ЖАНРОВО-СТИЛІСТИЧНА ТА ІДІОСТИЛІСТИЧНА СПЕЦИФІКА ПЕРЕКЛАДУ ФЕНТЕЗІ (на матеріалі англомовних текстів сучасної дитячої літератури та їх українських перекладів)

Abstract

Дисертація присвячена вивченню особливостей відтворення у перекладі жанрово-стилістичних ознак фентезі та авторового ідіостилю. Встановлено відмінності у жанрово-стилістичній домінанті фентезі у різних лінгвокультурних традиціях, а саме в англомовній та східнослов’янській, які обумовлюють коло перекладацьких труднощів при відтворенні фентезі, зокрема в англо-українському напрямі перекладу. Виокремлено інваріантні елементи хронотопного, характерологічного та лексико-семантичного контекстів фентезі та доведено необхідність їх адекватної передачі у ПТ. Досліджено особливості транспонування лексико-семантичного контексту ВТ фентезі з елементами наукової фантастики та встановлено межі втручання в авторовий ідіостиль при перекладі текстів фентезі у дитячій літературі. Диссертация посвящена изучению особенностей воссоздания в переводе жанрово-стилистических признаков фэнтези и авторского идиостиля. Выявлены отличия в жанрово-стилистической доминанте фэнтези в разных лингвокультурных традициях, а именно англоязычной и восточнославянской, которые обусловливают наличие переводческих трудностей при воссоздании фэнтези, в частности, и с английского языка на украинский. Установлены инвариантные элементы хронотопного, характерологического и лексико-семантического контекстов фэнтези, необходимые для достижения адекватного воспроизведения этого жанра в переводе. Исследованы особенности транспонирования лексико-семантического контекста исходного текста фэнтези с элементами научной фантастики и определена допустимая степень изменений авторского идиостиля в процессе перевода текстов фэнтези в детской литературе. This thesis highlights the peculiarities of fantasy translation as to its genre stylistic features and author’s style. The differences in genre stylistic dominant of fantasy in English-language linguistic and cultural tradition, on the one hand, and in east Slavic tradition, on the other, are distinguished. The divergent genre features of fantasy are revealed in chronotopical and personage contexts. The indicated distinctions in conception of fantasy and its genre stylistic characteristics in different linguistic and cultural traditions acquire primary significance from translational perspective. Theoretically the target text (TT) should correspond to genre stylistic stereotypes of the target audience. But it has been stated in the thesis that not all English texts of fantasy in case of reproductive translation into Ukrainian would respond to the genre stylistic expectations of the target audience. The discrepancy is considerable to such an extent that certain source texts (ST) of fantasy in English-language linguistic and cultural tradition according to its genre features, chronotopical and personage markers in particular, correlate with literary fairy tale in east Slavic linguistic and cultural tradition. It has been denoted that at the stage of pre-translation analysis the genre should be identified in terms of not the source, but target linguistic and cultural tradition. In order to satisfy the target audience’s expectations a translator should undertake translational adaptation that includes transformation / elimination of ST elements or amplification of the needed genre features in the TT. Otherwise, the TT should acquire another genre definition that is literary fairy tale. The invariant genre elements of fantasy that serve for adequate TT are determined in chronotopical, personage, lexical and semantic contexts. The invariant elements of chronotopical context are spatial markers (toponyms, toponyms-quaz) and time markers. Toponyms-quaz and time markers need accurate rendering of their meaning as these lexical units play an important role in representation of the secondary world in the text of fantasy. Taking into consideration the age of the recipients of children’s literature it becomes obvious that toponyms and toponyms-quaz are to be understandable for children. To reach this aim a translator should use word-for-word translation or resort to creative translation methods: amplification, transcription / transliteration + comments in the TT. The invariant elements of fantasy personage context are speaking names, mythological and folklore images. In the thesis it has been elucidated that for translation of speaking names both the meaning and the form are supposed to be important. Thus, for rendering of speaking names a translator may use word-for-word translation + intensification, substitution, including variants where substitution is based on the use of onomatopoeia. The adequate TT of fantasy should respond to not only genre and stylistic expectations of the target audience but also to its mythological and poetical stereotypes that are focused on mythological and folklore characters. In the thesis it is outlined the problem of lexical and semantic context rendering in mixed text types – those texts that combine both genre features of fantasy and science fiction. Thus, the invariant elements of fantasy in lexical and semantic context are as follows: realias, realias-quaz, genre marked lexical units. It has been also ascertained that the invariant elements of science fiction are realias-quaz, terms and genre marked lexical units. For rendering of such mixed text types it’s necessary not to substitute science fiction realias-quaz and genre marked lexical units for fantasy ones and vice versa as it leads to the destruction of the author’s message and may bring changes into lexical and semantic context as well as chronotopical and personage ones. The attention in the research work is also focused on the problem of the author’s style rendering within the peculiarities of children’s literature. It has been stated that amplification of phraseological units, emotive constructions, exclamations and questions in the TT is an acceptable transformation of the ST as it strengthens emotiveness and interaction of the text. But substitution of neutral words for vulgarisms in direct speech in the TT is considered to be inadmissible in children’s literature all the more it produces a negative effect on characters’ images.