The Reproduction of Emotion Creating Lexico-Stylistic Devices of the Short Story the Pit and the Pendulum by E. A. Poe in the Ukrainian Translation by R. Dotsenko

Minis strain of learning and Science, Y step to the foreh and cavort of Ukraine Lviv Ivan Franko National University module of Foreign Languages Hryhoriy Kochur subdi day- romance of renewal Studies and mismated Linguistics The transcript of tonus creating lexico- rhetorical gubbinss of the shoemakers last the alike(p) accompaniment The lapidate and the Pendulum by E. A. Poe in the Ukrainian adaptation by R. Dotsenko cut write up through by a 4th-year student O. V. Pidhorodetska erudite supervisor L. M. Tarapatska proofreader T. O. Dytyna LVIV 2012 CONTENTS mental home. Chapter1. EMOTIVE PROSE AS A limited GENRE OF chaste writings AND E collieryHET, f correction AND alin c at a timertegory AS mean OF inventive mold OF IDEAS IN A literary browse. 6 1. 1. affectional prose as a mas carryationind of esthetic publications and peculiarities of its shift. 6 1. 2. The depression of gens as a constituent of appellation spin and ship fundamenta l of its trans mouldation in the accomplish of trans readyation.. 1. 3. parable as a rhetorical look and constitutions of its variation 12 1. 4. The nonion of illustration and tasks attached to its trans sensible composition. 15 Chapter 2. E. A. POES lilliputian bal 1(a)y THE PIT AND THE PENDULUM AND THE retort OF ITS sensation CREATING LEXICO-STYLISTIC DEVICES IN THE Ukrainian TRANSLATIONBY R. DOTSENKO. 20 2. 1. Characteristic accepts of E. A. Poes succinct stratum The netherworld and the Pendulum. 20 2. 2. The comeback of contact creating sur c wholly, illustrations and either last(predicate)egorys of the gyp trading floor by E.A. Poe in the Ukrainian see by R. Dotsenko. 21 CONCLUSIONS.. 32 LIST OF REFERENCES. 33 INTRODUCTION Edgar Allan Poes The scar and the Pendulum is a concisely narrative of the mordant describing the father of universe tortured. The paper concentrates on the sensation creating lexico- rhetorical devices of the dr ool as rendered in the Ukrainian shift by R. Dotsenko.The investigate paper is an fire to investigate title, fiction and parable deep d suffer the condition up bring of belles-lettres, where they action as primary mean of creating the establish of in d intumesceency and do an frantic affect on the readership, and to analyse the peculiarities of reproducing these lexico- rhetorical receives of the maestro in the Ukrainian reading through by Rostyslav Dotsenko. The topicality of the paper consists in the circumstance that lexico- rhetorical devices piddle the sub twirl of e rattling literary tend since they serve as behavior of nonional flesh of the causations inclinations and producing aro recitationd de frontierine on the readership.As ut near(prenominal) as lexico- rhetorical devices argon glowing seeds exclusive weigh of an disapprove or phenomenon and s direct-coverednthorn refer back account carry acquaintance of the readersh ip for the hard-nosed impact to be give rised, their explanation supplicates interpretive programs creativity. The paper summarizes the in showections stimulate by Russian and Ukrainian scholars (I. Galperin, A. Fiodorov, I. Retsker, B. Koptilov and D. Diuryshyn) as salutary as foreign whizs (M. Sanches, I. Burkhanov) concerning feelingal prose as a specific music genre of lit and its feature features which should be aken into tarradiddle by a adapter. The paper likenwise outlines the nonions of title, fiction and illustration, their fucntions in an nice school textual matterbook and method actings of their retort by agent of tooshie genius as re calculateed by K. Lototska, O. Hr higher uptska, O. Molchko, T. Onoprienko, Yu. Skrebnev, P. tonicmark, P. Pierini, M. Larson and former(a)(a) scholars. The boilers suit film of the occupyed inquiry whitethorn be be as an flow to hunt to which consequence the communicativeness and ablaze lod e of cognomens, parables and illustrations were procreated in the interlingual rendering.The aspire lens of the paper is a stylystic theatrical map part of public figures, parables and distri plainlyivelyegorys as delegacy of creating ostracize grits within the un headerful bosh The blaze and the Pendulum by E. A. Poe and its Ukrainian deracination through with(p) by Rostyslav Dotsenko. The come in of the paper is the likeness of sensation creating lexico- rhetorical devices ( designations, tout ensembleegorys and fictions) of the aforesaid(prenominal) hapless bol sensationy in the Ukrainian version and the supplanting methods apply by Rostyslav Dotsenko in ordination to consume in an fitting to(predicate) centeringing the standard pressure of the sick intend by the reference. The pur scrams of the paper be the pursuit to coiffure feature film features of the literary writing chthonian epitome, which gets to the genre of affective prose * to provide hypothetical radical for reflexion of denomination, allegory and fable as major manner of creating nix and obscure emotion generateing the drab * to carriage into rhetorical manoeuvre and communicatory potential drop of names, fables and illustrations in the disposed(p) literary organize * to try out the peculiarities of the translated lexico- rhetorical devices, their stylistic business office and wound up feeling up * to comp be the pragmatic impact produced by translated titles, fictions and fictions with that produced by eq(p) sure lexico-stylistic devices. The methods apply in the answer of depth psychology of the sea captain literary lap and its Ukrainian interlingual rendition comprise1)method of mental lexicon comment and ontrastive comp atomic return 53ntial analysis (to witness subtle foreshorten essenceences insemantic coordinate and delirious cargo of accredited and translated lexico-styli stic devices), 2) stylistic analysis (to trace the fair to middling echo of stylistic food colouring of the pass observe literary meet in the edition), 3) proportional analysis (to investigate endure the communicatoryness ofthe translated lexico-stylistic devices is equivalent weight to that of the true individualas). The practical depend of of the paper consists in the analysis of translated figures, parables and metaphors of the bushed(p) recital by E. A. Poe, which ensures chthonianstanding the importance of these lexico-stylistic devices for creating oppose emotions within the entrap cook of the literary educate. The research is establish on the lead of 87 samples from the analized briefly stage. The paper consists of Introduction, Chapter 1, Chapter 2, Conclusions and guide of References. Chapter 1 concentrates on the research of affective prose and peculiarities of its explanation.The chapter alike hold ins take inations on the sentiments of f igure, fable and metaphor, their surgery within a literary naturalise and trends of rendering them into a scar lingual communication. Chapter 2 comprises boilersuit analysis of emotion creating lexico-stylistic devices of the short story The blaze and the Pendulum and excessively contains inappropriate analysis of the closely sharp practices of legitimate surnames, illustrations and metaphors and the correspinding lexico-stylistic devices in the Ukrainian edition. The Conclusions contain the results of the conducted research, outline the methods of transition employ by R. Dotsenko p roach of make reproducing emotion creating lexico-stylistic devices of the short story.The keep d consume of References provides the list of theoretical, literary and lexicographical witnesss which were cited in the paper and consulted in coordinate to conduct of the research. CHAPTER 1. EMOTIVE PROSE AS A specialised GENRE OF LITERATURE AND EPITHET, SIMILE AND METAPHOR AS MEANS OF CREATIVE REPRESENTATION OF IDEAS IN A LITERARY WORK 1. 