Chapter 3 Conclusions

Based on the concept of translation space L.V. Kushnina (2003, 2004), as well as the studies of E.V. Mordovskaya (2006), S.S. Nazmutdinova (2008), I.N. Khaidarova (2008), N.G. Gonchar (2009), we came to the conclusion that the criteria of adequacy and equivalence to evaluate the translation are not enough. In this regard, in this paper an attempt is made to compare the original and translations from the standpoint of the Gestalt-synergetic concept of L.V. Kushnina.

The cognitive aspect of translation is closely related to Gestalt-synergetic studies of the interaction of languages ​​and cultures. From the point of view of the Gestalt-synergetic paradigm of thinking in linguistics, translation can be represented as a system of transposing the meanings of the text of one culture into the text of another culture, which is controlled by deep linguistic-synergetic processes.

Comparative analysis of the translation of realities and translation of the phenomenon of "laughter" in the poem by N.V. Gogol's "Dead Souls" was made on the basis of a study of the transposition of differential meanings: modal, individual-figurative, associative-semiological, reflective and irradiating.

The essence of differential meanings can be represented as follows: modal meaning is the deep meaning that is embedded in the text by its author, individual figurative meaning reflects the field of the translator, associative semiological meaning in a broad sense implies culture and intercultural communication, reflective meaning reflects the field of the recipient, and the irradiating meaning, being the source of the polythinking of the text, reflects its energy field or emotional meaning.

In the course of studying the problem of the formation of the translation space in the poem by N.V. Gogol's "Dead Souls", a cognitive approach was used, which made it possible to identify the translation space in a new way. The translation space was considered by us in the context of the translation space paradigm of L.V. Kushnina as a consequence of the interaction of explicit-implicit semantic fields.

It was found that under the term translation space it is advisable to understand the form of consciousness in which the translator's feelings are located, characterizing his way of perceiving the world.

Highlighting the individual features of translations from the point of view of various translators within the framework of the poem by N.V. Gogol's "Dead Souls", allows us to state that the modal meaning was most accurately conveyed by R. Maguire, in whose translation the emotional coloring of the work is most subtly captured. The translations of K. English and D. Hogarth are characterized by an accurate transmission of information, but do not transmit a reliably modal meaning. At the same time, the study of the transposition of the key theme of the work showed that the translations of K. English and R. Maguire contributed to the most accurate transfer of the features of the poem by N.V. Gogol.

The creation of an individual figurative meaning by translators occurs almost identically, all English-speaking authors equally successfully transpose N.V. Gogol subtext.

It was noted that the cognitive aspect of the formation of the translation space in the poem is revealed through the overtext, which refers to the conditions for the generation of the text, which have a non-linguistic nature. In this regard, the irradiating meaning was quite fully conveyed by K. English.

Comparison of the texts of the translation and the original from the standpoint of the phatic field, namely, with the aim of extracting the associative-semiological meaning, shows that the historical and cultural component in the texts of the translation is not fully conveyed, since the recipient receives inaccurate information, that is, when the translation space is formed, a transformation occurs intertext and the loss of a component of meaning that is relevant to the interrelations and contradictions of the cultural nature of Gogol's time.

The transposition of the reflective meaning caused a particular difficulty for the translators, who could not convey the subtle humor of N.V. Gogol and all shades of the phenomenon of "laughter" due to the use of an adaptive translation strategy.

So, the translation process is presented as a set of operations on the meanings of the original text carried out by translators. Thus, when translating, there is a constant dynamic synergetic process of transposing the meanings of the original into the meaning of the translated text. When analyzing the cognitive aspects of the translation of the poem "Dead Souls", we focus on the text as an object of intersection of languages ​​and cultures, where there is a clash and transposition of meanings in the process of translation. Consequently, the study of the cognitive aspects of the translation of the poem by N.V. Gogol from the standpoint of the Gestalt-syphergic approach makes it possible to analyze translation as a complex process of semantic transposition.

