CONCEPTUAL METAPHORICAL MODELS IN THE ORIGINAL AND TRANSLATION OF CINEMATIC MEDIA DISCOURSE
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Abstract
Introduction. The rapid development of digital journalism and the popularization of filmrelated texts in the media space necessitate a comprehensive study of metaphorical images as tools for conceptualizing creative activity. The relevance of the topic is determined by the need to explore the linguocognitive aspects of translating English metaphors within the cinematic discourse.
Purpose. The study aims to investigate the functional characteristics of conceptual metaphorical models in English-language media texts about cinematography and to analyze the strategies for their rendering in Ukrainian translation.
Methodology. The study is conducted within the framework of a cognitive-discursive approach, which allows for considering metaphor as a cognitive mechanism for interpreting reality and a strategic tool for media communication. The applied approach enables the identification of the interconnection between the linguistic form of a metaphor, its conceptual content, and its pragmatic function in the context of modern film journalism.
Results. Within the cognitive approach, metaphor is defined as a mode of experience conceptualization based on the projection of knowledge between domains. It has been established that the translation of metaphors in film journalism is a complex process of reproducing the conceptual model of the source text. It is proved that the success of translational decisions depends on considering the pragmatic function of the metaphor, its role in shaping the author’s intentions, its emotional impact on the recipient, and the overall semantic organization of the media text. The main types of correspondences have been identified: preservation, replacement, or modification of the source domain of the metaphorical model.
Originality. The scientific novelty of the research lies in the systematization of translation strategies for conventional metaphors based on contemporary English-language media texts about cinematography. For the first time, the level of preservation of conceptual content and cultural associations of metaphorical images in translation has been assessed from the perspective of cognitive-discursive analysis. A typology of translational transformations has been substantiated, driven by discrepancies in linguistic worldviews, cultural contexts, and the specifics of film discourse as a specialized sphere of media communication.
Conclusions. The study demonstrates that in modern media texts about cinematography, particularly those devoted to the positive representation of actors, conceptual metaphorical models dominate, objectifying the image of the film artist through sacred, animalistic, socio-hierarchical, cosmological, and axiological domains of experience. It is established that models of conventional metaphors in cinematic discourse are predominantly preserved in Ukrainian translation, which is due to a shared sociocultural experience and the universality of cognitive structures. At the same time, in rare cases, translational transformations are applied to achieve functional-communicative equivalence, aimed at adapting the image to the norms of the Ukrainian language and the recipient’s culture of perception.
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