The article proposes a psycholinguistic approach to investigating translation strategies on the basis of information obtained in the course of the retrospective experiment designed by the authors and defined as ‘Partial Delayed Report of Problems and their Solution’. The aim of the research is to expose and describe translation strategies for resolving such a variety of translation difficulties as phonographic deviations. The object of the research is translation strategies as a mental by nature and complex by structure plan for the translator’s actions. The subject of the research is specifics of the above strategies’ formation and implementation in literary translation. The main method of the research is retrospective experimental technique ‘Partial Delayed Report of Problems and their Solution’; other methods employed include algorithmic modeling (for prospected translation strategies and substrategies) and comparative analysis (for control units in the source and target texts). The material of the research was twofold: (1) the fragment of Charles Dickens’s novel “The Posthumous Papers of the Pickwick Club” and its translations carried out by 21 semi-professional subjects of the experiment; (2) the subjects’ reports in the form of the answers to the questionnaire completed and submitted after the translation. Since strategies in translation studies are mostly dealt with within cultural approach, the authors turned to the concept of communication strategies as a foundation of their own psycholinguistic model of translation strategies for phonographic deviations. The analysis of the experimental data supports the conclusion that the translator initially forms a strategy (conscious mental plan) of overcoming a certain variety of translation difficulties (such as phonographic deviations) and then implements it as a sequence of moves (substrategies) aimed at providing for the most natural for the target reader translation variant.

The article focuses on the issue of gender stereotypes whose presence in a literary text constitutes a powerful factor in the translator’s activity and enables the target reader to learn more about the source culture as well as about their own. While analyzing the original, the translator must look into each literary image as the characters’ personality traits, their actions and their speech reveal the gender stereotypes of the society they belong to. The research was based on a dystopian novel by M. Atwood, “The Testaments”. The study was targeted at the image of one of the protagonists on whose behalf the story is being told – Agnes. The girl becomes a vivid embodiment of the distorted worldview imposed by Gilead. In Gilead, women are prohibited to have any feelings except for those that are regarded socially acceptable. She considers a woman’s body a trap, a source of danger, while relationships between a man and a woman provoke nothing but fear and disgust. The image of Agnes is constructed on the basis of a wide range of artistic devices rather masterfully recreated by the translator. However, depicting the dystopian reality which is aimed at warning against expansion of gender discrimination, the author recurs to informal, sometimes even vulgar language means aimed at underlining misrepresentation of the way Agnes perceived her own femininity and marriage. Nevertheless, in the Ukrainian culture where it is not so natural to openly speak about gender-related problems, where a woman’s speech cannot be rude or inappropriate, the translator, a woman herself, feels the need to euphemize such elements replacing them with more stylistically neutral ones or even completely omitting them. Thus, the degree of gender awareness, stereotypical views of what is acceptable or unacceptable in a woman’s speech determines perception of a literary text intended to draw increased attention to gender problems within a different cultural environment

Тащенко Ганна Володимирівна, кандидат філологічних наук, доцент кафедри перекладознавства імені Миколи Лукаша факультету іноземних мов Харківський національний університет імені В. Н.

The present article focuses on screen adaptations as intersemiotic translation which gives an opportunity to transpose written word into the multimodal space of cinema. Taking up the role of translators who act as mediators between different semiotic systems, film-makers face a range of challenges associated with the meaning-making resources available to the creator of a book and a film, respectively. They have to take into account a variety of factors ranging from the need to preserve the spirit of the book and its aesthetic value to the obligation to ensure commercial success of the film. However, reinterpretation of a literary work for screen purposes inevitably produces a new work of art which starts its own life in the cultural environment it is meant for. Unleashing their creativity, film-makers decide which elements of the book they consider essential to convey the key message of the writer and which could be sacrificed to provide for the visual appeal of the work of cinema. A vivid example of such a challenge is seen in filming “The Hours” based on the novel by M. Cunningham, a story of three women bound through time with a book. Virginia Woolf writing her “Mrs. Dalloway”, Laura Brown reading it and Clarissa Vaughn nicknamed Mrs. Dalloway by her former lover—all of them are struggling to find their true selves in the world, which dictates the way they must live their femininity. The battles they have to fight every single day without having the right to speak up are mostly represented in their internal monologues the novel abounds with. The film, in its turn, focuses on the main events in the story reinforcing them with powerful symbols such as the kiss that reveals true desires of Virginia and Laura while showing Clarissa that her life goes on; the cake that becomes an embodiment of Laura’s failure as a spouse and a mother; water that will swallow Virginia and become a point of no return for Laura, and flowers presaging death for Virginia but fortelling life for Clarissa. An intricate mixture of music, image, and unrivaled play of actors produce a coherent and eloquent narrative, which makes viewers rethink gender stereotypes as well as Virginia Woolf’s legacy.