Лексико-стилистические особенности идиостиля [имяфамилия автора] в аспекте перевода (на материале романа/поэмы/сборника и тд)

Многие образы и сюжетные линии в романе носят ярко выраженный символический характер, отсылая читателя к более широким социально-политическим и философским обобщениям. Образ Большого Брата, Комната 101, судьба главного героя Уинстона Смита –все это приобретает в «1984» глубокое символическое звучание, превращая роман в мощную художественную модель тоталитарного общества.При переводе романа «1984» на русский язык переводчики использовали разнообразные стратегии, направленные на максимально точную передачу лексико-стилистических особенностей оригинального текста Оруэлла. Ключевыми переводческими трансформациями, применявшимися в данном случае, стали:1. Лексические трансформации:- Перевод авторских неологизмов и окказионализмов («Minitrue»–«Миниправда», «telescreen»–«телеэкран»)- Замена лексических единиц оригинала более привычными русскоязычному читателю вариантами («ragmats»–«старые половики»)- Опущение некоторых деталей оригинального текста («boiledcabbage», «old»)2. Грамматические трансформации:- Изменение порядка слов в предложениях для достижения более естественного звучания на русском языке- Замена активных конструкций пассивными («couldbeseenaswellasheard»–«его можно было не только слышать, но и видеть»)- Добавление или опущение служебных слов (тире, союзы и т.д.)3. Компенсация:- Добавление уточняющих слов и словосочетаний, отсутствующих в оригинале («конструкция», «обозначенной»)Применение этих переводческих стратегий позволило сохранить ключевые элементы идиостиля Оруэлла, такие как использование неологизмов, лаконичность языка, ирония и символизм, в русскоязычной версии романа «1984». Благодаря этому переводчикам удалось донести до российского читателя пугающий образ тоталитарного общества будущего, созданный Оруэллом, сохранив при этом художественную целостность и идейную глубину его произведения.Таким образом, анализ лексико-стилистических особенностей романа «1984» и переводческих трансформаций, использованных при его переводе на русский язык, позволяет сделать вывод, что индивидуальный художественный стиль Джорджа Оруэлла отличается лаконичностью, точностью и простотой языка в сочетании с глубокой идейной насыщенностью, символизмом и сатирической направленностью. Именно эти стилистические особенности делают его произведение ярким образцом социально-политической прозы XX века, предостерегающим человечество от опасностей тоталитаризма.Список литературыАрнольд И.В. Стилистика: Современный английский язык: учебник для вузов. М.: Флинта: Наука, 2016. – 384 с.Высоцкая, В. А. Отражение языковой игры в переводах романа Дж. Оруэлла «1984» / В. А. Высоцкая. – Текст: непосредственный // Молодой ученый. – 2019. – № 20 (258). – С. 543-546.Затонский, Д.В. Художественные ориентиры XX века / Д.В. Затонский. – М.: Советский писатель, 1983. – 416 с.Ивашева, В.В. Английская литература: ХХ век / В.В. Ивашева. –М.: Высшая школа, 1984. – 384 с.Кагарлицкий, Ю.И. Что такое фантастика? / Ю.И. Кагарлицкий. – М.: Советский писатель, 1974. – 352 с.Комиссаров В.Н. Современное переводоведение: учебное пособие. М.: ЭТС, 2002. – 424 с.Лотман, Ю.М. Структура художественного текста / Ю.М. Лотман. – М.: Искусство, 1970. – 384 с.Лучинская Е.Н. Постмодернистский дискурс: семиологический и лингвокультурологический аспекты интерпретации. Краснодар: Кубан. гос. ун-т, 2002. – 194 с.Мозжегорова, Е. Н. Особенности передачи и сохранения идиостиля Джорджа Оруэлла в переводах романа «1984» на русский язык / Е. Н. Мозжегорова, Д. В. Данилова // Успехи гуманитарных наук. – 2021. – № 1. – С. 149-154.Оруэлл, Дж. 1984 / Дж. Оруэлл ; пер. с англ. В. Голышева. – М. : АСТ, 2020. – 320 с.Самохин И.С., Дроздова Е.А., Демина О.В.Передача окказиональной лексики в современных переводах романа Дж. Оруэлла «nineteeneighty-four» (подходы Д. Л. Шепелева и Д. Н. Целовальниковой) // Филологические науки. Вопросы теории и практики. 2022. №11.Таистова Е.Н. Перевод окказионализмов в романе Дж. Оруэлла «1984» на русский язык // Ученые записки Санкт-Петербургского университета технологий управления и экономики. 2021. №3 (75).Хализев, В.Е. Теория литературы / В.Е. Хализев. –М.: Высшая школа, 2002. – 437 с.Чернец, Л.В. Введение в литературоведение / Л.В. Чернец, В.Е. Хализев, А.Я. Эсалнек. – М.: Высшая школа, 2006. – 680 с.Шичкина, М.Г. Способы перевода окказионализмов (на примере романа Джорджа Оруэлла «1984») / М. Г. Шичкина. – Текст: непосредственный // Молодой ученый. – 2016. – № 3 (107). – С. 1108-1112.Orwell, G. 1984. London: Seeker & Warburg, 1970. – 384 p.ПриложениеПриложение 1. Текст оригиналаThe Ministry of Truth - Minitrue, in Newspeak – was startlingly different from any other object in sight. It was an enormous pyramidal structure of glittering white concrete, soaring up, terrace after terrace, 300 metres into the air. From where Winston stood it was just possible to read, picked out on its white face in elegant lettering, the three slogans of the Party: WAR IS PEACE, FREEDOM IS SLAVERY, IGNORANCE IS STRENGTH.The hallway smelt of boiled cabbage and old rag mats. At one end of it a coloured poster, too large for indoor display, had been tacked to the wall. It depicted simply an enormous face, more than a metre wide: the face of a man of about forty-five, with a heavy black moustache and ruggedly handsome features. Winston made for the stairs. It was no use trying the lift. Even at the best of times it was seldom working, and at present the electric current was cut off during daylight hours.On each landing, opposite the lift-shaft, the poster with the enormous face gazed from the wall. It was one of those pictures which are so contrived that the eyes follow you and the