Учебное пособие 1782

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For MN, as well as for neologism in a broad sense, certain lexical and semantic methods of education are peculiar. Lexical neologisms are actually new words, and semantic ones are new (reinterpreted) meanings of known words. Borrowings from other languages are traditionally considered as lexical neologisms, for example, the lexeme angst (from Ger. die Angst), denoting "fear". Semantic neologisms include completely new in the form lexemes the meaning of which already existed before, but was expressed in other units of the language: for example, LU soap opera has a synonym sudser, which duplicates the value of "soap opera". The semantic neologisms are also the so-called reinvention. In this case the already existing words acquire new content, for example, a verb to chat, initially meaning "chatting, to speak." As you can see, media can be main types of poleksic replicated in the channels of electronic communication.

You can select the following derivational mechanisms of MN-based classification of the neological vocabulary elaborated by J. Grzega [9, p. 14-15]:

1) change the existing meaning of the word in one of the following ways:

- exemia (extension of the meaning), when a word used in different contexts acquires new shades of meaning, and in some cases new meanings, cf.: friend;

–ensemia (narrowing of the meaning) when the use of speech in different communicative situations to the fore one of its semantic values, which is attached to the new stage of language development, i.e.: hater;

–parasemia (association of the word within the context of several independent values), Ms.: Ken;

2) affixal formation of new words, i.e.: de-risk;

3) formation of neologisms by conversion, i.e.: to potoshop;

4) by shortening words by analogy with existing LU (abbreviated homonymy), i.e.: WAN

–Wide Area Network;

5)by adding an adjectival participle or adjective to a noun (attribution), i.e.: white pizza;

6)by borrowing foreign words, i.e.: schadenfreude;

The lexical composition of the media speech more than its other levels (phonetic, grammatical or syntactical), reacts to changes in socio-political and cultural character, i.e. changes in extra linguistic properties. The current pace of development of various technologies related to everyday life of a person, and having state and social importance at the level of the country or the commonwealth of the countries, cause the rapid replenishment of the international lexical composition of the language of neologisms. Every change in the life of society is reflected in the media speech practices and is actualized in the appearance of a linguistic formation that serves as a nomination of a new phenomenon, object or subject. These considerations are the objective prerequisites for a thorough linguistic understanding of the layer of new vocabulary in the vocabulary of the AVME and suggest the emergence in its system of a new cluster of the units with the mentioned above features.

Conclusion.

Specialists of neology talk about "neological explosion", i.e., avalanche-like flow of tumors, generated through electronic (semi-oral and semi-written) communication of mediatizing personalities. The "neological explosion" is caused by the rapid development of modern mass communication media, scientific and technological revolution and the rapid flow of life of the modern informatized society. The appearance in the lexical system of AVME of a large number of new meanings and words support its communicative suitability and makes communication a multi-faceted and complete. The kaleidoscopic reality of Herder's environment (culture) finds an additional platform in electronic reality, providing users with ample opportunities for communication and word creation, often free from regulations.

Media neologization is a new field of neology and of neography aimed at the study of practices of generating media neologisms and their details. In the conditions of "neological explosion" and the subsequent "neological boom" the appearance of media neologisms in the

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channels of mass communication is programmed. Users actively practiced in neological creation of words outside or often in parallel with existing literary norms of AVME.

References

[1]Romanov A.A. Mehanizmy rasprostranenija «virusnyh» idej v infosfere reguljativnomemeticheskoj real'nosti // Mir lingvistiki i kommunikacii: jelektronnyj nauchnyj zhurnal. № 2, 2016. S. 1–19. Rezhim dostupa: http://tverlingua.ru.

[2]Kobenko Ju.V. Jazyk i sreda. Opyt sistematizacii dannyh mezhdisciplinarnyh issledovanij. Tomsk: TPU, 2017. 214 s.

[3]Gerhards J., Schäfer M.S. Is the internet a better public sphere? Comparing old and new media in the US and Germany. New media & society, 2009, vol. 20(10), pp. 1–18.

[4]Nyre L. Normative Media Research. Moving from the Ivory Tower to the Control Tower. Nordicom Review 30, 2009, vol. 2, pp. 3–17.

[5]Konverskij A.E. Logika. M.: MGU, 2014. 336 s.

[6]Crystal D. Language and the Internet. 2nd ed. Cambridge: Cambridge University Press, 2006. 318 p.

