The leading criterion for evaluating literary translation is not only closeness to the original text, but also the preservation of the style of the work.

In the individual style of the work ("idiostyle"), in accordance with the artistic intention of the writer, all the linguistic means used by the writer are united, internally connected and aesthetically justified. And the concept of an individual style as a unique, historically conditioned, complex, but structurally unified and internally connected system of means and forms of verbal expression is the initial and basic one in the field of linguistic study of fiction. The difference between style and other categories of poetics, in particular, the artistic method, is in its direct, concrete implementation: style features seem to appear on the surface of the work, as a visible and tangible unity of all the main points of the artistic form.

In his work "On the Language of Fiction" Academician V.V. Vinogradov formulates the concept of the individual style of a writer as follows: "It is a system of individual and aesthetic use of artistic and verbal expression inherent in this period of development of fiction, as well as a system of aesthetic and creative selection, comprehension and arrangement of various speech elements." This term is used in relation to works of art (both prose and poetry); in relation to texts that do not relate to fine literature, recently the term "discourse", which is partially close, but far from equal in meaning, has begun to be used in one of its understandings.

In the scientific article "The boundaries of individual style" Podgaetskaya I.Yu. notes that "the individual style of a writer can also be defined as a way of organizing verbal material, which, reflecting the artistic vision of the author, creates a new, unique image of the world." Individual or personal, appearing through the established methods of the literary school's verbal and artistic system, is considered a style dominant, which ultimately creates signs of style and the possibility of its recognition as belonging only to this writer.

Any writer is the bearer and creator of the national culture of speech. Using the language of his time, he selects, combines and, in accordance with his creative intentions, unites different means of the vocabulary and grammatical structure of his native language. Through style, the writer creatively reproduces material from life. General themes, problems, events acquire their artistic uniqueness in the individual style of the writer, because they are "passed" through the personality of the artist. Of course, the style of a literary work and the style of a writer must be approached as a harmonious and whole unity, considering them in mutual connection and interaction.

The originality of the individual style is due to both the individual characteristics of the author and the historical events that take place in a particular period of time and affect the writer's work.

Each writer has his own creative workshop, which sooner or later becomes the subject of research, as it is always interesting, since there are no stereotypical creative workshops. And only one thing unifies the author's work - the ability to masterfully use the linguistic possibilities of the society for which the author writes. It is clear that Leo Tolstoy wrote his novels for the Russians, and Charles Dickens for the British. It is also quite clear that, as a rule, no one writes their works in view of the fact that they will be translated into other languages. When creating his novel, the author has quite definite guidelines, having previously and sufficiently deeply studied the psychology of perception of his work by the readership, who owns exactly that linguistic culture, the contribution to which will be the new work. Naturally, the author does not think about how his work will be perceived in other social conditions, which may differ significantly from those in which he addresses his work. The author uses his entire linguocultural arsenal to create and convey images that are adequately perceived in the linguistic community for which he writes.

At the same time, the number of translations of fiction in the world is constantly increasing, and the quality of these translations is steadily increasing. Although it has been theoretically proven that untranslatable texts do not exist, there are still a great many “inconvenient” texts for translation, and the individual style of the author makes a significant contribution to this problem.

The problem stems from the fact that literary translation requires excellent knowledge of two cultures. To perfect translation, extralinguistic knowledge is required, which, if not in meaning, then in volume, turn out to be much more important than linguistic knowledge, since in linguistics the main translation commandment is: translate not words, but meaning.

The central issue of the theory of literary translation is the possibility of creating such a work in the TL, which would be as close as possible to the ideological and artistic essence of the original, would be read as an original work and at the same time would preserve the features of its national identity, the style of the work and the individual style of the author.

In his interview to the online edition "Russian Journal" Yu.Ya. Yakhnina, translator of the works of French writers of the 20th century, said that “the personality of the translator is always felt in the text, it cannot be hidden. Any translation is an individual reading of the text, it is an interpretation that is akin to ... the interpretation of an actor, a musician. " Translated by Yu. Yakhnina calls a dialogue with the author, which leads to the fact that "the translator, like the author of the original, lives with his characters, entering into diverse relationships with them." The book being translated is closely intertwined with the translator's own life. In the process of comprehending the author's text and translation, both the intuitive and the rational are equally present. If the book does not care, if some subconscious mechanisms are not turned on, the translation will not work. However, this requires constant self-control. It is easier to translate when the individual style of the author is close to the translator.

According to A. V. Fedorov, expressed in the work "Foundations of the General Theory of Translation (Linguistic Problems)", several main cases of the relationship between the originality of the original and the form of its transmission can be established:

1) smoothing, depersonalization for the sake of misunderstood requirements of the literary norm of the target language or the tastes of a certain literary direction;

2) attempts at formalistically accurate reproduction of individual elements of the original contrary to the requirements of the target language - a phenomenon that has the final result of violence over the language, linguistic stylistic inferiority;

3) distortion of the individual originality of the original as a result of arbitrary interpretation, arbitrary replacement of some features with others;

4) a full-fledged transfer of the individual originality of the original, taking into account all its essential features and requirements of the target language.

The forms of manifestation of individual originality in fiction are infinitely diverse, and each of them puts forward complex translation tasks. For example, Flaubert or Maupassant is characterized by a strict rhythm of relatively short sentences, within which diversity is achieved through more subtle differences in word arrangement, the breadth of synonymy within the dictionary norm of the literary language, an extraordinary variety of semantic shades of a word used mainly in its direct meaning, with full compliance lexico-phraseological norm of the modern French language.

