VII. Stylistic Devices of Translation 3 страница

Not all of the indicated features are evenly presented in all newspaper genres, and not all of them are typical for publicist style. Hard stylistic fixedness of lexical and grammatical devices is a comparatively rare phenomenon. However, their primary usage in any style, adaptation of words, words-expressions and language constructions of one style for the purposes of the other one, i.e. their functional usage, is a characteristic feature of the publicist style.

The distinction in the stylistic description of the separate newspaper genres is related to their different functions. Some genres, such as chronicle note, reporting, interview, correspondence etc. pursue, first of all, informing purposes and are close to an official style or business language by the methods of presenting information.

The newspaper articles are written in the publicist style. The themes, exactness of word usage, standardization of language in organization of linguistic material, support on the data of modern science, make these articles close to the scientific works.

An interpretation expressed with using the social and political vocabulary relates them to publicist style as well. Finally, such genres as essay, satirical article, and pamphlet combine the peculiarities of the publicist and belles-lettres styles.

Depending on the theme and genre in the publicist style a various vocabulary and phraseology is widely used. Some part of it is made by the social and political vocabulary and word-combinations fixed in the publicist style such as «democracy», «democratic freedoms», «election campaign», «agitational propaganda», «progressive», «political party», «political demonstration», «strike» etc.

The considerable part of the vocabulary of newspaper style is made by the general literary words and different terms that belong to the area of science, art, sport etc. They can be reconsidered and acquire a publicist colouring in the context, for example, «cockpit», «friendly atmosphere», «cultural contacts», «next round of talks» etc.

The different language stereotypes (clichés) are widespread in the newspapers. Such phenomenon is explained by the accessible perception of the information by the readers and listeners. This is the easy reproduction of the stereotyped language formulas, automation of the process of reproduction, facilitation of communication that permits to save efforts and time.

Not infrequently the clichés that are often used become stock phrases and lose the figurativeness. For example, such expressions as «give the green light», «black gold», «blue fuel» etc. became stereotyped.

However, it should be noted that the tendency to standardization of the newspaper’s language is opposed to the tendency to strengthening the expressiveness, filling the narration with words and word-combinations from other styles, in particular, from the colloquial one. Many publicist genres such as essay, satirical article, pamphlet, polemic article etc. are characterized by the free use of resources of the national language, including its expressive devices (epithets, metaphors, similes etc.).

The publicist articles are remarkable for their large emotional content, enthusiasm and pathos, while the force of their influence is naturally related with the brightness and expressiveness of the language.

The aim of the publicist style is to discuss, dispute and propagandize essential public ideas, assist in public development, solve public and political problems, influence on readers actively, encourage activity, which can be reached by using public and political terms, emotionally and expressively coloured words, rhetorical questions, repetitions, exclamations, intonation of expression (irony, sarcasm, admiration, anger etc.), precise names of events, dates, places and participants, polysemantic nature of words, which can influence on readers most of all.

For example:

