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Part of the text: and published in two volumes in 1993-1994. in Munich (Germany) and Graz (Austria) *. The editors included here not only an analysis of the poet’s texts, but also some provisions that served theoretical basis for the main part of the work - 320 pages of analysis of the poetry of V. Vysotsky. The editors note that this study is the first significant analysis of V. Vysotsky’s work in the West, written specifically for the German Slavist reader. One of the objectives of this study was to introduce the reader to the work of V. Vysotsky and interpret his texts. Undoubtedly, the translation will also open up for the Russian reader certain facets of his work that have remained unnoticed until now, and will be able to convey an outsider’s view. This is how dialogue is born, which is so necessary in our time. Quotes from V. Vysotsky's texts are printed based on the original dissertation; only obvious errors are corrected without reservation, the elimination of which does not affect the context. TEXT CONNECTIONS IN THE POETIC WORK OF VLADIMIR VYSOTSKY That’s why it’s fun to work on poetry, because in this area almost everything is controversial. B. Tomashevsky “Verse and Rhythm” 2.0. On the issue of the theory of textual connections 2.0.0. Introduction The axiom according to which texts, along with extra-speech...
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Part of the text: This time, so significant for Germany and Russia, is perhaps not felt in the work of the Austrian Heinrich Pfandl. And the then interns from the GDR in the USSR, Katharina Berndt and Veit Sorge, were caught by a historical turning point at the moment of finalizing and submitting their dissertations for defense. And this is sometimes felt either in the formulation of problems or in the formulations. As for Katya Lebedeva’s dissertation, either it was prepared and presented for defense outside our “camp,” or following a title that significantly expanded (and even changed!) the academic intention, and the text itself underwent some content-stylistic modification. But we are interested in which aspects primarily attracted the attention of the dissertation candidates of that time and in the context of which scientific problems they included Vysotsky’s work and an original song. It is no coincidence that the number of dissertations under consideration is limited to just these four. To this type (and series) of studies could be added, according to at least, mentioned by all four dissertation students is the work of Dagmar Boss “Soviet author's song. A study based on the example of the work of Alexander Galich, Bulat Okudzhava and Vladimir Vysotsky,” published by the same publishing house as the book by H. Pfandl and also available in the collections of the V. S. Vysotsky Center-Museum. But it came out eight years earlier, and there’s a special conversation about it. The history of High Studies will probably not be indifferent to I. Klagge’s dissertation “Songs of urban youth as component folk artistic creativity in the Soviet Union”, which, judging by the name and due to its even earlier...
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Part of the text: time is an important place because due to cultural differences, people who speak the same language cannot always understand each other. S.G. Ter-Minasova notes that the mixing of cultures has reached an unprecedented scale and the problem of instilling tolerance for foreign cultures, awakening interest and respect for them, overcoming feelings of irritation from their redundancy, insufficiency or simply dissimilarity has become very acute. One of the leading means of getting to know another culture is translated texts, especially fiction. All the subtleties and depth of the problems of intercultural and interlingual communications become especially clear when comparing native source texts with translated ones. Analysis of original texts in Russian and translation texts makes it possible to verify that translators, perceiving the phenomena of another culture through the prism of their own, quite often present the phenomena of a foreign culture through the eyes of the “translating” culture. Distortions of information occur most often because there is an asymmetry in the reflection of the picture of the world in Russian and some other language. French and English translations of texts by Alexander Galich and Vladimir Vysotsky indicate that translated literature can be considered as a source of information about Russian life and cultural features Soviet period life. The facts of intercultural asymmetry observed during a comparative analysis of the language of these authors in translation are numerous and varied. Special place researchers focus on comparing the most...
