Диплом: Переводческие трансформации при переводе текста коллажной структуры на примере книге американского музыкального обозревателя Мака Рендалла Exit musik: the radiohead story или музыка свободы: "радиохэдовская история"

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The streak of despair and self-loathing
that runs through these lyrics is nothing
new in Radioheadland, of course; the
      
certainly dramatic (thanks in part to

breaking point), but in the final
analysis, the only real difference
      
      ed
cynicism.
77

78

79

49
      
opener for In Rainbows because it is
the logical culmination of all the
experimenting that took place on the
    
respective tours; it shows how
Radiohead have succeed in blending
    
instruments, making it all sound
completely natural, even in the
generally pop-unfriendly time signature
of five quarter notes per measure.
 
This becomes apparent less than a
     

electronic beats, handclaps and
processed static are joined first by a
tight 5/4 groove played on a standard
drum kit by Phil Selway and then by
the clean, rich, jazzy chords of Jonny
  
much like it did on OK Computer’s

The basic musical concept  multiple
time signatures superimposed over
50
each other is similar to OK
Computer’s    
execution is more complex; placing

      
mirrors the oceanscape depicted in the
lyrics.
2) 
      
    
much, hanging insistently on only a
couple of notes, but the chord
movement behind it, coupled with
   

gives it the necessary tension.
There is no standard verse/chorus
structure here as such, but Thom repeats
the opening lines word for word at the
end, a bookending effect that creates a
kind of chorus by default and gives the
song a feeling of completeness.
80

81

51
3) :
     sinuous guitar
line in dropped D-tuning whose tone
and mood resemble that of

The last band member to enter the mix
is Ed, who triggers a dramatic series of
chords from his gargantuan
pedalboard in the latter half of the
song.
their doom-laden bassline is later
harmonized by Jonny on glockenspiel in
a whimsical touch.
As the swirling sound cloud acquires
tornado force
The music certainly meets quality
control standards, highlighted by the
recurring ghostly humming that ties
the track together and the tight harmonic
interaction     
guitars starting at the 1:45 mark.
     
with each other, but the overall effect is
wistful, almost prayer-like, heightened
82
 
52
plaintive delivery.
4) :
pedalboard
Telecaster
Fender Rhodes
harmonically ambiguous chord
dropped D-tunning
A slapback delay effect
5) :
Veteran rock critic Paul Morley
encapsulated that suspicion when he

release, in a review that provided star
ratings for his every response to the

stars for the feeling that the whole thing

83
83
Paul MorleyRainbow Warriorsguardian.co.uk, October 10, 2007.
53
Alex Ross of The New Yorker, one of
 most perceptive critics,
       
output, this is the song he returns to
     
Radiohead songs have that is not the

     
    r it at
     
degree, the song is dominated by Johnny
and his classical-composer side, but all
those other components in the process
are there too, working together in a way
   
unanalyzable. The parts seem as if

they do, and I think that interplay may
mimic the creative tension between the

54
According to Yorke, the words to
   
among other things, Victorian ghost
     The
Stepford Wives, along with a more
personal experience of feeling that his
   
without being able to connect fully with

84
4
Jon ParelThe New York Times, December 9, 2007.
55
2.3 Переводческие решения
       
         
     
        ,
  

1) 
        
Radiohead.  
         

    -  

        
        On its own,
 , , 


   
    to add up to  
    -   

       
 
        


56

          

On its own    
  add up to
much, hanging insistently on only a
couple of notes, but the chord
movement behind it, coupled with
   

gives it the necessary tension.
)  .

      
       
   .    
 
   opening lines   
 
         

There is no standard verse/chorus
structure here as such, but Thom repeats
the opening lines word for word at the
end, a bookending effect that creates a
kind of chorus by default and gives the
85

57
song a feeling of completeness.
1) 
 
       
-       
    veteran.     
         
          


        
veteran   



encapsulated. -
           



  
     
encapsulated   
-
Veteran rock critic Paul Morley
encapsulated that suspicion when he

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