title: Ð¤ÑÐ½ÐºÑÐ¸Ð¸ ÑÐ»Ð¾Ð¶Ð½ÑÑ Ð¸ ÐºÐ¾Ð¼Ð¿Ð»ÐµÐºÑÐ½ÑÑ Ð¾ÐºÐºÐ°Ð·Ð¸Ð¾Ð½Ð°Ð»Ð¸Ð·Ð¼Ð¾Ð² Ð² Ñ ÑÐ´Ð¾Ð¶ÐµÑÑÐ²ÐµÐ½Ð½Ð¾Ð¼ ÑÐµÐºÑÑÐµ Ð¸ Ð¾ÑÐ¾Ð±ÐµÐ½Ð½Ð¾ÑÑÐ¸ Ð¸Ñ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° Ð½Ð° ÑÑÑÑÐºÐ¸Ð¹ ÑÐ·ÑÐº (Ð½Ð° Ð¼Ð°ÑÐµÑÐ¸Ð°Ð»Ðµ ÑÐ¾Ð²ÑÐµÐ¼ÐµÐ½Ð½Ð¾Ð¹ Ð±ÑÐ¸ÑÐ°Ð½ÑÐºÐ¾Ð¹ Ð¿ÑÐ¾Ð·Ñ)
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: The functions of complex occasionalisms in a literary text and the peculiarities of their translation into Russian (based on the material of modern British prose)
Creators: name: ÐÐ°ÑÐ¾Ð½ÐºÐ¸Ð½Ð°, ÐÐ°ÑÐ°Ð»ÑÑ
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: 2023
Subjects: Ð¾ÐºÐºÐ°Ð·Ð¸Ð¾Ð½Ð°Ð»Ð¸Ð·Ð¼
Ð¿ÐµÑÐµÐ²Ð¾Ð´
ÑÐ»Ð¾Ð²Ð¾Ð¾Ð±ÑÐ°Ð·Ð¾Ð²Ð°Ð½Ð¸Ðµ
Ñ ÑÐ´Ð¾Ð¶ÐµÑÑÐ²ÐµÐ½Ð½ÑÐ¹ ÑÐµÐºÑÑ
occasionalism
translation
word formation
literary text

description: Ð Ð´Ð°Ð½Ð½Ð¾Ð¹ ÑÐ°Ð±Ð¾ÑÐµ ÑÐ°ÑÑÐ¼Ð°ÑÑÐ¸Ð²Ð°ÐµÑÑÑ ÑÑÑÑÐºÑÑÑÐ° Ð¸ ÑÑÐ½ÐºÑÐ¸Ð¸ ÑÐ»Ð¾Ð¶Ð½ÑÑ Ð¸ ÐºÐ¾Ð¼Ð¿Ð»ÐµÐºÑÐ½ÑÑ Ð¾ÐºÐºÐ°Ð·Ð¸Ð¾Ð½Ð°Ð»Ð¸Ð·Ð¼Ð¾Ð² Ð² ÑÑÐ´Ð¾Ð¶ÐµÑÑÐ²ÐµÐ½Ð½Ð¾Ð¼ ÑÐµÐºÑÑÐµ Ð¸ Ð²Ð¸Ð´Ñ Ð¸Ñ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð°. ÐÐ°ÑÐµÑÐ¸Ð°Ð»Ð¾Ð¼ Ð´Ð»Ñ Ð¸ÑÑÐ»ÐµÐ´Ð¾Ð²Ð°Ð½Ð¸Ñ Ð¿Ð¾ÑÐ»ÑÐ¶Ð¸Ð»Ð° ÑÐ¾Ð²ÑÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð±ÑÐ¸ÑÐ°Ð½ÑÐºÐ°Ñ Ð¿ÑÐ¾Ð·Ð°, Ð° Ð¸Ð¼ÐµÐ½Ð½Ð¾ ÑÐ¾Ð¼Ð°Ð½ ÐÐ¶Ð¾Ð½Ð° ÐÐ°Ð½ÑÐµÑÑÐµÑÐ° Â«Ð¡ÑÐ¾Ð»Ð¸ÑÐ°Â» Ð¸ ÑÐ¾Ð¼Ð°Ð½Ñ ÐÐµÑÐ¸Ð°Ð½ ÐÐµÐ¹Ð· Â«Ð¡ÑÑÐ¸ Ð´Ð»Ñ Ð½Ð°ÑÐ¸Ð½Ð°ÑÑÐ¸ÑÂ» Ð¸ Â«ÐÐ¾Ð´ Ð¾Ð´ÐµÑÐ»Ð¾Ð¼Â». ÐÐºÑÑÐ°Ð»ÑÐ½Ð¾ÑÑÑ ÑÐµÐ¼Ñ Ð¾Ð±ÑÑÐ»Ð¾Ð²Ð»ÐµÐ½Ð° Ð½ÐµÐ´Ð¾ÑÑÐ°ÑÐ¾ÑÐ½Ð¾Ð¹ Ð¸Ð·ÑÑÐµÐ½Ð½Ð¾ÑÑÑÑ ÐºÐ¾Ð¼Ð¿Ð»ÐµÐºÑÐ½ÑÑ Ð¾ÐºÐºÐ°Ð·Ð¸Ð¾Ð½Ð°Ð»ÑÐ½ÑÑ ÐµÐ´Ð¸Ð½Ð¸Ñ Ð¸ Ð½ÐµÐ¾Ð±ÑÐ¾Ð´Ð¸Ð¼Ð¾ÑÑÑÑ Ð¸ÑÑÐ»ÐµÐ´Ð¾Ð²Ð°Ð½Ð¸Ñ Ð¸Ñ Ð¾ÑÐ½Ð¾Ð²Ð½ÑÑ ÑÑÐ½ÐºÑÐ¸Ð¹. Ð¦ÐµÐ»Ñ ÑÐ°Ð±Ð¾ÑÑ â Ð¸ÑÑÐ»ÐµÐ´Ð¾Ð²Ð°ÑÑ Ð¾ÑÐ¾Ð±ÐµÐ½Ð½Ð¾ÑÑÐ¸ ÐºÐ¾Ð¼Ð¿Ð»ÐµÐºÑÐ½ÑÑ Ð¾ÐºÐºÐ°Ð·Ð¸Ð¾Ð½Ð°Ð»Ð¸Ð·Ð¼Ð¾Ð² Ð¸ Ð¾ÐºÐºÐ°Ð·Ð¸Ð¾Ð½Ð°Ð»ÑÐ½ÑÑ ÐºÐ¾Ð¼Ð¿Ð¾Ð·Ð¸ÑÐ¾Ð², Ð° ÑÐ°ÐºÐ¶Ðµ Ð²ÑÑÐ²Ð¸ÑÑ ÑÑÑÐ´Ð½Ð¾ÑÑÐ¸ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° Ð¾ÐºÐºÐ°Ð·Ð¸Ð¾Ð½Ð°Ð»Ð¸Ð·Ð¼Ð¾Ð² Ð½Ð° ÑÑÑÑÐºÐ¸Ð¹ ÑÐ·ÑÐº. Ð Ð¿ÑÐ°ÐºÑÐ¸ÑÐµÑÐºÐ¾Ð¹ ÑÐ°ÑÑÐ¸ ÑÐ°Ð±Ð¾ÑÑ Ð¿ÑÐ¾Ð°Ð½Ð°Ð»Ð¸Ð·Ð¸ÑÐ¾Ð²Ð°Ð½Ñ Ð¾ÑÐ½Ð¾Ð²Ð½ÑÐµ ÑÐ¿Ð¾ÑÐ¾Ð±Ñ Ð¾Ð±ÑÐ°Ð·Ð¾Ð²Ð°Ð½Ð¸Ñ ÐºÐ¾Ð¼Ð¿Ð»ÐµÐºÑÐ½ÑÑ Ð¾ÐºÐºÐ°Ð·Ð¸Ð¾Ð½Ð°Ð»Ð¸Ð·Ð¼Ð¾Ð² Ð¸ Ð²ÑÑÐ²Ð»ÐµÐ½Ñ Ð¾ÑÐ½Ð¾Ð²Ð½ÑÐµ ÑÑÐ¸Ð»Ð¸ÑÑÐ¸ÑÐµÑÐºÐ¸Ðµ ÑÑÐ½ÐºÑÐ¸Ð¸ Ð¾ÐºÐºÐ°Ð·Ð¸Ð¾Ð½Ð°Ð»Ð¸Ð·Ð¼Ð¾Ð². ÐÐ½Ð°Ð»Ð¸Ð· Ð¿ÑÐ¸ÐµÐ¼Ð¾Ð² Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° Ð¿Ð¾ÐºÐ°Ð·Ð°Ð» ÑÐ°Ð¼ÑÐ¹ ÑÐ°ÑÑÐ¾ ÑÐ¿Ð¾ÑÑÐµÐ±Ð»ÑÐµÐ¼ÑÐ¹ ÑÐ¿Ð¾ÑÐ¾Ð± Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° â ÐºÐ°Ð»ÑÐºÐ¸ÑÐ¾Ð²Ð°Ð½Ð¸Ðµ. ÐÐ¾Ð»ÑÑÐµÐ½Ð½ÑÐµ Ð´Ð°Ð½Ð½ÑÐµ Ð¼Ð¾Ð³ÑÑ Ð±ÑÑÑ Ð¸ÑÐ¿Ð¾Ð»ÑÐ·Ð¾Ð²Ð°Ð½Ñ Ð´Ð»Ñ Ð¾Ð¿ÑÐµÐ´ÐµÐ»ÐµÐ½Ð¸Ñ ÑÑÐ½ÐºÑÐ¸Ð¹ Ð¸ÑÐ¿Ð¾Ð»ÑÐ·Ð¾Ð²Ð°Ð½Ð¸Ñ ÐºÐ¾Ð¼Ð¿Ð»ÐµÐºÑÐ½ÑÑ Ð² ÑÑÐ´Ð¾Ð¶ÐµÑÑÐ²ÐµÐ½Ð½Ð¾Ð¼ ÑÐµÐºÑÑÐµ Ð¸ Ð´Ð»Ñ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° Ð¾ÐºÐºÐ°Ð·Ð¸Ð¾Ð½Ð°Ð»ÑÐ½ÑÑ Ð¾Ð±ÑÐ°Ð·Ð¾Ð²Ð°Ð½Ð¸Ð¹.
description: This paper examines the structure and functions of complex and complex occasionalisms in a literary text and the types of their translation. The material for the study was modern British prose, namely the novel by John Lanchester "The Capital" and the novels by Merian Keyes "Sushi for beginners" and "Under the Duvet". The relevance of the topic is due to the insufficient study of complex occasional units and the need to study their basic functions. The purpose of the work is to investigate the features of complex occasionalisms and occasional composites, as well as to identify difficulties in translating occasional expressions into Russian. In the practical part of the work, the main methods of formation of complex occasionalisms are analyzed and the main stylistic functions of occasionalisms are identified. The analysis of translation techniques showed the most frequently used method of translation â calculus. The data obtained can be used to determine the functions of the use of complex in a literary text and for the translation of occasional formations.