Филологические науки/6.Актуальные проблемы перевода.

Tynbayeva G. S¹., Sailauov D²., Arabaji K.D³.

Buketov Karaganda State University^1,3

Kazakh Ablai Khan University of international relations and world languages²

Kazakhstan

EXPRESSIVE AND EMOTIONAL FEATURES IN LINGUISTIC APPROACH

The emotional side of a person's life is organically connected with activity in all its forms and manifestations. In emotions, the person's relation to the phenomena of the surrounding reality finds expression. The system of language means allows a person to indirectly or directly adequately express any emotion. This does not mean that in real life emotions are expressed only by means of language. The psychological side of emotions is manifested not only in the experience of the emotion itself.

Emotion influences intellectual processes, it represents a unity of three components: physiological, subjective, expressive. This means that a person, undergoing an emotion as a physiological state, experiences this emotion and expresses it. Emotions a person accompanies facial expressions and pantomime, but these expressive non-verbal means are added with intonational characteristics of the voice (sad voice, angry voice).

In psychology, emotions are traditionally referred not only to emotions as such, but also feelings, passion, emotional state (mood, affect, stress).

Despite the increased interest in the problems of psychological order associated with the emotional sphere of the language, there is no detailed general or private classification of emotions in psychology and linguistics for today.

In linguistics in the language of the artistic text, vocabulary is used, which is able to express such categories as emotionality and expressiveness at the level of language and speech. The word is a means of knowing the world around us and a means of communication. It should be noted that language also serves as a means of expressing a personal, subjective relationship of a person to the subject of a statement and situation, as well as his feelings and emotions. Language is a means of emotional impact on the listener. The term emotional vocabulary is understood by different authors far from ambiguous.

Many researchers do not give a clear distinction between the content that is embedded in the concepts of "emotional" and "expressive." Very often these two concepts are used as synonyms. We consider it necessary, to give a clear distinction between two concepts: emotionality on the one hand, and expressiveness on the other. We came to the conclusion that emotional means are used to express feelings, and expressive ones are used to enhance expressiveness, both in expressing emotions and expressing thoughts.

Consideration of such concepts as "emotionality" and "expressiveness", in the course of analysis of theoretical material, led to the following conclusions:

1) Emotionality is understood in two senses, as a property of the subject; his ability to experience emotions, color his actions and express them with the help of non-linguistic and linguistic means and as a property of a linguistic sign, as a fact of the emotional experience of some phenomena of reality by the subject. Following EM. Galkina-Fedoruk, we are of the opinion that emotionality is an expression of the author's attitude to the described events and the character. Emotionality can exist in the word either contextually, or along with the object-logical meaning.

2) Expressivity means the enhancement of the expressiveness of the acting force of what was said [Galkina-Fedoruk]. The main component of the category of expressiveness, both linguistic and speech, is figurativeness, which in linguistic literature means the ability of linguistic units to create visual-sensory ideas about objects and phenomena of reality [Molchanov].

3) There are many ways to convey expressiveness, the most significant among which, within the framework of our research, are: 1) the plot composition - the interaction of the principles of internal and external construction of the text in its linguistic-stylistic design [Nelyubin] and 2) the structure of images.

4) As for the relation between the concepts "emotionality" and "expressiveness", in our opinion, the concept of expressiveness is broader than the concept of emotionality, which is a part of it. The main task of emotionality is to reflect the inner state of a person, so it is not always expressive. We are of the opinion of E.M. Galkina-Fedoruk, that expressiveness is always emotional, since its purpose is to influence the reader.

One of the most interesting aspects of translation theory is the problem of transferring stylistic devices in the receiving language (AJ). This problem attracts the attention of linguistic scientists, but is not sufficiently developed. The importance of studying the translation of figurative means is due to the need for an adequate transfer of figurative information of a work of art to the PY, recreating the stylistic effect of the original in translation. [1] But first, let's define what a translation is. Translation is a complex multifaceted phenomenon, some aspects of which can be the subject of research of different sciences. In the framework of translation studies, psychological, literary, ethnographic and other aspects of translation are studied, as well as the history of translation activities in a particular country or countries. Depending on the subject of the study, "one can single out psychological translation studies (the psychology of translation), literary translation studies (the theory of literary or literary translation), ethnographic translation studies, historical translation studies" [2], etc. The leading place in modern translation studies belongs to linguistic translation studies (translation linguistics), which studies translation as a linguistic phenomenon. Certain types of translation studies complement each other, seeking a comprehensive description of translation activities.

