Recognizing the objective need for a multidimensional study of the text, we can still highlight the main aspects associated with the characterization of the text as an integral literary work, as a dynamic communicative unit of the highest level. Understanding the text as “text in action” leads to the highlighting of its functional aspect, and the orientation of the text towards the communicative process, moreover, focuses attention on the pragmatics of the text.

Functional analysis involves taking into account the preliminary conditioning of the author's choice of certain means of expressing the semantic structure of the text by its specific and genre goal setting. At the same time, the choice of the type and genre of the text is dictated by the conditions of real communication (communicators, subject of communication, means of communication, etc.). Thus, functional analysis takes into account extra- and intratextual features.

Functional analysis also consists in the fact that individual components of the text are considered from the point of view of their role in the organization of the whole text. Consequently, functional analysis helps to reveal the actual content qualities of the text. The fact is that linguistic signs in a text specify their meaning, being correlated with other linguistic signs, they enter into special relationships with them, characteristic of a given text; For example, one of the possible meanings of a word is updated or the word changes its meaning altogether under the influence of context (contextual synonyms appear that are not noted in the dictionary order).

In functional analysis, the author’s attitude to the message being communicated, the author’s intention (intention), etc. are also taken into account.

What does functional analysis provide?

1. 1. Functional analysis allows you to go beyond the actual linguistic characteristics of the text and move on to the analysis of conceptual categories, for example, such as “space” and “time” (cf.: artistic space, artistic time). Functional analysis reveals the significance of these categories in the text.

2. 2. Functional analysis helps to reveal the relationship between the meaning of linguistic units and their meaning in the text. The difference between the concepts of “meaning” and “meaning” when analyzing a text is very significant, since it leads to its content characteristics. This is revealed even at the level of a single word. The meaning objectively reflects the system of connections and relationships in a word; it is a stable system, the same for all people. By meaning we mean an individual understanding of the meaning of a word, isolated from an objective system of connections, but relating only to a given moment and to a given situation. Therefore, “meaning” is the introduction of subjective aspects of meaning, the manifestation of the subject’s affective state. A.R. Luria in his book “Language and Consciousness” gives the following example of distinguishing between meaning and sense in a word: the objective meaning of the word “coal” is a black object of wood origin, the result of burning trees, which has a certain chemical composition, which is based on the element C (carbon). But the meaning of this word can be different situations turn out to be different for different people: for the housewife, coal is what is used to light the stove; for a scientist - a subject of study; for an artist - a tool that can be used to draw a sketch; for a girl who has soiled her dress, it is dirt that has caused her displeasure.

It is clear that the text usually contains just such meanings, subjective ones - corresponding to a given moment and a given situation.

3. 3. Functional analysis makes it possible to reconstruct texts and establish their authorship. For example, reconstruct ancient texts. (True, there is an opinion that an adequate reconstruction is impossible, since ignorance of the cultural and historical assessments of the era makes it difficult to interpret the text.)

4. 4. Functional analysis can connect texts from different eras, texts in different languages.

The latter is especially important when analyzing translated texts, when the question arises about the equivalence of words and their combinations in different languages. In this case, it is necessary to take into account the sociocultural aspect of the analysis of speech units of the text, since the language reflects the culture of the speaking group. And the same realities and concepts expressed in words can be perceived differently by speakers of different cultures. For example, communication (in this case, the perception of text) can be complicated by a “conflict between cultural ideas”: in particular, Russian green eyes is perceived as something romantic, mermaid, and English green eyes are a metaphor for envy.

5. 5. Finally, functional analysis is able to reveal the essence of the overlap of texts (text within a text), the significance of this phenomenon, explain the meaning of associations of these texts, their combinations that create additional meanings (cf.: literary reminiscences, allusions, direct quotation; different types interpretation of texts - for example, the biblical story about Christ by M. Bulgakov and Ch. Aitmatov). Functional analysis explains how this complicates and at the same time clarifies the main meaning of the work.

Pragmatic analysis of the text follows from the functional one, logically continues and develops it. Grech, pragmatos (deed, action) is a field of science (semiotics, linguistics) that studies the functioning of linguistic signs in speech. Linguistic pragmatics includes issues related to the subject (the author of the text), the addressee (reader) and, most importantly, their interaction in the act of communication.

1) 1) goals and objectives of the message (for example, informing, expressing will, instructing, etc.);

2) 2) type speech behavior;

3) 3) attitude towards what is being reported, its assessment (or lack thereof);

4) 4) emphasis when constructing the text of the message.

Addressee of the speech (reader of the text):

1) 1) interprets the text, including indirect and hidden meanings,

2) 2) experiences impact - intellectual, emotional, aesthetic.

Pragmatic analysis reveals these interactions between the author and the reader, establishes the measure useful information in the text, focusing on the typology of the reader's address.

Pragmatic analysis underlies discourse theory. Discourse (from the French discours - speech) is currently considered a coherent text in combination with extralinguistic factors - psychological, sociocultural, etc. Discourse is a text taken in the event aspect as a socially oriented “action”. Metaphorically, discourse is speech immersed in life. Therefore, the term “discourse” currently seems incorrect when applied to ancient texts, since discourse is entirely addressed to the pragmatic situation.

A tendency towards the delineation of the terms “text” and “discourse” emerged in the 70s and 80s. Discourse began to be understood as different types of actualization of texts in connection with extralinguistic indicators.

The distinction between the concepts of “discourse” and “text” is based on the opposition of the process of speech activity and its result. Discourse is understood precisely as a process associated with real speech production, while the text is associated with the result of this process. In addition, the distinction can also be determined by forms of speech: the term “discourse” is more often applied to works of oral speech, and the term “text” to works of written speech. “Discourse” in Western terminology can mean any speech at all.

Pragmatic setting of the text and pragmatic setting of the author

To determine the mechanisms of text formation, it is necessary to understand such concepts as the pragmatic attitude of the text and the pragmatic attitude of the author. The text as an integral speech work has its own laws of formation. Text formation is carried out under the influence of the goal setting of the text itself and the goal setting of the specific author of the text. The first is dictated by the text itself, its type, genre, and the tasks it implements. The second is entirely related to the author’s modality, since any message contains not only information, but also the author’s attitude to the information being communicated. The latter is especially important in establishing the pragmatics of the text, since it is associated with the interpretive side of the text. The author not only shapes the text itself, but also guides the reader in his interpretation of the text.

The pragmatic setting of the text comes from the text itself - its purpose, its type, genre. For example, an author starting to write a textbook knows in advance what the volume of the text will be, what questions and problems need to be covered, basically what the structure of the future text will be, what the genre features of educational literature that have developed in practice and methodological techniques for presenting the material.

When starting to work on a text, its general goal setting is known - informing, teaching, instructing, declaring, etc. Thus, each text has its own pragmatic setting. It determines the form of the text, the selection of material, general style, etc. However, the author as a specific subject, subject to general rules constructing a text of a given orientation, makes his own personal adjustments to the construction of the text, i.e. carries out his own, author's pragmatic installation.

Both settings are combined, can overlap each other, but for some reason they can diverge and even come into conflict. Moreover, the author can choose the genre of the text, focusing solely on his personal preferences. For example, L.N. Tolstoy preferred monumental, voluminous novels, A.P. Chekhov - humorous sketches, stories, or, in extreme cases, a story. Having chosen a genre, the author creates in accordance with the guidelines of this genre, but he can also violate the canons of the genre, he can break the sequence in the disclosure of the topic.

Personality, naturally, is manifested to a greater extent in an artistic text than in an educational text, and even more so in a reference, instructional, etc. In general, the more standard the text, the more clearly its features are revealed, the more immutable the canons of its formation, the lower the degree of manifestation personal beginning. The more the presence of “artistry” is felt in the text, the more strongly the personal element manifests itself.

Even in the construction of a paragraph, this small fragment of text, one can detect a difference in goal settings - textual and authorial. For example, a paragraph, in principle, strives to merge with interphrase unity, i.e. become a semantically and structurally complete unit. However, at the will of the author, he, a paragraph, can break interphrase unity, pursuing emotional, emphatic goals, or, conversely, combine several interphrase unities into one large paragraph. Thus, the text dictates strict adherence to the compositional sequence in revealing the topic, and the author, neglecting this rule, tries to solve the problem of increasing the expressiveness of the text by using the technique of “surprise”.

