RENDERING LINGUISTIC REPRESENTATION OF DEATH IMAGE IN CLASSICAL HORROR FICTION

Re-imagining Horror in Children's Animated Film

In the article the author notes that students of philological faculties often choose the horror genre and M. Shelley's work „Frankenstein, or Modern Prometheus” in the classical literature. This proves the need for a thorough study of the linguostylistic means of expression of emotionality in the mentioned above work. An inherent feature of the text under study is to excite, influence, compel to experience its content and bring pleasure. Having analyzed the reproduction of the emotional field of this genre, which has a special genre-forming potential, we can say that the negative emotions, that prevail in the text Frankenstein, are agony, rage, anger and hatred. These emotions are interconnected and therefore are realized together. A characteristic feature of the emotional component of the horror genre is the depiction of emotions on the background of physiological processes, which allows to depict the experience of the character through the internal changes in his/her body and the symptoms of these changes. In this work of horror literature, the emotions of sketching with somatisms blood and heart are the most clearly conveyd. The emotions in the horror genre are verbalized by the nomination of the emotion and its contextual description. Linguistic stylistic means of expression of emotionality and framing the genre features of Frankenstein's horror work are dominated by epithets, comparisons and metaphors. The language implementation of the concept of horror in the work of M. Shelley has 78 tokens of fear and their derivatives in the original. For example, in the cognition the token of fear is combined with the main genre-forming tokens as follows: token corpse – 10 times, coffin – 7, tomb – 3, grave – 10. It is determined that the work is saturated with nominations of emotions agony, anguish, indignation, sorrow, wretchedness and rage, which are adequately reproduced by the reception of a selection of stylistic correspondences.

This article offers the results of the investigation of repetitions in the modern Spanish language. To understand the role of the repetitions in a certain text, first of all, it’s necessary to determine whether they are immanent in the language or culture, and, therefore, unmarked, or, on the contrary, carry some charge: stylistic, rhythmic or pragmatic. Such differentiation is carried out by means of the analysis and synthesis of the theoretic material (А. Аlonso, E. А. Llorach, J. Nogeira, V. Iovenko, V. Vinogradov, etc.), contrastive and comparative analysis. The results show the redundancy of the Spanish language in comparison with Russian, which accounts for the numerous unmarked repetitions in Spanish. On the other hand, the frequent use of repetitions as stylistic, semantic or rhythmic device becomes evident too. For the analysis, we chose some official documents, characterized by the absence of stylistic devices, and some appellative and literary texts (poetry by A. Carvajal, a novel by S. Puertolas, etc.), which are apriori aimed at the form and pragmatic effect. This approach helps achieve the most objective conclusions concerning the nature of the repetitions in a text. We considered lexical and grammar repetitions, grammar, semantic and concept repetitions. Phonetic and lexical repetitions, as the basic stylistic devices, have not been subjected to analysis, as their markedness is evident. The results of the research, presented in the article, may be useful both for the people studying the Spanish language in order to speak it correctly and to understand the pragmatic function of repetition, and for translators to decide whether to follow the structure and rhythm of the text if repetitions are marked, or to omit them when they are in the original text, should they be immanent in the language and the culture.

Horror fiction, much like other “popular” genres, has many a stigma attached to its creation and enjoyment. Both experiences are considered by a number of literary critics to be less complex than that of literary fiction and, as a result, less rewarding for readers. These critics cite the repeated use of particular tropes in several works across a single genre, crediting works that introduce elements strongly associated with other genres with “transcending” their popular origins. This thesis, which is composed of both a practical and critical component, argues that such tropes do not preclude a work of genre fiction reaching the same levels of depth and originality as literary fiction, and that in fact it is the subversion of familiar tropes and their synthesis with tropes of other genres which can create opportunities for readers to alter their expectations of what each genre can achieve. The practical portion of this thesis, the novel Janus, is intended as an example of the synthesis of horror and literary fiction, including elements of sci-fi and weird fiction as well. My goals for this novel include the exploration of such themes as monstrosity, evil, love, fear, and identity through the use of a split-perspective narrative set in both the past and present. The portion of this thesis that is critical commentary will examine aspects of genre theory with respect to the horror and literary genres using Stephen King’s The Shining and Toni Morrison’s Beloved as representative of work that adheres to certain generic tropes while subverting others, with which tropes are kept to, which are reshaped, as well as the genre each novel is ultimately confined to, being predominantly dependent upon each novel’s respective goals concerning the reader.

