Elliptical Sentences in Modern English Literature. Elliptical constructions in English. Similar works to - Techniques for translating elliptical constructions of the English language on the example of Sidney Sheldon's work "If Tomorrow Comes"
INTRODUCTION
CHAPTER I. THE PLACE OF ELLIPSIS IN THE SYSTEM OF STYLISTIC DEVICES
1 DEFINITION OF THE CONCEPT OF ELLIPSIS
2 TYPES OF ELLIPTICAL OFFERS
3 ELLIPSIS IN QUESTION AND ANSWER UNITIES
4 CONCLUSIONS ON CHAPTER I
CHAPTER II. TRANSLATION OF ELLIPTICAL SENTENCES ON THE EXAMPLE OF SIDNEY SHELDON'S WORK "IF TOMORROW COME"
1 STYLISTIC FEATURES OF THE WORK
2 TYPES OF TRANSLATION TRANSFORMATIONS
3 ANALYSIS OF TRANSLATION TECHNIQUES OF TRANSMISSION OF ELLIPTICAL SENTENCES FROM ENGLISH TO RUSSIAN
4 CONCLUSIONS ON CHAPTER II
CONCLUSION
LITERATURE
Introduction
Ellipsis is the deliberate omission of one of the main members of the sentence (subject, predicate, or part of the predicate). It is a characteristic colloquial speech and serves as a compensation for the dialogue between people and expresses their attitude to something.
Elliptical sentences and constructions are used not only in dialogue, dialogic unity, they can also be found in descriptions, in complex sentences, and also in newspaper headlines. The problem of the ellipse is one of the most controversial in linguistics, and one or another interpretation of it depends on the researcher's understanding of the essence of language units in general.
This thesis is made in line with modern linguistics and is devoted to the study of ellipsis in the work of Sidney Sheldon "If Tomorrow Comes".
Relevanceresearch topics is due to the need for a comprehensive theoretical consideration of the ellipsis, determining their status and ways of using them in sentences. Main goalThis thesis is to study the methods of translating elliptical structures based on the work of Sidney Sheldon "If Tomorrow Comes". To achieve the goal of theoretical and practical, we define the following tasks:
Consider the concept of ellipsis and types of elliptical structures; Learn how to translate elliptical structures; Analyze the translation of elliptical structures based on the work of Sidney Sheldon "If Tomorrow Comes". Thingstudies make up the lexico-semantic and grammatical features of elliptical sentences. objectThe study of this thesis is elliptical sentences from the work of Sidney Sheldon "If Tomorrow Comes". The following methods were used during the study: Analysis and interpretation of materials from various sources. material extraction method. Comparative comparative analysis of the text of the original and the text of the translation of the work "If Tomorrow Comes" into Russian. The method of quantitative calculations. Scientific noveltyresearch consists in the fact that the proposed work establishes the qualitative originality of elliptical constructions, their difference from incomplete sentences, as well as ways to translate them. Research materialelliptical sentences (178 examples) selected from Sidney Sheldon's novel "If Tomorrow Comes" served. The goals and objectives of the study determined its structure. The thesis consists of an introduction, two chapters, a conclusion and a list of references. The introduction indicates the goals and objectives of the study, the relevance of the study. The first chapter of the work entitled "The place of ellipsis in the system of stylistic devices" is devoted to the study of ellipsis. This chapter discusses the views of many authors. It also discusses the types of elliptical structures, sets out various points of view regarding the ellipsis in style. The second practical chapter discusses the types of translation transformations and the study of elliptical constructions based on the work of Sidney Sheldon. At the end, the results are summarized and conclusions are drawn. Chapter I. Place of the ellipsis in the system of stylistic devices 1 Definition of concept ellipse According to the definition given in the dictionary of linguistic terms by O.S. Akhman's ellipsis is the omission of an element (member) of an utterance that is easily restored in a given context or situation. An elliptical statement is a statement that, in contrast to the expanded one, has an abbreviated form and is used in specific situations, such as, for example, in fluent dialogical speech. Zh.A Golikova gives the following definition of "ellipsis" - the omission in the speech of any easily implied word, a member of a sentence. By definition L.L. Nelyubina ellipsis, or ellipse, is a stylistic figure that consists in skipping any implied element of a sentence. For example: Couldn't t come any sooner. Been on my feet since six o clock this morning. P.A. Lekant emphasizes that the ellipsis is the contraction of the verb phrase in the sentence, the elimination of the verb component (without replacing it in the context). Ellipsis is characteristic of a relatively small number of widely used groups of phrases in which the forms of subordinate words are uniform, and the dominant word belongs to a certain semantic group of verbs (for example, verbs of motion, etc.). Ellipsis is a typical phenomenon in conversation that occurs outside of the situation. But this typical feature of the spoken language takes on a new quality when used in the written language. It becomes a stylistic device because it supplies super-segmental information. Elliptical sentences in direct communication are not a stylistic device. This is a simple standard of spoken language. In cases where the ellipsis is used as a stylistic device, it always mimics the general features of the spoken language, where the situation predetermines not the omission of a certain member of the sentence, but their absence. Such proposals can be called "incomplete proposals". Thus the sentences are: "See you tomorrow." "Had a good time." they are typical in spoken language. Nothing is left out of them. In colloquial language, this is the norm of syntactic structure and they are called elliptical. Also in the book P.A. Lecant, we find the following statement: “The omission of logically necessary elements of the statement can take different forms and have different stylistic functions. This includes the use of one-part and incomplete sentences - ellipsis, unionlessness, silence. Also N.M. Raevskaya emphasizes that ellipsis in sentence structure is a natural process in linguistic development present as a normal process in many languages. In traditional grammar, the term elliptical sentences refers to sentences with an omitted subject or predicate. Some grammars include sentences with omitted minor members of the sentence as elliptical sentences. Because of which it is omitted as an implied element in elliptical sentences: 1)directly from the context, for example: How was the play?" she inquired.
"Very good," returned Hurstwood.(Dreiser) "Cold., isn't it?" said the early guest. "Rather".(Dreiser) 2)Relating to the full grammatical constructions of the given part, for example: "Doing well, I suppose?" "Excellent." "Glad to hear it."(Dreiser) Ellipsis are structures or even parts of structures that can be easily found when analyzing sentences. It seems more appropriate to consider the ellipsis as a stylistic category. Indeed, in dialogic speech we have not the omission of any member of the sentence, but its natural absence. In other words, in live colloquial dialogical speech there is no conscious literary processing of the facts of the language. But, being transferred to another environment, from the oral colloquial type of speech to the literary and bookish written type of speech, such an absence of any member of the sentence is a conscious fact. I.R. Galperin in his work notes that ellipsis is a typical phenomenon in conversation, stemming from the situation. But this typical feature of the spoken language takes on a new quality when used in the written language. It becomes a stylistic device because it provides super-segmental information. A short sentence in direct communication is not a stylistic device. It's just the norm of the spoken language. Ellipsis, when used as a stylistic device, always mimics the general features of spoken language, where the situation predetermines not the omission of any member of the sentence, but their absence. At the same time, ellipsis in linguistics is the intentional omission of unimportant words in a sentence without distorting its meaning, and often to enhance the meaning and effect. Elliptical revolutions are a completely legalized norm of oral colloquial speech. A sentence like "Where to?" as the question asked to the interlocutor after the message of the last "I" m leaving tomorrow "is the norm of the language and is not a special expressive means of the language. This is the norm of the oral type of speech. But the elliptical turn can become a stylistic device under certain conditions. According to many authors, including M.K. Latyshev's problem of ellipsis is one of the most controversial in linguistics, and one or another interpretation of it depends on the researcher's understanding of the essence of language units in general. For the traditional school-normative grammar of the English language, it seemed undoubted that any sentence is characterized, first of all, by the presence of a subject-predicate structure, and that any apparent deviation from this structure should be explained as an ellipse phenomenon, i.e., "omission" or "implication" of those or other elements of the sentence structure. In the course of the work, it was found that ellipsis is understood as the deliberate omission of any member of the sentence in the literary and written type of speech. Consequently, not every omission of the members of a sentence acts as a stylistic device, but only one that appears in the literary-written type of speech. I.R. Galperin puts forward his theory, opposite to the opinion of most authors: The term "ellipsis" does not refer to incomplete sentences that are characteristic of the oral type of speech, since nothing is omitted here. The term "incomplete sentences", although inadequately expressing the essence of the phenomenon, nevertheless more accurately characterizes the structural type of the sentence inherent in oral speech than the term "ellipsis". The ellipsis applies only to such cases, where there is not the absence of any member of the sentence (understandable from the situation of the utterance), but the deliberate omission of any member of the sentence for certain stylistic purposes. For example: See you tomorrow! Had a good time?"t do. say that! In such sentences, there are no various members of the sentence. The absence of sentence members in the above examples is due to various reasons. For example, in the first two examples, the absence of the subject and part of the predicate is due to the situation in which communication takes place and which allows this kind of construction. In the third example, the absence of a subject is caused by some negligence, which is typical for oral live communication in general. The last example is caused by the excited state of the speaker, as evidenced by the exclamation mark, which graphically suggests the appropriate intonational design of the excited utterance. A P.A. Lekant believes that sentences are incomplete if any member (or group of members) is missing; its omission is confirmed by the presence of dependent words in the composition of the sentence, as well as data from the context or situation of speech. The reasons that caused the omission can no longer be identical to those that cause the absence of individual members of the sentence in live colloquial speech. Here the omission, although based on a typical one in colloquial speech, pursues the goal of consciously influencing the reader. In other words, if the absence of sentence members in live colloquial speech does not have the goal of influencing the reader and listener, but only characterizes either the conditions in which communication takes place, or the internal state of the speaker, then in this case, i.e. when we are dealing with stylistic device, there is another quality, namely, a pre-planned and realized emotional impact on the reader. Another example: King stalked round them impatiently, but they took no note for the world was theirs. The earth and everything it held, and the beauties of the earth, the kind and the warm things. In the definitions of an ellipsis, the method of omission is important. The technique of omission is understood as the refusal to transfer semantically redundant words in the translation, the meaning of which is irrelevant or easily restored in the context. Along with this, the omission of the subject (often together with a linking verb), the nominal part of the predicate or auxiliary verb is the most common form of the colloquial ellipse. For example: Ellie:...Are you very rich? Captain Shotover:no. living from hand to mouth. (B. Shaw. Heartbreak House.) Unlike German, in which the pronominal subject is omitted only in some cases - in emotionally elevated speech in the appropriate context, in English, this is a typical phenomenon of colloquial speech in general, and not just emotionally elevated. Some of these elliptical turns have already been fixed in social practice and are used in the form of a kind of stamps of colloquial speech. (E.g. Glad to meet you. Most proper.) In other words, they are not created anew, but are repeated in speech and thus approach, to some extent, phraseological units. At the same time, the technique of omission is directly opposite to addition and involves the refusal to transfer semantically redundant words in translation, the meanings of which turn out to be irrelevant or are easily restored in context. An example of semantic redundancy is the use in English of the so-called "paired synonyms" - words used in parallel with a similar meaning. This phenomenon is unusual for the Russian language, and when translating one of the synonyms, as a rule, is omitted: just and equitable treatment - a fair attitude, The treaty was pronounced null and void. - The agreement was declared invalid, The proposal was rejected and repudiated. - The offer was rejected, The government resorted to force and violence. - The government resorted to violence. Redundant elements in the text are not reduced to paired synonyms. Other parts of the statement can also be omitted in translation: So I paid my check and all. Then I left the bar and went out where the telephones were. - I paid and went to the machines. But at the same time, the technique of omission may not be associated with the desire to eliminate redundant elements of the original. One of the reasons for its use may be the excessive specificity of the English text, expressed in the use of numerals, names of measures and weights, etc. where content is not sufficiently motivated: About a gallon of water was dripping down my neck, getting all over my collar and tie. - Water poured down my collar, my whole tie got wet, my whole collar. Another consideration in favor of deletion is the need to compress the text as much as possible during translation, given that during the translation process, various additions, explanations and descriptions used by the translator can significantly increase the volume of the translation compared to the original. Therefore, the translator, in order to balance this trend, seeks to reduce the total volume of the translated text, omitting redundant elements, where possible within the linguistic and stylistic norms of the target language. One can speak about the omission of one or another member only if it is verbally expressed in the context or is clear from the speech situation. In a sentence with a missing member, not only is there no continuity of syntactic links, but the system of syntactic relations is also broken. The simplest form of pass is unionlessness, or asyndeton. The omission of conjunctions may be dictated by the requirements of the rhythm. With long enumerations, he gives a rapid change of pictures or emphasizes the relevance of individual private impressions within the overall picture, it is impossible to list them all. In the linguistic literature, the term "elliptical sentences" is used in various meanings: it is used instead of the term "incomplete sentences"; denotes a variety of incomplete sentences; finally serves as the name of the type of sentences adjacent to the incomplete ones, similar to them. For written speech in English, the use of participles (turns) of gerund and infinitive turns plays a significant role. In contrast to the norms of the syntax of colloquial speech, written speech is characterized by the absence of elliptical constructions, if these elliptical turns do not carry a predetermined stylistic function. It can also be noted that nominative one-part sentences have a great expressive potential, since the nouns that are their main member combine the image of an object and the idea of its existence. They are used at the beginning of a novel or chapter, in the author's remarks at the beginning of plays, in any descriptions where the overall picture is made up of individual elements, as well as in dynamic narrative. Ellipsis can also be expressed in incomplete sentences. Incomplete sentences is a simple two-part sentence, the positional model of which is not fully expressed in verbal forms, i.e. one in which one or both main positions are negative. Missing elements are easily recovered in this context. Being especially characteristic of colloquial speech, the ellipse, even outside the dialogue, gives the utterance the intonation of live speech: dynamism, and sometimes some trusting simplicity. The omission of logically necessary elements of an utterance can take different forms and have different stylistic functions. This includes the use of one-part and incomplete sentences - ellipsis, non-union, silence. The doctrine of incomplete sentences reflects the difficulties and contradictions that arose in the interpretation of the sentence in general, in determining its grammatical nature. In the works of Russian linguists of the logical school, the scheme of the logical judgment "subject-copy-predicate" was adopted as a sample sentence. From this came the requirement of an obligatory three-part or two-part proposal. In both cases, the obligatory presence of the link in the sentence was assumed - some considered it an independent member, others included it in the predicate. The absence of a copula in the present tense form was considered an "omission", and any sentence that deviated from the ideal scheme "subject - copula - predicate" was considered incomplete. According to I.R. Galperin in the 18th century, the norms of the style of artistic speech do not allow the use of the characteristic features of the oral type of speech with its lively intonation, elliptical turns, non-conjunction and other typical features. It is enough to take as an example any passage from a work of art of the 18th century, in which the direct speech of a character is transmitted, to make sure that there is no difference between the norms of oral and written speech in them. Oral speech was usually adjusted to the norms of written speech. Therefore, the differences between indirect and direct speech were erased in the style of artistic speech. In modern English fiction, this technique has become widespread. However, the bulk of incomplete sentences in any research are sentences of dialogic speech, where all those forms that are easily guessed due to the context and situation are omitted. Very important for the development of the theory of incomplete sentences was the teaching of A.A. Shakhmatova about one-part and two-part sentences. He was the first to prove the existence in the Russian language of one-part