The paper is conducted within the scope of digital humanity and illustrates the combination of computational translatology in connection to semantics. This study aimed to investigate the rendition of I felt-narrative label, presented in Sylvia Plath's TnhoeveBlell Jar. Methodology of the research relies on cognitive strategy (macrolevel) and content analysis (microlevel). Special notice is given to the major levels of narrative analysis: structure and comprehension. To establish whether I felt-narrative label of alienation is preserved in the translated variant we employ TEI standard instructions and XML markup language, which encompasses the novelty of the paper. The research illustrates practical application of Antoine Berman's analytic translation to Ukrainian translations and presents (a) juxtaposing source text I felt- narrative label(s) with their translated variants and, on this basis, (b) defining translation tendency. Preliminary findings can serve as a critical model for translation analysis for better understanding of how ‗the analytic of translation-' may be co opted in the study of autshtoyrle's dominants being preconditioned by author's cognitive strategy (especially in first person narrative) with the intention to be comprehended by a source text reader, a translator, and a target text reader.
To recall, anxieties marking American life and literature of the 20th c. have been crystallized for the mind of Sylvia Plath. As a representative of The Age of Anxiety [33], Plath accumulated her vision of the turbulent period within the era of unprecedented societal tumult through the prism of disillusion of ordinary life (marriage, motherhood, and work) and women‘osld hreosupsoenhsibilities and chores [42].
The article seeks to find out how Sylvia IPflealtth-‘snarrative label (hereafter, I felt-NL) is translated into Ukrainian. This study is part of a larger research project on the creativity of Sylvia Plath and the reception of her writings via translation(s). Having defined the importance of the connection of emotion, image and fiction [22; 27; 41; 42; 43], we justify our presumption that, with Sylvia Plath, I felt- NL is dominant and meaningful, rather than arbitrary and accidental.
Millennia of storytelling represent the large array of works that systematically depict emotions [46;
23; 35], less attention is given to emotion rendition in translation, especially from the cognitive and
comprehensive perspective [
Plath repeatedly uses I felt-NL avoiding specification or explication where it might be expected. This convinces us that this I felt-NL is syntactically and semantically defined by the author.
Our objective is to arrive to a set of theoretical and empirical grounds which help to study the influence of the textual factors of the novel along with cognitive approach to literary prose comprehension.
The study primarily uses cognitive perspective [13; 12; 30; 32; 38; 44; 45; 49; 50; 52; 53] that entails the orientation towards social, mental and psychological backgrounds and surroundings of discourse.
To interpret the alienation unit [
Along with cognitive strategy, we rely on content analysis since it offers solid theoretical and methodological grounds and elaborated set of parameters, typical of narrative analysis. Nontextual factors are delineated by means of cognitive stylistics.
The approach employed for this textual bottom-up microlevel investigation is interpretative, relying on findings in content analysis as elaborated by Patron [31, p. 59]. Our argumentation is that the system of categories within content analysis endeavours to operationalize the meaning unit, chosen here is the meaning unit of the I felt+alienation in translation.
Conceptual background is modelled to optimally fit the analyses of defined unit of meaning, i.e. I felt-NL+alienation. A key issue in the analyses below will be the preservance or distortion of I feltNL+alienation in the Ukrainian translation.
These fragmented constructs are framed and tagged from the viewpoint of social estrangement as well as self-estrangement, strengthened via I felt-labelling; by their means the heroine, as well as Plath, communicates her message of alienation and devastation in the world of ugliness.
Within the communicational theory of narration, a unit message to be represented by a sentence, in this conception of language, is the content of a mental act of judging, wishing, etc. [31, p. 71].
Relevant is the understanding that the narrator – Sylvia Plath – communicates her unit massage of alienation by/within a sentence, thus textual means are relevant for the analysis.
Therefore, the unit in prose fiction is not the word, but the event (emphasis is ours) [27]. If misinterpreted in translation, the event of the novel trivializes the original.
