Учебное пособие 1681

goods and products are those of prime necessity, however, in commercial nomination, this adjective becomes a synonym of «cheap» in the view of the target audience.

The name can directly characterize the pricing policy of an institution, like «Smeshnye tseny», «Apteka nizkikh tsen «Vita»», «Otlichnaya tsena», «Po karmanu», «Vkusnotsen», «Tsiryulnik. A network of low-price hairdressing salons», «Pyatisotka», «Zhenskaya Odezhda. Vse po 350», «Rubl bum», «Fix price». The sole mentioning of the price, without definition, attests to the fact that this indicator is one of the most important ones, when choosing a product.

In the choice of cheaper goods, one of the options is to purchase them from a warehouse directly, without intermediaries. Some shops allegedly offer such opportunity, creating the illusion of money-saving among the customers. At wholesale warehouses, as a rule, products are usually sold in batches, which is not a mandatory condition for shops. In the function of a name, the word «склад» (warehouse) loses its lexical meaning of a premise for storage of things: «Aptechny Sklad», «Apteka ot sklada», «Tsvetochny sklad», «Tsvety: Magazin ot sklada», «Tsvety Optorg 24».

The shops, offering inexpensive goods, as a rule, indicate the widest possible audience as consumers, and their assortment is often specified by the pronoun «всё» (all): «Vse dlya Vas», «Vse dlya Semyi», «Tovary, dostupnye dlya vsei semyi», «Dlya semyi ODEZHDA iz Evropy», «Semeynyi tsenopad», «Semeynyi garerobchik».

In names like «Narodny magazin», «EKONA: ekonomnaya narodnaya apteka», «Narodnyi butik», the adjective «народный» (people’s) is not used in the meaning of «inherent for people, belonging to people, or closely related to people». It rather highlights another word content, i.e. «intended for lower social strata, generally available». In the Big Explanatory Dictionary of the Russian Language, edited by S.A.Kuznetsov, there is a note: «In Russia until 1917» [12].

The shops with names, indicating the goods offered, are focused on a wide customer audience, (like «Шапки» (caps), «Сумки» (bags), «Шторы» (curtains), «Ткани» (fabrics), «Сантехника» (bathroom equipment), «Хозтовары» (household goods). These examples show that the principle of nomination, widely used in the 20th century, did not become a thing of the past. It nostalgically reproduces the social equality of people.

There are also special forms of trade organization, namely, a second-hand, a stock and a discount. A second-hand (borrowed from English, meaning «second hand») is a shop, selling goods, used previously. The shops of stock clothes (borrowed from an English word, meaning

«remnants of goods») or discount centres offer the remnants of last season’s collections, or the unsold lots of goods. The indication of the shop format, in itself, properly directs the social audience: «Planeta Second-Hand», «Second city», «Mebelnyi discount centre», «Legkiy shag. Diskont», «Stok bytovoy tekhniki».

There is still a need for commission shops, selling things, taken on commission from owners: «Маmin Sunduchok», «Pesnya», «Pyatachok», «Tvoi magazin». The abbreviation б/у

– previously used – became the source of the nomination «Б/утик», combining two opposite meanings. On the one hand, it is a noun boutique, denoting a small shop of expensive fashionable clothes, and, on the other, it is an abbreviation, indicating things that have already been used. A shop with such an unusual name is a secondhand shop.

Shopping centres, which are focused on the poor social strata, make little use of Latin graphics in their names (Cf.: «Grand boutique», «Ego», «Platinum», «Egoist», «Coctail»), do not draw attention to the product status (cf. the gift shop «Аristokrat»), however, do not assume high quality.

Conclusion

The analysis of nominative trends of the new century allows us to conclude that the evolution of cultural priorities in society is not necessarily reflected in the essence of linguistic nominative processes. The change in the communicative base of nomination, from the product name to implementing one of the components of the triad «producer/seller – product/service –

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buyer/user» was succeeded with the thorough analysis of each component and their overlapping. The laws of new PNBO are being updated, awaiting for study, and the professional requirements for namers’ activity are being formed.