Dickens' style, for example, is interesting for the speech characteristics of the characters. Dickens's positive and tragic characters are devoid of a characteristic style, their pathos is colorless and smacks of melodrama. But in the speech of Dickens's comic characters, all the wealth of social and partly local dialects of the English language is revealed. For example, Cruncher from "A Tale of Two Cities", a superstitious and stupid tyrant, always fears that his wife would fall on her knees and beg him some evil attack from the Lord. In doing so, he uses the expression to flop down- flop (on the floor during prayer). This expression is repeated more than once in his address to his wife, and always with a comic effect. The translators found a very accurate and accurate match: plump... "And if you absolutely have to thump ... thump so that your son and husband will benefit, not harm."

Dickens is also famous for comic grotesque - the talented use of homonyms, synonyms, consonances, wordplay (for example, May "s mother always stood on her gentility and Dot "s mother never stood on anything, but her active little feet can be translated as “ May's mother always stood on the fact that she is noble, and Baby's mother is not on anything stood, unless only on their nimble legs"), Impossible combinations of epithets (" the man of teeth» – « tooth-laden"), Unexpected comprehension of metaphors (" interminable serpents of smoke» - « endless snake smoke rings") And idiomatic expressions (for example, Dickens plays with the well-known idiom" to dine with the Duke of Gumphrey "(" to dine with Duke Humphrey"), What means do not dine at all: “For many members of the Chuzzlewit family have letters from which it is clear in black and white that a certain Diggory Chuzzlewit was in the habit of dining with the Duke of Gumphrey. He was such a frequent guest at the table of this nobleman, and his mercy must have been so imposed with his hospitality that Diggory, apparently, was shy and reluctant to go there, for he wrote to his friends in the sense that if they did not send with the giver this letter of this and that, he has no choice but to "dine with the Duke of Gumphrey" again (Dickens 1958: 12)). Thus, for an adequate transfer of comic speech, the translator must be fluent in both foreign and native languages, his speech must be abundant in fresh verbal colors. Since it is quite difficult to achieve a complete transfer of the content of the comic effect of the original without changing the form, given the fact that a complete coincidence of social and national-cultural associations is relatively rare, then most often in the translation into Russian there are various types of lexical, grammatical and stylistic translation transformations.

Perhaps the most striking distinguishing feature of a literary text is the extremely active use of tropes and figures of speech, therefore the translator needs to preserve as many tropes and figures of speech as possible as an important component of the idiostyle of a particular work.

It is often difficult to convey the verbal appearance of characters. It's good when an old-fashioned gentleman or an eccentric girl speaks - it's easy to imagine how they would speak Russian. It is much more difficult to convey the speech of an Irish peasant in Russian or Odessa jargon in English. Here, losses are inevitable, and the bright coloration inevitably has to be muted.

Particular difficulties arise when the source and target languages ​​are of different cultures. For example, the works of Arab authors are replete with quotes from the Koran and allusions (hints) to its plots. An Arab reader will recognize them as easily as an educated European would recognize allusions to the Bible or ancient myths. In translation, these quotes remain incomprehensible to the European reader. Literary traditions also differ. For example, the comparison of a beautiful woman with a camel seems ridiculous to a European, but in Arabic poetry it is quite common. And the fairy tale "Snow Maiden", which is based on Slavic pagan images, is generally very difficult to translate into the languages ​​of hot Africa. Different cultures are more complex than different languages.

It is hardly possible to list and comment on everything means of transmission of individual author's style... We will turn only to some of the most frequent ones and try to assess the possibilities of their translation, well understanding that with such an abundance of language means, a conflict of form and content is inevitable - hence the frequent use of the technique compensation(that is, the transfer of semantic meaning or stylistic connotation not where it is expressed in the original, or not by the means in which it is expressed in the original) and the inevitable effect neutralization some significant dominants of the translation (that is, specific elements that the translator considers most important in the text, which he attaches special importance to in conveying the idea of ​​the work in another language).

These tools include:

1) Epithets, which are transmitted taking into account the degree of individualization (a stable epithet of folklore, a traditional epithet-poetism, a traditional epithet of a given literary trend, purely author's, for example, “Scarlett was frightened by her white weakness "-" Scarlett scared her deadly pallor and weakness ") (M. Mitchell. Gone With the Wind. 1936).

In English, the use of a transferred epithet is very common, based on a different logical and syntactic compatibility than in Russian, for example, “Poirot waved an eloquent hand "(A. Christie. Evil Under the Sun. 1985: 46). Poirot picturesquely waved his hand. " When translated, such epithets are rarely preserved, since in Russian they would be too unusual.

2) Comparisons, which are transmitted taking into account the structural features, the stylistic coloring of the vocabulary included in it. Difficulties arise here only if the words FL and PL have different semantic structures, for example, “I nstant history like instant coffee can be remarkably palatable ". (Luce H.R. Time. 1969: 104) " Modern history, like such a modern product like instant coffee may be extraordinarily pleasant. " In order to preserve this humorous comparison, the translator was forced to introduce additional words.

