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General tone. The general tone of the text can be (highly) emotional, unemotional, calm, satirical, sarcastic, ironic, humorous, matter-of-fact, elevated, pathetic, etc. It may vary with the parts of the text or with the paragraphs and may stay the same throughout the whole text.
Choice of words and syntactic patterns. Sometimes the author supplies the information about the characters through the use of words belonging to different layers of the vocabulary: neutral, colloquial and bookish. In other cases special syntactic patterns (such as long, extended sentences or unfinished sentences) may reflect the emotional state of the character or his attitude to the events described.
Special attention should be paid to the prevailing stylistic devices and expressive means used by the author and their function to convey certain messages to the reader.
TEXT FORMATION PRINCIPLES
Every text may be developed according to various principles: accentuation, analogy and contrast.
Analogy and contrast are realized through the mechanism of comparison. In analogy one is after similarity of the objects compared (people, things they are surrounded by, scenes, characteristic features of people, etc.). in contrast the difference of the objects is emphasized.
The language means of the realization of these principles include usual and occasional ones. In analogy the usual lexical units include such as like, similar to, resemble, look like, etc. As for the occasional means, they embrace the stylistic devices based on similarity or contrast. In analogy the devices are metaphor, simile, etc. In contrast – antithesis, oxymoron, etc.
Sometimes one part of the text may be contrasted to the other. In most cases contrast and analogy serve as instruments of realization of the dominant principle of text-formation – accentuation.
Accentuation is based on enhancing the expressive element of the text. It has a specific function of deepening the impression of the facts or things brought together in the story and expressing the authors attitude to the reality described. The following means of its realization can be found: usual means – very, many, great, too much, as big as, etc.; occasional means – hyperbole, gradation, enumeration, etc.
[1] Методические указания по курсу “Аналитическое чтение”, Уфа, 2001. Составители: Калимуллина В.М., Валеева Д.Л. – стр. 3-7, 9-11.
“Методы лингвистического анализа” Методические указания. Уфа, 2004. Составители: Калимуллина В.М., Рахматуллина Э.Т., Рюкова А.Р. – стр. 16-17.
Linguo-stylistic features of characters’ speech in the novel “Theatre” by W.S. Maugham in the Ukrainian translation
Whatever the type of matter is translated (belles-lettres, scientific or didactic, social or political, etc.) and irrespective of the form in which it is performed (written or oral) the linguistic and social or cultural significance of translation/interpretation remains always unchanged. It promotes the enrichment of lexicon and of the means of expression in the target language [I: 14].
Many works have been dedicated to the researches in the field of literature, and especially, to the speech characteristics. Special attention is paid to the stylistic analysis of characters’ speech analysis and the possibilities of its translation. The word “stylistics”, as a style has been used in philology for a long time. As a scientific discipline “stylistics” begins to form around the 20-30's of 20th century. Since the speech of the literary characters is one of the most important means of creating an image of the character in a literary work, researchers in the field of the stylistics of the English literature began to pay close attention to this aspect.
What is stylistics? Arnold defines stylistics as a branch of linguistics, investigating the principles and effect of choice and usage of phonetic, lexical, grammatical and other language means with the purpose of transmitting thoughts and emotions in different circumstances of communication. Stylistics defined as a branch of general linguistics, which touches upon expressive means, stylistic devices of the language, their relations to the idea expressed; the classification of the existing styles of speech.
Stylistics studies the special media of language which are called stylistic devices and expressive means. Expressive means and stylistic devices form three large groups of phonetic, lexical, syntactical means and devices. Each group is further subdivided according to the principle, purpose and function of a mean or a device in an utterance. Expressive means of a language are those phonetic, lexical, morphological and syntactic units and forms which make speech emphatic. Stylistic devices (tropes, figures of speech) unlike expressive means are not language phenomena. They are formed in speech and most of them do not exist out of context.
The topicality of this research results from modern requirements to the translation of fiction. It is important to render not only the image of the text in whole, but also the image of each separate unit. The problem of the linguo-stylistic features of the characters’ speech in the literary text is one of the questions under consideration of the modern researchers.
The object of the research is the main linguistic peculiarities and stylistic functions of the characters’ speech.
The subject is different translator’s strategies applied to render faithfully the meaning of stylistic features used in the novel by the author.
The purpose of this research is the analysis of the main linguo-stylistic features of the characters’ speech in the literary work and its translation.
The material of this research was the novel «Theatre» by W.S. Maugham, as well as its translation into Ukrainian by Pinchevsky.
