³Dunărea de Jos´ of Galaţi

Faculty of Letters
Masters in Translation and Interpreting

|


|









à





 |

  

£ the primary meaning of a lexical item, involving its relationship to the

non-linguistic entities which it represents
£ for most linguists, the cognitive or communicative aspect of meaning
£ the dictionary definition
£ equivalent to extensional meaning
£ accounts for the `

  


 
 


 ‰
£  evertheless, it is not possible to equate denotation with the object for
the same reasons that make it impossible for the referential meaning to
cover all its aspects‰
(Zdrenghea, 1977: 22)
£ more dictionaries are necessary in order to establish the denotative
meaning of a word (Levitchi, 1975:19)‰



  

Xemotional meaning (Venuti, 2000: 21)

X the emotional overtones a speaker usually associates with each

individual use of a word‰

X he connotative aspects of meaning are highly subjective springing

from the personal experiences which each speaker has had of a given
word as well as from the attitude he would like to emphasize either
towards what he wants to express or towards the person he is speaking
to‰
(Chitoran, 1973: 35)
 



´ connotations are of two types : —
and 
‰

´ m noun like ` from English or his Romanian equivalent `` has
positive
connotations: beauty, perfume, youth, freshness; and the word
  ±   has negative
connotations: ugliness, rapacity, danger for
people‰

´ hese are connotations accepted by a very large social group, that allow
us to call them (conventionally) ± —
‰

´ Less interesting, however not to be neglected by the translator, are the


connotations, revived by personal experiences and being
often opposed and contrasted to the objective connotations
mt a social
level, `
`` has positive connotations‰ However, it can have e
negative connotation in the example: `   `

, a kind of ³`


` ! caused by the pollen not always benign
of the flower‰

    

1‰ a word that evokes the referent;

2‰ a word that evokes one or more attributes of the referent;
3‰ a word that evokes another word;
4‰ a word that evokes itself‰
(Levitchi,1975/1993: 115)

> 1‰ m word that evokes the referent‰ his connotation is

onomatopoeic; the sounds or a part of the sounds that form the
word imitate the sounds characteristics to the referent:
e‰g‰ 

`  











(about turkeys):


`


 `




 





``
``
`

‡ no correspondent in the target language, e‰g‰ 





` ;




 


 ; 
`


 ` (but: 
` )‰
> 2‰ m word that evokes one or more attributes of the referent‰
Simple word (` ), compound word, metaphor, simile, metonymy, synecdoche
and some other figures of speech evoke one or more attributes of the referent‰
!
with its metaphorized and attested sense of prora
, bot (de corabie)

evokes the prominence, the front placement and the sharpness of the  ‰

> 3‰ m word that evokes another word‰

here are three important aspects of the association :
m‰ by analogy;
B‰ by contiguity;
C‰ by contrast‰
m‰ mssociation by analogy: consonantal group; rhyme; derivatives; similar words
without motivation; evocation by similar contents‰

B‰ mssociation by contiguity: ellipsis, stylistic derivation, anacoluthon‰

C‰ mssociation by contrastü explicit monovalent antonyms, explicit polyvalent

antonyms, implicit antonyms‰
> '
— —

m word can evoke itself diachronic and synchronic‰

m‰ iachronic evocation: archaisms, etymology‰

mrchaisms:  (adj‰, pron‰) acel(a)
, ace(e)a
, acei(a)
sau acele(a)
expresses a
greater distance than  and   was used more rarely even when it hasn't been
an archaism yet, today it is a poetism too‰
Etymologyü  toc
or stilou
, still remembers us in a way about the old sense of
pana
, condei
from which they derived (the Romanian toc
or stilou
don't have
such etymological connotations)‰

B Synchronic evocation:
1‰ Semantic dominant
2‰ Metasense
3‰ he ominant of the grammatical sense
4‰ Echo-Words
EXmMPLES
 Once upon a time, on an inhabited island on the shores of the Red Sea,
there lived a ë   —— the rays of the sun were reflected
in more-than-oriental splendour‰ mnd the Parsee lived by the Red Sea
with nothing but his hat and his knife and a cooking-stove —
that you must particularly  — ‰ mnd one day he took flour and
water and   and  and sugar , and made himself
— which was two feet  — and three feet ‰ It was indeed
a   — —  , and he put it on the stove
because  baked it — — —
‰ But just as he was going to eat it there came down to the
beach from the —    — one Rhinoceros with
a horn on his nose, two piggy eyes, and few manners‰ In those days, the
Rhinoceros's skin fitted him quite tight‰ here were no wrinkles in it
anywhere‰ He looked exactly like a —! "— —, but of
course much bigger‰''
("How the Rhinoceros Got His Skin", Rudyard Kipling)
 à

