Kaskelen, May 2024

COURSE PAPER
Feature of Translating Proper names in « Crime and Punishment » by Fyodor

Mikhailovich Dostoevsky

Author’s name: Mahinur Saglam, Dilnaz Almaskyzy

Organization: SDU University

Course Title: TRA 405 - Scientific and Technical Translation

Instructor: Madina Ashirimbetova

 Content Plan

Abstract....................................................................................................4
Keywords: Proper names, onomastics, semantics, Dostoevsky........... 4
Introduction.............................................................................................5
Literature Review................................................................................... 6
Analysis.................................................................................................. 11
1. Transliteration.................................................................................11
2. Transcription...................................................................................12
3. Calque.............................................................................................12
Examples from the novel:.............................................................. 12
Discussion...............................................................................................17
Conclusion............................................................................................. 17
1. As a teacher of Russian literature, what would you advise
translators to research in works before translating proper names?.....17
2. A psychological portrait of proper names in the work?................. 17
References.............................................................................................. 19
 Abstract

This scientific article was based on theoretical and empirical research methods in the

field of linguistics. Carefully selected information about the methods of translating proper

names, as well as the image of the characters in the work when translating proper names in the

novel “Crime and Punishment” is intended for translators who are interested in studying

onomastics. The work “Crime and Punishment”. During the study, we analyzed proper names,

their translation methods and onomastics. We interviewed a Russian language teacher at our

university. In this way, we have achieved significant results in the study of proper names and

their contribution to translation studies.

Keywords: Proper names, onomastics, semantics, Dostoevsky

 Feature of Translating Proper names in « Crime and Punishment » by Fyodor

Mikhailovich Dostoevsky

Introduction

The Golden Age of Russian literature had a significant impact on the world classics and

the fiction community as a whole.

One of the famous literary works during the XIX century was "Crime and Punishment"

written by Fyodor Mikhailovich Dostoevsky, first published in 1866, which touched on

socio-psychological and socio-philosophical aspects. After the novel was published in the

literary community, heated discussions began among famous contemporaries of

Dostoevsky. Some critics considered Dostoevsky's moral and philosophical ideas

insightful, while others believed that he was betraying traditional values.

The first complete translation of the work was published in 1886 by Constance Garrett,

the translation had several differences from the original, which were caused by the

cultural difference between the British at the end of the 19th century, as well as in the

stylistic decisions of the translator himself to adapt to new readers. The rest of the

translation community found it difficult to convey philosophical and ethical ideas, and it

was also difficult to convey historical, cultural, and social contexts.

Equally important was the translation of proper names, which directly reflect the

character and status of the characters.

The task of the translators was to adhere to the original version of the work in other

languages, where connotations and meanings differ from another language. This may lead

to the need to adapt the names or search for equivalents that will retain their meaning and

at the same time be available for decoding by readers in other languages.

The purpose of this study is to study the field of semantics and translation of proper

names in the work of Fyodor Mikhailovich Dostoevsky's "Crime and Punishment". They

discussed in more detail: the general idea of the role of semantics, and the relevance of

studying the cultural context of characters. The methodological basis of our coursework

consists of the theoretical part and the method of contextual analysis.

Thesis: How to take into account the image of the characters of the work associated with

a single social and religious problem when translating proper names "Crime and

punishment"?

Literature Review

Proper names represent a special layer of vocabulary, which contains the features of

natural language - the specifics of its semantics, structure, its connections with the

consciousness and culture of the people. Proper names, like other full-valued lexical and

phraseological units, perform different functions in the language: nominative, identifying,

communicative, deictic, evaluative, and phatic.

The semantics of proper names has been and remains the main topic of discussion among

writers. The meaning of proper names is important not only for the cognitive direction in
linguistics but also for linguoculturology. Writers argue that the meanings of proper

names contain much more information than it seem at first glance. There is an approach

to the semantics of proper names, which is called referential.

Quite recently, a new approach to the study of the semantics of proper names began to

develop. The linguoculturological approach is because the semantics of eponyms are

largely related to the cultural characteristics of the language. Examples include

mythology, literary texts, and names of famous cultural figures.

In the novel “Crime and Punishment” the words are used as an example, Gambrinus

(Гамбринус), Five Corners (Пять углов).

