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«Подсчитано: ежегодно из-за пластикового загрязнения погибают 1 млн морских птиц и 100 тысяч морских млекопитающих. Сегодня на 1 тонну пластикового мусора приходится 3 тонны рыбы, к 2050 году соотношение будет обратным» («Безотходный манёвр», Огонёк, 2019). В этом фрагменте автор описывает масштаб реальной угрозы и рассчитывает на то, что сможет вызвать у читателя размышления об экологической катастрофе.
Согласно данным «Огонька», ситуация продолжит ухудшаться. Население земного шара растёт и к середине века должно приблизиться к девяти миллиардам человек, а выпуск пластмассы вырастет втрое.
Плачевное состояние нашей планеты, заставляет СМИ не просто информировать общество о существующих проблемах, а обучать вопросам экологии и готовить кадры в этой области. Экология - это глобальная проблема. И Россия отстала в её решении от западных стран на десятилетия. Чтобы догнать их, нужно убедить население страны в значимости экологической информации и грамотности. Список использованной литературы:
1. Л.А. Коханова, Экологическая журналистика, PR и реклама / - М.: Издательство Юнити-Дана, 2006.
2. М. Портнягина, Безотходный манёвр / М. Портнягина // Огонёк. - 2019. - 13 мая (№ 17-18). - с. 4-5.
© Лунев К.А., 2020
УДК8
R.D. Merinova
3rd year student, KFU Elabuga, Russian Federation Scientific adviser: N.V. Pospelova
Assistant professor of KFU Elabuga, Russian Federation
THE SEMANTICS OF LEXICAL UNITS OF JANE AUSTENS WORK
Abstract
The task of a linguistic text is to preserve the author's style, to create a new work that has all the main distinguishing features, imitating her words with a positive attitude towards him. This article explores the artistic picture of the world and features of the semantics of lexical units on the example of the novel "Pride and Prejudice" by Jane Austen.
Key words:
лингвистический текст, семантика, лексическая единица, литература, художественный стиль; linguistic text, semantics, lexical unit, literature, art style.
Introduction
Jane Austen is rightfully considered the "first lady" of English literature, the critic positivist Lewis puts her as an example to Charlotte Bronte, and her "model realism" becomes the basis for the followers of this genre. Later, J. Eliot discovers the connection of his aesthetic principles with the practice of "incomparable" (as defined by W. Scott) Jane.
Despite the small fame and popularity of this name in the 19th century, the study of the literary heritage of Austen began during her lifetime. In his remarks about the author's creative manner, W. Scott expressed the idea that Austen "is creative in her approach to the romantic heritage and in many ways overtakes her predecessors".
Relevance: This study is aimed at studying the semantics of lexical units in one of the works of the famous English writer. Nowadays, many begin to study a foreign language, turning to the classic letter, exploring every word and thereby learning the language.
Object of study: The novel by Jane Austen "Pride and Prejudice."
The subject of the study was the sources of the originals of the novels and their translations, the scientific research of contemporaries of the author of the novels, as well as critical publications on the author Jane Austen and her work.
The aim of this study is to study and describe the cognitive-pragmatic aspects of the translation text at the level of its metalanguage essence as a factor in the pragmatics of the mentality of the functional definition of motivation for the semantics of the language of novels by Jane Austen.
Jane Austen (1775-1817) - writer, satirist, classic of English and world literature. In Britain, she became the forerunner of realism, is considered the founder of ladies' and family novels.
At the age of fourteen, Jane composed the first comic parody, called Love and Friendship. Here she chuckled a little at the sentimental and boring heroes who constantly sniff roses and sob over them and then faint every five minutes.
Despite the calm and measured provincial life, the daughter of an English priest was aware of all the world disasters and events, rebellion, revolution and war did not leave her indifferent. Her young and mature years fell on the period of the Napoleonic Wars, the uprisings in Ireland, the War of Independence in North America and the industrial coup in England. Many of Jane's relatives were direct participants in these events. In her writings there are no wars, no revolutions, and actions never went beyond England, but the influence of what was happening around the world was always felt.
The uniqueness of the language of Jane Austen. Scientist K.S. Philips traditionally divides the study of materials by Jane Austen into two parts, one of which is a thorough study of the dictionary of the writer, the other explores the sentence structure. The lexical material of the novels studied by Philips illustrates what specific words are used for this author, which is undoubtedly of interest to those who study the art of the word of the writer. As for the sentence structure, C. S. Philips explores the use of verbs and, naturally, the structure of sentences. Scientists not without reason justify their attention to the use of inversion, gerund, passive voice, conversion and use of a significant number of nouns and nouns derived from them in the novels. Of interest is the analysis of the use of articles, and the observation of the use of adverbs and adjectives. Because of a parsing of the style of Jane Austen, the author concludes that some of the syntactic constructions of the writer were not typical for that time, and she lived through it, thus participating in the formation of the literary norm of the English language. This fact, on the one hand, reflects the peculiarities of the linguistic system in the era of the writer, on the other hand, is a specific characteristic feature of the individual writing style.