Health care costs and coverage have become a dominant force in almost everyone’s life over the course of the past fifty years. Before many workers change employment, they must weigh the costs of changes in health coverage. Many people are left out of the insurance market, either because they can’t get it or can’t afford it. Patients complain that doctors don’t listen anymore and are anxious to slap their physician with a lawsuit for the slightest imperfection in care. Physicians are tired of struggling under mountains of paperwork from the government and insurance companies when all they want to do is treat patients. Health care in the twentieth century: a history of government interference and Protection, Business Economics, April, 1993 by Terree P. Wasley.	Впродовж останніх 50 років головною проблемою в житті кожної людини стали витрати на медичне обслуговування та медичне страхування. Перед тим як змінити місце роботи, кожен працівник має зважати на можливу зміну витрат на покриття медичної страховки. Велика кількість людей змушена залишатись поза сферою медичного страхування через неможливість отримати подібну страховку або через відсутність коштів на страхові виплати. Пацієнти скаржаться, що законодавці більше не рахуються з ними, а єдиним своїм клопотом вважають розпочинати судові справи проти лікарів за найменші недоліки в роботі. Лікарі втомилися протистояти їм, розбираючись з купою документів від керівництва та страхових кампаній, в той час, як єдиним їх бажанням є займатись лікуванням пацієнтів. Переклад: Камалія Готті.
The United States is now plunging into a fundamental overhaul of its assistance to developing nations, demanding that applicants for a rich new source of financing prove their worthiness. Already, countries from Bolivia to Bangladesh are competing to be among the winners. But the new account is already altering traditional aid flows. All but five countries in Latin America, for example, are ineligible for the Millennium Challenge because their per capita incomes are too high. New System Begins Rerouting U.S. Aid for Poor Countries. Published: February 22, 2004 by Christopher Marquis.	В даний час Сполучені Штати Америки прагнуть істотно переглянути допомогу країнам, що розвиваються, висуваючи вимогу до претендентів на нове джерело фінансування довести свою вартісність. Вже зараз відбувається конкуренція між країнами починаючи з Болівії та Бангладешу за право зайняти місце серед переможців. Однак розрахунки свідчать, що зміни вже відбуваються у традиційних надходженнях фінансової допомоги. Так наприклад, територіальні місцевості у Латинській Америці, за виключенням п’яти з них, не мають права отримувати фінансову допомогу від керівництва фонду «Millennium Challenge», оскільки прибуток на душу населення є зависоким. Переклад: Камалія Готті.
In the ХХI century of science, technology, and education etc., the globalization of informative networks changes the physical methods of work, teaching, and traveling, that is controlled from distance. Already today it is possible to speak about that distribution of facilities and forms of communication, such as television, broadcast, press, Internet and e-mail that got global character, practically uniting all the countries into single informative space. Owing to general distribution of information and technologies of communication, digital technique, satellite television, Internet and virtual reality of computers came into our everyday life. Already now, people can «travel» all over the world with the help of TV and Internet. Everyone can receive any kind of information they want. Besides, there are high-technological educational computer programs and TV shows, from which people can know about other countries, as they, somehow, were there personally. Camalia Ghottie «The development of TV and the Internet will soon make tourism absolute».	У ХХI столітті, що славиться розвитком науки, технології, освіти та ін. глобалізація інформативних мереж змінить фізичні методи роботи, навчання та туристичних мандрівок, що будуть керуватись на відстані. Вже сьогодні можна говорити про розповсюдження таких засобів і форм спілкування, як телебачення, радіомовлення, засоби масової інформації, Інтернет та електронна пошта, що набули глобального масштабу, таким чином, практично поєднуючи всі країни в єдиний інформаційний простір. Завдяки загальному розповсюдженню інформації та комунікативних технологій, цифрової техніки, супутникового телебачення, Інтернет і віртуальна реальність комп’ютерів увійшла у наше щоденне життя. Вже тепер, люди можуть «мандрувати» по всьому світу за допомогою телебачення та Інтернету. Кожен може отримати потрібну йому інформацію будь-якого роду. Крім того, існують високотехнологічні освітні програми та телевізійні шоу, з яких люди можуть дізнатися про інші країни світу, так, немов, відвідали їх особисто. «Розвиток телебачення та Інтернету надасть необмежені можливості для туризму», Переклад: Камалія Готті.

Belles-lettres style is characterized by the following features:

1. Figurativeness.

2. Poetry.

3. Aesthetics of expression.

4. The unity of aesthetic and communicative functions.

5. The events are represented through prism of intellect and author’s reflection and are directed to readers or listeners.

6. Using the variety of lexical and stylistic devices.

7. The development of author’s individuality.

The belles-lettres style participates in accomplishing the social function of influence by the language. The fiction literature is the area of language usage and its aesthetic function is one of the forms of functioning a language etc. The belles-lettres style is not delimited from the other linguistic styles sharply. All the variety of linguistic styles is concentrated in it. The aesthetic and communicative function of the fiction literature is connected with the special method of expressing the thoughts that notably distinguishes this style from all the others. The aesthetic function of language of the fiction literature is not additional at all. Thus, in poetry it takes the first place.

