Учебное пособие 1715

specialty; practically no work was done to remove lexical and grammatical difficulties, lexical and grammar exercises were rarely performed, and attention was not paid at all to lessons in listening and writing. When learning to speak, they often asked to retell the text or answer questions about the content of the read text. It was found that “students who graduate from technical universities with logical-mathematical thinking achieve better results in reading and translating texts in their specialty, but their communication skills are less developed compared to graduates of humanities with visual-imaginative thinking. Graduates of technical universities achieve better results in the field of grammar, since they easily learn the language material presented in diagrams and tables” [8, p. 78].

Possessing this information about the trainees, we were able to build an individual educational trajectory of teaching a foreign language for each student of the courses successfully. In the formation of communicative competence at the first stage, we removed off lexical and grammatical difficulties, because students in the courses had a significant break in learning English; they were asked to perform a sufficient number of language exercises to improve the phonetic, lexical and grammatical skills they needed not only to read and understand professionally oriented texts, but also professional communication, namely, the application of knowledge, skills and abilities in various situations. We used a variety of methods and techniques for teaching communication. For example, “project training, which contributes to a higher level of cognitive development, involving students in solving complex and innovative solutions to problems. Activities such as planning and communication contribute to genuine research and self-study” [9, p. 56]. Students were asked to prepare joint projects that facilitate the formation of teamwork and aimed at applying the knowledge gained in the classroom. Each project was aimed at developing and obtaining the final result that needed to be presented. Therefore, students actively communicated with each other, solved various problems associated with professional activities. “Team training is a very effective form, as it provides experience that is not available at the individual level” [10].

Effective, in our opinion, was “blended-learning”, which arose as a result of the integration of information and communication technologies in education. We built in online courses, which were an auxiliary tool in the educational process, which contributed to the construction of an individual educational trajectory for students, the formation of their ability to selforganize and self-study, to work independently and analyze their achievements are important components of professional competence necessary for implementation continuing education.

The advantages of implementing courses in an online format that allows you to increase the level of foreign language communicative competence in the conditions of transferring the educational load to the sphere of independent development of educational material, first of all, include the ability to organize and control extracurricular, self-study work of students with online tools throughout the learning process; secondly, due to the specifics of electronic teaching aids (presentations, tests, video, chat), the effectiveness of delivering the educational content of the course is increased (students also have the opportunity to repeatedly review the lesson); thirdly, it becomes possible for students to choose the sequence and individual pace of learning content. In addition, online learning implies more opportunities for individualization of the educational process, the formation of an individual educational trajectory. Employees of the department developed electronic courses for preparing students for lectures based on the Moodle learning system, which included the necessary knowledge on various aspects of teaching a foreign language (professionally oriented vocabulary, grammar material that presents a certain difficulty).

To test the effectiveness of the model for teaching foreign languages in the system of continuing professional education, we tested students before learning courses and after completing training to determine the level of formation of a foreign-language professionally oriented competence among students. There were 20 course participants in the group, two listeners with level B2, seven with level B1 and eleven with level A1. Upon completion of the training

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of students in continuing education courses, we conducted a final test, the purpose of which was to confirm the effectiveness of the model we developed for students of additional professional training, as well as to determine the effectiveness of using the training methodology and recommended training strategies. We analyzed the results of diagnostic and final testing, taking as a basis the indicator of success rate (Isr). The average test result was 88% compared to the diagnostic test, the average of which was 59%. The indicators of the diagnosing test were in the range of Isr = 56% - 63%. The indicators of the final cut at a fairly high level. The success rate according to the final slice was in the range of Isr = 80% - 89%. The analysis of the results showed the confident stability of the possession of students of a foreign language professionally oriented competence. After determining the level of knowledge of students in a foreign language, we saw the following picture: level B2 was owned by 9 people, level B1 by 10 students, A1 by 1 student; he did not increase his level due to the irregular attendance of courses. This confirms the effectiveness of the teaching methodology and the entire model of teaching foreign languages in the system of additional professional education.

Conclusion.

Considering that a reasonable combination of traditional and innovative technologies in education contributes to the effectiveness of the educational process and to improving the quality of training for students; we integrated the methods of online learning, project and team learning of the English language into a single educational space and achieved good results, namely, we managed to integrate the productive communicative and methodological skills of students, form new qualities and abilities and expand the possibilities of their professional activity.