sentences as an independent structural type, corresponding to the syntactic norm, on an equal footing with two-part sentences; singled out and described such types of complete one-component sentences as definitely personal, indefinitely personal, nominative (all of them were previously considered incomplete). Thus, A.A. Chess, in comparison with the grammarians of the 19th century, significantly narrowed the circle of incomplete sentences. He recognized as incomplete sentences in which the main member was omitted, distinguished between one-part and two-part incomplete sentences. The omission of the main member in most cases was established according to the principle of "implying". Under the term "incomplete" A.A. Shakhmatov combined structurally different proposals. In some, members are indeed missing - this is confirmed by the data of the context, the forms of the existing members (sentences with missing subjects). Other sentences fully express their meaning by their own means and do not need to "restore" any members; does not confirm the implication and the context. These are colloquial sentences. The doctrine of incomplete sentences was developed by A.M. Peshkovsky. Among the incomplete proposals of A.M. Peshkovsky, we find various structures, the incompleteness of which the author establishes on the basis of context data, intonation features, the form of existing members, etc. A.M. Peshkovsky described "factors that create incompleteness" - context, situation, intonation. An analysis of elliptical sentences shows that there are no clear boundaries between complete and incomplete sentences. Structural schemes of sentences are created in speech and, when stabilized, become language models. The factors that determine the place of such constructions on the “transitivity scale” are the presence of a synonymic and modal-temporal series, as well as the lexical and grammatical meanings of word forms, etc. Constructions that are stable phraseological combinations, as well as some familiar word forms adjoin elliptical sentences: Merry christmas; happy new year Many happy returns, etc. Such structurally incomplete constructions are semantically complete. According to I.R. Halperin for the oral type of speech is also characterized by the incompleteness of the statement. The situation in which the communication takes place, in some cases does not require the logical completion of thought, since this completion follows directly from the situation itself. It turns out a kind of break in the proposal. For example: If you don`t come. I'll… Such sentences cannot be regarded as elliptical, because they do not contain the omission of any member of the sentence, which is clear from the context of the utterance. The content of the statement in such a sentence sticks directly out of the entire situation of communication. The forms of elliptical turns are typical in colloquial speech - it was cherry brandy (that) killed ... - a combination of direct and indirect speech: ... what did he think we d been having it for, etc. Only intonation makes it possible to determine the existence of an elliptical turn in this example. Only intonation can give a formally grammatically unfinished sentence a semantic completeness. The ellipse is widely used not only in colloquial speech (styles of everyday communication and fiction), but also in official clerical and scientific and technical styles of speech (telegraph messages, reference books, dictionaries, etc.), as well as in the style of journalism and the press (newspaper ads). , advertisements, headlines). Especially often we find elliptical revolutions in poetic works. Here the ellipse is not always the result of a stylistically justified application. In some cases, the elliptical turn is caused by rhythmic-melodic conditions. So, for example, in the example Each kiss a heart-quake - for a kiss s strength; I think it must be reckoned by it length (Byron). The omission of the is link may be due to rhythmic-melodic considerations. This is confirmed by the fact that in the two quoted lines we have two mutually exclusive stylistic devices: an ellipsis on one side and the antipode of the ellipsis - the pleonastic subject strength and it. Thus, on the one hand - omission to achieve conciseness of the statement, on the other - repetition, stretching of the statement. Any elliptic sentence should be interpreted as a non-elliptic sentence transform, formed by means of an ellipse transformation or "deletion", the essence of which is the replacement of an explicit variant of a word or words with a zero variant of the same word. Any word can be subjected to this ellipsis operation - both significant and auxiliary. As you know, many linguists insist that one-part sentences should not be confused with elliptical ones: in their opinion, elliptical sentences should be considered as two-part sentences with an “omitted” second composition (it is “implied” from the context), and one-part sentences with no contextual omission of the second composition is not assumed. However, a review of the material shows that there is no strict dividing line between the separated two-part and one-part sentence types. Moreover, even the clearest cases of a "strictly one-part" sentence reveal more hidden and less hidden associations with the corresponding two-part sentences. For example: Night. Silence. Not a word! Because of this, it seems more reasonable to attribute all sentences with one pronounced composition, regardless of the degree of "implicitness" of the second composition, to the general type of one-part sentences, and within this type to single out subtypes of "fixed" one-part sentences and "free" (context-elliptical) one-part sentences . It should be noted that the selection of expressive means of the English language has not yet been sufficiently carried out, and the analysis of these means is far from being completed. There is still a lot of uncertainty here, since the criteria for selection and analysis have not yet been established. Therefore, among the expressive means of artistic speech, all kinds of elliptical turns are often mentioned without regard to where, under what conditions and for what purposes it is used. However, elliptical revolutions are a completely legalized norm of oral colloquial speech. A sentence like “Where to?” as a question posed to the interlocutor after the last message “I`m leaving tomorrow” is the norm of the language and is not a special expressive means of the language. This is the norm of oral speech. But an elliptical turn can become a stylistic device under certain conditions. 2 Types of elliptical sentences L.S. Barkhudarov distinguishes the classification of elliptic sentences on the basis of the method of explication of the word represented by the zero variant. By "explication" or "replenishment" we mean the transformation that is inverse to the ellipse ("erasure"), namely, the replacement of the zero variant of a word with an explicitly expressed variant. If the word or words represented by the zero variant are explicated, i.e. restored in their sounding variant from the surrounding context, i.e. from the previous or subsequent text, then we can call such an elliptical sentence syntagmatically restored elliptical sentence). If the explication of a given word or words is possible only on the basis of other similar constructions that occur in the language, but are not directly registered in the contextual environment of this elliptical sentence, then such an elliptical sentence is called paradigmatically restored elliptical sentence. In fiction and the language of the newspaper, various types of incomplete and elliptical sentences are widely used as a fact of live colloquial speech. Elliptical designs provide rich material for heading structure. Ellipses are extremely economical in terms of means of expression. There are the following types of elliptical structures. Elliptic constructions like if any, if anything have an expressive and amplifying meaning and are transmitted into Russian by subordinate conditional clauses, as well as words almost, perhaps, at all, in general, etc. Objections to this plan, if any, should be reported to the committee at once. - If there are objections to this plan, they must be immediately submitted to the committee. (Objections, if any...). For example: Very little, if anything, could be advanced in the defense of his policy. Almost nothing could be said in support of his policies. If anything it will be in their interests to follow this course. - In any case, it is in their interests to follow this course. Elliptical constructions also include concessive subordinate clauses introduced by the unions whatever, however, in which there is no predicate (sometimes the subject). Such concessive clauses are translated into Russian by full concessive clauses with conjunctions, whatever, whatever (the predicate and subject of the full sentence are restored): The British people have to submit to new taxation, however high. -The English people have to put up with new taxes, however high they may be. The union though can be at the end of a simple sentence following another simple sentence that is closely related to it in meaning. The final though corresponds to Russian, nevertheless, nevertheless, anyway, after all: Didn't tell those where he had been, but I know, though.- He didn't tell me where he was, but I don't care I know. The combination If + participle II (or adjective) also belongs to elliptical constructions. This combination is translated into Russian by a subordinate concessive clause: If considered from this point of view, the problem takes on a new aspect. - If we consider the problem from this point of view, then it acquires (takes) a different character: But the decision, if logical, requires a measure of courage. - But this decision, although it is logical, requires a certain courage. R.K. Minyar-Beloruchev distinguishes elliptical constructions with the past participle and conjunctions when or if are usually conveyed by a full subordinate clause, since the phrase with the gerund "being" is archaic and bookish: When asked about the situation in North Africa, he answered that the government were considering it . - When asked about the situation in North Africa, he replied that the government is considering this issue. Mr. Nelson (Labour) said if elected he would support the workers" wage demand. -
Labor Nelson said that if elected, he would support the workers' demand for higher wages. The following example of an elliptical construction with a past participle is interesting: it can be conveyed by participle turnover: The tribunal's decisions, when arrived at, reflected the opinions of the members. - The decisions made by the tribunal reflected the opinion of its members. Such participial constructions can also be non-union: Questioned about his reaction to the announcement he replied... what he thinks about this statement, he replied... Elliptical participle constructions are often used in headings. For example: Textile pay rise asked. Such headlines are usually transmitted according to the characteristics of Russian newspaper headlines: Demands of textile workers for higher wages. Thus, we can conclude that elliptical participial phrases can be conveyed in various ways: by a subordinate clause, participial phrase, a verb in a personal form with a complete restructuring of the sentence, or a noun with a preposition. It should be noted that elliptical constructions are quite widely used in the scientific and technical style, which is reflected in the selection and use of language means, and also in its desire for brevity and compactness of presentation. A misunderstanding of these constructions often leads to ridiculous translation errors. Having met the combination a remote crane or a liquid rocket in the text, the translator must recognize in them the elliptical norms of the combinations a remote-operated crane and a liquid-fuelled rocket. One can also note numerous cases of omission in scientific and technical materials of the article, especially a definite one, where in texts of another type its use is considered absolutely mandatory: General view is that..., First uranium mine in the region was... The article is often missing before the names of specific parts, technical descriptions, instructions, etc.: Armstrong Traps have long-live parts, valve and seat are heat treated crome steel, lever assembly and bucket arc stainless steel. According to M.K. Latysheva, the types of incomplete sentences are distinguished taking into account the following factors: a) spheres of use (oral or written speech); b) the nature of communication (monologue or dialogue); c) the interaction of the sentence with the context; d) features of the reproduction of a sentence or its free construction in speech. There are two types of incomplete sentences - contextual and situational. Contextual sentences are incomplete sentences of monologue speech (incomplete) or incomplete sentences of dialogic speech (replicas of dialogue). Incomplete sentences are sentences of a connected segment of monologue speech, in which any member named in the previous or subsequent context is omitted; For example: Company commanders they don't answer anything. Stand and look at the ground; The second sentence is incomplete because it lacks a subject. commanders.
An incomplete sentence has predicativity, has a complete intonation (end intonation) and expresses the main elements of the form of thought. However, it should be borne in mind that it expresses a relatively complete thought, perhaps only due to the context in which the omitted member is verbally indicated. The most commonly used incomplete sentences in which the subject is omitted. The subject is omitted if it is named in an adjacent sentence and is also a member of the sentence in it. Skipping a repeating subject is natural, especially in colloquial speech. An indicator of skipping a predicate is the context in which it is indicated; inside an incomplete sentence, the omission of the predicate is indicated by dependent forms of secondary members related to the predicate; For example: Suddenly the door of the closet flung open quickly, and all the servants immediately rolled head over heels down the stairs. Gavrila first of all- omitted verb-predicate rolled downnamed in the previous sentence. 3 Ellipsis in question-answer unities As you know, the main area of use of elliptical constructions is dialogue: it is in the replicas of the dialogue that part of the sentence, as a rule, is omitted, since either it is already clear from the previous replica belonging to the interlocutor; or where part of the sentence can be easily omitted if it is not essential. Example: And by the way, before I forget it, I hope you "ll come to supper to-night - here. Will you? After the opera. (The second sentence means: "Will you come to supper tonight?" - And By the way, before I forget, I hope you'll come to dinner tonight. Will you come? After the opera.) Depending on whether all members are present in a given sentence or whether some of them are restored from the context of the sentence, they can be complete (Elliptical) or incomplete (Non-Elliptical). In incomplete sentences, missing members are easily restored from the surrounding context. Incomplete sentences are very typical for colloquial dialogic speech, especially as answers to questions. I.R. Galperin emphasizes that the most characteristic syntactic feature of oral (colloquial) speech is the presence of elliptical turns. The omission of individual parts of the sentence is the norm of dialogic speech, since the situation of communication itself does not require the mention of the omitted. Full sentences in oral speech can sometimes be seen as a kind of violation of the norm. They can be used for special purposes, for example, to express irritation in dialogic speech, an emphasized official tone, a polite but persistent order, a hidden threat, etc. The following expressions can be cited as examples of elliptical turns fixed in the language as typical norms of direct, live everyday communication: see you tomorrow. Pity you didn't come. to meet you. B.A. Ilyish also argues that the main area of use of elliptical sentences is dialogue, because parts of sentences may be missing, but they are intelligible from previous sentences (belonging to another speaker) and can be easily restored. But elliptical sentences can also occur outside of dialogue. But the problem is that without context it can be difficult to understand the meaning of elliptical constructions, sometimes in the absence of this it is completely impossible. There are features characteristic of a certain language, on the basis of which a dialogic unity is built, the construction of which is accompanied by the correct and appropriate use of constructions using elliptical sentences - those constructions that are used in Russian often turn out to be incorrectly used in English. V.A. Kukharenko notes that in modern prose, the ellipsis is mainly used in dialogue, where it is deliberately used by the author to reflect the natural omissions that characterize spoken language. Often the ellipsis is used close to the dialogue in the author's introductory remarks, commenting on the speech of the characters. Brief remarks in prose are reminiscent of remarks in drama. They save only the most important information, leaving out those parts of it that can be easily understood from the situation. It is the situational nature of our everyday speech that relies heavily on both the speakers' understanding of the terms and the details of the communication act that promotes normative conversational omissions. The imitation of these oral colloquial norms is created by the author through an ellipsis with the main function of achieving the authenticity and plausibility of a fictitious dialogue. In contrast to everything, the incompleteness of the utterance is also characteristic of the oral type of speech. The situation in which communication takes place does not in some cases require the logical completion of thought, since this completion follows directly from the situation itself. It turns out a kind of break in the proposal. For example: if you don "t come I" ll .... Such sentences cannot be considered elliptical because they do not omit any member of the sentence, which is clear from the context of the statement. The content of the statement in such a sentence follows directly from the whole situation of communication. Indeed, the idea expressed in the above example, without disclosing the situation, remains incomprehensible. What should follow I "ll can only be a matter of conjecture. The composition of elliptic sentences of general and special type is not the same. What they have in common is the preservation in the elliptical interrogative sentence of the structurally and semantically most essential elements of the complete question. For a general question, this is a combination of an auxiliary verb with a subject, usually a pronominal, as substituents for the predicate and subject group. An elliptical special question can be limited to a question word that indicates an information gap that needs to be filled: Are you in a hurry?, sir, came the answer, that sent a flash, through the listener. what? Naturally, elliptical questions cannot be initial in a dialogue. Another thing is elliptical turns, which appear only in the dialogue itself. For example: "You may lose more than your fees!" "Can't!" (G. Galsworthy). Dialogic speech, in connection with the above conditions of the oral type of speech, is also characterized by another property: the process of thought formation proceeds almost simultaneously with the process of direct communication, as if “on the go”. Syntax therefore takes on the character of inconsistency, a consequence of ill-conceivedness. This inconsistency, in particular, affects the violation of syntactic norms. Oral speech in modern English is also characterized by the use of a question in the syntactic form of an affirmative sentence. For example: "Have you been to school?" "Yes, sir," I answered; "for a short time." (Ch. Dickens) Sometimes the interrogative sentence is used in an elliptical form: the auxiliary verb to do is omitted, for example: Miss Holland look after you and all that? Such sentences are on the verge of non-literary, vernacular turns that are used in live colloquial speech. 