Moreover, ‗a theory of narration based on the notion of narrator (the narrnaatrorratiothne)ory of must claim that each sentence of a story […] is a message communicated by the narrator; sentence is the product of an act of judging in the narrator‘s c[o3n1s;c4i7o]u.sness‘
Merits of narratology as reflected in Translation Studies come from scholarly elaborations of various resources [2; 4; 37].
Extensive research has been done in the field of language, social class and discourse [11; 14; 24; 39; 10; 51], with close attention to the mind mapping and context. We are interested in the labelling being comprehended from the discursive, narratological and translatological perspective.
We opt for the alternative that would secure textual and nontextual parameters. In view of that, this study considers the conceptual foundation of narrative labelling; it explores and discusses labelling in accordance with Mona Baker‘s framing narratives in translation and refers to the discursive proces that involves using lexical item, or, rather, phrases to identify a person and an event seen as a key element in a narrative.
Within the realm of the phenomenology of thinking, Denneti [
This implies that we identify the original NL one-by-one and study its translation, both separately and in the connection to the whole network of I felt-NL significance. With this in mind, section 2 explains, what changes (mostly destructive) each variable has undergone in translation.
We do so in line with Berman‘s approach to novel translation; centrally concerned is I a feature of felt- NL from the viewpoint of Ber m[4a,np‘.s12] negative analytic of translation. 2.3. TEI application towards ‘meaning unit’ tagging
The Text Encoding Initiative is the standard for presenting textual material in digital form using text encoding tools. Thus, we rely on the instructions of TEI, as well as the XML markup language. Due to its advantages and wide popularity, XML has become the metalanguage of choice for expressing the rules of descriptive text encoding in TEI [57; 58; 59; 60]. The advantage of TEI is obvious since TEI is expressed in terms of extensible markup language (XML) and it provides all the procedures and mechanisms to adapt to specific project needs [61; 62; 63].
The TEI guidelines define an open standard that can normally be applied to any text and may satisfy any purpose. In this respect, in focus is meaning units designating I felt + alienation via devastation and emotional dislocation.
Used are: <s> </s> - sentence marking <mu> </mu> - tagging meaning unit n=1; n – number, 1 – sequence numbering
The novel under analysis [34; 56] is rich in flashbacks of the main heroine Esther Greenwood, which shows the period of her studying in college. These flashback fragments abound in the chosen variables: I felt + alienation (via devastation and emotional dislocation).
The algorithm of analyzing the rendition of alienated consciousness (being verbalized via conflict) in translation might be described as follows: the sender expresses the content of a mental act of alienation in a linguistic form, hereith, I felt-NL; the first addressee (a translator) perceives this linguistic form by reading and interpreting it, and, eventually, understands its meaning and the content of the addressor‘s mental act; a translator (the re-addressor) re-expresses the content of a mental act of alienation in a linguistic form; the second addressee (a final reader) perceives this linguistic form by reading and interpreting it, and, eventually, understands its meaning and the content of the addressor‘s mental act.
If the algorithm is conducted ideally, then the textual communication succeeds and the final reader‘s horizon of expectations is satisfied.
To verify syntactic and semantic (in)adequacy of Plath‘s message in the Ukrainian translation w shall incorporate Antoine Berman‘s ‗negative analytic‘ of translation; study semantically permissible, if not syntactically necessary, translation tendencies evident in the target text (hereafter, TT); conclude whether The Bell Jar reads alienated in Ukrainian.
We have chosen A. Berman‘s model since he is among translation studies scholars who h elaborated novel-oriented ‗analytics of translation‘.
Berman states that ‗all translation is, and must be, the restitution of meaning‘ on the one h and ‗restoration of the particular signifying process of works (which is more than their meaning), on the other hand – on which we agree.
