- The authors:
Еlena А. Barsukova
- Pages: 492-501
- Section: INTERRELATION BETWEEN FUNCTIONAL APPROACHES OF INTERCULTURAL COMMUNICATION AND INTERPRETATION ISSUES
- URL: http://conferences-ifl.rudn.ru/2712-7974-2019-6-492-501/
- DOI: 10.22363/2712-7974-2019-6-492-501
Abstract. The present paper addresses the difficulties of rendering from the English language into Russian the titles of musical
pieces that contain terms of color. The study focuses on the musical compositions written in the first half of the 20 th century in
the USA, since using terms of color in naming the pieces was
particularly widespread among jazz and blues musicians and
those who drew inspiration from those genres in the studied period. The objective of the paper is to carry out comparative analysis of the original titles in the English language and their equivalents in Russian, identify the challenges terms of color pose for a translator, assess the level of equivalence achieved, and specify the areas of divergence in the linguistic pictures of the worldrepresented in the material under consideration. The methods involved in the study are comparative analysis, quantitative analysis, as well as etymological and semantic methods. The paper discusses a number of compositions by George Gershwin (Rhapsody in Blue, Blue Monday), Duke Ellington (Deep Blue, Mood Indigo, Moon Indigo, Midnight Indigo, Indigo Echoes, Black,
Brown and Beige, Black and Tan Fantasy)and Igor Stravinsky
(Ebony Concerto) whose titles have a number of translation
equivalents in the Russian language. It is suggested that the variability is rooted in cultural differences in the perception of colour. The comparative analysis of the semantics of the terms of
color blue, black, brown and beige and their equivalents in the
Russian language demonstrated that they represent a zone of
asymmetry in the linguistic picture of the world of the languages
under consideration. Rendering these terms of color in the names
of musical pieces can pose serious difficulties in the process of
translation and the multiple layers of the senses and connotations
they convey can lead to differentinterpretations and, as a consequence, to variability of equivalents in the target language.
Keywords:translation, variation, termsof colour, the semantics
of colour, names of musical pieces
Еlena А. Barsukova
Lomonosov Moscow State University
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