What they say Catholics about the new translation of Kulakov. Old Testament. Introduction to the books of the New Testament

5. Old Testament The concept of "Old Testament" is clearly mentioned only in 2 Cor. 3:14, but meant when Paul talks about two covenants in Gal. 4:24, as well as in his references to the "First Testament" in Epistle to Jews (8: 7.13; 9: 1,15,18), "Second Testament" (9: 7) and "The Best Testament" (7 : 22; 8: 6).

B. Old Testament When we understand how inseparably the entire New Testament binds the resurrection of Jesus Christ with the resurrection of believers, they are not surprised that the Old Testament does not understand the resurrection. In the New Testament and the specific image of the resurrection of believers, and

1. The Old Testament of the Old Testament is first mentioned in Ex. 19, where God speaks Moses about what he has already committed to Israel. He freed them from Egypt and made his people (verse 4). In view of the fact that God made mighty things for Israel, he expected his people (1)

1. The Old Testament God always leaves his grace through individuals and their people Israel. They reveal him grace to the world and in some sense become intermediaries of blessings. Some people in the Bible embody a true trustee.

Old Testament

Old Testament the first day of creation. Genesis 1: 1-5 At the beginning, God of the Sky and Earth created. The land was insane and empty, and darkness over the vigorous, and the Spirit of God rushed over the water. And God said: Yes, there will be light. And the light became. And God saw the light that he was good, and separated the God of Darkness. And called God the light

28.06.2017

Detailed analysis and evaluation of a new translation, as well as comparing it with other versions - the task of the future. For the first acquaintance, it is enough to read several pages of a new translation. It is most convenient to do this with a small book, which will give the opportunity to make a whole idea of \u200b\u200bthe features of the translation strategy and tactics. That is why we chose the book of ions that we use for the first acquaintance with the translation. In early 2015, another complete translation of the Bible into Russian finally and irrevocably puts the Russian-speaking reader in the situation of the existence of multiplicity of translations. The new translation was made by a group of professional translators of the Institute for the Translation of the Bible at the Skokan Academy (edited by M.P. Kulakova and M.M. Kulakov; Further, in some cases we will denote a new translation as "Translation Kulakov"). In addition to the classic synodal translation, in 2011, the translation of the Bible made by the Russian biblical society and who also managed to gain popularity among readers. Of course, it is possible to argue that the situation of "multiplicity of translations" was before that year, it is enough to view the bibliography of Russian-speaking biblical transfers. However, none of the previous translations became quite popular and authoritative to compile a real competition to a synodal translation. But the translations of RBO and Kulakov are quite ready for rivalry for readers, since they are made by professional translation teams and, importantly, their exit to the world will be preceded by a certain information preparation of the audience. I think, many readers today should be looking at their bookshelves a place for a new edition. Everybody's new translation of the Bible is a reason for joy, since it does not only testify about interest (increasing?) To the biblical text, but also about enriching the language and culture of translation. In addition, a new translation is always the opportunity to look at the familiar text in a different way. However, a new biblical translation is a certain challenge: after all, the reader is in the situation of multiplicity of translations, the existence of several alternative versions of the authoritative text. Special difficulties appear in cases when for a long time the dominant was any one translation, which determined the development of theological terminology and became part of the literary world of one or another culture (as it was at the beginning with the Church Slavonic translation of the Bible, and then with a synodal) .

However, before proceeding to reading the text, you need to make several preliminary remarks. As a rule, readers accustomed to evaluate translations, speaking of their "correctness", "loyalty", "accuracy", believing that there is the very only equivalent that accurately transmits the value of the original. However, the work of the translator is often similar to the work of artists: possessing the same technical training, they can very differently portray the same subject, because they themselves can perceive validity very differently. Each translation is always a new reading of the text, an attempt to recreate it in a new communicative situation with the help of available language facilities. You can even say that each translation has its own singular sound, its own tonality. This is the sound of the new translation of the Bible and will go further.

In the area of \u200b\u200btranslation, there is a term "subjective transformation theory", which indicates that simple and obvious fact that each of us has certain ideas that the translation as a phenomenon of human life should be translated and what should be "perfect" translation . Therefore, in your estimates, we proceed from these (usually unconscious) ideas. In addition, the translation that has become generally accepted, a kind of "standard" in this culture can have a great influence on the perception of a new translation. Such for many generations of Russian-speaking readers was a synodal translation. The problem may be that when creating a new translation, its authors could proceed from a perfect other set of criteria than those that we are guided by. These criteria could be formed by the readership and translation experience of translators, as well as those targets that set themselves the creators and the audience to which they treated. All this means that the new translation should be assessed on the basis of those goals and objectives that formulated its creators. Otherwise, you can criticize translators for what they did not want to go.

