Veronika Bialik
Master Student in Philology, State Institution “South Ukrainian National Pedagogical University named after K. D. Ushynsky”,
Odesa, Ukraine
e-mail: veronikabyalik@icloud.com
ORCID ID: https://orcid.org/0000–0002–4688–1355
DOI: https://doi.org/10.24195/2616-5317-2020-31-2
Ilona Derik
Candidate of Philology, Associate Professor of the Department of Translation and Theoretical and Applied Linguistics, State Institution “South Ukrainian National Pedagogical University named after K. D. Ushynsky”,
Odesa, Ukraine
e-mail: ilonaderik@gmail.com
ORCID ID: https://orcid.org/0000–0003–1476–2391
Key words: translation of fiction, poetry, tropes.
Translation of fiction, and in particular — translation of poetic works plays an extremely important role in modern translation studies. In the process of global more and more people are learning foreign languages and showing a deep interest in the cultural heritage of other countries, including literature. This explains the increased interest of readers in the poetry of foreign authors. The complexity of literary translation is due to the fact that the translator must not only have the basic translation skills, but also must have the creative abilities and background knowledge to fully reproduce all the artistic means that are found in the original text.
The objective of the article is to analyze the reproduction of tropes in translation of the poetic work of E. A. Poe “Dreams” from English into Chinese to identify tactics, techniques and transformations allowing to reproduce artistic means in translation. According to the results of the study, it was found out that in the poetic work “Dreams” the following artistic means were employed: epithet, metaphor,personification, comparison and rhetorical question.
Despite the difference in the mentalities of the English and Chinese people, the translator used the tactic of national coloring preservation while rendering in translation all the above-mentioned artistic means. This tactic made it possible to fully implement the desired emotional impact on the target audience and convey the mood and attitude of the original author. In the five cases out of the twelve, the translator resorted to the transformation of the addition to deepen the emotional impact on the recipient. It may be concluded that the translator hasn’t only achieved the goal but also managed to preserve the main function of the work of art — an aesthetic impact on the reader, and besides successfully re-created eleven of the twelve artistic means at work.
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