[7]Snyder I., S. Goodman, T. Lillis, Maybin T., Mercer J. A new communication order: researching literacy practices in the network society. Language, Literacy and Education: A Reader, Stoke on Trent. NY: Trentham Books, 2003. Pp. 89–95.

[8]Rozen E.V. Na poroge XXI veka. Novye slova i sochetanija v nemeckom jazyke. M.: Menedzher, 2000g. 192 s.

[9]Grzega J. Some thoughts on a cognitive onomasiological approach to word-formation with special reference to English. Onomasiology Online, 2002, vol. 3, pp. 1–29.

Analysed sources

[1*] Wasbund, URL: http://www.logophilialimited.com/index.php?word=wasband (vremja obrashhenija – 10.02.2018).

[2*] Toyboy, URL: https://owad.de/word/toyboy (vremja obrashhenija – 14.02.2018). [3*] Brides-to-be. Do You Know All About Them?, URL:

https://www.punchbowl.com/p/how-well-do-you-know-the-bride-to-be (vremja obrashhenija – 12.02.2018).

[4*] Askable parents, URL: http://www.logophilialimited.com/index.php?word=askableparent (vremja obrashhenija – 11.02.2018).

[5*] New Kinds Of Treatment. Welcome!, The Columbus Dispatch, URL: https://twitter.com/dispatchalerts (vremja obrashhenija – 10.02.2018).

Dictionaries used

[1**] Global Language Monitor, URL: https://www.languagemonitor.com/ (vremja obrashhenija – 15.02.2018).

[2**] Urban Dictionaries, URL: https://www.urbandictionary.com/ (vremja obrashhenija

– 17.02.2018).

[3**] Longman Dictionary of Contemporary English, URL: http://www.ldoceonline.com/ (vremja obrashhenija – 19.02.2018).

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THEORY AND PRACTICE OF TRANSLATION

UDC 81’25’42

STYLICSTIC COMPENSATION

AS A COMPONENT OF THE TRANSLATION STRATEGY

(based on French and American English translations of the «Cursed Days» by I. Bunin)

S.Yu. Buryakova

Voronezh State University, Russia, Voronezh

Candidate of philological Sciences, Associate Professor of Department of French philology Svetlana Yu. Buryakova

e-mail: svetlanbulgakov@yandex.ru

Statement of the problem. The aim of the article is to analyze the ways and mechanisms of implementing stylistic compensation depending on the chosen translation strategy and to clarify the status of compensation as a translation technique, on the one hand, and compensation as a strategy for achieving stylistic equivalence as part of the overall translation strategy, on the other hand.

Results. Two translations of "Cursed Days" by I. Bunin into French and American English were analyzed. Analysis of literary and translation metatext leads the author to the conclusion that translators have differently perceived the dominant of this text, created at the crossroads of genres. As a result, the French translator worked with a litterary text, focusing on achieving an impressive equivalence, while the American translated a documentary text, focusing on the transfer of the semantic, informative component. This conclusion is confirmed by the analysis of the empirical material: excerpts from the source text, which are examples of vernacular and abstracts from official documents incorporated within the text of «Cursed Days». Translation into French confirms the systematic and scrupulous work of the translator who meticulously selected the equivalents from different styles and levels of the French language: dialects, obsolete words and expressions, spoken language. In the English translation, stylistic neutralization is observed in most cases, and stylistically colored units are selected only from the informal vocabulary.

Conclusion. Stylistic compensation in the translation process can have the status of both a translation technique and a strategy for achieving the stylistic and impressive equivalence of the source text and the text of the translation. The systematic use of compensation and the selection of equivalents from different stylistic layers and different levels of language serve as criteria that allow compensation to be placed in the rank of a strategy that is one of the components of a general translation strategy for the complex transformation of the source text. In the case of an isolated use of compensation, we can speak of it as a translation technique, which is used within the framework of the strategy of stylistic neutralization. The study confirms the conclusions about the heterogeneous character of the translation strategy as a system of particular strategies for overcoming specific translation difficulties.

Key words: translation strategy, translation technique, stylistic compensation, vernacular language, interdiscourse, equivalence, transformation of the source text.

For citation: Buryakova S.Yu. Stylicstic compensation as a component of the translation strategy

(based on French and American English translations of the «Cursed Days» by I. Bunin) / S.Yu. Buryakova // Scientific Journal “Modern Linguistic and Methodical-and-didactic Researches”. – 2018. - №2

(21). – P. 116-124.