Being a part of general literary language, the language of the fiction literature oversteps its limits at the same time to pass the national colouring and create specific speech features of the acting persons. Fiction literature uses dialectal words, slangy words, popular language etc. as an expressive device. The archaisms that are words fallen out of the daily vocabulary and are replaced by synonyms are used on the stylistic purposes as well. Their basic purpose in the fiction literature is to create the historical colouring of the epoch. They are also used to strengthen solemnity, pathetic emphasis of the language and serve a device of creating irony, satire, parody etc. However, in these functions archaisms are applied not only in the fiction literature but are met in the publicist articles, newspapers and epistolary genre etc.

The word in the literary context is the nominative and communicative unit but it serves the device of creating literary expressiveness and image. The figurative meaning of a word is conditioned by its literary motivation, its place in the content of the work.

The peculiar feature of the fiction literature is the character of an author or narrator not as direct reflection of author’s personality but as its original transformation. The selection of words, syntactic constructions, intonational picture of phrases serves for creation of speech character of an author or narrator who generates the whole tone of narration and the literary work.

The aim of the belles-lettres style is to influence on people’s thoughts and emotions, form ideological beliefs, moral qualities and aesthetic tastes, which can be reached by using all varieties of language devices, especially words with indirect meaning, emotional and expressive coloured words, different kind of synonyms, antonyms, homonyms, phraseology, all types of sentences etc.

For example:

«Too much of yourself in it! Upon my word, Basil, I didn’t know you were so vain; and I really can’t see any resemblance between you, with your rugged strong face and your coal-black hair, and this young Adonis, who looks as if he was made out of ivory and rose-leaves. Why, my dear Basil, he is a Narcissus, and you – well, of course you have an intellectual expression and all that. But beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself a mode of exaggeration, and destroys the harmony of any face. The moment one sits down to think, one becomes all nose, or all forehead, or something horrid. Look at the successful men in any of the learned professions. How perfectly hideous they are! Except, of course, in the Church. But then in the Church they don’t think. A bishop keeps on saying at the age of eighty what he was told to say when he was a boy of eighteen, and as a natural consequence he always looks absolutely delightful. Your mysterious young friend, whose name you have never told me, but whose picture really fascinates me, never thinks. I feel quite sure of that. He is some brainless beautiful creature who should be always here in winter when we have no flowers to look at, and always here in summer when we want something to chill our intelligence. Don’t flatter yourself, Basil: you are not in the least like him». «You don’t understand me, Harry», answered the artist. «Of course I am not like him. I know that perfectly well. Indeed, I should be sorry to look like him. You shrug your shoulders? I am telling you the truth. There is a fatality about all physical and intellectual distinction, the sort of fatality that seems to dog through history the faltering steps of kings. It is better not to be different from one’s fellows. The ugly and the stupid have the best of it in this world. They can sit at their ease and gape at the play. If they know nothing of victory, they are at least spared the knowledge of defeat. They live as we all should live – undisturbed, indifferent, and without disquiet. They neither bring ruin upon others, nor ever receive it from alien hands. Your rank and wealth, Harry; my brains, such as they are – my art, whatever it may be worth; Dorian Gray’s good looks – we shall all suffer for what the gods have given us, suffer terribly». Oscar Wilde «The Picture of Dorian Gray».

