n to the first one (anatomy "vanity - ambitiousness"); plans for the future and their realization as dependent on the purity of intention.

II. . , : " , ".

II. Perfection of instrumental knowledge and skills. The attitude to gaps in knowledge, the rule of clearing up any unfamiliarity: "The gap appears to be filled."

1. " ".

1. The concept of "instrumental knowledge."

2. (-, ).

2. Knowledge may be regarded as instrumental only relatively (temporarily instrumental; inter-instrumental).

3. - .

3. Prevailing significance of foreign languages as the instrumental knowledge.

4. . ( - , - - ..).

4. Myth about polyglots. Acquaintance with related languages (French - Roman, Italian - Spanish, etc.)

5. , ( , , ).

5. Excessive hedonism and reglamentation, lack of discipline and sense of true necessity (priorities are given to the fundamentals which make accessible the sufficient amount of knowledge, as well as to the key languages).

III. :

III. Studies in philosophy.

1. . .

1. I. Kant on philosophy and long living.

2. .

2. Philosophic systems and ages of human race.

3. Legenda libri .

3. Legenda libri in philosophy.

IV. . .

IV. General intentions of the autodidact. Moving into the past and acquaintance with the present.

" " .

"Burning a candle" from both ends.

, , , , ..

Concepts of a average level, an ordinary man, mass culture, kitsch snobbism, etc.

V. . .

V. Metascience. Motion from science to myth.

VI. . , , ..

VI. Plan-making and the autodidact's character. Second mind, persistence, relations with one's own self, etc.

 tez10

* * *

, ...

, ,

,

?

, -

-

-,

?

,

, ,

,

?

* * *

I like the fever in affairs. I like

the thought-quake the trembling of the feeling

born by the wild concussion of surprising,

burnt soul of a Klon - or how? - dike.

Blessed be the strange occasion that us strike

all-seeing for a while and ever seeing

in blindness for the worse part of the dealing,

and by the heaven's good transparent pike.

O, not too big and somehow sunny troubles!

The world would be unbearable when rubless.

The dim supports existence of the bright

and vice versa, ever vice versa,

the Opposite is

everywhere's courser,

at be too left that means to face the right.

10.

Theme 10

The methods of acceleration in selfstudying

I. .

I. Stages of work and methods of gaining knowledge.

. . .

The first stage. Acquaintance and recognition. Passive knowledge and planned gaps as the essential condition for speedy transfer to the second stage.

. . , .

The second stage. Initial motoric skills. Series of movements with numerous lapses, slow tempo.

. . , . .

The third stage. Passage motorics. Lapses occur but seldom. Fragmentary misunderstandings.

. . .

The fourth stage. Simultaneous reading and understanding. Understanding lags behind with the greater speed of reading.

. . .

The fifth stage. Practical usage of the language, The requirement of complete understanding.

:

The causes of slow-down:

- ;

- ;

- ;

- , ;

- .

- lack of stage-division;

- claims are put too high;

- lack of long-lasting immersion into the material;

- necessity for making breaks to refresh relations;

- neglect for the intentional acceleration.

II. .

II. Emotional factor and acceleration.

1. .

1. Delight of cognition and delight of recognition.

2. -.

2. Gaining of tactical goals intentionally put low and acceleration.

3. : "".

3. The sense of completed dialectical circuit: "a click."

4. . ( - ; - , ).

4. The emotional factor and a correct unit of time and progress measurements. (Time: in actually spent hours; progress: not in the units of the assimilated, but in the units of the comprehended).

5. , , - .

5. The choice of a fancied leader, the sense of true competitive sporting atmosphere in small social groups.

6. (: , , ).

6. Acute sense of wasted time (the definition: time not spent on extremely tense perception or creative thinking, shall be considered wasted).

7. .

7. The sense of deep inner profound peace and concentration of attention with the actualized interest as the criterion of evaluating the time lived through in a right way.

8. - "".

8. Interchanging of requirements as dependent on actual opportunities - the principle of "inactivity" (non-dealing).

9. ( ).

9. Daily routine problems and total enthusiasm (connection with the autodidact's global plan and realization of the dream).

10. . " " (. ). ; - ; , ..

10. Claim-level and relations with the environment. "Turn a deaf ear to all kinds of hintings" (N. Hogol). Growing differences in assessments; axiological gap in future shall be normal; to protect oneself against anxieties and obstacles it is useful to fancy the aim already gained or imagine oneself in remote future, etc.

11. , - .

11. Sense of amazement and heuristic abilities, feeling of discovery and tamed uneasiness.

12. , . .

12. Aggression of thought, winning of space by thought and wide interests. Analysis of distant associations as the method of making thiougt acute.

13. .

13. Involvement and evolution of individual thinking.

14. " - !"

14. "The serious is a funny thing indeed!"

15. , . (" , .")

15. Polyphony of studies and interests; frequency of shiftings ("It's better too often, than not often enough.")

16. .

16. Connection between the mood and satisfaction with the day lived through.

17. . (" ".)

17. Development of enthusiasm and sense of festivity ("The study room inside ourselves").

18. , - , , , - ( !)

18. Search for one's one talent, comprehension of one's gifts and strategic plan-making for their development as the psychic foothold; the sense of one's mission and calling; the accidental and determined; astral patronage (exposition of mysticism!)

