Стилистические особенности перевода с английского языка на русский

Из вышесказанного можно сделать вывод о том, что передача эмоционального компонента при переводе детских художественных произведений очень важна. Пусть передача эмоционального компонента не является основной переводческой операцией, но если не воспользоваться этим приёмом при переводе, он не будет полноценным.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Заключение

 

 

Основные особенности художественного стиля – это строгое соответствие всех форм речи (словоупотребления, синтаксического построения, фонетического звучания) нормам национального литературного языка; устранение «сниженных» слов; тяготение к известной традиционности некоторых языковых средств.

Художественные тексты, как правило, содержат большое количество средств выразительности и образности: метафоры; сравнительные обороты;  неологизмы; повторы (лексические, фонетические, морфемные и так далее);  диалектизмы; профессионализмы; топонимы; говорящие названия, имена и фамилии; и другие.

При переводе детской художественной литературы возникают следующие проблемы: проблема сохранения образности при переводе детского произведения; проблема жанрово-стилистических особенностей перевода детской литературы; проблема передачи эмоционального компонента при переводе детской литературы.

Приемами перевода художественного текста для  придания эмоционального эффекта являются: простая лексическая подстановка; простая альтернативная подстановка; сложная подстановка с дифференциацией значения; позиционно обусловленная подстановка;  безэквивалентная лексика; лексическая компенсация - эмоциональный элемент в переводном высказывании сохраняется путем введения в него дополнительных эмоционально маркированных лексических единиц;   грамматическая компенсация; интонационная компенсация.

Важную роль играют в “Винни Пухе” мифологемы воды и ветра. Ветер играет чисто деструктивную роль — разрушает и сносит дома. Вода выступает в демаркационной функции — отграничивает мир Леса от Внешнего Мира — и в этом близка смерти. Она изолирует героев не только от внешнего мира, но и друг от друга, как в конце первой книги — глава «Наводнение».

При этом, имея эсхатологические ассоциации («Потоп»), вода также связана с идеей времени (образ реки в главе «Игра в Пухалки», которое течет медленно, потому что уже некуда спешить). В то же время, вода связана с зачатием и рождением и служит символом возрождения после смерти на новой основе (как живая вода в фольклоре).

Последний раздел психологии, который буквально просится быть примененным к “Винни Пуху” и лежит на поверхности, — это характерология. Характеры в “Винни Пухе”   удивительно выпукло и четко очерчены: Пух жизнерадостен, добродушен и находчив. Поросенок тревожен и труслив, И-Ё мрачен и агрессивен, Кролик авторитарен, Сыч оторван от действительности и погружен в себя, Тиггер добродушно-агрессивен и хвастлив, Ру все время обращает на себя внимание. Как описать эти характеры на языке характерологии Э. Кречмера, П. Б. Ганнушкина, М. Е. Бурно?

Пух представляет собой выразительный пример циклоида-сангвиника, реалистического синтонного характера, находящегося в гармонии с окружающей действительностью: смеющегося, когда смешно, и грустящего, когда грустно. Циклоиду чужды отвлеченные понятия. Он любит жизнь в ее простых проявлениях — еду. вино, женщин, веселье, он добродушен, но может быть недалек. Его телосложение, как правило, пикническое — он приземистый, полный, с толстой шеей. Все это очень точно соответствует облику Пуха — страсть к еде, добродушие и великодушие, полная гармония с окружающим и даже полноватая комплекция. Интересно, что знаменитые циклоиды — герои мировой литературы в чем-то фундаментально похожи на Пуха: Санчо Панса, Фальстаф, Ламме Гудзак, мистер Пик-вик.

Из вышесказанного можно сделать вывод о том, что передача эмоционального компонента при переводе детских художественных произведений очень важна. Пусть передача эмоционального компонента не является основной переводческой операцией, но если не воспользоваться этим приёмом при переводе, он не будет полноценным.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Список использованной литературы

 

 

1. Арнольд, И.В. Стилистика. Современный английский язык/ учебник для вузов[Текст]/ И.В. Арнольдов. - М.: Наука, 2011. - 384 с.

2. Бархударов, Л.С. Язык и перевод /учебное пособие[Текст]/ Л.С. Бархударов. - М.: Высшая школа, 2010.- 235 с. 

3. Гальперин, И.Р. Текст как объект лингвистического исследования [Текст]/учебное пособие/ И.Р. Гальперин. - М.: Наука, 2012.-140 с.