References

[1]Novichihina M.E. Problemy izucheniya kommercheskoj nominacii: uchebnoe posobie

/M.E. Novichihina. – Voronezh: Kvarta, 2012. – 106 s.

[2]Novichihina M.E. Kommercheskaya nominaciya: teoriya i praktika uchebnoe posobie

/M.E. Novichihina. – Voronezh: VGU, 2018. – 246 s.

[3]Emel'yanova A.M. Ergonimy v lingvisticheskom landshafte polietnicheskogo goroda: na primere nazvanij delovyh, kommercheskih, kul'turnyh, sportivnyh ob"ektov g. Ufy: avtoref. dis. … kand. filol. nauk / A.M. Emel'yanova. – Ufa, 2007. – 24 s.

[4]Nosenko N.V. Nazvaniya gorodskih ob"ektov Novosibirska: strukturnosemanticheskij i kommunikativno-pragmaticheskij aspekty: avtoref. dis. ... kand. filol. nauk / N.V. Nosenko. – Novosibirsk, 2007. - 22 s.

[5]Starodubceva V.V. Nominaciya vnutrigorodskih predpriyatij i uchrezhdenij v sovremennom russkom yazyke: na materiale ojkodomonimov g. Ul'yanovska: avtoref. dis. ... kand. filol. nauk / V.V. Starodubceva. – Moskva, 2003. - 21 s.

[6]SHCHerbakova T.V. Iskusstvennaya nominaciya kommercheskih predpriyatij: na materiale tyumenskih naimenovanij: avtoref. dis. ... kand. filol. Nauk / T.V. SHCHerbakova. – Tyumen', 2009. - 24 s.

[7]Lapinskaya M.A. Uchebnik «Russkij yazyk dlya nejmerov»: prospekt / I.P. Lapinskaya, M.A. Denisova // Innovacionnye processy v lingvodidaktike: sb. nauch. tr. Voronezh:

FGBOU VO «Voronezhskij gosudarstvennyj tekhnicheskij universitet», 2018. Vyp.15. – S. 7681.

[8]CHto v imeni?: monografiya / I.P. Lapinskaya, M.A. Denisova, D.A. Sorokina i dr.; pod red. I.P.Lapinskoj. – Voronezh: FGBOU VO «Voronezhskij gosudarstvennyj tekhnicheskij universitet», 2016. – S.51-61.

[9]Lapinskaya I.P. Polifunkcional'nost' elementa sistemy: grafema «i» v russkom yazyke

/I.P. Lapinskaya, M.A. Denisova // Aktual'nye problemy professional'nogo obrazovaniya: celi, zadachi i perspektivy razvitiya: sbornik nauchnyh statej po materialam 16-oj vserossijskoj nauchno-prakticheskoj konferencii. Voronezhskij filial FGBOU VO «RANHiGS» – Voronezh, 2018. – S. 157-163.

[10]Manukovskaya M.P. Faktor adresata v imenah sobstvennyh magazinov tovarov dlya detej v g. Voronezhe / M.A. Manukovskaya // Vestnik Voronezhskogo gosudarstvennogo universiteta. Seriya: Filologiya. Zhurnalistika. – 2017. – №4. – S.104-106.

[11]Stil' reklamy: rechevye formy: monografiya / I.P. Lapinskaya, M.A. Denisova, O.V. Gosteva i dr.; pod red. I.P. Lapinskoj. – Voronezh: FGBOU VO «Voronezhskij gosudarstvennyj tekhnicheskij universitet», 2016. – S.61-69.

[12]Bol'shoj tolkovyj slovar' russkogo yazyka [pod redakciej S.A. Kuznecova], URL: http://gramota.ru/slovari/ (vremya obrashcheniya 25.12.2019).

