The article is concerned with methods of translating V. Shukshin’s occasionalisms into English. The study material has been extracted from translations done by A. Bromfield, K.M. Cook, R. Daglish, W.G. Fiedorow, J. Givens, G. Gutsche, G.A. Hosking, D. Illiffe, L. Michael, H. Smith, N. Ward. Based on the analysis of the material the following means of conveying V. Shukshin’s occasionalisms can be distinguished: translation by substitution, translation by means modifying idiomatic expressions, applying semantic calquing, using a descriptive method to recreate occasionalisms, as well as lexical and grammatical transformations. Two of them can be considered fully equivalent ways of recreating the writer’s occasionalisms (translation by means modifying idiomatic expressions, semantic calquing), the rest, however, should be regarded as only partially accurate.
The study of inner speech is appropriate to carry out in the plane of interaction of various scientific studies. This approach allows us to analyze the specifics of functioning of inner speech at the level of artistic discourse. Such phenomenon as inner speech presents not only the protagonist's outlook, their emotional state or social aspects, but also demonstrates, under the influence of extraordinary factors, the intensity of affect expression in the addresser's speech activity. Inner speech in an emotive situation is marked by peculiar characteristics, which indicates its unique multidimensional essence.
This article is an attempt to identify the main themes in the literary work of Zygmunt Haupt, a Polish writer, journalist and painter, who emigrated to the United States in the aftermath of World War II. His writings show a keen awareness of the issue of absence/presence and the related problems of memory traits, identity and literary representation. Drawing on the psychoanalytical criticism of Jacques Lacan and Julia Kristeva and the philosophy of Jacques Derrida, this reading of Haupt’s fi ction, especially his short stories (whose collected edition was published in 2007 under the title The Basque Devil), is a critical reassessment of his work. As a storyteller he excels in the depiction of scenes of terror, desire and the uncanny. The article argues Haupt’s work represents not only a remarkable literary achievement but also offers an interesting study case for critics whose approach is founded on literary theory, psychoanalysis and anthropology.