3) Metaphors- are transmitted taking into account the structural characteristics, taking into account the semantic relations between the figurative and subject plan.

a) A complete translation of a metaphor is possible if both the rules of compatibility and the traditions of expressing emotional and evaluative information used in this metaphor coincide in the source language and the target language, for example, "black day" - a black day, "black deed" - a dirty deed.

b) Additions or omissions are used in cases where the degree of implied similarity in the source and target languages ​​is different. For example, when translating a metaphorical epithet expressed by an attributive or substantive phrase, which is generally not inherent in Russian syntax: “On the opposite bank an emerald ribbon of fields bordered the river; beyond lay the desert, the red land of the ancient texts "(Peters E. The Snake, the Crocodile & the Dog. 1994). "The opposite bank of the river was bordered by emerald greenery fields and trees , behind them is the desert, in the ancient scrolls called Red Earth».

c) Replacement is used in cases of lexical or associative inconsistency between metaphor elements in the source language and the target language, for example, “Her own edges began to curl up in sympathy"(Tay J. Miss Pym Disposes. 1988: 35). “In herself indignation began to boil».

d) Structural transformation is used when the traditions of the grammatical design of the metaphor differ. Expanded metaphors (figurative pictures in which a word used in a metaphorical meaning evokes a figurative meaning in the words associated with it) require grammatical and lexical transformations due to differences in the principles of compatibility between the source language and the target language: “I woke early to see the kiss of the sunrise summoning a rosy flush to the western cliffs, which sight never fails to raise my spirits "(Peters E. The Snake, the Crocodile & the Dog. 1994). “I got up early and saw how blushed from the kiss of the sun at sunrise the western cliffs are a sight that invariably inspires me. "

e) Traditional correspondence is used in relation to metaphors of biblical, ancient origin, when different ways of expressing metaphorical similarity have developed in the original language and the target language: Babel – the confusion of babylon.

When translating individual author's metaphors, the main problem is the choice of a word that, on the one hand, is capable of reflecting the originality of the author's imagery, and, on the other hand, does not conflict with the methods of expression accepted in the target language.

4) Author's neologisms- are transmitted according to the word-formation model existing in the target language, similar to the one used by the author, while preserving the semantics of the word components and stylistic coloration.

Neologisms are translated by the method of transcription (" squib"In JK Rowling's novel Harry Potter is translated as" squib"), Transliteration (" Horcrux» – « Horcrux"In the same place), tracing (" degnome» - « smash"Ibid.), Descriptive translation (" humanoidist» - « humanoid rights activist"- a neologism found in science fiction) or functional replacement (" catcher» - « grabber"In Harry Potter).

5) Reruns phonetic, morphemic, lexical, syntactic, leitmotifs are transmitted, if possible, while maintaining the number of repetition components and the principle of repetition at a given language level. For instance, " For glances beget ogles, ogles sights, sights wishes, wishes words, and words a letter". "There will be no good: a look gives birth sigh, reciprocal sigh- hope and desire. " (Lord Byron. Works of Lord Byron. 2010: 85)

6) Wordplay, or pun- based on the ambiguity of a word or by revitalizing its internal form. In rare cases of the coincidence of the amount of polysemy of the word being played out in the original and the translation, both the meaning and the principle of the game are preserved, in other cases the game is not transmitted, but it can be compensated for by playing another word according to the meaning that is introduced into the same text, for example “ we called him Tortoise because he taught us "Translated as" we called him Sputum because he always went with a twig ". (Carroll L. Alice "s Adventures in Wonderland and Through the Looking Glass. 2010: 42)

7) Irony- first of all, the very principle of contrasting collision, comparison of the incomparable (violation of semantic and grammatical compatibility, collision of vocabulary with different stylistic coloring, the effect of surprise, built on a failure of the syntactic structure, etc.) is conveyed:

“... in boots so stained with mud that even the Catherine Canal, known for its cleanliness, would not be able to wash it off". - “… boots so mud-stained that they could surpass even the Ekaterininsky Canal, a notoriously muddy stream". (Gogol N.V. Works. 2002: 281)

eight) " Speaking "names and place names- are transmitted with the preservation of the semantics of the "speaking" name and typical for the original language of the word-formation model, exotic for the target language, for example, Melanov from "The History of a City" by M.Ye. Saltykova-Shchedrina in translation acquires the surname “ Melancholov».

9) Dialectisms- as a rule, they are compensated by colloquial vocabulary. Jargon and swear words are conveyed using the vocabulary of the language with the same stylistic coloring:

« If you really want to hear about it, the first thing you’ ll probably want to know is where I was born, and what my lousy childhood was like… and all that David Copperfield kind of crap "The translation sounds like this:" If you really want to hear this story, you probably first of all want to know where I was born, how I spent my stupid childhood ... in a word, all this david copperfield dregs». ( Salinger J.D. If you really want to know: a Catcher casebook. 1963:56)

10) Syntactic specificity the original text - the presence of a contrast between short and long sentences, the rhythm of prose, the predominance of a compositional connection, etc.:

for example, the use of rhythm in Dickens' novel David Copperfield: “went past gasworks, rope-walks, boat- builders" yards, ship- wrights" yards, ship-breakers "yards, caulkers" yards "; " walked past the boat shipyards, ship shipyards, caulk shipyards, repair shipyards » (Dickens. David Copperfield : 37).

Each translation, as a creative process, must be marked by the individuality of the translator, but the main task of the translator is still to convey in translation the characteristic features of the original, and in order to create an artistic and emotional impression adequate to the original, the translator must find the best linguistic means.

Of course, all elements of form and content cannot be reproduced with maximum accuracy. With any translation, the following inevitably happens:

1. Some part of the material is not recreated.

2. Some part of the material is not given in its own form, but in the form of various kinds of transformations.

3. The material is brought in, which is not in the original.

Therefore, even the best translations, according to many well-known researchers, may contain conditional changes in comparison with the original - and these changes are absolutely necessary if the goal is to create a unity of form and content similar to the original on the material of another language. However, the volume of these changes determines the accuracy of the translation - and it is the minimum of such changes that requires an adequate translation.

