NONE20260607180419719Immanuel Kant Baltic Federal Universityno-reply@journals.kantiana.ruImmanuel Kant Baltic Federal UniversitySlovo.ru: Baltic accent2225-53462686-89890607202611A.VdovichenkoThis article analyses differences between the static and dynamic interpretations of the text and discourse. The concept of a communicative action (a semiotic act) is considered as the main distinguishing factor that is crucial for the communicative model of text but is ignored within the language model. The communicative (dynamic) model postulates the following: 1) the text is a sequence of verbal elements of communicative actions; 2) the verbal manifestation of an utterance differs fundamentally from a communicative action; 3) the cognitive condition of the author of an action imposes a limit on meaning formation within the action and within the corresponding sentence of a text; 4) communicative meaning formation implies that the author sees sense in the procedure of communication per se rather than in reflecting reality or conveying thoughts; 5) when perceiving a written text, the reader’s consciousness constantly interprets a single communicative action and this makes a not-procedural understanding of a text ineffective. In dynamic terms, discourse represents a recognized situation of a given communicative action or a flexible system of parameters that is constantly recreated and updated to ensure the correct interpretation of a semiotic act.06072026111. Arutyunova, N. D., 1990. Discourse. In: V. N. Yartseva, ed. Lingvisticheskii entsiklopedicheskii slovar' [Linguistic encyclopedic dictionary]. Moscow, p. 136—137.2. Vdovichenko, A. V., 2016. Communicative justification of grammar. To the question of limits of grammatical description conventionality. Russkii yazyk za rubezhom [Russian language abroad], 4, p. 78—84.3. Vdovichenko, A. V., 2016. On the non-self-identity of the linguistic sign. The causes and consequences of "linguistic imiaslavie". Voprosy filosofii [Issues of philosophy], 6, p. 164—175.4. Dridze, T. M., 1984. Tekstovaya deyatel'nost' v strukture sotsial'noi kommunikatsii: problemy semiosotsiopsikhologii [Text activity in the structure of social communication: the problems of semiosociopsychology]. Moscow.5. Kolshanskii, G. V., 1980. Kontekstnaya semantika [Contextual semantics]. Moscow.6. Lukin, V. A., 1999. Khudozhestvennyi tekst: osnovy lingvisticheskoi teorii i elementy analiza [Litarary text: the foundations of linguistic theory and elements of analysis]. Moscow.7. Nikolaeva, T. M., 1978. A brief dictionary of text linguistics terms. In: T. M. Nikolaeva, ed. Novoe v zarubezhnoi lingvistike. Vyp. 8. Lingvistika teksta [New in foreign linguistics. Issue. 8. Linguistics of the text]. Moscow, p. 467.8. Serio, P., 1999. How read texts in France. In: P. Serio, ed. Kvadratura smysla. Frantsuzskaya shkola analiza diskursa [Quadrature of meaning. French school of discourse analysis]. Moscow.9. Stepanov, Yu. S., 1995. Alternative world, Discourse, Fact and principle of Causality. In: Stepanov, Yu. S., Frumkina, R. M., Rudenko, D. I. et al. Yazyk i nauka kontsa XX veka [Language and science of the late twentieth century]. Moscow, p. 35—73.V.FeshchenkoThis article presents preliminary results of a project studying multilingualism in world poetry. Multilingual interactions are particularly persistent in the contexts where either writers (poets) exist in multilingual sociocultural environments or they are moving from one country to another throughout their literary career. Existing in two or more cultural and/or linguistic spaces at the same time and thus making transfers across the boundaries of different languages easier, more efficient, and more conscious, multilingual poets serve as exemplary agents of cultural transfer. This study analyses different cases of poetic multilingualism where poets who can speak and write freely in two or more languages and intentionally create either variants of the same text in two languages or different poems in two separate languages. The author outlines a geographical map, locating areas where multilingual poetic production is or was most active. The scope of the mapping is limited to European countries and areas with bilingual or multilingual population. The article also discusses theoretical and practical challenges in mapping poetic multilingualism in Europe.06072026111. Azarova, N. M., 2016. Poetic bilingualism as a means of intercultural transfer. In: V. V. Feschenko et al., eds. Lingvistika i semiotika kul'turnykh transferov: metody, printsipy, tekhnologii [Linguistics and semiotics of cultural transfers: methods, principles, technologies]. Moscow, p. 255—307.2. Alekseev, M. P., ed., 1981. Mnogoyazychie i literaturnoe tvorchestvo [Multilingualism and literary creation]. Leningrad.3. Ben'yamin, V., 2002. The task of translator. In: Derrida, Zh. Vokrug vavilonskikh bashen [Around the Babylonian Towers]. St. Petersburg, p. 85—111.4. Bochaver, S. Yu., 2015. Bilingualism and interlingual interaction in the poetry of P. Jimferrer. Kritika i semiotika [Criticism and Semiotics], 1, p. 316—327.5. Vdovichenko, A. V., 