title: Ð¡ÑÐ¸Ð»Ð¸ÑÑÐ¸ÑÐµÑÐºÐ¸Ðµ Ð¾ÑÐ¾Ð±ÐµÐ½Ð½Ð¾ÑÑÐ¸ Ð¸ÑÐ¿Ð¾Ð»ÑÐ·Ð¾Ð²Ð°Ð½Ð¸Ñ Ð°Ð½Ð³Ð»Ð¸ÑÐ¸Ð·Ð¼Ð¾Ð² Ð¿ÑÐ¸ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ðµ Ñ ÑÐ´Ð¾Ð¶ÐµÑÑÐ²ÐµÐ½Ð½Ð¾Ð¹ Ð¿ÑÐ¾Ð·Ñ (Ð½Ð° Ð¼Ð°ÑÐµÑÐ¸Ð°Ð»Ðµ ÑÐ²Ð¾ÑÑÐµÑÑÐ²Ð° ÐÐ¸Ð½ÑÐ¾Ð½Ð°)
title: Ð²ÑÐ¿ÑÑÐºÐ½Ð°Ñ ÐºÐ²Ð°Ð»Ð¸ÑÐ¸ÐºÐ°ÑÐ¸Ð¾Ð½Ð½Ð°Ñ ÑÐ°Ð±Ð¾ÑÐ° Ð±Ð°ÐºÐ°Ð»Ð°Ð²ÑÐ°
titleType: Subtitle
title: Stylistic features of anglicisms in the translation of literary prose of the postmodern era (based on Thomas Pynchons work)
Creators: name: ÐÑÑÐ¸Ð½Ð°, ÐÐ°Ð»ÐµÐ½ÑÐ¸Ð½Ð°
Publisher: name: Ð¡Ð°Ð½ÐºÑ-ÐÐµÑÐµÑÐ±ÑÑÐ³ÑÐºÐ¸Ð¹ Ð¿Ð¾Ð»Ð¸ÑÐµÑÐ½Ð¸ÑÐµÑÐºÐ¸Ð¹ ÑÐ½Ð¸Ð²ÐµÑÑÐ¸ÑÐµÑ ÐÐµÑÑÐ° ÐÐµÐ»Ð¸ÐºÐ¾Ð³Ð¾
Year: 2024
Subjects: Ñ ÑÐ´Ð¾Ð¶ÐµÑÑÐ²ÐµÐ½Ð½Ð°Ñ Ð¿ÑÐ¾Ð·Ð°
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ÑÐ²Ð¾ÑÑÐµÑÑÐ²Ð¾ ÐÐ¸Ð½ÑÐ¾Ð½Ð°
Ð°Ð½Ð³Ð»Ð¸ÑÐ¸Ð·Ð¼Ñ
Ð»ÐµÐºÑÐ¸ÑÐµÑÐºÐ¸Ðµ Ð·Ð°Ð¸Ð¼ÑÑÐ²Ð¾Ð²Ð°Ð½Ð¸Ñ
ÐºÑÐ»ÑÑÑÑÐ½Ð°Ñ ÑÐ¿ÐµÑÐ¸ÑÐ¸ÐºÐ°
ÑÐ·ÑÐºÐ¾Ð²Ð°Ñ Ð¸Ð½ÑÐµÑÑÐµÑÐµÐ½ÑÐ¸Ñ
ÑÑÐ¸Ð»Ð¸ÑÑÐ¸ÑÐµÑÐºÐ°Ñ Ð¼Ð°ÑÐºÐ¸ÑÐ¾Ð²Ð°Ð½Ð½Ð¾ÑÑÑ
ÑÐºÑÐ¿ÑÐµÑÑÐ¸Ð²Ð½Ð¾ÑÑÑ
ÑÑÐ¸Ð»Ð¸ÑÑÐ¸ÐºÐ° Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð°
ÑÐºÐ²Ð¸Ð²Ð°Ð»ÐµÐ½ÑÐ½Ð¾ÑÑÑ Ð¸ Ð°Ð´ÐµÐºÐ²Ð°ÑÐ½Ð¾ÑÑÑ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð°
fiction
postmodernism
Pynchonâs work
anglicisms
lexical borrowings
cultural specificity
language interference
stylistic labeling
expressivity
translation &amp; stylistics
equivalence and adequacy of translation

