Functional and stylistic types of special vocabulary in scientific and technical texts (based on English and German aviation vocabulary)

The article is devoted to the consideration of the typology of special vocabulary in the modern language of technology and the study of the proportion of functional and stylistic types of special lexical units (terms, nomens, pragmonyms, terminoids, professionalisms) in scientific and technical texts of various genres. To study the ratio of the types of special vocabulary, popular scientific articles from aviation electronic journals, individual chapters of Ph.D. theses as well as fragments of aviation textbooks in English and German were analyzed. The total volume of the studied texts is 180, 000 characters (30,000 characters for each genre in one language). Based on this material, 2,426 English special lexical units and 2,465 German special lexical units were identified and distributed into separate categories. As a result of the study, it was found that the proportion of types of special vocabulary in scientific and technical texts of the corresponding genres in English and German is approximately the same. In all analyzed popular science, scientific and educational texts, the proportion of terms considerably prevails. The largest number of terms is used in educational texts. In popular science texts, nomens are used more often than in texts of other genres. Terminoids and professionalisms are very rarely used in the studied texts.

Aesthetic perception of the Russian sound speech by Germans (a case study of German internet forums)

The article is devoted to the aesthtic assessment of the sound of Russian speech as reflected in German Internet forums. Segmental and suprasegmental features of Russian pronunciation which evoke in native speakers of German empathy and / or antipathy towards Russian sounding speech, are described. The ordinary Germans' naive assessment of Russian souding speech differs from that by professional linguists. Germans who are not familiar with the theoretical basis of the phonetic structure of the Russian language pay attention, first of all, to those pronunciation features that are not characteristic of the phonetic basis of the German language. Among them on segmental level are the following: trembling sonant [r̥], vowel [ᵻ] and back-lingual slit [ɣ] after vowels [e], [i] and consonants [lʲ], [nʲ], [j], the pronunciation of which in German in this position is pronounced as ich-Laut [ç]. The Germans also seem to dislike clusters of consonants that are absent in the German language, for example, -рск-, -здр- etc. The presence of these sounds in the Russian language allows ordinary Germans to characterize Russian sounding speech as rude, despite the remarks of the Germans that there are many “soft” sounds i.e. palatalized consonants in the Russian language. The main difference at the suprasegmental level, which in the scientific literature is designated as the opposition of the German “staccato” and Russian “legato”, finds its confirmation in the statements of German members of the forum. The rhythmic organization of Russian speech is assessed by common Germans as discordant and indistinct, since, unlike German speech, Russian speech is characterized by relaxed articulation, non-forced vocalization, an extended melodic range and an irregular rhythmic patterns. In addition, the use of different pitch movements in friendly and aggressive communication encourages Germans to qualify the speech of Russian speakers in obvious situations of friendly communication as confrontational.

Current metaphoric models in modern Spanish media discourse

In the article, a metaphor as a universal category of thinking, a special cognitive analogy-based operation, and a method of modeling reality, is investigated on journalistic materials of modern Spanish media discourse, the online version of the Spanish newspaper EL MUNDO in particular from the discursive point of view. The use of various types of metaphors by Spanish politicians, which are part of the national-linguistic picture of the world, is examined on the example of media materials concerning the most significant events in the internal life of Spain and international community. Based on the classification by A.P. Chudinov, a semantic and quantitative analysis of metaphorical models in Spanish media discourse is carried out. It is concluded that at the time being Spanish political discourse abounds predominantly in anthropomorphic and sociomorphic metaphors. It was also found that the most frequent is the use of morbial metaphors, which reflect the crisis the Spanish society is undergoing in the pandemic period and its economic, political and social impact on the life of modern Spanish society.

Rythm-forming, functional and pragmatic potential and immanence of repetitions in the modern Spanish language

This article offers the results of the investigation of repetitions in the modern Spanish language. To understand the role of the repetitions in a certain text, first of all, it’s necessary to determine whether they are immanent in the language or culture, and, therefore, unmarked, or, on the contrary, carry some charge: stylistic, rhythmic or pragmatic. Such differentiation is carried out by means of the analysis and synthesis of the theoretic material (А. Аlonso, E. А. Llorach, J. Nogeira, V. Iovenko, V. Vinogradov, etc.), contrastive and comparative analysis. The results show the redundancy of the Spanish language in comparison with Russian, which accounts for the numerous unmarked repetitions in Spanish. On the other hand, the frequent use of repetitions as stylistic, semantic or rhythmic device becomes evident too. For the analysis, we chose some official documents, characterized by the absence of stylistic devices, and some appellative and literary texts (poetry by A. Carvajal, a novel by S. Puertolas, etc.), which are apriori aimed at the form and pragmatic effect. This approach helps achieve the most objective conclusions concerning the nature of the repetitions in a text. We considered lexical and grammar repetitions, grammar, semantic and concept repetitions. Phonetic and lexical repetitions, as the basic stylistic devices, have not been subjected to analysis, as their markedness is evident. The results of the research, presented in the article, may be useful both for the people studying the Spanish language in order to speak it correctly and to understand the pragmatic function of repetition, and for translators to decide whether to follow the structure and rhythm of the text if repetitions are marked, or to omit them when they are in the original text, should they be immanent in the language and the culture.