The questionnaire data and monitoring of student performance on the subject of satisfaction with the learning process indicate that the educational and methodological support of the integrated continuing education courses developed by the staff of the Department of Foreign Languages of the SFU using the above-mentioned technologies made it possible to create and improve foreign language professionally oriented competence of students. Many graduates of continuing education courses in foreign languages are now successfully lecturing in specialized disciplines in English: Radio Engineering, Information Security, Discrete Mathematics, and many other disciplines; develop new courses in a foreign language; promoting the SFU brand by taking part in international conferences, publishing articles in the Scopus and Web of Science databases and successfully implementing professional communication.

References

[1]Profstandart pedagoga http://profstandartpedagoga.rf/wpsontent/uploads/2014/08/pdf (data obrashhenija 2.02.2020)

[2]Polenova A.Ju. Integracija inostrannogo jazyka i soderzhanija professional'no orientirovannyh disciplin v vuze // Mir nauki. 2017, T. 5, № 5. URL: https://mirnauki.com/PDF/15PDMN517.pdf (data obrashhenija: 9.09.2019).

[3]Gural' S.K. Jazyk kak samorazvivajushhajasja sistema. Tomsk : Izd-vo Tom. un-ta, 2012.118 s.

[4]Popova N.V., Kogan M.S., Vdovina E.K. Predmetno-jazykovoe integrirovannoe obuchenie (CLIL) kak metodologija aktualizacii mezhdisciplinarnyh svjazej v tehnicheskom vuze // Vestnik Tambovskogo universiteta. Ser. Gumanitarnye nauki, 2018,T. 23, № 173. S.

29-42. DOI: 10.20310/1810-0201-2018-23-173-29-42.

[5]Verbickij A.A. Teorija i tehnologija kontekstnogo obrazovanija// Uchebnoe posobie. M.:MPGU, 2017, –268 s., s. 15; Gural' S.K. Jazyk kak samorazvivajushhajasja sistema. Tomsk

:Izd-vo Tom. un-ta, 2012.118 s.

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[6]Coyle D. Strengthening integrated learning: Towards a new era for pluriliteracies and intercultural learning // Latin American Journal of Content and Language Integrated Learning. 2015. № 8 (2). R. 84-103. DOI: 10.5294/l aclil. 2015.8.2.2 (data obrashhenija: 12.01.2020).

[7]Tarnaeva L.P., G.A. Baeva G.A. Predmetno-jazykovaja integracija v sisteme

[8]Krasnoshhekova G.A. Teorija i praktika jazykovogo obrazovanija studentov tehnicheskih vuzov. // Cheboksary ID «Sreda», 2018. –122 s.

[9]Shhukin A.N. Sovremennye intensivnye metody i tehnologii obuchenija inostrannym jazykam. M.: Filomatis, 2010, –186 s.

[10]Wolff D. On the importance of CLIL in the context of the debate on plurilingual education in the European Union // CLIL / EMIL - The European Dimension: Actions, Trends and Foresight Potential. Produced: UniCOM, Continuing Education Centre, University of Jyvaskyla, Finland. 2002 (data obrashhenija: 25.12.2019).

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INTERCULTURAL COMMUNICATION

UDC 811.133.1

METABOLA CREATION WAYS IN A TRANSLINGUAL TEXT

(BASED ON FRENCH FICTION)

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

_________________________________________________________________

Southern Federal University

Doctor of Philology, Professor of the Institute of Philology, journalism and intercultural communication, 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. One of the most important problems in the study of translingual literary texts created by writers who are native speakers of several languages and cultures is the use of various stylistic means that allow the author to mark the national realities of one linguistic culture using the language means of another, which facilitates the reader's perception of unknown realities. One of these stylistic tools is the metabola, which, despite its significance, is insufficiently studied.

The results of the analysis of metabola creation ways in a translingual fiction text indicate that they all serve to create the effect of mutual participation by transmitting previously unknown information in order to form a new ethno-linguistic and cultural knowledge in the reader. Consequently, the metabola helps the writer evoke a certain affective state in the reader, which contributes to a deeper understanding of the specifics of foreign cultural elements of the text. The analysis also revealed that with the help of the French language, rich in words, expressions and phrases belonging to the Arabic language, the writer creates his own linguistic and cultural field, his own metareal reality, so that not the first language of the writer (Arabic), but the second (French) becomes the language of creativity. It is established that in the French works of some writers-translingual such as Henri Troyat, the metabola is implemented largely through descriptions and to a lesser extent through transliteration, and in the French works of other writers-translingual such as Amin Maalouf, it is vice versa.