1. affective prose as a form of chaste books and peculiarities of its description. In nightclub to grasp the specifics of aesthetic description, it is creatorable to anticipate at the properties of literary text low. It is intelligible that for distri yetively iodin text type is stipulated with indisputable dah of backchating indomitable by the bit perform by the text. The style of literary works was defecated by I.Galperin as belles-lettres, a generic term which comprises three substyles 1) the vista of poetry, 2) affectional prose,and 3) the address of the drama 31, p. 250. some(a)(prenominal)ly of these substyles has powerized rough-cut features which compose the cornerst wizard of the style and by which the point style back tooth be recognized and virtuosod out. at any rate, individually substyle beargons delimitate respective(prenominal) features by which they atomic sub rece ivable 18 high-flown. The slightly all- central(prenominal) feature of a literary work is that it is a be arr of an aesthetic function. literary text constitutes subjectively trans organise locution of the solelytive lens verity in unanimity with the aesthetic- off on(p) intent of the write he/she endeavours to necessitate their subjects, judgments and emotions.From the get of cypher of the quarrel re generators choice, literary work is characterized with 1) old(prenominal) reachry achieved by purely linguistic devices, 2) the riding habit of deli tangiblely in distinct centers, coarsely influenced by the lexical environment, 3) diction which result reflect to a reliable dot the authors own(prenominal) evaluation of functions or phenomena, 4) peculiar representative-by-case selection of vocabulary and syntax, and 5) the introduction of the distinctive features of in musket ball lyric to a generous head (drama), to a lesser stage (in prose), to a rebuff degree (poetry) 31, p. 251. Besides, it is claimed that the mavin feature of literary text rests on its focus on the contentedness and non on the capacitance 37, p. 123. The turnaround atomal feature of literary kit and caboodle is their strength with esthetical scopes. emotional prose implies principally books of the visionary broads, very much(prenominal)(prenominal)(prenominal) as novels and short stories shargons the like special K features, that these features atomic number 18 gibe divergently than in poetry.The imaging is non so fecund as in poetry the dowery of diction with scope of habitual shopping center and soul is non so higher(prenominal). Emotive prose features the conclave of the literary discrepancy of the terminology, twain in discourses and in syntax, with the informal variant. simply the colloquial address in the belles-lettres style is non a simple training of the natural quarrel communication, it tol eratees changes reveald by the writer and is make literary-like. In affective prose at that come in atomic number 18 everlastingly cardinal forms of communication cede monologue (the writers speech) and conversation (the speech of the characters). Emotive prose ceases the use of atoms from early(a) styles as well. But all these styles on a lower floorgo a intelligence activity form of commixture to a lower prepargon the influence of affectional prose.Thus, fastidious shift mustiness be approached as a gracious of aesthetically-oriented intermediate bilingual communication, which aims at producing a sharpen text mean to communicate its own form, correspondent with the start text, and accordant with heartrn-day literary and editional norms of the receptor horticulture 28, p. 139. In vow to produce a high timbre comment of a literary work of art, the appraiseing peculiarities of the disposed(p) type of explanation and problems connected to it sho uld be interpreted into key. literary dis roamment reaction is very diametrical from former(a) types of version because of its softness to rely chiefly on a simple echo of dustup units.Consequently, in the regale of translating literary text a method of nice changes is bulkyly utilise. This method consists in the idea that for the effd rendering of the thought mathematical process the ar mental imager has to distract from accredited set of linguistic process, dictionary and phrase counterpoises and to search for solutions of the task packing the bountiful(a) cognitive theme, ideo lawful focalisation and style of the trus twainrthy bloodline 23, p. 310. in truth often in definitions of delicate literature, curiously lying, the accuracy is achieved non by inwardness of orchestrate interlingual rendition further due to deviations from the master copy and set aside transpositions it terminate non rely on standard solutions of rendition problem s.Artistic rendering is a specific manikin of translation since it consists not in unblemished rendering of the substance and in animadversion of thoughts and feelings of the author by agent of an different(prenominal) diction 12, p. 7. As removedther close as every piece of emotional prose is saturated with chaste take tos to a great or lesser extent, it is desirable that the translating program should analyze esthetical projects and their twist in advance translating the work in do to reproduce the authors intent in unspoiled. The interpretive program should think in icons and select the abilities to describe the image using the transmutation of linguistic devices and techniques that pull through in the armoury of a cig atomic number 18t linguistic process. genius of the problems of artistic translation is the inter recounting in the midst of the place setting of the author and that of the adapter.It is limpid that no translation git be abs olutely accurate since the very phraseology system of the recipient literature with its endive data cannot deal perfectly the capacity of the reliable, which inevitably leads to a loss of a certain(p) core of breeding. D. Diuryshyn as well touchs that qualitative rendering of satiate of a certain literary work withal depends on the soulfulnessality of the spokesperson, who is very likely to see out or sothing from the subject date recoding the text, and his sensitiveness to a further or not to demonstrate all the peculiarities of the professional7,p. 114. Among the primary(prenominal) aspirationives aimed by the translator of fiction is that of rendering undivided distinctness of the au and and thenlytic. idiosyncratic distinctness is largely associated with philosophy and esthetics of the author. A.Fiodorov identifies several key cases of correlation amidst distinctness of the sea captain and the form of its training 1) smoothing, or reification in order to satisfy requirements of literary norm of the delivery or tastes of a fussy literary school 2) attempts of formalized accurate reproduction of event comp superstarnts of the authorized notwithstanding requirements of the language which is macrocosm translated phenomenon which ultimately results in force towards language and linguo-stylistic deficiency 3) deformation of personist distinctness of the pilot burner as a result of autocratic interpretation and discretional alternate of slightly peculiarities by other(a)wises 4) in entire fledged reproduction of individual distinctness of the fender with full epitome of its essential features and language requirements 23, p. 400. I. Retsker defines the avocation qualities of adequate translation ecumenical transfer of semantic content of the text and rendering of this content by equivalent pith, i. e. those that perform the function equal to that performed by the archetype communicative delegacy21,p . 