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THEORY AND PRACTICE OF TRANSLATION

UDC 81’42

NARRATION THE INTELLECTUAL PERSONALITY INFORMATION

GENERATOR

Y.V. Zubenko

____________________________________________________________________________

U. Sultangazin Kostanay State Pedagogical University, Master of Linguistics,

Senior Lecturer, Department of Philology Yana Valerievna Zubenko

e-mail: janaz75@rambler.ru

____________________________________________________________________________

Statement of the problem. The article is based on four chapters of the novel “Medea. Voices” written by K. Wolf deals with the topic of the personal narration of the main character, analyzes the types of narration, examines the problem of implicit and explicit markers in gender using the image of Medea as an example, compares the narration in the original language (German) and translation (Russian).

Results. The directions, basic concepts and works of researchers in the field of narratology are studied. The significance of the narrative structures by which the reader perceives the text in a certain way is determined. The role of the gender aspect and its connection with linguistic actualization through grammatical (feminine suffixes in the German language) and lexical-semantic categories (character, mood and emotionality, physiological signs, attention of the opposite sex, clothes, organization of daily routine and leisure) are analyzed. The differences between the narration in the original and the translation are revealed, the ways for the translator to solve the problem of narration transmission (variative correspondences) are described. It was established that a deep penetration into the author’s intention allows the translator to reproduce the text created in the framework of another culture and preserve the complex authorial presentation of facts and events.

Conclusion. The narrator sets out the events of the story as an observer who, based on worldview and life experience, comes to his own conclusions.

Key words: narratology, narration, narrator, gender aspect, explicit form, implicit form, narration translation.

For citation: Zubenko Y.V. Narration the intellectual personality information generator / Y.V. Zubenko // Scientific Journal “Modern Linguistic and Methodical-and-didactic Researches”. – 2020. - № 1 (28). – P. 86 - 96.

Introduction

Recently, in modern science, there has been a wide interest of representatives of humanitarian knowledge in one of the controversial and controversial topics, namely, narration, as a classical sphere of the origin and functioning of a story. It is generally accepted that the narration is inextricably linked with event and narrative reality, it is responsible for the way the narrated reality is presented. A special place here is occupied by a narrative story, which narrates through the prism of personal views, evaluates the significance of individuals, current events and rules of life, guided by subjective beliefs.

Yu.M. Lotman, considering the narrative text, defines the event as “moving the character across the boundary of the semantic field” or as “crossing the prohibitive border” [1, p. 282288]. V. Schmitt claims that events, as significant phenomena and facts that occurred in a person’s life, affect the change in the initial situation and have external (natural, action, interactive events) and internal situations (mental events) [2, p. 10-13]. American linguists William Labov and Joshua Waletzky offer a scheme for oral narratives of personal experience that applies to a wide range of narrative situations and types, including oral memoirs, traditional folk tales, avant-garde novels, therapeutic interviews, as well as ordinary everyday narratives [3, p. 220].

____________________

© Zubenko Y.V., 2020

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Bulgarian philosopher Tzvetan Todorov was one of the first to designate the term narratology and in 1986 in the article “Grammar of Narrative” proposed his own model of narrative, delimiting it into two types of episodes: a description of the state and transitions between states. He believed that the work contains two aspects: history and discourse According to the French philosopher and literary critic R. Barth, the narrative is a kind of narrative and unfolds “for the sake of the story itself, and not for the direct impact on reality” [4, p. 386]. Thus, the narrator tries to streamline his own experience in terms of his view of the world. According to the definition of the French literary critic Gérard Genette, the narrative can “reveal some story” and “be generated by some person” [5, p. 404].

E.V. Paducheva explains this rule as follows: the point of view is determined by the choice of one subject for the role of the speaker, and it is clear that the speaker cannot change throughout his speech [6, p. 203]. However, A.P. Chudakov believes that the narrator and storyteller are not synonyms, since the narrator does not name himself and is implicit [7, p. 30-37].

I.E. Orlova believes that the narrator is “only one of the forms of author’s consciousness”, while the author is “omniscient and omnipresent,” but the degree of his “manifestation” in the text can be different [8, p. 9]. According to D.D. Vasev’s narrator in the form of the author’s “I” is a speaker, organizing a center of “primary” narration as his personality. However, the degree of its representation varies [9, p. 80].