4 CONCLUSIONS ON CHAPTER I Having studied the theoretical issues of the functioning of the ellipsis, we came to the following conclusions: Many linguists define ellipsis as the intentional omission of non-essential words in a sentence without distorting its meaning, and often to enhance meaning and effect. The study of the definition of the concept of "ellipsis" shows that this is a typical phenomenon in a conversation that occurs outside the situation. But this typical feature of the spoken language takes on a new quality when used in the written language. It becomes a stylistic device. Elliptical sentences in direct communication are not a stylistic device. This is a simple standard of spoken language. In cases where the ellipsis is used as a stylistic device, it always mimics the general features of the spoken language, where the situation predetermines not the omission of a certain member of the sentence, but their absence. Such proposals can be called "incomplete proposals". As for the classification of elliptical sentences, there are two types: ) syntagmatically completed elliptic sentences ) paradigmatically complemented elliptic sentences (classification by L.S. Barkhudarov) Also, various kinds of elliptical structures are distinguished. (Zh.A. Golikova, R.K. Minyar-Beloruchev, M.K. Latyshev). They provide rich material for developing the structure of headings. Ellipses are extremely economical in terms of means of expression. Many authors argue that the main area of use of elliptical sentences is dialogue, because parts of sentences may be missing, but they become clear from previous sentences. Also, in some cases of oral colloquial speech, incomplete statements are characteristic. But elliptical sentences cannot be initial in a dialogue. CHAPTER II. TRANSLATION OF ELLIPTICAL SENTENCES ON THE EXAMPLE OF SIDNEY SHELDON'S WORK "IF TOMORROW COME" 1 Stylistic features of the work elliptical sentence translated english Sidney Sheldon most often worked in the genre of crime thriller, but the bulk of his readership was made up of women, as a result of which his novels were often ranked in the category of so-called female prose. The heroines of his novels often became strong, courageous and self-confident women, forced to fight for their place in life in a cruel world. For services to literature and cinema, Sidney Sheldon received a nominal star on the Hollywood Walk of Fame. In addition, his name is present in the Guinness Book of Records: Sheldon is the most "translated" author in the world. The novel "If Tomorrow Comes" brought him the greatest popularity. The novels of Sheldon S. are well read on vacation. They do not carry a special semantic load, you rarely take anything out of them, but these are written in such a way that it is difficult to tear yourself away from them. It is impressive how detailed the characters are described, their feelings, thoughts. You really believe them. And, importantly, despite the large number of descriptions of the characters' feelings, it does not get boring. Sidney Sheldon's book "If Tomorrow Comes" can be attributed to books - light reading, novel, detective story. When you can sit quietly and read. The author conveys everything to the reader - easily, at ease. No those long descriptions. The novel has everything - friendship, love, a detective story, bright climaxes that keep you in suspense until the very end. In this novel, the author uses all sorts of stylistic devices to interest readers and enrich the language. Very often there is the use of such stylistic devices as metaphor, punctuation, inversion, parallel constructions, isolation, silence. 2.2 Types of translation transformations The main goal of translation is to achieve adequacy. An adequate, or as it is also called, equivalent translation is a translation that is carried out at a level necessary and sufficient to convey an unchanged content plan while observing the corresponding expression plan, i.e. standards of the target language. By definition, A.V. Fedorov, adequacy is "an exhaustive transfer of the semantic content of the original and full functional and stylistic compliance with it" . Achieving translation equivalence (“translation adequacy”), despite the differences in the formal and semantic systems of the two languages, requires the translator, first of all, to be able to perform numerous and qualitatively diverse interlingual transformations - the so-called translation transformations. - so that the text of the translation with the maximum possible completeness conveys all the information contained in the source text, with strict observance of the norms of the target language. Transformations, with the help of which it is possible to carry out the transition from original units to translation units in the indicated sense, are called translation (interlingual) transformations. Since translation transformations are carried out with linguistic units that have both a content plan and an expression plan, they are of a formal semantic nature, transforming both the form and the meaning of the original units. "Transformation -
basis of most translation techniques. It consists in changing the formal (lexical or grammatical transformations) or semantic (semantic transformations) components of the source text while preserving the information intended for transmission. As part of the description of the translation process, translation transformations are considered not statically as a means of analyzing the relationship between foreign language units and their dictionary correspondences, but dynamically as translation methods that a translator can use when translating various originals in cases where there is no or no dictionary correspondence. can be used according to the context. Currently, there are many classifications of translation transformations proposed by various authors. Let's consider some of them. OK. Latyshev gives a classification of translation transformations according to the nature of the deviation from interlingual correspondences, in which all translation transformations are divided into: In the classification of L.S. Barkhudarov, translation transformations differ in formal features: permutations, additions, substitutions, omissions. At the same time, L.S. Barkhudarov emphasizes that such a division is largely approximate and conditional. . Permutation as a type of translation transformation is a change in the location (order) of language elements in the translation text compared to the original text. The elements that can be rearranged are usually words, phrases, parts of a complex sentence (clauses) and independent sentences in the structure of the text. Substitutions mean both changes in the translation of words, parts of speech, sentence members, types of syntactic connection, and lexical substitutions. Additions imply the use in the translation of additional words that do not have matches in the original. Omission is the exact opposite of addition. When translating, words that are most often semantically redundant, that is, expressing meanings that can be extracted from the text without their help, are most often omitted. Depending on the nature of the foreign language units, which are considered as initial in the transformation operation, translation transformations are divided into lexical and grammatical. In addition, there are also complex lexico-grammatical transformations, where transformations either affect simultaneously the lexical and grammatical units of the original, or are interlevel, i.e. carry out the transition from lexical units to grammatical ones and vice versa. The main types of lexical transformations used in the process of translation involving various foreign languages and target languages include the following translation techniques: concretization, generalization, modulation. The most common grammatical transformations include: syntactic assimilation (literal translation), division of a sentence, union of sentences, grammatical substitutions (forms of a word, part of speech or member of a sentence). Complex lexico-grammatical transformations include antonymic translation, explication (descriptive translation) and compensation. The lexical meaning of phrases is determined by the lexical meanings of the words included in these phrases. And grammatical meaning is a more general, abstract meaning, the meaning of syntactic relations. Lexical techniques are applicable when a non-standard language unit at the word level occurs in the source text, for example, some proper name inherent in the source language culture and absent in the target language; term of one or another professional field; words denoting objects, phenomena and concepts that are characteristic of the original culture or for the traditional naming of elements of a third culture, but which are absent or have a different structural and functional order in the translating culture. Syntactic assimilation or literal translation is a translation that reproduces the structure of a multilingual sentence without changing the word order, this is a word-for-word translation. However far it is, I intend to drive there tonight. “However far it may be, I intend to go there tonight. However, according to A.V. Fedorov "all kinds of attempts to translate verbatim this or that text or segment of the text lead, if not to complete incomprehensibility of this text, then, in any case, to heaviness and ambiguity. This is what can be called "translation style" (or, as sometimes it says "translated language"). By definition, R.K. Minyar-Belorucheva syntactic assimilation (literal translation) is a method of translation in which the syntactic structure of the original is transformed into a similar structure of the target language. This type of "zero" transformation is used in cases where there are parallel syntactic structures in the foreign language and the target language. Syntactic assimilation can lead to a complete correspondence between the number of language units and the order of their location in the original and translation: I always remember his words. - I always remember his words. As V.N. Komisarov, this technique is quite simple, but deserves mention for two reasons. Firstly, because the “legitimacy” of its application should be emphasized: novice translators sometimes show a desire to change the syntactic structure even where a literal translation would be the best choice. Secondly, it is necessary to clearly distinguish this technique from the literal translation already known to us, which also transmits the original “word for word”, but at the same time distorts its meaning or violates the norms of the target language. Sentence segmentation is a method of translation in which the syntactic structure of a sentence in the original is transformed into two or more predicative structures of the target language. Articulation transformation leads either to the transformation of a simple sentence of a foreign language into a complex sentence of the target language, or to the transformation of a simple or complex sentence of a foreign language into two or more independent sentences in the target language: The annual surveys of the Labor Government were not discussed with the workers at any stage, but only with the employers. - The annual reviews of the Labor government were not discussed among the workers at any stage. They were discussed only with entrepreneurs. engine crews leaped to safety from a collision between a parcels train and a freight train near Morris Cowley, Oxfordshire. - Near the station of Maurice Cowley in Oxfordshire there was a collision between mail and freight trains. Members of both train crews escaped unscathed, jumping off the train as they went. V.N. Komisarov notes that the method of dividing a sentence is that one sentence of the original is divided into two or three sentences in the translation. The use of this technique may be due to semantic or stylistic reasons. For example, it is not uncommon for English newspapers to have short, single-sentence reports containing a large amount of information such as: "Both engine crews leaped to safety from a collision between a parcels train and a freight train near Morris Cowley, Oxfordshire." This sentence contains a whole story: it tells what happened, and where it happened, and with whom it happened, and how the participants in the incident were saved. In the Russian translation, it would be natural to break the message into two parts and first talk about the event itself, and only then about its consequences. In order to achieve adequacy in translation, the translator often has to turn one sentence into several sentences (external segmentation) or replace a simple sentence with a complex one (internal segmentation). The division of a sentence when translating from English into Russian is caused, as a rule, by one of the following reasons: a) the peculiarities of the grammatical structure of the English sentence; b) features of the semantic structure of phrases in the English language; c) genre and stylistic features of the English sentence. That was a long time ago. It seemed like fifty years ago. - It was a long time ago - it seemed that fifty years had passed. Often, the use of union transformation is associated with the redistribution of predicative syntagmas between adjacent sentences, i.e. there is a simultaneous use of union and division - one sentence is divided into two parts, and one of its parts is combined with another sentence. It should be emphasized that the method of combining sentences is directly opposite to the previous one - two or three sentences of the original correspond to one sentence in the translation. The use of this technique may be forced due to the incompleteness of one of the translated sentences: “The marchers did not intend to go to Parliament. Nor to petition their MP "s" - "The demonstrators were not going to go to parliament or submit a petition to their deputies." Scientific and technical texts in English are characterized by the predominance of simple sentences, which is less typical of the corresponding Russian style, where complex sentences In this regard, in English-Russian technical translations, two or more simple sentences of the original correspond to one complex sentence in the translation, for example: "This condition, however, changes at certain critical energies of the electrons. At these critical energies the gas atoms do absorb energy". - "However, this condition is violated at some critical electron energies, when gas atoms absorb energy." Grammar substitutions are a translation method in which a grammatical unit in the original is converted into a unit of the target language with a different grammatical meaning. A grammatical unit of a foreign language of any level can be replaced: a word form, a part of speech, a sentence member, a sentence of a certain type. It is clear that when translating, the forms of a foreign language are always replaced by the forms of the target language. Grammar substitution as a special way of translation implies not just the use of forms of the target language in the translation, but the rejection of the use of forms of the target language similar to the source ones, the replacement of such forms with others that differ from them in the expressed content (grammatical meaning). So, in English and Russian there are singular and plural forms, and, as a rule, the correlated nouns in the original and in the translation are used in the same number, except for cases when the singular form in English corresponds to the plural form in Russian ( money - money, ink - ink, etc.) or vice versa, the English plural corresponds to the Russian singular (struggles - struggle, outskirts - outskirts, etc.). But under certain conditions, the replacement of the form of a number in the translation process can be used as a means of creating an occasional correspondence: We are searching for talent everywhere. - We are looking for talent everywhere. invaders resorted to violence and atrocity to crush the resistance of the native population. - The invaders resorted to violence and atrocities to crush the resistance of the indigenous population. In many cases, the transition from the original to the translation is carried out with the help of various grammatical substitutions, which implies the rejection of the use of similar grammatical forms in the translation. A grammatical category, a part of speech, a member of a sentence, a sentence of a certain type can be replaced. Let's look at a few examples of how this approach can be applied. Usually, the category of number is preserved in the translation, that is, the related nouns in the original and in the translation are used in the same number, except when the singular form in one language corresponds to the plural form in another (compare "money" - "money", "outskirts" - "outskirts", etc.). But under certain conditions, the replacement of the form of a number can be used as a translation technique. Concretization is a lexico-semantic replacement of a foreign language unit with a broad meaning by a translating language unit with a narrower meaning. The concretization of the original meaning is used in those cases when the measure of informational ordering of the original unit is lower than the measure of ordering of the unit corresponding to it in terms of meaning in the target language. , we had a talk. We really did. Yes, we had a conversation. We talked. Specification can be linguistic and contextual (speech). In linguistic concretization, the replacement of a word with a broad meaning by a word with a narrower meaning is due to differences in the structure of the two languages - either the absence in the target language of a lexical unit that has the same broad meaning as the transmitted unit of a foreign language, or differences in their stylistic characteristics, or grammatical requirements. order. So, the English noun thing, which has a very abstract meaning, almost pronominal, is translated by concretization: thing, object, deed, fact, case, circumstance, product, being and
etc. When translating into Russian, the verbs of motion come and go are concretized: they, unlike Russian verbs of motion, do not include in their semantics a component indicating the method of movement, therefore, when translating come, it is concretized as to come, arrive, arrive, approach, run up, swim , fly in, etc., a go - how to go, walk, go, go, go, pass, swim, fly
etc. The usual is the concretization of the verbs of speech say and tell, which can be translated not only as to speak and (dis) tell, but also as (to) say, repeat, notice, note, assert, report, speak out, ask, object, order , command
etc. As for contextual concretization, it is not due to systemic and structural discrepancies between the foreign language and the target language, but the factors of this particular context, most often, stylistic considerations, such as the need for completeness of the phrase, the desire to avoid repetition, to achieve greater figurativeness, clarity and etc. for example, We had strolled over - We went to her fence .