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Part of the text:“Mercedes escapes the chase” - 1980, film studio named after A. Dovzhenko, director Yuriy Lyashenko, scriptwriters Andrey Lokotosh, Igor Shevtsov, composer Evgeniy Doga. *** The film features the song “He Didn’t Return from the Battle” (“Why is everything wrong?..”). *** Vysotsky refused I. Shevtsov’s offer to star in this film. "I just did a role in 'Age of Mercy' - it's similar. There's no point in repeating myself," he said. (Quoted from: "Vaganta Library", Moscow, 1992, No. 9) *** The song "About the End of the War" recorded by Vysotsky ("The balloons no longer loom over the city...") was not included in the film. "Our Calling" - 1981 (4-episode television film, released in 1986), "Belarusfilm", director and scriptwriter Gennady Poloka (script written in 1967 based on the story by Nikolai Ognev (Mikhail Grigoryevich Rozanov) " Diary of Kostya Ryabtsev"), composer Andrey Eshpai, lyrics by Leonid Zavalnyuk, Vladimir Vysotsky. *** Author of the lyrics of the song "Anthem of Busoviki" ("From class to class we will go up..."). *** June 25, 1980 Vysotsky was approved for one of the main roles - “a party worker with a guitar” - the secretary of Syrovegin’s committee, was supposed to write several songs for the film, but managed only one; the role of Syrovegin was played by Ivan Bortnik. “The Only Man” - 1981, “Belarusfilm "commissioned by the USSR State Television and Radio, directed by Vsevolod...
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Part of the text: its harmony and charms. Dante The art of poetic translation at all times required special skill and spiritual indicators on the part of the translator. It is no coincidence that V. A. Zhukovsky compared the translator with a debtor who undertook to repay the debt, if not in the same coin, then at least in an equivalent amount. French translators Henri Abril and Léon Robel, hearing the voice of Vladimir Vysotsky, sought to understand the change in rhythm speeds and convey the emotional charge of the verse, its expressive component. They were united by a great desire to convey “ inner hearing"poet. There is nothing more difficult in translating poetic series than to be poetically faithful. The thought of Vladimir Vysotsky requires a clear hierarchy of words, and Vysotsky’s author’s word is a capacious reservoir for expressing feelings. The translator’s task is not to kill this bright, sensual soul and to do at least the simplest analysis of “blood type” compatibility in order to prevent a tragic discrepancy. Henri Abril and Leon Robel felt the truly Russian soul of the poet, although they encountered considerable difficulties in finding an exact equivalent. This article does not aim to identify the pros and cons of a particular translation; to determine which translator is more talented and which is less talented is a fool’s errand. It seems more interesting to conduct a comparative analysis of the original and the French translation to identify the linguistic mechanisms of the Romance language in conveying the emotional resources of Vysotsky’s Slavic word. This...
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The site has an English-Russian dictionary, in which you can search for any words for any required this moment letter. To find the desired translation of a word, you should study the options and synonyms for it provided by the online translation, and, having selected what you need, click on the word from the dictionary.
Online dictionaries are very useful services. They are available at any time and are easy and simple to use. With their help, you can find and use a lot of useful information about everything: regarding work, science, the cultural sphere, communication, etc. Using this service will not only save time, but will also open up new opportunities. For all users, providing, if necessary, the services of a translator, advisor and interpreter, as well as an assistant in finding entertainment.
Using the services of these dictionaries, you can translate individual words, entire phrases, and texts from Russian into English and vice versa. At the same time, it is possible to find a transcription and even hear the desired pronunciation. On the site you can find the correct use of words in different dialects and adverbs. Language features that sometimes make it difficult to interpret some individual words or expressions will not be a problem for the online translator of the described service. He will prompt and guide the correct construction of the phrase and help avoid gross speech errors when translating different texts. A virtual keyboard is provided with which you can quickly type words and texts in Latin.
If you need to find special terms, rarely used words, or specific phrases and expressions that are not in the dictionary, you can ask the site’s community of translators for such a service. It is also provided completely free of charge. You can find it in the “Question and Answer” section.
English-Russian-English dictionary and search with alphabetical index
The site has an English-Russian dictionary in which you can search for any words with any letter required at the moment. To find the desired translation of a word, you should study the options and synonyms for it provided by the online translation, and, having selected what you need, click on the word from the dictionary.
