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sued new dietary guidelines suggesting that Americans base their lower-fat, highcarbohydrate diets on six to eleven daily servings of grain foods – up from four servings. These scientifically based nutrition principles were left out of reform proposals for school lunches. In response, the Wheat Foods Council and Fleishman-Hillard began an opinionleader educational program to move grain-based foods such as bread, cereal, and pasta to the center of the lunch tray [10, p.227-228].

First of all students peruse the text of the c a s e and analyze c u l t u r a l r e a l i t i e s as well as unfamiliar words with the help of the teacher. In this situation, these are:

Fleishman Hillard Inc. – a US agency for p u b l i c r e l a t i o n s and marketing; four food groups – four main product groups: fruits and vegetables, grains, dairy and protein foods; to dish up – to serve; foods (in plural) – products; to deep-fry – to cook in a lot of fat; to follow suit – to pick up the idea; to police – to control, and other vocabulary units.

After the students have read and understood the text, they write a short summary of the c a s e – 3-5 sentences in simple present or simple past tense. It is preferable to shape the summary in one’s own words; only the use of 30% of the vocabulary of the original text is allowed.

In the particular situation, the following version of the brief content of the c a s e can be proposed:

When the U.S. Department of Agriculture (USDA) established new national guidelines for school meals, grains were initially omitted, despite grain foods having been an important and increased part of USDA’s own pyramid of new dietary guidelines issued only three years earlier. With grain foods on the verge of being excluded from school meal reform process, the Wheat Foods Council united the grain industry behind a public affairs program to turn the situation around.

The next step is to identify the problem, which is the cornerstone for basing the entire c a s e s t u d y . The problem is formulated in one capacious sentence, which includes from seven to nine lexical units, and the main semantic load is borne by the predicate, which reflects the objective state of affairs. The statement of the problem does not imply an opinion, therefore the form in which it is clothed does not allow for the use of modal verbs or words that have too general or vague meaning. Its goal is to convey maximum information in a very concise and rational form.

In our example, the problem can be formulated as follows:

The Wheat Foods Council and Fleishman-Hillard position grains as the foundation for a healthy diet and seek to persuade policy-makers to include more grains in school meals.

The third stage of work on a c a s e s t u d y is the identification of persons or organizations involved in solving the problem, as well as all those interested in its solution (the cast of characters). In this situation the cast of characters comprises:

The U.S. Department of Agriculture, Congress/ legislators, The Wheat Foods Council (a nonprofit), Fleishman-Hillard PR Agency, American schools, American school children.

The fourth stage is the establishment of the chronology of events which has led to the situation and given rise to the problem. Chronology is presented in reverse order (from present to past), where number “one” indicates the most recent event, and the final number denotes the

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action, which was the most distant in the past. The chronology of events shows what has caused the problem and how the situation has been getting exacerbated.

In the c a s e “Grains in school meals in the US”, the chronology points to the following chain of events:

The Wheat Foods Council has united its farmer leaders and grain industry officials behind a public affairs program to complement its larger nutrition education campaign (1); Fleishman-Hillard has launched an opinion-leader educational program to move grainbased foods such as bread, cereal, and pasta to the center of the lunch tray (2); Washington leaders recognize that fat intake should be lowered in schools (3); Congress and the USDA proposed boosting fruit and vegetable consumption as the exclusive means to balance meals ‒ overlooking grains intake (4); three years ago the USDA issued dietary guideline suggesting that Americans base their diets on grain foods (5).

The fifth stage of the analysis includes the identification of possible obstacles (issues) that may stand in the way of solving the problem. Mostly, these are conflicting views on the situation being analyzed. Usually at least three issues are mentioned, and the core of each one is formulated in one separate sentence. The list of issues can also be presented in the form of a table.

In our particular c a s e , there are three obstacles in solving the problem:

Schools follow eating traditions established long ago. It is not easy to break them (1). Americans are not quite aware of how wholesome grains are (2). There is little understanding between nutrition advocacy groups and decision makers (3).

The sixth stage includes options for solving the problem. At least three alternatives should be proposed, each listing both advantages and disadvantages. The first of the proposed solutions to the problem is usually the most effective, it contains mostly pros and cons are not numerous; the final option is the least effective because it has quite a lot of drawbacks. Each solution to the problem is reflected in a separate sentence. For example:

Key decision-makers are educated about the overlooked nutritional benefits of grains, positioning grain as the easy first step in balancing school meals because they are lowfat, nutritious, convenient and inexpensive (1). Federal requirements for grain foods in school meal programs to help boost domestic demand for grain foods are made clear to school administration (2). Media produce reports about people whose health has improved after consumption of grain products instead of fats and carbohydrates (3).

