INTRODUCTION

It is a natural need of people to communicate. This natural need fulfils

language, which has many different and important functions. According to
Vachek the main task of a language is to serve as a means of mutual
communication and thinking. (Kvetko, 1996, p.6). It means that language
expresses opinions, attitudes, and thoughts. It reflects peoples behaviour and
relationships. Language is a feature of people and this makes language a social
phenomenon.
Nowadays, the trends show that the international cooperation and
communication between states has increased the use of English. English
language is important in many spheres of our life, such as culture, education,
and politics. There is a need to have many texts translated, mainly texts such as
newspaper articles, advertisements, contracts, documents, etc. Therefore, it is
important for the translator to know different types of texts and stylistics of the
source as well as the target language. Stylistics plays an important role in the
translation.
This work focuses on stylistic analysis of non-literary texts. Selected texts
are from tourist brochures. Consequently, we use analysis in the translation.
Three main chapters in this work deal with the following subjects:
1. Static and dynamic texts
2. Stylistic analysis of selected non-literary texts
3. Translation of selected non-literary texts
The first chapter concentrates on the question of characteristics of text. We
emphasize the basic features of texts, especially according to the static-
dynamic division. The attention is also paid to the processing effort in which the
readers are involved. Certain features of a text influence the processing effort.
The second chapter deals with the analysis of selected nonliterary texts. It
offers analysis of tourist brochures, which have special features, functions, and
appeal on the readers. The stylistic analysis focuses on several stages, such as
grammar, lexicology, or stylistics. These stages are important also in the
process of translation.

6
 The third chapter reflects the advantage of stylistic analysis in the translation
of selected texts. The analysis is helpful when dealing with translation problems
and shifts, which arise from the differences between Slovak and English.
This work focuses on the importance of stylistic analysis in the process of
translation. The stylistic analysis can help to understand texts before translating.

7
1 CHARACTERIZATION OF STATIC AND DYNAMIC TEXTS

1.1 Text as a special form of communication

Since language exists, it has been an interesting subject of many studies.

When we study language, we do not study only sounds, words, or sentences in
isolation. To understand how language works or how people make it work, we
need to examine connected, interactive speech or text in a meaningful context,
the kind of language that people use to serve specific purposes. (Ferenk,
2003, p.205). When we speak, we put particular components of a language, as
words, phrases, and sentences together into a complete whole. Language
serves specific purposes and functions and our study of language is not
complete if we do not pay attention to these functions and intentions.
In this work, we concentrate our study on a written text, which is a special
form of communication. Texts have special features, which distinguish them
from other means of communication, e.g. spoken language. For instance, free
conversation is more casual and unplanned than a written text.
A text is a written form of communication. It is planned and highly structured,
its layout is carefully organized, and sentence boundaries are clear. It has
elaborated grammatical and lexical cohesion, complex syntactic structures, rich
and varied vocabulary. (Ferenk, 2003, p.261). These and many other features
differentiate texts from other means of communication.
According to Ferenk, we can study a text from two different approaches,
the text as a product or the text as a process. The text-as-a-product approach
is focused on the text cohesion, topical organization, illocutionary structure, and
communicative functions; the text-as-a-process perspective studies the text
production, reception, and interpretation. (Ferenk, 2003, p.270). Following
pages are devoted to some of these features. Firstly, we will briefly study the
texts perception and partly its interpretation.

8
1.2 Processing effort

In this part, we concentrate our attention on the perception of a text. Many

texts or books are translated into other languages and the translator plays an
important role in this process. His/her task is very difficult. While translating s/he
has to pay attention to many factors, which can influence the translation and
consequently its perception by the readers. S/he has to take into account
differences between the source and the target language and has to deal with
these differences. However, this is not enough. The translator has to think about
the readers, as well.
The process of translation has many stages. It is a complex process. When
the translator reads and understands the text and gets a gist of the message,
s/he has to deal with the task of producing a version, which can be accepted by
the readers. Phrases, structures, and grammar of the source version must
conform to the norms of the target language. Still, the translation may sound
foreign or may not make sense to the readers. Here, suitable grammatical
structures and collocations can enhance the readability and the understanding
of the text. (Baker, 1992, p.111). Characteristics of a text, such as cohesion,
elaborated structures, and adequate expressions of the target language support
the meaningful perception of the text. A good translator must be aware of it.
When the readers read a text, they try to decode it and extract information
relevant to them. According to Lev in translation there are situations which do
not allow one to capture all values of the original. Then the translator has to
decide which qualities of the original are the most important and which ones
one could miss out.(Lawrence, 2000, p.382). We know that the translator
cannot preserve all the features of source-language text and s/he must decide
what is important to preserve. Gutt claims that expressing all the information in
the translation would be too cumbersome and would involve too much
processing effort and thus the translator should focus on that information and
components, which are most significant to the context. S/he must also pay
attention to what is relevant to the readers. Here arises another problem. How
does the translator know what is relevant to the readers? Whatever decision
the translator reaches is based on his intuitions or beliefs about what is relevant

9
to his/her audience. The translator does not have direct access to the cognitive
environment of his/her audience, he does not actually know what it is like, all
he can have is some assumptions or beliefs about it. The failure of
communication is likely to arise where the translators assumptions about the
cognitive environment of the receptors language audience are inaccurate.
(Lawrence, 2000, p.386). It is true that the translator has just some intuition
about the knowledge of his audience. Therefore, the decision, about information
or features that are relevant to the readers, is very difficult.
The principle of relevance heavily constrains the translation with regard to
both what is intended to convey and how it is expressed. Thus if we ask in what
respects the intended interpretation of the translation should resemble the
original, the answer is: in respects that make it adequately relevant to the
audience that is that offer adequate contextual effects; if we ask how the
translation should be expressed, the answer is: it should be expressed in such
a manner that it yields the intended interpretation without putting the audience
to unnecessary processing effort. (Lawrence, 2000, p.377). The translator must
extract information relevant to the readers and express it in such a manner that
is easily understood by the audience.
The readers try to make sense of what they read and thus the translation
should be clear and natural in expression in the sense that it should not be
unnecessarily difficult to understand. (Lawrence, 2000, p.378). Unnaturalness
in translated texts often seems to involve gratuitous processing effort on the
receptor audiences part: perhaps due to interference from the original language
or insufficient mastery of the receptor language, the expression used by the
translator may turn out to require more than optimal processing cost on the
audiences part. (Lawrence, 2000, p.389). This task needs a skilful translator
with good knowledge of the target as well as the source language. It is difficult
to find suitable equivalents of expressions in the target language that sound
naturally to the readers and that do not require inadequate processing effort.
To summarize, all features and aspects of translation mentioned above can
strongly effect the perception of a text. Now, we will study some of texts
features in more details.

10
1.3 Static versus Dynamic texts

In this part we concentrate on concrete features, which strongly effect the

perception of a text. According to these features, we can divide texts into two
different levels.
At one level there will be those local- and global-level textual occurrences
which display maximal cohesion and consequently maximal coherence, where
intertextuality is least intricate, intentionality least opaque, situationality least
cumbersome and informativity sparingly used. At the other extreme, there will
be local- and global-level occurrences where cohesion is not straightforward
and where coherence is problematical to retrieve. In such cases, values yielded
by other factors such as intentionality and intertextuality become slightly less
transparent. (Hatim,Mason, 1997, p.27).
Now, we can identify the first extreme as a text with maximal stability, in
which users expectations are fulfilled and norms of language use are strictly
adhered to. This instance of language use is called static. The second extreme
represents a text with minimal stability, where expectations are often defied, and
norms are not adhered to. This extreme is called dynamic. (Hatim,Mason, 1997,
p. 27,28).
This division shows opposite qualities of texts. One reason for this division is
that the readers perceive these texts extremes in a different way. We can look
at the first extreme from the point of view of texts efficiency and effectiveness.
On one hand, Ferenk claims that efficiency requires that a text should be
used with a minimum effort hence the use of plain (stereotyped and
unimaginative) language which, however boring and unimpressive, is easy to
produce and comprehend. (Ferenk, 2003, p.273). In other words, language is
not used in complicated manner and stability is maximal. The readers easily
understand it and translators task is not very difficult. On the other hand,
effectiveness presumes leaving a strong impression and the creation of
favourable conditions for attaining a communicative goal; this presupposes the
use of creative (original, imaginative) language which, however effective, may
lead to communicative breakdown. (Ferenk, 2003, p.273). In fact, this
extreme is more intricate. It concerns both readers perceptions of the text as

11
well as the translators skill. Although the language is vivid and creative, the
readers are involved in an inadequate processing effort and consequently the
text may not be understood properly. At the same time, the translation requires
great mastery and language skill. The translator is faced with more interesting
challenges.
According to this division of texts, we pay our further attention to these
notions: coherence, cohesion, situationality, intentionality, informativity, and
intertextuality.

1.3.1 Cohesion

In this part, we deal with specific feature of a text called cohesion. This
notion is a subject of many studies and many linguists deal with it. For instance,
according to Ferenk cohesion is the way in which linguistic items of which
texts are constituted are meaningfully interconnected in sequences. (Ferenk,
2003, p.271) It means that cohesion contributes to the meaningful organization
of text items and thus the text makes sense to its readers.
This definition is also supported by Hatim and Mason who claim that the text
is cohesive when the components of the text are mutually connected into a
sequence of some kind. They further explain that as a consequence of
components dependency upon each other, these surface linguistic items also
establish and support text continuity. (Hatim, Mason, 1997, p.15). In fact, words
and expressions are tied together into a complete whole and the connections
within a text maintain the linkage of a text.
Concerning the previous static-dynamic division, we can say that cohesion
supports the stability of a text via a continuity of occurrences in respect to both
materials and processing effort as stated by Beaugrande.
(www.beaugrande.bizland.com). In my opinion, this is an important fact. It
means that cohesion creates and organizes the text as a whole and reflects the
relations between words and expressions. We agree that cohesion is the
network of lexical, grammatical, and other relations which provide links between
various parts of a text. It is a surface relation which connects together the
actual words and expressions that we can read or hear. (Baker, 1992, p.180).

12
 In other words, cohesion supports the text as a product and material.
Consequently, cohesive text is easily understood. On the other hand, if the text
lacks cohesive ties and the readers have problems to understand it and extract
information, this text is viewed as dynamic. From the point of view of processing
effort, perception of a text is upheld through ties and connections expressed in
the text and the readers are not involved in an inadequate processing effort. If
the text is of dynamic type, processing effort is much more complicated. In fact,
this is essential point and challenging task for the translator. The understanding
of a text is highly important. We know that each language has its own ways of
realizing the cohesion and the translator must be aware of this fact. He must
preserve the cohesion. This is another fact, which the translator should adhere
to, because as stated above cohesion and cohesive ties are vital to the
understanding of the text. If the cohesion is not adhered to, it may lead to a
communication breakdown.
We introduced several definitions of cohesion and now we should briefly
mention the connections and ties, which support the cohesion. These ties are
called cohesive devices. Many linguists interested in this area introduce slightly
different division of these devices but as we will see, there is an overlap
between them. Firstly, Halliday and Hasan identify five main cohesive devices in
English: reference, substitution, ellipsis, conjunction and lexical cohesion.
(Baker, 1992, p.180) Secondly, Ferenk maintain these four types: reference,
ellipsis, conjunction and lexical organization. (Ferenk, 2003, p. 271) Thirdly,
Beaugrande claims that devices such as recurrence, partial recurrence,
parallelism, paraphrase, pro-forms, ellipsis and junction contribute to the
stability of texts. Now, we briefly define these terms.

Reference reflects the relation, which ties the word and what it points to, and
the reader gains the identity of what is being talked about. Reference allows
the reader to trace participants, entities, events, etc. in a text. (Baker, 1992,
p.181). It means that it establishes the chains between words. It is used for
referring back to already mentioned word. Each language has particular items
used for reference. According to Ferenk, reference is realized by nouns,
determiners, pronouns or adverbs as well as by direct or indirect anaphora and
cataphora. He also adds coreference as the case when the relationship

13
between two items in which both refer to the same person or thing and one
stands as a linguistic antecedent of the other. (Ferenk, 2003, p.271).
Beaugrande declared that most items used for reference are used to simplify
or shorten the text and he supports the use of so called pro-forms which are
economical, short words empty of their own particular content, which can stand
in the surface text in place of more determinate, content-activating
expressions. (WWW.Beaugrande.bizland.com). Pro-forms are for example
pronouns or determiners, which are used instead a word which they refer to.
Pro-forms are shorter and hence, they save processing effort by replacing the
longer expressions but if those expressions are hard to locate or determine, the
reader is involved in greater processing effort. (www.beaugrande.bizland.com)

Recurrence, as explained by Beaugrande, is the straightforward repetition of

elements or patterns. (www.beaugrande.bizland.com) It is easily noticeable.
Partial recurrence is realized when we shift already used words to different word
classes. (www.beaugrande.bizland.com) Although recurrence supports the
stability of texts, it can lower the informativity if it is inadequately used, because
of inappropriate use of recurrence, the text may sound strange to the readers.
(www.beaugrande.bizland.com) Therefore, special techniques are often used, in
which forms are repeated with different content, or with different forms. For
instance, in parallelism we repeat the structure by filling it with new items. In
paraphrase, we repeat the content, but with different expressions.
(www.beaugrande.bizland.com)

Now, we explain devices, which show grammatical relations. In substitution,

we replace an item by another item. Here, we commonly use items such as do,
one and the same. (Baker, 1992, p.187). Another cohesive device, which
contributes to cohesion, is ellipsis. Ellipsis is repeating a structure and its
content but omitting some of the surface expressions
(www.beaugrande.bizland.com) Ellipsis is the omission of an item where the
item is replaced by nothing.

Conjunction creates intricate systems of intratextual bonds. (Ferenk,

2003, p.271) It reflects relations among situations, events, and piece of

14
information. According to Beaugrande, at least four major types should be
discussed: (a) Conjunction links things, which have the same status, e.g., both
true in the textual world. (b) Disjunction links things, which have alternative
status, e.g., two things of which only one can be true in the textual world. (c)
Contrajunction links things having the same status but appearing incongruous
or incompatible in the textual world, e.g., a cause and an unanticipated effect.
(d) Subordination links things when the status of one depends on that of the
other, e.g., things true under certain conditions or motives (precondition/event,
cause/ effect, etc.). (www.beaugrande.bizland.com) Each of these four types
has it own items used for relating sentences, clauses, or paragraphs to each
other.

Ferenk claims that lexical cohesion establishes semantic (through lexical

devices, such as repetition, equivalence synonymy, hyponymy, hyperonymy,
paraphrase, collocation) and pragmatic (presupposition) connectedness.
(Ferenk, 2003,p.271). Here, the use and selection of vocabulary is vital in
organizing connections and references within a text and as explained by Baker
we could say then that lexical cohesion covers any instance in which the use of
lexical item recalls the sense of an earlier one. (Baker, 1992, p.203) We briefly
introduced cohesive types, which support the cohesion of a text.

1.3.2 Coherence

The feature of a text, known as coherence, contributes to the stability and

logical organization of the text, too. The text is viewed as senseless when the
coherence is not clear and the continuity of senses is lacking. Dynamic text may
cause a communicative breakdown, because logical organization of a text is not
clear. Ferenk explains that coherence, the sub-surface feature of a text,
concerns the ways in which the meanings within a text (concepts, relations
among them and their relations to the external world) are established and
developed. The relations of coherence are usually logical arrangements but the
topic, meanings and senses of expressions contribute to the meaningful text.
(Ferenk, 2003, p.272)

15
 According to Beaugrande, coherence is seen as the outcome of combining
concepts and relations into a network composed of knowledge spaces centred
around main topics. (www.beaugrande.bizland.com) It means that this network
of concepts makes sense due to the continuity of meanings. This continuity of
senses is essential to coherence, because an absence of it makes the text
nonsensical to the reader. The text is perceived as senseless when there is
a clash between expressed concepts or relations and the readers knowledge of
the world. (www.beaugrande.bizland.com) Consequently, the readers
knowledge is important for coherence, too. It depends on the readers and their
ability to understand the senses from the text and perceive the text as coherent.
In fact, this ability depends on readers knowledge and their background.
Different people have different experiences and knowledge of the world.
Consequently, the same text does not seem coherent to different people. It
depends on many aspects of life, such as knowledge, experience, age,
education, occupation, etc. (Baker, 1992, p.219)
We could perhaps say that texts are neither coherent nor incoherent by
themselves, that whether a text coheres or not depends on the ability of the
readers to make sense of it by relating it to what they already know or to
a familiar world, whether this world is real or fictional. A text, which coheres for
one reader, may therefore not cohere for another. (Baker, 1992, p.221)
We can also think about a question whether coherence is a feature of a text
or a feature of a situation. Linguists have different opinions on this question.
Blum-Kulka explains that coherence is a covert potential meaning relationship
among parts of a text, made overt by the reader or listener through processes of
interpretation. It means that coherence is a property of a text, although it is only
accessible through interpretation. (Baker, 1992, p.221) We can see that this
opinion is supported by the above stated discussion on the importance of
readers knowledge and experience, too. Readers background, intellectual as
well as cultural, is highly important. It determines how much senses get the
readers out of a text. Baker declares that it therefore seems reasonable to
suggest that, regardless of whether meaning is a property of text or situation,
coherence is not a feature of text as such but of the judgement made by
a reader on a text. (Baker, 1992, p.222) The ability of the readers to recognize
the senses is essential to the coherence of a text.

