Особливості графічного роману та їх відтворення в українському перекладі ( на матеріалі твору " Вартові " Алана Мура)

Abstract

In the modern world, graphic literature has become an integral part of mass culture and has gained popularity among a wide variety of age and social groups, while in Ukraine the culture of reading these types of works is at the stage of active formation. Globalization and the establishment of a close dialogue between Ukrainian and American cultures have determined the growing interest in the problem of translating English-language graphic literature into Ukrainian. Eisner W., Belov D., Gudoshnik O.V., Ivasyshyn MR, Kon N., Kunzle D., McCloud S., Meskin A., Harvey R.S., Chukanov R.V - these are some of the researchers who have studied comics. However, most of them focus on the definition of "comics", their classification and history of development, exploring them within the framework of cognitive linguistics, sociology and pedagogy. Thorough scientific works in which comics are considered as an object of translation are presented by such researchers as: Zanettin F. and Chellotti N. The purpose of this study is to identify stylistic features of graphic novels and the specifics of their rendering in Ukrainian translation using Alan Moor‘s ―Watchmen‖ as a prime example. When it comes to distinguishing between the concepts of "comics" and "graphic novel" the next could be said - the term "comic" appeared in the 1920s and comes from the so-called "fun stripes" (comic stripes) - short stories in pictures with humorous captions, which were published en masse in American newspapers. The concept of "graphic novel" appeared much later, in the late 1980s, as a reaction to the need to separate the subgenre and

demonstrate more adult-oriented comics that explored more mature themes. F. Zanetin (2008) notes that a graphic novel is an independent (distinct from a comic book) cultural object, characterized by a complex plot and composition, complete form (ie, book format, not multi-issue series) and focus on an adult audience. The researcher adds that this genre narrows the gap between elite and popular art and contributes to the fact that illustrated stories are becoming considered worthy of serious consideration, even in cultures where comics were traditionally seen as "low-grade" literature. However, in terms of creation and presentation, a comic and graphic novel may have a common definition - a logical sequence of interdependent images and text, interaction of which is intended to convey a message and/or make an aesthetic impression on the recipient. For convenience in this research, the terms "comic" and "graphic novel" will be used interchangeably. The research is focused on studying "Watchmen" by Alan Moore, which appeared in 1986-1987 and is one of the first works to receive the status of a graphic novel. In 2017, the copyright for the translation of ―DC‖ comics was awarded to Ukrainian publishing house "Ridna Mova", and in 2018 the translation made by J. Strikha had its debut on Ukrainian market. "Watchmen" is both fiction and anti-utopia. The action takes place in the alternate reality of the 1980s in the United States. Here, in the 1940s and 1950s, "superheroes" (masked people with no extraordinary abilities) emerged to help America win the Vietnam War. This provoked a number of events that led to the fact that by the time the 1980s arrived the United States was on the verge of nuclear war with the USSR, and "superheroes'' were outlawed. (Pidgrushna, 2019) Over all, this study outlines the main directions of analysis of lexical and stylistic means used in the graphic novel in the aspect of translation, but this problem is far from being well-researched. Further research should

include an in-depth study of ways to translate the lexical and stylistic means of an English-language graphic novel or comic, as well as study the strategies used in translating stylistically important morphological and syntactic means of a graphic novel and comic