S.Yu. Lebedev argues that author’s consciousness includes the consciousness of a narrative hero, who, in turn, models the world of consciousness of a text or replica bearer. Any story is an expression of a holistic art world, the subject of which will always be a person, as well as the transfer of information from the author to his hero and from him to the next character [10, p. 38-44]. L.A. Nefedova and T.Ya. Kotlyarova argues that a literary text simultaneously limits the space of understanding to its substantial program and, nevertheless, gives freedom to the reader, suggesting the variability of constructing reader's projections within this space [11, p. 547].

Methodology of the research

In this article, the object of research is the personal narrative of the main character of the novel “Medea. Voices” written by Ch. Wolf (chapters 1, 4, 8, 11). The subject of the study is the implicit and explicit forms of the gender aspect, as well as translation decisions, through which the translator does not observe the transfer of the author’s narrative.

The purpose of the research is to identify linguistic means of expressing the gender aspect and to establish differences between the female narrative in the original and translation in the novel “Medea. Voices” written by Ch. Wolf.

Research objectives: 1) to consider the concept of “narration” 2) to identify and analyze the types of storytelling in the narration of the main character; 3) to compare the narration in the original language and translation.

The research material is presented by Ch. Wolf’s novel “Medea. Voices” and directly translated by a novel by M. Rudnitsky.

The analysis used continuous sampling methods, a descriptive method, a classification method, a linguistic-stylistic interpretation of the text, and a contextual analysis method.

The relevance of the research is conditioned by the study of the main components of the narrative aspect on the example of a representative of antiquity, acting as a storyteller and related to the events of the distant past and present.

Results of the research

The novel “Medea. Voices” written by Ch. Wolf was created as an allusion to the ancient Greek myth of the Golden Fleece, as well as the tragedy of the ancient Greek poet and playwright Euripides and the Roman philosopher Seneca, dedicated to the Colchian princess Medea, beloved argonaut Jason. To connect all the stories in one work, Ch. Wolf uses her own technique, the author introduces voices into the novel. So, six characters in eleven monologues

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defend their point of view, their own individual perspectives, describe their interests and share plans with the reader for the future.

Six voices, through the depth of centuries, in the form of memories, try to convey to the modern reader the essence of what is happening and give him the opportunity to understand what caused the tragedy, and whether it could have been avoided:

„Kindsmörderin? Zum erstenmal dieser Zweifel“ [1*, p. 9] / «Детоубийца? Впервые – укол сомнения» [2*, p. 2]. / “A child-murderess? For the first time, this doubt” [3*, p. 1].

Events are presented in separate passages, sometimes completely unrelated, the heroes either go into themselves, in their experiences, or engage in a dialogue with the reader, who from many chapters begins to understand the meaning of what is happening. By transmitting information, the author violates the strict chronology of the storyline, which causes the reader a sense of chaos and complete uncertainty, even sometimes mistrust of what the heroes of the work want to convince him of. It can be assumed that they are even trying to make the reader one of them:

„… müssen wir uns in das Innerste unserer Verkennung und Selbstverkennung hineinwagen, einfach gehen, miteinander, hintereinander, das Geräusch der einstürzenden Wände im Ohr“ [1*, p. 10] / «… , наш долг как раз в том, чтобы проникнуть в самую сердцевину предубеждений, просто зажмуриться и войти, всем вместе, друг за дружкой, под грохот их рушащихся перегородок» [2*, p. 2] / “We must venture into the deepest core of our misjudgment – of her and of ourselves – simply walk in, with one another, behind one another, while the crash of the collapsing walls sounds in our ears” [3*, p. 2].

The novel is designed so that the thoughts of the characters are accessible to the reader and inaccessible to other characters. Subjectivity is observed in the transmission of the narrative and interpretation of the events of the actions of the heroes, which leads the reader astray and entails a distortion of the images and events that occur, as a result of which a lot is not said and remains secret for a long time or transmitted only through hints. Thus, the perspective of the novel’s narration is directed to the inner world of the thoughts and experiences of the characters and is introverted.

