Linguoculturological features of direct and indirect translation into Russian and English languages of the story "Beauty in mourning" by M. Auezov

Since Soviet times, a huge amount of translated Kazakh literature has been accumulated, but it is not investigated in the translation aspect enough. In 2017, the Kazakh PEN club deliberately chose the strategy of indirect translation into English of M. Auezov's story "Karaly Sulu" ("Beauty in Mourning"). An authorized Russian translation by A. Pantielev published in 1961 was selected as a source. The purpose of this article is the linguistic and cultural analysis of the translation of this story by M. Auezov into English in comparison with the Russian translation-source, as in the triad of original - translation-source - translation these texts have not been analyzed yet. The methodological basis of the research consists of works in the field of translation studies, linguoculturology and intercultural communication. In accordance with the purpose, such research methods as pre-translation analysis, linguocultural interpretation of the text, comparative analysis of the original and translation were used. The methodology of the research takes into account the specific functions performed by the Russian language as an intermediary; therefore, the specific situations arising as a result of indirect translation of the literary text are analyzed. The object of the study was lexical and grammatical translation transformations to clarify the correctness of their use in direct and indirect translations in order to establish the degree of preservation of the author's original idea in both figurative and linguistic expression. As a result of the linguistic and cultural analysis, the translation of M. Auezov's story "Karaly Sulu" ("Beauty in Mourning") into English by S. Geoghegan is a creative success in the linguistic and cultural aspects, despite some shortcomings caused by the fact of indirect translation. A. Pantielev's choice of Russian translation as a source is justified both by the fact of authorization by M. Auezov and by a wide range of figurative and expressive language means used by the translator. The author's idea is fully transferred, the artistic means of conveying the national color are diverse. S. Geoghegan were able to express his creative individuality as an interpreter, without copying and calques of preceding transfer, and at the same time to keep the idiostyle of M. Auezov.

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