Conclusion chapter for dissertation Essay Example | Topics and Well Written Essays - 2500 words

Conclusion chapter for dissertation - Essay Example The study sought to analyse the general demographic profile of the golf players through a critical analysis of certain characteristics which include age, frequency of playing golf, household income as well as establishing whether the purchases were made by self or others. The behaviour of players with regards to their preferences as well as frequency of their purchases with regards to the value of Nike Golf Drivers were used as the yardsticks to measure the most important qualities sought after in a golf driver by the players. In view of the rising to prominence of golf in Thailand and the booming of the industry, the government has thrown its weight in supporting the development of the Golf industry in Thailand so intensely that it is already involving huge amounts of money and tourists have also recognized Thailand as a Golf tourist destination. It is against this background that Nike has realised a niche in this fertile industry and has sought to craft techniques to be in advantage. However, it has been noted that golf clubs have short lived lifecycles hence the need for manufacturers to constantly research on new technological innovations that would appeal to the consumers. This was thought to be the problem for management of products within their short life cycles. Thus, an important inquiry needs to be addressed if Nike is employing the correct strategy with regards to influencing consumer behaviour in this seemingly lucrative industry. Overally, the study sought to establish the consumer buyer behaviour with regards to the effects of demographic profiles on the purchasing decisions such as the effect of household income on the price of the golf driver bought, the effect of age and frequency of playing golf on quality preferences and the effect of Nike Golf Driver ‘offer sales’ on the purchasing behaviour of golf players. The study also sought to

Issues and conclusions from the construction case that also apply to Essay

Issues and conclusions from the construction case that also apply to information technology projects - Essay Example The elements include planning, budgeting, risk management and scheduling of activities. They also include setting of viable objectives, support teams and good communication channels. In projects, proper coordination of activities and setting of effective timelines is key. This is to; ensure adequate identification of the limiting factors that may hinder the realization of excellent re4sults. Information technology projects require a high level of innovation and creativity that is achievable through systematic approaches. IT projects entail execution of delicate activities due to the level of expertise, equipment and resources required to drive their operations. The paper discuses issues from the construction case that also apply to the information technology sector. It also covers the processes that are involved in planning, budgeting and scheduling of activities. Recommendations for accountability maintenance Accountability maintenance is the process of ensuring transparent coordina tion and execution of activities. It involves proper planning, coordination and allocation of resources in affair manner. The process is integral in facilitating effective operation in institutions (Gurmin, 2010). It enables project managers and stakeholders to gain full knowledge on the operating procedures and utilization of resources. As noted, projects that are driven without the integration of accountability maintenance incentives operate in the brinks of collapse. Such projects cannot register exemplary performance due to eminent misappropriations that are instigated with inferior systems (Gurmin, 2010). Indeed, IT project managers should design viable operating guidelines that are ideological, economically viable and socially acceptable. The guidelines should also be specific, attainable and realistic in nature. The recommendations are set to avert unwarranted complications that may compromise accountability in the administration of activities and resources. It is imperative to note that construction and information technology projects are designed to transform stakeholder’s lifestyle. The projects hold immense significance in the current environment and should be executed under stringent measures that facilitate accountability. Drinkwater (2011) provided key elements that IT projects managers should adopt to advance accountability maintenance. The recommended elements include development of proper planning techniques. This is crucial since planning entails allocation of resources, workforce, scheduling of activities and budgeting. The process should be undertaken after effective determination of the goals, assessment of the factors that drive operations and evaluation of the available resources. This is to; facilitate the development of sustainable plans that hold limited complications (Bart, 2011). Consequently, early identification and assessment of risk is critical in minimizing accountability issues. It ensures prior discovery, elimination o f unwarranted activities and unqualified personnel that can pose a severe threat to the projects overall performance. Project managers can also develop strong control measures to curb mismanagement of resources (Drinkwater, 2011). The control measures that are worth adoption include use of password system, authorization process and segregation of duties. That is no fund is to be utilized without authorization and use of password to control access to crucial data. Reasons for the position The position and recommendations a

The Fall Of The Flying Bank Management Essay

The Fall Of The Flying Bank Management Essay Schweizerische Luftverkehrs AG, also known as Swissair or SAir Group was founded on March 26, 1931 in Switzerland. Since the very beginning of its era, Swissair has been very successful in managing and implementing its strategies, and also winning the best airline award for decades. The company had a period of growth (Appendix 1) and grew rapidly till the mid 90s, after which there was an executive board members restructuring which caused a major turn of events in the companys history. Switzerland being an expensive destination for a business venture with rising costs and a population of only 7 million people, Swissair was aware of its limited growth potential in the domestic home market. Therefore during the period of mid 90s, Swissair adopted an equity based alliance strategy, also referred as the hunter strategy. The main aim of Swissair was to create an alliance with Europes other non-dominant airline firms and become efficient enough to compete with other stronger alliances. Thi s alliance was called Qualiflier. To make the alliance successful, Swissair bought small stakes in Air Littoral, Air Europe, Volare Group, LTU, AOM Minerve, LOT, South African Airways, TAP and Air Liberte, operating in Austria, Hungary, Finland, Ireland, Africa and many more. The biggest and worst investment decision made by Swissair in that period was buying equity in a Belgium carrier called Sabena. Sabena had posted a profit only twice in the entire companys history. These were bad investment decisions as all the firms except LOT and South African airlines posted a loss in the year of their acquisition, nor were they dominant players in their home markets. In this report, these failed strategic alliances are analyzed using Lasserres (2007) framework and theoretical models. Recommendations are made based on these findings, to illustrate how Swiss Air could have avoided bankruptcy. Contents Introduction The concept of two or more companies collaborating for mutual benefits through the formation of a strategic alliance has become more lucrative over the years and several airline companies have adopted this expansion strategy to gain a competitive advantage in a highly saturated market (Evans, 2001). Swiss Air was one of the companies that fell prey to the perils of risk laden strategic alliances. In the mid 1990s the European Aviation market was deregulated and various airlines began entering into strategic alliances so that they could facilitate growth by sharing their resources (Knorr and Arndt, 2004). Around the same time, a majority of the Swiss population voted against Switzerlands accession to the EEA (Knorr and Arndt, 2004). This hindered the companies objective to expand and grow in the European market, and led to the formation of an equity based alliance strategy, also dubbed as the Hunter Strategy (Suen, 2002). Swiss Air had always been a company that was averse to risky st rategic choices, however in the course of diversifying their risk, the company made some questionable strategic decisions that increased their risk and made them more vulnerable to their investments financial performance (Suen, 2002). In this report Swiss Airs failed strategic alliances are analyzed and the key factors for the cause of failure are identified. These factors are highlighted by financial and performance data that helps us understand the major cause of Swiss Airs downfall. Various management issues coupled with bad investment decisions led to the failure of companies strategic alliances, however there were a few external factors that catalyzed the collapse of the Flying Bank (Evans, 2001). Based on the faults and errors committed by Swiss Air, few recommendations are listed in the report to underline what kind of strategic approach could have aided the company to successfully form a Global Reach Alliance (Lasserre, 2007). Problem Identification During the period of deregulation of the airline industry in Europe, major airlines were looking to form strategic alliances with various airlines in order to share their resources and capabilities, in the process gaining a competitive edge in the market. Swiss Air was one of the airlines that boasted the healthiest bank balance and was renowned for its safety and reliability (Knorr and Arndt, 2004). On December 1992 Swiss Air received an unexpected blow as 50.3 percent of the Swiss population voted against the inclusion of Switzerland in the European Economic Union (Chang and Williams, 2002). Due to the comparatively small population of Switzerland and low scope for growth, Swiss Air shifted its focus to Europe, with a strategic aim of holding 20 percent market share (Knorr and Arndt, 2004). This objective was to be achieved by using the Hunter Strategy, an equity based strategy developed by McKinsey (Knorr and Arndt, 2004). This would allow Swiss Air to purchase equity stakes in sm aller and less known carriers and create an independent alliance with these companies. This would help the company compete with some of the larger alliances dominant in the European market. The three