Abstract
The article considers the issue of the peculiarities and methods of translating phraseological units from Chinese using the example of Mo Yan’s postmodernist novel “Life and Death are wearing me out”. The purpose of this article is to analyze the linguo-culturological approach when translating phraseological units with the elements of national culture, as well as to consider the methods of translating phraseological units both in the process of inter-lingual and intercultural communication. The linguo-culturological aspect is presented in the literary text in various ways, primarily in the form of vocabulary where you can meet a linguo-cultural or national-specific component. Phraseology contains a national-cultural component in its semantics and it also has cross-cultural value. Both in Chinese and in Russian, these set expressions have a vivid emotional coloring and clearly reflect a particular linguistic trait of the people.
Highlights
In recent years, linguists have paid much more attention to the problems related to the interaction of different cultures and overcoming intercultural differences, cultural barriers and cultural conflicts
The peculiarities and difficulties of translating phraseological locutions with national-cultural components, as well as the methods of translating phraseological units with national-cultural components have been analyzed in the section “Results and Discussion”
The given translation is accompanied by a combination of translation methods to show Chinese view of the world to readers and to avoid distortion of the meaning of phraseological units
Summary
Linguists have paid much more attention to the problems related to the interaction of different cultures and overcoming intercultural differences, cultural barriers and cultural conflicts. As V.N. Telya states “phraseological units arise in national languages on the basis of such a figurative representation of reality that reflects the everyday empirical, historical or spiritual experience of the linguistic community...” The vast majority of pieces of art of modern Chinese fiction refer to Chinese classics www.amazoniainvestiga.info which is a consequence of the cult of wisdom and philosophy. Due to its figurative nature and emotional reflection in fiction, the phraseological unit in the cultural context is the most important linguistic means of providing expressiveness and formal aesthetics. J.I. Recker notes that “the translator must be able to independently understand the main issues of phraseology theory, distinguish phraseological units, disclose their meaning and transfer their expressive and stylistic functions in translation” When translating phraseological units, many difficulties arise due to differences in culture and customs, styles, as well as in geographical, historical, religious beliefs, habits, etc
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