– Занадто багато самого себе! Слово честі, Безіле, я не думав, що в тобі стільки марнославства. Ти, з твоїм суворим обличчям і чорним як вугіль волоссям, – і цей юний Адоніс, наче зроблений із слонової кості й трояндових пелюсток! Не бачу найменшої схожості між вами!.. Адже він Нарцис, мій любий, а ти... Ну, звичайно, в тебе одухотворене лице і таке інше... Але Краса, справжня Краса, кінчається там, де починається одухотвореність. Інтелект – уже сам собою щось диспропорційне. Він нівечить гармонію обличчя. Ту ж мить, як хтось береться думати, у нього або видовжується ніс, або розширюється чоло, або щось інше псує лице. Візьми першого-ліпшого з цих визначних учених мужів і подивись, до чого вони всі відразливі! Ясна річ, за винятком церковників. Але в церкві їм не доводиться голів сушити. Вісімдесятирічний єпископ у проповіді повторює те, що йому казали, коли він був вісімнадцятирічним хлопцем, – тож, природно, його вигляд усе так само по-молодечому принадний. Судячи з портрета, твій таємничий юний друг, імені якого ти не хочеш назвати, має чарівну вроду, отже, він ніколи не думає. Я таки цілком певен того. Він – прекрасне бездумне створіння, яке мусить бути з нами завжди: і взимку, коли ми не маємо квіток, щоб милуватись ними, і влітку, коли ми потребуємо чогось, що остудило б мозок. Не лести собі, Безіле: ти ані крихти не схожий на нього. – Ти не розумієш мене, Гаррі, – відказав митець. – Звичайно, я не схожий на нього. Я знаю це дуже добре. Як на правду, то я б навіть жалкував, якби став на нього схожим. Ти знизуєш плечима? Я щиро кажу. Всіма, хто має непересічний розум чи красу, правує в житті лихий фатум, – той самий, що спрямовував непевну ходу монархів протягом усієї історії. Краще не виділятись над своїм середовищем. Бо на цім світі виграють лише потвори й нездари. Вони можуть невимушено сидіти і позіхати на виставі життя. Нехай їм нічого не відомо про радість перемоги, але ж зате вони обходяться й без гіркоти поразки. Вони живуть так, як ми всі мали б жити: байдужно, без турбот, без хвилювань. Вони не завдають руїни іншим і не зазнають її самі від чужих рук. Твоя знатність і багатство, Гаррі; мій розум і хист, хоч які вони є; врода Доріана Ґрея – за все це, чим боги нас наділили, ми відпокутуємо, тяжко відпокутуємо... Оскар Уайльд «Портрет Доріана Грея», Переклад: Ростислав Доценк.

The wind shook some blossoms from the trees, and the heavy lilac-blooms, with their clustering stars, moved to and fro in the languid air. A grasshopper began to chirrup by the wall, and like a blue thread a long thin dragon-fly floated past on its brown gauze wings. Lord Henry felt as if he could hear Basil Hallward’s heart beating, and wondered what was coming. «The story is simply this», said the painter after some time. «Two months ago I went to a crush at Lady Brandon’s. You know we poor artists have to show ourselves in society from time to time, just to remind the public that we are not savages. With an evening coat and a white tie, as you told me once, anybody, even a stock-broker, can gain a reputation for being civilised. Well, after I had been in the room about ten minutes, talking to huge overdressed dowagers and tedious academicians, I suddenly became conscious that some one was looking at me. I turned half-way round and saw Dorian Gray for the first time. When our eyes met, I felt that I was growing pale. A curious sensation of terror came over me. I knew that I had come face to face with some one whose mere personality was so fascinating that, if I allowed it to do so, it would absorb my whole nature, my whole soul, my very art itself. I did not want any external influence in my life. You know yourself, Harry, how independent I am by nature. I have always been my own master; had at least always been so, till I met Dorian Gray. Then – but I don’t know how to explain it to you. Something seemed to tell me that I was on the verge of a terrible crisis in my life. I had a strange feeling that fate had in store for me exquisite joys and exquisite sorrows. I grew afraid and turned to quit the room. It was not conscience that made me do so: it was a sort of cowardice. I take no credit to myself for trying to escape». Oscar Wilde «The Picture of Dorian Gray».

