CC BY
9
лись замены инверсии на парцелляцию (8), эллипсис, параллельную конструкцию, риторический вопрос. Например:
«Кормчий у нас знаменитый!» [3] Is the captain as fine? - Not as fine! [7] (эллипсис).
«Слово дал по утру воротиться на тот остров далёкий!» [3] I made a promise, I took his flower! [7] (параллельная конструкция).
«Нет, батюшка любимый, не твоя здесь вина... а моя». [3] What have I done to you? [7] (риторический вопрос).
Ниже предлагается диаграмма, где демонстрируется соотношение передачи инверсии другими синтаксическими средствами (см. рис. 1).
Замены инверсии в англоязычном дубляже мультфильма "Аленький цветочек"
Основной Основной Основной Основной Основной Основной Основной Основной Основной Основной
Парцелляция Эллипсис Риторический вопрос
Рис. 1
Из диаграммы видно, чтоотдельный интересвызывает тот факт, что из 11 произведённых замен больштнстызрсл^ееоивртртжпчреданч! наанитийский отыысметна ы помощнючерцелбации.Нерриме^вКрнысиыы твонлнаряды, ра са-рнфан мой... миоее мне» [3].7"Hanff уев Ног your /ЫвДлеыв. ёнВ I ргеЫенлу own HHesses. They are simple. As I ran [7]; «Для мен я сорвал отец [^вег^оч^к аленький» РЫ. I'm STey. Frthee toek it far me [7]; «°б мтце, ев уатюшке... м семтрецак милых нееапаминнй!» [3] О/и, pfeBse.a^s/iow me rr^ home. My heat. wM .teak! Pleasr Mon't s/raw me [7]. й^[)е^з^^срч^[рва,'ы^^ег!^сынпа[*1плее1.^31м, и
риеориееккий вопрос, не якаяются пртеуктивнве ипредсгчелеоы в одчн^зовой преоорции.
Вынв1вееч^^прад. ночем. ачл ва.е'гачына еаюшсеи' сач^твыс^^водчи-нвмнЫылоприаеал еишеиино замене инверсии на парцелляцию. Можно лишь предполчжаеио тем, нто ангеоИетай языкзыднapлттрaпpec»rтбpaвн наслак не
изменением порядка слов, как в русском языке, а членением предложения на несколько частей, что тоже позволяет воздействовать на эмоции зрителя. Конечно, это не совсем равнозначная подмена. Нет сомнений, что парцелляция более отображает скорость смены событий, нежели таинство и сказочность происходящего. Заметим, что в англоязычном варианте мультипликационного фильма «Аленький цветочек» данное средство выразительности используется более активно, чем в тексте на русском языке. Количественный анализ показал, что в тексте оригинала 44 парцелляции, а в англоязычном дубляже - 49. Например:
«Не все. Цветочек аленький остался» [3]. I have no gift for Anastasia. The crimson flower. That is what I promised [7]; «Спасибо, хозяин ласковый. Но богатства твои... мне не надобны. И колечко возьми» [3]. It's all wonderful. But not for me. Here's your ring [7].
Кроме того, в англоязычной версии мультфильма используется 16 парцел-ляций, которых нет в оригинале - при переводе было принято решение использовать данное средство выразительности гораздо чаще, чем это было сделано при написании оригинального текста. Ниже даны примеры не используемых в оригинале мультфильма парцелляций:
Only return by sunset. Or I will die [7].
A crimson flower. Such a hard request [7].
Из этого можно сделать вывод, что парцелляция в мультфильме на английском языке становится самым частотным синтаксическим стилистическим средством, а, соответственно, и основополагающим. Это происходит на фоне того, что в русскоязычном варианте ключевым синтаксическим средством выразительности является инверсия.
Таким образом, парцелляция заменила инверсию и, более того, перенасытила англоязычную версию мультипликационного фильма «Аленький цветочек». Она в целом имеет тенденцию стать основным средством синтаксической выразительности в переводе. Это можно объяснить тем, что: 1) не всегда синтаксис английского языка позволяет адекватно передать инверсию русскоязычного предложения, особенно смену местоположения существительного и зависимого прилагательного; 2) парцелляцию легко и быстро создать. В то же время переводческое решение о столь повсеместном использовании парцелляции в данном тексте ставится под сомнение, поскольку: 1) нет точных данных психолингвистических исследований об одинаковом воздействии на представителей двух культур таких средств, как инверсия на русскоязычную аудиторию и парцелляция на англоязычную. Конечно, наука о переводе претерпела значительные изменения, появились новые данные, новые техники. Все это позволяет считать, что данная тема перспективна и требует более детальной проработки, конечной целью которой может стать новый и более качественный переводческий продукт.