4. Иванова, И.П. Вид и время в современном английском языке / учебное пособие[Текст] / И.П. Иванова.- М., 2011. -280с.

5.Казакова Т.А. Художественный перевод: в поисках истины. – СПб. : Филол. ф-т СПбГУ; Изд-во СПбГУ, 2011. – 224 с.

6.   Карпухина В.Н. Аксиологические стратегии текстопорождения и интерпретации текста. – Барнаул : Изд-во АлтГУ, 2012. –  141 с.

7. Карпухина В.Н. Способы интерпретации художественного текста при его переводе в разные семиосферы : Учебно-методическое пособие по курсу «Текст как объект перевода». – Барнаул : Изд-во АлтГУ, 2012. – 35 с.

8. Качалов, К.Н., Практическая грамматика английского языка /учебное пособие/ В.Н. Качалов, Е.Е. Израилевич. - М: Юнвес, 2012. - 716 с. 
9. Комиссаров, В.Н. Современное переводоведение / учебное пособие / В.Н. Комиссаров. - М.:ЭТС, 2010. -424 с.

10.                 Крупнов В.Н. Гуманитарный перевод : учеб. пособие для студ. высш. учеб. заведений. –  М. :  Издательский центр «Академия», 2012. – 160 с.

11. Латышев, Л.К. Курс перевода: Эквивалентность перевода и способы ее достижения. / учебное пособие / Л.К Латышев. - М: Международные отношения, 2013. - 248с.

12. Левицкая, Т.Р. Проблемы перевода: на материале современного английского языка / учебное пособие[Текст] /Т.Р. Левицкая. - М.: Межд. отн., 2012. - 262с. 
13. Лещенко, М.И. Виртуальный и актуальный аспекты предложения / учебное пособие[Текст] / М.И. Лещенко. - Минск, 2012.-189с.

14.            Нелюбин Л.Л. Введение в технику перевода (когнитивный теоретико-прагматический аспект) : учеб. пособие. - М. : Флинта : Наука, 2012. – 216 с.

15. Паршин, А. Теория и практика перевода / учебник для вузов[Текст] / А.Паршин. - М.: Русский язык, 2013. - 161 с.

16. Разинкина, Н. М. Функциональная стилистика английского языка / учебник для вузов[Текст] / Н.М. Разинкина. - М.:Высшая школа, 2011. - 182 с.

17. Рецкер, Я.И. Теория перевода и переводческая практика. /учебное пособие[Текст] / Я.И. Рецкер. - М.: Международные отношения, - 2012. - 216с.

18.            Селитрина Т.Л. Преемственность литературного развития и взаимодействие литератур : учеб. пособие. – М. : Высш. школа, 2009. – 288 с.

19. Тюленев, С.В. Теория перевода / учебное пособие[Текст] / С.В. Тюленев. - М.: Гардарики, 2010.

20. Федоров, А.В. Основы общей теории перевода / учебное пособие [Текст]/ А.В. Федоров. - М.: Высшая школа, 2011. - 303 с.

21. Черняховская, Л. А. Перевод и смысловая структура / учебное пособие [Текст]/ А.Л.Черняховская. - М.: международные отношения, 2010. - 298с.

22. Швейцер А. Д. К проблеме лингвистического изучения процесса перевода // Вопросы языкознания. – 2012.- № 4. –С.52-57.

 

 

 

 

Приложение 1

 

Оригинал произведения А.А. Милна «Винни-Пух» (1-3 главы)

 

 

Alan Alexander Milne

Winnie-The-Pooh and All, All, All

 

To her

Hand in hand we come

Christopher Robin and I

To lay this book in your lap.

Say you're surprised?

Say it's just what you wanted?

Because it's yours -

because we love you.

 

Introduction

 

IF you happen to have read another book about Christopher Robin, you may remember that he once had a swan (or the swan had Christopher Robin, I don't know which) and that he used to call this swan Pooh. That was a long time ago, and when we said good-bye, we took the name with us, as we didn't think the swan would want it any more. Well, when Edward Bear said that he would like an exciting name all to himself, Christopher Robin said at once, without stopping to think, that he was Winnie-the-Pooh. And he was. So, as I have explained the Pooh part, I will now explain the rest of it.

