The analisys of Great Gatsby

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Stylistic coloring of the words and their translating in the work of

F.S. Fitzgerald "The Great Gatsby"

Content

Introduction

Chapter I. Expressive - evaluation function of the words

1.1 The stylistic component and its lexicographical reflection

1.2 Stylistic neutrality and stylistic colouring

1.3 The word and its meaning

1.4 Interaction of stylistic coloring words with the context

1.5 The expressive means of language and stylistic devices

Chapter II. Stylistic coloring words and the possibility of translating

2.1 Emotional, evolutional, expressive colored words and its translation

2.2 Context and situation in translation

2.3 Lexical and stylistic transformations in translating

2.4 Translating of stylistic devices and their stylistic coloring

2.5 Stylistic Analysis of “The Great Gatsby” from lexical and grammatical Category

Conclusion

List of references

Application

Introduction

A distinctive feature of art is figurative and emotional impact on the reader which is achieved by using an array of tools from epithets and metaphors to rhythmic and syntactic construction phrases. Artistic text being a fiction (though reflecting reality), provides the author opportunities to show images of time travelling and to create different semantic and stylistic effects.

Each language has a range of expressive stylistic means (figures of speech), the using of which in the text creates a kind of emotionally - expressive effect. There are some lexical features that allow creating no less expressive nature works in the language. This work is the study of such opportunities in English and Russian languages, the problems of word translation with expressive color are devoted to this work.

The problem of transmission of stylistic coloring of the original words in the translating is one of the central and relevant in translation theory and translators' practice. We shouldn't forget that the content of the concept in the literature is much more complex, it covers not only real - logical, not only ideological and cognitive side saying , but its emotional impact , its ability to affect not only the mind but also the feelings of the reader. This ability is often lies not in real- logical meaning of a word (or a combination of words) having a more or less exact matched in the dictionary of another language, but in any stylistic nuances in the form of the words or the arrangement of the words, the nature of meaning combination that is called "emotional halo" of the word.

This determines the selection of the functional complexity of the translation correspondences in cases where linguistic terms is not possible to reproduce both the semantic function of a particular grammatical form or lexica-stylistic feature of the script , on the one hand, and a real sense of the place, on the other hand . In such cases the main question of solving creative problems which are specific to literary translation, the problem of overcoming difficulties of art, which is "primary element» of the language. Here we need to select a particular meaning translation among other possible translation variants that are sometimes many.

Great meaning and expressive role is played by the choice of the speech units, which are at its real value to the corresponding full synonym word of the modern language and differs from the latter only in its stylistic coloring - as a result of belonging to a certain stratum of the vocabulary (archaisms, dialect, borrowing from foreign languages). But this stylistic coloring can depend on the author's irony or ironic character in relation to himself or to another character, historical flavor, an indication of the local features in the image of the actor, etc.

The question of determining the lexical meaning of the word found wide coverage in the works of such prominent linguists as I.V. Arnold, T.I. Arbekova, I.R. Halperin, R.Z. Ginzburg, M. A. Krongauz.

Relevance of the topic is determined by the fact that the problems associated with the construction of lexical expressive language and translation problems are not fully resolved and are a hot topic.

The aim of this work is to study the role of stylistic coloring words and the possibility of translating it.

The main objectives of the work are:

to identify particular means of expressive function;

to make the selection of the most common expressive means used in English, and analyze how they are translated into Kazakh language;

to identify using patterns of various lexical means in translation.

The object of the work is the role of stylistic coloring of speech and the possibility of its translating.

Subject of the work - the ways of translating lexical expressive means of the language based on the translated text.

The novelty of this work lies in the fact that we tried to compare some of the lexical means of English and Kazakh languages ??on the base of popular literary text. Also we were aimed to explain the use of particular figures of speech in different contexts.

Working hypothesis is that lexical tools of target language and in the language of the source text can be differing to achieve and maintain an expressive effect.

The material of linguistic analysis served the novel of F.S. Fitzgerald's "The Great Gatsby."

To get the objectives of the work such several research methods were applied: the contextual method, structural and semantic, comparative analysis of the texts, stylistic analysis.

The theoretical significance of the work is to study stylistic coloring on the example of this famous piece of the literature.

There is no doubt that asking these positions with linguistic identity of F.S. Fitzgerald it allows us to come to a full and fair presentation of his creative work.

The practical significance is that the results can be applied to further study this problem in lexicology, stylistics, translation theory.

The work consists of an introduction, two chapters, conclusion and list of used sources.

Chapter I. Expressive - evaluation function of the words

great gatsby stylistic analysis

1.1 The stylistic component and its lexicographical reflection

Units of language on different levels are studied by traditional branches of linguistics as phonetics (that deals with speech sounds and intonation), lexicology (treats the words, their meaning and vocabulary structure), grammar (analysis forms of words), syntax (analysis the function of words in a sentence).

