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Peculiarities in translation of the works of American writers into the Tatar
language in the first half of the XX-th century in the context of the dialogue of
cultures
Aidar Damirovich Galimullin, Alfiya Foatovna Galimullina and Gulnar Ajratovna
Arslanova
Kazan Federal University
18,Kremlevskaya Str., 420008, Kazan, Russisa
Abstract
The authors of the paper examine peculiarities in translation of the works of American
writers into the Tatar language. One of these peculiarities is in their having a three-step nature:
first comes the original text, then translation into the Russian language, and finally translation into
the Tatar language. Prosaic works were translated more often compared to poetry and drama. The
Tatar literature, being an integral part of the unified multi-ethnic Russian literary process,
manifested similar trends in assimilation of American culture. Translations of works of American
writers and biographical articles were regularly published in Tatar magazines and, as a rule, they
were timed to different anniversary celebrations. The main form of critical comprehension of
American literature by Tatar critics was a genre of preface, where a sociological approach to the
analysis of literary works dominated. The study of translations of the works of American writers
into the Tatar language in the first half of the twentieth century allows us to make a conclusion of
their large number and availability of two approaches to translation. The most common type of
translation was a secondary one, that is from Russian language. The works of American writers
were translated into the Tatar language, in rare cases Tatar translators turned directly to the texts
in the original language. Due to the fact that Tatar translators did not know English well enough
but their desire to acquaint Tatar readers with new and often rather exotic works was so great that
Russian translation of the works of American writers became the primary source for the Tatar
translation. This made the work of translators very complicated and caused subjective and objective
distortions in the original text. The chronological list of American authors and their works which
were selected for translation into the Tatar language in the 1920`s-1960's allows to reveal the
dynamics of the process of translation of American literature, the preference given to particular
authors, and the predominance of specific problems raised by the authors. The range of the names
of American novelists, poets and playwrights who caused interest of Tatar translators of the first
half of the twentieth century is rather wide and varied. The design of Tatar translations of that time
is characterized by such specific features as the lack of references to the title of the text in the
original language, which makes it difficult to restore the original title of the works of American
writers not well known to modern readers.
Keywords: American literature, Tatar literature, translation, dialogue of cultures,
literary interconnections.
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Introduction
The beginning of reception of the American literature by the Tatar culture dates back to the
1920s and is connected with considerable interest in the modern Western literature where the
literature of the United States occupied one of the a prominent positions. It was due to activities of
numerous public and private publishers during the NEP period in the 1920s that a huge stream of
American literature came to Soviet readers. During seven years of the NEP policy the works of
ninety one American writers were published as separate editions, the names of eighty of them being
quite new to Soviet readers. O. Nesmelova in her monograph "Ways of development of American
studies in Russia in the XX-th century" is writing that a great interest in American literature was
caused by several reasons among which she names the following: the ambivalent attitude towards
the United States and its culture, the pursuit of "a link", interconnection of literary and social
problems when studying the USA, a special attitude of the new country-Soviet Russia, to the vast
energy potential that came from America as a state, and, of course, it was clearly reflected in the
attitude to the literature and culture of the United States. [1: 12]. The Tatar literature, being an
integral part of the unified multi-ethnic Russian literary process, manifested similar trends in
assimilation of American culture. Translations of works of American writers and biographical
articles were regularly published in Tatar magazines and, as a rule, they were timed to different
anniversary celebrations. The main form of critical comprehension of American literature by Tatar
critics was a genre of preface, where a sociological approach to the analysis of literary works
dominated.
The study of translations of the works of American writers into the Tatar language in the first
half of the twentieth century allows us to make a conclusion of their large number and availability
of two approaches to translation. The most common type of translation was a secondary one, that is
from Russian language the works of American writers were translated into the Tatar language, in
rare cases Tatar translators turned directly to the texts in the original language.
Methodology
The problems of literary interconnections have been developed by the comparative literary
criticism and the founder of it was A.N. Veselovskiy. Historical-genetical, comparative-historical,
historical-typological methods enable to reveal the character of interconnections between different
literatures, define typological similarities and determine interconnections and the impact of
literatures. The main theoretical principles of Russian comparative criticism were established in the
works of M.P. Alekseev, V.M. Zhirmunskiy, N.I. Conrad, I.G. Neupokoyeva [2-3].