Библиографическийсписок
АлександроваО.В. Проблемыэкспрессивного синтаксиса:наматериале английского языка. Москва: Книжный дом «ЛИБРОКОМ», 2008.
Арнольд И.В. Стилистика современного английского языка (стилистика декодирования): учебное пособие для студентов педагогических институтов по специальности № 2103 «Иностранные языки». Ленинград: «Просвещение», 1981.
Субтитры, Аленькийцветочек(мультфильм) Wiki2. Availableat:https://wiki2.org/ru/Аленький_цветочек_(мультфильм)?s=Alenkiy%20tsvetochek%20v1 Стрельницкая Е.В. Синтаксические средства выражения эмоционального состояния персонажа и особенности их использования при переводе художественных текстов с английского языка на русский. Известия Санкт-Петербургского государственного экономического университета, 2010: 161 - 163. Люблинг Е. Как первый полнометражный мультфильм «Аленький цветочек» создавали при помощи проектора и токарного станка. TeleprogrammaPro. Available at: https:// teleprogramma.pro/cinema-stop/517541/?utm_referrer=mirtesen.ru
Stories from my Childhood. DubbingWikia. Available at: https://dubbing.fandom.com/wiki/Stories_From_My_Childhood BeautyandtheBeast - A TaleoftheCrimsonFlower. YouTube. Availableat: https://www.youtube.com/watch?v=wl8ZkO11ojk
References
Aleksandrova O.V. Problemy 'ekspressivnogo sintaksisa: na materiale anglijskogo yazyka. Moskva: Knizhnyj dom «LIBROKOM», 2008.
Arnol'd I.V. Stilistika sovremennogo anglijskogo yazyka (stilistika dekodirovaniya): uchebnoe posobie dlya studentov pedagogicheskih institutov po special'nosti № 2103 «Inostrannye yazyki». Leningrad: «Prosveschenie», 1981.
Subtitry, Alen'kij cvetochek (murtfH'm) Wiki2. Available at: https://wiki2.org/ru/Alen'kij_cvetochek_(mul't^irm)?s=Alenkiy%20tsvetochek%20v1
Strel'nickaya E.V. Sintaksicheskie sredstva vyrazheniya 'emocional'nogo sostoyaniya personazha i osobennosti ih ispol'zovaniya pri perevode hudozhestvennyh tekstov s anglijskogo yazyka na russkij. Izvestiya Sankt-Peterburgskogo gosudarstvennogo 'ekonomicheskogo universiteta, 2010: 161 - 163.
Lyubling E. Kak pervyj polnometrazhnyj mulWm «Alen'kij cvetochek» sozdavali pri pomoschi proektora i tokarnogo stanka. TeleprogrammaPro. Available at: https://teleprogramma. pro/cinema-stop/517541/?utm_referrer=mirtesen.ru
Stories from my Childhood. DubbingWikia. Available at: https://dubbing.fandom.com/wiki/Stories_From_My_Childhood Beauty and the Beast - A Tale of the Crimson Flower. YouTube. Available at: https://www.youtube.com/watch?v=wl8ZkO11ojk
Статья поступила в редакцию 21.06.21
УДК 398
Bekeeva A.M., research associate, G. Tsdasa Institute of Language, Literature and Art of Dagestan Federal Research Center of the Russian Academy of Sciences
(Makhachkala, Russia), E-mail: bekeeva-92@mail.ru
NATIONAL AND CULTURAL COLORING IN THE STORY OF M.S. SULIMANOV "THE BLACK CAVE". The article considers the system of characters in the story of M.S. Sulimanov "The Black Cave". The honor and dignity are of the great importance for the heroes and determine compositional and ideological and artistic features of the story's plot. The author of the story reveals the national and cultural identity of Dagestan people in the images of their heroes, their behavior in a situation of moral choice, world perception and lifestyle. The main characters of the work Nabi and Sami embody not only the features of the Dagestan ethnic mentality, but also general humanistic values. It is also important to note that the system of images in the work is characterized by versatility and is built on the antithesis, which allows the young reader to penetrate deeply into the world of the characters, to understand the nature of their actions and behavioral motives.