16
Coherence vs. Cohesion

Both cohesion and coherence support the stability of a text and contribute to
the understanding of it. Therefore, they lower an inadequate processing effort.
Now, we compare these two features.
Both properties of a text organize and create a text. As we have already
mentioned, cohesion use the surface relations (lexical and grammatical ties) to
link the words and expressions together. On the contrary, coherence is realized
by conceptual relations and meaning dependencies. The difference is made
clear by Hoeys definition of cohesion and coherence as follows: We will
assume that cohesion is a property of a text and that coherence is a facet of the
readers evaluation of a text. In other words, cohesion is objective, capable in
principle of automatic recognition, while coherence is subjective and
judgements concerning it may vary from reader to reader. (Baker, 1992, p.218)
Here again, the readers knowledge plays an important role in coherence.
Cohesion, defined by Blum-Kulka as an overt relationship holding between
parts of the text, expressed by language specific markers, is directly perceived
and read by the readers. (Lawrence, 2000, p.299) On the other hand,
coherence is viewed as a covert potential meaning relationship among parts of
a text, made overt by the reader or listener through processes of interpretation.
(Lawrence, 2000, p.298, 299) It means that the readers experience and
background is involved and needed for understanding the text. Here we see the
difference between cohesion and coherence.
How much does coherence and cohesion depend upon each other? We
could say that cohesion is the surface expression of coherence relations, that it
is a device for making conceptual relations explicit. Generally speaking, the
mere presence of cohesive markers cannot create a coherent text; cohesive
markers have to reflect conceptual relations which make sense. (Baker, 1992,
p.218) Although Baker claims that the presence of cohesive links is not always
necessary for coherent text, I think that the use and choice of cohesive ties can
support the understanding of a text. Cohesion simplifies the understanding of
concepts and relations and thus it lowers the processing effort needed. On the
other hand, we mentioned that coherence depends on readers knowledge of
the world and so it may be possible that a text seems to the readers coherent

17
although the use of cohesive devices is not sufficient. It depends on readers
ability to make sense of what they read.

1.3.3 Situationality

It is a well-known fact that language is a social phenomenon. It reflects

social relations and symbolizes who we are or where we come from. We also
know that language alters and we have the choice to express things in different
ways. (Ferenk, 2003, p.71). Language varies according to different situations,
in which it is used or according to different speakers. People use various
expressions or dialects according to their region, social status, or occupation.
These and many other factors, such as education, sex, age, etc. strongly
influence language use. We talk differently on various occasions and with
different people. Language is dependent on specific situations or participants.
Now we concentrate on the term situationality and its effect on language.
Many definitions of situationality were introduced. According to Beaugrande,
situationality covers the factors which render a text relevant to a current or
recoverable situation of occurrence. (www.beaugrande.bizland.com) This
understanding of situationality is also supported by Ferenks interpretation of
situationality in which it concerns the problem of making the text relevant to
a situation. (Ferenk, 2003, p.272) In other words, the notion of situationality
includes factors of particular situation, which decide on the use of suitable
language items. Consequently, the use of appropriate language expressions
makes the utterance or text relevant to the concrete situation. The author
should take into a consideration these factors. If language items do not relate to
the situation, it can confuse the readers who are involved in an inadequate
processing effort. The situationality may seem opaque to them. Such text is
classified as dynamic. Now, we will mention some of the factors, which are
essential in making the text appropriate to the situation.
It is clear that many features of language use are directly dependent on the
conditions of the situation, in which certain utterances take place. These
situational conditions determine the use of linguistic expressions. There have
been many attempts to classify these situational factors. Ferenk introduced

18
following list of factors: such as the setting (time, place), the participants and
their mutual relations, the type of connection channel, function, topic (subject
matter) and code. (Ferenk, 2003, p.247, 248).
Crystal and Davy describe the situational factors as dimensions of
situational constraint. Firstly, it is a discourse where they differentiate two kinds:
medium, and participation. The medium refers to the difference between the
speech (as temporal, with some personal contact) and the writing (as
permanent, personal contact absent). These and other differences between
these two notions are well known. If a written text displays some features of a
speech or conversation, e.g. interrupted or unfinished sentences, it may disturb
readers understanding of the text. In participation, they differentiate between
monologue (speech without response) and dialogue (changing participants,
usually two in number). (Crystal, Davy, 1969, p.68, 69)
Secondly, the dimension called province expresses features of language,
which refer to the kind of occupational or professional activity being engaged
in. (Crystal, Davy, 1969, p.71) An example of province can be the language of
science, law, advertisements, etc. Language expressions used in these
provinces are different and the difference helps to identify the province and
suitable language use. (Crystal, Davy, 1969, p.71) Again, if e.g. language of law
is used in advertisements, it is viewed as a defiance of certain rules. Such use
of language items is not suitable in a given context or situation. The readers
may be confused and the text is classified as dynamic.
Thirdly, it is a status, which indicates the social position of the participants.
Crystal and Davy include in the status a whole range of factors related to
contacts between people from different positions on a social scale factors
intuitively associated with such notions as formality, informality, respect,
politeness, deference, intimacy, kinship relations, business relations, and
hierarchic relations in general. (Crystal, Davy, 1969, p.74) According to these
factors, people use different language expressions, phrases, and terms. The
cases, when highly informal style is used in official documents or situations,
which require formal language, are unacceptable. The readers are involved in
great processing effort to understand these deviations of rules.
The fourth dimension is called modality, which includes those linguistic
features, which are associated with a specific purpose of a speech and make

19
the speaker to use particular language expressions. It is also a question of the
suitability of forms to subject matter. (Crystal, Davy, 1969, p.74,75) It means
that it is on the speaker, which appropriate expressions will be use according to
the purpose of the utterance. The user also expresses his/her attitude towards
what is said.
Other linguists offer further situational variables. Mistrk introduced
subjective (authors age, intellect, social background, etc.) and objective (the
setting, audience, topic, etc.) factors. (Ferenk, 2003, p.248) These factors
influence the choice and the use of language items and consequently create
a special style of the speech.
Knittlov presents the discourse and its functions as the most important. She
emphasizes the role of spoken and written form, dialog or monolog, presence or
absence of audience, prepared or spontaneous utterance, etc. (Ferenk, 2003,
p.284). This view resembles Crystal and Davys understanding of the discourse.
Finally, according to Hatim and Mason, situationality is taken to mean the way
text users interact with register variables such as field, mode and tenor. (Hatim,
Mason, 1997, p.20) The field can be viewed as an activity. In this sense, the
speech is a part of another activity and the utterance supports and forms the
activity. On the other hand, the field is defined as a subject matter (e.g. political
talk, etc.). Here, mainly the vocabulary and expressions are influenced by the
topic. Tenor reflects the level of formality and by this refers to the social
relations, status, and roles expressed by a text. Mode covers the channel of
communication. It especially expresses the distinction between spoken and
written form. (Ferenk, 2003, p.280)

In summary, language variations result from the interaction between

language and many factors, which were stated above. Consequently, these
distinctive language features suggest information about the situation, topic, and
people involved in the utterance. People are very often involved in many
different situations and it is a part of their communicative knowledge to
recognize these events and to use appropriate language. If the author breaks
some rules, it may be for stylistic or other purposes. However, he must be
aware of the fact that the readers may not understand it. Dynamic texts are

20
often more interesting for the readers and challenging for the translators, but
communicative failures are more probable than in static texts.

1.3.4 Intentionality and Acceptability

We communicate for specific purposes, and through language, we indicate

our intentions. These intentions convey our speech aims, purposes, and a
motivation for communication. By means of intentions, we emphasize the
function of an utterance. Therefore, intended organization of the text and the
use of expressions help to indicate our intentions. Ferenk claims that
intentionality relates to the intention on the part of a sender to produce
a cohesive/coherent text aimed at attaining an identifiable goal. (Ferenk,
2003, p.272) In other words, the text producers goal is to produce a text, which
is a cohesive/coherent whole (i.e. the work with words, relations, concepts).
Thus, it fulfils the purpose of communication.

Similarly, according to Hatim and Mason, we can look at intentionality from

abstract or concrete point of view. From the point of view of abstraction,
intentionality involves the text producers attitude that the text in hand should
constitute a cohesive and coherent whole. Thus, it is accepted by its readers.
From the other point of view of concretization, intentionality comprises a set of
goals (e.g. to assert, to substantiate, etc.). (Hatim, Mason, 1997, p.19) The
intention of text producer is to create a text as a whole, which serves for fulfilling
concrete aims and goals.

These definitions of intentionality are supported also by Beaugrandes

understanding of this term in which the producer intends the language
configuration under production to be a cohesive and coherent text.
(www.beaugrande.bizland.com) Furthermore, intentionality designates all the
ways in which text producers utilize texts to pursue and fulfil their intentions.
(www.beaugrande.bizland.com) In fact, coherence and cohesion show that the
text fits together and therefore it makes sense. It can happen that the cohesion
is somehow lacking or the coherence is lowered. Consequently, the text is
dynamic and the readers are confused or disturbed. Because of this situation,

21
the readers have problems with the understanding of a text and deriving the
intentions of the author. That is why the coherence and cohesion play an
important role in terms of intentionality. On the other hand, the text may be
cohesive and coherent, but the intentions of the author are not clear. The text
can be classified as dynamic, if the readers have problems to derive the
intentions of the author, although the text make sense and is logically
organized. First, it can be authors intention to involve the readers in an intricate
processing effort and thus increase their interest in hidden intentions and
information contained in the text. Second, it can be authors failure when using
expressions, which do not express his intentions directly and clearly.

Intentions were studied in many disciplines (sociology, psychology,

philosophy) and this subject was seen differently in their fields. Linguistics has
mostly been influenced by the philosophical approach in which philosophers
explored the question of how intentions were associated with the structure and
meaning of utterances. (www.beaugrande.bizland.com) Philosophers indicated
that the author of a text expressed something via a text and he intentionally
produced such an utterance, which affected an audience by recognizing
authors intentions. (www.beaugrande.bizland.com) The intentions of the author
are various and they are emphasized and fulfilled through the language style,
expressions, and planned organization of a text. This planned and intended
utterance has an effect on the readers by means of intentionally performed
actions. According to Searic (www.beaugrande.bizland.com), we can call these
actions speech acts. Further, he differentiates (a) utterance acts as the simple
uttering of words or sentences; (b) prepositional acts as the use of content and
reference; (c) illocutionary acts as conventional activities accomplished by
discourse, e.g. promising, threatening, etc.; and (d) perlocutionary acts as the
achieving of effects on text receivers, e.g. alarming or convincing them. Searic
introduced illocutionary acts, which also perform various intentions and effects
on people. Ferenk briefly describes them as representative or assertive type
(e.g. research reports, public notices, administrative texts, weather forecasts,
diaries, lectures), directive type (e.g. commands, orders, invitations,
instructions, directions, giving advices), expressive type (e.g. apologies, thank-
you notes, greeting, condolences, compliments, toasts, congratulations),

22
commissive type (e.g. promises, pledges, swears, offers, vows, contracts, bets),
declarative or performative type (e.g. nominations, appointments, dismissals,
accussations, marriage ceremonies, testaments, certificates). (Ferenk, 2003,
p.275) It is evident that the style and the organization of an utterance is
influenced by the authors intentions.
From above stated facts, we see that the cohesive/coherent organization and
purposeful usage of words and expressions is important in order to express the
intention of a text.

We have introduced the notion of intentionality and I think it would be

suitable to mention briefly the term acceptability. The author produces a text,
which he wants to be read, i.e. the audience must accept it. According to
Ferenk, acceptability concerns the receivers expectation that the text should
be coherent/cohesive and of some relevance to them. (Ferenk, 2003, p.272)
In other words, the readers perceive the relations supported by the cohesive
links and ties and at the same time, the text makes sense to them. Thus, they
are able to extract information relevant to them. Similarly, Beaugrande explains
that text receivers must accept a language configuration as a cohesive and
coherent text capable of utilization. Further, he identifies acceptability with the
text users ability to derive the intentions from the text, but he explains that then
it must be obvious from the text and its situation of occurrence what those
intentions are. (www.beaugrande.bizland.com) It means that logical
organization of a text and particular style of an utterance make the intentions
clear and consequently support the readers acceptability of a text.

1.3.5 Informativity

Following texts characteristic is important from the point of view of

information density. The author presents particular amount of information in
his/her text. Information density varies according to a content, style, or genre of
a text. Texts fulfil a criterion called informativity. According to Hatim and Mason,
this term reflects the extent to which a text is expected or unexpected, known or
unknown, certain or uncertain. (Hatim, Mason, 1997, p.26) In other words, it
designates how new or unforeseen the text is for the readers. Here, the readers

23
expectations, presumptions, or predictions about the text play an important role
and they control what occurs in a text.

Hatim and Mason further state that we can look at informativity from two
points of view. Firstly, the text, whether expected or not, can display various
degrees of interestingness. Secondly, the text can indicate a particular text type,
genre, or discourse, whether expected or unexpected. (Hatim, Mason, 1997,
p.26) Firstly, in my opinion, the author can intentionally make use of readers
expectations and thus, increases the interest of the reader. The interestingness
of the text grows when the author uses something new or unexpected in the text
and thus stresses particular features of the text, for example, intentionality, or
situationality. Secondly, it means that the text may come to fulfil or defy our
expectations about the text occurences, which are distinctive for particular style
or genre and thus display different degrees of informativity.

Ferenk claims that informativity touches upon the (im)probability or

(un)expectedness of a text in the given situation; in case a text is improbable
(hence unexpected), a motivation search is performed by a receiver. (Ferenk,
2003, p.272) This understanding of informativity concerns the use of suitable
style or genre in concrete situation. It means that the informativity is higher, for
instance, when typically formal style or genre occurs in informal conversation or
chatting. Consequently, the readers must do a motivation search. In other
words, they must find out what these occurrences indicate and why they are
used. If the informativity is high, the text is dynamic and the readers are
involved in unnecessary processing effort.

Now, we should introduce some degrees of informativity. Beaugrande

presents three orders of informativity, which are broad enough to be recognized
by the readers. We divide this degrees into: (a) upper degree, (b) lower degree,
and (c) apparently outside the set altogether. (www.beaugrande.bizland.com)
The author can choose language items from a set of options. If this occurrence
belongs to upper degree of probability, it conveys so-called first-order
informativity. (www.beaugrande.bizland.com) First-order occurrences are so
trivial and easily integrated into a language or setting that they receive very
slight attention. Here belong function words (conjunctions, prepositions, or

24
articles) which express relations among the language items. They are so trivial
and frequently used that they are hardly noticeable in a text.
(www.beaugrande.bizland.com) Content words, on the other hand, express the
content of a message and thus are more informative than function words and
there is a greater set of items to choose from. When occurrences belong to the
upper range of probability, we call it second-order informativity.
(www.beaugrande.bizland.com) The presence of some of the second-order
occurrences is natural and normal case in a text and we can also say that it is in
a demand, because texts purely on the first order are difficult to produce and
extremely uninteresting. (www.beaugrande.bizland.com) Occurrences which at
first appear to be outside the set of more or less probable options convey third-
order informativity. These are comparatively infrequent occurrences which
demand much attention and processing resources, but which are, in return,
more interesting. (www.beaugrande.bizland.com) If the text contains many
items that are unusual, the informativity of the texts is high. This is the case
when the text is categorized as dynamic, because it does not fulfil the readers
expectations about language items, style, or genre. It requires more processing
effort. On the other hand, the text is more interesting.

