Problemele Lexicale Aparute In Traducerea Specializata

Problemele lexicale apărute în traducerea specializată (studiu de caz)

CONTENTS

INTRODUCTION

I. LEXICAL PECULIARITIES OF TRANSLATION

II. ANALYZING LEXICAL PROBLEMS IN SPECIALIZED TRANSLATION

CONCLUSION

BIBLIOGRAPHY

ANNEX

INTRODUCTION

The translation practice was performed at the Cultural Center “Se Jong”, as a translator of English-Romanian and Romanian-English.

The place where I did my practice is the Cultural center where I also learn the Korean Language. That is why I had to make sure all of the translations were done well.

From the very beginning, I got acquainted with the book I was to translate, and I was given a separate place to work and also had the opportunity to work at home. I should say that working conditions were quite good, a pleasant environment, free coffee and tea, and snacks, a nice team of co-workers and my teachers that helped me when I was in need of help made my activity in that Center very comfortable.

As one can reveal, the texts I worked with, belong to the field of culture and some of them history. The texts I was given included information related to the tourism locations in , about their history and different expositions, and also a time table of their summer courses for Korean Language classes. I had to translate roughly the same amount of texts of both directions of translation, i.e. English into Romanian and Romanian into English the first type of translation direction is called version, the second one – theme.

After finishing the translation practice I realized that translating is actually a much more complicated work than I imagined it to be. Being a translator isn’t just a matter of sitting down and turning one language into another. No matter how good your language skills are, you will almost certainly come across words you don’t understand and will have to research. There may even be words that you can’t translate just by looking them up in a dictionary – you need to really understand them and this could require much more involved research. Even when you’ve done your research, it still isn’t just a matter of translating one language to the other. You need to really have a feel for both languages, so that you know when something can be translated literally, and when you need to change things around to make it flow better. You will need to develop your writing skills more than you ever considered which, if you are not particularly creative, could be a very difficult task. Sometimes I even had to write the translation of one word which could not be translated by one word so I had to explain it more.

As a result of this practice activity I acquired a lot of new skills and achieved qualities which are a must for any translator:

Natural curiosity and willingness to learn.

Knowledge of a specialized area.

A very good memory. I had to memorize as much as possible in order to stop keep looking at the paper as it took too much time.

Competent IT user with excellent word processing skills and the capability to master computer-assisted translation and terminology tools.

An ability to grasp varied and complex issues, react swiftly to changing circumstances, manage information and communicate effectively.

To meet dead lines and also work in a team.

Self-reliance and self-discipline are also very important qualities because translators work alone, often with difficult and challenging texts.

While aquiring all of this qualities I also learnt to work in a team. Even if I had to be self-reliant I still had many questions because the texts I was translating were of an another country which had a very different culture from ours. So, I asked my Korean Language teachers questions as they are natives of the respective country.

As a conclusion to my practice I would say that accuracy is one the most important of the main aspects about translation, which also makes it a tricky job is that everything needs to be accurate. The accuracy needs to be there not just from the literal word interpretation standpoint but also in terms of the context and meaning because sometimes one small error can cause some major misunderstanding in the translation. Translations can be extremely difficult and since there are often various ways to interpret a particular sentence, the proficiency of the translator is put to the test.

I would like to say that the translation practice was of a very great importance to me because I learnt a lot of new things in both, organizational and professional directions. I also have found a lot of things about the country of which I have learnt the language for straight three years. Also I learnt how to interact with my co-workers so that the work in that environment is pleasant and productive.

Another great experience was the acquisition of new words, phrases, and idioms that are used in the official style writings. But not only were the words and phrases to be acquired, a strategy of research in dictionaries and other sources had to be developed so I learnt both and I think that those will really help me as I will become a translator.

Speaking about the licence project that should be done according to the translation practice materials, I would like to mention that the presented project is aimed at providing a thorough analysis of the most relevant texts that I had the chance to translate during my internship “Se Jong”.

The goal of project work is to apply the theory studied at the university into practice, paying special attention to lexical peculiarities in translation.

The main objectives were:

to gain practical skills of qualitative translation;

to improve my translation abilities;

3. to work with new culture- specific terms

The topic of my licence project is Lexical Problems arising in Specialized Translation and it is based on a practical research following the translation practice i.e. the materials I had to translate during my translation practice within the above center. So my licence project will have the following structure:

Introduction: in this part of my project I will analyze the practice period I had. The analysis of the practice is supposed to outline the period of practice, place (company, city), working conditions, related experiences acquired, as well as linguistic aspects of it, that is, the main terminological material, the directions of the translations the main difficulties in translation and the methods and techniques used in performing my translation activity.

The first section of my licence project is the theoretical part. In this part, I analyse different theoretical information written by different scholars on the subject of lexis, on the topic of my licence project concerning different lexical problems that can arise when translating, in this part I will also outline the main strategies of my practical research on the basis of the texts I had to translate.

The second constituent of my research is a practical part and which is based on the materials of the texts translated during my translation practice. The most relevant and interesting texts to analyze are included in this section of the project.

Then there comes the third part of the project which is the conclusion, so, after performing the practice and theoretical and practical research, I came to the conclusions and practical recommendations concerning the practice and the research concerning the words and phrases which were analyzed under lexical aspects of their usage.

The next constituent is the bibliography, where we included the list of theoretical sources used in the theoretical part of our paper, of dictionaries that I used during the practice of translation as well as during the practical research performed in the present project. And last but not least, is a list where internet resources are included.

And the last part is the annex in which we included a glossary of official words, their definition and also their translation in Romanian and my second Language which is Korean.