The first variant of problem solving is the most preferable for several reasons: the agricultural sector for the production of grain will undoubtedly support the project, since this will facilitate marketing its products (1); decision makers are aware of their mistake, as a result of which grain products have almost disappeared from the list of main ones, and will do their best to rectify the situation (2); authoritative studies on the dangers of fatty foods and the benefits of grain products are publicly available (3); the cost of grain products is relatively low (4).

The disadvantages are: the loss of tradition to consume grain products in families and at school (1); long duration of cooking (2); and the need to change the taste preferences of the population (3).

The second variant of solving the problem is less preferable, since school administrations do not always show unity in understanding the importance of the problem and will act in the way they long have been used to.

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The third option is even less effective, because the public is distrustful of publications about miraculous healings based on a change in diet.

The next stage is drawing up recommendations, which are given in the first person and include introductory words: in my opinion; I consider; I guess; I suppose; I think; it seems to me, based on the chosen solution to the problem. Since sometimes the main option cannot be fully implemented, the student complements it with recommendations that are proposed in other variants of solving the problem.

In our situation, the recommendations can be formulated like that:

I recommend that The Wheat Foods Council meet with key officials involved in the school meal debate to walk through the rationale for a higher-grain, lower-fat diet (1). I think that roundtables on grains must be held with the participation of respected officials from Congress, government agencies, media outlets and trade associations (2). In my opinion, the Wheat Foods Council should provide keynote speakers at national conferences devoted to school meal reform (3). I think that the Wheat Foods Council should arrange the publication of feature stories and press releases devoted to school meal reform (4).

The eighth stage of the c a s e s t u d y is the development of a plan of actions, which is based on recommendations. The student chooses one of the ways to solve the problem, which seems to him/her to be the most appropriate in the particular situation, and then the instructions of step-by-step actions are given. There must be at least five steps. At this stage it is essential to mention only the organizations and people relevant to the case and not one and all. For example:

Conducting Washington Briefings. Briefings with more than 20 decision-makers will open the door for them to consider grains as a possible solution to cutting the fat in school meals (1). Arranging the roundtable on grains with the theme “Grains and the Nutritional Needs of Americans in the 21st Century” that will be followed up by a widely circulated report stressing the nutrient benefits of grain foods (2). The Wheat Foods Council will provide keynote speakers on the benefits of grain products consumption at national conferences with participation of school administration, health organizations and food service companies (3). The council will deal with journalists to heighten awareness of the place of grains in a healthy diet and arrange publication of the materials devoted to this issue (4). School administration will arrange conferences with schoolchildren parents where the benefits of grain products consumption will be highlighted (5).

The last stage of the c a s e s t u d y is drawing up a conclusion. Acting as an independent consultant, the student draws up a conclusion about the benefits his/her vision of the problem and the chosen way of solving it will bring to society, as well as to the company that has set itself the task of improving its work in a particular direction ‒ increasing profitability, asset enhancement, strengthening its position in the market and others. The wording of the conclusion should be put in the future tense and be relevant to the situation in question. It should not contain modal verbs and common phrases. In our situation, the conclusion might look like this:

The successfully carried out public relations campaign on promoting grain foods in school meals will make American children healthier, will educate American people on the nutrient values of grain products and consolidate the position of the Wheat Foods Council in the public eye.

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Conclusion

As follows from the proposed way of work on the c a s e s t u d y , the role of the teacher is minimized here. He/she just gives students instructions on how to analyze the c a s e , distributes texts presenting the particular situation, examines unfamiliar words and c u l t u r a l r e - a l i t i e s in class, so as to make sure that students have fully understood their task. After that students work independently on the basis of the instructions they have received. As a rule, the analysis of the c a s e is given to students for their homework. At the next lesson, the teacher calls a student or a group of students alternately to “defend” their c a s e , which presents their own, unique solution to the problem. At the same time, the rest of the students are listening to the speaker attentively, asking him/her questions, agreeing or disagreeing with his/her position. The teacher does not comment on the content of the discussion, giving students complete freedom to express their own opinions. He/she is just watching the discussion, fixing language errors and shortcomings of the speech etiquette. Assessing the students’ work on the c a s e s t u d y , the teacher takes into account the logical component of their performance, the number of language errors made and the level of speech etiquette.

