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EN
The purpose of the research is to identify a range of possible ways of explication in the translation of a literary text, their study and systematization taking into account the general strategy of the translator. The task of the research is to consider and analyze the application of explication in Ukrainian translations of G Wells’s novel “The Invisible Man” performed by M. Ivanov and O. Didyk using the method of contextual, comparative and, in some cases, component analysis. The undertaken analysis of scientific theories testifies that the reasons that prompt the translator to apply explication can be external and internal. One of the factors at the junction of internal and external causes is the role of the translator as a mediator in the process of interlingual communication. Based on comparative analysis, we concluded that M. Ivanov’s translation decisions quite specifically and adequately reflect the versatility and complex intertwining that are characteristic of G. Wells’ reproduction of the picture of what is happening. However, it is not always possible to prioritize the decision of M. Ivanov, as very often the translator deviates from the original and applies a paraphrase. O. Didyk’s translation is dominated by a position with a focus on the recipient culture. The practical significance of the study is in the possibility of using the conclusions and recommendations in the practice of literary translation and editing of translated texts, as well as in assessing the quality of translation.
EN
The yeast acidic ribosomal P-proteins YP1α, YP1β, YP2a and YP2b were studied for a possible transactivation potential beside their ribosomal function. The fusions of P-proteins with the GAL4 DNA-binding domain were assayed toward their transcriptional activity with the aid of reporter genes in yeast. Two of the P-proteins, YP1α and YP1β, exhibited transactivation potential, however, only YP1α can be regarded as a potent transactivator. This protein was able to transactivate a reporter gene associated with two distinct promoter systems, GAL1 or CYC1. Additionally, truncated proteins of YP1α and YP1β were analyzed. The N-terminal part of YP1α fused to GAL4-BD showed transactivation potential but the C-terminal part did not. Our results suggest a putative extraribosomal function for these ribosomal proteins which consequently may be classified as "moonlighting" proteins.
EN
Ukrainian theater of the society Ruska Besida was one of the essential components in the development of Ukrainian culture in Eastern Galicia. Cultural development was also provided by the activities of Ivan Franko. His work for the theater was often underestimated and superficially studied. This was especially true when the rehash of Ivan Franko The Mayor of Zalamea appeared in the repertoire. The history of staging of this play is important to the history of Ukrainian theatre.
4
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Genomics and the evolution of aminoacyl-tRNA synthesis.

88%
EN
Translation is the process by which ribosomes direct protein synthesis using the genetic information contained in messenger RNA (mRNA). Transfer RNAs (tRNAs) are charged with an amino acid and brought to the ribosome, where they are paired with the corresponding trinucleotide codon in mRNA. The amino acid is attached to the nascent polypeptide and the ribosome moves on to the next codon. Thus, the sequential pairing of codons in mRNA with tRNA anticodons determines the order of amino acids in a protein. It is therefore imperative for accurate translation that tRNAs are only coupled to amino acids corresponding to the RNA anticodon. This is mostly, but not exclusively, achieved by the direct attachment of the appropriate amino acid to the 3'-end of the corresponding tRNA by the aminoacyl-tRNA synthetases. To ensure the accurate translation of genetic information, the aminoacyl-tRNA synthetases must display an extremely high level of substrate specificity. Despite this highly conserved function, recent studies arising from the analysis of whole genomes have shown a significant degree of evolutionary diversity in aminoacyl-tRNA synthesis. For example, non-canonical routes have been identified for the synthesis of Asn-tRNA, Cys-tRNA, Gln-tRNA and Lys-tRNA. Characterization of non-canonical aminoacyl-tRNA synthesis has revealed an unexpected level of evolutionary divergence and has also provided new insights into the possible precursors of contemporary aminoacyl-tRNA synthetases.
5
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The fidelity of the translation of the genetic code.

88%
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2001
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vol. 48
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issue 2
323-335
EN
Aminoacyl-tRNA synthetases play a central role in maintaining accuracy during the translation of the genetic code. To achieve this challenging task they have to discriminate against amino acids that are very closely related not only in structure but also in chemical nature. A 'double-sieve' editing model was proposed in the late seventies to explain how two closely related amino acids may be discriminated. However, a clear understanding of this mechanism required structural information on synthetases that are faced with such a problem of amino acid discrimination. The first structural basis for the editing model came recently from the crystal structure of isoleucyl-tRNA synthetase, a class I synthetase, which has to discriminate against valine. The structure showed the presence of two catalytic sites in the same enzyme, one for activation, a coarse sieve which binds both isoleucine and valine, and another for editing, a fine sieve which binds only valine and rejects isoleucine. Another structure of the enzyme in complex with tRNA showed that the tRNA is responsible for the translocation of the misactivated amino-acid substrate from the catalytic site to the editing site. These studies were mainly focused on class I synthetases and the situation was not clear about how class II enzymes discriminate against similar amino acids. The recent structural and enzymatic studies on threonyl-tRNA synthetase, a class II enzyme, reveal how this challenging task is achieved by using a unique zinc ion in the active site as well as by employing a separate domain for specific editing activity. These studies led us to propose a model which emphasizes the mirror symmetrical approach of the two classes of enzymes and highlights that tRNA is the key player in the evolution of these class of enzymes.