Introduction.

The term “translation strategy” has for a long time remained in the focus of attention in translation studies (see, for example, a detailed review of Russian and foreign works on the subject in [1], [2], [3], etc.). However, this core term of the translation theory for now has not received a universally recognised definition due to many factors, among which the hidden nature of the translation process, the inability to objectively assess the motives of the translator's actions, etc. The only way to study and evaluate a translation strategy is to carry out a comparative analysis of the source text (hereinafter ST) and the translation text (hereinafter - TT), that

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© Buryakova S.Yu., 2018

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is, the results of translation, to analyse several translations of one text, including those in different languages, and to study the translators’ reflection on their work in the translation metatext

(foreword, afterword, critical articles, translation commentary, etc.).

Another issue which has not yet been extensively researched is related to the structure of the translation strategy. Many researchers agree with the statement about the complex nature of the translation strategy, its focus on the complex transformation of the source text. Numerous works are devoted to the study of some of its manifestations, which has already made it possible to identify approaches to rendering the realia [4], including aesthetic onyms [5], to developing the translators’ metatext [6] as components of the translation strategy. At the same time, it is obvious that this list is far from being exhaustive, and the components of the translation strategy need further study.

In this regard, it is important to accumulate the empirical material obtained during a comparative analysis of translations of one text in order to:

-substantiate the complex nature of the translation strategy and identify its specific manifestations at various levels of the text;

-identify and substantiate the factors that determine the choice of a translation strategy;

-systematise the research results on translation strategies, develop their classification and analyse the possibilities of their combinations in order to achieve the equivalence and adequacy of ST and TT;

-study the impact of the translation strategy on the functioning of the TT in the recipient culture.

The purpose of this article is to study the specific features of stylistic compensation as a component of translation strategy and to describe the factors that influence the use of this translation technique. Thus, the subject matter of this study is the stylistic compensation as a translation technique, while its scope is the role of stylistic compensation as a component of the translation strategy.

The study is based on the two texts of the translation of «Cursed Days» by I.A. Bunin

(hereinafter – ST (source text)): the translation into French (hereinafter – TT1 (translated text 1)) was done by the French translator Jean Laury in 1988, the English-language translation (hereinafter referred to as TT2 (translated text 2)) by American translator, literary critic, renowned researcher of I.A. Bunin’s oeuvre Thomas Gaitan Marullo in 1998.

We do not aspire to carry out a detailed analysis of the concept of «translation strategy», since the nature of this phenomenon has been repeatedly described in specialised literature. We merely point out that in the framework of this paper we adhere to a communicative and functional approach to translation, in which it is interpreted as «the creation of a new, completed whole» [7, p. 361]. The contemporary translation theorists have formulated their definitions of the «translation strategy» in its framework. We accept the definition suggested by N.K. Garbovsky who defines the translation strategy as «a choice of a certain type of equivalence between the original and the translated messages - formal equivalence or dynamic» [8, p. 303].

It is important to point out that the translation strategy is formed at the stage of pretranslational text analysis. This is exactly the stage when the translator collects relevant extralinguistic information, determines the goals and objectives of the translation taking into account the characteristics of the recipient of the TT, makes predictions about the future translation process and the required actions [1, pp. 209].

Methodology of the research.

The methodology of the research is based on a comprehensive approach to the analysis of linguistic facts that is any particular phenomenon (in our case - use of a specific translation technique) in close interconnection and interdependence with all the elements that make up a single text system. In this connection, the preliminary stage of the study played a crucial role as it included the analysis and synthesis of literary and translation metatexts devoted to the specific characteristics of «Cursed Days» as a literary work. Since our aim was to compare the ways

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of implementing the translation strategy in French and English TT, the empirical material was studied using comparative analysis of the French and English versions of translations, the method of comparing vocabulary definitions, the method of contextual analysis.

Research results.

On the first stage of our research we turned to indirect data which allowed us to draw conclusions about the strategy adopted by both translators.

Among the factors influencing the choice of the translation strategy, the researchers distinguish between objective (type of text, type of communication) and subjective (professional competence of the translator depending on the level of knowledge of the target language and the ability to interpret and understand the source text) [7, p. 363].