CONCLUSION

The purpose of this dissertation1 research is a comparative linguocognitive analysis of the poem by the great Russian writer N.V. Gogol's "Dead Souls" and the three most authoritative translations of this work in English. This study is based on the works of such English-speaking translators as R. Maguire, K. English and D. Hogarth.

The dissertation work touches upon aspects of sociolinguistics, cultural studies, literary criticism, psycholinguistics and translation theory: In this study, an attempt was made to substantiate a cognitive approach to solving a number of translation problems, both theoretical and practical. As a cognitive aspect, we take as a basis the Gestalt-synergetic approach developed by L.V. Kushpina, thanks to which it is possible to implement a systematic vision of translation both as a process and as a result, and also to achieve translation harmony.

Revealing the essence of the translation process, as well as revealing the main patterns of translation techniques, the cognitive approach allows you to move to a qualitatively new level of translation comprehension. The desire to penetrate into the depths of the translation process requires new cognitive possibilities. At the present stage of development of science, cognitive sciences, the subject of which is the study of the structure and functioning of human knowledge in all aspects of their acquisition, storage and processing, have these opportunities to a greater extent.

The analysis of theoretical and methodological approaches to the study of the cognitive aspect of translations was based on< идентификации русских языковых реалий поэмы «Мёртвые души» и гоголевского феномена «смех» и особенностей транспонирования данных лингвопереводческих факторов на английский язык. В ходе анализа было установлено, что в исследуемой поэме феномен «смех» часто находит своё лингвосемантическое отражение в языковых реалиях.

Us? a comprehensive study of existing approaches to the definition * of linguistic realities and their evolution was carried out, which allowed us to formulate. own definition. Based on the analysis of domestic and foreign literature, we have studied and summarized semantic categories that can be classified as linguistic realities. Imi; one way or another, there are words and phrases, less often - phrases that convey an emotional and spiritual context. IN; As a result, we refuted the legitimacy of a narrow interpretation of linguistic realities; their extended interpretation is proposed, as well as justified; expediency: identifying precisely “linguistic realities”, a. no, realities like; such, - Within the framework of the adopted; using our extended approach, we formulated the author's definition of linguistic realities, denoting; them as words, phrases, phrases, sentences and their totality, intended to denote concepts, objects, objects. phenomena and situations that are absent in another socio-cultural environment and another language, related to specific cultural elements that do not have corresponding stable analogues and equivalents outside the native language, to which they directly belong.

Also in the first part of the work we carried out the conceptualization of the phenomenon of "laughter". In translation studies, this category, being a sociocultural phenomenon, is of interest from the point of view of display features, mentality, and cultural and everyday traditions of a person. We came to the conclusion that the phenomenon of laughter is a more voluminous concept than just a reflective category: It exists in an inseparable dichotomous relationship with the concept of "sin", forming; together in tandem, similar to tragic and comic. Of particular importance from the point of view of the practice of translation is the nature of these phenomena, which has a religious historical character, rooted in the culture, traditions, as well as the peculiarities of the life of the corresponding ethnic group.

From the point of view of translation studies, the need for conceptualization, that is, taking the categories under consideration beyond the scope of the lexicological interpretation, is due to the in-depth, expanded role assigned to these phenomena. So, we have proved that N.V. Gogol turned to* laughter as a cultural component acting as a facilitator of artistic comprehension.

Analysis of the history of translations of N.V. Gogol, showed the presence of a number of characteristic features that leave an imprint on the perception of his work.

Comparison of the Gogol "poem and the works of English-speaking writers allows us to state that the work of N.V. Gogol is extremely difficult to translate, since his works are characterized by national color and originality.

The identification of the specifics of translations of literary texts, carried out by us, made it possible to determine the most problematic Russian language realities in terms of translation and the phenomenon of “laughter” by N.V. Gogol.

In the course of the study, we noted that the specificity of Gogol's creativity is most often manifested through the use of ethnographic realities. Often, when translating them, there is a loss of background knowledge, as a result of which the reader does not form a full-fledged image of the characters and the environment. This trend is typical for D. Hogarth's translations, which is due, among other things, to the fact that this translator often resorts to shortening the author's material, omitting entire sentences. The most successful in this regard are the translations of K. English and -R. Maguire, as they contribute to the transfer of the writer's picture of the world. At the same time, in the translations of D. Hogarth, such a technique as transliteration is most often encountered. It allows you to more fully convey the historical and situational context, revealing the emotional coloring of events.