EN
In contrast to mutations in the coding sequences of a genes involved in the pathogenesis of Charcot-Marie-Tooth disease (CMT), little is known about CMT phenotypes resulting from a DNA variants located in regulatory sequences of a given " CMT gene". Charcot-Marie-Tooth type X1 disease (CMTX1) is caused by mutations in the GJB1 gene coding for an ion channel known as connexin, with a molecular mass of 32 kDa (Cx32). Only 0.01% of the GJB1 gene mutations have been reported in its 5' regulatory sequence. Pathogenic mutations occured in the internal ribosome entry site (IRES) are extremely rarely reported in human genetic disorders. To the best of our knowledge, in this study we report for the first time in an Eastern European population, two CMTX1 families in which two pathogenic mutations in the 5' regulatory sequence of the GJB1 gene (c.-529T>C and -459C>T) have been found. The two mutations identified in our study disturb the 5' UTR sequence in two different ways, by affecting the transcription factor SOX10 binding site (c.-529T>C) and by the disrupting IRES element of GJB1 gene (c.-459C>T). These regions are responsible for transcription (SOX10) and initiation of translation (IRES), respectively. On the basis of our findings that, in contrast to the most DNA sequence variants reported in untranslated regulatory regions of genes, the c.-459C>T and c.-529T>C mutations remain pathogenic in the context of different ethnic background.
8
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88%
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2016
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vol. 63
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issue 4
645-651
EN
The p53 tumour suppressor protein is one of the major factors responsible for cell cycle regulation and protection against cancer development. This is why it is often referred to as "the guardian of the genome". On the other hand, mutations in the p53 gene are connected with more than 50% of tumours of various types. The thirty-six years of extensive research on the p53 gene and its protein products have shown how sophisticated the p53-based cell system control is. An additional level of complexity of the p53 research is connected with at least twelve p53 isoforms which have been identified in the cell. Importantly, disturbance of the p53 isoforms' expression seems to play a key role in tumorigenesis, cell differentiation and cell response to pathogenic bacteria, and RNA and DNA viruses. Expression of various p53 isoforms results from the usage of different transcription promoters, alternative splicing events and translation initiation from alternative AUG codons. The importance of the 5'-terminal regions of different p53 mRNA transcripts in the multi-level regulation of the p53 gene has recently been documented. In this review we focus on the structural features of these regions and their specific role in the p53 translation initiation process.
UK
У статті розглянуто теми та провідні образи російських (О. Пушкін, М. Лермонтов, І. Бунін, А. Ахматова, В. Хлєбніков, В. Берестов), литовських (М. Вайнілайтіс, Ю. Някрошюс), єврейських (Р. Балясн, Я. Грубер, П. Киричанський, М. Могилевич), циганських (Л. Мануша, О. Германо) поетів, чеського (Я. Неруда), аварського (Р. Гамзатов), вірменського (Г. Давтян), балкарського (К. Кулієв) ліриків, а також особливості словацького фольклору в перекладах В. Підпалого та Д. Чередниченка. У творчості вказаних митців осмислено домінантні мотиви, в яких переважають любов і відданість рідному народу, захоплення світом мистецтва, актуалізація національної самосвідомості, краса природних ландшафтів та дитячий світ казки. У науковій роботі продемонстровано звернення до внутрішнього світу ліричного героя поетів різних народів, його національну самоідентифікацію, історіософське осмислення буття в суспільстві. У центрі уваги – переклад літературних концептів, які репрезентують не лише негативні емоції, а й урівноважений внутрішній стан ліричного оповідача, що сприяє його духовній гармонії. У «тихій поезії», на відміну від літературної творчості закордонних митців, образ самотності, який зазвичай описує гармонійний внутрішній стан ліричного героя та його духовну рівновагу, є провідним. «Тихі лірики» зображали естетично вартісне поетичне слово – маркер ідейної нейтральності в інтертекстуальній площині вірша. Іноземні поети фокусувалися на внутрішніх інтенціях ліричного героя, що ґрунтувалися на його моральних якостях. Їхня лірика орієнтована насамперед на естетику людини, її внутрішній розвиток.
EN
The article reviewed the themes and leading images of the Russian (O. Pushkin, M. Lermontov, I. Bunin, A. Akhmatova, V. Khlebnikov, V. Berestov), of the Lithuanian (M. Vainilaitis, Y. Nyakroshius), of the Jewish (R. Balyasna, J. Gruber, P. Kyrychansky, M. Mohylevych), of the Gypsy (L. Manusha, O. Germano) poets, of the Czech (J. Neruda), of the Avar (R. Gamzatov), of the Armenian (G. Davtyan), of the Balkar (K. Kuliev) poets, as well as features of Slovak folklore translated by V. Pidpaly and D. Cherednychenko. The article reviewed the dominant motives of foreign writers, in the works of which were depicted love and devotion to the native people, admiration for the world of art and national identity, the beauty of natural landscapes and children’s world of fairy tales. The scientific article represented the appeal to the inner world of the lyrical hero of poets of both nations, his national self-identification, historiosophical understanding of existence in society. The focus is on the translation literary concept that evoke not only negative emotions, but also balance the inner state of the lyrical narrator, promotes his spiritual harmony. In “silent poetry”, in contrast to the literary work of the foreign writers, the literary concept of loneliness also describes the balanced inner state of the lyrical hero, his spiritual harmony. “Silent poets” were appealed to an aesthetically valuable poetic word, which reflected the ideological neutrality in the intertextual plane of the poem and focused on the inner intentions of the foreign poets, which were based primarily on his moral qualities. Given the translations of the foreign poets, the lyrics focused on primarily on the moral qualities of man, his inner development.