Analysis of the translation metatext showed that the translation strategies in French and English TT differ in a number of parameters.

Firstly, the differences are obvious when it comes to the type of text that each of the translators worked with as they defined it. The question of the genre of «Cursed Days» is still widely discussed in the philological circles. On the one hand, the work is based on the diary entries of I.A. Bunin made in post-revolutionary Moscow and Odessa in 1918-1919, and is written in form of a diary. On the other hand, «Cursed Days» was written in 1925, when I.A. Bunin was already in exile. The literary analysis, undertaken in a number of works, proves that the writer has significantly revised the original diary entries while restoring many of those lost during his escape from Russia from memory: «he (I.A. Bunin) reconstructed his own thoughts, impressions, emotions of the past. Memories are usually subjective, selective, so Bunin's narrative becomes mosaic, kaleidoscopic» [9, p. 64].

Moreover, the fact that «Cursed Days» is based on real documents is not subject to doubt, however the work of I.A. Bunin was based on an artistic reinterpretation of historical facts: «In general, one of the main features of Bunin's work with factual material was that in most cases the facts were for the writer nothing more than "raw material" which he subjected to creative processing, transformation. But he did it very subtly and at the same time boldly, without fear of reproaches either in excessive subjectivism or in garble» [10, p. 27]. Finally, «Cursed Days» was based not only on the materials of 1918-1919; the writer also included in the text some references to works on the Great French Revolution, which he found already in France [9, p. 65].

Therefore, describing the genre peculiarity of «Cursed Days», D. Riniker, the German specialist in I.A. Bunin’s oeuvre, stresses that this book is «synthetic - in the sense that it simultaneously has documentary, journalistic and artistic features ...» (cited in [10, p. 23]).

Since the genre of the text directly affects the translation strategy, we can deduce from the translators’ forewords how the text of the Cursed Days was perceived by each of them.

In his foreword, the French translator J. Laury emphasises that «Cursed Days» is «a living evidence of a chaotic period when the fate of Russia was decided (here and below, the metatext translation is ours - S.B.)» [2*, p. 8]. Noting the variety of verbal sketches made by I.A. Bunin, based on conversations heard on the street, clippings from newspapers and speeches of literary and political figures of that period, the translator points out that «this variety of scenes and themes makes «Cursed Days», first of all, a valuable historical document» [ibid.].

However, in his foreword J. Laury pays much more attention to the artistic features of the original, to the peculiarities of the author's style. Here are just a few quotes of interest to our study:

«This diary is also a work of art. Descriptions of appearance and psychological portraits, in which Bunin with a few strokes shows the essence of a man, dialogues in which he reveals a whole inner world in several words, confirm that we are facing the future master of the miniature story ...» [ibid.] (Our italics. – S.B.).

«This is the diary of a writer. Without imposing his language on a complex and multifaceted reality, Bunin allows it to express itself in different languages: a figurative, rich, sometimes grammatically incorrect language of the common people, to whom this highly educated

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person can give a word like no other; the cant of Soviet officials and the press; finally, the language of the author himself» [2 *, p. 8] (Our italics. – S.B.).

Thus, it can be concluded that the translator's strategy was built on three dominants of the text of «Cursed Days»: historical, artistic and that of social criticism. But the artistic dominant, judging by the metatext presented, was perceived as the most important.

The American translator T.G. Marullo gives to his translation a lengthy preface. He treats the work as a link between the «Russian anti-utopia» [3 *, p. X] of the XIX (for example, the works of F.M Dostoevsky) and the XX centuries (O.Ya. Mandelstam, E.I. Zamyatin, Yu.K. Olesha). The translator’s interpretation of the genre of «Cursed Days» is expressed in the following quotes:

«Cursed Days» is one of the very few anti-Bolshevik diaries to be preserved from the time of the Russian Revolution and civil war. It recreates events with graphic and gripping immediacy. Unlike the works of early Soviets and émigrés and their self-censoring backdrop of memory, myth, and political expediency, Bunin’s truth reads almost like an aberration» [3 *, p. X] (Our italics. – S.B.).

"... In publishing this first English translation of «Cursed Days», I wish to make Bunin’s account accessible to Western readers so that this gifted writer may also be seen as a perceptive social critic” [3 *, p. XI] (Our italics. – S.B.).