LEXICAL PECULIARITIES OF TRANSLATION

As a rule, the object of translation is not a list of separate lexical units but a coherent text in which the SL words make up an integral whole. Although each word in the language has its own meaning, the actual information it conveys in a text depends to a great extent on its contextual environment. As J.Catford states "Meaning, in our view, is a property of a language. An S.L. text has an S.L. meaning, and a T.L. text has a T.L. meaning." Hence it follows that semantic structures of correlated words in the source language and the target language cannot be co-extensive, can never "cover" each other. A careful analysis invariably shows that semantic relationship between correlated words, especially polysemantic ones, is very complex [2, p.13].

A.Shveitser in his lectures mentioned three types of lexical meaning:

(1) referential meaning (logical, denotative) has direct reference to things or phenomena of objective reality, naming abstract notions and realities as well.

(2) emotive meaning, unlike referential meaning, has reference not directly to things or phenomena of objective reality, but to the feelings and emotions associated with them. It is a connotative meaning created by connotations raise in the mind of the speaker and reader, it is inherent in a definite group of words even if they are taken out of context.

(3) stylistic meaning is based on stylistic stratification of the English vocabulary and is formed by stylistic connotations [10, online].

Stylistic and emotive meanings are closely connected. As a rule, stylistically coloured words, that is words belonging to certain stylistic strata, except the neutral, possess a considerable element of emotive meaning. For example, the slang words "mug" and "phiz" are undoubtedly more expressive than their neutral counterpart "face" and have a pejorative emotive meaning. In addition to the emotive and stylistic meanings, proper to the word as a linguistic unit, some emotive connotations may be acquired in the context.

Lexical transformations encountered while rendering referential meaning are conditioned by factors as different vision of objects of reality, different semantic structure of a word in the SL and the TL, and different word valency or collocability. Indeed, one and the same object of reality can be seen by different languages in different aspects. If we take, for example, the referential meaning of the real-life phenomenon such as "school-leavers/absolvenți ai școlii", it appears that in English teenagers "leave" the school while in Romanian the school "lets them go" from the school into the world.

As to word valency or collocability, it is clear that lexical valency is different in different languages due to the syntagmatic norms inherent in them. Words, habitually collocated, tend to constitute a cliche, e.g. bad mistake, high hopes, heavy rain, etc., and the translator is obliged to seek similar cliches, traditional collocations in the TL: mari speranțe, ploaie puternică. The key word in such collocations is usually preserved, while the cocated one is rendered by a word of somewhat different referential meaning in accordance with the valency norms of the target language: trains run/trenurile merg; a fly stands on the ceiling/musca stă oe tavan; the worst earthquake of the century/cel mai rău cutremur a secolului, etc. [9, online].

Of much interest are problems related to different semantic structure of words in the SL and the TL. Generally speaking, the meaning of any word in the text cannot be understood and translated without due regard to the specific context in which it is actualized. Some words, however, are less sensitive to the contextual influence than others. These are words with definite meanings which Komissarov and Koralova define as "context-free" while Shveitser prefers the term "monosemantic." The permanent equivalents of this relatively limited group of words are oftoralova define as "context-free" while Shveitser prefers the term "monosemantic." The permanent equivalents of this relatively limited group of words are often formed by transcription (with elements of transliteration) or loan translations [10, online].

ANTROPONYMS are rendered by means of transcription with TL letters, e.g.:

Smith – Smit; Mary – Meri; Margaret Thatcher – Margaret Tecer.

The rendering of most TOPONYMS is still subject to the tradition (Dover/Dover; Texas/Техаs; Hull/Hul). If the name includes both a proper name and a common name, the former is transcribed while the latter is either translated or transcribed (Kansas City/orașul Cansas; the Pacific Ocean/oceanul Pacific; /). If the name includes several common nouns, it is usually translated word-for-word ( of Good Hope/ Pelerină de Speranță Bună; Ivory Coast/Coasta de Fildes). The same refers to street names: – Strada Dauning; Wall Street – Strada Wall [9, online].

NAMES OF COMPANIES AND PRODUCT BRANDS are of major interest for our purposes as advertisements must contain this information and, moreover, in our case these names should be transcribed in the Cyrillic script so as not to be too difficult for their being pronounced by TL speakers. Besides, they must be graphically readable in the TL and appealing to the viewer. Thus we can encounter instances of transcription with elements of transliteration and even historical allusions:

"Johnson & Johnson" baby oil/ulei de masaj pentru copii “Johnson și Johnson”

"BBC"/"BBC"; "" cigarettes/țigările"Malboro", etc.

Names of political parties, trade unions and, what is more important nowadays, ITERNATIONAL ORGANIZATIONS to which the post-Soviet countries have already or seek to adhere are a challenge to the translator. In this case, word-for-word translation is needed, with or without a change in the word order. Besides, word-for-word translation also presents some difficulties due to the necessity of choosing the necessary lexical equivalents in the TL, e.g.: World Bank/Banca Mondială", will form a good coincidence even in the form of abbreviation "WB"/"BM", which is a rare occasion. Vivid examples of word-for-word translation demanding no changes in the word order may be cited as follows:

Organization for Security and Cooperation in / Organizația pentru Securitate și Cooperare în Europa; Council of Europe/Consiliul Europei, etc. In other cases, lexical equivalents should be found, as, for example:

General Agreement on Tariffs and Trade/ Acordul General pentru Tarife și Comerț.

The change in word order and certain lexical and grammatical transformations, however, were needed to render the names of other UNO structures and that of UN itself:

United Nations Organization/ Organizația Națiunilor Unite.

According to Komissarov and Koralova, TERMINOLOGY is relatively context-free though the context often helps to identify the specific field to which the term belongs [4, p.14]. As a rule, English technical terms (as well as political ones and those belonging to other specific fields) have their permanent equivalents in the respective Russian terminological systems:

equator/ecuator; income tax/ impozit pe venit; detente/ destinderii.

