Відтворення мовних засобів ідіостилю Емілі Дікінсон українською мовою

Abstract

In the scientific literature there are a significant number of definitions of individual style and approaches to its research. However, all of them in one way or another are reduced to two characteristics of this phenomenon. In a general sense, individual style is a deep individual psychological mechanism reflected in the text, and in a more specific sense – directly linguo-stylistic structure, reflecting the creative manner of the author in the body of works. Researchers often consider the lexical aspect of the individual style, but there are scientific works devoted to the study of individual style in other aspects – its multi-level units and units of an entire work of art. Analyzing these aspects, it can be seen that in one way or another, in the aspect of expression, they all represent different levels of speech: phonetic (or sound), lexical, grammatical, syntactic, etc. A unit of any language level can act as a sign of an individual style, but only their certain combination and principles of building their system in the complex constitute the individual style of a particular author. It is advisable to study the features of individual style at different levels of speech, showing their interrelationship and mutual validity, as well as take into account the linguopoetic features of the works. The individual style is understood by as a linguo-stylistic systemic-structural phenomenon, represented by a range of multi-level units that characterize the individual stylistic manner of a particular author. Having analyzed Emily Dickinson's works, we found that the poetess's poems have no names and are characterized by significant use of dashes instead of punctuation marks. Another distinctive feature is the writing of nouns and personal pronouns with a capital letter. The theme of nature was one of the dominant themes of the poetess. Thanks to nature, the poet knows the world around her, because only she can tell about this life better than a person. Nature was one of the few interlocutors of the poetess, a living organism, so it always began with a capital letter. In her poems, the poet often resorts to stylistic reception of the use of musical metaphors. The use of such metaphors allows you to decorate the poetic world of the poetess, making it more tangible and rich spiritually. As for the syntaх of the poetic works of this author, we observe the use of inversion, which gives lexical elements an additional semantic load. However, the inversion used by it is purely author's, since it is built on the principle of using syntagma elements with the greatest semantic load at the beginning of the sentence, and this creates the effect of novelty and purgation. The use of this inversion helps in understanding metaphors through irony, the embodiment of which is the localization of priority elements at the beginning of the sentence. Also in the construction of sentences there is the use of parallel constructions, which is considered as the dominant principle of parallelism. This is especially true for the early period of work. The work of the poetess also does not bypass the use of antithesis. Through the antithesis, the poetess contrasts such concepts as ―life‖ and ―death‖, speaks of the eternal life of the soul, and sometimes referring to the topic of nature. After performing a translation analysis of the means of preserving the individual style, we found that when translating poems devoted to nature, God, self-denial and eternity, the most common means of preserving the poetess's idiostyle is modulation (66 cases). When translating poems devoted to the topic of war and love, translators most often resorted to transposition (10 cases). Translators used antonymic translation (4 cases), generalization (6 cases) and specification (10 cases) to preserve the idiostyle. The total number of techniques of pragmatic adaptation used by translators in order to preserve the linguistic means of the poetess's idiostyle is 197 cases. After analyzing the means of reproducing Emily Dickinson's idiostyle in poems devoted to various topics, having quantified the results obtained and calculating the total number of linguistic means of reproducing the poetess's idiostyle (the total number was 197 cases), we came to the conclusion that the most common means of reproducing the language means of the idiostyle is modulation (74 cases), often there are methods of addition (31 cases), omission (27 cases ) and transposition (27 cases). Quite rarely, translators used methods of grammatical replacement (18 cases), specification (10 cases), generalization (6 cases) and antonymic translation (only 4 cases).