Вітерець здмухнув кілька квіток з дерев, і важкі зоряні ґрона бузкового цвіту колихнулись у млосному повітрі. Під муром засюрчав коник; довгою блакитною ниткою на прозорих брунатних крильцях пролетіла бабка... Лорд Генрі немовби відчув биття Безілевого серця, і йому кортіло знати, що він почує далі. – Ось уся ця історія, – перегодом почав художник. – Два місяці тому мені довелося бути на вечорі у леді Брендон. Адже ми, бідні митці, мусимо вряди-часи показуватись у товаристві, нагадуючи публіці, що ми не дикуни. Ти ж сам колись був сказав, що у фраку й білій краватці навіть біржовик може зажити репутації цивілізованої істоти. Отож пробувши у вітальні хвилин десять і набалакавшись із гладкими препишними вдовицями й нудними академіками, я раптом зауважив, що хтось на мене дивиться. Повернувшись убік, я вперше побачив Доріана Ґрея. Коли наші очі зустрілись, я відчув, що блідну. На мить мене пройняв інстинктивний страх. Я збагнув – переді мною така чарівна врода, що може поглинути всю мою душу, все моє єство, ба навіть усе моє мистецтво, коли я тільки піддамся її чарам. Я не потребував жодних сторонніх впливів у своєму житті. Ти добре знаєш, Гаррі, яка незалежна вдача в мене. Я завжди був сам собі пан, принаймні аж доки зустрівся з Доріаном Ґреєм... Але не знаю, як і пояснити це... Немов чийсь голос казав мені, що життя моє може круто змінитися. Я невиразно передчував, ніби Доля готує для мене витончені радощі і такі ж витончені страждання. Опанований страхом, я повернувся з наміром вийти з вітальні. Не те, щоб сумління мене підганяло, ні, це, певніше, було боягузтво. Звісно, спроба накивати п’ятами не додає мені честі... Оскар Уайльд «Портрет Доріана Грея», Переклад: Ростислав Доценк.

Colloquial style is characterized by the following features:

1. Oral form of communication.

2. Direct participation.

3. Informality of relationship between participants of communication act.

4. Spontaneity of appearing communication act.

5. Colloquial lexicon.

6. Simplicity and easiness of linguistic forms.

7. Laconic brevity.

8. Using the dialogue forms.

9. Emotional reaction.

10. Using non-language means (situation; gestures; movements; mimicry etc.).

Such subdivision is comfortable for the description of vocabulary and is used as the corresponding marks in the dictionaries (the words of neutral style are given without marks). On the other hand, this term indicates one of the functional varieties of the literary language.

The literary language should not be opposed to the colloquial one in a literal sense. There are two varieties of the literary language, which possess their own system and language norms. In one case it is codified, strictly systematized and well-organized literary language. In the second case, it is non-codified, relatively free systematized and organized including popular language that oversteps its limits.

The colloquial style finds its expression both in the written form, for example in the remarks of characters of the play, records in the diaries, texts of letters on everyday themes etc. and in the spoken language that include unprepared dialogic speech in the conditions of free intercourse of its participants.

Colloquial speech is characterized by the special conditions of functioning that include:

1) The absence of preliminary deliberation of an utterance and related to the preselection of linguistic material.

2) The spontaneity of the intercourse between its participants.

3) The naturalness of the speech and the absence of official character between the talkers and in the utterance. The essential role belongs to the context of the communicative situation and to the non-linguistic means such as mimicry, gestures, reaction of interlocutors.

With the exception of the direct communicative function, the colloquial speech accomplishes the other functions, for example in the fiction literature it is used for creation of verbal portrait, for the realistic description of the social environment, in the author’s narration it serves the mean of stylization, as the elements of book speech it can create a comic effect. In relation to the colloquial style, it forms the special system that has the various purposes.

The colloquial style like «the high (book) style» of pronunciation is expressively coloured unlike the neutral style. The reason of it is that the colloquial style is connected with corresponding lexical layer or colloquial vocabulary. The colloquial style of pronunciation is characterized as incomplete one because of less distinct pronunciation of the sounds, strong reduction caused at fast speech pace etc.

The aim of the colloquial style is to exchange information, which can be reached by using daily lexicon, phraseology, emotionally and expressively coloured words, exclamations, references, richness of intonation etc.

For example:

Tom hailed the romantic outcast: «Hello, Huckleberry!» «Hello yourself, and see how you like it». «What’s that you got?» «Dead cat». «Lemme see him, Huck. My, he’s pretty stiff. Where’d you get him?» «Bought him off’n a boy». «What did you give?» «I give a blue ticket and a bladder that I got at the slaughter-house». «Where’d you get the blue ticket?» «Bought it off’n Ben Rogers two weeks ago for a hoop-stick». «Say – what is dead cats good for, Huck?» «Good for? Cure warts with». «No! Is that so? I know something that’s better». «I bet you don’t. What is it?» «Why, spunk-water». «Spunk-water! I wouldn’t give a dern for spunk-water». «You wouldn’t, wouldn’t you? D’you ever try it?» «No, I hain’t. But Bob Tanner did». Mark Twain «The Adventures of Tom Sawyer».