ü

> Some words and phrases are difficult concerning denotations and translation‰
> Parsee "pars"(neatestat de LRM, LRC etc,, dar prezent in |`

`` publ‰ de
Ed‰ mcademiei RSR, 1966); la origine, persan inchinator al lui Zoroastru si al focului, refugiat in
India dupa 766 e‰n‰ pentru a scapa de persecutia mahomedanilor‰
> `

 etc‰ - parsii purtau (atat in casa cat si afara) palarii conice dintr-un
material lucios
> 


  `
 "din cele pe care, cu nici un chip, nu trebuie sa le atingi"‰
> `` (aici) "stafide negre"
>
 (aici) "stafide obisnuite"
> 
  "si multe altele", "si cate si mai cate"
> 
 "o prajitura", "o turta";  nu are valoarea accentuala a numeralului - este doar
un inlocuitor al articolului  in limbajul copiilor‰
> `

 (in) lungime si‰‰‰ (in) latime
> a ``
" 
"mliment Superior" (Kipling imita ironic reclamele comerciale, dupa
cum reiese si din paranteza #
$  "ce magie a cuvintelor"!)‰
> 








` "pana cand s-a innegrit de prajita ce era"‰
> 



  
"si mirosea grozav de imbietor", "si mirosul te innebunea, nu
alta" (  
, ca atatea alte cuvinte, e dinanins folosit impropriu)‰
> 
%
  `
& 
' `` "inutul cu totul si cu totul de nelocuit"; Kipling
parodiaza stilul povestilor cu uriasi pe care le-a citit in copilarie (caracteristice sunt si initialele
majuscule)
> 
!#
%`
( ` "un rinocer din corabia/arca lui oe"; referirea e la o jucarie pentru copii
imitand arca lui oe‰
(Leviţchi, 1993: 30)
—  —  — #—$ —— —%$ —
— —# —"— ,—   —
 , 
& #'—— 
( —— # —)   #%ë ,
*  ,&+,+
 -,&++.ü./

> V
 



 


  

     

  
  
   
    
 

  
  
!
   


 
   

     
"V   
   
 
    


  

 
 
    
 

 !  


    # "    
 


 

$%     

   

  
 


    &
 
  

   
 
    


" 
 '      $
( 
   
  
     
  
     
  


     
  
 

  
  
    
  
)
  
   


 



   

*  
!

  
 
  
  $
> Cu zile mai bune sau mai rele in soarta variabila a luptei pe care on José
o caracterizase prin fraza "soarta probitatii nationale oscileaza in balanta",
concesiunea Gould, acest "Imperium in imperio", isi continuase opera: din
muntele patrat continuasera sa curga comori in scocurile de lemn spre
neobositele baterii de maiuri; luminile de la San omé licarisera noapte de
noapte peste vastul, netarmuritul intuneric de pe Campo; la fiecare trei luni
escorta argintului coborase la mare, ca si cum nici razboiul nici consecintele
lui n-ar fi putut vreodata sa atinga fostul Stat Occidental izolat dupa inalta
bariera a Cordilierei‰ oate luptele au avut loc dincolo de maiestusoul zid
dantelat de culmi peste care domnea cupola imaculata a Higuerotei, inca
nestrapuns de calea ferata, pentru ca nu fusese asezata decat prima parte,
partea mai usoara, de pe Campo, de la Sulaco pana la Valea Ivie, la
poalele trecatorii‰ ici linia de telegraf nu strabatuse inca muntii; stalpii ei,
ca niste faruri zvelte pe intinsul campiei, patrundeau pana la liziera padurii
de la poalele muntilor, in care se taiase o fasie larga pentru linia ferata, si
firul se oprea brusc la cantonamentul santierului, la o masa mica de lemn
nevopsit pe care era un aparat Morse, intr-o lunga baraca de scanduri cu
acoperis de tabla ondulata dominata de niste cedri uriasi - cartierul general
al inginerului care conducea primul tronson‰
  — ——# #
— *— ——' #!—,
0(— ——  ——0
 0(—#—ë— #0,"— ë ,/
 —, ——,&+12,
&,'
&,1

> u
  

 [    > u &  
 > u'
  

>        
   > u*     %  
  
> 
   á

 
 > u$    ' % 
> '    icy
á  '  !
   > uå
 ðá á
i 
> * ac 
á
c   
> $   
[ 
  > u
     
> å            
>     c
 cy > uG (  |á
  
á á
  á! 
> G "      > # "   %')%'
á

i   
> u#    á
 
á  
> u *    '
 
y

i
> 
  c 

[
> uu $    %   >  +   ' 
 , 
  
> ' "      
> u
         !

