Синестезія та інтермедіальність у перекладацькому аспекті (на матеріалі творчості Т. Г. Шевченка)

Abstract

У статті розглянуто феномен синестезії з позицій нейрофізіології, психології, літературознавства та перекладознавства, обґрунтовано його зв’язок з інтермедіальністю. Досліджено художню функцію синестезійних та інтермедіальних елементів у поезії Т. Г. Шевченка, зокрема на матеріалі фрагментів поеми «Катерина». Проаналізовано особливості відтворення синестезійних образів у перекладах англійською мовою, виконаних Дж. Вейром та М. Скрипник, ступінь збереження цілісності образів, основні складнощі та їх передумови.

The article is dedicated to the research of synesthesia, a perceptual phenomenon, in which a stimulus, aimed at one of the sensory organs, activates others, leading to formation of a stable associative connection between several seemingly non-related objects. Considering its complexity, modern scholars distinguish three levels of synesthesia, namely, preconceptual, conceptual, and verbal. Preconceptual level is investigated in terms of neurophysiology and psychology, while conceptual and verbal levels are analyzed by a range of liberal arts, including literary criticism and translation studies. Literary criticism defines synesthesia as a specific type of metaphor, based on combination of modalities inherent in different senses. Nevertheless, contrary to a traditional metaphor, synesthesia involves only sensory aspects. Moreover, its tenor and vehicle belong to different sensory systems. Depending on principles of intersensory imagery organization, literary synesthesia is subdivided into metaphoric and non-metaphoric. Thus, metaphoric synesthesia comprises lexical units that belong simultaneously to several schemes of imagery structure, while the non-metaphoric one is represented in text by lexical units that convey separate senses, creating poetic image on the macro-contextual level. Synesthesia serves as a precondition of intermediality that is a synthesis of features of different arts within a single composition, resulting from interaction and mutual influence of different artistic forms. Synesthesia and intermediality are widely used in the works by Taras Shevchenko. In particular, «Kateryna» poem is characterized by non-metaphoric synesthesia of «soundvision» type, which presupposes the combination of sound and visual elements in the marcocontextual image. In the fragment under consideration, the synesthesia is used for describing the Ukrainian landscapes, greatly contributing to expressiveness of the depiction, as well as highlighting the shades of the main character’s emotions. Additionally, synesthesia creates the effect of readers’ immediate presence. The analysis of the translations shows that a part of sense is lost due to the differences in symbolic meaning of elements within different cultures, even provided that the unity of sound and visual images is preserved. The translations partially reproduce synesthesia of the source text, including its musicality, created by alliteration and special author’s rhythm.