As V.N. Komisarov, the technique of semantic concretization lies in the fact that the translator chooses for translation in the original a word with a more specific meaning in the target language. In any language there are words with a more general or more specific meaning, expressing generic or specific concepts: the word "dog" names a larger class of objects than the word "bulldog", "move" covers all particular types of movement - walking, running, flying and etc. At the same time, the ratio of such words in different languages and their usage often do not coincide, which necessitates transformations in translation. The use of the concretization technique turns out to be appropriate in two main cases. First, in the target language, a word with a general meaning in the original may correspond to several words with more specific meanings. When translating the English word "meal" into Russian, you usually have to choose between more specific names for meals (breakfast, lunch, dinner, etc.). Similarly, when translating Russian "to float" into English, one would have to figure out who swims and how they swim in order to choose between the more specific verbs "swim, sail, float, drift". Secondly, the use of the same general words in the translation as in the original may be unacceptable for the situation being described. Generalization is a phenomenon that is the opposite of concretization - the replacement of a unit of a foreign language, which has a narrower meaning, by a unit of a translating language with a broader meaning. The use of this technique may be forced or optional. In the first case, the required word with a specific meaning is missing in the target language. Thus, the differences between Russian “mother-in-law and mother-in-law” or “brother-in-law and brother-in-law” are summarized in English translations as single “mother-in-law” and “brother-in-law”. In the second case, the translator prefers a more general version for stylistic reasons. In works of fiction in Russian, for example, unlike English, it is not customary to accurately indicate the height and weight of characters, and the usual sentence “I saw a man 6 feet 2 inches tall” in the original can be replaced in Russian translation: “I saw a tall guy » Antonymic translation is the replacement of a negative or interrogative form of a sentence with an affirmative one or vice versa. The conditions for applying such a transformation, as a rule, are associated with the lexico-semantic composition of the predicate. When translating into Russian from English, most often the negative form of the sentence changes to an affirmative one, less often to a negative one: Very little, if anything, could be advanced in the defense of his policy. - Almost nothing could be said in support of his policy. In translation theory, "antonymic translation" covers a wide range of phenomena. The concept underlying it includes both meanings covered by the term "antonym": ) words that have a qualitative feature in their meaning and therefore are able to be opposed to each other as opposite in meaning; ) words opposed to each other as an oppositely directed action. An antonymic translation in the first sense will be called proper antonymic, and in the second - conversion. Actually antonymic translation is based on a simple logical rule, according to which the negation of a concept can be equated with the assertion of the opposite concept semantically opposed to it. In fact, such dictionary equivalents as incorrect are based on intralingual antonymic translation. erroneous, short I low, narrow-minded! close. Most often, antonymic translation is implemented as a replacement of a linguistic expression (word, phrase) by its antonym with the simultaneous replacement of an affirmative construction with a negative one and vice versa. The combination of lexico-semantic and syntactic operations gives this type of translation transformation a complex character. Sometimes the need for antonymic translation arises when translating phraseological units. So, the phraseological unit keep and stiff upper lip is translated in the "English-Russian Phraseological Dictionary" by A.B. Kunin as "do not lose courage", "do not lose heart", "do not hang your nose." Along with these "negative" options, "affirmative" ones are given - "keep the presence of mind", "show restraint". For "antonyms" that are opposed to each other in antonymic translation, sometimes it is not so much the polar opposite of signs that is characteristic, but the opposition of the presence of this sign to its absence. A special kind of antonymic translation is the replacement of an adjective or adverb in a comparative or superlative degree by an adjective (adverb) in a positive degree or vice versa, accompanied by the replacement of the “sign” of a construction from an affirmative to a negative one or vice versa. Explication or descriptive translation is a lexico-grammatical transformation, in which the lexical unit of a foreign language is replaced by a phrase that expresses its meaning, i.e. giving a more or less complete explanation or definition of that meaning in the target language. With the help of explication, one can convey the meaning of any non-equivalent word in the original: conservationist - a supporter of environmental protection, whistle-stop speech - speeches of a candidate during an election campaign trip. The disadvantage of descriptive translation is its cumbersomeness and verbosity. Therefore, this method of translation is most successfully used in cases where a relatively brief explanation can be dispensed with: Car owners from the midway towns ran a shuttle service for parents visiting the children injured in the accident. - Car owners from the cities lying between these two points, continuously brought and took away parents who visited their children injured during the crash. The disadvantage of descriptive translation lies in its verbosity. Therefore, this method of translation is most successfully used where a relatively brief explanation can be dispensed with. Descriptive translation consists in conveying the meaning of an English word with the help of a more or less common explanation. Such a descriptive translation can be used both to explain the meaning of a word in a dictionary, and when translating words that do not have direct matches in a particular text. The nature of the descriptive translation used in the context, very rarely fully reproduces the translation-explanation of an isolated word. The usual full explanation of the meaning of the word does not "fit" into the context, and the translator has to reduce explanations to a minimum, giving only a part of the description. Often a translator has to resort to descriptive translation, not because the English word has no equivalents in Russian, but because of the peculiarities of the use of this word in the context. Compensation is a translation method in which the elements of meaning lost during the translation of a foreign language unit in the original are transmitted in the translation text by some other means, and not necessarily in the same place in the text as in the original. A little table with a dinner was laid out - and wine and plate. - A small table was set for dinner - silver and carafes gleamed on it. HELL. Schweitzer writes that: "In the practice of translation, there are a number of cases when one or another element of the original is not reproduced at all or is replaced by a formally distant one or another element of the original, this or that word, phrase, etc. is omitted, but it is impossible to convey a separate element, a separate feature of the original, too does not contradict the principle of translatability, since the latter refers to the entire work as a whole.Of course, the whole does not exist as some kind of abstract concept, it consists of concrete elements, which, however, are not essential individually and not in their mechanical aggregate, but in a system formed by their combination and constituting unity with the content of the work.Hence - the possibility of replacements and compensations in the system of the whole, which opens up various ways for this; thus, the loss of a separate element that does not play an organizing role may not be felt against the background of an extensive whole, it seems to dissolve in this whole or is replaced by other elements, sometimes it is not set ny original. The starting point for determining the role of an individual element in the original, the need for its accurate transmission, as well as the possibility or regularity of its omission or replacement, is the ratio of content and form in their unity. Thus, compensation in translation should be considered the replacement of an incommunicable element of the original with an element of a different order in accordance with the general ideological and artistic nature of the original and where it seems convenient under the conditions of the Russian language. Compensation can be semantic or stylistic. In the first case, the missing non-transferable component is filled in for completeness of meaning. The incorrect use of the form of the pronoun of the third person in the original plays an important communicative role and must be somehow reflected in the translation. But an attempt to reproduce such an irregularity in the Russian language is clearly impossible. At the same time, the lost element of meaning can be successfully compensated. L.S. Barkhudarov notes that one of the ways to achieve the equivalence of the translation is a special kind of replacement, called compensation. This technique is used in cases where certain elements of the text in a foreign language, for one reason or another, do not have equivalents in the target language and cannot be transmitted by its means; in these cases, in order to make up (“compensate”) for the semantic loss caused by the fact that one or another unit of a foreign language has remained untranslated or not fully translated (not in its entirety), the translator conveys the same information by some other means , and not necessarily in the same place in the text as in the original. 2.3 Analysis of translation techniques for the transmission of elliptical sentences From English into Russian The main objective of this study was to identify elliptical structures on the example of the work of Sidney Sheldon "If Tomorrow Comes". Thus, using the sampling method, we selected 178 elliptical structures from this work. According to the classification given by L.S. Barkhudarov, distinguish elliptic constructions syntagmatically replenished and paradigmatically replenished elliptic. Most often in the work there are syntagmatically completed elliptical constructions. Such examples were found in the amount of 109 units. These are structures in which: )the ellipsis is restored from the same sentence: Time to think, time to plan her next move. - Time to think, time to plan further actions. )The ellipsis is restored from the previous sentence. This may be a sentence uttered by the same speaker (or within the same author's speech): Adolf Zuckerman had a problem. A very large problem. - Adolf Zuckermann has a problem. A very big problem. The sentence from which the ellipse is being restored can also be pronounced by another speaker (participant in the dialogue): Any problem? - Any problems? None, gunther. - No, Gunther. ) The ellipsis is restored from the next sentence. This is the rarer case; however, in English, such constructions are still found: Very rich, isn't he. - He's very rich, isn't he. There you are. Four hundred blank checks. Will that be enough. - Here they are. Four hundred pieces. This will be enough. Paradigmatically replenished elliptical constructions were identified in the works in the amount of 69 examples. Sometimes the zero-represented words of an elliptic sentence cannot be recovered from the surrounding context. In this case, replenishment is made on the basis of no longer syntagmatic, but paradigmatic connections. Out of the question. - It doesn't matter. horses and won cups. - Likes horses and winning prizes. too dangerous. - This is dangerous. These data are presented in table No. 1. Table 1. - Types of ellipsis Types of elliptical structures Syntagmatically replenished elliptical structures Paradigmatically replenished elliptical structures The most frequently omitted element in sentences is the subject. 62 examples were identified: I`ll deal later. - I'll deal with you later. And to be pleased. - And they thanked him. Perhaps get a cruiser. - Maybe he'll go on a cruise. Go back to my old job at the bank. I want to go back to my old job at the bank. Rich, with the same social background as Charles. - Rich, from the same society as Charles. In 42 examples, the predicate is omitted: But an exciting one. She was defenseless and vulnerable. What a nice surprise, mother. - What a surprise, Mommy. police headquarters why what had happened. - Why the main police department. Why? What happened. The next most frequently omitted member of a sentence is the complement. 31 examples were selected. One of life`s the ironies. - That's the irony of life. Seated in the office with him were detectives from England, Belgium, France and Italy. - Detectives from England, Belgium, France and Italy were in his office with him. “They have enough time to drag the gold from the truck to the barge and disappear somewhere until they suspect something is wrong. Table 2 presents a statistical analysis of elliptical structures with missing elements. Table 2 - Elliptical structures with missing elements missing elements of the ellipse According to the method of translation, elliptical constructions can be transmitted in different ways. According to the method of translation in this work, there is a translation of elliptic constructions using syntactic assimilation: Go back to my old job at the bank. I want to go back to my old job at the bank. (the word "I want" is missing in the English sentence) Rich, with the same social background as Charles. - Rich, from the same society as Charles. (the English phrase "with the same social background" is paraphrased as "from the same society") With it his promotion his raise and a blissful orgy with Silvana Luadi.-Together with his promotion and a happy date with Silvana Luadi (in this example, the word order and their translation are preserved). Not the Night of the Game The next way to translate is to combine sentences. She could hear the phone ringing. and ringing. - She heard the phone ringing and ringing. (when translated, English sentences are combined into one sentence) He watched Delgado. Lift the first cotton ball and gently touch it to the G in Goya`s signature. He watched Delgado pick up the first tampon and touch it gently to the G in Goya's signature. (in this example, two FL sentences are combined into one TL sentence due to syntactic differences) I'm talking to you. Are you deaf for Christ`s sake. Let's go. - -I'm talking to you, God save you, let's go deaf. (In the Russian version, simple sentences are combined into one complex sentence) If the bank had used television commercials, he would have been the perfect spokesman. Dressed conservatively, with an air of solid, old-fashioned authority about him, he looked like a person one could trust. - If the bank needed commercial advertising, then Desmond fully corresponded to world standards, conservatively dressed, in a halo of solidity and authority, causing attacks of absolute confidence in an outsider. (there is a combination of sentences due to the absence of the second sentence of the subject in the English version) Without thinking. Tracy began teaching Amy the games her mother had played with her. Slowly, Tracy began to teach Amy the games her mother played with her. (sentences in the Russian version are combined due to the lack of semantic elements in the first sentence) But they were only rumors, because the victims were always silent afterward. or dead. “But those were just rumors, because the victims always kept silent or died. (in this example, two sentences are combined into one complex) The next method of translating elliptical structures used in the work is the division of sentences. In the division of sentences technique, the syntactic structure of sentences in the original is transformed into two or more predicative structures in the target language. About me why. - About me. Why. (in this sentence, the English sentence is translated into two simple sentences) Just clean up the place, tell your ladies to smile pretty, and we ll get our budget increased again. - Take a seat. Tell your ladies to smile nicer and we'll get our budget increased again. There are few sentences in the work translated using antonymic translation. Antonymic translation is the replacement of a negative or interrogative form of a sentence with an affirmative one and vice versa. It don't matter if it ain't real or don't last. - It does not matter whether it was before or is now. (In this example, the English expression "don`t last" is replaced in the Russian version by the affirmative construction "is now") Most often, antonymic translation is implemented as a replacement of a linguistic expression (word, phrase) with its antonym with the simultaneous replacement of an affirmative construction with a negative one and vice versa. Concretization is a method of translation in which a word or phrase of a foreign language with a broader subject-logical meaning is replaced by a word with a narrower meaning. The concretization of the original meaning is used in those cases when the measure of informational ordering of the original unit is lower than the measure of ordering of the unit corresponding to it in terms of meaning in the target language. This technique is widely used when translating such words as: to be, to have, to do, to get, to give, to take, to go, to come, to make. Zuckerman had a problem. A very large problem. - Adolf Zuckermann has a problem. A very big problem. (in this example, the English verb "to have" is translated into Russian by the word - "has arisen") No more snowball. Get the picture. - And there is no snowball. The picture is clear. (the English verb "get" in this example is translated as the adverb "clear") Perhaps get a cruiser. - He may have gone on a cruise. (in this example, the subject “he” is omitted, the verb “get” is translated as “departed”) To hell with them. - To hell with them.as an afterthought, That is, if that s acceptable to you - And, as if reflecting - If that's acceptable to you. The reception of semantic development consists in replacing the dictionary correspondence in translation with contextual, logically related to it. This includes various metaphorical and metanomic substitutions made on the basis of the category of crossing. Modulation or semantic development is the replacement of a word or phrase in a foreign language, the meanings of which can be deduced logically from the initial meaning. The bigger the better. - The bigger, the better. (in this example, in the Russian version of the sentence, the words of comparison “than ... so ...” are added) How many epochs ago. How many planets away. What planets did this happen on? How many epochs ago. (In the English version of the sentence, the verb "occur" is omitted) Compensation is used where it is necessary to convey the purely linguistic features of the original, which do not always have a match in the target language - not individual elements of the text are adequately translated, but the entire text as a whole. In other words, there are untranslatable particulars, but there are no untranslatable texts. A whole new life. - A whole new life lies ahead. (in this example, in the Russian version of the sentence, the missing element “ahead” is compensated) Tomorrow would be easier. - Perhaps it will be possible to meet tomorrow. How's that. - Well, it suits. (the English expression “how`s that” is compensated in the Russian version of the sentence by the construction “well, how it suits”) Without thinking. - Slowly. (in this example, the English expression "without thinking" is paraphrased in the Russian sentence by the expression "slowly") Generalization (the reverse process of concretization) of the original meaning takes place in those cases when the measure of informational ordering of the original unit is higher than the measure of ordering of the unit corresponding to it in terms of meaning in the target language, and consists in replacing the particular with a general, species concept by a generic one. Help you. - How can I help you. (in this example, the English sentence is expanded when translated into Russian) Plenty of time to load the gold onto the barge and be on their way before anyone suspects is wrong. “They have enough time to drag the gold from the truck to the