TO START: THE LANGUAGE OF LITERATURE IS characterised by voluntary and conscious deviations from standard or everyday l

1. TO START: THE LANGUAGE OF LITERATURE IS characterised by voluntary and conscious deviations from standard or everyday language. These deviations may be due to: - phonological reasons (rhyme, rhythm etc.); - layout (lines scansion for poetry etc.); - morphosyntactic reasons (broken or inverted syntax, hypotaxis and parataxis etc.); - lexis (figures of speech, idioms, neologisms/inventions); - textual reasons (depending on genres and text types); - sociolinguistic reasons (dialects, accents, idiolects); • pragmatic reasons (aims, target audience, spoken or written language..) • Personal style of the author

2. Trainspotting In the past decade writers such as A. L. Kennedy, Iain Banks, Alan Warner, Michel Faber and Ian Rankin have made Scotland one of the most talked about literary communities in the world. No writer, though, has been more central to this "Scottish literary renaissance" than Irvine Welsh, whose books have not only sold millions of copies worldwide, but have more closely associated Welsh with his native country than any other Scots writer. It's impossible to ignore Welsh's nationality. This becomes clear in the very first sentence of his spectacularly successful first novel, Trainspotting: "The sweat wis lashing oafay Sick Boy; he wis trembling."

3. Welsh's characters speak the thick working class dialect of Edinburgh, which takes a bit of getting used to. But once the reader has the hang of Welsh's language, it becomes apparent that he is a writer of extraordinary talents. As a linguistic innovator he rivals Anthony Burgess. But Trainspotting is much more than literary pyrotechnics. This story of a group of working-class junkies in Edinburgh — Rents, Sick Boy, Mother Superior, Swanney, Spuds, and Begbie — is violent, rude, sexually explicit, and very, very black. But it is also a novel with genuine heart. And this, of course, is the key to its phenomenal popularity. Trainspotting is both a spirited, raunchy tour of Edinburgh's drug culture and a serious work of art that exposes the vulnerabilities and longings that unite all human beings.

4. Is translation possible? Read and translate the following underlining all the items (linguistic and semantic) which cause problems

5. Society invents a spurious convoluted logic tae absorb and change people whae's behavior is outside its mainstream. Suppose that ah ken aw the pros and cons, know hat ah'mgaunnaehuv a short life, am ay sound mind etcetera, etcetera, but still want tae use smack? They won't let ye dae it. They won't let ye dae it, because it's seen as a sign ay thir am failure. The fact that ye jist simply choose tae reject whit they huv tae offer. Choose us. Choose life. Choose mortgage payments; choose washing machines; choose cars; choose sitting oan a couch watching mind–numbing and spirit–crushing game shows, stuffing fuckin junk food intaeyirmooth. Choose rotting away, pishing and shiteingyersel in a home, a total fuckin embarrassment tae the selfish, fucked–up brats ye've produced. Choose life. Well, ah choose no tae choose life. If the cunts cannae handle that, it's thairfuckinproblem. As Harry Lauder sais, ah jist intend tae keep right on to the end of the road.

6. Society invents a spurious convoluted logic tae absorb and change people whae's behavior is outside its mainstream. Suppose that ah ken aw the pros and cons, know hat ah'm gaunnae huv a short life, am ay sound mind etcetera, etcetera, but still want tae use smack? They won't let ye dae it. La società s’inventa una logica ssurda e complicata, per liquidare quelli che si comportano in modo diverso dagli altri. Ma se, supponiamo, e io so benissimo come stanno le cose, so che morirò giovane, sono nel pieno possesso delle mie facoltà eccetera eccetera, e decido di usarla lo stesso l’eroina? Non me lo lasciano fare.

7. They won't let ye dae it, because it's seen as a sign ay thir am failure. The fact that ye jist simply choose tae reject whit they huv tae offer. Choose us. Choose life. Choose mortgage payments; choose washing machines; choose cars; choose sitting oan a couch watching mind–numbing and spirit–crushing game shows, stuffing fuckin junk food intae yir mooth. Choose rotting away, pishing and shiteing yersel in a home, a total fuckin embarrassment tae the selfish, fucked–up brats ye've produced. Choose life. Non mi lasciano perché lo vedono come un segno del loro fallimento, il fatto che tu scelga semplicemente di rifiutare quello che loro hanno da offrirti. Scegli noi. Scegli la vita. Scegli il mutuo da pagare, la lavatrice, la macchina; scegli di stare seduto sul divano a guardare I giochini alla televisione, a distruggerti il cervello e l’anima, a riempirti la pancia di porcherie che ti avvelenano. Scegli di marcire in un ospizio, cacandoti e pisciandoti sotto, cazzo, per la gioia di quegli stronzi egoisti e fottuti che hai messo al mondo. Scegli la vita.

8. Well, ah choose no tae choose life. If the cunts cannae handle that, it's thair fuckinproblem. As Harry Lauder sais, ah jist intend tae keep right on to the end of the road. Beh, io invece scelgo di non sceglierla, la vita. E se quei coglioni non sanno come prenderla, una cosa del genere, beh, cazzo, il problema è loro, non mio. Come dice Harry Lauder, io voglio andare dritto per la mia strada, fino in fondo