The writer not only makes use of the wealth of the language, but also enriches it with new forms of using the means that language gives him. These new forms are becoming (or may become later) a common property that will be used by native speakers of the given language. To identify the individual specifics of the author's style, a complete stylistic analysis of the original is required, including not only the definition of significant features of the style, but also a characteristic of their frequency.

The main difficulty for a translator is that translation often involves a choice of several options for conveying the same idea, the same stylistic device used by the author in the original. Making this choice, the translator, willingly or unwillingly, focuses on himself, on his understanding of how it would be better to say it in this case.

Summarizing all of the above, we can conclude that the reconstruction of the image of the author in all his individuality in translation is possible only if the translator is a creative person with rich personal experience and a high degree of adaptability, and if he creates his translation on the basis of the deepest penetration into the system of ideological, ethical, aesthetic views and artistic method of the author, using all known methods of transforming figurative means from the original language into the target language.

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CHAPTER 1. CONCEPT OF AUTHOR'S STYLE

The author's style is a peculiar, historically determined, complex system of means and forms of verbal expression, characteristic of a particular author. The individual author's style in works of art is determined by the peculiarities of the use of stylistic means and techniques, together with the structural organization of the text and the choice of lexical units.

Each author has his own unique author's style. For example, when publishing classical literary works, the author's neologisms and even explicit grammatical and spelling mistakes of the author are often retained in order to fully convey the author's style. Sometimes they even later become the new literary norm. The author's style is individual for each writer, but despite this, it is the author's styles of different authors that form literary trends and styles in which the features of a generalized creative manner are already manifested. The author's style is determined by subjective factors, it depends on how the author expresses and presents different phenomena and descriptions. It is the individual creative manner that makes some of the works brilliant and memorable. Qualitative signs of the varieties of the text are created, along with the above, and the manifestation of the personal characteristics of the author's style in the text. The author's individuality is found in the interpreting plans of the text, in the linguistic and stylistic design of it. Naturally, this problem is relevant and fundamental for texts of non-standard speech and compositional design, texts with a greater share of emotionally expressive elements. The author's individuality is maximally perceptible in literary texts, both at the level of manifestation of the author's consciousness, its moral and ethical criteria, and at the level of the literary form, idiostyle. The individual style, as a rule, is revealed in the genres of journalism, close to the artistic type of image. Elements of artistry are also found in popular science text, and, therefore, they are selective and therefore characterize the author's style. The emotional memory of a specific author of a specific text can grab from his sensations when creating a literary work different impressions - either concrete-objective, visual in their detail, or romantically uplifted, caused by emotional and psychological tension, a state of passion. So either restraint in descriptions, subject detailing, or excessive metaphoricity, pomp is born. Everything is individual, the author is reflected in everything. The main thing for the reader is to enter this state, to correlate what the author has expressed with the essence of the subject being described. In another case, given a different situation, excessive pomp is presented to another author as something overly cloying. The originality of the artistic word is not necessarily associated with the abundant use of tropes and, in general, speech decorations. Originality can be created by the syllable itself - by a system of semantic and grammatical relationships of word forms in a phrase and in a sentence, a violation of the conceptual compatibility of word forms, etc. The problem of the author's individuality is quite relevant for a scientific text, especially a scientific and humanitarian one. Individuality is manifested in the use of evaluative, emotionally colored and expressive speech means. Such an emotive coloring of a scientific text can arise as a result of a special perception of an object; individual evaluative connotations can also be caused by a special, critical-polemic way of presentation, when the author expresses a personal attitude towards the subject under discussion. In this case, it is the expression of thought that is the embodiment of individuality. The use of emotional media here creates a deep persuasiveness that contrasts sharply with the general dispassionate tone of scientific writing. Currently, there is no consensus in the literature regarding the possibility of manifestation of the author's personality in a scientific text. As extreme, there are two opinions on this issue. In one case, it is believed that the extreme standard of the literary design of modern scientific texts leads to their facelessness, the leveling of style. In another case, such categorical judgments are denied and the possibility of manifestation of the author's individuality in a scientific text is recognized, and even the indispensability of such a manifestation.

The emotionality of a scientific text can be viewed from two perspectives: 1) as a reflection of the author's emotional attitude to scientific activity, as an expression of his feelings when creating a text; 2) as a property of the text itself, capable of emotionally affecting the reader. Moreover, the emotionality of a scientific text depends on the significance of expressive units for the text, and not only on their composition and quantity. It is important to keep in mind that the very nature of expression in a scientific text is different than, for example, in an artistic text. Here, many neutral speech means can be expressive, which can increase the argumentation of the stated position, emphasize the consistency of the conclusion, convincing reasoning, etc. A scientific text not only conveys information about the external world, but also represents a humanized structure bearing the "stamp" of the personality of the subject of creative activity. “Interpreting plans of the text carry information about the features of the manifestation of the author's consciousness, ie. ultimately about the author himself. " The author's speech "I" in a scientific text will inevitably be as original as his consciousness and the nature of the interpretation of reality are original. In particular, this is due to a certain degree of associativity in thinking, although the scientific text primarily reflects connections of a logical order. The originality of a scientist's style is also determined by the profile of his thinking (analytical - synthetic). All this leads to the appearance of specific features in a scientific text. Of no small importance are the literary abilities of the author, the ability to textually accurately and vividly reflect the phenomena of his imagination in the text. The emotional expressiveness of a scientific text is rigidly welded to its main quality - consistency. The emotionality of the form here does not destroy the consistency of the content. Moreover, the very logic of reasoning (the correlation of causes and effects), given in a bright "linguistic package", can serve as a means of creating irony, when the author, using logical operations, proves the absurdity of his opponent's positions. Writing a text to a scientist is the final stage in solving a creative problem, but at the same time, a scientific text cannot but reflect the moments of finding the necessary solutions, and this is often associated with intuitive processes in thinking and therefore cannot be absolutely emotionless. The originality of the look at the depicted object cannot but be combined with originality in the emotional assessment of it, and this inevitably affects the style and manner of presentation. Of course, the scientific subject itself provokes a peculiar attitude towards the form of presentation, towards the choice of linguistic means. Naturally, the originality of the style is difficult to find in scientific and technical texts, where most of the text space is occupied by formulas, graphs, tables, and the verbal text serves only as a connecting element. The practice of writing such texts has long worked out standard speech formulas, which cannot be avoided, no matter how the author strives for it.