UK
У пропонованому дослідженні порушено актуальну перекладознавчу проблему – відтворення категорії означеності / неозначеності, яка є функціонально-семантичною, поняттєвою в українській мові, та граматичною в німецькій. Саме тому по різному виражена в обох мовах. У статті проаналізовано наукові розвідки провідних зарубіжних та вітчизняних лінгвістів, які з різних точок зору підходили до вивчення проблематики пов’язаної з вищевказаною категорією, а також досліджували дану тему на матеріалі різних мов. Метою статті є визначення способів передачі мовних засобів експлікації неозначеності з мови оригіналу на цільову мову. Об’єктом наукової розвідки виступає неозначеність, яка вказує на те, що ім’я позначуваного ним предмета належить до класу подібних йому феноменів. Визначено, що неозначеність є позначенням чогось нового, в українській мові здебільшого виражається за допомогою неозначених займенників, які вказують на неозначену особу, предмет, якість, кількість і т.д., і саме вони є головним засобом референції. На думку науковців, неозначеність в українській мові є завжди маркованою. Предметом дослідження виступають імпліцитні засоби вираження неозначеності в мові оригіналу та експліцитні в німецькомовному перекладі твору (на матеріалі роману С. Жадана «Депешмод»). За допомогою зіставного й описового методів лінгвістичного дослідження розглянуті різні способи передачі засобів вираження неозначеності при перекладі художнього тексту сучасної літератури. Встановлено та проаналізовано відтворення імпліцитних засобів вираження даної категорії в мові оригіналу (якийсь, хтось, який-небудь, деякий, один з і т.д.) за допомогою артиклів (здебільшого неозначеного – ein / eine), а також відповідниками в мові реципієнті (einer aus…/ einer von…, irgendwelche, ein paar), рідше нульовим артиклем. Відтворення кількісного вираження неозначеності при перекладі не викликало жодних проблем. Проте, зафіксовано випадки, в яких неозначеність не було відтворено (якийсь – der). Одним з методів перекладу неозначеності, що ними послуговувався перекладач є перекладацькі трансформації: лексико-семантичні, такі як додавання, генералізація та лексико-граматичні. Вбачаємо перспективу дослідження даної проблематики на матеріалі перекладів текстів інших жанрів та аналізі ширшого спектру засобів, за допомогою яких може бути виражена неозначеність, категорія означеності / неозначеності, а також способів їх перекладу.
EN
This scientific research deals with a topical linguistic and translation problem – the category of definiteness / indefiniteness. The category is a functional-semantic, conceptual category in the Ukrainian language, and a grammatical category in the German language. That is why it is expressed differently in both languages. The article analyzes the works of leading linguists devoted to the study of issues related to the category of definiteness / indefiniteness from different points of view and on the basis of Ukrainian and German languages. The purpose of this article is to determine the means one can use to reproduce the category of indefiniteness in the Ukrainian-German translation. The object of this research is linguistic indefiniteness as it is, i.e. the name of the object it designates belongs to the class of similar phenomena. Indefiniteness describes something new. In the Ukrainian language it is mostly expressed by indefinite pronouns that indicate an indefinite person, object, quality, quantity, etc. Indefinite pronouns are the main means of reference. Linguistic researchers state that indefiniteness in the Ukrainian language is always marked. The subject of the given study is the analysis of implicit means of expression of indefiniteness in Ukrainian as well as means of its explicit expression in the translation of the novel “Depeche Mode” by S. Zhadan into German. Comparative and descriptive methods of linguistic research allow considering different ways of expression of indefiniteness in the translation of modern fiction. The analyzed material contains examples where indefiniteness in the original text is expressed by (якийсь, хтось, який-небудь, деякий, один з і т.д. / some, someone, some, one of, etc.) which is translated by articles (mostly indefinite articles – ein / eine), as well as by their equivalents in the target language (einer aus… / einer von…, irgendwelche, ein paar), rarely by a zero article. Reproduction of the quantitative expression of indefiniteness into the target language doesn’t present a translation problem. The analyzed material contains examples where the indefinite pronoun якийсь / some is rendered by means of the definite article der. Indefiniteness in not reproduced in this case. Among the methods of translation of indefiniteness there are translation transformations both lexical-semantic, such as addition, generalization, and lexicalgrammatical. It conclusion, the further research on the issue of reproduction of indefiniteness / the category of definiteness / indefiniteness on the basis of translations of texts of other genres and analysis of a wider range of means that express indefiniteness, as well as ways of its translation.
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