As a result of the interaction of two pragmatic attitudes in the text, two types of division are revealed: objective division, subordinate to the structural logic of the text’s unfolding, and subjective division, which either enhances the logic of the text’s construction or in a peculiar way violates it, creating semantic and stylistic effects. In the latter case, the setting of the text and the setting of the author diverge, and the author deliberately uses this technique in order to more effectively influence the reader. In particular, this affects the peculiarities of the paragraph division of the text, which is entirely subordinate to the author’s attitude.

The concept of an emotive pragmatic attitude (EPA)

The term emotive pragmatic attitude (EPU) refers to the explicit or hidden purpose of an utterance. The concept of EPU “is correlated with the concept of “illocutionary force”, or “illocutionary purpose”, widely used in linguistic research under the influence of the theory of speech acts following J. Austin and J. Searle.” [Filimonova 2007: 97]

EPU can differ in the type of bearer of the emotional state, it can be the author or a third party:

1) inform about your feelings,

3) analyze your feelings,

4) pour out your feelings,

5) find out about the recipient’s feelings,

6) analyze the recipient’s feelings,

7) inform about the feelings of a third person/persons,

8) find out about the feelings of a third person/persons,

9) call the recipient to action to get rid of the feeling,

10) call the recipient to action to receive a feeling.

This list is not finite and can be continued. Each EPU has a number of distinctive characteristics, but the distinction is not rigid. Thus, distinguishing some EPUs is quite subjective.

Conclusions to Chapter 1

· Currently, there is a growing interest in the study of emotions in various scientific disciplines. Emotions are mental processes and states that reflect the significance of phenomena and situations affecting an individual in the form of direct experience (satisfaction, joy, fear, etc.) Life without emotions is impossible.

· At the same time, there is a large number of different classifications of emotions due to the fact that the emotions themselves are numerous and varied. It is impossible to create a universal classification that satisfies all requirements.

· Emotions are divided into basic (characteristic of all people and cultures) and variable (negotiable or individual in nature).

· The metalanguage introduced by A. Wierzbicka made it possible to construct clear interpretations of the names of emotions, thanks to the definition of emotional concepts using words that are intuitive and are not themselves the names of emotions and emotional states.

· According to the classification of V.I. Shakhovsky, the emotional state can be expressed in language by various means: direct nomination (joy, hatred, happiness), direct expression (interjections, etc.) and description (posture, features of speech and voice, gaze, movements).

· The problem of emotive meaning cannot be solved without studying emotivity at the text level. An emotive text is, first of all, a text for perception and understanding of its emotional content.

· A linguistic category is a group of linguistic elements identified on the basis of some common property, or a feature that underlies the division of a set of homogeneous linguistic units into a limited number of non-overlapping classes, the members of which are characterized by the same meaning of a given feature.

· The category of emotivity is associated with the conceptual category of state. The scope of meaning of the conceptual category of state in English includes units expressing a physical state (alive), a mental emotional state (afraid), and a position in space (afloat).

· The concept of emotivity is correlated with the concept of a functional-semantic category - a complex category that includes a set of meaningful meanings expressed by elements of different linguistic levels, which cannot be reduced to their syntactic functions, unlike the syntactic categories of time, modality, person, etc.

· Emotivity has a categorical status at various levels of the language system: phonological, lexical, at the level of sentence and text. Emotivity as a category of text is a fundamental category of text emotiology.

· Speech act theory studies the utterance from the point of view of its illocutionary function.

· When performing a speech act, the speaker carries out two actions: the actual utterance of the utterance - a locutionary act, and an illocutionary act, for example, the expression of a statement, a promise, a request, that is, the implementation of the speaker’s communicative intention.

· An utterance may be intended to exert one or another influence on the listener (for example, to insult, scare), i.e. have a perlocutionary aspect.

· The concept of a pragmatic attitude, that is, the explicit or hidden purpose of an utterance, is correlated with the concept of “illocutionary force” or “illocutionary purpose”, widely used in linguistic research under the influence of the theory of speech acts.

When defining the concept of “text,” various approaches and methods for studying this phenomenon are discovered. Currently, the text as an object of study attracts specialists from various fields of knowledge, including, and perhaps primarily, linguists who have focused on the functional and communicative qualities of language, the means of expression of which constitute the textual fabric. It is not for nothing that the concept of “text” is often included in linguistic terms - text grammar, text stylistics, text syntax, text linguistics. However, it is in linguistics that the concept of “text” has not yet received a clear definition. Apparently, it is impossible to reduce this concept only to linguistic categories because of its multifaceted nature. Therefore, definitions such as “a unit above a sentence”, “a sequence of sentences” and the like always turn out to be incorrect, since they emphasize only the “structural” quality of the text, its material structure, leaving without attention to its extralinguistic indicators, including the roles of participants in communication. Moreover, if one “does not forget” the semantic component of the text, then it is necessary to recognize as true the idea that the text does not consist of sentences, but is realized in them. In addition, the meaning of the text is determined by the motive of its creation.

Consequently, if we take into account that the phenomenon of a text lies in its multifaceted nature, then we can allow for various definitions of it. This is how it actually is: the definition emphasizes as the main one quality of the text, then another, then a third. Text is defined as an information space, as a speech work, as a symbolic sequence, etc. Thus, in semiotics, text is understood as a meaningful sequence of any signs, any form of communication, including rite, dance, ritual, etc. In philology, in particular linguistics, text is understood as a sequence of verbal (verbal) signs. Since the text carries a certain meaning, it is initially communicative, therefore the text is presented as a communicative unit.

The word “text” itself (Latin textus) means fabric, plexus, connection. Therefore, it is important to establish both what is connected and how and why it is connected. In any case, the text is a sequence of symbolic units united in meaning, the main properties of which are coherence and integrity.

Such a sequence of signs is recognized as a communicative unit of the highest level, since it has the quality of semantic completeness as an integral literary work, i.e. a complete informational and structural whole. Moreover, the whole is something other than the sum of its parts; the whole always has a functional structure, and the parts of the whole fulfill their roles in this structure.

Text categories (content, structural, structure, functional, communicative), being essentially different, do not add up to each other, but are superimposed on each other, giving rise to a certain unified formation that is qualitatively different from the sum of its components. Coherence and integrity as properties of the text can be considered autonomously only for the convenience of analysis, somewhat abstractly, since both of these qualities within the framework of a real text exist in unity and presuppose each other: a single content, the meaning of the text is expressed precisely by linguistic means (explicitly or implicitly). And therefore, linguistic coherence is at the same time an indicator of semantic integrity. Of course, if we mean a natural situation when the generation of a text pursues the goal of expressing a certain meaning.

The text can be written or oral in the form of its reproduction. Both forms require their own “textuality” -

external connectedness, internal meaningfulness, focus on perception.

The question of the identity of the text, its canonical form, which is especially studied by such a branch of philology as textual criticism, also turns out to be important in the theory of text. Linguistics studies the intonation, lexical and syntactic means of a text; graphic means of underlining, font highlighting, punctuation.

The concept of “text” can be applied not only to an entire literary work, but also to its part, which is quite independent from the point of view of micro-theme and linguistic design. So, we can talk about the text of a chapter, section, paragraph; text of the introduction, conclusion, etc.

The correct perception of the text is ensured not only by linguistic and graphic units and means, but also by the general fund of knowledge, in other words, the “communicative background” on which text formation and its decoding are carried out, therefore perception is associated with presupposition (pre - lat. p r a e - in front, in front; suppositio - assumption, presumption).

Preposition is a component of the meaning of the text that is not expressed verbally; it is preliminary knowledge that makes it possible to adequately perceive the text. Such preliminary knowledge is usually called background knowledge. A presupposition may arise when reading the preceding text or may appear completely outside the text as a result of the knowledge and experience of the text’s compiler.

Background knowledge is the knowledge of realities and culture possessed by the writer (speaker) and the reader (listener) 1 . For example, only preliminary knowledge of N. Nekrasov’s poem “There are women in Russian villages...” helps to fully understand a number of phrases and their meaning in N. Korzhavin’s poems:

The century has flown by. Nenova, Like in that immemorial year, Stops a galloping horse He will enter the burning hut. She would like to live differently Wear a precious outfit But the horses keep galloping and galloping, And the huts burn and burn.