“Gambrinus” is a proper name with deep cultural meaning, as it means a brewing on

Vasilyevsky Island in St. Petersburg. The modified word "Gambrinus" is the real

historical name of the Brabant Duke Jan Grimus, who once existed in the 18th century.

In the second part of the novel, where Raskolnikov meets Razumikhin, a St. Petersburg

street called "Five Corners" is mentioned. It turns out that Five Corners is a well-known

name (which existed, of course, mainly in oral speech) of a place in St. Petersburg:

Zagorodny Prospekt, Troitskaya, and Razyezzhaya streets and Chernyshev Lane

converged there, creating a characteristic (although in this sense not the only one for the

city since there were and other places with five street corners) will be accepted.

Nowadays, Troitskaya Street is called Rubinstein Street, and Chernyshev Lane is called

Lomonosov Street.
A person cannot live without a name that identifies and individualizes his personality. If

in life a name plays a nominative role, in literature its role is completely different. Unlike

a real person, a literary hero is considered to be a bearer of complex traits collected by the

writer. When reading for the first time, anthroponyms in the work may seem ordinary and

as if they do not play a big role. But in fact, proper names in “crime and punishment” are

a complex system that connects all events and hidden meanings. The names of all minor

characters mirror the state of the main character Rodion Romanovich Raskolnikov.

According to L.A. Bem, this name has a double interpretation: Roskol is a split

personality, and Roskol is a symbol of fanaticism and stubbornness. The name Rodion,

from an ontological point of view, means “resident of the island of Rhodes,” which

indicates his Christian nature. However, there is a connection here to the hero notion

itself. Rhodes was well-known for producing great leaders; Pompey, Caesar, and Tiberius

all studied there. So, the motivation of the mighty in our world emerges, people who were

able to transgress via blood and agony. Raskolnikov cannot become Caesar or Tiberius,

so he becomes an "ordinary" killer. Also, the name of this character is consonant with

such Russian lexemes as “Rod”, and “Rodina”, which means “Legacy, homeland” and

this may mean his highly moral character and heightened sense of justice. And

Raskolnikov’s moral potential was revealed in a whole kind of humane action.

The Marmeladov line is a secondary story in the novel. This surname, reminiscent of

sweets and associated with contentment, comfort, and something pleasant, is intended to

highlight the plight of the heroes. This unhappy family's life is completely at odds with
these associations. Constant need, poverty, hunger, Katerina Ivanovna’s illness,

Marmeladov’s drunkenness, Sonya - misfortunes accompany the heroes throughout the

story. “The Marmeladov family is a focus in which all the misfortunes of an incorrectly

structured ... society is refracted, and how “sweet” this world is is depicted by the bitterly

ironic surname chosen by Dostoevsky,” wrote V. Ya. Kirpotin. On the occasion of

Marmeladov's daughter, Sonya, her name came into the Russian language from Greece,

along with the adoption of Orthodoxy in Russia. Sophia means reasonableness,

"wisdom," and "science." Translated from Greek.

Moreover, according to Altman, Sonya Marmeladova had the main features of all of

Dostoevsky’s “Sophias”: humility, defenselessness, and humiliation. In Orthodoxy, the

patron saint of people with this name is Sophia of Rome, who died of grief at the grave of

her daughters - martyrs - Faith, Nadezhda, and Lyubov - on the third day after their

execution for the faith of Christ.

It is no coincidence that the heroine receives this name because the main idea that Sonya

carries throughout the novel is faith in God. Altman states: “If Sophia, in general, means

wisdom, then in Dostoevsky the wisdom of his Sophia means humility” . It is Sonya who

asks Raskolnikov to repent of his sin and thereby humble the pride that made Rodion a

moral cripple. Also, the heroine’s spiritual wisdom leads her to faith and hope that

Raskolnikov is capable of taking the path of correction, which is why she blindly follows

him to hard labor. The girl sincerely believes that Rodion is not a cruel killer by nature,

but simply a stumbled person.

