Курсова робота ” Peculiarities of Rendering Military Terms in the Ukrainian Translation of the NATO Secretary General’s Annual Report “

Content

 

INTRODUCTION  

Chapter 1. GENERAL PROVISIONS ON TRANSLATION OF THE “LEGAL THRILLER” GENRE

1.1.   Legal thriller in terms of theories of text, style and genre

1.2.   Specificity of literary translation

1.3.   Principles for describing strategy in the translation process

Chapter 2. FEATURES OF THE TRANSLATION OF THE GENRE OF LEGAL THRILLER ON THE EXAMPLES OF THE NOVEL JOHN GRISHAM`S “THE STREET LAWYER”

2.1. Linguistic analysis of the research material 

2.2. Translation transformations used for transmission functional dominants of a legal thriller

 

CONCLUSIONS

REFERENCES

 

INTRODUCTION

 

      If in the old days literature was stable, today it is forced to constantly change and renew itself in order to keep up with the pace of life of modern readers. As a result, new literary trends and new genres are born. The genre of legal thriller that emerged at the end of the last century and does not lose popularity in the present, just belongs to such new genres. This work is devoted to the problem of developing a strategy translation from English into Ukrainian of works of fiction related to the genre of legal thriller (for example, the novel by John Grisham’s “The Street Lawyer”).

      The relevance of this study lies in the fact that with the release of more and more bestsellers by the founder of the legal thriller genre, John Grisham, the need for their translation into Ukrainian is growing.

      The object of this research is the linguistic and stylistic features of the legal thriller genre that affect translation.

      The subject of this research is translation strategy artistic works of the genre of legal thriller from English into Ukrainian.

      The purpose of this study is to describe the strategy for translating the legal thriller genre from English into Ukrainian.

      Research objectives set in accordance with the goal:

• describe legal thriller as a literary genre;
• review works, dedicated to the features of translation of fiction;
• study the principles of developing a translation strategy;
• analyze linguistic and extra linguistic characteristics of the novel by John Grisham and his example to determine the functional dominants of the texts of the genre of legal thriller;
• to identify ways of transferring dominant data when translating material research from English into Ukrainian.

 

Chapter 1. GENERAL PROVISIONS ON TRANSLATION OF THE “LEGAL THRILLER” GENRE  

1.1.    Legal thriller in terms of theories of text, style and genre

 

     In order to develop a translation strategy for the genre “legal thriller “we first need to highlight the features of this genre of fiction, which is not possible for us without considering the main provisions of theories of text, style and genre. In the book “Stylistics of the English language”, written A.N. Morokhovsky, O.P. Vorobyova, N.I. Likhosherst and Z.V. Tymoshenko, the text is presented as a holistic communicative education, which

structural-semantic, compositional-stylistic and functional unity and which is characterized by certain text categories such as informativeness, completeness,

linearity, integrability, repeatability, etc. [Stylistics of English language, 1984, p. 195].

     The concept of “text” in linguistics is traditionally associated with style. I.R. Halperin argues that speech styles (or functional styles; this term is also widely used by Ukrainian linguists [Znamenskaya, 2006]) are distinguished as certain systems in literary language primarily in accordance with the purpose of the message, which predetermines their functioning and language features.     

     Each the speech style has, as general for this style, features that lie in based on the separation of this style into an independent speech style, and particular forms of its manifestation [Halperin, 1958, p. 343]. According to classification I.R.

     Halperin, there are five speech styles English literary language: style of fiction, newspaper style, journalistic style, scientific prose style and English style official documents [Galperin, 2010].

     The works of the genre of legal thriller undoubtedly belong to artistic style. According to N.L. Leiderman, a work of art is a complex sign system consisting of two signal systems that seem to be built on top of each other. Initial value belongs to the first sign level – the text system, while the second layer of the work creates an artistic system, which, although cannot exist without text, but still represents something completely different measurement. An artistic system is needed in order to create in the reader’s fantasies “virtual reality”, where not only can take root “typical heroes in typical circumstances”, but quite a completely unprecedented ontology is possible. So it begs

the conclusion that a literary text is an inanimate, inorganic system, possessing the ability to imitate living organically self-developing reality [Leiderman, 2010, p. 38].

     To achieve this effect, the authors use both expressive, emotionally colored elements of speech, as well as the most common, common words that create simplicity, naturalness,

help to depict the most vivid pictures and express deeper and sincere feelings. L.L.  