Different meanings of polysemantic words are revealed in the context, which is understood as the minimum stretch of speech/discourse "diagnosing" each individual meaning of the word [5, p.143]. The context may specify or modify the word's meaning, neutralize or emphasize some part of its semantics. The context reveals concrete or abstract meanings of a word, its direct or transferred meaning, e.g.: the word "truth" is used in its concrete everyday meaning in the phrase "Tell me the truth"/"Spune-mi adevărul", while depending on the context this word may also be used in its abstract philosophical meaning "adevărul" in a sentence as

"To understand and to know the reality, it is necessary to have a theory of knowledge corresponding to truth."/Pentru a înțelege și a ști realitatea, este necesar de a avea teoria și cunoștința corespunzătoare adevărului.

As contextual meaning arises in the context, it should not be regarded as part of the semantic structure of the word. Every word possesses an enormous potentiality for generating new contextual meanings which, however, are predetermined by the semantic structure of the word. Cf.:

In an atomic war women and children will be the first hostages./

Într-un război atomic primele victime vor fi femeile și copiii.

As A.Burak puts it, their semantic structure and individual word senses don't often coincide. As a result, literal translations of such words are misleading, that is to say they distort the original message. This group of words are also termed as "misleading international vocabulary, misleading words of foreign origin, or misleading cross-cultural cognates." These misleading words usually derive from Latin or Greek, but, having been borrowed by English and Romanian, have led a life of their own, often resulting in their preserving but a tenuous link to their origins and having widely differing semantic structure and word senses (3).

In the words of A. Burak, connotative meaning, that is also called expressive meaning, is what is suggested by or associated with a particular word sense. "To connote" means to suggest or imply in addition to the denotative, or referential, meaning which was dealt with above. For the purposes of translation, it is useful to look at connotative meaning as consisting of the emotional, intensive, evaluative, and dialectal components. The connotative conponents, or connotations, of a word sense have the capacity to evoke or directly express:

(1) emotion ("mom" is more emotional than "mother");

(2) intensity (the degree of intensity reduced in the "to abhor – to hate – to dislike" triad);

(3) evaluation ("cronies" having a pejorative shade of meaning as compared to "friends");

(4) stylistic colouring ("to slay" having a distinctly more formal, bookish or even poetic colouring than "to kill");

(5) dialectal reference (differences between American and British English and the numerous dialects within them) [1, p. 26].

There is a difference between emotive charge and individual emotive implications. Emotive charge is an objective semantic feature of connotation, and it is perceived by members of the same speaking community more or less in the same way. Individual emotive implications are associations and ideas that a word may acquire in the mind of a particular person due to their subjective experience.

In different communicative situations language users select words of different STYLISTIC meaning, or status, or, according to A.Burak's system of terminology, register reference. Stylistically, word senses can be referred to the formal, neutral and informal strata of the word-stock of a language. The greater part of the high-frequency word-stock of any language is represented by neutral words or words of general reference that are translated into other languages with the help of words belonging to a similar register [1, p. 23].

The formal vocabulary includes literary words, terminology and the vocabulary of official documents. On the other hand, informal vocabulary is subdivided into general colloquial vocabulary, general slang and vulgarisms. Word senses belonging to a particular stylistic stratum in the SL must be translated by word senses from the corresponding stylistic stratum in the TL, or, in other words, the registers of the original and the translation must be as close as possible.

Analyzing the content of the original the translator makes the assessment of the relative communicative value of different meaningful elements. In most cases his aim is to achieve the closest approximation to the original, that is, to reproduce its content in all the details. It often happens that one of the meaningful elements of the original can be retained in translation only at the expense of omitting some other elements of the content. Thus the translator has to decide what information he can sacrifice and what elements of the original information are of greater communicative value and should therefore be rendered.

The so-called "NON-EQUIVALENTS" or equivalent-lacking words are the words of the SL which either have no equivalents in the TL or no equivalent denotation in the target culture. To these refer newly-coined words denoting new objects, phenomena and ideas that become known to the people in the SL country and less known (or quite unknown) to the people of the TL country.

II. ANALYSING LEXICAL PROBLEMS OF SPECIALIZED TRANSLATION

In this part of the licence project we shall work with the texts translated during the translation practice held at the “Se Jong”. After I present the original and translated texts, I will specify the main terminology encountered in it and then analyze the most relevant words, terms and phrases contained in this text, each word will be followed by a short commentary.

Text (original): New light on art

Shin’s painting was on exibition to the public during a two-week autumn show held at Kansong Art Museum. The exhibit introduced 100 portrait and genre paintings from 52 artists from the Joseon Dynasty, including Yeonsodapcheong and 15 other remarkable paintings by Shin.

The National Museum of Korea and Leeum, Samsung Museum of Art also recently hosted exhibits highlighting artwork from the late Joseon Dynasty, a special period in ’s artistic History.

The National Museum of Korea focused on portraiture for their month-long exhibit, which featured over 200 portraits from , and . A large part of the show was dedicated to portraits from the Joseon Dynasty, including well known works such as Self Portrait of Yun Du-seo, National Treasure No 240, an extremely detailed work of the Joseon painter’s own countenance.

Leeum’s show, The Court Painters of Joseon Dynasty kicked off on Oct 13 and will run until Jan 29. It showcases 110 paintings by hwawon, or court painters of the Joseon Dynasty.

The aim of the show is to shed new light on hwawon, who were regarded less creative at the time compared to the other artists who did not work in the court. curator Cho Ji-hyun, however, says that actually played an active role in setting new artistic trends of the time. They produced a large number of private portraits and landscape paintings by receiving commissions from other patrons, as well as paintings of royal processions, ornamental paintings for the palace and illustrations for royal documents.

All three exhibits marked a hit. Kansong’s attracted about 4000 visitors during the week and 10000 on weekends, while Leeum attracted roughly 700 to 1500 per day. “We are that the three exhibitions took place in a similar period. One could make a general survey of Joseon Dynasty paintings by visiting all three shows. It is starting a sort of a Joseon Dynasty art boom,” says Park Min-su, a public realtions official at Leeum museum.

