CC BY
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6. Shahmatov A.A. Sintaksis russkogo yazyka. Leningrad, 1941.
7. Vinogradov V. V. Nekotorye zadachi izucheniya sintaksisa prostogo predlozheniya. Voprosy yazykoznaniya. 1954; № 1: 3 - 29.
8. Dobrushina N.R. Mezhdometie. Moskva, 2004. Available at: www.krugosvet.ru
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10. Mallaeva Z.M. 'Etnolingvisticheskij fenomen Dagestana. Studies on Language and Culture in Central and Eastern Europe. Papers from the International Conference "Current Advances in Caucasian Studies" Macerata, January 21 - 23, 2010. München - Berlin, 2011.
Статья поступила в редакцию 27.01.20
УДК 808
Evenko E.V., Cand. of Sciences (Philology), senior lecturer, Tambov State Technical University (Tambov, Russia), E-mail: nazarova33-1975@mail.ru
Glivenkova O.A., Cand. of Sciences (Philology), senior lecturer, Tambov State Technical University (Tambov, Russia), E-mail: olga-glivenkova@rambler.ru
Morozova O.N., Cand. of Sciences (Pedagogy), senior lecturer, Tambov State Technical University (Tambov, Russia), E-mail: morozova-on@mail.ru
PHONOSEMANTIC MEANS OF EXPRESSIVENESS OF ADVERTISING TEXT. The article is dedicated to phonetics of advertising English text organized according to the laws of phonosemantics, in terms of its attractive and manipulative functions. The main attention is paid to the sound-imagery nature of phonosemantic means (alliteration, assonance, metaphor, methonymy) in the text. English advertising text as a special type of the text and its key aspects such as imperativeness, intertextuality, media and advertising picture of the world associated with language manipulation are considered in the paper in order to underline their significance in advertising text expressiveness. Thus, it proves the necessity of further research in the field of identifying appropriate connotations of the expression plan of English-language advertising texts.
Key words: phonosemantics, attractive and manipulative function, sound dominants, alliteration, assonance, sound repetitions, advertising text, metaphor, image of advertised object.
Е.В. Евенко, канд. филол. наук, доц., Тамбовский государственный технический университет, г. Тамбов, E-mail: nazarova33-1975@mail.ru
О.А. Гпивенкова, канд. филол. наук, доц., Тамбовский государственный технический университет, г. Тамбов, E-mail: olga-glivenkova@rambler.ru
О.Н. Морозова, канд. пед. наук, доц., Тамбовский государственный технический университет, г. Тамбов: E-mail: morozova-on@mail.ru
ФОНОСЕМАНТИЧЕСКИЕ СРЕДСТВА ВЫРАЗИТЕЛЬНОСТИ РЕКЛАМНОГО ТЕКСТА
Данная статья посвящается фонике рекламных англоязычных текстов, организованной по законам фоносемантики, с точки зрения её аттрактивных и манипулятивных функций. В центре внимания - звукоизобразительная природа фоносемантических приемов (аллитерация, ассонанс, метафора, метонимия) англоязычного рекламного текста. Рекламный англоязычный текст рассматривается как особый вид текста, ключевыми аспектами которого являются императивность, интертекстуальность, медиарекламная картина мира c целью подчеркнуть их значение в экспрессивности рекламного текста. Таким образом, работа подтверждает необходимость дальнейшего исследования в области выявления соответствующих коннотаций плана выражения англоязычных рекламных текстов.
Ключевые слова: фоносемантика, аттрактивная и манипулятивная функции, звуковые доминанты, аллитерация, ассонанс, звуковые повторы в рекламном тексте, метафора, образа рекламируемого объекта.
The relevance of this study contains the development of question of the correlation of content and form which is still one of the current trends in linguistics. The issue is solved by analysing the background and semantics of vocabulary in this paper The study is conducted on the basis of texts whose phonics are organized according to the laws of phonosemantics. This study addresses the underlying mechanisms of form selection (phonosemantic means of expression) in English advertising. Thus, we can conclude that this study is relevant and modern.
As far as the problem of phonics and sound expressiveness of the advertising text is considered, not only on the basis of its attractive functions, but also on the manipulative ones. The work done contributes to the acquisition of new knowledge about cognitive operations, which is activated during the writing of the text, replete with sound repetitions, develops and enriches knowledge of connotation that arises through the sound image of some elements of the sound shell of an advertising text, that indicates the novelty of the study.
