ЩОДО ПЕРЕКЛАДУ МЕТАФОРИЧНИХ МОДЕЛЕЙ ЦІЛЬОВОЇ НАЗВИ «ЛЮДИНА» УКРАЇНСЬКОЮ МОВОЮ

Статтю присвячено лінгвокогнітивним особливостям лекси- ко-семантичних трансформацій у перекладі антропоцентричних продуктивних метафоричних моделей. Матеріальною базою послугували літературні та енци- клопедичні джерела, а також тлумачні словники. У статті досліджено та опи- сано особливості лексико-семантичних трансформацій. Автор ставить за мету провести й описати лінгвокогнітивний аналіз антропоцентричних метафорич- них моделей у мові оригіналу та перекладу з метою визначення адекватності перекладу. Об’єктом аналізу вибрано 50 концептуальних антропоцентричних метафоричних моделей із твору «Vanity Fair» by William Makepeace Thackeray. Предмет дослідження становлять лінгвокогнітивні особливості використання перекладацьких трансформацій у перекладі антропоцентричних метафоричних моделей з урахуванням їхнього конотативного потенціалу. Аналіз відбувається з використанням загальнонаукових методів дослідження: описово-аналітич- ного – для визначення закономірностей концептуального моделювання; концеп- туального та контекстуального – для формулювання рівнів еквівалентності перекладу згідно з антропоцентричними концептуальними моделями. У статті визначено, що тексти художньої літератури уособлюють процес вербалізації концептів. Концепти є здебільшого універсальними, осо- бливості концептуалізації та категоризації залежать від етнокультурних чинників. Автор доводить, що концептуальна проєкція в перекладі метафоричних моделей залежить від того, наскільки концептуальні картини світів мови оригіналу та мови перекладу близькі одна до одної. Показано, що вибір кон- цептуального співвідношення зумовлений творчою індивідуальністю перекладача, його знанням когнітивної бази культури, урахуванням особливостей реципієнта.

Caricature

Serials to Graphic Novels ◽

10.5744/florida/9780813062297.003.0003 ◽

2017 ◽

Author(s):

Catherine J. Golden

Keyword(s):

Nineteenth Century ◽

Lewis Carroll ◽

Book Illustration ◽

Vanity Fair ◽

Alice In Wonderland ◽

Full Page ◽

Book Illustrations

In its theatricality, caricature-style book illustration approximates the tableau style popular in the nineteenth century. This chapter examines book illustrations by George Cruikshank, Phiz, Richard Doyle, John Leech, and Robert Cruikshank that, like tableaux, capture a dramatic moment in works by Dickens, Ainsworth, and Thackeray. With lighting, props, clever casting, and detail-laden backdrops, the caricaturists staged scenes ranging from the sensational to the sentimental, from the deeply psychological to the broadly comic. “Caricature: A Theatrical Development” adds two Victorian author-illustrators to this list of recognized caricaturists. Better known as an author than an illustrator, William Makepeace Thackeray designed theatrical pictorial capital letters, vignettes, tailpieces, and full-page engravings for his best-known Vanity Fair (1848) and cast his heroine Becky Sharp in various stage roles. To dramatize Alice’s transformations, Lewis Carroll recalled popular caricature techniques in his illustrations for the first version of Alice in Wonderland (1865) entitled Alice’s Adventures Underground(1864) at a time when realistic illustration held sway. This chapter also examines artistic limitations and scandals (e.g. Robert Seymour’s suicide, Cruikshank’s claim of authoring Dickens’s works) that led to a dismissal or devaluation of the caricaturists and a privileging of the Academy trained artists who entered the field of illustration in the 1850s.

