Introduction.

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© Kashkina E.V., Gilyarovskaya T.V., 2020

The study of variants of the French language is closely related to the study of the issue of language interference. French / Arabic bilingualism is a feature of today's linguistic picture in several countries of the Maghreb. In bilingual groups of speakers, one language system comes into contact with another. Interferential phenomena are found in the French language of Arabophones and are manifested to varying degrees at all language levels: phonetic, lexical, morphological, syntactic, which includes punctuation.

The reason for punctuation interference is the transfer of the rules for setting punctuation marks in the native language into a foreign language, as well as their copying from the original into the translation. Punctuation translation is a complex task that raises questions for both beginners and experienced translators. Punctuation and spelling interferences are common in translation. The task of the translator becomes more difficult when it comes to the French-language literature of the Arabophones, in whose French there are various deviations from the standard language of the metropolis. A number of studies have been devoted to the problem of interference in the vocabulary, morphology, and syntax of the French language that functions outside the metropolis. However, not enough attention is paid to the translation of punctuation marks so far, which can lead, at least, to the automatic transfer of punctuation marks from the original into the translated text.

Research methodology.

Punctuation-graphic organization of the text is an object of research, analysis of the content properties of punctuation marks from the point of view of translation is a subject. The relevance of the study is due to the need to bridge the gap that exists between the dominant punctuation theory with established rules and punctuation practice, as well as the difference between the rules for setting punctuation marks in different languages ​​and the problem of the relationship between oral and written speech, which is important to consider when translating punctuation.

The purpose of this study is to present new approaches to the analysis of the meaningful properties of punctuation-graphic means in French under the influence of Arabic, which enable the author to convey, and the translator to perceive and translate the simultaneous existence of several dimensions using the example of the literary text in French by the author as close as possible to colloquial speech of an Arabophone.

In connection with this goal, methods of observation, contextual analysis, comparative, comparative were used.

The material of the study was the translation and the original of the novel by the young Algerian writer Faiza Geng "Here and there" [1 *] (Faїza Guène "Kiffe kiffe demain" [2 *]), the heroine of which is a Moroccan girl living in one of the French suburbs, talks about to yourself and the people around you. The French-language literature of Maghreb authors is of interest both from the point of view of the study of the author's idiostyle and interference phenomena in the French language of Arabophones, which presents certain difficulties in translation. F. Gen's book is a written text with multiple elements of oral speech, i.e. the French language spoken by people from the North African region in the suburbs of French agglomerations, as well as outside the metropolis, in their homeland. The author uses some syntactic features typical of colloquial speech, such as word order and the use of punctuation marks to denote the prosodic structure of the spoken language. To create the impression of a lively speech, the author finds a balance between the use of some functions of a real spoken language and its stylistic code, which would most accurately convey emotions and an internal monologue, formalized by punctuation, and the translator must find adequate means of translating punctuation marks.

Until now, the functioning of punctuation in the texts of F. Geng has not been the subject of special studies, including from the point of view of translation, since punctuation is used to give speech a textual dimension. The rules for the use of punctuation marks in the French language of the author are noticeably superimposed on the features of Arabic punctuation, which complicate the task of the translator. Recently, punctuation marks have been acquiring more and more independent and diverse functions (including with the development of the SMS language). A.V. Istrin writes that the French magazine "Chronique graphique" in 1953 proposed a draft reform of punctuation marks, where it was proposed to introduce special marks to denote irony, anger, hesitation, sympathy, antipathy, sympathy, satisfaction, etc. [1, p. 338].

The theoretical basis of this article was the work of domestic and foreign linguists of various directions: for the study of linguistic interference, the works of V.V. Alimova, N.K. Garbovsky, V.N. Komissarov, U. Weinreich, U. McKay and others; issues of author's punctuation and emotivity, classification of punctuation marks - based on the works of L.G. Vedenina, A.A. Reformatsky, N.A. Shigarevskaya, L.V. Shcherba, Sh. Balli, A. Dopan, N. Katash and others. The article reveals the methods of punctuation and graphic design of the text, which are the means of figurative and emotional disclosure of the content of the text. Interpretation of meaningful and subtextual information expressed by punctuation is a feature of the translator's work.

Research results.

In the question of the purpose of Russian punctuation, three directions are usually distinguished: logical, syntactic and intonational. In general, the punctuation system of the Russian language is built on a syntactic basis and has a stricter structure with mandatory rules than in French. French grammar views punctuation marks as related to the intonation, pause, and melody of a phrase. The explanatory dictionary of the French language Petit Robert presents punctuation as a system of signs that serves to delimit the text and indicates syntactic relations or emotional nuances [1 **, p. 1481].

