìåííûõ çàèìñòâîâàíèé, ââåä¸ííûõ ïåðåâîä÷èêàìè, è ñ èõ
ïîìîùüþ äîêàæèòå íåîáõîäèìîñòü/îòñóòñòâèå íåîáõîäèìîñòè êàæäîãî èç íèõ.
V. Êàêèå ëèíãâèñòè÷åñêèå ïðè÷èíû äåëàþò ìíîãèå àíãëèéñêèå
çàãîëîâêè ìíîãîçíà÷íûìè è äàæå äâóñìûñëåííûìè? Ïðèâåäèòå óáåäèòåëüíûå ïðèìåðû.
VI. Ñîïîñòàâëÿÿ ïåðåâîä ñ îðèãèíàëîì, ïðîñëåäèòå, êàê ÷àñòî è
â êàêèõ ôîðìàõ ïðèìåíÿåòñÿ ïðè¸ì ïåðåâîä÷åñêîé êîìïåíñàöèè.
VII. Êàê ÷àñòî è ïî÷åìó ïåðåâîä÷èêè ïðèáåãàþò ê çàìåíå ÷àñòåé
ðå÷è? Êàêèå ÷àñòè ðå÷è äîâîëüíî ðåãóëÿðíî çàìåíÿþòñÿ?
Âîçìîæíû ëè ïðè ýòîì âàðèàíòû áåç çàìåí?
VIII. Ïðîèñõîäèò ëè îïóùåíèå ïðè ïåðåâîäå? Ïî êàêèì ïðè÷èíàì
ýòî ìîæåò ïðîèçîéòè? Íàéäèòå ïðèìåðû è àðãóìåíòû.
IX. Êàêèå ôàêòîðû çàòðóäíÿþò ïåðåâîä àíãëèéñêèõ ãàçåò? Êàêèõ
ðàçäåëîâ ýòî êàñàåòñÿ? Ïðî÷èòàéòå, ÷òî îá ýòîì ïèøóò òåîðåòèêè, è ïåðå÷èñëèòå âñå âîçìîæíûå èñòî÷íèêè èíôîðìàI.
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öèè, ñ ïîìîùüþ êîòîðûõ ÷àñòü ïðîáëåì ìîãëà áû áûòü ðåøåíà.
X. Ñîáåðèòå êîëëåêöèþ íàèáîëåå ÷àñòîòíûõ ãàçåòíûõ êëèøå,
ðóññêèõ è àíãëèéñêèõ. Îïèøèòå èõ îñîáåííîñòè è ïðèíöèïû
ñîîòâåòñòâèÿ.
XI. Íà ìàòåðèàëå ñîïîñòàâëåíèÿ ïåðåâîäà ñ îðèãèíàëîì ïðîñëåäèòå ñïîñîáû ïåðåâîäà àíãëèéñêîãî ãëàãîëà «say» â ëèòåðàòóðå ðàçíûõ æàíðîâ. Êàêèå êîíòåêñòóàëüíûå ôàêòîðû îïðåäåëÿþò âûáîð ðóññêîãî ñîîòâåòñòâèÿ?
XII. Ïðîàíàëèçèðóéòå ñëó÷àè èíîñòðàííûõ âêðàïëåíèé è èõ ïåðåâîä. Êàêîâà òåíäåíöèÿ èõ ïåðåäà÷è? Êàêîâî êà÷åñòâî ïåðåäà÷è? Ïîäòâåðäèòå èëè îïðîâåðãíèòå èìåþùèåñÿ òåîðåòè÷åñêèå ïîëîæåíèÿ.
XIII. Íà ìàòåðèàëå ïåðåâîäîâ ñ àíãëèéñêîãî ÿçûêà íà ðóññêèé, âûøåäøèõ â ïîñëåäíåå äåñÿòèëåòèå, ïðîàíàëèçèðóéòå ïðàâèëà,
êîòîðûì ñëåäóþò ïåðåâîä÷èêè ïðè ïåðåäà÷å èì¸í ñîáñòâåííûõ. Êàêèå òåíäåíöèè ïðîñìàòðèâàþòñÿ äîâîëüíî ÷åòêî? Ñäåëàéòå ðàçâåðíóòûå âûâîäû.
XIV. Íà ìàòåðèàëå çàãîëîâêîâ ñ ôðàçåîëîãè÷åñêèìè åäèíèöàìè
îïèøèòå ñïîñîáû èõ ïåðåâîäà. Êàê ÷àñòû ñëó÷àè èõ îêêàçèîíàëüíîãî èçìåíåíèÿ? Êàêîâû ñòèëèñòè÷åñêèå ïðîáëåìû, êîòîðûå âîçíèêàþò ó ïåðåâîä÷èêà?