With regard to the phenomenon of “laughter”, it can be stated that the use of mocking laughter is more common, “ridiculing the moral qualities of a person and his vices, comparing characters with objects and animals. A comparative analysis shows that communications based on the creation of “ironic reality” with the help of linguistic realities, contribute to the disclosure * of the cognitive aspect. At the same time, N.V. Gogol often resorts to prefixation, which gives a comical shade to fragments of the work. Analysis of the translations shows that this stylistic feature was not fully conveyed by any of the translators.

In the course of a comparative analysis, we have revealed that the Russian language realities of the poem "Dead Souls" and Gogol's phenomenon of "laughter" present a serious problem when translated into English. Asymmetry of background knowledge, misunderstanding of the author's intention, inability to "read between the lines", which is relevant for this work by N.V. Gogol, as well as an inaccurately transmitted historical and cultural component leads to translation difficulties. In this regard, translators most often look for their own solution, justified by various factors of linguistic and pragmatic orientation.

The analysis implemented in the dissertation research, based on the theory of equivalence, was further developed in the application of the Gestalt-sypergetic paradigm, which makes it possible to advance in achieving a communicative contact between the researcher and the subject being studied. fragment of reality. Comparative analysis of the translation of realities and translation of the phenomenon of "laughter" in the poem by N.V. Gogol's "Dead Souls" was made on the basis of a study of the transposition of differential meanings: modal, individually-figurative, associative-"semiological, reflective and irradiating.

It was found that the modal meaning is the main one in the cognitive aspect of translation. The analysis showed that with regard to the transposition of the modal meaning, R.

Maguire, since his translation to a greater extent conveyed the intriguing tone of N.V. Gogol. The individual-figurative and associative-semiological meanings are most subtly captured in D. Hogarth's translation, which accurately conveys the irony of Gogol's text and the idea of ​​a special path for Russia. The irradiating meaning is achieved due to the transposition of the energy field, which is best seen in the translation of K. English. Of particular difficulty is the transposition of the reflective meaning, where the differentiation of the original text and translations is clearly manifested due to the use of an adaptive translation strategy.

In the course of studying the problem of the formation of the translation space in the poem by N.V. Gogol's "Dead Souls", a cognitive approach was used, which made it possible to identify the translation space in a new way. It was found that this term should be understood as the form of consciousness in which the translator's feelings are located, which characterize his way of perceiving the world.

The analysis of the translation space was based on the identification of various differential meanings in the translation of the poem by N.V. Gogol "Dead Souls" with the help of decomposition. At the same time, the translation space was considered by us in the context of the translation space paradigm of L.V. Kushnina as a consequence of the interaction of explicit-implicit semantic fields.

Thus, it was found that the translator's cognitive activity is key in the study of linguistic realities and the phenomenon of "laughter". It seems that the vision of the problem of creating a translation space formed in the course of the study can help improve the quality of translation^ and, consequently, a more complete and accurate perception of the author's text by a foreign reader (recipient).

The results of the study allow us to draw the following conclusions:

The cognitive approach in translation studies is designed to solve the problems of interpreting the deep content of the text, which is the main one in a work of art;

The cognitive approach based on the Gestalt-synergetic model of translation makes it possible to implement a systematic vision of translation both as a process and as a result;

When analyzing the results of literary translation, the cognitive aspect of the translator's activity is important.

This study attempts to substantiate the cognitive approach to solving a number of translation problems, both theoretical and practical, the study of which is a popular and promising area in modern linguistics and translation studies.

The work carried out made it possible to outline a number of new directions related to the study of the cognitive aspect of the translation of works of art: the study of the patterns of application of translation techniques and their combinations in the translation of linguistic realities and the phenomenon of "laughter" in various types of texts and on the material of other languages.

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