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forms. While analyzing stylistically painted a fairyfabulous vocabulary, we identified the functions that the vocabulary performs in the text of these tales.

Speaking about the functioning of stylistically coloured fairy lexicon, we can note that each of the described groups of the fairy lexicon has a certain function in the text. As it is shown in the table, the peculiarities of stylistically coloured fairy lexicon in the text are the following: the description of positive and/or negative qualities and characteristics of fairy tale characters; nomination of magical creatures, fairy tale characters, magicians to create a special fabulous atmosphere. Active use of lexical and grammatical repetitions, onomatopoeia, parallel structures, compression and redundancy performs the function of approximation of the text of the tales to colloquial speech; moreover, the use of lexical and grammatical repetitions is an indication that they introduce additional expressivity – comic or ironical tragedy, but the main function of stylistically colored vocabulary is the function of creating a fantastic, magical atmosphere through the use of set phrases, nouns, adjectives, verbs that describe events, actions or supernatural qualities, without which the tale may not be a fairy one. Our study is not exhaustive, and further study of the stylistic features of the fairy lexicon and its functioning in the English folk tales seems to be promising from the standpoint of folklore, linguistics study and translation.

Bibliographic list

1.Propp V.Ja. Istoricheskie korni volshebnoj skazki. URL: http://www.e- reading.club/bookreader.php/46790/Propp_-_Morfologiya_Volshebnoii_Skazki.html(vremja ob-rashhenija – 12.01.16).

2.Fomina Z.E. Nemeckie nacional'no-kul'turnye maksimy v nominacijah skazok brat'ev Grimm / Z.E. Fomina //Nauchnyj vestnik Voronezhskogo gosudarstvennogo arhitek- turno-stroitel'nogo universiteta. Serija: Sovremennye lingvisticheskie i metodikodidakticheskie issledovanija. 2010. № 14. S. 25-36.

3.Gluhova N.V. Perevodcheskie preobrazovanija pri perevode metafor v skazkah brat'ev Grimm.// Jazyk i kul'tura (Novosibirsk). 2014. № 15. S. 80-92.

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4.Kapkova S.Ju.Trudnosti peredachi komicheskogo v detskoj anglijskoj literature / S.Ju.KapkovaNauchnyj vestnik Voronezhskogo gosudarstvennogo arhitekturno-stroitel'nogo universiteta. Serija: Sovremennye lingvisticheskie i metodiko-didakticheskie issledovanija.

2014. № 1 (21). S. 151-157.

5.Astafurova T.N., Akimenko N.A. Lingvokul'turnoe prostranstvo anglosaksonskogo skazochnogo diskursa. // Vestnik Volgogradskogo Gosudarstvennogo Universiteta. Serija 2:

Jazykoznanie. 2007. №6. S. 130-136.

6.Strukova O.V.. Fomina Z.E. Jetnokul'turnaja specifika renominacij nemeckih toponimov v raznyh arealah Rossii (na materiale nemeckih toponimov Samarskoj, Leningradskoj i Permskoj oblastej) / O.V. Strukova, Z.E. Fomina // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovremennye lingvisticheskie i metodiko-didakticheskie issledovanija. – 2014. – vyp. 1 (21). – S. 116-129.

7.Fomina Z.E. Meteorologicheskie poslovichnye primety s imenem svjatogo v nemeckom lingvokul'turnom soobshhestve / Z.E. Fomina // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovremennye lingvisticheskie i metodiko-didakticheskie issledovanija. – 2015. – Vyp. 2 (26). – S. 129-146.

8.Kapkova S.Ju. Lingvostilisticheskie sredstva vyrazhenija komicheskogo i jekscentricheskogo v jazyke sovremennoj detskoj literatury i specifika ih perevoda na russkij jazyk (na materiale proizvedenij S. Milligana i Dzh.K. Rouling): avtoref. diss. …kand. filol. nauk: 10.02.04 Voronezhskij gosudarstvennyj universitet. Voronezh. 2005. – 24 s.

9.Akimenko N.A. Lingvokul'turnye harakteristiki anglijskogo skazochnogo diskursa: avtoref. diss. …kand. filol. nauk: 10.02.04 Volgogradskij gosudarstvennyj universitet. Volgograd. 2005. – 21 s.

10.Arnol'd I. V. Stilistika sovremennogo anglijskogo jazyka: ucheb. dlja vuzov. M.: Flinta, 2002. 384 s.

11.Smirnov A.V. Jazykovaja kartina mira anglijskoj narodnoj skazki: avtoref. dis. … kand. filol. nauk: 10.02.04 Sankt-Peterburgskij gosudarstvennyj universitet. – SanktPeterburg. 2006. – 24 s.

