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7PHILOLOGICAL SCIENCES
GENERAL STRATEGIES OF CHRONOLOGICALLY DISTANT UKRAINIAN RETRANSLATIONS
OF SHAKESPEARE'S PLAYS
Boiko Ya.
Candidate of Philology, Associate Professor, Senior Lecturer at Department of Translation Dnipro University of Technology
ABSTRACT
The article substantiates the general strategies of chronologically distant Ukrainian retranslations of Shakespeare's plays. Factors that influence the existence of diachronic plurality in translations are analyzed. The specifics of the term "translation strategy" are defined. The theoretical basis for studying the general strategies in chronologically distant Ukrainian retranslations of Shakespeare's plays such as domestication / foreignization and historization / modernization is analyzed and the tactics that implement these strategies are presented. A classification of alternative strategies in chronologically distant retranslations is provided. The factors triggered the choice of translation strategy in chronologically distant Ukrainian retranslations of Shakespeare's plays are determined.
Keywords: diachronic plurality in translations, chronologically distant retranslations, translation strategy, domestication / foreignization, historization / modernization.
The problem of time and space distance is one of the most difficult in practice of translation. In this case, the translation is considered as an interlingual reproduction of national identity associated with remoteness in time and space. The issue of chronologically distant retranslations of time remote original has been researched by foreign and domestic scholars, such as G. Gachechiladze, M. Novikova, M. Rylsky, A. Popovych, N. Rudnytska, Ya. Boiko.
Since translation is intended for the modern reader, it is of great importance that not only linguistic specifics (poetic, lexical-grammatical, stylistic) and the historical, social and cultural contexts of the original work should be considered, but also the features of the modern reader, his / her background knowledge and especially his / her prior awareness of the history and socio-cultural development of the country where the original text is created.
Since the translator is a key figure in reconstruction of the cultural realities of the original text, the outcome of the translation depends on his / her ability to perceive the content of the original, choose a general translation strategy and translate a time remote original properly on a semantic, syntactic, and pragmatic level.
The aim of this article is to substantiate the general strategies in chronologically distant Ukrainian retranslations of Shakespeare's plays. To achieve the aim of the article the following tasks are considered: 1) to analyze the factors that affect the existence of diachronic plurality in translations; 2) to define the specifics of the term "translation strategy"; 3) to classify alternative strategies in chronologically distant Ukrainian retranslations of Shakespeare's plays; 4) to investigate the theoretical basis for general strategies in chronologically distant Ukrainian retranslations of Shakespeare's plays such as domestication / foreignization and historization / modernization and present the tactics that implement these strategies; 5) to analyze the ways of these strategies implementation in the chronologically distant Ukrainian retranslations of Shakespeare's plays; 6) to identify the factors triggered the choice of translation
strategy in chronologically distant Ukrainian retranslations of Shakespeare's plays.
Critics of translation, classics of the theory of translation studies have discussed the phenomenon of plurality in translation, i.e. the real existence of several translations of the same original text, for a long time but only in the second half of the 20th century the plurality in translation was determined as a category of translation studies [25; 27]. As, in most cases, different translations are not created synchronously with the original text, but with a certain time interval, a new term appeared - "diachronic plurality in translations" [22, p. 91-93].
Diachronic plurality in translations is determined by different processes. Translation is becoming obsolete over time. The reasons for this phenomenon are often related to specific historical circumstances, according to which the language and style of translation are determined. For each specific period of translation creation, there are certain canons on which the recipient of the translated work depends [8, p. 107-117]. Metatext is reader-oriented, and considers the criteria determined by the perception of the generation to which the reader belongs. These canons depend on the set of cultural, ideological, political, economic, and social parameters of this historical period and can not be ignored in translation. And the translator himself, who is a representative of a particular generation and epoch, is also subjected to the time factor. The translator is to some extent influenced by changes in reality, internal processes of language development, enrichment of expressive means [11, p. 57]. Thus, the possibility of diachronic plurality in translations of chronologically distant original text is due to a set of factors. Let's consider them in detail.
The influence of the culture. Culture, as a set of
material and spiritual achievements of the society, includes all the diversity of historical, social, and psychological features of the ethnos, its traditions, views, values, institutions, behaviour, life, living conditions - in short, all aspects of life and human consciousness. In
the process of chronologically distant retranslations of the time remote original, two cultures interact. These cultures may have both common features and national specificity. Thus, translation is understood as a mental interpretive activity, as the main and central mechanism of intercultural communication.