As you know, alliteration is generally characteristic of the English language, however, in the advertising text, the choice of phonics is far from random and reflects the sound potential of the text expression plan. The results of the study, the main methods of which are context analysis, the method of linguistic interpretation of the text, phonosemantic analysis of phonemes and phonesthemes at the segment phonological level, can find application for the analysis of English advertising texts, their sound-imagery potential to modify the interpretation of the message.
The purpose of this study is to identify and verify the presence of connotation features that arise on the basis of the expression plan of an English-language advertising text created using phonosemantic techniques at a segment phonological level. To achieve this purpose, the following tasks were solved: to provide a description of the history of the development of sound-imagery research; to analyze phonosemantic sound repetitions at the segment phonological level of a written advertising text in the aspect of verbal expressivity (phoneme / phonestheme - the image of the advertised object); to show the connection of connotation and language units.
After the list of English sound combinations was published for the first time, with a semantic connection between the content plan and the expression plan (Wallis (1653, 1972), similar studies develop successfully in Anglistics: the concept of phonestheme is introduced by G. R. Firth as a repeating combination of sounds that correlates with the morpheme in terms of association not characteristic of self-abasement (Firth, 1930); O. S. Akhmanova adds the concept of a combination of phonemes "-sp in splash, spray, spout, sputter " [1, p. 3], similar to a morpheme in the sense that
some content is associated with it. The concept of language training was proposed (Taylor, 1967), a similar way of "connecting sound and meaning" by Humboldt [2, p. 94] and the idea of "cognitively combining vocabulary with a similar expression plan and content plan for Clustering / Phonosemantic Association based on conventional sound symbolism" [3, p. 208].
The research data shows that the internal syntagmatics of the plan for the expression of a word (phonetic sound combination) affects the perception of its phonics as a whole due to the positional potency of individual elements of the sound envelope to activate certain connotations.
The approach to articulation as the basis of the connection between the sound and meaning of a word is observed in the works of linguists of previous periods (Leibniz 1937; Brass 1822; Humboldt, 1984), Rabat the Psychic Semitic (Bally 1961; Voro-nin 1982; Levitsky 1998; Michael 1995; Magnus 2001; Yalyakhov 2003). In particular, V. V. Levitsky represents the phonetic sign as symbolic and index. Thus, sound-visual universals are objectified. Based on the data obtained in the course of interlanguage experiments, correlations between the meanings and distinguishing features of phonemes are recorded (for example, the large value represents the signs of voicedness, trembling, back row, lower rise, and the value of the small one - such as deafness, laterality, front row, upper rise, average rise, etc.) (Levitsky 1988). These ideas are similar to the results of linguistic experiments to identify sound iconism, for example, the experiments of E. Sapir mal - mil (Sapir; 1929), S. Newman (Newman; 1933), as well as a review of the visual properties of the plan of expression of the word O. Jespersen (Jespersen; 1949). In modern linguistics, the phonetic sign is interpreted in a semiotic aspect: sound is understood as a form, content is a connotation, the interpreter is an indicator of the relationship between sound and connotation, and the interpreter is the consciousness that establishes the nature of the relationship between form and content (connotation), that is, determines the phonosemantic meaning.
The linguistic category of expressivity and the categories of emotionality and evaluativeness associated with it can be represented through sound imaging as components of connotation (Telia 1986; Mikhalev 1995; Naumova 2005; Evenko 2008; Tatarinova 2009; Chukarkova 2015). Not only the internal form of the word, but also the external (phonographic) can act as an expression motive. The imagery of the isolated sound of the phonics of the text is understood as elementary symbolism. Expression of the advertising text is associated with the visual means of its segment phonological level, that is, with phonosemantic techniques, for example, alliteration, assonance. The sound-imagery connotation arises due to the associative rethinking of the perception of
the articulation and expressive characteristics of units of a segment phonological level based on cognitive comparisons and adjacency operations, as a result of which an effect of sound metaphor and metonymy is created in the advertising text. The sounds of speech, due to their inherent articulation, reinforced by segment phonosemantics, play a motivating role in the associative-like representation when creating an expression. An advertising message, the expression plan of which is organized using these techniques, "due to extralinguistic features, is characterized by sound-expressing hyperexpression. sound-hyperexpression" [4, p. 208]. "Phonosemantics and emotions are likely to be an unbounded field for the research within sound-expression" [5, p. 66].