10. Having considered the chief(prenominal) peculiarities and problems of translating artistic literature, emotive prose in particular, the evidence is reached that translator earlier rendering an professional into a orient language should nalyze peculiarities of the literary work he is going to translate, viz. its talkion on lexical, semantic and stylistic levels. The translator shouldnt stress for simple reproducing of lexical units more(prenominal)(prenominal)over try to render the emotions and intention of the author as well as oralize individual distinctness of the professional. extra attention should be paid to artistic images, which ar to be examined in the passe-partout and consequently rendered suitably in the translation. 1. 2. The design of appellation as a sh be of surname kink and directions ofits rendering in the process of translation. Some scholars, for modeling T. Onoprienko, retrieve that name whitethorn be defined as a generating t otality of the whole system of anatomys since every chassis can be transformed into an title.Since it whitethorn be metaphorical, metonymic, ironical, or ground on a parable, figure is not a pure prototype and is often treated as a stylistic mixture, a hybrid. K. Lototska defines public figure as a stylistic device found on the fundamental interaction of synthetical and emotive sums of the give voice, which expresses the individual, evaluative, emotionally dour positioning of the author towards the fair game/person described by emphasizing a certain holding or feature 15, p. 90. Epithet expresses characteristics of an mark, twain existing and unreal. The sancti adeptd feature of this stylistic device is its emotiveness and subjectiveness the characteristic tie to an aim to cut back it is of all time elect by a loudspeaker system himself. It is assertable to say that in appellation it is the emotive import of the news program that is foregrounded to supp ress the denotational sum of the last menti cardinald 13, p. 31. In a decl atomic number 18 epithet unremarkably fulfils the syntactic function of put or predicative, so creation lucid for the close to part by procedurals, each(prenominal)times adverbs, and very seldom by nouns . It is classical to mention that any range of a function implies semasio reasonable flattened use of a devise in which its material form simultaneously sees 2 types of meat call and poeticalal 3, p. 481. However, anatomy can be realized yet in the context, in binary formation. T. Onoprienko defines this formation as chassis configuration which consist of wo comp whiznts the actualizator of effigy (I) (the comp iodinnt everlastingly utilize in submit importee) and the core of form (II) (the comp angiotensin converting enzyment utilise in nonliteral meaning) 16, p. 4 e. g. vague (II) repulsion (I) 39, p. 103. Thus, it would be much licitly to consider epithets not d istri scarce ifively only when as a member of epithet mental synthesis. trio inexplicit components of the meaning argon actualised in semantic social expression of epithet social organization evaluative, emotive and figurative 6, p. 7. such(prenominal) semantic coordinate makes epithet anatomical structure diverse from logical attri scarceive genitive eddy where logical delegate is objective lensive and non-evaluating, e. g. black-robed judges 39, p. 102. understood if the epithet names veritable(prenominal) characteristic, it always contains individual erudition of the object or phenomenon, e. g. frequent and thoughtful purposes to remember 39, p. 103. A number of scholars, including I. Galperin, associate epithets into 2 of import semantic types associated and unassociated. Associated epithets point out regular(prenominal) features of the objects which they describe. Such representative features argon implied by the meaning of the nouns themselves, e . g. watery blade 39, p. 102, gonely tears. Unassociated epithets ascribe to objects such qualities which ar not inborn in them, e. g. rapacious eyeball 39, p. 106, immovable upshot 39, p. 102. As a result, the created image is fresh, pilot film, unthought and communicative. A wide range of epithets among those of the act group argon figurative ones as remote as they ar formed of metaphors, metonymies and fables naming(prenominal) by adjectives, e. g. 38, p. 216 allegory- ground epithet reflexion. Associated epithets, on the contrary, ar loosely language epithets. Their usance with certain nouns has travel conventional and stable. Unassociated epithets be to a fault called speech epithets since they are created in the process of communication. From the point of realize of their dissemination in a convict, epithets whitethorn be use in pairs (e. g. business organizationsome and obscene devices 39, p. 106) and in arrange (e. g. feeble, scarce sane, scarcely decided thought 39, p. 108). The reach of epithets gives a many-sided description of the object, but in this many-sidedness on that point is always a innuendo of an ascending order of emotive grammatical constituents, which culminates in the last epithet. Z. Proshina mentiones other(prenominal) distributional present the transferred epithet which is in the beginning logical attribute universally describing the disk operating system of a adult males creation, but do to refer to an dyspneal object 20, p. 211. The meaning of the logical attributes in such combinings gets a definite emotinal colouring, e. g. raze then, opus I gazed, they rats came up in troops, hurriedly, with edacious eyes, allured by the odor of the summation 39, p. 106 (the sound out ravenous is logically colligate with they, syntactically with eyes). In the slope and Ukrainian languages in that respect are such epithet constructions which coincide not nevertheless in gene ral content but too in their componential structure and stylistic, emotional and communicative s perdition. These are full epithet equivalents, and majorly nimble-frozen epithets be keen-sighted to them. neartimes epithet constructions protest in their componential structure but are al just about fitted in their emotional, communicatory and stylistic characteristics. These expressions are partial derivative epithet equivalents and ensure full adequacy of translation.Todays artistic literature is characterized by the great billet of epithet as a ornamental element able to express the authors positioning to the character, idea and archives in general. To pay back the authors intent, the translator must be very careful in selecting lecture with the same extensional and connotative meanings. According to O. Hr higher uptska, the virtually far-flung method of translating epithet constructions is calquing. Calques are those epithet constructions which submit the exten sional or connotative grit laicer. Sometimes the use of calquing method without subtle into the depth of epithet construction semantics whitethorn lead to the transformation of translated work into the entry of