generic strategies for airlines are growth, focus and low cost strategy (Kleymann and Seristo, 2004). According to strategic context and value potential this new growth strategy was not incorrect, however the implementation of the strategy was flawed (Suen, 2002). Using Philippe Lasserres (2007) framework for analysis we can identify the stage at which Swiss Air faced a roadblock and had to declare bankruptcy. After the failure of its early alliances, European Quality, Global Excellence and Atlantic Excellence, Swiss Air learnt from its mistakes and decided that deeper integration along with ownerships and control would provide them with natural exit barriers (Suen, 2002). The Hunter Strategy led to the creation of Qualiflyer, a European based alliance consisting of carriers like Austrian, Sabena, AOM France, Crossair, Lauda Air, TAP Portugal, and THY Turkish Airlines (Appendix 3) (Suen, 2002). Qualiflyer would provide Swiss Air the global reach and transnational flexibility that a global carrier required to remain competitive in the market (Bartlett and Ghoshal, 1989). The competitive forces and prevalent factors in the industry pressurized Swiss Air to form a group alliance with these carriers. Swiss Airs major flaw in the implementation of this strategy was their failure to assess the strategic value of these equity-based alliances (Lasserre, 2007). The failure to create and capture value through an alliance is illustrated in Swiss Airs purchase of 49.5 percent equity stake in the Belgian airline Sabena, which was later increased to 85 percent. This equity-based investment was done knowing that they were breaching European laws that stated that a non-EU-based investor couldnt acquire more than 49.5 per cent share in a EU-based airline. Not only did they breach the law, they also agreed to compensate the Belgian Government for any damages they incur (Knorr and Arndt, 2004). This equity-based alliance was the worst as Sabena had always been a loss-incurring airline and it proved to be a major liability to Swiss Air. Qualiflyer operated on a hub-and-spoke system, which meant that there were no bilateral agreements in the alliance and all members were required to contract any of their services to a Swiss Air, owned subsidiary. This in turn greatly increased the cost of an exit strategy as Swiss Air needed to inject large sums of capital into its financially weak partners in order to ensure Qualiflyer could create value (Knorr and Arndt, 2004). Apart from the implementation of the Hunter Strategy, there were a few fundamental flaws that led to the termination of Qualiflyer. This alliance damaged the companys brand image by primarily choosing second and third-rate carriers as partners. These carriers had previously been avoided by the other large alliances due to their inability to turn a profit (Knorr and Arndt, 2004). The September 2001 attack in USA was the nail in the coffin for Swiss Air as it marked a period of hardship for all airlines, leading to great losses in revenue. Swiss Airs unsuccessful alliance strategy was the main cause for the companys downfall, however there were certain external factors that made survival for the company extremely difficult (Suen, 2002). The Swiss vote against joining the EEA was the factor that led to the formulation of the hunter strategy. Strategic Recommendations Swiss Airs catastrophic downfall tarnished the image of their brand, led to the loss of thousands of jobs; stranded hundreds of people at airport and most importantly hurt the pride of the Swiss People (Knorr and Arndt, 2004). A string of bad business decisions coupled with external factors in the airline industry caused Swiss Air to lose their cash flow. In order to determine how such a crisis could have been avoided, Lasserres (2007) framework for analysis of strategic alliances will be applied. After identifying the companys strategic and operational issues, it can be determined that they went wrong on most stages of the framework. The Hunters Strategy would have succeeded in the strategic context if they had assessed the value potential of this alliance (Hayes, 1996). The Qualiflyer Alliance was fundamentally a coalition alliance, where Swiss Air would get a more global reach in the industry by combining the members resources and capabilities. Swiss Air strived to create a certain standard of service for its passengers that would inculcate their values of punctuality, safety and luxury (Lasserre, 2007). However this was not possible, as they had chosen second and third-grade carriers, which in turn affected their own brand image. They should have carefully chosen their partners, using certain tools to ensure success. This is discussed in detail later in the report. Subsequently, they failed to challenge any of the larger alliances in Europe at that point in time. This takes us to the second factor in the framework, which deals with partners fit (Lasserre, 2007). This stage in the framework evaluates the viability of the strategic alliance. As stated earlier in the report, Sabena was a loss-making airline in the start and by choosing to purchase 49 .5 percent equity in the company Swiss Air made one of their worst financial investments. Year after year, Sabena kept incurring a loss, which drained a lot of capital from Swiss Air (Knorr and Arndt, 2004). It can be determined that Sabena was not a good strategic fit for Swiss Air and proves that they should have conducted an effective partner analysis (Lasserre, 2007). Swiss Air chose to enter into equity-based alliances with several carriers so they had a certain degree of control (Hermann and Rammal, 2010). In order to distribute and diversify their risk, they ventured into several other fields such as hotels, catering and aircraft maintenance (Knorr and Arndt, 2004). All in all they had around 252 subsidiaries (Appendix 2) under their companys name (Knorr and Arndt, 2004). The various subsidiaries and financially weak partners drained a lot of their capital reserves, which eventually led to a strain on their cash flow. A much leaner organizational structure would have assisted the effective management of resources and capital. The final factor in Lasseres (2007) framework deals with the implementation of the strategy. This is where the company faltered the most and part of the blame can be put on their current board members managerial decisions at that time (Hermann and Rammal, 2010). A lot of their bad investment decisions could have been avoided if the board consisted of members who were well versed with the intricate workings of the airline industry (Hermann and Rammal, 2010). Their Hunter Strategy was devised with the consultancy services provided by McKinsey Co, a US based company, which did not have the adequate knowledge of the European Airline industry (Hermann and Rammal, 2010). There was a restructuring of the board and all members who recognized the threats to Swiss Air were removed (Hermann and Rammal, 2010). The shortcomings and mistakes made by the board can be analyzed by the Resource Dependence theory, which illustrates how the external resources in the industry affected their decisions (Casciaro and Piskorski, 2005). The Resource Dependence theory and Group Conformity theory explain how the board pulled out of a potential alliance with a large European carrier due to their hesitance over the degree of control they would have (Hermann and Rammal, 2010). This illustrates the inexperience and lack of knowledge within the newly structured board, especially how the members allowed the Hunter Strategy to be implemented because they did not want any di sruptive behavior within the board (Hermann and Rammal, 2010). Swiss Air should have strictly followed the critical success factors for a successful strategic alliance so that they could focus on all aspects of the alliance instead of focusing on their scope of control (Hermann and Rammal, 2010). The best solution to prevent such problems from recurring would be to alter the laws and regulations within the EFTA to ensure no other company follows in the footsteps on Swiss Air. Legislative changes to corporate governance requirements should be made to ensure that the members of the board of an airline are experienced and have adequate knowledge of the dynamics of the industry (Hermann and Rammal, 2010). Risk management is an important ability that is required in a company that has huge global exposure such as Swiss air, the ability to foresee and evaluate contingencies are required when it comes to alliances that were formed by Swiss Air. Swiss air could have given higher emphasis to risk management and contingency planning in order to be more efficient and competitive in the market (Lasserre, 2007). As stated above, major reasons of the bankruptcy were external factors, relating to macro-economic issues and an economic slowdown, Successful Contingency planning and evaluation of the economic risks could have averted these issues related to the economic deregulation (Lasserre, 2007). Conclusion Through the years the aviation industry has proven to be volatile and drastically changing, the aviation companies globally have had to adapt to the changes to help them fortify or maintain their position in a market. In the early 1990s the formation of the EEA was a pivotal factor for the liberalization of the laws in several countries within the European region, this proved to be an asset for countries within the region but Switzerland opted not to join the EEA (Knorr and Arndt, 2004). This decision negatively affected its national airline Swiss Air, who then attempted to maintain its position in the market by forming equity based strategic alliances. The company formed these alliances on the basis of the Hunter Strategy, the strategy theoretically poised to give optimistic results but the implementation is always crucial for the success, this is where Swiss Air faltered. The reason for the poor implementation would be largely due to inefficiency of the management team of the compa ny, the management chose scope of control as a priority which led to the negligence of prioritizing the other factors that lead to a successful strategic alliance (Hermann and Rammal, 2010). The company made grave errors and faced the consequences accordingly; to ensure that success is achieved for the company it must include people with experience and knowledge within the management. The company should also consider the possibility of circumstances where contingency planning would be required as there could be many unforeseen risks in the aviation industry. A strategy is only effective if implemented correctly, Swiss Air made crucial mistakes in their decision making process, there was lack of contingency planning and several wrong investments. All these factors contributed largely to the downfall of the once reputed and respected Flying Bank.

