Pragma-stylistic aspects of translation of Southern Gothic novels (based on the novels of C. McCarthy)
Glafirа Efimovna Golubkovа
Докладчик
магистрант 2 курса
Санкт-Петербургский государственный университет
Санкт-Петербургский государственный университет
Ключевые слова, аннотация
The study is focused on the translation of
Southern Gothic literature exemplified by C. McCarthy’s novels. Works
created in the paradigm pose many challenges of both linguistic and cultural
character, which, combined with reemerging popularity of the genre, makes such
study especially relevant. This study explores pragma-stylistic features of
McCarthy’s literature and identifies strategies employed by Russian
translators.
Тезисы
Key words: literary translation; Southern Gothic
literature; pragma-stylistic aspects; Cormac McCarthy
Research of literary text as a complex phenomenon has become an essential part of modern translation theory. Stylistic and pragmatic peculiarities of Southern Gothic works significantly complicate the translation process. Cormac McCarthy’s novels serve as the epitome of Southern Gothic traditions through the combination of artistic tragedy with lingua-cultural features of rural America and his unique use of speech styling. Correct translational interpretation of pragma-stylistic aspects of Southern Gothic novels is the key to successful reception by Russian audience.
The fragmentary quality of existing research on McCarthy’s works as well as the need to carry out a systemic analysis of his novels in the prism of translation studies validate the academic novelty of the subject. Following methods of analysis have been used: translational analysis method, intertextual analysis method, pragma-stylistic analysis method, comparative analysis method. Study materials include McCarthy’s «Blood Meridian, or the Evening Redness in the West», «Suttree», «Child of God» and their Russian translations.
Recreation of pragma-stylistic effect is done through meticulous work with characters’ speech. For instance, with faith playing a vital role in US culture, McCarthy actively employs references to Biblical texts both in narration and in dialogue. Translators generally recreate the original effect through syntax or vocabulary: 1) But it's cunning work all the same and wouldnt it take the heart out of ye. — Но это всё равно от лукавого, и разве не погрузится от сего в уныние сердце твоё («Blood Meridian»).
The phrase is spoken by an ex-priest gone roque. He instructs a young man, saying that the murders he is committing, although skillful, will bring destruction to his soul. The Russian translator uses the phrase от лукавого, traditionally used to criticize an ungodly action. Not a complete equivalent of what the author intended to convey, it still corresponds with the character’s role in the novel and his religious affiliation. Besides, as a substitute for the archaic pronoun ye the translator employs inversion, typical of religious styling: сердце твоё instead of твоё сердце.
Another staple of McCarthy’s artwork is people of low-life. Their speech is illiterate, and characterized by explicit language and colloquialisms. In translation, they are transmitted through colloquial Russian equivalents and distortions. 2) Hell Worm, this is good whusk. — Черти, Червяк, да хороший это вискач («Suttree»). 3) How you fixed for spit? — А рожа не треснет? («Child of God»).
Here the author captures the speech of uneducated Americans. In the second example, the author distorts the word whiskey. The translator distorts the word виски in a similar way and resorts to inversion in order to create information structure that is authentic to Russian. In the third example, the author uses a fixed expression. The Russian equivalent is idiomatic and stylistically loaded to perfectly fit into the context.
To recreate the pragma-stylistic effect and preserve the authenticity of the original when translating McCarthy’s works, translators carefully work with characters’ speech, use stylistically loaded lexical equivalents, inversions, colloquialisms, and phonetic distortions. This approach provides a complete transfer of the pragmatic power in the Russian version.
Research of literary text as a complex phenomenon has become an essential part of modern translation theory. Stylistic and pragmatic peculiarities of Southern Gothic works significantly complicate the translation process. Cormac McCarthy’s novels serve as the epitome of Southern Gothic traditions through the combination of artistic tragedy with lingua-cultural features of rural America and his unique use of speech styling. Correct translational interpretation of pragma-stylistic aspects of Southern Gothic novels is the key to successful reception by Russian audience.
The fragmentary quality of existing research on McCarthy’s works as well as the need to carry out a systemic analysis of his novels in the prism of translation studies validate the academic novelty of the subject. Following methods of analysis have been used: translational analysis method, intertextual analysis method, pragma-stylistic analysis method, comparative analysis method. Study materials include McCarthy’s «Blood Meridian, or the Evening Redness in the West», «Suttree», «Child of God» and their Russian translations.
Recreation of pragma-stylistic effect is done through meticulous work with characters’ speech. For instance, with faith playing a vital role in US culture, McCarthy actively employs references to Biblical texts both in narration and in dialogue. Translators generally recreate the original effect through syntax or vocabulary: 1) But it's cunning work all the same and wouldnt it take the heart out of ye. — Но это всё равно от лукавого, и разве не погрузится от сего в уныние сердце твоё («Blood Meridian»).
The phrase is spoken by an ex-priest gone roque. He instructs a young man, saying that the murders he is committing, although skillful, will bring destruction to his soul. The Russian translator uses the phrase от лукавого, traditionally used to criticize an ungodly action. Not a complete equivalent of what the author intended to convey, it still corresponds with the character’s role in the novel and his religious affiliation. Besides, as a substitute for the archaic pronoun ye the translator employs inversion, typical of religious styling: сердце твоё instead of твоё сердце.
Another staple of McCarthy’s artwork is people of low-life. Their speech is illiterate, and characterized by explicit language and colloquialisms. In translation, they are transmitted through colloquial Russian equivalents and distortions. 2) Hell Worm, this is good whusk. — Черти, Червяк, да хороший это вискач («Suttree»). 3) How you fixed for spit? — А рожа не треснет? («Child of God»).
Here the author captures the speech of uneducated Americans. In the second example, the author distorts the word whiskey. The translator distorts the word виски in a similar way and resorts to inversion in order to create information structure that is authentic to Russian. In the third example, the author uses a fixed expression. The Russian equivalent is idiomatic and stylistically loaded to perfectly fit into the context.
To recreate the pragma-stylistic effect and preserve the authenticity of the original when translating McCarthy’s works, translators carefully work with characters’ speech, use stylistically loaded lexical equivalents, inversions, colloquialisms, and phonetic distortions. This approach provides a complete transfer of the pragmatic power in the Russian version.