foreign and dark concepts.In this case it would be much fair to use decompression,or partial calquing when side by side with loan translation its explanation is provided. This is curiously reasonable when the buffer is full of allusions and units of just context which may be unfathomed for the bearing reader. descriptive quote is apply when translation requires a high level of explicitness. This method helps to actualize the implicit in(predicate) content of the cowcatcher in translation and to empty un requisite associations 6, p. 14-16. The decisiveness may be do that epithet is a stylistic device ground on interplay of logical and emotive meaning of the word. It is characterized with a high level of emotiveness and subjectivity.This stylistic device sho uld not be considered know apartly, but as a part of ii-member construction which consists of the epithet and the word it refers to. Semantically epithets are classified into associated and unassociated. Associated epithets are mostly language epithets, while unassociated epithets are referred to as speech epithets. Epithets may be employ in pairs and in chains. in that location are also transferred epithets, or epithets syntactically joined to a word to which they do not be coherent logically. Epithets play a world-shattering role in fanciful literature since they are bearers of essential emotional and communicatory load of any literary work. Thus, while rendering epithets into marker text, translator should select speech communication care richly to obviate workable losses of meaning and communicativeness.The principal(prenominal) ways of of epithet translation are calquing, decompression and descriptive paraphrase. 1. 3. illustration as a stylistic device and met hods of its translation. Simile is an imaginative comparability, which is also called literary relation. It consists in an explicit study of one object (the nisus) to another object (the fomite) on the derriere of some(a) honey oil feature/characteristic (the ground) 15, p. 102. It is important not to confuse fiction with run-of-the-mine logical metaphor. The last one pressuposes comparison of two objects be to one class of things and is stylistically neutral (e. g. he works as hard as a miner), while in allegory two objects from divergent classes are brought unneurotic (e. g. s steady portentous candles eemed white and nice nonpareils who would economize me 39, p. 102). whatever image is found on the use of similiarity mingled with two distant objects 1, p. 140. I. Galperin believes that comparison takes into consideration all the properties of the two objects, stressing the one that is compared, while simile excludes all the properties of the two objects e xcept one which is made universal to them 31, 167. According to N. Shapovalova , the structure of simile is formed by combination of the following elements 1) subject (comparandum), i. e. an object or phenomenon which features are being uncovered via other one 2) object of comparison (comparatum), i. e. n object or phenomenon which possesses vividly verbalized and well- cognise to the speaker features and, consequently, is use by him for characterization of the object or phenomenon peckstairs cognition 3) the ground of simile (tertium comparationis), i. e. the stead on the base of which the two objects are compared. It is either mentioned explicitely (e. g. the under edge patently as knowing as that of a razor39, p. 107, ? , ? 38, p. 213)or left for the recipient to guess. In the latter case simile is richer in associations that may arise. If the foundation of a simile is not clear from the context, the author supplies it with a key, fashioning it extended 15, p. 102. 4) The exponent of comparative relations, language connective element which serves as a cerebrate mingled with the authors get word of the object and the very object and therefore ensures legality of comparative construction 24, 7-8. The connective affirms that the kindred between the pains and the vehicle is an imaginary one, an appearance, a likeness sort of than humankindeity. The nominal head of such linking element in its structure makes simile contrary from metaphor. The latter, due to the absence seizure of the formal element and the implication which this element bears, may bugger off the relationship between the involved phenomena in different way, part eliminating the authors point of view and giving place for the readers point of view.According to the nature of language doer expressing comparative relations, O. Molchko devides comparative constructions into two groups with conjunctions or conjunction-like phrases and without them. Besides, the re searcher claims that comparative constructions with conjunctions in both incline and Ukrainian languages are a lot more numerous than those without conjunctions 16, p. 294. Among conjunctions frequently utilise in similes, as well as in logical comparisons, are like, as, such as, as if, await in position , , , , in Ukrainian. For instance, I beastly suddenly calm, and lay smile at the glint destruction, as a child at some antiquated bauble 39, p. 107 ? , ? 38, p. 207. In similes without conjunctive elements the link between comparandum and comparatum can be evince by way of (1) lexical indication of comparativeness (when subject and object in comparative construction are linked to each other by adjective, verb or participle I such as to resemble, to look, to signify in English and , in Ukrainian (e. g. , ? ? , , 38, p. 215) or (2) adjective in comparative degree (e. g. They lips appeared to me white whiter than the sheet upon which I trace these wor ds39,p. 102).The stylistic function of imaginative comparison consists in enrichment of the expressiveness of a literary work by manner of speaking together kind of different objects and, consequently, theatrical role to uncover in the object of comparison, too its of import qualities, a number of surplus ones, often kind of unexpected. The greater the semantic distance between the form and the vehicle is in a simile, the more undischarged effect the stylistic device leave behind produce. Thus, an overlord simile is one of the most flop image creating devices. Yu. Skrebnev mentions that simile has multiform forms, semantic features and expressive aims. Simile can be expressed by a simple blame (e. g. There was a harsh rocky as of a thousand thunders 39, p. 110) or a conglomerate sentence with an adverbial clause of comparison (e. g. I matt-up every grapheme in my frame upsurge as if I had moved(p) the wire of a galvanic outpouring 39, p. 102) it is often seen in a individual compound word (e. g. giant-like). Great number of similes yield occasion hackneyed in consequence of capacious usage and are used as idioms, e. g. as alike as field glass and cheese. These similes are take of resource and expressiveness but s gutter may be encountered in artistic literature. What makes germinal similes stryking is the authors indication of antecedently unnoticed simile between objects be to different classes. Thus, simile may pose a take exception for a translator, who should convey the expressiveness of the image in full.P. Pierini indicates the following translation strategies applicable to simile 1) literal translation (retention of the analogous vehicle) 2) shift of the vehicle with a different one 3) reduction of the simile, if idiomatic, to its backbone 4) retention of the akin vehicle plusexplanation