Euthanasia Essay - The Truth About Assisted Suicide :: Euthanasia Physician Assisted Suicide

The Truth About Assisted Suicide      Ã‚  Ã‚  Ã‚   This essay recognizes that it is hard to tell the truth about assisted suicide. Or rather, it's hard to get people to listen. Folks generally are about as eager to delve into the issue of assisted suicide as they are to work out the details of their own funeral. It's a delicate and unnerving subject, involving the ultimate issues of life: the reality of human mortality; fears about illness, disability, and old age; and the loss of loved ones to the dark, dank grave. Nonetheless, this essay intends to tell all these things, since they relate to euthanasia/assisted suicide.    Simply getting people to pay close attention to assisted suicide - to grapple with its threat - is often a challenging task. This is even true of people who are religious or prolife, whose faith informs them that death isn't the end but the beginning. I understand the emotional dynamic at work. Life is difficult and worrisome enough without visiting the painful realm of assisted suicide. It is difficult even for deeply religious people, to listen, to heed, and to care enough to become involved. But avoidance of the assisted-suicide issue is a luxury that those who believe in the infinite value of all human life can no longer afford, because battles over assisted suicide are being waged - and more battles planned throughout the country.    Tragically, one major battle has already been lost: Oregon legalized assisted suicide in 1994 and the law went into effect in September 1997. Today in the U.S. a small number of physicians participate actively in their patients' suicide, and it is absolutely legal. On the bright side, since 1997, when Oregon's voters refused to repeal the state's assisted-suicide law, a broad-based national coalition of diverse groups has formed to oppose the death agenda. Disability-rights activists, advocates for the poor, professional associations in medicine and law, and hospice organizations - all of which tend' to be liberal and secular - have joined with religious people and traditional prolife activists to oppose medicalized killing.      And this collaboration has borne fruit: Since 1994 five states (Maryland, Rhode Island, Louisiana, Iowa, and Michigan) have passed laws explicitly making assisted suicide a crime, while Virginia outlawed it as a civil wrong, subjecting anyone who assists in a suicide to civil litigation. In November 1998, Michigan's voters rejected an initiative to legalize suicide by an overwhelming 71 to 29 percent.

Martin Luther King Memorial in Yerba Buena Gardens Essay

Situated on the corner of 4th St. and Mission St., in downtown San Francisco is Yerba Buena Gardens. Sounds from the hustle and bustle of cars driving and people walking permeate Yerba Buena Gardens, except in one particular location. In one corner of the gardens stands a Martin Luther King Jr. memorial. The memorial is breathtakingly beautiful with a fifty foot high and twenty foot wide waterfall that falls over Sierra granite. In the Memorial’s hallway, visitors read quotes from Dr. King himself that are engraved on glass panels and set in granite. The physical beauty of the memorial is undeniable, however many people are not aware of the symbolism lying beneath the memorial’s surface. The memorial’s waterfall symbolizes the realization of Dr. King’s dreams the realization of Dr. King’s dream, the tears shed by millions and of the voices of African Americas The memorial also reminds us of the oppressed African Americans whose voices were drowned out ignored; yet, it is apparent that society was pushed backwards in the race to equality with the mandatory evacuation of thousands of people due to the development of the Yerba Buena Gardens. King Jr. dreamt that all human beings, regardless of skin color, will one day be able to live in a completely free, just, and non-discriminatory society. It was his dream of an equal society that pushed Martin Luther King Jr. to become an advocate for universal suffrage. Even though the United States already had universal suffrage, unfair literacy tests and poll taxes plagued the voting process and disqualified nearly all impoverished African Americans from voting 1. King wanted a colorblind society; a society where all human beings are treated equally and respectfully and given the same personal liberties and political freedom. Martin Luther King argued, in his â€Å"I Have a Dream† speech, that â€Å"we are not satisfied until justice rolls down like water and righteousness like a mighty stream† 2. This quote from Dr. King’s speech is inscribed on the right end wall of the memorial. After reading the final inscribed quote, it is apparent that the purpose of the waterfall is to signify the realization of Martin Luther King’s dream of a just society. Justice , The United States Martin Luther King’s dream of justice in today’s society; a monumental victory of justice over prejudice. It is so easy to forget about what it took for America to become a truly free and nondiscriminatory nation. The mists are a necessary reminder for people in today’s society that personal liberty and political freedom should never be taken for granted. Though Yerba Buena Gardens is situated in downtown San Francisco, a busy city filled with loud noises, the memorial itself is peculiarly quiet and calm. The memorial’s serenity is due to the overpowering, yet surprisingly tranquil sound of the rushing water from the waterfall. The power of the waterfall to drown out all exterior noise is phenomenal. It is impossible to even hear what someone is saying when they are right next to you. Visitors try to overcome the sound of the rushing water by screaming or whistling, but are unsuccessful. Independent from life’s distractions, visitors are given the opportunity to absorb all that the memorial and Dr. King’s words have to offer. Visitors can take this time to self-reflect and to appreciate the efforts of earlier generations fighting for equality during our nation’s infancy. The undeniable strength of the waterfall’s sound to obscure all external noise makes Being incapable of expressing feelings or thou ghts leaves an unfamiliar and dreadful sensation. People living in today’s society are usually ignorant to this unfamiliar, almost claustrophobic feeling of screaming at the top of your lungs without a single person acknowledging your frustrations. During our nation’s history, however, nearly all African Americans struggled with this same frustration. Helpless against the white minority, blacks throughout history struggled to get their concerns addressed and their votes counted. The visitor’s inability to communicate vocally is short-lived and fortunately, only lasts as long as it takes for the person to walk through the memorial. African Americans, however, were plagued with powerlessness for hundreds of years. Martin Luther King Jr. felt obliged to provide a voice for all African Americans stripped of the right to do so on their own. Due to the hard work of Martin Luther King, civil rights leaders and activists, and President Johnson, on August 6, 1965 the Voting Rights Act was signed into law, which banned the use of literacy tests and also required stricter monitoring of the use of poll taxes in state and local elections† 3. Finally, the time had come when African Americans could voice their opinions and have them be heard, and vote for the political constituent whom carried similar beliefs and morals. The development of the Yerba Buena Gardens, as part of the â€Å"Urban Renewal Project† was not always considered to be something positive and beneficial. During the 1950’s, city planners forced thousands of people living in the South of Market area out of their homes, arguing that the area was â€Å"dangerous ‘Skid Row’ ripe for redevelopment, populated by â€Å"bums† and â€Å"transients† whose fate mattered little† 4. City planners left out the important fact that many people who lived in this area were elderly and poor and had â€Å"little defense against the federal bulldozer† 5. The city did try and relocate as many people as possible, but only had 276 units of new housing to replace thousands of demolished units. Thousands were left homeless and kicked out of possibly the only home they have ever known and will ever know, due to lack of job skills needed to find employment. The irony of placing a Martin Luther King Jr. memorial, a man who advocated for equality and justice until his assassination, on land where thousands of impoverished people were evicted just a couple years earli er, is almost too horrific to comprehend. The hypocrisy in the decision to place this memorial at the Yerba Buena Gardens is undeniable and unforgiveable. The memorial’s waterfall is a reminder of the relentless adversity that plagued millions of blacks for thousands of years and the tears they shed. The waterfall also symbolizes the realization of Dr. King’s dream. The eviction methods used during the Urban Renewal period to obtain the land where the memorial sits were ethically questionable, however it is still important to visit this monument from time to time. The memorial stands there in the middle of Yerba Buena Gardens, in the middle of downtown San Francisco, as a silent, yet constant reminder to never take anything for granted and to always remember the blood, sweat, and tears shed by millions in order for people today to enjoy and exercise the complete personal liberty and political freedom that we are so fortunately blessed with.