Conclusion. The results of the analysis lead to the conclusion that the peculiarity of the metabola of a French translingual fiction text is a manifestation of the bicultural status of the translinguist himself, who exists in two or more linguistic and cultural worlds. This is reflected in the multilingual and multicultural texts created by him, which is characterized by the presence of certain markers of his environment, which are manifested in the linguistic, cultural and socio-political context. Thus, in the linguosociocultural paradigm of translinguism, transculturalism, and multiculturalism, the metabola can be considered as an important stylistic trope.

Key words: metabola, translinguism, transculturalism, multiculturalism, translingual text, linguoculture, cultureme, autotranslation.

For citation: Kravtsov S.M., Chernossitova T.L., Maximets S.V. Metabola creation ways in a translingual text (based on French fiction) / S.M. Kravtsov, T.L. Chernossitova, S.V. Maximets // Scientific Journal “Modern Linguistic and Methodical-and-didactic Researches”. – 2020. - № 2 (29). – P. 6774.

____________________________________________________

© Kravtsov S.M., Chernossitova T.L., Maximets S.V., 2020

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Introduction.

From the end of the XX century a multilinguaculturalism is becoming one of the characteristics of modern fiction, which is based on geopolitical processes of late XX – early XXI centuries, in particular, the idea of the united world and the consequent intense migration in the context of a world without borders. The works of contemporary translingual writers with the inclusion of realities, historical facts, idiomatic expressions or allusions inherent in the first (native) linguoculture, which are defined by many researchers as geterolinguistic, allowed to create a special kind of literature, reflecting ethnolinguistic characteristics of the author.

Indeed, the multilingual culture of the translingual writer allows him to create a text consisting of several linguistic worlds. In this regard, it is interesting to see the point of view of Jean-Marc Moura, Professor of comparative and French literature at the Paris Ouest Nanterre La Défense University, a recognized expert in the field of French-language literature of the post-colonial period. Thus, emphasizing the mediative role of a French-speaking translinguist, he argues that « la conscience linguistique, développée chez tout écrivain, est, en effet, cardinale dans un contexte plurilingue » [1, p. 93-94] (“developed in any writer a linguistic consciousness is, in fact, cardinal in a multilingual context”) (our translation). According to JeanMarc Moora, this is the main reason for the emergence of the multilingual French-language texts.

Research methodology.

One of the characteristic features of a translingual fiction text is the presence of a metabola in it. We interprete it as a stylistic device that allows the author to create the effect of mutual participation by transmitting previously unknown information in order to form a new ethnolinguistic and cultural knowledge in the reader and thereby cause him a certain affective state that contributes to a deeper understanding of the specifics of foreign cultural elements of the text.

So, for example, considering translinguism from the position of linguoculturology, P. A. Borozdina rightly states that the characters of fiction works created not in the native language “acquire national features that reflect the soul of the people. The choice of artistic and visual means and the emotional tone of the narrative are inextricably linked with the poetic culture of the native people, with their attitude to the surrounding world” [2, p.78-82].

An interesting point of view is expressed by the German philosopher and culture expert E. Cassirer: “Getting into the 'spirit' of a new language always gives the impression of approaching a new world − a world with its own intellectual structure. This is similar ...to the discovery of a foreign country, and the greatest acquisition... − your own language appears in a new light.... the relative terms of two languages are rarely applied to the same objects and actions. They cover different fields, which, interpenetrating, create a multi-color picture and different perspectives of our experience” [3, p. 595-596]. In this way, the translinguist fills his work with metareal images that represent a mini-encyclopedia of a particular culture and thus stimulate the reader's psychoemotional response.

Today, the language itself has ceased to be an indisputable criterion of cultural identity. On the one hand, this is due to the fact that the language of translingual fiction writing can have a dialectal character, and the type 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 set of language units used creates a new ethnolinguistic and cultural space (metabola), which is often much wider or narrower than the one the author intended. It is the linguistic and cultural features of a translinguist's fiction work that are the main markers of his or her cultural identity.