Analysed sources

1*. English Fairy and Other Folk Tales URL: http://sacred-texts. com/ neu/ eng/ efft/ index .htm

(dataobrashhenija: 12.04.2016).

2 *. Anglijskie narodnye skazki URL: http://hobbitaniya.ru/english/english.php (data obra-shhenija: 12.04.2016).

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Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

THEORY AND PRACTICE OF TRANSLATION

UDC 81-26

Chelyabinsk State University Professor, Doctor of Philology,

the Dean of the Faculty of Linguistics and Translation

Liliya Amiryanovna Nefedova e-mail: lan2@mail.ru

Chelyabinsk State University Associate Professor, the department of business foreign language

Irina Vladimirovna Denisova e-mail: irina_7j@inbox.ru

L.A. Nefedova, I.V. Denisova

REPRESENTATION OF THE GENDER ASPECT

IN LITERARY TRANSLATION

The article is devoted to the urgent problem of the linguistic representation of gender while translating literary texts. The aim of the given article is the identification of the means of reproduction of gender aspect in literary translation comparing the source and target texts. The research gives the explanation of the importance of taking into account the gender aspect in translation on the basis of the analysis of the translation strategies and techniques while reproducing the gender component of the source text. The text for the research is V.Woolf’s novel “Orlando”. The main attention is paid to the comparative analysis of the gender-marked units at the morphological, lexical, syntactical language levels and at the level of the text. The authors make generalization about the influence of the gender factor on the creation of the literary image and mechanisms of its verbalization. Moreover, in literary texts the gender peculiarities can be included in the semantic structure of the literary image as its integral part and influence on the character of its perception and the text as a whole.

Key words: gender, literary translation, transformations, masculinity, femininity, gender-marked units, gender stereotypes, language levels.

Nowadays the development of the anthropology oriented research contributes to the importance of the gender linguistics. One of the vital problems of this area is the study of the role of individual characteristic of a person connected with sex while analyzing the linguistic person.

The research of the gender differences on the basis of the literary text allows to study the realization of gender from the new point of view – not only as a characteristic expressing the gender identity of the author, but also as a characteristic which is the structure-forming element of literary works and its translation into Russian.

________________________________

© Nefedova L.A., Denisova I.V., 2016

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In the Russian linguistics the gender aspect of translation has not been carefully studied. Being inattentive towards the gender characteristics can lead to the pragmatic mistakes which are considered to be the most important in literary translation. Consequently, the translation of high quality demands the study the peculiarities of the reproduction of the gender component in literary texts – both in source and target texts – and the means of its translation.

The choice of literary texts as the basis for the research is not random. Literary texts are the most difficult for translation as they have the author’s individual manner of writing who uses various language means for the expression of the concept of his or her work. The gender factor in the translation of literary works may serve as a structure-forming element of literary works and the translated text, influence the embodiment of artistic images and the plot itself. It is known that the main aim of any literary work is to achieve certain aesthetic impression and create the literary image [1, p. 95].

Consequently, the main aim of literary translation is not only to reproduce the language units of the original but also to reconstruct artistically the set of images of the original and to create the adequate translation. According to the definition of adequacy made by A.V. Fedorov it is “the comprehensive reproduction of the meaning of the original and the complete functional-stylistic correspondence to it” [2, p. 173].

The object of the given research is the peculiarities of representation and the means of reproduction of the gender-marked units while translating Virginia Woolf’s novel “Orlando”. The gender peculiarities of the language, the impact of the gender aspect on the result of translation and the means of reproduction of the gender-marked units from English into Russian have been singled out on the basis of the comparative analysis of the original and its translation made by E.Suritz.

Gender stereotypes are the basis for the linguistic representation of gender. The gender characteristics in the language are expressed through the speech of men and women and also the gender marking of the language. Gender stereotypes are the system of views of the behavior of a man and a woman. It was estimated that men and women have different strategies of behavior and different strategies of verbal communication [3, p. 125]. The study of the research conducted by A.A. Veylert [4], O. Jespersen [5], E.A.Zemskaya, M.A. Kitaygorodskaya, N.N. Rozanova [6], I.N. Kavinkina [7], T.B. Kryuchkova [8], R. Lakoff [9], V.V. Potapov [10] showed that there is the gender dichotomy of the speech concerning prosodic (e.g. women frequently express their emotions by intonation, while men prefer to use lexical means), morphological (e.g. women use more diminutive, hypocoristic and affectionate diminutive suffixes than men), lexical (e.g. women’s speech as compared with the men’s speech has more emotionally coloured words and constructions; men’s speech has more stylistically neutral words) and syntactical features (e.g. men use unvaried syntactical constructions and more complex sentences; women employ more emphatic constructions, exclamatory sentences expressing greater emotionality).