The Reproduction of Emotion Creating Lexico-Stylistic Devices of the Short Story the Pit and the Pendulum by E. A. Poe in the Ukrainian Translation by R. Dotsenko

Ministry of Education and Science, Youth and Sport of Ukraine Lviv Ivan Franko National University Faculty of Foreign Languages Hryhoriy Kochur Department of Translation Studies and Contrastive Linguistics The reproduction of emotion creating lexico-stylistic devices of the short story The Pit and the Pendulum by E. A. Poe in the Ukrainian translation by R. Dotsenko Course paper Done by a 4th-year student O. V. Pidhorodetska Scholarly supervisor: L. M. Tarapatska Reviewer: T. O. Dytyna LVIV 2012 CONTENTS INTRODUCTION†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Chapter1. EMOTIVE PROSE AS A SPECIFIC GENRE OF ARTISTIC LITERATURE AND EPITHET, SIMILE AND METAPHOR AS MEANS OF CREATIVE REPRESENTATION OF IDEAS IN A LITERARY WORK†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â ‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 6 1. 1. Emotive prose as a form of artistic literature and peculiarities of its translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 6 1. 2. The notion of epithet as a member of epithet construction and ways of its rendering in the process of translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 1. 3. Simile as a stylistic device and methods of its translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 12 1. 4. The notion of metaphor and problems connected to its translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 15 Chapter 2. E. A. POE'S SHORT STORY THE PIT AND TH E PENDULUM AND THE REPRODUCTION OF ITS EMOTION CREATING LEXICO-STYLISTIC DEVICES IN THE UKRAINIAN TRANSLATIONBY R. DOTSENKO†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 20 2. 1. Characteristic features of E. A. Poe's short story The Pit and the Pendulum. 20 2. 2. The reproduction of emotion creating epithets, similes and metaphors of the short story by E.A. Poe in the Ukrainian translation by R. Dotsenko†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 21 CONCLUSIONS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 32 LIST OF REFERENCES†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 33 INTRODUCTION Edgar Allan Poe's The Pit and the Pendulum is a short stor y of the macabre describing the experience of being tortured. The paper concentrates on the emotion creating lexico-stylistic devices of the story as rendered in the Ukrainian translation by R. Dotsenko.The research paper is an attempt to investigate epithet, simile and metaphor within the given work of literature, where they serve as primary means of creating the effect of horror and making an emotional impact on the readership, and to analyse the peculiarities of reproducing these lexico-stylistic features of the original in the Ukrainian translation done by Rostyslav Dotsenko. The topicality of the paper consists in the fact that lexico-stylistic devices form the basis of any literary work since they serve as means of creative representation of the author's ideas and producing emotive influence on the readership.As far as lexico-stylistic devices are reflecting author's individual view of an object or phenomenon and may involve background knowledge of the readership for the pragm atic impact to be realized, their translation requires translator's creativity. The paper summarizes the ideas expressed by Russian and Ukrainian scholars (I. Galperin, A. Fiodorov, I. Retsker, B. Koptilov and D. Diuryshyn) as well as foreign ones (M. Sanches, I. Burkhanov) concerning emotive prose as a specific genre of literature and its characteristic features which should be aken into account by a translator. The paper also outlines the notions of epithet, simile and metaphor, their fucntions in an artistic text and methods of their reproduction by means of target language as researched by K. Lototska, O. Hrabovetska, O. Molchko, T. Onoprienko, Yu. Skrebnev, P. Newmark, P. Pierini, M. Larson and other scholars. The overall aim of the conducted research may be defined as an attempt to trace to which extent the expressiveness and emotional loading of epithets, similes and metaphors were reproduced in the translation.The object of the paper is a stylystic function of epithets, simi les and metaphors as means of creating negative emotions within the short story The Pit and the Pendulum by E. A. Poe and its Ukrainian translation done by Rostyslav Dotsenko. The subject of the paper is the reproduction of emotion creating lexico-stylistic devices (epithets, similes and metaphors) of the aforementioned short story in the Ukrainian translation and the translation methods applied by Rostyslav Dotsenko in order to convey in an adequate way the atmosphere of the macabre intended by the author. The objectives of the paper are the following: to define characteristic features of the literary writing under analysis, which belongs to the genre of emotive prose; * to provide theoretical basis for consideration of epithet, simile and metaphor as major means of creating negative and â€Å"obscure emotion† conveying the macabre; * to look into stylistic function and expressive potential of epithets, similes and metaphors in the given literary work; * to analyze the pecul iarities of the translated lexico-stylistic devices, their stylistic function and emotional loading; * to compare the pragmatic impact produced by translated epithets, similes and metaphors with that produced by corresponding original lexico-stylistic devices. The methods applied in the process of analysis of the original literary work and its Ukrainian translation comprise1)method of dictionary definition and ontrastive componential analysis (to examine subtle differences insemantic structure and emotional loading of original and translated lexico-stylistic devices), 2) stylistic analysis (to trace the adequate reproduction of stylistic colouring of the original literary work in the translation), 3) comparative analysis (to investigate weather the expressiveness ofthe translated lexico-stylistic devices is equivalent to that of the original tropes). The practical value of the paper consists in the analysis of translated epithets, similes and metaphors of the short story by E. A. Po e, which ensures understanding the importance of these lexico-stylistic devices for creating negative emotions within the framework of the literary work. The research is based on the corpus of 87 samples from the analized short story. The paper consists of Introduction, Chapter 1, Chapter 2, Conclusions and List of References. Chapter 1 concentrates on the research of emotive prose and peculiarities of its translation.The chapter also contains considerations on the notions of epithet, simile and metaphor, their functioning within a literary work and ways of rendering them into a target language. Chapter 2 comprises overall analysis of emotion creating lexico-stylistic devices of the short story The Pit and the Pendulum and also contains contrastive analysis of the most bright examples of original epithets, similes and metaphors and the correspinding lexico-stylistic devices in the Ukrainian translation. The Conclusions contain the results of the conducted research, outline the metho ds of translation applied by R. Dotsenko while reproducing emotion creating lexico-stylistic devices of the short story.The List of References provides the list of theoretical, literary and lexicographical sources which were cited in the paper and consulted in order to conduct of the research. CHAPTER 1. EMOTIVE PROSE AS A SPECIFIC GENRE OF LITERATURE AND EPITHET, SIMILE AND METAPHOR AS MEANS OF CREATIVE REPRESENTATION OF IDEAS IN A LITERARY WORK 1. 1. Emotive prose as a form of artistic literature and peculiarities of its translation. In order to grasp the specifics of artistic translation, it is reasonable to look at the properties of literary text first. It is obvious that each text type is characterized with certain style of language determined by the function performed by the text. The style of literature was nominated by I.Galperin as belles-lettres, a generic term which comprises three substyles: 1) the language of poetry, 2) emotive prose,and 3) the language of the drama [31 , p. 250]. Each of these substyles has certain common features which compose the foundation of the style and by which the particular style can be recognized and singled out. Besides, each substyle possesses definite individual features by which they are distinguished. The most important feature of a literary work is that it is a bearer of an aesthetic function. Literary text constitutes subjectively transformed reflection of the objective reality in harmony with the aesthetic-emotional intent of the author: he/she endeavours to convey their ideas, thoughts and emotions.From the point of view of the language resources choice, literary work is characterized with 1) genuine imagery achieved by purely linguistic devices, 2) the use of words in different meanings, greatly influenced by the lexical environment, 3) vocabulary which will reflect to a certain degree the author's personal evaluation of things or phenomena, 4) peculiar individual selection of vocabulary and syntax, and 5) the introduction of the typical features of colloquial language to a full degree (drama), to a lesser degree (in prose), to a slight degree (poetry) [31, p. 251]. Besides, it is claimed that the principal feature of literary text rests on its focus on the message and not on the content [37, p. 123]. The other basic feature of literary works is their saturation with artistic images. Emotive prose – implies principally books of the imaginative kinds, such as novels and short stories – shares the same common features, but these features are correlated differently than in poetry.The imagery is not so rich as in poetry; the percentage of words with contextual meaning is not so high. Emotive prose features the combination of the literary variant of the language, both in words and in syntax, with the colloquial variant. But the colloquial language in the belles-lettres style is not a simple reproduction of the natural speech, it undergoes changes introduced by the writer and is m ade â€Å"literary-like†. In emotive prose there are always two forms of communication present –monologue (the writer's speech) and dialogue (the speech of the characters). Emotive prose allows the use of elements from other styles as well. But all these styles undergo a kind of transformation under the influence of emotive prose.Thus, artistic translation must be approached as â€Å"a kind of aesthetically-oriented mediated bilingual communication, which aims at producing a target text intended to communicate its own form, correspondent with the source text, and accordant with contemporary literary and translational norms of the receptor culture [28, p. 139]. † In order to produce a high quality translation of a literary work of art, the following peculiarities of the given type of translation and problems connected to it should be taken intoaccount. Literary translation is very different from other types of translation because of its inability to rely primaril y on a simple reproduction of language units.Consequently, in the process of translating literary text a method of adequate changes is widely used. This method consists in the idea that for the accurate rendering of the thought the translator has to distract from original set of words, dictionary and phrase correspondences and to search for solutions of the task considering the entire: content, ideological direction and style of the original source [23, p. 310]. Very often in translations of artistic