An advertising text, being a form of representation of a language, implements many language functions, in particular emotive, expressive, aesthetic, semiotic, including through the interconnection of its components - meaningful and formal (graphic). As a rule, authors of successful advertising use numerous phonosemantic techniques based on the sign system (Peirce 1982). In this regard, these techniques reflect the expressiveness of linguistic units — phonemes and phonesthemes (sound combinations understood as submorphems (Firth 1957; Marchand 1966; Solodovnikova 2009; Akhmanova 2012)), which was acquired through the pragmatics of English advertising.
Advertising in the aggregate of its characteristics is considered as a special type of text, the key aspects of which are imperative (Terpugova 2000), intertextuality (Tep-skikh 2003; Uskova 2003), media advertising picture of the world (Dobrosklonskaya 2000; Yezhova 2010).
Thus, despite the multidimensional approach to the study of advertising, the sound imaging of segment-level phonosemantic techniques (compositional sound repetitions) in the English-language advertising text is currently insufficiently studied.
Modern linguistics refers to a comprehensive examination of linguistic phenomena associated with verbal manipulation. Since there is a steady interest in the problems of sound in the language, in particular in the relationship between the form and meaning of the word, phonosemantics manifests itself as an interdisciplinary science.
One of the favourable areas in which the sound-imagery potential of sound units is realized in the process of verbal manipulation is the advertising text due to (extra-) linguistic factors. The advertising text is considered as an object of study of phonosemantics due to "predictability of the addressee's reaction, lack of spontaneity, and clear stylistic marking" [6, p. 51].
The English-language advertising text is characterized by such parameters as informational self-sufficiency, clearly defined goal-setting, the presence of the addressee and addressee, severity, narrow-mindedness, structurality. The structure of the text is given by sentences with a communicative orientation (Halliday1974; Halperin 1981; Arnold 1990; Kubryakova 2001).
The main characteristics of the advertising text - lapidarity, compression of meaning, purely pragmatic orientation, expressiveness - determine the abundance of expressive means, phonosemantic techniques of a segment phonological level. Researchers distinguish the following parts in the structure of advertising texts: slogan, headline, main body copy, echo phrase (tagline), (Leech 1969; Williamson 1978; Cook 1992; Kaftanjiev 1995; Dyer 1995; Goddard 2001; Medvedev 2008; Zirka 2010; Schrum, Lowrey 2013).
Traditionally, any text is considered as a carrier of information, and advertising -as reporting on the properties and characteristics of goods and services. According to researchers (Zheltukhin 2004, Medvedev 2008; Makedontseva 2009; Ksenzenka 2013), advertising texts are created taking into account the prevalence of values over facts, the intensification of emotions, fatics, impact and evaluation over informing, emotional over rational. As a result, the informative function is replaced by an attractive, aesthetic. The attractive function, being the basis for others, uses the expression plan and is therefore directly related to the phonosemantic techniques of the segment phonological level due to the manipulation of the interpretation of the advertising message. Through the soundness of language units, the advertising slogan is "Chew that chewy Cherry White!" (Cherry White chewing candy) [7, p. 12] successfully informs about the denotative characteristics of the advertised object, conveying the sound sensations of chewing movement (kinema). Thanks to the expression of the expression plan at the segment phonological level, the labialized assonance [u:] in combination with the lip sonant [w] is supported by the alliteration of the sound dominant of the advertising text [tj]. The expressiveness of the following onomatopian words included in the lexical and semantic group is champ: munch, crunch, squelch, champ, also creates a pho-nostheme [tj].
The process of receiving and transmitting information is associated with phenomena such as interpretation and noise, viewed through the prism of cognitive mechanisms (Cheyf; 1983] on the basis of advertising texts written using phonosemantic means of a segment phonological level.
Verbalization is interpretative. Since the sound-imaging process is also based on the interpretation of the reflection of reality (Gazov-Ginsberg 1965; Mikhalev 1995; Voronin 2006), the plan for expressing an advertising text is interpreted as a type of message interpretation modifier.
Библиографический список
To interpret the input signal and minimize possible interference (noise) modifiers are required, which, as a rule, are understood as various ways to specify the transmitted content: the use of several adjectives, synonyms, and refinements in a phrase.
Most sound-visualization techniques for organizing a plan for expressing advertising messages (paronation, rhyme, euphony, euphony, etc.) are based on phonic repetitions, so the study of the sound-visual nature of sound repetitions is paramount.
In this work, using the sound imaging of phonosemantics of a segment level, the relationship of the connotative perception of the plan of expression of the advertising text and the image of the advertised object is demonstrated. Units of advertising texts are represented by texts of "low coding" (Cheyf 1983), i.e. broadly worded messages causing phonosemantic associations that are not tied to unambiguous decoding. All texts make it possible to investigate the sound-visual nature of the expression plan in connection with the "opacity" of the advertising object.
