COLOUR COMPONENT “GREY” IN VASYL SYMONENKO'S POETIC LANGUAGE (ON THE MATERIAL OF ENGLISH TRANSLATIONS)
The article deals with the necessity of differentiation of ethnic symbols of colored character on the material of colour component – “grey” on the material of Vasyl Symonenko's poems “The Prophecy of 1917” and “The Thief” and their English translations. In the conducted research, the ethnic symbolic meaning of some images is viewed as an inextricable component of the author`s worldview. Translation and culture are inseparable, and their unity is particularly obvious when translator deals with ethnic national colouring incorporated into the author`s poetic works.
The theoretical tool for ethnic cultural content rendering of the colour component “grey” is analyzed, as well as the optimal translation methods that contribute to the metaphorical development of the original ethnic symbolism due to the ambivalence of the semantic shades of the studied color emitter. Anisomorphic features in the English and Ukrainian literary imagery, and in particular in ethnic symbolism of the respective cultures, draw a range of radical dissimilarities between Ukrainians and Englishmen, taking into consideration their cultural perceprion of reality. Ethnic symbol reflects abovementioned culturally marked divergences. Therefore one can say that ethno-cultural background influences the reception of ethnic symbol and conditions its interpretation by the target receiver. The issue of translational interpretation boarders of ethnosymbolism based on the poetic works of Ukrainian Sixtiers and their English translations is viewed as an inextricable component of the investigation. Author`s specificity of the poetic text ethnosymbolization outlines the national marking, in particular poetry creation of socio-demographic community of Sixtiers is interpreted through the prism of East Slavic linguistic culture which ethno-cultural specificity appears to be particularly unique on the extent of overlap between the English and Ukrainian cultures. Author focuses on the cases of misinterpretation that deform and level culturally-specific colouring of ethnosymbolic dimension of the Sixtiers poetic language in general. The practical results of this paper aim at finding a better solution for interlingual transference of specific original units (ethnic symbols) that are culturally marked taking into consideration the uniqueness and originality of the source texts.
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