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Arts & Communication Advanced macro-image model for poetry translation

most participants. Given that poetry translation is one of micro-images (linguistic elements and stylistic units),
the most complex types of artistic translation, a poem is macro-images (artistic images that reveal the consequences
characterized by specific parameters – features that must of understanding an object, process, or phenomenon), and
be reproduced in translation. The process and results of mega-image (the highest hierarchical level, a dominant that
this reproduction can be described, and these features controls others components, defines and transforms them),
(parameters, characteristics, and means of creation) can be (ii) textual which includes coherence, informativeness,
analyzed through the structural and systemic examination modality, pragmatic orientation, and integrity),
of the original poem and its translation. (iii) pragmatic, consisting implication and pre-supposition,
Our research is facilitated by the hermeneutic principles and (iv) linguistic which covers the first three components
of translation studies, drawing on the works of scholars and undergo various substitutions and transformations.
such as Gadamer, Parlog, and Beaugrande. We also House has been working on improving the model of
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considered poetic translation as an interpretative-semiotic complex analysis for the translation of artistic work for
activity, as highlighted by Pârlog, while recognizing the several decades. 18,19 The basis of this model is the principle of
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context as a semantic field of poetry interpretation, as functional linguistics, particularly the concepts of Heliday.
discussed by Scott, Bittner, and Castiglione. Further In this framework, translation is defined as “replacing
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exploration into the problems of translation modeling the text of the source language with a semantically and
has led to the development of a new concept of the poem’s pragmatically equivalent text of the target language.” 19(p63)
macro-image within translation studies. Ukrainian researcher Perminova advocates for a
Currently, translation models serve as hypothetical receptive model of verse translation. According to her
frameworks that represent the translation process, aiming to statements, the conceptual prism of the formation of a
explain how content expressed in one language transforms receptive model, which interprets poetic translation as a
into corresponding content in another language. This process and consequence of translation reception, is served
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model describes various mental operations that translators by the principles of receptive esthetics. These principles
engage in when translating an entire original work or parts include recognizing the importance of not only the text but
of it. 14 also the responses it elicits from the audience. The scholar
rationalizes that the transformation of the text into a work
Among the main models developed in translation of literature achieves perfection only with the emergence
studies are communicative and transformational models of the recipient. 20
of translation, as well as intermediary, psycholinguistic,
denotative, semantic, discursive, and informative models. The difference between the plan of expression and the
plan of content underpins the qualification of the translation
For instance, Myroshnychenko’s model focuses on 21
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reproducing an author’s concept in translation, while process as two interrelated and interdependent processes.
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This perspective suggests that preserving content while
Chesterman’s typology of assessment criteria has been altering the expression necessitates criteria for analyzing
adapted for analyzing children’s literature translations both plans, complicating the determination of translation
by Zdrazhko. Both models are designed to reveal the boundaries. Consequently, researchers are compelled to
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multifaceted nature of the text through an extensive seek a balance between these elements, leading to a need
system of matching criteria. Miroshnychenko’s model for a more functional approach. This approach emphasizes
analyzes the interaction between languages and cultures that the principle of transferring the relationship between
through the prism of the text, while Chesterman’s content and form in translation should prioritize
model examines the reception function of translation. reproducing forms that carry semantic functions, rather
However, these models do not delve deeply into than trying to preserve language forms. Torop notes that
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classifying correspondences within linguistic and cultural understanding how expression and content are interpreted
asymmetries that translators frequently encounter.
varies, depending on the analytical levels – linguistic
Ukrainian translation expert Rebrii 17(pp185-214) has or intratextual and extratextual bonds. In Hjelmslev’s
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proposed a complex “linguistic model of translation text theory, the content plan and the language expression plan
analysis,” based on the principles of text-centricity and can function at their highest levels, either as content or
integrity. This model outlines a process of recreating texts expression, each being important for translation work.
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that begins with pre-translation processing of the original While both plans can be analyzed separately (“The element
text: comprehensive interpretation, identifying dominant of a poem is the form in relation to every other element,
themes, and choosing a translation strategy. Rebrii’s model and the content in relation to the external world”), 25(p277])
consists of four components: (i) Image which includes such analyses can remain operational because they are

Volume 3 Issue 3 (2025) 3 doi: 10.36922/ac.5990