КУЛЬТУРОЛОГИЧЕСКАЯ ФОРМУЛА ТРАНСФОРМАЦИОННОГО ПЕРЕВОДА ПОЭЗИИ С ПОЗИЦИЙ ПРОБЛЕМЫ ДИАЛОГА КУЛЬТУР
Culturological Formula of Transformational Translation of Poetry from Point of Dialog of Cultures"

Summary/Abstract: The article deals in analysis of culturological structure of transformational translation of poetic works as a process of dialog between cultures with peculiar emphasis on semiotic approach to dialogueness based upon interpenetration of cultural senses. Analyzed is the notion of translation as an act of interrelation between Me (representatives of the accepting culture), the Other (the author of the original text who is a representative of the original culture) taking into account their belonging to various epochal intervals.The Author focuses his attention on the analysis of culturological structure of transformational translation of poetry as a dialogic process between two cultures (the source culture and the target culture). The basis here is semiotic approach to dialogic process being a process of interpenetration of senses.The Author of the article considers that solving such problem as definition of poetic translation formula is possible from the perspective of culturological science. This point of view is supported by the fact that any text in the process of true translation in accordance with transatological norms is subjected to certain lexical and grammatical changes for the purpose of an adequate orientation on the definite readers who accept the result of this translation through the prism of their social and cultural status. And language itself is an integral part of a certain national culture. Taking into account this position and this point of view poetical translation was analyzed as an act of interrelation between Me (representatives of the target culture) and the Other (the author of the original text being a representative of the source culture) providing that Me and the Other belong to various epoch-making periods of time.The Author of the reviewed article distinguishes two various stages of translation process. The first stage presupposes that the translator should enter into the world of notions of the Other. And the second stage plays a very significant role in the process of formation of dialog as a hermeneutical notion. On this stage the Other should become the translator. And this is the very thing that doesn't occur in case with immanent translation. The final result of immanent translation remains "mute" and stands far from the Other represented by readers of translation/ In the result of this intercultural dialog becomes impossible and translation doesn't turn into a work of art remaining on the level of a simple text as a complex of lexical and grammatical operations/ The Author of the reviewed article thinks that assonance of senses should be searched by means of using new words (adaptation of the Alien to norms of the Native). At the same time it is also important to take into account the historical period this process takes place in (inconstancy of Hadamer's ideality of word). The author of the article considers that senses are a priori of intercultural nature.From Author's point of view the difference of manifestation of these senses is displayed in two planes. These planes are Space (difference between two cultures during the same epochal period) and Time (in this case difference may become apparent even within borders of a single culture on various stages of its development)V. Tsybulko presents weighty arguments for defining the notion of culturolocical dialogism being the decisive stage for determination of such culturological form as transformational translation of lyric poetry. Being guided by scientific researches of such scientists as H. G. Hadamer, P. Ricker, Y. Lotman the Author of the reviewed article determines possibility of intercultural dialog just providing a moderate violation of norms and borders set by the author of the original text and his culture. In the result of this both cultures are reinforced. At the same time the Self of the culture is under the protection of archetype protective mechanisms. The notion of the Third is represented as a result of intercultural dialog between Me (the target culture) and the Other (the source culture). At the same time the Author of this article includes the notion of Time (presented as the Fourth) into the formula of transformational translation. It is considered to be an epochal angle of target culture reflection in the translation. The Author of the reviewed article differentiates between notions "temporal" (which covers temporal changes of a separate culture) and "epochal" (presupposing changes of all cultures combined under the same dialogical space of cultures). The Fourth is viewed upon as an epochal leveler of Me and the Other on the level of that epoch the result of their interaction is aimed at. The Author of the reviewed article thinks that it is under these very conditions that the real dialog between Me and the Other becomes possible. From point of view of the Author of the reviewed article possibility of carrying out a dialog within borders of poetical translation process is possible providing usage of Me's cultural elements that don't overshadow the Other but help to understand him better. V. Tsybulko points out that the Fourth can be created just providing conditions of using the "living" language of translation. In its turn the "living" language is necessarily an up-to-date language providing possibility of using colloquial and to a certain extent even dialectic elements. The Author of the reviewed article supports the orientation on the modernity with the fact that nowadays "points of similarity" between cultures providing conditions of up-to-date globalization become more and more numerous.Thus V. Tsybulko comes to the conclusion that the center of intercultural dialog lies in the contest between Me and the Other for getting the Third on the ground of the epochal Fourth in the process of looking for points of coincidence between two cultures. And Ricker's formula. "Myself as the Other" presented as "Me – the Other – the Third – the Fourth" is defined by the Author of the reviewed article as the most acceptable one for "interepochal" dialogs presented as translation of literary works on the whole and of lyric poetry as an integral part of such works. At the same time the element of the Fourth is defined as the time in its continuous movement from the present moment and ad infinitum.This article is a part of its Author's dissertation research ("Poetic Translation as a Phenomenon of Cultural Senses Interpretation") and it contains a number of questions he is going to answer during his further scientific work.V. Tsybulko's article "Culturological Formula of Transformational Translation of Poetry from Point of Dialog of Cultures" meets requirements of the State Commission for Academic Degrees and Titles and can be recommended for publication.

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