#its about яд

[faededaway]

Only thing I like about reels is that it sends pretty songs my way.

[vestaignis]

Креветка-богомол Павлиновая или рак-богомол (лат. Odontodactylus scyllarus).

Самцы креветки-богомола обладают очень  яркой внешностью. Они переливаются всеми цветами радуги. Тело у них – ярко-зеленое, голова – голубая, передние конечности и антенны – ярко-красные или оранжевые. Самочки не такие пестрые. Чаще всего они имеют коричневый или оливковый окрас.Эти креветки могут достигать 30 сантиметров. Тело их сплющено и вытянуто.

Название «богомол» им приписали за способность мгновенно выбрасывать свои передние конечности. Такой же прием насекомое использует во время защиты от врагов или добывания пищи. По словам биолога Роя Колдуэлла, такой удар у богомола занимает всего 100 миллисекунд, это сравнимо с одним морганием глаза. Удар креветки-богомола в 50 раз быстрее!!! Это самое быстрое движение, на которое способны животные. Но самым удивительным у этого животного являются его глаза. Они имеют сферическую форму и поделены по центру параллельными линиями. Главное то, что они способны воспринимать и преобразовывать поляризованный свет, чего люди делать не могут.  Кроме того, эти креветки имеют уникальное зрение, которое позволяет им видеть предметы в оптическом, инфракрасном и ультрафиолетовом диапазонах спектра. Это помогает им распознавать флуоресцентные метки на других креветках в качестве сигналов об опасности или как сигналы угрозы друг другу.

Креветки-богомолы не зря зовутся страшными названиями, вроде «раки-террористы» и «резатели пальцев». В их меню входят крабы, моллюски, улитки, черви, креветки и рыба. Более того, павлиновые креветки – единственные, кто способен полакомиться ядовитым синекольчатым осьминогом, яд которого может убить человека за 15 минут, а противоядия к нему не существует до сих пор.

Ареалом обитания этим красивых и необычных ракообразных является район Барьерного рифа в Австралии. Встречаются они на глубине 40 метров.Живут креветки в самодельных песчаных норках или в коралловых обломках. Длина этих нор может достигать 1 метра,  а глубина доходить до 40 сантиметров. Для укрепления, ее стенки креветки покрывают кусочками раковин и частичками кораллов.

Peacock Mantis Shrimp or Mantis Shrimp (Latin: Odontodactylus scyllarus).

Male mantis shrimps have a very bright appearance. They shimmer with all the colors of the rainbow. Their body is bright green, their head is blue, their forelimbs and antennae are bright red or orange. Females are not so colorful. Most often, they have a brown or olive color. These shrimps can reach 30 centimeters. Their body is flattened and elongated.

The name "mantis" was attributed to them for the ability to instantly throw out their forelimbs. The insect uses the same technique when defending itself from enemies or getting food. According to biologist Roy Caldwell, such a strike by the mantis takes only 100 milliseconds, which is comparable to one blink of the eye. The strike of the mantis shrimp is 50 times faster!!! This is the fastest movement that animals are capable of. But the most amazing thing about this animal is its eyes. They are spherical and divided in the center by parallel lines. The main thing is that they are able to perceive and transform polarized light, which people cannot do. In addition, these shrimp have unique vision, which allows them to see objects in the optical, infrared and ultraviolet ranges of the spectrum. This helps them recognize fluorescent marks on other shrimp as signals of danger or as signals of a threat to each other.

It is not for nothing that mantis shrimp are called scary names, such as "terrorist shrimp" and "finger cutters". Their menu includes crabs, mollusks, snails, worms, shrimp and fish. Moreover, peacock shrimp are the only ones who can feast on the poisonous blue-ringed octopus, whose venom can kill a person in 15 minutes, and there is still no antidote to it.

The habitat of these beautiful and unusual crustaceans is the Barrier Reef area in Australia. They are found at a depth of 40 meters. The shrimp live in homemade sand burrows or in coral debris. The length of these burrows can reach 1 meter, and the depth can reach 40 centimeters. To strengthen it, the shrimp cover its walls with pieces of shells and coral particles.

Источник: /ianimal.ru/topics/krevetka-bogomol, /www.techinsider.ru /science/611573-samyy-bystryy-udar-v-okeane-v-chem-sekret-krevetki-bogomola/, //masterok. livejournal.com/1508581.html, //animals.pibig.info/27111-pavlinovaja-krevetka-bogomol.html, //t.me/+fxNu20lM26MwYzhi.

[tanaka-sama]

ENG: ☆ Finally, after quite a long time, I bring you a small overview of the new animals of the planet Zongshtorn. of course, full information about them can be read a little later, when all the materials, including text, are ready. ☆ mokka, mokki or also known as mokkers (scat. "mokkakhoh" - "slug thicket") are creatures that look like snails, but, like all animals and most plants/ trees, they have huge sizes. they live in the area of the Korriban forest, which borders partly on the Aquaregion. therefore, mokka have a body structure and color, which distinguishes them from the usual forest inhabitants. ☆ mokka has many subspecies and each of them has its own role in a huge chain and it resembles a chess system. The ranking system is also similar to the lifestyle of the carsilions, although it differs from it. if the carcilions all live in the same carcilion, then the moccasins live in different mokkasins (a network of nests on the surface), which form some semblance of modern cities, communicating with each other by paths that are carefully guarded by knights. ☆perhaps, the mokka can be called one of the most advanced species in terms of nesting. There is a queen who is responsible for the future offspring of a particular royal family. She wears eggs on her belly and always walks accompanied by knights and a king, whom she chooses once for a lifetime. each mokkorus has only one queen and a king. ☆the knights are equipped with a poisonous glue sting and can see well in the dark. They protect the queen and their venom is fatal to both humans and tablecloths. There is also a high risk of death for dragons if the sting penetrates the armor. ☆the defenders always wear a shell, but unlike knights they are blind and cannot see not only in the dark, but also in the daytime. They are connected to the world by antennae and a tail, as well as good hearing. ☆ slow walkers - although they look scary, they mostly keep to themselves and dig tunnels. -------------------------------------------- RU: ☆ наконец, спустя довольно долгое время, несу вам небольшой обзор на новых животных планеты Зонгшторн. конечно, полную информацию о них можно будет прочитать чуть позже, когда будут готовы все материалы, текстовые в том числе. ☆ мокка, мокки или же, известные как моккеры (скат. "моккакхох" - "слизневая чаща") - внешне похожие на улиток существа, но, как и все животные и большинство растений/деревьев, обладающие огромными размерами. они обитают в области леса Коррибан, который граничит отчасти с Акварегионом. поэтому мокка имеют строение тела и окрас, что отличает ��х от привычных лесных обитателей. ☆ у мокка много подвидов и у каждого из них есть своя роль в огромной цепочке и она напоминает систему шахмат. система ранжирования так же похожа на образ жизни карсилионов, хоть и отличается от него. если у карсилионов все живут в одном карсилионнике, то у мокка - в разных моккорусах (сеть гнездовий на поверхности), которые образуют некоторое подобие современных городов, сообщаясь между собой тропками, которые тщательно охраняются рыцарями. ☆ пожалуй, мокка можно назвать одним из самых продвинутых видов в плане гнездования. ☆ есть королева, которая в ответе за будущее потомство конкретно королевского рода. она носит икринки на своем животе и всегда ходит в сопровождении рыцарей и короля, которого избирает раз на всю жизнь. у каждого моккоруса есть только одна королева и король. ☆ рыцари снабжены ядовитым клеевым жалом и хорошо видят в темноте. они защищают королеву и их яд смертелен как для людей, так и для скатеней. для драконов тоже высокий риск летального исхода, если жало пробьет броню. ☆ защитники всегда носят панцирь, но в отличие от рыцарей слепы и не видят не только в темноте, но и в дневное время. связью с миром им служат усики и хвост, а так же хороший слух. ☆тихоходы - хоть и выглядят страшно, но в основном держатся особняком и роют тоннели.

