The perceptual picture of the world in poetic translation (in Russian and German translations of the poem "Pohled Smrti" by O. Brezina)

The article is devoted to the study of the perceptual picture of the world in terms of the anthropocentric approach to poetic translation. The study of perceptual processes in cultural linguistics is related to the problem of how the universal models and specific features of national and individual perception of the world are interrelated and reflected in the language. The creative identity of the translator is manifested in the changes the original picture of the world undergoes and in the shifts affecting its system of images. The article aims are determining the characteristics of linguistic expression of the perceptual semantics in the original and its translations and analyzing the transformations caused by the author's individual worldview and poetic tradition. The image of the world in O. Bfezina's poetry reflects the specificity of his spiritual contemplation, the peculiarities of his worldview and interpretation of the reality. Perceptual images demonstrate a deep interaction between the inner and outer worlds. They become universal semantic categories that, on the one hand, direct the interpretation of the reality modeled in the poetry and, on the other hand, reflect the peculiarities of the author's individual perception of the world. The comparative linguistic analysis of O. Bfezina's "Pohled Smrti" and its translations into Russian and German has shown that both translations retain the perceptual character as a key characteristic of the poetic picture of the world. The variability of linguistic means used for its implementation is the result of a series of transformations: the substitution of synaesthetic combinations with perceptual metaphors (and vice versa), the introduction of the author's individual stylistic and lexical means (K. Balmont), metonymical and metaphorical transfers, stylistic amplification (P. Eisner). These transformations reveal the process of the creative interpretation of Bfezina's individual style in translations. In the translations, more profound transformations belonging to the level of understanding of the original perceptual imagery in its correlation with the theme of the poem and with the general aesthetic concept of the author were determined. The analysis has shown that in Balmont's and Eisner's translations the semantic load of the perceptual metaphor of "Pohled Smrti" changed. Its transformations, in particular, reflect the shifts in the motif of death as interpreted by the translators ( Balmont's emphasis on the finiteness of life; Eisner's intensified motif of bodily death, etc.). As a result, the philosophical and aesthetic concept of the original is transformed under the influence of the translator's own ideas and spiritual experiences, which leads to the formation of a different aesthetic impact on the reader.

Keywords

Authors

References