Key words: M.S. Sulimanov, novel, Dagestan literature for the children, courage, revenge, artistic illustrations.
А.М. Бекеева, науч. сотр. Института языка, литературы и искусства имени Г. Цадасы Дагестанского федерального исследовательского центра Российской академии наук, г. Махачкала, E-mail: bekeeva-92@mail.ru
НАЦИОНАЛЬНО-КУЛЬТУРНЫЙ КОЛОРИТ В ПОВЕСТИ М.С. СУЛИМАНОВА «ЧЕРНАЯ ПЕЩЕРА»
В статье рассматривается система образов героев повести М.С. Сулиманова «Черная пещера», для которых честь и достоинство являются основополагающими составляющими и определяют композиционные и идейно-художественные особенности сюжета повести. Национально-культурное своеобразие дагестанцев автор повести раскрывает в образах своих героев, их поведении в ситуации нравственного выбора, мировосприятии и жизненном укладе. В главных героях произведения Наби и Сами воплощены не только черты дагестанской этнической ментальности, но и общегуманистические ценности. Важно отметить также, что система образов в произведении характеризуется многогранностью и построена на антитезе, что позволяет юному читателю проникнуть глубоко в мир героев, понять природу их поступков, поведенческих мотивов.
Ключевые слова: М.С. Сулиманов, повесть, дагестанская литература для детей, бесстрашие, месть, художественные иллюстрации.
Children's literature is a special field of art, and, as many researchers note, it primarily affects not the child's mind, but his feelings. The author's manner of a children's writer focuses on the child-reader, his psychology, and a look at the problems that are relevant for the little addressee. At the same time, children's literature is an integral part of literature as a whole, which undoubtedly expands the circle of its readers. Another feature of literature for children is the double addressing of the work, which makes it accessible to both children and adults. The superiority of a children's writer lies in the fact that he sees the problem outlined in his work from the perspective of a child and an adult.
Such a work, which has the property of dual-addressing, but is mainly recognized for children of middle and high school age, is the story of the famous poet, novelist, playwright and translator Magomed Sulimanov «The Real Men» [1]. In this article, we will consider the system of images of the first part of this book, which was published in the Avar language in 1955 and is known to the literary community as the story «The Black Cave». This is the first book by Magomed Sulimanovich Sulimanov and one of the first books of multilingual Dagestan literature for children, translated into Russian. It was also published in the republican almanac «Druzhba» in the Kumyk, Lezgian and Tat languages. The novel «The Black Cave» was awarded the incentive prize of the Committee for Awarding Republican Prizes [2].
Magomed Sulimanov graduated from the Khunzakh seven-year school, studied at the pedagogical college of Makhachkala. He received his literary education after the end of the Great Patriotic War at the Gorky Literary Institute in Moscow. The continuation of the creative biography of the writer-front-line soldier was the book «Tur-key Mountain» - a collection of military stories. Magomed Sulimanov was seriously wounded during the Great Patriotic War, the bloody war with Fascist Germany caused its injuries to the writer's health and left a mark in his works, in particular. His stories were published in Avar and Russian languages, among them: «Blind Trust», «Crime», «Sulak-violent water», «Lights», «Three stories», «Favorites», as well as poems «The Stranger», «On the roads of war», «Eternal Witnesses». Magomed Sulimanov also wrote in Russian: he is the author of the book «Step into the Future». Drama plays a significant place in the work of Magomed Sulimanov, his plays were staged on the theaters of the peoples of Dagestan. He is the author of translations into his native Avar language of such literary masterpieces as «Othello» and «Hamlet» by William Shakespeare, as well as the novel by A. S. Pushkin «Eugene Onegin».