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Part of the text: L., 1931, vol. 1, p. 10; Zabludovsky M. D. Ben Johnson. - In the book: History English literature. M.; L., 1945, vol. 1, issue. 2 s. 80-81 Romm A. S. Ben Jonson. 1573-1637. L.; M., 1958, p. 24-25.). Academician M.P. Alekseev wrote that Johnson is similar to Shakespeare in his “courage and breadth of thought, radical and humanistic tendencies in the formulation and solution of social and moral problems,” but at the same time he is characterized by “scientific pedantry, some rationalistic dryness and deliberate instructiveness" (Alekseev M.P. Playwrights - contemporaries and successors of Shakespeare. - In the book: History of Western European Literature: Early Middle Ages and Renaissance. 2nd ed. M., 1959, p. 546.). A. Anikst, citing numerous judgments of Ben Jonson about the character and works of Shakespeare, makes a fair conclusion that Johnson highly valued Shakespeare as a person and a playwright, despite the differences in their creative principles (Anikst A. Shakespeare in the assessment of his contemporaries. - In the book. - Classical art abroad: Collection of articles. M., 1966, pp. 22-26.). Ben Jonson's Roman tragedies The Fall of Sejanus and The Conspiracy of Catiline are less studied than his comedies and are rarely compared with Shakespeare's Roman tragedies. True, most researchers of Ben Jonson's work admit that he wrote them under the direct influence of Shakespeare's tragedies "Julius Caesar" and...
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Part of the text: III. 21--22). 3) Grimm, Deutsche Mythologie II. 730--732. On the dramatic nature of the Slavic rituals associated with the celebration of summer and the expulsion of winter, see also the article by Mr. Tikhonravov, The Beginning of the Russian Theater in the Chronicles of Russian Literature. and Ancient Vol. III. 4) Grimm, D. M. II. 735--736. Freytag, De initiis scenicae poesis apud Germanos p. 13. Berol. 1838. 5) See Mannhardt's article Das Bruckenspiel in Zeitschrift für deutsche Mythologie und Sittenkunde, IV Band s. 301--320. In the same book the reader will find several interesting children's games recorded by Feifalik in different areas of Moravia. 6) Chaucer, in the final stanzas of his poem Court of Love, describes the May celebrations that took place during his time: Fourth goeth al the Court, both most and best That fetch the flouris fresh and branch and blome, And namely hauthorn brought both page and grome And then rejoisen in their great delite, etc. (Chaucer's Works, London 1721, in folio p. 571). Chronicler Edward Hall reports that by 1516 King Henry VIII and his wife Katherine of Arragon took part in the May train (Nares, Glossary , illustrating English authors, particularly Shakspeare and his Contemporaries. New Edition by Halliwell and Wright, sub voce). 7) The content of one of the most graceful ballads of Tennyson (The May Queen), a poet who knows how to respond to everything poetic, is based on this motif in the past of his people. 8) It was published by Ritson in his collection of folk ballads about Robin Hood. (Robin Hood. A Collection of Poems, Songs and Ballads, relative to that celebrated English outlaw. New Edition. L. 1869. p. 106--108). 9) Notices, illustrative of the Drama and other popular amusements chiefly in the 16th and 17th centuries, by W. Kelly. London 1865 p. 69. At 14 table. Scottish chronicler Fordun mentions folk drama...
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Part of the text: in the 14th century, Scientific Notes of Kazan University, 1873, No. 1 - 2, it is necessary to mention the article by A. N. Veselovsky, The Book-reading King, Zhurn. Min. Nar. Proev., 1890, No. 10. 2. I quote from the above-mentioned work of G. de Blasiis, Racconti, p. 224. 3. Ibid., p. 282. 4. For Rome in the 14th century. The main literature is the same as that named in note 3 to Chapter II. In addition, it is necessary to indicate a number of articles by M. Antonelli: I) La dominazione pontificia nel Patrimo nio negli ultimi venti anni del periodo avignonese, Archivio d. R. Soc. Romana di Storia, Patria, Vol. XXX, fasc. Ill-IV, 1907; 2) Viccende della dominazione pontificia nel patrimonio di S. Pietro in Tuscia della traslazione deila sede alia Restaurazione dell "Albornoz, same magazine, vol, XXV, XXVI, XXVII, 1902-4; 3) Nuove ricerche per la storia del patrimonio del 1321 al 1341, the same journal N. S., vol. 1, 1935, as well as works, E. Dupre Theseider, I Papi d "Avignone e la questione romana, Firenze, 1939; G. Tellenbach, Beitrage zur kurialen Verwaltungsgeschichte im 14 Jahrh., Quellen .jnd Forschungen., 24, 1933; G. Ermini, 1 Parlamenti dello Stato della Chiesa delle origini al Periodo Albornoziano, Roma, 1931; G. Mollat, Contribution a l"Histoire de l"administration judiciaire de l"Eglise romaine au XIV s., Revue d"Hist. ecclesiastique, t. XXXII, No. 4, 1936 and, especially, a very complete study by K. N. Schafer, Die Ausgaben der Apostolischen Kammer unter Johann XXII, nebst den Jahresbilanzen von 1316-1375, Paderborn, 1911, (Vatik. Quellen zur Gesch. d. Papstl. Hofund Finanzwesen , 1316-1378 century II). 5. ... Consulibus bovacteriorum et mercatormn, collegio Judicum et notariorum, consulibus artium,...
