Oleh Tyshchenko
Prof., DrSc., Department of Russian Studies, University of Ss. Cyril and Methodius in Trnava, Nбm. Jozefa Herdu 577/2, Trnava, Slovakia Doctor of Philology, Professor at the Department of Foreign Languages and Translation Studies, Lviv State University of Life Safety, Kleparivska street, 35, Lviv, Ukraine
e-mail: olkotiszczenko@gmail.com
ORCID ID https://orcid.org/0000–0001–7255–2742
DOI: https://doi.org/10.24195/2616-5317-2021-32-11
Keywords: performative, invective, curse, threat, commissives, exclamatory phraseology, artistic text, translation transformations
The article considers performative speech acts (expressives, commissives, wishes, curses, threats, warnings, etc.) and generally exclamatory phraseology in the original and translation in terms of the function of the addressee, the specifics of the communicative situation, the symbolism and pragmatics of the cultural text.
Through cultural and semiotic reconstruction of these units, their semantic and grammatical structure and features of motivation in several linguistic cultures were clarified. Collectively, these verbal acts, on the one hand, mark the semiotic structure of the narrative structure of the text, and on the other hand, indicate the idiostyle of a particular author or characterize the speech of the characters and the associated range of emotions (curses, invectives, cries of indignation, dissatisfaction, etc.). Several translated versions of M. Bulgakov’s novel «The Master and Margarita» (in Ukrainian, Polish, Slovak and English) and English translations of
M. Kotsyubynsky’s novel «Fata Morgana» and Dovzhenko’s short story «Enchanted Desna» constitute the material for the study.
The obtained results are essential for elucidating the specifics of the national conceptual sphere of a certain culture and revealing the types of inter lingual equivalents, idiomatic analogues in the transmission of common ethno-cultural content. This approach can be useful for a new understanding of domestication and adaptation in translation, translation of culturally marked units, onyms, mythological concepts, etc. as a specific translation practices. There was further developed the theory of phatic and performative-expressive speech acts in lingual cultural comprehension.
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