The article considers the language means of verbalization of conceptual metaphors “Family” and “Love” in the contemporary short stories of the British and American writers. The investigation also involves determining the principles and the algorithm of rendering these conceptual metaphors in translation. Concepts are defined as mental structures used by a person in the process of thinking. Concepts in fiction are called artistic concepts. They are verbalized with the help of lexical and stylistic devices and are represented by conceptual metaphors. Conceptual analysis helps to characterize the key concept in the text of fiction, and, at the same time, such analysis can be a good criterion for assessing the quality of literary translation. In this paper, we suggest four stages of conceptual analysis in translation. The first stage includes defining the main concept in the text; the second involves formulating the conceptual metaphor (CM) in the text; determining the lexical and stylistic means of verbalization of the CM. The third stage consists in the text translation and editing, and the fourth-in the comparison of the source and target texts. At the first stage, it is also necessary to consider how the key text concept is represented in the folklore, proverbs, and aphorisms. Our investigation focuses on the concepts of “Family” and “Love”, therefore we chose several famous proverbs as the illustration of these concepts: As the twig is bent, so the tree is inclined; Men build houses, women build homes; A mother’s heart is always with her children. The major concept in the short story “Oliver’s Evolution” by John Updike is: “Family”, and the two microconcepts are “Father” and “Son”. The main character Oliver was growing as a weak boy, vulnerable to different injuries and misfortunes. But when he became an adult and had a family, he started feeling responsibility for his children and his wife, he became the support of his children. The main CM is verbalized by means of the extended metaphor and gradation and can be formulated as FATHER IS THE TREE FOR HIS CHIDREN. Another story “My Mother’s Many Scarves”, published in August 2022, is an example of flash fiction stories, two-three pages long, usually with a very important ending. The concept “Family” includes two microconcepts – “Mother” and “Daughter”. The author Andree Guedron describes the relations of love and understanding between the mother and the daughter. The narrator’s mother liked scarves, and her daughter inherited different things from her: brooches, jewelry. But most valuable was a bag of scarves which the mother bought in different countries. The concept is verbalized, first of all, by numerous repetitions of the noun scarf. The scarves become a metonymic detail, a symbol in the story. That is why the main conceptual metaphor of the text can be formulated as MOTHER’S SCARVES ARE SPIRITUAL INHERITANCE. The daughter realizes that she inherited from the mother not only material things, but also spiritual traits, behavior, emotions. At the same time, the concept “Love” is also realized in this story, as love of the daughter to her mother. Another short story where this concept is actualized is “Bigfoot Love” by E. Gary. It is a fantastic and allegoric story of love of a man and an ape, and the major CM can be formulated as LOVE IS A BIG FORCE. This conceptual metaphor is verbalized with the help of such stylistic devices as hyperbole and extended metaphor. In translation, two major strategies were used to retain the aesthetic and stylistic effect: retaining the conceptual model with the same language expression; retaining the conceptual models with somewhat different linguistic expression, with the use of such translation techniques as synonymic substitution and modulation.

The horror genre aims to evoke specific emotions (such as fear) in its audience through the literary form, connecting with the deeper layers of the collective unconscious. The purpose of this paper is to analyze and interpret the horror genre through the prism of Carl Gustav Jung's theory of the collective unconscious. Horror, as a genre in literature and film, can be viewed in the context of literary, psychiatric, psychological, and philosophical disciplines. Through a detailed analysis of classic works of this genre, such as "Dracula" and "Frankenstein", and other horror stories, the paper explores the ways in which elements of fear, horror, and the irrational act as projections of archetypal symbols and motifs, which are integral parts of the collective unconscious. The paper also discusses the influence of culture and social norms on the formation and interpretation of these archetypal elements. Additionally, the paper considers the concept and mechanism of catharsis, and the manner in which the horror genre uses language and style as means to create atmosphere and deeper emotional impact on the reader. In conclusion, it summarizes the fact that the horror genre serves not only for entertainment and inducing fear but also as a means for a deeper understanding of the complexity of human psychology and the collective unconscious. Through analysis and interpretation, the paper highlights the potential of the horror genre as a tool for exploring and understanding human nature and fears, desires, and conflicts that transcend individual differences and cultural contexts.

The paper gives an insight into the horror fiction genre in Latvian literature, from folklore to modern literary works. Although the horror genre is represented by only a few works in Latvian literature, these works manifest several national characteristics. These characteristics are the main focus of the present study. Although Latvian folklore offers plenty of material for the horror genre, in the form of ghost stories and legends, very few writers have actually exploited these rich sources in their creative work. The first attempts to incorporate horror motifs into original literary works appear only at the beginning of the 20th century and, surprisingly, they are found in poetry rather than prose. The first elements of the horror genre in drama appeared in a play by Jānis Rainis. Prose was the last literary form where elements of horror fiction appeared. Short story writers first used elements of legend and folklore in a symbolic and allegorical manner, and only as late as the 1920s did they start to incorporate the supernatural without explaining it away rationally. Under the Soviet regime development of the horror genre stopped altogether, since it was unacceptable to the ruling system. The next traces of the horror genre began to appear in Latvian literature only in the 1970s and 1980s. New horizons opened when national independence was regained in 1990.

Analysis of the presence of Eastern elements in Frankenstien Mary Shelly

Public signs are signs in public facilities that provide information, directions, warnings, or notifications that aim to help people get the right and accurate information. In this research, the researcher researched the public signs on Jabodebek LRT with two destination routes, namely the Bogor Line (Dukuh Atas Station–Harjamukti Station) and the Bekasi Line (Dukuh Atas Station–Jatimulya Station). The Jabodebek LRT public signs are translated into English from Indonesian. Analyzing the translation techniques used to convert the Indonesian (source text) into the English (target language) is the aim of this research. By referring to the concept of translation techniques submitted by Molina and Albir (2002), out of 18 translation techniques, only 6 were identified to be used in 13 public signs. The researcher researched the techniques of translation used to translate the Indonesian public signs, which involve adaptation, substitution, literal translation, established equivalent, modulation, and description techniques. According to the researcher's analysis of the 13 public signs in the Jabodebek LRT, the translation's final product has much greater readability, accuracy, and acceptability when the appropriate translation technique is used that is specific to the specific setting being studied. In addition, the source text and the target text are textually equivalent in that both texts are similar in meaning, significance, and information conveyed, although there may be differences in sentence structure, word choice, or language style.

The article analyses the history and genre system of the formation of horror literature and highlights its role in the modern era. Examining the origins of the horror genre in literature, one can trace the combination of mysticism, mystery, and mythological imagery, which acquire new features with the flow of literature. article briefly reveals the genesis of the horror genre in the cluster of genres of horror literature. The structure of the genetic and typological evolution of the genre of horror literature in literary studies is analysed, and the systematisation of genre-creating elements is also presented. It is proven that horror by its nature belongs to those genres that are realized in literature on the basis of genre memory, which was formed in the modification process of the transition from stylistic reception to the actual genre. Horror literature is a complex polysemantic construct, for the interpretation of which, in addition to general scientific methods (descriptive, typological), such methods as hermeneutic, cultural-historical, mythopoetic, psychoanalytic, bibliographic, comparativist, philological, structuralist, and intertextual are used in the article. Such scientific research methods will allow a more detailed description of the functioning structure of both the system of genres as a whole and a separate genre. The horror genre was formed in uneven waves. This process can be characterised as a gradual crystallization of the genre structure, taking into account stable stylistic elements. In the course of its genetic and typological apparatus, the horror genre developed its inevitable functions: specific types of chronotopes and mechanisms for the implementation of genre memory. The article is supplemented with a concise bibliography of thematic critical literary texts and source materials.