The punctuation system of the French language went through the stages of formation along with the development of literature and printing. The flourishing and spreading of various types of literature in the nineteenth century led to the complication of the syntactic structure of literary speech, led to the fact that in the complex complex of techniques used by written speech for the most complete and accurate expression of the thoughts and feelings of the writer, punctuation took no less important place than other linguistic phenomena. At the same time, the concept of "author's punctuation" appears, when the writer allows deviations from punctuation norms to accentuate various emotional states and as a sign that emphasizes the individual style of the author.

The very term "punctuation" is included in a number of concepts that serve to denote what is written: writing, graphics, visual language. As a writing phenomenon, punctuation is a collection of punctuation marks with inherent functions. The letter itself is a code that allows you to translate an acoustic speech signal into an optical one [1, p. 45]. Graphics in linguistics are letters, graphemes, punctuation marks, i.e. a complex of written means of any language that translates into the visual plane individual parts of a whole speech utterance in their various combinations, in accordance with certain rules. Thus, we can also talk about visual language, including systems of icons: punctuation and graphics, this concept was proposed by G.O. Distiller [2, p. 30]. The terms "writing" and "visual language" are often used as synonyms in the same sense as for the concept of "graphics". The terms "polygraphic speech" or "punctuation" are also used [3].

Each language has its own punctuation system, which relies to a greater or lesser extent on the specifics of its syntax, intonation and on the semantic aspect of speech. But even in languages with different written traditions, punctuation marks are the first landmarks that can be a clue to anyone trying to "decipher" a foreign language. This graphic code conveys valuable information for the translator, helping the semantic-syntactic analysis of statements and serving to understand the source text for its further interpretation. Punctuation also concerns the oral form of speech and is associated with the intonation articulation of the utterance, reflected in the writing in the signs of the punctuation of the text. However, there may not be a complete coincidence of the intonation structure of speech and its punctuation in the text expression. The placement of punctuation marks takes into account the syntactic and semantic division of the text, which are closely related. But one should take into account the fact that the semantic division also does not always coincide with the syntactic one. Thus, in written speech, division occurs due to punctuation, and oral uses the rhythmic-melodic organization of the sentence [4, p. 5].

French linguists M. Gaultier, I. Fonazhi, N. Katache [5] and others, believe that punctuation plays a significant role in the process of creating a text, being one of the participants in this process, and distinguish the following functions of punctuation: intonation, syntactic, semantic , communicative and singularity function.

The problem of punctuation is multifaceted, it exists in general linguistics; it is closely related to the problem of translation, since differences in the rules for the use of punctuation marks in different languages ​​cause the phenomenon of interference, which can lead to a distortion of meaning or its incomplete transmission when interpreting the text. From the middle of the twentieth century to the present, the study of linguistic interference has remained the subject of close attention of researchers, including in connection with the problem of linguistic variability, the development of which is associated with interference. Interference is a linguistic phenomenon, a consequence of the contact of languages ​​[6]. According to W. McKay's definition, "interference is the use of elements belonging to one language while speaking or writing in another" [7, p. 97]. It is “in bilingual groups that contact-related deviations from the linguistic norm occur”, which U. Weinreich called interference, and “which later go beyond the limits of bilingual groups” [8, p. 18]. In connection with the development of variants of the French language, where the Canadian version of the French language can serve as a vivid example, and in connection with the appearance of a large number of works by French-speaking authors, people from the North African region (Maghrebin literature), the issues of interference at all language levels are becoming the subject of attention not only linguists, but also practicing translators. It can be assumed that the development of variants of languages ​​is a consequence of interference phenomena in territories outside the metropolis, where there is a linguistic contact of two or more languages. Interference can manifest itself at all levels of the language, including translation. In his classification of language interference, V.V. Alimov includes lexical, morphological, syntactic and punctuation interference in grammatical interference [9].

In the case of the translation of works from French by modern writers of Arabophones, the situation is complicated by the influence of the rules of the author's native language.