Text (translation): O noua lumina asupra artei

Picturile lui Shin au fost prezente la expoziția la public în timpul Expoziției de Toamna de doua săptămâni ce a avut loc în Muzeul de Arta Kansas. Expoziția a introdus 100 de portrete și compoziții de 52 de artiști din Dinastia Josean, incluzând Yeonsodapcheong și alte 15 picturi remarcabile de Shin.

Muzeul Național a Coreei și Leeum, Muzeul de Arte Samsung la fel recent au ținut o expoziție accentuând lucrul de arta din sfârșitul Dinastiei Josean, o perioada speciala în arta istorica a Coreei.

Muzeul național a Coreei s-au focusat asupra prezentarea lor ce a ținut o luna, ce a prezentat peste 200 de portrete din Coreea, Japonia și China. O mare parte a show-lui a fost dedicat portretelor din Dinastia Josean, incluzând bine cunoscute lucrări ca „Self-Portrait of Yun Du-seo”, comoara antinationala numărul 240, o lucrare extrem de detaliata a înfățișării pictorului din Josean.

Show-ul lui Leeum „The Court Painters of Josean Dynasty” a început pe data de 13 Octombrie și va continua până pe data de 29 Ianuarie. Aceasta prezintă 110 picturi de Hwawon, sau pictori de curte a Dinastiei Josean.

Scopul acestui show este de a da o noua lumina asupra hwawon, ce au fost privite ca niște picturi ai puțin creative în acel timp în comparație cu alți artiști ce nu au lucrat la curte. Curatorul Muzeului Leeum Cho Ji-hyun, pe de alta parte, susține ca hwawon defapt au avut un rol activ în impunerea nourilor trenduri artistice în acel timp. Ei au produs un număr mare de portrete private și portrete peisaje primind plați dela alți patroni, de asemenea și picturi pentru procesiuni roiale, picturi ornamentale pentru palat și ilustrații la documente roiale.

Toate trei expoziții au avut o mare popularitate. Kansas a atras peste 4000 de vizitatori timp de o săptămâna și 10000 în weekend, în timp ce Leeum a atras cu aproximație de la 700 până la 1500 pe zi. „Suntem bucurosi ca aceste trei expoziții au avut loc în timpuri asemănătoare. Cineva ar putea sa facă o examinare generala a picturilor din Dinastia Josean vizitând toate trei expoziții. Aceasta începe un fel de boom în arta din Dinastia Josean.” Spune Park Min-sun un oficial relațiilor publice muzeului Leeum.

Text Analysis

The original and translated text above represent a text about expositions that were organized in order to tell people about the history of Korea through paintings.

In these text it is clearly seen that most terminology that was used, it was used in order to stress the importance of its history of paintings and the impact that it makes in the present days.

Some terminology can be translated but some of it remains the same.

Antroponyms: Yun Du-seo, Cho Ji-hyun, Park Min-su. These cannot be translated as they are names of people.

Toponyms: Joseon Dynasty, , Yeonsodapcheong.

The exhibit introduced 100 portrait and genre paintings from 52 artists from the Joseon Dynasty, including Yeonsodapcheong and 15 other remarkable paintings by Shin.

Translation: Expoziția a introdus 100 de portrete și compoziții de 52 de artiști din Dinastia Josean, incluzând Yeonsodapcheong și alte 15 picturi remarcabile de Shin.

Remarkable (adj.)

Definition – this combination of words shows that the paintings we are talking about a worth of notice and attention.

Translation – remarcabil, deosebit; 주목할만한.

Here we used the principle of blueprint translation as the term means exactly the same in both languages.

Also in this sentence we can find Toponyms such as Joseon Dynasty and Yeonsodapcheong.

The National Museum of Korea and Leeum, Samsung Museum of Art also recently hosted exhibits highlighting artwork from the late Joseon Dynasty, a special period in ’s artistic History.

Translation: Muzeul Național a Coreei și Leeum, Muzeul de Arte Samsung la fel recent au ținut o expoziție accentuând lucrul de arta din sfârșitul Dinastiei Josean, o perioada speciala în arta istorica a Coreei.

Highlight (v.)

This term is being used together with the term “artwork”. It is used in order to emphasize its importance; in order to put it in a light of importance.

Definition – to emphasize or make prominent.

Translation – a accentua; 하이라이트.

In this sentence we also find Toponyms such as Leeum (which is the name of a museum) and Joseon Dynasty.

The National Museum of Korea focused on portraiture for their month-long exhibit, which featured over 200 portraits from , and .

Translation: Muzeul național a Coreei s-au focusat asupra prezentarea lor ce a ținut o luna, ce a prezentat peste 200 de portrete din Coreea, Japonia și China.

Focus (n.)

The word itself appeared in 1635- Latin. In meant fireplace, hearth.

There is more than one definition for the word as in belongs to different fields.

Definition: Physics a point at which rays of light, heat, or other radiation meet after being refracted or reflected.

Geometry: (of a conic section) a point having the property that thedistances from any point on a curve to it and to a fixed line have aconstant ratio for all points on the curve.

Geology: the point of origin of an earthquake.

So, as we can see all of these definitions have the same meaning: the one point where everything is being concentrated at, so I can say that in our case it is the same topic: a central point of attention.

Translation: A se focusa; 초점.

There were no problems translating this term as it has common roots in English and Romanian. So the principle of transliteration was used.

The National Museum of Korea focused on portraiture for their month-long exhibit, which featured over 200 portraits from , and .

Translation: Muzeul național a Coreei s-au focusat asupra prezentarea lor ce a ținut o luna, ce a prezentat peste 200 de portrete din Coreea, Japonia și .

Month-long (adj.)