Thus, the well-known French philosopher and sociolinguist Tzvetan Todorov believes that translingual literature reflects the transculturalism of the late XX – early XXI centuries, characterized as « l'acquisition d'un nouveau code sans que l'ancien soit perdu » [4, p. 36] (“the acquisition of a new code while preserving the former”) (our translation). According to the scientist, this phenomenon should be considered as « le stade dans lequel se trouve toute personne ayant acquis deux ou plusieurs codes culturels qu'elle manifeste librement et de façon

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équilibrée. Une culture ne peut pas remplacer une autre. De même, une langue ne se substitute pas à une autre, elle lui cède poliment, courtoisement la place temporairement ou définitivement » [4, p. 37] (“the stage at which any person who has acquired two or more cultural codes manifests it freely and in a balanced manner. One culture cannot substitute for the other. In the same way, one language does not replace another, it politely gives way to it temporarily or forever”) (our translation).

It is obvious that the transculturalism of the authors of translingual fiction texts is expressed in the manifestation of the original cultural code in their current non-linguistic and cultural society. Despite the fact that the authors perceive their native country as the main source of inspiration, in the French-language fiction works created by them, the native linguoculture is masterfully combined with the linguoculture of the host country, which has become their second homeland.

Taking into account the results of our study of the translingual fiction text, it seems necessary to emphasize the special complexity of the semantic configuration of translingual texts. As examples, let's consider the features of the fiction works of two completely different translingual writers, the winners of the Goncourt prize, the members of the French Academy of Henri Troyat (Lev Aslanovitch Tarasov) and Amin Maalouf (Lebanon).

Research results.

The series of books by Henri Troyat, designated by the author as “Russian frescoes”, is of special research and translation interest. Born in Russia and raised in France, H. Troyat can be considered being a classic representative of biculturalism. Raised on classic works of Russian literature in the Russian-speaking environment of Russian emigrants, but living and educated in France, H. Troyat, who surprisingly subtle and heartfelt describes Russia of the XIX century with its nature, historical features and, of course, mentality, has never been to Russia. However, in his works, two cultures, two literatures, and two histories – Russian and French – were harmoniously combined. It should be noted that all the works of H. Troyat from the cycle of "Russian frescoes" are based not on personal memories, but on imagination and creative fantasy. At the same time, the writer's genius allows the French-speaking reader to understand and feel the historical and cultural atmosphere of Russia of the XIX century. The material for our study of ways and features of creating metareal images in translingual texts of H. Troyat is his novel « La barynia » from the series « La lumière des justes », published in Paris in the « Flammarion » publishing house in 1976.

The practical material we have brought in, selected from the above-mentioned novel, is valuable primarily for culturemes – lexical units that translate the national and cultural realities of a particular ethnic community. For example, the author, not finding a linguistic and cultural equivalent or analog of the Russian cultureme «Горько!» (traditional exclamation during the wedding feast), uses transliteration followed by explanation:

«Selon la coutume, on cria: G o r k o ! G o r k o ! ce qui voulait dire que le vin semblerait amer tant que les mariés ne se seraient pas embrassés en public» [1*, p. 207] («According to the custom, they shouted: “Gorko! Gorko!”, which meant that the wine would be bitter until the newlyweds kissed») (our translation).

Another cultureme in the form of a fragment of the Russian national dance “squatting dance” is also transmitted descriptively. It is worth noting that the author replaces Russian verb

«плясать» for a verb with a more general meaning « danser », however, the further description of the Russian dance squat completely compensates the neutrality of the French equivalent:

« Quand il se tut, Nikita posa sa balalaïka dans un coin, bondit au centre de la pièce et se mit à d a n s e r . Une main sur la hanche, s'asseyant presque à croupetons, il projetait en avant une jambe après l'autre, avec une aisance d'acrobate » [1*, p. 130-131] (When he had finished, Nikita put his balalaika in a corner, jumped out into the middle of the

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room, and began to dance. With his hand on his hip, he would almost squat down and, with the dexterity of an acrobat, throw out one leg and then the other in turn) (our translation).