barge and disappear somewhere until they suspect something is wrong. (in this example, in the English sentence, the subject is omitted) Round trip. - Welcome back. (English sentence paraphrased in translation) A hat, gloves and purse appeared as if by magic. - The hat, gloves and handbag appeared as if by magic. Grammar substitutions are a translation method in which a grammatical unit in the original is converted into a unit of the target language with a different grammatical meaning. A grammatical unit of a foreign language of any level can be replaced: a word form, a part of speech, a sentence member, a sentence of a certain type. live next door. - Lives nearby. (In this example, the verb in the FL "lived" in Past Indefinite is replaced by the present tense when translated) no comment. - No comments. Still not a word from the black woman. The black woman was silent. (replacement of a negative sentence in the original language with an affirmative one in the translation.) Explication or descriptive translation is a lexico-grammatical transformation, in which the lexical unit of a foreign language is replaced by a phrase that expresses its meaning, i.e. giving a more or less complete explanation or definition of that meaning in the target language. Using the explication, you can convey the meaning of any non-equivalent word in the original: Seated in the office with him were detectives from England, Belgium, France and Italy. - With him in the office were detectives from England, Belgium, France and Italy. (in this example, the subject is omitted in the English version of the sentence) But an exciting one. She was defenseless and vulnerable. (lack of common components between the English phrase and its Russian equivalent); With dogs and helicopters after her. - With dogs and a helicopter ... (in this example, there is no predicate in the sentence) first class. An aisle seat. Smoking, please. - First grade. Location near the aisle. Smoking room please. The research data on the method of translating elliptical structures are summarized in Table No. 3. Table 3. - Translation of elliptical structures Methods of translation Syntactic assimilation Combining sentences Dividing sentences Antonymic translation Concretization Modulation or semantic development Compensation Generalization Grammar substitutions Explication or descriptive translation Total number 4 CONCLUSIONS ON CHAPTER II The techniques used when translating elliptical sentences from one language to another are grammatical(syntactic assimilation, segmentation of sentences, combination of sentences, grammatical substitutions), lexical(concretization, generalization, modulation or semantic development) and lexico-grammatical(antonymic translation, explication or descriptive translation, compensation) of transformation. Lexical transformations are used when translating if a non-standard linguistic unit at the word level occurs in the source text, for example, some proper name inherent in the source language culture and absent in the target language; a term in a particular professional field; words denoting objects, phenomena and concepts that are characteristic of the original culture or for the traditional naming of elements of a third culture, but which are absent or have a different structural and functional order in the translating culture. And grammatical transformations consist in the transformation of the sentence structure in the process of translation in accordance with the norms of the target language. Having studied the examples from the novel “If Tomorrow Comes” by Sidney Sheldon, we can conclude that basically elliptical sentences become clear from the surrounding context, i.e. are syntagmatically complete. The classification of elliptic sentences from this novel revealed that the most frequently omitted element in sentences is the subject. CONCLUSION In this paper, various elliptic constructions and techniques for their translation were considered, and an analysis of the translation of elliptic constructions was also carried out. With the help of this, we were able to study some features of the translation of the work "If Tomorrow Comes" into Russian. In the process of analyzing the studied practical material, we came to the conclusion that the most frequently omitted element in sentences is the subject, and then the predicate. Even a significant part of formally complete sentences of coherent speech, taken out of context, does not express the fullness of thought that they possess in context. The semantic connection of sentences and the relative ambiguity of a single sentence also find a formal expression: these are personal and demonstrative pronouns, demonstrative pronominal words, allied particles (“also”, “also”, etc.), introductory words indicating the relation to the previous speech. And although such a sentence is grammatically complete, this completeness is formal and relative, since the real meaning of the message is clarified only from the context. Thus, we can conclude that elliptical constructions and sentences are used in order to avoid an excessive or stylistically inadequate number of subordinate clauses or other syntactic turns. Knowledge of translation techniques allows you to better understand, analyze, and, therefore, create equivalent statements in the target language. LITERATURE 1. Arnold I.V. Stylistics of modern English. - M., 1990. Barkhudarov L.S. Language and translation. International relations - M., 1975. Barkhudarov L.S., Shtenling D.A. English grammar. - M., 1973. Belovolskaya L.A. Syntax of a phrase and a simple sentence. - M., 2001. Bloch M.Ya. Theoretical foundations of grammar - M., Higher school. 1986. 6. Vinogradov V.S. Introduction to Translation Studies - M.: Publishing House of the Institute of General Secondary Education, 2001. 7. Galperin I.R. Essays on the style of the English language. - L., 1960. Galperin I.R. Essays on the style of the English language. - M., 1958. Ivanova I.P., Burlakov V.V., Pocheptsov G.G. Theoretical grammar of modern English. - M., 1981. Ilyish B.A. The structure of modern English - Leningrad, 1971. Kazakova T.A. Practical foundations of translation - St. Petersburg, 2003. Komissarov V.N. Modern translation studies - M., 2001. Komissarov V.N., Retsker Ya.I., Tarkhov V.I. Manual for translation from English into Russian. Part 1 - M., 1960. Komissarov V.N., Retsker Ya.I., Tarkhov V.I. Manual for translation from English into Russian, part 2 - M., 1988. Komissarov V.N., Koralova D.L. Workshop on translation from English into Russian. - M., Higher school, 1990. Latyshev M.K. Translation course: translation equivalence and ways to achieve it - M., International relations, 1981. Lekant P.A. The syntax of a simple sentence in modern Russian - M., Higher school, 2004. Levitskaya T.R., Fiterman A.M. Theory and practice of translation from English into Russian - M., 1973. Levitskaya T.R. Translation problems. - M.: International relations, 1976. Minyar-Beloruchev R.K. Theory and methods of translation - M., 1996. Nelyubin L.L. Linguistics of modern English - M., 2007. Parshin A.V. Theory and practice of translation [Electronic resource] / A.V. Parshin. Retsker Ya.I. Translation theory and translation practice. - M.: International relations, 1974. Fedorov A.V. Fundamentals of the general theory of translation - M., 1983. Schweitzer A.D. Translation Theory - M., 1988. 27. Bach E. An Introduction to Transformational Grammars - M., 1964. Galperin I.R. Stylistic. - M. 1971. Kukharenko V.A. A book of practice in stylistics. - St. Petersburg, 2000. Rayevska N.M. Modern English Grammar. - Kiev, Higher School, 1976. 31. Akhmanova O.S. Dictionary of linguistic terms - M., 2004. 32. Muller V.K. Large English-Russian and Russian-English dictionary. - M., LLC House of the Slavic Book, 2008. English-Russian Dictionary / Edited by Andreev V.V. - M., LLC House of Slavic Books, 2007. Big English-Russian Dictionary: in 2 volumes / Ed. Galperina I.R. - M.: Russian language, 1979. Sheldon S. If Tomorrow Comes 36. Sheldon S. If tomorrow comesSimilar works to - Techniques for translating elliptical constructions of the English language on the example of Sidney Sheldon's work "If Tomorrow Comes"
The analysis of the translation of colloquial elliptic constructions in the dialogues of the works of the American writer J.D. Salinger on the material of the story "A Perfect Day for Bananafish". The following characteristics of J.D. Salinger: a mixture of artistic and colloquial styles (the presence of immanent characteristics of colloquial speech: the informal nature of speech, spontaneity), restraint and ascetic form, fragmentation of replicas (the presence of details of what is happening in the absence of a visible general context). The characters ellipse statements, omit the semantic elements of the deep structure of the sentence, force the reader to model the phrase. These factors made it possible to consider dialogues in a literary text within the framework of colloquialistics, to identify and classify colloquial elliptical constructions, to determine the translation transformations used by the translator, and to draw preliminary conclusions.
colloquial speech
colloquial syntax
elliptical designs
art style translation
translation transformations
1. Astvatsaturov A.A. Phenomenology of the text: game and repression. - M.: New Literary Review, 2007. - 288 p.
2. Astvatsaturov A.A. “The Lack of Being: The Riddle of Jerome Salinger and American Literature” / Interviewed by I. Ming [Electronic resource]. – Access mode: http://theoryandpractice.ru/posts/8609-nad_selindjerom (date of access: 01/15/15).
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5. Salinger J.D. Catcher in the Rye: A Novel. Stories. / per. from English. R. Wright-Kovaleva; Foreword A.M. Gavrilyuk. - Lvov: Vishcha school, 1986. - 544 p.
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9 Fosburgh L.J.D. Salinger Speaks About His Silence. – The New York Times on the Web. November 1974. Available at: http://www.nytimes.com/books/98/09/13/specials/salinger-speaks.html (accessed: 15 January 2015).
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Jerome David Salinger is an American writer, one of the most famous and widely read authors in the world. The specific style and characteristic poetics of prose, which distinguishes J.D. Salinger from a number of his contemporaries still arouse both reader and academic interest in various fields of philological sciences: from literary criticism to linguistics. His works are of particular interest to translators, since the main task of literary translation of prose is to preserve not only the semantic, but also the aesthetic and emotive components of the text.
The relevance of the study is due to the need for an adequate translation of works of art, taking into account the individual details inherent in each author. The purpose of this study was to analyze the features of the use and translation of colloquial elliptic constructions in the works of J.D. Salinger. To achieve this goal, the features of the artistic style of J.D. Salinger, identified and classified colloquial elliptic constructions typical of dialogues in the works of J.D. Salinger, the necessary translation transformations for the translation of the studied elliptical constructions are determined, and preliminary conclusions are drawn. The material of the study was the story of J.D. Salinger "A Perfect Day for Bananafish" from the series "Nine Stories". The theoretical basis was the work of the following scientists: A.A. Astvatsaturova, L.S. Barkhudarova, V.N. Komissarov, M.V. Nechkina, A.D. Stepanova, S.V. Tyuleneva, A.A. Khudyakov.
Translation of works of art has always been of great interest for translation activities. Despite the fact that the artistic style, on the one hand, is one of the most scientifically described functional styles, on the other hand, it is the most mobile, creatively developed of all styles [S.V. Tyulenev]. The translator always has to take into account the fact that a work of art in one way or another is a tool that reflects reality. Therefore, in the perception and translation of a literary text, two main aspects are distinguished: this is the work of art itself, its rhythm, the talent of the writer, the secret of a complex reflection of reality and knowledge of psychological laws; then - the nature of the perception of the artistic image, the peculiarity of the individual who perceives the artistic image, his consciousness and the ability to master cultural values. It is obvious that a translator of fiction must have an extensive vocabulary and a certain skill in artistic style in order to maximize the preservation and transmission to another language of various and numerous means of expression that give the narrative color and emotion.
The above factors are especially relevant for the translation of J.D. Salinger, which has its own specifics. J.D. Salinger is a rather mystical person: there is no absolutely reliable information about his biography. After the publication of his famous novel The Catcher in the Rye, which became a huge success, he lived in complete isolation for the rest of his life. Almost all of his subsequent public appearances were associated with attempts to protect his private life from the attention of the press and the public. It is known that until his death in 2010 he wrote, but his last lifetime publication was published in 1967. “Publishing is a terrible invasion of my privacy. I like to write, I love to write. But I do it solely for myself and my own pleasure,” Salinger said in his last interview for the New York Times in 1974.
First of all, it should be noted that Salinger, in his poetics, in his orientation and worldview, is a writer extremely close to the American consciousness. In this regard, a number of specific features can be distinguished in his prose. One of the very important characteristics for understanding Salinger's works, as well as for their subsequent translation into Russian, is fragmentation. Fragmentation is an important characteristic of Anglo-American prose that has a strong influence on the formal structure of the translation and must be reflected in the translation. This literary feature goes back to the time of the settlement of America. Fragmentation is manifested in the way Salinger introduces a detail or action for no apparent reason, while not creating an overall panorama of the action. That is, the world in Salinger's stories is devoid of a solid rationally cognizable foundation; the presence of consciousness of power is not felt in it. It is important that the reader is unable to comprehend the general, to feel a single absolute center for the text, to which one could attach the details. Salinger eliminates the very principle of the absolute center (general) by limiting the panorama, the background against which the action unfolds. The general context of what is presented ceases to be distinguishable: we see the smallest details of what is happening, but are not able to capture the whole picture with our eyes, or at least build it. The object (or phenomenon) remains singular, does not refer to the general, does not carry it in itself. If we turn to the beginning of Salinger's text "It's Good to Catch a Banana Fish", we will see that this passage clearly shows an abundance of details: a lacquer brush, the bottle of lacquer, a wet hand, ashtray, the night table, etc. - an excessive amount of various details - a phenomenon that is characteristic of all Salinger's texts. Salinger's works have a certain completeness, restraint and ascetic form. Salinger forces the reader to model, complete the works, actively using various artistic means, especially the ways of constructing dialogues in his prose.
As a rule, in the dialogue, the participants of communication in the process of direct communication implement colloquial speech. It proceeds without intermediaries and is actually oral speech. Despite the fact that communication in the dialogues of characters in a work of art is not actually colloquial speech, but its imitation, this communication has the immanent characteristics of ordinary colloquial speech. These are the oral dialogical nature of speech, spontaneity, situationality, informal nature of speech, clichéd speech, complementarity to non-speech activities, everyday topics, specific vocabulary, phonetic reduction, informal - informal nature of speech and emotionality (affectivity) of speech. The combination of these factors helps the participants in communication to understand each other, despite the external "defectiveness" and incompleteness of the linguistic components of communication. Let us consider the details of the construction of dialogues in the work under study.
Salinger is a follower of the Zen teaching, which teaches independence from words and letters. Following A.A. Astvatsaturov, we consider the word as a means of rational (ie, flat and mechanistic) cognition of reality. The word is always attached to presence; the emptiness that the Zen teacher is called to focus on and that Salinger invites us to contemplate is non-verbalizable. Accordingly, the religious gesture is doomed to be closed in silence, as it happens with those who practice Zen. But Salinger is a writer first and foremost, he is attached to words and has to deal with them, despite their limitations.
The word in Salinger's texts does not contribute to communication between people, but, on the contrary, hinders it. Real communication between the characters takes place "beyond the words", although with their mandatory participation. The word cannot fully describe the subject. The word is always both insufficient and redundant, which gives rise to inaccuracy, distortion of meaning and reality. Therefore, any replica itself is redundant and optional. In almost all of his texts, Salinger uses colloquial and slang expressions that are characterized by extremely wide semantics (stuff, all). It is easy to see that in many dialogues found in stories and novels, the characters very often do not finish their lines to the end, elliptical. The word tends to disappear, to silence.
Let us turn to the definition of elliptical constructions, which are so characteristic of dialogues in the prose of J.D. Salinger. According to the definition of L.S. Barkhudarov, ellipsis - from the point of view of generative grammar - is "the" omission "of certain semantic elements that are present in the deep structure of the sentence, when it is transformed into a surface structure" . Therefore, colloquial ellipsis is the ellipsis that is used by communicants in colloquial speech.
Dialogues in Salinger's stories are the main sphere of use of colloquial elliptic constructions, since it is in dialogue replicas that, as a rule, part of the sentences is omitted due to the fact that either it is already clear from the previous replica belonging to the interlocutor; or where part of the sentence can be easily omitted if it is not essential.
It should be noted that the dialogues in Salinger's prose, which are the main object of this study, are on the verge of artistic and colloquial styles, which creates a unique mixture of functional styles, the so-called imitation of colloquial speech, which allows us to consider a literary text within the framework of colloquialistics.
In the course of a comprehensive analysis of the story by J.D. Salinger "A Perfect Day for Bananafish", which has all the typical characteristics inherent in Salinger's prose, namely: fragmentation, lack of a panorama of action and an abundance of details, 59 colloquial elliptical structures were identified, which, based on the classification proposed by A.A. Khudyakov, we divided into 4 groups.
The ellipsis of the linking verb is the omission of the linking verb (-You see sequins-everything). A construction inherent in the English language, but uncharacteristic for the Russian language. Subject ellipsis - colloquial omission of the subject, which occurs when the situation and the context of communication make it possible to identify it quite unambiguously (-Thank you; -Never heard of him; -Sure you know; -Can't fit through the door; Saw what, my love?). As a rule, the subject in the form of the pronoun of the first person is omitted. In Russian, similar constructions are not colloquial, since the absence of a subject in a Russian sentence is often a grammatical norm supported by a developed system of inflectional morphology, which legitimizes the absence of a subject.
Subject and predicate ellipsis - colloquial ellipticization, during which both main members of the sentence are omitted. (-Awful; -Just a second, Mother!; -The trees; -That business with the window; -Rieser or something; -All over, dear, all over. At the same time, the conversation segment remains informationally sufficient.