Magomed Sulimanov addressed the story «The Black Cave» to children of primary and secondary school age, since the topic of the work is closely intertwined with the children's picture of the world: four chapters, divided into small adventure stories, clearly demonstrate the strong character of the little heroes. From the very first lines, Magomed Sulimanov introduces readers to their images: this is «black-haired, stocky Nabi» and his best friend «curly-haired, red-haired neighbor Sami». The boys are primary school pupils. To interest the little reader, the author also informs about their little friend: Pushok is a devoted dog with an unusually long hair, not typical of mountain dogs. With the mysterious disappearance of the dog, the story begins about the adventures of friends, which the reader witnesses and, with bated breath, follows the plot twists and turns, worrying about the fate of the main characters.
Children, restless treasure seekers and pranksters at first glance, impress us with their purity of intentions and their fearlessness. The author's sympathy for the main characters is manifested in the scene of the rescue of the girl Patimat from the river. Risking their own lives, they rush into a mountain stream of water that does not spare human lives. Heavy stones hurt their knees, but through the pain the boys manage to pull the exhausted, drowning girl out of the hands of death. «Sami also hurt his leg, but suppressed his groan», - Magomed Sulimanov emphasizes the firmness of the boy's character. The dialogues, the points of view of the characters, and the chronotope speak about the stylistic simplicity of the texts: «Hey, stupid! Get out of there, you'll drown!»; «Come on, quickly put it on my back!»; « Let's get out of here!» [3, p. 5-6] etc. Thanks to the combination of these features at the level of poetics and subject matter, the work resonates with the child and arouses interest in the plot.
Magomed Sulimanov was orphaned early, was brought up in a children's home orphanage, studied at the orphanage of Buynaksk. His characters not only embody the features inherent in real mountaineers, but also reflect the difficulties of fate that the author had to go through as a child. The trajectories of the story about orphans are similar: Sami was orphaned early; he is brought up by an old grandmother Uruz-
maj. His father was killed by a fist from the village. Nabi is experiencing difficulties in his relationship with his stepmother. Sulimanov acutely raises the problem of social orphanhood, but there is no need to feel sorry for the boys, their strength of spirit fascinates. Time plays the main and organizing role in the chronotope and determines the features of events and the behavior of the characters. Sami and Nabi are the children of poor people. During the repressions of the Soviet government against the peasantry, Dagestan people weas dispossessed and exiled, among them Asilder, a rich man from the village, to whom grandmother Sami was given as a farmhand from the age of ten and was cruelly deceived by him more than once. His son is Zelimkhan, a local bandit who escaped from prison, the murderer of Sami Mirza's father and the cousin of a school teacher and party organizer Kasum. Now he has returned to the village to shed the blood of the latter: this is revenge for the fact that the party members Kasum and Mirza participated in the dekulakization of his father. He kidnapped the dog, and then came to the house of the deceased Mirza in search of a local party organizer.
The image of grandmother Uruzmaj corresponds to the image of a resident of the village, for whom religion, customs, and the upbringing of a growing grandson are paramount. She is fearless even face to face with the enemy of the whole village: when she sees Zelimkhan on the threshold of the house, who came to kill Kasum, she angrily chases the killer. Knowing that after the death of a friend, the party organizer takes care of the orphaned boy and his grandmother with special sensitivity and care, the bandit came to stab him with a dagger. The portrait of the hero is unpleasant: this is «a thin, bearded man with a long drooping mustache in ragged clothes». When he could not find Kasum, embittered Zelimkhan hides. Soon the grandmother learns about the disappearance of her grandson and spends painfully sleepless nights waiting for the results of the search for children: «Will I see him alive?», - she asks, recalling the words of the murderer who threatened that he would kill the boys «like the lambs».
«Just realise, what jewels! They won't go anywhere!» - these heartless remarks belong to Nabi's stepmother and characterize her ruthless attitude towards her stepson, as well as the lack of will of Nabi's father, who did not dare even to object to his wife with a word, which definitely causes contempt for Uruzmaj. Despite the fact that such pushing around by her husband is not typical of Caucasian norms, the author of the story Magomed Sulimanov tries to justify the man in the eyes of the reader: «Alkhas was tormented by rheumatism, acquired before the revolution on the rafting of the forest. Maybe this illness made him so unsociable and callous even to his own son?» [3, p. 39]
The storylines of each of the parts are thematic divisions with titles in order to switch the reader's attention between adventure events. With the appearance of a negative hero, the reader greedily reads page after page in anticipation of a heroic image ready to deal with the villain. Magomed Sulimanov places readers' hopes on Kasum - a stately, noble and courageous party organizer. «Shadow in the Cave», «Alarm», «Search», «Shot Cap» - so the brave Kasum and the readers of the work, who already know that the restless boys were going to the Swamp Gorge, famous for the fact that there were countless snakes, are sent in the footsteps of the children. Neither people nor cattle liked to go there. The talk of local residents that the Black Cave goes far into the mountains and ends with a precipice did not stop curious friends who are firmly convinced that this place keeps a secret and it must certainly be found out. Having found Sami's bloody, shot-through hat near the cave, Kasum, together with the secretary of the Komsomol organization of the school, Mukhtar (he is an episodic hero, found specifically in the events related to the search for children), panting, go deep into the cave, now knowing exactly about the direction of the children, but unsure whether the scoundrel Zelimkhan left them alive.