While volumes of works have been published on adaptation as a concept, little has been done on the issue of adaptation in literature and translation. Adaptation can, therefore, be defined generally as an action or a process of changing something or of being changed to suit a new situation. It is the act of changing something or changing an act to make it suitable for a new purpose or situation. The idea of adaptation is not limited to both literature and translation only but it can be extended to films and their contemporary features. In literature, adaptation serves as a technique of narration and it is applicable in all genres of literature. The concept is equally applicable in translation studies; it serves as a technique of translation which may be applied to isolated parts of the text in order to deal with specific differences between the language and culture of the source text and that of the target text. Adaptation ameliorates cultural narrative, by considering the cultural links between the source language and the target language in translation studies. This is going to show us that adaptation elucidates more on the cultures and how these can be adapted into a real sense of newness of ideas in another cultural cycle. It is further explicated that the concept can be employed as an interdisciplinary one which can be applied in anthropology, philosophy, cultural studies, history, sciences and in all fields of arts. Diverse examples of adaptation are explored in series of African literature, western literature and translation studies. The major objective of this is to examine how adaptation can be described as a twin concept in literature and translation. This study also attempts to explicate the areas of convergence and divergence in the concept and application of adaptation in literature and translation studies. In this study, we adopt descriptive, narrative and expository methods where we describe, narrate and reveal the necessary issues on adaptation as a technique in both literature and translation. In this study, we adopt Skopos theory, which is formulated by the German translator, Hans Vermeer in 1970’s. The theory suggests that the mission and the purpose of translation are of paramount importance. The process of translation is determined by the function of the product. This function is specified by the addressee. This theory is one of the functionalist approaches whose aim is to dethrone the source text (ST). The word “Skopos” was from Greek, meaning purpose or aim. It is used as a technical term for the purpose of translation. The Skopos theory principally suggests that translations should focus on the target culture and language illustrating the source text, their effects on the reader, and the original author’s purpose as decisive factors, rather than the effects and purposes of the source language. The study concludes that Adaptation makes the old literary work popular and marketable because it is a trend to the original work. Literary adaptation that is done rightly has more advantages than disadvantages. One of the common reasons a book or story is adapted is because the characters in that story are already well-known and this help the adapted one. Adaptation will remain relevant in all fields of arts as long as the concept of masterpiece is adapted into the current trends in literary and translation studies. The concept will continue to be significant all over the world because it exposes literary ideas to different audience. Adaptation is as old as the world and it cannot cease because of its pertinence in a changing world.

The paper investigates lexical repetition in Arabic original literary texts and English translations. The empirical base material consists of a three-part autobiography (al-Ayyām, by Tāhā Hussein) and its translation (The Days). The method involves a mapping of the target text (TT) onto the source text (ST) so as to see how instances of lexical repetition are rendered into the translations and what are the strategies and norms involved in determining certain translation choices. Three types of lexical repetition are studied: lexical-item repetition, lexical-doublet repetition and phrase repetition. Lexical repetition serves two major functions, namely textual and rhetorical. The textual function concerns the potential of repetition for organising the text and rendering it cohesive, while the rhetorical foregrounds a mental image or invokes emotions in emotive language. It is observed that the translation of the autobiography’s second part is characterised mainly by the absence of lexical repetition, contrary to the translations of the first and third parts. Thus, the target text misrepresents the original author as passing through three stages of textual, stylistic development. As to the translation strategies, the findings suggest that the translators vary the ST by using different patterns of reference. Rhetorical repetition is backgrounded by at least one translator who replaces it with pervasive variation. It is argued that the ambivalence of their approaches leads to a misrepresentation of the original text (and perhaps the author) as rather uneven.The strategies for translating lexical repetition highlight the translators’ individual attitudes towards the ST’s norms and their adherence to the linguistic and cultural norms prevalent in the TL environment. On the whole, there is a variation in the degree of bias towards the norms of either SL or TL. In terms of Toury’s norms model, it may be safe to claim that the general trend of translational norms seems to lean more towards the acceptability pole than the adequacy pole, i.e., a TL-oriented strategy is opted for.

