Учебное пособие 1748

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

According to Barthes, “any text is an intertext; other texts are present in it, at varying levels, in more or less recognizable forms. Any text is a new tissue of past citations. Intertextuality, the condition of any text whatsoever, cannot, of course, be reduced to a problem of sources or influences; the intertext is a general field of anonymous formulae whose origin can scarcely ever be located; of unconscious or automatic quotations, given without quotation marks” [2, p. 417418].

Intertextuality is one of the main standards of textuality in a literary work. According to L.G. Babenko, intertextuality represents such a feature of a text as its dynamics, vertical (historical and temporary connection) and horizontal (coexistence of texts in their connection in one sociocultural space) interrelation between this text and others [1, p. 68].

The most important means of realization of intertextuality is precedent texts, whose nature was deeply researched by Yu.N. Karaulov. According to Yu.N. Karaulov, precedent texts are:

(1) relevant to a person in terms of cognition or emotions, (2) well known to a wide group of people, including the predecessors and contemporaries of this person, and (3) often repeated in the discourse of this linguistic identity [3, p. 216].

Intertextuality is of great significance to English postmodern writers (J. Fowles, I. Murdoch, P. Ackroyd and others), it becomes one of the central standards of textuality in their novels. In fact, this special role of intertextuality in postmodern novels can be easily explained. Indeed, for English postmodern writers, art is not creation of something new, original, but it is imitation and borrowing of elements and plots from the books that have already been written. Postmodern writers regard contemporary art as something that cannot exist without drawing ideas from world literary heritage.

The phenomenon of intertextuality can be considered as a universal category, which is relevant for literary discourse in general. As well as being of vital importance in English literature, intertextuality is, to a large extent, a key characteristic of works written by German, Austrian and Swiss authors such as H.Hesse [8], T. Mann, E. Canetti, H.M. Enzensberger, E. Jünger, W. Hildesheimer, P. Handke, P. Süskind, C. Ransmayr, E. Jelinek and others.

The Magus, the novel written by John Fowles in 1965 and revised in 1977, provides a vivid example of English postmodern literature. That is why such a standard of textuality as intertextuality and different means of its realization (allusion, proper noun which has become a precedent text, quotation) are of paramount importance in this novel. The Magus is based on the myth of Orpheus and Eurydice, which is supported by the surname of the main character – Urfe. Having accepted a post teaching English on the Greek island lost in the Aegean sea, where sim- ple-minded peasants are called Hermes and Apollo, Nicholas Urfe accidentally finds the villa Bourani. From this moment, his life is suffused with arcana and mystery, his willpower and psyche are tested. The events experienced by Urfe make him deeply immersed in the atmosphere of myths and mysteries, he almost loses touch with reality. The invisible wirepuller Maurice Conchis, who owns the villa, controls all the events.

John Fowles’s The Magus was translated into Russian by B. Kuzminsky in 1993. While translating allusions, proper nouns which have become PTs and quotations, B. Kuzminsky uses different translation transformations. According to V.N. Komissarov, “transformations which help to communicate the meaning of a source-language text by means of a target-language text are called translation (interlingual) transformations. Since translation transformations are performed by using language units which have a plane of content and plane of expression, their nature is formal semantic, and they modify the form and meaning of units of a source language”

[9, p. 172].

The main types of lexical transformations which are used during the process of translation comprise the following translation techniques: translation transcription and transliteration, loan translation and lexico-semantic substitutions (instantiation, generalization, modulation). The most common grammatical transformations include word-for-word (literal) translation, division of a sentence, joining of sentences, grammatical substitutions of word forms, parts of speech and

134

parts of a sentence. Antonymic translation, explication (descriptive translation) and compensation belong to complex lexico-grammatical transformations [9, p. 172-173; 10].

The relevance of this research is determined by the choice of the research object because precedent phenomena and their axiological and pragmatic potential, particularly of English linguoculture, are insufficiently studied and described. Furthermore, the ability to recognize intertextual inclusions is an important task for a translator and reader because these inclusions often hold the key to understanding the meaning of books written by English postmodern authors.

