ОСОБЕННОСТИ ПЕРЕВОДА ЭМФАЗЫ С АНГЛИЙСКОГО НА РУССКИЙ ЯЗЫК НА МАТЕРИАЛЕ ТРИЛОГИИ УИЛЬЯМА ГИБСОНА «КИБЕРПРОСТРАНСТВО»

INTRODUCTION 3
CHAPTER 1. THEORETICAL FOUNDATIONS OF TRANSLATING EMPHASIS 6
1.1 Emphasis as a Linguistic and Stylistic Phenomenon 6
1.2 Typology of the Methods of Expressing Emphasis 11
1.2.1 Lexical Means of Emphasis 13
1.2.2 Syntactical Means of Emphasis 15
1.2.3 Phonetic Means of Emphasis 20
1.2.4 Graphical Means of Emphasis 21
1.3 Main Issues in Translating Emphasis 22
1.3.1 The Concepts of Adequacy, Equivalence and Pragmatic Effect in Emphasis Translation 22
1.3.2 Principles of Translating Emphasis 27
1.4 Summary of Results 30
CHAPTER 2. PECULIARITIES OF TRANSLATING EMPHASIS IN WILLIAM GIBSON’S ‘SPRAWL TRILOGY” 33
2.1 Analysis of Lexical Emphatic Means 33
2.2 Analysis of Syntactical Emphatic Means 41
2.3 Analysis of Phonetic Emphasis 54
2.4 Analysis of Graphical Emphatic Means 56
2.5 Results and Discussion 59
CHAPTER 3. PRACTICAL RELEVANCE OF RESEARCH RESULTS 62
3.1 Practical Relevance in the Field of Stylistics 62
3.2 Practical Relevance in the Field of Translation Studies 64
3.3 Practical Relevance in Teaching 67
3.4 Results and Recommendations 70
CONCLUSION 72
REFERENCES 77
APPENDIX 84

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Emphasis is defined as the highlighting of a semantically significant part of a word, a word as a whole, a group of words, or a sentence by means of intonation, special emphatic stress, intensifying particles, syntactic devices Emphasis serves as a tool that enhances a text's clarity and coherence, highlights cause-and-effect relationships, and places semantic accents. Its pragmatic potential is realized through specific linguistic devices. Consequently, rendering emphasis in translation, including that of literary texts, is associated with significant challenges.
Literary translation is widely regarded as one of the most challenging endeavors within the field of translation studies. Its difficulty stems from the fact that the translator's task extends far beyond the mere transference of words from one language to another. It involves the intricate process of recreating a multifaceted artistic work in a new linguistic and cultural context. The primary challenge lies in the need to capture the denotative meaning and the numerous layers that constitute a literary text. These include the author's unique style, voice, and intonation; the rhythm and musicality of the prose; cultural-specific concepts and allusions; and the pragmatic impact on the reader. Furthermore, literary works are deeply embedded in their cultural milieu, reflecting the social, historical, and philosophical nuances of their time. The translator must, therefore, act as a cultural mediator, making the source culture accessible to the target audience without distorting the original's essence.
The relevance of the study is determined by the need to address specific aspects within the well-established field of literary translation. A particularly pertinent area requiring detailed examination is the translation of emphasis and emphatic constructions. The complexity of this task stems from the systemic differences in how languages express emphasis, which requires a primary focus on effectively conveying the original's semantic nuances and pragmatic force using the distinct resources of the target language.
The objective of the study is to analyze the features of the translation of emphasis and emphatic constructions from English into Russian in William Gibson’s "Sprawl Trilogy".
To achieve the abovementioned objective, the following tasks have been formulated:
1. To examine existing theoretical approaches to defining emphasis and its functions in a literary text;
2. To establish a typology of emphatic devices (lexical, syntactic, graphical) in the English language;
3. To pinpoint instances of these devices in the selected trilogy written by William Gibson;
4. To perform a comparative case-study analysis of the original passages and their Russian translations;
5. To describe and systematize the translation techniques used to render each type of emphatic construction;
6. To formulate practical recommendations for translators dealing with similar stylistic challenges.
The object of the study is means of expressing emphasis in the English language.
The subject of the study is the strategy for translating emphasis in William Gibson’s "Sprawl Trilogy" (translated by M.A. Pchelintsev., A. A. Komarinets).
The theoretical basis of research is presented by the works of I. R. Galperin, V. N. Komissarov, O. L. Polonnikova, I. D. Popova, V. S. Volkov, M. A. Gurienko, V. V. Gurevich, L. A. Chernykh, V. Sh. Zinatullin, E. Y. Chibisova, N. F. Pelevina, T. A. Sinitsina and others.
The study is based on the problem of correct translation of emphasis in literary texts.
The material under research is the William Gibson’s "Sprawl Trilogy" and its translation into Russian by M. A. Pchelintsev and A. A. Komarinets.

