Knyazhinskaya Yelena V.

The article deals with the Russian nomina, i.e. language identification units, created in the era of the 1917 Revolutions in Russia and ways of their translation into English. The article draws a line between language identification units and linguistic realia, i.e. national-cultural units. Both of them contain information specific to the country in a particular period of its development that causes difficulties in their translation. Special attention is paid to the methods of transferring language identification units from the original language into the language of translation by English writers who tried to create the atmosphere of the revolutionary era associated with numerous changes in the political and cultural fields. Language identification units transfer the changes that occurred in the political life of a particular country. However, precise equivalents are not always possible to find in the target language. Both writers and translators need to use transliteration, transcription, calquing and interpretation to render language identification units into a foreign language.

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.