Аттестационная работа (ИАР/ВАР) на тему Peculiarities of Verbalization of the Concept «Horror» and its Translation into Russian (Based on Prose by Stephen King and Howard Lovecraft)

Содержание:

Introduction. 4

Chapter 1. Scientific and theoretical
foundations of the study of the concept of "Horror" and methods of
its translation into Russian. 8

1.1 “Horror” as a psychological,
cultural and philosophical phenomenon. 8

1.2 Literary review of the sources of
the concept "Horror" and its translation into Russian. 11

1.3 Historical background of the
emergence and development of the concept "Horror" and methods of its
translation. 17

1.4 The essence and features of the
concept "Horror". 19

1.5 Features of the translation into
Russian of the concept "Horror" on the example of prose by Stephen
King and Howard Lovecraft 23

1.6 Summary of Results. 27

Chapter 2. Analytical foundations of
the language design of the concept "Horror" and methods of its
translation into Russian. 29

2.1 Genre and stylistic features of
prose by Stephen King. 29

2.2 Genre and stylistic features of
prose by Howard Lovecraft 35

2.3 Transfer of the conceptual
structure of the works by Stephen King and Howard Lovecraft when translated
into Russian. 41

2.4 Results and Discussion. 49

Chapter  3.  Practical  ways  of  development  and  translation  of  the
 concept
"Horror"  51

3.1 Transfer of linguistic means
expressing the concept of "Horror" in prose by Stephen King and
Howard Lovecraft 51

3.2 Comparative analysis of the
reconstruction of the concept of the state of anxious expectation in the works
of Stephen King and Howard Lovecraft 58

3.3 "Horror" and
"fear": terminological and ontological differences. 59

3.3.1 The emotional concept of
"horror" and "fear" in the vocabulary of Stephen King and
Howard Lovecraft 63

3.4 Problematic aspects of
translating prose by Stephen King and Howard Lovecraft into Russian and ways to
solve them.. 66

3.5 Results and Recommendations. 69

Conclusion. 71

References. 74

Введение:

Relevance of the research topic. The concept has system-forming characteristics, which
determines the study of the concept as a means of participating in the
organization of discourse. V.Z. Demyankov believes that the organization of
discourse takes place around certain basic concepts. Discourse contributes to
the creation of a general context describing the characters, objects,
circumstances, times, actions, etc. [13].

Today, at the present stage of the formation of
linguistics, the study of the specifics of functioning in the discourse of
various concepts is especially relevant. The concept is an object of many
studies in different directions, including linguoculturological,
psycholinguistic, linguo-cognitive. Therefore, scientists have already created
detailed descriptions of the concept in terms of its specific properties in
various approaches. However, "at the present stage of development of
science, the state of concept theory is a transitional state to" an
integrated form of production and ordering of scientific knowledge about the
concept" [7, с. 25]. L.V. Bronnik speaks of a tendency to
create a unified concept theory that integrates knowledge generated by
different scientific fields. The creation of a unified theory will provide an
opportunity to study the concept as a complex evolving phenomenon [7, с. 25].

As you know, in the age of universal computerization
and high technologies, people’s speech becomes more impoverished, becomes
tongue-tied. The speech of young people is especially replete with cliches,
slang, jargon. But it is known that a person’s speech expresses his level of
development.

Language is a mirror that stands between man and the
world. Language is one of the most important sources for the formation and
manifestation of the mentality of the people. Language is a means of preserving
culture and transmitting it to future generations. In other words, the language
directly displays the picture of the world of a particular people.

The linguistic picture of the world is a reflection of
the general national idea of the world, of concepts that are interconnected
with the ideals of society, phenomena of the external or mental world, which
were assessed by members of society, negative and positive emotions of people.

At the next stage in the development of humanitarian
knowledge, and in the course of an active transition from linguistics, focused
on learning the language in itself, to anthropological linguistics, which
studies language in connection with a person, his thinking and consciousness,
modern linguistic thought is faced with the need for a new term for an adequate
designation of the content side of a linguistic sign, which would remove the
functional limitations of the traditional meaning and sense and in which
logical-psychological and linguistic categories would be organically combined.

Заключение:

In the course of the work, sources related to the
theory of horror literature were studied. On the basis of the analyzed
material, it was revealed that authors of horror fiction cannot do without
linguistic and stylistic means of creating the concept of horror. These means
of artistic expression bring clarity of the author’s idea and the emotional
coloring of the literary text to the works.