Even a separate statement in a text can contain preliminary knowledge, for example, the statement in the sentence “Pushkin had an outstanding gift as a portrait painter, the ability to capture the characteristic features of the person being portrayed in one stroke” contains preliminary knowledge about the poet’s portrait drawings. And an ordinary everyday phrase like “He quit smoking” contains information that the subject previously smoked 2 .

Or, for example, A. Mezhirov’s quatrain will seem like a rebus if you don’t have certain knowledge from the field of Russian literature:

And in Russia there are snowstorms and sleep And the task is for the century, not for the day. Was there a boy? - the issue is not resolved, Nose the lost one was never found.

Another example: understanding the rhetorical question of A. Genis, the author of “The American Alphabet,” is possible only if you know that part of the Gospel text that tells about the corresponding act of Jesus 3: “The Church,” Adam Smith argued in the fifth book of his “An Inquiry into the Nature and Causes of Wealth.” people", which emerged in the fateful year for America in 1776, is subject to the same laws as the market. ( Was it worth expelling the merchants from the temple?)"

Consequently, this text consists not only of a “sequence of sentences”, but also of a certain “knowledge”, verbally unexpressed, knowledge that participates in the formation of the general meaning of the text.

In the following article from the newspaper (MK, 2001, March 6), in a similar situation, a phrase from V. Vysotsky is used: “Among the mentioned 40 paintings, one can highlight ... and the global project of Mark Zakharov and Ivan Okhlobystin “Unclassified Materials,” which is also known as entitled “The Work of an Angel.” In all likelihood, this work, among others, will become the most global, since it consists not of two or three, but of as many as forty episodes.

Where does the money come from, Zin? The question is not at all rhetorical."

In all the above cases, as we see, for a complete understanding of the text, a “broad cultural context” is necessary, which creates

There is a common fund of knowledge for the writer and the reader. In particular, M.N. writes about the extralinguistic components of the speech act reflected in the text, including background knowledge. Kozhina 4, V.Ya. Sha-bes 5 and others.

The text as a product of the author’s speech-cognitive activity and the material of the interpreter’s (reader’s) speech-thinking activity is, first of all, knowledge presented in a special way: verbalized knowledge and background knowledge. The text has a linearly ordered set of symbolic units of varying volume and complexity 6, i.e. it is a material formation consisting of elements of articulate speech. However, this generally material formation carries within itself something intangible, content (knowledge, event). Moreover, knowledge is not always realized entirely by verbal means.

The author usually verbalizes the “difference” obtained as a result of “subtracting” the interpreter’s supposed knowledge from the plan 7 . The interpreter, in turn, “sums up” this difference with his own knowledge.

Since the sender and recipient of the message also have a certain amount of joint knowledge (background), the message always turns out to be formally fragmented, but actually complete.

“Normal” presentation in a text is usually designed for an optimal combination of verbal and non-verbal presentation of information. Deviation from this norm leads to either hyperverbalization or hypoverbalization, i.e. The degree of folding - unfolding of the text changes. This degree can be planned by the author depending on the target setting of the text. Moreover, the degree of condensation - expansion can change along the entire length of the text: some fragments are given in more detail, others - less.

So, for adequate perception of the text, it is necessary to have background knowledge, which is considered as an information fund, common for the speaker and the listener, in our case the one generating the text (the author) and interpreting the text (the reader). Background knowledge serves as a condition for the success of a speech act. More A.M. Peshkovsky wrote that natural speech is “by nature elliptical”, that we always do not finish our thoughts,

omitting from speech everything that is given by the situation or “the previous experience of the speakers” 8. This previous experience (knowledge) is knowledge that is not verbalized in the text.

Background knowledge can be classified in certain ways. In particular, we find such a classification in V.Ya. Shabes 9.

Types of background knowledge:

SOCIAL, i.e. those that are known to all participants in the speech act even before the start of the message;

i n d i v i d u a l e s, i.e. those that are known only to two participants in the dialogue before their communication begins;

COLLECTIONS, i.e. known to members of a certain team associated with a profession, social relations, etc. (for example, special medical knowledge, political knowledge, etc.).

It must be said that background knowledge can move from one type to another. For example, the death of a particular woman is a fact of individual knowledge, but the death of Princess Diana was a national, even world event, and thus this private fact entered into social knowledge. Or: the everyday fact of the appearance of mice in the house, in the kitchen - this is individual knowledge concerning the life of an individual family (or one person). But the appearance of mice in the kitchen in the castle of Queen Elizabeth of England became a fact of social knowledge (this was reported on television on February 19, 2001 - in the NTV program “Today”).

Background knowledge can also be qualified from the other side, from the side of its content: everyday, pre-scientific, scientific, literary and artistic. In addition, background knowledge can be divided into trivial and non-trivial. As a rule, trivial knowledge is not verbalized in the text; it can only be realized in a special, educational context, for example, when teaching a child.

Literary and artistic knowledge is used as background knowledge in journalism and newspaper publications. As a rule, they are identified through precedent texts (from the Latin praecedens, gen. praecedentis - previous) - “alien” texts (or individual artistic and literary images) presented in the author’s text in the form of literary reminiscences.

Individual background knowledge often serves as a means of creating subtext. The concept of subtext is primarily associated with fiction; it is completely oriented towards prior knowledge. In a number of cases, the author, using certain statements, mentioning any facts, directly expects understanding dedicated, i.e., on individual knowledge. For example, Yu. M. Lotman, commenting on A. Pushkin’s novel “Eugene Onegin,” draws attention to the poet’s line “Zizi, the crystal of my soul...”, which could only be understood by those who knew that “Zizi is childish and home name of Eupraxia Nikolaevna Wulf" 10. A number of examples this kind A. M. Kamchatnov also cites 11.

1 See: Ter-Minasova S.G. Language and intercultural communication. M., 2000. P.79. 2 See: Luria A.R. Language and consciousness. M., 1998. 3 “And Jesus entered the temple of God and drove out all those selling and buying in the temple, and overturned the tables of the money changers and the benches of those selling doves. And he said to them: It is written: My house will be called a house of prayer; but you have made it a den of thieves. "(Gospel of Matthew). 4 See: Kozhina M.N. Stylistics of the text in the aspect of the communicative theory of language // Stylistics of the text in the communicative aspect. Perm, 1987. 5 See: Shabes V.Ya. Event and text. M., 1989. 6 See: Galperin N.R. Text as an object of linguistic research. M., 1981. 7 See: Shabes V.Ya. Event and text. M., 1989. 8 Peshkovsky A. M. Objective and normative point of view on language // Izbr. works. M. 1959. P.58. 9 See Shabes V. Ya. Decree. op. pp. 7-11. 10 Lotman Yu.M. Roman A.S. Pushkin "Eugene Onegin". A comment. L., 1980. P. 282. 11 See: Kamchatnov A.M. Subtext: term and concept // Philological sciences. 1988. No. 3.

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MINISTRY OF EDUCATION AND SCIENCE OF THE RF

Federal State Educational state-financed organization higher education

"SAINT PETERSBURG STATE

THE UNIVERSITY OF ECONOMICS"

Faculty of Humanities

Department of English Language and Translation

Direction of training - Linguistics. Qualification - Bachelor

GRADUATION

QUALIFYING WORK

Methods for translating the linguistic representation of the author's emotive-pragmatic attitude based on the material of the cycle of fairy tales by R. Kipling "Puck of the Magic Hills"

