Shifting the focus of narration as a way of creating cinematographic effect in the novel “A clockwork orange” by A. Burgess

The article analyzes a fragment of A. Burgess’ novel ‘A Clockwork Orange” from the point of view of the language means used to create a dynamic observation situation (dubbed cinematography by Martianova) in the original and translations into Slavic languages (Russian, Polish, Ukrainian). The change of the observation point, accompanying the shift of plans and registers of the narrative in prose, performs a function similar to the movement of the camera in filmmaking, giving it a kind of cinematic dynamism. The choice of preferred forms of subjectivation in each of the translations is determined both by the intra-linguistic features of the design of grammatical structures, and by translation strategies aimed at shifting the observation point in the narrative. To shift the focus of the narrative and create a cinematic effect of changing plans in the interpretative translation narrative different means are used: various forms of addressing readers, changing the form of the narrative from the first to the third person, using finite, indefinite or generalized personal verb forms, as well as changing the verb tense from the past to the present. The choice of specific ways of focalizing the narrative in each of the translations is determined by the intra-linguistic features of the design of structures of this kind, as well as translation strategies aimed at changing the observation point. Additional dynamics is created via the alternation verbs describing the whole action and active constructions with verbs describing only part of the whole action - sound action in an impersonal form and passive constructions (including forms characteristic of the Ukrainian and Polish languages ending: -но, -то and -no, -to, respectively).