The aim of this paper is to reveal and describe precedent phenomena as a main means of realization of intertextuality in John Fowles’s The Magus, and determine its specifics in B. Kuzminsky’s translation of the novel into Russian. The total amount of the analyzed pages is 1484.

The results of the conducted analysis of the means of language manifestation of intertextuality in John Fowles’s The Magus and the translation of the novel into Russian have shown that there are three forms of realization of intertextuality in this book:

1.allusion;

2.proper noun which has become a precedent text;

3.quotation.

The quantitative relation between these forms of realization of intertextuality in John Fowles’s The Magus and its translation into Russian is reflected in Table 1

Table 1

Quantitative description of the means of realization of intertextuality in John Fowles’s The

Magus and its translation into Russian

The dominant form of realization of intertextuality in John Fowles’s The Magus and its translation into Russian is an allusion. The next part of the paper explores its examples in the book.

1. Allusion as a form of realization of intertextuality in John Fowles’s The Magus analyzed in terms of its translation into Russian

As table 1 shows, the most frequent means of language manifestation of intertextuality in The Magus (taking into account the translation of the novel into Russian) is an allusion. According to “The literary encyclopedia of terms and definitions” by A.I. Nikolyukin, “an allusion

(from Latin – hint, joke) is a reference to a famous quote, fact of literary, historical and more often political life or fiction in literature, public and colloquial speech” [1**, p. 28].

John Fowles’s The Magus is permeated with allusions to the myth of Orpheus and Eurydice. It can undoubtedly be explained by the fact that Fowles’s novel is based on this myth. Let us analyze an example:

135

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

There is an allusion to Orphean feats in the first context. According to the myth, Orpheus descends to the Underworld – Tartarus in order to bring Eurydice back. The first sentence of the original is a complex sentence with a defining relative clause [11, p. 106] and adverbial clause of place [12, p. 35]. It should be noted that nominative and discursive strategies change during the process of translation of the book into Russian. The sentence remains a complex one, but it only has an adverbial clause of place in the translation of the novel. In Russian version of the book, the defining relative clause becomes a participle clause (performance that would gain me access to the underworld - подвигов, открывающих путь в преисподнюю). Thus, the translator (B. Kuzminsky) turns to a grammatical transformation, namely a grammatical substitution (substitution of a sentence type). It should also be highlighted that the translator uses present simple passive ждут instead of past simple passive was expected, which can be found in the original. The main character of Fowles’s novel Nicholas Urfe says that he manages to find the entrance to

Tartarus, but it does not bring Eurydice – Alison nearer. He understands that his beloved has not committed suicide. He even knows who hides her, i.e. he discovers Tartarus. But he has not appreciated Alison, that is why he now has to prove that he deserves her in order to return her. Although John Fowles implies Alison, he writes the word Eurydice in his novel. However, the translator uses a lexico-semantic substitution, namely instantiation. That is why Alison, not Eurydice can be seen in the translation of the novel.

It is necessary to stress that apart from the myth of Orpheus and Eurydice, which is central to John Fowles’s novel, The Magus contains a lot of references to different gods and heroes of

Ancient Greece. It means that The Magus is aimed at particular readers who have background knowledge, i.e. they are familiar with Greek mythology. The analysis of John Fowles’s The Magus shows that the myth of Ariadne and Theseus is pivotal to understanding the meaning of the book and the second significant one after the myth of Orpheus and Eurydice.

In order to understand John Fowles’s intention, it is necessary to recall the plot of the myth of Ariadne and Theseus. According to the myth, Ariadne’s father demanded that Athenians send seven youths and seven maidens every year to be devoured by the Minotaur. Theseus decided to kill the Minotaur (Ariadne’s brother). Ariadne, who fell in love with Theseus, gave him a ball of thread, so he could find his way out of the maze where the Minotaur dwelt [13]. The motive of the maze, making references to the myth of Ariadne and Theseus, permeates the whole novel.