Further, Beaugrande distinguishes more specialized human expectations

utilized in communication. The first source of readers expectations is called the
real world. It is the socially dominant model of the human situation and its
environment (www.beaugrande.bizland.com) The facts, which the readers
regard as relevant to some situation or event reflect their beliefs and they
influence the communication. The second source of expectations is the
organization of the language, which is used in a text. It means the conventions
for combining the forms. (www.beaugrande.bizland.com) The third source of
expectations arises from the techniques used for ordering sequences according
to the informativity of elements. (www.beaugrande.bizland.com) It is a well-
known fact that highly informative elements appear toward the end of a clause.
In contrast, elements of low informativity appear toward the beginning of
clauses. The fourth source of expectations is a text type, which controls the
range of options, which are utilized. (www.beaugrande.bizland.com). The fifth
source of expectations is the immediate context in which the text occurs and is

25
utilized. Readers expect some kind of occurrences or certain style to be more
dominant and frequent than others according to particular context.
(www.beaugrande.bizland.com) If the readers expectations about the language
organization, text type, or context are not fulfilled, information is unexpected or
new for them. Although such text is more interesting and dynamic, it can
disturbe the readers and lower their acceptance of the text.

To summarize it all, informativity expresses the extent to which the text is

new or unexpected. It uses special controls on the selection and organization of
possible options in texts. We suggested that text producers utilize an indented
flow of expectations in order to fulfil the intentions and intensify the interest of
the readers.

1.3.6 Intertextuality

The final feature of a text, which we will pay attention to, is intertextuality. We
will define this term and try to explain it. Ferenk claims that intertextuality is
concerned with the ways in which uses of texts depend on the knowledge of
other (preceding or following) texts. (Ferenk, 2003, p.272) Similarly,
Beaugrande explains that the term intertextuality comprises the ways in which
the production and reception of a given text depend upon the participants
knowledge of other texts. (www.beaugrande.bizland.com) In other words, from
the point of view of intertextuality, the authors production and the readers
understanding of a given text depend on the knowledge of certain features of
other texts. These features help the readers to recognize a given text according
to their knowledge of previously used texts.

Now, we should mention which features of a text play an important role in

intertextuality and consequently, should be a part of authors and readers
knowledge. Hatim and Mason differentiate two kinds of intertextual reference.
Firstly, they mention so called socio-cultural objects. These are conventionally
recognized as being salient in the life of a given linguistic community, often
reflecting commonly held assumptions. (Hatim, Mason, 1997, p. 18) Second
intertextual reference is called socio-textual practices. Here belong features as
texts, genres, and discourses.

26
 Hatim and Mason further explain that texts involve the language user in
focusing on a given rhetorical purpose (arguing, narrating, etc.) (Hatim, Mason,
1997, p.18). It is important to differentiate a text type, because it indicates
certain purpose of the text. It must be noted that the text type must relate to the
situation and setting, because inadequate use of certain text type in
inappropriate situation can disturb the communication.
(www.beaugrande.bizland.com) Text types are classified according to their
function and influence on participants interaction. We can differentiate, for
instance, descriptive texts, which control objects or situations. These texts
utilize modifiers, attributes, instances, or specifications. Narrative texts, in
contrast, control the organization and ordering of action and events. These texts
display conceptual relations for cause, reason, purpose, and time proximity and
consequently, utilize the subordinators. Next, argumentative texts express the
acceptance or evaluation of certain beliefs and ideas as true, false, positive, or
negative. Conceptual relations such as reason, significance, volition, value, and
opposition support this aim and thus, cohesive devices for emphasis and
insistence are utilized, e.g. recurrence, parallelism, and paraphrase.
(www.beaugrande.bizland.com) We see that the choice of a text type depends
on the function of the text in communication. When a narrative text type is used
where a descriptive text type is expected, it may cause problems in
communication, because the primary function of the text is hidden and denied.
The reader must do a motivation search to understand authors reasons for this
defiance of rules.

Secondly, genres reflect the way in which linguistic expression

conventionally caters for a particular social occasion (the letter to the editor, the
news report, etc.). (Hatim, Mason, 1997, p. 18) Texts of the same type belong
to certain genres. Genres are differentiated according to their typical and
distinctive topic, structure and used language. Ferenk introduced for example,
simple genres: conversations, speeches, poems, reports, letters, essays, or
complex genres: religious service comprising prayers, sermons, psalms, etc.
(Ferenk, 2003, p. 277, 278)

27
 Finally, discourses embody attitudinal expression, with language becoming
by convention the mouthpiece of societal institutions (sexism, feminism,
bureaucratism, etc.) (Hatim, Mason, 1997, p. 18) Members of these societal
institutions use certain language expressions, which indicate their membership
and express their opinions, attitudes, and the purpose of a speech. The
institutional discourse comprises e.g. the language of politics, administration
(bureaucratese as a specific language style containing abstractions, buzzwords,
euphemisms, circumlocutions, etc.), language of mass media, advertising or
journalism (journalese as a style full of adjectives, unusual syntax, clichs,
neologisms, archness, etc.). (Ferenk, 2003, p.288) It is a question of
appropriateness of linguistic forms and expressions to the subject matter, the
situation, and the purpose. It reflects the use of texts, styles, and genres by
certain community.

In summary, intertextuality can be seen as the mechanism which regulates

the way we do things with texts, genres and discourses. (Hatim, Mason, 1997,
p.25) It means that intertextuality is essential in controlling the connection and
the applicability of a text to other texts. It regulates the topics and language use
according to the function of a text.

Conclusion

In this chapter, we discussed certain text features, which are essential for
understanding of a text. If these features are adhered to according to above-
mentioned static type, the reader is involved in optimal processing effort, the
text is understood, and the probability of achieving the communicative goal is
high. In this case, the authors as well as the translators task is not difficult,
because the text is easily produced. On the other hand, if the text is of the
dynamic type, it influences the readers and his/her understanding of the text by
defiance of certain expectations, manipulating the meaning of the words and
use of impressive language, which may cause a communicative breakdown.
Here, the translator faces a challenge in interpretation of the text.

28
1.4 Analysis of a text according to the static-dynamic division

(See appendix 1)

Now, it would be suitable to demonstrate some of these features. Chosen

text is from a typical tourist brochure, because whole work is devoted to this
kind of text. Selected text is an informational brochure for tourists. It informs
them about restaurants in London. It gives information about served meals,
drinks and other services. Its main purpose is not only to inform the readers, but
also to invite and persuade them to come. The text describes restaurants,
served dishes and drinks, and the atmosphere.

From the point of view of cohesion and coherence, the readers can easily
understand the guide and are not involved in difficult processing effort. Several
cohesive means support the cohesion of the guide and, contribute to its
connectedness. From above mentioned cohesive ties, the guide reflects the use
of additive conjunctions, mainly and, or, in addition, which are used in the
enumeration of served meals, drinks and other services, e.g. dishes such as
risottos, fresh pastas and fish dishes; Italian wines, beers and liquers. Further,
the guide uses the recurrence (i.e. straight repetition of an item) in several
examples, e.g. Zinc Bar & Grill, Veeraswamy, wood fired pizzas, Sartoria,
Strada. The recurrence relates back to already mentioned items. The reference
is also used in several cases, e.g. the restaurant, this environment, our drinks,
our guests, all of our dishes. It refers back to a certain restaurant and its
services, and thus establishes the cohesion. The ellipsis also supports the
cohesion, e.g. ...[Strada is] specialising in wood fired pizzas; ... [The loop
is] a livelier environment than...; [Zinc Bar & Grill offers] Simple grills, fresh
seafood. Furthermore, coherence is also clear. The topic, meanings and
relations are logically arranged and thus contribute to logical organization of the
guide. From the point of view of cohesion and coherence, the guide id stable.
From the point of view of situationality, we can analyse several, already
mentioned situational factors, e.g. participants, the channel, the function, the
topic, the status,etc. Information is mediated through a written material to
a possible customers of the restaurants. This written material must adhere to
certain rules of written text, as cohesion, coherence, punctation, etc. In my

29
opinion, they are fulfilled and the giude does not present any violence of the
rules. The guide is written in casual, not very formal or informal manner. The
topics of this guide are restaurants with their services, served dishes, and
drinks. Here, the enumeration of drinks and dishes serves for concrete
illustration (e.g. risottos, fresh pastas and grilled meat and fish dishes; regional
Italian wines, beers and liquers, etc.) The author also comments on the
atmosphere and the interior of the restaurants by describing the seating or style
of the restaurant.(e.g. reflecting the colours and flavours of Italy; as elegant as
a Milan boutique and as glamorous as a catwalk show; stylish and vibrant
setting; unpretentious environment; a relaxed atmosphere, with outdoor
seating;etc.) The purpose is to inform a great variety of audience and thus, the
author uses simple and understandable language. This guide is an offer of
selected restaurants. The author wants to attract the readers attention and
motivate them to come. This is achieved by means of describing the restaurant
s positive aspects and sides.(e.g. using the finest seasonal produce; the
freshest ingredients; serving good quality, simple, freshly prepared;etc.) He
uses a lot of adjectives. The author also tries to persuade the readers to visit
concrete restaurant. He fulfils it by enumeration of dishes, drinks and he
promises to provide the best or complimentary services, e.g. simple grills, fresh
seafood, salads, generous drinks; complimentary filtered water to all our
guests; specialising in wood fired pizzas; etc. We can see that the text
is relevant to the situation and, consequently the readers are not involved in
great processing effort. Situationality, as well as intentionality is obvious, direct
and comprehensible. The intentions of the author and function of the text were
already mentioned when discussing situationality. The text is cohesive and
coherent and, thus easily understood. The intentions, e.g. to offer, invite,
persuade, are clearly expressed. Situationality and intentionality support the
stability of this guide.
We know, that informativity is influenced by probability of certain language
occurrences and by readers expectations. From the point of view of
informativity, the guide comprises mainly language items belonging to the first-
order and second-order of informativity, e.g. articles, conjunctions, prepositions
and content words, which do not require great processing effort. Occurrences,
which demand much attention do not occur. The guide is relevant to the

30
situation, it is not out of context and thus it fulfils readers expectations about
the content of the texts. The organization of language, being the second source
of readers expectations, does not violate any norms. From the point of view of
text type, the guide is of descriptive type. It describes restaurants, their
services, and setting. Consequently, the guide utilizes nouns, adjectives,
instances, or enumerations. The text type indicates the function of the guide,
which is mainly informative with the intention to persuade the readers to come.
Finally, the authors intentions are achieved and supported by informativity,
which is used adequately. Above mentioned facts show that the guide is
predictable and unusual language occurrences are not present.
Intertextuality comprises a set of aspects, as genre, discourse, and text type,
which influence the topic, structure of the language, and choice of language
items. We have already discussed the text type when dealing with informativity.
The guide belongs to simple genres. It is a kind of informational magazine or
pamphlet, called A Guide To Regent Street. It has its distinctive topic, i.e.
presenting the restaurants. The structure and language use arise from the topic
and function of the guide. The author uses simple and comprehensible
language. The utilization of adjectives and descriptions is vital to the guides
purpose. In addition, each description of a restaurant is short, clear, and
understandable. Concerning the discourse, the guide comprises some kind of
advertising language. This is obvious mainly from the commercial function of
the guide, which is to inform, persuade to come and promote the product. As we
have already mentioned, the use of the language items depends on the purpose
of the guide. The author may appeal to the readers interest through the
language and thus he uses adjectives, descriptions, or samples.
The guide A Guide To Regent Street is easily understandable, predictable,
and stable.

31
Conclusion

In summary, we have introduced the theoretical as well as the practical

background to certain texts features. To repeat, these features are essential for
achievening the goals of communication. We have already mentioned that the
reader easily understands the static text, although it may be boring. On the
other hand, the dynamic text is more interesting and challenging that the static
text, but the violence of certain rules may lead to a communicative breakdown.
The choice of language items and the organization of text depend on the
authors intentions and the function of the text.

32
2 STYLISTIC ANALYSIS OF SELECTED NON-LITERARY TEXTS

2.1 General notes on stylistic analysis

Main task of stylistic analysis is to find stylistically significant features. These

features are unique in their occurrence and certain function in particular text.
The translator obtains information contained in a given text through the
analysis. S/he has to analyse the text on several levels, which play an important
role in language organization. The analysis comprises phonetic, morphological,
syntactical, lexical, and stylistic levels. It allows us to classify the features into
certain categories. As we deal with a written form of communication, we would
not analyse the texts from the phonological point of view. We would concentrate
on other levels of analysis, particularly morphological, syntactical, lexical, and
stylistic level. Now, we should briefly explain what we mean by these terms.

Grammatical level this level analyses the internal structure of

sentences, and other units as clauses, words, nouns, etc. and the way
they function in sequences. This stage follows the model of
grammatical analysis introduced by Crystal and Davy (Crystal, Davy,
1969, p.43). They distinguish five components, which will be analysed:
1. Inter-sentence relationships (i.e. sentence-linking devices, such as
an anaphora, the ellipsis, word repetitions, use of concord, etc.);
2. Sentence typology and structure (preferred use of particular type of
sentences, or preferred use of simple or complex sentences, position
of adverbials, etc.)
3. Clause typology and structure (e.g. the proportion of nouns to other
word classes, clause types, realization of individual sentence
elements, order of elements in the clauses, etc.)
4. group typology and structure (e.g. frequency of premodification or
postmodification, use of adverbial intensifiers, etc.)
5. word typology and structure (e.g. root, prefix, suffix, types of word
formation, etc.)

33
 Lexical level - this stage concentrates on analysing the individual
words and language items. Here, we deal with specific lexical items,
their meaning, use, choice, and function in the text. According to
Gaperin (Ferenk, 2003, p. 262, 263), English vocabulary consists of
following layers:
1. Neutral layer - stable level, a core of vocabulary and source for
synonymy, polysemy and non-specific words;
2. Literary layer, which consists of a) common literary words and b)
special literary words (including terms, learned words, poetic words,
archaic words, foreign words, etc.);
3. Colloquial layer, which contains a) common colloquial words and b)
special colloquial words (including slang, professional words, dialectal
words, vulgar words, etc.

Stylistic level this stage deals with some additional or specific kind
of information, which may be revealed. Various stylistic devices, and
means have a special effect on the readers. We will pay attention to
stylistically marked units (e.g. special terms or constructions), which
contain some stylistic information. These units can be subjective (e.g.
authors way of expressing opinions, his temperament, or benevolent
or critical attitude to discussed topics) or objective (e.g. level of
formality, presence or absence of receivers, or certain features arising
from the difference between monologue and dialogue, or writing and
speech).

This chapter deals with the stylistic analysis of selected texts. The stylistic
analysis in this chapter follows the above-mentioned levels. The selected texts
for analysis are provided in the appendixes 2, 3, 4.

34
2.2 The subject of analysis

The texts chosen for the analysis are from three different tourist brochures,
A Guide To Regent Street, The Complete Guide To Newcastle, and In and
Around Covent Garden. The brochures consist of different number of short
paragraphs. They describe restaurants. Selected texts from A Guide to Regent
Street consist of nine paragraphs, A Complete Guide To Newcastle of twelve
descriptions of restaurants, and In and Around Covent Garden of twenty
paragraphs.

These guides have some features in common. Main purpose is to inform the
readers. The guides convey the commercial function, which is to inform,
persuade to come and to promote the product. The authors want to attract the
readers attention, motivate them to come. Main intentions of the authors are: to
offer the readers great variety of restaurants, invite them and persuade to visit
concrete restaurant by emphasizing good quality or special services. The
authors appeal to the readers interests through language means, and thus they
use adjectives, descriptions, or samples of services, food, or drinks. In addition,
the authors comment on the interior and atmosphere of the restaurants by
describing the seating or style of the restaurant. These features will be
discussed later.

