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ством / различием понятийных систем в сопоставляемых языковых картинах мира.
5. Ряд единиц лексико-семантической группы «Погодные явления» вступают в синонимические отношения, образуя синонимические ряды с градацией по возрастанию признака или интенсивности действия. Среди синонимических рядов наиболее широко представлены ряды с базовыми признаками снег (11), rain (11 единиц) и ветер / wind (10 /11 лексических единиц), что еще раз подтверждает важную роль данных погодных явлений в жизни каждого человека.
Список литературы:
1. Тер-Минасова С.Г. Язык и межкультурная коммуникация. - М.: Слово, 2002. - 262 с.
2. Шмелев Д.Н. Очерки по семасиологии русского языка. - М., 1964. С. 81.
COMPARATIVE ANALYSIS OF COLOUR TERMS IN OLONKHO "ELES BOOTUR" AND ITS ENGLISH TRANSLATION
© Fedorova K.I.*
North-Eastern Federal University named after M.K. Ammosov, Yakutsk
The article deals with the comparative analysis of colour terms in olonkho "Eles Bootur" in Sakha and its English translation. In the English translation of olonkho the group of ideographic colour terms is represented by 117 words which is twice less than in the Sakha language. The number of colour terms in Sakha make 296. Four models of translation from Sakha into English were distinguished that are presented in the article.
Key words: comparative analysis, olonkho, colour terms, models of translation.
Colour is part of the overall image of the world, and its study contributes to the description of the image of the world as a whole, because a human being perceives the world as a combination of light and dark, as a combination of different colours. The concept of colour is formed in humans as a result of their experience. Numerous color images are deposited in the human mental system and form a specific system that is reflected in the language. A great number of attempts have been undertaken since the ancient times to study the nature of colour, its manifestation in the language. In Russia the study of colour terms represents
* Доцент кафедры Английской филологии, кандидат филологических наук, доцент.
various approaches. Thus, in her research N.B. Bakhilina focuses on historical development of colour words in Russian, L.V Vasilevich and R.M. Frumkina consider colour terms from psycholinguistic point of view, R.V Alimpieva, A.N. Shramm study semantic structure of colour terms, I.V Makeenko, M.B. Imatshaeva and others consider colour words in terms of comparative analysis.
Colour words play a significant role in creating verbal images in a literary text. Thor N.M. argues, that colour terms function as quality and evaluation determiners and convey positive or negative connotations, thus providing visual, sensual, moral and aesthetic impact, bringing about a great variety of emotions and moods [3, p. 115]. One of the most widely spread manifestation of colour in a text is its direct naming through colour epithets that convey both universal and specific cultural meaning as well as an individual meaning of the author.
In this article we shall consider the role of colour terms in the Sakha epic poem (olonkho) "Eles Bootur" and its translation into English.
The Sakha epic poem "Eles Bootur" gives an account of heroic deeds of hero named Eles Bootur, who overpowers the evil and saves his wife Syralansa Kuo, his sisters and 99 imprisoned warriors [2]. The poem was translated into the English language in 2002 [1].
In the English translation of olonkho the group of ideographic colour terms is represented by 117 words which is twice less than in the Sakha language. The number of colour terms in Sakha make 296. It should be noted that most of them were used in the description of the Middle world, the place where in the epic poem people live including its main character - a hero named Eles Bootur.
A dominant position in both texts is occupied by colour - adjectives denoting "white" and "black" - the Sakha text includes 50 uses of adjectives ma^pn, yryng (white) and 95 uses of khara (black). In the English text there are - 24 uses of white, 44 uses of black and 22 uses of dark. The frequency of ma^an, yryng (white) khara (black) in the epic poem can be explained by symbolic meanings expressed by the colour terms in the Sakha culture. The central characters in olonkho represent the opposition of the good and the evil. This idea traces back to the observation of the nature cycles that was so typical for the ancient Sakha - the light and the dark, daylight and night, warmth - the cold, summer and winter, life and death. Black symbolizes the evil, while the white symbolizes divine forces.