The novel has the second name – “Voices”. Thus, it becomes clear that this is not on behalf of the author: the storytellers themselves evaluate their actions, the surrounding reality and what is happening, and the reader remains neutral. Their revelations lay claim to the truth, which has remained unsolved to date. The discrepancy between moral standards and surrounding reality left an imprint on questions about traditional values and caused serious difficulties in assessing what was happening around:

„Müßige Frage. Falsche Fragen…“ [1*, p. 9] / «Праздные вопросы. Вопросы невпо-

пад» [2*, p. 2] / “Idle questions. Ill-considered questions …” [3*, p. 2].

As all myths, the myth of Colchis Medea changed over time, from the oral form it appeared in writing, and has numerous versions, but always the core of the mythical story is infanticide, evil witchcraft and betrayal. However, the novel by Ch. Wolf makes the reader take a fresh look at the image of Medea: a vengeful and treacherous woman becomes a victim in the struggle between the civilized Corinth and the barbarian Colchis:

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„Neben uns, so hoffen wir, die Gestalt mit dem magischen Namen, in der die Zeiten sich treffen, schmerzhafter Vorgang. In der unsere Zeit uns trifft. Die wilde Frau. Jetzt hören wir Stimmen…“ [1*, p. 10]. / «Хочется верить, что теперь она подле нас, эта тень с магическим именем, в котором сошлись времена и эпохи, сошлись болезненно и нестерпимо. Тень, в которой наше время настигает нас. Эта женщина, неистовая. Теперь мы их слышим, эти голоса…» [2*, p. 2] / “Next to us, or so we hope, is the shape with the magical name, in whom the epochs meet – a painful process – and in whom our time meets us. The wild woman. Now we hear Voices” [3*, p. 2].

Of particular interest is the expression of Medea’s thoughts, which throughout the novel reflect her feelings and experiences. The author quite peculiarly describes her condition, so her thoughts rush around:

„… was ist nur mit meinem Kopf, daß er die Gedanken in ganzen Schwärmen losläßt, warum fällt es mir so schwer, …“ [1*, p. 15] / «… , да что же это с моей головой, мысли мечутся косяками, и почему же мне так трудно …» [2*, p. 4] / „What’s the matter with my head? It’s buzzing with a whole swam of thoughts, why is it hard for me

…“ [3*, p. 8].

The main character must gather her thoughts:

„Besinn dich“ [1*, p. 13] / “Concentrate” [3*, p. 6].

She hears voices from the past, and perceives them as a signal to which something responds to her:

„Die Stimme. Noch einmal das Signal, dem etwas in mir entspricht, …“ [1*, p. 26] / «Этот голос. Снова как сигнал, на который что-то во мне отзывается, …» [2*, p. 7] / “In voice, once again, was the signal that something in me answers” [3*, p. 13].

She is tormented by thoughts:

„Nichts hat mich mehr gequält als der Gedanke, …“ [1*, p. 90] / «Ничто так не мучит меня, как мысль, …» [2*, p. 30] / “Nothing has tormented me more than thinking ...”

[3*, p. 72].

In her discussions about the lifestyle of the inhabitants of Corinth, the main character tries to find answers to the endless questions tormenting her, as a result of which she has stupid thoughts:

„Aber wohin verirre ich mich“ [1*, p. 37] / «Но куда это меня завели дурацкие мыс-

ли?» [2*, p. 11] / “But where am I wandering off to?” [3*, p. 25].

Restraining herself and not responding with hatred to hatred, Medea rises above the feelings of ordinary people who, at times, need hatred even more than love, although individual words sit in it like splinters:

„Einzelne Worte haben sich schon immer in mir festsetzen können“ [1*, p. 183] / «Со мной всегда так – отдельные слова сидят во мне, как занозы» [2*, p. 61] / “Certain individual words have always had a way of clinging to me with great persistence” [3*, p.

153].

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According to the author, Medea is involved in the events and acts as a storyteller, leading the story on his own behalf. The main character is an intellectual person who is able to understand and comprehend the acquired new knowledge and use it effectively. She tells her own version of the events, trying to find support among future generations, as contemporaries living at the same time with her have distorted her story. Her life story is written in the language of dreams, a language from the past:

„Traumsprache. Vergangenheitssprache“ [1*, p. 2] / “The language of the dreams. The language of the past” [3*, p. 5].