literature, particularly fiction, the accuracy is achieved not by means of direct translation but due to deviations from the original and appropriate substitutions; it cannot rely on standard solutions of translation problems.Artistic translation is a specific kind of translation since it consists not in accurate rendering of the content but in reflection of thoughts and feelings of the author by means of another language [12, p. 7]. As far as every piece of emotive prose is saturated w ith artistic images to a greater or lesser extent, it is desirable that the translator should analyze artistic images and their structure before translating the work in order to reproduce the author's intent in full. The translator should think in images and have the abilities to describe the image using the diversity of linguistic devices and techniques that exist in the arsenal of a target language. One of the problems of artistic translation is the interrelation between the context of the author and that of the translator.It is obvious that no translation can be absolutely accurate since the very language system of the recipient literature with its objective data cannot convey perfectly the content of the original, which inevitably leads to a loss of a certain amount of information. D. Diuryshyn also mentions that qualitative rendering of content of a certain literary work also depends on the personality of the translator, who is very likely to omit something from the content whi le recoding the text, and his predisposition to demonstrate or not to demonstrate all the peculiarities of the original  [7,  p. 114]. Among the main objectives aimed by the translator of fiction is that of rendering individual distinctness of the original. Individual distinctness is largely associated with philosophy and aesthetics of the author. A.Fiodorov identifies several key cases of correlation between distinctness of the original and the form of its reproduction: 1) smoothing, or depersonalization in order to satisfy requirements of literary norm of the language or tastes of a particular literary school; 2) attempts of formalistic accurate reproduction of particular elements of the original notwithstanding requirements of the language which is being translated – phenomenon which finally results in violence towards language and linguo-stylistic deficiency; 3) deformation of individual distinctness of the original as a result of arbitrary interpretation and arbitrar y substitution of some peculiarities by others; 4) full-fledged reproduction of individual distinctness of the original with full range of its essential features and language requirements [23, p. 400]. I. Retsker defines the following qualities of adequate translation: comprehensive transfer of semantic content of the text and rendering of this content by equivalent means, i. e. those that perform the function analogous to that performed by the original verbal means  [21,  p. 10]. Having considered the main peculiarities and problems of translating artistic literature, emotive prose in particular, the conclusion is reached that translator before rendering an original into a target language should nalyze peculiarities of the literary work he is going to translate, namely its structure on lexical, semantic and stylistic levels. The translator shouldn't strive for simple reproducing of lexical units but try to render the emotions and intention of the author as well as convey indivi dual distinctness of the original. Special attention should be paid to artistic images, which are to be examined in the original and then rendered appropriately in the translation. 1. 2. The notion of epithet as a member of epithet construction and ways ofits rendering in the process of translation. Some scholars, for example T. Onoprienko, believe that epithet may be defined as a generating centre of the whole system of tropes since any trope can be transformed into an epithet.Since it may be metaphorical, metonymic, ironical, or based on a simile, epithet is not a pure trope and is often treated as a stylistic mixture, a hybrid. K. Lototska defines epithet as â€Å"a stylistic device based on the interaction of logical and emotive meanings of the word, which expresses the individual, evaluative, emotionally coloured attitude of the author towards the object/person described by emphasizing a certain property or feature [15, p. 90]. † Epithet expresses characteristics of an o bject, both existing and imaginary. The basic feature of this stylistic device is its emotiveness and subjectivity: the characteristic attached to an object to qualify it is always chosen by a speaker himself. It is possible to say that in epithet it is the emotive meaning of the word that is foregrounded to suppress the denotational meaning of the latter [13, p. 31]. † In a sentence epithet usually fulfils the syntactic function of attribute or predicative, thus being expressed mostly by adjectives, sometimes adverbs, and very rarely by nouns . It is important to mention that any trope implies â€Å"semasiological two-dimensional use of a word in which its material form simultaneously actualizes two types of meaning – direct and figurative [3, p. 481]. † However, trope can be realized only in the context, in binary formation. T. Onoprienko defines this formation as trope configuration which consist of wo components: the actualizator of trope (I) (the component a lways used in direct meaning) and the core of trope (II) (the component used in figurative meaning) [16, p. 4]: e. g. â€Å"vague (II) horror (I) [39, p. 103]. † Thus, it would be more logically to consider epithets not separately but as a member of epithet construction. Three connotative components of the meaning are actualised in semantic structure of epithet construction: evaluative, emotive and figurative [6, p. 7]. Such semantic structure makes epithet construction different from logical attributive construction where logical attribute is objective and non-evaluating, e. g. â€Å"black-robed judges [39, p. 102]. Even if the epithet names typical characteristic, it always contains individual comprehension of the object or phenomenon, e. g. â€Å"frequent and thoughtful endeavors to remember [39, p. 103]. † A number of scholars, including I. Galperin, classify epithets into two main semantic types: associated and unassociated. Associated epithets point out typical features of the objects which they describe. Such typical features are implied by the meaning of the nouns themselves, e. g. â€Å"frail web [39, p. 102]†, bitter tears. Unassociated epithets ascribe to objects such qualities which are not inherent in them, e. g. â€Å"ravenous eyes [39, p. 106]†, â€Å"immovable resolution [39, p. 102]. As a result, the created image is fresh, original, unexpected and expressive. A wide range of epithets among those of the second group are figurative ones as far as they are formed of metaphors, metonymies and similes expressed by adjectives, e. g. â€Å" [38, p. 216]† – simile-based epithet construction. Associated epithets, on the contrary, are mostly language epithets. Their usage with certain nouns has become traditional and stable. Unassociated epithets are also called speech epithets since they are created in the process of communication. From the point of view of their distribution in a sentence, epithets may be used in pairs (e. g. hideous and repulsive devices [39, p. 106]†) and in chains (e. g. â€Å"feeble, scarcely sane, scarcely definite thought [39, p. 108]†). The chain of epithets gives a many-sided description of the object, but in this many-sidedness there is always a suggestion of an ascending order of emotive elements, which culminates in the last epithet. Z. Proshina mentiones another distributional model – the transferred epithet which is originally logical attribute generally describing the state of a human being, but made to refer to an inanimate object [20, p. 211]. The meaning of the logical attributes in such combinations acquires a definite emotinal colouring, e. g. Even then, while I gazed, they [rats] came up in troops, hurriedly, with ravenous eyes, allured by the scent of the meat [39, p. 106]† (the word ravenous is logically linked with they, syntactically with eyes). In the English and Ukrainian languages there are such epithet constructio ns which coincide not only in general content but also in their componential structure and stylistic, emotional and expressive shades. These are full epithet equivalents, and majorly fixed epithets belong to them. Sometimes epithet constructions differ in their componential structure but are almost equal in their emotional, expressive and stylistic characteristics. These expressions are partial epithet equivalents and ensure full adequacy of translation.Today's artistic literature is characterized by the great role of epithet as a decorative element able to express the author's attitude to the character, idea and narration in general. To convey the author's intent, the translator must be very careful in selecting words with the same denotative and connotative meanings. According to O. Hrabovetska, the most widespread method of translating epithet constructions is calquing. Calques are those epithet constructions which convey the denotative or connotative sense layer. Sometimes the u se of calquing method without penetrating into the depth of epithet construction semantics may lead to the transformation of translated work into the enumeration of foreign and incomprehensible concepts.In this case it would be more sensible to use decompression,or partial calquing when side by side with calque its explanation is provided. This is especially reasonable when the original is full of allusions and units of vertical context which may be unknown for the target reader. Descriptive paraphrase is used when translation requires a high level of explicitness. This method helps to actualize the implicit content of the original in translation and to avoid unnecessary associations [6, p. 14-16]. The conclusion may be made that epithet is a stylistic device based on interplay of logical and emotive meaning of the word. It is characterized with a high level of emotiveness and subjectivity.This stylistic device should not be considered separately, but as a part of two-member constru ction which consists of the epithet and the word it refers to. Semantically epithets are classified into associated and unassociated. Associated epithets are mostly language epithets, while unassociated epithets are referred to as speech epithets. Epithets may be used in pairs and in chains. There are also transferred epithets, or epithets syntactically joined to a word to which they do not belong logically. Epithets play a significant role in imaginative literature since they are bearers of essential emotional and expressive load of any literary work. Thus, while rendering epithets into target text, translator should select words carefully to avoid possible losses of meaning and expressiveness.The main ways of of epithet translation are calquing, decompression and descriptive paraphrase. 1. 