Дипломная работа по лингвистике на тему Переводческие трансформации, способствующие достижению эквивалентности при переводе средств речевого этикета

In the modern period of translation theory development, a process of fiction translation is recognized to be one of the most complicated spheres. It is linked with the fact that fiction translation is a cross-disciplinary phenomenon due to its close connection with such sciences as comparative linguistics, cognitive stylistics, literature studies, linguocultural science, etc. Accordingly, fiction translation is today one of the most discussed phenomena in both Russian science [2; 16; 17] and foreign [20; 26; 34; 36].
Fiction translation is included into functional and stylistic typologies of translation types. Thus, according to L. L. Nelyubin, this classification contains two types of translation:
1) fiction translation;
2) special translation [11, p. 12].
S. A. Pesina introduces three types of translation according to functional and stylistic characteristics of texts:
1) literary and fiction translation with the main aim not only to transmit some information but also to make cultural, emotional, esthetic, and moral impact on the reader;
2) scientific and media special translation concerning translation of informative texts of political, sociological, and technical character;
3) informal and colloquial translation dealing with everyday speech [12, p. 11].
The object of fiction translation is a prose fiction text which is defined as “a made-up story which is written from the writer’s imagination or point of view and has a narrative form that comes in different lengths, namely a short story, a novella, and a novel” [18, p. 147].
The complexity of fiction translation process is stipulated, first of all, by the essence of fiction. The reality is represented in literary prose as an artistic image, and any fiction text reflects national world picture of both the writer (its author) and the whole ethnos. Moreover, fiction translation deals with different cultures, various individuals and national characters, varied traditions and customs represented by the writer [5, p. 55].
Sh. Sh. Aslonov states that fiction text represents a creative process and the embodiment of a creative idea [19, p. 16]. According to this fact, any text of fiction style possesses high informational richness, while the types of information are multifarious: factual, emotive, and conceptual.
Translation made in the context of a fiction text performs a range of functions which are mentioned in L. Lun’s research:
1) informational function represented in the subject and the plot of fiction;
2) influencing function according to its impact on the readers’ rational and emotional thinking;
3) esthetical function concerning sense of beauty and reading pleasure;
4) communicative function in terms of interaction between the author and the readers [10, p. 59].
In the process of translation theory development, fiction translation was and is still examined from the point of view of two principles: linguistic and literary. Linguistic principle concerns equivalence of source and target texts in their linguistic features. Despite importance of this principle, pure linguistic equivalence in fiction translation leads to literalism, or word-for-word accuracy, and results in the lack of literary and imaginary similarities in the two texts. That is why literary principle of fiction translation is today considered to be the most important one. It states that fiction translation is based first of all on the author’s idea; consequently, it is important to search for equivalent means of translation not in linguistic, but in esthetical comprehension [5, p. 55–56].
According to the typological characteristics given above, fiction translation is a type of free and loose interpretation. However, it is not fully true because fiction translation, as well as other types of special translation, bends to some demands:
1) faithfulness of fiction translation, or covering the text as it is, without global changes;
2) expressiveness of fiction translation, or depicting the ton and attitude expressively;
3) elegance of fiction translation, or maintenance of the author’s style [18, p. 148].
Considering fiction translation as a type of communication, it is possible to reveal three participants in this process: an author of a text, a reader and a person who translates this text. Within fiction the latter person is the first recipient of the original text. His task is to interpret the author’s ideas and to transmit his own understanding of fiction to the target audience. Consequently, the readers understand the main idea of the translated fiction text only in perception of the first interpreter. As a result, one and the same fiction text has great differences in two or more translations [14, p. 133].
Apart from interpretation differences, it is important to examine some linguistic patterns of fiction influencing the process of its translation. V. V. Alimov states that the most peculiar feature of fiction is the use of different and multifarious means of imaginary and expressiveness performing influencing function, such as epithets – picturesque attributives, metaphors – words and phrases in figurative meaning, or even rhyme and syntactic patterns of fiction [1, p. 26].
R. Shirinova believes that the most important linguistic features of fiction demanding special means of translation are realias (cultural language units), idioms (stable phrases with unique meaning), proverbs and sayings which are the main elements of the national world picture [33, p. 1437].
The attention to linguistic features of the definite fiction text helps to reveal one of the existing strategies of fiction translation:
1) strategy of domestication;
2) strategy of foreignization [4, p. 107].
These two strategies are opposite to each other. Domestication is a strategy of fiction translation making the translated text close to the target audience. In other words, the fiction text is changed greatly in its linguistic and cultural content in order to be convenient for reading by the foreign audience. Such type of fiction translation is a kind of free conversion with substitution of cultural, historical and other elements difficult for the readers’ understanding. Foreignization is the opposite strategy concerning preservation of language and nationally specific units and their conversion very close to the original culture.
It must be noted that the terms “domestication” and “foreignization” were firstly introduced in order to nominate the translation strategies towards culturally coloured and untranslatable elements of the original text. Nowadays, however, they are used as binary opposed strategies of a fiction text as a whole.
A. V. Belova believes that foreignization and domestication are rarely used within fiction translation alone as they are two extremities of translation processes. In most cases the main strategy of fiction translation is built on both domestication and foreignization, their alternation or use in some ratio [4, p. 107–108]. In other words, such strategy performs a role of a golden mean in fiction translation.
Based on the above stated, translation in the context of the fiction text is characterized by the following features:
– focus on artistic image and national world picture;
– creativeness and figurativeness;
– conversion of factual, emotive and conceptual information of the source text;
– paying attention to the fiction text main functions (informational, influencing, esthetical, communicative);
– combination of linguistic and literary principles of fiction translation;
– faithfulness, expressiveness, and elegance of translation;
– dependence on interpretation differences;
– paying attention to linguistic features which are considered to be untranslatable;
– use of three strategies: domestication, foreignization, or their fusion.