ПОНЯТИЕ «ОБРАЗ» В РЕФРАКЦИОННОЙ МОДЕЛИ ПОЭТИЧЕСКОГО ПЕРЕВОДА

Abstract

The article discusses the processes associated with changes in the imagery of a poetic work when representing its essence in a target culture. Imagery is interpreted as a typological property of a literary text, generated in the process of artistic comprehension of the value aspect of the ‘man – world’ relationship, motivated by the author’s artistic conception and objectified in an artistic form. In combination with the ideas, emotivity and verbal form, imagery forms the typological dominant of a literary text, which is regarded as the essence of the latter. The necessity to represent the essence of the source text in the target culture determines the relevance of representing the imagery of the author’s artistic thinking. It is traditionally considered to be a translation difficulty, overcoming of which requires the search for creative solutions. The article considers the interpretation of the notion ‘image’ in Translation Studies, gives its definition from the philosophical and aesthetic perspective, characterizes the processes associated with the representation of the source text imagery in translation. These processes are treated in terms of the refraction model of literary translation in reference with the degrees of the source text essence ‘refraction’ in the target text. Moreover, they are regarded in correlation with the corresponding types of literary translation, such as consonant, dissonant and consonant-dissonant. Based on the comparative analysis of source and target texts, we have identified the following processes dealing with the representation and ‘refraction’ of the source text imagery in the target culture: relatively complete representation, elimination, replacement, specification, generalization, detailing and development of the source text imagery, a change in the logic of connection between images.