Female students

Osipova

Svetlana Leonidovna

Saint Petersburg

• Introduction
• Chapter 1. Theoretical research in the field of emotiveness and literary fairy tales
• 1.1 Emotivity as a linguistic embodiment of emotionality
• 1.1.1 Correlation of the category of emotiveness with the categories of expressiveness and evaluativeness
• 1.1.2 Basic approaches to the classification of emotive vocabulary
• 1.1.3 Features of the translation of emotive vocabulary
• 1.2 Emotivity as a component of language pragmatics
• 1.2.1 Emotive-pragmatic attitude of the author
• 1.3 Literary fairy tale as a genre of children's literature
• 1.3.1 Genre originality of a literary fairy tale
• 1.3.2 Specifics of the cycle of fairy tales by R. Kipling “Puck of the Hills”
• Conclusions on Chapter I
• Chapter II. Lexical means of emotiveness and features of their translation (using the example of R. Kipling's "Puck of the Magic Hills")
• 2.1 Components of the lexical component of the emotive fund of the English language in R. Kipling’s fairy tale “Puck of the Magic Hills”
• 2.1.1 Words with emotive semantics from the point of view of literary translation
• 2.1.1.1 A set of words with emotive semantics in the status of meaning
• 2.1.1.2 A set of words with emotive semantics in the status of co-meaning or connotation
• 2.1.2 Words that name emotions
• 2.1.3 Words that indirectly describe emotions
• 2.2 Comparison of emotive vocabulary in the author's and character's speech
• Chapter Conclusions II
• Conclusion
• Bibliography
• Application
• Introduction
• Over the past decades, linguistics has seen a change from the systemic-structural paradigm to an anthropocentric one. This means that now the center of attention is not the object of knowledge, but the subject - a person, with his thoughts, judgments, emotions. Man is seen as a carrier of language and culture and as a key figure for further linguistic analysis. Under the influence of the anthropocentric approach, which is now firmly entrenched in modern linguistics, one of the pressing problems has become the problem of the representation, implementation and principles of functioning of emotions in language, as well as their pragmatic purpose in the text. This study is devoted to the study of lexical means expressing the emotive-pragmatic attitude of the author in the text of a literary fairy tale, and methods of their translation. It seems to us that the features of the pragmatic orientation of emotive language units in a literary fairy tale have not been studied fully enough at the moment, which determines relevance our work.
• Purpose This work is a study of the category of emotiveness and the emotive-pragmatic attitude of the author in the text of a fairy tale and the translation techniques used to convey the emotions of the original when translating a literary text from English into Russian.
• The set goal determines the solution of the following tasks:
• · Research the scientific literature on emotiveness and identify the main approaches to compiling a typology of emotive language units;
• · Identify lexical emotive means that function in children's fiction(using the example of a literary fairy tale);
• · Analyze the features of the representation of the author’s emotive-pragmatic attitude using lexical means;
• · To study ways of translating and conveying the emotive-pragmatic attitude of the author in a fairy tale when translating from English into Russian.
• Scientific novelty of the ongoing research is that the emotive component of language is considered in conjunction with pragmatic aspect within the framework of a specific genre of fiction - a literary fairy tale. A classification of lexical means of conveying an emotional state is also carried out and the features of the translation of lexical units from English into Russian are analyzed, taking into account the pragmatic attitude of the author, which determines the choice of language units. translation artistic emotionality emotiveness
• Object of study is the authentic work of Rudyard Kipling "Puck of Pook's Hills" and two versions of its translation, made by Grigory Kruzhkov ("Puck of the Magic Hills", 2010) and Anna Enquist ("Old England", 1916). Subject of study are lexical means of transmitting emotive information and the emotive-pragmatic attitude of the author from English into Russian.
• Theoretical basis for our research we used monographs science articles, dissertation research of foreign and domestic linguists and literary scholars: V.I. Shakhovsky, E.V. Strelnitskaya, V.N. Komissarova, Y. Naida, O.E. Filimonova, L.Yu. Braude, L.V. Ovchinnikova, N.S. Valgina, V.V. Vinogradov and others.
• As the main research method The work uses the method of contrastive analysis when comparing the English original with Russian translations; analysis of dictionary definitions, contextual analysis, descriptive method and quantitative method are also used.
• The structure of the work includes an introduction, abstract and research chapters, conclusion, bibliography and appendix.

Chapter 1. Theoretical research in the field of the category of emotiveness and literary fairy tales