 " 

> Intrucat nimeni nu contesta faptul ca atat cei mari cat si cei obscuri trebuie sa moara, valoarea poeziei sta in
bogatele sale asociatii‰
> O parafrazare a poeziei ar putea sugera ca fondul sau continutul de idei, desi catusi de putin banal, este atat de
evident incat nu ar necesita 24 de versuri muzicale, alcatuite cu efort: "Ierarhia pamanteasca este nerealista
pentru ca sfarseste in moarte, inevitabila atat pentru regi, cat si pentru tarani‰ Luptatorii pot castiga faima
omorand, dar si ei sunt supusi mortii‰ Faima e trecatoare, biruitorii sunt victime, toate sunt muritoare; numai faptele
bune supravietuiesc dupa moarte"‰ e putem intreba daca poezia spune mai mult decat atat‰
> Imaginile extrem de concrete dau forta poeziei si o salveaza din conditia de morala plictisitoare pe marginea unei
platitudini‰ Pana si rangul devine "sange" (de obicei un cuvant tulburator); nu exista "platosa" care sa ne apere
impotriva soartei, iar mana sortii e "inghetata" () - o mana reala; regalitatea e zugravita ca "sceptru si coroana"
si aceste obiecte reprezentative nu "cad", ci, intr-un chip mai brutal si intr-un limbaj mai simplu, "se poticnesc",
ceea ce sugereaza slabiciunea si neajutorarea copilariei‰ Saracul nu este un vag "pastor" - il tipizeaza "coasa si
harletul"; Faima este laur si "ghirlanda" reala; si cum "ghirlanda" e reala, ea trebuie sa se "vestejeasca" repede‰
Faptele dreptatii sunt flori "placut mirositoare"‰
> mltarul mortii este "purpuriu", imbinand culorile "sangelui"si ale "rangului", iar "recele mormant" ne reaminteste
"mana de gheata" a mortii‰ mceasta "rezumare" a imaginilor, intocmai ca rezumarea de catre o bijuterie a stralucirii
unei catarame, reprezinta una dintre trasaturile cele mai artistice ale poeziei‰ Sceptru, coroana, coasa, hârleÕ -
toate vor zacea in Õărână; dar tot in tarana vor inflori faptele dreptilor‰ "Biata coasa incovoiata" ne poarta catre cei
care, cu mai putina lipsa de vina, "secera" campul cu sabiile - metafora de-a dreptul oribila daca ne gandim bine‰
upa toate probabilitatile, Shirley se foloseste aici de asocierea coasei cu impul si Moartea; poate ca se
gandeste si la coasele de pe rotile stravechilor care britone care - sinistru spectacol! - "secerau campul"‰ Laurii
saditi de luptatori pe campul ingrasat de sange (cred ca trebuie sa interpretam versul 10 in acest mod brutal;
sangele este un bun ingrasamant pentru laurii faimei militare) pregatesc cununile de pe fruntea cuceritorilor si sunt
contrastati cu florile faptelor celor drepti; florile au un miros suav; sangele si laurii au un miros neplacut‰
(Leviţchi, 1993: 89)
 ./






> "%) ± a primary colour, or any of a spread of colours at the lower end of the visible spectrum
varying in hue from that of blood to pale rose or pink‰
V
 `
 `
 `

 
> m  # (or scarlet day in academia) is any day of special significance; holidays (days
printed in red on calendars: Sundays, Christmas ay, Easter) etc‰
V


` 
`
 `


    `
 `




a



`
`



)
`



 `
 ` 

V




`

* 
` 

    +
, )

 

 

`
`



* 
 

+
> o —  means to celebrate flamboyantly and publicly, especially to go on a
wild spree, usually involving multiple bars, restaurants and clubs plus copious quantities of
alcohol‰ ë—  is, by definition, a group activity, requiring at least two people‰
$`

 `
` 
    `

 
`
> "——   —  ± to welcome and entertain in a grand and impressive style‰
V
`






      
 





 

`


> "  ± a carpet laid down for important visitors
, )







` 
` 
`

-`  )

> "  ± deferential treatment accorded to a person of importance‰
V
` `
 `

    `  
> "
 ± embarrassed
> "
 ± in the act of committing a crime or doing something wrong or shameful‰
V 
 `
 