Svidrigailov Arkady Ivanovich is the other double of Raskolnikov, and he's saying to

Rodion: 'We're from the same breed.' And Raskolnikov knows that because they both

went through blood. Svidrigailov, on the other hand, had never taken the path of moral

rehabilitation, unlike Rodion. In the novel, Lizaveta's name is also important because she

was Raskolnikov's innocent victim. Elizabeth's name is Hebrew and means "God's oath"

and "Vow to God." The novel describes Lizaveta as a holy fool. This is “a tall, clumsy,

timid and humble girl, almost an idiot, ... who was in complete slavery to her sister.”

There is something childish in Lizaveta’s face; defending herself from Raskolnikov’s

attack, she childishly covers herself with her hand.

The research matrix that was assigned to us by our professor proved to be incredibly

useful and made the data collection procedure clear. Throughout the process of writing

this course paper, we added a lot of articles and findings. The first article that we mostly

relied on and used to compare different translations of « Crime and Punishment » is a

report done by Lindsey C. Myers, called « Crime and Punishment in Translation:

Raskolnikov Redeemed». She analyses four translations of this novel. According to the

author, the oldest translation of this masterpiece is conducted by Constance Garnett. She

penned the original « golden standard » of Russian translation and her translation was

perceived positively for 100 years. However, critics found precise inaccuracies and errors

in her translation. Aside from Constance Garnett author mentions such translators as

David McDuff and the husband and wife team Pevear and Volokhonsky (P&V). McDuff

states that he strives to retain as much of Dostoevsky’s style, syntax, and sentence
structure as possible. Lindsey C. Myers believes that readers must experience different

perceptions of this novel. Each translator put their effort into conveying the original idea

and unique style of Dostoevsky.

Furthermore, for a deeper understanding of proper names, we chose an article called «

Anthroponyms in the Novel by F. M. Dostoevsky “Crime and Punishment». This article

touches upon a subject called onomastics. For Dostoevsky, it was essential to promote the

semantic meaning of characters' names. Researcher S.V. Belov in his article « Names and

Surnames in Dostoevsky » writes: « In Dostoevsky’s library there was a calendar in

which a translation into Russian of the names of generally accepted saints was given,

revealing their literal meaning. »

The main purpose of this article was to research the semantics of proper names in the

novel and explore ways to translate them.

To systematize and distribute the various key points of our coursework, we have

compiled a theoretical framework. The most important aspect that we must take into

account is to compare the translations of different translators and analyze the techniques

they use.
 Analysis

Originally, to achieve more significant results in the analysis of translations of the

novel, we will first become familiar with translation methods. Unlike common nouns,

proper names are universal because when translated they retain their calories and

semantic meaning the most. Most translators do not focus enough attention on the

translation of proper names, citing the fact that they are “translated” as if by themselves.

This reason leads to discrepancies and misunderstandings. The main translation methods

used when translating proper names:

1. Transliteration

According to N.N. Korenkova, this is “a formal letter-by-letter recreation of the original

toxic unit using the alphabet of the translating language; letter imitation of the form of the

original word.”

The advantage of transliteration is the universal property of names and the immutability

of the written version.

Since the focus is on the sound of the word rather than the spelling, it is quite difficult to

reconstruct the original version.

This translation method dates back to the 18th century. For example, the same English

name Charles, if it refers to the English kings of the Stuart dynasty, is rendered as

Charles, and at present, even if it is the heir to the English throne, as Charles.
2. Transcription

Phonetic imitation of the initial word with the aim of phonemic reconstruction of the

original lexical unit.

Correct transcription preserves the original sound of a foreign word. Let's look at it with

an example. The English word Hudson is transcribed as "Hudson" using all English

pronunciation rules. When using transliteration rules, we get the word "Hudson".

3. Calque

French calgue - “copy, imitation”, imitation not of the sound composition of a word, but

of its partial translation, followed by combining the translated parts without changing the

meaning.