Ellipsis of service elements of a sentence - colloquial omission of service elements of a sentence - articles, prepositions, conjunctions. (-I told your father you'd probably call last night; -In the first place, he said it was a perfect crime the Army released him from the hospital - my word of honor; -He very definitely told your father there's a chance - a very great chance, he said - that Seymour may completely lose control of himself).
Articles, primarily definite, are elliptical when situations and context make the referent of the name sufficiently definite. Of the prepositions, as a rule, those that introduce a circumstance of time and place are subject to ellipticization. Solving the issue of elliptical unions seems to be much more difficult, since, firstly, in most cases it is impossible to unambiguously decide whether the union is omitted or its use was not originally intended, and secondly, the unionless connection is not unusual for other speech forms.
Based on the analysis, we can conclude that among the colloquial elliptic structures, the most used is the ellipsis of the subject and the predicate (37 examples), and the least used is the ellipsis of the copula verb.
Having analyzed the main features of colloquial elliptic structures in Salinger's dialogues, let's try to study the transformations during their translation. To do this, we compared the story of J.D. Salinger "A Perfect Day for Bananafish" and the text of his translation by Rita Kovaleva-Wright.
Based on the classification of translation transformations by V.N. Komissarov, we can conclude that the following translation transformations were used in the translation made by Rita Kovaleva-Wright: zero transformation (a method of translation in which the syntactic structure of a foreign language is replaced by a similar structure of the TL) and compensation (a method of translation in which elements of meaning lost translation are transmitted in the translation text by some other means or by filling in elliptical elements).
The analysis showed that zero transformation is certainly the main translation technique, while compensation was used quite rarely and mainly when translating some cases of ellipsis of service elements of a sentence, in which the conjunction that (I told your father you'd probably call last night. - I already told dad yesterday that you would probably call tonight; it's a real crime that the military doctors let him out of the hospital, honestly!).
This pattern is due to the fact that the Russian language is a language with a free word order, and the ellipsis as such is not a linguistic anomaly and therefore does not require complex translation transformations. Thus, 52 colloquial elliptical structures were translated by zero transformation, and 7 by compensation.
Based on this study, we conclude that Salinger is a writer with a recognizable style and very specific poetics, which creates additional translation difficulties. Dialogues in the prose of J.D. Salinger are on the verge of artistic and colloquial styles, which creates a unique mixture of functional styles, the so-called imitation of colloquial speech, which allows us to consider a literary text within the framework of colloquialistics. Among the colloquial elliptic structures, the most used is the ellipsis of the subject and the predicate, and the most common translation transformation is the zero transformation. This study does not claim to be an exhaustive coverage, however, it may become a continuation of the study of the translation of other grammatical features of the works of J.D. Salinger.
Reviewers:Baluyan S.R., Doctor of Pediatric Sciences, Associate Professor, Professor of the Department of Linguistic Education, Southern Federal University, Taganrog;
Polenova G.T., Doctor of Philology, Professor of the Department of German and French Languages, Rostov State University of Economics, Taganrog.
The work was received by the editors on March 6, 2015.
Bibliographic link
Danilova I.I., Timoshevskaya A.O. TRANSLATION OF COLLOQUIAL ELLIPTIC STRUCTURES FROM ENGLISH TO RUSSIAN (ON THE EXAMPLE OF J.D. SELINGER'S PROSE) // Fundamental Research. - 2015. - No. 2-6. - S. 1340-1344;URL: http://fundamental-research.ru/ru/article/view?id=37032 (date of access: 12/10/2019). We bring to your attention the journals published by the publishing house "Academy of Natural History"
INTRODUCTION
Literature embodies not only and not so much rational as artistic and aesthetic knowledge of reality. The aesthetic value of the work and the level of emotional and expressive impact on the reader depend on how and in what form the content materializes. In artistic texts, units and means of all styles are used, but all these style elements are included in a special literary system and acquire a new, aesthetic function. When translating, there is a constant loss, distortion or addition of information, which is due to differences between languages.
Elliptical sentences and constructions are used not only in dialogue, dialogic unity, they can also be found in descriptions-remarks for plays, in complex sentences, and also in newspaper headlines. The study of the features of already published translations of literary texts can form the basis for improving the translation technology itself, and this is precisely the practical significance of this topic.
The purpose of this work is to study the methods of translating elliptical structures based on Jerome Salinger's novel "The Catcher in the Rye".
In accordance with the goal, the following tasks were set:
1. Consider the concept of an ellipsis and the types of elliptical structures;
2. Learn how to translate elliptical structures
3. Analyze the translation of elliptical structures based on J. Salinger's novel "The Catcher in the Rye"
The following methods were used during the study:
Analysis, interpretation and compilation of materials on the theory and practice of translation from various sources;
Comparative analysis of the text of the original and the text of the translation of the novel "The Catcher in the Rye" into Russian.
Chapter I . Elliptic constructions and methods of their translation.
The main sphere of use of elliptic constructions is dialogue: it is in the replicas of the dialogue that part of the sentence is usually omitted, since either it is already clear from the previous replica belonging to the interlocutor; or where part of the sentence can be easily omitted if it is not essential.
– And by the way, before I forget it, I hope you'll come to supper to-night - here. Will you? after the opera. (Second sentence means: " Will you come to supper today ? "And by the way, before I forget, I hope you'll come over for dinner tonight." Will you come? after the opera.)
– Delighted ! - I agree! (The captain's answer implies: " I shall be delighted to come ! »)
The problem is that without context it can be difficult to understand the meaning of elliptical constructions, sometimes in the absence of this it is completely impossible. There are features characteristic of a certain language, on the basis of which a dialogic unity is built, the construction of which is accompanied by the correct and appropriate use of constructions using elliptical sentences - those constructions that are used in Russian often turn out to be incorrectly used in English.
Ellipsis(ancient Greek ἔλλειψις - flaw) in linguistics - the intentional omission of non-essential words in a sentence without distorting its meaning, and often to enhance the meaning and effect.
The problem of ellipsis is one of the most controversial in linguistics, and one or another interpretation of it depends on the researcher's understanding of the essence of language units in general. For the traditional school-normative grammar of the English language, it seemed beyond doubt that any sentence is characterized, first of all, by the presence of a subject-predicate structure, and that any apparent deviation from this structure should be explained as an ellipse phenomenon, i.e., "omission" or "implication" of those or other elements of the sentence structure.
Any elliptic sentence should be interpreted as a non-elliptic sentence transform, formed by means of an ellipse transformation or "deletion", the essence of which is the replacement of an explicit variant of a word or words with a zero variant of the same word. Any word can be subjected to this ellipsis operation, both significant and auxiliary.
An analysis of elliptical sentences shows that there are no clear boundaries between complete and incomplete sentences. Structural schemes of sentences are created in speech and, when stabilized, become language models. The factors that determine the place of such constructions on the “transitivity scale” are the presence of a synonymic and modal-temporal series, as well as the lexical and grammatical meanings of word forms, etc. Constructions that are stable phraseological combinations, as well as some familiar word forms adjoin elliptical sentences: Merry Christmas ; Happy New year ; Many happy returns etc. Such structurally incomplete constructions are semantically complete.
Barkhudarov singles out the classification of elliptical constructions on the basis of the method of explication of the word represented by the zero variant. By "explication" or "replenishment" we mean the transformation inverse to ellipsis ("erasure"), namely, the replacement of the zero variant of a word with an explicitly expressed variant. If the word or words represented by the zero variant are explicated, i.e., restored in their sounding variant from the surrounding context, i.e. from the previous or subsequent text, then such an elliptic construction is called syntagmatically replenished. If the explication of a given word or words is possible only on the basis of other similar constructions that occur in the language, but are not directly registered in the contextual environment of the given elliptic construction, then such an elliptic construction is called paradigmatically replenished.
1.1 Syntagmatically augmented elliptic constructions
In sentences of this subtype, the elliptical words can be restored both from this sentence and (more often) from some other sentence, preceding or following. Example
The ellipsis is restored from the same sentence:
She was proud of her father having been an officer and her husband a colonel .
She was proud that her father was an officer and her husband a colonel.
The ellipsis is restored from the previous sentence. This may be a sentence uttered by the same speaker (or within the same author's speech):
Sam was in her blood. Had always been. would always be.
Sam was in her blood. Has always been. Always will be.
The sentence from which the ellipse is being restored can also be pronounced by another speaker (participant in the dialogue):
– I wish you didn't have to do it. – It is better to you not had to this make .
– I don " t . - I won't.
The ellipsis is restored from the next sentence. This is the rarer case; however, in English, such constructions are still found:
"Nice letter, isn"t it? - Wonderful letter, isn't it?
These constructions are interesting in that they contain two elliptical sentences that complement each other; so, in our example, in the first sentence, the subject is represented by zero options it and linking verb is, replenished from the subsequent sentence, but this subsequent sentence, in turn, is itself elliptical - in it, the core of the substantive phrase is represented by zero options (a) letter and his associate nice restored from the previous sentence.
1.2 Paradigmatically augmented elliptical structures
Sometimes the words of an elliptic sentence represented by the zero variant cannot be recovered from the surrounding context, but require for their explication an appeal to other similar constructions that occur in the language, although not registered in the immediate contextual environment of the given elliptic sentence. Since in this case the completion is made on the basis of no longer syntagmatic, but paradigmatic connections, we give such elliptical sentences the name of paradigmatically completed.
– "Married?" - Married?
– "Widower, sir. Two children." [ I have ...] – Widower, sir. Two children.
A sunny midsummer day. [ It was ...] - Sunny July day.
Various types of incomplete and elliptical sentences as a fact of live colloquial speech have been widely used in the language of the newspaper in recent years. These constructions provide rich material for developing the structure of headings; numerous ellipses here are already a kind of standard. The language of the newspaper strives for dynamism, catchiness. This is facilitated, in particular, by extremely short sentences with the omission of informationally redundant words. Here are some examples of newspaper headlines: Girl Gymnast Another Woman on Ice . Such ellipses are extremely economical in terms of means of expression. In the heading, only those members of the sentence that are the target in this utterance are named, everything else is logically replenished by the text, the speech situation, eliminating the need to name all the links of the grammatical structure. In incomplete heading sentences, the absence of one or more members of the structure in most cases is a syntactic norm that creates a stylistic and expressive coloring of heading sentences. Newspaper headlines, replete with such constructions, express the thought in the most concise form. It is interesting that specific structures are formed among the title sentences, which are acceptable only in the field of titles and impossible in the text of the article, notes.
Elliptical type designs if any , if anything have an expressive and amplifying meaning and are transmitted into Russian by subordinate conditional sentences, as well as by words almost, perhaps, at all and etc.
Objections to this plan, if any, should be reported to the committee at once. If there are any objections to this plan, they must immediately be submitted to the committee. (Objections, if any...).
Note. If anything can also be translated as anyway .
If anything it will be in their interests to follow this course.
Bo in any case, it is in their interest to follow this course.
Elliptical designs also include concessive clauses, introduced by unions whatever , however in which there is no predicate (sometimes subject). Such concessive clauses are translated into Russian by full concessive clauses with conjunctions whatever, whatever(the predicate and subject of the full sentence are restored).
The british people have to submit to new taxation , however high . “The English people have to put up with new taxes, however high they may be.
Union though can be at the end of a simple sentence following another simple sentence closely related to it in meaning. final though corresponds to Russian nevertheless, nonetheless, nonetheless, nonetheless :
Not didn't tell those where he had been, but I know, though.
He didn't tell me where he was, but I still know.
In the same function, the adverb however can be used both in the final and initial position:
Not is very busy. He will see you, however.
Elliptical structures also include the combination If + participle II(or adjective). This combination is translated into Russian by a subordinate concessive clause.
If considered from this point of view , the problem takes on a new aspect . - If we consider the problem from this point of view, then it acquires (takes) a different character.
But the decision , if logical , requires a measure of courage . “But this decision, although logical, requires a certain amount of courage.
The meaning of concession is also conveyed by pronouns and adverbs with the component ever – however , whoever , whatever , wherever , whenever . These words give a hint of additional possibility:
Whoever told you this was wrong Whoever told you that was wrong.
However often I tried I couldn't " t find the answer No matter how hard I tried, I couldn't find an answer.
1.3 Techniques for translating elliptical structures
Acceptance of transfer - a specific action or specific operations caused by difficulties encountered in the translation process.
Syntactic assimilation
Syntactic assimilation or literal translation is a type of translation in which the syntactic structure of the original is transformed into an absolutely similar structure of the target language.
Thought exhausted, he went to bed very late.
As exhausted as he was, he went to bed very late.
However far it is, I intend to drive there tonight.
No matter how far it is, I intend to go there tonight.
However, according to A.V. Fedorov "all sorts of attempts to translate verbatim this or that text or segment of the text lead, if not to complete incomprehensibility of this text, then at least to heaviness and ambiguity. This is what can be called "translation style" (or, as they sometimes say, "translation language").
Combining offers
Sentence merging is a translation method in which the syntactic structure in the original is transformed by combining two or more simple sentences.
The association is usually used in conditions of differences in syntactic or stylistic traditions:
He should follow my advice. If anything it's in his interests.
He should follow my advice, in any case, it is in his interests.
I've decided to buy this car. Even if it takes all my money.
I decided to buy this car, even if it costs me all my money.
Division of the proposal
The differences associated with linguistic selectivity are also embodied in the degree of discreteness in the description of the objective situation. A situation that in one language is described with the help of one feature, in another language requires two or more features for its expression. In the pair of languages I am describing, Russian and English, English has more economical ways of expressing thought than is the case in Russian.
At the same time, there are many cases when it is the Russian language that is more discrete than English, which leads to an expansion of the volume of the translated text.
Sentence division is a method of translation in which the syntactic structure of a foreign language is transformed into two or more predicative structures of the target language.
In Russian, there is a tendency to combine as many subject situations as possible within the framework of one sentence. This leads to the formation of sentences that include several homogeneous subjects, predicates or objects, as well as subordinate clauses, attributive, adverbial and participial constructions. It cannot be said that there are no such sentences in the English language, but the frequency of their use and, more importantly, the overload of the structure with homogeneous and defining elements is certainly less than in Russian. As a result, when translating, the same objective situations are expressed not in the form of homogeneous members of a sentence or all kinds of attributive phrases, but in separate independent sentences.
If anything, he continued and companies remained more determined than ever to fight.
Anyway, he continued. Companies, like never before, remained determined to fight.
However long was the period of its coming to being and development, the results were quite satisfying, even excellent.
The results were very satisfactory. Even great ones. And this despite the long stage of formation and development.
Specification
Yes, we had a talk. We really did .
Generalization
Generalization (the process opposite to concretization) of the original meaning takes place in cases where the measure of informational ordering of the original unit is higher than the measure of ordering of the unit corresponding to it in terms of meaning in the target language and consists in replacing the particular with a general, specific concept by a generic one. When translating from English into Russian, this technique is used much less frequently than concretization. This is due to the peculiarities of the English vocabulary. The words of this language often have a more abstract character than Russian words related to the same concept.
It should be noted that in the process of translation the same word can undergo lexical transformation in opposite directions: towards narrowing and expanding the meaning, i.e. can be both an object of concretization and generalization.