19. - :

19. Psychic relaxation on the background of great creative activity and peripheral acquisition of instrumental knowledge as the condition of acceleration:

) Homo Skribens; -;

) : - ( , , , , ).

a) Homo skribens; it is important to record feelings and experiences for introspection;

b) oral method and writing: multifunctional consultations before making notes (presenting one's viewpoints, observations, good definitions, impressions, etc.).

20. .

20. Usage of common sense and acceleration.

: , - - !

The rule: Become aware - after that abandon reflection!

21. .

21. Maximum amount in one sitting.

: !

The rule: As much as possible in one gulp.

22. Nulla dies sine linea.

22. Nulla dies sine linea.

23. - -.

23. Increase of strategic claim-level as connected with growing abilities and informativeness.

24. -; : "" - " "; .

24. System of admissions as mistakes one is aware of and speed of studying; opposition of vectors: "honesty" - "don't remember exactly"; combination of different methods of work.

tez11

* * *

. . -

, -

,

.

, ,

,

(!)

:

, ,

,

,

, ,

...

.

* * *

We like Montaigne are guided by example

to our worse errors and to guiltness too.

We are the trampers treading on a woe

and for us living space is not so ample.

We out of the Whole love this narrow sample

and real steps out of an illusion grow.

Our memory reverses rain in snow -

on it are better seen the prints of temple,

that is an instance consacrated, holy,

without which all of us can not be wholly.

But system of the lines becomes a spot

when you don't hear the strings that bound a body

and with the outline cries and smiles so bloody,

so inspirativly and free and hot.

11.

Theme 11

Some aspects of translation technique

I. . .

I. Translation as a culturological act. Perception of the original on semantic level and signal situation.

II. (. ).

II. Whole and detailed understanding (F. Tsherbatskoy on understanding and interpretation).

III. ( , , , ..).

III. Culturological context (historical background of the problem, its significance for the civilization, its place in culture, futurist aspect, etc.)

IV. (- , , , ..).

IV. Technical transformation and acquaintance with notions (preparatory reading, terms, understanding and problems, dictionaries, etc.)

V. .

V. Differences between fiction and technical translations.

1. .

1. Growing number of semantic channels.

2. .

2. Underlying themes.

3. .

3. Perception of style and its equivalent.

4. .

4. Sounding of a piece of fiction.

5. ( , -, , , , , ).

5. Metaphors and specifics of translating them (taking into account connotations, aphoristic brevity, rhythm and melody, degree of brightness, sense of taste, video-coefficient, divergence from literal exactness).

6. ; .

6. Feelings evocation as the major result of producing impression; search for equivalents in another language.

7. .

7. Search for correlated literary intonations and rhythms.

8. ( , -, , ..).

8. Rhyme problems when translating poetry (the rhyme as a precedent sounding, novelty of perception and unexpectedness, assonances, full rhymes, etc.)

9. ( , , ).

9. Non-rhymed versification (inner rhymes, alliteration, female and male rhymes).

10. .

10. Vocabulary richness of translations.

VI. -.

VI. A mould-translation.

1. - .

1. Sketch of the major contents after repeated re-reading and searching for word meanings and idiomatic expressions.

2. , , , , , ..

2. Display of weak and irrelevant points, stylistic inaccuracies, rhythmic slips, false intonations, awkwardly expressed soundings, etc.

3. .

3. Re-reading of the original and passing over to the refinement.

VII. .

VII. Translation refinement.

1. .

1. Transfer from the literal to the natural word order.

2. .

2. Idiomatic equivalents.

3. .

3. Variants and cutting off the excessive.

4. , , .

4. Inversions, rhythming, instrumentality.

5. .

5. Necessity for putting aside the ready-made translation.

6. ( , - , , ..).

6. Revision technique (acuteness of perception; possible blindness replacing the actual by one's own experiences; resistance to vanity; vocabulary, etc.)

VIII. .

VIII. Psychological super-goal and preparing for translation.

1. ( , "-", , ).

1. Intention (the opinion of one's own abilities; the opinion of the "necessity," development of craft skills; release from routine opinions on writing abilities).

2. .

2. The role of attempts and planned failures.

3. -.

3. Special literature on translation and literary work.

4. ( ), ; .

4. Dependence of perfection on the super-goal set (as secondary); the effect of spreading the super-set idea over the entire activities; total involvement.

5. ( ).

5. Skill and talent (influence of skills on the development of one's abilities).

IX. ( ).

IX. Oral translation (reading aloud and to oneself.)

1. .

1. Translation for oneself.

2. .

2. Translation with the inner voice.

3. .

3. The main and secondary.

4. .

4. Attention control.

X. .

X. Oral speech.

1. .

1. The significance of orthoepic concepts.

2. .

2. Life context when translating oral speech.

3. : .

3. Speed; significance of rational activity and aware reduction of exactness.

4. .

4. The difference between translating oral speech and written translations.

5. , , .

5. The difference between oral speech translations into the native and a foreign languages; optimum number of blocks and equivalent banalities.

6. ( ) .

6. Significance of conceptual thinking (speaking with the inner voice) for developing oral translation skills.

7. , ; , - .

7. Putting tactical goals low when translating orally; preference-giving to the simplest; gestures and mimics - feedback.

8. ( ), .

8. Quoting when translating into a foreign language (routine speaking as a total quotation), awareness of automatism.