The main character conducts an internal dialogue with people around her, people who are no longer alive and with herself. There are some examples in which she mentions members of her family left in Colchis. So, throughout the entire novel, Medea often turns to her mother in her childhood memories and especially difficult life situations, which cannot be said about her father:

„Einmal, Mutter, in einer anderen Zeit, habe ich mit meinen beiden Händen zum Abschied deinen Kopf umspannt, seine Form ist als Abdruck in meinen Handflächen geblieben, auch Hände haben ein Gedächtnis“ [1*, p. 13] / “Once, Mother, in another time, I took your head in my hands as I bade you farewell, its shape is still impressed on my palms – hands can remember too” [3*, p. 6].

It is very difficult for Medea to recall the brother Apsirt, who died by the will of her father, in whose death she will be blamed:

„Alle wußten es schon, außer mir, endlich klärte Lyssa mich auf: Ich soll dich, Absyrtos, meinen Bruder, getötet haben“ [1*, p. 89] / «Все уже знали, все, кроме меня, пока Лисса меня не просветила: оказывается, Апсирт, братик, это я тебя убила» [2*, p. 30] / “Everybody knew already, except for me, at last Lyssa enlightened me: I was supposed to have killed you, Apsyrtus, my brother” [3*, p. 71].

As a result of the stressful situation caused by imprisonment and lack of interlocutors, Medea conducts a dialogue with herself:

„Ich sagte mir, ich bin Medea, die Zauberin, wenn ihr es denn so wollt. Die Wilde, die Fremde. Ihr werdet mich nicht klein sehen“ [1*, p. 179] / «Я Медея, волшебница, раз уж вам так этого хочется. Я дикарка, чужачка. Но страха моего вы не увидите!»

[2*, p. 59] / “I said to myself, I am Medea, the sorceress, if you all will have it so. The wild woman, the foreigner. You shall not belittle me” [3*, p. 150].

Having lost everything and everyone, expelled from the city, free from all desires, Medea seeks an answer to the question about the meaning of life:

„Wohin mit mir. Ist eine Welt zu denken, eine Zeit, in die ich passen würde. Niemand da, den ich fragen könnte. Das ist die Antwort“ [1*, p. 217] / «Куда мне теперь? Можно ли помыслить такой мир, такое время, где я пришлась бы к месту? Некого спро-

сить. Это и есть ответ» [2*, p. 71] / “Where can I go. Is it possible to imagine a world, a time, where I would have a place. There’s no one I could ask. That’s the answer” [3*, p. 186].

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The author considers the life path of the main character of the novel in the form of a chronology of actions. So, Medea recalls a series of events, the sequence of which is built in her mind in a rampart through which they nevertheless break through:

„Wie ich immer wieder die Abfolge der Ereignisse aufrief, die ich in meinem Gedächtnis befestigt habe als Schutzwall gegen die Zweifel, die jetzt, so spät, diesen Wall

überschwemmen“ [1*, p. 34] / «С каким исступлением снова и снова вызывала я в памяти череду событий, последовательность которых выстроилась в моем сознании в крепостной вал, неприступный для сомнений, которые теперь, с таким опозданием, через этот вал прорвались» [2*, p. 10] / „Again and again I call to mind the sequence of those events – I’ve kept it locked up in my memory as a protective wall against the doubts that now, so late, are flooding through my defenses” [3*, p. 22].