The gender differences in the use of the language have relatively systematic character and are manifested at all language levels [11]. First of all, representation of the gender aspect of the language is studied by means of lexical units as the gender peculiarities are vividly expressed at the lexical level. There are the following categories of such lexical units:

1)personal pronouns;

2)words correlated with men and women due to their inner form;

3)words and collocations having the units with “gender component” indicating the sex of the referent;

4)words connected with the concepts of “man” and “woman”.

Finding the means of linguistic representation of the gender aspect will help the profound analysis and the interpretation of texts.

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The study of reproduction of the gender-marked literary images allows to extend the linguistic and translation analysis of the literary work. The adequate literary translation is measured by the degree of proximity of literary impression of the translation to the original. The analysis of the works of the Russian and foreign scientists (L.S. Barkhudarov [12], V.N. Komissarov, E. Nida [13], A.A. Smirnov [14], A.V. Fedorov, A.D. Shveitser [15]) concerning the notions of equivalence and adequacy shows that theories which pay more attention at the reproduction of the pragmatic information give better explanation of the importance of adequate translation of the gender-marked units in literary works. The equivalent and adequate translation of the gender aspect of literary works supposes that we make the translation possessing the same gender characteristic as the original text and being interpreted by the recipients of the target language in the same way as the recipients of the source language.

To achieve the equivalence and adequacy it is necessary to make different translation transformations in order to make the target text reproduce more precisely all the information contained in the source text in compliance with the appropriate norms of the target language. The present research is based on the classification of translation transformations made by V.N. Komissarov. It includes the levels of the language system (the following transformations are singled out: lexical, grammatical and lexical-grammatical).

The gender aspect is the structure-forming element in V.Woolf’s novel “Orlando” and its translation made by E.Surits. Consequently, the reproduction of this aspect is the translation dominant. The analysis of the manifestation of the gender aspect in this novel allowed us to make the following conclusions: there is the complex of reasons underlying this phenomenon – the creative method of V. Woolf as a representative of modernism whose plots are directed inside the person’s psychology; feministic views of the author; the artistic peculiarity of the novel consisting in depicting that the main hero Orlando had a male-to-female sex-change in order to show that majority of people is androgynies by mental structure as well as Vita Sackville-West – a person to whom the novel was devoted.

The gender peculiarities of the language of the novel “Orlando” are singled out at the following language levels: morphological, lexical, syntactical and the level of text.

At the morphological level the gender features are revealed through the category of gender.

The explicit manifestation of gender can be seen only in the translation as unlike the Russian language the gender of the nouns in the English language is recognized by their meaning.

At this level the gender-marked unit in the original is the usage of the name of the main hero/heroine (Orlando) with different parts of speech (mostly the verbs) which are translated into Russian with the appropriate gender ending. Thus, the proper name in the given novel plays an important role in the representation of the gender aspect which is the part of the artistic image of the hero.

At the morphological level the main function of the gender-marked units is not only the reproduction of the gender component but largely the making things clear in the text.

The analysis of transformations at this level allowed to make the following conclusion: the diagram below shows that the most common transformations at the morphological level are zero transformations (61,8%) and specification (12,9%). It can be explained by the fact that the reproduction of the gender component at this level provides the explicitness of the context concerning the sex of the hero.

The example of specification:

Orlando was unaccountably disappointed [1*]. – Орландо испытывала непостижимое разочарование. – (Orlando ispytyvala nepostizhimoe razocharovanie). [2*]

The example of zero transformation:

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For Orlando was a trifle clumsy. [1*] – Потому что Орландо был чуточку не-

ловок. – (Potomu chto Orlando byl chutochku nelovok). [2*]

Picture 1. Percentage of transformations at the morphological level

Morphological level

Specification

Modulation

Zero transformation

Partitioning

Change of grammatical category

Change of part of speech

Change of part of the sentence

Antonymous translation

The proportion of the main types of transformations at the morphological level is the following:

1)lexical transformations – 19,2%;

2)grammatical transformations – 72,5%;

3)lexical-grammatical transformations – 2,4%.

The prevalence of the grammatical transformations indicates that the peculiarity of the gender aspect at the morphological level is manifested through the category of gender providing the explicitness of the next.