Nicholas Urfe compares the Greek island of Phraxos with “a legendary maze” and “the strangest maze in Europe”. The following example illustrates an allusion to the myth of Ariadne and Theseus:

136

In this example Nicholas Urfe is likened to Theseus, and Julie (the girl who was introduced to Nicholas Urfe by Konchis) – with Ariadne whereas the Minotaur symbolizes impending danger, which Nicholas is aware of. The Minotaur as an abstraction, not connected with a particular person, but embodying menace in general, is accompanied by a definite article (the Minotaur) compared to Ariadne and Theseus, the names which do not have an article because they are associated with particular people. Analyzing the part of the complex sentence now I really was Theseus, it is necessary to note that in this case B. Kuzminsky as a translator turns to a grammatical transformation (grammatical substitution). The part-of-speech substitution takes place: the adverb of the original (really) becomes an adjective during the process of translation (nastojashhim). In the second part of this complex sentence, B. Kuzminsky uses present simple (zhdet Ariadna) instead of pat simple, which can be seen in the original (Ariadne waited). Besides, the subject Minotavr is also accompanied by the predicate zhdet, which is absent in the original. The substitution of past simple with present simple brings the narrative nearer to the reader and makes it real whereas the repetition of the verb zhdet gives expressiveness to action and helps to highlight the importance of this expectation for the main character.

John Fowles’s novel The Magus is also suffused with allusions to the myth of Sisyphus. According to the mythology of Ancient Greece, Sisyphus was a builder and king of Corinth. After his death he was condemned to eternal punishment in Tartarus: he would forever roll a massive boulder to the top of a steep hill, but his efforts were always in vain, for whenever Sisyphus neared the top, the rock would roll right back down again. Sisyphus was thus forced to start his labour all over again, hence the expression Sisyphean labour, which is used to describe hard, endless and futile work and torments [14]. The example below illustrates an allusion to the myth of Sisyphus in John Fowles’s novel:

Analyzing this complex sentence, it is necessary to note that in its first part Monday was a day of academic chores a grammatical substitution, namely a part-of-sentence substitution takes place during the process of translation (ponedel'nik ja provel v uchebnyh zabotah). The subject Monday was becomes an object ponedel'nik ja provel. As for the subject, it is replaced by the personal pronoun ja, which is absent in the original. B. Kuzminsky translates the expression the Sisyphean piles, in which John Fowles adds the suffix –ean to the noun Sisyphus in order to form the adjective Sisyphean, as istoriju Sizifa, where Sisyphus is a noun, i.e. a grammatical transformation, namely a grammatical substitution (a part-of-speech substitution) takes place. The gerund as an attribute used after the preposition of (marking) is rendered into Russian as neproverennyh tetradej, which reflects John Fowles’s intention. According to Oxford Advanced Learner’s Dictionary, mark (especially British English) - to give marks to students’ work [3**], i.e. marking is assessment of student’s work. The Sisyphean piles of marking can be found in the original whereas the translation of the novel contains more detailed information about examina-

137

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

tion papers (gruda tetradej, kotoraja vse skatyvalas' i skatyvalas' na pis'mennyj stol s postojanstvom, zhivo napominajushhim istoriju Sizifa).

Comparing the example of the allusion to the myth of Sisyphus in John Fowles’s novel with its translation into Russian, it is important to highlight the fact that the translator makes the language more expressive (for example, the defining relative clause that seemed always to roll down remains grammatically unchanged, but at the same time B. Kuzminsky uses the lexical repetition kotoraja vse skatyvalas' i skatyvalas', finalizing is rendered as dovel do uma). Besides, the translator adds his evaluation of this situation, namely that Nicholas Urfe, showing his attitude towards marking, emphasizes that довел до ума is an expression which is not only otvratitel'noe (miserable), but also ves'ma umestnoe (appropriate). As for the original of the book, Nicholas really considers this work as miserable, but he does not speculate as to the appropriacy of this word.