Claiming that translation tends to reduce variation, Berman elaborates twelve ‗deforming tendencies‘ (p. 280): rationalization, clarification, expansion, ennoblement, qualitative impoverishment, quantitative impoverishment, the destruction of rhythms, the destruction of underlying networks of signification, the destruction of linguistic patternings, the destruction of vernacular networks or their exoticization, the destruction of expressions and idioms, the effacement of the superimposition of languages.
Unit of meaning under analysis is the labelling: I felt + alienation (via devastation and emotional dislocation). First and foremost, the challenge is obvious with the signifier felt. The word has a number of substantives in Ukrainian that constitute different shades of a particular perception; thus, in the Ukrainian language there exist such lexemes as: Почуватися (to feel oneself); Відчувати (to feel, to sense, to perceive); Передчувати (to anticipate); Чути (in the abstract notion naost toinfeel the ground beneath your feet).
Unit(s) of meaning in the current paper is the smallest textual unit within which the occurrence of labelling I felt + alienation unit is examined. This unit is consequently invoked to establish the link between the ST unit and its representation in the TT.
In the subchapter we illustrate the mark-up procedure of the meaning unit enclosing the chosen textness fragment. Then we offer translation studies insights following each excerpt. 3.1.
Mirrored in her heroine Esther, Sylvia Plath exemplifies her feeling of being ‗split between fabricated public self and a truer and more elusive hidden seTlfh‘is (vpa.r1ia4b).le depicts the situation when Esther learned she was not accepted into the writing programme she applied for and was obliged to spend summer time with her mother in the outskirts. She feels suffocated and trapped within the social norms that disgust and exhaust her. Variable 1 is presented by the comparison of a person to a racehorse in a world without racetracks, meaning deprived of the possibility to fulfill its natural desires and triggers; it is intensified with the comparison to a champion college footballer suddenly confronted by Wall Street and a business suit, his days of glory shrunk to a little gold cup on his mantel with a date engraved on it like the date on a tombstone, meaning he had to adopt to societal demands and reality (suddenly confronted by Wall Street and a business suit) while his inner energy got suppressed (his days of glory shrunk to a little gold cup on his mantel) symbolizing the death of his dreams and ambitions (with a date engraved on it like the date on a tombstone).
The variable is meant to depict an alienated individual who feels at a loss because of being relocated from the usual cognitive environment, and placed within the realm of estranged circumstances; the circumstances that intrude into self wellbeing, which bother and do not feel comfortable or satisfying anymore; the location itself may remain unchanged. In variable 1, the main heroine communicates her current state by illustrating discomfort, compared to a racehorse or football player, feeling perplexed and aghast when put in the odd conditions.
ST meaning unit I felt like a racehorse in a world without racetracks is re-expressed in translation as Я почувалася скаковим конем у світі без іподромів (back translation: I felt a racehorse in the world without hippodromes) and reads fluent and natural in Ukrainian. The opposition of a horse without a track is well preserved. However, ST meaning unit I felt […] a champion college footballer suddenly confronted by Wall Street and a business suit, his days of glory shrunk to a little gold cup on his mantle with a date engraved on it like the date on a tombstone has undergone a deforming tendency. Thus a champion college footballer is rationalized to the expression видатним футболістом (back translation: famous footballer); confronted by Wall Street and a business suit is rationalized as опинився на Волл-стріт у діловому костюмі (back translation: is, occurs to be in Wall Street in a business suit) and his days of glory is clarified as колишня слава (back translation: past/previous glory).
The trial of translation (in Berman‘s terms) is mostly vivid concerning the meaning uni confronted by Wall Street and a business suit in terms of the Ukrainian text being uprooted from its original language context. This choice of the translator destroyed the underlying network of signification. The point is that, individually, that is to say, used separately, these words may not be significant, but they add an underlying exactitude of content of a mental act embossed to the text. The network of words detoning confrontation restores the particular signifying process of Plath‘s writing. Saying it metaphorically, the whole life of Sylvia Plath as well as Esther Greenwood was ‗the a dying, struggling and confronting‘, confronting lfh,ecrosenfronting norms and society she was put in, confronting her past as well as the future. The variable I felt […] confronted by Wall Street and a business suit is lost in translation.