The gender-marked units at the lexical level can be classified in the foll owing

way:

1) corresponding pronouns forming the gender in the language on the whole and not having the gender marking in the subjective form.

The example of the change of part of speech:

The translator used this transformation for the intensification of the gender characteris-

tic.

Orlando marveled how she had got there. [1*] – Он удивился, как она сюда попала. – (On udivilsja, kak ona sjuda popala). [2*]

2) words having masculine or feminine meaning.

The manifestation of gender in this case is connected with gender stereotypes or to be more precise with the intentional shift of gender stereotypes.

a)description of the appearance;

b)psychological features;

c)manners of behavior;

d)social status.

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The description of the appearance and psychological features of Orlando-the-man and Orlando-the-woman do not always coincide with the common gender stereotypes. V. Woolf constantly stresses such features of Orlando-the-man as shyness, timidity, sensitiveness, capriciousness and inclination to tears. These features are usually ascribed to women.

The shift of gender stereotypes occurs while describing Orlando’s habits and manners of behavior: Orlando-the-man possesses such qualities as charm, neatness and chastity while Orlando-the-woman has the lust for power, desire for order and inclination for gambling.

The social status of the hero also has the manifestations of gender which are connected with stereotypes concerning the family and professional roles: in the 16th century Orlando- the-man had the possibility for writing, serving as an ambassador and the title of duke; Or- lando-the-woman could marry and give birth to a child.

Translator E. Surits used specification while translating the participle “blushing” – “зарделся (zardelsja)”; the women are usually described blushing and flushing red. Moreover, the comparison with the rose (which is considered to be the perfection of beauty) has the clear feminine colouring of a word (even the figurative meaning of the word “rose” is a beautiful woman or a girl). However, V. Woolf uses this feminine colouring for the description of a man.

The young man withstood her gaze blushing only a damask rose as became him. [1*]

– Он не дрогнул, только зарделся, как дамасская роза, что ему очень шло и по-

добало – (On ne drognul, tol'ko zardelsja, kak damasskaja roza, chto emu ochen' shlo i podobalo). [2*]

The psychological description of Orlando includes the inclination to tears which is considered to be a female stereotype. In the given example specification (“came” – “брызнули (bryznuli)”) and rearrangement of lexical units contribute to the strong emotional tension experienced by the heroine.

Do what she could to restrain them, the tears came to her eyes, until, remembering that it is becoming in a woman to weep, she let them flow. [1*] – Как она ни сдержи-

валась, из глаз у нее брызнули слезы, впрочем, она вспомнила, что женщине полагается плакать, и уже их не стеснялась – (Kak ona ni sderzhivalas', iz glaz u nee bryznuli slezy, vprochem, ona vspomnila, chto zhenshhine polagaetsja plakat', i uzhe ih ne stesnjalas'). [2*]

The most common transformations at the lexical level are specification (16,3%), change of part of speech (15,9%) and modulation (10,2%). It can be explained by the fact that the above-mentioned transformations provide the distinct reproduction of the gender characteristic in the Russian language. For example, they help specify the language unit with wider meaning and deduce the language unit with vivid gender component in the context.

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Picture 2. Percentage of transformations at the lexical level

The proportion of the types of transformations at this level is the following:

1)lexical transformations – 37,4%;

2)grammatical transformations – 26,4%;

3)lexical-grammatical transformations – 17,1%.

The prevalence of the lexical transformations indicates that the peculiarity of the gender aspect at the lexical level is manifested through the creation of the feminine and masculine image of Orlando by means of lexical gender-marking units. However, great percent of the grammatical transformations shows that the reproduction of the gender component at the lexical level causes the rearrangement of the grammatical structure of the target language.

At the syntactical level the analysis of the speech of the hero/heroine was made on the basis of the fact that there is the gender dichotomy of the speech.

For example, the manifestation of masculinity is affirmative sentences expressing firmness and emotional restraint:

This sentence shows that the translator reproduce the firmness and lack of emotionality of Orlando-the-man using zero transformation in combination with the change of part of speech (“please” – “в угоду (v ugodu)”).

Bad, good, or indifferent, I’ll write, from this day forward, to please myself. [1*] –

Хорошо ли, плохо, или непосредственно – я буду писать отныне и вовеки в угоду самому себе – (Horosho li, ploho, ili neposredstvenno – ja budu pisat' otnyne i voveki v ugodu samomu sebe). [2*]

The use of emphatic constructions stresses the femininity of the speech:

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The emphasis consisting in “dividing” the subject and the compound nominal predicate by means of the subordinate clause with the connective word “who” and using thricerepeated linking verb “am” is compensated by the repetition of the particle “только (tol'ko)” and the asyndeton (the change of syndeton for asyndeton and the change of the subordinate clause for the main clause).