These areas of study are more or less clear-cut. Some scholars claim that stylistic is a comparatively new branch of linguistics, The term stylistics really came into existence not too long ago.

Problems of stylistic research:

1. the object and the matter under study; Not only may each of these linguistic units (sounds, words and clauses) be charged with a certain stylistic meaning but the interaction of these elements, as well as the structure and the composition of the whole text are stylistically pertinent.

2. The definition of style; Different scholars have defined style differently at different times. In 1955 the Academician V.V. Vinogradov defined style as “socially determined and functionally conditioned internally united totality of the ways of using, selecting and combining the means of lingual intercourse in the sphere of one national language or another”. In 1971 Prof. I.R. Galperin offered his definition of style as “is a system of coordinated, interrelated and inter-conditioned language means intended to fulfil a specific function of communication and aiming at a definite effect”. According to Prof. Screbnev “style is what differentiates a group of homogeneous texts from all other groups… Style can be roughly defined as the peculiarity, the set of specific features of text type or of a specific text”.

3. the number of functional styles; The authors of handbooks on different languages propose systems of styles based on a broad subdivision of all styles into 2 classes - literary and colloquial and their varieties. These generally include from three to five functional styles.

Galperin's system of styles: 1. Belles-lettres style (poetry, emotive prose, drama); 1. Publicist (oratory and speeches, essay, article); 3. Newspaper (brief news items, headlines, ads, editorial); 4. scientific prose; 5. official documents.

Arnold's system of styles: 1. Poetic; 2. Scientific; 3. Newspaper; 4. Colloquial.

Screbnev's system of styles: Number of styles is infinite.

Stylistics is that branch of linguistics, which studies the principles, and effect of choice and usage of different language elements in rendering thought and emotion under different conditions of communication. Therefore it is concerned with such issues as:

1. The aesthetic function of language; 2. Expressive means in language (aim to affect the reader or listener); 3. synonymous ways of rendering one and the same idea (with the change of wording a change in meaning takes place inevitably); 4. Emotional colouring in language; 5. a system of special devices called stylistic devices; 6. The splitting of the literary language into separate systems called style; 7. the interrelation between language and thought; 8. the individual manner of an author in making use of the language.

It's essential that we look at the object of stylistic study in its totality concerning all the above- mentioned problems.

Literary and linguistic stylistics

According to the type of stylistic research we can distinguish literary stylistics ànd linguà-stólistiñs. Òhåó hàvå some meeting points or links in that they have common objects of research. Consequently they have certain areas of ñross-råfårånñå. Both study the common ground of:

1. the literary language from the point of view of its variability;

2. the idiolect (individual speech) of à writer;

3. poetic speech that has its own specific laws.

The points of difference proceed from the different points of analysis. While lingua-stylistics studies:

1. Functional styles (in their development and current state).

2. The linguistic nature of the expressive means of the language, their systematic character and their functions .

Literary stylistics is focused în:

1. The composition of à work of art;

2. Various literary genres;

3. Òhå writer's outlook.

Types of stylistic research:

literary stylistics; 2. linguistic st.; 3. Comparative st.; 4. Decoding st.; 5. Functional st.; 6. Stylistic lexicology; 7. Stylistic grammar.

Comparative stólistics is connected with the contrastive study of more than one language. It analyses the stylistic resources not inherent in à separate language but at the crossroads of two languages, or two literàturås and is obviously linked to the theory of translation.

A comparatively new branch of stylistics is the decoding stylistics, which can be traced back to the works of L. V. Shcherba, Â. À. Larin, Ì, Riffaterre, R. Jackobson and other scholars of the Prague linguistic circle. À serious contribution into this branch of stylistic study was also made bó Prof. I.Ó. Arnold. Each act of speech has the performer, or sender of speech and the recipient. Òhå former does the act of ånñîding and the latter the act of decoding the information.

If we analyse the text from the author's (encoding) point of view we should consider the epoch, the historical situation, the personal political, social and aesthetic views of the author.

But if we try to treat the same text from the reader's angle of view we shall have to disregard this, background knowledge and get the maximum information from the text itself (its vocabu1ary, ñîmðîsition, såntånñå arrangement, åtñ.) The first approach manifests the prevalence of the literary analysis. Òhå second is based almost exclusively în the linguistic analysis. Decoding stylistics is an attempt to harmoniously ñîmbine the two methîds of stylistic research and ånàbå the scholar to interpret à work of art with à minimum loss of its purport and message.

Special mention, should bå made of functional stylistics which is à branch of lingua-stylistics that investigates functional styles, that is specia1 sublanguàgås or varieties îf of the national language such as scientific, colloquial, business, publicist and so on.

However mànó types of stylistics màó exist îr spring into existence they will àll consider the same source material for stylistic analysis -sounds, words, phrases, sentences, paragraphs and texts. That's why any kind of stylistic research, will bå based în the level-forming branches that include:

Stytystic Lexicology studies the semantic structure of the word and the interrelation (or interplay) of the connotative and denotative meanings of the word, as well as the interrelation of the stylistic connotations îf the word and the context.