In addition, on the cover of his translation T.G. Marullo places a subtitle that the ST did not include: The Great Anti-Bolshevik Diary of the Russian Revolution by the Nobel-prize- winning author ....

The quotes given above allow us to conclude that for T.G. Marullo the dominant of the I.A. Bunin’s text is its social criticism, its anti-Bolshevik pathos and its documentary nature, that is the type of text is defined by the translator primarily as documentary. Furthermore, this hypothesis can be proven by the fact that the translator includes a «code» – excerpts from articles written by I.A. Bunin in 1919 and revealing the views of the writer on Soviet power:

«With these pieces I hope to complete an otherwise unavailable picture of Bunin’s last days in his homeland» [3 *, p. XI].

The professional competence of translators played, in our opinion, an important role. The information about the French translator J. Laury is not available in the free Internet sources. On the other hand, T.G. Marullo is a well-known specialist in Russian literature and the author of several critical works on the I.A. Bunin’s oeuvre (among his works there is an extensive monograph «If You See the Buddha: Studies in the Fiction of Ivan Bunin»), he is the author of numerous articles in which he presents his own, sometimes controversial, interpretation of the writer's oeuvre.

Differences in perception of the genre of «Cursed Days» by French and American translators, as well as the peculiarities of their personal perception of I.A. Bunin’s oeuvre, which can be considered as internal and external factors determining the choice of the translation strategy, are reflected in the set of translation techniques used in each translation.

The choice of «Cursed Days» as a material adequate to the aim of the study is explained by several factors. First, one of the tools for creating the image of post-revolutionary Russia in the work is the «polyphony» of characters from various social classes which makes the text particularly veracious. Secondly, it is necessary to emphasise the importance of the newspaper articles of that period and of the official texts of the Soviet authorities quoted by I.A. Bunin, which gives «Cursed days» a special, interdiscursive, status.

In this connection, rendering the peculiarities of the speech characteristics and of the style of the quoted texts seems to be a necessary condition for achieving the complex equivalence of ST and TT. It is necessary to point out that due to the discrepancy of the systems of functional styles and the connotations associated with them in different languages, the transfer of the stylistic variety of «Cursed Days» is a challenge for a translator and, therefore, requires a con-

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scious approach to the selection of equivalents. Let us consider how this problem is solved in the analysed TT. For example:

TT1: «Ils vous donnent, – qu'ils c r è v e n t , – cent pauvres grammes de pain sec, qui traîne au moins depuis un an, tu le mâches, ç a pue et ç a te brûle l e s e n t r a i l l e s !»

[2٭, p. 30]

TТ2: «They should all d r o p d e a d . They give you a few crumbs that I’m sure have been sitting around somewhere for a year. You chew on them – and the smell is so bad that it really burns you up!» [3٭, p. 52]

The quoted passage is a vivid example of folk speech, reflecting the social and local differentiation of linguistic means. Thus, the lexical units of the ST «осьмушка», «небось», «валяться» [1 **] according to the data of the explanatory dictionaries of the Russian language have stylistic labels «informal» or «dialect». Russian language speakers can recognise the same stylistic features in phrases «глаза их накройся» (meaning «to die») and «душа горит» (meaning «something hurts inside»), although such combinations are not registered in dictionaries and, most likely, were invented by the writer himself.

In the French TT the translator uses the technique of stylistic compensation in two ways. First, he chooses the stylistically-colored French equivalents: crever – «die, applied to animals, plants and in conversational speech to people» [2 **], entrailles – «obsolete. organs of the abdominal cavity, especially the intestine» [3 **]. Secondly, J. Laury uses stylistically colored lexical units in positions others than in the ST, in particular, the pronoun ça – «it», characteristic of French colloquial speech.

In English language translation, the stylistically colored units include only the expression to drop dead – «Phrase. Informal. Used to express a strong resentment or dislike» [4 **]. Thus, in this translation we observe the technique of stylistic neutralisation when only the meaning of the utterance has been rendered. Cf.:

SТ: На Страстной наклеивают афишу о бенефисе Яворской. Толстая розоворыжая баба, злая и нахальная, сказала:

– И ш ь , расклеивают! А кто будет стены мыть? А б у р ж у и будут ходить по театрам! Им запретить надо ходить по театрам. Мы вот не ходим. Все немцами пугают - придут, придут, а вот ч т о - й - т о не приходят! [1٭, p. 11]

