Читать курсовая по английскому: ""The Brothers Grimm" in the Ukrainian translation" Страница 3


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frightening and mean, they hide at times to make the fears steady, and you don't know how to begin, for someone all these words has used already., when you create something new, in order to validate its novelty you are forced to match it with something, that has been already created. In case the novelty is totally absent, it has become extremely popular to use already created forms and structures so as to point author’s conversance with the masterpieces of the classic literature. Thus, the overwhelming majority of 20th century pieces of art can be considered to be examples of intertextuality [38].notion of intertextuality is rather multiple. Therefore, different scholars can provide totally different definitions of it, depending on their theoretical or philosophical preferences. The only common assumption for all of them can be the statement, that each and every text is a kind of “reaction” to previous texts [14, p. 18]. The most universal definition of intertextuality was provided by R. Barthes: “Each text is an intertext; other texts are present in it on different levels and in various degrees of recognizability; each text is a new fabric, created on the basis of old quotations” [24, p. 78].can be considered to be a kind of literary device that is self-consciously used by authors for the purpose of creating a certain effect on the target reader. Furthermore, we can analyze in what way the author conscious references to previous texts, called “prototexts”, modifies the sense of the new text, known as the “metatext”. The terms “prototexts” and “metatext” were introduced by the Slovakian translation theorist A. Popović, who defined them as the primary and the secondary texts, as well as the source-text and the target text [15, p. 19].important notion in the conception of intertextuality - especially from the viewpoint of translation theory - is the so-called “precedention” of texts. The term “precedential text” was introduced by a famous Russian linguist Yu. Karaulov. He states that it is a kind of text that is obligatory to be known within the confines of a specific national culture and, therefore, is generally familiar to all native speakers of the very culture. Most commonly these texts characterize a specific historical period of an ethnic group. Hence, the usage of references to such texts by modern authors is a very efficient way of forming the culture’s national identity [p. 20].can be expressed in many ways, depending on the stylistic preferences of the specific author. According to V. Heinemann, a text can be enriched with the following forms of intertextuality [23, p.60]:

· I. R. Galperin defines a quotation as “a repetition of a phrase or statement from a book, speech and the like used by way of authority, illustration, proof or as a basis for further speculation on the matter in hand” [8. p. 169];

· The notion of a hint is explained in the Free Dictionary in the following way: “it is a mean to convey an idea covertly or indirectly, but in a way that can be understood” [34];

· According to the Oxford Dictionary, paraphrase can be defined in the following way: to paraphrase means to “[e]xpress the meaning of (he writer or speaker or something written or spoken using different words, especially to achieve greater clarity” [35];

· Text collage is “[a] work, such as a literary piece, composed of both borrowed and original material” [34];

· Parody is “an imitation of the style of a particular writer, artist, or genre with deliberate exaggeration for comic effect” [34];

· Travesty is “an absurd or grotesque misrepresentation, a parody, or grossly inferior imitation” [43].may serve the following functions in the text [38]:

Ø Expressive - the selection of intertextual quotations, the character of allusions and other references can be an element of the author’s self-expression;

Ø Appellate - the selected references are often used to appeal to a totally specific type of receivers that can see the true value of the intention that stands for the selection of the very reference;

Ø Poetical - often the identification of intertextual references can be considered to be a kind of entertaining game, as working a crossword puzzle. The complicacy can be different: from recognizing the quotations from extremely popular films, to detecting such intertextual relations that were used by the author with no intention;

Ø Referential - obviously, the usage of intertextual references causes sharing of various types of information that was expressed in the source text;

Ø Metatextual - when the reader detects a reference in the text, he/she has two options: to continue reading, considering the referential piece to be an organic part of the text, or resort to the source text in order to get a better understanding of the very reference;context encompasses the historical-philological information that was intentionally put in the text by the author. It follows that in order to understand and interpret this kind of information in a proper way, the receiver must have corresponding background knowledge. very notion was introduced by O.S. Akhmanova and I.V. Giubbenet in the second part of the 20th century. Depending on the means of bringing vertical context in the text, the following types can be outlined:

· Philological vertical context - the usage of allusions, quotations, deformed idioms.

· Social-historical vertical context - the usage of various realia, proper names and toponyms. [2, p. 47]. .V. Boldyrieva differentiates the social and historical vertical context (a part of philological historical information, intentionally put in the text in order to provide a description of the outer world), and the social and historical background of the period, described in the text (features, that characterize the daily life of the characters



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