Thanks to practicing the c a s e m e t h o d in the educational process, students have an excellent opportunity to creatively apply the language material they have acquired to their professional activity, to get adapted to real and potentially possible situations of their profession. Being an interactive method of learning, c a s e s t u d y gains a positive attitude from students who see it as an opportunity to show initiative and independence in mastering practical skills. It also contributes to the professionalization of students, their maturation and the formation of positive motivation to study [11, p.538].

The use of this method in a foreign language class allows for students’ acquisition of general competences, in addition to language ones. These are: making decisions in standard and non-standard situations; working in a team; communicating effectively with people; searching and using the information necessary for the effective implementation of the tasks that play an important role in shaping a competent specialist [12].

References

[1]Interaktivnyye metody. formy i sredstva obucheniya (metodicheskiye rekomendatsii). URL: https://rostov.rpa-mu.ru/Media/rostov/Svedenia_ob_OO/Obrazovanie /metodicheskie_ rekomendacii/interaktiv.pdf (vremya obrashcheniya – 13.05.19).

[2]FGOS. 7 razdel «Trebovaniya k usloviyam realizatsii osnovnykh obrazovatelnykh programm». p. 7.3. URL: http://www.consultant.ru/document/cons_doc_LAW_ 113108/2fcf266773fad298bbe08484fbbd484a582fb759/ (vremya obrashcheniya – 13.05.19).

[3]Interaktivnyye metody obucheniya. URL: https://nsportal.ru/nachalnaya-shkola/materialy- mo/2013/12/21/interaktivnye-metody-obucheniya (vremya obrashcheniya – 14.05.19).

[4]Knyazheva V.V. Teoriya i praktika vnedreniya interaktivnykh form obucheniya na urokakh obshchestvennykh distsiplin v professionalnom obrazovanii // Molodoy uchenyy. –2015. – №21. – S. 784-788. – URL https://moluch.ru/archive/101/22704/ (vremya obrashcheniya – 14.05.19).

[5]Ott I.Yu. Ispolzovaniye sovremennogo metoda case study pri izuchenii inostrannogo (angliyskogo) yazyka. URL: https:// infourok.ru/ispolzovanie-sovremenogo-metoda-case-study-pri- izuchenii-inostrannogo-angliyskogo-yazika-3229284.html (vremya obrashcheniya – 13.05.19).

[6]Omelchenko L.R. Keys-metod na urokakh angliyskogo yazyka. URL: https:// iyazyki.prosv.ru/2012/08/casemethod-englishlessons/ (vremya obrashcheniya – 13.05.19).

[7]Abramova S.Yu.. Belozerova Yu.V. Ispolzovaniye keys-metoda na urokakh angliyskogo yazyka [Tekst] // Aktualnyye voprosy sovremennoy pedagogiki: materialy VI Mezhdunar. nauch. konf. (g. Ufa. mart 2015 g.). ? Ufa: Leto. 2015. ? S. 94-96. ? URL: https://moluch.ru/conf/ped/archive/148/7466/ (vremya obrashcheniya: 13.05.2019).

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[8]Shirshova I.A. Primeneniye tekhnologii «keys-stadi» na urokakh angliyskogo yazyka. URL: https://infourok.ru/primenenie-tehnologii-keysstadi-na-urokah-inostrannogo- angliyskogo-yazika-670229.html (vremya obrashcheniya – 13.05.19).

[9]Khramovich Yu.N.. Grekova N.V. Primeneniye keys-tekhnologiy v obuchenii inostrannym yazyka. URL: http://elib.bsu.by/handle/123456789/25923 (vremya obrashcheniya – 13.05.19).

[10]Hendrix Jerry A. Public Relations Cases / J. A. Hendrix ‒ Thomson Learning, 2001.

–P. 227-236.

[11]Pavlenko V.G. Primeneniye keys-metoda pri obuchenii angliyskomu yazyku v neyazykovom vuze // Nauchno-metodicheskiy elektronnyy zhurnal «Kontsept». – 2016. – T.17.