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CHAPTER 1. THEORETICAL FOUNDATIONS OF TRANSLATING EMPHASIS
1.1 Emphasis as a Linguistic and Stylistic Phenomenon
The emotional coloring and expressiveness of both spoken and written speech are largely created by various emphatic means—grammatical, lexical, or a combination of both. Emphasis is particularly common in fiction, oratory, and publicistic styles.
According to the definition presented in the Routledge Dictionary of Language and Linguistics, emphasis is treated as “the means to imply more than is actually stated” [70, p. 358]. However, various means of expressing emphasis are also found in those styles of written speech that lack emotional coloring, such as the style of scientific prose or the official-business style.
The highlighting of an element within an utterance, achieved through changes in intonation, word order, and the use of various rhetorical figures. Emphatic patterns can emphasize individual sentence members and impart an expressive coloring to the entire sentence as a whole;
Emphatic patterns, constructions, turns of phrase, and combinations of lexico-grammatical elements should be perceived not as a deviation from or violation of the norm, but as a natural phenomenon of expressive and emotionally charged speech.
According to V. Sh. Zinatullin and E. Y. Chibisova, emphatic patterns are possible because a grammatical form possesses both denotative and connotative meaning. Denotative meaning encompasses the entire range of a form's signification, excluding its emotional-expressive coloring. Connotative meaning refers to a set of various subjective meanings of a form its expressiveness and the increased intensity of emotional effect achieved through imagery and metaphor [27].
According to A. V. Dinkevich, emphasis is a widespread linguistic phenomenon, realized at different language levels through specific means and constructions to achieve communicative goals of the speaker. In linguistic research, the primary focus is placed on analyzing its expressive potential [23].
In linguistic terms, emphasis is a systematic phenomenon that operates at various levels of language structure. It is made possible by the dual nature of linguistic signs, which possess both denotative and connotative meanings. While denotative meaning conveys the logical, objective information, connotative meaning carries subjective nuances, including emotional colouring, evaluative shades, and stylistic register. Emphatic constructions actively engage the connotative potential of language to achieve their effect.
As a universal linguistic category, emphasis serves to create emotional colouring and expressiveness in statements. Emphatic patterns, therefore, should not be perceived as deviations from a linguistic norm but rather as a natural and rule-governed feature of dynamic and affectively charged speech.
According to I. D. Popova and V. S. Volcov, the concept of "expression" has been present in theoretical research since antiquity. This concept denotes a particularly highlighted, emphasized way of expressing thoughts and feelings and is often identified with the term "expressiveness," especially when the latter is associated with the emphasis of a certain meaning conveyed by linguistic means. There are many terms used in parallel with "expression," among them "emphasis" and "emotionality" [49].

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1. (N) Gibson, W. Neuromancer.
URL:https://griersplagueyear.wordpress.com/wpcontent/uploads/2020/11/neuromancer-william-gibson.pdf
2. (CZ) Gibson, W. CountZero.
URL:https://psv4.userapi.com/s/v1/d/jqN0LaiwhgOmJqZHPAaYKBBLmgERuUdwZwDGB9DQh4w5mWhtSq9QxQvFgDFm0l4ckPzn1wZji15zKLDdDerOYUAJl_oXVP1-GmylIPU2_qv25hJc/COUNT_ZERO.pdf
3. (MLO) Gibson, W. Mona Lisa Overdrive.
URL:https://psv4.userapi.com/s/v1/d/mO1PEpaqKU9xAkO_eNW4fZ6hMtq9hCo3ISDSR4tIkM1xD74l0FIHrmvaLW4nBFbNMdiCvF_JxTj5D2LCOwKveZG7TvecF1Q564UwXjK19KLT/Mona_Lisa_Overdrive_-_William_Gibson.epub
4. (Н) Гибсон, В. Нейромант.
URL: https://fantasy-kniga.com/wpcontent/uploads/2024/01/nejromant.-gybson-uylyam.pdf
5. (ГН) Гибсон, В. Граф Ноль.
URL:https://knigogid.ru/books/644733-graf-nol/toread?page=1
6. (МЛО) Гибсон, В. Мона Лиза Овердрайв.
URL:https://lib.ru/GIBSON/monaliza.txt

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