Discrediting Strategy in Internet Comments to Publications made by the Mayors of New York and London

This research featured the lingua-personolological aspect of linguistic means and speech techniques connected with the use of discrediting strategy in online comments aimed at discrediting the authorities. The study was based on the methods of continuous sampling and linguistic analysis of official Facebook and Twitter pages of the mayors of New York and London. Lowering proved to be the leading strategy used in comments aimed at discrediting the government. The research revealed the prevailing tactics and techniques of the speech strategy for lowering, e.g. "analysis minus", insult, accusation, etc. Internet users appeared to have an individual style and vocabulary choice that depended on various subjective factors. The comments showed little trust for the government, which makes discrediting the authorities an important contemporary issue.

The problem of transmitting the individual style of the writer in literary translation: based on the material of the story "Ashes of the Stars" by Dibash Kainchin

Аннотация. В статье рассмотрены язык и стиль, особенности их передачи при переводе с алтайского языка на русский и якутский языки повести «Пепел звезд» Дибаша Каинчина. Проанализированы особенности индивидуального стиля прозаика: система культурных взглядов, художественные приемы, способы их сохранения при переводе, методы трансформации образов с языка оригинала на русский и якутский языки. Авторы попытались рассмотреть лингвопоэтически эквивалентные, так и лингвопоэтически неэквивалентные примеры из текстов переводов на русский и якутский языки анализируемой повести, обладающие художественными достоинствами. Актуальность темы исследования обусловлена необходимостью разработки переводческих стратегий, которые могли бы применяться при переводе текстов с родственных тюркских языков на якутский язык. Перевод художественных произведений, в которых отображаются особенности национального менталитета, обычаи и традиции, способствует взаимообогащению литератур, расширению сферы межнационального общения, воспитанию культуре межнационального общения. Цель исследования – выявить лексико-грамматические и стилистические особенности, отличающие авторский стиль (идиостиль) Д. Каинчина в повести «Пепел звезд». Задачи – проследить методы и способы, примененные переводчиком для сохранения стиля писателя на переводящих (русском и якутском) языках, опираясь на научные данные о переводе в смежных дисциплинах (лингвистика и литературоведение); осмыслить сущность художественного перевода и своеобразие индивидуального стиля писателя. В работе использован сравнительно-сопоставительный анализ оригинала произведения и его переводов на русский и якутский языки. Сравнительно-сопоставительный анализ произведения Д. Каинчина с его переводами позволил оценить адекватность передачи различных аспектов индивидуального стиля писателя. Также авторы пришли к выводу, что некоторые образы-символы, изобразительные средства, использованные в произведении, имеют общетюркские корни.

Лексичний регулятив дім в епістолярних текстах Лесі Українки й посланнях Андрея Шептицького

The Lexical Regulative dim ‘home’ in Epistolary Texts by Lesia Ukraїnka and in Andreĭ Sheptytsʹkyĭ’s Pastoral LettersThis article is devoted to the features of actualisation of one of the most frequent lexical regulatives, which has a distinct archetypal character in the lan­guage paradigm of different nations and which is one of the most frequently used concepts in the functional-style system of the Ukrainian language – HOME. The study considers the actualisation of this concept in Ukrainian on the basis of lexicographic sources. It also identifies the main strands of research on the con­cept HOME which reveal the typological features of its explication in different languages: (1) home as an element of individual style in artistic texts; (2) home as a word stimulus in associative experiments conducted among the youth. The article is the first study investigating the common and distinctive features of the functioning of the lexical regulative dim ‘home’ in texts created by two well-known authors: Lesia Ukraїnka (epistolary texts) and Andreĭ Sheptytsʹkyĭ (pastoral letters). The analysis considers key lexemes which verbalise the concept HOME, identifies its core and peripheral nominations, and examines the func­tional specifics of the contexts of the occurrence of the lexemes dim/doma.Regulatyw leksykalny dom w tekstach epistolarnych Łesi Ukrainki oraz listach pasterskich Andrzeja SzeptyckiegoW artykule zbadano specyfikę leksykalną jednego z najczęstszych regulaty­wów, mających wyraźny archetypowy charakter w różnych językach i należący do najczęściej używanych konceptów w systemie funkcyjno-stylowym języka ukraińskiego – DOM. Rozpatrzono reprezentację tego konceptu w języku ukraińskim na materiale źródeł leksykograficznych; wskazano dwa główne kierunki dotychczasowych badań konceptu DOM ujawniające typologiczne cechy jego eksplikacji w językach narodowych: 1) jako elementu indywidualnego stylu w tekstach artystycznych; 2) jako słowa-klucze w eksperymentach asocjacyjnych wśród młodzieży. Po raz pierwszy przeanalizowano cechy wspólne i cechy odmienne funkcjonowania regulatywu leksykalnego dom w mowie dwóch znanych indywidualności językowych – Łesi Ukrainki (teksty epistolarne) i Andrzeja Szeptyckiego (listy pasterskie); określono podstawowe leksemy, które werbalizują koncept DOM, wyodrębniono nazwy jądrowe i peryferyjne; ustalono specyfikę funkcyjną kontekstów występowania leksemów dim/doma.