–S. 534-538. – URL: https:// e-koncept.ru/2016/46282.htm (vremya obrashcheniya – 13.05.19) Pakhtusova E. E. Metod keysov v obuchenii inostrannomu yazyku v vuze // Molodoy uchenyy.

–2014. – №7. – S. 532-534. – URL: https://moluch.ru/archive/66/11034/ (vremya obrashcheniya – 14.05.19)

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INTERCULTURAL COMMUNICATION

UDC 811.133.1

THE ETHNOLINGUISTIC IDENTITY OF THE TRANSLINGUAL WRITER THROUGH THE PRISM OF THE AUTHOR'S TRANSLATION

(ON THE EXAMPLE OF THE CREATIVITY OF R. BOUDJEDRA)

S.M. Kravtsov, T.L. Chernossitova, S.V. Maximets

____________________________________________________________________________

Southern Federal University

Ph.D. (Linguistics), Professor of romance Philology Department, acting head of the Department of romance Philology of the Institute of Philology, journalism and intercultural communication

Sergey Mihajlovich Kravtsov

e-mail: serg.cravtzov2017@yandex.ru

Don State Technical University

Ph.D. (Sociology), associate professor of «Scientific

and technical translation and professional communication» department

Tatiyana Leonidovna Chernossitova e-mail: chernossitova@gmail.com

Don State Technical University

Ph.D. (Linguistics), associate professor of «Scientific

and technical translation and professional communication» department

Sergey Viktorovitch Maximets e-mail: smaksimets@ gmail.com

____________________________________________________________________________

Statement of the problem. Literary and artistic translingualism is of particular interest among the problems of bilingualism. This issue, which acquired special relevance in the XX-XXI centuries, still remains being studied not quite well. Translingualism is clearly manifested in the works of the Algerian writer Rashid Boudjedra. His fiction books in Arabic and French are an integral text in the context of a dual linguistic and cultural field. Thanks to bilingual creativity the writer managed not only to keep, but also to strengthen ethnolinguistic identity.

Results. The results of the produced analysis of the "Le Démantèlement" novel of the Algerian translingual writer

Rashid Boudjedra give reason to believe that his Frenchand Arabic-language fiction books constitute an integral text in the context of dual linguistic and cultural field, i.e. a kind of linguistic-cultural hybrid. This point of view fits to the statement that the linguistic interference which is peculiar to bilingualism creates between the languages and the cultures some sort of connection, a track of which is not always possible to detect immediately. This is confirmed by the presence of numerous Arabic culturemes in the French texts (author's translations), which can be regarded as xenismes and exoticisms in French linguistic culture, transliterated in Latin letters and revealed at the connotative level.

Conclusion. The results of the analysis lead to the conclusion that the translingual writer of Arab origin Rashid Boudjedra can be regarded as the most brilliant representative of translingual multicultural Francophone literature of the late XX – beginning of XXI century, who not only preserved, but strengthened ethno-linguistic identity due to his bilingual creativity. In the context of translingual literature and taking into account the Rashid Boudjedra’s bilingualism we can assume that the author creates his works on the basis of the interpenetration of the two cultures – a Maghreb one as an Arabic and a French one as a European.

Key words: linguosociocultural identity, translingualism, translingual, writer-translingual, bilingualism, bilingual, multicultural, linguoculture.

_______________________________________________

© Kravtsov S.M., Chernossitova T.L., Maximets S.V., 2019

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For citation: Kravtsov S.M., Chernossitova T.L., Maximets S.V. The ethnolinguistic identity of the translingual writer through the prism of the author's translation (on the example of the creativity of R. Boudjedra) / S.M. Kravtsov, T.L. Chernossitova, S.V. Maximets // Scientific Journal “Modern Linguistic and Methodical-and- didactic Researches”. – 2019. - № 2 (25). – P. 79-85.

Introduction

Traditionally, fiction as well as literature in general had a certain cultural ranking, that is, it was determined by the linguistic principle. However, in recent decades, characterized by the emergence of numerous translingual writers, the language of the fiction books has ceased to be an unambiguous criterion of ethnolinguistic identity of the author. On the one hand, this is explained by the fact that the language of translingual artistic creativity can be dialect in nature and the kind of dialect used by the author gives the work a certain linguistic and cultural coloring. On the other hand, this is due to the fact that the used set of language units creates a linguocultural space that is much wider or narrower the space conceived by the author. This view contributes to the theory of interlinguoculturalism and requires a deep understanding in the context of literary translingualism and heterolingualism typical for literature of the XXI century. One way or another, but it is the linguistic features of the artistic creativity of a writertranslingual that are the main markers of his cultural identity.