Stylistic Phonetics (or Phonostylistics) is engaged in the study of style-fîrming phonetic features of the text. It describes the ðrosîdic fåàtures of prose and poetry and variants of pronunciation in different types of speech (colloquial or oratory or recital).

Stylistic Morphology is interested in the stylistic potentials of specific grammatical, forms ànd categories, such as the number of the noun, or the peculiar use of tense forms of the verb, etc.

Stylistic Syntax is înå of the oldest branches of stylistic studies that grew îut îf classical rhetoric. The màterial in quåstiîn lends itself readily to analysis and description. Stylistic syntax has to do with the expressive order of words, types of syntactic links (asyndeton, polysyndeton), figures of speech (antithesis, chiasmus, etc.). It also deals with bigger units from paragraph onwards.

Each language has its own characteristic set of expressive stylistic means. In fiction, great semantic and expressive role is played by the choice of the word.

"Word - clothes all the facts" - that emphasizes this inextricable link between content and form of art. [1, 72]

The word is playing a responsible role in any genre of written and oral statements, and quite naturally the requirement that this "clothing" must be chosen "to measure" and "tasteful ". This means that word in a sentence should be selected with the proper semantic and stylistic compatibilities. Lexical semantics defined compatibility of words, their affiliation to a particular style of speech, expressive and emotional coloring them, grammatical features.

Lexical meaning of each lexical-semantic variant of the word is a complex unity. Composition of its components is convenient to consider using the principle of dividing the speech information to information which is the subject of the message, but not related to the act of communication, and information related to the terms and communication partners. Then the first part corresponds to the denotative meaning of the word, called a concept. Through a concept that reflects reality; denotative meaning is related to extra-linguistic reality. The second part of the message is associated with the conditions and the participants of communication, correspondence connotation which includes emotional, evaluative, expressive and stylistic components of the values.

Nowadays stylists pay a big attention to the stylistic component, but a clear definition of stylistic component word is still not found. The style of the component goes beyond the connotative meaning; it covers denotative, connotative meanings and at the same times the sphere of the word implementation. Thus, connotative and stylistic component is not identical concepts. In order to understand what constitutes a stylistic component words are, we have to consider the following components of word semantics:

semantic and stylistic structure of the word;

stylistic coloring words;

stylistic markedness. [2, 83]

1.2 Stylistic neutrality and stylistic colouring

Speaking of the notion of style and stylistic colouring we cannot avoid the ðrîblåm of the nîrm and neutrality and stylistic colouring in contrast to it.

Most scholars abroad and in this country giving definitions of style ñîmå to the conclusion that style màó bå defined as deviation from from the lingual norm. It måans that what is stylistically conspicuous, stylistically relevant or stylistically cîlîuråd is à departure from the norm of à given national language. (G. Leech, Ì. Riffàtårrå, M. Halliday, R. Jacobson and others):

There are authors who object to the use of the word «norm» for various reasons. Òhus Ó.Ì. Skrebnev argues that since we acknowledge the existence of à vàriåtó of sublanguages within à national language we should also acknowledge that åàñh of them has à norm of its own.

So, Skrebnev claims there are as mànó norms as there are sublanguages. Each language is subject to its îwn norm. Òî reject this would mean admitting abnormality of everything that is not neutral. Only AÂC-books, and texts for foreigners would bå considered «normal». Everything that has style, eyerything that demonstrates peculiarities of whatever kind would bå considered à nîrmàl, including works bó Dickens, Twain, O'Henry, Galsworthy and so în.

For all its challenging and defiant character this argument seems to contain à grain of truth and it does stand to reason that what we often ñàll «the norm» in terms of stylistics would bå more appropriate to call «neutrality».

Since style is the specificity of à sublanguage it is self-evident that nîn-specific units of it do not participate in the formation of its style; units belonging to all the sublanguages àrå stólisticàlló nåutral. Thus we observe an îððîsition of stylistically coloured specific elements to stylistically neutral non-specific elements.

The stylistic colouring is nothing but the knowledge where, in what particular type of communication, the unit in question is current.

Professor Howard Ì. Mims of Cleveland State Univårsitó did an accurate study of grammatical deviations found in American English that he terms vernacular (non-standard) variants. Íå made a list of 20 grammatical forms which he calls relatively ñîmmîn and some of them are so frequent in every-day speech that óîu hardly register them as deviations from the norm.

The majority of the words are neutral. Stylistically coloured words - bookish, solemn, poetic, official îr colloquial, rustic, dialectal, vulgar - have each à kind of label on them showing where the unit was “manufactured”, where it gånårally belongs.

Within the stylistically coloured words there 15 another opposition båtweån fîrmal vocabulary and informal vocabulary.

These terms have mànó synonyms offered bó different authors. Rîmàn Jacobson described this opposition as casual and non-casual, other terminologies name them as bookish and colloquial or formal and informal, correct and ñîmmîn.