Application of the comparative method to study translations of the works of American
writers into the Tatar language assumes the revealing of the character of the interliterary intercourse,
which, according to the definition given by D. Djurishin, is subdivided into two types: geneticallycontact literary relations (direct and indirect, external and internal, impacts and borrowings) and
typological similarities which make themselves evident at the level of literary method, genre
peculiarities and specificity of existance in a particular national environment [4: 101 – 101]. The
typological approach in research dominates in the study of literary interconnections of American
and Tatar literatures and is based on the ideas of “a common typological series” and “a literary
epoch” which were brought into scientific use by I.G. Neupokoyeva [3: 155, 296].
The typological study assumes mainly the determination of conditions for the initiation and
development of the uniform literary phenomena and processes. The given type of research enabled
such literary critics and linguists from Kazan as: V.R. Amineva, A.M. Galieva, F.G. Galimullin, A.F.
Galimullina, R.K. Ganieva, L.S. Karabulatova, M.I. Ibragimov, O.N. Korshunova, S.M.
Mikchailova, Ch.U. Minnegulov, R.F. Mukchametshina, E.F. Nagumanova, O.O. Nesmelova, Ju.G.
Nigmatullina, R.R. Zamaletdinov, A.M. Sajapova, F.S. Safiullina, L.F. Kchabibullina, M.M.
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Kchabutdinova, A.Sh. Yusupova, D.I.Rahimova, Z.F. Yusupova, L.F.Khabibullina, Z.R.Zinnatullina
to treat linguistic and literary interconnections in the context of systematic-complex study of
languages, literature, arts; within the framework of integration of investigations of humanitarian and
social studies; interaction of conceptualism, methodology and ways of research typical of various
lines of social science [5-18].
So at the basis of our study of American writers` translations into the Tatar language are such
methods as comparative-historical, comparative-typological, comparative-funcional and subjectmythological which make it possible to perform a comparative analysis of the works belonging to
different periods of the development of American and Tatar literature, to give a qualitative analysis
of the work of art, to reveal its intercultural connections as well as interconnections between
literatures and to determine typological similarities, intertextual links and the dialogue with other
literatures.
The main body
Specificity of translations of American writers` works into the Tatar language is characterised
by its three-step nature: the original text — translation into the Russian language — translation into
the Tatar language. Due to the fact that Tatar translators did not know English well enough but their
desire to acquaint Tatar readers with new and often rather exotic works was so great that Russian
translation of the works of American writers became the primary source for the Tatar translation.
This made the work of translators very complicated and caused subjective and objective distortions
of the original American text.
With few exceptions, the vast majority of works by American authors, translated into the
Tatar language, are prosaic. It is well known that the greatest difficulties in prose translation appear
in translation of some national realities, which, very often, simply do not exist in the language of the
recipient country, or exist in a completely different way and it can lead to a significant distortion of
the meaning. An even greater challenge is the transfer of humor, as humor has a distinct national
identity. Moreover, the nature of translation is affected by the difference of Western and Eastern
mentality, as well as, by special features of national culture. Among other things, these peculiar
features were examined by V.B.Shamina in her article "A.Chekhov`s play "The proposal" in English
and American translations" [18, 107].
Tatar writers - translators as well as all Soviet writers and critics-Americanists of the first
half of the twentieth century, tried to ascribe the dominant role in the development of American
culture to the proletarian literature of the United States. This is determined by tendentious treatment
of American literature by Soviet writers of the given period and also by their ideological viewpoint.
Soviet writers and researchers, both Russian and Tatar, pinned their hopes on the progressive
development of American literature of the twentieth century. In this regard, it seems important to
define the mechanisms of perception of "foreign" culture in the context of multicultural interaction
as demonstrated with the example of critical interpretation of the US literary process and reflection
of the US cultural experience within the framework of multi-culturalism in Tatarstan. So one of the
most significant problems becomes the identification of translation strategy of Tatar authors. Here
we put in the forefront the moment of evaluation of the single significant number of names and
revealing of socio-cultural causes of this phenomenon. The chronological list of American authors
and their works which were selected for translation into the Tatar language in the 1920`s-1960's
allows to reveal the dynamics of the process of translation of American literature, the preference
given to particular authors, and the predominance of specific problems raised by the authors. The
range of the names of American novelists, poets and playwrights who caused interest of Tatar
translators of the first half of the twentieth century is rather wide and varied. The design of Tatar
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translations of that time is characterized by such specific features as the lack of references to the
title of the text in the original language, which makes it difficult to restore the original title of the
works of American writers not well known to modern readers.