For example, the connotations identified are pleasure, a pleasant impression, the external characteristics of an object using the alliteration of the sound dominant [l], represented by a spectrum of semantic associations organized according to the field principle (Mikhalev 1995): "Lick the lid of life" (Muller yogurt) [8]; Live the Palace Life (Palace Resorts hotels) [9]. The articulating characteristics of sound, indicating the active organ of speech directly involved in creating the dominant sound repetition of the advertising text, are metonymically associated with the translated meaning, as, for example, in the advertisement of lipstick "Boost your lips back to beautiful" [10], labial sounds were chosen for alliteration and assonance [b], [p], [u:]. The apical character of the sound [t], reinforced by alliteration, metonymically correlates the perception of the plan of expression of the advertising text with tactile, tactile sensations. Thus, the connective meaning of advertising is supported by the association by the adjacency between the articulation of the dominant sound of phonosemantic reception of the advertising text and the transmitted idea.
Alliteration in the advertising of SUVs is created using vibrant repetition [r], which is based on the articulation of the tip of the tongue: Range Rover. Ready to ride right now! [11, p. 31]. Metaphorization of the plan for expressing an advertising text arises from a comparison of the articulatory and expressive characteristics of a vibrant with the basic qualities of the advertised object - powerful, strong, rude, energetic. The acoustic cumulative connotation arises as an association with the organs of speech involved in articulation (metonymization), and as a figurative comparison (metaphori-zation) of the qualities of the produced sound (strength, timbre) and key characteristics of the advertised object.
Since the sound-visual nature is understood as the correlation of the characteristics of the plan of expression with the plan of content, the important question is not only about the presence of a correlation between phonics and connotation, but also about the degree of this relationship. In various contexts, the audio performance of English-language advertisements is heterogeneous in character and strength. Its maximum degree is recorded in texts of a relatively small volume containing sound repetitions. Contextual sound symbolism (segment phonosemantics) can change (enhance, reduce or obscure) the perception of dominant sound.Sound representation in English-language advertising is heterogeneous due to the peculiarities of joint sound expressivity (sound dominants) and (segment phonosemantic repetitions) depending on the degree of interconnection of constituents of the expression plan.
As a result of the study, it was concluded that the sound-symbolic nature of the phonosemantic techniques of the segment phonological level of the English-language advertising text is of a systemic nature. Phonemes, phonesthemes, segment phono-semantic techniques presented in terms of advertising expression take part in creating sound expressiveness of the advertising text. For example, "Boosting lippy Lip Balm from the Body Shop" [10] - sound visualization is created using expressive units of the expression plan [b], [p], [u:], and phonestem [bu] associated with connotations convex, round, soft, which are the dominants of phonosemantic techniques (alliteration, assonance and consonance). Phonosemantic techniques of the segment phonological level of the English-language advertising text perform not only attractive and mnemonic functions, but also allow you to manipulate the interpretation of the decoded message as one of the connotative modifiers based on both dominant sound and segment sound performance. For example, ideas of light, long, light are embedded in the advertisement of "Lovely lilting lines" [8], dedicated to the traditional (white, long) wedding dress. At the lexical level, this connotation is not explicit, this sound expression is reflected exclusively at the level of the expression plane.
Conclusion: Thus, English-language advertising texts are a favourable environment in which the potential sound-imagery properties of phonetic expressiveness are revealed. Linguistic research in this direction develops theoretical knowledge about the connotation that arises through the sound imagery of some elements of the textual sound envelope, contributes to the further study of a new layer of neologism words created on the basis of sound symbolism. Phonosemantic techniques at the segment phonological level have a sound-symbolic nature, which is realized as the connotative potential of an advertising text and acts as a modifier of message interpretation.