The mythology of Ancient Greece is, indubitably, of paramount importance in John

Fowles’s novel The Magus. All the pages of the book are imbued with allusions to Greek myths. However, John Fowles’s novel refers not only to Greek mythology, but also to classic literature. There is one more example of an allusion taken from the novel The Magus:

In this case a reference to Jonathan Swift’s novel Gulliver’s Travels can be observed. More precisely, there is an allusion to the moment when Lemuel Gulliver is shipwrecked and finds himself in the Country of Lilliput, where the inhabitants bind him with several slender ligatures. The grammatical structure of the complex sentence with an adverbial clause of manner and comparison remains unchanged during the process of translation. However, B. Kuzminsky omits the predicate was pinned in the subordinate clause, he probably does it because he wants to avoid tautology. The translator renders the noun the Liliputians as liliputskie, which is an adjective, i.e. he turns to a grammatical transformation, namely a grammatical substitution (a part-of-speech substitution).

The analysis of the contexts in which John Fowles makes use of such a form of realization of intertextuality as an allusion shows that in the novel The Magus the writer often draws intertextual parallels with the following books:

mythology of Ancient Greece (the myth of Orpheus and Eurydice, the myth of Ariadne and Theseus, the myth of Sisyphus, etc.);

William Shakespeare’s books (plays The Tempest, Twelfth Night, Othello, tragedy Hamlet);

Charles Dickens’s novel Great Expectations;

Jonathan Swift’s novel Gulliver’s Travels;

Daniel Defoe’s novel Robinson Crusoe;

Lewis Carroll’s novel Alice in Wonderland.

It should be stressed that the allusions to the books mentioned above remained in the translation of the novel into Russian. B. Kuzminsky turns to different transformations: grammatical (substitutions of sentence types, parts of speech, parts of a sentence) and lexico-semantic (instantiation).

2. Proper noun which has become a precedent text (PT) as a means of realization of intertextuality in John Fowles’s novel The Magus analyzed in terms of its translation into Russian

138

Proper nouns which have become precedent texts are also an important form of realization of intertextuality in John Fowles’s novel The Magus. Among them there are a lot of names of the characters of classic literature, for example, John Fowles mentions Shakespeare’s play The

Tempest and its characters Ferdinand, Miranda, Prospero, Caliban, and his favourite Charles Dickens’s novel Great Expectations and its characters Pip, Estella, Miss Havisham. But heroes and gods of Ancient Greece (Apollo, Artemis, Zeus, Ariadna, Theseus, etc.) definitely play a major role in Fowles’s novel. The key role of Greek mythology can be explained by the fact that the plot of The Magus unfolds on the Greek island of Phraxos. The following example illustrates a precedent name taken from the novel The Magus:

In this example the writer refers to the precedent name Gorgon. Nicholas Urfe compares Kemp, the woman who rents a room to him after he leaves Greece and who becomes his friend, with Gorgon. In Greek mythology, Medusa Gorgon is a female creature with hair made of living, venomous snakes, as well as a horrifying visage that turned those who beheld her to stone. This comparison can probably be explained by the fact that Kemp’s look was hard to endure, and she could read a person like a book. It should be noted that nominative and discursive strategies change during the process of translation of the book into Russian. Translating the first sentence of this example into Russian, B. Kuzminsky adds such a stylistic device as parenthesis, which is absent in the original. It is common knowledge that parenthesis serves the purpose of irony. Choosing this stylistic device and emphasizing the fact that Kemp s utra vygljadela kak chistaja Gorgona into an independent utterance, which has a special intonation and is enclosed with the double dash, the translator makes the image of Kemp more vivid, unforgettable and ironic. In the original John Fowles highlights the idea of Kemp’s uncanny resemblance to Gorgon with the help of the suffix like, which is according to Cambridge Dictionary synonymous with similar to (her Gorgon-like morning face) [2**]. As for the translator, he uses a comparison with the conjunction как (like) (s utra ona vygljadela kak chistaja Gorgona). Besides, he adds expressiveness with the help of the word чистая, which is absent in the original. In the phrase morning face, there is an attributive noun morning, which modifies the noun face. In comparison with Russian attributive nouns are widespread in English (for example, pipe dream, bosom friend, control freak) because in old Germanic languages, a noun and an adjective formed one single category, i.e. an adjective developed from an attributive noun [15, p. 72]. B. Kuzminsky translates morning face as s utra vygljadela. So, in Russian and English texts different means of language are used to convey one and the same fragment of reality.