3. Simile as a stylistic device and methods of its translation. Simile is an imaginative comparison, which is also called literary comparison. â€Å"It consists in an explicit likening of one o bject (the tenor) to another object (the vehicle) on the basis of some common feature/characteristic (the ground) [15, p. 102]. † It is important not to confuse simile with ordinary logical comparison. The last one pressuposes comparison of two objects belonging to one class of things and is stylistically neutral (e. g. he works as hard as a miner), while in simile two objects from different classes are brought together (e. g. â€Å"seven tall candles †¦ eemed white and slender angels who would save me [39, p. 102]†). â€Å"Any image is based on the use of similiarity between two distant objects [1, p. 140]. † I. Galperin believes that comparison takes into consideration all the properties of the two objects, stressing the one that is compared, while simile excludes all the properties of the two objects except one which is made common to them [31, 167]. According to N. Shapovalova , the structure of simile is formed by combination of the following elements: 1) subject (comparandum), i. e. an object or phenomenon which features are being uncovered via other one; 2) object of comparison (comparatum), i. e. n object or phenomenon which possesses vividly expressed and well-known to the speaker features and, consequently, is used by him for characterization of the object or phenomenon under cognition; 3) the ground of simile (tertium comparationis), i. e. the property on the basis of which the two objects are compared. It is either mentioned explicitely (e. g. â€Å"the under edge evidently as keen as that of a razor[39, p. 107]†, â€Å"? – , ? [38, p. 213]†)or left for the recipient to guess. In the latter case simile is richer in associations that may arise. â€Å"If the foundation of a simile is not clear from the context, the author supplies it with a key, making it extended [15, p. 102]. 4) The indicator of comparative relations, language connective element which serves as a link between the author's view of t he object and the very object and therefore ensures integrity of comparative construction [24, 7-8]. The connective affirms that the relationship between the tenor and the vehicle is an imaginary one, an appearance, a resemblance rather than reality. The presence of such linking element in its structure makes simile different from metaphor. The latter, due to the absence of the formal element and the implication which this element bears, may convey the relationship between the involved phenomena in different way, partially eliminating the author's point of view and giving place for the reader's viewpoint.According to the nature of language means expressing comparative relations, O. Molchko devides comparative constructions into two groups: with conjunctions or conjunction-like phrases and without them. Besides, the researcher claims that comparative constructions with conjunctions in both English and Ukrainian languages are a lot more numerous than those without conjunctions [16, p. 294]. Among conjunctions frequently used in similes, as well as in logical comparisons, are: like, as, such as, as if, seem in English; , , , , in Ukrainian. For instance, â€Å"I fell suddenly calm, and lay smiling at the glittering death, as a child at some rare bauble [39, p. 107]†; â€Å"†¦ ? , ? [38, p. 207]. † In similes without conjunctive elements the link between comparandum and comparatum can be expressed by way of (1) lexical indicator of comparativeness (when subject and object in comparative construction are linked to each other by adjective, verb or participle I such as to resemble, to look, to suggest in English and , in Ukrainian (e. g. â€Å" , ? ? , , [38, p. 215]†) or (2) adjective in comparative degree (e. g. â€Å"They [lips] appeared to me white –whiter than the sheet upon which I trace these words  [39,  p. 102]†).The stylistic function of imaginative comparison consists in enrichment of the expres siveness of a literary work by bringing together quite different objects and, consequently, helping to uncover in the object of comparison, besides its main qualities, a number of additional ones, often quite unexpected. The greater the semantic distance between the tenor and the vehicle is in a simile, the more striking effect the stylistic device will produce. Thus, an original simile is one of the most powerful image creating devices. Yu. Skrebnev mentions that simile has manifold forms, semantic features and expressive aims. Simile can be expressed by a simple sentence (e. g. â€Å"There was a harsh grating as of a thousand thunders! [39, p. 110]†) or a complex sentence with an adverbial clause of comparison (e. g. I felt every fibre in my frame thrill as if I had touched the wire of a galvanic battery [39, p. 102]†); it is often seen in a single compound word (e. g. giant-like). Great number of similes have become hackneyed in consequence of long usage and are used as idioms, e. g. as alike as chalk and cheese. These similes are deprived of imagery and expressiveness but still may be encountered in artistic literature. What makes creative similes stryking is the author's indication of previously unnoticed similarity between objects belonging to different classes. Thus, simile may pose a challenge for a translator, who should convey the expressiveness of the image in full.P. Pierini indicates the following translation strategies applicable to simile: 1) literal translation (retention of the same vehicle); 2) replacement of the vehicle with a different one; 3) reduction of the simile, if idiomatic, to its sense; 4) retention of the same vehicle plusexplanation of similarity features; 5) replacement of the vehicle with a gloss; 6)  omission of the simile [36, p. 31]. A number of scholars, including M. Larson, mention the following techniques for translating simile: 1) keeping the same simile; 2) replacing by another simile, but keeping the ori ginal meaning; 3) keeping the same simile, but spreading it [33, p. 246].The Translation Studies scholars share the idea that in some cases the application of a combination of more than one strategy is needed to convey properly the expressiveness of a simile. E. Fadaee assumes that translator before rendering the stylistic device should first assess the background knowledge of target readers since they may not have the knowledge needed for interpreting the simile. If translator consider the target readership to possess the required information, he will leave the simile unchanged; if the target readership does not share the knowledge, some modifications to the source simile may be required, e. g. addition of some explanatory information [30, p. 177].Therefore, simile, which is a stylistic device consisting in likening one object to another on the basis of a common feature, should be distinguished from logical comparison. Simile can be expressed by a variety of syntactic structures. T his trope significantly contributes to the overall expressiveness of a literary work. As far as simile contains individual vision of an object by the author and may also require some background knowledge possessed by the recipients of the original and not shared by the readers of the target culture, translator must be creative and careful while rendering original similes. A number of scholars, including P.Pierini and M. Larson, outline the main ways of translation applicable to simile. 1. 4. The notion of metaphor and problems connected to its translation. The awareness of a complicated and contradictory nature of a metaphor became the main reason for scholarly thought to move in various directions taking into account different aspects of this phenomenon. Thus, P. Newmark under the notion of metaphor means â€Å"any figurative expression: the transferred sense of a physical word, the personification of an abstraction, the application of a word or collocation to what it does not lit erary denote, e. g. to describe one thing in terms of other [34, p. 106]. Nevertheless, all the definitions tend to share common dominant features and may be summarized by the understanding of a metaphor as â€Å"a trope or figure of speech, which consists in application of a word, denoting a particular class of objects, phenomena, actions or attributive qualities, to characterize or nominate another object, which is similar to this one in terms of any kind of relationship[2, p. 81]. † George Lakoff and Mark Johnson find it necessary to emphasize that despite the widespread idea of a metaphor as a means of poetic imagination and rhetorical flourishing, this lexico-stylistic device is also pervasive in everyday life not only in language but also in our thought and action, which are fundamentally metaphorical in nature [32, p. 3]. At the same time, majority of scholars focuses on a metaphor as a powerful means of creating imagery in an artistic work since it is integrally conne cted with the poetic vision of the world. Of all tropes, metaphor is the most expressive one for it may draw closer or bring together in one synthetic image incompatible objects and phenomena, thus interpreting them in a new way, revealing their essence, exposing their â€Å"inner nature† by â€Å"pulling† them out of their â€Å"automatic†, traditional perception [15, p. 69]. † Turning back to the issue of relation between metaphor and simile, it would be resonable to cite the reflection of E. Fadaee who believes metaphor to be â€Å"a kind of condensed simile that some parts of it, like topic similarity markers, are deleted to convey the meaning connotatively [30, p. 21]. † Gibb and Wales suggest that the tenor (the object to which the quality of another object is transferred) that is preceeded by a definite article or possessive pronoun is common among items assigned the simile form, whereas metaphor is assigned to the items with no definite arti cle.The scholars also believe that simile seems to be preferred in the case of concrete vehicle (the object from which a quality is transferred to another object), whereas metaphor is preferred for abstract vehicle  [qtd. in 35, p. 199]. Simile and metaphor are distinguished not only with regard to structural aspect but also semantic one. Simile is more semantically specified: it indicates the sign of resemblance; metaphor only implies this sign. A. Morokhovsky considers that simile indicates the transitory feature, even occasional, unlike metaphor, which indicates permanent feature [17, p. 176]. Metaphors have been categorized in different ways depending on the aspect taken as the basis of classification.The most widespread is the classification of metaphors according to the degree of unexpectedness, which divides them into genuine (also called stylistic, fresh, original, poetic, imaginative, or speech) metaphors and trite (dead, stale, hackneyed, or language) metaphors. Trite me taphors are word-combinations once metaphorically fresh, which in consequence of long usage have lost their expressiveness and became ordinary entries in dictionaries, e. g. apple of eye. Genuine metaphors are coined by the writer's imagination and are always fresh and striking, e. g. â€Å"   [38, p. 209]. † The stylistic function of genuine metaphor is twofold: 1) it evokes images and suggests analogies/associations; 2) it reveals the author's emotional attitude towards what he describes.Poetic metaphor is likely to appeal to a certain image. While uncovering the essence of verbal images, R. Zorivchak emphasizes that they constitute the basis of any artistic text making it more appealing, picturesque and aesthetically beautiful and, at the same time, increasing the cognitive value of a literary work. Of particular importance is the cognitive and expressive loading of verbal image, which contributes to realization of the author’s intention [8, p. 51-53]. Besides exp ressiveness, metaphors also differ in their form. They can be single (one-word) or extended (a collocation, an idiom, a senrence, a proverb, an allegory, a complete imaginative text).There is a tendency in artistic literature to use metaphor combined with other tropes, thus it would be relevant to look into the issue of metaphor in its relationship with other stylistic devices. As N. Kozhevnikova observes, comparative