Antonymic translation
Antonymic translation is based on the logical rule according to which the negation of a concept can be equated with the assertion of the opposite concept semantically opposed to it. In fact, such dictionary equivalents as incorrect / erroneous, short / low, near / close. Most often, antonymic translation is implemented as a replacement of a linguistic expression (word, phrase) by its antonym with the simultaneous replacement of an affirmative construction with a negative one and vice versa.
Antonymic translation is the replacement of a negative or interrogative form of a sentence with an affirmative one or vice versa. The conditions for applying such a transformation, as a rule, are associated with the lexico-semantic composition of the predicate. When translating into Russian from English, most often the negative form of the sentence changes to an affirmative one, less often to a negative one:
Very little, if anything, could be advanced in the defense of his policy.
Almost nothing could be said in support of his policies.
In general, she has changed little, if at all, in the two years of her absence.
In general, in two years of absence, she has not changed much.
Compensation
The essence of compensation in the process of translation is quite fully disclosed in the book by A.V. Fedorov.
"In the practice of translation, there are a number of cases when this or that element of the original is not reproduced at all or is replaced by a formally distant element, this or that word, phrase, etc. is omitted, but the impossibility of conveying a separate element, a separate feature of the original also does not contradict the principle of translatability, since the latter refers to the whole work as a whole.Of course, the whole does not exist as some kind of abstract concept, it consists of concrete elements, which, however, are essential not each individually and not in their mechanical aggregate, but in a system formed by their combination and constituting unity with the content of the work.Hence - the possibility of substitutions and compensations in the system of the whole, which opens up various ways for this; thus, the loss of a separate element that does not play an organizing role may not be felt against the background of an extensive whole, it seems to be dissolved in this whole or is replaced by other elements, sometimes not given by the original.
The starting point for determining the role of an individual element in the original, the need for its accurate transmission, as well as the possibility or regularity of its omission or replacement, is the ratio of content and form in their unity.
Thus, compensation in translation should be considered the replacement of an incommunicable element of the original with an element of a different order in accordance with the general ideological and artistic nature of the original and where it seems convenient under the conditions of the Russian language. Compensation can be semantic or stylistic. In the first case, the missing non-transferable component is filled in for completeness of meaning.
Semantic compensation is often used to fill gaps caused by so-called "non-equivalent" vocabulary. First of all, these are designations of realities that are characteristic of the country of a foreign language and alien to another language and other reality. If these details are not of fundamental importance, then there will be no loss for the reader if they are omitted from the translation.
The amendment received 3.622.000 votes, while the executive resolution received 4.090.000. if anything, executive majority was only 468.000 in a vote of nearly eight million.
In this text, which deals with the results of voting at the congress of English trade unions, the selected combinations are semantically elliptical. The English reader can easily restore their full form. executive committee resolution, i.e. resolution proposed by the executive committee, and executive committee resolution majority, i.e. majority of votes cast for a resolution of the executive committee. In such a supplemented form, these combinations will be transmitted in Russian, where elliptical forms executive resolution or executive majority would be completely incomprehensible to the reader or would be misinterpreted by him.
A little table with a dinner was laid out - and wine and plate.
A small table was set for dinner, silver and carafes gleaming on it.
The literal translation "both wine and silver" is completely unacceptable, because. in this case, such an elliptical construction with a polyunion in terms of expressiveness does not correspond to the English one and does not convey the meaning contained in it.
Thus, compensation is used to convey elements of meaning lost in translation, and this is done in a different way, or later in the text.
– Then this girl gets killed, because she's always speeding.
– Gets killed ?
- Dying?
Chapter
II. Features of the translation of elliptical structures in the translation into Russian of Jerome Salijer's novel "The Catcher in the Rye".
Jerome David Salinger(English) Jerome David Salinger; genus. 1919) is an American writer, a classic of 20th-century US literature, best known as the author of The Catcher in the Rye.
Salinger was born on January 1, 1919 in New York. In his youth he studied at the military academy in Valley Forge. He was educated at New York schools, a military school and three colleges. His writing career began by publishing short stories in New York magazines. During World War II, the writer took part in the military operations of American troops in Europe.
His first story "Young people" ( The Young Folks) was published in the magazine "Story" in 1940. The first serious fame for Salinger was brought by a short story "It's good to catch a banana fish" ( A Perfect day for Bananafish, 1948) is the story of a day in the life of a young man, Simura Glass, and his wife. Eleven years after its first publication, Salinger released his only novel, The Catcher in the Rye ( The Catcher in the Rye, 1951), which met with the unanimous approval of criticism and remains especially popular among high school students and students who find in the views and behavior of the hero, Holden Caulfield, a close echo of their own moods. The book was banned in several countries and in some places in the United States for being depressed and using abusive language, but is now included in the lists of recommended reading in many American schools.
In 1953, the collection Nine Stories was published. In the 60s, the novels "Franny and Zooey" were published ( Franny and Zooey) and the story "Above the rafters, carpenters" ( Raise high the Roof Beam , carpenters).
After the story "The Catcher in the Rye" gained resounding popularity, Salinger began to lead the life of a recluse, refusing to give interviews. After 1965 he stopped publishing, writing only for himself. In recent years, he has hardly interacted with the outside world, living behind a high fence in a mansion in the town of Cornish, New Hampshire.
In the USSR and Russia, his works were translated and published, and gained popularity, especially among the intelligentsia. The most successful and well-known is the translation by Rita Wright-Kovaleva.
The specific style and the presence of slang make the translation of the work both complex and interesting.
2.1 Characteristics of Jerome Salinger's novel "The Catcher in the Rye" and its features from the translator's point of view
Seventeen-year-old Holden Caulfield, who is in a sanatorium, recalls "that crazy story that happened last Christmas", after which he "almost gave up", was ill for a long time, and now he is undergoing treatment and soon hopes to return home.
His memories start from the day he left Pansy, a boarding school in Agerstown, Pennsylvania. Actually, he did not leave of his own free will - he was expelled for academic failure - out of nine subjects in that quarter, he failed five. The situation is complicated by the fact that Pansy is not the first school that the young hero leaves. Before that, he had already abandoned Elkton Hill, because, in his opinion, "there was one continuous linden." However, the feeling that there is a "linden" around him - falsehood, pretense and window dressing - does not let Caulfield go throughout the whole novel. Both the adults and the peers with whom he meets irritate him, but he is also unbearable to remain alone.
The last day of school is rife with conflict. He returns to Pansy from New York, where he traveled as captain of the fencing team to a match that was not held due to his fault - he left his sports equipment in the subway car.
Once in New York, he realizes that he cannot come home and inform his parents that he has been expelled. He gets into a taxi and goes to the hotel. On the way, he asks his favorite question that haunts him: "Where do the ducks go in Central Park when the pond freezes over?" The taxi driver, of course, is surprised by the question and wonders if the passenger is laughing at him. But he does not think to mock, however, the question about ducks is rather a manifestation of Holden Caulfield's confusion in front of the complexity of the world around him, rather than an interest in zoology.
This world both oppresses him and attracts him. It is hard for him with people, without them it is unbearable. He tries to have fun in a nightclub at the hotel, but nothing good comes of it, and the waiter refuses to serve him alcohol as a minor. He goes to a nightclub in Greenwich Village, where his older brother D.B., a talented writer who was tempted by the big fees of a screenwriter in Hollywood, liked to visit. On the way, he asks another taxi driver a question about ducks, again without getting an intelligible answer. In a bar, he meets an acquaintance D. B. with some sailor. This girl arouses such dislike in him that he quickly leaves the bar and goes on foot to the hotel.
The next morning, he arranges a meeting with Sally Hayes, leaves the inhospitable hotel, checks his suitcases in a left-luggage office, and begins the life of a homeless man. Wearing a red hunting cap back to front, bought in New York on that unfortunate day when he left his fencing equipment on the subway, Holden Caulfield loitering through the cold streets of the big city. Going to the theater with Sally does not bring him joy. The play seems stupid, the audience, admiring the famous actors Lanta, is a nightmare. The companion also annoys him more and more.
Soon, as expected, there is a quarrel. After the performance, Holden and Sally go skating, and then, in a bar, the hero gives vent to the feelings that overwhelmed his tormented soul. Explaining his dislike for everything that surrounds him: “I hate ... Lord, how much I hate it all! And not only school, I hate everything. I hate taxis, buses where the conductor yells at you to get out through the back, I hate getting to know the wrecks who call the Lants "angels", I hate riding in elevators when you just want to go outside, I hate trying on suits at Brooks ... "
He is rather annoyed that Sally does not share his negative attitude towards what he dislikes so much, and most importantly, towards school. When he offers her to take a car and leave for two weeks to ride in new places, and she refuses, judiciously reminding that "we are, in fact, still children," the irreparable happens: Holden utters insulting words, and Sally leaves in tears. New meeting - new disappointments. Holden, left alone, gets drunk, calls Sally, asks her forgiveness, and then wanders through the cold New York and in Central Park, near that very pond with ducks, drops the record bought as a gift for Phoebe's younger sister.
When he gets home, and to his relief to find that his parents are visiting, he only hands Phoebe the pieces. But she is not angry. In general, despite her small years, she perfectly understands the condition of her brother and guesses why he returned home ahead of schedule. It is in a conversation with Phoebe that Holden expresses his dream: “I imagine how little children play in the evening in a huge field of rye. Thousands of kids, and not a soul around, not a single adult, except for me ... And my job is to catch the kids so that they do not fall into the abyss.
Thinking about how to live on, Holden decides to move somewhere to the West and there, in accordance with the long-standing American tradition, try to start all over again. He sends Phoebe a note informing him of his intention to leave, and asks her to come to the appointed place, as he wants to return the money borrowed from her. But the sister appears with a suitcase and declares that she is going to the West with her brother. Willingly or unwittingly, little Phoebe plays him himself in front of Holden - she declares that she will no longer go to school, and in general she is tired of this life. Holden, on the contrary, has to involuntarily take the point of view of common sense, forgetting for a while about his all-negation. He shows prudence and responsibility and convinces his sister to abandon his intention, assuring her that he himself will not go anywhere. He takes Phoebe to the zoo, where she rides the carousel while he admires her.
The characteristic features of fiction, the manifestation of the individuality of the writer, due to his worldview, the variety of both lexical and grammatical means of the language, the variety of combinations of book-written and oral speech in the stylistic varieties of both - all this, taken together, makes the question of literary translation extremely complex.
The main difficulty of literary translation lies not in the reproduction of the structural and linguistic elements of someone else's speech, but in the artistic recreation of the totality of images of the original, as a whole.
Features of the Russian and English languages often stand in the way of a full-fledged transfer of Jerome Salijer's style of writing. One of the features can be attributed to the translation of elliptical structures, which are given special attention in this work.
2.2 Analysis of the translation of elliptical constructions in Jerome Salinger's novel "The Catcher in the Rye".
Syntactic assimilation
In the text, there is a translation of elliptic constructions using syntactic assimilation (i.e., the syntactic structure of the original is converted into a similar structure of the target language while maintaining the set of full-meaning words and the order of their arrangement in the original and translation).
Whatever the conversation, she knows exactly what you're talking about. Whatever the conversation is, she always understands what you are talking about with her. However nice your little note at the bottom of the page, but we studied the Egyptians from November 4th to December 2nd. As cute as your little postscript at the bottom of the page is, we were exploring Egypt from November 4th to December 2nd. I doubt very much if you opened your textbook even once the whole term. Did you? I doubt very much whether you opened the textbook at least once a quarter. Opened? Thus, both in the source language and in the target language there are parallel syntactic structures that allow translation with zero transformation. Moreover, in the last example, when translating the elliptic construction did you ? specification is used. Combining offersWhen combining sentences, the syntactic structure in the original is transformed by combining two simple sentences into one complex sentence:
She ran bought her ticket and got back on the carrousel . Just in time. Then she walked all the way round it till got her own horse back . Then she got on it. She waved to me and I waved back .
She ran and bought a ticket and at the last second returned to the carousel. And again she ran all around until she found her old horse. Sat on her, waved to me and I waved to her too
I told him I was a real moron. All stuff. I told him how I would "ve done exactly the same thing if I" d been in his place, and how most people didn't appreciate how tough it is being a teacher. He said that I was mentally retarded, generally a cretin, that I myself would have acted in his place in exactly the same way, and that many do not understand how difficult it is to be a teacher. Association is used, as a rule, in conditions of differences in syntactic or stylistic traditions. Division of sentencesThe syntactic structure of the sentence in the original is converted into two or more predicative structures in the target language.
But I just couldn't hang around there any longer, however his requests, the way we were on opposite sides of pole, and the way he kept missing the bed whenever he chucked something at it, and his sad old bathrobe with his chest showing , and that grippy smell of Vicks Nose Drops all over the place. But I couldn’t hang around with him all my life, no matter how much he asked me, and we pulled in different directions. And he always threw something on the bed and missed, and this miserable dressing gown of his, all his chest is visible, and here it also smells of flu-like drops all over the house.This technique is due to both grammatical considerations (differences in the admissibility of a set of syntactic turns) and pragmatic ones (if the sentence undergoes a number of transformations leading to an excessive or stylistically inadequate number of subordinate or other syntactic turns).
Antonymic translation
Antonymic translation is the replacement of a negative or interrogative form of a sentence with an affirmative one or vice versa.
Hurry up.
Just don't dig!
No kidding. I appreciate it. I really do .
Honestly, I really appreciate it, really!
If anything, it is all right with me if you flunk me though as I am flunking everything else except English anyway. In any case, it's okay if you fail me - I already failed in all subjects except English.Most often, antonymic translation is implemented as a replacement of a linguistic expression (word, phrase) by its antonym with the simultaneous replacement of an affirmative construction with a negative one and vice versa.
Specification
Concretization is a method of translation in which a word or phrase of a foreign language with a broader subject-logical meaning is replaced by a word in translation with a narrower meaning. The concretization of the original meaning is used in those cases when the measure of informational ordering of the original unit is lower than the measure of ordering of the unit corresponding to it in terms of meaning in the target language.
This technique is widely used when translating such words as: to be, to have, to get, to do, to take, to give, to make, to come, to go.
Yes, we had a talk. We really did .
Yes, we had a conversation. We talked.
Generalization
Generalization (the process opposite to concretization) of the original meaning takes place in cases where the measure of informational ordering of the original unit is higher than the measure of ordering of the unit corresponding to it in terms of meaning in the target language and consists in replacing the particular with a general, specific concept by a generic one.
That smell all over the place. Vicks Nose Drops.
It still smells like flu drops throughout the house.
The need for generalization can also be caused by the danger of distorting the meaning when translating a word or phrase by its dictionary correspondence.
It should be noted that in the process of translation the same word can undergo lexical transformation in opposite directions: towards narrowing and expanding the meaning, i.e. can be both an object of concretization and generalization.
Modulation or semantic development
The reception of semantic development consists in replacing the dictionary correspondence in translation with contextual, logically related to it. This includes various metaphorical and metonymic substitutions made on the basis of the category of crossing.
If we take into account that all significant parts of speech are divided into three categories: objects, processes and signs, then in the course of translation there is an amazing variety of substitutions both within each category and between different categories. To convey the same content by means of another language, it often does not matter what form of the word this content will be expressed. An object can be replaced by its sign, a process by an object, a sign by an object or process, etc.