There is one more example of a precedent name taken from the novel The Magus:

139

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

The precedent name Circe is used in this extract from the novel. According to Homer, Circe is a cunning sorceress. In Odyssey, it is told that she turned Odysseus’ crew into swine with the help of her magical potion. Odysseus, who was given the holy herb by Hermes, protected himself from Circe’s potion, and she offered him her love. Having compelled Circe to swear that she would not take vengeance on him and would restore his companions to their original shape, Odysseus accepted her offer. Her name became synonymous with a dangerous beauty, cunning temptress [16]. In John Fowles’s novel The Magus, Julie-Lily was such a fatal beauty. In the original the writer says that Lily’s part changed, and she transformed into Circe quite rapidly. It is implied that the reader remembers what kind of girl she was. The translator reminds the reader that Lily resembled an elusive bride, she seemed to Nicholas Urfe to be inexperienced and naïve, as if materialized from the beginning of the twentieth century. Besides, describing the Circe role, which Lily now plays, John Fowles does not mention her cunning. Of course, this personality trait of Lily is implied because Circe is a noun which can be used to describe a person with particular characteristics. In accordance with John Fowles’s intention, the readers of his novel have to refresh their memories about Odyssey, i.e. the process of reading is presented as an original game with the readers. During the process of translation B. Kuzminsky adds such Lily’s characteristic as kovarnaja (cunning) - ona migom perevoplotilas' v kovarnuju Circeju. In doing so the translator increases the contrast between Lily’s character in the past and her new role. It should also be highlighted that in the original John Fowles says that Lily had to take on the Circe role. According to Cambridge Dictionary, the verb have to (in our example have to in the past simple - had to take on) – modal verb, to need to or be forced [2**]. However, the idea of necessity is absent in the translation of the novel because B. Kuzminsky uses the verbal lexeme perevoplotilas' (transformed).

It should be noted that using such a form of realization of intertextuality as a proper noun which has become a PT, the writer describes the characters of his novel. A proper noun which has become a PT helps John Fowles to tell the reader about the characters of his novel without just writing if they are good or bad. In accordance with the writer’s intention, the readers of the novel guided by their knowledge of the mythology of Ancient Greece and classic literature must unravel the mystery of the characters. It is necessary to emphasize that the translator B. Kuzminsky occasionally facilitates reading in that he adds characteristics to precedent names (for example, not just Circe, but cunning Circe).

Quotation as a means of realization of intertextuality in John Fowles’s The Magus and its translation into Russian can be found in fewer contexts (17%) than an allusion and precedent name.

3. Quotation as a means of realization of intertextuality in John Fowles’s novel The

Magus analyzed in terms of its translation into Russian

Analyzing this form of realization of intertextuality, it is necessary to note that in his novel

The Magus, John Fowles often draws his inspiration from Shakespeare’s works. Indeed, in John Fowles’s first novel The Collector published in 1963, Shakespeare’s influence can be traced.

British classical writer is so important to John Fowles that he even bases The Collector on

Shakespeare’s play The Tempest. As for The Magus, this novel contains a lot of quotes from Shakespeare’s plays, including The Tempest. For instance, at the very beginning of the chapter

33, Julie-Lily recites Caliban’s words. Let us analyze this example:

140

It should be highlighted that the choice of this particular extract from The Tempest can be explained easily. Indeed, the main character Nicholas Urfe finds himself on the Greek island of Phraxos, which is mysterious. Although Julie-Lily recites Caliban’s words, Nicolas thinks that she has nothing in common with Shakespeare’s character. While reading the novel, it is possible to notice that Nicholas is likened to Ferdinand, Julie-Lily – to Miranda, and the enigmatic “magus” Conchis – to Prospero. Rendering the extract from Shakespeare’s play into Russian, B.

Kuzminsky turns to the translation of The Tempest done by M. Donskoy. In his translation commentary, B. Kuzminsky also adds the number of the act and scene of The Tempest.