[anna-dreamer]

(I draw fanart to a nonexistant musical, or, how it was supposed to be called, a magical opera.) Это вино. Это не яд и не кровь. Это вино. В нём нет ничего, кроме мёда. Когда сожжены мосты, Моря переходят вброд. Но знал ли об этом ты, Ступая на тонкий лёд? Это вино. Зачем ты выпил его? Выбрать свой путь — твоё врождённое право. Но это вино — и поздно жалеть того, Кто открыт его составу. "Кольцо Фелагунда" (Ring of Felagund) has basically been my whole life for a couple of days, what with us preparing to release it to The Last Homely Server. With Tample seemingly having abandoned the project, i had to figure out how the story was supposed to end. And now it feels like Ring of Felagund has partially become my baby. Now it is out. I love it so much, the over-the-top, unhinged, melodramatic findrahil fanfic about how glorification of power imbalance in relationships leads to tragedy. (At least, this is how i read it. So, of course, in the end the relationship must change and old ways abandoned.) (Translation under cut)

'Tis wine. 'Tis no poison or blood. 'Tis wine. There is nothing in it but honey. When the bridges are burned, The seas are waded. Did you know that, though, when you stepped on the thin ice? 'Tis wine. Why did you drink it? It's your innate right to choose your own path. But 'tis wine, and it's too late to pity those who are exposed to its ingredients.

[miroslavaglumova]

Один день из жизни тапкомана

14 октября 2019 года будет ровно месяц с того момента, как я поняла, что зависима, но попыток излечения не будет. Всем привет, рада знакомству. Я – тапкоман.

Ю-туб канал «Padio-Tapok» ворвался в мою жизнь с подачи подруги. Спасибо ей за это. Всё началось со скандальной «Deutschland», продолжилось c PowerWolf и заканчиваться не собирается.

Я слушала запоем и моя внутренняя девочка-фанатка визжала, бегая по потолку. Так случилось, что работа, буквально, выщимила рок из моей жизни и образовалась пустота. И вот, наконец, она снова наполняется тяжёлыми гитарными рифами, басухой, потрясающим вокалом и невероятными текстами.

Утолив первую жажду, я полезла в комменты на канале (ну м��ло ли, может есть какие-то правила, может я чего не знаю). И стало понятно, что просьбы сделать кавер на что-то горячо любимое составляют 80 процентов всего, что написано зрителями.

Конечно, душа рвалась внести свою лепту, не без этого, но я (хвала небесам), знаю откуда на самом деле растут ноги у такой мощной харизмы и обалденной популярности. Так что я успокоилась, продышалась, привела мысли в порядок и подумала вот о чём.

А каково это - делать кавер?

Давным-давно (мне уже довольно много лет), когда я была с роком на «ты» и ходила на концерты, мне удалось в полной мере прочувствовать и бесконечные репетиции, и поездки в областной центр с выступлениями, и споры по поводу музыки и текстов, и севшие связки и много чего ещё. Нет, вы не подумайте, играю я исключительно на нервах, а пою как сонный ишак, которому снится кошмар про крокодилов. Так что эту – музыкально-певческую сторону создания кавера мне осознать в полной мере не дано.

Но вот текст… Тут я могу покрутиться.

В конце концов, раз Олег Николаевич примеряет на себя образы других людей, то и я могу попробовать прочувствовать ��а своей шкуре хотя бы этот фрагмент процесса.

Итак, благодаря Олегу Николаевичу и его: «Осовец. Смерть, трупы, яд…», я задалась вопросом: «Что за мощь такая льётся мне в уши?» Так я открыла для себя группу Sabaton (да, с позднячком). Естественно дядька Гугл в помощь и… на меня из недр сети обрушился Бисмарк. Я была сметена, раздавлена и повержена.

Вы уже поняли, что было решено взять для перевода.

Что ж, глубоко вдохнув и тяжко выдохнув, я нашла в сети оригинальный текст. Переводов в интернете полно, но я же хочу ощутить эту роль в полной мере. Так что, вооружившись словарём и сайтом context reverso я приступила к работе. Наша мини-группа справилась за десять минут.

Воодушевлённая таким результатом, я положила перед собой чистый лист бумаги, взяла ручку и … и ничего не могла написать минут двадцать. Крутила слова так и эдак, а вот фигушки. Но, мозг штука сложная, почти компьютер, так что шестерёнки закрутились и обработка началась.

В тяжёлых мучениях родились первые четыре строчки и передо мной во весь рост встал вопрос соответствия написанного музыке.

Э…Вы же помните как я пою? Вооот…

Наушники на голову и поехали. Внутренне, мне было жаль соседей. Они хорошие люди и не заслужили вопящую бензопилу за стенкой, но у меня же цель!

На перевод первых одиннадцати строчек ушли все остатки моих нервов и четыре часа времени. Спеть это было сложно, пришлось считать гласные. Получилось.

Спела (скорее проорала), выдохнула, прослезилась. Поняла что соседская собака на балконе мне подпевает.

Осознала внутреннюю пустоту и решила, что нужно сделать перерыв.

Телефон меня удивил, оказывается на улице уже два часа ночи. Куда делось время?

Матерясь исключительно прилично, строя сложные витиеватые конструкции, я уговорила себя пойти на боковую. Не спалось. Включила ужасы. Поржала. Не помогло. В голове громыхал Бисмарк.

Каким-то чудом сознание всё же отключилось.

Приснился Олег Николаевич, который разбавляя фейспалмы отборными годными мемами, прочитал мне такую лекцию по теории перевода, что у меня челюсть отвалилась. Жаль во сне нет диктофонов.

Просветлённая, вдохновлённая и замотивированная, я смогла разлепить веки, затем успешно провела операцию по разделению сиамских близнецов в лице меня и подушки, и окончательно проснулась после кружки горячего чая.