of law of interchangeableity features 5) replacement of the vehicle with a colouring material 6)omission of the simile 36, p. 31. A number of scholars, including M. Larson, mention the following techniques for translating simile 1) repositing the same simile 2) replacing by another simile, but guardianship the accepted meaning 3) keeping the same simile, but spreading it 33, p. 246.The Translation Studies scholars get by the idea that in some cases the application of a combination of more than one dodging is needed to convey properly the expressiveness of a simile. E. Fadaee use ups that translator before rendering the stylistic device should head start assess the ground knowledge of purpose readers since they may not cast the knowledge needed for interpreting the simile. If translator consider the rate readership to possess the required information, he will leave the simile idempotent if the calculate readership does not trade the knowledge, some modifications to the author simile may be required, e. g. addition of some explanatory information 30, p. 177.Therefore, simile, which is a stylisti c device consisting in equate one object to another on the terra firma of a mutual feature, should be opulent from logical comparison. Simile can be expressed by a variety of syntactic structures. This trope significantly contributes to the boilers suit expressiveness of a literary work. As far as simile contains individual vision of an object by the author and may also require some mise en scene knowledge feature by the recipients of the true and not divided by the readers of the fanny culture, translator must be received and careful while rendering pilot program similes. A number of scholars, including P.Pierini and M. Larson, outline the briny ways of translation applicable to simile. 1. 4. The touch of metaphor and problems connected to its translation. The awareness of a complicated and opposed nature of a metaphor became the master(prenominal) reason for scholarly thought to move in sundry(a) addressions taking into account different positions of this phen omenon. Thus, P. Newmark under the notion of metaphor means any figurative expression the transferred sense of a physical word, the prosopopoeia of an twingeion, the application of a word or collocation to what it does not literary denote, e. g. to describe one thing in terms of other 34, p. 106. Nevertheless, all the definitions tend to share roughhewn possessive features and may be summarized by the accord of a metaphor as a trope or figure of speech, which consists in application of a word, denoting a particular class of objects, phenomena, actions or attributive qualities, to characterize or nominate another object, which is similar to this one in terms of any kind of relationship2, p. 81. George Lakoff and go down Johnson find it necessary to emphasize that patronage the widespread idea of a metaphor as a means of poetic conceit and rhetorical flourishing, this lexico-stylistic device is also pervasive in everyday action not barely in language but also in our thought and action, which are fundamentall(a)y metaphorical in nature 32, p. 3. At the same time, bulk of scholars focuses on a metaphor as a powerful means of creating tomography in an artistic work since it is integrally connected with the poetic vision of the world. Of all tropes, metaphor is the most expressive one for it may gasp closer or bring together in one synthetic image incompatible objects and phenomena, therefore interpreting them in a raw(a) way, revealing their essence, exposing their sexual nature by pulling them out of their automatic, handed-down perception 15, p. 69. turning back to the issue of relation between metaphor and simile, it would be resonable to cite the reflection of E. Fadaee who believes metaphor to be a kind of condensed simile that some parts of it, like topic likeness markers, are deleted to convey the meaning connotatively 30, p. 21. Gibb and Wales paint a picture that the pains (the object to which the feel of another object is transferr ed) that is preceeded by a definite article or possessive pronoun is common among items assign the simile form, whereas metaphor is assigned to the items with no definite article.The scholars also believe that simile seems to be preferred in the case of cover vehicle (the object from which a quality is transferred to another object), whereas metaphor is preferred for victimize vehicleqtd. in 35, p. 199. Simile and metaphor are distinguished not only if with take to geomorphological view but also semantic one. Simile is more semantically contract it indicates the sign of coincidence metaphor only implies this sign. A. Morokhovsky considers that simile indicates the fleeting feature, rase occasional, unlike metaphor, which indicates permanent feature 17, p. 176. allegorys have been categorize in different ways depending on the aspect taken as the pedestal of assortment.The most widespread is the classification of metaphors concord to the degree of unexpectedness, which divides them into genuine (also called stylistic, fresh, pilot, poetic, imaginative, or speech) metaphors and old-hat (dead, stale, hackneyed, or language) metaphors. commonplace metaphors are word-combinations once metaphorically fresh, which in consequence of eagle-eyed usage have lost their expressiveness and became ordinary entries in dictionaries, e. g. apple of eye. Genuine metaphors are coined by the writers idea and are always fresh and big, e. g. 38, p. 209. The stylistic function of genuine metaphor is multiple 1) it evokes images and suggests analogies/associations 2) it reveals the authors emotional positioning towards what he describes.Poetic metaphor is likely to spell to a certain image. While stripping the essence of verbal images, R. Zorivchak emphasizes that they constitute the origination of any artistic text devising it more appealing, bewitching and aesthetically gorgeous and, at the same time, increasing the cognitive value of a literary work. Of particular importance is the cognitive and expressive shipment of verbal image, which contributes to identification of the authors intention 8, p. 51-53. Besides expressiveness, metaphors also differ in their form. They can be single (one-word) or extended (a collocation, an idiom, a senrence, a proverb, an allegory, a complete imaginative text).There is a tendency in artistic literature to use metaphor have with other tropes, thus it would be relevant to look into the issue of metaphor in its relationship with other stylistic devices. As N. Kozhevnikova observes, comparative tropes, which also hold metaphors of different types, are closely inter relate. One sense joining can be expressed by different concrete vocalisations, e. g. , , etc. poetic language is characterized by a great amount of alter stylistic devices. Such reversibility of tropes is a means of refreshment of well-worn metaphors, e. g. decomposition into constituing elements and transformation of m etaphor into simile 9, p. 146.The combination of simile and metaphor is an sound device for semantic cohesion of an artistic text prototypical simile is used and then (sometimes afterwards several phrases or words) the vehicle of the simile is used as that of metaphor 15, p. 71. For pillow slip, And then my vision fell upon the seven tall candles upon the table. At number 1 they wore the aspect of charity, and seemed white and slender angels who would save me but then, all at once, there came a most deadly malady over my spirit, and I felt every fibre in my frame thrill as if I had touched the wire of a galvanic battery, while the angel forms became meaningless spectres, with heads of flame, and I saw that from them there would be no help 39, p. 102. A. Morokhovskyi mentions such trope as simile-metaphor establish on metaphorical transference 17, p. 175, e. g. the gossamer web of some dream 39, p. 102. An important aspect of researching the nature of metaphor concerns the pro blems arising in the process of its translation. Since a metaphor in source language is, by definition, a semantic novelty, it can all the way have no existing equation in target language 29, p. 24. The adequate translation presupposes the rendition of stylistic and expressive nuances of the veritable and should follow the criteria of 1) verbal correspondence of the created image, 2) preservation of the image intended in the original, and 3) preservation of the rise grounding for the verbal metaphor 26, ?. 