The paper outlines a framework for approaching the complexities of translating multimodal means in horror fiction. Nowadays, the horror genre is reaching its peak, becoming the most remarkable mass product in demand. It is sharply distinguished from other literary genres due to generating a morbid mood and heart-stopping suspense in the textual canvas. From this perspective, the research aims to identify multimodal means essential for creating suspense in King’s horror novels “Pet Sematary” (1983) and “Outsider” (2018) and determine the translation strategies used to render them into Ukrainian. In this regard, multimodal means stir fresh interest since they implicitly complement and clarify the information transmitted verbally. The research framework is designed with two primary objectives. Firstly, to disclose the phonic and graphic means utilized in recreating horror imagery in the TL text. Secondly, to examine the translation strategies employed in rendering the multimodal means into the TL. The principles of the comparative approach were chosen to identify the similarities and differences between translation strategies in the analyzed texts. The research methodology adopted in this study enables a comprehensive study of the multimodal means in the horror fiction genre, employing a meticulous approach that involves data collection, analysis, and interpretation through the lens of translation strategies, contextual and pragmatic analyses. The conducted research reveals the involvement of phonic and graphic means to influence the readership unconsciously. The frequency of phonic means depends on the context of their occurrence. Graphic means are represented by syngraphemic, supragraphemic, and topographemic elements. To render the sense of the SL adequately and meet the TL audience expectations, the translators of “Pet Sematary” and “Outsider” advocated semantic, grammatical, and pragmatic translation strategies. Synonymous and contextual substitution, loan, antonymous and descriptive translation, addition, and compression proved to be the dominant translation transformations. The in-depth analysis has shown that the translators faced multiple hindrances, making some errors in encoding polysemiotic signs. However, the TL version makes sense, undeniably affecting the reader and retaining the author’s communicative intent.

The present research focuses on the analysis of the most common stylistic devices that are used to depict characters’ emotions in two novels “Flowers for Algernon” (2006) and “The Minds of Billy Milligan” (1995) written by the American author Daniel Keyes. The patterns of translation of emotionally coloured extracts of the text where these stylistic devices have been used are analysed in this research. As stylistic devices are considered to be an integral part of the composition of works of fiction and they add emotional colouring and exert pragmatic influence on the readers, translators Viktor Shovkun and Olena Stusenko faced onerous work as their task was to find accurate equivalents and use translation transformations in order to avoid literal translation, achieve adequacy on all levels and preserve the stylistic colouring. Furthermore, it is worth mentioning that the translation should fully replace the original text and recipients should perceive the translated text as identical to the original even though stylistic devices and the emotional component of linguistic semantics are arduous to convey in translation. This research also concludes that translators most often resorted to lexical (concretization, generalization and modulation), lexico-grammatical (omission and addition) and grammatical (verbalization and nominalization) translation transformations to avoid literal translation. It has also been established and verified by a comparative method that more stylistic devices are used in the Ukrainian translation than in the original text. The most widely used stylistic devices are metaphors, epithets, comparisons and idioms. Key words: stylistic device, translation transformation, source text, target text, pragmatics, communicative intention, emotions.

In this work, we seek to investigate the theme of fear in Clarice Lispector’s short stories which include children as main characters. Fear is present in many of the author’s narratives, taking on a distinctive role in the development of her stories. Regarding childhood, it appears as a response to the prematurity of the discoveries the author imposes on her characters. Comparing Lispector’s texts to some of the most famous short stories in horror literature – such as Edgar Allan Poe’s William Wilson and The Black Cat – we hope to clarify the elements that bring the author closer and further from this literary genre, investigating her role in this tradition.