From the point of view of layout and graphics, these three guides are
different. The best graphic and visual means are utilized in A Guide To Regent
Street. The part devoted to restaurants is called Eating In Regent Street. The
first page uses bold print letters, pictures, and an eye-catching headline:
Regent Street Where Time Is Always Well Spent. These graphic means support
the visual perception, and thus invoke the interest of the readers. In addition,
the attractivity of concrete restaurants is supported by pictures of restaurants
setting or served food. Furthermore, each text starts with a restaurants logo,
which has its distinctive design. It conveys the name of the restaurant, and at
the same time, it serves as additional visual support. The graphic organization

35
of this guide is intended and well prepared. In fact, these visuals means may
strongly influence the readers.
The guide In And Around Covent Garden divides the restaurants according
the prices of served food (e.g. three courses for 15 , etc.). The part dedicated
to restaurants, called Totally Covent Garden Restaurant Promotion, uses bolt
print letters for the names of the restaurants. There is not so strongly expressed
additional visual intention, as in the first guide. Although this guide provides the
readers with small pictures of concrete restaurant or the setting, it is not so
impressive and eye-catching as the first guide. In short, the graphics is not so
well prepared as in the first case, but it may fulfil the intention of the author to
attract the readers.
Concerning the visual means, the last guide The Complete Guide To
Newcastle is very poor. Although it uses bolt letters, it does not provide any
additional visual means. It is an enumeration of restaurants accompanied with
their addresses and short characterization of these restaurants. Here, the
intention of the author is not supported by any special graphic or visual means.
On the other hand, the intentions of the author are supported by other means,
which we will analyse later.
Now, we will analyse selected texts according to above-mentioned levels of
analysis. Selected texts are: A Guide To Regent Street (appendix 2)
In And Around Covent Garden (appendix 3)
The Complete Guide To Newcastle (appendix 4)

36
2.3 Stylistic analysis of selected non-literary texts (See appendixes 2, 3, 4)

2.3.1 Grammatical level

1. Inter-sentence relationships

These guides have some features in commom, i.e. conjunctions, the

concord, the reference. The authors utilize several linking devices to make
these guides clear. Conjunctions are used for clause linking. Additive
conjunctions, used in enumeration of food, drinks and other services prevail in
all three guides, e.g. and, or, in addition.
The concord supports the sentence linking in all three guides, too. The
concord of number between the subject and verb, e.g. prices are, dishes are
(plur+plur), the atmosphere is, and the food is (sing+sing), the restaurant, bar
and rooms are (plur + plur); and the concord of person between the subject and
verb, e.g. it seems, the eating tends, veggie serves, Caf de Amis is; offer is; II
Pomodorino is; Veeraswamy is; are utilized in all texts.
The reference is widely used in all three guides to refer back to already
mentioned items. It exploits high use of definite articles. Demonstratives this or
that are more often used in In And Around Covent Garden than in other guides,
e.g. this French restaurant; this Chinatown eatery; this offer; the menu; this low
price; the restaurant, this environment, the food, the atmosphere, this place, etc.
Texts from In And Around Covent Garden are rich in vocabulary and here
lexical cohesion is employed, too. We can find synonyms for the word
restaurant, e.g. brasserie, eatery. Synonyms for the word food, e.g. dish, meal,
dinner, are also used. We can also find example of hyponyms, where words as
starter, main, sweet, dessert, dinner are hyponyms to word course.
An example of asyndeton is present in In And Around Covent Garden: Ask
the waiting staff for their recommendation from the special menu, these guys
know what theyre talking about, let them do the work.

37
 Selected guides differ in some features, namely pronouns and the ellipsis.
Texts from A Guide To Regent Street make use of possessive pronouns, mainly
our, which ocurr several times, e.g. all of our dishes, our staff, to all of our
quests, our wood fired pizza, etc. Other pronouns are sparingly used in this
guide.
On the other hand, texts from In And Around Covent Garden utilize different
pronouns. This brochure is full of pronouns you, it, your, e.g. your lunchtime, it
will be busy, your 15, you wont go far, etc.
Contrary to other guides, The Complete Guide To Newcastle utilizes mainly
first person pronoun I, e.g. so Im told; personally I find the food...; etc. This
arises from the subjective type of text. Other pronouns are really sparingly used,
e.g. pronoun you only in three cases. These examples illustrate different use of
pronouns. In A Guide To Regent Street the author focuses the readers
attention on the restaurant and its services. On the other hand, direct contact
with the readers is established in In And Around Covent Garden. The author
directly adresses the readers through personal or possessive pronouns. From
the point of view of pronouns, the guide The Complete Guide To Newcastle is
the most unpredictable. The readers would not probably expect first pronoun
pronoun in this kind of tourist brochure. Here, the author focuses the attention
on himself, his opinion and exprerience.

Another feature, which is present in all three guides, is the ellipsis. The
ellipsis is predominately used in In And Around Covent Garden and The
Complete Guide To Newcastle. It is used to avoid repetition of certain items,
e.g.... [The loop is] a livelier environment than...; [Zinc Bar & Grill offers] Simple
grills, fresh seafood, ...; Thats your lunchtime or [thats your] pre/post theatre
food plans sorted; If you like Indian food and [you] haven` t discovered Mela;
The food is excellent, the atmosphere [is] conducive and the staff [is] friendly
and unobtrusive, etc. Moreover, sentence fragments, where the author usually
omits subject and predicate are often utilized in texts from In And Around
Covent Garden and The Complete Guide To Newcastle, e.g. Simple. Good
honest food, no messing about, no pretentions. Good value, healthy eating.
Something different! Always a good meal, Out of my league!, etc. Compared to
A Guide To Regent Street, the ellipsis and sentence fragments are very often

38
used in In And Around Covent Garden and The Complete Guide To Newcastle.
It makes the guides more dynamic than A Guide To Regent Street. Moreover, it
attracts the readers attention on certain items. Above-mentioned identical as
well as different features of these three guides suggest that A Guide To Regent
Street is the most stable and predictable guide.
From the point of view of cohesion and coherence, these guides are easily
understandable. Above-mentioned linking devices contribute to the stability of
the guides and the readers are not involved in an inadequate processing effort.
Moreover, cohesion and coherence are important in intentionality. The authors
intentionally organize the brochures in a way that they are understandable and
make sense to the readers. It is their intention to produce brochures, which
make sense.

2. Sentence typology and structure

The guides comprise namely simple, complex, and compound sentences.

The sentences are evidently long and elaborated. We can observe the
dominance of declarative sentences, which are widely used in the guides as
they state information and facts, but there are some differences among the
guides in the sentence type.
Besides declarative sentences, A Guide To Regent Street comprises, e.g. a
request Please see coupon at the back of the Guide for an exclusive meal offer.
or an offer ...choose from a superb Italian menu....
On the other hand, we can observe also some questions in In And Around
Covent Garden, e.g. Fancy a Chinese? or Could it get any better? This guide is
full of imperatives, which express an offer or request, e.g. Take in the Piazza
atmosphere, Choose a starter, a main and a dessert, etc.
There are no questions or imperative sentences in The Complete Guide To
Newcastle, but there are other differences. It is important to mention that
several sentences or sentence fragments end with an exclamation mark, e.g.
Something different! Out of my league!, etc. This feature really fouses the
readers attention on the sentence, because it is unusual in this type of text. It
forces the readers to think of the authors reasons and intentions. Several
sentences are interrupted by a dash, e.g. Always a good meal though some

39
feel that it is a little over priced. An excellent restaurant the food is very good
and the prices are very reasonable, etc. The author uses this element to
introduce his opinion or evaluation. From the point of view of sentence type, A
Guide To Regent Street is the most stable and predictable text. There does not
occur any unusual features. Imperative sentences in In And Around Covent
Garden are frequent, but offers and requests expressesed in these imperative
sentences are usual in this kind of text. They positively influence the readers
and make an appeal on them. On the other hand, The Complete Guide To
Newcastle is unsual. It comprises many sentences interrupted by a dash or
sentences ending with an exclamation mark. Here, the author expresses his
opinion, which is usually critical or ironical. This feature is unexpected in this
kind of text. It makes the guide unpredictable and dynamic. We do not think that
these features, used in The Complete Guide To Newcastle can cause a
communicative breakdown, but the readers may be very surprised to find such
sentences in this kind of tourist brochures.

Expressing modality is also an important feature. We know that modality is

used for expressing speakers attitude or subjective evaluation of stated facts.
Modality can be expressed by modal verbs, e.g. can, may, should, will, or
advers, e.g. perhaps, possibly. (Mikov, 2003, p.59) The guides differ in
expressing the modality. First, in A Guide To Regent Street, the modality is
expressed only in two sentences by verb will, i.e. suggesting the certainty, e.g.
welcoming environment will quarantee that you will enjoy this classic British
dish; will take your taste buds on a journey of a lifetime.
Second, the modality in In And Around Covent Garden is expressed mainly
by verb will, which suggest predictions, e.g. you wont go far wrong with this
offer, Your first visit will not be your last. menu will tempt discerning diners,
etc. In addition, the modality is expressed by modal verbs in sentences, e.g.
This could be the pick of the bunch; the comfy surroundings may tempt
you.
Contrary to A Guide To Regent Street and In And Around Covent Garden,
the modality, in The Complete Guide To Newcastle, is expressed by means of
several adverbs expressing degrees of certainity, e.g. probably, definitely,
absolutely. We can see that in A Guide To Regent Street and In And Around

40
Covent Garden verb will prevail in expressing the modality. From this point of
view, A Guide To Regent Street is the most predictable and stable guide. On the
other hand, The Complete Guide To Newcastle is different. The modality is
expressed mainly by adverbs. The subjective tone of the guide contributes to
expressing the modality, too. This makes the guide unpredictable and dynamic.
The readers do not expect that the author expresses his opionion and
experience in this type of text.
Concerning situationality, there is an important factor, i.e. the channel
through which information is mediated. In this case it is a written material, which
must fulfil certain rules of written text, e.g. cohesion, coherence, punctation,
clear sentences. These guides do not violate any rules of written texts, although
there are many sentences interrupted by a dash in The Complete Guide To
Newcastle, which are unpredictable. However, this factor does not influence the
understanding of the guide. Further, the authors took in consideration also their
audience, i.e. participants of this communication, and the primary function of
these guides, i.e. to inform about the restaurants. Therefore, they use simple,
understandable language and clear organization of the guides. From above
mentioned points, the situationality is comprehensible and clear.

3. Clause typology and structure

Simple, compound, and complex sentences occur in the guides. They are
usually of SPOA, SPC or SPO type. The difference is in the type of dependent
clauses.
The non-finite dependent clauses are of two types in A Guide To Regent Street:
1. -ing participle without subject, e.g. Serving only the freshest fish...; and 2. ed
particle without subject, e.g. Established in 1926....
The dependent clauses are of various types in In And Around Covent Garden,
e.g. ing or ed participle non-finite clauses or dependent clauses introduced by
simple subordinators, e.g. once, where or if-clauses, which occur quite often
(e.g. Once youve eaten; If you like Italian food, etc.).
Simple subordinators (e.g. although, though, when, where) predominately
introduce dependent clauses in The Complete Guide To Newcastle, e.g.
although you may have to wait.

41
 The guides differ in subjects realization, too. In A Guide To Regent Street,
subjects are predominately realized by complex noun head (e.g. our friendly
staff and welcoming environment) or by the name of the restaurant. Complex
noun head (e.g. A specially-prepared menu) and personal pronouns you as
subjects prevail in In and Around Covent Garden. On the other hand, subjects in
The Complete Guide To Newcastle are often realized by simple noun (e.g. the
food, the atmosphere), personal pronouns of various types (you, they, it, I) or
are very often omitted due to frequent ellipsis or sentence fragments.
Lexical and copula verb be prevail in A Guide To Regent Street and In And
Around Covent Garden. The situation is slightly different in The Complete Guide
To Newcastle. Here, due to the frequent SPC sentence type, copula verb be is
widely used. Important difference among these guides is that the predicates, in
The Complete Guide To Newcastle, are often omitted due to the ellipsis and
sentence fragments.
Noun head or complex noun head as an object prevail in all three guides,
e.g. an outstanding selection of Italian wines; three courses of aspirational bar
food with your beer; nice friendly atmosphere.
Similarly, noun head or complex noun head predominately realize subject
complements in all three guides, e.g. the oldest Indian restaurant; one of my
favourite Newcastle restaurants; more of a caf than a restaurant. Moreover,
adjectives often act as complements in The Complete Guide To Newcastle, e.g.
excellent; friendly; homely.
The function of adverbials is chiefly realized by prepositional phrases in
these guides, e.g. in a contemporary, stylish and vibrant setting; to the heart of
the West End; into this charming, authentic French restaurant; in the north of
England; at the end of the evening. The position of adverbials is mainly final.

Another interesting point is the proportion of pronouns as apposed to

nominal groups. These guides comprise many personal, possessive and
demonstrative pronouns, but almost all of them are a part of a nominal group.
We are interested in cases where an individual pronoun acts as a sentence
element, e.g. subject or object. From above analysis, we know that particular
sentence elements, as subject, object, complements or adverbials are mainly
realized by nominal groups.

42
 Following illustration shows this difference:

Amount of Amount of nominal

pronouns groups
A Guide To Regent Street 0,6% 8,11%
In And Around Covent Garden 2,3% 8,46%
The Complete Guide To 2,3% 9,18%
Newcastle

Table 1. The proportion of pronouns as apposed to nominal groups

We see that the amount of nominal groups is much higher than the amount
of pronouns acting as individual sentence elements in all three guides. This is
due to the intention of the author. Although he addresses readers in some
cases, his primary intention is to present and describe the restaurants, served
food and drinks, or the interior and atmosphere in the restaurant. Thus, he uses
more nouns. These guides are of descriptive type. The amount of nominal
groups in all three guides is approximately the same. They differ in the amount
of pronouns. It is clear that the amount of pronouns is lower in A Guide To
Regent Street as opposed to In And Around Covent Garden and The Complete
Guide To Newcastle. A Guide To Regent Street is oriented on the restaurants
and their services. It uses pronouns we and our, which are used sparingly. On
the other hand, In And Around Covent Garden focuses more directly and more
often on the readers by using second person pronouns. Finally, The Complete
Guide To Newcastle often focuses on the author. This is unusual.

We claim that these guides are all of descriptive character. This is supported
by following evidence, in which we observe that the frequency of nouns is much
higher than the frequency of verbs. The evidence is illustrated in following table:

43
 Amount of nouns Amount of verbs
A Guide To Regent Street 25,2% 4,6%
In And Around Covent Garden 21,7% 9,9%
The Complete Guide To 16,4% 8,11%
Newcastle

Table 2. The proportion of nouns as opposed to verbs

The amount of nouns is higher than the amount of verbs in all these guides.
Generally, it means that these guides are static, because nominal style prevails
over verbal style.
The highest amount of nouns is in A Guide To Regent Street, because the
ellipsis is used only in few cases. Nominal style abouns in nouns and thus is
mainly static. The lexis of this style uses nouns (nominal lexis), denoting
persons, animals, objects, materials, etc. (Mikov, 2003, p.53). From the
point of view of nominal lexis, A Guide To Regent Street is the most static from
these guides, because the amount of nouns is very high and the amount of
verbs is very low.
As we can observe, the lowest number of nouns is in The Complete Guide
To Newcastle. This is due to the ellipsis and sentence fragments, in which the
subjects are omitted. Another reason for this difference is the fact that objects
and subject complements are very often realized by adjectives.
Verbal style abounds in verbs and is very dynamic. (Mikov, 2003, p.53)
From the point of view of verbal lexis, In And Around Covent Garden is the most
dynamic, because the amount of verbs is the highest. In spite of the fact that
ellipsis and sentence fragments, in which verbs are omitted, are often used in A
Complete Guide To Newcastle, the guide still relies on verbal lexis and thus is
dynamic.
The topics of these brochures are restaurants, their setting, the atmosphere,
services, served foods and drinks. The enumeration of dishes, drinks, and the
description of setting serve for illustration. From this point of view, the guides
are relevant to the situation. Situationality is obvious. Moreover, from the point
of view of informativity, readers expectations about the content of the
messages and descriptive character of these guides are fulfilled, too. Above-

44
mentioned facts suggest that the guides are understandable and do not require
intricate processing effort.