`  


 
`
`   (Margaret hatcher)
> (—  ± to be extremely angry
- 


)



` 




  

> " ± a warning signal; something that demands attention or provokes an irritated reaction;
red flag as a warning of danger or a problem:
V 

 `
 

  




` 
 


)
`

  
` 
> " ± excessive formality and routine required before official action can be taken;
bureaucratic procedures that delay progress:
-


 

 


 `
0



 






  

> Red ± a communist or socialist

l  `
 

  `
  `
 
 


`

 




` 



`
`

`  `






 
`

 ` 
> " — ± an international organization that cares for the wounded, sick, and homeless in
wartime, according to the terms of the Geneva Convention of 1864, and now also during and
following natural disasters‰
ù
 

  



12 `
` `


& 
a 
%`
 `

` 



%`)
 
`
 
> ë%   the primary colour between green and orange in the visible spectrum‰
j


 


+

> ë—
—  Journalism that exploits, distorts, or exaggerates the news to create
sensations and attract readers‰
, 

 

!V
$```
a
$```


- 

*    `



|

$

 



`
3  

> ë—ë m volume or section of a telephone directory that lists business, services, or
products alphabetically according to field‰
V
(
ë "   

 `
 `


`
 

 




`  

` `


> ë—— an offensive term meaning so cowardly and mean as to be beneath contempt
(informal insult)‰
V


)`

#,

 

4

> ë—
——  an employer-employee contract, now illegal, by which an applicant for a
job agrees not to be a labour-union member while employed‰
> ë  `
 

` 



2567
 
 
 `







> ë   `



%

 


"
8 
9` 
V


 `

` 
(of the colour yellow; having a yellow-brown skin colour; - offensive being a person of
msian origin)
> * %
>   a film that shows a lot of sexual activity‰
"
` 


[ #
> * 
— (Indecent) vulgar
'



`
[ !$ 

 +
>  
m dress blue uniform, especially that of the U‰S‰ mrmy‰
> j——  
> (    someone loyal and faithful
>  —   unexpected (could be positive or negative)
> *   — first rate, top prize
> *  —— person of noble birth, royalty
> * — well-read or scholarly woman
> *  —— register of socially prominent people
> (* (capitalized) ± popular style of music sometimes characterized by melancholy melodies and words
> * #   Blue eyes (also see Bad blue words)
> *  
> 3   feeling sad or depressed
> *  feelings of depression
>   (not capitalized) ± depression, state of sadness
> * —# feeling sad
> * #   post-partum depression
>    bemoaning one¶s circumstances
> *  laws originally intended to enforce certain moral standards
> *   profanity
> * — puritanical individual
> —   entering the unknown or escape to parts unknown
>  —   unexpected (could be positive or negative)
> j 
>  
#— ± jealousy
he phrase was used by, and possibly coined by, Shakespeare to denote jealousy, in V

$ `

:  
1600 :
ë— ü
ù




 `




`

%


 

` ` 
  `
%
 `
 `

   
+
;

 
l
 ` 






'
 `
`




/ 

'






 





<`
 `
'
` 

In ;


Shakespeare also alludes to cats as green-eyed monsters in the way that they play with
mice before killing them‰
—ü
;
 ` 


`

 


'


   


V
 

 





 




,
 `


 

 


` `
l
;

 
 




= `

,
 
 

 
 
`


 +

> j 
a novice

ù


 



> *
>   a place or system for selling goods illegally, as in violation
of rationing‰
> l$$ 
`


 

`


(





` 



 
`` 








>  a member of a family or group regarded as not so

respectable or successful as the rest‰
 
ù


[$  




>   running a business profitably

 
a

 
 `

 

 
 
[$#
> *# a day when something sad or disastrous happens‰
 
a


`   `

[$  
 `

 
 
>  mn often trivial, diplomatic or well-intentioned untruth
. `




  
 )


0 

4

> — any person who is expected to bring honour, glory, etc‰ to
some group, place, etc‰
V
` 
  

 `
`
'`


>  any light-coloured meat, as pork, chicken, beef

a
` 
`


  #
>  something from which little profit or use is derived;
%
    
/


 
`


`




!`
% `

>  sleepless night

a

6
 

 
 

 `

 ** j"ëë

>  
$+,-./0&  
&   "'
" '  1
2

3 $
> 
 $+,-.40„    '
   -     1

2
"2 $
> 
 $+,--/,--50 
'
1
2
V 
$
> ' $+67770

  " .
/   . 0   1 !
> Î
 )$+,-..0„ '  " ' 
8( 9

 :1 * 1;$