The 1920s.
Prose: Mark Twain "Prince һәm telәnche yaki Patsch Balasi belәn hәerche Balasi"
(translated by G.Gobәydi, 1919) ["The Prince and the pauper"]; Upton Sinclair "Kamchynyn ike
ochy" (translated by G.N., 1923) ["The two ends of the stick"]; Jack London "Ser" (translated by
M.Hәkimzhan, 1925) ["Secret"], "Chinigu" (translated by Fatikh Amirkhan, 1928) ["Formation"],
"February - October" (1929), "Hәvәskәrlәr kichәse" (Translated by S. Zhalal, 1926) ["Evening
performances"]; John Reed "Tөnge Broadway" (1928), ["Night on Broadway"]; Charles Major
"Ayu belәn ochrashu" (translated by Sh.Shiriyazov, 1929) ["Meeting with a bear."].
The 1930s.
Prose: Theodore Dreiser "Brodәklәr" (translated by G.Hәbib, 1932), "Ikmәk chiraty"
(translated by G.Hәbib, 1932) ["Bread lines"], "Yarlylyk" (translated by G.Hәbib, 1932) ["Poverty"];
Jack London "London tөplәrendә" (translated by Abru Sәyfi, 1932) ["In the suburbs of London"];
Dikobro Maris "Katy peshkәn yomyrka" (translated by Sh.Samat, 1932) ["Hard-boiled eggs"];
Upton Sinclair "Permanent Crisis" (1932) ["Permanent Crisis"]; "Jimmy Higgins" (Translated by
G.Hebib, 1934); Kay Ellen "Ikmәk. America balalary tormyshynnan "(1933) [" Bread. From the life
of American children"]; Michael Gold "Kaһarlәndgәn agitator" (Translated from English by
A.Garay, 1935) ["Damned agitator"]; Agnes Smedley "Aclar belәn kөrәshkәndә." (an excerpt from
the story, translated by S.Gilfan, 1935) ["During the struggle with the white"]; "Nan-ju" (an excerpt
from the story "The white Train", translated by S.Gilfan, 1935), "Shanponyn alynui" (translated by
S.Gilfan, G.Idelle, 1935) ["The Fall of Shanpo"], collected stories "Kytai Kyzyl armiyase turynda
hikәyalәr "(content: "Shahterlar ", "Ak poyezd","Yu kup sөyli", "Soldatlar", "Shanponyn alynui
"(translated by S.Gilfan, 1936) [stories from the book" In the Red Army of China "]; Jack London
"Kish turynda hikәya" (Translated by Sh.Rahmankulov, 1936) ["The Legend of Kish"], "Kish
turynda hikәya" (Translated by G.Apsalyamov, 1939) ["The Legend of Kish"], "Bure" (translated by
G. Muslimov, 1938) ["The Wolf"]; Walt Disney "Өch dungyz balasi" (1939) ["The Three Little
Pigs."]
The 1940s.
Prose: Joel Harris, "Remus Agay әkiyatlәre" (translated by K.Amiri and Aminov, 1940)
["Tales of Uncle Remus"]; Jack London "Tormyshny yaratu" (transated by G.Apsalyamov, 1941)
["Love of Life"]; Theodore Dreiser "Fascism yuk itelergә tiesh" (1941) ["Fascism must be
destroyed"]; Ernest Hemingway ''America soldati" (translated by F.Husni, 1942) ["The American
Soldier"]; "Madrid shoferlary" (1942) ["The drivers from Madrid"]; Mark Twain "Ak filnen
urlanuy" (translated by F.Hөsni, 1944) ["Stealing the elephant"]; "Tom Sawyer mazharalari"
(translated by G.Gobay, 1949) ["The Adventures of Tom Sawyer"].
Poetry: Walt Whitman "Sinen өchen, democracy" ["For You, Oh, Democracy," "1873-1874.
Spain "["Spain in 1873-1874."]; "Tinlarga telingme, dingezdә bulgan boryngy ber sugish turinda?"
(Shigyrlәr, 1942) ["Do you want to listen how people fought in the seas in olden times?"].
The 1950s.
