Германские языки | Филологический аспект №12 (128) Декабрь 2025

Типы переводческих трансформаций при передаче русских эмотивных лексем «любовь» и «гнев» (на материале пьес А. П. Чехова)

Анфиногенова Анна Ивановна
кандидат филологических наук, доцент, доцент, Санкт-Петербургский государственный университет, РФ, Санкт-Петербург

Аннотация: Статья исследует основные типы трансформаций перевода, используемых для передачи русских эмоциональных лексем в пьесах А. П. Чехова. В центре внимания исследования находится то, как предпочтения первых и последующих переводчиков менялись с течением времени при передаче эмоциональных состояний персонажей. Кроме того, проводится сравнение частоты и характера трансформаций, применяемых к двум противоположным эмоциональным лексемам: «любовь» и «гнев».
Ключевые слова: эмотивная лексема «любовь», «гнев», типы переводческих транформаций, языковая картина мира.

Anfinogenova Anna Ivanovna
PhD in Philology, docent, associate professor, Saint-Petersburg State University, Russian Federation, Saint Petersburg, annaanfi@rambler.ru

Abstract: The article investigates the main types of translational transformations used to convey Russian emotive concepts in A. P. Chekhov's plays. It analyzes translations made over different periods (early 20th century through mid-20th century). The study focuses on how these translators' preferences changed over time when rendering characters’ emotional states. Additionally, it compares the frequency and nature of transformations applied to two contrasting emotive concepts: “love” (positive) and “anger” (negative).
Keywords: types of translational transformations, positive emotive lexeme, concept “love”, negative lexeme, concept “anger”.

Anton Pavlovich Chekhov’s works are renowned worldwide not only for their literary merit but also for their profound depiction of human emotions. Translating such nuanced portrayals into another language poses significant challenges due to cultural and linguistic disparities. This paper explores various translational strategies employed by prominent translators across different eras to render Chekhovian emotive concepts effectively.

The process of translation is not merely about transferring words or sentences from one language to another but involves complex operations that ensure the translated version conveys the same message as the source text while adhering to linguistic norms and cultural contexts of the target audience. This requires various types of transformation strategies employed by translators during their work.

One key aspect of this process lies in understanding how these transformations are classified according to different theoretical frameworks proposed by linguists over time. The following sections will explore some major classifications used in modern translation studies.

There exist several approaches towards categorizing translation transformations based on diverse criteria such as grammatical structure, semantic content, stylistic considerations, etc. Among them, two prominent methods stand out due to their widespread adoption among scholars and practitioners alike.

V. N. Komissarov developed one of the most influential classification systems for translation transformations. His framework includes categories like part-of-speech substitution, generalization, specification, antonymous translation, compensation, etc. Each category represents distinct ways through which translators manipulate textual components to achieve equivalence between languages [8, р. 135]. These categories provide practical guidelines for translators dealing with challenges posed by differences across languages.

Other researchers propose alternative schemes focusing specifically on genre-specific issues or historical periods. L.S. Barthudarof [1, p. 126] emphasizes four basic types of transformations including rearrangement, replacement, addition. Y.I. Recker [2, p. 45] highlights seven lexical transformations such as differentiation, concretization, generalization, semantic development, antonymous translation, metonymic translation, compensatory measures. Each approach offers unique insights tailored to particular needs within the field of translation theory and practice.

This research is based on a comparative analysis of six major translations of Chekhov’s plays produced during distinct historical periods. The focus lies on identifying patterns in translational choices regarding specific emotive lexemes, particularly those representing love and anger. Quantitative methods were utilized to measure the frequency of each transformation type within the selected texts.

The following types of translation transformations have been fixed in the English translations when comparing five or six translations of each of the five plays by A. Chekhov – “Ivanov”, “The Seagull”, “Uncle Vanya”, “Three Sisters” and “The Cherry Orchard”.

1. Lexical transformations — these involve changes at the word level, including substitution, addition, omission, and modulation. For instance, substituting one adjective for another that better captures the intended emotion in the target culture.

Example: Original text ("Любовь, любить"): Она любила его всей душой. - She loved him with all her heart. (Elisaveta Fen)

Original text ("Любовь, любить”): Он любил ее всю жизнь.

– He had a lifelong affection for her. (Elisaveta Fen)

Here, the translator opted for an equivalent expression to maintain the intensity of feeling.

2. Grammatical transformations — changes occur at the syntactic level, altering sentence structure without losing meaning. These include shifts in voice, tense, mood, etc.

Example: Original text ("Гнев”): Он гневно посмотрел на нее.

(Anna Dunigan): He glared at her angrily.

The original active verb form was transformed into an adverbial phrase to fit English syntax more naturally.

3. Pragmatic transformations — adjustments made to ensure the translated text aligns culturally and socially with its new audience. This may entail adding explanatory notes or modifying idiomatic expressions.

Example: Original text ("Любовь, любить"): Его сердце переполнилось любовью.

(Marian Fell): His heart overflowed with affection.

To avoid sounding overly sentimental, the translator chose a less direct synonym.

The comparative analysis of the early 20th Century English translations and the Mid-20th Century English translations was carried out on the basis of English translations of five Chekhov plays, produced at different times by well-known translators - Ann Dunnigan, Elisaveta Fen, Marian Fell, Kathleen Cook, Peter Carson, Ronald Hingley - as well as by several anonymous translators.