С грустью посмотрела на лист. Текст манил меня, звал и обещал, что всё получится. Не получилось. Решила подкрепиться печеньками. Прирос лишний вес, текста по прежнему не было.

В расстроенных чувствах, я неожиданно вспомнила, что шопинг – это лучшее лекарство. Еды на боках хватало, шмотки и косметика меня не впечатляют. Поехала к мастеру, купила натуральных полудрагоценных камней. С большой скидкой. Много.

Соорудила украшение представителей тайного ордена свидетелей группы Kiss и водрузила его на голову, сплясала шаманский танец. Без толку, слова отказывались складываться.

Плюнула, решила, что напишу уже хоть что-нибудь и полезла в инсту. В новостной ленте с экрана, озарённый добродушной и совсем не пугающей улыбкой, на меня смотрел Олег Николаевич, который спешил сообщить, что отбывает в Иркутск.

Вспомнился сон и вернулась мотивация. Вооружившись лозунгом: «Я борец за качество и аутентичность во имя хард-рока и хэви-метала», я помчалась за стол к тексту.

Слова стали складываться, но петь их по прежнему не получалось. На балконе оживился пёс. Пел со мной и попадал в ноты. Мне стало стыдно.

Я мысленно пожалела соседей, убедилась, что время не перевалило за 23:00, считала гласные, переписывала слова и пела. Много. Соседи терпели, я охрипла, но с заданием справилась.

Получив, наконец, долгожданный перевод, я поняла что мне срочно нужно отжать у Золушки три волшебных орешка. Мне есть чего пожелать.

Первое – попасть на концерт.

Второе – получить автограф и желательно на том, сурпризе, который я готовлю (но плакат и билет не отменяются)

Третье и самое главное – пожать мужественную руку талантливого человека.

Олег Николаевич, я знаю, что однажды, Ваш кавер на Бисмарка сорвёт мне крышу, но я не стану Вас просить о его создании. Потому, как знаю теперь, что это не просто.

Весь этот большой и странный текст написан лишь с одной целью. Спасибо Вам огромное за тот труд, которого мы не видим. За ваши «..не пил, не ел, не спал…стране нужен металл…».

Пожалуйста, будьте осторожны в пути, берегите здоровье и знайте, мы хотим каверов, но Вас мы любим больше!!!

P.S. Если не забудут дать аванс, закажу всяких ништяков в Вашем магазинчике. На кедики и майку собираю со всей отчаянностью, на которую способна, потому, как они суперские. И очень хочу на концерт. Будете в районе Ростова-на-Дону, заезжайте. Я упертая, если не будет денег, приду пешком и тортик испеку.

А если серьёзно, спасибо, что вернули в мою жизнь хорошую музыку.

Да прибудет с нами РОК!

Bismarck

From the mist, a shape, a ship, is taking form

And the silence of the sea is about to drift into a storm

Sign of power, show of force

Raise the anchor, battleship's plotting its course

Pride of a nation, a beast made of steel

Bismarck in motion, king of the ocean

He was made to rule the waves across the seven seas

To lead the war machine

To rule the waves and lead the Kriegsmarine

The terror of the seas

The Bismarck and the Kriegsmarine

Two thousand men, and fifty thousand tons of steel

Set the course for the Atlantic with the Allies on their heel

Firepower, firefight

Battle Stations, keep the targets steady in sight

Into formation, the hunt has begun

Death and damnation, the fleet is coming

He was made to rule the waves across the seven seas

To lead the war machine

To rule the waves and lead the Kriegsmarine

The terror of the seas

The Bismarck and the Kriegsmarine

At the bottom of the ocean, the depths of the abyss

They are bound by iron and blood

The flagship of the navy, the terror on the seas

His guns have gone silent at last

Pride of a nation, a beast made of steel

Bismarck in motion, king of the ocean

He was made to rule the waves across the seven seas

To lead the war machine

To rule the waves and lead the Kriegsmarine

The terror of the seas

The Bismarck and the Kriegsmarine

To lead the war machine

Rule the waves and lead the Kriegsmarine

The terror of the seas

Bismarck and the Kriegsmarine

To lead the war machine

Rule the waves and lead the Kriegsmarine

The terror of the seas

Bismarck and the Kriegsmarine

Бисмарк

Из тумана выплывает грозный враг

И молчание над морем превращает в шторм и страх

Символ власти, знак врагам

Поднят якорь, курс проложен в океан

Гордость народа, монстр стальной

Непотопляем.

Царь океана по волнам к победе рвётся в самый страшный бой.

Опасный исполин

Он козырь в море, лидер Кргейсмарин,

Кошмар семи морей

Бисмарк силён, непобедим.

Команда в трюме, их скрывает сталь брони,

Путь в Атлантику в тисках, все ждут опасной западни

Перестрелка, взрыв торпед

Союзный флот добычу гонит след во след.

Смерть и проклятие. Все по местам.

Армада рядом

Но сквозь огонь линкор плывёт он рвётся к цели, рвётся в океан.

Опасный исполин

Он козырь в море, лидер Кргейсмарин,

Кошмар семи морей

Бисмарк силён, непобедим.

В объятьях бездны тихо дремлет, теперь забыт на дне

Спаялись на века кровь и сталь.

Пал флагман флота немцев, страх и ужас морей,

Не сможет стрелять никогда.

Гордость народа, монстр стальной

Непотопляем.

Царь океана по волнам к победе рвётся в самый страшный бой.

Опасный исполин

Он козырь в море, лидер Кргейсмарин,

Кошмар семи морей

Бисмарк силён, непобедим.

Опасный исполин

Сила в море, лидер Кргейсмарин,

Кошмар семи морей

Бисмарк — лидер Кргейсмарин.

Опасный исполин

Сила в море, лидер Кргейсмарин,

Кошмар семи морей

Бисмарк — лидер Кргейсмарин.

[maxmrnv]

stylistics

General knowns on stylistics. Functional styles. Forms and types of language. Language hierarchy and the levels of stylistic analysis. 

Stylistics is a brunch of linguistics which studies the principles of usage of different language means aiming at reaching a certain pragmatic result depending on the sphere of communication. It is an umbrella term and has several subtypes:

Language stylistics which studies language means and their peculiarities on different language levels. 

Speech stylistics which studies deviations from the norms in different texts. 

Functional stylistics which usually deals with the sets of language units of all levels of language hierarchy serving to accommodate the needs of certain communicative situations. 

The stylistics of artistic speech which usually deals with the study of creative writing.  

Practical stylistics which teaches norms of language to those who deal with the language professionally. 

Comparative stylistics which studies and compares the usage of stylistic devices (SD) in two or more languages. 

The most accepted classification of functional styles in our scientific school includes:

Official style represented in all kinds of official documents and papers.

Scientific style found in articles, monographs and other scientific and academic publications. 

Publicist's style covering such genres as eases, feature articles, public speeches. 

