Iv - University of Salford Institutional Repository
Iv - University of Salford Institutional Repository Iv - University of Salford Institutional Repository
translation transemes are compared, is semantic if the transemes share certain aspects of meaning. It may be pragmatic or situational if both transemes apply in one and the same situation. These shifts are operated by microstructures of the source text in the very act of translating. If any category of shifts was misoperated or mismanaged on the semantic, syntactic, or stylistic level, translation transemes would show aspects of disjunction and the communicative load of the original message would be considerably affected. The pragma-semio-communicative goal of the original message would inevitably be missed or, in most fortunate cases, partially achieved. Accessory meaning structures are primarily designed to reinforce the aesthetic impact of the text. They are assigned a specific function displayable on the level of word or phrase and attributable to the fundamental uses of language. Basically, a distinction exists between two uses of language, one referential and cognitive, the other, emotive and evocative. One informs and the other affects. It is the latter function that accessory meaning structures are intended to project. From the semantic and stylistic point of view, words and phrases have connotative overtones. Apart from their physical or conceptual denotata, certain words evoke event- or action-bound constellations of meanings. The English four-letter words, for example, are clear cases of tabooed words possessing connotative overtones. In other situations, however, the same event, action, or even object to which this category of words refer, are discussed without the least 148
apprehension, repulsiveness, or disgust. As far as meaning is concerned, connotative overtones fall into three main groups: (1) those generated by the name; (2) those connected with the sense; and (3) those which relate to the register. The associations, pleasant or unpleasant, which are invoked by certain words often emerge from the phonetic - acoustic as well as atriculatory- structure of the word. Words like 'ghost', 'ghoul' and 'slimy' bear unpleasant overtones. In words where form and sense are indissolubly interlocked and automatically recall one another, such overtones are less common. Connotative overtones connected with the sense of a word are too many. Some overtones are confined to a special context or situation. These are called situational or contextual overtones such as 'inferno', 'abyss', 'paradise' in religious contexts. Others are personal or idiosyncratic such as the overtones associated with register-determinant words. More general overtones cluster around vogue but short-lived slogans such as 'escalation', 'confrontation', 'mawkish', 'lobbying', etc. The fact that in some words the form recalls the sense (onomatopoeia) augments their expressive force. Evocative overtones arise from register-specific words. They can also arise from linguistic differences in space (regional, dialectical, foreign elements) or in time (archaisms, neologisms), and various other factors. The connotative overtones of words can also be heightened by recourse to lexical, grammatical and phonological devices. Stephen Ullman, in his article on 'Stylistics and Semantics' (see 'Literary Style: A Symposium', 1971, pp133-150), lists "such hyperbolical 149
- Page 109 and 110: Post-war linguists shifted their fo
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- Page 127 and 128: etween the translator as TL text-or
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- Page 131 and 132: SL text will have to be dismantled
- Page 133 and 134: consists of two words: 'istaktabtuh
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translation transemes are compared, is semantic if the transemes<br />
share certain aspects <strong>of</strong> meaning. It may be pragmatic or<br />
situational if both transemes apply in one and the same situation.<br />
These shifts are operated by microstructures <strong>of</strong> the source text in<br />
the very act <strong>of</strong> translating. If any category <strong>of</strong> shifts was<br />
misoperated or mismanaged on the semantic, syntactic, or stylistic<br />
level, translation transemes would show aspects <strong>of</strong> disjunction and<br />
the communicative load <strong>of</strong> the original message would be<br />
considerably affected. The pragma-semio-communicative goal <strong>of</strong> the<br />
original message would inevitably be missed or, in most fortunate<br />
cases, partially achieved.<br />
Accessory meaning structures are primarily designed to<br />
reinforce the aesthetic impact <strong>of</strong> the text. They are assigned a<br />
specific function displayable on the level <strong>of</strong> word or phrase and<br />
attributable to the fundamental uses <strong>of</strong> language. Basically, a<br />
distinction exists between two uses <strong>of</strong> language, one referential<br />
and cognitive, the other, emotive and evocative. One informs and<br />
the other affects. It is the latter function that accessory<br />
meaning structures are intended to project. From the semantic and<br />
stylistic point <strong>of</strong> view, words and phrases have connotative<br />
overtones. Apart from their physical or conceptual denotata,<br />
certain words evoke event- or action-bound constellations <strong>of</strong><br />
meanings. The English four-letter words, for example, are clear<br />
cases <strong>of</strong> tabooed words possessing connotative overtones. In other<br />
situations, however, the same event, action, or even object to<br />
which this category <strong>of</strong> words refer, are discussed without the least<br />
148