Статья посвящена исследованию семантики цветообозначений. Сопоставительный анализ
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2статья ASPECTS OF COLOR TERMS TRANSLATION FROM EMGLISH INTO RUSSIAN
| Ключевые слова: перевод цветообозначений, колоративная лексика, цветовосприятие.
Color is one of the most interesting problems that occupies researchers in many branches of knowledge. The study of color, color symbolism, the psychophysiological and psychological impact of color on a person, intercultural differences in color symbolism are studied by such sciences as ethnography, psychology of emotions, color science, color psychology. In addition to visual-sensory, visual forms of a color symbol, there are also linguistic, speech forms that have become an integral component of the study of all philological sciences, including comparative linguistics, psycholinguistics, linguo-folkloristics, etc. With all the differences in goals, tasks , approaches and methodology, which is natural for the sciences, a single cultural and anthropological component is revealed for all. “Colors encourage us to philosophize,” writes L. Wittgenstein. “This, perhaps, explains Goethe’s adherence to the doctrine of color” [1. S. 472] (1). For linguists, it is interesting to study color within the framework of the picture of the world. The color spectrum is divided in different ways. Physiologists of higher nervous activity explain what contributes to this circumstance. Thus, the results of a study of people with persistent brain damage show that the concepts of colors depend on the functioning of one system, the words expressing these concepts on another, and the relationship between concepts and words on a third. Even people with congenital color blindness know that certain ranges of shades form something coherent and differ from others, regardless of their brightness or saturation. As shown by B. Berlin and E. Roche from the University of California at Berkeley, this understanding of colors is almost universal and occurs even if there are no names for the corresponding shades in a given culture [2. pp. 55-61]. The three-level organization of color naming - concepts, words and connections between them - creates the basis for differences in cultures. “Culture is a meaning-bearing and meaning-transmitting aspect of human practice and its results, a symbolic dimension of social events that allows individuals to live in a special life world, which they all more or less understand, and to perform actions, the nature of which is understood by everyone else” [3. S. 57]. Considering after A.T. Khrolenko that “culture is a world of meanings”, we can come to the conclusion that colors are also meanings. A person has a color language, “color consciousness” [4. P. 59], which by its nature is inextricably linked with national culture. In the cultural tradition of each nation, unconscious correspondences have developed between individual colors and certain images, despite the relative universality of the perception of one or another color by all people. “Social stereotypes and ethnopsychological characteristics are superimposed on the “physiological” meaning of color, thereby causing certain associations that are characteristic only for a given linguistic community” [5. S. 5]. In addition to sensual, visual forms of a color symbol, there are both linguistic and speech symbols - stable expressions with the seme “color”. In English, blue is not a separate designation, but a degree of brightness of a dark color, brilliant black. The English expressions "to be blue in face" and "to be black in face" correspond to the Russian " побагроветь от злости ". Undoubtedly, the study of the color picture of the world in the aspect of translation is of interest, since color is one of the most important means of emotional impact on the reader, and “color designations express the individual author’s worldview, often acquire a leitmotif character in a work of art, become cross-cutting images, meaningful for constructing a national picture of the world” [8. S. 146]. In fiction, the image of color is not an end in itself, and all the finest color shades do not exist on their own, not outside the artistic whole, but serve as the embodiment of the author's creative ideas. Another interesting issue is the translation of color shades. After conducting a comparative analysis of the texts of the originals and translations (Caryn Franklin, Woman in the Mirror, Kingsley Amis, Take a Girl Like You, Rowling J.K., Harry Potter and the Chamber of Secrets, Heller J., Catch-22) in order to study the - how to translate color terms from English into Russian, we came to the conclusion that in the original texts in English there are much more shades of color terms than in Russian. In the analyzed works, shades are expressed in the following ways: by referring to one-word synonyms or elements of the corresponding lexical semantic group or through the use of word-formation methods of word formation and affixation. The most complete among the color terms belonging to the first method are the adjective colors blue (indigo, lapis lazuli, azure), green (khaki, olive, pistachio), red (scarlet, gory, crimson, vermilion, magenta) and brown (cinnamon). , tawny, chesnut, russet, fawn, auburn, ginger). The active use of affixation to describe a hue is connected with the author's desire to reflect as fully as possible all the nuances of the surrounding flora and fauna: yellowish, reddish, brownish. Word composition is used much more often, which allows you to form indications of shades of the same color, as well as mixed colors and shades. Among the color terms formed in this way, which have concretizing adjectives, the following subgroups can be distinguished: - color terms with concretizing adjectives indicating the intensity of color: deep green, rich purple, delicate red, dark rich brown, dark red, light-blue, pale blue; — adjectives that specify the shade and at the same time are themselves color designations: reddish-ginger, golden brown, gray-green, blue-green, fawny yel-low, greenish-grey. And, finally, the most numerous subgroup is adjectives of color, which include the names of objects. The objects that make up the English color terms are very diverse: minerals/metals (aquamarine, emerald-green, jade-green, pearl-coloured, amber-coloured silk, copper-green sky), plants (buttercup-yellow land- scape, fuchsia, sage-green, crocus-colored robe, olive-stained oak), animals (sorrel), birds (flamingo, teal, kingfisher-blue eyes), food (honey-colored blossoms, apricot-colored light, salmon -pink, cinnamon stones), natural realities (forest-green, moss-coloured jacket