• 1.1 Emotivity as a linguistic embodiment of emotionality
• In recent decades, especially in connection with the firmly entrenched anthropocentric linguistic paradigm, the interest of both foreign and domestic linguists has been focused on the study of emotions as one of the forms of reflection of reality (Boldyrev 2001; Kostomarov 2014). Also A.A. Potebnya emphasized the anthropocentric nature of language: “In reality, language develops only in society<…>a person understands himself only after experiencing the intelligibility of his words on others" (Potebnya, 1999: 87). Anthropocentricity dictates the need to study linguistic means of the emotive component of language, since emotional and mental processes play a significant role in human life, and without them it is impossible to carry out life activities in to the fullest extent. Emotions can acquire social reality only if they are expressed in one form or another. A universal way of actualizing emotions is their verbalization in external speech.
• In linguistics, many disciplines study emotivity, but emotivity has received the most complete and detailed coverage within the framework of interdisciplinary science - emotiology or linguistics of emotions, which studies the connection between language and emotions. She makes a distinction between the concepts of “emotionality” and “emotivity”, as belonging to the terminological apparatus of different sciences - psychology and linguistics, respectively (I.I. Turansky, V.I. Shakhovsky, T.V. Larina, V.A. Maslova ).
• However, within the framework of emotiology, there is no single definition of emotivity yet. IN AND. Shakhovsky believes that emotivity is “the semantic property immanently inherent in language to express emotionality as a fact of the psyche through a system of its means” (Shakhovsky 1987: 24). L.A. has a slightly different opinion. Piotrovskaya, who believes that emotivity is a kind of function of linguistic units to express the speaker’s emotional attitude to objective reality (Piotrovskaya 1993). In our opinion, the definition of L.A. Piotrovskaya more accurately reflects the features of emotivity, since in our work we primarily turn to the pragmatics of emotive lexical units that outwardly express emotions in speech activity.
• Within the framework of emotiology, emotions and their pragmatic impact are interrelated and are studied in parallel. This is explained by the fact that when transmitting a message, the text has an emotional impact on the addressee, and it is pragmatics that is responsible for choosing the relevant linguistic means for the best impact on the recipient of the message.
• In emotiology, emotions are considered in close connection with cognitive processes. According to the cognitive interpretation, a person perceives and understands the world around him, recording the information received and experience in language (Ilinskaya 2006). And all these mental processes are regulated by emotions, thus separating the important from the insignificant, which did not cause any sensory experiences.
• The basis for the cognitive approach to the study of language, as a tool involved in human cognitive activity, is the principle of organizing knowledge, methods of storing, transmitting and processing it through the processes of categorization and conceptualization. In cognitive linguistics, emotivity has acquired the status language category, i.e. a group of linguistic elements that is formed and distinguished on the basis of some common property - a feature that underlies the assignment of homogeneous linguistic units to a certain class, characterized by the same meaning of this feature (Filimonova 2007). Emotivity, like any other cognitive category, is a system of multi-level units - lexical, stylistic, graphic, phonological (Filimonova 2007). In our work, we will consider the lexical level of linguistic emotivity as the most representative and meaningful in terms of the realization and verbalization of emotions.
• 1.1.1 Correlation of the category of emotiveness with the categories of expressiveness and evaluativeness
• Within this study It is advisable to consider the category of emotiveness in connection with other linguistic categories. Of greatest interest are the categories of expressiveness and evaluativeness, as related concepts that enter into linguistic relationships directly in the text.
• In the semantic structure of a linguistic sign, it is customary to distinguish two macro components - denotative and connotative. The denotative component, being a logical-objective part of the meaning, is interpreted quite unambiguously by almost all linguists, while the definition of connotation is controversial. IN general view connotation - “information about the speaker’s attitude towards the nominated object, the reality of the objective world” (Vstavsky, 2006).
• A.N. Vstavsky and N.A. Lukyanova believe that the connotative component has a three-part structure, including expressiveness, emotiveness and evaluativeness as the main interrelated and complementary elements (Lukyanova, 1979). Therefore, it is most often customary to consider emotivity and evaluativeness in a complex manner, since the speaker’s attitude towards the information being communicated, expressed using emotive markers, implies an assessment of this information through the binary opposition “good” / “bad”. We also take into account the classification of assessment types proposed by G.G. Sokolova. This typology implies the existence of not only positive and negative evaluation, but also situational, which is characterized by the subjective and personal perception of the speaker or evaluator (Sokolova, 1981). Different cultures can interpret the same phenomena differently and give them their own special meanings.
• Emotivity and expressiveness are identified in many works. We are of the opinion that these concepts represent completely different linguistic phenomena, sharing the point of view of M.V. Nikitina, I.I. Turansky, O.E. Filimonova, V.I. Shakhovsky. Emotivity is usually expressive, but expressiveness is not always associated with the expression of emotions, but is always opposed to a neutral form of presentation (Bukina, 2009). Expressiveness indicates the measure, the degree of manifestation of a particular characteristic.
• Since the pragmatic effect of linguistic units is of great interest to us, we take into account and take into account the conjugation of all three concepts when studying the emotive-pragmatic attitude of the author and the functions of linguistic units in the text of a fairy tale. Explaining the pragmatics of a statement is impossible without analyzing the evaluative and expressive components, especially in children's literature, which is characterized by increased imagery and expressiveness.
• 1.1.2 Basic approaches to the classification of emotive vocabulary
• The lack of a unified psychological concept of emotions complicates linguistic studies of emotivity and the compilation of a unified typology of linguistic verbalization of emotions. In our work, we will consider several currently existing classifications that help us take a more systematic approach to the consideration of the category of emotiveness. However, despite the difficulties that arise in determining the meaningful characteristics of emotions, most researchers recognize the functional characteristic of an emotion - its sign (positive or negative) (Kondakov 2007). A certain specification of emotion appears, expressed in the opposition “approval” / “disapproval”.
• A.S. Ilinskaya, developing the semiotic concept of emotions, proposes to divide signs into emotive ones, capable of directly expressing emotions and signaling experiences, and other signs that non-emotionally represent emotions in language through nomination, description and metaphorical representation (Ilinskaya 2006). The nomination and description of emotions is purely symbolic. Another way of existence of emotions in language is through emotional conceptual metaphors, due to the assimilation of emotional phenomena and their indirect signs to physiological or physical signs ( to go dark with anger, to brighten up with joy, to be hit by grief). N.F. adheres to a similar classification. Ezhova, highlighting nomination, description, metaphors and expression (Ezhova 2003).
• Also worth noting research work L.G. Babenko, devoted to the classification of emotive vocabulary by class. L.G. Babenko identifies the following groups of words: 1) emotive-nominatives; 2) emotive-nominatives with included meanings; 3) expressive emotives with accompanying meanings (Babenko 1989).
• In our opinion, the classification proposed by V.I. Shakhovsky, explains in most detail the features of classes of emotive vocabulary. To denote emotive vocabulary, a linguist uses the concept of “emotive” - a linguistic unit whose main function is to convey emotions (Shakhovsky 1987). According to V.I. Shakhovsky, the lexical fund of emotive means consists of: 1) emotives - affectives (emotive meaning is the only lexical meaning) and connotatives (emotive semantics has the status of connotation); 2) neutral vocabulary that can become emotive in speech (potentially emotive). The rest of the vocabulary that nominates or describes emotions, according to the scientist, does not belong to emotive. Let us consider in more detail the means of conveying emotiveness in language and, accordingly, in text.
• The main group of words that can directly convey the emotional experience of the speaker are emotives, whose primary function is emotional self-expression. At the same time, the emotive can have an impact on the recipient (reader) or not. Since it is the emotive-pragmatic aspect of the author’s attitude and perception that is of interest to us, we will also take into account the expressive-influencing side of emotives in order to determine what the author sought to convey to his readers. The emotive acts as a hypernym in relation to affect - “emotive”, the meaning of which for a given word is the only way to signify the reflected emotion, without its name" (Shakhovsky 1987: 25). Affects usually include interjections, interjection words, swear words and curses, i.e. those lexemes that serve only for the direct expression of emotion and do not have a logical-substantive meaning. The main feature of affective vocabulary is that it does not describe emotions, unlike other emotive words, but reports the immediate emotional state of the subject. At the same time, the emotive meaning of such lexemes can represent is both a generalized reflection of a certain emotion and a personal-individual one, due to the increase in the semantics of the word of additional meanings in the context.
• Another subgroup of emotives are connotatives , whose emotive share of meaning accompanies the main logical-objective meaning. Connotatives, compared to affects, characterize greater awareness of expressed emotions. These are word-forming derivatives different types: zoolexics, comparisons and metaphors with a zoonymic component, evaluative lexemes, emotionally charged vocabulary, colloquial vocabulary, archaisms, poetisms, diminutives, color terms, etc.
• We especially emphasize the importance of comparative and metaphorical processes, verbalized in the text as connotatives. The entire structure of comparison serves to strengthen or emphasize some feature. Metaphor and comparison are two cognitive mechanisms that closely intersect and penetrate each other’s structure. Both mental operations serve to process information and structure it. It is generally accepted that comparison is more explicit than metaphor, and its linguistic formulas are more easily recognized in the text, thanks to special comparative operators (“as”, “like”, “as if”, “as” and others); in turn, metaphor is a collapsed, implicit comparison (Balashova 2011: 20).
• Comparison can be used to build new associative connections and images or to strengthen existing ones. The units of comparison are not lexical units and their definitions, but images, mental concepts that combine the entire set of features and characteristics. Comparison of concepts allows us to highlight the necessary elements, setting the perspective, depth of meaning, clarity of objects, connections and comparison relations (Denisova 2010). V.P. Moskvin, exploring the semantic features of metaphor, identifies an animalistic/zoomorphic type of metaphor, when an animal acts as an auxiliary subject for comparison (Moskvin 2006). Zoometaphors play a very significant role in the linguistic implementation of the category of emotiveness in the text of a fairy tale.
• Zoonyms, zoolexemes, animalistic vocabulary are “lexical units that are direct names of animals” (Raspolykhina 1984). Both in Russian and in English, most zoolexemes can be used to express the evaluative characteristics of a person and the emotional attitude towards the object of evaluation. (Sagitova 2014). A zoometaphor is a linguistic characteristic of a person and is formed on the basis of various images. It is based on a certain stereotype, the most striking and distinct sign characterizing any animal. This feature is usually easily comprehended in the minds of speakers, and therefore is leading when comparing a person with an animal.
