This paper represents the attempt of the intercultural analysis of the two Russian translations of Imre Kertész’s novel (1975), made synchronously by the translators of different life and cultural experience. In its theoretical part the author places high emphasis on the problem of the boundaries of liberty and responsibility of the translator, who while building a cultural bridge between the original text and the reader of the corresponding metatext encodes its meanings according to his personal interpretation and to a certain extent to the national translation tradition. It is asserted that the plurality of the existing translation interpretations of the text that keeps silence to the “visitor”, in various cultures is the result of breaking the silence by its mediator, who in accordance with Kertész’s philosophical conception becomes a “victim” of the “atonal” language or a “survivor” and so creates his own reader. Thus, this Hungarian Holocaust novel can be interpreted by its Russian addressee with the experience of reading Leo Tolstoy’s, Isaak Babel’s, Andrei Platonov’s and Alexander Solzhenicyn’s works, as a metaphor of the road. The main part of the article is devoted to the description of translation transformations with relation to this kind of interpretation.
1994 = Барт
Р. Писатели и пишущие. В кн.: Барт
. Москва, 1994. 133–141.
1997 = Беньямин
В. Задача переводчика. Предисловие к переводу «Парижских картин» Бодлера.
. Accessed March 3, 2007