Prose: Harriet Beecher Stowe "Tom Agay alachygy" (G.Gobәy, 1950) ["Uncle Tom's Cabin"];
Jack London "Tormyshka mehәbbәt" ["Love of Life"], "Kish turynda hikәya" ["The Legend of
Kish"], "Sacramento yarlary buenda" ["On the shores of the Sakramento river"], "Sori bure" ["The
Brown Wolf"] "Europe gadәte yaki kurәchәk" (translated by "Kotli Muhammat", 1952) ["Traditions
of Europe, or Providence], "Kish turynda hikәya "["The Legend of Kish "], "Sacramento yarlary
buenda "(translated by G.Lotfi, 1952 ) ["On the shores of the Sokramento river"]; Mark Twain "Izge
chishmә" ("The Holy Spring" - an excerpt from the novel "A Connecticut Yankee in King Arthur's
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Court" (translated by R.Dautov, 1955), "Kyzyksynyrga yaratuchy Betssi" (translated by
Zh.Habibullin, 1955) ["Curious Betssi"], "Huckleberry Finn mazharalary" (translated by S.Karatay,
1956) ["The Adventures of Huckleberry Finn"], "Yankee King Arthur saraenda" (translated by
R.Dautov, 1958) ["A Connecticut Yankee in King Arthur's Court."]
Poetry: Mary Parks "Smirnov һәm Smith turynda shigyr" (translated by G.Latyip, 1951)
["Poems about Smirnov and Smith"]; Fred Blair "Irek statuyasy һәm Ellis utravy" (translated by
S.Uralskiy, 1951) ["The Statue of Liberty and Ellis Island. "].
The 1960s.
Prose: Theodore Dreiser "Kar yauganda" (translated by H.Saryan, 1961) ["In the blizzard"];
Fenimore Cooper "Songy Mogican" (translated by R.Dautov, 1962) ["The Last of the Mohicans"];
Albert Maltz "Circus Kilde" (translated by F.Basyrov, 1960) ["The circus came"], Henry
Longfellow "Tatulyk cheleme" (From "Legends of Gayavate" translated by G.Shamukov, 1961).
Translations of the works of Afro-American folklore: the songs "Hey, huzha!" ["Hey, boss"],
"Kaber yanynda" ["Tomb"], "Atlanta - Georgia shtatynda" (Translated by M.Sadri, 1948) ["Atlanta
in the state of Georgia "], "The Mississippi "(translated by R.Bashkurov, 1955), "Timer yul"
(translated by N.Arslanov, 1955) ["The Railroad "].
Conclusion
The chronological list of the works of American writers translated into the Tatar language
shows that interest in American literature in the 1920`s-1960s was stable and prose works were
translated almost annually while poetry attracted the attention of translators less often. For the most
part, political poems on proletarian topics were translated and also with educational purpose of
expanding the horizons of children's readership a sustained interest in children characters in the
literature of the USA can be traced.
In this regard it is only natural that conversance of Tatar readers with American literature
began with the novel "The Prince and the Pauper" by Mark Twain, translated by G.Gobәydi (1919).
It synthesized two main subjects: the first one was relevant for that period and it showed the image
of desperate torments of the poor, their lack of rights and vulnerability, spiritual death of the people
embittered from much suffering and the second one revealed an interest in the children's image. The
main subjects of other translations of this period are in the same trend: proletarian literature (John
Reed, Upton Sinclair), literature for children (Charles Major “Meeting with a bear”, translated by
Sh.Shiriyazov "Ayu belөn ochrashu"). As far as the number of translations is concerned, it must be
said that novels written by Jack London were the most popular ones with translators, among whom
we can name Dzhalyal, Fatih Amirkhan, M.Hөkimjan. This tendency resulted from the general
trend of Soviet critics of the period under review to consider Jack London as one of the progressive
writers, a true rebel and a symbol of opposition to the capitalist regime. But at the same time such a
narrow social approach to the work of the American writer was criticized by A. Startsev and
S.Dinamov. The problem of perception and appraisal of J. London`s personality and his works by
soviet literary critics is considered in detail by O.Nesmelova in her monograph [1, 18-19].