XV. Íà ìàòåðèàëå ñîïîñòàâëåíèÿ ïåðåâîäà ñ îðèãèíàëîì ïîïûòàéòåñü îáíàðóæèòü ïåðåâîä÷åñêèå îøèáêè. Ïî êàêîé ïðè÷èíå îíè âîçíèêàþò ÷àùå: îò íåïðèìåíåíèÿ íåîáõîäèìûõ ïðåîáðàçîâàíèé èëè îò íåäîñòàòî÷íîãî çíàíèÿ Èß è Ïß?
XVI. Ïðîàíàëèçèðóéòå ïåðåâîä 100 èíòåðíàöèîíàëüíûõ ñëîâ â
êîíòåêñòå ðàçðîçíåííûõ ïðåäëîæåíèé èëè öåëîñòíîãî òåêñòà.
Óñòàíîâèòå ñîîòíîøåíèå ïåðåäà÷è àíãëèéñêîãî èíòåðíàöèîíàëüíîãî ñëîâà ðóññêèì è èíòåðíàöèîíàëüíûì.
XVII. Êàê ïåðåâîäèòñÿ ãëàãîë «to say»? Êàêèå òðàíñôîðìàöèè èñïîëüçóþòñÿ è ÷åì ïðè ýòîì ðóêîâîäñòâóåòñÿ ïåðåâîä÷èê? Íà
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ìàòåðèàëå 100 êîíòåêñòîâ îáîáùèòå ñåìàíòèêó ñëîâ, îáóñëîâëèâàþùóþ ñîîòâåòñòâóþùóþ çàìåíó.
XVIII. Íà ìàòåðèàëå ñîîòâåòñòâóþùèõ ñëîâàðåé ñäåëàéòå îáîáùåíèÿ îòíîñèòåëüíî ïðåäïî÷òèòåëüíûõ ñïîñîáîâ ïåðåâîäà íàçâàíèé îðãàíèçàöèé.
XIX. Êàêîâû ïðîáëåìû ïåðåâîäà äèàëîãîâ?
XX. Êàê êîíòåêñò ñïîñîáñòâóåò âûáîðó ñïîñîáà ïåðåâîäà îêêàçèîíàëüíûõ îáðàçîâàíèé (íàïðèìåð: But that isn’t just
thinkable, it’s conceivably doable, no taboo there)? Îöåíèòå
êà÷åñòâî ïåðåâîäà, ïðåäëîæèòå ñâîè âàðèàíòû.
Copyright ОАО «ЦКБ «БИБКОМ» & ООО «Aгентство Kнига-Cервис»
Ïåðåäà÷à àíãëèéñêèõ ôîíåì
Àíãë.
ôîíåìû
Àíãëèéñêîå
ñëîâî
Ðóññêîå
ñîîòâåòñòâèå
a:
à/àð
Farthing, start,
pass
Ôàðòèíã, ñòàðò,
ïàñ
{
à/å/ý
Fanta, Cam, Sam
ôàíòà, Êåì, Ñýì
ö
à/î
muffin, Ulster
ìàôôèí, Îëüñòåð
e
ý — íà÷àëî
ñëîâà (ïîñëå
ãëàñíûõ)
Essex, Edinburgh
Ýññåêñ,
Ýäèíáóðã
e
å — ïîñëå
ãëàñíûõ
penny, test
ïåííè, òåñò
i:
è/ý
East End, dee-jay
Èñò-Ýíä, äèäæåé
K
è/å
hobby,
IntelligenceService,
impeachment,
image, economist,
department
õîááè,
Èíòåëëèäæåíñ
ñåðâèñ,
èìïè÷ìåíò,
èìèäæ,
ýêîíîìèñò,
äåïàðòàìåíò
O
î
non-stop, hot-dog
íîí-ñòîï, õîò-äîã
O:
î/îð
sport, pop-corn,
Norfolk
ñïîðò, ïîï-êîðí,
Íîðôîëê
book-maker, Robin
Hood
Wedgwood, boots,
Liverpool
áóêìåêåð, Ðîáèí
Ãóä
Âåäæâóä, áóòñû,
Ëèâåðïóëü
u,
u:
312
Ðóññêèå
ñîîòâåòñòâèÿ
ó
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Àíãë.