Imperial Vanities: Mira Nair, William Makepeace Thackeray and Diasporic Fidelity to Vanity Fair

Framing Empire ◽

10.3366/edinburgh/9781474429948.003.0005 ◽

2018 ◽

pp. 72-91

Author(s):

Jerod Ra'Del Hollyfield

Keyword(s):

British Empire ◽

Point Of View ◽

Item Number ◽

Indian Cinema ◽

Vanity Fair ◽

Mira Nair ◽

Indian Identity ◽

Physical Presence ◽

Indian Perspective

Mira Nair has built her career on films that contribute to the Indian identity in diaspora and attest to the prominence of Indian filmmakers in international cinema. For a filmmaker so concerned with the relationships between American and Indian heritage, Nair’s adaptation of William Makepeace Thackeray’s 1847-1848 novel Vanity Fair (2004) appears as an outlier. However, this chapter argues that Nair’s film maintains overarching fidelity to the source text’s plot as a strategy to imbue the narrative with an Indian perspective. Nair subtly rewrites the text by eliminating the novel’s omniscient narrator and his complicity with the imperial project in favor of her own postcolonial Indian position through her use of cinematic style and the camera’s point-of-view capabilities. In asserting India’s physical presence in her adaptation, Nair also incorporates elements of Bollywood cinema into the production, including an item number dance sequence that brings Hollywood and Bollywood convention in dialogue. As a result, Nair embeds images into the narrative that directly challenge the power of the British Empire and its agents as well as Hollywood’s continuing influence over Indian cinema.

13. William Makepeace Thackeray, Vanity Fair (1847–1848)

Handbook of the English Novel, 1830–1900 ◽

10.1515/9783110376715-014 ◽

2020 ◽

pp. 253-272

Keyword(s):

Bleak House, Vanity Fair, and the Making of an Urban Aesthetic

Nineteenth-Century Literature ◽

10.2307/2903014 ◽

2000 ◽

Vol 54 (4) ◽

pp. 480-502 ◽

Cited By ~ 1

Author(s):

Sambudha Sen

Keyword(s):

Visual Culture ◽

Upper Class ◽

The Novel ◽

Vanity Fair ◽

Bleak House ◽

Literary Methods ◽

The Relationship ◽

The City

This essay focuses on the relationship between certain popular visual forms, such as the city sketch and the panorama, and the making of an urban novelistic aesthetic, of which Charles Dickens's Bleak House (1852-53) is the most developed embodiment. In order to delineate the specific features of this urban aesthetic I turn to the very different ways in which William Makepeace Thackeray in Pendennis (1848-50) and, especially, Vanity Fair (1847-48) articulates the city and those who inhabit it-despite Thackeray's familiarity with the representational modes that developed in the relatively "lower" forms of visual culture. Through this process of differentiation I show how this urban aesthetic involves distinct ways of negotiating such problems as the tension between the dispersive and the centralizing impulses of the city, as well as the threat that the teeming, socially unpredictable life of the city posed to the traditional domain of the novel, the middle- or upper-class home. Finally, by setting off Dickens's mode of figuring character against Thackeray's more self-consciously literary methods, I highlight the ways in which the urban aesthetic that underlies Bleak House affected Dickens's methods.

Vanity Fair

10.1017/cbo9781139541107 ◽

2009 ◽

Cited By ~ 5

Author(s):

William Makepeace Thackeray

Keyword(s):

At Vanity Fair

10.1017/cbo9781316226551 ◽

2015 ◽

Cited By ~ 3

Author(s):

Kirsty Milne ◽

Sharon Achinstein

Keyword(s):

The Puppet Narrator of Vanity Fair

Victoriographies ◽

10.3366/vic.2015.0182 ◽

2015 ◽

Vol 5 (1) ◽

pp. 36-53

Author(s):

Ryan Francis Murphy

Keyword(s):

My essay sheds new light on the perceived shortcomings of Thackeray's narrator in Vanity Fair. There exists, I maintain, a level of narratological sophistication for which Thackeray is not adequately praised, and his dramatised narrator – a character long misunderstood and often maligned – is the key to our renewed understanding. In addition to thoroughly canvassing the ‘puppet’ narrator's dramatic evolution, I examine the ways in which previous scholars have both rejected and misrepresented ‘Before the Curtain’, Thackeray's introduction to the complete novel – what I call the novel's ‘surprise beginning’.