Narration from the first person, and in this case on behalf of Medea, as mentioned above, is a narrative form with two poles of human life: individual and social. Her story is the story of the separation of the subject from the group and voluntary, controlled return to the group. A description of her life path reveals not only the history of the formation of a separate personality, but the desire to demonstrate an attempt to communicate with other people, adaptation to a new culture and traditions of another country. However, for the heroine, as the story in the story, there are other interlocutors whose names the author does not name, and whose stories remain a mystery to the reader. Thus, Ch. Wolf introduces the opinion of others about the tragic death of Medea’s younger brother, which no one directly blamed for this, although many were pleased to retell tales heard from others and to embellish them with even more terrible details:

„Ich dagegen erschrak kaum, als der Vorläufer des Gerüchts mich streifte, man sagte es mir ja nicht ins Gesicht, man wisperte es hinter meinem Rücken“ [1*, p. 89] / «Сама же я, напротив, почти не испугалась, когда предвестье молвы дуновением коснулось меня, мне же в лицо никто ничего не говорил, только за спиной шушукались» [2*, p.

30] / „I, on the other hand, barely gave a start when the rumor’s forerunners first appeared in the distance, indeed, no one said anything to my face, they whispered behind my back” [3*, p. 71].

In addition to the fact that Medea conducts an internal dialogue with herself, she acts as an interlocutor with other characters in the novel, and the author does not graphically emphasize direct speech, however, translated by M. Rudnitsky, she is present:

„Früher, sagte ich zu Jason, früher hast du an mich geglaubt. Und an dich“ [1*, p. 27]. «

– Прежде, – сказала я Ясону, – прежде ты в меня верил. И в самого себя тоже»

[2*, p. 8] / “In the past, I said to Jason, in the past you believed in me. And in yourself”

[3*, p. 17].

In the process of analyzing the novel, it turned out that the gender aspect plays an important role in the study of narrative. According to the statement of L.A. Kessler, in modern science, there is another wave of academic work on gender identity. The linguist indicates that gender, as a social construct, manifests itself in all spheres of human activity, in particular, in the process of his speech activity [12, p. 92]. Thus, it would be interesting to consider updating the gender aspect first in an explicit form, when the author consciously demonstrates his gender identity, for example, Medea calls herself the royal daughter, an ordinary young woman and a woman with beautiful legs:

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„… die Tochter einer großen Königin“ [1*, p. 16] / «… дочь великой царицы» [2*, p. 4] / „A great Queen’s daughter” [3*, p. 8],

„Ich bin keine junge Frau mehr, …“ [1*, p. 17] / «Я теперь тоже уже не молода, …» [2*, p. 4] / „I’m not a young woman anymore…“ [3*, p. 9],

„Ich war eine gewöhnliche Frau, …“ [1*, p.103] / «Я стала обычной женщиной, …» [2*, p. 34] / „I was an ordinary woman, …“ [3*, p. 82],

„… daß Jason die Füße der Frauen mag, aber keine habe so schöne Füße wie ich, …“ [1*, p. 24] / «Ясон любит женские ножки, а таких красивых, как у меня, ни у кого больше нет, ...» [2*, p. 7] / “Jason likes women’s feet and that no women has feet more beautiful than mine” [3*, p. 15].

By determining the gender of a noun by value, the reader understands that this is a female person. No less interesting examples from the same category with feminine nouns suffixes translated by M. Rudnitsky:

„Verräterin“ [1*, p. 26] / «Предательница» [2*, p. 7] / “Traitress” [3*, p. 16], „Ich Törin“ [1*, p. 187] / «Дура я, дура» [2*, p. 62] / “I was a fool” [3*, p. 156],

„meine Fähigkeiten als Heilerin“ [1*, p. 16] / «мои способности врачевательницы»

[2*, p. 4] / “my abilities as a healer” [3*, p. 8]

and substantive feminine adjectives denoting a person:

„Die Wilde, die Fremde“ [1*, p. 179] / «Я дикарка, чужачка» [2*, p. 59] / “The wild woman, the foreigner” [3*, p. 150].

In this example, the translator follows a colloquial style and offers the option of a stranger (alien, outsider) to translate the substantive adjective die Fremde (stranger, foreigner, stranger). Despite the fact that the author narrates about a long-gone era, the novel traces colloquial vocabulary, thanks to which the reader feels the connection between the past and the present.