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Статья поступила в редакцию 04.02.20
УДК 811.111'373.42
Zhulidov S.B., Cand. of Sciences (Philology), senior lecturer, Lobachevsky State University of Nizhny Novgorod (N. Novgorod, Russia,) E-mail: 4131240@mail.ru
Zolotova M.V., Cand. of Sciences (Philology), senior lecturer, Head of Department, Lobachevsky State University of Nizhny Novgorod (N. Novgorod, Russia),
E-mail: mviazolotova@gmail.com
Ivanov S.S., Cand. of Sciences (Philology), senior lecturer, Lobachevsky State University of Nizhny Novgorod (N. Novgorod, Russia), E-mail: s.san@mail.ru
SEMANTIC AND STYLISTIC DEVIATIONS FROM THE ORIGINAL AND ADEQUACY OF TRANSLATION. Inadequate rendering of lexical, semantic, and stylistic aspects of the original text resulting in its distortion in the translation is analyzed. Examples borrowed from an English fiction and its published translation into Russian are juxtaposed on the basis of their defined semantic and stylistic conformity. Besides purely linguistic aspects of translation, its extra linguistic as well as local regional characteristics are also considered; among the main of them - rendering of realities' designation, appropriateness of usage of typical national peculiarities designating phenomena exclusively inherent in the culture of the original language country. The classification of the regarded distortions is based on their linguistic and extra linguistic common features as well as the factors causing them. The accompanying commentaries explaining some not self-evident, at first sight, examples include suggested versions of the adequate translation illustrating the authors' thesis of its possibility in principle.
Key words: text, translation, original, distortion, adequate, stylistic, lexical, semantic, expressive, occasional.
С.Б. Жупидов, канд. филол. наук, доц. ННГУ имени Н.И. Лобачевского, г. Нижний Новгород, E-mail: 4131240@mail.ru
М.В. Зопотова, канд. филол. наук, доц., зав. каф. ННГУ имени Н.И. Лобачевского, г. Нижний Новгород, E-mail: mviazolotova@gmail.com
С.С. Иванов, канд. филол. наук, доц. ННГУ имени Н.И. Лобачевского, E-mail: s.san@mail.ru
СЕМАНТИКО-СТИЛИСТИЧЕСКИЕ ОТКЛОНЕНИЯ ОТ ОРИГИНАЛА И АДЕКВАТНОСТЬ ПЕРЕВОДА
Анализируется неадекватная передача лексических, семантических и стилистических аспектов оригинального текста, приводящая к его искажению в переводе. Сопоставление примеров, взятых из художественного произведения на английском языке и его опубликованного перевода на русский язык, проводится на основе определения их семантического и стилистического соответствия. Помимо собственно языковых аспектов перевода, учитываются также его внеязыковые и страноведческие параметры - передача названий реалий, уместность использования в переводном тексте сугубо национальных особенностей наименования явлений, присущих исключительно культуре страны языка перевода. Рассматриваемые искажения подлинника классифицируются, исходя из присущей им лингвистической и экстралингвистической общности, а также из обусловливающих их факторов. Сопроводительные комментарии, поясняющие некоторые не самоочевидные, на первый взгляд, примеры, содержат предлагаемые варианты адекватного перевода, иллюстрирующие выдвигаемое авторами положение о его принципиальной возможности.
Ключевые слова: текст, перевод, подлинник, искажение, адекватный, стилистический, лексико-семантический, экспрессивный, окказиональный.
При оценке качества перевода художественного произведения за основу, прежде всего, берется такой фактор, как совпадение воздействия переводимого и переведенного текста на их читателей [1, с. 15]. Добиться такого совпадения можно единственно возможным способом - достижением адекватной передачи в тексте на языке перевода (далее ПЯ) всех особенностей текста на исходном языке (далее ИЯ) [2], [3]. Однако при всей кажущейся неоспоримости данного тезиса, постулируемого в работах по теории перевода [4, с. 32], и его неотрицаемой бесспорности со стороны самих переводчиков, пусть далеких от теоретических исследований, но неуклонно соблюдающих этот принцип в своей практической работе, в реальной действительности нередко приходится сталкиваться с нарушениями элементарных требований как к тщательному соблюдению принципа адекватности при переводе, так и к хотя допустимым, но строго мотивированным отклонениям от оригинала в рамках узкого контекста в интересах соблюдения содержательности и стилистической окраски контекста широкого [5].
Проиллюстрируем сказанное на примере американского бестселлера [6], перевод которого был опубликован в журнале «Иностранная литература» [7], славившегося отменным качеством перевода современной зарубежной литературы, но, увы, лишь в былые времена.
Для преодоления энтропии, неизбежно присущей подобному фактическому материалу и придания ему некоторой упорядоченности, нам пришлось самостоятельно создать рубрики (или подклассы) ad hoc, классифицируя примеры с точки зрения либо (а) факторов, предположительно обусловивших избранное переводчиком соответствие, либо (б) суммарного семантического поля, тематически общего для ряда однотипных контекстуальных соответствий. Важно отметить, однако, что объединяющим те и другие является один-единственный показатель - их неадекватность тексту на ИЯ, приводящая к полному семантическому и/или стилистическому искажению в тексте на ПЯ.