4. Group typology and structure

Generally, complex as well as simple sentences are long, elaborated and

developed. This is due to the complex nominal or prepositional groups, which
will be analyses at this stage. The premodification prevail in all three guides.
Subjects in A Guide To Regent Street, In And Around Covent Garden and
The Complete Guide To Newcastle are mainly premodified. The premodification
is usually determiner+adjective+head noun (the traditional zincbars; our drinks
list; the comfy surroundings; this delightful restaurant), adjective+head noun
(welcoming envirinment; fantastic new sharing plates; professional cocktail
bartenders), or determiner+head noun (e.g. the food; the atmosphere; the
service; the staff). Subjects are often omitted in The Complete Guide To
Newcastle.
Objects are also interesting from the point of view of premodification. There
is the highest use of adjectives used in premodification. Objects, in the guides,
mainly use these premodifications, e.g. adjective+adjective+head noun (refined
Indian cooking; friendly unpretentious environment; complimentary filtred water;
long leisurely nights), determiner+adjective+head noun (an outstanding
selection; the ultimate party atmosphere; a good meal; a friendly atmosphere; a
considerable time), adjective+head noun (discerning diners; evening meal).
From the point of view of premodification, complements are also very
interesting. The head nouns of complements in A Guide To Regent Street and
The Complete Guide To Newcastle are premodified by two or more adjectives
(newly opened Italian restaurant; the oldest Italian restaurant; modern Italian
restaurant; an excellent little restaurant; one of my favourite Newcastle
restaurants). Many adjectives are utilized in complements also in The Complete
Guide To Newcastle, e.g. unadventurous and dull; very good; excellent; friendly
and unobtrusive; nice and fresh; prompt, etc.
Adverbials in all three guides mostly function as adverbials of place. They
consist of preposition+nominal group, where the noun in the nominal group
is premodified by determiners and adjectives, e.g. in a contemporary, stylish

45
and vibrant setting; into this well-known French style brasserie; into this
charming, authentic French restaurant; at this comfortable restaurant; in a
standard vegetarian manner; etc.
We know that readers expectations and probability of certain language
occurrences influence the informativity. From this point of view, the language
items belong to the first-order and second-order of informativity, i.e. articles,
conjunctions, prepositions, which support the relations, and content words,
which convey the information. It fulfils the readers expectations about the
content and the occurrence of these items, which have the tendency to occur
very often. Moreover, they are so trivial that they do not require great
processing effort.

5. Word typology and structure

We can see that the guides are full of nouns and adjectives. It reflects the
descriptive character of the texts. High frequency of nouns and adjectives
contributes to information density of the guides. It informs the readers about the
products and their quality. Nouns and adjectives serve this aim. Many
derivational suffixes are used to form new words. These guides differ in
derivational suffixes, which are used.

In A Guide To Regent Street, these suffixes are widely used: ly (friendly;

newly; freshly; authentically; carefully; leisurely); ed (established; refined;
prepared; filtered; grilled; opened; relaxed; mixed); and suffix ing is the most
applied one. It is used in 15 words to form new nouns and adjectives, which are
used in the description of restaurants. In all cases the suffix ing is added to a
verbal base, e.g. welcoming; inviting; outstanding; cooking; tailoring; cooking;
dining; sharing; eating; chatting; dancing; seating; booking; gatherings; thriving.
Other suffixes, such as -ion (sophistication; perfection), -ous (glamorous;
luxurious), -ic (fantastic), -able (available), al (seasonal; regional; professional;
traditional) are sparingly used. This guide is rich in suffixes.
In In And Around Covent Garden, adjectives or adverbs are formed by
suffixes: ly (specially; classically), -ing (charming; discerning, etc.), -ful
(delightful; beautiful), -al (aspirational; promotional; etc.). In this guide, suffix

46
ed is mostly used (i.e. in 7 words): chilled; crafted; skilled; leisured;
accomplished; themed; renowned.
As the guides are full of qualifying lexis, new adjectives and adverbs are
formed also in The Complete Guide To Newcastle by these suffixes: ing:
visiting; giving; embarrassing; -ed: prepared; served; priced; able:
considerable; available; reasonable; -ous: pretentious; adventurous; salubrious.
The suffix ly is used in 14 words, so it is the most utilized suffix, e.g. friendly;
lovely; generally; consequently; absolutely; exactly; homely; daily; specially;
ridiculously; ethnically; definitely; reasonably; probably. From the point of view
of amount and variety of applied suffixes, In And Around Covent Garden is less
interesting. On the other hand, A Guide To Regent Street and The Complete
Guide To Newcastle are the most interesting. Generally, in these guides,
suffixes ing and ly are predominately utilized. Consequently, the vocabulary is
more impressive and it influences the readers.

Prefixes are used only in few cases, e.g. unpretentious (A Guide To Regent
Street), unusual, unobtrusive (The Complete Guide To Newcastle).
Comparative and superlative forms of adjectives are used in all three guides.
It is widely used in tourist texts, mainly for highlighting and stressing the quality
of food, or other services, e.g. a livelier environment; more adventurous; the
freshest ingredients; the oldest Indian restaurant; the finest seasonal produce;
the best things; the best value; the most expensive; the best restaurant.

Compounding is another way of forming new words. In A Guide To Regent

Street, only few compounds are found. On the other hand, texts in In And
Around Covent Garden exploit compounds more often and are rich in
compounds. Compounds acting as adjectives prevail in these guides, mainly in
In And Around Covent Garden, e.g. homemade chips; well-earned drink; high-
class entertainment; top-quality food; specially-prepared menu; well-known
brasserie; award-winning menu; three-courses menu; ground-floor venue.
There are only few compounds acting as nouns: dancefloor; bar-restaurant;
twentysomethings; lunchtime. Further, we can observe the word class of
individual items. Compounds consisting of noun+noun, e.g. lunchtime; bar-
restaurant; ground-floor; three-courses; and adv+adj, e.g. well-earned;

47
specially-prepared; well-known; prevail in the guides. Another important feature
to mention is that almost all compounds are connected by a hyphen, e.g. well-
earned; high-class; top-quality; specially-prepared; well-known; award-winning;
bar-restaurant; three-courses; early-evenings; ground-floor. Only four
compounds are formed without any connecting element, e.g. homemade;
dancefloor; twentysomethings; lunchtime.
These guides differ in the amount of applied derivational suffixes. The guide
In And Around Covent Garden is longer than the other two guides, but the
amount of adjectives and nouns, which are formed by derivational suffixes is
lower than in A Guide To Regent Street and The Complete Guide To
Newcastle. A Guide To Regent Street and The Complete Guide To Newcastle
are shorter than In And Around Covent Garden, but are evidently richer and
more varied in vocabulary, which is formed by derivational suffixes, than In And
Around Covent Garden.
The tourist brochures differ in the amount of applied compounds, too. Here, the
situation is different. In And Around Covent Garden is full of compounds, while
in A Guide To Regent Street and The Complete Guide To Newcastle only few
compound occured.
From the point of view of vocabulary and word typology, the guides are very
interesting. It is the authors aim to make these guides impressive through the
vocabulary, which can influence the readers.

2.3.2 Lexical level

48
 Classifying the lexis, these guides use mainly nominal lexis, i.e. nouns for
denoting objects, and qualifying lexis, i.e. adjectives for modifying nouns and
verbs. Nominal and qualifying lexis prevails over the verbal lexis due to the
descriptive character of the texts. Following table illustrates the evidence:

Amount of Amount of Amount of

nouns adjectives verbs
A Guide To Regent Street 25,2% 17,1% 4,6%
In And Around Covent 21,7% 13,9% 9,9%
Garden
The Complete Guide To 16,4% 17,3% 8,1%
Newcastle

Table 3. The amount of adjectives, nouns, and verbs

As we can see, the guides have one feature in common, i.e. the amount of
nouns and adjectives together (nouns+adjectives) highly prevails over the
amount of verbs. This fact is mostly evident in A Guide To Regent Street, where
the difference is very high. Following table illustrates the difference:

A: nouns+adjectives B: verbs A-B

A Guide To Regent Street 42,3% 4,6% 37,7%
In And Around Covent Garden 35,6% 9,9% 25,7%
The Complete Guide To 33,7% 8,1% 25,6%
Newcastle

Table 4. Nominal and qualifying lexis vs. verbal lexis

We observe that A Guide To Regent Street uses fewer verbs than other two
guides do. We see that it relies on nominal and qualifiyng lexis and this makes
the guide more static than other two guides. The table shows that the difference
between In And Around Covent Garden and The Complete Guide To Newcastle
is approximately the same. As we have already mentioned before, the guides
are static, because nominal and qualifying lexis prevail over verbal lexis.

49
 The guides rely mostly on adjectives, nouns and their effect on the readers.
These nouns and adjectives are commonly used in such an environment as
restaurants, e.g. a dish; a meal; a drink; a bar; a special offer; welcoming
environment; top-quality food; etc.

Adjectives as well as nouns belong predominately to the neutral layer of

vocabulary, but some exceptions occur, in In And Around Covent Garden, e.g.
informal nouns: eatery; guy; tenner; quid; corker; carnivores; informal
adjectives: trendy; comfy; and formal adjective: discerning. Verbal lexis also
utilizes some informal verbs, e.g. talk about; tuck into; and many phrasal verbs,
e.g. go far; take up; take in; miss out; stumble across; look forward; throw in.
The vocabulary in The Complete Guide To Newcastle is predominately neutral,
although there are few exceptions, e.g. veggie (informal noun); fare (slightly old-
fashioned noun); salubrious (formal adjective); detract from (phrasal verb). On
the other hand, only one exception occurred in A Guide To Regent Street, and
that is a phrasal verb make for.
All three guides comprise some comparative and superlative forms of
adjectives used to stress the best quality of products, e.g. a livelier
environment; more adventurous; the freshest ingredients; the oldest Indian
restaurant; the finest seasonal produce; the best things; the best value; the
most expensive; the best restaurant.

As we have mentioned several times, the frequency of adjectives is high

and they play an important role in these guides. The adjectives are both neutral
(friendly; relaxed; welcoming; etc.) and emotionally loaded (e.g. outstanding;
exclusive; glamorous; excellent; luxurious; specially-prepared; award-winning;
superb). Generally, nouns and adjectives in these texts do not bear any
additional meaning. However, the combination of these words provides
emotional appeal on the readers. The authors describe the atmosphere and
interior of the restaurants, positive sides of visiting concreate restaurants,
enumerate served special food and drinks. They want to motive the readers to
come, e.g. as elegant as a Milan boutique and as glamorous as a catwalk
show; luxurious booths; very popular pizzeria; reasonably priced and well
presented food; stylish and vibrant setting.

50
 There are phrases, which have clear positive connotations and thus
positively influence the readers. This serves the authors intention to influence
the readers and persuade them to come, e.g. welcoming environment;
exclusive meal offer; an outstanding selection of Italian wines; relaxed
atmosphere; top-quality French food; specially-prepared menu; the finest
ingredients; the skilled chef; great food; great value and a free drink; comfy
surroundings; excellent value for money; comfortable restaurant.
In addition, there are phrases, which have strong emotional meaning.
Consequently, they affect readers feelings, perception, and tastes. The authors
try to persuade them to visit the restaurant, e.g., superb Italian menu; well-
earned drink; the ultimate party atmosphere; small intimate gatherings; the
elegant composure of Californian cuisine meets traditional Mediterranean
intensity; courses of aspirational bar food; accomplished bar menu; friendly
welcome; an excellent little restaurant; the best restaurant; unusual range of
authentic dishes.
The Complete Guide To Newcastle comprises some words or phrases,
which the readers may find unusual or strange in this kind of text, e.g.
conductive atmosphere; pretentious surroundings; salubrious food; unobtrusive
staff; ostentatious restaurant; ridiculously so!; ooh!...meeow!; out of my league!

To sum up, we can observe that A Guide To Regent Street is stable and
predictable, because it contains only neutral vocabulary. It does not contain
informal vocabulary or unpredictable words. On the other hand, The Complete
Guide To Newcastle is the most unpredictable. It contains contracted forms and
informal vocabulary, which suggests informal style. Moreover, it contains
unusual words and expressions, which make the guide dynamic. All three
guides are vivid and rich in vocabulary. It is obvious, that the authors
intentionally used expressions, which influence the readers. From the point of
view of intentionality, these word combinations and phrases really serve authors
intentions to inform, invite, and persuade to come. Intentionality is clear in
these guides.

2.3.3 Stylistic level

51
 Expressive means and stylistic devices serve the authors aim to attract the
readers and persuade them to visit particular restaurants. The authors use
several means and devices to fulfil their intentions and to reach their
communicative goal.

An important factor is the contact with possible customers. These guides

differ in addressing the readers. The author does not use second personal
pronouns to establish the contact directly in A Guide To Regent Street. On the
other hand, he uses possessive pronouns (our) or first person plural (we), e.g.
our friendly staff; our dishes are authentically cooked; our drinks list; our wood
fired pizzas; to all our quests; we have; we offer. It serves the interpersonal
function, helps to aim readers attention on concrete restaurant and its special
qualities. This influences the readers.
The author addresses his audience directly and he establishes personal
contact in In And Around Covent Garden. It is clear that it is his intention. This is
achieved by frequent use of personal pronoun you, e.g. you wont go far; if you
like; youll love; may tempt you; etc. The author uses also possessive pronoun
your to address the readers, e.g. your lunchtime; your choice; your fancy; your
visit; your friends, etc. Furthermore, the imperative sentences also contribute to
the personal contact with the readers, e.g. Take in the Piazza atmosphere;
Choose a starter, a main and a dessert; etc.
The author directly addresses the readers using personal and possessive
pronouns in The Complete Guide To Newcastle, e.g. you can bring; you may
have to wait for; when you go through; your party. Moreover, the author very
often focuses on himself and his opinion using the first person pronoun and
possessives, e.g. one of my favourite; personally I find the food; its an ambition
of mine to eat there; Ive always found a friendly welcome. In my opinion, the
authors subjective evaluation suggests his personal involvement in discussed
topic. Use of first person pronoun and authors involvement is unpredictable
and unexpected in this kind of text. This makes the guide dynamic and very
different. On the other hand, A Guide To Regent Street and In And Around
Covent Garden do not present any elements of authors evaluation. The
authors do not express their attitude. From this point of view, the guides are
stable. They describe the restaurants in as positive light as possible. In The

52
Complete Guide To Newcastle, the author expresses his opinion, which is not
always positive. It is a typical feature of this guide that the author uses ironical
tone when expressing his opinion.

From the point of view of situationality, the authors took into a consideration
one of situational constraints, i.e. the participants and their status. The status
indicates the social position of people. One of the language means, which can
indicate the social status of people and relation among the participants, is the
level of formality of an utterance. In A Guide To Regent Street, no contracted
forms, and no highly formal or informal words are used. The style is neutral.
Probably, the author wants to address a great variety of people.
The situation is different in In And Around Covent Garden. Probably, the
author wants to address younger people or people from middle class. The style
of this guide is informal. This is achieved by use of contracted forms, e.g. you
wont go far; you wont need; thats your lunchtime; youve eaten; youll get; etc.
Moreover, the informal vocabulary supports the informality of the texts, e.g.
trendy; comfy; eatery; guy; tenner; quid; talk about; tuck into; and phrasal verbs,
e.g. go far; take up; take in; miss out; stumble across; look forward; throw in.
Although the vocabulary in The Complete Guide To Newcastle predominately
belongs to neutral layer, the style is informal. This is supported by use of certain
vocabulary, e.g. wait for; detract from; veggie; fare; and by contracted forms,
e.g. Im; its; Ive. In And Around Covent Garden is the most informal guide and
A Guide To Regent Street is neutral guide.

Another stylistically important feature is the ellipsis. It is widely used in In

And Around Covent Garden and The Complete Guide To Newcastle. The
authors use the ellipsis for two reasons. First, they want to avoid repetition of
certain items in cases where it could disturb readers perception. Thus, they
make the sentences shorter. Second, they often omit subject and verb, and use
sentence fragments for special impact, e.g. Simple. Good honest food, no
messing about, no pretentions. Good value, healthy eating. Ten pounds for
three courses of fine Indian cuisine. Something different! Always a good meal;
An excellent little restaurant; etc. Their intention is to focus readers attention on
particular phrases, influence them and increase their interest.