The gender aspect in the novel is also actualized in an implicit form, for the expression of which the author uses certain markers associated with gender stereotypes. So, the author does not name the heroine and does not say that she is a woman, but the reader understands this indirectly, for example, by physiological signs:

„Mutter, ich war ein Kind, fast ein Kind, ich hatte zum erstenmal geblutet , …“ [1*, p. 12] / «… я была еще девочкой, почти ребенком, в первый раз закровоточила, …» [2*, p. 3] / “I was a child, nearly a child, I’d bled for the first time…” [3*, p. 5].

In the novel, a description of clothes is often found, to which the heroine is very attentive and says that she wove the cloth for the dress herself, as she sewed it:

„… ich ziehe das weiße Kleid an, das ich selbst gewebt und genäht habe, …“ [1*, p. 14].

So, in the above examples, we are talking about a white dress and a headband worn by women of that time:

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„… streifte ich das Kleid über, prüfte seinen lockeren Fall, band das Haar mit der weißen Binde der Priesterin zurück, …“ [1*, p. 174] / «… я надела платье, окинула взглядом его ниспадающую красу, повязала волосы белой повязкой жрицы, …» [2*, p. 58] / „I slipped on the dress, made sure its loose folds were falling as they should, bound back my hair with white priestess’s fillet, …” [3*, p. 146].

The admiring glances and compliments of men went to the owner of luxurious hair, dark skin and fiery eyes. Thus, through the author’s description of the external features of the hero, we can conclude that they belong to a woman:

„… wie Telamon darauf lauthals von meinen körperlichen Vorzügen schwärmte, die braune Haut, sagte er, das Wollhaar, … meine Glutaugen“ [1*, p. 16] / «… а Теламон в ответ во всеуслышанье стал расхваливать мои прелести, смуглая кожа, говорит, и смоль волос, … о моих «огненных очах» [2*, p. 4] / “… how thereupon Telaman went into loud raptures over my physical attributes, my brown skin, he said, …, my woolly hair

...” [3*, p. 8].

The mental state and need for a girlfriend with whom you can share experiences also indicate a female:

„Lyssa, die ich manchmal neben mich auf mein Lager ziehe, um vertraut mit ihr zu sprechen, und die ich manchmal wegwünsche bis an den Rand der Welt“ [1*, p. 28] /

«Лисса, которую я то сама прошу прилечь рядом со мной на мое ложе, чтобы облегчить душу, а то готова гнать от себя чуть ли не на край света» [2*, p. 8] /

“Lyssa, whom I sometimes pull down next to me on the bed for an intimate chat, and whom I sometimes wish away at the edge of the world” [3*, p. 18].

The following examples also demonstrate female essence:

„… er sei der Mann, dem ich bis ans Ende der Welt folgen würde, …“ [1*, p. 30] / «…

будто это именно тот мужчина, за которым я побегу хоть на край света, … [2*, p. 9] / “… he was the man I’d follow tot he end of the earth,…” [3*, p. 19],

„Es war mir neu, unter dem Schutz eines Mannes zu stehen“ [1*, p. 98] / «Для меня это было внове: знать, что я нахожусь под защитой мужчины» [2*, p. 32] / „That was new to me, being under a man’s protection” [3*, p. 78].

Most likely, only a woman is ready to trust her chosen one, go after him to the ends of the world and remain under his protection.

In the following example, the heroine talks about her dance with colchids who celebrated the spring festival:

„Ich lief zu den Frauen, sie machten kein Aufhebens von mir, begrüßten mich, […], wir liefen zusammen über das Glutbett, wieder erlebte ich das Glück der Unverletzlichkeit, […], meine Fußsohlen blieben makellos weiß“ [1*, p. 190-191] / «Я подбежала к жен-

щинам, они нисколько не удивились, приветствовали меня, будто давно ждали, я протянула руки, […], мы все вместе помчались на угли, я снова, в который раз, пережила это чудо неуязвимости и кричала от счастья вместе с ними, […], мои босые ступни оставались безупречно белыми» [2*, p. 63] / “I ran to the women, they made no fuss, greeted me as though they’d been expecting me, I stretched out my hands, two of the women placed me between them, …” [3*, p. 159].

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