Lingual factors, in particular, the development of literary language and translation. The language of literary translation, without being identified with the concept of literary language, has the ability and possibility to activate one or another basis of literary speech, to involve colloquial elements in different ways, to enrich them by individualizing the speech of characters [4, p. 121-137]. When creating a translation, the translator deals with the uniqueness of the original language and the language of translation [23, p. 295].
Creative personality of the translator. The creativity of the translator is the most important element in the translation process, as it includes "the way of the original text identification" [21, p. 79]. The translator reconciles the authentic and liberal translations that can be considered contradictory. Translator's personality does not exist outside the social and artistic environment and is formed in its own way reflecting the facets of its time. It certainly combines both common traits, inherent in the traditions of previous and modern generations, and different, unique ones [6, p. 17]. Consequently, each translator interprets and rearranges the original text in different way in the process of retranslation, and the translator's creative personality plays a key role as a factor in the diachronic plurality in translations. The concept of creative personality of the translator (a figurative form of thinking in solving complex creative problems caused by differences in the structure and content of the author's and translator's cognitive structures in terms of categorization and conceptualization of reality and its objectification in the structures of mental thesaurus) is inextricably linked with the concept of linguistic personality (a system that arises in society and develops based on the ability to express and consolidate social relations and interactions as a condition and product of culture) [3, p. 4152].
Influence of the epoch. The translator, like every artist, does not exist beyond time, but belongs to his epoch and interacts with a certain socio-cultural environment. "Every manifestation of objective reality, every thing and every person has its own special historical place and time. When it comes to a being capable of self-awareness, doesn't the latter rely on the ability to feel this time and this place?" [15, p. 13]. Socio-cultural values and norms form the concept of creativity, which, in turn, can influence the way in which the individual style of the translator is combined with the artistic method of the epoch and embodied in a specific literary school to which translator belongs. As each epoch, each culture brings its own traits to the set of these means, the translation of the same original text changes over time.
O. Fedorov believes that, first of all, the translator needs to convey the historical colouring with further modernization so that it is understandable to the mod-
em reader. In this case, the lexical and grammatical linguistic means inherent in the epoch should be selected in order to observe the desired historical perspective and indicate the "distance of time" [17, p. 90]. Although it is believed that the translator should strive for styling the language of an earlier epoch in chronologically distant retranslation, to reproduce this language completely is not still possible due to the fact that the translator does not belong to that period and does not speak the language of that time. Besides, the translation is made for the modern readership, that does not speak the language of the past epoch either and will perceive the work as obsolete due to the absence of modern vocabulary in the text and the presence of stylization elements at different language levels [16, p. 161-178].
In translation studies, a lot of theorists (V. Komis-sarov, H. Krings, V. Sdobnikov, L. Venutti, etc.) widely use the term "translation strategy", but with some significant differences in meaning and perspective from which they consider it. American translator, historian and translation theorist L. Venutti notes that the term "strategy" is used in translation studies to denote a wide range of translator's actions - from the choice of text to the choice of method of translation of language units [32, p. 240]. So, the strategy is usually aimed at solving many translation problems. German linguist H. Krings believes that the translation strategy is a conscious action plan of the translator to solve a specific translation problem within a specific translation task [29]. According to V. Sdobnikov, "translation strategy is a program of translation activities formed on the basis of the translator's general approach to translation in a certain communicative situation of bilingual communication, which is determined by the specific features of this situation and the purpose of translation, and, in a way, determines the nature of translator's professional behaviour in a certain communicative situation" [14, p. 172].
Thus, we understand the term "translation strategy" as a set of rules, goals and tools used by a translator in the translation process, which outline his / her own specific style among other translators and distinguish the translation product among other translations.
A translation strategy may conform to values currently dominating the target-language culture, taking a conservative and openly anabolic approach to the foreign text, adapting it to support domestic canons, publishing trends, and political alignments. Alternatively, a translation strategy may resist the dominant values of the target-language culture and aim to revise them by restoring foreign texts with their own cultural specifics. Strategies in producing translations inevitably emerge in response to domestic cultural situations. However, some strategies are deliberately domesticating in their handling of the foreign text, while others can be described as foreignizing, motivated by an impulse to preserve linguistic and cultural specificity of the foreign text by deviating from prevailing domestic values.
In translation studies, there are many classifications of strategies for linguistic and cultural adaptation of the translated text (T. Pastryk, D. Delabastita, T. An-drienko, P. Toper, O. Egorova, O. Marina).