186. polar approaches have been proposed with run across to metaphor translation, each looking into the problem from a different point of view. R.Van den Broeck suggested to use the following modes of translating metaphors 1) translation sensu stricto (both source language tenor and vehicle are transferred into target language) 2) substitution (source language vehicle is replaced by a different target language vehicle with more or less the same tenor in this case source l anguage and target language vehicles may be considered translational equivalents in that they share common tenor) 3) paraphrase (source language metaphor is rendered by a non-metaphorical expression in target language as a result, target language expression comes up to the level of a commentary or else than of actual translation 27, p. 77.Although incarnation is sometimes treated as a separate stylistic device, it is a metaphor in its essence since the image creation is based on metaphoric substitution. According to K. Lototska, incarnation is a metaphor in which rustle ideas or pulseless objects (tenor) are determine with persons (vehicle), i. e. are given human characteristics 15, p. 75. embodiment is considered to be a very poverful stylistic device because everything that concerns a man appears to be the most important to him, thus when the human properties, peoples typical qualities and actions are transferred onto inanimate objects, the by and by begin to assume the utm ost importance.The principal(prenominal) problem of rendering avatar in translation consists in the position that the sex activity of personificated nouns in the source language and target language may not coincide. It poses a challenge for a translator when the personificated images of the original are based on the encounter of masculine and adult femaleish gender nouns and in the translation the jibe nouns do not create such opposition. Personification may be also individual, without opposition of genders. N. Homon believes that in order to overpower the difficulties in the process of rendering incarnation into target text lexical ministrations, which allow to persist in the image, are possible 5, p. 40.Thus, poetical metaphor is characterized by significant expressive potential based on transference of some quality from one object to another. Metaphor is clamed to be the most expressive trope which evokes images, reveals the authors emotional attitude towards what he de scribes and helps to realize the writers intention. The principal classification of this trope is based on the degree of unexpectedness, which devides all metaphors into trite and genuine. The stylistic device can be expressed by different syntactic structures and tends to be attended or combined with other tropes in artistic text. Among the methods applied to metaphor in the process of translation the most common are translation sensu stricto, substitution and paraphrase. CHAPTER 2. E. A.POES SHORT STORY THE PIT AND THE PENDULUM AND THE REPRODUCTION OF ITS EMOTION CREATING LEXICO-STYLISTIC DEVICES IN THE UKRAINIAN TRANSLATION BY R. DOTSENKO 2. 1. Characteristic features of E. A. Poes short story The Pit and the Pendulum. The Pit and the Pendulum is a short story written by Edgar Allan Poe, an American author, poet, editor in chief and literary amateur best known for his tales of mystery and the macabre. It was first published in 1842 in the literary annual The take care A Chris tmas and New Years Present for 1843. The story is about the torments endured by a Spanish Inquisition prisoner, who describes his experience of being tortured. This particular piece of literature by E. A.Poe differs significantly from the rest of the authors works in the fact that it is especially legal at shake veneration in the reader because of its heartrending focus on the senses emphasizing the reality of the story, unlike other Poes short stories which are aided by the supernatural. Despite its micro size, the story abounds in stylistic devices, namely epithets (44 samples), similes (18 samples) and mataphors (12 samples). The stylistic devices used by the author are aimed to express emotions of the teller and, accordingly, convey the atmosphere of testing and torture. As one would expect, emotions which are being created by the higher up mentioned stylistic device in the story under research are cast out and dark in their nature. The most understandably can be traced emotions of repulsive force, revolt and despair.While transferral emotion of hatred with the help of stylistic devices, the author makes use of verbal means refering to the sphere of the otherworld and that of shabbiness spirits, e. g. All sensations appeared unhorseed up in a mad race dividing line as of the soul into underworld39, p. 102. The emotion of disgust is produced by means of tropes imperturbable of verbal means already containing the seme of this emotion in their semantic structure, e. g. The entire muster of this metallic go throughmark was rudely daubed in all the abhorrent and repulsive devices to which the grim superstition of the monks has given rise 39, p. 106. In creating emotion of desperation E. A.Poe avails of stylistic devices comprising words which convey vagueness, powerlessness, or desperate effort, e. g. At length, with a waste desperation at heart, I pronto unclosed my eyes 39, p. 103. Lexico-stylistic devices of the story are the bri ny and major means for creation of negative emotions intended by the author and create the overall atmosphere of the litersry work. Therefore, an adecuate reproduction of tropes is essential, as far as expressive and emotive verbal means combined in emphatic structures of different stylistic devices acquire greater expressive potential. 2. 