TТ1: – V o y e z - m o i ç a ! Ils collent ! Mais qui va laver les murs ? Et les bourgeois vont aller au théâtre ! Il faut leur interdire d'aller au théâtre. N o u s a u t r e s , on n'y va pas. Ils nous font peur avec les Allemands : ils vont venir, ils vont venir, m a i s v o i l à - t - i l p a s qu'on les attend toujours ! [2٭, p. 17]

TТ2: «Just take a look at that! They're s m e a r i n g paste all over the place! And who's going to clean up the mess? And the bourgeois will be going to the theaters. They should- n't be allowed to go. After all, we don't go. And everyone's afraid of the Germans;

They're coming, they’re coming people say, but somehow they never get here!» [3٭, p. 36].

The quoted abstract from the ST is an example of urban vernacular speech, there are no lexical units with «dialect» usage label, while the particle ишь, the pronoun что-й-то, and the noun буржуй in dictionaries have usage labels «informal», «slang.», «ironical», «obsolete»

[1**].

In the French TT, stylistic compensation is implemented comprehensively at the lexical and grammatical levels by introducing linguistic means having similar stylistic nuances. Thus,

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the expression voyez-moi ça according to the dictionaries is used in the colloquial style [5 **]. The form voilà-t-il pas, which is a truncated version of the expression ne voilà-t-il pas, has the usage labels «vieux», «désuet» [6 **] (obsolete) and is used to express a surprised exclamation.

Finally, the grammatical form nous autres is obsolete for the French language of France, although it exists and is widely used in the Canadian version of the French language. In the French language of France, it marks a stronger opposition than the simple pronoun nous [11]. Finally, the translation uses the indefinite pronoun on, which in oral speech replaces the pronoun nous – we.

In the English-language TT, the translator uses stylistically neutral units. Only the verb to smear [4 **] has in its meaning some negative connotations («inaccurately cover or denote something with the help of a fatty or sticky substance»), which allows, to some extent, to convey the contemptuous attitude of the speaker.

Another specific feature of I.A. Bunin’s style is a combination of lexico-grammatical units from the official style and informal style in passages quoting official documents of the bodies of the Soviet government. For example, here is an extract from the manifesto of seamen:

говорил нам: «Одного б у р ж у я , одного социалиста уже нет в живых!» Каждая пуля, выпущенная нами, должна лететь в т о л с т о е б р ю х о , она не должна пенить воду в бухте [1٭, p. 19].

ПТ1: Camarades, si vous continuez ainsi, un malheur vous arrivera, il n'y aura bientôt plus de quoi tirer même au but, vous allez tout dépenser et vous s e r e z G r o s - J e a n c o m m e d e v a n t et alors on vous prendra, m e s c h é r i s , même les mains vides.

– Camarades, faisons à partir d'aujourd'hui e n s o r t e q u e chaque coup de feu nous dise: ç a fait un bourgeois, un socialiste de moins ! Chaque balle que nous lâchons doit atteindre u n e g r o s s e p a n s e et non pas faire mousser l'eau de la baie [2٭, p. 28-29].

ПТ2: «Comrades! You're wasting your fire and to your own peril. Soon you'll have nothing to hit, but you'll keep firing all the same and get nothing for your pains; and then, d e a r o n e s , we'll come and kill you with our bare hands.

– Comrades! L e t u s a g r e e o n t h e f o l l o w i n g , t h a t f r o m t o d a y o n any firing we hear will say to us: “One less bourgeois, one less socialist among the living!”

Every bullet you shoot must hit a f a t b e l l y ; it must not raise foam on the shore» [3٭, p. 51].

In the analysed ST the writer shows a mixture of different styles in the speech of representatives of the common people, who suddenly received power, not without irony or a fraction of contempt. The contrast between official and colloquial style is created through the word товарищи, characteristic of the journalist style of the Soviet period, and informal and slang units

буржуй, брюхо, голубчик [1 **], сидеть на бобах [7 **].

Both translators choose the camarade [3 **], comrade [4 **] as the equivalent of the word товарищи, which in both languages is used to address oneself to an equal or inferior in rank or title, and to address oneself to a member of a socialist or communist party.