After the traditional "reneranous" in the direction of the synodal translation, the publishers of the Bible edited by Kulakova indicate the main motive that prompted them to create a new translation: "The new era demanded a new translation of the Bible in modern Russian, closer than a synodleant language language." The main target audience is not professional researchers of biblical texts, but those who "do not live in the world of the language and values \u200b\u200bof Middle Eastern culture", access to which it has only through the via "dictionary or thesaurus". Nothing is said about the church status of the target audience, however, as the main functions of a new translation, a private spiritual and omnantic and prayer reading, as well as use in liturgical practice, is indicated. The basic principle on which translators were oriented, several paradoxical were formulated: "Translate literally, as far as possible, and freely, as needed." Moreover, as we try to show below on the example of one biblical text, the second trend prevails ("freely, how much is necessary"). Thus, in the latest significant projects for the translation of the Bible into Russian, a clear trend towards the failure of the building of the building model (translation of the new Testament of V.N. Kuznetsova, the translation of the Old Testament ed. M.G. Selezneva, Bible translation in Zoksky).

The choice of target audience determines a number of important translation solutions. Biblical text is multidimensional and multivarid. One of the tasks that translators put in front of them is to "tell the reader to the reader this multidimensionality" without coordinating to refer to the mentioned dictionaries and individual comments. " You can solve the task in different ways: through entrance articles, notes, as well as by disclosing a part of the implicit information within the text itself. The authors of the translation use all the specified means. And if the first two are quite familiar, the third is used by the Bible translators quite rarely, especially in the Russian-speaking environment. The implicit information can also be disclosed quite differently, for example, using a curable, which in this project performs several functions: sometimes it is used as a means of creating a text connectedness, as well as to disclose cultural implicit information. Recognizing the legitimacy of the use of this fund, yet the question remains how convenient it is for the reader. On the one hand, it makes the text more understandable, but on the other hand, the abundance of tune inserts comes into some contradiction with the desire to present the Bible as artistic text, because it can prevent smooth reading of the text. In addition, the use of the cursive puts the question of the status of information presented in this way. The implicit (linguistic and cultural) information is one of the indispensable components of the text values, and therefore has no less right to be designated in the text than the information is explicit. The need and degree of its disclosure depends only on its relevance for a particular audience. But, in any case, it is an indispensable part of the text value. However, italic as a semiotic sign puts the question of the status of information presented in this way: does it mean that this information is the interpretation of the translator, secondary to the main text? Italic can assume that translators are not confident in the obligation of such explications, whether it is worth it to text, having an authoritative status in most of the reader audience? However, in many cases, the body-inserts are fully justified.

The obvious advantages of the publication include the use of a variety of notes, which contain both philological information and comments explaining the historical context. In addition, alternative transformation options are given in notes, which allows the reader to expand its ideas about the nature of the biblical text. It is important that each book of the Bible is a brief introduction, which gives a general idea of \u200b\u200bwriting, authorship, and the main topics of the work. This kind of administration allows readers to learn the basic parameters of the initial communicative situation of the biblical text.

And, of course, it is impossible not to note another important aspect of the translation strategy - this is the desire to submit biblical text not only as a religious monument, but also as an artistic work. Recently, researchers have become increasingly attention to various aspects of the literature of biblical texts, which, in addition to their religious and moral importance, indicate the presence of high artistic qualities. When transferring literary texts, it is important to remember that the literary text is not in itself, but only from the point of view of the cultural and literary system, inside which it occurs and functions. Outside this system, the text may not be perceived as artistic. In other words, the literature of the text is pragmatic phenomenon, that is, the text is perceived as a literary only if it complies with the norms and criteria for "literature" in this culture. The authors of the biblical texts followed the literary standards that existed in their culture. Since cultural norms and ideas about the criteria of literature are changing, the biblical works cannot be automatically considered as literary works within the framework of our culture. Based on this, the theorists of the translation hold a distinction between the "translation of the literary text" and the "literary translation of the text". In the first case ("translation of the literary text") we are talking about the translation of the text, which was considered as a literary in the culture of the original, but may not be such a new communicative situation. When we talk about the "literary translation of the text" - this means that the translation must meet at least some requirements that in the receiving culture are nominated to literary texts. Zaoksky translation can be attributed to the second type ("literary translation of ancient text"). Such a strategy, in the opinion of its creators, allows the reader "not only to comprehend in the artistic paintings" Live Life "of the ancient Bible Hero, to extract lessons from his losses and gains, but also to discover the God's secret secret of creativity and experience the completeness of aesthetic feeling when comprehended by the Word of God " It would be this aspect of a new translation that would further pay special attention to, conducting an extremely brief analysis of the ION books.