Important features of the spoken language, such as stress, tempo, timbre, volume, or intonation, cannot be accurately expressed in written language, such as punctuation. Despite this, punctuation marks play an important role in conveying various semantic shades and emotions, peculiarities of mentality in a written text. Along with vocabulary ordered by means of syntax, punctuation marks mediate communication between the writer and the reader, i.e. writing and reading. With the help of punctuation marks, the writer encodes or emphasizes information in accordance with the existing rules or relies on his own vision of the punctuation of the text. The reader, including the translator, uses his knowledge about the role of punctuation in the text, thanks to which he deciphers this information, which helps him to better understand the meaning of what is written, to recognize the subtext or understatement. The difficulty arises, firstly, when it comes to the translation of individual author's punctuation marks, when it is necessary to understand that this is not a disregard for the rules of punctuation, but evidence of the strengthening of the role and further development of the punctuation system. Secondly, when translating a text that conveys oral speech, with understatement, internal monologues and a stream of consciousness, in which there are syntactic deviations.

The problem of the relationship between oral and written speech, when translating the analyzed material from Faiza Geng's novel "Here and There," is complicated by different punctuation traditions and rules inherent in Russian, French, and Arabic. Naturally, in oral speech there is a greater number of linguistic facts of variability, they pass into the text of the novel and complicate translation. The author's belonging to a particular society and region of origin is expressed at all levels of the language. At the lexical level, these are interjections, verlan, arabisms, dialectisms, which give a national flavor to the narrative, since the vocabulary is most susceptible to variability. There are grammatical errors, which are often an imitation of the spoken French language of the inhabitants of the suburbs, in which there are features characteristic of Arabic grammar. Deviations from syntactic and punctuation norms are manifested in the fact that the author omits the subject, uses repetitions, ellipsis; as well as insufficient or excessive placement of punctuation marks, unmotivated use of any punctuation mark. For example, in the work being analyzed, this is the use of ellipsis: 173 examples in the original novel, 62 examples in its translation.

The issue of translation of punctuation in Faiza Geng's novel "Back and forth" is complicated not only by the author's view of the use of punctuation marks and the excessive number of dots, differences in the punctuation rules of the Russian and French languages, but also by the influence of the author's native language with the specifics of Arabic writing, different from European including in terms of the use of punctuation marks. It should be noted that punctuation of the Arabic language began its development only in the first half of the last century, its rules have not yet been established, as evidenced by the fact that in 2009 for the first time the Academy of the Arabic language officially included punctuation marks in the Arabic language [10, p. 158].

Below we will consider some types of cases of punctuation translation from French, including when punctuation marks are placed under the influence of Arabic grammar. It should be noted that the examples given are not a representation of all possible cases, but represent an analysis of some typical examples of coincidence and discrepancy between the source text and the translation.

The very title of Faiza Geng's book "Kiffe kiffe demain" [1 *] encourages the translator to search for a suitable translation equivalent. In this case, there is also a play on words, since interference is often accompanied by the emergence of a double meaning based on paronymic attraction [11, p. 55-64]. The word kif-kif [2 **] in Arabic means “the same, this is the same; exactly ", it entered the dictionaries of the French language and is actively used in the oral speech of the French. That is, by ear, "kif-kif demain" is translated as "the same tomorrow." In writing, this is already another part of speech - the verb kiffer. It is formed from the Arabic stem kiff, and is conjugated like the French verbs of the first group. The verb kiffer means “to love, to have fun” [3 **], in youth slang it means “to get high”. According to the grammatical rule of the French language, the verb is used without a pronoun or noun only in the imperative mood, and then in the second person singular the verb of the first group is written without the letter s at the end. For an Arabic sentence, the absence of a subject is the norm, so the author can also mean the first person, i.e. yourself: Kiffe kiffe demain - I rejoice, I love tomorrow and the imperative mood: Rejoice, love tomorrow! According to the rules of punctuation for both Russian and French, there must be a comma or union between homogeneous members, and an exclamation mark at the end of the phrase in the imperative mood. In the Russian translation, the title of the book by F. Geng "There and There" reflects the version of the name perceived by ear, ie. oral speech, and is also transmitted closely orthographically - the adverb kif-kif (using a hyphen) and rhythmically. Since until recently there were no punctuation marks in the Arabic language at all, now they are optional. Instead of a comma between homogeneous members, lexical means (unions) or syntactic means (construction of words in a sentence) are often used. The translation of the title indicates the presence of punctuation interference when the author's native language affects the rules of the French language. For a translator, such a variety of variants of the name, with paronymic attraction, means the appearance of a double meaning and can lead to a concomitant violation of the communicative norm.