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Part of the text: as is known, to the “heroic legend of heroic antiquity Northern Europe"[Op. cit., 9]. This is the tale of Amleth. Shakespeare's was preceded by another play about Hamlet (“Ur-Hamlet”). Only three mentions of it have reached us (1589, 1594, 1596). But no documentary evidence has been preserved as to who its author was (see, for example, [Anikst 1966, 575]). Some scholars believe that its content can be judged from the extant text of an anonymous German play from the 17th century. "The Punished Fratricide" (Der bestrafte Brudermord), published in 1781 (see, for example, O. Campbell's Encyclopedia of Shakespeare, 286). The most likely source for both plays, as well as, apparently, for Thomas Kyd's The Spanish Tragedy, is considered to be the tale of Amleth's revenge, contained in the fifth book of Histoires tragiques by the French writer Francois de Belleforest (1530). –1583) . At the turn of the 16th and 17th centuries. Belfore's book (starting in 1570) went through “at least ten editions”, and in 1608...
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Part of the text: Dante), dedicated a message of friendship to him. His creative legacy, which has survived to this day, consists of 58 sonnets, which can be grouped according to thematic principles: play, love, politics, ordinary correspondence. In terms of style, they are divided into “courtly” and “game”. In the first, Rustico appears as a successor of Provençal and Sicilian poetry and a student of Guittone d'Arezzo, but at the same time they are largely devoid of originality. The “game” sonnets seem much more striking, especially those containing satire on women or political invective. built according to the rules of the technique of the so-called “vituperium" - abuse, insults - it was widespread in goliardic and comic poetry. Rustico boldly combines dialect vocabulary with archaisms, thus creating original game words Belonging to the Ghibelline party, he directs his satire against the Guelphs, often achieving the desired...
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Part of the text: at different nations(Dähnhardt O. Natursagen: Eine Sammlung naturdeutender Sagen, Märchen, Fabeln und Legenden. Bd I: Sagen zum alten Testament. Kap. 13: Sündflutsagen. Leipzig und Berlin, 1907. S. 257-266; Utley. F. L. The Devil in the Ark. Chillicothe, 1959 (Ohio Valley folk publications. New ser. N 32); Comparative index of plots: East Slavic fairy tale. L., 1979. No. 825. P. 209). Sometimes folk tale differs significantly from the apocrypha read in ancient Russian manuscripts. For example, the tale reported by I.F. Buslaev is called the tale of Noah and Evga. God told Noah not to tell anyone about the construction of the ark, because he wanted to drown the devil with all the people, otherwise he would again seduce the whole world (“The evil one thinks: if I were whole, there will be sinners”). The devil hid under Evga’s hem, and she could only enter the ark after Noah’s words: “Go away, you damned one!”, after which the devil, perceiving these words as a call to him, enters the ark with Evga. Before this, Noah's wife hesitated under the pretext that she needed to grab pots, spoons and bowls. The tale ends with the devil surviving in the ark (“the flood passed, but sin remained”) (Preface to Russian folk songs collected by P. I. Yakushkin // Chronicles of Russian literature and antiquity, published by N. Tikhonravov. M., 1859. T. 1. Dept. 2. P. 99, 102-104). Buslaev's tale is the opposite in meaning...