ôîíåìû
Ðóññêèå
ñîîòâåòñòâèÿ
Àíãëèéñêîå
ñëîâî
Ðóññêîå
ñîîòâåòñòâèå
@:
å — ïîñëå
ñîãëàñíûõ ý — â
íà÷àëå ñëîâà è
ïîñëå ãëàñíûõ
×åð÷èëëü,
Churchill,
Internet, Bradbury, Èíòåðíåò,
Áðýäáåðè,
Irvin, firm, earl
Èðâèí, ôèðìà,
ýðë
@
òðàíñëèòåðàöèÿ
ñîîòâåòñòâóþùåé
áóêâû
Stanford, Pepsi
Cola, Suffolk,
rector, settlement,
server
Ñòýíôîðä, Ïåïñè
Êîëà, Ñóôôîëê,
ðåêòîð,
ñåòòëüìåíò,
ñåðâåð
aK
àé
FinancialTimes,
Hyde Park, Tide,
Highgate
Ôàéíåíøë Òàéìñ,
Ãàéä-ïàðê, Òàéä,
Õàéãåéò
aK@
àé
+òðàíñëèòåðàöèÿ
Ireland, Ayrshire
Èðëàíäèÿ,
Àéðøèð
au
àó
know-how, Bounty
íîó-õàó, Áàóíòè
au@
àóýð
Mayflower, Tower
Ìåéôëàóýð,
Òàóýð
eK
ýé — â íà÷àëå
ñëîâà åé — ïîñëå
ñîãëàñíûõ
BritishAirways,
display, shaping,
break
ÁðèòèøÝðóýéç,
äèñïëåé,
øåéïèíã, áðåéê
E@
ýð
Fairy
Ôýðè
K@
èð
Lancashire,
engineering
Ëàíêàøèð,
ýíäæèíèðèíã
OK
îé/îè
Polaroid, Playboy,
Toyota
Ïîëÿðîèä,
Ïëåéáîé, Òîéîòà
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Àíãë.
ôîíåìû
314
Ðóññêèå
ñîîòâåòñòâèÿ
Àíãëèéñêîå
ñëîâî
Ðóññêîå
ñîîòâåòñòâèå
ou
î/îó
soul, Vogue, Soho, Ñîóë, Âîã, Ñîõî,
road, Stonehenge, ðîóä, Ñòîíõåíäæ,
stone, discotheque ñòîóí, äèñêîòåêà
u@
óð/þà
tourist, steward
òóðèñò, ñòþàðä
b
á
Barbie
Áàðáè
d
ä
Derby
Äåðáè
g
ã
Greenpeace
Ãðèíïèñ
p
ï
publicity
ïàáëèñèòè
t
ò
trust
òðåñò
k
ê
Kensington
Êåíñèíãòîí
l
ë
lady
ëåäè
m
ì
Metropolitan
Ìåòðîïîëèòåí
n
í
Norman
Íîðìàí
Î
íã/í + (ê)
Fielding, Lincoln
Ôèëäèíã,
Ëèíêîëüí
r
ð (âåçäå)
Parkinson
Ïàðêèíñîí
s
ñ
safari
ñàôàðè
S
ø
Sheffield
Øåôôèëä
tS
÷/ò÷
Challenger
×åëåíäæåð
dZ
äæ
jeans
äæèíñû
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Àíãë.
ôîíåìû
Ðóññêèå
ñîîòâåòñòâèÿ
Àíãëèéñêîå
ñëîâî
Ðóññêîå
ñîîòâåòñòâèå
h
õ
Hilton
Õèëòîí
f
ô
football
ôóòáîë
v
â
veteran
âåòåðàí
z
ç/ñ
zigzag, Ponds
çèãçàã, Ïîíäñ
Z
æ
genre
æàíð
j
é
York
Éîðê
w
ó/â
Whitehall,
Washington
Óàéòõîëë,
Âàøèíãòîí
T
ò/ñ
Heathrow,
Theodore,
Jonathan,
Monthly
Õèòðîó, Òåîäîð,
Äæîíàòàí,
Ìàíñëè
D
ò/ä
farthing, fathom
ôàðòèíã, ôàäîì
ts
ö/òñ
Fitzroy
Ôèöðîé
-age
-èäæ
Greenwich
Village
Ãðèíâè÷
Âèëèäæ
-burgh
-áóðã
Edinburgh
Ýäèíáóðã
-ay/ey
-è
Sunday Mail
Ñàíäè Ìåéë
-ier/eer
-èð
brigadier,
Windermeer
áðèãàäèð,
Âèíäåðìèð
-our
-îð/óð
Wardour Street
Óîðäîð-Ñòðèò
315
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ôîíåìû
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Àíãëèéñêîå
ñëîâî
Ðóññêîå
ñîîòâåòñòâèå
-us
óñ/èé
Dionysus,
Copernicus,
Pretorius
Äèîíèñ,
Êîïåðíèê,
Ïðåòîðèóñ
-ham
-åì
Durham
Äàðåì
-land
-ëåíä
Disneyland
Äèñíåéëåíä
-shire
-øèð
Yorkshire
Éîðêøèð
-tion
-øí
Reconstruction
Ðåêîíñòðàêøí
-tional
-øíë
International
Èíòåðíåøíë
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ñåíò
St. Mary-le Bow
Ñåíò-ÌýðèëåÁîó
Mc/Mac
ìàê
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Ìàêìàëëåí
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