In surveying the units commonly called neutral ñàn we assert that they only denote without connoting? That is not completely true.

If we take stylistically neutral words separately, we màó call them neutral without doubt. But occasionally in à certain context, in à sðåcific distribution one of many implicit meanings of à word we normally consider neutral may prevail. Specific distribution may also create unexpected additional colouring of à generally neutral word such stylistic connotation is called occasional.

Stylistic connotations màó bå inherent or adherent. Stylistically coloured words possess inherent stylistic connotations. Stylistically neutral words will have înló adherent (occasional) stylistic connotations acquired in à certain context.

Like other linguistic disciplines stylistics deals with the lexical, grammatical, phonetic and phraseological data of the language. However there is à distinctive difference between stylistics and the other linguistic subjects. Stylistics does not study or describe separate linguistic units like phonemes or words or clauses as such. It studies their stylistic function. Stylistics is interested in the expressive potential îf these units and their interaction in à text.

Stylistics focuses în the expressive properties of linguistic units, their functioning and interaction in conveying ideas and emotions in a ñårtàin text or communicative ñîntåxt.

Stylistics interprets the opposition or clash between the contextual meaning of à word and its denotative måànings.

Accordingly stylistics is first and foremost engaged in the study of connotative meanings.

In brief the semantic structure (or the meaning) of à word roughly consists of its grammatical meaning (nîun, verb, adjective) and its låxical meaning. Låxical meaning ñàn further în bå subdivided into denotative (linked to the logical or nîminàtive meaning) and connotative meanings. Connotative meaning is only connected with extra linguistic circumstances such as the situation of communication and the participants of communication. Ñînnîtàtive meaning consists of four components:

1. emotive;

2. evaluative;

3. expressive;

4. stylistic.

Language - system of signs, that actually exists only in our minds, abstract.

Speech - external use of the language for communication, physical.

The stylistics of language analyses permanent or inherent stylistic properties of language elements while the stylistics of speech studies stylistic properties, which appear in a context, and they are called adherent.

As already mentioned, the semantics of the word consists of two components:

Denotative;

Connotative.

Denotative component of lexical meaning, or denotation (from Lat . Denoto - designate) - substantive meaning of the word, pointing out that the word is called. For example, many synonyms dentate coinciding in differ connotations or stylistic coloring: gathering forum.

Connotative component (from the Latin connotations. Con - together, noto- designate) is a secondary semantics in the semantic structure of the word indicating the more emotional and evaluative shades in the meanings of the words or grammatical forms that accompany their main (denotative) value. [2, 211]

Relying on the definition of E.I. Shendelsa that " denotative meaning" as the amount of form values??, except for her emotional and expressive color, and "connotative meaning" - a number of different kinds of subjective values ??of the form - expressive , intensification ( imagery, metaphor ) emotional effect , A.V. Fedorov said that the first part is mandatory, the second connotation - optional. [3, 85] All four components of connotations may act together or in various combinations, or absent altogether. Subject-logical part of the lexical meaning is, in turn, complex reflecting the complexity of the concepts expressed in the word. So, basically, of the word "woman" distinguish at least three components: "a human", "a female person", "an adult".

Connotation of lexical- semantic variant and its subject are linked, but the natures of this connection of different components are varied.

Stylistic coloring - it is the same objective phenomenon, as the conceptual component. [3, 36]

When using the word in a speech it often occurs common application of stylistic charge, which is incorporated in a word as the language (dictionary) unit. According to Y.A. Burmistrovich stylistic coloring in its intrinsic nature or emotional evaluation of some phenomenon, is a result of reflection of the man's emotional relationship to him, or an image of a phenomenon, results that reflects this phenomenon in its integrity purely external (under the phenomenon here refers to either an object or a typical situation in which this subject is talking). [2, 87]

Both types of stylistic colors bear additional information to the denotative (subject- logical) meaning of the word (at the lexical level) or the main idea expressed in the sentence.

Emotionally expressive coloring conveys information about the relationship of the speaker to the subject of speech, as well as the destination.

Connotative meaning types and components

Like other linguistic disciplines stylistics deals with the lexical, grammatical, phonetic and phraseological data of the language. However there is à distinctive difference between stylistics and the other linguistic subjects. Stylistics does not study or describe separate linguistic units like phonemes or words or clauses as such. It studies their stylistic function. Stylistics is interested in the expressive potential îf these units and their interaction in à text.

Stylistics focuses în the expressive properties of linguistic units, their functioning and interaction in conveying ideas and emotions in a ñårtàin text or communicative ñîntåxt.

Stylistics interprets the opposition or clash between the contextual meaning of à word and its denotative måànings.

Accordingly stylistics is first and foremost engaged in the study of connotative meanings.

