Zhanturina Bakhyt N.

Double syntax constructions usually classified as ‘poetic license’ in a complicated text have been reviewed against the background of normal word order, inversion and dislocated syntax models in poetic translation from English into Russian. The constructions may be motivated by indefinite reference and referential conflict of pronominal substitution, anaphoric and cataphoric cohesion of the textual blocks. Under translation such constructions illustrated by examples from Emily Dickinson’s poetic texts and their translation variants by A. Gavrilov and I. Bliznestova are non-equivalent; the translation strategy is targeted at eliminating referential duality in the text.

Linguocolorisms as part of the artistic aura in a poetic text are reviewed in the present article from the standpoint of the translator’s strategy, which is exemplified by Emily Elizabeth Dickinson’s poems and their Russian translations by A. Gavrilov, E. Valgurina and V. Avsiyan. The translator’s operations and transformations, such as invariant correspondences, borrowings, replacement, omittance, addition, dislocation or rearrangement, may cause local and global changes at the level of words, phrases, sentences as well as at the level of the whole text. The inevitable changes and radical transformation of the original poem can be motivated by the omitted linguocolorism, which has been demonstrated through the use of the conceptual models and mental patterns in the translated text; textual strategies of the poem are described from the perspective of the cognitive frame method.

The article deals with five Russian translation poetic variants of Emily Dickinson’s poem We never know how high we are within the framework of cognitive translation practice. It sheds light on similarities and differences in textual subjectification and subjective modality means in the source and target poetic texts alike. It has been shown that the perception and conceptual planes from the cognitive metaphor in the adjective high высокий are preserved in translation. The Speaker’s viewpoint might shift entailing changes in the means of subjective modality, such as personal deictic forms, verbal deictic changes in voice and grammatical modality as well. Russian variants of translation containing syntactic forced restructuring under meaning contraction are considered as a style modifying device.

The article deals with four Russian translations of Emily Dickinson’s poem “Tell All the Truth but Tell it Slant” in line with the cognitive translation practice. It aims at similarities and differences in deictic, referential, conceptual, perceptual and gradation-evaluation areas of the source text and its translation variants. It has been shown that differences in the source and target texts, as well as the need to use transformations, are invoked by poetic syntactic license in the source text (double syntactic constructions and referential conflict), by key concepts “pravda — istina — truth” development, by the cognitive metaphor of light and novel dominating signs of cognition in the perception-gradation rows in the texts.