Examples from the novel:

Source Language Target Language Target Language Analysis/Comment

(Translation 1) (Translation 2)

Я лежал пьяным и Transliteration. In

слышал, как I was lying drunk I lay there drunk this passage
говорила моя and I heard my and heard Sonia Roskolnikov’s
Соня (она – Sonia speaking (she speak. (She was a warm attitude
нежное создание с is a gentle creature gentle creature with towards Sonia can
мягким with a soft little a soft voice, fair be seen. David
голоском… voice... fair hair and hair and such a pale, McDuff’s translated
светлые волосы и such a pale, thin thin face.) She said: version is
такое бледное, little face). She 'Katerina straightforward and
худое лицо). Она said: 'Katerina Ivanovna, do I modern, while
сказала: Катерина Ivanovna, am I really have to do Constance Garnett
Ивановна, правда really to do a thing that? (David uses more artistic
like that?'
ли мне делать это? (Constance Garnett, McDuff, page 30) language.
(Ф. М. page 25)
Достоевский,
страница 29)

Source Language Target Language Target Language Analysis/Comment

(Translation 1) (Translation 2)

Мармеладов Marmeladov Transliteration.

вдруг замолчал, Marmeladov stopped short, as if Marmeladov’s
словно его голос stopped short, as his voice had failed character can be
подвел. Затем though his voice him. Then he perceived from this
поспешно налил had failed him. quickly refilled his passage. There are
себе стакан, выпил Then he hurriedly glass, drank, and no significant
и покашлял. (Ф. filled his glass, cleared his throat. changes in the
М. Достоевский, drank, and cleared (David McDuff, translations.
страница 30) his throat. page 32)
(Constance Garnett,
page 26)

Source Language Target Language Target Language Analysis/Comment

(Translation 1) (Translation 2)

Transliteration. In
'О, да,' – быстро Oh, yes, Oh, yes,' this passage
ответил Razumihin Razumihin replied Razumihin is
Разумихин. 'Он answered quickly. quickly. 'He's a providing a
хороший парень, "He is a nice fellow, decent sort, you'll description of his
увидите, брат. you will see, see, brother. A bit friend. Once again
Немного неуклюж, brother. Rather clumsy, in a manner the translation of
то есть, он человек clumsy, that is to of speaking – I McDuff is proven to
с лакированными say, he is a man of mean, he's a man of be more accurate
манерами, но я polished manners, polished manners, and modern.
имею в виду but I mean clumsy but clumsy in
неуклюж в ином in a different sense. another way. He's
смысле. Он умный He is an intelligent intelligent, very
парень, fellow, very much much so indeed, but
действительно so indeed, but he he has his own
очень, но у него has his own range ideas.... He's
свой круг of ideas.... He is incredulous,
мыслей... Он incredulous, sceptical, cynical...
неверующий, sceptical, cynical... he likes to make fun
скептичный, he likes to impose of people, or rather,
циничный... ему on people, or rather to make fools of
нравится над to make fun of them. He works by
людьми them. His is the old, the old
издеваться, или, circumstantial circumstantial
вернее, подшутить method.... But he method.... But he's
над ними. У него understands his thorough in his
старый, детальный work... work.... Last year he
метод... Но он thoroughly.... Last solved a murder
разбирается в year he cleared up a case that had the
своей работе... case of murder in police completely
досконально... В which the police stumped. He's really
прошлом году он had hardly a clue. keen to meet you!
разобрался в деле He is very, very (David McDuff,
убийства, в anxious to make 342)
котором у полиции your acquaintance!
едва ли была хоть (Constance Garnett,
какая-то нить. Он page 313)
очень-очень хочет
с вами
познакомиться!”

(Ф. М.
Достоевский,стран
ица 368)
Source Language Target Language Target Language Analysis/Comment
(Translation 1) (

Calque. Both
На Кире We stopped at We stopped at the translations are
Персидском Cyrus of Persia. Persian King. accurate, although
остановились. (Ф. (Constance Garnett, (David McDuff, 43) Constance Garnett
М. page 36) preserved the
Достоевский,стран original version,
ица 24) adapting it for
english-speaking
audience clearly.
McDuff’s
translation is
general and doesn’t
hold a deep
meaning.