T. Pastryk distinguishes three groups of translation strategies : conative strategies that focus on the addressee, express the interaction of content and communication functions, aimed at determining the semantic content of the source text and influence the readers of the translated text, conceived by the author; personal translation strategies - patterns of cognitive processing of information (perception, interpretation and generation), which are determined by the specific features of the translator; cognitive-linguistic strategies that are based on linguistic and textual tasks of the translator: knowledge of cognitive, emotional, aesthetic information and features of its verbalization [12, p. 4247].
D. Delabastita considers that according to typological approach to translation strategies, within the cultural code, the following strategies can be distinguished: substitution - naturalization, modernization, objectification, nationalization (the possibility of finding a more or less equivalent analogue); repetition -exotization, historization (by simply intervening in the time - space distance); reduction and exclusion - uni-versalization, dehistorization (by removing foreign cultural symbols); expansion and addition - exotization, historization (by adding foreign cultural symbols); permutation - metatext compensation [24].
T. Andrienko distinguishes between global translation strategies and local translation strategies [2]. Global translation strategies (or translation methods) -are strategies that the translator applies to the text as a whole (integral text megaconcept). The global translation strategy is formed as a result of the translator's choice of the main principles, which in this situation seem to correspond to the communicative goal, cognitive needs and interests of the target audience, and, according to the translator, take into account the main characteristics of the source text. The application of such a strategy requires creative translation decisions. The aim of global translation strategy is reproduction of the whole conceptual image of the source text. The need to choose a local translation strategy arises when there is a translation problem such as untranslatability of a particular expression, the possibility of multiple solutions, the results of which are correlated differently with the chosen global strategy. The strategy is implemented through a set of approaches that determine the techniques, methods or procedures for translating specific language units. Local strategies can be applied at different stages, as well as for different units of translation.
Researchers O. Egorova and O. Marina offer the subdivision of translation strategies into transitive and adaptive, which are also called sub-strategies and could be considered to constitute the implementation means of the main strategies - foreignization, domestication, and neutralization [7].
Transitive strategy is focused on the most accurate reproduction of the formal characteristics of the idiosyncrasy of the original text, which is considered a necessary condition for adequate translation of this text, in other words direct non-transformative retranslation of all expressive means in translation.
Adaptive strategy is focused on adaption of the original text to another cultural and foreign language conditions providing a set of transformative actions used by the translator. Translators determine the parameters of translation adequacy within the strategy quite arbitrarily; the vector of adaptation is set subjectively as a result of personal perception and understanding of the source text, initiating the appropriate transformations in translation. The aim of adaptive strategy is to create a translation that is dynamically equivalent to the original. The specifics of adaptive strategy are different:
a) linguistic and cultural adaptation - the creation of a text understandable to native speakers and another culture. Transformative actions aimed at filling possible lacunas: semantic translation of meaningful proper names, search for functional equivalents of various elements of the text (phonemes, morphemes, words, phrases, syntactic constructions, etc.). Nationally specific implications (explanations, interpretations) are either replaced with approximate equivalents in the culture of translation or commented additionally;
b) genre adaptation - in the absence of appropriate forms and genres in the domestic literary tradition; the texts are adapted by conferring them familiar genre features. Genre adaptation determines the essence of the translator's transformative actions, the plot of works undergoes changes, most potential lacunas are excluded from the translated text;
c) age adaptation - the texts should be perceived by translators and intended exclusively for children's literature. The texts almost completely lose national specificity, both actions and characters estimates, all lacunas and implications are excluded, only common, colloquial vocabulary and much simplified syntax are used.
The application of any of these sub-strategies involves the determination of the degree of original texts translatability. All aspects of translation are directly normative in nature; they determine the strategy of the translator and the criteria for evaluating his work. As a result, the translator aims to create a unique translation text, unlike the previous ones and each subsequent translation is considered to be closer to the original in its linguistic and pragmatic parameters.
The choice of the general strategy in chronologically distant retranslations of the time remote original is determined with cultural, social, psychological, economic, political factors, time requirements, the availability of other retranslations of the work, competition between translators. Of the whole range of strategies in this study, we will focus on comparing the two general strategies, which to some extent form the opposition -historization and modernization, domestication and for-eignization.
