Language game in the artistic text: problems of interpretation and translation

In modern linguistics, interest in the manifestations of the creative function of language, one of which is the language game, has increased markedly. In this regard, the study of a literary text with a high degree of linguistic conditionality, a distinctive feature of which is the focus of the author on the intentional modeling of semantic, lexical, syntactic, word-forming, pragmatic anomalies, is particularly relevant. The latter help to realize the inherent in the system of language and reflected in speech inconsistency and ambiguity of the functioning of language units.

Language game-a complex and interesting phenomenon, which it is characterized by its ability to function in almost all areas of human speech activity. It is implemented both orally and in writing. Language game is used in everyday conversational situations of communication of neutral and reduced style, in texts of high (sublime) literary genres, in newspaper and magazine texts, in advertising, in scientific and official-business speech, that is, in the texts of all functional styles.

Experimental anomalies act as an artistic language experiment of the author and create prerequisites for the inclusion of the receptor of the artistic text in the language game. The complexity of the phenomenon of language play determines the ambiguity of approaches to the interpretation of its essence, mechanisms, philosophical, psychological, social, aesthetic and linguistic nature. The appeal to the problem of the possibility of translation of the language game by means of another language is explained by the desire of linguists to comprehensively investigate the problems of individual author's word creation, deviation from the language Canon, fields of norm and antinorm in the language.

Theoretical study of language game in domestic and foreign linguistics has a long tradition. In our country especially actively the problem began to be developed in aspects of language norm and anomaly, linguistic experiment, verbal creativity of the author, linguocreative speech activity in 80-90 years of the 20th century in works of Y.D. Apresyan, N. D. Arutyunova, T. V. Bulygina, T. A. Gridina, A. D. Shmelev, E. A. Zemskaya, E. V. Paducheva, B. Yu. Normann, V. 3. Sannikova, O. Aksenova. Despite the urgency of the problem within the modern text-centric paradigm, there is a lack of research carried out in a comparative aspect, which analyzes the possibility of recreating the author's language game by means of the translation language.

The relevance of this study is justified by the need for a comparative study of the language game, which acts as a determinant of the author's idiostyle and serves as a means of studying anomalous phenomena of all language levels.

The analysis of the textual game of Lewis Carroll and translators N. M. Demurova, Yu. Nesterenko, V. eagle, A. Shcherbakov, L. Yakhnin allowed to assert that the thesis about the Dialogic nature of the text, its understanding as a system of interaction between the author, reader and researcher, acquire great importance in transcoding the text with a high degree of linguistic conditionality. It becomes obvious that intertextual activity is mobilized precisely when the reader is unable to resolve the linguistic and discursive anomaly only at the level of the system of metaphorical and metonymic language transfers, as well as simply at the level of spelling, coordination, punctuation rules and word-forming language models. In this case, the perceiver tries to find the source of semantic transformation of a given language expression not in the language system, but in the sphere of the author's meaning. For example, the proper names of characters in the works of L. Carroll are one of the techniques of intertextual play: "Carroll's names are not random, arbitrarily chosen combinations, but signs, behind which one can guess either living people or whole layers of history and national consciousness" (Demurova N. M., 1970: 160). Moreover, the complexity of the actual language operational techniques used in beating the proper name is obvious - alliteration (Fish and Frog), paronomasia (Humpty-Dumpty), decomposition of phraseological units (Hatter, March hare).

Translators in the process of transcoding the original are guided by the game form names and proper names, without resorting to transliteration. When broadcasting names, the personal hints behind them are taken into account. For example, the names Dodo, Duck, Lory, Eaglet behind which real people are guessed (the author himself, the Liddell sisters, Canon Duckworth), in the interpretation of N. M. Demurova (Robin Goose, Dodo bird, Laurie the parrot, ed the eagle) enable the reader to recognize the complexity of the text sign, and the translation commentary helps to recreate personal allusions. The poetic level of Carroll's intertextual play is characterized by a diverse relationship with the poetry popular at the time of their creation. Translation methods of realization of the author's external intertextuality, which implies only the recollection of the source of the parody by the reader, are distributed in the dissertation research in three directions. The first is characterized by the introduction into the text of the translation of poetic parodies of poems and songs known to the Russian-speaking receptor (for example, in the translations of L.Yakhnip: "a calf was born in the forest...", "One, two, three, four, five, went Bunny shoot...", "Quiet as a mouse, the ONE on the roof..."etc.); the second direction of translation textual game the author is maintaining in the translation of a parody on the original poem, given parody the mechanism of Carroll's (a parody of the style of the work, rhythmical-prosodic organization, borrowing characters, etc.- mainly in the translation of N. M. Live); the third direction -adaptive transcoding and parodies of Carroll without regard to the source of parody (mostly translated by V.Oryol). Summarizing the results of the analysis of the textual game of the original and translations, the study emphasizes the fact that the text as a semantic whole has properties that are not inherent in its linguistic components. Such semantic properties of the text are also present in isomorphic reflections of the original-the texts of the translation, characterized by qualitative discrepancy of the game textual level.

When contacting languages (e.g. Russian and Uzbek, Russian and Kazakh) language game is often based on a mixture of words two languages, it is understandable to bilingual residents of these countries and Kazakstan, but incomprehensible to the communicants, do not speak these languages.

For example:

• 1)    Russian-Uzbek language contact.

• A)    - what kind of speech?

  - Yes, a solid lagman without seasonings. (Dzhusupov M.).

It means uninteresting, not attracting the attention of the listener speech, so it is compared to the Uzbek national dish lagman, which without seasonings is hard, long, so it should not be without verbal decorations, without unexpected word usage, attractive the attention of the listener.

• B)    the Situation when the buyer in the store begins to eat samsa and says the seller:

"Oh, one bow.

The seller is responsible:

"No, a lot of onions. (Dzhusupov M.).

Language game appeared in this microtext as a result of the polysemy of the word one. In the first sentence, the token is one means, that in samsa many string and almost there is no meat, and should be more meat.

Seller, knowing this word as unit, says, that in samsa not one onion, and lots of onions. In addition, he uses the word onion in the nominative case, and not in the genitive.

• 2)    Russian and Kazakh languages contacting.

• - Ate besbarmak?

• – Yes, besbarmak five fingers, but without the meat (Dzhusupov M.).

Besbarmak-Kazakh national dish of meat, which is eaten traditionally five fingers. The word is formed by connecting two roots: BES (five), Barmak (finger). The language game was born at the expense of harping on the word besbarmak by the formation from it of the verb to Beshbarmak on word-formation patterns of the Russian language and its full translation into Russian - "five fingers". In the end, the meaning said: there was no besbarmak, although there were five fingers on the hand.

In the texts of the scientific style of language game is less common, it is usually is based on violation of norms, on ambiguity, on game direct and figurative meanings of the word, despite the fact that for a given functional style the most important features are accuracy, the lack of ambiguity. In this regard, it should be emphasized that a language game in a scientific style cannot function in volume, typical for colloquial, artistic, journalistic styles. Most often it manifests itself in texts in which there is confusion styles. In the official-business style language game theoretically can be used, but practically does not occur.