• We see that not all linguists have the same approach to the definition of emotive vocabulary. Thus, there are two main interpretations of emotivity. According to the first (L.G. Babenko, E.M. Galkina-Fedoruk), the category of emotiveness includes names of emotions, pure emotives, and potentially emotive words. According to another position (V.I. Shakhovsky, I.V. Arnold, A.S. Ilinskaya) words naming emotions and feelings are excluded from emotives, since, in their opinion, these words carry only the thought of experience, but not direct his expression. In our study, it is advisable to study all types of vocabulary that can be markers of emotion, because from a functional point of view, such vocabulary is of great importance in the text of a fairy tale to simplify the decoding of emotion and indicate the author's intention.
• 1.1.3 Features of the translation of emotive vocabulary
• Why does translating emotive vocabulary always pose a certain problem for translators? Most often, this happens due to the fact that emotional expression, in contrast to logical, rational, tends more towards implicitness, and, embodied in linguistic units, when translated, does not lend itself to traditional literal interpretation in another language system. I.V. Gübbenet argues that within the framework of a literary text, emotional situations develop semantically and connotatively, acquiring subtext, additional internal meanings and forms, due to which a vertical context is formed at the content level, relevant only in a specific text (Gübbenet 1981). Therefore, the process of deducing certain universal ways of translating the emotive content of a statement becomes difficult.
• In addition to the fact that emotiveness in a text is most often contextual, it usually includes complex, multi-component linguistic units (metaphors, comparisons, phraseological units), which cover not only individual lexemes or phrases, but also sentences and entire parts of the text. Such forms rarely coincide in English and Russian, and the selection of appropriate equivalents does not always bring the desired result, both from an emotive point of view, and from a substantive or stylistic point of view.
• Therefore, in our study we will rely on the concept of “dynamic equivalence” proposed by the American translation theorist Eugene Naida. He makes a distinction between formal and dynamic equivalence. The most important principle of dynamic equivalence is that it involves adapting vocabulary and grammar in such a way that the translation sounds “as the author would write in another language.” According to Yu. Naida, “dynamic equivalence can ensure the fulfillment of the main function of translation - a full communicative replacement of the original text” (Naida 1964). It is in this way that it is possible to transfer emotive information from one language to another, because it is important not only to convey factual information to the reader, but also to have an impact, to evoke emotions that are as close as possible to those that the original text evoked in native speakers. Dynamic equivalence requires a huge amount of work from the translator to convert and transform source text, adjusting it to the cultural, social and other realities and norms of the PL people, and also helps to resolve the problems of different perceptions of reality and the world by different peoples and cultures, and to smooth out the influence of relevant extralinguistic factors. This is manifested in the fact that “instead of immersing the translation recipient in a foreign language culture, the translator offers him “a mode of behavior relevant to the context of his own culture,” so the reader does not require thorough knowledge of another culture to understand the text.
• Of course, no translation is perfect and accurate and cannot completely reproduce the original work exactly as the author intended and embodied it. Partial loss of information, meaning, mood or emotions is inevitable, but it is dynamic equivalence, as opposed to formal equivalence, that allows non-native readers of the source language to experience the text.
• In the process of adapting the translated text, both in terms of content and language, the translator resorts to various translation transformations - “interlinguistic operations of re-expression of meaning” (Schweitzer 1988). We consider the classification of translation transformations by V.N. to be the most convenient and suitable for our work. Komissarov, including: lexical, grammatical and complex lexico-grammatical replacements (Komissarov 1990). Based on the classification of V.N. Komissarov in the practical part of our work, we will analyze the ways in which the emotive-pragmatic attitude of the author in a fairy tale is conveyed from English to Russian.
• 1.2 Emotivity as a component of language pragmatics
• The author’s pragmatic tasks can be realized primarily through the creation of a certain emotional mood in the recipient. An effective impact on the reader occurs due to the expression of the author’s personally significant attitude to what is depicted in the text. Emotiveness ensures the success of the pursued communicative task, due to an indifferent, complicit attitude towards the events, persons and situations described in the work. The author of the work, through a certain pragmatic attitude, helps the reader in interpreting the text, creating additional associations, emotional assessment of events, and reports important information (Kudashina 2006).
• Among the author’s emotive-pragmatic attitudes may be: impact on emotional sphere reader, evoking empathy and sympathy for certain positions in the text, anticipating a certain emotional reaction.
• 1.2.1 Emotive-pragmatic attitude of the author
• One of the main tasks of emotiology is to determine the pragmatic attitudes of the author within the text. Emotivity always strives to evoke an emotional reaction in the reader, to provide a more vivid and imaginative picture of the logical, rational side of an artistic text, and to convey the aesthetic, ideological, social, and moral intent of the author. The author's ideas may not be perceived by the reader immediately, but after some time, since the largest array of information and impressions is obtained by the recipient not by analyzing or comprehending aspects of the text, but through empathy for the characters and/or partial identification with them. Thus, with the help of various speech means, a conscious pragmatic impact on the reader is carried out, which is one of the main functions of the category of emotiveness. The implementation of pragmatic guidelines in the text is also aimed at establishing and maintaining contact between the author of a literary text and its reader.
• N.S. Valgina notes that the author's pragmatic attitude primarily conveys the author’s attitude towards the information being communicated. The author acts not only as the creator of the text; in addition, he guides the reader in interpreting the test. Even subject to the general rules and patterns of constructing a work of art, the author supplements the text with his own individual adjustments, implementing a pragmatic attitude (Valgina, 2004). The author's speech controls the reader's perception, controls the processes of verbal interaction and the course of the narrative inside and outside the depicted world.
• The importance of personal individual aspect in reflecting the author's intention, V.V. is noted. Vinogradov. He defines the manifestation of the author’s attitude as “a concentrated embodiment of the essence of the work, uniting the entire system of speech structures...” (Vinogradov, 1971). Subjectivization occurs, i.e., a shift in the focus of perception of reality from objective to subjective. In this case, the subject of speech can to be not only the author, but also the narrator, narrator, various characters personifying the image of the author within the framework of the work itself.
• It should be noted that in many works the concepts " author's target setting" , " communication setting" , " author's intention" are synonymous with the concept " pragmatic attitude" . So, T.M. Dridze T.M. and G.P. Grice, speaking about “communicative attitude” and “intention”, respectively (Dridze 1984; Grice 1969), mean the same intention of the speaker (addresser) to communicate something, to convey a certain subjective meaning in the utterance. According to the definition of O.S. Akhmanova, intention is understood as the potential or implicit content of an utterance and is contrasted with the actual, real content of the utterance (Akhmanova 1966).
• Within a work of art, like any other speech work, there is not only an author’s attitude, but also a textual one. Both settings can represent both a synthesis and a contradiction in conflict, since the settings of the text are dictated by its type, genres, tasks and general goal setting. Research by V.L. Nayer’s work on the comparison of “the author’s intention” and the “pragmatic attitude of the text” led him to the conclusion that these attitudes are two complementary but opposite aspects of the implementation of the author’s intention. First - non-verbalized the stage of formation of an unconscious or conscious intention to communicate something, and the second - verbalized stage, i.e. specific and formalized setting in the text. Thus, according to Naer, the pragmatic attitude of a text represents a “materialized intention” (Naer 1985).
• The author's pragmatic attitude, which has an emotive component, provides extensive material for studying the designation of emotions, identifying their hidden capabilities, and additional, implicit information. The pragmatic potential of such an attitude is associated with the peculiarities of the author’s choice of a linguistic unit to denote a particular emotion or psychological state.
• In the process of translation, the pragmatic attitude of the author becomes a derivative of the intentions of the original author, the translator, the degree of translatability of certain elements, and the presence of suitable correspondences of pragmatic meanings in the target language. It is also worth noting that the sociocultural adaptation of the text during translation is a key point, since the transfer of cultural specificity in most cases is associated with problems and losses during translation, especially the emotive-pragmatic component of the text (Dortmuzieva 2006).
• For the successful implementation of the author’s pragmatic attitude, emotiveness can be coupled with expressiveness, representing a single set of means and techniques for creating the pragmatic effect of a work or statement. Pragmatic emotiveness is also capable of independently carrying out the necessary transmission of the author’s intentions, but unlike expressiveness, which is always focused on the recipient, the recipient, emotiveness does not necessarily require the presence of such.
• It is also worth noting such a phenomenon as " author's accompaniment of the characters' direct speech" and its linguistic embodiment, analyzed by E.A. Kazankova. The entire space of a literary text can be divided into speech “from the author” - the narration itself and the author’s accompaniment of direct speech, and into speech “alien” to the author - remarks and statements of characters. The author's accompaniment plays an important role in the analysis of the pragmatic attitude, because it contains a particularly pronounced intention. Where there is no author's accompaniment, freedom is given in interpreting the meaning and emotions of the characters. In other cases, the author independently determines what should be emphasized and what means to use for this (Kazankova 2010).
• According to E.A. Kazankova, the following types of information provided by the author can be distinguished: 1) information about the fact of transmission of a voice message; 2) information indicating the goals and intentions of the speech message; 3) information about the paralinguistic component; 4) information about the character’s emotional and psychological state; 5) information about the accompanying non-semiotic movements of the character (Kazankova 2010). To clarify the author's pragmatics, the last three types are of interest, since they carry the emotional component of the statement, but at the same time express emotions indirectly through description or indication of them. Noting the positions that the author’s speech can take in relation to the hero’s statement, E.A. Kazankova highlights the following: preposition- author's accompaniment prepares the perception of the replica; postposition- explication of meaning or emotional content inaccessible to the reader; inside direct speech(Kazankova 2010).
• Thus, we can conclude that almost any text has two types of pragmatic attitudes - textual and authorial - regardless of its genre specificity. However, it is in a literary text that the key role is given to the author’s intention, colored by a personal, individual principle, since the less standardized and canonical the text, the higher the manifestation of the author’s style and originality. The author’s pragmatic attitude, aimed at conveying the uniqueness of the emotional world and potential, is realized both in individual, abstract units (vocabulary, syntax, graphics) and in super-phrase unities entirely (in the text). The pragmatic orientation of the category of emotivity (and also expressiveness) - the desire to evoke a certain response - is one of the main functional aspects of emotivity.
• 1.3 Literary fairy tale as a genre of children's literature