Jane Austen's innovation also consists in conveying a peculiar rhythm of speech, built on the same observation of the sketchy style of the characters. Austen found her own voice. She saw a lot, many, and many judged, but she did it very restrained and therefore in no less convincing manner. She possessed the art of ironic hint and did it almost perfectly, demonstrating a wide range of uses of the finest irony, a slight grin and even sarcasm. Austen avoids stylistic stamps. Very skillfully uses a rich palette of comedic shades, using the traditions of the English dramatic culture. A sense of proportion helps the writer to avoid exaggeration, and even approaching the grotesque, she does not go beyond the bounds of the finest irony.
In her own work, Austen refuses everything that from her point of view is a departure from reality. She, like the realists of the 18th century, stubbornly strives for ultimate fidelity to life's truth. However, she does not understand fidelity to the truth as they do. She opposes artificial, from her point of view, plot plexuses, stunning events, continuously changing adventures, against the pathos and unnaturalness of epistolary novels.
The subject of the image of Austen is the experience of ordinary people in ordinary conditions, with all the depth of feelings, with all the variety of contradictions that make each person unique. It reveals the defining human relationships - motives and reactions, usually invisible on the surface of the stream of everyday events. In the trivial things described by the novelist, the characters of people, their psychology, their true spiritual essence are exposed. Focusing on the ordinary, everyday, Austen reveals to us the life of her generation.
Jane Austen never idealizes the reality surrounding her, the reader takes out from her works a sense of beauty, joy of life, for the beauty of human relations, the strength of love, sincere feelings, decency, dignity are shown in combination, contrast and confrontation with immorality, heartlessness, injustice and baseness. In this
combination and contrast, the author's criticality with respect to the social foundations of her time, the protection of human values, which the writer sees in the statement of certain moral principles, are embodied.
Austen was new not only in her multifaceted portraits of ordinary people against the background of the social environment, known to her to the smallest of its manifestations, but also the very language of her novels, the unique artistic system in its originality. The style of the novelist has not yet been subjected to comprehensive analysis.
Unlike her predecessors and contemporaries, Austen seeks, as far as possible, an objective interpretation of life, preferring the depiction of people to directly depict them, and this is one of the distinctive features of her style. The artist reveals the human essence in the main way by means of the image of speech communication of people, i.e. direct and dialogical speech.
The text is full of ironic dialogs - an understanding of acuity, double and triple meanings in a foreign language, as a rule, contributes to a significant increase in the reader's self-esteem. Jane Austen, who reads a work in a good translation, has a great opportunity to get aesthetic pleasure and increase her own level of linguistic competence. Jane Austen without special authorial pressure, using mainly means of linguistic characteristics, always including a vocabulary, individual syntax for speech of each character, syntactic structure, style, intonation, reaches a comprehensive disclosure of the characters. Austen's individualization of the language of the characters serves at the same time as a means of typing it, with the help of which it characterizes people of a certain social appearance, mentality, psychology, exposing socially conditioned human vices: snobbery, swagger, flatulence, cringing, selfishness, self-interest.
Simple and sincere plots distinguish the works of Austen, during the reading there is an involuntary occurrence in the history and the heroes. In the novel, Jane Austen has an undetermined presence of soft, purely English humor. She was the first to use the so-called "look from the side" ("voice of the author") in the novel. Jane Austen's works are considered essential for study in British Universities and College. References
1. Apresyan Y.D. Lexical semantics. M., 1974.
2. Foreign romance. Problems of the method and genre. Interuniversity collection of scientific papers. - Perm: Perm University, 1982. - p. 152.
3. Galperin I. R. Text as an object of linguistic research / I. R. Galperin. - M.: Nauka, 1981. - p. 139.
4. Phillips K. C. Language and class in Victorian England: Cambridge university press. - 1988. - p. 133.
© Merinova R.D., 2020
УДК 81'25
Т.А. Морозова
студентка 6 курса ПетрГУ, г. Петрозаводск, РФ Научный руководитель: С.В. Коробейникова
старший преподаватель ПетрГУ, г. Петрозаводск, РФ
АУДИОВИЗУАЛЬНЫЙ ПЕРЕВОД В РОССИИ: РАЗВИТИЕ И СОВРЕМЕННОЕ ПОЛОЖЕНИЕ
Аннотация
Цель данной работы - рассмотреть положение аудиовизуального перевода в России с точки зрения переводоведения в различные годы и проследить его развитие до наших дней. Автором были собраны и рассмотрены ключевые термины авторства различных российских переводоведов, описывающие данное понятие с разных точек зрения, и рассмотрены основные этапы в истории аудиовизуального перевода как