The book of the ions is especially interesting for our analysis, because it is not only ancient Russia, but also of world literature without any reservations. Naturally, the author of the Book of Jones used artistic agents available in its culture, the literal translation of which does not allow to feel aesthetic attractiveness, plot drama, emotional saturation of this work. A kind of artistic code of the book create such stylistic products as repeated and variation, the literal transfer of which may look unnatural in the conversion culture. This means that the translator who wants to help the modern reader to feel the artistic dimension of the ancient text, you should use those tools that are available in its language. In our opinion, the translation team was able to solve the task. Of course, such a translation is different from more familiar literal translations, the main focus is focused on the transfer of formal features of the original. However, this approach helps to understand that the biblical authors for the transfer of theological truths used many diverse means of their own language, which made the reading of their texts, among other things, fascinating.

So, verse 1: 2 Books of ions opens with two imperatives (?? ???), between which there is no connecting union. In such a design, the main idea is introduced by the second imperative, which retains its lexical importance, and the first imperative is used adverbically and has a functional value. Thanks to such a design, a special dynamism of the narrative is created and an additional emotional shade is attached. So the whole phrase ?? ??? He emphasizes the importance of the instructions of the Lord and requires an immediate response from the addressee. The literal translation of the "stand, Go" does not transmit this feature of the original syntax, reducing the dynamics of the text. Since the literary translation requires the transfer of functional aspects of the original text, then in the new translation, this expression is transmitted as "Stay immediate": "Stay immediately to the great city of Nineveau ..." (Wed Synod: "Get up, go to Ninevia, the Great City").

In verses 1: 1-3 and 3: 1-3 The author deliberately builds a "mirror" structure, opposing the command of the Lord and the reaction to him the prophet. In 1: 2 and 3: 2 cases used the same verb used ??? ("Call, call, call"), but with different pretexts (?? at 1: 2 ?? at 3: 2). Many exiges and translators believe that different prepositions are used to create lexic diversity. However, the creators of ancient translations (for example, the septuaginty) were seen in the choice of different prepositions a deeper semantic difference. Expression??? ?? Potentially negative value of the prosecution, threats, misfortune for the object of provenation. Expression??? ?? (3: 2) is neutral and does not have a similar negative shade. This difference between two verses translated the translators as follows: "Warns living there: waiting for their retribution" (1: 2) and "Announce everyone who lives there, that I will invest in your mouth" (3: 2). In the first case, the value ??? ?? Opened with the help of the verb "wargo" (you can hear simultaneously and care and threats) and the noun "retribution" (the value of the threat, the court). In 3: 2, a more neutral verb "Announce" is chosen - that is, the bottomings, make a well-known certain information (of course, it is possible to hear and threaten, but this value is secondary) and the noun "news". Thanks to this translation, it was possible to reflect not only different meanings, but also create a different emotional color of two episodes.

One of the features of the Zaoksky translation is a frequent use of the cursive in different functions. Thus, adding a «in despair" in verse 1: 5 helps to feel the state of sailors who fell into a strong sea storm: "The fear of the sailors ... In desperation, they dismissed all the goods overboard to alleviate the ship." Of course, these words are not in the original, italics does not oblige anything and in this case indicates the secondary and estimated information. However, he helps the reader better recreate the atmosphere at that moment on the ship. Adding a curse in the next part of the same verse gives the reader the opportunity to reconstruct a sequence of actions (the author shows the simultaneous reaction of sailors and ions on the playing storm): "The fear of the sailors, and each of them began to appeal to His God ... In desperation, they dismissed all the goods in despair ... And Ion, meanwhile, descended in her,, lay out there and fell asleep with sleep "(inversion indicates in the Hebrew text to such a sequence of actions).