The fight of the two fundamental forces was reproduced in the epic poem as the fight of the good with the evil, the opposition of the characters and the worlds being black-white, milk (of white colour) - blood (dark red, nearly black). In the epic poem the opposition 'black-white' conveys a social code connected with the two parts of the house, a black one being for the servants while a white one - for the master and his family: yryn dielerin yrymechite - khara dielerin kharanachita.
Food is also connected with the opposition black and white. Dairy products are denoted as yryn: yryn ilgenni iitta (he sent dairy products), yryn ilgenni ihen (eating dairy products). Dairy products encode in olonkho prosperity and welfare
while blood is associated with death. In olonkho blood is usually described of black colour: ohokh khara khan (clots of black blood), khara khan haliybit (black blood spread).
In the Sakha text the colour terms are represented by complex combinations of colour adjectives, which create bright expressive images: kyluk khara kihi (as black as shadow), ehox khara hallan(sky as black as clot of blood), yryng tyn (white night), ytye yryng kyn (generous white sun). The English colour terms 'black' functions as one of the components in complex adjectives: black-shadowed firs, smoke-black cloud, black-stalked branches. Other colours are represented by simple colour terms.
The analysis of the translation of Sakha olonkho "Eles Bootur" into English revealed four models of translation from Sakha into English.
The first model represents a relatively adequate translation with country-specific colour terms:
Model 1
1. kihil bylyttar kittistilar 1. red clouds drifted by
2. araRas taala honuulaah 2. yellow grass decorates the valley
3. nai khara bylyttar kun kuluktuu barynnastylar 3. the sun was covered with heavy charcoal clouds
4. khara Suor "Haan Haan" diebitinen khara bylyt urduger Olori tuste 4. a black crow croaking "blood-blood" - on a black cloud
5. kvoh cheley kyrystaah 5. a nice meadow covered with green grass
6. kygas kylyn kehsyn tiirite coonnoh 6. wearing a coat of brown foal hide
7. eheh khara badaraan yrdyger 7. above black bog
8. kyoh telen kylymny eryokyobyt 8. blue flame blazed up
9. maRan hallaannara balaniyda 9. the white sky turned grey
10. yryng kyygen ere ylle olordular 10. white foam swelled out
The English translation of olonkho recorded 42 cases of the use of model 1. The second model is characterized by the omission of colour terms in translation.
Model 2
1. lokuora kyoh ot toroluybut 1. maintain grass grows
2. sirim kyoh ot siriediybit 2. full of fresh sprouts
3. acha kyoh ot 3. full of harmful grass
4. ehyokh khara tiinnin ehyokh Haran hallaanna ere uhuutatyam 4. I'll stop your breath
5. tuoray manaas tumul 5. a hill
6. horolgon khara aartyk 6. fairy-tale passage
7. yrgyvk vrvng SYryktere 7. fast horses
8. aRys hattygastaah dobun maRan hallaan 8. eight - rowed sky
9. horolgon khara aartyk 9. fathomless pit
10. kyoh solko honuunu ortotugan 10. across the silky field
In Examples 1, 2, 3 of the English version colour terms are omitted while specified species of grass are given without specifying their colour. In other cases a
distortion of meaning occurs. Thus, in Example 6 horolgon khara aartyk (narrow black road) with a pronounced negative connotation is replaced by positive fairytale passage (fabulous road).
The third model represents adding of colour term in translation while it is absent in the original. The English translation of olonkho recorded 11 cases of the use of model 3.
Model 3
1. munur tyytterdeeh kuraanah Kurun tya kuugunuu Turar ebit 1. dark green firs dropping their thorns blacken further
2. aRystaah-setteleeh atyyr sylgy 2. seven-year-old grayish horse
3. tynykteeh tyrmeRe 3. dark barn
4. Seerken Sehenner 4. white-haired aged men
5. kystyr kytalyktaah 5. white crane winters her
6.turuya kyyl 6. white crane
7.dyryff-dalay sanaata 7.dark thought
8.kyeng kehse kyaran tuymaaran turda 8.everything went dark before his eyes
In Example 1, the addition of colour terms green distorts the meaning of ku-run tya which means dry parched forest. Green cannot be used in the description of such a place. Seerken Sehen is a wise fabulous creature who can predict, advise, knows everything. He is not just a white-haired old man.
Model 4 is a replacement of a colour term. There 22 cases of this model in the English translation of olonkho.