Mastering the values of culture and the language of culture is a two-fold process, since it is in the conditions of bilingualism that the horizons of socialization of the individual are significantly expanded. Completely new, often dissimilar cultural layers are involved in the orbit of human interests. So, a person who was formed within a bilingual country at the crossroads of French and Arabic (or any other) culture as for example Rashid Boudjedra (Algeria), Amin Maalouf (Lebanon) and many others has a different attitude, a different outlook and a different perception of environment, and his style of thinking is syncretic in nature, which is of special interest for scientific research.

The literary and artistic translingualism is of considerable interest among the problems of bilingualism, and its study involves such scientists as Canagarajah S. [1], Lee J. W. [2], García O. [3], Wei L. [4], Kachru B. B. [5], and others. However, with all the interest in this problem, which acquired special relevance in the XX-XXI centuries, artistic text is still poorly understood due to the bilingual creative consciousness.

Research methodology

Algerian writer, philosopher and screenwriter Rashid Boudjedra, who writes in French and Arabic, the author of many novels that have caused a wide public response in the Arab world and in France, was awarded the Grand Prix in foreign literature (Rome), the Grand Prix of Free speech (Barcelona), the Jean-Jacques Rousseau prize (Geneva), the order of arts and literature of the Ministry of culture of France, as well as the Eugene Dabizo’s Prize for the best popular novel.

Over the years of his French-speaking work, the novelist has demonstrated not only brilliant skills in the French language, but also the desire to improve them. Honing his literary French, Rashid Boudjedra did everything possible in order to prove that French ceased to be a borrowing language.

In his works Rashid Boudjedra attempts to solve the problem of cultural differentiation, suggesting the advantage of a multicultural personality, seeing it as an opportunity to become a kind of a link, a bridge between different linguistic and cultural ethnic groups, forming today's French literature, the richness of which is determined by the ethnolinguistic diversity of the Francophone translingual writers.

That is why in his literary and artistic space, which can be attributed to the Maghreb literary Francophonie, the traces of linguocultural fusion are so obvious which have developed and are still developing in a dominant culture. These traces in the French works of Rashid

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Boudjedra are thus a reminder of the primary linguistic culture, of the origins, of the family roots, which defined the uniqueness of his work as a writer-translingual.

The results of the research

The results of our analysis of the linguistic and cultural features of literary and artistic French-language texts of the Algerian writer-translingual Rashid Boudjedra allow us to note that in his works the presence of a significant number of markers and invariants of Arabic linguistic culture at the level of calques and figures of speech not only enhances the author's intention aimed at creating a certain cultural aura at a reader (in our case, French-speaker) that contributes to a better understanding of the described events and greater involvement in them, but also creates a kind of mixed Franco-Maghrebi text, emphasizing the ethnolinguistic identity of the translingual authors. Author’s literary and art discourse actualizes on the level of interlinguocultural factors, evident in the use by Rashid Boudjedra of forms of language statements that are specific to Arabic culture and the appeal to background knowledge of the reader, through which the communicative goal delivered by him implies.

According to Rashid Boudjedra the criterion of culture is supralinguistic in nature and does not involve the rejection of the French language as a means of acculturation. For this reason, Rashid Boudjedra regards the saturation of the French texts as a means of preserving their own ethnolinguistic identity. At the same time, the literary and artistic creation of Rashid Boudjedra in part has a revolutionary character, which is expressed in the creation of its own language and its own manner of writing, which is different from that recognized in a traditional Arabic novel. According to authors’ point of view his French-language texts, translated by him personally from Arabic into French, remain Arabic in their linguistic and cultural essence.

We can assume that Rashid Boudjedra conceived each of the two versions of his novels (French and Arabic), focusing on readers – representatives of the two cultures. This idea is confirmed by his bilingual consciousness, which finds its expression in the texts, which are a kind of interaction of the Arabic and French languages, involving a peculiar translation from one language to another. Such interaction may be called as the point of intersection in determining the ethnolinguistic identity of the writer-translingual.

Text created by Rashid Boudjedra in Arabic, is the primary, and the text written in French represents the author's translation. Under a translation we understand some transmission of text word by word, transmission of calques, etc., which essentially defines ethnolinguistic ambivalence of art creations of Rashid Boudjedra.