In the plot of this Dagestan story, the literary image of Zelimkhan is negative. He is a murderer who escaped from prison and is capable of vile murder of a woman, an elderly man and a child. Magomed Sulimanov uses a contrast between the characters, namely Zelimkhan and the main characters Nabi and Sami. It demonstrates the clash of good and evil in that sinister Black Cave.
Literary critic I.Ya. Linkova writes: «Literature should help a person become a person <...>. A real children's book also exists in order to help a child grow up as a person» [4, p. 5]. Despite the small age difference, Nabi is more prudent, does not like lies told even for good purposes. He always remembers his uncle's instructions that «those men who are unable to endure difficulties are unworthy to be called men;
it is necessary from an early age to be able to endure any hardships without whining, complaining and tears» [3, p. 49].
The children planned the trip to the cave carefully: they managed to wait for the night snoring of their grandmother and pick up matches and everything necessary from the house. However, the children did not expect that here they would have to face death. Finding himself in the same cave with Zelimkhan and freezing with fear, Nabi shows unexpected endurance: the boy extinguishes the candle and impenetrable darkness comes. At this moment, he realizes the responsibility for his friend Sami: «I am older and I am responsible for a friend to his old grandmother and to Kasum», -Nabi is convinced.
The scene of a conversation between friends and Zelimkhan increases the reader's sympathy for the boys and hatred for Zelimkhan. The evil man swears to make the cave a cemetery and shoots first at Sami, then at the dog who heroically rushed to the defense of the owner. For the first time, the reader witnesses Nabi's weakness: bending over a wounded comrade, he sobbed. However, the weakness was momentary, because Nabi still remembered that real men do not give up. After making sure that the injured friend is breathing, he resolutely returns back to avenge the spilled blood of his friend. Despite the non-childish scene with bloodshed, Magomed Sulimanov reminds us that the acting main characters are children. Nabi's reasoning is touching: «previously, he generally thought that if a person is shot, he dies immediately. He saw this in the movies» [3, p. 52]. His heart leapt - after all, his friend turned out to be «more resilient than all those who immediately die from a bullet».
Nabi returns to the cave to take revenge and deal with the bandit. The boy's desperation, selflessness, resentment and determination surprise the reader and make him read every line with fear for the life of the hero. Nabi manages to throw a stone at the bandit standing by the rock twice and poke him in the back with a stick. After hearing an awful scream and the sound of a falling body, Nabi loses consciousness, with a sense of understanding that the enemy is being punished. After lying on the cold ground, after some time Nabi wakes up, his attempts to approach his wounded friend are in vain. Exhausted, the child screamed: «Ma-ma-a-a». At this moment, he so needed the embrace of his mother, who is no longer among the living.
The news of the death of the faithful dog is inevitable: «Pushok was killed!» -Sami tearfully reports. Magomed Sulimanov decides to leave the negative image embodied in Zelimkhan alive, so that he continues to be punished for what he did in prison. «Well done, heroes! They acted like real men», - Kasum praised the boys and
Библиографический список
brought them to the village, where their grandmother Uruzmaj and fellow villagers were waiting for them.