Summing up our research, we come to the conclusion
that the work of S. King has its own special features, the author undoubtedly
has a unique style that distinguishes his works from other works of the horror
genre. The idiostyle is created by textual means as well as cultural
references. The main features of S. King’s idiostyle include both extra- and
intralinguistic components.

E. Poe, M. Shelley, I.V. Goethe, Arabian mystical
stories. The concept of cosmic horror in the writer’s work has become close to
the ideas of existentialism and, being realized, does not lead to catharsis,
unlike the sacred horror of the ancient mysteries.

On the basis of the analyzed material, it was revealed
that the main elements of the means of creating the effect of horror are a
large number of words, phrases and expressions that have common components of
"fear" and "horror" in their meanings, all kinds of metaphors,
omissions of words and their lexical replacement, which help better and more
clearly define the semantic shades of statements, and bring variety to the work
of art.

Having considered the linguo-stylistic means of
creating the effect of horror on the examples of the works of S. King and H.
Lovecraft, the techniques were identified with the help of which the creation
of the effect of horror in works of art is carried out: often there are such
linguistic-stylistic means of creating the effect of horror as metaphor,
hyperbole, idiom, personification, etc. an artistic device such as comparison
is especially common.

The concept of "horror" in the works of
Stephen King and Howard Lovecraft has a unique character, as it is part of the
individual artistic world of the work. We came to the conclusion that the
experience of fear is justified by the peculiarities of the author’s perception
of the world, namely, by his perception of the role of a person as negligible,
which he, accordingly, conveys to the heroes of his work.

For authors, it is most typical to use the name of the
concept in the first vocabulary concept, the most frequent in the
English-speaking environment. Among the signs of the concept, we identified an
external manifestation of fear (description of facial expressions, appearance,
nature), as well as such mandatory components of the concept as filling with
fear and overcoming it, which are reflected in the text of the work.

Фрагмент текста работы:

“Horror” as a
psychological, cultural and philosophical phenomenon It is difficult to talk about a scientific study of
such a phenomenon as horror. There is something "terrible" in horror
that prevents rational comprehension. It is rather a subject for artistic
creations and unconscious psychological experiences. The images of horror
overwhelm art, literature, cinema (especially modern). The irrational nature of
this phenomenon makes it difficult for scientific analysis, since the latter
presupposes consistency and verification, which is very problematic in this
case.

And yet, we can talk about the scientific study of
horror, which takes place in such humanitarian disciplines as linguistics,
cultural studies, literary studies, semiotics, ethnology, psychology, etc.

The word "horror" denotes a state that is
beyond common sense and the natural natural and social order. We can say that
human consciousness resorts to the lexeme "horror" when it cannot
rationally cope with the situation in which it finds itself. Thus, the state of
horror reflected in the language testifies to the presence of the irrational
both in being and in the person himself.

It is important to note that in the language, with all
the lexical and semantic difference between the concepts of "horror"
and "fear", very often they are confused. Horror and fear appear as
close synonyms: one is defined through the other. This is due to the fact that
these concepts have one referent, represented by extreme emotions and therefore
it is difficult to define rationally. The semantic expansion of
"horror" occurs, first of all, at the expense of the meanings
associated with fear, dread, fear (all these are different facets of horror
with different intensities of the basic concept). Horror is defined
quantitatively as the maximization of fear: “horror is an overly intense
experience of fear associated with the opinion of an individual who believes
that danger threatens with collapse, loss of any values and threatens death. At
the same time, at the level of mass consciousness, horror manifests itself in
the form of panic" [56, p. 13].

The confusion of the concepts "horror" and
"fear" is manifested in texts of various genres: in scientific
(psychological), and theological, and artistic, and philosophical. Here it is
necessary to dwell on the philosophical text, taking as an example one of the
few philosophical works devoted to a comprehensive examination of the
phenomenon of horror. We are talking about the work of Leonid Lipavsky
"Study of Horror". This work is an interdisciplinary research carried
out at the intersection of psychology, physiology, cultural studies,
linguistics, and philosophical essayism. Nevertheless, as we believe, the
philosophical aspect is manifested here to a greater extent, and therefore we
take this text as an example of a philosophical text [31, p. 26-28].