In almost all of his novels, written in Arabic, the text is a detailed narrative filled with reflections, allusions, reminiscences and digressions. In our opinion, this is not surprising, because in all the French-language works of Rashid Boudjedra the influence of such generally recognized literary masters as William Faulkner, Albert Camus (also Algerian by origin), Gabriel Garcia Marquez, etc., for which a characteristic form of creativity is subjectivepsychological analysis is clearly visible. However, we can assume that the author’s literary technique was borrowed from well-known novelist Claude Simon, who in recognition of the Rashid Boudjedra himself has always been his idol.

What can be regarded as the author's translation, for example, in the Rashid Boudjedra’s novel "Démantèlement" ("Reassessment"), in which his ethno-linguistic identity is particularly salient? Indeed, he writes in two languages, each of which appears in the text alternately — Arabic in French and French in Arabic, thus creating a kind of linguocultural contamination of the source text. In this regard, we attempted to perform this dynamic interactive process rich in interferences, which, in fact, creates a literary, artistic and ethno-linguistic identity of the works of Rashid Boudjedra. That is why we are trying to trace the transformations that were required in the transition from Arabic to French and were due to the author's love of various repetitions, creating a recognizable canvas of constantly changing and at the same time identical stories. The author's style of writing is characterized by the abundance of repetition in his texts that from our point of view can be considered a feature of his idiostyle. In an interview, responding

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to the reproach in the abundance of text repetitions, he said that "the idea expressed in the word is realized, remembered, developed and, therefore, lives only with multiple repetition" [6, p. 12-13].

Examining literary and artistic creativity of Rashid Boudjedra through the prism of ethnolinguistic identity and intertextuality, it is impossible to ignore the presence in his writings of various kinds of linguistic interferences, which are the most interesting from the standpoint of the author's translation. Thus, in the French and Arabic works of Rashid Boudjedra, the archaic structure of Muslim society is severely criticized, which is based on violations of sexual, religious and political prohibitions.

These topics, which are characterized by the search for onomastic solutions in the context of statements, the use of linguistic markers of gender, etc., are considered by the author in two languages. Thus, the exposure of social injustice, the humiliating position of women, outdated traditions, patriarchal power and the dominant religious ideology develops in a double linguistic framework. If the Arabic language is the only language for Rashid Boudjedra that allows to express his own ethnolinguistic identity, the French allows him to say things which for many years were a taboo in Arabic society. If the language of the ancestors refers the reader to traditional values, the active text assimilation of the French lexical units used by the author (at the level of nomination of objects or technical means) creates the appearance of its modernization.

To discuss topics of taboo in Arabic culture the language of their ancestors, literary Arabic, seemed too stiff, rigid, and even archaic for Rashid Boudjedra, however, he successfully used his native dialect to break these taboos: «Plus j’écrivais en français, et plus les mots me venaient en arabe. En arabe populaire, chargé de codes et de symboles. Certains jeux de mots, très hérétiques en arabe (un point suffit par exemple à transformer le mot Dieu en phallus) sont intraduisibles en français. Enfin, si j’ai tant tardé à écrire en arabe, c’est que je trouvais que le roman arabe contemporain était surtout de la littérature d’instituteur, du folklore rénové. [...] Mon projet était d’introduire la modernité dans la littérature arabe.» [7, p. 12] ("The more I wrote in French, the more Arabic words came into my head. In the Arabic vernacular, full of codes and symbols. Some word games that are completely wrong in Arabic (for example, one dot is enough to convert the word God into the word phallus) are not translated into French. Finally, if I started writing in Arabic so late, it's because I thought that the modern Arabic novel was primarily part of school literature, part of updated folklore. [...] My plan was to implement modernity into Arabic literature») (authors’ translation).

Starting with the novel "La Macération" ("Decadence") the works by Rashid Boudjedra are published with the note " traduit de l’arabe par Antoine Moussali en collaboration avec l’auteur" ("translated from Arabic by Antoine Mussali together with the author"). Such translation co-authorship begins only with the second novel, presented as a translation from Arabic. This is particularly interesting in view of the fact that the first French-language novel "Le

Démantèlement" was announced as a translation from Arabic, made by the author himself. All the French media which has been enthusiastically welcomed by the novels of Rashid Boudjedra, commented on the high quality of their translation.