One of the secondary heroes of the «The Black Cave» is Kanicha - the mother of the almost drowned Patimat, whose rescue we learned about at the beginning of the story. This is an «unsaid» love story between a party organizer Kasum and a «tall, slender, beautiful» woman with a difficult fate. We learn about her warm attitude to the valiant guy from a dialogue with Uruzmai, where, having learned that Kasum is a frequent guest in her grandmother's house, Kanicha enthusiastically promises to come more often and kisses her hands for the good news and the invitation. For Sami and Nabi, she is also the personification of beauty and kindness. The scene of the meeting of Kasum and Kanicha after the return of bosom friends' home, speaks of their mutual sympathy: «Kanicha and Kasum met on the balcony and were shaking hands for a long time ...» [3, p. 60].
Many researchers note that the co-author of the children's writer is an artist. The visual language of the book «The Black Cave» is rich. The artistic design of the story about people living according to the laws of the mountains is specific: S.Ya. Nodelman in his illustrations not only managed to convey the images of the heroes, but also their national and cultural features. It is known that literature for primary school children is distinguished by extreme clarity in the arrangement of good and evil, specific connections between objects and images, and some straightforwardness of morality. Researcher M.A. Alueva notes that «the understanding of the ideological content of the book always goes through a specific artistic image or a system of images». She notes that the pupil when reading focuses not only on the actions of the heroes of the book, but also on their moral appearance, he often shows interest even in the motives of the hero's behavior, his psychology. The artist must necessarily take into account these defining features of children's perception [5, p. 106]. The artistic style of S.Ya. Nodelman enriches the narrative, as if accompanying all the plot twists and turns, because for children of primary school age it is fundamentally important that the story and the picture coincide.
The writer's magic of Magomed Sulimanov is that he divided the story about his real men into their childhood and youth. As noted above, the reader will meet the grown-up Nabi and Sami on the pages of the story «The Real Men» in 1963. The chronological division is necessary for the author to show us that despite the eventful plot, Sami and Nabi do not change internally: they still know how to be friends, honor their elders, and their courage is the most important spiritual component.
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Статья поступила в редакцию 26.06.21
УДК 821.161.1
Boronoyeva T.A., Candidate of Art History, senior lecturer, Director of the National Museum (Ulan-Ude, Russia),
E-mail: tatboronoeva@gmail.com
Imikhelova S.S., Doctor of Philology, Professor, Department of the Russian and Foreign Literature, Institute of Philology, Foreign Languages
and Mass Communication, Buryat State University n.a. Dorzhi Banzarov (Ulan-Ude, Russia), E-mail: univer@bsu.ru
Mongush E.D., Cand. of Sciences (Philology), senior lecturer, Department of the Russian Language and Literature, Tuvan State University (Ulan-Ude, Russia),
E-mail: mongun2005@yandex.ru
EAST AND WEST IN CONTEMPORARY BURYAT LITERATURE AND ART. The paper is dedicated to the contemporary Buryat artists, the representatives of various arts in the works of which the opposition of East-West takes a significant place. The authors pay attention to the specifics of the interaction of eastern and western cultural codes in the works of Buryat poetry and fine arts. The subject of the research is to establish the similarities and differences in the approach of the representatives of different generations, such as the poet Bair Dugarov (born in 1947), and the painter and sculptor Zorikto Dorzhiev (born in 1976). It is noted that the synthesis of cultures, Buryat or Oriental, and Western or European, takes place in their works. It was revealed that this synthesis allowed each of the artists to express their creative "self" in the most complete and original way. It is stated that, being the representatives of the ancient Buryat-Mongol ethnos, they abandoned the narrow national vision of this synthesis and presented their vision from the wider Eurasian perspective. The spatial organization of the Great Steppe and the aspects that unite Dugarov's poems and Dorzhiev's picturesque paintings are analyzed. The music of the verse combining the memory of the lyrical hero inherited from the ancestors of the steppe life and the nostalgia of the modern poet for the lost beauty, are shown in Dugarov's poetry. The images of a nomadic horseman, an oriental woman, plots of everyday life, rituals, replaced by new images of contemporaries, are considered in Dorzhiev's painting in the symbiosis of Orientalism and Western tradition. The contact of national and European plots, in comparison of archaism and modernity, are presented in their works. Despite the difference in generational contribution, the relationship between Dugarov's poetry and Dorzhiev's fine arts is seen in the "literary" of the painter and the "picturesqueness" of the poet's word, in the originality of lyricism and irony. It is concluded that the image of the Artist appears in the dialogue between Eastern and Western traditions.
Key words: Great Steppe, space-time, nomad, Buryat art.