1.3.1 Genre originality of a literary fairy tale

Having examined the features of the implementation and functioning of the category of emotivity in language, as well as the emotive-pragmatic attitude of the author, we will make a brief excursion into the field of studying the literary fairy tale, as the main genre of the text we took to study emotivity. There has been an increase in the interest of domestic and foreign researchers in literary fairy tales in recent decades. Among the scientists who studied the fairy tale, it is worth noting V.P. Anikina, L.Yu. Braude, N.M. Lipovetsky, L.V. Ovchinnikov, E.M. Meletinsky.

Consequently, many researchers have developed their own genre features of the fairy tale and its definitions. The definition given by L.Yu. seems to be the most complete and adequate within the framework of this work. Braude in the article “On the history of the concept of a literary fairy tale”: “ Literary fairy tale- an author’s, artistic, prose or poetic work, based either on folklore sources, or purely original; the work is predominantly fantastic, magical, depicting the wonderful adventures of fictional or traditional fairy-tale heroes..." (Braude 1979).

Famous Russian folklorist V.Ya. Propp in his works did significant work on analyzing and identifying the main features of the fairy tale. According to V.Ya. Proppu, a fairy tale: 1) has a certain compositional and stylistic structure; 2) has a purpose in the form of entertainment and edification; 3) a fairy tale is based on something unusual (everyday, miraculous or historical) event (Propp 1984).

L.V. Ovchinnikova writes in her monograph that “a literary fairy tale is a multi-genre type of literature, realized in an endless variety of works by different authors” (Ovchinnikova 2001). Thus, she emphasizes the idea of ​​​​the diversity of types and subtypes included in the more generalized concept of “literary fairy tale”, as a whole separate species literary activity. According to L.V. Ovchinnikov's fairy tales can be classified into two large groups - folklore-literary and individual-authored. In turn, both types of fairy tales differ thematically: tales about animals, everyday life, fairy tales, and historical tales (Ovchinnikova 2001).

Russian literary critic V.G. Belinsky noted the enormous moral, ethical and aesthetic potential of the literary fairy tale. He emphasized the educational nature of such literature, relying on numerous Russian and European fairy tales (A.S. Pushkin, V.A. Zhukovsky, Hoffmann, the Brothers Grimm). V.G. Belinsky believed that fairy tales play a huge role in shaping a child’s sense of beauty and taste, as well as value guidelines in life. In his opinion, a writer-storyteller must have a “calm, childishly simple-minded soul,” “an elevated mind,” and “a living, poetic imagination” (Belinsky 1972).

A literary fairy tale is directly related to a special type of reader - a child, which makes its content special and different from complex adult literature. The authors of literary fairy tales are driven by the desire and need to form in a child an idea of ​​life and morality, which has deep national and historical roots.

Fairy tale- this is the artistic space where, first of all, spiritual values ​​are important, preserved by entire generations, transmitted and not losing their meaning over time. The author pursues the goal of creating the most idealized understanding of the world and beliefs of the young reader, thanks to the artistic features of the genre.

Within the framework of a literary fairy tale, the possibility of correlating and combining simultaneously entertaining and moralizing aspects, “an adventure plot with a didactic and educational orientation” is realized. (Ovchinnikova 2001). The presence of an educational orientation of a literary fairy tale is also emphasized by K.I. Chukovsky, saying that a fairy tale “improves, enriches and humanizes the child’s psyche,” since the child, in the process of reading, identifies himself with the hero and adopts his perception of the world (Chukovsky 2001).

The very phenomenon of the genre uniqueness of a literary fairy tale is that it has become an example of an amazing synthesis of folklore and literature, absorbing and rethinking the traditions, achievements and experience of the people, closely intertwined with the author’s individuality and worldview. This is emphasized by M.N. Lipovetsky: “a literary fairy tale is, in principle, the same as a folk fairy tale, but unlike a folk fairy tale, a literary fairy tale was created by a writer and therefore bears the stamp of the author’s unique creative individuality” (Lipovetsky 1992).

However, a literary fairy tale is not only the subject of the author’s understanding of reality and life events, but also reflects the most important changes and trends in the literary and historical process. The embodiment of this idea can be found in the works of L.V. Ovchinnikova: “For centuries folk tale certain aspects of its ideological and artistic world corresponded to the creative searches of poets and writers<.>Each period of literary development had its own dominant literary and fairy-tale “reflections.” Taking into account these features, a special place belongs to the literary fairy tale of the turn of the 19th-20th centuries.

• 1.3.2 Specifics of the cycle of fairy tales by R. Kipling “Puck of the Hills”
• During the turn of the century in European, in particular English, literature, there was a change in the focus of attention of writers from adult classical literature to fairy-tale children's literature. The period was marked by a deep interest in folklore, experimental creativity and mastery of the figurative and plot outline of the fairy tale genre. The English literary fairy tale was formed at the beginning of the 19th century and was based on classic examples of fairy tales from the era of romanticism: the tales of the Brothers Grimm, G.K. Andersen, C. Perrault (Burtsev 1991). However, the final formation of the genre occurs only in the last decades of the 19th century, during the heyday of a new literary movement - neo-romanticism. First of all, the emergence of neo-romanticism is characterized as a reaction of naturalism, pessimism and unbelief inherent in English society late XIX century.
• It was in England that neo-romanticism manifested itself especially clearly, as English writers sought to drown out the outdated “values” of the bygone Victorian era and bourgeois reality, expressed in the desire for a philistine, stagnant way of life.
• Neo-romantic writers sang beauty, the beauty of the surrounding world, the fullness of human existence. The literary fairy tale occupies a central place in the genre system of neo-romanticism, with its own special type of hero and specific artistic means.
• Using the example of R. Kipling's cycle of fairy tales "Puck of the Hills", we will consider the main genre- and structure-forming features of a literary fairy tale, both from the era of neo-romanticism and fairy tales in a more general sense. One of the most important structure-forming principles of fairy-tale space is " principle of fairy balance" (Meletinsky 2001). The term was coined by the Russian philologist E.M. Meletinsky to describe the basic binary-dual oppositions that organize the construction of images and plot in a fairy tale. Oppositions are built on the value ideas of the people, these include the following: “friend/foe”, “good/evil”, “right/wrong”, “fair/unfair”. In the space of a fairy tale, everything breaks down into paired opposite elements, and this is realized both in the reflection of static elements - images of characters, realities, and plot dynamics - events, situations (Shlepova 2014). For example, the basis of social and moral contradictions for neo-romantic writers is the eternal struggle between Good and Evil. Moreover, Evil for them is not only cruelty and meanness, but also ordinaryness and mediocrity (Pasechnaya 2013).
• The category of intertextuality is also of great importance in the genre of literary fairy tales. Intertextuality in the text is woven into the concept of “vertical context”, being the main category for its construction. The vertical context, according to V.S. Vinogradov, is background knowledge, “not explicitly expressed historical and philological information” (Vinogradov 2001), i.e. information expressed implicitly. The vertical context is formed with the help of markers: allusions, symbols, realities, idioms, quotes. N.S. Olizko, studying the functions of intertextuality, determines that these include communicative, cognitive, emotional-expressive, and poetic. Those. intertextuality is directly involved in the inclusion of additional emotiveness in the text (Olizko 2008).
• Under the influence of the information contained in the work, the reader sees the world around him in the light and with the focus of attention on which the writer emphasized. Taking into account the specific type of reader of a literary fairy tale - a child, R. Kipling provides footnotes or explanatory inclusions that allow one to understand the intertextual markers presented in the text. And in this case, the reader does not need an extensive background knowledge base, since by introducing intertextuality into a fairy tale, the author seeks to give a certain emotion, mood, referring to certain elements.
• An important role in the fairy tale is given to the main characters-listeners - Dana and Una. Their children's perception gives rise to a confidential tone of stories and a special emotional mood, promoting the identification of real readers and child characters.
• Thanks to this technique, a child’s consciousness is able to transfer experiences, emotions and attitudes to what is happening in a fairy tale. We can conclude that despite the author's individualism of R. Kipling, the cycle of fairy tales "Pook of the Pook's Hills" obeys the general laws of the fairy tale genre. It proclaims primordial values ​​(kindness, duty and honor, nobility, justice), condemns vices (selfishness, anger, cruelty, arrogance, vanity).
• Conclusions on Chapter I
• Having considered the theoretical foundations for studying the category of emotiveness, the emotive-pragmatic attitude of the author in the text and a literary fairy tale, let us summarize briefly.
• Taking into account the anthropocentric approach to the study of language, which places the human personality at the center of linguistic teachings, emotiveness, as one of the most important forms of reflection of the surrounding world, occupies a key place in linguistics in recent decades. A science was formed - emotiology, which allows us to approach the study of the category of emotivity in a multifaceted and all-encompassing way. Emotiology distinguishes between the concepts of psychological “emotionality” and linguistic “emotivity” and develops classifications and typologies of linguistic signs that are used as markers of emotions in the text.
• As part of our work, we will use the definition of emotiveness given by L.A. Piotrovskaya, that emotivity is a function of linguistic units, which consists in the ability to express the speaker’s emotional attitude to objective reality.
• We also established that from the point of view of the cognitive direction of linguistics, within which emotiology exists, emotivity is considered as a multi-level linguistic category, capable of communicating through the system of its means the emotional experience of the speaker. At the same time, emotivity is an important component of linguistic pragmatics, influencing the feelings of the recipient, causing the necessary reactions. The author in the text creates emotive-pragmatic attitudes that form the framework of the work and influence the choice of linguistic means for their successful implementation.
• Next, we made a brief overview of the study of the literary fairy tale as a genre of children's literature and formulated a working definition of a fairy tale, which we will rely on in the research chapter of our work: a fairy tale is an author's, artistic work based on folklore sources; the work is predominantly magical, depicting the adventures of fictional and traditional fairy-tale characters; entertaining, developing and instructive functions are basic for a literary fairy tale.
• Chapter II. Lexical means of emotiveness and features of their translation (using the example of R. Kipling's "Puck of the Magic Hills")
• The main research method in our work is the method of contrastive analysis, used to compare the English original with Russian translations. When studying the semantic features of emotive lexical units, we will rely on the analysis of dictionary definitions and contextual analysis, with the help of which we will identify the individual characteristics of the functioning of emotive lexemes in the text of a fairy tale. The descriptive method is also used to explain and consider particular cases of the use of certain means, and the method of quantitative calculations to create statistical material.
• 2.1 Components of the lexical component of the emotive fund of the English language in R. Kipling’s fairy tale “Puck of the Magic Hills”
• Summarizing all the theoretical material we examined in Chapter 1, we received the following classification of vocabulary capable of communicating emotions in the text of a fairy tale:
• I. emotive vocabulary (emotives):
• A) words with emotive semantics in the status of meaning(affective words expressing the emotional state of the speaker - swear words, interjections and interjection words)
• b) words with emotive semantics in the status of co-meaning(connotatives that convey the speaker’s emotional attitude to the subject of the nomination or its characteristics: affectionate expressions, curses, metaphors, phraseological units, diminutives, animalistic comparisons and metaphors, color terms, etc.).
• P. vocabulary of emotions: words that name emotions.
• Sh. lexical units describing emotions(words indicating the cause, result, indirect sign of emotion).
• Having established the classification of emotive vocabulary, the features of the implementation of the author’s emotive-pragmatic attitude and adequate ways of transferring this vocabulary from English into Russian, we will proceed to the analysis of lexical means in the text of R. Kipling’s fairy tale “Puck of the Magic Hills”.
• 2.1.1 Words with emotive semantics from the point of view of literary translation