One of the grammatical features of the novel is the ellipsis, the dominant punctuation mark used by Faiza Gen. With some differences in the graphic design of the text, ellipsis is used in both Russian and French text in similar functions, practically absent in Arabic. In the work under consideration, the ellipsis is a means for figurative and emotional disclosure of the content of the text and for revealing subtext information, internal monologue, stream of consciousness and, to a minimum, interruption. In general, in both the original and the translated text, the same emotional content is conveyed using ellipses:

Avant Mme Dumachin, c’était un homme... [2*]

Before Madame Out of the blue there was a man ... [1 *]

The following is a similar example of an equivalent translation, but with excellent communicative organization of the translated sentence:

Tous les cons, franchement... [2*]

Say, all the same morons ... [1 *]

The series of dots in the given examples make the reader think, because the ellipsis "creates text that is never written", "missing text", "which the reader should come up with [12, p. 101]. Examples of equivalent translation generally have similar semantics, syntactic structure, and punctuation. The translator here, like the author, perceives the ellipsis as a sign that combines denotative meanings and connotative meanings.

Dialogue speech in Faiza Geng's novel "There and Here" is also full of dots, which represent interrupted speech, leaving no room for silence. Dots in the dialogue create innuendo with the help of an intermittent rhythm (bradyrhythmia), its task is to keep the reader in suspense, thereby involving him in the process of interpreting subtext information:

-Alors, Yasmina, tu viens au Secours populaire pour... récupérer ?

• Oui...

• Moi, je viens pour... donner !

• Dieu te le rendra... [2*]

- And, Yasmina, did you come ... to take something?

- Yes.

- And here I am, on the contrary ... brought!

- God will reward you. [1*]

The translator resorts to lexical or syntactic means, reducing the "bradyrhythmia" of the dialogue caused by unspoken excitement, shame, awkwardness, and which the author denotes with ellipses. The ellipsis is a multifunctional, sounding sign in which the subtext of the characters' relationships is concentrated, but the translator clarifies it with lexical means. They resort to lexical means in Russian, for example, in the case of the colon, because, according to L.G. Vedenina, in French, is a sign that does not "sound" [13, p. 148]. Therefore, in Russian, the colon can be supplemented with the introductory word "namely," or replaced by "because", the comma can often be supplemented with a union and or replaced with it, etc. The translator at the end of the two sentences from our example replaced the ellipsis with a dot, a sign functionally equivalent to an ellipsis. The ellipsis in translation in the middle of the sentence is supplemented with lexical units: "something" and "here, on the contrary," which really makes the meaning of the dialogue less vague, but also less exciting. The situation looks smoother, not quite the way the author wants to show it.

The next group of examples concerns the translation of punctuation, when the translator also replaced the dots with a dot, but for different reasons:

• Bref, j’étais prête quoi ... [2*]

• In short, I was ready for this. [1*]

Logical stress in a French phrase can only concern a word at the end of a sentence or syntagma, this is associated with the oxytonal rhythm of the French phrase - what we see in the example. The ellipsis after the colloquial interrogative lexeme "quoi" indicates uncertainty instead of readiness. By replacing the ellipsis with a dot, the translator bypasses its modality, its conflicting connotation, in order to smooth out translation difficulties. The original sentence has been misinterpreted because punctuation information is not used.

The following example concerns the use of quotation marks and the replacement of ellipsis with a dot in translation, and has a number of other punctuation features related to interference influenced by Arabic grammar:

D’après ce que tout le monde dit, c’est un toubab, enfin un Blanc, un camamber, une aspirine quoi ... [2*]

Everyone says that this is "tubab", ie. white, camembert, aspirin. [1*]

Here, a certain difficulty for the translator may be the absence of quotation marks around the names of trade companies, brands, titles and events, which is usual for French texts. Nicknames are also not quoted. If we are talking about a well-known object, then when translating into Russian, simply add quotation marks. However, when the name is not chosen by the author, the name or nickname is written with quotation marks [13, p. 95]. In this example, the person's nickname is the common name for cheese and the most popular pills. In Arabic punctuation, quotation marks are placed between sentences or expressions transmitted verbatim [14, p. 202-211]. The author ignores the quotation marks according to the rules of the French language. This also applies to unmotivated spelling with a capital Blanc - white, we believe that this is all the same influence of the Arabic grammar with the rules of punctuation and capitalization that have not yet been formed. It was only in the middle of the last century that a special symbol was introduced into Arabic grammar, written on top of the letters and indicating that this letter is capitalized [10, p. 156]. The ellipsis here is a monologic internal interruption. It is easier for the translator to switch to a more neutral form of communication and complete the sentence with a dot. It seems to us that it is difficult for a translator to understand in each specific case with a punctuation mark (ellipsis), to identify what implicit information it carries, to identify connotative meaning, especially when the author's choice is influenced by the grammar of the native language.