Alternative strategies in chronologically distant retranslations are: historization (creation an image of the past epoch, which is not identical to the epoch presented in the modern texts) and modernization (creation an image of the present as a part of the chronotope of integrative-textual megaconcept of translation), neu-
tralization of temporal distance (elimination of temporal artistic image identity, creation of "beyond the time" translation).
Modernization and Historization.
J. Holmes [28], a representative of typological approach, distinguished, on the one hand, linguistic context, literary intertext and sociocultural situation and, on the other hand, two axes - exotization / naturalization and historization / modernization. In addition, ex-otization and historization are associated with the retention process, naturalization and modernization -with re-creative process.
The term "modernization" of the text means the reduction of the space distance in the chronologically distant retranslations, i.e. the focus is made on the modern reader of the translation. The translator only seeks to convey the author's communicative intention. Based on the fact that the original text was created in modern author's language for the modern reader, the translated text is also created in modern translator's language, i.e. in B. Hochel's terminology, imparts the initial meaning of the original [18, p. 152-171]. A distinction is made between radical modernization, which means that the translator renders an artistic image in time that differs significantly from the period of original creation, and moderate modernization, which means relative "modernization" and preservation of the artistic image of the previous, albeit closer to modern historical epoch [9, p. 110]. Modernization as a strategy of minimizing the chronological time distance in the communicative space "author - reader" can be traced at the lexical and stylistic level in the use of modern vocabulary, which is also characterized with sociolinguistic characteristics. Such a strategy facilitates the understanding of the text and keeps it relevant for a long time, but may threaten contradictions between the content of the old language of chronologically distant original and the modern language of translation, as well as the loss of stylistic originality of the original text [5, p. 43-49].
Historization (archaization) of the text is the preservation of temporal distance in chronologically distant retranslations. The translator seeks to convey not only the content but also the historical colouring of the original, immersing the reader in the atmosphere of the past when it was created, i.e. the focus is made on the author of the literary text. According to B. Hochel, the stylistic component of the original is also retranslated due to the strategy of historization [18, p. 152171]. According to researchers, original works that are far remote from the time of their retranslations are inevitably subject to historical stylization when the authors deliberately use archaisms and historicisms to describe certain historical epochs or to objectify the meanings of texts. Historical stylization of retranslations of texts is necessary.
In the article "Historical stylization in simultaneous artistic translation", V. Lanchikov proposes to distinguish between complete and relative historization [10, p. 119].
A complete historization presupposes the most plausible rendering of the historical colouring and linguistic means of a certain epoch in the past. The lin-
guistic atmosphere of this particular epoch must be conveyed as accurately, fully and consistently as possible. Therefore, with this type of historization, the requirements for the historical authenticity of the translation are very high. However, complete historical stylization is used rarely if there is a very large temporal distance between the epoch which language is to be reproduced in translation and the present time. In this case, the difference in linguistic means can be so striking that the variety of obsolete forms will make the text of the translation incomprehensible to the modern reader and the communicative goal will not be achieved.
Relative historization also involves the creation of historical colouring, but does not focus on the reconstruction of the linguistic atmosphere of a particular epoch. In this case, the task of the translator is to archaize the text to allow the reader to feel the temporary remoteness between him and the author of the original, but without creating difficulties in understanding the text. The recipient should have a sense of belonging to the past of retranslated text in general but not to a particular epoch. As a result, the nature of the requirements for the reliability and consistency of historization tools implementation changes significantly. The translator can use archaisms of different epochs without overloading the text with obscure forms.
Traditionally, translation studies considers the problem of historization and modernization together with the problem of domestication and foreignization in terms of approaching the recipient to the author (his-torization and foreignization) or, on the contrary, the author to the recipient (modernization and domestication).
Domestication and foreignization.
L. Venuti was the first who used these terms, indicating the two main strategies by which the translator is guided when solving linguistic and cultural issues. According to Venuti, domestication is an ethnocentric approach in which the original text is often shortened, the emphasis is put on the cultural values of the target language, and "the author approaches the reader" [32]. This approach facilitates perception of the text and requires minimal cognitive effort. When choosing a domestication strategy, the translator focuses on the stylistic norms and idiomaticity of the language of translation.
A. Tytler [31] generally gives the translator complete autonomy in the translation process, allowing him to grade the realities, which in turn makes the original text invisible. As T. Andrienko noted [1, p. 152], when choosing this strategy, the translator uses the following tactics: reconstruction of denotative content, preservation of emotionality and pragmatic features, introduction of culturally specific connotations. To ensure these tactics, the translator can use certain techniques: analogue replacement, semantic translation, descriptive translation, explication of meaning, post-text footnotes.