Newspaper' style observed in the majority of information materials printed in the newspaper. 

Belles-letters style embracing numerous genres of imaginative writing. 

All functional styles are exercised in two forms: written and oral. All the above mentioned styles are singled out within the literary type of the language. The colloquial type of the language is characterised by the unofficiallity and informality of the communicative situation. 

Levels of stylistic analysis. 

Each language is the system which is based on the structural hierarchy of language levels. The units of each next level are formed from the units of the previous levels. The following language levels are singled out:

Textual level (its unit is a text). 

Syntactical level (its unit is a sentence).

Lexical level (unit is word).

Morphological level (morpheme).

Phonemic level (phoneme). 

The levels of stylistic analysis are the same only phonemic level is called phonographical. 

Stylistic device (SD) is a language unit which in speech obtains some additional extra meaning and becomes foregrounded. 

Phonographical level. 

On these level the stylistic use of phonemes and their graphical representation is viewed.

Onomatopoeia is the usage of words whose sounds imitate those of some objects or actions. This stylistic devise does not only transmit the logical information but also gives the vivid picture of the described situation eg: to bark, to roar, to moo; тьох-тьох, дзень, пурх etc. 

Alliteration is deliberate repetition of consonants usually at the beginning of word. 

E. G.: Today, tomorrow, Toyota made to move. Добре борошно дім береже. 

Assonance the deliberate repetition of vowels usually at the stress syllables. 

E. G.: Use your eyes to hypnotise. Ти вчиш любити все що перемінне, і що не змінне, як незмінний світ. 

These stylistic devises are usually met in poetry and public speeches they both may produce the effect of euphony (a sense of ease and comfort in pronouncing or hearing) or cacophony (a sense of discomfort in pronouncing or hearing). 

Graphon is the intentional violation of the graphical shape of the a word(-combination) used to reflect its authentic pronunciation. 

This stylistic devise was introduced in English literature in the 18th century and since then has acquired extreme popularity. The usage of graphone gives information about the speaker's age, origin, social and educational background, physical or emotional condition. 

E. G.: G-g-give me the b-b-book.  

You don't mean to thay thith ith your first name?

Бізи сюди сось і скажу. 

Пт-та-ташечко моя!

Another type of graphone is represented by informal colloquial assimilated form: gimme, gonna, здрасте. 

The third type of graphone is becoming popular among advertisers: Music 4 you. 

Thanx for your purchase. 

Graphical SD:

Three groups of graphical SD are singled out:

Change of type and it includes: italics which usually shows the stress the speaker made on this word or syllable; CAPITALISATION which shows the intensity of speech; petite is change into smaller print, which shows that some information is not very important or is not pronounced loud. 

Spacing of graphemes includes: multiplication of graphemes which shows the intensity of speech E. G.: Ууурааа!; hyphenation (слогоделение) usually shows the ride and clipped manner in which something is pronounced E. G.: О я-ка ра-дість зно-ву те-бе ба-чи-ти!;

Spacing of lines: lay-out (разбивка) is usually found in poetry. 

Morphological level 

on this level we deal with foregrounding the morphemes.

SD:

Morphemic repetition which can be of two subtypes: 

Affixational repetition, here suffixes and prefixes are repeated. This stylistic device usually stresses both logical and emotive meaning of the repeated unit and produces the rhythmical effect of the utterance. E. G.: a capped woman is somebody who is perfumed and clothed and wined and died and sometimes romanced heavily. 

Root repetition which usually stresses the logical significance of the repeated notion. E. G.: He was so lonely that he felt his loneliness physically. Голуби голублять голубінь. 

Occasional words are usually formed according to morphological norms of a certain language and are characterised by freshness and originality. E. G.: іду кіт через лід чорнолапо на обід. We are overworked. I have been overdone. 

Lexical level

the unit of this level is a word which usually names qualifies and evaluates the surrounding world. 

Types of the meaning of any word: 

Grammatical and lexical meaning (boy-boys). 

Dictionary (language or usual meaning) and contextual (speech or occasional meaning). 

Nominal meaning which usually names but gives no information. 

Denotational (logical meaning) which names and gives some information about an object. 

Connotational meaning which usually gives information about the speaker's attitude to an object. Connotational meaning can be emotional, evaluative, stylistic and even sometimes ideological. 

SD:

Metaphor is a stylistic device in which transference of names is based on the associated likeness between two objects. Both word have at least one common semantic component. E. G.: Sun – pancake:

According to structure all metaphors can be subdivided into simple (expressed by one word) and prolonged (several simple metaphors create one image). E. G.: He smelled the ever beautiful smell of coffee imprisoned in a can (simple); I am a New Year, I am an unspoiled page on your book of style, I am your next chance (prolonged). 

According to the usage all metaphors can be subdivided into fresh and trite. E. G.: black water – яд (trite). Sandwich courses – учиться и работать. Wallpaper music – фоновая музыка. Неначе цвящок в серце вбитий оцю Марину я ношу (fresh); Overhead the moon road the sky, at cold sailor of the night (fresh). 

According to the part of speech creating the metaphor they can be subdivided into nominal, verbal, adjectival and adverbial. 

Personification is likeness between inanimate and animate objects. E. G.: the wind says; ліс мовчав.

Zoozemy (зоометафора) is likeness between a human being and an animal. 

Colour metaphor E. G.: He is yellow; жовта преса. Rosy – something good. 

Metonymy is a SD in which transference of names is based on nearness of objects or phenomena. Unlike metaphor two objects have common ground of existence in reality. The nearness of objects or phenomena can be found between: 

The container and what is capped in this container E. G.: will you have another cup; він випив чарочку. 

The material and the object which is made of this material E. G.: they lived in two storied brick. Золото у вухах. 

Place or organisation and people who live or work there E. G.: міністерство згодне. Summit couldn't gat after us. 

The whole and the part (synecdoche) E. G.: ніс йшов по вулиці. Ноги моєї більше тут не буде. These wheels will drive you at your pleasure.

The author and the work E. G.: I've read all Hemingway;

Antonomasia is the usage of common name instead of proper name and visa versa. When the common name turns into proper name it is known as speaking names (промовисті імена) E. G.: there are three doctors in an illness like yours: Dr. Rest, Dr. Diet, Dr. Freshair. 

Metonymy according to the usage can be subdivided into two types:

Fresh metonymy. E. G.: He made his way through the perfume and conversation. 

Trite metonymy (dictionary).

Pun is a SD in which the usage of one word in two meanings either deliberately by the speaker or as a result of the listener's misinterpretations of the expression. Such usage produces humorous effect. E. G.: The professed raped on his desk and shouted gentlemen order. The entire class yelled bear. 

Zeugma (зевгма) is a usage of polisemantic verb followed by two nouns which are not connected semantically. E. G.: She was a thief you got to believe, she stole my heart and my cat. Моя мама серце добре має і папаша мають магазин. 