mouth moves as you move. BIG BROTHER IS WATCHING YOU, the caption beneath it ran.Down on the street the wind flapped the torn poster to and fro, and the word INGSOC, composed in large white letters, periodically flashed into view. In the street outside the new poster had appeared, announcing the completion of the Ninth Three-Year Plan. The face gazed down from every commanding corner. There was one on the house-front immediately opposite. BIG BROTHER IS WATCHING YOU, the caption said, while the dark eyes looked deep into Winston's own.The telescreen received and transmitted simultaneously. Any sound that Winston made, above the level of a very low whisper, would be picked up by it; moreover, so long as he remained within the field of vision which the metal plaque commanded, he could be seen as well as heard. There was of course no way of knowing whether you were being watched at any given moment. How often, or on what system, the Thought Police plugged in on any individual wire was guesswork. It was even conceivable that they watched everybody all the time. But at any rate they could plug in your wire whenever they wanted to. You had to live - did live, from habit that became instinct – in the assumption that every sound you made was overheard, and, except in darkness, every movement scrutinized.The thing that is in Room 101 is the worst thing in the world.I understand," Winston Smith said, "how if you keep on making astronomical observations you can eventually claim to be able to predict the tides.The dark blue robe was soaked with sweat from the exertion.He had the feeling that he was still falling, falling past the stars and the spaces.In the beginning, he thought, they had been merely angry.It was all very well, he reflected, for Oceania to be perpetually at war.He was a man of about forty, with a heavy, lined face, and a shock of dark hair. His uniform, which was of a dark blue overalls, was badly fitting and had been mended in several places.It was a bright cold day in April, and the clocks were striking thirteen.It was the kind of day on which Winston could feel himself growing older. His varicose ulcer had begun to pain him again.The telescreen was a pale oblong panel, like a dulled mirror, in the wall. Itcouldnotbeswitchedoff.There was an inscription on the monument, in enormous lettering: GOLDSTEIN WAS WRONG.It was curious to think that the sky was the same for everybody, in Eurasia or Eastasia as well as here. And the people under the sky were also very much the same-everywhere, all over the world, hundreds or thousands of millions of people just like this, people ignorant of one another’s existence, held apart by walls of hatred and lies, and yet almost exactly the same-people who had never learned to think but were storing up in their hearts and bellies and muscles the power that would one day overturn the world.He felt as though he were wandering in the forests of the sea bottom, lost in a monstrous world where he himself was the monster. He was alone. The past was dead, the future was unimaginable.The masses never revolt of their own accord, and they never revolt merely because they are oppressed. Indeed, so long as they are not permitted to have standards of comparison, they never even become aware that they are oppressed.The essential act of war is destruction, not necessarily of human lives, but of the products of human labour. War is a way of shattering to pieces, or pouring into the stratosphere, or sinking in the depths of the sea, materials which might otherwise be used to make the masses too comfortable, and hence, in the long run, too intelligent.The Ministry of Peace concerns itself with war, the Ministry of Truth with lies, the Ministry of Love with torture and the Ministry of Plenty with starvation. These contradictions are not accidental, nor do they result from from ordinary hypocrisy: they are deliberate exercises in doublethink.It struck him that in moments of crisis one is never fighting against an external enemy, but always against one’s own body... On the battlefield, in the torture chamber, on a sinking ship, the issues that you are fighting for are always forgotten, because the body swells up until it fills the universe, and even when you are not paralysed by fright or screaming with pain, life is a moment-to-moment struggle against hunger or cold or sleeplessness, against a sour stomach or an aching tooth.What can you do, thought Winston, against the lunatic who is more intelligent than yourself, who gives your arguments a fair hearing and then simply persists in his lunacy?When you make love you’re using up energy; and afterwards you feel happy and don’t give a damn for anything. They can’t bear you to feel like that. They want you to be bursting with energy all the time. All this marching up and down and cheering and waving flags is simply sex gone sour. If you’re happy inside yourself, why should you get excited about Big Brother and the Three-Year Plans and the Two Minutes Hate and all the rest of their bloody rot?Talking to her, he realized how easy it was to present an appearance of orthodoxy while having no grasp whatever of what orthodoxy meant. In a way, the world-view of the Party imposed itself most successfully on people incapable of understanding it. They could be made to accept the most flagrant violations of reality, because they never fully grasped the enormity of what was demanded of them, and were not sufficiently interested in public events to notice what was happening. By lack of understanding they remained sane. They simply swallowed everything, and what they swallowed did them no harm, because it left no residue behind, just as a grain of corn will pass undigested through the body of a bird.