tropes, which also include metaphors of different types, are closely interrelated. One sense connection can be expressed by different concrete utterances, e. g. ; , ; ; ; , etc. Poetical language is characterized by a great amount of varying stylistic devices. Such reversibility of tropes is a means of refreshment of trite metaphors, e. g. decomposition into constituing elements and transformation of metaphor into simile [9, p. 146].The combination of simile and metaphor is an effective device for semantic cohesion of an artistic text: first simile is used and then (sometimes after several phrases or words) the vehicle of the simile is used as that of metaphor [15, p. 71]. For example, â€Å"And then my vision fell upon the seven tall candles upon the table. At first they wore the aspect of charity, and seemed white and slender angels who would save me; but then, all at once, there came a most deadly nausea over my spirit, and I felt every fibre in my frame thrill as if I had touched the wire of a galvanic battery, while the angel forms became meaningless spectres, with heads of flame, and I saw that from them there would be no help [39, p. 102]. † A. Morokhovskyi mentions such trope as simile-metaphor based on metaphorical transference [17, p. 175], e. g. â€Å"the gossamer web of some dream [39, p. 102]. †An important aspect of researching the nature of metaphor concerns the problems arising in the process of its translation. â€Å"Since a metaphor in source language is, by definition, a semantic novelty, it can clearly have no existing â€Å"equivalence† in target language [29, p. 24]. † The adequate translation presupposes the rendition of stylistic and expressive nuances of the original and should follow the criteria of 1) verbal correspondence of the created image, 2) preservation of the image intended in the original, and 3) preservation of the conceptual grounding for the verbal metaphor [26, ?. 186]. Different approaches have been proposed with regard to metaphor translation, each looking into the problem from a different point of view. R.Van Den Broeck suggested to use the following modes of translating metaphors: 1) translation sensu stricto (both source language tenor and vehicle are transferred into target language); 2) substitution (source language vehicle is replaced by a different target language vehicle with more or less the same tenor; in this case source language and target language vehicles may be considered translational equivalents in that they share common tenor); 3) pa raphrase (source language metaphor is rendered by a non-metaphorical expression in target language; as a result, target language expression comes up to the level of a commentary rather than of actual translation [27, p. 77].Although personification is sometimes treated as a separate stylistic device, it is a metaphor in its essence since the image creation is based on metaphoric substitution. According to K. Lototska, personification is â€Å"a metaphor in which abstract ideas or inanimate objects (tenor) are identified with persons (vehicle), i. e. are given human characteristics [15, p. 75]. † Personification is considered to be a very poverful stylistic device because everything that concerns a man appears to be the most important to him, thus when the human properties, people's typical qualities and actions are transferred onto inanimate objects, the later begin to assume the utmost importance.The main problem of rendering personification in translation consists in the fa ct that the gender of personificated nouns in the source language and target language may not coincide. It poses a challenge for a translator when the personificated images of the original are based on the opposition of masculine and feminine gender nouns and in the translation the corresponding nouns do not create such opposition. Personification may be also individual, without opposition of genders. N. Homon believes that in order to overcome the difficulties in the process of rendering personification into target text lexical substitutes, which allow topreserve the image, are possible [5, p. 40].Thus, poetical metaphor is characterized by significant expressive potential based on transference of some quality from one object to another. Metaphor is clamed to be the most expressive trope which evokes images, reveals the author's emotional attitude towards what he describes and helps to realize the writer's intention. The principal classification of this trope is based on the degree of unexpectedness, which devides all metaphors into trite and genuine. The stylistic device can be expressed by different syntactic structures and tends to be accompanied or combined with other tropes in artistic text. Among the methods applied to metaphor in the process of translation the most common are translation sensu stricto, substitution and paraphrase. CHAPTER 2. E. A.POE'S SHORT STORY THE PIT AND THE PENDULUM AND THE REPRODUCTION OF ITS EMOTION CREATING LEXICO-STYLISTIC DEVICES IN THE UKRAINIAN TRANSLATION BY R. DOTSENKO 2. 1. Characteristic features of E. A. Poe's short story The Pit and the Pendulum. The Pit and the Pendulum is a short story written by Edgar Allan Poe, an American author, poet, editor and literary critic best known for his tales of mystery and the macabre. It was first published in 1842 in the literary annual The Gift: A Christmas and New Year's Present for 1843. The story is about the torments endured by a Spanish Inquisition prisoner, who describes his experience of being tortured. This particular piece of literature by E. A.Poe differs significantly from the rest of the author's works in the fact that it is especially effective at inspiring fear in the reader because of its heavy focus on the senses emphasizing the reality of the story, unlike other Poe's short stories which are aided by the supernatural. Despite its small size, the story abounds in stylistic devices, namely epithets (44 samples), similes (18 samples) and mataphors (12 samples). The stylistic devices used by the author are aimed to express emotions of the narrator and, accordingly, convey the atmosphere of interrogation and torture. As one would expect, emotions which are being created by the above mentioned stylistic device in the story under research are negative and dark in their nature. The most clearly can be traced emotions of horror, disgust and desperation.While conveying emotion of horror with the help of stylistic devices, the author makes use of verba l means refering to the sphere of the otherworld and that of evil spirits, e. g. â€Å"All sensations appeared swallowed up in a mad rushing descent as of the soul into Hades[39, p. 102]. † The emotion of disgust is produced by means of tropes composed of verbal means already containing the seme of this emotion in their semantic structure, e. g. â€Å"The entire surface of this metallic enclosure was rudely daubed in all the hideous and repulsive devices to which the charnel superstition of the monks has given rise [39, p. 106]†. In creating emotion of desperation E. A.Poe avails of stylistic devices comprising words which convey vagueness, powerlessness, or desperate effort, e. g. â€Å"At length, with a wild desperation at heart, I quickly unclosed my eyes [39, p. 103]. † Lexico-stylistic devices of the story are the main and major means for creation of negative emotions intended by the author and create the overall atmosphere of the litersry work. Therefore, an adecuate reproduction of tropes is essential, as far as expressive and emotive verbal means combined in emphatic structures of different stylistic devices acquire greater expressive potential. 2. 2. The reproduction of emotion creating epithets, similes and metaphors of the short story by E. A. Poe in the Ukrainian translation by R. Dotsenko. â€Å"And then there stole into my fancy, like a rich musical note, the thought of what sweet rest there must be in the grave [39, p. 102]. † * â€Å"? , , , - [38, p. 208]. † The epithet in the example above conveys the emotion of strong horror. Instinct for self-preservation is inherent in human nature, as well as fear of death, but the main character is already so much exhausted by the very long waiting for upcoming torture that even death for him seems to be a pleasant escape. Obviously, the torture in the story consists not in physical torment but in psychological pressure on the victim, whichis more harmful and unbearable as the development of the plot shows.The epithet construction is paradoxal since it uncovers extraordinary view on traditional lie of the land and, consequently, bears a tinge of irony, especially if to take into consideration that the narrator describes the events after he already overcame the danger and survived. R. Dotsenko's epithet construction can be considered as a full equivalent to the original one as far as both cnostructions are equal not only in general content but also in componential structure and stylistic, emotional and expressive shades. The transformation of original place modifier (consisting from preposition and noun) into adjective in translation is quite justifiable as it makes translation sound smoothly and with abandon. * â€Å"All sensations appeared swallowed up in a mad rushing descent as of the soul into Hades [39, p. 102]. * â€Å" , , ? [38, p. 208]. † As it was mentioned in Chapter I, different stylistic devices often ac company and complement each other in literary work, thus producing enhanced emotional effect. The example above constitutes a complex image of horror consisting of metaphor (descent is personified by way of transferrence on it of living being characteristic denoted by phrasal verb swallow up) and epithets and simile which vivify its tenor. It is essential to mention that metaphor makes it possible for readers to cognize the notions belonging to the sphere of abstractions, that is why metaphor as a stylistic device is especially helpful in conveying emotions.The personification was preserved by the translator and, what is more, made more explicit due to elimination of preposition inand use of active voice instead of passive as in the original. The simile complementing the metaphor contains allusion to Greek mythology where Hades is an underworld containing â€Å"the Plain of Asphodel, where the ghosts of the dead led a vague, unsubstantial life, a shadowy continuation of their forme r life  [45,  p. 172]. † The term hades is also used in the Septuagint (the ancient translation of the Old Testament into Greek) referring to the abode of the dead in general rather than the abode of the wicked. It has little if any relation to afterlife rewards or punishments.The Ukrainian term (English equivalent to which will be hell) is defined in the dictionary as â€Å" , [41, v. 6, p. 111]. † Thereby R. Dotsenko replaced the vehicle of the simile with different one which may be considered more exspressive in terms of conveying horror. The allusion to Greek mythology was conveyed partially through the substitution of original tenor of the metaphor descent with in translation since â€Å"the land of the dead was separated from the land of the living by one of the rivers of Hades, the Styx or the Acheron across which the dead were ferried [45, p. 172]. † Thus, explicit allusion of the original became implicit in the translation. â€Å"Then, ve ry suddenly, thought, and shuddering terror, and earnest endeavor to comprehend my true state [39, p. 103]. † * â€Å"? – , , , ? ?  [38,  p. 209]. † In the above example the author calls up to the reader's mind the emotion of horror by using the noun terror and intensifies its denotative meaning with epithet shuddering (as an adjective from shudder which is defined in the dictionary as â€Å"to shake because you are cold or frightened, or because of a strong feeling [43, p. 1360]†). This is a good example of transferred epithet as far as not the terror itself shudders but the person who is experiencing this emotion. In translation R.Dotsenko substituted the original epithet by the word which has direct meaning â€Å" ; , † and transferred one, â€Å" , , [41, v. 6, p. 113]. † Thus, in the original the striking effect was achieved by using originally logical attribute generally describing the state of a human being for referr ing to an abstract phenomenon, while in the translation the analogous effect was created due to intertwinement of direct and transferred meanings of the word. Although semantically the translated epithet is not equivalent to the original one, it produces the same effect intended by the writer.This fact affords the ground for regarding the translation in the given case adequate since accuracy in the translation of artistic literature is achieved not by means of direct translation but due to deviations and appropriate substitutions which ensure the appropriate rendering of the author's ideas and intent. * â€Å"A slight noise attracted my notice, and, looking to the floor, I saw several enormous rats traversing it. They had issued from the well, which lay just within view to my right. Even then, while I gazed, they came up in troops, hurriedly, with ravenous eyes, allured by the scent of the meat [39, p. 106]. † * â€Å" , ?, , ? , ? , ? , . ? , ? †“, , ?' [38, p. 214]. †In this excerpt the author characterizes rats by using transferred epithet construction ravenous eyes and modifying construction allured by the scent of the meat; besides, the mode of rats' travelling is characterised by epithet in form of adverb hurriedly. The translator desided to refer all three epithets to the actualizator of the trope, rats (for this reason he changed adverb into adjective and eliminated the actualizator eyes in the transferred epithet construction). Consequently, in the translation a chain of homogeneous members-epithets was formed, which created an effect of gradation with culmination in the last element. This gradation can be considered as a compensation for the effect created by the heterogeneity of epithet chain in the original, and especially, the expressiveness of the transferred epithet construction. â€Å"These colors had now assumed, and were momentarily assuming, a startling and most intense brilliancy, that gave to the spectral and fiendish portraitures an aspect that might have thrilled even firmer nerves than my own [39, p. 109]. † * â€Å" , ? , ? , ? , ?   [38,  p. 219]. † Dealing with translation of the first epithet construction in the above excerpt R. Dotsenko substituted epithets expressed by adjectives startling and most intense by combination of epithets expressed by means of adverb and adjective .The translation was made with regard to the overall imagery of the literary work which abounds in verbal means denoting phenomena related to religious conceptions of hell and evil spirits. Besides, the word combination immediately brings to mind the image of the rousing and burning hell-fire which is considered to be the scariest and the most intense one. Thus, the translation is adequate since the translated variant harmoniously fits the imagery of the translated literary work and conveys the the author's intent being loaded with emotional expressiv eness. The second epithet construction the spectral and fiendish portraitures was handled with ease. With regard to the core of the trope, R. Dotsenko applied calque translation having conveyed both denotative and connotative sense layers.The word portraitures was rendered as which has suitable denotative meaning in the given context and also has no connotations as well as the original activator of the trope. Thus, the whole epithet construction was translated adequatly. * â€Å"These shadows of memory tell, indistinctly, of tall figures that lifted and bore me in silence down– down– still down – till a hideous dizziness oppressed me at the mere idea of the interminableness of the descent [39, p. 103]. † * â€Å" , ? , , , , -   [38,  p. 209]. †In this example R. Dotsenko split the original epithet construction and translated the noun dizziness by means of verb ; both words share the same denotative meaning. Further i n the nearest context the epithet construction was compensated for by adding epithet , which is fully equivalent to hideous, to the word . The emotion of disgust thereby was preserved in the translated utterance. * â€Å"They tell also of a vague horror at my heart, on account of that heart's unnatural stillness [39, p. 103]. † * â€Å" , , , , ? [38, p. 09]. † The epithet in the above original sentence describes the horror which is just spawning in the face of something unknown and obscure. The epithet construction was translated as . The direct meaning of is â€Å" , ; †, from which originates the transferred one, â€Å" , , ; , - [41, v. 9, p. 361]. † Consequently, the form of horror in the translation is much stronger as that in the original since it is so terrible that hinders a person to think or to act, it is a kind of paralysing fear.On the one hand, the translated epithet construction is more striking in comparison to t he original one in the framework of contrastive analysis of this particular case. On the other hand, it fits perfectly the overall imagery of the story and significantly contributes to the enspiring emotion of terror. Therefore, the translation is still considered as adequate. * â€Å"At length, with a wild desperationat heart, I quickly unclosed my eyes [39, p. 103]. † * â€Å" ? , ? [38, p. 209]. † This is a bright example of partial epithet equivalents. The original epithet construction can be literary translated as (, â€Å" , ; [41, v. 1, p. 659]†).This feeling of hopelessness was recreated by means of adjective meaning â€Å" , [41, v. 1, p. 659]. † Still this emotion as rendered in the translation is lacking amplification produced in the original by epithet wild which is used for somebody or something â€Å"lacking discipline or control [43, p. 1683]. † In other words, the original epithet construction is fully concentrated on t he emotion; epithet wild amplifes and intensifies the emotion of terror. The original construction is also followed by modifier of place at heart since humans consider heart to be the place where emotions are born, and what is from heart, that is beyond the control of reason.In the translation the focus is shifted from desperation to , the word which is purely a product of the translator's creativity. , being defined in the dictionary as â€Å", ;   [41,  v. 7, p. 252]†, fits the utterance and relates to the quick move of unclosing eyes. Thus, given epithet costructions are partial equivalents. They differ in their componential structure but are almost equal in emotional, expressive and stylistic characteristics ensuring full adequacy of translation. * â€Å"Free! I had but escaped death in one form of agony, to be delivered unto worse than death in some other [39, p. 109]. † * â€Å"! , ? , [38, p. 219]. † The original excerpt contains simile wors e than death which contains highly expressive and negatively coloured evaluation of a form of death. The translator omitted in his translation simile comparing one form of death to other by means of comparative degree of adjective (which in its denotative meaning is more expressive than English worse and more helpful in creating emotion of horror). R. Dotsenko compensated for simile by way of adding in translation word and in this manner likening on the basis of metaphorical transferrence abstract notion of death to frightening creature.Thus, stylistic effect of original simile and its emotional loading were compensated for by translator's creative decision to introduce personification. * â€Å"It was hope – the hope that triumphs on the rack–that whispers to the death-condemned even in the dungeons of the Inquisition [39, p. 108]. † * â€Å" , , , ? [38, p. 217]. † The excerpt represents an example of personification where abstract noti on denoted by noun hope aqcuires ability to act, particularly perform actions (to thriumph and to whisper) typical of humans.This personification aims at conveying a spark of optimism which is spawning in the narrator's heart. In the English language the word hope has symbolic feminine gender, thus in this personification hope appeares as a woman supporting a man in all the hardship he undergoes. Fortunately, Ukrainian equivalent is of feminine gender as well, therefore, the image of a supportive woman was preserved. However, there were introduced two changes in the translated variant. Firstly, rack is defined in the dictionary â€Å"an instrument of torture, used in the past for punishing and hurting people. Their arms and legs were tied to the wooden frame and then pulled in opposite directions, stretching the body [43, p. 1195]. † R.Dotsenko applied method of generalization and translated rack by hyperonym . Secondly, the translator added , which still doen't harm the im age, but just expresses the tithe of comfort given to the narrator by this hope. The personification was successfully rendered into the target text. The translator managed to preserve the image as well as its expressivenes and emotive loading. * â€Å"Inch by inch – line by line –with a descent only appreciable at intervals that seemed ages– down and still down it came! [39, p. 107]† * â€Å" , , – , , , , , – ?   [38,  p. 215]. †The original simile is small and consists in exaggeration by way of comparing those relatively long intervals, at which the pendulum descended, to the big span of time which lasts for ages, and in this way conveying oppression andmoral horrorsof the narrator caused by the continued expectation of long agonizing death. R. Dotsenko retained the vehicle of the trope but shifted the tenor of the simile from intervals to . Besides, the translator introduced the ground of the simile expressed by word combination . The structure of translated simile is much more complicated than that of the original trope. The tenor stands separately in the second part of the main sentence.The part of the simile which follows a formal marker of comparion represents constitutes a full-fledged complex sentence. The original simile, on the contrary, is simple in structure and forms a part of an isolated member of a sentence. Although translated simile is not equivalent to the original one from the viewpoint of structure, it is considered to be an adequate translation substitute for the original trope since it recreates emotion of hopelessness accompanied by agonizing suspense. * â€Å"A deep sleep fell upon me –a sleep like that of death[39, p. 105]. † * â€Å"? – , ? [38, p. 213]. † In the above example the original simile underwent a few changes in the translation. Firstly, R.Dotsenko eliminates the repeated mentioning of the comparandum; instead, the translator a dds its characteristic , thereby making the ground of the simile explicit. Besides, like that of death was turned into ? . The substitution is adequate, it conveys the message of the author and creates the intended emotion of fear which emerges with mentioning all which is associated with death. However, the original simile with implicit ground leaves more space for readers' imagination since a range of various characteristics may come to their mind at the same time, thus making the original utterance more expressive than translated one. Thus, translating the simile R.Dotsenko replaced the vehicle and explained the similarity feature. Though being determined and limited by explicit gro