2.1.1.1 A set of words with emotive semantics in the status of meaning

In such a group of emotives as affectives, interjections occupy a central place and play a fundamental role in the formation of children's emotive space. This is evidenced by the frequency of interjections themselves, as well as interjectives or interjectives (full-valued words that have become interjections).

Imagery and emotionality are key properties of children's fiction that help highlight the author's intention and ensure the success of its transmission in children's communication. Let's consider several examples that most successfully demonstrate the features of the implementation of affects in the speech of a fairy tale and their translation from English into Russian:

"Well, well ! They do sayhoppin" "ll draw the very deadest , and now I believe "em. You, Tom? Tom Shoesmith?" Hobden lowered his lanthorn (R. Kipling" Dymchurch Flit" ; 127).

well well ! Apparently, it’s not in vain that they say that harvesting hops will even bring the dead out of the grave ! Is that you, Tom? Tom Shoemaker! - exclaimed old man Hobden, lowering the lantern (translated by G. Kruzhkov)

Original " well, well" according to the dictionary it means " Indicating pondering or consideration, sometimes with sarcasm or mock surprise", i.e. either neutral, or with a hint of sarcasm or dissatisfaction. G. Kruzhkov uses " well well" , which in Russian also has a connotation of displeasure or surprise. Moreover, in both versions the emotion of surprise is preserved, which is reinforced in the translation by the author’s accompanying verb - " exclaimed" , and the very speech of the character - in reverse" hoppin" "ll draw the very deadest".

"Whoop! Holiday!"cried Halleaping up (R. Kipling" Hal o" the Draft" ; 117).

Hooray, holiday! -- shouted Gal and jumped out of his seat (trans. A. Enquist; 89).

Great! Let's take a break. - Gal jumped to his feet . (translated by G. Kruzhkov).

This example is of interest because the two translation options reflect different degrees of emotiveness. Interjection " whoop" has a meaning in the dictionary " a noise or cry often made in excitement", i.e. it conveys the emotion of surprise, joy, and is complemented by a description of the movements made by the character during this emotional state. Combined lexemes " Cried" And " leaping up" mark the intensity of the experience and the physical reflection of the emotion. A. Enquist copies the original phrase almost word for word, unlike G. Kruzhkov, who omits the verb of the author’s accompaniment " cried" slightly reduces the level of emotiveness, making the response more restrained. Interjective adverb " Great!" here it acts as an interjection, and expresses approval of what is happening, but it sounds drier than " Hooray!" , used by A. Enquist.

" Pest "he says (R. Kipling" Hal o" the Draft" ;121).

Damn it ! - exclaimed He. (G. Kruzhkov)

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The text contains the mental activity of the author, designed for the reciprocal activity of the reader. Hence the bidirectionality of the text: towards the author and towards the reader.

Text- a sequence of symbolic units united in meaning, the main properties of which are coherence and integrity. This sequence is recognized as a communicative unit of the highest level, since it acts as a complete informational and structural whole. Moreover, the whole always has a functional structure.

The text in any of its forms must meet the criteria of textuality, that is, external coherence, internal meaningfulness, and focus on perception. At the same time, the concept of text also applies to parts of the text. Correct perception of the text is ensured not only by linguistic, graphic units and means, but also general funds knowledge (communicative background) on which encoding (text formation) and decoding (the process of understanding the perceived message) of the text is carried out, therefore perception is associated with presupposition.

Presupposition is preliminary knowledge that allows you to adequately perceive the text, background knowledge.

The text, as a product of the author’s speech-and-thought activity and the material of the reader’s speech-and-thought activity, is knowledge presented in a special way: verbalized and background knowledge. The author usually verbalizes the difference obtained as a result of subtracting the reader’s supposed knowledge from the text’s intent, and the reader sums up this difference with his own knowledge. Since the author and reader have a certain amount of shared background knowledge, the text is always formally fragmented, but in fact complete. Normal presentation in a text is designed for an optimal combination of verbalized and non-verbalized knowledge; deviation from this norm leads either to hyper verbalization, or hypo verbalization. For adequate perception of the text, the unity of background knowledge of the author and the reader is necessary.

Types of background knowledge.

1. Social – something that is known to all participants in a speech act before the start of the message.
2. Individual - that is, known only to two participants in the dialogue before their communication begins.
3. Collective - known to members of a certain team associated with a profession, social relations etc.

Background knowledge can move from one type to another. Background knowledge can also be classified in terms of content. A) Everyday ones. B) Scientific. B) Literary and artistic.

2) Pragmatic settings in the text

The text as a whole speech work has its own laws. The formation of a text is carried out under the influence of the purpose, the setting of the text itself and the author. The first is dictated by the text itself, its character, and the tasks it implements. The author's attitude is always associated with the author's modality (the author's attitude). Personality is more evident in literary texts than in others. The more standard the text, the stricter the laws of its formation and the lower the degree of manifestation of personality. As a result of the interaction of two attitudes, two types of division (division) are revealed in the text.

Objective- subordinated to the structural logic of text deployment and subjective- which can enhance the logical structure of the text, or can disrupt it in a unique way, creating semantic and stylistic effects.