53
 Persuasive elements play an important role, too. They influence the readers
emotions, interest, and their choice. The three texts differ in applied persuasive
elements.
In A Guide To Regent Street, the author uses some persuasive elements,
e.g. will guarantee; will take your taste bunds; will enjoy; please see (request);
choose (offer); but compared to other guides, it is not so frequent. The guide
relies mostly on nouns, adjectives, and their persuasive effect. The author
wants to describe the restaurants in as positive and interesting way as possible,
e.g. as elegant as a Milan boutique, as glamorous as a catwalk; stylish and
vibrant setting; superb Italian menu; an outstanding selection of Italian wines;
etc.
On the other hand, the author uses several persuasive elements, besides
catching vocabulary in In And Around Covent Garden. The emotional appeal is
achieved by means of: a) if-clauses, e.g. If you like Indian food and havent
discovered Mela you are missing out, this special offer is the perfect
opportunity. If you like Italian food then you will love Pasta Brown.
b) the imperative, e.g. Choose whatever takes your fancy; First pick your
venue then see what catches your eye from the menu; Make your selections
from the Restaurant Promotion menu and enjoy a delicious Chinese Feast.
c) the modality, e.g. Once youve eaten, the comfy surroundings may tempt
you; Your first visit will not be your last. Plus you will get beer or wine thrown
in too.
Finally, The Complete Giude To Newcastle is the most interesting and
dynamic from the point of view of persuasive elements. Several persuasive
elements are applied, e.g. the modality is expressed by adverbs (definitely;
probably; personally). Above-mentioned subjective evaluation is also strong
persuasive element, because the author directly expresses his opinion, e.g. Its
an ambition of mine to eat there. Consequently, he affects readers interests
and emotions. We can say that this guide is highly subjective. Other persuasive
elements are applied, too. The author uses many exclamatory sentences or
comments, which express some feeling, opinion or even irony, e.g. Something
different! It is absolutely huge! Original Czech Budvar!, Out of my league!
Ridiculously so! etc. In addition to above-mentioned stylistic devices, many

54
sentences are interrupted by dashes, which are used to introduce additional
information about discussed topic. This can influence the reader, because the
author expresses his opinion and often uses ironical tone, e.g. Always a good
meal-though some feel that it is a little over priced. The food is reasonably
priced and plentiful-although you may have to wait for considerable time if its
busy (or not!). An excellent little restaurant-the food is very good and the prices
are very reasonable. The author appraises the restaurants service and adds
some additional evaluation, which is mainly satirical or negative. Thus, he
evokes an emotional reaction and influences the readers. Above-mentioned
persuasive elements make the guide The Complete Guide To Newcastle the
most unpredictable and dynamic. The author uses several unusual means for
convincing the readers, i.e irony, subjective evaluation, exclamatory sentences,
etc. On the other hand, A Guide To Regent Street does not utilize such unusual
persuasive elements and thus is wholly predictable and stable. The persuasive
elements are very helpful in fulfilling the intentions of the authors in In And
Around Covent Garden and The Complete Guide To Newcastle. These guides,
full of persuasive elements almost attack the readers and convince them to
come.

Conclusion

Generally, the guides are understandable and clear. They do not violate any
significant language rules, which would cause a communicative breakdown.
The intentionality is clear. The guides are cohesive and coherent, which was
an intention of the authors. The purpose and main function of the guides (i.e. to
inform the readers) as well as the authors intentions (i.e. to offer, invite, attract,
persuade) are clearly expressed by above-mentioned means.
The authors took into a consideration situational factors such as participants,
the channel, and the status. It means that the guides follow the rules of a written
text, language is clear and accessible to a great variety of people.
From the point of view of informativity, several expectations of the readers
are fulfilled. It fulfils readers expectations about: 1) the topic and content of the
texts; 2) the organization of language and language items, which are highly

55
predictable (i.e. nouns, adjectives, prepositions, conjunctions, etc.); 3) text type,
which is of descriptive character, i.e. full of nominal and qualifying lexis.

However, comparing the guides, several stylistically important features

cause a difference in their stability and predictability.
Firstly, on a scale of stability, A Guide To Regent Street is the most stable
text. Although it is rich in vocabulary, it is clear that the author relies mainly on a
graphic design of the tourist guide and vocabulary. Compared to the guides, this
graphics is the most interesting. We do not find any special or unusual
vocabulary, sentence constructions, or persuasive elements, in this guide.
Secondly, the graphic support in In And Around Covent Garden is not so
strong. The author relies on catching vocabulary, frequent ellipsis, imperative
sentences, and other persuasive elements. This guide is more dynamic than the
first one, but there are no language items or unexpected construction, which
would surprise and confuse the readers.
Thirdly, The Complete Guide to Newcastle is the most dynamic text. There is
no visual support and the graphics is poor. On the other hand, the author
utilizes the ellipsis, sentence fragments, and vivid and unusual vocabulary.
There are some features, which the readers probably do not expect. They can
be surprised by frequent exclamatory sentences and constructions interrupted
by a dash, which give some additional information. Some readers may also find
the subjective evaluation and authors irony as not very usual, not to say
surprising. All these features make the guide unpredictable and dynamic.

3 TRANSLATION OF SELECTED NON-LITERARY TEXTS

56
 The demand for translation has increased. Translation of various materials is
important for international communication. The translator must know the
differences between source and target language, and must skilfully deal with
them. It is important to be aware of stylistic features of source as well as target
language. Stylistics plays an important role in translation.
This chapter deals with the translation of selected non-literary texts. We will
introduce brief notes on the translation and important factors governing the
translation process. Finally, we will pay attention to the translation analysis, in
which we will analyse the translation shifts and possible contrasts.

3.1 General notes on translation

Several definitions of the translation have been introduced. Prochdzka

(Lawrence, 2000, p.131) defines a good translation according to several
requirements, which the translator must take into a consideration:
-He must understand the original word thematically and stylistically
-He must overcome the differences between the two linguistic structures
-He must reconstruct the stylistic structures of the original work in his
translation
Leonard Foster (Lawrence, 200, p.131) states that a good translation is one
which fulfils the same purpose in the new language as the original did in the
language in which it was written. This purposes may be various, e.g. to inform,
to entertain, to influence, etc.
According to Eugene Nida (Lawrence, 2000, p. 127), the translator has to
take into account several factors, which govern the translation:
1. the nature of the message (significance of content versus significance of
form)
2. the purpose of the author (intentions expressed in the message)
3. the type of audience (interests of readers and ability to decode the
message)

3.2 The process of the translation

57
 All of the chosen texts from the tourist brochures are non-literary texts. Non-
literary text concentrates on information. The translator has to preserve its
informational function and he has to adhere to both content and form.
Consequently, he translates more literally. A literal translation is word for word
translation. It is direct transfer of a source language text into a grammatically
and idiomatically appropriate target language text. (Lawrence, 2000, p.86) The
translator has to find the closest and appropriate equivalent of the source
language item in the target language.
These tourist brochures describe restaurants. The guides are based on
several means through which they fulfil the intentions of the author, i.e. to
influence and persuade the readers. To retain its persuasive function, the
translations preserve several means, e.g. interesting words and phrases, the
imperative mood, the involvement of the reader, if-clauses, etc.
The translating process has two stages. First, we analyse the translation
according to lexical and grammatical level. Here, we pay attention to features
and means, which are retained and preserved. Second stage focuses on shifts
and changes between the original texts and the translations.

3.3.3 The translations of selected texts

58
A) The translation of In And Around Covent Garden (see appendix 5)

The guide In And Around Covent Garden is very impressive and influential. It
uses several means, which affect the readers. We would try to preserve these
features in the translation.

The analysis of the translation

a) Lexical level

It is important to retain words or phrases, which influence the readers.

Word combinations, which provide positive impression on the readers are
preserved, e.g. top-quality French food / prvotriedne franczske jedlo; specially-
prepared menu / pecilne pripraven menu; good value / dobr cena; comfy
surroundings / tuln prostredie. Other phrases affect readers emotions and
perception, and thus they provide emotional appeal on the readers. It is
essential to employ them in the translation, e.g. renowned restaurant /
vychren retaurcia; fine Indian cuisine / skvel indick kuchya; special
menu / vnimon menu.

b) Grammar level

The ellipsis is preserved in the translation, too. The translation contains long
and elaboretad sentences, and the ellipsis makes it more dynamic: Good value,
healthy eating. / Dobr cena, zdrav jedlo; Ten pounds for three courses of fine
Indian cuisine. / Tri chody skvelej indickej kuchyne za 10 libier; Two courses
from their menu for just 10. / Dva chody z jedlneho lstka len za 10 libier;
Three courses of top-quality French food for 15. / Tri chody prvotriednho,
franczskeho jedla za 15 libier.
Several persuasive elements from the guide In And Around Covent Garden
are preserved, namely if-clauses, the imperative mood and personal contact
with the readers. If-clauses are retained in the translation, because they provide
an appeal on the readers: If you like Indian food / Ak mte radi indick jedlo; If

59
you like Italian food / Ak mte radi talianske jedlo; if you happen to have
stumbled across this offer / Ak ste nhodou objavili tto ponuku.
The imperative mood is important in the translation, too. It provokes the
readers to take an action. Consequently, it fulfils the purpose of the author:
book early to avoid disappointment / rezervujte si miesto skr, aby ste sa vyhli
sklamaniu; choose whatever / vyberte si okovek; ask the waiting staff /
poiadajte vdy pripraven personal; take an evening meal here and invite your
friends / vyberte si veeru a pozvite Vaich priateov; choose two courses /
vyberte si dva chody.
Personal contact with the readers is retained in the translation, because it is
a typical feature of the guide In And Around Covent Garden. Personal or
possessive pronouns are used to address the readers directly. Here, the second
person plural pronouns are used. They are suitable in public communication:
your lunchtime / v obed; to welcoming you / vs privtame; takes your fancy /
vs uptalo; you havent discovered / ste neobjavili; you are missing out /
prochdzate o vea; pick your venue / vyberte si miesto; you will love / budete
zboova; invite your friends / pozvite vach priateov, etc.

The translating shifts

a) Lexical level

Class shift occurs when the translation equivalent of a SL item is a member

of a different class from the original item (Catford, 1965, p. 78). We can also
find some instances in the translation, e.g. plans / naplnujte; excluded / okrem.
By unit-shift we mean changes of rank-that is, departure from formal
correspondence in which the translation equivalent of a unit at one rank in the
SL is a unit at a different rank in the TL (Catford, 1965, p.79). Unit shifts are,
e.g. a seafood / plody mora; a corker / cenov bomba; a menu / jedlny lstok.
Shifts at the level of formality are also present, e.g. from informal to more
neutral word: trendy / modern; comfy / tuln; take up / prija; miss out / prs
o vea.
In order to preserve the persuasive character of the original text, it is
important to use such vocabulary, which conveys positive meaning in the

60
translation, too. In some cases, there are changes from neutral expressions, in
the original text, to more expressive words, in the translation, e.g. special /
mimoriadn; special / vnimon; top-quality / prvotriedn. Some words in the
translation are more specific and vivid, e.g. eat / ochutna; fine / kvalitn; love /
zboova.

b) Grammar level

The imperative mood in Slovak differs between the second person singular
and the second person plural. On the other hand, English does not have this
rule. In Slovak, the second person plural is more suitable for public
communication. For example, invite / pozvite; ask / poiadajte; choose / vyberte
si. Here and in other cases, choose is translated as vyberte si where suffix te
is used for the second person plural.
Important difference between English and Slovak is that Slovak has no
definite or indefinite articles. We use other words: ten, t, to, tto, tento / this,
some, e.g. this charming restaurant / tto rozkon retaurcia; the award-
winning menu / toto ocenen menu, etc.
We know that the word order in English is relatively fixed, while in Slovak the
sentence items are movable. Concerning the word order, the translator has
more ways of translating the sentence, e.g. in if-clauses The Piccadilly Circus
venue is ideal if you happen to have stumbled across this offer. / Ak ste
nhodou objavili tto ponuku, Picadilly Circus je idelne miesto. There are also
other examples of changes in the word order, e.g. then see what catches your
eye from the menu created for the promotion / potom zistite o z jedlneho
lstka, pripravenho pre tto akciu, uptalo V zrak; diners having this offer will
also get a free beer or margarita / k tejto ponuke zkaznci dostan tie pivo
alebo margaritu zadarmo; Covent Gardens famous vegetarian eatery
is offering two courses and a drink for 10 during the week / poas tohto tda
ponka tto vychren, vegetarinska retaurcia v Covent Garden dva chody
a npoj za 10 libier.

There are also shifts from premodifier+head noun to head noun+qualifier,

e.g. French style brasserie / retaurcia vo franczskom tle; this basement

61
bar and restaurant / tto retaurcia a bar v suterne; ground-floor venue /
miesto na przem.

In summary, the translation resembles the original text in positive and

impressive words and phrases. Persuasive elements are also preserved,
because they influence the readers. Above-mentioned shifts (e.g. the articles,
the word order, etc.) between the original text and the translation arise mainly
from basic differences between Slovak and English. However, there is another
difference. In stylistic analysis, the guide In And Around Covent Garden was
classified as informal due to the contracted forms and informal vocabulary. The
translation of this guide cannot be classified as informal. Informal vocabulary
from In and Around Covent Garden was not preserved and contracted forms
are not used in Slovak. Moreover, suffix te, used for the second person plural
in imperative sentences suggests formal style. This change makes the
translation more predictable and stable than the original text.

B) The translation of The Complete Guide To Newcastle (see appendix 6)

62
 The guide The Complete Guide To Newcastle is dynamic and unpredictable.
This unpredictability makes the guide interesting. We would try to preserve
some of these unusual features.

The analysis of the translation

a) Lexical level

Several positive word combinations, which influence the reader, are

preserved in the translation, e.g. comfortable restaurant / komfortn
retaurcia; good service / dobr obsluha; pleasant atmosphere / prjemn
prostredie; very popular pizzeria / vemi obben pizzeria.
Other phrases, which affect readers tastes and emotions, are retained, e.g.
friendly welcome / vrel privtanie; an excellent little restaurant / vynikajca,
mal retaurcia; the best restaurant / najlepia retaurcia; unusual range of
authentic dishes / vnimon vber pvodnch pecialt.

b) Grammar level

The ellipsis is also preserved in the translation, because it is very important

feature of the original text, e.g. service [was] efficient and friendly / obsluha
[bola] dobr a priatesk; The service is prompt, the food [is] somewhat average
/ Obsluha je svin, ale jedlo [je] trochu obyajn; The food is excellent, the
atmosphere [is] conducive and the staff [is] friendly and unobtrusive / Jedlo je
prvotriedne, prostredie [je] prjemn a personl [je]lskav, ale nevtierav.
Something different! / Nieo mimoriadn!
Direct contact with the readers is established in the translation, e.g. you can
bring / mete si prinies; you may have to wait for / pravdepodobne ale budete
musie aka; when you go through the door / ke vojdete dnu; your party / z
vaej spolonosti.
Exclamatory sentences in the original text are used for certain effects, e.g. to
attract the attention of the readers or to influence. They are preserved in the
translation, e.g. Something different! / Nieo mimoriadn!; Out of my league! /

63
Pre ma je to vak prli drah!; It is absolutely huge! / Tto retaurcia je
priam obrovsk!; original Czech Budvar! / prav esk Budvar!
Authors opinion and ironic evaluation is retained in the translation. Although
it is unusual feature in this kind of text, it is very important feature of the guide,
e.g. one of my favourite restaurants / jedna z mojich obbench retaurci;
personally I find the food unadventurous / pokia ide o ma, jedlo je obyajn;
its an ambition of mine to eat there / najes sa tam je mojim elanm; Ive
always found a friendly welcome / vdy som tu naiel vrel privtanie, etc.

The translating shifts

a) Lexical level

Class shifts, e.g. a shock / okovan; ridiculously / zvltne; the gaze / zzajci.
There are shifts at the level of formality, e.g. from old-fashioned to neutral
expressions: fare / jedlo or from formal to neutral expressions: salubrious /
zdrav.
There are shifts from neutral to expressive expressions, e.g. dishes /
peciality; good / kvalitn; friendly / vrel; or from expressive to more neutral
expressions, e.g. drink / npoj; conducive / prjemn; efficient / dobr; fare /
jedlo; unadventurous / obyajn. A deminutive word has also a special, more
expressive effect, e.g. a little over priced / mliko predraen.
The translation by explaining the word is also applied, e.g. profiteroles /
plnen kol z krehkho cesta.
There are also some fixed expressions, which require special attention in the
translation. Here, the literal translation would not be suitable. Therefore, it
is important to find different, more applicable expressions. For the expression
well worth a look, the Slovak literal translation is stoji za pohad, but the
expression stoj za Vau pozornos is more suitable. This is the case also in
other examples, e.g. to detract from the experience / pokazi chu do jedla; out
of my league / pre ma je to prli drah; nice food / chutn jedlo.
The Complete Guide To Newcastle comprises some words or phrases,
which the readers may find unusual or strange in this kind of text. These
unusual words are replaced by more neutral and usual expressions, e.g.