Even a cursory examination shows that Tatar writers - translators of the first half of the XXth century gave more attention to the works of American writers as compared to the previous
period. The keen interest in Jack London`s works was still high and the search for the most
appropriate translation of them into the Tatar language was in progress as shown by translation of
the "Tales of Kish" made by Sh.Rahmankulov (1936), G.Absalyamov (1939), G.Lotfi (1952), and
publication of the book of essays (translated by .Sayfi). In general, among the topics of literary
works translated into Tatar prevailed "proletarian direction": the works by Dikobro Maris, Ellen
Key, Michael Gold, Agnes Smedley. According to the number of translations the book about the
Red Army of China and the novel "The white Train" by Agnes Smedley enjoyed popularity. As to
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the writers of the older generation a stable leading position in the number of translations was kept
by Theodore Dreiser and Upton Sinclair.
It is conceivable that in addition to artistic interest, the popularity and high incidence of
translations of Theordore Dreiser`s works had been influenced by publication of his complete works
in twelve volumes. It was published by the publishing house ''The land and the factory'' in 19281930. This publication was thoroughly planned, every volume had a preface (a major part written
by S.Dinamov) and a supplement called "Foreign critics about Dreiser". All these made it possible
for Russian readers to get not only direct aesthetic impression of the literary text but also receive
versatile critical evaluation of various works of the writer. In Tatar translations of Theodore
Dreiser`s works a social (proletarian) approach prevailed, thus in the journal "Yanalif" three
translations made by G.Hәbib were published, namely "Brodәklәr", "Ikmәk chiraty", "Yarlylyk".
In the 1920s Russian and Tatar readers considered Upton Sinclair to be one of the leading
writers from the progressive camp of the USA and also the writer who sympathized with Soviet
Russia and even expressed his sympathy in one of his novels (this being extremely important for
translators). It is significant that in 1934 Upton Sinclair's novel "Jimmy Higgins" was published as a
separate edition, the translation was made by G.Hәbib. V.Friche gave the following assessment of
the Russian translation of this novel: "hot sympathy for bolshevism in general, and for Russian
bolshevism, in particular, is symbolized in the artistic image which is touchingly heroic." [19: 22].
As we have noted above, one of the characteristic trends of translations was a strong interest
in the literature for children, in addition to the works of Jack London, Mark Twain, Theodore
Dreiser, Joel Chandler Harris, which had formed a part of the range of reading for Tatar children
and teenagers in 1920-1930's, a translation of "Three Little Pigs" (1939) worked up by Walter
Disney was published
In general, the trends identified in the 1920-1930s remained unchanged in the next decades.
Characteristically, in the 1940-50s the most famous of Mark Twain's novels such as "The
Adventures of Tom Sawyer," "Huckleberry Finn," "A Connecticut Yankee in King Arthur's Court"
were translated into the Tatar language. The importance of these translations cannot be
overemphasized since Tatar readers had a good chance to become acquainted not only with separate
translations of his works but to have the whole idea of creative work of the famous American writer,
humorist and thinker.
Tatar translations of the works of American writers revealing the theme of the Second World
War are presented by the novels written by Ernest Hemingway where the author wrote about the
war in Spain.
Starting from the 1940s Tatar writers-translators were deeply involved in translating
American prose dealing with the problem of race discrimination. The classical novel "Uncle Tom's
Cabin" written by Beecher Stowe, Mark Twain's novel "The Adventures of Huckleberry Finn" and
translations of the songs from Afro-American folk-lore allowed Tatar readers to get the idea of the
race conflict reflected in the American literature of the XIX-XX century, to understand a specific
character of the Negro theme in the literature of the "white". At the same time the novel "Uncle
Tom's Cabin" by Beecher Stowe and "The Adventures of Huckleberry Finn" by Mark Twain entered
the list of books required for reading for Tatar teenagers while "Tales of Uncle Remus" [20], by Joel
Chandler Harris was intended for the children under school age and allowed them to feel the
peculiarity of the Negro folk-lore which was easily understood through the form of fairytales.
Results
Due to the limited size of the article it is not possible to embrace all aspects of the problem of
translation of American literature into the Tatar language. In the future the work on comprehension
the aspects of reception of American literature by Tatar culture which began in the 1920s will
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continue. The matter of socio-cultural principles of selection of the works to be translated into the
Tatar language, as well as evaluation of the dynamics of perception of American literature in
Tatarstan during the twentieth century call for further investigation. The results of the research work
on this problem can be used to make a holistic concept of functioning of the culture of another
nation in multinational and intercultural space. They also can be applied in University education at
the faculties of philology and culture in working out the courses dealing with national and regional
components.
Acknowledgements
The work is performed according to the Russian Government Program of
Competitive Growth of Kazan Federal University.
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