Source Language Target Language Target Language Analysis/Comment

(Translation 1) (Translation 2)

Calque. Both
В это время вошла At that moment a At that moment a translators managed
с улицы целая whole party of whole party of to culturally adapt
партия пьяниц, revellers already drunkards entered this passage. But
уже и без того drunk came in from from the street; the translation of
пьяных, и the street, and the sounds of a hired Constance Garnett
раздались у входа sounds of a hired barrel organ and the conserved semantic
звуки нанятой concertina and the cracked voice of a meaning of this
шарманки и cracked piping child of about seven word.
детский, voice of a child of singing ‘At the
надтреснутый seven singing 'The Farmstead’ could
семилетний Hamlet' were heard be heard in the
голосок, певший in the entry. entrance. (David
«Хуторок». (Ф. М. (Constance Garnett, McDuff, page 45)
Достоевский,стран page 38)
ица 28)
 Source Language Target Language Target Language Analysis/Comment
(Translation 1) (Translation 2)

И до того эта Transcription. This

несчастная And this hapless And this hapless is the description of
Лизавета была Lizaveta was so Lizaveta was so Lizaveta’s death.
проста, забита и simple and had been simple, crushed and The name of this
напугана раз so thoroughly frightened that she character could
навсегда, что даже crushed and scared did not even raise have been translated
руки не подняла that she did not her hand to shield by using calque as
защитить себе even raise a hand to her face, though “Elizabeth”, as it is
лицо, хотя это был guard her face, that would have the analog of this
самый though that was the been the most name in English.
необходимо-естест most necessary and natural thing to do But in this case it
венный жест в эту natural action at the at that moment, was transcribed
минуту, потому moment, for the axe since the axe was directly.
что топор был was raised over her poised directly over
прямо поднят над face. (Constance it. (David McDuff,
ее лицом. (Ф. М. Garnett, page 153) 164)
Достоевский,стран
ица 110)

We have analyzed various examples of translated proper names. According to our

research the most reliable translated version of the novel is British translator Constance

Garnett’s version. Her translation played a crucial role in popularising novels of Leo

Tolstoy, Fyodor Dostoevsky, Anton Chekhov, and Ivan Turgenev and etc. Popular among

readers since 1914, her work is written in a literary and accessible language.

It was challenging to distinguish between transliteration, transcription and calque, but we

managed. So how can you preserve the semantics of a proper name when translating?
The English audience is not familiar with most of the words in the novel. In order to

guarantee an accurate translation of a proper name, the first stage of the translation

process requires research. It is necessary to take into account such a factor as cultural

adaptation, which will help achieve the universality of the translation. An example of a

good adaptation would be how both translators handled the translation of the word

“Хуторок”. The word, which is the name of a Russian folk song, was replaced by “The

Hamlet” according to Constance Garnett, and by “At the Farmstead” according to David

McDuff. The second version is a direct translation and does not indicate a specific

cultural feature.

Discussion

We believe that our research will help in the analysis of proper names and onomastics in

translation studies. Having analyzed various sources of information, we did not find any

similar articles that would offer an in-depth analysis of proper names. We studied

translation methods such as calque, transliteration and transcription, and presented

approaches for preserving the context of the novel. Limitations faced by translators:

maintaining cultural differences, determination of the translation method, transfering

symbolic meaning, sequence of words.

 Conclusion

To summarize the research, we will further consider what we wrote above.

This study led us to the conclusion that the role of semantics in translating proper names

and without changing the images of characters is one of the main tasks faced by

translators.

And then we will provide answers to our survey from a specialist about fiction:

The first question:

1. As a teacher of Russian literature, what would you advise translators to research

in works before translating proper names?

The main 8 points are the: cultural context, the historical context, the social status of the

characters, the style of the author, grammatical features, the target audience, publishing

requirements and the translator's creative approach.

2. A psychological portrait of proper names in the work?

The name Radion means hero. It may indicate that he is not afraid to take responsibility.

Raskolnikov points out that he is a man in a state of internal strife and conflict. The name

Sonya means wisdom, which corresponds to her character.

Dunya's name is pride and determination and is inherent in her.

To conclude, proper names give us an idea of the psychological portrait of each character,

which can broaden the horizons of translators to further build an image of the character

without losing the cultural part.

References

Averkieva V.A., Anthroponyms in F. M. Dostoevsky’s novel “Crime and Punishment.”

Glazov State Pedagogical Institute named after. V.G. Korolenko.

[Link]

nie-2792480

Lindsey C. Myers., (2014). Crime and Punishment in Translation: Raskolnikov

Redeemed. Providence College.

[Link]

&article=1005&context=dostoevsky_2014

Wikipedia. (2024). Fyodor Dostoevsky. Wikipedia.

[Link]