Definition: the definition of this term would be a time period that lasts for a month.

Translation: pe parcursul lunii; 달 동안.

In order to translate this term into the target language I had to define the term first, so the translation is based more on the definition rather than on the term itself.

The National Museum of Korea focused on portraiture for their month-long exhibit, which featured over 200 portraits from , and .

Translation: Muzeul național a Coreei s-au focusat asupra prezentarea lor ce a ținut o luna, ce a prezentat peste 200 de portrete din Coreea, Japonia și .

Featured (adj.)

Definition – this adjective is used together with the term “over 200 portraits”. As we know the word itself means a part of a whole presented before the main in order to entertain the visitors.

Translation: a prezentat; 특집 항목.

Leeum’s show, The Court Painters of Joseon Dynasty kicked off on Oct 13 and will run until Jan 29.

Translation: Show-ul lui Leeum „The Court Painters of Josean Dynasty” a început pe data de 13 Octombrie și va continua până pe data de 29 Ianuarie.

Kick off (n.)

This is quite an unusual way to express the term “start”. It has no-equivalent translation in TL so I had to find a word that would have the same meaning in target language. For that I first found synonyms for the term in question.

Translation: a se începe; 시작하다.

This term is Non-Equivalent which means that it has no equivalent term in TL.

Leeum’s show, The Court Painters of Joseon Dynasty kicked off on Oct 13 and will run until Jan 29.

Translation: Show-ul lui Leeum „The Court Painters of Josean Dynasty” a început pe data de 13 Octombrie și va continua până pe data de 29 Ianuarie.

Run until (n.)

Definition – the definition of this term would be in the field of time. In the context we see “run until Jan . Which means that the show will keep going or it will be open until January 29.

Translation: va continua până…; 열려 있는.

This term has no equivalent which means it is a Non-Equivalent term. In this case if I would translate the term directly in Romanian Language it would be “alerga până când…” which in English Language would mean the exact action of “running”.

curator Cho Ji-hyun, however, says that actually played an active role in setting new artistic trends of the time.

Translation: Curatorul Muzeului Leeum Cho Ji-hyun, pe de alta parte, susține ca hwawon defapt au avut un rol activ în impunerea nourilor trenduri artistice în acel timp.

Curator (n.)

Definition: A keeper or custodian of a museum or other collection.

Translation: curator; 관리자.

There were no problems translating this term as it has common roots in English and Romanian. So the principle of transliteration was used.

All three exhibits marked a hit.

Translation: Toate trei expoziții au avut o mare popularitate.

Marked a hit

Definition: to be succesful in an attempt to do something [online ]

Translation: a avea un succes mare; 성공.

This term is Non-Equivalent which means it has no equivalent in Romanian Language. While translating this term I had to do first a research in order to understand what it meant and only then translate it conform the definition. If I would try to translate directly what it meant it would be “a marcat o lovitură”. In case I use the direct translation it would be more appropriate for a sport translation and to be exact, for soccer.

Kansong’s attracted about 4000 visitors during the week and 10000 on weekends, while Leeum attracted roughly 700 to 1500 per day.

Translation: Kansas a atras peste 4000 de vizitatori timp de o săptămâna și 10000 în weekend, în timp ce Leeum a atras cu aproximație de la 700 până la 1500 pe zi.

Roughly (adv.)

Definition: approximately [8, online]

Translation: aproximativ; 대략.

It is starting a sort of a Joseon Dynasty art boom,” says Park Min-su, a public realtions official at Leeum museum.

Translation: Aceasta începe un fel de boom în arta din Dinastia Josean.” Spune Park Min-sun un oficial relațiilor publice muzeului Leeum.

Art boom

Definition: the term “art boom” can be defined as a big hit in the industry of art.

Translation: boom în artă; 미술 붐.

I have decided to translate this term “boom în artă” because, the term “boom” itself it is widely used when something in society becomes widely spread or becomes a hit between people. There is also an example of such use known as “baby boom”.

Text (original): Natural Dyeing

One traditional craftwork experience program is for natural dyeing. Rather than using chemical dyes, traditional korean dyeing uses elements from nature to create more naural-looking colors. Sources for this dyes include persimmon, indigo, walnut and bamboo. They can also be extracted from red clay and squid ink – so essentially anything with a color.

Cheongdo-gun in is home to about 30 studios offering programs in natural dyeing. The county produces about a quarter of all persimmons consumed in – but nowadays, much of the crop has another purpose.

In July 2010, persimmons start falling from trees, and unripe ones are simply discarded. When a typhoon passes through, a huge number of persimmons accumulate on the ground, with many going to waste. Then many years ago, Cheongdo native Kin Jeon-baek started picking up these persimmons to use as the source of dyes. When farmers worried about wasted persimmons, Kim would teach them how to dye using unripe ones. It was such a success that Kim made a living out of it, and in 1998, he opened his own studio, Kkokduseoni.

Dyeing with persimmon is a simple process. First you need to wash a handkerchief or a piece of cloth in water and dry it in the sunlight. Then dip the fabric into the persimmon extract, and work it in gently. After 10 or 15 minutes, squeeze all the moisture out and hang it on a line to dry. The color comes to life as it dries under the sun.

The tannins in persimmon leave a brown color when dried in sunlight. Different shades are achieved by first spraying water onto the dried cloth then drying for four or five days. Repeating this process to three or four times is the only way to get the full range of persimmon colors.

Kkokduseoni also has a gallery of products, displaying cloths, carpets and more. A video shows other dye stuff, such as tea leaves, chestnut blossoms. Enjoy traditional arts: they will even color your heart and soul.

Text (translation): Vopsirea Naturala

Un program de experienta de meșteșuguri tradiționale este vopsirea naturală. Mai degrabă decât folosind coloranți chimici, vopsirea coreeană tradiționale folosește elemente din natura pentru a crea mai multe culori de aspect natural. Surse pentru aceste vopsele includ curmale, indigo, nuca și bambus. Ele pot fi, de asemenea, extrase din lutul rosu, din cerneală de calmar – deci, în esență, totul ce are culoare.