Model 4
1. kyyray maRan hallaan 1. the blue high sky
2. araRas taalatyn 2. green flat field
3. holboroR maRan honuulaah 3. it has a vast green valley
4. saahyrbyt sylgy saharymtyybyt sielin 4. graying mane of old horse
5. eheh khara hallanna 5. in the dim sky
6. tallan ebirien bylyttar taRystylar 6. fleecy clouds scurried
7. arRaany araRas sabydal hallaan 7. under the golden eastern sky
8. araRas sylgy ardaydaah sielin 8. a black and white mane of a horse
9. araRas chechir 9. purple willow
Replacing the description of the sky with the colour term Kyran ma^an hal-laan (high bright sky) in Example 1 by blue sky, the translator, apparently, is guided by the objective qualities of the sky as seen from the ground. However, the colour epithet loses its expressiveness.
Thus, the analysis of the English translation of the Sakha olonkho showed that the underestimation of the role of colour terms in creating imagery in the epic poem "Eles Bootur" did not allow to achieve the degree of adequacy in the English translation.
References:
1. Ogotoyev P.V Eles Bootur / translated into English by A.A. Skrybina. -Yakutsk: Bichik, 2002.
2. Ogotoyev P.V Eles Bootur. - Yakutsk: Bichik, 2002.
3. Thor N.M.Tsvet v proze Carson McCullers. Principy functsionirovaniya yazyka v ego rechevyh raznovidnostyah. - Perm, 1984. - P. 15-123.
ГИБРИДНЫЕ, ДЕЕПРИЧАСТНО-МОДАЛЬНЫЕ СТРУКТУРЫ В РУССКОМ ЯЗЫКЕ
© Шигуров В.В.*, Шигурова Т.А.Ф
Национальный исследовательский Мордовский государственный университет им. Н.П. Огарева, г. Саранск
Намечены основные этапы транспозиции деепричастий в межчасте-речный семантико-синтаксический разряд вводно-модальных слов. Охарактеризованы деепричастно-модальные структуры, эксплицирующие зону гибридности на шкале переходности. Выявлены комбинаторика и пропорция дифференциальных признаков глаголов, наречий и вводно-модальных слов в структуре отдеепричастных гибридов.
Ключевые слова: русский язык, грамматика, транспозиция, модаля-ция, ступень, часть речи, деепричастие, вводно-модальное слово.
Проблема переходности и синкретизма в системе частей речи издавна привлекает к себе внимание исследователей (см. работы А.М. Пешковского, А.А. Шахматова, В.В. Виноградова, А.С. Беднякова, В.Н. Мигирина, В.В. Ба-байцевой, Е.П. Калечиц, В.В. Шигурова и др.). Типы взаимоперехода и взаимодействия разных классов слов рассматривали в своих работах Ш. Балли, Д. Теньер, Е. Курилович и др. Не обделено вниманием лингвистов и явление модаляции, разные аспекты которого были предметом обсуждения в исследованиях В.В. Виноградова, В.М. Жирмунского, Г.В. Колшанского, В.З. Панфилова, В.В. Бабайцевой, А.Г. Руднева, А.И. Аникиной, А.М. Мухина, В.Н. Мигирина, О.М. Ким, А.Я. Баудера, И.В. Высоцкой, Л.И. Василенко и др.
Однако недостатком многих работ по переходным явлениям в области частей речи является то, что объектом анализа в них служат обычно лишь ясные, по выражению Л.В. Щербы, случаи, колеблющиеся, промежуточные же при этом либо вообще не затрагиваются, либо получают нередко одностороннюю, а потому и неточную квалификацию.
Модаляция в этом смысле не исключение: многие случаи ступенчатой транспозиции языковых единиц разной категориальной принадлежности в
* Заведующий кафедрой Русского языка Филологического факультета, доктор филологических наук, профессор, член-корреспондент РАЕ, Заслуженный деятель науки Республики Мордовия, руководитель научно-образовательного центра «Теоретические и прикладные аспекты русской филологии» при НИ МГУ им. Н.П. Огарева.
* Профессор кафедры Культурологии, этнокультуры и театрального творчества, доктор культурологии.