In the texts of the humanitarian cycle - in history, philosophy, literary criticism, linguistics - the possibilities for the manifestation of the author's originality are wider, if only because scientific concepts and ideas are defined and explained verbally, i.e. the author's interpretation of the subject of presentation is reflected in the text through speech means and their organization. Undoubtedly, the popular science text provides great opportunities for the manifestation of the author's individuality. The author resorts to analogies and metaphorical comparisons, artistic elements of style, due to the nature of the text itself, its purpose. Such literary embellishment of the text allows the author to turn to the reader's personal experience to explain an unfamiliar scientific concept or phenomenon. Naturally, the author's appeals to the literary means of artistry are selective, each author has his own associations, his own method of presenting the material. The popular science text itself is conducive to such selectivity. It is in this selectivity that the individuality of the author is manifested.

In a text of this type, speech means, in addition to the function of direct transmission of scientific information, also perform other roles: they are means of clarifying the scientific content and creating a contact between the author and the reader, these are means of actively influencing the reader with the aim of persuading, forming his evaluative orientation. The choice of such means creates the specifics of the author's presentation. The ability of the author of the text to process complex abstract information is found precisely at the speech level. After all, the popularizer is obliged to rely on an adequate perception of the text, for the sake of this he turns to means of visualization based on the transfer of experience from one area to another. This is how comparisons are born, juxtapositions that help to understand intellectual information. Such fictionalization of the presentation helps to establish contact with the reader, using well-known examples to explain complex concepts and processes and, therefore, to intrigue the reader. The issue of the manifestation of the author's individuality in a scientific text, of the individual style of the author, apparently, can be considered, bearing in mind their temporal aspect. Modern scientific literature (including humanitarian) in general and focuses on the monolithic style. Despite the differentiation of the sciences themselves, there is an increase in the unity of intrastyle characteristics, in the direction of rejection of the individual, emotionally expressive features of the style. However, if we turn to the history of the development of Russian science and the formation of the scientific style, it turns out that such a leveling of presentation was not always inherent in scientific works. There are many reasons for this, both objective and subjective, in particular, one can name the following: there are frequent facts in Russian history when a scientist and a writer, a fiction writer were combined in one person. Such a two-sided talent could not but affect the manner of writing. And therefore it seems quite natural, for example, to write a treatise on chemistry in poetic form by M. Lomonosov. The syllable of a scientist may turn out to be extremely original and without special claims to such, without deliberate fictionalization. At present, the field of activity of scientists and writers has delimited due to a sharp change in the very level of science, its specialization. In addition, the circle of scientists has expanded excessively, and the combination of research and literary abilities in one person has become extremely rare. And objectively, the formation of the scientific style, its standardization and stabilization, led to the prevalence of the "general" in the language over the individual. The problem of this ratio is extremely urgent for modern scientific literature. Although it is obvious, this ratio changes towards the prevalence of the general. In a modern scientific text, the authors strive, often in order to objectify the message, and also due to the general standardization of the language of science, to destroy the evaluative-expressive and personal-emotional word, to unify both the lexical material and the syntactic structure. In general, the style of scientific work is becoming more strict, academic, unemotional. This is facilitated by the unification of their compositions. However, this general tendency in the language of science, as has been shown, does not refute the fact that the author's individuality is manifested in the choice of the research problem itself, in the nature of its coverage, in the use of methods and methods of proof, in the choice of the form of inclusion of "someone else's" opinion, means of the choice of means of attracting the attention of the reader, etc. All this together creates an individual author's style, and not just the emotional and expressive means of the language itself.

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Let's consider the stylistic features of detective stories using the example of one of the most popular British authors, Agatha Christie, whose works are still considered one of the most frequently published in the world ...

A common place was to quote the statement of the famous English natural scientist Buffon that "style is a person." The converse is also easy to prove. At the same time, it is difficult to dispute Buffon's correctness. After all, we sometimes deal with a unique situation when a person, or vice versa. And the character of a person in style affects ...

For example, youthful maximalism combined with a lack of knowledge may result in the following paragraph: “Everyone should count like me. Well, if they don't think like Belinsky, that's their problem. I do not know what Belinsky meant by the meaning of this phrase. " Of the famous literary characters, speech and writing coincided with Chatsky. However, if we are to believe the investigations of the Russian cultural and literary critic, Chatsky, as a man of Decembrist views, is quite typical in this sense.

The arrangement of punctuation marks and spelling in the author's text may well differ from the generally accepted one (remember: "the wise squeaker" in the tale of the same name by Saltykov-Shchedrin, "Radion Raskolnikov" by Dostoevsky, the letter "o" in the word "yellow" in the same and A. Blok and also, even earlier, in Fet's word "whisper"). However, in a number of cases, such were the then linguistic norms, and the point is not at all in the peculiarities of the author's style.