Since each culture has its own traditions and customs that are not known to a foreign reader, in some cases the metareal image in a translingual text is transmitted by detailing or describing a particular linguistic and cultural phenomenon. Here is how H. Troyat describes, for example, the custom in Russia accompanying the religious holiday of the Transfiguration of the Lord to keep records of financial resources:

«Après la Transfiguration du Seigneur, Nikita fut officiellement chargé par Michel Borissovitch d e l a p e t i t e c o m p t a b i l i t é d u d o - m a i n e » [1*, p. 216] (after the feast of the Transfiguration of the Lord, Mikhail Borissovitch officially commissioned Nikita to keep the expense books) (our translation).

In the following example, it is worth noting the use of the lexeme âme, which serves as a nomination of peasants in Russia, who were called by the word “soul” to indicate their number in a particular estate. It should be noted that in French and Russian, one of the common meanings of the lexemes « âme » and “soul” is “a person, a living being” [1*, p. 69; 2**, p. 183].

However, in the context given below, the word « âme » is used by H. Troyat in the meaning of

“peasant serf”, which is not recorded in French dictionaries. The author's inclusion of this lexical unit in the text is due to the fact that the Russian equivalent of “soul” has the same meaning [2**, p. 183]. Therefore, in this case, we can talk about an individual author's semantic borrowing, with which the writer economically, without resorting to the method of description, conveys the national and cultural reality, consisting in the existence of peasant serfs in tsarist Russia:

–C’est Vladimir Karpovitch Sédoff, dit Nicolas. Un drôle d’homme, solitaire, orgueilleux, distant. Il aurait pu faire une brillante carrière dans la marine, mais, à la suite de je ne sais quelle vilaine histoire, il a dû donner sa démission et se retirer dans son domaine [1*, p. 82-83] (– This is Vladimir Karpovich Sedov," said Nikolai. "An eccentric loner, haughty, reserved. He could have made a brilliant career in the Navy, but due to a vile history unknown to me, he was forced to retire and retire to his estate) (our translation).

–Dans son tout petit domaine ! renchérit Daria Philippovna. Il n’a que deux cents â m e s . Et je ne serais pas surprise si la moitié au moins étaient hypothéquées ! [1*, p. 82-83] (– In his very small estate! Darya Philippovna put in. – Only two hundred souls. And I would not be surprised if at least half of them are pledged) (our translation).

The given examples make it clear that in order to recreate Russian realities, the author sought not to overload the French text with exoticism in the form of certain transliterated culturemes. The description and selection of the language equivalent to the transfer of the native Russian cultural and religious traditions contribute to creating the necessary metabola by searching ethnolinguistically matching characters, i. e. their linguistic relationship to a particular social, ethnic or cultural environment that is often achieved by constructing appropriate statements, which is a total textualization of a social and cultural phenomenon.

The metabola in translingual fiction works created by the Lebanese Amin Maalouf in French is based on the use of completely different techniques. The writer managed to overcome the identity crisis by taking advantage of his intermediate linguistic and cultural status. He managed to create fiction texts at the junction of two different civilizations – the Arab (Leba-

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nese) and European (French) ones. One of the characteristic features of his works written in French is the language fluctuation, which is carried out at the level of two plans – the import plan and the replacement plan. At the same time, A. Maalouf considers fiction translinguism as

“a factor of human enrichment, in which the sign language of the Arab-Muslim world coexists with the Western European languages chosen by the author as the language of creativity” [5, p. 1].

In his novel « Le Rocher de Tanios » (“the Rock of Tanios”), awarded the Goncourt prize in 1993, A. Maalouf, using a “hybrid” French language based on language conversion and saturated with words, expressions and whole phrases that originally belong to the Arabic language, created his own linguistic and cultural field, his own metareal reality, in which the first language (the language of creativity) became the second language – French.