Semantically false chain is the usage of polisemantic verb followed by three or more nouns, the last of which falls out of the semantic group does producing humorous effect. E. G.: He thought to himself give her what: a keys, a box of chocolate, a punch in the nose. Він любив свій дім, жінку, дітей і пиво. 

Violation of phraseological unit is a SD in which the members of a unit can be shortened, prolonged or substituted. E. G.: I believe in hate at first sight. Divorces are made on heaven. Хороший, що хоч до болячки прикладай. 

Nonsense of non-sequence is joining of two semantically disconnected clauses in one sentence. Usually it is discussed in English stylistics. E. G.: Good morning said Bilbor and he meant it, the sun was shining and the grass was very green. 

Irony is a SD in which the contactual evaluative meaning of a word is directly opposed to its dictionary meaning. This SD doesn't exist outside the context. If we deal with irony, connotational meaning is usually foregrounded. E. G.: She turned with the sweet smile of an alligator. According to structure irony can be subdivided into two types:

Verbal irony (expressed by one word). 

Sustained (is found in a passage or even in a text). 

E. G.: Last time it was a nice simple European style war. 

Sarcasm it is bitter irony, more aggressive and even impolite. 

Epithet is a SD which expresses characteristics of an object both existing and imaginary. Its basic features are emotiveness and subjectivity because the speaker chooses himself what qualities he wants to attach to the object. Through long and repeated use some epithets become fixed. Usually epithets are classified according to two criteria: semantically and structurally. 

Semantically. According to meaning epithets can be subdivided into two types:

Affective (эмоциональный) which have evaluative and emotional colouring. E. G.: nasty look, ніжне серце. 

Figurative (образный) which can be based metaphor, metonymy and simile. E. G.: smiling sun, frowning cloud, зелена молодь, байдужі скелі. 

Structural types of English epithets:

Simple (single) epithet (expressed by one word). 

Pair epithets (expressed by two words joined by conjunction or asyndetically) E. G.: wonderful and incomparable beauty. A tired old town. 

Chain of epithets (expressed by three or more homogeneous attributes) E. G.: In the cold grey early morning. 

Two step epithets (adverb + adjective) E. G.: absolutely fantastic. 

Phrase epithet E. G.: cat-and-dog life; couldn't-care-less attitude. 

Inverted epithet E. G.: a rose of a girl, a hell of a noise. 

Sentenced epithet which is usually emotionally coloured addresses or post-positive attributes. 

Structural types of Ukrainian epithets:

Simple epithets (expressed by one word either an adjective or an adverb or a participle. E. G.: бистра вода, боязко тремтить, зневірена душа. 

Epithet apposition (expressed by two nouns which are written with a help of dash прикладка) E. G.: думки-метелики, сльози-перли. 

Composite epithets (епітети-композити expressed by a compound word) квітки синьоокі, огнеокий демон, осінь жовтокоса. 

Sentence epithets (performs the fan toon of predicative thus forming the sentence) E. G.: твої очі – тихий вечір, твої очі – срібна річка, твої очі – ніжні квіти, твої очі – тиха радість. 

In the Ukrainian stylistics color epithets are widely discussed and used. 

Hyperbole 

is a SD in which emphasis is achieved through deliberate exaggeration and in which emotive meaning is foregrounded. Hyperbole can be expressed by all notional parts of speech especially by pronouns, numerous and adverbs of time. E. G.: The girls were dressed to kill. I was violently sympathetic. Цілую тебе тисячу разів. Цілий вік усе плачусь. 

Understatement (літота) it is a SD in which the size, the shape and other characteristics of an object are underrated. It usually renders the speaker’s subjective perception of an object. E. G.: She was a pocket size. Дитятко ягідка дрібненька. 

Oxymoron is a combination semantically contradictory notions which name one thing. 

As a rule one of the members of the oxymoron shows the universally observed feature while the other one offers subjective individual perception of an object. The most common structure of oxymoron involves the combination of adjective and nouns but sometimes verbs can be used. E. G.: crowded lowliness, bittersweet union, to cry silently, солодка мука. 

Syntactic level 

The unit – sentence. 

The source of expressiveness – syntactic structure of sentence. 

Foregrounding of this level of stylistic analysis can be due to:

Communicative type of the sentence 

Arrangement of sentence elements 

Completeness of structure 

The use of punctuation marks. 

Rhetorical question is a peculiar interrogative construction which semantically remains a statement or an exclamation. Unlike ordinary questions rhetorical ones don’t demand any answer as the speaker knows it himself. They serve to express speaker’s emotions and draw the listener’s attention. They are widely used in public speeches. E. G.: Why me? What have I done to deserve it? А чому я маю думати про вас? 

Repetition according to the structure all repetitions can be subdivided into:

Ordinary repetition which has no definite please in the sentence and the repeated Union occurs in various positions. It stresses both the logical and emotive meanings of the repeated union. E. G.: I real don’t see anything romantic in proposing. It is very romantic to be on love. But there is nothing romantic about a definite proposal. 

Successive repetition is a string of closely following each other units which shows the peak of the speaker’s emotions. E. G.: These are only promises, promises, promises. 

Anaphora the beginning of two or more successive clauses or sentences are repeated. It usually crates the background for the following non reported unit. E. G.: ти пахнеш як листя весняне, як дитинство моє полотняне, як тепла малинова стежка, як мамина срібна сережка. 

Epiphora the ends of two or more successive clauses or sentences are repeated. It usually adds stress to the final elements of the sentence. E. G.: there is no negro problem. There is no southern problem. There is no southern problem. There is only an American problem. 

Framing repetition the beginning of the sentence is repeated in the end thus forming a frame. E. G.: The king is dead, long live the king. 

Catch repetition (anadiplosis) the end of the sentence is repeated at the beginning of the following. E. G.: now he understood. He understood many things. 

Chain repetition presents several successive anadiplosis and it usually produces the effect of developing logical reasoning. E. G.: The more I study the more I know. The more I know the more I forget. The more I forget the more I forget. So why study? Тече Дніпро через віки. Віки течуть через пороги. Пороги сплять на дні ріки. Ріки любові і тривоги. 

Parallel the syntactic structure of several successive sentences is repeated. It adds rhythm and balance to the utterance and helps to stress main idea. Sometimes it goes together with different types of repetition.

Chiasmus (хиазм) usually consists of two parts where the second part is the mirror reflection of the first part. It is the repetition of the same structure but with the opposite order of elements E. G.: I know the world and the world knows me. Треба їсти щоб жити, а не жити щоб їсти. 

Inversion 

is the deliberate change of the direct word order into the indirect one. It helps to foreground the main idea of the utterance expressed by the misplaced members of the sentence. As the English language has strict direct word order (subject-predicate-object) comparing to the Ukrainian language. Inversion is widely discussed in English and the types of inversion are singled out only in English:

Complete inversion which is misplacement of the predicate or even part of it before the subject. E. G.: Out came the chase, in went the horses, on sprang the boys, in got the travellers. 