2. The reproduction of emotion creating epithets, similes and metaphors of the short story by E. A. Poe in the Ukrainian translation by R. Dotsenko. And then there take into my fancy, like a rich musical note, the thought of what new rest there must be in the tomb 39, p. 102. * ? , , , - 38, p. 208. The epithet in the pillowcase to a higher place conveys the emotion of buckram nuisance. Instinct for self-preservation is inherent in human nature, as well as fear of devastation, but the main character is already so much exhausted by the very long waiting for upcoming torture that even expiration for him seems to be a enjoyab le escape. Obviously, the torture in the story consists not in physical torment but in mental pressure on the victim, whichis more abusive and unbearable as the development of the plot of region shows.The epithet construction is paradoxal since it uncovers extraordinary view on traditional lie of the land and, consequently, bears a affect of irony, especially if to take into consideration that the bank clerk describes the events after he already overcame the peril and survived. R. Dotsenkos epithet construction can be considered as a full equivalent to the original one as far as both cnostructions are equal not only in general content but also in componential structure and stylistic, emotional and expressive shades. The transformation of original place modifier (consisting from preposition and noun) into adjective in translation is quite excusable as it makes translation sound smoothly and with abandon. * All sensations appeared swallowed up in a mad locomote linage as of the soul into Hades 39, p. 102. * , , ? 38, p. 208. As it was mentioned in Chapter I, different stylistic devices often come with and complement each other in literary work, thus producing enhanced emotional effect. The example above constitutes a Gordian image of evil consisting of metaphor (descent is personified by way of transferrence on it of living being characteristic denoted by phrasal verb swallow up) and epithets and simile which resort its tenor. It is essential to mention that metaphor makes it possible for readers to cognize the notions belonging to the sphere of abstractions, that is wherefore metaphor as a stylistic device is especially accommodative in transfer emotions.The embodiment was hold by the translator and, what is more, made more explicit due to emptying of preposition inand use of quick voice kinda of passive as in the original. The simile complementing the metaphor contains allusion to Hellenic mythology where Hades is an unde rworld containing the Plain of Asphodel, where the ghosts of the dead led a vague, unsubstantial feeling, a shadowy subsequence of their former life45,p. 172. The term hades is also used in the Septuagint (the past translation of the middle-aged Testament into Greek) referring to the residency of the dead in general rather than the abode of the wicked. It has subaltern if any relation to afterlife rewards or punishments.The Ukrainian term (English equivalent to which will be hell) is defined in the dictionary as , 41, v. 6, p. 111. thereby R. Dotsenko replaced the vehicle of the simile with different one which may be considered more exspressive in terms of transfer horror. The allusion to Greek mythology was conveyed partly through the substitution of original tenor of the metaphor descent with in translation since the land of the dead was separated from the land of the living by one of the rivers of Hades, the Styx or the Acheron across which the dead were fer ried 45, p. 172. Thus, explicit allusion of the original became implicit in the translation. Then, very suddenly, thought, and move involuntarily brat, and earnest endeavor to comprehend my true sound out 39, p. 103. * ? , , , ? ?38,p. 209. In the above example the author calls up to the readers mind the emotion of horror by using the noun terror and intensifies its denotative meaning with epithet move reflexively (as an adjective from trembling which is defined in the dictionary as to shake because you are cold or frightened, or because of a strong feeling 43, p. 1360). This is a serious example of transferred epithet as far as not the terror itself shudders but the person who is experiencing this emotion. In translation R.Dotsenko substituted the original epithet by the word which has direct meaning , and transferred one, , , 41, v. 6, p. 113. Thus, in the original the striking effect was achieved by using before logical attribute generally describing the state of a human being for referring to an abstract phenomenon, while in the translation the analogous effect was created due to intertwinement of direct and transferred meanings of the word. Although semantically the translated epithet is not equivalent to the original one, it produces the same effect intended by the writer.This fact affords the ground for regarding the translation in the given case adequate since accuracy in the translation of artistic literature is achieved not by means of direct translation but due to deviations and c detriment substitutions which ensure the distinguish rendering of the authors ideas and intent. * A slight perturbation attracted my notice, and, looking to the floor, I saw several enormous rats traversing it. They had issued from the well, which lay just within view to my right. redden then, while I gazed, they came up in troops, hurriedly, with ravenous eyes, allured by the scent of the summation 39, p. 106. * , ?, , ? , ? , ? , . ? , ? , , ? 38, p. 214. In this move out the author characterizes rats by using transferred epithet construction ravenous eyes and modifying construction allured by the scent of the meat besides, the mode of rats travelling is characterised by epithet in form of adverb hurriedly. The translator desided to refer all three epithets to the actualizator of the trope, rats (for this reason he changed adverb into adjective and eliminated the actualizator eyes in the transferred epithet construction). Consequently, in the translation a chain of homogeneous members-epithets was formed, which created an effect of commencement ceremony with culmination in the last element. This grade can be considered as a compensation for the effect created by the heterogeneousness of epithet chain in the original, and especially, the expressiveness of the transferred epithet construction. These colors had now assumed, and were momentarily assuming, a startling and most intense br illiancy, that gave to the ghostlike and fiendish portraitures an aspect that might have thrilled even firmer nerves than my own 39, p. 109. * , ? , ? , ? , ? 38,p. 219. Dealing with translation of the first epithet construction in the above express R. Dotsenko substituted epithets expressed by adjectives startling and most intense by combination of epithets expressed by means of adverb and adjective .The translation was made with regard to the overall imagery of the literary work which abounds in verbal means denoting phenomena related to religious conceptions of hell and evil spirits. Besides, the word combination outright brings to mind the image of the rousing and importunate hell-fire which is considered to be the scariest and the most intense one. Thus, the translation is adequate since the translated variant harmoniously fits the imagery of the translated literary work and conveys the the authors intent being loaded with emotional expressiveness . The succor epithet construction the spiritual and fiendish portraitures was handled with ease. With regard to the core of the trope, R. Dotsenko applied calque translation having conveyed both denotative and connotative sense layers.The word portraitures was rendered as which has suitable denotative meaning in the given context and also has no connotations as well as the original activator of the trope. Thus, the whole epithet construction was translated adequatly. * These shadows of memory tell, indistinctly, of tall figures that get up and bore me in silence down down mollify down till a hideous dizziness ladened me at the unadulterated idea of the interminableness of the descent 39, p. 103. * , ? , , , , - 38,p. 209. In this example R. Dotsenko split the original epithet construction and translated the noun dizziness by means of verb both words share the same denotative meaning. Further in the nearest context the epithet construction was eq uilibrize for by adding epithet , which is fully equivalent to hideous, to the word . The emotion of disgust thereby was preserved in the translated utterance. * They tell also of a vague horror at my heart, on account of that hearts stirred inactiveness 39, p. 103. * , , , , ? 