In case of difficulties of the spelling and especially punctuation kind (they are most possible), one should correlate the spelling and arrangement of signs with modern language norms, and also use interchangeable (synonymous) signs: dash-comma-brackets, etc. For example, in Belinsky's article about Pushkin we read: "... the first half of the seventh chapter (description of spring, recollection of Lenskoye, Tatyana's visit to Onegin's house) somehow stands out from everything ..." and a dash at the end of it. Then there will be no complaints against you, even if your punctuation does not coincide with the author's.

This is where the author certainly made a full impact - this is L. Tolstoy on the pages of the epic novel War and Peace. The principle of "capture everything" determined the nature of the construction of phrases - complex, with many subordinate clauses, participles and adverbs. It is according to Tolstoy that it is advisable not only to comprehend the science of stylistics, but also to learn literacy in general.

Pavel NikolaevichMalofeev

Especially for the site "Become literate"

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The generalization of the content of the two concepts "style" and "author's style" is carried out on the basis of the analysis of Chinese, Russian and Western European culturological literature. The semantic asymmetry of the concept of "style" was established. Depending on the scientist's belonging to a particular scientific school, the style is considered as a cultural phenomenon or as a result of individual creativity. In science, a third direction has also developed, within which researchers are trying to establish the mediating properties of style: it is considered simultaneously as a product of sociocultural determination and individual creativity. The author proposes to actualize the concept of "author's style", which has not yet received sufficiently widespread use and theoretical justification in culturological literature. In this case, the opposition of two levels - cultural and individual - correlates with the two terms "style" and "author's style". The author's style and style fix the mechanism of the creative process, when the author creates something new using ready-made socio-cultural material, well-known rules and techniques, easily recognizable plots and symbols.

sociocultural determination

1. Adorno T. Aesthetic theory / Per. with him. A. V. Dranova. - M .: Respublika, 2001 .-- 527 p.

2. Bart R. Zero degree of writing // Semiotics: Anthology / Comp. Yu.S. Stepanov. - M .: Academic Project; Yekaterinburg: Business book, 2001. - pp. 327 - 370.

3. Vitel EB Artistic culture of the XX century: from anthropocentrism to a new artistic reality: monograph. - Kostroma: KSU im. ON THE. Nekrasov, 2009 .-- 293 p.

4. Lotman Yu. M. Semiosphere. - St. Petersburg: "Art - St. Petersburg", 2000. - 704 p.

5. Mikeshina L.A., Openkov M.Yu. New images of knowledge and reality. - M .: Russian political encyclopedia (ROSSPEN), 1997 .-- 240 p. - S. 127.

6. Teng Gu. History of painting by Tang and Song. - Shanghai: People's Publishing House of China, 1933. - 113p.

7. Teng I. Philosophy of Art / Prepared. to ed., total. ed. and after. A. M. Mikishi; entry Art. P. S. Gurevich. - M .: Respublika, 1996 .-- 351 p.

8. At Yaohua. Study of the fine arts. - Jiangsu: Fine Arts Publishing House, 1997. - 185s.

9. Hong Zaisin. Reader on Chinese painting. - Shanghai: Folk Art Publishing House, 1992. - 256s.

10. Shpet G. G. Art as a kind of knowledge. Selected works on the philosophy of culture / Ed. editor-compiler T.G. Shchedrina. - M .: Russian political encyclopedia (ROSSPEN), 2007 .-- 712 p.

The complexity of describing the phenomenon of "author's style" is determined by a number of reasons. On the one hand, a certain tradition of studying it in aesthetics and various theories of art has developed. On the other hand, the phenomenon of authorship is historically quite young; in our usual understanding, it appeared as a result of the formation of capitalist relations and bourgeois law.

In addition, there are different terms used to describe the phenomenon we are studying. So, within the framework of various disciplines that study art and culture, several terms coexist: style, direction, artistic system, artistic method, manner, technique. They are often very poorly differentiated, or the authors each time try to rethink them in a new way. The great popularity of the concept "style" is explained not so much by the transparency of the term as by the love of researchers and practitioners for the English-language terminology. However, here, too, an asymmetry is revealed in the volume of concepts and the tradition of their use. If the concept of "style" has a long history of functioning in scientific and philosophical thought, then "author's style" is a relatively young concept, which is poorly differentiated in scientific literature from similar terms. In Chinese scientific literature, the concept of "author's style" is synonymous with the word "manner", which also means a set of stylistic devices inherent in any author.

In this work, the thesis is put forward about the functional distribution of two concepts - style and author's style - depending on the level - cultural or individual - of understanding the creative process. Such breeding can be of great educational value. This issue is far from being solved in the aesthetic and cultural literature.

Pointing to the intermediate position of style in determining the functioning of a work of art as a product, on the one hand, deeply individual, and on the other, conditioned by the culture and society in which it was created, we can certainly assume that in the concept of "style" different scientific schools and directions will bring to the fore the manifestation of the author's individuality in him, then his socio-cultural conditioning. Although a third way of considering it is also possible - an attempt to interpret the style as intermediate, organizing symmetry between these two entities.