Cheongdo-arma în provincia Gyeongsanbuk-nu este acasă a aproximativ 30 de studiouri ce oferă programe în vopsirea naturală. Comitatul produce aproximativ un sfert din toate curmalele consumate în Coreea – dar în zilele noastre, o mare parte din roada are un alt scop.

În iulie 2010, curmalele încep sa cada din copaci, și cele necoapte sunt pur și simplu eliminate. Când trece un taifun, un număr foarte mare de curmale se acumulează pe pământ, cu multe mergând la deșeuri. Apoi mulți ani în urmă, Cheongdo nativ Kim Jong-baek a început ridicarea acestor curmale japoneze pentru a utiliza ca sursă de coloranți. Când fermierii erau îngrijorați din cauza irosirii curmalelor, Kim le-a învățat cum să vopsea folosind cele necoapte. A fost un succes, și Kim a câștigat îndeajuns pentru sine, și în 1998, el a deschis propriul sau studiou, Kkokduseoni.

Vopsirea cu curmale este un proces simplu. Mai întâi, este nevoie de o batista sau o bucata de material spălata în apa și uscata la soare. Apoi de scufundat materialul în extractul de curmale, apoi de lucrat cu ea în continuare cu mare grija. După 10 sau 15 minute, de scurs toată umiditatea și de o pus sa se usuce. Culoarea începe a veni la viata pe parcurs ce se usucă la soare.

Taninul din curmale lasă o culoare cafenie cind este uscata la soare. Diferite nuanțe sunt obținute prin mai întâi pulverizarea apei pe materialul uscat și apoi uscarea acesteia pe un timp de patru sau cinci zile. Repetarea acestui proces de trei-patru ori era singura metoda de a obține o gamă de culori întreagă a curmalelor.

Kkokduseoni de asemenea are o galerie a produselor, hainelor expuse, covoare și altele. Videoul arata și alte lucruri vopsite, asa ca frunzele de ceai și flori de castan. Primiți placere de la artele tradiționale: ele va vor colora chiar și inima și sufletul.

Text analysis

The original and translated text above represent a text about the history of natural dyeing in .

In this text we may find how ingenious are Korean people and what a person did in order to change not only the history but also how people look at dyeing. He stopped the waste of persimmons and put them to work which brought him to make a living out of it. It also shows what impact his decision made on the history and present days.

While translating this text some terminology was easy to translate while the other took me some time. Some terminology remains the same as it cannot be translated .

Antroponyms: Jeon-baek (name).

Toponyms: , Kkokduseoni (studio name), Cheongdo-gun.

One traditional craftwork experience program is for natural dyeing.

Translation: Un program de experienta de meșteșuguri tradiționale este vopsirea naturală.

Natural dyeing

Definition: natural dyeing is dyeing with plants, barks and insects, which means no chemical dye is involved in the process.

Translation: vopsire naturală; 천연 염색.

There were no problems translating this term.

Sources for this dyes include persimmon, indigo, walnut and bamboo.

Translation: Surse pentru aceste vopsele includ curmale, indigo, nuca și bambus.

There were no problems translating this term as it has common roots in English and Romanian. So the principle of transliteration was used.

They can also be extracted from red clay and squid ink – so essentially anything with a color.

Translation: Ele pot fi, de asemenea, extrase din lutul rosu, din cerneală de calmar – deci, în esență, totul ce are culoare.

Extract (v.)

Definition: to get, pull, or draw out, usually with special effort, skill, or force

[6, online].

Translation: a extrage; 추출.

There were no problems translating this term as it has common roots in English and Romanian.

When a typhoon passes through, a huge number of persimmons accumulate on the ground, with many going to waste.

Translation: Când trece un taifun, un număr foarte mare de curmale se acumulează pe pământ, cu multe mergând la deșeuri.

Typhoon (n.)

Definition: tropical cyclone or hurricane of the western Pacific area and the  seas [6, online]

Translation: taifun; 태풍.

The pronunciation of this term is the same as in Romanian Language. There were no problems translating this term.

When a typhoon passes through, a huge number of persimmons accumulate on the ground, with many going to waste.

Translation: Când trece un taifun, un număr foarte mare de curmale se acumulează pe pământ, cu multe mergând la deșeuri.

Accumulate (v. used with object)

Definition: to gather or collect, often in gradual degrees; heap up.

Translation: a acumula, a strânge; 축적.

There were no problems translating this term as it has common roots in English and Romanian.

It was such a success that Kim made a living out of it, and in 1998, he opened his own studio, Kkokduseoni.

Translation: A fost un succes, și Kim a câștigat îndeajuns pentru sine, și în 1998, el a deschis propriul sau studiou, Kkokduseoni.

Make a living

Definition: Earn enough to support oneself [7, online]

Translation: a câștigat îndeajuns pentru sine, 생계를.

This term is Non-Equivalent, and because it has no equivalence in Romanian language I made more researches to look it up and understand what it meant. I have translated the term according to the definition.

The tannins in persimmon leave a brown color when dried in sunlight.

Translation: Taninul din curmale lasă o culoare cafenie cind este uscata la soare.

Tannin (n.)

Definition: Chemistry. any of a group of astringent vegetable principles or compounds, chiefly complex glucosides of catechol and pyrogallol, as the reddish compound that gives the tanning properties to oak bark or the whitish compound that occurs in large quantities in nutgalls[6, online]

Translation: tannin; 타닌산.

There were no problems translating this term as it has common roots in English and Romanian.

