translation

Legal terms are not uniform at the international level, but they are closely connected with a national legal system. This implies serious conceptual inconsistencies. The above-mentioned systemic connection leads to the fact that either boundaries of terms’ meanings belonging to diff erent jurisdictions or the degree of their explication may vary. Despite some similarities in legal systems, primarily of European countries, each state has its own legal order, conceptual and terminological systems, specifi c legal rules, forms and procedures of judicial proceedings.

This article considers methods of rendering formally selected fragments of a poetic text in translation; the research is based on the material of 16 F rench translations of A. S. Pushkin’s Eugene Onegin. The isomorphism of formally selected fragments depends on the poetic form as a whole chosen by the translator.

The article discusses the phenomenon of lexical variability on the example of the names of flora and fauna in French retranslations of the Tale of Igor’s Campaign (11 texts). In the course of the study a number of reasons for lexical variability are determined: various reconstructions of the Old Russian text, parallel Russian texts from which translations were made, standard translator’s solutions.

The article is concerned with the textual and interpersonal functions of discourse marker you know in movie dialogues and the means of its functional translation in subtitles and dubbing. The subtitled and dubbed versions are compared in terms of the proportion of marker omission as well as the proportion of functional losses.

The article deals with Russian translations of the famous novel The Wandering Jew (1844) by the French writer Eugène Sue, performed at different times. The brief characteristics of translators are considered. The comparative analysis of translations in the conceptual and cultural context of its era is carried out. The printing features of individual publications are characterized.

The article is devoted to the study of the play of the modern English playwright M. Frein "Wild Honey", which in turn is a translation-interpretation of Chekhov's "Platonov". The article analyzes approaches, ways Frein uses in working with Chekhov's text, and also tries to understand how organically the classical Russian-language text exists in the space of the theatrical culture of England.

The article offers a history of the publication of translations of M. Jursenar's works into Russian since 1984 and systematizes the assessments and approaches to the work of the French writer, which have been developing in parallel in domestic criticism.

The author considers cases of partial and complete dissimilarity of original and translated names of motion pictures, reveals possible reasons for using transformational operations.