38, p. 09. The epithet in the above original sentence describes the horror which is just spawning in the face of something unknown and obscure. The epithet construction was translated as . The direct meaning of is , , from which originates the transferred one, , , , - 41, v. 9, p. 361. Consequently, the form of horror in the translation is much stronger as that in the original since it is so portentous that hinders a person to think or to act, it is a kind of paralysing fear.On the one hand, the translated epithet construction is more striking in comparison to the original one in the framework of contrastive analysis of this particular case. On the other hand, it fits per fectly the overall imagery of the story and significantly contributes to the enspiring emotion of terror. Therefore, the translation is still considered as adequate. * At length, with a barmy desperationat heart, I promptly unclosed my eyes 39, p. 103. * ? , ? 38, p. 209. This is a bright example of partial epithet equivalents. The original epithet construction can be literary translated as (, , 41, v. 1, p. 659).This feeling of apprehendlessness was recreated by means of adjective meaning , 41, v. 1, p. 659. quiet down this emotion as rendered in the translation is lacking enlargement produced in the original by epithet wild which is used for somedead body or something lacking mark or go over 43, p. 1683. In other words, the original epithet construction is fully concentrated on the emotion epithet wild amplifes and intensifies the emotion of terror. The original construction is also followed by modifier of place at heart since humans consider heart to b e the place where emotions are born, and what is from heart, that is beyond the obligate of reason.In the translation the focus is shifted from desperation to , the word which is purely a product of the translators creativity. , being defined in the dictionary as , 41,v. 7, p. 252, fits the utterance and relates to the quick move of unclosing eyes. Thus, given epithet costructions are partial equivalents. They differ in their componential structure but are almost equal in emotional, expressive and stylistic characteristics ensuring full adequacy of translation. * put down I had but escaped death in one form of agony, to be delivered unto worse than death in some other 39, p. 109. * , ? , 38, p. 219. The original omit contains simile worse than death which contains highly expressive and negatively swart evaluation of a form of death. The translator omitted in his translation simile canvas one form of death to other by means of comparative degree of adjective (whi ch in its denotative meaning is more expressive than English worse and more helpful in creating emotion of horror). R. Dotsenko compensated for simile by way of adding in translation word and in this manner likening on the basis of metaphorical transferrence abstract notion of death to frightening creature.Thus, stylistic effect of original simile and its emotional loading were compensated for by translators creative decision to introduce personification. * It was look forward to the hope that triumphs on the shovethat whispers to the death-condemned even in the dungeons of the Inquisition 39, p. 108. * , , , ? 38, p. 217. The excerpt represents an example of personification where abstract notion denoted by noun hope aqcuires ability to act, particularly perform actions (to thriumph and to whisper) typical of humans.This personification aims at conveying a spark of optimism which is spawning in the narrators heart. In the English language the word hope has exemplary cleaning womanish gender, thus in this personification hope appeares as a woman supporting a man in all the grimness he undergoes. Fortunately, Ukrainian equivalent is of feminine gender as well, therefore, the image of a supportive woman was preserved. However, there were introduced two changes in the translated variant. Firstly, wrench is defined in the dictionary an official document of torture, used in the past for big(a) and hurting people. Their harness and legs were tied to the woody frame and then pulled in opposite directions, stretching the body 43, p. 1195. R.Dotsenko applied method of generalization and translated wring from by hyperonym . Secondly, the translator added , which still doent harm the image, but just expresses the tithe of solace given to the narrator by this hope. The personification was successfully rendered into the target text. The translator managed to preserve the image as well as its expressivenes and emotive loading. * march on by abut line by line with a descent only appreciable at intervals that seemed ages down and still down it came 39, p. 107 * , , , , , , , ? 38,p. 215. The original simile is underage and consists in overstatement by way of comparing those comparatively long intervals, at which the pendulum descended, to the big get across of time which lasts for ages, and in this way conveying oppression andmoral horrorsof the narrator caused by the go on expectation of long agonizing death. R. Dotsenko bear the vehicle of the trope but shifted the tenor of the simile from intervals to . Besides, the translator introduced the ground of the simile expressed by word combination . The structure of translated simile is much more complicated than that of the original trope. The tenor stands severally in the second part of the main sentence.The part of the simile which follows a formal marker of comparion represents constitutes a full-fledged composite plant sentence. The origin al simile, on the contrary, is simple in structure and forms a part of an discriminate member of a sentence. Although translated simile is not equivalent to the original one from the viewpoint of structure, it is considered to be an adequate translation substitute for the original trope since it recreates emotion of discouragement accompanied by agonizing suspense. * A deep peacefulness fell upon me a sleep like that of death39, p. 105. * ? , ? 38, p. 213. In the above example the original simile underwent a few changes in the translation. Firstly, R.Dotsenko eliminates the repeated mentioning of the comparandum instead, the translator adds its characteristic , thereby making the ground of the simile explicit. Besides, like that of death was turned into ? . The substitution is adequate, it conveys the message of the author and creates the intended emotion of fear which emerges with mentioning all which is associated with death. However, the original simile with implicit g round leaves more space for readers imagination since a range of various characteristics may come to their mind at the same time, thus making the original utterance more expressive than translated one. Thus, translating the simile R.Dotsenko replaced the vehicle and explained the similarity feature. though being determined and limited by explicit gro