Midterm control

MIDTERM CONTROL
Methods of analysis of a belles-lettres text

1. 
   Literary approach to a belles-lettres text
   
2. 
   Pragmatic approach to the analysis of a belle-lettres text
   
3. 
   Cognitive approach to the analysis of a belles-lettres text
   

1. Literary approach to a belles-lettres text.
Belles lettres, literature that is an end in itself and is not practical or purely informative. The term can refer generally to poetry, fiction, drama, etc., or more specifically to light, entertaining, sophisticated literature. It is also often used to refer to literary studies, particularly essays. The word is French and literally means “beautiful letters.”

1. 
   General terms the belles- letters style is a generic term for three substyles in which the main principles and the most general properties of the style are materialized. These three substyles are: Language of poetry Language of fiction Language of drama
   
2. 
   The belles-letters style rests on certain indispensable linguistic features which are: 1. Genuine 2. The use of words in contextual and very often in more than one dictionary meaning 3. A vocabulary which will reflect to a greater or lesser degree the author’s personal evaluation of things or phenomena. 4. A peculiar individual selection of vocabulary and syntax.
   
3. 
   5. The introduction of the typical features of colloquial language to a full degree, (in plays or a lesser one in emotive prose) or a slight degree, if any (in poems).
   
4. 
   The language of poetry and drama .Verse has a property, which is based mainly on the rhythmic and phonetic arrangement of the utterances.
   
5. 
   The language of plays in the belles-letters is that unlike poetry, which except for ballads, in essence excludes direct speech and therefore dialogue, and unlike emotive prose, which is a combination of monologue and dialogue, the language of plays is entirely dialogue.
   

When I came conscious again it was just sunrise, rose light and gold shadows (Richard Bach) [Bach 1998:61]. Когда я проснулся, только-только начинало светать, небо было озарено розовым светом, кругом лежали золотые тени (М.П. Шишкин) Когда я снова очнулся, был как раз восход солнца, розовый свет и золотые тени (И. Ю. Куберский) Когда я опять открыл глаза, уже занималась заря. Розовый свет и золотые тени (М.В. Науменко) The predicative construction it was just sunrise has undergone different transformations in different translations. Thus, M.V. Naumenko, as well as M.. Shishkin, applies a cause-effect modulation уже занималась заря / толькотолько начинало светать with the coordinate contextual substitute just - только-только, while I.U. Kubersky uses syntactic transposition, conditioned by the stylistic standards, along with the expansion just - как раз. M.P. Shishkin operates with lexical and grammatical additions while substitution of the implicit one-stem nominative sentence for a more comprehensive two-stem compound sentence with the asyndetic type of The same problem is solved by M.V. Naumenko through the partition of a composite sentence into two ones. Besides, the construction came conscious again is subjected to the reconception проснулся опять / открыл глаза. Due to the fact the novel contains the patterns of messianism and a savior perspective in the modern world, the original text abounds with allusions to Bible. Thus, the first chapter is almost entirely built with the help of the syntactic and structural organization characteristic of biblical texts (e.g. numbering passages by analogy with the numbering of Bible verses), that requires a corresponding reflection in the text of translation.