Ministry of Education and Science of the Kyrgyz Republic
ESPC International University of Kyrgyzstan
College «Taalim»
COURSE PAPER
Theme: A strategy for translating children’s poetic texts.
Done by:
Gainazarova Aichurok
Group:
PD1-20
Checked by:
Bishkek-2022
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Bolotbek uulu Nursultan
Content
INTRODUCTION……………………………………………………..….….. 3
CHAPTER I. TRANSLATION TASKS AND THEIR CREATION……….5
1.1Features of English literature for children ……..................….………….…..6
1.2 Researchers on the linguistic and stylistic features of Spike Milligan's
humorous poetry ..............................................…...……..……...….……….…. 8
CHAPTER II. THEORETICAL QUESTIONS OF TRANSLATION……17
2.1 Subject and tasks of translation………………………….……………..… 17
2.2 Denotative theory of translation………..… ………………......………...…25
CONCLUSION ………...……………….…………………………….....….. 31
BIBLIOGRAPHY ……………..……………..…………………………....... 33
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Introduction
Works of literature and art (books, paintings, sculpture and music) are an
active means of influencing moral education. "They influence children in a vivid,
imaginative and emotionally intense form by arousing diverse feelings and helping
them to acquire a moral attitude towards the phenomena of life around
them.Strictly speaking, children's literature is something created by masters of the
word especially for children. But, in addition, young readers take for themselves a
lot of general literature (for example, fairy tales by Pushkin, fables by Krylov,
songs by Koltsov, works of folklore, etc.).Children's folklore of foreign countries
is an artistic classic. The road to children's folklore of foreign countries was paved
by the oldest poets K.I. Chukovsky and S.Y. Marshak and many others. Marshak's
role in children's literature is great, but he is most often and most often spoken of
as a children's poet. Thanks to Marshak's penetrating translation work, many
"...English and Scottish folk ballads, without losing their national colouring,
sounded to the Russian reader as Russian original poems". S.Marshak used to say:
'When I was acquainted with Russian and English poetry for children, I was mostly
struck by the fact that the simplest and merry songs, fairy tales, humourous
catchphrases, can be as great and genuine works of art as folk songs and
ballads.Researchers (A.V. Zaporozhets, D.B. Elkonin, L.S. Slavina, D.M.
Aranovskaya, N.S. Karpinskaya et al.) point out that preschool is a period of active
formation of artistic perception. A work of art attracts children not only by its
bright figurative form, but also by its semantic content.perception of a work of art
takes children a long way from a gratuitous emotional response to an
understanding of the relationship between the means of artistic expression and the
content of the work.Yuri Koval, one of the best children's writers whose works are
distinguished by their psychology, noted children's ability to perceive
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a certain dialectic of the soul: the complexity of people's inner world, its fluidity
and changeability. They catch the "transitions" of one feeling into another, one
thought into another.Children's literature is an art. As an art, it is characteristic of
expressing generalized ideas in a bright, artistic form - in concrete images.
"Therefore, the artistic level of a literary work is of utmost importance.The norm
of artistry is an organic merging of content, ideas of the work with the form of their
expression, which most exactly coincides with the idea, expresses it in the best
way. The carrier of ideas in a children's book is always the hero.
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1.1 Features of English literature for children
Children's literature is literature which includes works for infants, middle
children and teenagers.The language of artistic images of the tasks of upbringing
and education of children.The specificity of children's literature lies in the
peculiarities of children's. The specific nature of children's literature is in the
nature of their perception of reality, which differs significantly from that of
adults.which differs significantly from the perception of an adult. The younger the
age of the reader, the more specific. The smaller the age of the reader, the more
specific the works are for children, and vice versa.The peculiarity of children's
work is conditioned by taking into account the age the reader's comprehension
capabilities and the tasks facing her. In this connection In this regard, appropriate
artistic means are chosen. The famous critic and author of books on children's
literature I. Motyashov said: "The whole question of so-called age specificity since
the time of Belinsky is reduced to the style of children's works; the narrative must
be "adjusted to children's perception, accessible, vivid, imaginative, entertaining,
colorful, emotional, simple, clear."These requirements are fully met by poems that
give young reader with vivid imagery, pointing out characteristic features of the
described object or phenomenon. It is no accident that the best poems for children,
poems one hears at a very early age often remain in one's memory for life. They
often remain in one's memory for life and become one's first encounter with the art
of the spoken word for one's children. An example of this is the poems of Russian
poets such as S. Marshak, A. Barto and K. Chukovsky.As for English children's
literature, it has a separate place in world children's literature. In the case of
English children's literature, it has its own place in the world literature of children.