However, Antoine Moussalli was entrusted by the author to make the translation of the second novel in the French language, thus trying to move away from the French text. Here is what Rashid Boudjedra writes about it himself: «Je n’avais plus de raisons d’écrire en français. J’ai traduit moi-même Le Démantèlement en arabe, mais c’était en fait une réécriture totale. Puis j’ai écrit les suivants directement en arabe et j’ai pris un traducteur pour la version française, comme un garde-fou qui m’a évité de réécrire chaque fois deux versions d’un même livre.» [6, p. 12-13] ("I had no more reason to write in French. When I translated "Le Démantèlement" into Arabic myself, I saw that I had simply written it again. I wrote the following novels already in Arabic, and for the French version I hired an interpreter who insured me from not making two different versions of the same book") (authors’ translation).

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Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 2 (25), 2019 ISSN 2587-8093

Considering texts of Rashid Boudjedra from translational point of view, it should be noted that the analysis of artistic translingual texts needs an integrated vision that combines various approaches. According to authors’ point of view these include approaches such as linguistic (the focus is not on the formal, but on the substantive relationship between the original and the translation), communicative (translation as a process of coding and decoding is closely related to sociolinguistics) and sociosemantic which focuses on social aspects, the relationship between linguistic and extralinguistic in the process of speech communication as well as the impact on this process of language, culture, and human thinking.

Translation is always a certain rearrangement since it is a product of the interaction of two different linguistic poetics. In addition, the task of the translator may be some aesthetic purpose (for example, during the translation the repetitions, the additions and the movements can be excluded from the text). Literal translation involves a certain framework that requires the preservation of the syntactic and lexical features of the original in the translated text. Our point of view is confirmed by the French linguist A. Martinet, considering the process of translation as "the art of re-expression" which involves the analysis of the connecting elements of the thoughts of a certain message and their transfer by means of another language [8, p. 67].

In our opinion, this view is particularly relevant in the context of bilingualism of the writ- er-translingual Rashid Boudjedra. Thus, speaking about the problem of bilingualism in literary and artistic creativity, A. Martine emphasizes that the author-translingual does not need to become a translator [8, p. 29]. Perhaps this explains the presence of combinations of Arabic words with their French translation in the works of Rashid Boudjedra. In this regard, Jany Le Baccon notes that, despite the small number of Arab words, Arab and to a lesser extent Berber language form the French style of Rashid Boudjedra [9, p. 76].

As an illustration of the above-mentioned facts the inclusion in the text of the novel

"Ettafakouk (Le Démantèlement)" of words and phrases in dialect or classical Arabic may be noted. Some of them, particularly religious cultureme, recorded in the French dictionaries and understandable to French readers. Others, on the contrary, are clear only to people who know the Arab-Muslim culture.

The results of the linguistic and cultural analysis of the Rashid Boudjedra’s novel "Ettafakouk (Le Démantèlement)" revealed 386 culturemes and culturonyms, which served as the basis for the following classification:

1.Religion: Aïd [10, p. 89, 102, 135,]; Mufti, Imam [10, p. 91, 57, 43, 78, 226]; sourate [10, p. 97, 149, 223] etc.

2.Clothes: Chèche [10, p. 15, 55, 70, 81, 104, 251]; Kachabias [10, p. 55, 77, 96, 116]

etc.

3.Toponyms: Sebkha [10, p. 33, 58, 217, 289]; Fondouk [10, p. 93, 175, 197, 248]; Douar [10, p. 98, 134, 167] etc.

4.Animals: Fakrouna [10, p. 58, 59, 171, 183]; Clebs [10, p. 70, 86, 288] etc.

5.Uncategorized: Haschaschins [10, p. 73, 99, 195, 208]; Kif [10, p. 75, 80]; Narguillé [10, p. 75, 131, 199] etc.

Maghreb and even Arabic-speaking reader is referred by those culturemes and culturonyms to the Arabic semantic field, while the reader who belongs to a different linguistic culture can easily specify their values using the dictionary. As an example, we give quotes from the novel:

«... un homme traqué par la police qui jetait à ses basques des chiens habitués à l’odeur du chèche (...) il était condamné à vivre la tête dénudée, dépourvue de couvre-chef...»

[10, p. 15] («... a man pursued by the police with dogs accustomed to the smell of a scarf

( ... ) was sentenced to live with his head uncovered, without a hat…») (authors’ translation);

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