description: ÐÐ°ÑÑÐ¾ÑÑÐ°Ñ ÑÐ°Ð±Ð¾ÑÐ° Ð¿Ð¾ÑÐ²ÑÑÐµÐ½Ð° Ð¸Ð·ÑÑÐµÐ½Ð¸Ñ ÑÑÐ¸Ð»Ð¸ÑÑÐ¸ÑÐµÑÐºÐ¸Ñ Ð¾ÑÐ¾Ð±ÐµÐ½Ð½Ð¾ÑÑÐµÐ¹ Ð¸ÑÐ¿Ð¾Ð»ÑÐ·Ð¾Ð²Ð°Ð½Ð¸Ñ Ð°Ð½Ð³Ð»Ð¸ÑÐ¸Ð·Ð¼Ð¾Ð² Ð¿ÑÐ¸ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ðµ ÑÐµÐºÑÑÐ° ÑÑÐ´Ð¾Ð¶ÐµÑÑÐ²ÐµÐ½Ð½Ð¾Ð¹ Ð¿ÑÐ¾Ð·Ñ ÑÐ¿Ð¾ÑÐ¸ Ð¿Ð¾ÑÑÐ¼Ð¾Ð´ÐµÑÐ½Ð¸Ð·Ð¼Ð° Ð½Ð° Ð¿ÑÐ¸Ð¼ÐµÑÐµ ÑÐ²Ð¾ÑÑÐµÑÑÐ²Ð° Ð¢Ð¾Ð¼Ð°ÑÐ° ÐÐ¸Ð½ÑÐ¾Ð½Ð° Ð¸ ÐµÐ³Ð¾ ÑÐ¾Ð¼Ð°Ð½Ð° Â«ÐÑÐ°Ð¹ Ð½Ð°Ð²ÑÐ»ÐµÑÂ» (âBleeding Edgeâ, 2013 Ð³.) Ð² Ð¿ÐµÑÐµÐ²Ð¾Ð´Ðµ Ð½Ð° ÑÑÑÑÐºÐ¸Ð¹ ÑÐ·ÑÐº Ð.Ð. ÐÐµÐ¼ÑÐ¾Ð²Ð°. Ð ÑÐ°Ð±Ð¾ÑÐµ Ð¿ÑÐ¾Ð°Ð½Ð°Ð»Ð¸Ð·Ð¸ÑÐ¾Ð²Ð°Ð½Ñ ÑÐµÐ¾ÑÐµÑÐ¸ÑÐµÑÐºÐ¸Ðµ Ð°ÑÐ¿ÐµÐºÑÑ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° ÑÑÐ´Ð¾Ð¶ÐµÑÑÐ²ÐµÐ½Ð½Ð¾Ð³Ð¾ ÑÐµÐºÑÑÐ°, Ð¾Ð¿ÑÐµÐ´ÐµÐ»ÐµÐ½Ð° ÑÐ²ÑÐ·Ñ Ð»Ð¸Ð½Ð³Ð²Ð¸ÑÑÐ¸ÑÐµÑÐºÐ¾Ð¹ ÑÐµÐ¾ÑÐ¸Ð¸ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° Ð¸ ÑÐ¾Ð¿Ð¾ÑÑÐ°Ð²Ð¸ÑÐµÐ»ÑÐ½Ð¾Ð¹ ÑÑÐ¸Ð»Ð¸ÑÑÐ¸ÐºÐ¸. Ð Ð°ÑÑÐ¼Ð¾ÑÑÐµÐ½Ñ ÑÐ°ÐºÐ¸Ðµ ÐºÐ»ÑÑÐµÐ²ÑÐµ Ð¿Ð¾Ð½ÑÑÐ¸Ñ, ÐºÐ°Ðº Â«Ð°Ð´ÐµÐºÐ²Ð°ÑÐ½Ð¾ÑÑÑÂ» Ð¸ Â«ÑÐºÐ²Ð¸Ð²Ð°Ð»ÐµÐ½ÑÐ½Ð¾ÑÑÑÂ» Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð°. ÐÑÐ´ÐµÐ»ÐµÐ½Ñ Ð¾ÑÐ¾Ð±ÐµÐ½Ð½Ð¾ÑÑÐ¸ ÑÑÐ½ÐºÑÐ¸Ð¾Ð½Ð¸ÑÐ¾Ð²Ð°Ð½Ð¸Ñ Ð·Ð°Ð¸Ð¼ÑÑÐ²Ð¾Ð²Ð°Ð½Ð½ÑÑ Ð² ÑÑÑÑÐºÐ¸Ð¹ ÑÐ·ÑÐº ÑÐ»Ð¾Ð² Ð°Ð½Ð³Ð»Ð¸Ð¹ÑÐºÐ¾Ð³Ð¾ Ð¿ÑÐ¾Ð¸ÑÑÐ¾Ð¶Ð´ÐµÐ½Ð¸Ñ, Ð¸Ñ ÑÑÐ¸Ð»Ð¸ÑÑÐ¸ÑÐµÑÐºÐ°Ñ Ð¾ÐºÑÐ°ÑÐºÐ°, Ð¾ÑÐ½Ð¾Ð²Ð½ÑÐµ Ð¿ÐµÑÐµÐ²Ð¾Ð´ÑÐµÑÐºÐ¸Ðµ ÑÑÑÐ°ÑÐµÐ³Ð¸Ð¸ Ð´Ð»Ñ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° Ð»Ð°ÐºÑÐ½Ð°ÑÐ½ÑÑ ÑÐ²Ð»ÐµÐ½Ð¸Ð¹. Ð¡ Ð¿Ð¾Ð¼Ð¾ÑÑÑ Ð¼ÐµÑÐ¾Ð´Ð¾Ð² ÑÑÐ¸Ð»Ð¸ÑÑÐ¸ÑÐµÑÐºÐ¾Ð³Ð¾ Ð°Ð½Ð°Ð»Ð¸Ð·Ð° Ð¸ ÑÑÐ°Ð²Ð½Ð¸ÑÐµÐ»ÑÐ½Ð¾-ÑÐ¾Ð¿Ð¾ÑÑÐ°Ð²Ð¸ÑÐµÐ»ÑÐ½Ð¾Ð³Ð¾ Ð°Ð½Ð°Ð»Ð¸Ð·Ð° Ð±ÑÐ»Ð¾ ÑÑÑÐ°Ð½Ð¾Ð²Ð»ÐµÐ½Ð¾, ÑÑÐ¾ ÑÐ°ÑÑÑ Ð°Ð½Ð³Ð»Ð¸ÑÐ¸Ð·Ð¼Ð¾Ð² (Ð¸Ð· Ð¾Ð±Ð»Ð°ÑÑÐ¸ ÐºÐ¾Ð¼Ð¿ÑÑÑÐµÑÐ½ÑÑ ÑÐµÑÐ½Ð¾Ð»Ð¾Ð³Ð¸Ð¹ Ð¸ Ð¾Ð±Ð¾Ð·Ð½Ð°ÑÐ°ÑÑÐ¸Ðµ Ð°Ð¼ÐµÑÐ¸ÐºÐ°Ð½ÑÐºÐ¸Ðµ ÑÐµÐ°Ð»Ð¸Ð¸) Ð´ÐµÐ»Ð°ÐµÑ Ð¿ÐµÑÐµÐ²Ð¾Ð´ ÑÐ¾Ð¼Ð°Ð½Ð° Ð¢Ð¾Ð¼Ð°ÑÐ° ÐÐ¸Ð½ÑÐ¾Ð½Ð° Â«ÐÑÐ°Ð¹ Ð½Ð°Ð²ÑÐ»ÐµÑÂ» Ð±Ð¾Ð»ÐµÐµ Ð°ÑÑÐµÐ½ÑÐ¸ÑÐ½ÑÐ¼, Ð² ÑÐ¾ Ð²ÑÐµÐ¼Ñ ÐºÐ°Ðº Ð·Ð°Ð¸Ð¼ÑÑÐ²Ð¾Ð²Ð°Ð½Ð¸Ñ, Ð¸Ð¼ÐµÑÑÐ¸Ðµ ÑÑÐ½ÐºÑÐ¸Ð¾Ð½Ð°Ð»ÑÐ½ÑÐµ Ð°Ð½Ð°Ð»Ð¾Ð³Ð¸ Ð² ÑÑÑÑÐºÐ¾Ð¼ ÑÐ·ÑÐºÐµ, Ð´ÐµÐ»Ð°ÑÑ ÑÐµÐºÑÑ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° ÑÑÐ¸Ð»Ð¸ÑÑÐ¸ÑÐµÑÐºÐ¸ Ð½ÐµÐ¾Ð´Ð½Ð¾ÑÐ¾Ð´Ð½ÑÐ¼ Ð¸ ÑÑÑÐ´Ð½ÑÐ¼ Ð´Ð»Ñ Ð¿Ð¾Ð½Ð¸Ð¼Ð°Ð½Ð¸Ñ.
description: The present study focuses on exploring the stylistic features of anglicisms in the translation of literary prose of the postmodern era, exemplified by the work of Thomas Pynchon, his novel âBleeding Edgeâ (2013) translated into Russian by M.V. Nemtsov. Theoretical aspects crucial for translating literary texts have been examined, as well as the connection between translation theory and comparative stylistics. Such key concepts as âadequacyâ and âequivalenceâ in translation have been studied. The functioning peculiarities of borrowed English words in Russian, their stylistic labeling, and the primary translation strategies for dealing with lexical gaps have been considered. Stylistic and comparative analyses have shown that some anglicisms (related to computer technologies and American realities) enhance the authenticity of the translation of Thomas Pynchonâs novel âBleeding Edgeâ, while excessive usage of anglicisms that have functional equivalents in Russian makes the text stylistically heterogeneous and challenging to understand.