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Part of the text: the mention of Karpov dates back to 1495, when he was the “bed attendant” of Ivan III during the Grand Duke’s trip to Novgorod; by 1545 he was no longer alive). At the same time, Fyodor Karpov is one of the most original and educated Russian publicists of his time, whose opinion was taken into account by outstanding writers of the 16th century. — Maxim the Greek, Nikolai Bulev, monk Philotheus, Metropolitan Daniel. His letters contain the names of ancient authors - Homer and Aristotle, and his letter to Metropolitan Daniel includes quotes from Ovid. To date, seven letters of Karpov are known, of which four are published in this edition: two - to Maxim the Greek, one - to Metropolitan Daniel and one - to the monk Philotheus (the remaining three messages are published in the book: Bulanin D. M. Ancient traditions in ancient Russian literature XI —XVI centuries München, 1991). In addition, Karpov deserves a word of commendation Vasily III, printed by N. N. Rozov (Eulogy to Grand Duke Vasily III // Archaeographic Yearbook for 1964. M., 1965. P. 278-289). However, when characterizing his literary activity, it should be taken into account that many of the writer’s works have not survived. We learn about them from the response messages of Maxim the Greek, which indicate...
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Part of the text: then it remained a readable book, nourishing thought and revered. His influence quickly spread beyond the spread of the Greek language: already in the 6th century. it was translated into Syriac, then, in the 8th century, into Arabic, Armenian (718) and again into Syriac, then, in the 9th century, into Coptic and Latin (835 and 860; into Latin after this was translated many times), at the end of the 11th century. - into Georgian and, finally, in the XIV, XVII and early XIX V. - into Slavic. (I am not talking here about transcriptions - to one degree or another, inevitably, retellings - into modern living languages.). Translating this book has always been a very difficult task - both because of its large volume and because of the complexity of its content - the complexity of speculative, stylistic and terminological. The translator had to be able to follow the author's speculations and reasoning, and the translation language had to have or be able to accept developed philosophical terminology. But once done, the translation always turned out to be a significant and multifaceted contribution to the culture of those countries to which it opened the Areopagite corpus. Alluring with its aspiration to Scripture and through it - beyond the limits of the comprehensible mind, to the Eternal, the Corpus served as a “fermentation enzyme” for the culture of almost all Christian countries. Although it is now common among scholars to call the main author of the Corpus Pseudo-Dionysius, I will call him as he was called while the Corpus was being read. There is no danger that because of this one can confuse him with some other author, and his works with others. All works included in the Corpus have personal addresses, like messages. However, they are varied in genre and include ten epistles proper (at the end of the Corpus) and four treatises of different sizes, or books, consisting of 15, 13, 7 and 5 chapters, respectively. These are the works “On the Heavenly Hierarchy”, “On the Divine Names”, “On the Church Hierarchy”,...
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Part of the text: at the end of the 15th - first half of the 16th century. (the first mention of Karpov dates back to 1495, when he was the “bed attendant” of Ivan III during the Grand Duke’s trip to Novgorod; by 1545 he was no longer alive). At the same time, Fyodor Karpov is one of the most original and educated Russian publicists of his time, whose opinion was taken into account by outstanding writers of the 16th century. — Maxim the Greek, Nikolai Bulev, monk Philotheus, Metropolitan Daniel. His letters contain the names of ancient authors - Homer and Aristotle, and his letter to Metropolitan Daniel includes quotes from Ovid. To date, seven letters of Karpov are known, of which four are published in this edition: two - to Maxim the Greek, one - to Metropolitan Daniel and one - to the monk Philotheus (the remaining three messages are published in the book: Bulanin D. M. Ancient traditions in ancient Russian literature XI —XVI centuries München, 1991). In addition, Karpov owns the Eulogy to Vasily III, printed by N. N. Rozov (Eulogy to Grand Duke Vasily III // Archaeographic Yearbook for 1964. M., 1965. pp. 278-289). However, when characterizing his literary activity, it should be taken into account that many of the writer’s works have not survived. We learn about them from the replies of Maxim the Greek, which testify to Karpov’s versatile interests: astrology, philosophy, theology equally attracted his attention. Maxim the Greek calls the writer “wise” and “most honorable”; Prince A.M. Kurbsky called Fyodor Karpov a “reasonable husband.” Correspondence with Maxim the Greek, including two messages from Maxim and one message from Karpov, is usually dated to 1518-1519. This is the earliest evidence of the literary inclinations of Fyodor Karpov. The correspondence arose in connection with a controversy between Maxim the Greek, an Athonite elder who had just arrived in Moscow to translate...
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