The characters’ speech is a verbal communication. Any verbal communication has its functions. The translation of the characters’ speech in the literary work has to be as close to the original as possible. «Equivalence of the content of the original and that of the translation serves as a basis of their communicative equivalence, the implied presence of which makes of the given text a translation. Norm of the equivalence of translation is not the constant parameter. It means the need of the greater commonness of the content of the original and the content the translation, but only within the bounds of the consistent with the other regulatory requirements, ensuring the adequacy of the translation» [281: 229]. While working the translators turn quite frequently to the hermeneutical methods and to the science of hermeneutics of translation. As the methods of this science are directly connected with the translation. The value of the hermeneutical methods is«…in broadened opportunities for a comprehension a text made in a foreign language» [3: 34].
The characters’ speech can be analyzed from the point of view of stylistics. In order to do that we need the notions of the vocabulary, Expressive Means and Stylistic Devices, as well as the definition of the stylistics itself. The vocabulary used by the characters’ in their speech can be classified into Special Literary Vocabulary and Special Colloquial Vocabulary. Their speech also contains many phonetic, lexical and syntactical Expressive Means and Stylistic Devices.
The style used by the author is colloquial and literary at the same time. What is the purpose? The purpose is to bring the characters’ speech nearer to reality in order to bring them together with the reader. There are many markers of the colloquial style that are used in the text, which can be attributed to two interdependent and at the same time contradictory tendencies: tendency towards redundancy and tendency towards compression. The first one is expressed by the presence of the junk words, such as «oh», «damn it», «my God», «well then»…The use of these words together with such colloquialisms as «I can’t help it», «the scene be damned», «darling» makes the dialogue more spontaneous and more emotional. This spontaneity and this emotionality can be seen as well in the Ukrainian translation: ‘Oh, damn it,’ he sobbed. ‘I can’t help it’ [39] – «-Ах, чорт, - схліпнув він. – Я просто не можу стриматися»[26]. ‘The scene be damned, it was you …’ [39] – «-Та при чому тут сцена, я кажу про тебе»[27]. ‘ Well then, you shall be my leading man.’ ‘ Fat chance I’d have of that with a London manager.’ [39] – «-Що ж, тоді ти будеш моїм партнером на перших ролях.» «В Лондоні? Дідька лисого! Хто мене візьме?» [27].
The tendency towards compression, which is characteristic of the colloquial style, can be seen on the lexical and syntactical level of language. The use of the reduced form of the modal verbs «I’d», «don’t», «I’m», and others is quite proper of the colloquial style and emphasizes the informality of the characters’ speech. There are many lexical stylistic devices that are used in the characters’ speech, among them are hyperbole and metaphor. What is hyperbole? According to Kukharenko: «Hyperbole — a stylistic device in which emphasis is achieved through deliberate exaggeration, — like epithet, relies on the foregrounding of the emotive meaning. The feelings and emotions of the speaker are so raffled that he resorts in his speech to intensifying the quantitative or the qualitative aspect of the mentioned object.» [II: 31]. For example, in a phrase ‘My dear old boy ’ [8: 38] – «- Розумієш, друже...». [5: 26]. What is metaphor? According to Galperin: «A metaphor becomes a stylistic device when two different phenomena (things, events, ideas, actions) are simultaneously brought to mind by the imposition of some or all of the inherent properties of one object on the other which by nature is deprived of these properties» [IV: 140]. For example, in a following phrase ‘But, my God, you shattered me. ’ [19: 39] – «…Але, кажу ж тобі, ти була неперевершена!». [36: 26].
In conclusion, «Practically, stylistic devices in almost all languages are similar, still though their functions in speech vary. Identical stylistic devices are used differently in languages; they perform different functions and have different functions and have different value in stylistic system of their language…The stylistic changes are as necessary as grammatical or lexical ones» [5: 92].
«When rendering stylistic meaning of the source text a translator should be guided by the same principle – to recreate in translation the same impression that might be left by the original text. A translator (editor) should not try to preserve the stylistic device given in the sentence, but reproduce its function in the target language» [5: 92].
It is impossible to understand the translation and give it a scientific definition without taking into account its social nature, social essence. Translation cannot exist and function outside of society. Range of activities covered by the term "translation" is very broad. Translation is an integral part of the spiritual culture of every nation and its people, the spiritual culture of mankind. Translation cannot be understood, much less given a scientific definition without considering it from the point of view of its linguistic essence, without developing its basic linguistic concepts and its linguistic nature. After all, there is no doubt, that the translation - is primarily verbal activity. Translation is based on the language, the translator works with the language. Language is the main means of translation. Translation cannot be understood, if its ability to reflect and to re-create the original is not developed. Translation is a reflection of the original. The quality of the translation depends on the integrity and the faithfulness of this translation.
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