Of great importance for the correct interpretation of the entire book has the image of Ninevia. Recently, the Exegens are inclined to believe that Ninevia in the book of ions is presented not as much as a formidable opponent of the Israeli kingdom, as the legendary city of the past, nice for its wealth and dishonest - the motive, popular in the literature of the Hellenistic era. It is possible that it is precisely the desire to create in the translation of Ninevia as the legendary city of the past, an appropriate addition to 3: 3 is explained: "And this city [Ninevia] was one of the largest in those times."

In 3: 5 We are talking about the reaction of the inhabitants of Ninevenes on Province of ions: "We believed the Ninevian to God, all from Mala to Great in repentance in the rubies were dressed and the post was announced." In this case, the mean insert helps the reader to understand the culture of ancient text, indicating that the vestments in the Old Clothes and the post announcement are not just extravagant actions of the city's residents, but the symbols of repentance, the signs of the internal coup. And if for a religious person, the significance of these actions is quite transparent, then for the reader, far from religious symbolism, it may well be necessary to disclose their implicit value.

Another distinguishing feature of a new translation is the use of a living, figurative language, which makes reading the biblical translation not only useful, but also fascinating. It is enough to compare the synodal translation with the translation of Kulakov to make sure that the latter often sounds much more graceful: "The storm has done" (Synod) - "The storm played" (Kulakov); "Warehouses have frightened" (Synod) - "Fear of Sailors" (Kulakov); "But these people began to row tremble enough to stick to Earth, but could not" (Synod) - "Sailors did not lose themselves: they were desperately left on the oars, trying to reach the shore, but all their efforts were in vain" (fists); "People fear in fear of great" (Synod) - "The answer is the sailor to even greater fear." The last example is indicative: the synodal translation seeks in some cases to preserve the idiomatics of the original language, which, obviously, has its positive parties, however, creates a certain alphabia of the translation text; The reader has the opportunity to feel the aesthetics of the original, but this is an aesthetics of someone else that makes the audience, using the famous Schleiermar metaphor, go to the way to meet the author. Using theological terminology, such an approach could be called an anabathic, forcing a person to challenge the world of the Divine (such a choice is easy to explain, it suffices to recall that the synodal translation was created under the strong influence of the Orthodox liturgical tradition). In the translation of Kulakova, an ancient text becomes part of our culture, our world. Such an approach could be called "Catabat" and he also has a theological basis, because "the word has become the fleet and dwells with us ..." (Ying 1:14).

Of course, in the new translation there are such translation solutions that may be subject to discussion. So, in Ion 3: 4 We read (literally): "Ion began to walk in the city of the day of the day." This verse can be understood differently: and like the fact that the Prophet was not very developed in the performance of his prophetic duties (only one day went, which means not all Ninevia (which was "three days of the way"), but only part Its) - and like the fact that the preaching of the ions was so effective that for the appearance of its first fruits was enough one day. In the translation of Kulakova, this verse is transmitted as "all these days Ion went around the city and from dawn to the dawn arranged his inhabitants ...". Perhaps such a translation may seem to someone too bold decision, but it seems quite appropriate when the Bible is striving to imagine as a work of "verbal art".

Of course, the Zoksky translation has yet to be read entirely, and therefore the time for any serious assessments has not yet come. If one of the criteria for the success of the text consider the desire of readers again and returned to it again, the new translation can certainly be recognized as "successful". So, by completing reading the book of ions, I realized that I was ready to reread her. The new translation makes the text of an ancient work alive, bright, intriguing, gives the reader the opportunity to experience aesthetic pleasure from the reader and ... forces it again and again think about the meaning of read. Wasn't many biblical authors who enjoyed their theologian ideas in beautiful artistic forms? I think that translators have quite coped with one of the tasks set in front of them: to help the reader "experience the completeness of aesthetic feeling when comprehending the Word of God."

You can not doubt that we still hear and critical reviews about Kulakov's translation. It is possible that part of this criticism will be fair. And yet, I would like to remind one important thing: how there are no universal translations, so there are no universal criteria for their assessment. When analyzing one or another translation, it is necessary to pay attention, first of all, on those goals and objectives that put a translation team and evaluate the translation in accordance with them. I hope that the discussion of the new edition will be more intense and productive than it was with the previous major project - the translation of the Bible of the Russian Biblical Society (unfortunately, with the exception of the review of A.S. Desnitsky, we could not find serious reviews about this very important edition) .

The readers want to congratulate the appearance of another translation, which, no doubt, enrises our ideas about the biblical text, and the reading process will make not only useful, but also fascinating.

Ieria Mikhail Skovkov, teacher of the Department of Biblical and theology of the Minsk Spiritual Academy