I. Teng was probably one of the first who tried to solve this problem in the positivist methodological paradigm, choosing the third way. He convincingly shows that an artist, sculptor, writer, in principle, any creator is not a loner. He lives in an era where his colleagues work next to him in the same manner and style as he does. Creators are grouped into schools according to the common features of their creations: “For example, around Shakespeare, who at first glance seems to be some kind of miracle that fell to us from the sky, a meteorite that fell from the confines of another world, we find a dozen excellent dramatic writers: Webster , Ford, Massinger, Marlowe, Ben Johnson, Fletcher and Beaumont, who wrote in the same style and in the same spirit as he did. Their dramatic works bear the same characteristics; you will find there the same wild and terrible faces, the same bloody and unexpected outcomes, the same fast and unbridled passions, the same disorderly, bizarre, sharp and at the same time luxurious style, the same excellent and poetic sense of rural nature and landscape, those the same gentle and deeply loving types of women. " However, there is a reality that determines their unity: "the general state of mental and moral development of that time", i.e. what we today denote by the term "culture" we are accustomed to. On this basis, I. Teng formulates a pattern: "To understand any work of art, artist or school of artists, it is necessary to accurately imagine the general state of mental and moral development of the time to which they belong."

The positivist tradition strengthens the social component in understanding style and, to some extent, makes it absolute. So, for G. Tarde there is no art for art, it is social in all its manifestations and means of achievement: all types of art exist in order to perform certain social functions.

Epistemologists tried to take an intermediate position when faced with the need to reveal the mechanism of conjugation of the individual and collective aspects in the process of cognition: “The epoch leaves an indelible imprint on the perception of the individual, gives him certain forms of mental reactions and behavior. These features of spiritual equipment are found in the "collective consciousness" of social groups and strata, in the consciousness of prominent representatives of the era. Any writer, artist, thinker is subjected to a kind of "cultural coercion", in one way or another he is "woven" into the system of ideas that dominate in his environment. Even being the original author of this or that text, a person cannot express it in the "course" of a pre-assigned linguistic system and cultural tradition that set certain boundaries for him. " Rather a metaphor than a strict concept, the expression "cultural coercion" gives a vivid image of the close connection of the creator of the original work of art with the socio-cultural environment.

However, positivist methodology is developing in conditions when the dominance of mimetic art has not yet been questioned. The French scientists cited above have not had to deal with the discouraging variety of forms, means and styles that coexist simultaneously and within the same socio-cultural space, which is the modern globalizing world. They lived in a period when the inversion of cultural meanings from natural to artistic had not yet taken place.

This problem has already been solved within the framework of other theoretical directions. The neo-Marxist tradition has proposed its own version of the solution to the problem of the correlation between "cultural and authorial". T. Adorno, as one of the followers of Marxism and Freudianism, showed the difficulty of understanding the essence of style and its functions in a transforming culture: ", corresponds to social development. Even the most sublime work of art takes a certain attitude to empirical reality, freeing itself from the power of its spell, and not once and for all, but every time anew, in a concrete form, unconsciously polemicizing with the state of this reality in a given historical epoch. The fact that works of art, as monads closed from the world, "represent" what they themselves are not, can hardly be explained otherwise than by the fact that their own dynamics, inherent historicity, which is a dialectic of the relationship between nature and its conquest , not only has the same essence as the external world, but also resembles external reality, without imitating it. The aesthetic productive force is the same as the force used in the process of useful labor, and has the same teleology. " The German philosopher, who already lived in a completely different era, had to comprehend not only the results of the powerful creative search of representatives of modernist art, but also explain the reason for the constant re-actualization of works of art in an era remote in time from the moment of their creation.

An attempt to explain this problem was also realized in the semiotic, including Soviet, scientific tradition. Yu. M. Lotman problematized the relationship between culture and authorship in the context of revealing the principles of the functioning of a symbol. “The" alphabet "of symbols of a particular poet is far from always individual: he can draw his symbolism from the arsenal of the era, cultural trend, social circle. The symbol is associated with the memory of culture, and a number of symbolic images permeate the entire history of mankind or its large areal layers vertically. The individuality of the artist is manifested not only in the creation of new occasional symbols (in a symbolic reading of the non-symbolic), but also in the actualization of sometimes very archaic images of a symbolic nature. " The Soviet semioticist tried to explain the nature of the interaction between the creator and his culture through an analysis of the nature and properties of semiotic material. In this study, the problem of the socio-cultural conditionality of the author's interaction with the art form, the mediation by culture and society of the methods of organizing artistic material by the master, regardless of its semiotic nature, comes to the fore.

In this respect, one should not lose sight of the rich experience of understanding the phenomena we are studying in Marxist methodology. Within the framework of this direction, style is a historical and social concept applied to describe the artistic practice of artists of a particular era. For example, G. Pospelov defines style as “... a historically determined aesthetic unity of the content and diverse aspects of an artistic form, revealing the content of a work. Style arises as a result of "artistic assimilation" of certain aspects of socio-historical reality, reflected in poetic images; thus, in the style, the concrete historical unity of the form and content of a work of art is realized. The nature of the style is determined by the originality of the concrete historical reality in the conditions of which the given style arises. In this sense, the concept of style serves to distinguish some historically formed groups of works of art from others that arose in the same or in different eras. Thus, the concept of style helps to understand the significant differences between works of art, differences in the unity of all their sides and elements, in all their artistic integrity. "

In fairness, it should be noted that this approach is not only a monopoly of Marxism. The phenomenologically oriented philosopher GG Shpet argued that "style can only appear after school."

The borderline of style (in principle, individual creativity) as cultural phenomena was revealed in all its contradictions by postmodernists. On the one hand, their philosophy is known as excessive hypertrophy of the ideological aspect in understanding various cultural phenomena. On the other hand, it was in relation to the style that its deeply individualistic understanding was developed.