     Nelyubin assures that the elements that are inherent business coldness and dryness, the language of fiction avoids, that there are almost no terms in it [Nelyubin, 2007, p. 75]. G. Ya. Solganik thinks differently, in his opinion, the vocabulary of the art style is fundamentally unlimited.

     It may contain the means of all other styles – both terms, and official expressions, and colloquial words, and turnovers, and journalism. Such a huge range in use speech means is explained by the fact that, unlike other functional styles, each of which reflects one specific side of life, artistic style, being a kind of mirror of reality, reproduces all areas of human activity, all phenomena public life.

     The language of fiction is fundamentally devoid of any stylistic isolation, he can absorb any styles, any lexical layers, any language means. Such openness forms the diversity of the language of fiction [Solganik, 1997, p. 197-198]. In the style of fiction, one can find, although it is not is a prerequisite, going beyond the norms of literary language.

     This phenomenon is used when it is required to emphasize attention to the linguistic characteristics of the characters, the depicted environment or era; for this, vernacular elements, dialectisms are introduced, archaisms, foreign language vocabulary and other phenomena that go beyond the norms literary language that can be seen in the language of artistic works of contemporary English and American writers.

     True, and these fiction-style elements are presented processed, typed, selected. They are not used here in its, so to speak, natural form; their use would pollute the language and hinder the enrichment and development of literary language norms [Nelyubin, 2007, p. 76].

     In the subtype of fiction, the predominance of some elements over others, which happens for various reasons, for example, it may depend on the genre of the literary work, on the content of the work or from the individual manner of the author narration.

     Often in the language of fiction there is a synthesis literary-book and colloquial-familiar sides of the language, signifying general trends in the use of public funds language [Ibid, p. 80].

     Returning to the concept of “text”, it is worth mentioning that each the text belongs to one of the text types. Under the type of texts imply different groups of texts that belong to the same functional style of speech, but differ in subject-meaning, or denotative signs.

     In turn, each of types of texts are implemented in certain genres, and the division of texts by genres is carried out based on their compositional and stylistic features. In different types of texts, different genres are distinguished [Stylistics of the English language, 1984, p. 237].

     L.L. Nelyublin defines a genre of text as “a class of verbal texts, allocated on the basis of the generality of the structure, the limits of variability and use in the same communication contexts. Specific signs of genre differentiation are associated with three semiotic dimensions – semantics, pragmatics and syntactics and refer to reflection of the world in the text, to the communicative functions and to the internal structure of the text ”[Nelyubin, 2003, p. 53].

     However, the classification and even the very possibility of classification genres is a controversial issue for linguists. About this and possible solutions in his article “The problem of classification in theory literary genres “tells E.E. Barinov. She writes, that “for decades, most references to the genre the originality of certain literary works was reduced to the problem blurring genre boundaries and, as a result, indeterminacy, elusiveness and even destruction of genres ”[Barinova, 2012, p. eighteen].

     “Referring to contemporary literature, some researchers take extreme positions in which it is difficult to talk about any typology, which is partly dictated by the very specifics of the latest literary material. On the one hand, they write about “genre generalizations” that appear due to the total destruction of genre boundaries and a peculiar “Contraction of genres” ”[Ibid.]; “Therefore, we are no longer talking about genres, but about philosophical, historical, documentary and other genre generalizations. On the other hand, they speak of “individual genre form “in relation to each specific artistic product ”[Ibid.].

      Comparatively new and therefore not yet fully described genre is the thriller genre we are considering, in particular, its the flavor is a legal thriller. James Patterson, Foreword to Thriller Storybook defines a thriller as a work that evokes vivid emotions: anxiety, excitement so strong that it takes your breath away. “If a thriller doesn’t make you in awe, it’s not doing its job,” he adds.

     [Patterson, p. eleven]. T.V. Dyakova in her article “Characteristics of the genre” thriller “and its subgenres “, quoting Dave Kera, says that thriller is mostly the genre is American due to the fact that it “is characterized by spontaneity and force of impact, which are rarely found in European (art), probing the physical and emotional limits of life, rapture danger, awareness of its fatal attractive power ”[Dyakova, 2013, from. 32-35].