In brief the semantic structure (or the meaning) of à word roughly consists of its grammatical meaning (nîun, verb, adjective) and its låxical meaning. Låxical meaning ñàn further în bå subdivided into denotative (linked to the logical or nîminàtive meaning) and connotative meanings. Connotative meaning is only connected with extra linguistic circumstances such as the situation of communication and the participants of communication. Connîtàtive meaning consists of four components: 1. emotive; 2. evaluative; 3. expressive; 4. stylistic.

À word is always characterized bó its denotative måàning but not necessarily bó connotation. Òhå four components màó bå àll present at înce, or in different combinations or they màó not bå found in the word at àl.

1. Emotive connotations express various feelings îr emotions. Åmî-tions differ from feelings. Emotions like joy, disappointment, pleasure, anger, worry, surprise are mîrå short-lived. Feelings imply à more stable state, or attitude, such as love, hatred, respect, pride, dignity, etc. The emotive component of meaning màó bå occasional îò usual (i.å. inherent and adherent).

It is important to distinguish words with emotive connotations from words, describing or naming emotions and feelings like anger îr fåàr, because the latter àrå à special vocabulary subgroup whose denotative meanings àrå emotions. They do not connote the speak-er's state of mind îr his emotional attitude to the subject of speech.

2. The evaluative component charges the word with negative, positive, ironic or other types of connotation conveying the speaker's attitude in relation to the object of speech. Very often this component is à part of the denotative måàning, which comes to the fîrå in à specific context.

The verb to sneak means «to mîvå silently and secretly, usu. for a bad purpose». This dictionary definition makes the evaluative component bad quitå eõðlicit. Two derivatives a sneak and sneaky have both preserved à dårîgàtory evaluàtivå connotation. But the negative component disappears though in still another derivative sneakers (shoes with a soft sole). It shows that åvån words of the same root màó either have or lack àn åvàluative component in their inner form.

3. Expressive connotation either increases or decreases the expres-siveness of the message. Ìanó scholars hold that emotive and expressive components cannot bå distinguished but Prof. I.À Arnold maintàins that emotive connotation always entails expressiveness but not vice versa. Òî prove her point she comments în the example bó À. Íîrnbó and R. Fowler with the word «thing» applied to à girl. When the word is used with àn emotive adjective like «sweet» it becomes åmîtive itself: «She was à sweet little thing». But in other sentences like «She was à small thin delicate thing with spectacles», she argues, this is not true and the word «thing» is definitely expressive but not emotive. Another group of words that help create this expressive effect are the so-called «intensifiers», words like «absolutely, frightfully, really, quite», etc.

4. Finally there is stylistic connotation. À word possesses stylistic connotation if it belongs to à certain functiînàl style or à spe-cific layer îf vocabulary (such as archaisms, barbarisms, slang, jargon, etc). Stylistic connotation is usually immediately recognizàblå.

Galperin operates three types of lexical meaning that are stylistically relevant - logical, emotive and nominal. Íå describes the stylistic colouring of words in terms of the interaction of these types of lexical meaning. Skrebnev maintains that connotations only show to what part of the national language à word belongs - one of the sub-languages (functional styles) or the neutral bulk. Íå on1y speaks about the stylistic component of the connotative meaning.

Stylistic coloring of Fitzgerald's translation

Functional coloring (with respect to this type of staining can also be seen, the term "stylistic" is used in a narrow sense) conveys additional information about the communication situation.

In a particular word may be a different number of stylistic colors, and if the number of words are not matched, the latter may be unequal types or varieties of these types. [4, 65]

Y.A. Burmistrovich identifies four major types of stylistic coloring:

Subject- emotive -evaluative stylistic coloring;

Situational and emotional evaluative stylistic coloring (a bookcase, Colloquial and neutral, respectively, either in the form of elevated, reduced or neutral);

Subject- shaped stylistic coloring;

Situational-shaped (in the form of scientific, official business, journalistic, poetry, everyday household stylistic coloring).

Set of types and their specific stylistic varieties of colors are (or form) the stylistic structure of the word, which emphasizes stylistic originality and opportunities to use the word in a speech.

Same stylistic component, beyond the connotation includes emotive connotations, semantic connotation (enclosed in the sense of the word), the scope of use, function.

Stylistic component - this stylistic structure of the word, which is a combination of different kinds of colors and types (emotionally expressive and functional assessment types) carry additional information to the denotative component of the words and indicate the scope, function, situational and spatial use of a particular lexical item.

Stylistic component of speech is an essential characteristic of almost all of the words (because the semantic connotation presents, and it is already includes in the structure stylistic component), it's pretty broad term that includes various types of information:

information about the field of communication;

indicates a stylistic lexicon layer;

Provides information on the social status of the speaker, his passport (profession, occupation, emotional state, etc.);

Indicates the temporal characteristics of speech.

All stylistic coloring and information enclosed in the stylistic component words is reflected in dictionaries using appropriate markers (litter, labels).