Foreignization is an approach that emphasizes the preservation of foreign linguistic and cultural values, while "the reader approaches the author". The target culture dominance is impossible, because the method of foreignization is focused more on the source culture and foreign / source nature of the text. Consequently,
this method involves the least interference with the original. Foreignization presupposes the choice of a foreign language text and the application of a translation method that emphasizes the distinctive features of the culture of the original text that are absent in the culture of the target language.
T. Andrienko [1, p. 152-153] believes that if translator chooses this strategy, he / she adds to the translation new information for the host culture, including the culture of the original language. The tactics used by the translator while choosing this strategy include: reconstruction of formal characteristics, literal meaning, and connotations of exoticism. Choosing the above tactics, the translator can use the following techniques: non-transferable borrowing, transcription, transliteration, loan translation, translation of exoticisms, literal translation.
A. Popovych believes that two strategies can be used simultaneously within one text. To denote the phenomenon that can be considered as an intermediate strategy between foreignization and domestication, the researcher introduces the term "creolization" (univer-salization) [13, p. 130-143]. In the process of applying such a strategy, it is possible to grade culturally specific meanings in translation, to reconstruct the meaning of the original text based on common, international knowledge of native speakers and the language of translation. According to T. Andrienko [1, p. 180], in case of choosing this strategy the main tactic is the reproduction of denotative content. Choosing the above tactics, the translator can use the following techniques: generalization, descriptive translation, inclusion of texts of the world cultural heritage.
To illustrate the above mentioned general translation strategies let's consider a fragment from Shakespeare's tragedy "Hamlet" (1600) and its two chronologically distant Ukrainian retranslations by P. Kulish (1899) and Y. Andrukhovych (2000) that demonstrate fundamentally different historical epochs. On the one hand, there is the Elizabethan era in the history of Great Britain with its specific social stratification and hierarchy in society. On the other hand, two different cultural and historical periods in social development in Ukraine: 1) the last quarter of the 19th century (P. Kul-ish); 2) the turn of the third millennium (Yu. An-drukhovych).
W. SHAKESPEARE: Up, sword; and know thou a more horrid hent: / When he is drunk asleep, or in his rage, / Or in the incestuous pleasure of his bed; / At gaming, swearing, or about some act / That has no relish of salvation in't; / Then trip him, that his heels may kick at heaven, / And that his soul may be as damn'd and black/As hell, whereto it goes. My mother stays. [30, p. 78].
П. КУЛ1Ш: Сховайся, мечу, й знай страшншшу пору. / Як буде пятий eiH чи б^нуватий, / Чи сонни на кровозм^ивт ложi, / Чи в грi, в божбi, або в якому дтг, / Що грштй не дае d^i спасення, / Тод'1 штовхни його, щоб вiн пятами /Брикав до неба, i нехай проклята /Душа його на вiк i чорна буде, /Як пекло те, куди летить поганець. / Паньматка жде мене. [19, p. 94].
Ю. АНДРУХОВИЧ: Назад з мечем i вичекай хвилину, / Щоб eiH упився, вгрався, спав у лiжку / Гргховному, в блюзтрствi, блювотинт, / За картами, у mmi, в ейфори, / Щоб мае усе, KpiM думки про спаання - / Todi його звали, щоб аж задерлись / Шдошви, щоб огидну чорну душу / Забрала чорнота.Чекаемати. [20, p. 136].
P. Kulish chooses a strategy of historization / for-eignization while focusing on the author of the original work and the historical colouring of the chronologically distant Shakespeare's original. The translator adhering to the principle of maximum lexical equivalence of the original and translation, also demonstrates the parallel use of bookish and colloquial lexicon as evidence of non-standardization of the English language. This fragment from Kulish's retranslation clearly demonstrates the synthesis of bookish vocabulary (old russianisms, old ukrainianisms, church slavonicisms: не дае djwi спасення; в бoжбi; бкнуватий; паньматка) with localisms and colloquialisms (Тод'1 штовхни його, щоб вт пятами /Брикав до неба; поганець) and with author's word formations and formal experiments (знай страшншшу пору; Як буде пятий вт; Чи сонни на крoвoзмiсивiм ложГ; п 'ятами).