Apart from Shakespeare’s works, in his novel John Fowles uses quotes from the books written by different authors: Emily Dickinson, William Blake, Ezra Pound and others. The following example illustrates such a form of realization of intertextuality as quotation:

In this example John Fowles recites American-English author Thomas Stearns Eliot’s poem Little Gidding. On the beach near the villa, whose inhabitants he has not met yet, but the acquaintance with whom will make him reconsider his whole life, Nicholas Urfe finds a book with the four lines underscored in red ink. The owner of the villa Maurice Conchis, philosopher and hypnotist, leaves a book of poems on the beach, evidently meant for Nicholas to find and read. The poem Little Gidding deals with the past, present, and future, and humanity's place within them. It should be noted that this poem proves prophetic for Nicholas Urfe. B. Kuzminsky adds his translation commentary, in which he supplies such details as the name of the author of the poem and its Russian translator A. Sergeyev, to Little Gidding.

Analysing the role of the quotes in John Fowles’s novel The Magus, it is necessary to highlight their great significance. In fact, it can be said that John Fowles weaves the quotes from different books into the plot of his novel. While translating the quotes into Russian, B. Kuzminsky turns to the books which contain them. Besides, in his translation commentary, he gives information about the author of the translation and the title of the book.

To sum up, the complex analysis of the language manifestation of intertextuality in John

Fowles’s novel The Magus and its translation into Russian has helped to determine the peculiarities of realization of this standard of textuality and its main forms which can be found in the book.

The dominant form of realization of intertextuality in John Fowles’s novel The Magus and its translation into Russian is an allusion (44% of the total amount of the analyzed contexts), then

141

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

a precedent name which has become a PT (39%) and quotation (17%) follow. A lot of allusions and proper nouns which have become PTs in comparison with quotes can be explained by the intention of John Fowles. Being a reflection of the writer’s personality, intertextual inclusions allow him to communicate with the reader. It can be said that they serve the double purpose. On the one hand, if the reader is familiar with the books allusions to which can be found in the novel, the process of unravelling the mystery of these references turns into a fascinating game. On the other hand, if the readers of The Magus are not acquainted with the mythology of Ancient

Greece and Shakespeare’s works, the necessity to understand John Fowles’s intention will be an incentive for them to read the classics, which will enrich their inner world.

Besides, the analysis of the translation of John Fowles's novel The Magus into Russian has shown that precedent phenomena present an obstacle to a translator. That is why a translator has to turn to different translation transformations: lexical, grammatical and lexico-grammatical ones. The necessity of grammatical transformations can be explained by the difference between English and Russian: English is an analytic language while Russian is a synthetic language. However, the inevitability of lexico-grammatical, stylistic and other types of transformations during the process of translation of a text into Russian is determined by the fact that there is a gulf between how people who belong to different linguocultures perceive one and the same fragment of reality. It should also be noted that the translator B. Kuzminsky makes an attempt to ease the task of Russian readers. The translator often adds characteristics to proper nouns which have become PTs and supplies the novel with translation commentaries, in which he sometimes points to the books and well-known people mentioned in The Magus. On the one hand, such translation commentaries certainly help the reader to understand the writer’s intention and save time because there is no need to look for the books to which John Fowles makes references in his novel. On the other hand, the translation commentaries which contain the information about the books used by John Fowles to draw intertextual parallels, to some extent, influence the writer’s purpose. In all likelihood he wanted the reader of his novel to become a participant of the fascinating game of discerning the intertextual references to different books mentioned in the novel.

The analysis of John Fowles’s novel The Magus and its translation into Russian corroborates the fact that intertextuality is of paramount importance in the novels written by postmodern authors. The importance of this standard of textuality is determined by the fact that is pivotal to understanding the writer’s intention.

Bibliographic list

1.Babenko L.G. Filologicheskij analiz teksta. Osnovy teorii, principy i aspekty analiza: Uchebnik dlja vuzov / L.G. Babenko. – M.: Akademicheskij Proekt; Ekaterinburg: Delovaja kniga, 2004. – 464 s.

2.Bart R. Izbrannye raboty: Semiotika. Pojetika. / R. Bart. – M.: Progress, 1989. – 418 s.

3.Karaulov Ju. N. Russkij jazyk i jazykovaja lichnost' / Ju. N. Karaulov. – M.: Nauka, 1987. – 263 s.