Nile-green, snowy table-cloth, flame-red), alcoholic drinks (chartreuse, wine dark), etc. The translation of color vocabulary from English into Russian is most often carried out not by denotative meaning, since the culturally determined connotations associated with the denotation are non-identical, and sometimes even polar. The translator must choose a word that will evoke the same color sensation in the translation as in the original. To do this, the translator operates with a rich word-formation apparatus — adjectives expressing shades of colors (transparent blue, poisonous green), morphological means (grayish, bluish), two-part adjectives such as “orange-red”, “blue-green”, “coal -black” and comparative turns (black as pitch, red as cancer). “Aunt Petunia was horse-faced and bony; Dudley was blond, pink and porky" [14]. “Тетя Петунья — тощая блондинка с лошадиным лицом, а розовощекий, белобрысый Дадли весьма смахивал на поросенка” [16]. To describe the appearance of the hero of the novel, the translator quite justifiably uses the word with a pronounced negative connotation “белобрысый”, and also specifies the meaning of the English word “pink”, saying “розовощекий”, since the expression “розовый человек” is unusual for the Russian language. Consider another example that uses color naming "blonde". "There was a big photograph on the front of a very good-looking wizard with wavy blond hair and bright blue eyes” [14]. “Здесь же красовалась и большая фотография автора: миловидное лицо, обрамленное светлыми локонами, ярко-голубые глаза” [16]. In the English version, just like in the previous example, the "blond" colorative is used. However, in the Russian version, the translator already speaks of the character not as “white-haired”, as in the previous example, but “a face framed by light curls”. It is quite obvious that when translating color designations, serious attention should be paid to the context and the attitude of the author to the character. «Patrick was wearing this time a moss-green suedette jacket and a pair of khaki- drill trousers» [13]. «На Патрике был темно-зеленый замшевый жакет и брюки цвета хаки» When translating the color designation “moss-green” (literally “color of moss”), a two-part adjective is used and the color (dark green) is transmitted directly, and not the denotation (moss). In the following passage, the author presents a description of the most beautiful heroine of the novel, with whom all men were in love. “«How lovely she was, with all that thick inky-black hair and the slightly hollow cheeks and the faint blue veins at the temples and the very definite natural line surround- ing the lips and the lips themselves and... » [13]. «Как она была прекрасна — густые, черные, как смоль волосы, слегка впалые щеки, тонкая кожа на висках, хорошо очерченная линия губ, и сами губы...» In Russian linguoculture, veins translucent through the skin (“faint blue veins”, lit. “светло-голубоватые вены”) have long been a sign of soreness and unhealthy thinness. Despite the fact that thinness is the standard these days beauty, the idea of a girl with "bluish veins at the temples" is unlikely to cause admiration for anyone. However, veins can be seen not only in a sick person, but also in a person with pale, light, thin skin (in swarthy people, due to the dark skin color, veins are very rarely visible). Bearing in mind that the main character was distinguished by her snow-white skin, bright features and black hair, the “thin skin” option is selected, while the description of the heroine’s external attractiveness for the Russian reader is preserved. Very often in translations there are errors in the transfer of color designations, and they are associated, according to our observation, with a literal translation. In his novel " Виконта поразило солнечное сияние ее волос, голубизна глаз, сравнимая лишь с нежнейшей голубизной яиц дрозда. [10]. The translator, trying to convey all the charm of the original, retains this metaphor, which is alien to the Russian language culture. As a result, we have an absurd, even indecent comparison: the Viscount was struck by the sunshine of her hair, the blueness of her eyes, comparable only to the most delicate blueness of thrush eggs. In the translations of J. Heller's novel, there are also a number of such literal errors. For example: The woman had a long, brooding, oval face of burnt umber [12]. У женщины было продолговатое, овальное, задумчивое лицо цвета жженой умбры [18]. Мать скорбно поджала тонкие губы, удлиненное лицо у нее было цветом в жженую умбру [17]. The onnotative field of the “burnt umber” nomination within the English-speaking culture includes a clear association with the earthy, brown color, but its Russian dictionary equivalent, “burnt umber,” does not have a stable associative connection with any color in Russian culture . Translators, unfortunately, use a literal translation, although it would be more correct to translate “earthy-colored face”. Milo had at his disposal sumptuous quarters inside a salmon-pink palace...[12] Здесь в распоряжение Милоу были предоставлены обширные покои в розовом, как лососина, дворце [16]. When translating this nomination, translators M. Vilensky and V. Titov did not take into account that if English speakers perceive the designation of a color compared with salmon quite naturally, then in accordance with Russian usage, this comparison sounds like an aesthetic discovery of the author. The translator Kistyakovsky gives the correct translation: У Мило здесь имелись шикарные апар- таменты в роскошном розовато-оранжевом дворце [17]. In the novel “Harry Potter and the Chamber of Secrets”, when describing the evening dress of one of the heroines, J. Rowling also uses the color designation “salmon-pink”, which, when literally translated into Russian, causes inadequate color sensations: «She was already wearing a salmon-pink cocktail dress» [14]. «На ней уже было вечернее платье цвета лосося» [16]. Ethnic differences in the perception and symbolic evaluation of color designations as cultural meanings present serious difficulties in translation. An important task of the translator is to preserve the color perception of the original in the translation of literary texts. Due to the fact that in different cultures different colors are not only perceived differently, but also find different expressions in the language, a literal translation of culturally determined connotations associated with color designation is often impossible. The most acceptable translation option is lexical transformations or descriptive translation. жүктеу/скачать 26,63 Kb. Достарыңызбен бөлісу:
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