Yu. Andrukhovych's retranslation illustrates the application of a modernization / domestication strategy, which is focused on the modern reader of translation. Andrukhovych's style of translation is determined with the postmodernism, which emerged in the 20th century as a reaction to the ideas of the Enlightenment, denying the modernist search for meaning in a chaotic world. In line with the strategy of modernization / domestication, Andrukhovych also focuses on a wide range of contemporary readers of the early 21st century with their worldview, vocabulary and phraseology, manner of communication. Andrukhovych's postmodernist style of translation is characterized with reduced vocabulary (Щоб вт упився, вгрався; Toдi його звали, щоб аж задерлись /Шдошви), frank phraseological connotations (в блюзнiрсmвi, блювотинт), figurative simplifications (спав у лiжку / Грiхoвнoму; За картами, у шалi, в ейфори; щоб огидну чорну душу / Забрала чорнота).
Knowledge of the principles of translation is a constant necessary component of the translator's competence and becomes the basis for the choice of techniques, methods, tactics, which, in turn, correlate with the general translation strategy. The formation of a general translation strategy is based on the translator's application of the basic principles of translation to specific text that corresponds to the purpose of communication and the cognitive needs of the target audience.
The choice of one or another strategy in translating a chronologically distant original can be influenced by the following factors:
1) The first retranslations of a chronologically distant original are usually subject to the process of domestication, i.e. modernization. This happen because the translator, working with a text that has not been translated yet, seeks to adapt it to various norms of translation language, as well as to features of host literature and culture in order the translation integrated into the host culture more or less smoothly.
2) Later retranslations, according to I. Gambier, focuse on the style and vocabulary of the original text. In the process of retranslation, the translator seeks to preserve cultural differences between source and host cultures, which include the original and its translation, in order to shade the unity of the first [26, p. 414-415]. Such retranslations can be characterized as for-eignized, and therefore historized, source-oriented.
3) Attempts are made by translators to avoid repetitions or to borrow the translation solutions, to develop their individual style, which takes into account the factors that mediate the gradual movement of translation from the closest to the language and culture of the recipient of the translated version to the closest to the language and culture of the original, i.e. from modernized to historized translation. These attempts contribute to the translator's goal of avoiding his translation being called only a version of one of the previous translations.
Thus, cultural reality is predetermined by language, which conditions the specificity of the communicative system of members of the linguistic and cultural community, and it contributes to the creation of linguistic reality. The translation of a literary work is always a dialogue of cultures, and the diachronic plurality in translation implies a dialogue of cultures that exist in different chronological frameworks. The text of the translation mediates the connection between cultures, which is determined by its ability to express the essence of interacting cultures.
It is not possible to draw an unambiguous conclusion about the positivity or negativity of the choice of general strategies in retranslating a chronologically distant original, because the preferences of translators are consistently in favour of both strategies. Some scholars tend to symbiosis of these strategies in one translation, while others argue that mixing these strategies should be avoided within a single text.
The translator's choice of strategies of modernization or historization depends not only on his individual preferences, but also on the requirements of contemporary culture; on the actual chronological distance between the original text and the potential translation text; on the presence of other retranslations of this work, on the competition between translators. As a result of the interaction of these factors, the translator creates his own unique text of translation, not similar to the previous ones, thus creating another retranslation of a chronologically distant original.
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ПРОБЛЕМА ГЕНДЕРНОЙ ИДЕНТИЧНОСТИ В РОМАНЕ ДЖ. ЕВГЕНИДИСА «СРЕДНИЙ
ПОЛ»
Шпанчук Т.С.
Гуманитарно-педагогическая академия (филиал) ФГАОУВО «КФУ им. В.И. Вернадского» в г. Ялта
THE PROBLEM OF GENDER IDENTITY IN J. EUGENIDES' "MIDDLESEX"
Shpanchuk T.
Humanities and education science (branch) academy of V.I. Vernadsky Crimean Federal University in Yalta
АННОТАЦИЯ
Данная статья посвящена рассмотрению романа Дж. Евгенидиса «Средний пол». Особое внимание уделено анализу таких понятий, как «идентичность», «самоидентификация» и «гендер». В центре внимания исследования - проблема гендерной идентичность в контексте романа.
ABSTRACT
This article deals with the consideration of the J. Eugenides' novel "Middlesex". Special attention is paid to the analysis of such concepts as "identity", "self-identification" and "gender". The research focuses on the problem of gender identity in the context of the novel.
Ключевые слова: Дж. Евгенидис, Средний пол, идентификация, гендер, гендерная идентичность.
Keywords: J. Eugenides, Middlesex, identification, gender, gender identity.