Whereas, I, who am mistress of it all, am single, am mateless, am alone. [1*] – А я,

всему этому хозяйка, только я не пристроена, одна только я одинока – (A ja, vsemu jetomu hozjajka, tol'ko ja ne pristroena, odna tol'ko ja odinoka). [2*]

The use of compensation (19,8%) and modulation (14,7%) helped keep the syntactical gender characteristics as due to these transformations the translator managed to reproduce adequately the gender components despite the differences in the grammatical structure of the languages.

Picture 3. Percentage of transformations at the syntactical level

Syntactical level

Specification

Generalization

Modulation

Zero transformation

Partitioning

Change of grammatical category

Change of part of speech

Change of part of the sentence

Change of type of the sentence

Compensation

Slide

Reaarangement

The proportion of the types of transformations at the syntactical level is the follow-

ing:

1)lexical transformations – 28,9%;

2)grammatical transformations – 30%;

3)lexical-grammatical transformations – 21,8%.

This level is notable for the complex use of all three types of transformations. The prevalence of the grammatical transformations indicates that the peculiarity of the gender aspect at the syntactical level is manifested through the use of the gender - marked syntactical constructions contributing to the creation of feminine and masculine image through Orlando’s speech. However, transformation of the syntactical structures leads to the transformation of the words. As a result of this, there is high percentage of lexical and lexical-grammatical transformations.

The rhythm of the prose is singled out at the level of text. It can be seen in the text where V. Woolf uses gender-marked units. The rhythm of the gender units is created by means of repetition of the words of masculine and feminine gender, gendermarked units, syntax, contrasts, parallelisms and emphasizes the masculine or feminine

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characteristics. It should be noted that in text the separate words with their connotations form the complex system of associations. This set of associations creates the connotative field of the text as integral part of its meaning [16, p. 70] and the rhythm helps stress the gender orientation of the text more vividly.

The red of the cheeks / was covered with peach down; / the down on the lips/ was only a little thicker / than the down on the cheeks. / The lips themselves were short / and slightly drawn back / over teeth of an exquisite / and almond whiteness./ Nothing disturbed the arrowy nose / in its short, tense flight; / the hair was dark, / the ears small, / and fitted closely to the head. [1*]

Розовые щеки / подернулись персиковым пушком; / пушок над губой / всего лишь чуть-чуть загустевал / по сравнению с пушком на щеках. / Сами губы были резко очерчены / и слегка изогнуты / над безупречным рядом миндаль- нейше-белых зубов. / Без сучка / без задоринки / был задорно-стремительный нос; / волосы темные; / и маленькие, / тесно прижатые к голове ушки – (Rozovye shheki / podernulis' persikovym pushkom; / pushok nad guboj / vse-go lish' chut'-chut' zagusteval / po sravneniju s pushkom na shhekah. / Sami guby byli rezko ochercheny / i slegka izognuty / nad bezuprechnym rja-dom mindal'nejshe-belyh zubov. / Bez suchka / bez zadorinki / byl zadorno-stremitel'nyj nos; / volosy temnye; / i malen'kie, / tesno prizhatye k golove ushki). [2*]

This extract contains the description of Orlando-the-man. Nevertheless, the rhythm of the gender-marked units creates the feminine image.

The majority of the gender-marked units have the feminine connotation: “the red of the cheeks”, “peach down” – the blush on the cheeks and mentioning of the peach while describing the appearance are often associated with the image of a young girl.

The rhythm of the given description evokes the image of graceful and pretty girl. V.

Woolf tried to “rhythmize” prose using parallel constructions (the down on the lips – the down on the cheeks), different repetitions – anadiplosis (peach down; the down on the lips), framing (the down on the lips was only a little thicker than the down on the cheeks), asyndeton (the hair was dark, the ears small).

E. Surits created the certain rhythm by other means, in particular: she reproduced the repetition – anadiplosis and framing and compensated parallelism contributing to the rhythm in the first sentence using the root repetition (задоринки – задорно-

стремительный). While translating the phrase “a little thicker” E. Surits used change of part of speech and reduplication which expresses grace and elegance (чуть-чуть загустевал (chut'-chut' zagusteval)).

The translator often employed compensation (18,7%) contributing to the reproduction of the rhythm by means of the Russian language in order to rhythmize prose (for example, the rhythm in the original is created by repetition of the monosyllabic words and in translation it is created by the repetition of the words with the identical endings).

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