Том привітався до цього романтичного обідранця: – Здоров, Гекльберрі! – Здоров, коли здоровий! – Що це в тебе таке? – Здохлий кіт. – Ану покажи ближче, Геку... Ти диви, зовсім задубів. Де ти його взяв? – Виміняв в одного хлопця. – А що дав? – Синій квиток і бичачий міхург – роздобув його на різниці. – А квитка де взяв? – Виміняв у Бена Роджерса два тижні тому за поганялку до обруча. – Слухай, Геку, а навіщо потрібні здохлі коти? – Навіщо? Зводити бородавки. – Та ну, невже? Я знаю певніший засіб. – Не може бути! Який? – Гнила вода. – Ха, гнила вода! Ні біса вона не варта, твоя гнила вода. – Не варта, кажеш? А ти пробував? – Я – ні. А от Боб Теннер пробував. Марк Твен «Пригоди Тома Сойєра» Переклад: В. Митрофанов.

One of the most interesting aspects of the theory of translation is the problem of passing stylistic devices in the target language. The given problem comes into notice of scientists-linguists, but is not developed enough. The importance of studying the way of translation of the figurative devices is conditioned by the necessity of faithful figurative information passing in any work of art.

Translation is the difficult many-sided phenomenon, the separate aspects of which can be the object of research by different sciences. Within the framework of the theory of translation the psychological, literary, ethnographic and others sides of translating activity are studied, as well as history of translating activity in this or another country.

A translator uses the methods of passing some stylistic devices that are used in the source language text in order to give a large brightness and expressiveness to the text. A translator has the following choice: either to make an effort to copy the device of the source language text, or if it is impossible, to create an own stylistic device that possesses a similar emotional effect in target language translation.

Expressive devices are phonetic, morphological, lexical, phraseological etc. forms, which exist in any language as a system of logical and emotional intensification of the utterance.

Expressive devices belong to a system of a language and are used in ordinary speech of a writer irrespective of stylistic purpose, but they may be employed with a definite stylistic aim. In each case, they must be carefully selected and arranged so as to reach certain stylistic effect. Any expressive device may be used for specific literary purpose and only in that way they can be described as stylistic devices. Stylistic device may be regarded as a literary transformation of an ordinary language phenomenon.

The stylistic aspect of translation is necessary to a translator as the faithful and good language translation cannot be created without it. It is the stylistic aspect of language that is not only responsible for translation from the source language into the target one, but for translator’s skill as well. Target language translation depends on a translator’s ability to pass the sense of stylistic units. This is the principle of stylistic compensation, that means a metaphor have to be passed by a metaphor, a metonymy by metonymy, a simile by simile etc. It is the function of stylistic device used in the text that is of essential importance for a translator.

A translator always tries to «improve» an author’s text, using different devices but it frequently results in failure. One of the reasons for it is the peculiarity of the source language word usage. The other reason that causes difficulties for a translator is the national peculiarities of the stylistic systems of different languages.

Thus, in order to reach the main goal of translation and convey the content of the source language text completely in the target language text it is necessary to pay special attention to using stylistic devices of translation, which are called figures of speech.

Figure of speech is a stylistic or rhetorical figure, i.e. a language stylistic phrase, which lies in special syntactic organization of expression for obtaining correspondent expressive and figurative effect.

Figures of speech are divided into 3 main groups:

I. Lexical devices of literary expressiveness (or trops).

II. Syntactic devices of literary expressiveness (figures of speech properly).

III. Phonetic devices of literary expressiveness.

I. Trops include:

1. Metaphor, which means the transference of a meaning from one word to another on the base of resemblance of subjects and phenomena.

The transference of meaning takes place when there is a resemblance in place of location, forms, feelings etc.

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