In the ST there is as well as the phraseological unit сидеть на бобах which has usage label «Obsolete. Vernacular. Expressive». In the French TT, the translator chose the equivalent «être Gros-Jean comme devant» [6 **], labeled as an obsolete and vernacular expression meaning «to feel frustrated, not to advance a single step». In English TT, a stylistically neutral phraseological unit «for one's pains» is used which means «not getting a well-deserved reward for the effort» [8 **].

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The noun голубчик has the usage label informal, ironical. In both TTs it is rendered by neutral equivalents mes chéris and dear ones.

The noun брюхо, according to the dictionaries of the Russian language, has a stylistic nuance: «The belly of a man (vernacular)» [1 **]. The French translator uses the equivalent of panse – «vernacular. stomach (of a man), especially the fat stomach» [3 **], consistently implementing the compensation strategy. In the English translation T.G. Marullo uses the noun belly – «informal. belly» which, however, is more neutral [4 **].

It should also be noted that T.G. Marulo introduces some phraseological units characteristic of the formal style let us agree on the following and from today on, which allow to partially render the stylistic effect.

Conclusion.

The study has shown that the concept of «translation strategy» has a heterogeneous structure and can be presented as a system of strategies to overcome isolated translation difficulties and aimed at a complex transformation of a ST in order to achieve equivalence. The translator’s orientation toward stylistic neutralisation or stylistic compensation is an integral part of the translation strategy. The works that are at the junction of genres, such as, for example, "Cursed Days" by I.A. Bunin, having the features of a personal diary, an artistic and journalistic text are of particular interest for studies devoted to the translation strategy.

The analysis of the translations of «Cursed Days» into French and English allows us to state that the translator’s perception of the text dominant is the most important factor determining the translation strategy in each particular case. The French translator J. Laury in his foreword emphasises the high artistic value of «Cursed Days». He tries to «interfere» as little as possible in the reader's direct perception of the translation text, that is, first of all, pursues the goal of achieving the impressive equivalence of the ST and the TT. He uses various multilevel linguistic means in order to recreate the speech characteristics of characters: obsolete, dialectal, informal, vernacular.

The American translator T.G. Marullo, being a famous expert on the literary oeuvre of I.A. Bunin, highlights the documentary and journalistic nature as the dominant of the ST. Therefore, in his translation he follows the traditional translation strategy for these genres, focusing mainly on the semantic, informational component of the text, resorting to partial stylistic neutralisation.

The study confirmed the fact that «compensation is realised not at the level of rendering isolated words and expressions ... but at the level of the text as a whole and is an integral part of the systemic holistic transformation of the text aimed at achieving the complex (denotative, connotative, aesthetic, and impressive) equivalence of the ST and the TT» [12]. At the same time, it is impossible to speak about an all-embracing stylistic compensation in the French TT or of a permanent stylistic neutralisation in the English-speaking TT. Both translators have successfully used translation techniques in a number of cases, allowing to render the stylistic features of the original. However, the difference lies in the systematic use of the compensation technique. This allows us to suggest a hypothesis that compensation in general and stylistic compensation in particular can be viewed both as a translation technique and as a strategy that forms part of the overall translation strategy. Systematic and in-depth search for equivalents in the style system of the French language, the use of single-level and multilevel language elements to recreate the stylistic effect allow us to conclude that the French translator consciously used the complex approach to render the stylistic originality of the ST. In this case, the translator consistently implements the strategy of stylistic compensation. In the English TT, we can speak of stylistic compensation as a technique, since the palette of equivalents is less rich than in the French translation, coming mainly from informal style units. The technique of compensation is used less often than in the French TT, which suggests that the interpreter adopts a strategy of stylistic neutralisation.

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Thus, the same TT was perceived by two translators in different ways. It would be interesting to look into the literary critics reactions on the French and American translations of

«Cursed Days» by I.A. Bunin for the purpose of analysing the influence of the chosen translators strategy on the perception of this text in two cultures. Another important task remains, that of accumulating empiric material based on a comparative analysis of translations of one work and the theoretical interpretation of the results with the aim of formulating a clearer definition of the translation strategy.

References

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Analysed sources

[1٭] Bunin I.A. Okayannye dni. Neizvestnyj Bunin / I.A. Bunin; sost., predisl., bibliogr. spravka O. Mikhajlova. M.: Mol. gvardiya, 1991. – 333 s.

[2٭] Bounine I. Jours maudits. Traduit du russe, préfacé et annoté par Jean Laury. Editions L’âge d’homme: Lausanne. 179 p. PT1.

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