PSYCHOLINGUISTIC MODEL IN TRANSLATION OF MODERN ENGLISH THRILLER

Abstract

Development of models of literary text translation is considered. Translation originated and has long advanced as a discipline that provided faithful and accurate reproduction of the original text or message on commercial, military or religious topics. The accuracy of the reproduced information at that time was equal to equivalence, since it was impossible in principle to change or even interpret the facts from texts of a sacred nature or military orders texts.

Modern categories of linguistic transformation, dynamic equivalence and relevance in translation are also examined. The key concept of nowadays translation theories is encoding and decoding: the author transmits something to the reader, and the task of the translator is to properly understand the content of the message and equivalently reproduce it by means of the target language. However, such recoding is not ever understood as pure transformational (mirror), but variable, the one that must take into account the factor of equivalent pragmatic influence on the addressee. Features of such psycholinguistic model of translation by Roger Bell are represented. This model is based on the achievement of cognitive and system-wide linguistics and computer word processing.

The novel by the British writer Flynn Berry "Under Harrow", is taken as an object of translation studies. "Under Harrow" reads many formal detective postmodern canons. This artistic text is considerably complicated for translation because its structure gradually turns from narrative - consecutive to labyrinthine. Psycholinguistic strategy of translation, which takes into account linguistic and non-linguistic features of the text as well as cultural, ethical, educational, etc. features of the addressee is able to reproduce equivalently the full range of meanings hidden in this novel as well as in modern art. Some methods of equivalent rendering of the poetics of the postmodernist thriller are given.