The following example concerns the use of ellipsis in the middle of a sentence:

Il me dit « juste cinq minutes ...», et on reste une heure ou deux à parler. Enfin, surtout lui. [2*].

He says to me: "Only five minutes," and we talk for an hour or two. He speaks mostly. [1*].

Direct speech ends with an ellipsis, which constitutes the effect of surprise, when the end of a sentence is deliberately pushed back to highlight a joke, a contradiction, a paradox. A comma after the ellipsis indicates that the second part of the sentence is the opposite in the meaning of the first. In general, the phrase follows the norms of French syntax and punctuation. But direct speech in quotation marks begins with a small letter, perhaps this is the influence of Arabic punctuation. The translator formalized the sentence in accordance with Russian punctuation: direct speech with a capital letter, the ellipsis is omitted, the phrase ends with a period. Faced with an increase in the use of ellipsis, the translator is suggesting a return to its fundamental and original function: the use of ellipses to indicate an interruption in movement. “Its meaning is the incompleteness of a statement or syntactic structure; function of cutting off a sentence” [15, p. 239].

The following example deals with replacing ellipses with an interrogative sentence in translation:

Je me demande pourquoi on appelle ça des dents de sagesse... [2*].

I wonder why they say "wisdom teeth"? [1*].

Despite the fact that the sentence in French is interrogative in its construction and content, the author perceives the interrogative sentence in its secondary functions, i.e. to express various emotional reactions (threat, fear, surprise, etc.). In this particular case, the author wants to express bewilderment, for which there is no special punctuation mark. The ellipsis is not motivated by the content and structure of the context. The ellipsis here reflects this ambiguity on a meaningful level. It is logical that for a translator from French the syntactic construction of the sentence is interrogative. The presence of a question mark prompts us to consider the unfinished structure in a logical sense, and not in an emotional one. The translator cancels the expansion of the connotative use, the spread of which helped create the "ambiguous sign."

Several examples relate to replacing an exclamation mark with a question mark in translation:

Et puis merde ! On est pas obligé d’aimer les bébés ! [2*].

And after all, are we all obligated to love babies? [1*].

The French text and the Russian translation reveal the content using two modal signs, exclamation and interrogative. The exclamation marks after an impersonal phrase and at the end of the entire sentence are an illustration of a conflicting emotional state. In the translation, there is a noticeable desire to bypass the destructive effect of the phrase: commas smooth out intonation, at the end of the sentence there is a question mark, which quite significantly changes, weakens the invective or threat.

Conclusion.

The conducted study of the phenomenon of punctuation interference indicates that in a modern literary work in French, the author of an Arabophone is reflected as features of colloquial discourse, i.e. the French language of the suburbs, so already some features of the national variance. In general, written speech in F. Geng's novel "There and Here" is close to the standard of the metropolis. In the text of F. Geng's work, the phenomena of variability of the French language are observed due to specific punctuation, in which the influence of the Arabic language is traced. This is the absence of commas between homogeneous members, deviations in the design of direct speech and in the writing of the capital letter, the discrepancy between the content and intonation of the statement and the final punctuation mark, which is most often an ellipsis, only 173 cases in a small literary work. However, the phenomenon of deviation from syntactic and punctuation norms is still rather occasional in nature. Basically, it manifests itself in excessive or incorrect placement of punctuation marks, which forces the translator to follow the punctuation rules of the Russian language. For example, in the translated text, in comparison with the author's, the number of dots used has been reduced by almost three times, which smoothes out the tension of the narrative and the emotional characteristics of the character of the heroine. Excessive use of ellipsis can be considered as the author's punctuation mark, the choice of which may be due to the unsettled rules of punctuation of the native Arabic language, when the accuracy of grammatical design in oral speech, which the author aspires to, does not carry such a semantic load as in written speech. The desire for communication, the loneliness of the heroine and the attempt to set up a dialogue, including with the reader, already the author himself on behalf of the heroine finds its punctuation embodiment in the least used sign in Faiza Gen's native language - the ellipsis. The study of the use of ellipsis as the author's punctuation mark in the studied material, the degree of influence on its use of the author's native language in connection with its translation can become a logical continuation of this study.

As a result, it should also be noted the diversity of punctuation interference in the work under consideration and its importance for familiarizing students. The next step can be the creation of a teaching aid with examples and comments for a better understanding of the difference between oral French in Arabic and French in standardized language.

The practical significance of this study is that it can be used to deepen and improve the process of teaching translation to students. French teachers can give students-prospective translators a quick overview of examples of interference, including punctuation, that exists in the French language of Arabic phones.