Partial inversion is misplacement of any secondary member of the sentence which usually precedes the subject predicate group. E. G.: Terribly cold it certainly was. 

Secondary inversion usually happens when indirect word order in questions is turned into the direct one. 

Suspense (ретардация)

is deliberate postponement of the sentence completion. Technically it is organised which the help of homogeneous clauses which separate subject from the predicate and which give less important information first while the major information is reserved till the end of the sentence. E. G.: Я річечку оцю в городі, в нас під кленом, як тата й маму і як мед люблю. 

Suspense also means an artistic device of composition which holds the reader in uncertainty about the outcome of the plot. Usually detective and adventure stories are examples of suspense fiction. 

Detachment (порциляция)

is singling out a secondary member of the sentence with the help of punctuation or intonation. The word order here is not violated but secondary members obtain their own stress being separated by commas, dashed and fullstops. E. G.: So we are strong. United. True to our values. Beck in government and on your side. Марта ревнувала Антона. Уперто. Затаянно. Сильно. До всіх і до всього. 

Ellipsis (эллипсис) 

is deliberate omission of at lest one main member of the sentence or both of them. It is used to create tense atmosphere in description or an authentic effect of oral non formal communication E. G.: А Петро взяв шапку та й з хати. 

One-member sentence (односоставные предложения) 

In English we single out only nominal one-member sentences which are semantically selfsaficiant and are most used in description. 

E. G.: He remembered his childhood. Cold night, lonely days, bitter tears. 

If we speak about Ukrainian it Russian here we deal with different types of one-member sentence. They can be personal and impersonal. 

Apokoinu construction 

is the omission of the connective which creates a blend of the main and the subordinate clauses so that the predicative or the object of the main clause is at the same time the subject of the second clause. It usually creates the effect of illiterate speech. E. G.: I’ve seen the person loves me. This is the sword killed him. 

Aposiopesis (break) 

is unfinished utterance. It is usually used to imitate oral speech, to reflect speaker’s emotions. A sentence may be broken because the speaker’s emotions prevent him from saying or he can be interrupted or does not know what to say then. This SD is marked with dashes or dots. E. G.: People like to be with her and — ; Тато бувало й за цілий день так багато не вибалакували, а тут …

Polysyndeton (многосоюзие)

is the repeated use of conjunction. It usually creates the effect of equal logical and emotive importance of the connected elements. 

Asyndeton (бессоюзие)

is deliberate omission of conjunctions. It creates the effect of tense energetic active prose and produces strong rhythmic impact. 

Attachment 

is a stylistic device in which a second part of the utterance is separated from the first one by the fullstop though the semantic and grammatical ties remain very strong. It is used mostly dialecs  and presents aftesorts. E. G.: Заичайна механічна робота, яка потребує терплячості. Як і кожен експеримент; Як поващали твої коси. Бо випала роса. 

Lexico-syntactical level

On this level we deal with SDs whose emphasis depends not only on the arrangement of sentence members but also on the lexico-semantic aspect of the utterance. 

Antithesis 

is a semantic opposition emphasised by its realisation in similar structures. 

Structurally it is a case of parallel constructions but unlike parallelism which is indifferent to the lexical meaning of its components. The two parts of antithesis must be semantically opposite to each other. So usually it presents two opposite parallel constructions. Usually this SD is used to stress the heterogeneity (неоднородность) of the described phenomenon to show that it has two or more opposite features. 

Types of antithesis:

Morphemic antithesis. E. G.: Their pre-money wives do not go together with their post-money daughters. 

Proper antithesis. E. G.: Mrs. Norah had a large home and a small husband. 

Developed antithesis which is usually created by more than one opposition of words. 

Climax (градация) 

is a SD in which each next word combination, clause or sentences is logically more important and emotionally stronger than the previous one. In the case of climax we deal with synonyms or semantically related words. 

Types of climax

As to the structure climax can be: 

Ascending (нарастающая) E. G.: Better to borrow, better to beg, better to die. 

Descending (спадающая) E. G.: Be careful, not a look, not a wing, not a syllable, not a whisper. 

Two-step. E. G.: He was so helpless, so very helpless. 

Three-step. 

According to the meaning climax can be:

Logical. It means that next unit is more logically important. 

Emotional. Each next unit is more emotionally stronger. (См. речь Трампа)

Quantitative. 

Anticlimax

it is a climax which is suddenly interrupted by an unexpected turn of the thought which defeats the reader’s expectation. A lot of paradoxes are based on this stylistic device. E. G.: Always forgive your enemies, nothing annoys them so much. Не вір мені, бо я брехать не вмію. 

Simile (сравнение) 

is an imaginative comparison of two objects belonging to different classes. It shouldn’t be mixed with logical comparing. 

Simile consists of three elements:

The tenor (тема сравнения) is the object we compare. 

Formal element (like, look like, as, as though, as…as, such as, resemble). 

Vehicle (образ сравнения) is the object we compare with. 

In simile two objects are compared on the grounds of similarity of some quality. This feature is called the foundation of simile. 

Types of simile 

According to usage similies can be trite and fresh. 

According to the expression simile can be simple and extended. 

According to the usage of foundation simile can be explicit (she is as beautiful as rose) and implicit (she is like a rose). 

Disguised simile is mostly found in English. The formal element is expressed by a verb. 

Ukrainian similes can be also divided into trite and fresh, simple and extended, explicit and implicit. The only difference is in the usage of the formal element. In Ukrainian it can be expressed by:

Conjunction (мов, немов, як, ніби, наче…). 

Predicate (подібний, схожий).

Asyndetically E. G.: Твої губи – розгулена рана, кров твоя – рубін коштовний. 

Instrumental case (творительный падеж) Ти – зорею, а я – кленом. 

Litotes 

is a two-component structure in which two negations are joint to give a positive evaluation. It usually consists of a negative partial not/no plus derivative word or a word with a negative prefix or preposition without. It usually vickens the positive effect of the utterance. E. G.: She is not unpretty. The thought did not displeased him. Not without sympathy. 

Periphrasis

is a round-about form of expression instead of a simple one, using more or less complicated syntactical structure instead of a word. The main function of periphrasis is to show the speaker’s individual perception of the described object. The following types of periphrasis are singled out:

Logical E. G.: my better half (spouse), weak sex, автор «Мертвих душ».

Figurative periphrasis which are usually based either on metaphor or on metonymy E. G.: black gold, the sun flower state (Texas). 

Euphemistic periphrasis (эвфемизм) is a more polite qualification instead of an unpleasant one or of taboo words. Euphemistic periphrasis are used:

To name the death: to pass away, to join the majority, to pass into the darkness etc. 

To replace some unpleasant words: to hit the bottle (пьяница), to tell stories (лжец). 

To raise the social and professional states of the person: the needed, to ill provided, the low incomed, team assistant (instead of secretary). 

