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Pecularities of translation into Ukrainian of English phraseological units in the texts of literary discourse

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Тип роботи: 
Курсова робота
К-сть сторінок: 
52
Мова: 
English
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a generic term for three substyles: the language of poetry; emotive prose (the language of fiction); the language of the drama. Each of these substyles has certain common features, and each of them enjoys some individuality. The belles-lettres style is individual in essence. This is one of its most distinctive properties.

Emotive prose shares the same common features, but these features are correlated differently than in poetry. The imagery is not so rich as in poetry; the percentage of words with contextual meaning is not so high. Emotive prose features the combination of the literary variant of the language, both in words and in syntax, with the colloquial variant. But the colloquial language in the belles-lettres style is not a simple reproduction of the natural speech, it has undergone changes introduced by the writer and has been made "literature-like". In emotive prose there are always two forms of communication present - monologue (the writer's speech) and dialogue (the speech of the characters). Emotive prose allows the use of elements from other styles as well. But all these styles undergo a kind of transformation under the influence of emotive prose. Passages written in other styles may be viewed only as interpolations and not as constituents of the style.
According to I.R.Galperin, “the stylistic device of decomposition of fused set phrases consists in reviving independent meanings which make up the component parts of the fusion; i.e. it makes each word of the combination acquire its literal meaning which in many cases leads to the realization of an absurdity.” [26]
While characterizing phraseological connections of the words it’s very interesting to establish how words assume new meanings. In order to show those highly rich semantic and stylistic capacities of words belonging to the lexicon of language we can point out, for example, phraseological connections and meanings of the word “knot”. This word is fixed within 7 English phraseological units and in each of them it assumes a certain semantic and stylistic meaning mostly due to being used in a literary environment. Compare:
  1. Гордіїв вузол: A great city struggled for a score of years to untangle that which was all but beyond the power of solution- a true Gordian knot (Th.Dresier. The Titan)
  2. Розрубати вузол: I don’t want to speak ill of your father…but…he’ll be back on your mother’s hands before a year’s over. You can imagine what that will mean to her and to all of you after this. The only thing is to cut knot for good (J. Galsworthy. In Chancery).
  3. Недбало зав’язаний вузол: “It`s all right for you” Frankie muttered, tying granny knots over and over each other (Ch. Dickens. The Heart of London) ‒ «Тобі це не зашкодить» , ‒ пробурмотів Френкі, недбало зав’язуючи вузлики оин над іншим.
  4. Зв'язати себе узами шлюбу: Ld. Sparkish: Is your friend Ned Kattle married? Yes, my Lord: he has tied a knot with his tongue, that he can never untie with his teeth. ‒ Лорд Спаркіш: «Ваш друг Нед Кеттл одружений?» Невераут: «Так, звичайно, мілорд. Він встиг пов’язати себе узами шлюбу» (O. Wilde. Lady Windermere’s Fan).
  5. Зав’язнути в труднощах: Violet. It’s a fearfully difficult language. Sometimes my head seems to get tied up in knots ‒ Вайолет: «Страшенно складна мова. Мені іноді здається, що в мене голова від неї розривається.» (W.S. Maugham. Caesar’s Wife)
  6. Заплутати когось: Watch him tie that witness in knots ‒ Він зараз цього свідка за 2 секунди заплутає. (J.O’Hara.Ten North Frederick)
  7. Одружитися: We’ll tie the old knot whenever you say the word, Dawnie ‒ Ми одружимося одразу, як тільки того схочеш, Донні. (J. Jones. Some Came Running)
CHAPTER 2
LITERARY DISCOURSE PHRASEOLOGY: DISCOURSE FEATURES, TRANSLATION OPTIONS
 
2.1 Specifics of literary discourse text analysis
 
By its nature, discourse analysis exceeds the boundaries of the usual distinction between text and context. Discourse analysts are threatened by two dangers, one that could be named “textualism” and the other, “sociologism”. The former consists of reducing to the text the scope of the analysis; the latter consists of studying the setting of the speech independently of discourse activity. So, it is no wonder that in literary discourse analysis the notion of genre plays a key role.
If we give up focusing only on texts considered in themselves, many phenomena that were previously outside the legitimate scope of literary studies become relevant: for example the way the writers produce their works (what I call “genetic rites”) or literary life: the places in which artists meet, the groups they constitute, the way they play their role in the media, etc. The way texts circulate, the way they are consumed, the way writers live, the way school deals with literature, etc. cannot be dissociated from what is unduly considered as being “inside” text. For discourse analysts, there is no inside and
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