VISUAL NARRATIVE IN TRANSLATING THE LITERARY TEXT OF ROMANTIC PROSE
The article deals with latest linguistic notions of narrative and narration, the ones of ekphrastic representation, a subjective description of visual experience of something seen, which can also be defined as explication through both verbal and visual means of imagery devices. The article focuses on studying the artistic images in the Romantic literature produced through interaction between the visual and verbal codes implied for translating. The forms of Romantic literary vision are regarded in the textual perspective as well as through dialogue and metafiction theory providing for intertexuality analysis and postmodernist poetic interpretation of the mystery text. Textual ekphrasis, or the pictorial depiction, involved into the text of E. Poe’s “The Oval Portrait»is analyzed in the way of the syntactic whole characteristics. The ekphrastic entity proper is seen as a clear, intense, self-contained argument or pictorial description of an object, especially of an artwork. Ekphrastic descriptions proved to be quite numerous in the literary works and had been so far given various interpretations. The actual textual phenomena are regarded in E. A. Poe’s prose translated and estimated in the vein of literary text analysis that proves to be highly instrumental for intertextual and intersemiotic evaluation of the literary texts in general. The author’s ideostylistic preferences are regarded through textemes or topics as well as through syntactic entities or paragraphs taken for the actual division text units. The analysis in general concentrates upon the suprasyntactic unit represented as a syntactic whole and regarded through the texteme vision. The text is as well analyzed through appropriate text samples illustrating the texteme sense represented in the pictorial depiction.
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