The image of a little gold cup on his mantel with a date engraved on it like the date on a tombstone is adequately preserved in translation вдома на камінній полиці в крихітному золоченому кубку з датами, вибитими мов на надгробку. However, the action verb shrunk is omitted in translation and, thus, its semantics denoting the process of belittling, being powerful and becoming meaningless is lost. Instead, the lexeme вдома (at home) makes the reader evoke the emotion of comfort and coziness, which is exactly the opposite to what is semantically defined in a unit message in the original novel.
Finding: ST alienation variable 1 is re-expressed in translation with partial deformation; prevailing is the tendency of rationalization, clarification and destruction of the underlying network of signification. 3.2.
This variable depicts Esther‘s feeling of emptiness. Contextually, it portrays the development of Esther‘s mental illness, when she is not able to enjoy her life and find comfort with the peop surround her. The use of analogy – the eye of a tornado – seems to encapsulate self-estrangement within the empty eye of the tornado while the rest of the world is triumphing over life and vibrancy. Unable to control her emotions, Esther succumbs to a state of numbness. Significant is Sylvia Plath‘s choice to self-expression via personification the way the eye of a tornado must feel.
To recall, the devastation is so overwhelming that the feeling of emptiness and hopelessness is attributed to the natural phenomena, excruciating and destructive.
ST meaning unit I felt very still and very empty, the way the eye of a tornado must feel is reexpressed in the translation in the lines Я почувалася геть вкляклою, геть порожньою – певно, так почувається центр торнадо. It has, though, undergone a number of deformations. The semantics of the meaning unit is well preserved; the translator‘s decision making substitution of the image dominant (eye), thus deformation of the texture: the eye of a tornado is reexpressed as центр торнадо (the center of the tornado). She further clarifies an abstract hullabaloo to concrete хаотичний вихор (chaotic whirlwind). This mode of clarification marks the movement from polysemy to monosemy. Explication, according to Berman, aims to render ‗clear‘ what does not wish to be clear in the original (p. 281).
The transformation of the movement moving dully into мляво повзучи (sluggishly moving) resonates well with the intonation of the novel texture and its mood.
Finding: ST alienation variable 2 is re-expressed in translation with partial deformation; prevailing is the tendency of clarification and rationalization. 3.3.
To talk about the meaning unit of variable 3, let us first analyse the zeugma I felt overstuffed and dull and disappointed. As a matter of fact, these words signify the promises of youth years of Esther which, in the majority of cases, failed to be satisfying. I felt the overstuffed construct unfolded later in the sentence and exemplified by Christmas context. In the meantime, the I felt dull and disappointed construct resonates with the semantic dominant of Sylvia Plath and denotes senselessness, devastation and emotional dislocation.
The translator distorts this novelistic curdle and the underlying network of signification by adopting the crucial semantic shifts in the translated text. The translated variant ties (semantically and syntactically) all three words overstuffed and dull and disappointed to Christmas: Напередодні я переїла, дорогою почувалася знуджено й розчаровано, як то завжди після Різдва (On the eve I ate too much (ate too much is one word in translation as the Ukrainian language is synthetic and affixations allow that), on the way I felt bored and disappointed, as always after Christmas). Nevertheless, the translation catches the subtext of the promises that failed to come true and to be satisfying: as if whatever it was the pine boughs and the candles and the silver and gilt-ribboned presents and the birch-log fires and the Christmas turkey and the carols and the piano promised never came to pass is re-expressed as наче хтось пообіцяв мені, що соснові гілки, і свічки, і срібно-золоті стрічки, і вогнища на березових дровах, і різдвяна індичка, і колядки під акомпанемент піаніно ніколи не закінчаться, а вони закінчилися (as if someone had promised me that pine branches, and candles, and silver and gold ribbons, and bonfires on birch wood, and a Christmas turkey, and carols to the accompaniment of a piano would never finish, and they finished). Though placed at the end of the sentence structure in translation ніколи не закінчаться, а вони закінчилися (would never finish, and they finished), the sentence construction employed perfectly organizes the mode of expression.