     Then T.V. Dyakova writes that as a kind of genre, the thriller developed from detective stories and is characterized by a reverse development scheme plot. Thriller works have no clear boundaries, they are not classified according to the time and place of action described events. Thriller elements are present in many works of different genres, as in thrillers, elements of other genres may also appear.

     Features of the “thriller” genre:

“1) the action is constantly between the present and the future, the plot strives forward to the main point of the story.

2) the inability to predict the further course of events causes a sense of anxious expectation among readers.

3) the final of the work depends on personal qualities, knowledge and skills of the protagonist.

4) the decoration matches a specific subject.

5) elements of other genres are often used in worksnto create the right mood and preserve intrigue ”[Ibid.].

     By subject, thrillers are divided into the following subgenres: aviation thrillers, comedy thrillers, conspiracy thrillers, disaster thrillers, ecotrillers, spy thrillers, research thrillers, medical thrillers, thrillers about mercenaries, mystical thrillers, political thrillers, psychological thrillers, religious thrillers, romantic thrillers, survival thrillers, technotrillers, thrillers about treasure hunters; and, finally, legal thrillers [Ibid].

     Legal thriller – a genre that depicts prosecution the accused and characterized by a dynamic, tense narration [Savochkina, 2007, p. 194]. However, despite the fact that in

the definition given by E.A. Savochkina, it is indicated that the plot legal thriller revolves around the prosecution given the condition is still not always met, i.e. trial as such is an optional criterion for the novel [Biryukova, 2016, p. 256], where more important is the disclosure of how the legal system operates.

     Genre signs of legal thriller texts, like all other complex speech genres are informal, formal and functional signs. Formal signs of a legal thriller, dynamism and tension, as well as a functional sign – entertainment, represent a common paradigmatic signs of adventurous literature, and therefore are not differential.

     Substantive features (standardization and expressiveness), are genre-forming, setting the choice specific techniques of expressiveness and referring to a certain the dictionary of reality, common for the author and readers of the text [Savochkina, 2008, p. 299]. The founder of the genre “legal thriller” is considered the American retired writer and attorney John Grisham.

      After graduating from university where he studied law, Grisham almost devoted ten years to private legal practice, acting as a defender in proceedings of criminal and civil cases, which gives the right to call him an expert in the field and attracts more readers.

     The legal profession did not bring him satisfaction [Pringle, 1997, p. 2], despite this, his unloved work became a source of inspiration for him: “I I strongly doubt that I would have written my first book if I had not lawyer … I took up the pen only after witnessing one

trial “, – this quote is given on the official website writer [John Grisham, Official Website].  

     Then the court dealt with the case of brutal rape of a ten-year-old girl, whose testimony was Grisham such an indelible impression [Pringle, 1997, p. 2], which is Based on this story was born the first novel by John Grisham “Time kill “(A Time to Kill), published in 1989 in limited circulation [John Grisham, Official Website].

     Second novel “The Firm”, released from the pen of the writer in 1991, brought its creator fame, which allowed him to quit legal practice and completely devote himself to writing novels [Pringle, 1997, p. 3]. John Van der Lewit-Drummond in his work “Formation stereotypical representation of the legal profession “writes that legal thriller by John Grisham was formed on the basis of the traditional thriller c borrowing elements of the heroic-romantic novel, Gothic novel, detective novel, and westerns.

     In his works, he often considers contemporary social and legal problems, solve which are not easy: ecology, ethnic relations, the death penalty, corporate greed, and health insurance, representing legal system and lawyers in both the best and worst light.

     Also John Van der Lewit-Drummond cites the opinion of Jonathan Friedland, who believed that the reason for the popularity in America of novels authorship of Grisham, relating to the genre of “legal thriller”, is the fascination of the American public with everything related to the courts, criminals, lawyers and judges.

     Friedland believed that the Americans can sue anyone, even their own parents, and

that such a passion for law stems from the US Constitution, ensuring the protection of human rights and freedoms. This interest also influences what Americans read. Thanks to the success of Grisham’s novels, legal thriller has become one of the popular genres in American literature .

     Director Sydney Pollack who brought Grisham’s Firm to the big screen, explains in a different way the popularity of a legal thriller. Pollack believes that her reason consists in the public’s suspicious attitude towards the cynical American legal system from the early to mid-1990s.

