ИСТИНА

Настоящий проект посвящен комплексному изучению новых русских переводов классиков всемирной поэзии, их стилистическому и формальному описанию, культурному и социо-литературному контексту их возникновения, проблеме их взаимоотношения с традицией русских и зарубежных переводческих школ и с мировым литературным каноном. Решение конкретных научных задач в рамках исследования будет способствовать осмыслению ключевых тенденций развития русской литературной культуры последних десятилетий, описанию взаимодействий русской культуры с западной, а также своеобразия русской переводческой школы и ее места в мировой литературной полисистеме. Один из главных больших вызовов современного мира – радикализация разных культурных позиций и сокращение поля продуктивного диалога при взаимодействии представителей разных культур. Параллельно с радикализацией идут процессы утраты национальной культуры под влиянием общемировой интеграции и унификации (глобализация), что также следует рассматривать как одну из ключевых социокультурных угроз современности. Цели проекта способствуют как укреплению межкультурного диалога, так и консолидации, осмыслению и сохранению национального культурного наследия, в частности, уникальной традиции русского стихотворного перевода.

The 21st century saw new Russian translations of the most important works of world literature: fragments of Dante's “Comedy” (translated by R. Dubrovkin, K. Landa; prose translations by O. Sedakova and G. Muravyeva), full verse translations of the romans of Chretien de Troyes (N. V. Zababurova and A. Triandafidi), Ariosto's “Orlando furioso” (A. Triandafilidi), Tasso's “Gerusalemme Liberata” (R. Dubrovkin), Sannazaro's “Arcadia” (P. Epifanov, A. Triandafilidi), Calderon's “Life is a Dream” (N. Vankhanen), Luis de Góngora's “Poem of Solitude” (P. Grushko), etc. These publications are an eloquent indication that the Russian poetic translation is not only not in decline, as popular belief would have it, but is experiencing a true flowering. This flowering, however, has yet to be properly understood and interpreted. The complex study of new translations in the context of Russian and world literature system proposed in this research project is a first step in that direction. The project intends to introduce an extensive amount of empirical material and to solve a number of research tasks that follow four principal directions (areas). Firstly, a linguistic and versological survey of the new translations will be conducted and they will be characterized in terms of their stylistic features, verse form and syntax in their relation to the original and the previous translations (if any). Also, the corpus of new translations will be compared with the corpus of canonical Soviet poetic translations in terms of their linguistic features, which will allow describing the evolution of the language of translated poetry in recent decades. Second, the cultural and socio-literary context within which the new translations were created will be described. In particular, the strategies used by translators in selecting and translating works of canonical authors will be identified and described, and the role of communities, publishers, journals, theatre and other cultural institutions in the history of new translations will be explored. The third area of research will focus on the relationship between new translation practices and the tradition of the Soviet translation school and global trends in the translation of world literature (how are Dante, Ariosto and Calderón being translated in the world today?). The plan is to identify the extent to which post-Soviet translation inherits the Soviet legacy and the extent to which it rejects or revises it. In particular, the question of the relation between the new tendencies in verse translation of the classics and the "non-canonical" translations performed during the Soviet period (translations by Boris Yarkho, Valentin Parnakh, Mikhail Gasparov, Aleksandr Ilyushin, etc.) will be examined. Finally, the fourth area will focus on the dynamics of change in the canon of world literature in Russia in recent decades. In particular, the movement of Ariosto, Sannazaro and Góngora towards the status of truly canonical authors will be described. The solution of these specific tasks will make it possible to comprehensively analyse the trends in the development of Russian verse translation of the classics of world poetry in recent decades and describe the interaction of post-Soviet schools of translation with Western and domestic heritage. Moreover, it will contribute to the identification of the originality of the Russian school of translation at the present stage of its history and its place in the global literary poly-system. The publications on new translations in Italian, Spanish and English within the project will contribute to the presence of the Russian school of poetic translation in the global literary and academic context. The research novelty of the project lies in the fact that the material to be studied (new translations) has not yet received much scholarly attention (except for a few reviews and short notes) and that the dynamics of Russian poetic translation will be examined on the basis of scholarly paradigms which do not usually overlap in a single work: this is a synthesis of comparative poetics, verse studies, linguistic translation theory, modern Translation studies, World Literature and digital humanities. The introduction of new material will be relevant to translation studies, comparative poetics, verse studies, linguistic poetics and linguistics. The solution of specific research tasks will be combined with theoretical understanding of the results obtained, relevant to a wide range of humanities disciplines dealing with the problems of cultural interaction. The project has all chances to produce world-class results and lay the foundation for future quantitative and qualitative research on the history and theory of literary translation, the theory and history of world literature, and the transnational history of poetic languages.