A good interpreter uses ways to transfer some of the stylistic techniques used in the original to give the text a great brightness and expressiveness. The translator has the following choice: either try to copy the reception of the original, or, if this is not possible, create a translation of his own stylistic means with a similar emotional effect. This is the principle of stylistic compensation, about which KI Chukovsky said that it is not necessary to transmit a metaphor with a metaphor, comparison by comparison, and a smile with a smile, a tear with a tear, etc. For an interpreter, it is not so much the form that matters, but the function of the stylistic admission in the text. This means a certain freedom of action: grammatical means of expressiveness can be transmitted by lexical and vice versa; by omitting the stylistic phenomenon that is not transferable to Russian, the translator will return the "debt" to the text, creating in another place the text - where it is most convenient - another image, but of a similar stylistic orientation. [3] If a person is not used to think about translation issues, to know something about translators, if he has no experience comparing different translations or translations with the original, then he usually has a naive attitude to the matter, the translator and the translation are taken out of brackets, this is simply not think. "I did not like Updike's style: there are too many girandic turns!" If something is wrong, the author is guilty, because there is simply no one else anymore: whose book is read in the end? whose name on the cover? On the other hand, when a person understands the complexity and importance of the work of an interpreter, is accustomed to reasoning about this and comparing, and he himself has translated something, perhaps in a curious way he is striving for another extreme: the author disappears. If the translation is something wrong, then it is the interpreter who is responsible, for the aesthetic and stylistic aspects of the text it is he who answers. "Look, what horror, do they say so in Russian?" - and there is even the thought that perhaps they do not speak it in French, English or Chinese, and that maybe , the author made this piece deliberately awkward (or even - about the horror! - unintentionally). In this there is no malicious intent, as there is no one in the first version, when they do not notice the translator. The author simply dissolves somewhere in the background.

This is closely related to the desire of the translator (or, often, the translation editor) to "improve" the author's text, sometimes consciously, sometimes unconsciously. The author used the same adjective three times in a row; as it does not look good in translation, it is necessary to replace it with synonyms! If you try to understand, this replacement is sometimes justified. Perhaps, in the original language, it is in this area that the synonymous series is poorer, and three identical adjectives in a row look therefore not unaccountably [4], but quite normal; in translation it is necessary to paint. But maybe, and vice versa - the author tried to emphasize this word, or deliberately stint on synonyms in this passage. Or: maybe, in the original language, these are repetitions of words that inevitably often occur for grammatical reasons (personal pronouns in English, say); and in translation it is possible and necessary to do without such a tedious repetition. It is necessary to understand (and take some inevitable subjective decisions). But it often happens that the question of how it was in the original and how it can be perceived by the readers of the original and how it could be intended by the author of the original simply does not emerge, it remains dissolved there, in the background. It is necessary to make it so that it is well read in translation; unfortunately, in practice this often means that one must do it smoothly.

There are many means of creating expression in the literature. The difficult, noble profession of an interpreter has become necessary for mankind since it - according to the biblical legend - has begun to speak different languages. Translators were needed during the days of peace and war, during predatory invasions and peaceful travel, in the conduct of trade. Without them, communication between nations would be unthinkable. The work of translators promoted the rapprochement of distant cultures and enabled people to get acquainted with various trends in the philosophy and culture of the peoples of the world, learn about the social structure of their countries, and the development of the humanities. Thanks to the creative work of translators, the peoples of different countries were attached to the heights of scientific and artistic thought achieved by the human genius. Therefore, from antiquity to our days, translation as a phenomenon constantly occupied thinkers and poets, translators and writers. And today, when the work of translators is no longer surrounded by a halo of mystery, interest in the problems of translation in the whole variety of related aspects does not cease - it grows in all countries [7]. It is absolutely natural that for literary critics, linguists, culturologists and philosophers, the main and most interesting problems are related to the artistic translation, the translation of artistic speech.

Means of expressing expression include: metaphor, metonymy, comparison, allusions, quotations, winged expressions, proverbs and sayings. When translated, they usually serve as a means to make the source text more expressive. They also serve to better express the feelings and experiences of the author.

When translating, the translator is most difficult to translate such stylistic figures of speech as metaphors, epithets, comparisons, proverbs, etc. The translator can translate without paying attention to them and as a result will receive a "dry" translation.

In linguistics there are two approaches to the description of emotions, which can be conditionally called semantic and metaphorical. Within the framework of the semantic approach, not all emotions can be described. The limited interpretation of emotions within the framework of the indicated approach causes criticism among researchers and is the reason for the appearance of other ways of their interpretation.

