THE STRATEGIES OF EPIC WORLD COMPOSING IN THE YAKUT HEROIC EPIC OLONKHO BY THE MEANS OF THE RUSSIAN LANGUAGE

Abstract

The present article reviews various strategies of translating the Yakut heroic epic Olonkho into Russian language and includes conveyance of the meaning of culture-specific elements and grammatical structures, uncommon in the Russian language. The epic world of Olonkho is understood as the collection of location descriptions, mythological ideas, persistent tropes, distinctive patterns in the form of a uniquely organized text, which consists of realia, culture-specific elements in translation and interpretation studies; persistent imageries in the form of established descriptive words, figures of speech, etc.; so called typical places or epic formulae, which consist of traditional depictions and alliterative syntactic parallelisms. All the above mentioned forms unique literary style of Olonkho, the attributes of which are necessary to convey adequately when translating it into other languages, including Russian.

As fixed statements of translations’ strategical goals, the author analyses so called “letters to readers”, which accompany translations, and methods of translation as the result of one or another strategy realization.

The author points out two major strategies of creating the epic world of Olonkho in Russian language, which are the same as the two major types of Olonkho translation. The first strategy is defined by a communicative situation, in which an initiator of translation demands the highest possible preservation of original poetic manner up to the preservation of linage and syntactic structure of sentences for reproduction of Olonkho in a foreign language in order to widen the circle of folklore’s readers and researchers. The examples of translational decisions, used in the realization of such strategy, are introduced.

The second strategy of composing the epic world of Olonkho is defined by a communicative situation, in which initiators of translation have diverse goals, ranging from simple insight into the major plot to conveyance of artistic and stylistic features of a folkloric text, so that the reader can embrace emotionally the other culture’s text. At this rate a translator is primary guided by aesthetics of declamation art of the language, into which the translation is conducted, and finds the balance between familiar and exotic for the reader of the translation.

The conclusion of the approaches of the strategies of composing the epic world of Olonkho in the Russian language are made in the end of the article. The translation methods uniformity of varied Olonkhos’ text units is noted, which gradually creates the canon of Olonkho translation into the Russian language and through which the parallel epic world of Olonkho of the Russian language is composed.

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