You can't be in London for long without going to the Zoo. There are some people who begin the Zoo at the beginning, called WAYIN, and walk as quickly as they can past every cage until they get to the one called WAYOUT, but the nicest people go straight to the animal they love the most, and stay there. So when Christopher Robin goes to the Zoo, he goes to where the Polar Bears are, and he whispers something to the third keeper from the left, and doors are unlocked, and we wander through dark passages and up steep stairs, until at last we come to the special cage, and the cage is opened, and out trots something brown and furry, and with a happy cry of "Oh, Bear!" Christopher Robin rushes into its arms. Now this bear's name is Winnie, which shows what a good name for bears it is, but the funny thing is that we can't remember whether Winnie is called after Pooh, or Pooh after Winnie. We did know once, but we have forgotten...

I had written as far as this when Piglet looked up and said in his squeaky voice, "What about Me?" "My dear Piglet," I said, "the whole book is about you." "So it is about Pooh," he squeaked. You see what it is. He is jealous because he thinks Pooh is having a Grand Introduction all to himself. Pooh is the favourite, of course, there's no denying it, but Piglet comes in for a good many things which Pooh misses; because you can't take Pooh to school without everybody knowing it, but Piglet is so small that he slips into a pocket, where it is very comforting to feel him when you are not quite sure whether twice seven is twelve or twenty-two. Sometimes he slips out and has a good look in the ink-pot, and in this way he has got more education than Pooh, but Pooh doesn't mind. Some have brains, and some haven't, he says, and there it is.

And now all the others are saying, "What about Us?" So perhaps the best thing to do is to stop writing Introductions and get on with the book.

 

A. A. M.

 

Chapter 1

...in which we are introduced to Winnie-the-Pooh and some bees, and the stories begin

 

HERE is Edward Bear, coming downstairs now, bump, bump, bump, on the back of his head, behind Christopher Robin. It is, as far as he knows, the only way of coming downstairs, but sometimes he feels that there really is another way, if only he could stop bumping for a moment and think of it.

And then he feels that perhaps there isn't. Anyhow, here he is at the bottom, and ready to be introduced to you. Winnie-the-Pooh.

When I first heard his name, I said, just as you are going to say, "But I thought he was a boy?"

"So did I," said Christopher Robin.

"Then you can't call him Winnie?"

"I don't."

"But you said – "

"He's Winnie-ther-Pooh. Don't you know what 'ther' means?"

"Ah, yes, now I do," I said quickly; and I hope you do too, because it is all the explanation you are going to get.

Sometimes Winnie-the-Pooh likes a game of some sort when he comes downstairs, and sometimes he likes to sit quietly in front of the fire and listen to a story. This evening -

"What about a story?" said Christopher Robin.

"What about a story?" I said.

"Could you very sweetly tell Winnie-the-Pooh one?"

"I suppose I could," I said. "What sort of stories does he like?"

"About himself. Because he's that sort of Bear."

"Oh, I see."

"So could you very sweetly?"

"I'll try," I said.

So I tried.

Once upon a time, a very long time ago now, about last Friday, Winnie-the-Pooh lived in a forest all by himself under the name of Sanders.

("What does 'under the name' mean?" asked Christopher Robin. "It means he had the name over the door in gold letters, and lived under it."

"Winnie-the-Pooh wasn't quite sure," said Christopher Robin.

"Now I am," said a growly voice.

"Then I will go on," said I.)

One day when he was out walking, he came to an open place in the middle of the forest, and in the middle of this place was a large oak-tree, and, from the top of the tree, there came a loud buzzing-noise.

Winnie-the-Pooh sat down at the foot of the tree, put his head between his paws and began to think.

First of all he said to himself: "That buzzing-noise means something. You don't get a buzzing-noise like that, just buzzing and buzzing, without its meaning something. If there's a buzzing-noise, somebody's making a buzzing-noise, and the only reason for making a buzzing-noise that I know of is because you're a bee."

Then he thought another long time, and said: "And the only reason for being a bee that I know of is making honey."

And then he got up, and said: "And the only reason for making honey is so as I can eat it." So he began to climb the tree

He climbed and he climbed and he climbed and as he climbed he sang a little song to himself. It went like this:

 

Isn't it funny

How a bear likes honey?

Buzz! Buzz! Buzz!

I wonder why he does?

 

Then he climbed a little further... and a little further... and then just a little further. By that time he had thought of another song.

 

It's a very funny thought that, if Bears were Bees,

They'd build their nests at the bottom of trees.