Text (Original) : Trilateral trade

Trade grew even more during the 18th century of the Joseon Dynasty (1392-1910) and was the peak of trilateral trade between , and Joseon. (Joseon) mostly exported wild ginseng, while ’s Qing Dynasty (1636-1912) put silk on the market and the Japanese traded silver. An ancient document from the time states how abundant overseas trade was, and the scholar Lee Jung-hwan’s Taengniji writings read that, “”The richest men in Joseon are all merchants who do overseas trade.”

Besides trading tangible products, ’s Ming Dynasty (1368-1644) was also active in literary exchanges. Envoys of the Ming Dynasty exchanged handwritten poems with Joseon scholars, including Jeong In-ji, and Seong Sam-mun in 1450. Collection of Poems by the Ming envoys and Joseon Academicians, treasure No 1404, shows that trade embraced new thought and opinion as well, helping open to the rest of the world.

Text (translation): Comert trilateral

Comerțul a crescut încă și mai mult pe timpul la al 18-ea secol,dinastia lui Joseon (1392-191) și a fost la vârful comerțului trilateral intre China, Japonia și Joseon. Coreea (Joseon) în special exporta ginseng sălbatec, pe când Dinastia Qing a Chinei (1636-1912) a pus mătase în vânzare și japonezii comercializau argint. Un document străvechi din acele timpuri constată cât de abundente au fost comercializările de peste hotare, și scrierile savantului Lee Jung-hwan spun că “ Cei mai bogați oameni în Joseon sunt toți comercianți ce se ocupa cu comerțul de peste hotare.”

Pe lângă comerțul produselor tangibile, Dinastia Ming a Chinei (1368-1644) la fel a fost activă în schimburi de produse literare. Reprezentanții Dinastiei Ming au făcut schimb de poeme scrise de mâna cu Savantul Joseon, incluzându-l pe Jeong In-ji și Seong Sam-mun în 1450. Colecțiile poemelor de reprezentanții Ming și Academicienii Joseon, Comoara Nr. 1404, arată că schimburile au cuprins noi idei și opinii, ajutorând Coreea sa se deschidă la întreaga lume.

Text analysis

In this text we see a lot of Antroponyms and Toponims, these are: Joseon, Qing Dynasty, Lee Jung-hwan’s Taengniji, Ming Dynasty, Jeong In-ji and Seong Sam-mun.

The text is about the trilateral trade between , and .

Trade grew even more during the 18th century of the Joseon Dynasty (1392-1910) and was the peak of trilateral trade between , and Joseon.

Translation: Comerțul a crescut încă și mai mult pe timpul la al 18-ea secol,dinastia lui Joseon (1392-191) și a fost la vârful comerțului trilateral intre , Japonia și Joseon.

Peak (n.)

Definition: the highest or most important point or level [7, online]

Translation: vârful; 피크.

The translation of this word also has a geographical meaning, so while translating I had to make sure it is the right meaning.

Trade grew even more during the 18th century of the Joseon Dynasty (1392-1910) and was the peak of trilateral trade between , and Joseon.

Comerțul a crescut încă și mai mult pe timpul la al 18-ea secol,dinastia lui Joseon (1392-191) și a fost la vârful comerțului trilateral intre China, Japonia și Joseon.

Trilateral trade

Definition: trade from three sides. In our case between three countries: , (at that time Joseon) and [7, online].

Translation: comerțul trilateral; 국 무역.

An ancient document from the time states how abundant overseas trade was, and the scholar Lee Jung-hwan’s Taengniji writings read that, “”The richest men in Joseon are all merchants who do overseas trade.”

Un document străvechi din acele timpuri constată cât de abundente au fost comercializările de peste hotare, și scrierile savantului Lee Jung-hwan spun că “ Cei mai bogați oameni în Joseon sunt toți comercianți ce se ocupa cu comerțul de peste hotare.”

Abundant (adj.)

Definition: in case of our centece we anderstad the term abundant as full of merchants, a great number or rich in something.

Translation: abundent; 풍부한

CONCLUSION

After having performed my translation practice at “Se Jong”, after the theoretical research and practical work I have done in m licence project, I have come to the following conclusion:

Translating literary texts are not as easy, as my first thoughts were about the work I am going to do. I have met a lot of obstacles throughout the entire practice. I had to look through a lot of information in order to define one word, especially the words that were non-equivalent.

Also I have learnt a lot of new things while working on my project. The title is Lexical Problems arising in Specialized Translation. At first I thought it was an easy topic but later on when I decided to look it up even more I found many new things which I gladly learnt as they seemed very interesting to me.

As contextual meaning arises in the context, it should not be regarded as part of the semantic structure of the word. Every word possesses an enormous potentiality for generating new contextual meanings which, however, are predetermined by the semantic structure of the word.

Stylistic and emotive meanings are closely connected. As a rule, stylistically colored words, that is words belonging to certain stylistic strata, except the neutral, possess a considerable element of emotive meaning. For example, the slang words "mug" and "phiz" are undoubtedly more expressive than their neutral counterpart "face" and have a pejorative emotive meaning. In addition to the emotive and stylistic meanings, proper to the word as a linguistic unit, some emotive connotations may be acquired in the context.

Lexical transformations encountered while rendering referential meaning are conditioned by factors as different vision of objects of reality, different semantic structure of a word in the SL and the TL, and different word valency or collocability. Indeed, one and the same object of reality can be seen by different languages in different aspects.

Semantic structure and individual word senses don't often coincide. As a result, literal translations of such words are misleading, that is to say they distort the original message. This group of words is also termed as "misleading international vocabulary, misleading words of foreign origin, or misleading cross-cultural cognates." These misleading words usually derive from Latin or Greek, but, having been borrowed by English and Russian, have led a life of their own, often resulting in their preserving but a tenuous link to their origins and having widely differing semantic structure and word senses (3).