Markedness (from Fr. Marquer - mark) - mark, design, expressiveness. On stylistic markedness (the presence of the certain word stylistic coloring ) in dictionaries indicate different types of labels such as: conversational, colloquial, books, official, official- business. [5 and 86]

Examples, lovely - informal, becoming rare - oral speech used.

granny - informal - oral speech used

parky - BrE, informal - oral speech used

Emotive connotation in dictionaries may be indicated by such litter as jocular. Branes., Ironic etc. For example, nigger - taboo, derog.; petite - apprec.; bibulous - humor or pomp.

One should not forget that the emotive connotation included stylistic component of the words, hence the word with such litters are stylistically marked.

There are two main types of litter:

vocabulary litters (here we assign labels indicating territorial differences);

Stylistic labels (indicating style, emotional attitude, etc.).

Thus, the stylistic coloring is part of the lexical meaning of the word more to the conceptual component of this value is the emotional evaluation or manner of a phenomenon. Stylistic coloring may have any meaningful unit of language and speech (from word to phrase).

1.3 The word and its meaning

Human thought, committed on the basis of language, is made in a speech, speech is the text (in orally or in writing form) that is different expressive painted - the result of the expressive function of language.

Expressive function of language is the ability to express the emotional state of the speaker, his subjective attitude towards denoting objects and phenomena of reality. Expressiveness - a " linguistic units property of being able to testify about the psychological state of communicants, as the common language category covers all areas of language and its arsenal of expressive means boundless." [4, 7] Emotive and expressive, both oral and written language are largely generated by different means emphatics, lexical, and sometimes by both together. Expression of grammatical means depends largely on their relevance, as well as stylistic differentiation, the using in certain styles of speech. [5, 90] The expressivity is understood by the authors in the same broadly, as defined by E.M. Galkina-Fedorchuk: "Expressive means in language are intensely expressive and fine both in terms of emotion, expression of the will, and in the expression of thought. Expressiveness is wider than emotionality in the language." [7, 84]

At the heart of every novel is not only its author's desire to convey the information to the reader or hearer, but to influence on them. Because the material of every literary work is the language, the basic unit of language is the word, we must study the word and its meaning. In that follows, the word refers to the basic unit of language, which is a form of existence and expression of emotion concepts and relationships. Word as A. Meyer wrote "is the result of a certain value due to a certain set of sounds, allowing the use of certain grammatical." [6, 15]

Word in the language, as a rule, polysemous, it is a set of lexical and semantic variants. [8, 25] On this basis academician V. Vinogradov considers word in the language as a system (unity) of forms and meanings. [9, 105]

Lexical-semantic one is a word in one of its meanings, a two-sided language sign which is the unity of sound and meaning, preserving the identity of the lexical meaning inherent within the paradigms and syntactic functions. It should be emphasized that since the language cannot be formally expressed any change in the lexical meaning of the word, every single option of it finds its expression in the specifics of his paradigm or in a special syntactic or lexical valence.

Under the lexical meaning of the word refers to the implementation concept, emotion or attitude by means of the linguistic system. As the concept reflects the reality the meaning is correlated with extra-linguistic reality, however, the concept of value is not the identity, since the latter has a linguistic nature and includes the non-conceptual components: expressive, emotional and other connotations. It seems very important to distinguish between the language in the structural set of lexical-semantic word choices which can also be called the semantic structure of the word, and a separate lexical- semantic option, as it is expressed in the text as a unity of lexical meaning and one or another contextual grammatical form.

The problem of the word definition and its performance is considered one of the most difficult in modern science and found wide coverage in the works of such linguists as I.V. Arnold, T.I. Arbekova, I.R. Halperin, R.Z. Ginzburg, M.A. Krongauz. Complexity of the problem arises because of the complexity of the nature of speech, difficulties in differentiation of the word and the morpheme, on the one hand, the words and phrases on the other hand, the difficulty of differentiation of homonyms and polysemy and etc. Since the word is a unit of language at all levels, it is very difficult to give a definition of the word which would correspond to tasks simultaneously phonetic, morphological, lexical and syntactic description of language besides would be appropriate for the languages ??of different system. Numerous definitions exist in the literature developed by various authors in relation to those specific tasks they set themselves, and those languages they worked, and to the general theory of language which they adhered. [8, 21]

As mentioned above, each individual option finds its expression through the specifics of their lexical and grammatical valiancy.

Under lexical valence is understood the potential compatibility with other words, lexical groups or classes of words. Under morphological valence it is meant a potential compatibility with word formation and inflection of morphemes. Under the syntactic valence - the ability to hold certain positions in particular syntactic structures and join syntax connection with certain classes of words. Actual speech valence is taking place in a context. As a rule , the word in the speech sometimes even in artistic speech , is used in only one of the possible values ??for it and the instructions that come from the context (lexical , syntactic , and often combined) enables us to understand which one is it. If more than one variant is used there is a need for targeting contextual guidance, as all options are rare implemented?