The most widespread in contemporary linguistic works was the metaphorical way of representing emotions. But this method has the drawback that the metaphor is taken as the final product of linguistic analysis, and the actual semantic motivation of the associative connection between the metaphor and a certain emotion is absent.

In linguistic literature, a metaphor is often defined as a poetic or rhetorical expressive means, giving speech expressive coloration. Metaphor is usually regarded solely as belonging to a natural language, and refers to the sphere of vocabulary, and not to the sphere of thinking or action.

The metaphor is based on the image that is the source of the basic semiotic concepts, the structure of which is created by the interaction of the expression plan and the content plan. The metaphor preserves the integrity of the image, which can go to the background, but not disintegrate. By changing the everyday language that we use, metaphors change the way we understand and perceive the world. They create a kind of aesthetics of life. They are rich in the derivative and prosaic sphere of activity.

The study of metaphor becomes more and more profound and captures different areas of knowledge. The origins of the study of interest in the metaphor are usually associated with the name of Aristotle, who owns one of the first classifications of metaphors.

An analysis of the theoretical material on the problem of metaphor made it possible to draw some conclusions:

1) A linguistic metaphor is an independent lexical unit that freely enters into semantic connections and is realized in a diverse lexical environment.

2) Speech metaphor does not have such lexical independence - it is always connected with the context.

3) Language and speech metaphors are different in their semantic and communicative nature.

4) Their differences in terms of lexical status are also significant.

5) At the heart of any metaphor is the image.

6) The metaphor preserves the integrity of the image, which can go to the background, but not disintegrate.

As already noted, the most effective means of expressing expressiveness at the syntactic level are appeals, introductory and plug-in constructions, direct and improperly direct speech, one-part and incomplete sentences, as well as stylistic figures, in particular repetition, namely such repetitions as anaphora, pickup, buildup, symploca, epiphora.

The peculiarity of repetition as a stylistic device is the strengthening, consolidation of the utterance in the reader's mind to his emotions, feelings, mood. Repetitions focus attention on the emotional side of the statement, on the expressiveness of content, convey new information. All this was achieved by the authors of the translations in their works. Expression in translation makes the source text more expressive. It is absolutely natural that for literary critics, linguists, culturologists and philosophers, the main and most interesting problems are related to the artistic translation, the translation of artistic speech. Means of expressing expression include: metaphor, metonymy, comparison, allusions, quotations, winged expressions, proverbs and sayings. When translated, they usually serve as a means to make the source text more expressive. They also serve to better express the feelings and experiences of the author. When translating, the translator is most difficult to translate such stylistic figures of speech as metaphors, epithets, comparisons, proverbs, etc. The translator can translate without paying attention to them and as a result will receive a "dry" translation. Translation, both oral and written (including the translation of literary texts) is a complex and multifaceted process. Translation is not just the replacement of one language by another. Different cultures, personalities, levels of development, traditions and attitudes are faced in translation. And the main task of an interpreter is to remember all the complexities of the translation and try to express as accurately as possible the author's thought, while not forgetting to transfer various author's artistic techniques. In other words, there are difficulties and "pitfalls" in both written translation and oral. As already mentioned, awareness of these difficulties is a step towards the success of the professional activity of an interpreter. The most important thing is never to calm down and never assume that everything is already known that a foreign language is mastered "in perfection" (a notion that real professionals never know about that there is not and can not be perfect knowledge) that all receptions " rehearsed ", etc. Confidence in one's own strength should not turn into self-confidence, and existing knowledge - into a rigid dogma, not subject to verification or improvement. And it is important to remember: translation is first and foremost a difficult, painstaking, responsible work that requires not only a wide range of knowledge and creative attitude, but also a tremendous effort.

References:

1. Antonov NG, Problems of translation theory in foreign linguistics. - M., 1978;

2. Arnold IV. Stylistics of modern English. M., 1960;

3. Barkhudarov L.S. Levels of the language hierarchy and translation, M., 1975;

4. Breeva LV, Butenko AA, Lexico-stylistic transformations in the translation, M., 1999;

5. Vinogradov V. V. Stylistics. The theory of poetic speech. M., 1963;

6. Vlahov S. and Florin S. Untranslatable in translation. - Moscow: Intern. Relations,1980;

7. Davidson D. What do metaphors mean. M., 1990;

8. Lakoff, J., Johnson, M. Metaphors We Live (Theory of Metaphor . M., 1990.)

9. Shcherba L.V. Language system and speech activity. - L., 1974.