MARKERS OF THE AUTHOR'S AND TRANSLATOR'S IDIOSYNCRASY (BASED ON JOSEPH CONRAD'S NOVEL "NOSTROMO: A SEASIDE TALE" AND ITS UKRAINIAN TRANSLATION BY OLENA O'LIR)

The article is devoted to the topical issue of defining the characteristic features of the author's individual style in a literary text and the peculiarities of their reproduction in translation by means of translation tactics, techniques and transformations in order to preserve the author`s stylistic markers, convey the author’s message to a recipient through the lens of cultural, linguistic and stylistic adaptation arising from the differences between the language of the original text and the language of translation, paying due regard to the specifics of translator’s individual writing style.

The Role of Rhythm and Metre in the Style and Genre Formation in B. Rachmanin’s Prose

The issues of rhythm and metre in prose of 1960-1970s reflect the experiments of young writers not only within the form. The search for new genres and ways of expressing new content are diverse. The article deals with literary works by Boris Leonidovich Rachmanin, the author of poetry collections, stories, screenwriter, who boldly created a new internal form of his works using both possibilities of meter and rhythm in his prose, which was different from the works of his predecessors in the Silver Age or those who worked in the Russian diaspora. The analysis of works A Letter, The Action Takes Place on the Other Planet and others shows the functional potential of special rhythm and melody of prose in the individual style of the writer and also outlines semasiological approaches in the analysis of a literary work in general. Comparison of literary works by B. Rachmanin with the works by A. Bely or I.A. Bunin as his predecessors and Yustinas Martsinkevichus as his contemporary author gives an idea of the tradition Rachmanin inherited and the cultural style of the epoch in which the writer worked.

Individual Style of Dostoevsky: Dimensions of Investigation

The article examines the existing approaches to the study of the individual style of the writer. We call these approaches models of individual style. We distinguish lexical model, syntactical model, narrative model and the model of intertextual relations. Specific features of the lexical model consist of the frequency distribution of certain words in text formation. The frequency distribution of lexical items reflects the importance of certain meanings and conceptual areas for a given author. The syntactic model of individual style is based on identifying characteristic syntactic constructions that have a high frequency rank for a particular author. The narrative model characterizes the way the story is organized. The units of the narrative model are the components of the plot and the operations that are performed on these components (moving, eliminating fragments of the narrative, combining episodes and scenes, introducing some components of the plot into others). Intertextual relations, that is, a set of semantic and formal references to other texts of the same or other authors, form an intertextual model, which also is unique for every writer. The above mentioned models complement each other and, taken together, make it possible to describe the specific features of the unique speech practices of the writer. Models of individual style are illustrated by the examples from Dostoevskys works. Modern corpus data technologies make it possible to more strictly develop the models of individual style, enhancing their objectivity by the implementation of quantitative methods. This article is a part of a project, initiated by Yu.N. Karaulov and E.L. Ginzburg.

СТИЛІСТИЧНО МАРКОВАНА ЛЕКСИКА В РОМАНІ ТОМАСА БРУССІҐА “АM KÜRZEREN ЕNDE DER SONNENALLEE” ТА ЇЇ ВІДТВОРЕННЯ В УКРАЇНСЬКОМУ ПЕРЕКЛАДІ

The article deals with problems of literary translation on the lexical level. Translation strategies and techniques used to reproduce stylistically marked words and expressions of Thomas Brussig’s novel “Am kürzeren Ende der Sonnenallee” and the equivalency of their functions in the Ukrainian translation are explored. The word choice of the well known German author targeted at creating humorous or satirical tone in his novels constitutes his own individual style which is diffi cult to reproduce in other languages. That is why each new translation of his novel arouses a great interest of linguists and translatologists. The purpose of this article, therefore, was to classify the stylistically coloured vocabulary of the novel and to examine the lexical and stylistical choices of the translator S. Onufriv, especially the means chosen to render dialectisms, slang and jargon expressions, historical words from the GDR time, expressive personal nicknames, and denominations into Ukrainian. The main terms used in this article to describe the relation between the original text and its translation are “stylistic equivalency” and “stylistic density”, their application being explained based on the linguistic theories of translation (Fedorov, Retsker, Koller, Reiß). In the article, the comparative and descriptive methods as well as the quantitative estimations were used. Seven text fragments with 123 stylistically coloured expressions of lower register were chosen for our analysis. It revealed a higher stylistic density of the Ukrainian translation compared to the German text due to the use of stylistically lower vocabulary and Ukrainian dialect words used to substitute stylistically neutral words of the German author: 181 coloured words and expressions were found. The most important translation issues regarding the reproduction of dialect, slang words and of expressive names were defi ned. It was discovered that the eff ect caused by combining words of diff erent registers (formal and casual) had been lost in translation. Full stylistic equivalency of the youth slang translation as well as features of individual translator’s style were revealed. Several suggestions were made on how to avoid word-to-word translation in some places of the analyzed text fragments. To obtain the whole picture of formal translation equivalency, the tasks for further equivalency studies on other text levels were formulated. Key words: stylistically marked words and expressions, dialectisms, slang expressions, expressive personal nicknames and denominations, translation, stylistic equivalency, stylistic density