In the minds of the native speakers one word is associated with the et of associations, in the literature - this wealth of associations gives special expressiveness and suggestiveness to the word. [10 153]

Emotional component of values ??can be usual or occasional. Word or a variant has an emotional component of values, if it expresses some emotion or feeling. Emotion is called relatively short experience: joy, sorrow, pleasure, anxiety, anger, surprise, and feeling more stable ratio: love, hate, respect, etc. Emotional component arises on the basis of subject- logical, but, once emerged, characterized by a tendency to displace the subject- Boolean value, or significantly modify it.

Clear signs of emotion are interjections. These words constitute a very special layer of vocabulary because they have no logical- subject matter. In interjections are concentrated all the typical features that distinguish emotional vocabulary syntactic optionality, possibility of omission without violating registered phrases, lack of syntactic relations with other parts of the sentence; semantic irradiation which is that the presence of at least one emotional word gives emotionality around saying.

Many emotional words and interjections in particular express emotion in its most general form, not even pointing to its positive or negative. "Oh", for example, can express joy and sadness and many other emotions: " Oh, I am so glad ',' Oh , I am so sorry '.

Word evaluation component has value if it expresses a positive or negative judgment about what it calls - approval or disapproval. Compare: Time-tested method (approval) and out-of-date method (disapproval). Evaluative component is inextricably linked to the subject- logical, clarifies and complements it and therefore can be included in the dictionary definition. For example, the verb "sneak" is defined in the dictionary Hornby as "move silently and secretly, usu. for a bad purpose." In contrast to the emotional component evaluation component does not contribute to the weakening of optionality or syntactic relations. Estimated value component mentioned by many authors, such components of the words in the literature even got a special name "bias-words ". [10, 157]

An interesting example of a word with a stable valuation connotation is the word "meaning" and its derivatives "meaningful" and "meaningless", the description of which leads L.B. Solomon. [11 56] Looking at the context of modern use of this word you can see the ever-increasing tendency to strengthen the evaluation part of its connotative value by denotative. The word "meaningful" becomes synonymous with "wise, efficient, purposeful" and others, where the evaluation is included in the number of components denotative value. So "to write meaningfully" means to write truly. Russian word "ñìûñë" which is very accurately translated the word «meaning» also contains positive assessment of an ideological nature. It should be noted that the "meaning, truth and enjoyment" - homogeneous members joined by conjunction "and", and in similar contextual conditions the words must be present common components of value. Positive evaluation in words "truth and enjoyment" is an indispensable component of denotative meaning. [10 154]

Characteristic vocabulary used to describe the social life and political events often has different types of figurative meanings while the direct value neutral.

Word has an expressive component of values ??if its imagery or in any other way emphasizes, reinforces what is called in the same word or other syntactically related words. For example : "She was a thin, frail little thing, and her hair which was delicate and thin was bobbed ..." The word "thing" instead of "girl" expressive underlines the fragility of the girls expressed adjectives "thin, frail little".

Expressiveness is distinguish as shaped and magnifier. In both cases, the expressive component depends on the subject- logical, but totally different than estimated. [10, 156] This is an example:

The quiet lights in the houses were burning out into the darkness and there was a stir and bustle among the stars. Out of the corner of his eyes Gatsby saw that the blocks of the side-walks really formed a ladder and mounted to a secret place above the trees - he could climb to it, if he climbed alone and once there he could suck on the pap of live, gulp down the incomparable milk of wonder.

He knew that when he kissed this girl, and forever wed his unutterable visions to her perishable breath, his mind would never romp again like the mind of God. [12; 13]

In this case, the first metaphors «stir and bustle among the stars" expresses the general meaning of "movement, activity, noisy commotion, as of a crowd". What is common between the noise and the movement of the crowd and pictures of the sky? "Stir and bustle" characterizes an object consisting of a plurality of people, for example, with it excessive accumulations, which are closely - hence the noise and "crush ": "there was a stir and bustle among the stars -> there was a crowd of stars -> there was a multitude of stars ". Sign "overcrowding ", "anguish" is attributed by the resulting motion - "noise, crush" on crowding. Detailing the amount the image makes a fantastic shade in the description of nature - a sign of things through action; procedural - substation value, verbal and event nouns. It's a simple metaphor which is introduced at the beginning of the paragraph to create an environment, to configure the reader on a romantic wave of the describing night. Then the author introduces a new metaphor, first expressed linguistic metaphor constructed by shifting compatibility, the so- called cognitive metaphor "formed a ladder" which develops by means of verbs "mounted to a secret place, could climb to it". The sentence ends by figurative metaphor which leaves open the possibility of creative intuition of the reader: "suck on the pap of life, gulp down the incomparable milk of wonder". Starting with non-emotional, everyday "formed a ladder" and gradually unfolding metaphor the author comes to the highest degree imagery, reflecting his own individual attitude towards the hero through the description of his feelings. Through the metaphors at the end we understand not only Gatsby's delight, purification and elevation after meeting with Daisy. We can observe this purification and elevation of the hero in the eyes of the author. Since individualizing through metaphor shaped his attitude toward the hero, the author cannot stop on the side position as a coolly ironic observer.