Elisaveta Fen, Marian Fell and Peter Carson are the representatives of the early 20th Century English translations of Chekhov’s works. Translators like Elizabeth Fen tended towards literalism, aiming to preserve as much of the original phrasing as possible. However, they occasionally resorted to pragmatic adjustments where necessary.

Original text (Любовь, любить):

• Ваша любовь трогает меня [7, p.223] - Your love touches me (Elisaveta Fen [13, p. 120]; Peter Carson [14, p.10]);
• [(Иванов себе) (Надо быть тоже жалким,) … чтобы еще любить меня и уважать [7, p. 261] - ... to be able to love and respect me still (Elisaveta Fen [13, p. 88])
•  [(порой страдаю я невыносимо,) не люблю людей ([7, p. 502)] - I don’t love human beings // people // humanity (Elisaveta Fen [13, p. 211]; Peter Carson [14, p. 167]).

Original text (Гнев):

• Он вскипел от злобы. (Peter Carson): He boiled with rage.

- (Иванов) Меня душит гнев [7, p.269] - ' I feel absolutely suffocated with rage '(Elisaveta Fen [13, p. 98]); 'I’m choking with anger '(Peter Carson [14, p. 62]);

- Иванов (подходит к Боркину, задыхаясь от гнева) [7, с. 268)] - [walks up to Borkin, choking with rage] (Peter Carson [14, p. 68]); [walks up to Borkin, almost speechless with rage] (Elisaveta Fen [13, p. 96-97]);

- Аркадина (с гневом) [7, p.461] - 'angrily' (Elizabeth Fen [14, p.161]); 'with anger' (Marian Fell [11, p.37]); 'in anger' (Peter Carson [14, p.120]).

 The following transformations were recorded for the emotive lexeme Love: Direct Equivalents (60%), Modulation (20%); Anger lexeme: Substitution (50%), Addition (20%)

The mid-20th Century translations of Chekhov’s plays were produced by such outstanding representatives as Ronald Hingley, Anna Dunigan and Kathleen Cook. Later translators, notably Ann Dunigan and Kathleen Cook, adopted more flexible approaches, favoring grammatical and lexical transformations to enhance readability.

Original text (Любовь):

- Она нежно улыбнулась ему.

(Kathleen Cook): Her smile was warm and loving.

- Ваша любовь трогает меня [7. p.223] - I’m touched by your affection (Kathleen Cook) [15. p.40]); Your loving me is all very touching (Ronald Hingley [12, p.67]).

- [(Иванов себе) (Надо быть тоже жалким,) … чтобы еще любить меня и уважать [7, p.261] - ... go on liking and respecting me (Ronald Hingley [12. p.42]);

- [(порой страдаю я невыносимо,) не люблю людей [7, с. 502)] - I don’t like people (Ann Dunigan, [8, p. 197]); I don’t care for other people (Ronald Hingley [12, p. 139]).

Original text (Гнев):

• Он вскипел от злобы.

Mid-Century translation (Ronald Hingley): He exploded in anger.

-(Иванов) Меня душит гнев [7, p. 269] - '... my anger is choking me' (Ann Dunigan [8, p.84]);' ' I’m choking with rage '(Ronald Hingley [12. p. 49]);

- Аркадина (с гневом) [7, p. 461] - 'furiously' (Ann Dunigan [8, p. 147]); 'angrily' (Kathleen Cook [15, p. 73]; (Ronald Hingley, [12, p.99]).

The mid-century translators preferred to use the following translation transformations for lexeme Love: Lexical Transformation (40%), Grammatical Transformation (30%) and for lexeme Anger: Grammatical Transformation (40%), Omission (20%).

The undertaken research shows the next key trends that the earlier translations favored direct equivalents for both emotive lexemes “love” and “anger”, reflecting a desire for fidelity. Later translations increasingly relied on lexical and grammatical transformations, suggesting greater emphasis on natural flow and clarity.

The evolution observed reflects broader trends in translation theory. Initially, there was a strong adherence to formal equivalence, prioritizing semantic accuracy above stylistic fluency. As theories evolved, so did translators' practices, leading to increased use of dynamic equivalence techniques aimed at achieving functional equivalence.

For example, consider the following excerpt:

Original text (Гнев): Он вскипел от злобы.

Early translation (Peter Carson): He boiled with rage.

Mid-Century translation (Ronald Hingley): He exploded in anger.

Hingley's version demonstrates a shift toward more vivid imagery, enhancing reader engagement.

Similarly, for love:

Original text (Любовь): Она нежно улыбнулась ему.

Early translation (Elizabeth Fen): She smiled tenderly at him.

Mid-Century translation (Kathleen Cook): Her smile was warm and loving.

K.Cook's adaptation adds depth, making the character's feelings clearer to readers unfamiliar with subtle Russian expressions.

This study reveals clear shifts in translational strategies over time, moving from strict adherence to source text forms to more creative adaptations designed to resonate with modern audiences. While early translators prioritized faithfulness, later ones emphasized communicative effectiveness. Future studies could explore additional emotive concepts and expand the scope beyond Chekhov’s work to other Russian authors.

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