4.Kolokol'nikova M.Ju. Problemy intertekstual'nosti: Uchebno-metodicheskoe posobie / M.Ju. Kolokol'nikova. – Saratov: Izd-vo Sarat. Un-ta, 1996. – 20 s.

5.Kristeva Ju. Izbrannye trudy: Razrushenie pojetiki / Ju. Kristeva. – M.: «Rossijskaja politicheskaja jenciklopedija» (ROSSPJeN), 2004. – 656 s.

6.Chernjavskaja V.E. Lingvistika teksta: Polikodovost', intertekstual'nost', interdiskursivnost'. Uchebnoe posobie / V.E. Chernjavskaja. – M.: Knizhnyj dom

«LIBROKOM», 2009. – 248 s.

7.Solodub Ju.P. Intertekstual'nost' kak lingvisticheskaja problema / Ju.P. Solodub // Filologicheskie nauki. – 2000. - № 2. – S. 51-57.

8.Fomina Z.E. Urbanisticheskaja priroda i ee hudozhestvennoe otrazhenie v prostranstve

juzhnogo goroda: real'noe i mnimoe (na materiale novelly G. Gesse “Die

142

FremdenstadtimSüden”) / Z.E.Fomina //Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovremennye lingvisticheskie i metodiko-didakticheskie issledovanija. – 2007. – vyp. 7 – S.8- 23.

9.Komissarov V.N. Teorija perevoda (lingvisticheskie aspekty): Ucheb. dlja in-tov i fak. inostr. jaz / V.N. Komissarov. – M.: Vysshaja shkola, 1990. – 253 s.

10.Gajduk I.V. Sistematizacija transformacionnyh sootvetstvij dlja dostizhenija jekvivalentnosti perevoda juridicheskogo teksta/ I.V. Gajduk // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovremennye lingvisticheskie i metodiko-didakticheskie issledovanija. – 2015.

–vyp. 2 (26). – S. 147-158.

11.Hewings M. Advanced grammar in use. Second edition / M. Hewings. – Cambridge: Cambridge University Press, 2005. – 294 p.

12.Bocharova M.V. Theoretical English grammar. Part 2. Syntax. Uchebnometodicheskoe posobie dlja vuzov / M.V. Bocharova. – V.: Izdatel'sko-poligraficheskij centr Voronezhskogo gosudarstvennogo universiteta, 2007. – 40 s.

13.Ariadna. Material iz Vikipedii – svobodnoj jenciklopedii, URL: https://ru.wikipedia.org/wiki/Ariadna (vremja obrashhenija - 08.08.2015).

14.Sizif. Material iz Vikipedii – svobodnoj jenciklopedii, URL: https://ru.wikipedia.org/wiki/Sizif (vremja obrashhenija - 08.08.2015).

15.Vvedenie v germanskuju filologiju / M.G. Arsen'eva, S.P. Balashova, V.P. Berkov, L.N.Solov'eva. – M.: Izdatel'stvo «GIS», 2000. – 318 s.

16.Circeja. Slovari i jenciklopedii na Akademike, URL: http://dic.academic.ru/dic.nsf/dic_wingwords/2949/Circeja (vremja obrashhenija - 10.08.2015).

Analysed sources

1*. Faulz Dzh. Volhv / Dzh.Faulz [per. S angl. B. Kuz'minskogo]. – M.: Jeksmo; SPb.: Domino, 2013. – 816 s.

2*. Fowles J. The Magus. A Revised Version / J. Fowles. - Published by Dell Publishing CO., INC. 1 Dag Hammarskjold Plaza New York, 1978. – 668p.

Dictionaries used

1**. Literaturnaja jenciklopedija terminov i ponjatij. / Pod red. A. N. Nikoljukina. Institut nauchn. informacii po obshhestvennym naukam RAN. – M.: NPK «Intelvak», 2001. – 1600 s.

2**. Cambridge English Dictionary, URL: dictionary. cambridge.org/dictionary/english/ (vremja obrashhenija – 02.04.2015).

3**. Oxford Advanced Learner's Dictionary, URL: www.oxfordlearnersdictionaries.com/definition/english/ (vremja obrashhenija – 02.04.2015).

143