IntroductionTranslation plays an important role in the cultural development of humanity. Thanks to translation people of one country get acquainted with the history, way of life, literature, and scientific achievements of another country. Many translated fiction works became part and parcel of national literature. It happened to the book by A.Miln УWinnie-the-PoohФ. Winnie-the-Pooh holding PigletТs hand is etched on the tombstone of B.Zahoder`s grave. Hardly can you find a person of the Post Soviet area who does not recognize these funny characters. A.Miln created Winnie-the-Pooh, but B.Zahoder taught the Bear to speak Russian. He has done it in such a way that it is impossible to think Winnie-the-Pooh could not speak Russian before. The role of translator is very important. He is made great demands of, especially concerning the translator of belles-lettres style. Figurativeness, picturesqueness of the work is achieved by means of different Stylistic Devices. The translator is to use all the wealth, richness of the language. He should carefully consider all the details, which make an artistic impression in order not to forfeit the rendering of vividness, brightness, and individual peculiarities of the original text. However, the translator should not blindly copy every detail, if it is contrary to stylistic norms of his language. If it is necessary, a translator has a right to substitute one stylistic device for another which will produce similar effect. A well-known scientist and translator G.Gachechiladze 1 compares translatorТs work with the sculptureТs strenuous efforts to make a lifelike statue out of a stone. It is not a mere technique and handicraft but art also. The urgency of our topic is caused by the formalistic approach quite often used by students when translating varied types of texts. The problem is that many students overload their English-Russian translations with many oficialese like УбудучиФ, УпосредствомФ; heavy and clumsy constructions with detached participles or long clauses. For example, they write У¤ кое-что знаю о причинах внимани¤, которым он окружает ееФ instead of У¤ знаю, почему он к ней так внимателенФ or Ућиссис ’адсон закатила истерику: она набросилась на своего мужа воп¤ и кричаФ instead of Ус визгом и крикамиФ. More over, authors of Russian texts meant for translation use the language that we can hardly name Russian. Expressions Умаркетинг контрол¤ окружающей средыФ or Упользователи ”эбаФ sound like ugly English-Russian hybrids. The most dangerous thing is that all these pseudo-scientific expressions and cliches are interpreted as indispensable features mentioned when speaking about written translation basically of publicist and socio-political texts. The question Уhow does it come with the stylistic peculiarities of Winnie-the-Pooh translation?Ф sounds fairly normal. We consider that investigating the style of translation, comparing two approaches, literary and literal; we hope that some students will begin to think that using a lot of pseudo-scientific words they take a risk of losing their feeling for language. More over, comparing translation with the original text students can trace not only the stylistic peculiarities but also the techniques that help the translator to achieve better results. Looking at the comparison of two translations it is useful to find out some УdosФ and УdonТtsФ of translation. The working hypothesis of our paper states that direct correlation between all the elements of style can be found in ST and TT. The goal of the research is to analyze the stylistic peculiarities and the different ways of Winnie-the-Pooh`s translation as far as both style of ST and TT are concerned. Objectives of the research
All these objectives have been brought about with the help of methods consisting in comparative and contrastive analysis and sketchy description. The research has been made on the basis of 500 examples taken from A.Miln`s Book. The logic of the research has prompted the following structure of this paper:
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