On the material of literature, R. Barth tries to show that style appears as an undifferentiated area of ​​the individual, personal, where the leading role is assigned to biological determination. “Style is human thought in its vertical and detached dimension. It refers to the biological principle in a person or to his past, and not to History: he is the natural "matter" of the writer, his wealth and his prison, style is his loneliness. " And then he continues: “Style participates in the literary rite on private rights, it grows out of the depths of the individual mythology of the writer and flourishes outside the limits of his responsibility. It is the picturesque voice of a secret, unknown flesh; it acts like Necessity itself, as if, in an impulse to germinate, it is the final stage of a blind and stubborn metamorphosis, it turns out to be part of a lower language that arises on the border between the flesh and the outside world. Style is a certain phenomenon of plant development, an outward manifestation of the organic properties of the personality. That's why everything that style hints at lies in the depths. "

It is from the above quotes that one can conclude about the borderline character (an object so beloved by postmodern philosophers) style. It is located by R. Bart on the border of the personal, individual and natural. In this context, the logic of replacing the social with the natural is understandable. A person, according to postmodern views, is a being deeply dependent on social and ideological forces outside of him. Creativity is subject to the same addiction. However, style cannot pretend to be a "totalitarian" instance, endowed with the functions of suppressing the individual, since it is traditionally associated with the cultivation of one's own, dissimilar, unique. But to come to terms with this would mean to introduce an element of arbitrariness and autonomy into the concept of an unfree person, with which R. Barth, of course, could not give up. It only remained to limit the scope of what was allowed for human creativity by natural boundaries.

The concept of "style" has received sufficient understanding in the Chinese scientific literature. Note that Chinese scholars also did not reach an understanding on the definition of the role and place of style in the evolution of art. In the XIX - XX centuries. the category "style" has been actively developed by historians and theorists in the field of art, aesthetics and philosophy. Chinese scholars Teng Gu (1901 - 1941), Hong Zaisin (born in 1958), Wu Yaohua (born in 1959), Xue Yunnian (born in 1941) and others understood style as a fairly stable system of formal signs and the elements of organizing a work of art, although the definition of its content is qualitatively different for them.

Teng Gu in his work "History of Tang and Song Painting" investigated the mechanism of the style functioning. He believed that the mechanism for the development of art is the consistent evolution of styles. Changing styles is the driving force behind this development. However, his reasoning remains rather speculative, the socio-cultural aspect remains outside his attention. The Chinese scientist calls style the soul of artistic creativity: style is a form of the artist's expression of his inner world. Thus, the style is generalized in its content to the most important aspect of being a work of art, through which the life of the creator is manifested, the author's temperament and human nature are expressed, but the cultural aspect remains unnoticed.

Hong Zaixin in his "Reader on Chinese Painting" examines the patterns of the formation of various styles. He also connects the development of art with innovations in the stylistics of specific works of art, since style is the unity of the content and form of a work of art. The personality traits of the artist, the plot, the genre of the work, social, historical conditions are combined in style. According to the Chinese researcher, in the visual arts, the style manifests itself immediately, evoking feelings, emotions, experiences of people, it needs to be embodied in a visible and sensory phenomenon, to express itself and renew itself in the movement of creative life.

Scientists and philosophers, whose work falls on the beginning of the 20th century, concentrated their attention on the individual aspect of style. They were interested in the patterns of manifestation of the individual (work of art) in the collective (style). Researchers of the second half of the XX century. were more attentive to the social and cultural aspects of the issue.

Wu Yaohua believes that the "artistic charm of the work", manifested in the artistic form, lies in the ability of Chinese painting to realize knowledge and to reveal the connection with society and culture. As you can see, the understanding of the role of style in the development of art is radically changing. Style is no longer considered an active factor influencing the evolution of art. This role is assigned to the art form, which correlates with the emergence of new styles and the emergence of which marks the development of culture. Therefore, in terms of the semiotic direction, the thesis of the Chinese scientist looks like this: the sign aspect precedes the content that appears in it. The artistic image precedes the formation of spiritual content, as well as the emergence of the desire to admire, understand and explain the innermost in it. Style is secondary in relation to the artistic image, but precedes the formation of its emotional perception and new cultural knowledge about it. Thus, in Wu Yaohua's theory, style is emphasized as an intermediary between the collective and individual levels of the existence of a work of art.

In general, style is the result of the creative process, the realization of the artist's orientation towards reality, towards artistic tradition, towards the public. Each artist has his own "author" style, but its meaning lies in giving individuality to artistic forms. Any art form has certain standard qualities. The creator is relieved to some extent of the need to apply reflective efforts in relation to that part of the works of art that can be realized in finished form, and relies on objective principles and regularities: plot, composition, color palette, etc. Therefore, the concept of “style »Differs in a certain contradiction, since authorship is largely realized as a process of formation of the new from the already given and realized in the paradigm of previously developed principles, which correspond to one or another level of socio-cultural development.

The work was carried out within the framework of the State Assignment to the University of the Ministry of Education and Science, No. .6.3676.2011.

Reviewers:

Ivanova Yulia Valentinovna, Doctor of Philosophy, Professor of the Department of Sociology and Social Work, Transbaikal State University, Chita.

Gomboeva Margarita Ivanovna, Doctor of Culturology, Professor, Vice-Rector for Additional Professional Education and International Cooperation of the Trans-Baikal State University, Chita.

Bibliographic reference

Han Bing RELATIONSHIP OF THE CONCEPTS "STYLE" AND "AUTHOR'S STYLE": CULTURAL ASPECT // Modern problems of science and education. - 2012. - No. 6 .;
URL: http://science-education.ru/ru/article/view?id=7916 (date of access: 02/01/2020). We bring to your attention the journals published by the "Academy of Natural Sciences"