Interesting fact, the variable 3 is a rare sample of rhythmicity and alliteration: dull and disappointed; Christmas-candles-carols; piano promised never came to pass. It might have been unintended by Plath, thought created an intensification of shapeless polylogic (in terms of Berman). The feature appeared to be re-created in translation: соснові гілки, і свічки, і срібно-золоті стрічки and, consequently, provides a fortunate rhythmic movement.
Finding: ST alienation variable 3 is re-expressed in translation with partial deformation; prevailing is the tendency of destruction of the underlying network of signification by introducing in the translated text words and specifiers which are avoided in the original. 3.4.
Meaning unit I felt very low of the variable 4 deciphers as I felt very depressed and dejected, and I ran out of my vital energy. The sense is intensified by the meaning unit I felt now that all the uncomfortable suspicions I had about myself were coming true, which reads as now is the time I have to be honest with myself and admit that I got exhausted by the dynamics of my life and it seems that I was slowing down, losing my primacy position. This was preceded by I had been unmasked […] by Jay Cee herself structure, meaning It was high time I started to realize, I began to see clearly. Esther had to be honest to her true self and face the reality, confess to herself. It echoes with NL 3 in which the words signify the promises of Esther‘s young life of Esther which, in the occured to be unsatisfying.
Translation, in its turn, neglects original iconicity and moves from polysemy to monosemy, which is a mode of clarification along with qualitative impoverishment. Translation of the original I felt very low reads as following Мені було геть невесело. (word for word back translation: To me it was геть (vernacular lexeme, untranslatable into English, missing in the original) not merrily). Thus, the syntactically defined unit I felt very low is lost in translation.
Next, original meaning unit I felt now that all the uncomfortable suspicions I had about myself were coming true, and I couldn’t hide the truth much longer is re-expressed in translation as я відчувала, що справджуються всі мої неприємні передчуття щодо самої себе, й уже не могла приховувати правду (word for word back translation I felt that are coming true all my unpleasant premonitions about myself, and could not hide the truth). majority of c Syntactically defined unit I felt now that is preserved in the translation.
Finding: ST variable 4 consists of two meaning units (defined syntactically and semantically); one is lost, another is preserved in translation. Partial deformation is observed in terms of clarification along with qualitative impoverishment. 3.5.
In translation, this variable 5, as well as variable 4 witnesses the substitute of subjectival I felt into objectival мені (to me), in such a way distorting the syntactically defined unit of the original.
Syntactically and semantically, this variable echoes with variable 3 (compare: I felt overstuffed and dull and disappointed) which pvoves author‘s intentionally elaborated network. As for variable 5, the wholicity of form and meaning is lost in translation. The translator re-accentuates the hidden dimension, where ‗certain signifiers correspond to link up‘ (in Berman‘s terms) and, eventually, destructs the underlying network of signification.
The original has the repetitious development with the stylistical effect of emotional climax I felt dull and flat and full of shattered visions. The distribution of the corresponding lexical items of the original is lost in translation Мені було нудно й буденно, усі надії вмирали в мене на очах (To me was boring and ordinary, all hopes were dying on my eyes).
Apart from this, addited to translation punctuation mark rationalizes the most meaningful elements of the prose, it annihilates the relations which prevail in the original between ordered and disordered (dull and flat and full of shattered visions).
Finding: ST alienation variable 5 is re-expressed in translation with destruction of the underlying network of signification by introducing in the translated text punctuation and eliminating I felt construction from translation. 3.6.
