Курсова робота «Linguo-Stylistic Peculiarities of Two Caravans by Marina Lewycka and its Ukrainian translation by Svitlana Pyrkalo», 2006 рік

З предмету Іноземні мови · додано 16.05.2011 13:01 · від maksym · Додати в закладки
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Introduction 3 CHAPTER I. Deviations from language norms as a method of stylisizing of a character 5 1.1. Idiolect as a specific language of a character 5 1.2. Types of deviation from language norms and stylistic effect they produce 6 1.2.1. Collective deviations from language norms 8 1.2.2. Individual deviations from language norms 11 1.2.3. Foreign elements as a deviation from language norms 12 CHAPTER II. Compensation as a method of rendering idiolect based on deviations 14 CHAPTER III. Reproduction of the deviations from the language norms in the Ukrainian translation 17 3.1. Classification of the idiolect groups 17 3.2. The analyses of reproduction of each idiolect group in the translation 19 Conclusions 39 List of references 41


In the course of linguo-stylistic analysis of Two Caravans we may arrive at the conclusion that the main peculiarity of the text is deviation from language norms.

Deviation from language norms in the speech of a character may play an important part in displaying some extra- and intra-lingual peculiarities of a character. Being motivated and done systematically it may serve as a proof of authenticity of a character in the text. The deviations may be either collective (peculiar to the group of speakers) or individual (peculiar to a certain speaker).

The main peculiarity of the original is the individual language of each specific character (idiolect), which is based on various kinds of deviation from language norms. Broken speech of foreigners, vernacular and slang of natives constituted a real challenge for the translator.

In Two Caravans we may trace five idiolect groups. This division is based on mistakes peculiar to them, which thus being based on some extra- or intra-lingual factors. In the analysis the patterns of Contrastive Analysis and Error Analysis were of use. But we cannot fully apply them to the made up speech of made up characters. The fact that they coincide in most of the cases proves the author’s objectivity and credibility in elaborating the speech of her characters.

The first group is from Slavonic countries and their mistakes are mostly based on the divergent features of their native tongue contrasted with English. The second group has a very poor command of English. One of the characters of this group is even mispronouncing words (apparently, this is also determined by his native tongue). The character from the third group is from Malawi (Africa) and was brought up by in a very pious Christian community. The fourth is the group of uneducated English citizens, whose language is marked with vernacular and slang. And the fifth is the author’s idiolect. Since the narrators are the characters of the novel, it is also marked with some features peculiar to them.

The translator, Svitlana Pyrkalo, in her introduction to the Ukrainian edition of Two Caravans made a remark, that it was quite an uneasy job to reproduce all the peculiarities of the original. And it is really so, since we have little empirical data on foreigners’ mistakes in Ukrainian.

S. Vlakhov and S. Florin suggest not to get involved into rendering all the deviations as they occur, but only enough for the reader not to forget the peculiarity of the character and to preserve the colouring. However, in case of Two Caravans it is not applicable, since these deviations are dominant on the linguo-stylistic level.

The point is that the five idiolect groups mentioned above can be distinguished one from another, though all being based on deviation from language norms. These idiolect groups can be also distinguished in the translation, but some of the specific peculiarities of each separate group are lost.

To reproduce the colouring and the miss-mash of languages she uses compensation, using English barbarisms instead of Ukrainian and peculiar to Ukrainian grammatical patterns instead of English ones.

The impression from the translation is somehow dubious. On the one hand, Svitlana Pyrkalo did her best to create foreigners who speak broken English in the Ukrainian text, which is far from being easy.

On the other hand the translator didn’t have a unified translation strategy throughout the text, since in some parts she is “overcreative” and in some others she sticks to the text, being afraid to step aside. There were a few occasions where the effect of the original was either totally lost or neglected.

Nonetheless, she has done a great job, in most of the cases making the text sound bright and genuine as it is in the original.

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