Let's consider this situation on several examples from the novel « Le Rocher de Tanios » by A. Maalouf:

« Dans le village où je suis né, les rochers ont un nom. Il y a le Vaisseau, la Tête de l'ours, l'Embuscade, le Mur, et aussi les Jumeaux, encore dits les Seins de la goule. Il y a surtout la Pierre aux soldats ; c'est là qu'autrefois on faisait le guet lorsque la troupe pourchassait les insoumis ; aucun lieu n'est plus vénéré, plus chargé de légendes. Pourtant, lorsqu'il m'arrive de revoir en songe le paysage de mon enfance, c'est un autre rocher qui m'apparaît. L'aspect d'un siège majestueux, creusé et comme usé à l'emplacement des fesses, avec un dossier haut et droit s'abaissant de chaque côté en manière d'accoudoir – il est le seul, je crois, à porter un nom d'homme, le Rocher de

Tanios... » [2*, p. 2] (In the village where I was born, the rocks have their own name. Among them are the Ship, the Bear's Head, the Trap, the Wall, and the Twins, which are called the Breasts of the Vampire. … . And yet, when I happen to see again the landscape of my childhood in a dream, another stone appears in front of me. Like a throne, with a seat sunk in and as if worn by numerous buttocks, with a high straight back that descends on both sides in the manner of an armrest – it is the only one, in my opinion, that bears a male name – The rock of Tanios...) (our translation).

In the following examples, the French equivalent is selected for all Arabic categories, i. e. they are presented as a translation:

« …Et le mari de Lamia, sortant pour une fois de sa réserve, annonça à voix haute : "

S a b i ! " U n g a r ç o n ! » [2*, p. 50] (And Lamia's husband, contrary to his usual reserve, announced loudly: "Sabi! The boy!") (our translation);

« …Le village se mit à bruire d'anecdotes féroces sur celui que, par une légère torsion de mot, on s'était mis à nommer non plus le seigneur du J o r d − qui veut dire "l e s h a u t e u r s a r i d e s " − mais le seigneur des j r a d − qui veut dire

"s a u t e r e l l e s " » [2*, p. 70] (Ominous rumours spread through the village about the person who, with a slight misspelling of words, was called not lord Jord, meaning "dry heights", but lord jrad, meaning “Lord of the grasshoppers”) (our translation);

« Eux non plus ne voulaient pas déclencher u n t h a r , un cycle de v e n g e a n c e … » [2*, p. 73] (They also did not want thar, that is, a cycle of revenge...) (our translation).

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The use of transliterated Arabic lexemes sabi, jrad, thar is a specific author's metalinguistic commentary, i. e. the author cites in one utterance a word in Arabic together with its normative lexical equivalent in French – boy, grasshopper, revenge.

Let's take another example:

« Les gamins de Kfaryabda jouent toujours devant l’église et sous l'arbre. Autrefois, ils portaient une espèce de robe − t a b l i e r , l e k o u m b a z , et aussi un bonnet ; il fallait être complètement démuni, ou désaxé, ou tout au moins fort original pour sortir k c h e i f − n u - t ê t e − un mot qui sonnait comme une réprimande » [2*, p. 73] (The boys from the village Kfaryabda always play under a tree in front of the temple. They used to wear le koumbaz − a kind of apron and cap; you had to be a complete starving man, a madman, or a very big original to leave the house bareheaded − kcheif, which in itself sounded like a condemnation) (our translation).

As can be seen from the above example, the alternation of the two ways of expression first appears at the level of borrowing, which is accompanied by an explanation. Thus, the noun le koumbaz receives a double linguistic and cultural marking. The following sortir kcheif is addressed to the reader familiar with Arabic linguoculture, and, being an insertion, it is secondary. It is obvious that in this example, the Arabic term has the priority, whose interpretation is determined by the meanings inherent in the pre-and post-position: the adjectives démuni, désaxé and fort original reveal three potential connotations of a “hybrid” causal expression, the nominal syntagma of which is une réprimande as a form of moral condemnation.

The interlinguocultural convergence that forms the meta-space of « Le Rocher de Tanios » is created in two ways – by translating and calculating Arabic toponyms:

1. Avec le premier rayon du jour, ils traversèrent le pont qui enjambe l e f l e u v e d u C h i e n , pour atteindre le port de Beyrouth [2*, p. 35] (At the first morning light, they crossed the bridge spanning the Dog river to reach the port of Beirut) (our translation);

2. [...] D’autres navires viennent de débarquer sur la côte, vers N a h r - e l - K a l b , des unités britanniques, autrichiennes et ottomanes [2*, p. 234] (British, Austrian, and Ottoman units landed from other ships at Nahr El-Kalb) (our translation).