And that being so (if the Bees were Bears),

We shouldn't have to climb up all these stairs.

 

He was getting rather tired by this time, so that is why he sang a Complaining Song. He was nearly there now, and if he just s t o o d o n t h a t branch...

Crack!

"Oh, help!" said Pooh, as he dropped ten feet on the branch below him.

"If only I hadn't – " he said, as he bounced twenty feet on to the next branch.

"You see, what I meant to do," he explained, as he turned head-over-heels, and crashed on to another branch thirty feet below, "what I meant to do – "

"Of course, it was rather – " he admitted, as he slithered very quickly through the next six branches.

"It all comes, I suppose," he decided, as he said good-bye to the last branch, spun round three times, and flew gracefully into a gorse-bush, "it all comes of liking honey so much. Oh, help!"

He crawled out of the gorse-bush, brushed the prickles from his nose, and began to think again. And the first person he thought of was Christopher Robin.

("Was that me?" said Christopher Robin in an awed voice, hardly daring to believe it.

"That was you."

Christopher Robin said nothing, but his eyes got larger and larger, and his face got pinker and pinker.)

So Winnie-the-Pooh went round to his friend Christopher Robin, who lived behind a green door in another part of the Forest.

"Good morning, Christopher Robin," he said.

"Good morning, Winnie-ther-Pooh," said you.

"I wonder if you've got such a thing as a balloon about you?"

"A balloon?"

"Yes, I just said to myself coming along: 'I wonder if Christopher Robin has such a thing as a balloon about him?' I just said it to myself, thinking of balloons, and wondering."

"What do you want a balloon for?" you said.

Winnie-the-Pooh looked round to see that nobody was listening, put his paw to his mouth, and said in a deep whisper: "Honey!"

"But you don't get honey with balloons!"

"I do," said Pooh.

Well, it just happened that you had been to a party the day before at the house of your friend Piglet, and you had balloons at the party. You had had a big green balloon; and one of Rabbit's relations had had a big blue one, and had left it behind, being really too young to go to a party at all; and so you had brought the green one and the blue one home with you.

"Which one would you like?" you asked Pooh. He put his head between his paws and thought very carefully.

"It's like this," he said. "When you go after honey with a balloon, the great thing is not to let the bees know you're coming. Now, if you have a green balloon, they might think you were only part of the tree, and not notice you, and if you have a blue balloon, they might think you were only part of the sky, and not notice you, and the question is: Which is most likely?"

"Wouldn't they notice you underneath the balloon?" you asked.

"They might or they might not," said Winnie-the-Pooh. "You never can tell with bees." He thought for a moment and said: "I shall try to look like a small black cloud. That will deceive them."

"Then you had better have the blue balloon," you said; and so it was decided.

Well, you both went out with the blue balloon, and you took your gun with you, just in case, as you always did, and Winnie-the-Pooh went to a very muddy place that he knew of, and rolled and rolled until he was black all over; and then, when the balloon was blown up as big as big, and you and Pooh were both holding on to the string, you let go suddenly, and Pooh Bear floated gracefully up into the sky, and stayed there – level with the top of the tree and about twenty feet away from it.

"Hooray!" you shouted.

"Isn't that fine?" shouted Winnie-the-Pooh down to you. "What do I look like?"

"You look like a Bear holding on to a balloon," you said.

"Not," said Pooh anxiously, " – not like a small black cloud in a blue sky?"

"Not very much."

"Ah, well, perhaps from up here it looks different. And, as I say, you never can tell with bees."

There was no wind to blow him nearer to the tree, so there he stayed. He could see the honey, he could smell the honey, but he couldn't quite reach the honey.

After a little while he called down to you.

"Christopher Robin!" he said in a loud whisper.

"Hallo!"

"I think the bees suspect something!"

"What sort of thing?"

"I don't know. But something tells me that they're suspicious!"

"Perhaps they think that you're after their honey?"

"It may be that. You never can tell with bees."

There was another little silence, and then he called down to you again.

"Christopher Robin!"

"Yes?"

"Have you an umbrella in your house?"

"I think so."

"I wish you would bring it out here, and walk up and down with it, and look up at me every now and then, and say 'Tut-tut, it looks like rain.' I think, if you did that, it would help the deception which we are practising on these bees."

Well, you laughed to yourself, "Silly old Bear!" but you didn't say it aloud because you were so fond of him, and you went home for your umbrella.