     Grisham managed to reflect this in many of his novels, the main idea of ​​which is that you should not trust representatives of the authorities, because, ultimately, the authorities are always corrupts those who possess it. However, it cannot be said that the popularity of the legal thriller is a phenomenon of the 1990s. Pringle suggests that interest to this genre of fiction appeared in the 30s – 40s of the 20th century. John Grisham’s predecessors were American writers such as Melville Davisson Post, Earl Stanley Gardner, and Walter Van Tilberg Clark and Cornell Woolrich, who introduced the idea of ​​lynching. In the 1940s the most popular topic of literary works of legal themes, there was a need from time to time to take the law into their own hands, which has become one of the main themes of many novels Grisham.

         Thus, when writing his books, John Grisham combined their own techniques borrowing from the works of predecessor writers. Contrary to the fact that at first glance in his novels “the king of the genre” criticizes members of the legal profession, ends they are always confirmation that the legal system was created in order to protect.

     Often, exposure of the shortcomings of the current legal system, as well as the subsequent restoration of its reputation, the author assigns on the shoulders of the main character, usually young and capable of the exploits of an idealistic lawyer, that is, the plot of John Grisham’s novels is usually lined up around a lawyer who alone opposes

dark forces, represented either by some large corporation, or the legal system itself. In this case, the main character is drawn into history not of its own free will, but ultimately accepts the challenge, especially since his career or life is at stake.

     So on the one hand, legal thrillers are different from her varieties of thriller in that the protagonist in these novels are a lawyer, and the dynamic development of the plot takes place in legal environment, due to which in the language of works there are elements

standardization characteristic of legal discourse, and on the other parties, legal thrillers, like any other thriller, must evoke vivid emotions in the reader: fear, excitement, anxiety; make him forget that what is happening in the book is unreal; don’t let him get bored and

put the book down.

     These features, standardization and expressiveness, should be preserved when translating works of art written in the genre of “legal thriller”.

 

1.2.    Specificity of literary translation

 

     Translation is a complex process of transferring information from one language to another. There are still various approaches to studying translation theory. I.S. Alekseeva gives the following definition to translation: “translation is an activity that consists in variable re-expression, re-coding of a text generated in one language into a text in another

language, carried out by a translator, who creatively chooses the option depending on the variational language resources, type of translation, translation tasks, type of text and under the influence of one’s own personality; translation is also the result of the activities described above.

     ” On the other hand, N.K. Garbowski defines the term “translation” as a social function of communicative mediation between people using different language systems, which is realized in the course of the psychophysical activity of a bilingual to reflect reality on the basis of his individual abilities of an interpreter, who makes the transition from one semiotic system to another with an equivalent goal, that is the most complete, but always partial, transmission of the system of meanings contained in the original message from one communicant to another.

     E.A. Ogneva in her monograph “Literary Translation: Problems of Transferring the Components of a Translation Code” writes that translation, “as a process and result of translation activity, depends on an orientation towards a specific receptor, a typical representative of the culture of the target language.

     The act of translation is pragmatically oriented in two directions: first, it consists in full reproduction of the original, and secondly, the translation is pragmatically oriented towards the receptor. “

     In the words of V.N. Komissarov, we can add that translation is “a complex and multifaceted type of human activity. Although they usually talk about translation “from one language to another”, in reality, in the process of translation, there is more than just the replacement of one language with another.

     Different cultures, different personalities, different ways of thinking, different literatures, different eras, different levels of development, different traditions and attitudes collide in translation ”.

     As for literary translation, it can be defined as «a kind of original artistic creation, in the process of which a literary work existing in one language is recreated as fully in another language by its artistic means, becoming a new unity of content and form in the conditions of another language and another ethnic culture, a full-fledged literary work of interpretive art».

     T.A. Kazakova, summarizing the definitions of this term, says that most of the definitions boil down to the combination “literary translation is a natural fusion of science and art”, where the scientific aspect of literary translation is knowledge of the widest range of problems associated with the very concept of literary text, measures artistry and the boundaries between artistic and non-artistic; this also includes knowledge in the field of related languages, cultural and literary traditions, awareness of the personal and social world of the translated author, the psychology of literary creativity, etc.

     The creative aspect, or the art of literary translation proper, consists of the translator’s personal literary skill, his abilities, anticipation of the literary needs of his time and the ability to answer implicit questions in interliterary and, more broadly, in intercultural communication.

 

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