Gender-specific forms: chairperson (chairman), spokesman (representative). 

The level of a complete text 

Types of narration (типы повествования)

Author’s narrative which can be of two types:

Proper author’s narrative which is usually given in the third person singular. If we speak about the proper author’s narrative we can say that the development of the plot is concentrated here, personages are given characteristics, the time and the place of the action are also described here, it gives information about the author’s preferences and objections, believes and considerations. 

Entrusted author’s narrative which is given in the first person singular. I’m entrusted author’s narrative the writer hides himself behind the figure of the narrator, presents all the events of the story from his point of view and only sometimes emerges in the narrative with his own consideration. The structure of such narrative is much more complicated and sometimes can be even anonymous. 

Dialogue. Personages express their minds in the form of attend speech. In their exchange of remarks the participants of the dialogue while discussing other people and their actions expose themselves too. It is the form of the personages self characterisation, and the author eliminates from this process. 

Interior speech. It allows the author to pip into the world of the character.

Interior monologue which is rather long piece of the text, dealing with one major topic of the character’s thinking, offering causes of its past, present and future actions.

Short inserts (краткие вкрапления) of the interior speech. They usually present immediate mental and emotional reactions of the character to the remark or action. 

Stream of consciousness. The work is our brain, the reflection of the mental process undergo some linguistic structuring to make it understandable to the reader. In some extreme situation they can be disjoint, associative manner of thinking which makes the interior speech almost incomprehensible. 

Represented or reported speech. It is the blend of the view points of both the author and the character. It serves to show either the mental reproduction of one’s remark or the character’s thinking. It is usually given in the third person singular with some author’s qualitative words and author’s view points. 

Narrative compositional forms

Narrative proper (повествование) which is dynamic and usually unfolds the form. 

Description (описание) which is static and gives details of the appearance and character of the personage, place and time of the action. 

Argumentation (рассуждение) which is static and usually explains the causes and effects of the character’s actions, behaviour, considerations about moral and other issues. 

Stylistic differentiation of the vocabulary 

The word stock of any language can be divided into three groups. The bigger one is made of neutral word which do not have connotation and suitable for any communicative situation. The come literary (bookish, high flown) and colloquial words. They are marked in the dictionary. 

Literary (bookish, high flown) words

Bookish words are mainly used in the written form of the language. They are characteristic feature of official, scientific and poetic messages. They are mostly found in author’s narrative, descriptions and argumentations. They usually contribute to the massage, the tone of safistication and seriousness. 

All bookish words are divided into:

General bookish words. 

Special literary word which are subdivided into:

Terms are words denoting objects, process, phenomena of science and technic. 

Barbarisms or foreign words these are borrowed words.  

Archaisms which on their turn can be proper archaisms (words which in the course of language history have been substituted by new forms) E. G.: to deem – to think; Historical words denote historical phenomena which are no more in use.  Poetic words mainly used in the poetry in the 19th century: woe – sorrow; quoth – said. 

Colloquial words 

are usually associated with oral form of communication they are often used in dialogues and character’s monologue and they mark the message as informal nonofficial and conversational. They can be subdivided into: 

General colloquial words. 

Special colloquial words which in their term consists of: 

Slang – the word which are used in very informal communication. They are highly emotive and expressive and are quickly replaced by new words. E. G.: Head: attic, loaf, noodle, nut, top story; казанок, макітра, башка. 

Jargonisms – this are words which are spoken by a limited group of people united socially or professionally and this word are substandard, expressive and emotive. They can be subdivided into: proper jargonisms which originated from Thieves’ jargon and serve to conceal smth. E. G.: tool – gun; мочити, стрілка, мусор etc; professional words that are used by representatives of some professions; vulgarisms are strongly emotional, derogative and avoided in polite communication; dialectical words are usually phonemic or lexical variations of the language. 

Functional styles 

If we speak about Ukrainian stylistics scholars usually single out official, scientific, publicist, newspaper and belles-lettres functional styles. 

Scientific style 

is employed in professional communication. Its main aim is informative. The main characteristics are abundance of terms, precision, clarity and logical cohesion. A lot of clichés, passive voice constructions and complex sentences are used. 

Official style 

has a prescriptive function. It is the most conservative style that usually uses cast iron forms and structures known as archaic. Addressing, signing, expressing reasons and consideration are strictly regulated lexically and syntactically. Emotiveness and subjective modality are band. 

Publicists style 

In ancient time it was practiced in oral form. Its main function is persuasive directed at influencing the readers and shaping their views. The main characteristics are logical reasoning, strong subjectivity reflections of the author’s personal feelings and emotions. 

News papers’ style 

When we speak about news papers style we mean only informative materials found only in the news paper because news paper can also include essays, feature articles and scientific reviews that belong to different styles. The main characteristic of the style is the usage of many graphical means, change of type, specific headlines, space ordering in order to attract the reader’s attention. 

Belles-lettres style (стиль художественной литературы)

is called the richest register of communication because besides its own language means which are nor used in any other sphere of communication. It makes wide use of other styles too. Besides informative and persuasive functions, this style has task to impress the reader aesthetically. 

American scholars also single out functional styles but they are called differently:

Frozen (суворо офіційний). 

Formal (офіційно-діловий). 

Consultative (нейтральни). 

Casual (невимушений). 

Intimate (інтимний). 

The British scholars single out registers:

Rigid (суворо офіційний). 

Formal (офіційний).

Neutral (нейтральний). 

Informal (неофіційний).

Familiar (особистісний, інтимний). 

The translation of stylistic devices 

If we speak about rendering SDs into the target text there can be the following translation decisions:

Appropriate/face-full translation of SD conveying all functional and structural peculiarities of any source SD in the target text. 

Stylistic individualization which usually happens when the translator has equivalent stylistic means but foregrounds other SD strengthening them. 

Stylistic loss usually happens when the translator doesn’t convey source SD in the target text thus he weakens the target text.

Stylistic substitution which usually happens when the translator doesn’t have any equivalent stylistic means and changes them into other SDs. 

Translation of metaphor

The following ways of metaphor translation are singled out:

Literal (word-for-word) translation which is usually found among trite metaphors. 

Demetaphorisation which usually happens when the translator replaces metaphoric word meaning by unmetaphoric equivalent. E. G.: чорна робота – unskilled work; he is yellow – він боягуз. 

Metaphorisation the replacement of unmetaphorical meaning by its metaphorical synonym. It is the compensation of previous loses. E. G.: ця ідея привернула його увагу – this idea gripped his mind. 

Transmetaphorisation is the replacement of the image created by the source metaphor or replacement of the component of this image. E. G.: ах ти, дурне теля – oh the silly goose; злі погляди – black looks. 

Change of SD usually in the process of translation metaphor can be changed into simile or epithet. E. G.: dog days – найспекотніші дні. 

Explicatory translation (описательный перевод). 

Translation of metonymy:

Literal (word-for-word) translation. E. G.: я просто в захваті від Шекспіра – Shakespeare turns me on. 