The narrator accentuates the loss of the protagonist‘s character and willpower through adjectives limp and betrayed, which suffices to show exhaustion and fatigue, accompanied by the shade of betrayal, driven from the context of Esther‘s growing alienation from her body by emphasizing the process of skin change (typical for reptiles) and portraying the imaginary relief to be free of the animal (inner beast); however, along with healing the body, the emptiness of the soul takes it turn. The self-metaphorization with the skin, rather than the animal, margins Esther‘s self reception as being the outsider, being betrayed and separated from the rest whole.
This variable has undergone deforming tendency in translation, first and foremost, the lexeme limp, initially meaning weak, not strong enough,powerless, loosing control over your body, is impoverished. The translation tends to impose the definite, which is, adopting Berman‘s ideas, typical for novel translations. The translator adopts qualitative impoverishment and creates a new image (absent in the original); she replaces signifying limp which is used repeatedly through the text (for example, the allegory: I knew something was wrong with me that summer, because all I could think about was the Rosenbergs and how stupid I’d been to buy all those uncomfortable, expensive clothes, hanging limp as fish in my closet, and how all the little successes I‘d totted up so happily at college fizzled to nothing outside the slick marble and plate-glass fronts along Madison Avenue). The translator has chosen a word розмокла that initially denotes soaked, processed by water, submerged. However, the syntactically defined unit I felt is preserved in translation.
Finding: ST alienation variable 6 is re-expressed in translation with destruction of the underlying network of signification and qualitative impoverishment of iconic word limp. 3.7.
This variable 7 is of interest, first and foremost, because of the syntactic structure preferred by Sylvia Plath. As seen in previous variables, she tends to use I felt variable + alienation, the latter expressed by means of adjectives (dull, devastated, etc. or/and a comparison with the particle like). Meanwhile here, poetization of prose is framed by I felt + alienation, the syntactically defined unit of which is presented via predominant noun-phrase (though preceded by a numeral one and adjective big), i.e.: I felt + one big twitch of exhaustion.
The meaning unit adds up to the topoi of exhaustion and devastation. Metaphorized via twitch of exhaustion, it intensifies physical and mental pang (as in a twitch of remorse). The applied to an entire work ‗frseh‘ iconicity of Plath, -iesxpressed in translation by means of a ‗fresh‘ coinage of the translator почувалася тугим кавалком виснаження (I felt a tight chunk of exhaustion). The TT word combination is alien and not typical to TT readers, which prompts the suggestion that the choice was deliberate. To our mind, the decision is justified as it encompasses the complexity of the original meaning unit so as to enhance the intended communicative effect on TT reader. This serves a vivid example when the translator does not only re-express the intended original meaning, but re-creates the author‘s estranged, postmodern mindset.
Finding: ST alienation variable 7 undergoes a number of transformations, which resulted in a positive analytic of translation. Despite the fact it is distanced from the original in terms of ‗same words usage‘ for adequate equivalency, translator preserved predomina-npthranseouinn I felt variable along with estranged metaphor (twitch of exhaustion).
ST variable 8 discloses the main heroine's self perception as miniscule being as confronted to the other rest. Meaning unit I felt myself shrink to a small black dot against intensifies her enduring position on the social margins. Instead of feeling harmony with the world aroun-di,maEgsether‘s self suggests an abiding sense of blurred identification I felt like a hole in the ground ventilates the burden of socialising experiences and belittled self-awareness in the circumstances the heroine lives in, dark and gloomy – Esther is convinced.
The target text exemplifies positive analyticity of translation and leaves original ‗unspoken‘ to remain unfolded in the translation. The ST reader is left guessing what might it be to feel like a hole in the ground, as, fortunately, is the TT reader почувалася, ніби яма в землі (to feel as a hole in the ground).
Finding: ST alienation NL 8 is liberated in translation, which mobilizes the shapeless polylogic of Plath‘s literary prose. 3.9.