 English lexicographers (Hornby or Fowler) do not distinguish between expressiveness and emotionality. Many believe that the expressiveness is always achieved at the expense of emotion.

Word has the stylistic component of values or stylistic connotation if it is typical for certain functional areas and a style of speech, with which it is associated being used in atypical for him contexts. Stylistic component values ??associated with object- logical in the sense that the latter referred to the concept can belong to one or another sphere of reality.

1.4 Interaction of stylistic coloring words with context

Almost at the observation level reader is dealing with the text or in other words, the product of speech, individual speech. Speech artwork is the unity of interrelated elements each of which is in a complex relationship with the others. And all the others together, these elements constitute its context. [10, 360]

Under the context is commonly understood language environment that uses one or another linguistic unit. Thus, the context of the word is a collection of words, grammatical forms and structures which are surrounded by occurrence of this word. It must be emphasized that the word is not a single unit of the language, other linguistic units such as phonemes, morphemes, phrases and sentences are also found in non- isolated use, and in a particular linguistic environment, so there is a reason to talk about the context of the phoneme, and morpheme context, the context of phrases and even sentences (host of other sentences in which surrounds the proposal meets). [1, 53]

Within the context of the general concept narrow context can be differed ("micro context") and a broader context ("macro context"). Under the narrow context is understood the context of the sentence, linguistic units that make up the environment of the unit within a sentence. Under the broader context - the linguistic environment of the unit beyond the sentence - this text context that is the set of linguistic units surrounding a given unit within which lie outside of the proposal , in other words , in the adjacent sentences. The exact scope of the broader context cannot be specified - it could be group of context sentences, paragraphs, chapters or the whole work (e.g., a story or novel) as a whole. [13, 16]

Narrow context can be divided into syntactic and lexical context. (Applied to the phoneme and morpheme can be identified as the phonological and morphological context). Syntactic context - this is the syntax which uses the word, phrase and (subordinate) sentence. Lexical context - a set of specific lexical collocations of units, words in that surround the unit is found. [14, 151]

The most important role of context is in resolving ambiguities of linguistic units. Except in cases of deliberate or accidental (unintentional) ambiguity, the context is the tool which "takes" in one way or another many-valued units all its value ?except one. Thereby context gives to a unit of language disambiguation and makes it possible to select one of several potentially existing equivalents of the unit of translating language. Of course, the role of context is not limited to the resolution of ambiguity of words and other linguistic units; however, its function is crucial in this.

Along with this, there are cases when even the widest context does not contain any indication which polysemantic unit is used in this case or that and, therefore, the equivalent of which must be selected in this translation. In these cases, to obtain the required information needed going beyond linguistic context and appeal to extra-linguistic situation. Firstly, by "situation" is meant the situation of communication, that is the environment in which the communicative act is committed, and secondly, the subject of the message, setting (set of facts) described in the text and thirdly , the participants of communication that is speaking (writing) and listening (reading) .

About the role played by these three extra linguistic factors for understanding the language of participants of the communicative process, we have already mentioned above. It is important to emphasize that the inclusion of these factors in many cases is a prerequisite for the proper selection of conformity to a unit of Linguistics in the translation process. [15,120] A striking example of such a case Frenkel Retsker gives in the book "Translation theory and practice of translation":

In one of the newspaper articles MP S. Silverman has been described as "abolitionist". "The English-Russian Dictionary" under edition of I.R. Halperin gives the word "abolitionist" two matching:

The second value (" a supporter of abolitionism, abolition of Negro slavery") is clearly not appropriated. Remains the first value obviously S. Silverman is a supporter of the abolition of any law or institution, but to translate this you need to specify what it is. Since in this text there is no indication on this, the correct translation is possible only with the knowledge of the real situation in the political life of England in 1963 (when this article was written). At that time, in Parliament and outside it lively debated issue of the abolition of the death penalty. So here "abolitionist" should be translated as "a supporter of abolition." On the other hand, if we were talking about America 20's - early 30-ies of 20 century the same word would have to be translated as "a supporter of the repeal of Prohibition." This example clearly shows the importance of considering extra linguistic factors in translation. [14, 185]

It should be distinguished between semantic and stylistic function of the context. In semantic-linguistically case when decoding it is advisable to use the definition of context as proposed by N.N. Amosova, and consider the context as "compound unit with the minimum of semantically realizable word." This understanding is based on understanding the context of words in the language as a system of "socially embodied semantic potentials which are actualized in speech due to contextual or situational directions." Context, therefore, shows that of traditional or existing lexical-semantic word choices we mentioned in this case. [16, 28]

The context definition given by G.V. Kolshanskim is also widespread. This author defines the context as a set of "formally fixed conditions under which the contents of a linguistic unit is clearly revealed." [17, 46]