Intensifiers in Fyodor Dostoevsky’s Individual Style: Semantics of Irregular Lexical Combinations

The paper is dedicated to the analysis of irregular intensifying constructions in Fyodor Dostoevskys individual style, more specifically of irregular lexical combinations including an intensifier and a main word. The meaning of intensifies is completely focused on expressing the intensity of an attribute, action or state denominated by the main word. Fyodor Dostoevskys writing style tends to form certain types of irregular lexical combinations including intensifiers. Through a case study of intensifiers ochen , goryachii / goryacho , izo vsekh sil , etc. the article describes several main types of irregular combinations with the view to find out semantic effects of irregular combinability. The analysis has covered the complete corpus of Fyodor Doestoevskys texts (fiction, journalism, private correspondence, business correspondence and documents). The first discriminant mark of irregular combinations is the semantic contradiction between the terms, the violation of idiomatic compatibility rules is the second feature taken into account. Whereas collocational rules in modern Russian differ a lot from the language norms of the 19th century, the subcorpus of 19th century texts of the National Russian Corpus serves to test the irregular idiomatic combinability. The article shows how the irregular combinability causes context meaning shifts profiling peripheral semantic features of the main word or imposing on it an untypical and contradictory semantics. In irregular lexical combinations, the language representation changes due to the original authors reinterpretation of the referential situation. The irregular lexical combinations with intensifiers are thereafter a distinctive feature of Fyodor Dostoevskys individual writing style that reveals his original conceptualization of the world.

Intersubjectivity in Artistic Translation

The present article deals with the problem of defining the essence of artistic translation as the specific type of discourse and conducting such interpretation of intersubjectivity as the principle of discourse theory refers to the translator’s role and importance (‘translator icon’) within the scope of artistic translation. As the object of this study, artistic translation differs from the other types of translation by its creativeness. Creativeness of artistic translation should be considered as the interrelation of the concepts of ‘translator icon’ as well as translation style. ‘Translator icon’ is believed to be precisely revealed in translation style. According to the fact, that the research is being conducted on the basis of interdisciplinary methodology, it is very important to determine more precisely the research aspects related to the artistic translation as discourse phenomenon. ‘Translator icon’ and translation style concepts are implied here, of course. While determining translation as well as artistic translation, the modern theory of discourse should be taken into account. Correspondingly, translation should be considered as the type of discourse and artistic translation as the sub-type of this latter one. Thus, in the research process, it is very necessary to highlight the discourse principle such as intersubjectivity that implies the communicative relation between the addresser (the sender of information) and the addressee (the recipient of the information). In conclusion, it is possible to be said, that a) artistic translation differs from the other types of translation with its creativeness, b) according to the fact, that creative act implies the creator’s individual style, artistic translation is characterized with its individual creative style as well, c) it was essential to connect the concept of translation style to the concept of ‘translator icon’; d) artistic translation differs from the other types of discourse with its very peculiarity of specific realisation of the principle of intersubjectivity: within its frame the translator is at the same time the adressser and the addressee as well.

Inter-artistic theory of modernism: reflections on the book by Elena Korchova "Musical modernism as terra cognita"

The purpose of the article is to analyze the theoretical aspect of the concept of musical modernism O. Korchova, to identify debatable aspects important for the creation of the inter-artistic theory of modernism. Methodology: used historical, cultural, and comparative methods, with the involvement of philosophy and psychology. The scientific novelty of the study is that the musicological concept of modernism is compared with the literary, which proves the need to create an inter-artistic theory of modernism, necessary in the practice of stylistic analysis of modernist works. Conclusions. An important achievement of O. Korchova's research is the search for a "stylistic formula" of each composer of the epoch. The artist is looking not just for a consonant style or form, but for himself and his style. Individual style does not arise from simple combinations of borrowed. Styles of modernism conflict with each other, to combine them, to avoid eclecticism, you need to find a way and a reason to combine. The way to find your style is never purely artistic, it is always vital. Modernists, putting art in the first place in aesthetics, discovered the concept of life creation, which distinguishes the modernist from the artists of previous eras. Life-creation is a special way of an artist into art, movement simultaneously in two dimensions, external and internal, their constant coordination and gradual transformation of oneself, with life and works together, into a cultural phenomenon. And if this happened - then something unique was formed, unique, completely individual, and at the same time universal, something original and holistic, something that will become a value for contemporaries and descendants, that is, the author's style. Just as it is not easy for every artist to find his style, so it is not easy for a researcher to find a formula for this style. But without such a goal, the study of creativity will be historiographical, descriptive, and rhetorical. It is important for every scholar who studies specific texts of culture to understand the trends of the era and the psychology of the creative process, all the laws that unite.