64
conductive atmosphere / prjemn prostredie; salubrious food / zdrav jedlo;
unobtrusive staff / nevtierav personl; ostentatious restaurant / honosn
retaurcia; out of my league! / pre ma je to prli drah!

b) Grammar level

Slovak uses other language items (t, ten, to, tto, tento) to supply definite
or indefinite articles, e.g. the most expensive / t najdrahia; the best restaurant
/ t najlepia retaurcia; or these items are omitted, e.g. The food is excellent,
the atmosphere conducive, the staff friendly / jedlo je prvotriedne, prostredie
prjemn, personl lskav.
Slovak has different, more flexible word order. There are changes in the
word order, e.g. The atmosphere is homely with a good selection of imported
beers (i.e. the have original Czech Budvar!), friendly staff and prompt service. /
V tulnej atmosfre, s priateskm personlom a pohotovou obsluhou ponkaj
vber starch dobrch pv z dovozu (aj prav esk Budvar!); Ive always found
a friendly welcome at this comfortable, though not ostentatious restaurant. /
V tejto komfortnej, nie vak honosnej retaurcii som vdy naiel vrel
privtanie, etc. Shifts at the group level from premodifier+head noun to head
noun+qualifier are present, e.g. imported beers / piv z dovozu; or other shifts,
e.g. the food is plentiful / vdatn jedl; the atmosphere is homely / v tulnej
atmosphere.
Many sentences are interrupted by a dash in the original text. The author
expresses his opinion, gives additional information about the restaurants, and
often uses ironical tone in these sentences. The dashes are omitted in the
translation, but authors opinion and evaluation is retained, e.g. Always a good
meal-though some feel that it is a little over priced / Vdy ponka kvalitn jedlo,
hoci si myslm, e je mliko predraen.; The food is reasonably priced and
plentiful-although you may have to wait for considerable time if its busy (or not!)
/ Vdatn jedl, primeran ceny. Pravdepodobne ale budete musie aka dlh
as ak bude retaurcia pln (alebo aj ke nebude!); An excellent little
restaurant-the food is very good and the prices are very reasonable. / Je to
vynikajca, mal retaurcia. Jedlo je vemi dobr, ceny s rozumn.

65
 To conclude, the guide The Complete Guide To Newcastle is unpredictable.
The unpredictability of the translation is lowered by some changes. Sentences
interrupted by a dash are changed, i.e. dashes are omitted. Moreover, the
informal style of the original text is changed. No contacted forms are used,
because it does not exist in Slovak, and informal vocabulary is changed to more
neutral. Still, the translation is unpredictable, because other unusual features
were preserved, i.e. ironical and subjective evaluation of the author.

C) The translation of A Guide To Regent Street (see appendix 7)

66
 The guide A Guide To Regent Street is stable and predictable text. We would
preserve this stability in the translation of A Guide to Regent Street. It means
that typical features of this guide are preserved. Unusual changes of words or
sentence contructions, which would cause unpreditibility of the translation, are
not executed.

The analysis of the translation

a) Lexical level

Superlative adjectives are used to emphasize the best quality of products,

and this is preserved in the translation, e.g. the freshest fish / najerstvejie
ryby; the oldest Indian restaurant / najstaria Indick retaurcia; the finest
seasonal produce / najerstvejie seznne suroviny.
The translation relies on emotionally loaded vocabulary, e.g. outstanding /
vynikajci; exclusive / pecilny; glamorous / oarujci; luxurious / luxusn;
superb / znamenit.
Positive connotations, which influence the readers are preserved in the
translation, e.g. exclusive meal offer / pecilna ponuka jedl; an outstanding
selection of Italian wines / vynikajci vber Talianskych vn; superb Italian menu
/ znamenit Talianske menu; relaxed atmosphere / uvonen atmosfra;
welcoming environment / pohostinn prostredie; luxurious booths / luxusn
posedenie.
Phrases, which have strong emotional appeal and influence on readers
feelings and perception are retained, e.g. well-earned drink / zaslen drink;
generous drinks / siln drinky; the ultimate party atmosphere / atmosfra tej
najlepej prty; intimate gatherings / uzavret spolonos; exclusive corporate
events / exkluzvne spoloensk akcie.

b) Grammar level

67
 The translation uses possessive pronouns, mainly our. These pronouns
focus on concrete restaurants and their products, e.g. all of our dishes / vetky
nae jedl; to all of our quests / vetkm nam hosom; our friendly staff / n
priatesk personl; our drinks list / n npojov lstok; we offer / ponkame.
Offers are retained in the translation, e.g. Please see coupon at the back of
the Guide for an exclusive meal offer / Nech sa pi, kupn so pecilnou
ponukou jedl si pozrite na zadnej strane sprievodcu; choose from a superb
Italian menu / vyberte si zo znamenitho Talianskeho menu.
Other persuasive elements are preserved, e.g. will guarantee / garantujeme
Vm; will enjoy / si vychutnte; Dishes from many regions will take your taste
buds on a journey of a lifetime / Jedl z mnohch reginov sa Vm postaraj
o jedinen zitok.

The translating shifts

a) Lexical level

Class shift, e.g. cooked / varme; combining / kombincia; the comfort /

komfortn; the sophistication / exkluzvny.
Unit shift, e.g. lounge scene / hala; seafood / plody mora; please / nech sa
pi; dcor / vzdoba interiru; the back / zadn strana.
Translation by explaining the word is applied, e.g. wood fired pizzas / pizza
pripravovan v peci vykurovanej drevom.
Phrases, in which the literal translation would not be suitable occurred. Here,
the phrases are translated by other, more suitable expressions, e.g. intimate
gatherings / uzavret spolonos; Dishes from many regions will take your taste
buds on a journey of a lifetime / Jedl z mnohch reginov sa Vm postaraj
o jedinen zitok; welcoming environment / pohostinn prostredie; generous
drinks / siln drinky; enjoy a dish / vychutna si jedlo.
There are changes from concrete to more general words, e.g. booths /
posedenie; or from general to more concrete words, e.g. entertainment /

68
veierok. Changes from expressive to neutral words occured, e.g.
unpretentious / jednoduch; inviting / prjemn.

b) Grammar level

The imperative mood in Slovak distinquishes between the second person

singular and the second person plural, and the second person plural is more
suitable for public communication, e.g. see coupon / pozrite si kupn; choose
from a menu / vyberte si z menu. In these cases, see and choose are translated
as pozrite si and vyberte si where suffix te is used for second person plural.
The definite or indefinite article is often replaced by another word, e.g. ten,
t, to, tto, tento / this, some: the freshest fish / tie najerstvejie ryby; the finest
seasonal produce / tie najkvalitnejie seznne suroviny. The indefinite article is
omitted, e.g. an outstanding selection / vynikajci vber; a cocktail bar / koktail
bar.
Long sentences in the original text are devided into shorter sentences in the
translation. English uses long constructions and elaborated sentences, but they
would sound too cumbersome in Slovak. These changes are more natural in
Slovak language, e.g. in texts: Harry Ramsdens, II Pomodorino, Strada.
In some cases, the sentence in the translation is more active by using a
change in a verb, e.g. serving / podvame; cooked / varme; quarentee /
garantujeme Vm. This is a shift, which focuses more on the restaurants
service and employed staff.
Different word order is used in the translation, e.g. our friendly staff and
welcoming environment will quarantee / garantujeme Vm, e v pohostinnom
prostred, s nam priateskm personlom; see coupon at the back of the guide
for an exclusive meal offer / kupn so pecilnou ponukou jedl si pozrite na
zadnej strane sprievodcu; established in 1926, Veeraswamy / Veeraswamy,
zaloen v roku 1926.
Shifts at a group level from premodifier+head noun to head noun+qualifier
occur, e.g. Moroccan style booths, sofas and a dance floor / boxy, pohovky
a tanen parket, vetko v Marockom tle; complimentary filtered water /
filtrovan vodu zadarmo; ultimate party atmosphere / atmosfru tej najlepej
party.

69
 To sum up, the translation resembles the original text in almost all features.
The translation relies mainly on coloured vocabulary and appealing phrases,
too. The translation does not contain any vocabulary, constructions, or other
means, which are unusual or unexpected. Thus, the translation is predictable
and stable.

Conclusion

We can observe several similarities, but also changes and shifts among the
original texts and the translations. Generally, the translations have preserved
several lexical and grammatical means for stylistic purpose, e.g. superlative
adjectives, peruasive elements, positive connotations and phrases, imperatives,
if-clauses, the contact with readers, etc. These means preserve and fulfil the
intentions of the author, i.e. to inform, influence, and invite the readers.
Basic changes and shifts arise from the fundamental differences between
these languages, e.g. use of articles, different word order, the translation of
fixed phrases, etc. These differences are necessary and the translations follow
the rules of Slovak language. Consequently, the translations sound naturally.
Other shifts are important from the point of view of stability and expectedness of
the translations, e.g. exclamatory sentences, informal style, or sentences
interrupted by a dash. These changes make the translations more predictable,
although some unusual features are preserved, e.g. ironical and subjective
evaluation.

70
 CONCLUSION

The basic aim of this work was to employ the theory and stylistic analysis in
practical translations of the selected texts. The theory and the stylistic analysis
were explored and the application was realized on several levels.
The first chapter studies the notion of a text and its features based on static-
dynamic division. This dichotomy comprises features as coherence, cohesion,
situationality, intentionality, informativity, intertextuality. The features are also
studied from the readers point of view and their processing effort. Comparing
the texts, static texts are less interesting, but easily understandable than
dynamic texts. On the other hand, dynamic texts are more challenging for the
readers as well as for the translators. Finally, it offers an analysis of selected
texts according to the static-dynamic division.
The second chapter deals with stylistic analysis of three different texts from
tourist brochures. It gives brief characteristics of the selected texts. Then, it
compares them and points to their main purposes, i.e. to inform, influence, and
attract. This chapter concentrates on stylistic means and their effect on the
reader. The analysis is based on grammatical, lexical, and stylistic level. This
division offers the reader information about emotional vocabulary, interesting
sentence structures, and other persuasive elements, which were used.
The third chapter is devoted to the translation of selected texts. It gives brief
introduction to the notion translation. The translation process has two stages,
i.e. 1) the analysis of the translation, in which it focuses on preserved features,
and 2) the translation shifts, in which it deals with unnecessary changes. This
chapter utilizes the stylistic analysis of the guides. It is important for the process
of translation to know grammar, lexis, and primary difference between these two
languages. The analysis is essential in the translation.
The theoretical part focuses on important texts features and their influence
on the author as well as the reader. The practical analysis and translation of
selected texts focus on a vital importance of stylistic analysis in the process of
translation.

71
 BIBLIOGRAPHY

ANDRIK, M.: Anglickoslovensk a slovensko-anglick slovnk. Koice:

Pezolt, 2005.
BAKER, M.: In other words. A coursebook on translation. London:Routlege,
1992.
CATFORD, J.C.: A Linguistic Theory of Translation. London: Oxford University
Press, 1965.
CRYSTAL, D., DAVY, D.: Investigating English Style. Longman, 1969.
FERENK, M.: Rudiments of English Linguistics I. Preov: Slovacontact, 2000.
FERENK, M.: Rudiments of English Linguistics II. Preov: Fil.Fakulta
Preovskej Univerzity, 2003.
FINDRA, J.: tylistika sloveniny. Martin: Osveta, 2004.
HATIM, B., MASON, I.: The Translator as Communicator. New York/London:
Routlege, 1997.
IVANOV-ALINGOV, M.: tylistika. Bratislava: Vydavatestvo Obzor, 1965.
KVETKO, P.: English Lexicology. Bratislava: PF UK, 1996.
LAWRENCE, V.: The translation Studies Reader. London and New York:
Routlege, 2000.
LEV, J.: Umn pekladu. Praha: Ivo lezn, 1998.
MISTRK, J.: Slovensk tylistika. Bratislava: SPN, 1965.
MIKOV, G.: Linguistic Stylistics. Nitra: FF UKF, 2003.
MIKOV, G.: Working with texts in Stylistics. Nitra: FF UKF, 2004.
OXFORD. Dictionary of Synonyms and Antonyns. Oxford: Oxford University
Press, 1999.
OXFORD IDIOMS DICTIONARY. Dictionary for learners of English. Oxfrod:
Oxford University Press, 2001.
OXFORD PHRASAL VERBS. Dictionary for learners of English. Oxford: Oxford
University Press, 2001.
PISRIKOV, M., MICHALUS, .: Mal synonymick slovnk. Bratislava:
SPN, 1973.
RUSE, CH., KATZ, E.: Heinemann International Students Dictionary. Oxford:
Heinemann International Literature and Textbooks, 1991.

72
BEAUGRANDE, R., DRESSLER, W.: Introduction to Text Linguistics. London:
Longman,1981.
Available on World Wide Web, cited on 10th January, 2006:
<http://www.beaugrande.bizland.com/introduction_to_text_linguistics.html>

Sources for analysis

THE COMPLETE GUIDE TO NEWCASTLE. House of viz/John Brown

published LTD 1992.
THE REGENT STREET ASSOCIATION. A Guide To Regent Street.
IN AND AROUND COVENT GARDEN. Totally Covent Garden Restaurant
Promotion, September 2004.

73
Appendix 1 (Selected texts from A Guide To Regent Street)

II Pomodorino. II Pomodorino is a newly opened Italian restaurant with

a selection of authentic Italian dishes reflecting the colours and flavours of Italy,
prepared with the freshest ingredients and executed with a new level of
perfection. In addition we have an outstanding selection of Italian wines.

Sartoria. As elegant as a Milan boutique and as glamorous as a catwalk show,

Sartoria provides the very latest in Italian cooking in the home of English
tailoring, Savile Row. The restaurant, bar and private rooms are the favourite of
the fashionista and the darling of the art dealers.

Veeraswamy. Established in 1926, Veeraswamy is the oldest Indian restaurant

in the UK. In the heart of Londons glamorous West End, Veeraswamy offers
refined Indian cooking in a contemporary, stylish and vibrant setting. Dishes
from many regions will take your taste buds on a journey of a lifetime.

Strada. Strada is a modern Italian restaurant, cafe and bar serving good quality,
simple, freshly prepared dishes and specialising in wood fired pizzas. In
addition to our wood fired pizzas, choose from a superb Italian menu including
dishes such as risottos, fresh pastas and grilled meat and fish dishes. All of our
dishes are authentically cooked using the finest seasonal produce available.
Our drinks list comprises a selection of carefully chosen regional Italian wines,
beers and liquers. In addition we offer complimentary filtered water to all our
guests.

Zinc Bar & Grill. The traditional zincbars of Paris attracted people from all
walks of life for a light meal, a cup of coffee or a well-earned drink. Zinc Bar &
Grill brings this friendly, unpretentious environment to the heart of the West End.
Simple grills, fresh seafood, salads, generous drinks and a relaxed atmosphere,
with outdoor seating in spring, summer and autumn.

74
The Loop. Casual Dining, Classic Tunes, Cosy Booths and a Cool Club Spread
over 3 floors, a livelier environment than most bars and restaurants. Fantastic
new sharing plates, skewers and small dishes in the restaurant make for long
leisurely nights of eating, chatting and dancing.

75
Appendix 2 (Selected texts from A Guide To Regent Street)

Harry Ramsdens. Serving only the freshest fish and homemade chips all
cooked to order, our friendly staff and welcoming environment will quarantee
that you will enjoy this classic British dish! Please see coupon at the back of the
Guide for an exclusive meal offer.

Digress. Smooth and cool style over two floors combining the comfort of the
lounge scene and the sophistication of a cocktail bar with inviting Moroccan
style booths, sofas and a dance floor.

II Pomodorino. II Pomodorino is a newly opened Italian restaurant with

a selection of authentic Italian dishes reflecting the colours and flavours of Italy,
prepared with the freshest ingredients and executed with a new level of
perfection. In addition we have an outstanding selection of Italian wines.

Sartoria. As elegant as a Milan boutique and as glamorous as a catwalk show,

Sartoria provides the very latest in Italian cooking in the home of English
tailoring, Savile Row. The restaurant, bar and private rooms are the favourite of
the fashionista and the darling of the art dealers.

Veeraswamy. Established in 1926, Veeraswamy is the oldest Indian restaurant

in the UK. In the heart of Londons glamorous West End, Veeraswamy offers
refined Indian cooking in a contemporary, stylish and vibrant setting. Dishes
from many regions will take your taste buds on a journey of a lifetime.

Strada. Strada is a modern Italian restaurant, cafe and bar serving good quality,
simple, freshly prepared dishes and specialising in wood fired pizzas. In
addition to our wood fired pizzas, choose from a superb Italian menu including
dishes such as risottos, fresh pastas and grilled meat and fish dishes. All of our
dishes are authentically cooked using the finest seasonal produce available.
Our drinks list comprises a selection of carefully chosen regional Italian wines,

76
beers and liquers. In addition we offer complimentary filtered water to all our
guests.

The Loop. Casual Dining, Classic Tunes, Cosy Booths and a Cool Club Spread
over 3 floors, a livelier environment than most bars and restaurants. Fantastic
new sharing plates, skewers and small dishes in the restaurant make for long
leisurely nights of eating, chatting and dancing.