The characteristic features of the English literature for children are as follows of
English literature for children are illogisms, eccentricity, eccentricity, the
eccentricity, the eccentricity of the impossible, combined with light lyricism and
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good humour. M. Gorky I have often repeated the words of a famous politician:
"There's a kind of satirical or sceptical attitude to the conventional,satirical or
skeptical attitude to the commonplace, there's a desire to turn it inside out, to
distort it a little, to show the illogic of the commonplace. Intricate, but interesting!" This statement accentuates our attention to those features that are
regarded as peculiarly national to British children's literature. Bolotnova N.N.
writes: "In the majority of children's poems, it is easy to detect deliberately
mischievous deviation from reality. For English folklore is highly. The genre of
verses upside down - verses upside down - is highly typical of English folklore.
herrings grow on trees and strawberries at the bottom of the sea, buttercups eat a
cow, a cat is afraid of mice, pigs walk around in satin waistcoats and ducks in
white sandals. In many of the poems, the inscrutable acts are motivated by ordinary
human stupidity, which has grown to fantastic proportions.". A sign of an
unintelligent (foolish) attitude to life in England are considered to be the
inhabitants of the legendary village of Gotham, of whom there are of which there
are many proverbs and sayings. One such proverb is quoted by Bolotnova N.N.:
"They either build a fence around the cuckoo to keep summer in, or catch the with
poles the moon in the pond, or they go travelling by sea in a basin". Wordplay is
the most characteristic feature of children's literature England. It is also specific to
Russian non-fiction and nonsense. "The English have have a sense of humour
similar to our own," said S. Y. Marshak in a conversation to English journalists.
"Most Russians like nonsense too, although there are some countries where people
have no taste for such things." It is not uncommon for a joke to combine a riddle, a
counting rhyme and a catchphrase. For example, a famous children's song tells of
the extraordinary beast Hampti-Dampti. He's caused quite a lot of trouble to
translators, and perhaps only S.Y. Marshak has managed to retain the beauty and
quirkiness of the original and at the same time make it close to Russian children:
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"Humpty Dumpty was sitting on the wall. Humpty Dumpty fell in his sleep. All the
king's cavalry, All the king's men Can't Humpty Dumpty Humpty Dumpty,
Humpty Dumpty, Humpty Dumpty, Humpty Dumpty collect". As mentioned
earlier, the main features of English children's children's literature are jokes,
wordplay, and comicism, for which humour is the unifying factor. The MerriamWebster English Dictionary defines humour as "humour (humor), the amusing
quality or element in something - an amusing quality or element in something".
"According to the definitions of humour and the synonyms that exist for it
synonyms, the semantic field of humorous includes such conceptual range that
begins with unkind mockery and jovial witticism and ends with the transformation
of humour into boisterousness and riotousness." . Literary scholars, describing the
category of the comic, focus attention to the study of humour, means and
techniques of its embodiment in the fiction text. Considering humor as a special
means of verbal human thoughts and feelings, mainly of positive (humour can also
be associated with negative feelings), philologists speak of the special role of the
comic in society, in the process of socialization personality. M. A. Kulinich notes:
"A shared understanding of humour in social interaction helps to establish and
further maintain social relations. Humour is a social tool, which allows you to
relieve psychological stress quite effectively and generally improve relationships.
It is also a tool is a mea s of socialisation" . Scholars who consider different
aspects of linguistic phenomena, pay attention to how language changes over time.
Thus, Arnold I.V. writes: "The components of the concept of humour change over
time over time, as the characteristics of the subjects who use them".
Dahl's
explanatory dictionary, in defining humour, emphasises on the characteristic of a
person's peculiar attitude to reality: "a cheerful, sharp, humorous fold of the mind,
able to notice and sharply, but oddities of manners or customs; daring, wry irony"
Humour is also defined as follows: -an unkind sneer, a good-natured laugh; an
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attitude imbued with a good-natured laugh; an attitude towards something
(someone's faults, weaknesses, misfortunes) .A body of literary (or generally
artistic) works, imbued with this attitude to reality. To summarise this paragraph,
we can conclude that children's literature in England literature for children in
England has its own peculiar characteristics. The main ones are literary scholars
and translators call wordplay, paradoxicality, eccentricities combined with a soft
lyricism and life-giving humour, sometimes with touches of irony, even satire.
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1.2 Researchers on the linguistic and stylistic features of Spike Milligan's
humorous poetry
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