Implementation of qualia structures provided by relative adjectives and composites in German

The present paper deals with the semantic representation of attributive elements in the nominative group − relative adjectives and composites. The aim of the present study is to analyze the semantic representation of a predominantly noun in an attributive group with reference to Qualia structures, as applied in J. Pustejovsky’s theory of generative lexicon, and their realization through relative adjectives and composites, which are direct explicators of the semantic structure of predominant words (nouns). The study is based on the 150 most frequent relative adjectives identified on the basis of the electronic corpus of the German language. Relative adjectives qualify as Qualia structures and can denote objective constitutive (material and origin), formal (physical parameters, colour, time, place), telic (purpose and function of an object) and agentive (information about the creator, artifact, natural genus and causal chain) properties. The system of relative adjectives demonstrates a wide range of semantic meanings that are expressed in German by other linguistic means, e.g. composites. When describing the possibility of implementing Qualia structures in the noun group, other correlative linguistic units, such as composites, are analyzed. The variation in the use of nouns in composites and relative adjectives formed from them helps to actualize the presence of a feature in a particular situation, to give the nominal groups a terminological character and to make the transition from one qualification group to another.

On introducing free indirect speech in Russian translation despite the absence of corresponding structures in the English original

The article analyzes the most typical cases of introducing free indirect speech in the Russian translation where there are no corresponding structures in the English original. Typical non-free-indirectspeech structures and contexts in the source text are explored, such as may materialize as free indirect speech in the target text. The study employs qualitative methods including lexical-semantic, contextual and comparative analysis of the source text and the target text. As for the structure, this paper has been divided into two parts. First, a theoretical background for the problem is established, involving the theories by Ia. I. Retsker and D. V. Psurtsev. The paper then goes on to examine translators’ choices to generate new interference of the narrator’s text and the character’s text. The cases when free indirect speech may arise in the Russian translation are typically based on kindred forms of the character’s speech representation in the English original, long descriptions of a situation where the character acts, complex sentences with content clauses, containing the character’s thoughts and emotions. The analysis suggests that the decision to introduce free indirect speech patterns into translation can be based on the typological differences between the languages in question, or on logical and stylistic “inclinations” of a given fragment. Therefore, the decisions to introduce free indirect speech fall into two groups, obligatory and possible respectively. If such choices by Russian translators constitute a tendency, a certain correlation of syntactic patterns and contexts may be established. The results obtained in the study may be used by translators of literary texts.

Some ideas on diversity, inclusion and metaphorization in polyglot studies

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The making of the MGIMO linguistics journal: from philology to polyglot studies

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Latest trends in multilingualism, language policy and language education in Ireland and in Europe

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Imagery in the translations of the gazelle Nizami «Amade bud» («Came») into Azerbaijani and Russian

The subject of scientific research is the textual analysis of the translation of one of the most famous gazelles by a brilliant Azerbaijani poet Nizami Ganjavi (1141-1209) "Amade bud" ("Came") from Persian into the Azerbaijani and Russian languages. The article discusses in detail the imagery created in these translations and their adequacy to the original, as well as a comparative semantic analysis of each beit; it interprets some situational free interpretations of the original made by translators. In each beit are analyzed the concepts on which the transmission of images is built in translation into Azerbaijani and Russian which in poetic translation include size, rhythm, a number of poetic figures and other artistic means. The study was carried out with the use of theoretical-literary and comparative-analytical methods and at the junction of literary criticism and translation studies. The novelty of the work lies in the fact that the research approach applied by the author in comparative analysis allows us to identify methods and means of rendering the high imagery of the primary source in translations of the classical gazelle into Azerbaijani and Russian by recognized poets-translators − Jafar Khandan (1911-1961) and Arseny Tarkovsky (1907-1989), which makes an undoubted contribution to the development of the basic translation problem − the adequacy of literary translation. Naturally, the concept of imagery in the three texts is expressed differently, due to the typological differences of the compared languages. The Azerbaijani language is agglutinative, while the Persian and Russian languages are inflective. Accordingly, in the comparative analysis all the linguistic subtleties of each language are taken into account in the process of poetic imagery creation as well as their adequacy. Also, a detailed textual conceptual comparative analysis of the poetic text of one gazelle in three languages − the original Persian and translated Azerbaijani and Russian − allows us to draw an important conclusion that an adequate translation fiction text is undoubtedly a work of art in itself that has a long-term aesthetic and substantive value, which makes the position of a number of translation scholars insisting on the need of updating translations irrelevant.