Zinc Bar & Grill. The traditional zincbars of Paris attracted people from all
walks of life for a light meal, a cup of coffee or a well-earned drink. Zinc Bar &
Grill brings this friendly, unpretentious environment to the heart of the West End.
Simple grills, fresh seafood, salads, generous drinks and a relaxed atmosphere,
with outdoor seating in spring, summer and autumn.

Strawberry Moons. Strawberry Moons is unique in its entirety, for its luxurious
booths, Classic dcor mixed with cutting-edge technology. Thriving on high-
class entertainment, professional cocktail bartenders create the ultimate party
atmosphere. With a capacity of 550 people the venue is available for booking
small intimate gatherings to all exclusive corporate events.

77
Appendix 3 (Selected texts from In And Around Covent Garden)

Mon Plaisir. Three courses of top-quality French food for 15. Could it get any
better? Well, yes; each diner taking up the offer will be welcomed into this
charming, authentic French restaurant with a glass of chilled champagne. That
s your lunchtime or pre/post theatre food plans sorted.

Caf des Amis du Vin. A specially-prepared menu will tempt discerning diners
into this well-known French style brasserie for the week of the promotion and
beyond. Caf des Amis is a popular restaurant and with this offer it will be busy
so book early to avoid disappointment.

Tuttons. Take in the Piazza atmosphere while dining here. Your 15 gets you
three dishes specially crafted for the occasion. With the finest ingredients, the
skilled chef and the unique Mediterranean brasserie menu you wont go far
wrong with this offer.

Mela. One of Covent Gardens favourite Indian restaurants looks forward to

welcoming you for this special offer. Choose whatever takes your fancy from the
award-winning menu (seafood excluded). If you like Indian food and havent
discovered Mela you are missing out, this special offer is the perfect opportunity.

Johnstons Brasserie. This delightful restaurant at the Strand Palace Hotel

is glad to be offering diners this offer. The menu features a selection of dishes
where the elegant composure of Californian cuisine meets traditional
Mediterranean intensity. Your first visit will not be your last.

The Cornerstore Bar & Eating House. Relax, Retox, Refuel. Choose a starter,
a main and a dessert from Cornerstores diverse menu and you have got
a bargain dinner for 15 a head. Simple. Good honest food, no messing about,
no pretentions.

78
Pasta Brown. First pick your venue (Bedford Street or Bow Street) then see
what catches your eye from the menu created for the promotion. If you like
Italian food then youll love Pasta Brown (especially at this great, low price).

Thai Pin. Sometimes the best things come in small packages. Fresh, authentic
Thai food, no one but two special menus for the week. This could be the pick of
the bunch for vegetarians, here your choice is much better than veggie lasagne
or salad. Carnivores are welcomed too.

Blend. Take an evening meal here and invite your friends. This trendy bar-
restaurant is a favourite of twentysomethings and has a special three-couses
15 menu for the week. Once youve eaten, the comfy surroundings may tempt
you into a coctail or two or three or four.

The Langley. This basement bar and restaurant is where Covent Gardens
beautiful people like to spend their leisured evenings. Ask the wating staff for
their recommendation from the special menu, these guys know what they are
talking about, let them do the work.

Lowlander. The low countries in Covent Garden. Aside from the main thrust of
this venue (vast array of Belgian and Dutch beers) Lowlander has an
accomplished bar menu. For the promotional week you will be tucking into three
courses of aspirational bar food with your beer.

Exotika. The whole menu is available for this offer; choose any starter, any
main and any dessert and you only have to pay a tenner. Plus youll get beer or
wine thrown in too. Great food, great value and a free drink; this is about as
good as it gets.

SoChina. Fancy a Chinese? The special menu at this different Chinatown

eatery is the best value Chinese meal in town between 20-26 September. Make
your selections from the Restaurant Promotion menu and enjoy a delicious
Chinese Feast.

79
Indian Brasserie. Renowed restaurant from the same stable as Maharaja of
India. The Piccadilly Circus venue is ideal if you happen to have stumbled
across this offer. Ten pounds for three couses of fine Indian cuisine (15 after
19.00)

Caf Pacifico. Choose two courses from a specially-prepared menu for just
10. Diners having this offer will also get a free beer or margarita. (Available
early-evenings only)

Los Locos. Party on with the offer from Los Locos. A starter and a main for ten
quid from their Mexican themed menu. You wont need dessert, youre sweet
enough already.

Food For Thought. Covent Gardens famous vegetarian eatery is offering two
courses and a drink for 10 during the week. Good value, healthy eating.

Pitcher & Piano. Choose two courses from the P&Ps new gourmet menu for
just ten pounds. Trafalgar Squares best bar just got better.

Asia de Cuba. During the week of 20-26 September this classically elegant
restaurant will be welcoming early evening diners with a complimentary Mojito.

Chistophers Bar is a breezy, elegant, ground-floor venue with tasty food and
as many drinks as you could name. Their offer is a corker; two courses from
their menu just for 10.

80
Appendix 4 (Selected texts from The Complete Guide to Newcastle)

Afrika. The only African restaurant in the north of England so Im told. Worth
visiting to sample the unusual range of authentic dishes, all of which are well
prepared and served. Mid-range prices still offer value for money. Something
different!

Dragon house. One of my favourite Newcastle restaurants. The food

is excellent, the atmosphere conducive(!) and the staff friendly and unobtrusive.
The banquet for two is excellent value for money.

Heartbreak Soup. A lovely little Quayside restaurant, with reasonably priced

and well presented food in a friendly atmosphere. There is a pleasant cellar
room available free for parties. Generally a younger, studenty clientele.
Probably over indulgent with the peanuts!

Eastern Taste. More of a cafe than a restaurant. Very popular with students,
because you can bring your own drink, and the surroundings are hardly
pretentious. The food is reasonably priced and plentiful although you may
have to wait for a considerable time if its busy (or not!).

Simla. Always a good meal though some feel that it is a little over priced.
Good service and a pleasant atmosphere although some of the procedure, i.e.
giving female members of your party a rose at the end of the evening is a little
archaic, not to say embarrassing!

Fishermans Lodge. The most expensive, and consequently the best restaurant
in Newcastle its an ambition of mine to eat there out of my league!

Dante & Piero. This place is a bit of shock when you go through the door it
is absolutely huge! Whilst not exactly salubrious, the food was nice and fresh,
the service efficient and friendly. The special was excellent value at 5.50 for
three courses and some of the best profiteroles Ive had outside of Italy!

81
Edoardos. An excellent little restaurant the food is very good and the prices
are very reasonable. The atmosphere is homely with a good selection of
imported beers (i.e. the have original Czech Budvar!), friendly staff and prompt
service. The daily specials board is well worth a look.

Marco Polo. Ive always found a friendly welcome at this comfortable, though
not ostentatious restaurant. The service is prompt, the food somewhat average
although it seems to be popular with genuine Italians!

Pizzeria Francesca. A very popular pizzeria (ridiculously so!) where queuing

is the order of the day rather than an exception. The food is very good, but
eating under the gaze of thirty people all wanting your seat, tends to detract
from the experience.

Red Herring. The Red Herring is run by co-operative, and they have their own
bakery too! Popular with the usual ethnically clad social worker types
(ooh!..meeow!), there is a nice friendly atmosphere. I usually find the food a little
dry and boring, although definitely more adventurous than most veggie places.

Veggies. Veggies serves standard vegetarian fare, in a standard vegetarian

manner. Personally I find the food unadventurous and dull, although the
atmosphere is relaxed and friendly more like a cafe than a restaurant.

Appendix 5 (The translation of selected texts from In And Around Covent

Garden)

82
Mon Plaisir. Tri chody prvotriednho, franczskeho jedla za 15 libier. Me to
by ete lepie? no. Kadho zkaznka, ktor prjme nau ponuku, privtame
v tejto rozkonej, pravej, franczskej retaurci s pohrom chladenho sektu.
Naplnujte si tu V obed alebo jedlo pred i po divadle.

Caf des Amis du Vin. Nielen poas akciovho tda ale aj naalej,
prilkame, do tejto slvnej retaurcie vo franczskom tle, nronch
zkaznkov pecilne pripravenm menu. Caf des Amis je obben
retaurcia a s touto ponukou bude urite obsaden. Preto si rezervujte miesto
skr, aby ste sa vyhli sklamaniu.

Mela. Teme sa, e Vs privtame touto mimoriadnou ponukou v jednej

z obbench retaurci v Covent Garden. Vyberte si okovek o Vs uptalo
z tohto ocenenho menu (okrem plodov mora). Ak mte radi indick jedlo a ete
ste neobjavili retaurciu Mela, prichdzate o vea. Tto pecilna ponuka je
perfektn prleitos.

Pasta Brown. Najprv si vyberte miesto (Bedfordsk ulica alebo Bowsk ulica),
potom zistite o z jedlneho lstka, pripravenho pre tto akciu, uptalo V
zrak. Ak mte radi talianske jedlo, tak budete zboova retaurciu Pasta
Brown (hlavne pri tejto skvelej, nzkej cene).

Blend. Vyberte si veeru a pozvite Vaich priateov. Tto modern retaurcia

s barom je obben medzi dvadsiatnkmi. Pre tento tde mme vnimon
menu: tri chody za 15 libier. Raz to ochutnte a toto tuln prostredie Vs
mono zlka na jeden, dva, alebo aj tri kokteili.

The Langley. Tto retaurcia a bar v suterne je miesto, kde praliv udia
z Covent Garden radi trvia svoje voln veery. Poiadajte vdy pripraven

83
personl o ich odporanie zo pecilneho menu. Vedia o om hovoria.
Nechajte ich pracova.

Indian Brasserie. Tto vychren retaurcia je z rovnakho podniku ako

Indick Maharaja. Ak ste nhodou objavili tto ponuku, Picadilly Circus je
idelne miesto. Tri chody kvalitnej, indickej kuchyne za 10 libier (15 libier po
19.00).

Caf Pacifico. Vyberte si dva chody zo pecilne pripravenho menu len za 10

libier. K tejto ponuke zkaznci dostan tie pivo alebo margaritu zadarmo
(ponuka plat len v skorch veernch hodinch).

Food For Thought. Poas tohto tda ponka tto vychren, vegetarinska
retaurcia v Covent Garden dva chody a npoj za 10 libier. Dobr cena,
zdrav jedlo.

Christophers Bar je iv, elegantn miesto na przem. Ponka chutn jedlo

a toko drinkov koko Vs len napadne. Ich ponuka je cenov bomba: dva
chody z jedlneho lstka len za 10 libier.

Appendix 6 (The translation of selected texts from The Complete Guide To

Newcastle)

84
Afrika. Pokia viem, je to jedin africk retaurcia na severe Anglicka. Stoj za
to, aby ste ju navtvili a ochutnali vnimon vber pvodnch pecialt. Vetky
jedl s kvalitne pripraven a servrovan. Dobr ponuka za primeran ceny.
Nieo mimoriadne!

Dragon House. Je to jedna z mojich obbench retaurci v Newcastli. Jedlo

je prvotriedn, prostredie prjemn a personl lskav, ale nevtierav. Porcia pre
dvoch je za vynikajcu cenu.

Eastern Taste. Je to skr kaviare ako retaurcia. Je vemi obben

u tudentov, pretoe si tu mete prinies svoj vlastn npoj a prostredie nie je
vemi okzal. Vdatn jedl, primeran ceny. Pravdepodobne, ale budete
musie aka dlh as ak bude retaurcia pln (alebo aj ke nebude!).

Simla. Vdy ponka kvalitn jedlo, hoci si myslm, e je mliko predraen.

Njdete tu dobr obsluhu v prjemnom prostred, ale niektor spsoby, ako
naprklad, darova ene, vo vaej spolonosti, ruu na zver veera s trochu
staromdne, ak nie dokonca trpne!

Fishermans Lodge. Je to t najdrahia a teda aj t najlepia retaurcia

v Newcastli. Najes sa tam je mojim elanm. Pre ma je to vak prli drah!

Dante & Piero. Budete tak trochu okovan ke vojdete dnu. Tto retaurcia
je priam obrovsk! Hoci jedlo nebolo prve najzdravie, bolo vak chutn
a erstv, obsluha dobr a priatesk. Tri chody boli za vynikajcu cenu, 5.50
libier. Tak ako v Taliansku, aj tu maj jedny z najlepch plnench kolov
z krehkho cesta!

Edoardos. Je to vynikajca, mal retaurcia. Jedlo je vemi dobr, ceny s

rozumn. V tulnej atmosfre, s priateskm personlom a pohotovou obsluhou

85
ponkaj vber starch dobrch pv z dovozu (aj prav esk Budvar!). Tabua
so pecialitami da skutone stoj za Vau pozornos.

Marco Polo. V tejto komfortnej, nie vak honosnej retaurcii som vdy naiel
vrel privtanie. Obsluha je svin, ale jedlo trochu obyajn. No u pravch
Talianov sa zd by obben!

Pizzeria Francesca. Je to vemi obben pizzria. Je to ale zvltne, pretoe

st v rade je tu skr pravidlom ako vnimkou. Jedlo je vemi kvalitn, ale jes
pri tridsiatich, doslova zzajcich uoch, ktor vetci akaj na vae miesto,
me pokazi chu do jedla.

Veggie. Podvaj sa tu typick, vegetarinske jedl, pripraven klasickm,

vegetarinskym spsobom. Pokia ide o ma, jedlo je obyajn a nudn, hoci
prostredie je uvonen a prjemn. Lepie povedan, je to skr kaviare ako
retaurcia.

Appendix 7 (The translation of selected texts from A Guide To Regent Street)

86
Harry Ramsdens. Podvame len tie najerstvejie ryby a domce hranolky.
Vetko varme na objednvku. Garantujeme Vm, e v pohostinnom prostred,
s nam priateskm personlom si vychutnte toto tradin Britsk jedlo! Nech
sa pi, kupn so pecilnou ponukou jedl si pozrite na zadnej strane
sprievodcu.

Digress. Digress, to s dve poschodia v uhladenom a elegantnom tle,

kombincia komfortnej haly a exkluzvneho koktail baru, prjemn boxy,
pohovky a tanen parket, vetko v Marockom tle.

II Pomodorino. Nedvno otvoren Talianska retaurcia ponka vber

pvodnch Talianskych pecialt s ndychom a prchuou Talianska. Jedl s
pripravovan znamenitm spsobom, z najerstvejch prsad. Navye,
ponkame vynikajci vber Talianskych vn.

Veeraswamy. Veeraswamy, zaloen v roku 1926, je najstaria Indick

retaurcia vo Vekej Britni. V centre oarujcej zpadnej asti Londna
ponka vybran Indick kuchyu v modernom, elegantnom a runom prostred.
Jedl z mnohch reginov sa Vm postaraj o jedinen zitok.

Strada. Strada je modern Talianska retaurcia s kaviarou a barom. Ponka

vysoko kvalitn, ahk a erstvo pripraven jedl. pecializuje sa na pizzu
pripravovan v peci vykurovanej drevom. Okrem tejto pizze, si vyberte zo
znamenitho Talianskeho menu, ktor zahruje tak jedl ako rizoto, erstv
cestoviny, grilovan mso a jedl z rb. Vetky nae jedl s originlne
pripravovan, s pouitm tch najkvalitnejch seznnych surovn. N npojov
lstok obsahuje starostlivo vybran Talianske vna, piv a likry z rznych
reginov. Okrem toho, vetkm nam hosom ponkame filtrovan vodu
zadarmo.

Zinc Bar & Grill. Tradin Parske zinc bary priahuj ud vetkch vrstiev
na ahk jedlo, lku kvy alebo zaslen drink. Zinc Bar & Grill prina
priatesk, jednoduch prostredie do centra zpadnej asti Londna. Zinc Bar &

87
Grill ponka ahk, grilovan jedl, erstv plody mora, alty, siln drinky
a uvonen atmosfru pri vonkajom poseden na jar, v lete a na jese.

Strawberry Moons. Strawberry Moons je jedinen v celom svojom rozsahu,

pre svoje luxusn posedenie a klasick vzdobu interiru, ktor sa miea
s modernou technolgiou. spech v organizovan prvotriednych veierkov
a profesionlny barmani vytvraj atmosfru tej najlepej prty. S kapacitou 550
ud je toto miesto k dispozci pre rezervciu malch, uzavretch spolonost
alebo pre exkluzvne spoloensk akcie.

88
89