The so-called "NON-EQUIVALENTS" or equivalent-lacking words are the words of the SL which either have no equivalents in the TL or no equivalent denotation in the target culture. To these refer newly-coined words denoting new objects, phenomena and ideas that become known to the people in the SL country and less known (or quite unknown) to the people of the TL country.

There is a difference between emotive charge and individual emotive implications. Emotive charge is an objective semantic feature of connotation, and it is perceived by members of the same speaking community more or less in the same way. Individual emotive implications are associations and ideas that a word may acquire in the mind of a particular person due to their subjective experience.

In different communicative situations language users select words of different STYLISTIC meaning, or status, or, according to A. Burak’s system of terminology, register reference. Stylistically, word senses can be referred to the formal, neutral and informal strata of the word-stock of a language. The greater part of the high-frequency word-stock of any language is represented by neutral words or words of general reference that is translated into other languages with the help of words belonging to a similar register.

The formal vocabulary includes literary words, terminology and the vocabulary of official documents. On the other hand, informal vocabulary is subdivided into general colloquial vocabulary, general slang and vulgarisms. Word senses belonging to a particular stylistic stratum in the SL must be translated by word senses from the corresponding stylistic stratum in the TL, or, in other words, the registers of the original and the translation must be as close as possible.

BIBLIOGRAPHY

Scientifics works:

1. Burak, Alexander. A practical introduction to written translation from Russian into English. : Intrada, 2002. 172 p.

2. Catford, John. A Linguistic Theory of Translation: an Essay on Applied Linguistics. : Press, 1980. 103 p

3. Proshina, Zoya. Theory of Translation (English and Russian), 3d edition, revised. : Far Eastern University Press, 2008. 276 p.

4. Комиссаров, Вилен, Коралова, Анна. Практикум по переводу с английского языка на русский. Москва: Высшая Школа, 1990. 127 p.

Article in Scientifics magazines:

5. Jakobson, Roman. On linguistic aspects of translation. In Lawrence Venuti, The Translation Studies Reader, 2nd edition. : Routledge Group 2004. pp. 138–143.

Internet sources:

6. Online dictionary available at http://translate.enacademic.com/ (visited 20.03.2015)

7. Online dictionary available at http://www.oxforddictionaries.com/ (visited 29.03.2015)

8. Online dictionary Wordreference, available at http://www.wordreference.com/definition/ (accessed on 24.04.2015)

9. Riazi, Alexander (2003) The invisible in translation. available at

http://www.accurapid.com/journal/24structure.htm (visited 14.04. 2015)

10. Shveitzer, Alexander (2004) Lectures on the theory of translation. available at

http://planeta.gramota.ru/al-23.html (visited 16. 04. 2015)

ANNEX 1

STATEMENT*

regarding the originality of the contents of the Licence’s Project

I, the undersigned …………………………………………… in my capacity of graduate of Free International University of Moldova, Faculty of …………………………, specialty………………………………………………, year of graduation……………………………………, declare on my own responsibility that the Licence’s Project entitled ……………………………………………… ……….……………………………………………………………………………………………………………………………………………………………………………, which has been elaborated under the supervision of Mr. / Mrs. ………………………………… and is to be presented to a committee, is original and I am the sole author.

I hereby declare that I have not plagiarized any Licence Projects, monographs, specialized works, articles, etc.; published or posted on Internet, as well as other biographical sources consulted in the process of the thesis elaboration for awarding Licence Title.

I declare that I agree to my Licence Project being checked in any legal ways in order to assess its originality, thereof its content being introduced in a database for such purpose.

Date………………………………. Student’s signature……………………

ANNEX 2

BIBLIOGRAPHY

Scientifics works:

1. Burak, Alexander. A practical introduction to written translation from Russian into English. : Intrada, 2002. 172 p.

2. Catford, John. A Linguistic Theory of Translation: an Essay on Applied Linguistics. : Press, 1980. 103 p

3. Proshina, Zoya. Theory of Translation (English and Russian), 3d edition, revised. : Far Eastern University Press, 2008. 276 p.

4. Комиссаров, Вилен, Коралова, Анна. Практикум по переводу с английского языка на русский. Москва: Высшая Школа, 1990. 127 p.

Article in Scientifics magazines:

5. Jakobson, Roman. On linguistic aspects of translation. In Lawrence Venuti, The Translation Studies Reader, 2nd edition. : Routledge Group 2004. pp. 138–143.

Internet sources:

6. Online dictionary available at http://translate.enacademic.com/ (visited 20.03.2015)

7. Online dictionary available at http://www.oxforddictionaries.com/ (visited 29.03.2015)

8. Online dictionary Wordreference, available at http://www.wordreference.com/definition/ (accessed on 24.04.2015)

9. Riazi, Alexander (2003) The invisible in translation. available at

http://www.accurapid.com/journal/24structure.htm (visited 14.04. 2015)

10. Shveitzer, Alexander (2004) Lectures on the theory of translation. available at

http://planeta.gramota.ru/al-23.html (visited 16. 04. 2015)

ANNEX 1

STATEMENT*

regarding the originality of the contents of the Licence’s Project

I, the undersigned …………………………………………… in my capacity of graduate of Free International University of Moldova, Faculty of …………………………, specialty………………………………………………, year of graduation……………………………………, declare on my own responsibility that the Licence’s Project entitled ……………………………………………… ……….……………………………………………………………………………………………………………………………………………………………………………, which has been elaborated under the supervision of Mr. / Mrs. ………………………………… and is to be presented to a committee, is original and I am the sole author.

I hereby declare that I have not plagiarized any Licence Projects, monographs, specialized works, articles, etc.; published or posted on Internet, as well as other biographical sources consulted in the process of the thesis elaboration for awarding Licence Title.

I declare that I agree to my Licence Project being checked in any legal ways in order to assess its originality, thereof its content being introduced in a database for such purpose.

Date………………………………. Student’s signature……………………

ANNEX 2