Modulation or semantic development is the replacement of a word or phrase in a foreign language, the meanings of which can be deduced logically from the initial meaning:
- Then this girl gets killed, because she's always speeding.
– Gets killed ?
“And then the girl dies because she always breaks the rules.
- Dying?
That kind of stuff . The old bull .
In a word, he did it right.
It " s awful .
Terrible thing.
Boy! I also say "Boy!" quite a lot. Partly because I have a lousy vocabularyand partly because I act quite young for my age sometimes.
Wow! This is also a habit - to say "Eh!" or "Wow!", partly because I'm at a loss for words, and partly because I sometimes behave quite out of age.Compensation is used where it is necessary to convey the purely linguistic features of the original, which do not always have a match in the target language. The method of compensation is indicative in that it clearly illustrates one of the provisions of the theory of translation - not individual elements of the text are adequately translated, but the entire text as a whole. In other words, there are untranslatable particulars, but there are no untranslatable texts.
Conclusion
In this paper, various elliptic constructions and techniques for their translation were considered, and an analysis of the translation of elliptic constructions was also carried out. With the help of this, we were able to study some features of the translation of the novel "The Catcher in the Rye" into Russian.
It should be noted that when working with texts of fiction, the translator should try to reflect the individual style of the author in the translation. This task seems to be the most difficult when it comes to translating a text into a language that differs greatly in its structure and norms from the original language.
Even a significant part of formally complete sentences of coherent speech, taken out of context, does not express the fullness of thought that they possess in context. The semantic connection of sentences and the relative ambiguity of a single sentence also find a formal expression: these are personal and demonstrative pronouns, demonstrative pronominal words, allied particles (“also”, “also”, etc.), introductory words indicating the relation to the previous speech. And although such a sentence is grammatically complete, this completeness is formal and relative, since the real meaning of the message is clarified only from the context. Thus, even formally complete sentences are a whole step-by-step series of more or less complete or semantically sufficient statements. Elliptic constructions and sentences are used to avoid an excessive or stylistically inadequate number of clauses or other syntactic turns. Knowledge of translation techniques allows you to better understand, analyze, and, therefore, create equivalent statements in the target language.
Bibliographic list
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3. Golikova Zh.A. Translation from English into Russian - Minsk, publishing house "New Knowledge", 2004, ISBN: 5-94735-051-3, p. 109 - 110
4. Kazakova T.A. Practical foundations of translation. English-Russia.-Series: Learning foreign languages. - St. Petersburg: "Soyuz Publishing House", - 2000, - 320s.
5. Komissarov V.N. A word about translation - M .: International relations - 1973 - 215s.
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8. Latyshev L.K. Translation: problems of theory, practice and teaching methods. - M .: Education - 1988. - 159s.
9. Levitskaya T.R., Fiterman A.M. Manual for translation from English into Russian. - M .: Higher School, 1973. - 136 p.
10. Minyar-Beloruchev R.K. Theory and methods of translation - M .: Moscow Lyceum, 1996. - 208s.
11. Retsker Ya.I. Translation theory and translation practice. - M .: International relations, - 1974. - 216 p.
12. Salinger J.D. Works. In 2 vols. T.1. Short stories (1940-1948); Catcher in the Rye: Per. from English. / Note. A.M. Zverev; Kharkiv: Folio; Belgorod: Folio-Transit, 1997. - 339p.
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Types of incomplete sentences are distinguished on different grounds: by the ratio of structural and semantic properties, by the conditions of use, by the form and type of speech, by the belonging of constructions to a certain level of the syntactic system, etc.
According to the ratio of structural and semantic properties, one can distinguish a) semantically incomplete, but structurally complete sentences; b) structurally and semantically incomplete; c) structurally incomplete, but semantically complete (the so-called elliptical).
The central place among them is occupied by structurally and semantically incomplete sentences, which, according to the form of speech (oral and written), are divided into situational and contextual.
In situational incomplete sentences, the missing members are suggested by the situation (situation). For example, sentences like "There!" are supplemented by the subject subject, depending on the situation of the speech: “There is a train!” or "Maria! Don't tell him anything!
Accounting for the speech situation is of paramount importance in the study of oral speech. In contextual incomplete sentences, the missing members are suggested by the context (there is in the context).
The division of sentences into situational and contextual is conditional, because the word context often denotes the situation in which the interlocutors are. In addition, in written speech, situational sentences acquire some properties of contextual sentences, since the speech situation is described and verbally expressed. Depending on the type of speech, incomplete dialogic and monologue sentences are distinguished, which can be both in oral and written speech. In monologue speech, incomplete sentences can be distinguished, taking into account the level differences in syntactic units: a) incomplete sentences in which part of a complex form of a word or part of an integral phrase that makes up one member of a sentence is not repeated. For example: I will pay for ingredients, Alice -- cook a pie and you -- bring it to Granny.
The so-called elliptic sentences, which have semantic completeness with a "zero predicate", do not have an unambiguous qualification. Such sentences are semantically complete both outside the situation and outside the context. For this variety of sentences, predicative secondary members are semantically and structurally obligatory: additions and circumstances, although the predicate itself is absent.
An analysis of elliptical sentences shows that there are no clear boundaries between complete and incomplete sentences. Structural schemes of sentences are created in speech and, when stabilized, become language models. The factors that determine the place of such constructions on the "transitivity scale" are the presence of synonymous and modal-temporal series, as well as the lexical and grammatical meanings of word forms, etc.
L.S. Barkhudarov singles out the classification of elliptic sentences based on the method of explication of the word represented in this sentence by the zero option. By explication or completion, we mean the transformation inverse to the ellipse, that is, the replacement of the zero variant of a word with an explicitly expressed variant. If the word or words represented by the null variant are explicated, i.e. are restored in their sounding version from the surrounding context, i.e. from the previous or subsequent text, then we can call such an elliptical sentence syntagmatically restored (syntagmatically restored elliptical sentence). If the explication of a given word or words is possible only on the basis of other similar constructions that occur in the language, but are not directly registered in the contextual environment of this elliptical sentence, then such an elliptical sentence is called paradigmatically restored elliptical sentence. (Barkhudarov, 2005: 190)
In syntagmatically completed sentences, words subjected to ellipsis can be restored both from this sentence and from any other sentence, preceding or following.
I hope you aren't bringing up that dreadful case as proof that your heart is bigger than mine.
You were a maid too once. Not even a housemaid. Just a kitchen maid.
(Stephen Fry, 2014: 103, 56)
The sentence from which the ellipse is being restored can also be pronounced by another speaker (participant in the dialogue):
“Why is that subject? Why?» « Why?» «Yes. Why?»
(Stephen Fry, 2014: 35)
Sometimes replenishment is made on the basis of paradigmatic rather than syntagmatic connections, insofar as we give such elliptical sentences the name of paradigmatically replenished. The most typical example of such sentences are incentive sentences, with a verb-predicate in the form of an imperative:
close the door. Put out the lights.
In these sentences, the subject-pronoun of the second person is always represented by the zero option. you. The fact that this is exactly the case is evidenced by a number of facts, first of all, the presence in the English language of non-elliptical incentive sentences, in which the subject is the pronoun you is represented not by a zero, but by an explicitly expressed variant:
I'll buy all necessary things. You bring them to Mary
In addition to incentive sentences, a paradigmatically replenished ellipse can also be found in other structural types of sentences in the English language, although not so often.
A silent clear night.
"I"m on my way to John"s. Want to come along?»
As can be seen from the above examples, service words are most often subjected to ellipsis. Characteristic is the ellipse of the linking verb be as part of a nominal predicate, mainly in the form of the present tense.
The presence of elliptic constructions in the structure of the language is a natural process of syntax development, such constructions are found in almost all languages. In fiction and the language of the newspaper, as well as in live colloquial speech, various types of incomplete and elliptical sentences are widely used. Ellipses are extremely economical in terms of means of expression.
It is customary to distinguish syntactic ellipsis (omission of one or another member of the sentence, easily recoverable from the context) and semantic ellipsis (absence of an utterance component that can be easily recovered from a speech situation). Ellipsis differs from any "erasing" of elements by its reciprocity.
The semantic ellipsis is more characteristic of colloquial speech, since within the framework of the dialogue each subsequent remark is connected with the previous one. A successive series of replicas creates a speech situation based on a whole series of presuppositions that unite the speaker and the addressee, which are thought of as knowledge about the facts of reality, which, from the speaker's point of view, are self-evident or known to the addressee. Thus, the speech situation is a set of elements of reality shared by the interlocutors. For example:
Can we talk? " Not over the phone».
(Stephen Fry, 2014: 62)
If the semantic ellipsis is based on the context, i.e. syntagmatically complete, then the syntactic ellipsis is based on analogy. Syntactic ellipsis is to a lesser extent characteristic both for complex sentences in general and for conditional constructions of the English language in particular. For elliptic constructions with a conditional meaning, the ellipsis of the part of the predicate is characteristic. The most common type structures If + Adjective, If + Participle II. This combination is translated into Russian by a subordinate concessive clause (“even if”, “although”, “if”):
If considered from this point of view, the problem takes on a new aspect.
But the decision if logical, requires a measure of courage.
Elliptical type designs if any, if anything have an expressive and amplifying meaning and are transmitted into Russian by subordinate conditional sentences, as well as by words almost, perhaps, at all and etc.
Objections to this plan if any, should be reported to the committee at once.
very little, if anything, could be advanced in the defense of his policy.
Elliptical constructions also include concessive subordinate clauses introduced by unions whatever and however in which there is no predicate (sometimes subject). Such concessive clauses are translated into Russian by full concessive clauses with conjunctions whatever, whatever(the predicate and subject of the full sentence are restored):
The British people have to submit to new taxation, however high.
Union though can be at the end of a simple sentence following another simple sentence closely related to it in meaning. final though corresponds to Russian nevertheless, nonetheless, nonetheless, nonetheless:
Didn't tell those where he had been, but I know, though.
In addition, elliptical structures with past participle and unions when or if, which are usually conveyed by a full subordinate clause, since the turnover with the participle being is archaic and bookish:
Mr. Nelson (Labour) said if elected he would support the workers" wage demand
The following example of an elliptical construction with a past participle is interesting: it can be conveyed by participle turnover:
The tribunal's decisions, when arrived at reflected the opinions of the members
Such participial constructions can also be non-union:
Questioned about his reaction to the announcement he replied...
Elliptical participle constructions are often used in headings. For example, Textile pay rise asked. Such headlines are usually transmitted according to the characteristics of Russian newspaper headlines: Demands of textile workers for higher wages. Thus, we can conclude that elliptical participial phrases can be conveyed in various ways: by a subordinate clause, participial phrase, a verb in a personal form with a complete restructuring of the sentence, or a noun with a preposition.
Thus, we can conclude that elliptical participial phrases can be conveyed in various ways: by a subordinate clause, participial phrase, a verb in a personal form with a complete restructuring of the sentence, or a noun with a preposition. (Golikova, 2004: 109-110)
grammatical English ellipsis substitution
E.A. Trofimova identifies the following types of elliptical constructions in English:
1) Sentences with zero subject, expressed personal pronoun or introducing "it":
Got some rope - have been told. Promise you - have been true. (C. Cobain)
Had to eat my dinner there. Had mashed potatoes and stuff like that. couldn't"t chew my meat too good. (C. Cobain)
In all the examples given, the personal pronoun " I”.
2) Elliptic sentences with zero predicate:
with an unexpressed auxiliary verb:
Are you going to have all the girls and boys? (Mark Twain)
Someone at the door! (J. R. R. Tolkien. The Hobbit)
with an unexpressed nominal part of the compound predicate:
"But there is no need to get angry."
"If I am (angry) it is your fault..." (J. R. R. Tolkien. The Lord of the Rings)
with an unexpressed full-valued verb:
... let "s toss for it. - All right. Odd man (goes) out. (P. G. Wodehouse)
3) Sentences with zero subject and predicate: Dreadful! (R. Bach)
4) Constructions with an unexpressed subject and part of the predicate:
This phenomenon is common both in interrogative sentences and in response remarks: Go back? No good at all! go sideways? Impossible! go ahead? Only thing to do! On we go! (J. R. R. Tolkien. The Hobbit)
Equally, a similar phenomenon is possible in sentences that contain the connecting part of the question: Hot stuff, isn't she? (R. Bach)
This group also includes sentences with an elliptical introductory phrase "there is": No public phones in this residential area. (R. Bach)
5) Constructions with the zero form of ambiguous verbs "to have", "to be", "to do": You better make sure. (Mark Twain) (P. G. Wodehouse) I have been to the circus three or four times - lots of times. (Mark Twain)
In addition, service parts of speech can be omitted:
a) the article:
`You are a booby"
`Booby yerself" (J. R. R. Tolkien. The Lord of the Rings)
b) suggestion: Isn't it dangerous for a girl (of) your age?
In particular, the frequent omission of the following prepositions "on", before the noun denoting the day of the week and " for" in phrases indicating a time period:
But they buried him Saturday. Didn't they get him Saturday night? (Mark Twain)
c) union in complex sentences:
Anytime (when) you see something "s up in the night, just skip right around and meow. (Mark Twain)
The most common type of non-union complex sentences with an additional clause is one in which the main thing is expressed by phrases of mental activity: I know, I imagine, I mean, I believe and others (Trofimova, 1981, 57-79).
Now I find I "ve changed my mind and opened up the doors. (The Beatles)
Despite the fact that simple grammatical constructions predominate in colloquial speech, complex sentences are still used, with preference given to complex constructions. According to V.V. Buzarov, the phenomenon of ellipsis, as a rule, is observed in the second sentence as part of a compound sentence. In this case, for the sake of speech economy, the following elements can be omitted:
predicate or part of it:
Many a hand has scaled the grand old face of the plateau. Some belong to strangers, and some to the folks you know. (C. Cobain)
modal verb and subject:
Perhaps I could reach him at home after I got back to the house. On the other hand, why (should we) bother? (R. Bach)
complement determined by an adjective or ordinal number:
I "ll bet he doesn't stay in the first (team) long. (P. G. Wodehouse)
They dedicate their lives to running all of his (life). (J. Haedfield)
circumstance: O" Hara was at Dexter's, but Barry wasn't. (P. G. Wodehouse)
predicative group in full: Michael plays football but not Tilo. (P. G. Wodehouse)
In a complex sentence, the following is omitted:
connecting elements "that", "who (m)": You know you"right. (C. Cobain) The use of "who", "that", or "which" as the subject of a relative clause is normal, but there is a tendency in spoken language to omit them:
I reckon there ain "t one boy in a thousand (who) can do this. (Mark Twain)
Have you ever known the school play well on the second day of term? (P. G. Wodehouse)
subject and predicate in the second part of the sentence: He is a prisoner at Bag End now, I expect, and very frightened. (J. R. R. Tolkien. The Lord of the Rings)
one of the subordinate clauses that differ only in conjunctions:
I "m ready to meet them where and when they like. (P. G. Wodehouse)
infinitive: You can all go if you want to. I mean stay. (Mark Twain)
preposition: ` foreigner. (With) Heavy accent."(R. Bach)
"to" particle: There was only one thing for me to do - accept his conditions. (P. G. Wodehouse) Buzarov, 1998, 35-56).