Meaning unit I felt too dull to think up the excuse contains a signifier dull which is avoided in translation я була не в змозі вигадати поважну причину (I was not able to trump up a good reason). Proceeding in the translation, there is a combination Після вчорашнього важкого вечора (After yesterday‘s difficult evening) which, oaulgth renders the meaning, destructs the network of significance. The word dull constitutes a particular network, it witnesses the presence of a particular pattern (see NL 2,3,5,9). Another co-signifier is limp which is manifested throughout the texture, but more frequently finds itself outside the realm of I felt NL and remains systematic in I hate NL.
In addition, the translator combines ennoblement and qualitative impoverishment and substitutes the original chain of words for the glove, the handkerchief, the umbrella, the notebook I forgot with по забуту рукавичку чи носовичок, чи парасольку, чи сумочку (for the forgotten glove (used with diminutive) or handkerchief (used with diminutive), or umbrella (used with diminutive), or purse (used with diminutive). The choice of diminutive suffixation along with the substitution of original notebook with the lady‘s hangback in translation belitntlaersratitohne and contradicts to Sylvia Plath‘s worldview; these ‗girlish stereotypes‘ are genuinely the prehjeudhicaessbesen fighting against during the whole of her life.
This observation of ours is supported by the reviewer of the analysed translation. The reviewer
concludes that the translated text nurtures the ambition to ‗shift the text into a dnif‘f,erent dimensio
the translator desires to make the narrative more tender, innocent, frail, fragile, girlish, so to say.
Esther is not tender and far from romantic, she is portrayed pretty cynical and even sarcastic. She is a
decadent, appealing to self-indulgence, imbalanced and unstable, rather than sensitive and empatic
[
Finding: ST alienation NL 9 is re-expressed in translation and is negatively deformed. In addition, it banalizes the underlying significance and debilitates the content of Sylvniatal Plath‘s me act of liberation over suffocating ‗normal for woman‘.
Meaning unit I felt dreadfully inadequate of NL 10 indicates Esthers feeling of insecurity. The other meaning unit The trouble was, I had been inadequate all along, I simply hadn’t thought about it connects abstract now and always. Semantically, this chain of opposition is preserved in translation. Syntactically defined unit is lost. Compare original I felt dreadfully inadequate. The trouble was, I had been inadequate all along and translated я почулася страшенно нездібною. Прикрість полягала в тому, що такою я була ціле життя (I felt terribly incapable. The disappointment/trouble consisted in that like this I was whole life).
The translator clarifies the feature Esther verbalizes as inadequate and opts for the corresponding, contextually driven, нездібна, meaning incapable, lacking appropriate skills. Such a choice bears the destructive tendency as it does not recompose the signifier (I felt dreadfully) inadequate of the original narrative.
Finding: ST alienation NL 10 is re-expressed in translation and is negatively deformed. It clarifies the underlying significance and omits syntactically defined unit.
has been carried out within optimization of information
academAipcplitcoaptiocn ―of modern natural langLuavgive‖Poalyttechnic National University. Illustrated is the initial stage of the project which opts for the employment of modern digital tools within the usage of parallel translation corpora in quality assessment of translated product
This article explores how I felt-NL of Sylvia Plath is translated into Ukrainian. Necessary to note that the current analysis does not exceed the realm of I felt+alienation NL and should not be considered evaluative in relation to the whole translation product.
In a lucid way, we (a) discussed what comprises I felt-NL; (b) analysed how it is translated into Ukrainian by Olha Liubarska; (c) assessed the translated product on the basis of Antoine analytic of translation (negative and positive). Juxtaposing ST alienation NL with their translated variants enabled defining translation tendency. This resulted in argumentation that I felt-NL is significant for Plath‘s narrativeThoef Bell Jar because it is framed within main heroine flashbacks from the past and encapsulates her alienated self-identification. In the majority of cases this novelistic meaning unit (defined semantically and syntactically) has been exposed to negative analytic of translation with prevailing tendencies of clarification, rationalization, destruction of underlying network of significance. There are, though, bright examples of positive analytic of translation.
Themes: Alienation. Vol.editor Blake
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