Page 83 - AC-3-3

Arts & Communication Advanced macro-image model for poetry translation

translation often necessitates viewing transposition and new means of creating implied meanings beyond those
transcoding as operationally autonomous processes. already identified.
The foundation of Torop’s translation model is built 4. Results and discussion
upon two processes that unfold through two stages. Based
on the juxtaposition of “stagedness” and “processuality,” The challenge of clarifying an objective criterion for the
Torop distinguishes eight main types of translation: completeness of a poetic translation cannot be addressed
macro-stylistic, precise, micro-stylistic, quotation, without considering the decoding of a poetic work. We
thematic, descriptive, expressive, and free translations. consider a poetic work as a synthesis of all its elements,
The ideal outcome of this translation process is termed in which the modern philosophical interpretation defines
adequate translation, where both transposition and the merging of the constituent parts of the object into a
recoding occur through the analysis and synthesis stages cohesive whole as harmony. Consequently, we propose
while maintaining the specific relationships inherent in that the harmony of all elements within a poem serves as
the text. This allows for multiple adequate translations a criterion for assessing the completeness of its translation.
of the original work, as various means can preserve the This terminological framework should cover all areas of
characteristics of both plans. Apart from the eight types poetry decoding and its translation.
of translation, Torop notes the existence of numerous In our analysis, harmony within a poetic work and its
transitional types since literary translation rarely conforms translation is not a mechanical combination of content and
to a single type. 3
formal elements; rather, it reflects a complex and ambiguous
While these classifications offer valuable theoretical relationship. According to Hegel’s formula, “content is
36
insights into translational activities, they are often nothing but the transition of form into content, and form
abstract and cumbersome, making them less practical for is nothing but the transition of content into form.” 36(p252])
poet-translators who are not privy to metalanguage and Literary critic Tynianov emphasized the hierarchical and
37
concepts of translation studies. In contrast, the macro- dynamic nature of this interaction, noting that all factors of
image – a structural-system construction of a poetic work artistic work are of equal value, allowing them to interact
developed in this study – offers a more accessible and without merging. This establishes a relationship between
productive framework for both describing translations and constructive and subordinate elements. To reproduce the
37
implementing them practically. specified dichotomy and avoid the metaphorical nature
Given our focus on poetic translation, particularly associated with the concept of form, some researchers
concerning imagery, it is pertinent to develop a model that propose replacing it with the concept of an idea that
aids translators in fully reproducing a poem’s essence while manifests through an adequate structure. However, we
also enabling translation experts to effectively evaluate the advocate for the concept of a synsemantic image, which
quality of translations. We advocate for a model of total is formed from the form-creating components within the
translation that views poetry primarily as a macro-image macro-image structure of a poetic work.
encompassing all internal and external relations within a We understand translation as a process characterized
broad limit of the linguistic and cultural macro-context. In by the transformation of content into expression and vice
addition, we propose a transformational-semantic model versa. In any communicative act, the sender synthesizes a
based on the prominent Ukrainian linguist Potebnya’s message based on content and subsequently divides it into
theory of “pervasive semantics,” which emphasizes the parts during transmission, transitioning from the plan of
35
semantic interconnectedness of all elements within a content to the plan of expression. The recipient then analyzes
poetic text, while acknowledging the rational essence of this information, moving from the plan of expression to the
other translation models described so far. plan of content. In translation, this process is compounded:
Such a model should reflect the general principles the sequence “content – expression – expression – content”
governing the structure of poetic images, akin to is transformed into “content – expression – expression –
the periodic table of chemical elements, where even content – expression – expression – content.” Therefore,
undiscovered elements have designated places within the the task of the translator is not to reproduce the form and
overall structure. It should be comprehensive enough to content but to recreate their harmony, while taking into
include all studied elements of poetic structure in their account the macrostructure of the poem. A fundamental law
structural and systemic subordination. The universal of art is the dialectical unity between an artwork’s content
scheme we have developed for the macro-image structure and form; a logically complete, ideologically saturated, and
of translated poetic works aligns with this vision, artistically unique work of art is always marked by deep
accommodating even unexplored image components and unity and interdependence of its content and form.

Volume 3 Issue 3 (2025) 5 doi: 10.36922/ac.5990