The folklore of any nation is a complex system of oral works which interacts with other systems of spiritual life, such as literature, social and political life of society, etc. Folklore texts can be incorporated into the life of people naturally or introduced into the global information space through written texts (literature, media, scientific collections of folklore texts) and stage performance. The purpose of the study is to characterize the role of the heroic song about the Kurtatins in the song repertoire and Ossetian folklore; to identify basic translation principles and strategies used by the famous Ossetian educator Gagudz Guriev. The textological search was conducted in the Scientific Archive of the North Ossetian Institute of Humanitarian and Social Research n. a. V.I. Abaev. Versions of the song texts were found. Any text of Ossetian folklore is a part of Indo-European plots, tales and archetypes. A heroic song is a genre of Ossetian folklore which transfers information and signifies the importance of events, glorifies heroes. As for the folklore text as a part of the culture, currently the song about the Kurtatins is not performed by folklore amateur or professional groups. The article aims to find out whether this song exists in the folklore environment. The study can be used to compile the index of the Folklore Fund of the Scientific Archive of the North Ossetian Institute of Humanitarian and Social Research n.a. V.I. Abaev and for other research and humanitarian purposes.

The results of a comparative analysis of multilingual texts - the original and the translation - of poetic works by Ossetian authors (M. Tsirikhova, A. Tsarukaev, R. Asaev, G. Dzugaev, H.-M. Dzuzzati, D. Darchieva, T. Tettsoeva) in the light of the translation interpretation by famous Russian poets of the sixties (E. Evtushenko, B. Akhmadulina, R. Kazakova, B. Okudzhava, Yu. Morits) are presented. In the course of comparative analysis, it was found that some translators resorted to adapted rethinking of the lines of a foreign language text (Yu. Morits, B. Akhmadulina). It was shown that for this purpose, in some places, translators violated the formal organization of the verse, expanded the original text by adding stanzas (R. Kazakov) or, conversely, narrowed the verse of the original (B. Okudzhava, B. Akhmadulina), but changes in the structure of the original did not affect the adequate perception of the text to recipients. The features of the implementation of the original pragmatic potential in translation are commented. It is noted that translators not only find lexical means characterized by semantic affinity with the words of the original, but also embody the aesthetic component of the literary text (R. Kazakova, Yu. Moritz) and others. It is stated that some poets deliberately resorted to rethinking the artistic reality captured by the author: in the language of translation, a new work is actually created based on the poem in the original (E. Evtushenko, B. Akhmadulina).

Дзапарова Елизавета Борисовна Стихотворения для детей К. Л. Хетагурова в русскоязычных переводах Н. С. Тихонова В статье рассматривается переводческое наследие известного поэта Н. С. Тихонова, представленное стихотворениями осетинского писателя второй половины XIX-начала ХХ в. К. Л. Хетагурова на русском языке. Цель исследования-определить с помощью сравнительно-сопоставительного анализа основные виды переводческих трансформаций, способствующих передаче лингвопоэтических особенностей текста. Научная новизна-впервые проанализированы варианты стихотворений для детей К. Хетагурова в переводе Н. Тихонова. В ходе исследования получены следующие результаты: переводы эквиритмичны и эквилинеарны; Тихонов приближает текст к художественному восприятию русскоязычного читателя при отказе местами от воссоздания национального колорита. Адрес статьи: www.

The article presents a comparative analysis of the original text of the Kosta L. Khetagurov’s poem “Chi dӕ?” (‘Who are you?’) with three variants of Akhmatova’s translation into Russian in order to reveal the most appropriate artistic text. The line-by-line comparison of translations with the original determines the interpreter’s choice of stylistic means and lexical variants in the transmission of certain units of the original language.The paper deals with translation strategies for achieving Akhmatova the equivalency of the Khetagurov’s verse in translation. It identifies a number of other features of the transfer of verse forms, such as the location to save the rhyme translator uses inversion. Transfer of linguistic units from national and cultural semantics Akhmatova reduced to the transcribed or the omission of them in translated text. As a result of the analysis of the equivalent transfer of the lexical units of the original in the variants of the translation of the poem “Chi dӕ?”, the author of the study comes to the conclusion that the most successful is Akhmatova’s translated text published in the collection of Kosta L. Khetagurov’s works in 1951.

В статье рассматривается переводческое наследие Созырыко Бритаева, оценивается вклад переводчика в теорию и практику художественного перевода. Автором анализиру- ются переводы С. Бритаева, выявляются способы воссоздания в переводном тексте фор- мы и содержания оригинала. Анализируя рассказ Л. Н. Толстого «После бала» в оригинале и в переводе С. Бритаева, исследователь рассматривает способы отображения в пере- водном тексте основного структурообразующего элемента произведения — контраста. Установлено, что переводчику С. Бритаеву удалось воспроизвести стиль повествования, систему художественных образов оригинала, архитектонику произведения. Прослежена передача на языке перевода и образных единиц оригинала (метафор, эпитетов). Перевод- чик в основном воспроизводит данные единицы перевода в оригинальной творческой мане- ре русского писателя. Замена отдельных метафорических структур эквивалентами пе- реводящего языка позволила Бритаеву сохранить структуру тропа, но привела к утрате его эстетической функции. Перевод некоторых эпитетов требовал отхода от словарных соответствий и нахождения эквивалентов по смыслу. The article examines Sozyryko Britaev’s translation heritage, assesses the contribution of the translator to the theory and practice of literary translation. The author analyzes Britaev’s translations, identifies methods of recreating in his translated version the form and contents of the original text. The researcher considers ways of displaying contrast as a basic structure-forming element of the work in the translated text analyzing the story of L. N. Tolstoy «After the Ball» in the original and in Britaev’s translation. The study allows to conclude, that Britaev as a translator managed to reproduce the style of narration, the system of artistic images of the original, the architectonics of the work. The author traced the translation into Ossetian the original figures of speech (metaphors, epithets). On the whole the translator managed to reproduces these tropes retaining the original Russian writer’s creative manner. Replacing some individual metaphorical structures with equivalents of the language of translating allowed Britaev to preserve the structure of the tropes, but led to the loss of their aesthetic function. Translation of some epithets required a deviation from the lexical correspondences and finding semantic equivalents.