Transmetonymisation which is usually the usage of a metonymic word with other image. E. G.: урядові кола – government corridors. 

Demetonymisation the replacement the metonymic by unmetonymic equivalent. 

Metonymisation – replacement of unmetonymic phrase by its metonymic equivalent. 

Exploratory translation. 

The replacement of metonymy by epithet. 

Translation of simile:

Equivalent translation happens when stylistic, grammar, functional and structural peculiarities are preserved in the target text and the image is also preserved. 

Analog translation the image is replaced, all other peculiarities are preserved. E. G.: зелений як барвінок – as green as a gooseberry. 

Loan translation (калькирование) usually creates the simile in the target text with the same structural and semantic peculiarities but it doesn’t often mean that the target simile will be widely used in the language. 

Explicatory translation. E. G.: Like a carrot to a donkey – соблазнительная приманка. As keen as a mustard – повний ентузіазму. 

Lexical translation. Simile is translated with a help of one word. And sometimes this word can perform the function of epithet. E. G.: as brown as a berry – засмаглий. 

Combined translation. 

Some scholars also single out such way of translation as structural changes. 

Translation of epithets:

Equivalent translation when the evaluation and the structure are preserved in the target text. E. G.: вітер тихий – peaceful wind. 

Structural changes usually happen when we deal with the change of the structural type of epithet or some other grammatical changes. 

Semantic changes which usually happen when the image is preserved but it is expressed by other words. E. G.: polished conversation – стримані розмови. Сонечко наше красне – our dearest splendid sun. 

Structural and semantic changes. E. G.: a duck of a boy – диво-хлопчик. 

The change of stylistic device. Usually epithet can be changed into simile. 

Explicatory translation. E. G.: flight-by-night theatre – театр, який незабаром ��акриється. 

The translation of repetition:

The repetition is preserved in the target text having the same equivalent on the lexical and grammatical level. 

The repetition is preserved in the target text having the same equivalent on the lexical level but there has been a change on the grammatical level. 

The repetition is preserved in the target text having the same equivalent on the grammatical level but on the lexical level we could observe some kind of lexical transformations mostly meaning extension or concretisation and sometimes these lexical transformations can lead to grammar changes. 

The repetition is changed in the process of translation as a result of some grammatical or lexical transformations. E. G.: I spoke earlier of the temple of peace. Workmen from all countries must build that temple – Ранее я говорил о храме мира. Храм этот должны воздвигать строители со всех концов света. 

In the process of translation the translator uses compression and as a result of these the repetition isn’t preserved in the target text.  

The translation of one-member sentences 

One-member sentence is preserved in the The Target Text and it manly happens while rendering nominal or infinitival one-member sentences. 

One-member sentence is replaced with two-member sentence by introducing personal pronouns or indefinite pronouns. 

One-member sentence is replaced with two-member sentence by introducing formal subject it or construction there is/are performing the function of formal subject. E. G.: оповіді не було – there was no response. 

One-member sentence is replaced with two-member sentence by changing active voice into passive. 

One-member sentence is replaced with two-member sentence by introducing a noun as a subject of the sentence. E. G.: казали він знав таке слово – people said that he knew. 

One-member sentence is replaced with two-member sentence by changing the object of the source sentence into the subject in the target sentence. E. G.: мені захотілось до хати – I wanted to get home. 

Omission of one-member sentence. 

The translation of pun 

Влахов-Флорин «Непереводимое в переводе» 

Play in words is preserved in the target text. 

Play in words is not preserved in the target text but the meaning is explained. 

Play in words is substituted for another SD. It can be repetition, alliteration, irony and sometimes even metaphor. 

Word-for-word translation which is usually unfaithful. 

The omission of play in words. 

The creation of a new play in words. 

Translation commentary when translator explains play in words. 

[vestaignis]

Колючая кустарниковая гадюка (Atheris) — род ядовитых змей, обитающий в тропических лесах Южной Африки в таких странах, как Конго, юго-восточной Уганде и западной Кении. Считается одной из самых красивых гадюк, благодаря впечатляющей изогнутой чешуе в форме колючек, имеющей яркий разноцветный окрас.  Благодаря такому необычному строению чешуек, придающим змее щетинистый вид, она становится похожей на сказочных грозных драконов, поэтому сильно ценится среди владельцев искусственных террариумов. Ярко окрашенные колючие гадюки (желтые, красные или серые) редко встречаются в дикой природе.

Самцы колючей кустарниковой гадюки достигают в длину до 75 сантиметров, а самки — до 60 сантиметров. Колючая гадюка — живородящее пресмыкающееся, в среднем самка рожает до 12 детенышей за один раз, длина которых составляет около 15 сантиметров. Змея отлично лазит по кустарникам, небольшим деревьям и крупным цветам. Охотится, в основном, в ночное время на лягушек, ящериц, жуков и мелких млекопитающих. Человеку лучше избегать встреч с этой гадюкой, поскольку она относится к ядовитым змеям. Яд этой гадюки содержит нейротоксин с большой порцией цитотоксина. Поэтому, если колючая кустарниковая гадюка укусит человека, то его мышцы не только парализует, а приводит к сильному кровотечению внутренних органов.

The spiny bush viper (Atheris) is a genus of venomous snakes found in the tropical forests of South Africa in countries such as Congo, southeastern Uganda and western Kenya. Considered one of the most beautiful vipers, thanks to its impressive curved, spine-shaped scales, which have a bright multi-colored color. Thanks to this unusual structure of scales, which gives the snake a bristly appearance, it becomes similar to fairy-tale formidable dragons, and therefore is highly valued among owners of artificial terrariums. Brightly colored spiny vipers (yellow, red or gray) are rarely found in the wild.

Males of the spiny bush viper reach a length of up to 75 centimeters, and females - up to 60 centimeters. The spiny viper is a viviparous reptile; on average, a female gives birth to up to 12 young at a time, which are about 15 centimeters long. The snake is excellent at climbing bushes, small trees and large flowers.It hunts mainly at night on frogs, lizards, beetles and small mammals. It is better for a person to avoid encounters with this viper, since it is a poisonous snake. The venom of this viper contains a neurotoxin with a large portion of cytotoxin. Therefore, if a spiny bush viper bites a person, then his muscles will not only paralyze, but lead to severe bleeding of internal organs.

Источник:https://prajt.livejournal.com/468465.html, https://t.me/+fxNu20lM26MwYzhi, vk.com/wall-149472484_824944, //www.zoopicture.ru/atheris-hispida/,/bogatyr.club/6936-koljuchaja-kustarnikovaja-gadjuka.html, //kartinki.pics/pics/1748-koljuchaja-kustarnikovaja-gadjuka-art.html,//livt.net/info/2017/07/09/kolyuchaya-kustarnikovaya-gadyuka/, dzen.ru/a/XLu9R3Ii0ACzPYI-.