In the first example, the toponym is transmitted through the French translation of the words of a monk from Kfariyabd, who named the Nahr El-Kalb river in his Chronicles, which flows into the Mediterranean sea northeast of Beirut and is crossed by two fugitives – Tanios and Gérios. In the second example, the reference of the toponym Nahr-el-Kalb is expressed by transliteration.

« Le Rocher de Tanios » is the sixth novel by A. Maalouf and the first to describe his homeland. But, as A. Maalouf has repeatedly noted, Lebanon is always present in his works. That is why some terms and expressions of the native language echo in his fiction works. The reader is reminded of this by numerous descriptions, the author's narrative, or fragments of conversations between characters. All of it is filled with love for his country, a rebellious spirit, longing and bitter humility – everything that is associated for the author with Lebanon.

As we can see, A. Maalouf writes in parallel in French and Arabic, “translating himself” or, rather, changing the linguistic and cultural picture of the world when switching from one language to another, even if the subject of reflection is absolutely identical. For him, the language is not only a means of expressing his thoughts, but also a way to see and feel. In the novel « Le Rocher de Tanios », A. Maalouf created his own linguistic and cultural field, his own special metabola, using the “hybrid” French language, rich in words, expressions and whole phrases that originally belong to the Arabic language. The use of borrowings at the cripple level

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is a kind of “technique” that allows to mention a new subject or concept that is unknown or does not have a corresponding equivalent in French, and thus to send the reader to a different extralinguistic reality.

The text of the novel « Le Rocher de Tanios » by A. Maalouf is rich in language forms, represented in the form of normative French and Arab-Lebanese lexemes and idioms and reflecting a certain thought that calls the objects of the world differently. This technique allows the author to form a chain of socio-cultural knowledge peculiar to the Arab-Lebanese community.

It should be noted that in most cases, the syntagmatic chain of the fiction text of the Lebanese translinguist A. Maalouf, whose combinatorics or general semantics are directly related to the Arabic referential system, may be a calque or a special language in which the borrowing is partial, since it is not accompanied by the introduction of new lexical units. In numerous foreign studies of the problem of fiction translinguism, this phenomenon is defined as « emprunt par traduction » [6, p. 480] (borrowing through translation) or « glissement sémantique » [7, p.111] (semantic shift).

The translingual writer's unique bilingual monologue reflects the picture of his linguistic and cultural identities. For this reason, most authors of the fiction “borderlands” are characterized by such a technique as a self-translation (« autotraduction » in French), which allows to convey the national and cultural characteristics of the described phenomena. Therefore, there is a reason to assume that their work in the second language is both a reflection of the ethnolinguistic and cultural identity, and a way to enter the multicultural space while preserving their cultural, linguistic, social and historical identity.

All the creative strategies used by translingual writers, which are implemented through the borrowings, non-equivalent vocabulary, integration of a non-linguistic quotation or allusion, changes in the language structure and grammatical transformations, are associated with the impossibility of abandoning the primary sociocultural and linguistic environment. This dependence of translingual writers on their native linguistic and cultural world is explained by Abdelkebir Khatibi in his essay “On Bilingualism” (« Du Bilinguisme »), which talks about how important the close internal connection between the native language and a foreign language, which has become the language of creativity for one reason or another: “The native language is always present in the language of creativity in the form of constant translation from one language to another [ ... ]” [8, p. 27].

The fiction knowledge of two languages and their use at the mimetic level can be considered as one of the features of a fiction translingual text containing a union of not only different, but also genetically alien to each other languages and dialects. Such a combination is possible due to the convergence method, which involves the convergence of languages at the semasiological level. As a result, some kind of linguistic and cultural “hybrid” is created.

Conclusion.

Thus, a translingual fiction text is a reflection of the author's dual linguistic and cultural identity. This multicultural identity forms an entropic text that allows you to create a metabola when using the archetypes of different cultures, manifested in images and associations. This metabola is based not on the unity, but on the difference in world perception which is peculiar to the representatives of different linguocultures.

The results of the research allow us to conclude that the feature of the metabola of the French-language translingual fiction text is a manifestation of the bicultural status of translingual writers. This is reflected in their multilingual and multicultural texts, which are characterized by the presence of certain markers of their environment, which are manifested in the linguistic, cultural and sociopolitical context. Consequently, in the linguosociocultural paradigm of translinguism, transculturalism, and multiculturalism, the metabola can be considered as an important stylistic trope.

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