2016. Kazus «yazyka» Septuaginty i Novogo Zaveta: Lingvisticheskii metod «za» i «protiv» avtorov [Casus of the "language" of Septuagint and New Testament: The linguistic method "for" and "against" authors]. Moscow.6. Kudelin, A. B., 2015. Andalusian stanza poetry: a special case of interlingual interaction in medieval Europe? Kritika i semiotika [Criticism and Semiotics], 1, p. 171—181.7. Parizhskii, S. G., 2015. Trilingual poem of Yehuda al-Harizi (XIII c.). Kritika i semiotika [Criticism and Semiotics], 1, p. 219—235.8. Sokolova, O. V., 2015. Concepts of "ecumenical " and "universal" language in the Russian and American avant-garde. Kritika i semiotika [Criticism and Semiotics], 1, p. 268—283.9. Sokolova, O. V., Feshchenko, V. V., 2017. "The revolution of language" by Eugene Jolas: from "vertical" poetry to "vertigral" communication. Sibirskii filologicheskii zhurnal [Siberian philological journal], 3, 2017. In press.10. Tarasova, M. A., 2015. Bilingualism in the original and translated poetry of N. Scandiaci. Kritika i semiotika [Criticism and Semiotics], 1, p. 340—349.11. Feshchenko, V. V., 2015. Autotranslation of the poetic text as a kind of autocommunication. Kritika i semiotika [Criticism and Semiotics], 1, p. 199—218.12. Feshchenko, V. V., Bochaver, S. Yu., 2016. The theory of cultural transfers: from translation studies — through culture studies — to theoretical linguistics. In: V. V. Feschenko et al., eds. Lingvistika i semiotika kul'turnykh transferov: metody, printsipy, tekhnologii [Linguistics and semiotics of cultural transfers: methods, principles, technologies]. Moscow, p. 5—35.13. Feshchenko, V. V. et al., ed., 2016. Lingvistika i semiotika kul'turnykh transferov: metody, printsipy, tekhnologii [Linguistics and semiotics of cultural transfers: methods, principles, technologies]. Moscow.14. Chelysheva, I. I., 2015. On some aspects of multilingualism in Romanesque medieval poetry. Kritika i semiotika [Criticism and Semiotics], 1, p. 182—190.15. Shcherba, L. V., 1974. On the issue of bilingualism. In: Shcherba, L. V. Yazykovaya sistema i rechevaya deyatel'nost' [Language system and speech activity]. Leningrad, p. 313—318.16. Anokhina, O., Rastier, F., éd., 2015. Ecrire en langues. Littératures et plurilinguisme. Paris.17. Denat, C., Woling, P., éd., 2015. Transferts linguistiques, hybridations culturelles. Reims.18. Espagne, M., 2009. L'histoire de l'art comme transfert culturel. L'itineraire d'Anton Springer. Paris.19. Espagne, M., 2014. L'ambre et le fossil. Transferts germano-russes dans les sciences humaines. XIXe — XXe siècle. Paris.20. Forster, L., 1970. The Poet’s Tongues. Multilingualism in Literature. Cambridge; Otago.21. Gin, P. et al., eds., 2014. Transfert. Exploration d’un champ conceptuel. Ottawa.22. Jolas, E., 2009. The Language of Night. In: K. H. Kiefer, R. Rumold, eds. Critical Writings, 1924—1951. Evanston, Illinois, p. 140—161.23. Lilti, A.-M., 2005. Ecriture poétique, langue maternelle et langue étrangère. Contribution à une histoire polyglossique de la poésie française. Paris.24. Novak, B., 2011. Dvojezičnost — ponotranjeno prevajanje, kontrolirana shizofrenija, kulturno bogastvo. In: Novak, B. Salto immortale. Studie o prevajanju poezije. Druga kniga. Ljubljana, p. 239—246.25. Perloff, M., 1999. «Logocinéma of the Frontiersman»: Eugene Jolas's Multilingual Poetics and Its Legacies. Kunapipi, 20(3), p. 145—163.26. Tateoka, K. et al., eds., 2016. Found in Translation: Transformation, Adaptation and Cross-Cultural Transfer. Belgrade.27. Zumthor, P., 1960. Un problème d'esthétique médiévale: l'utilisation poétique du bilinguisme. Le Moyen Age, 15—16, p. 301—336.N.AzarovaThe article studies hyphenated complexes in Russian, French, and German philosophical discourses. The author identifies key word-formation models that use the hyphen. In philosophical discourse, the hyphen serves as a linguistic tool to convey dialectic thinking that expresses the conceptualization of the limited/the unlimited, under-certainty or emerging certainty, and motion and stillness. In philosophical texts, hyphenated complexes facilitate the tendency towards a perfect dialectic form in language — a form that embraces discreteness and continuity, division and wholeness. The hyphen is a means that contributes to the formation of concepts as undivided phonosemantic complexes reflecting the prototypes of things. In this sense, the hyphen serves as a tool for language and discourse transfer. In philosophical texts, the key function of the hyphen in newly created formations is conceptualisation. This holds true regardless of the number of components and of the position of the hyphen. The author concludes that the hyphen is a universal cognitive mechanism, characteristic of philosophical discourse; it is a means to form an integrated conceptual complex around the central component of the conceptualisation.06072026111. Gegel', G. V. F., 2006. Fenomenologiya dukha [Phenomenology of the spirit]. St. Petersburg.2. Shchedrina T. G., ed., 2014. Gustav Gustavovich Shpet [Gustav Gustavovich Shpet]. Moscow.3. Kubryakova, E. S., 2004. Yazyk i znanie. Na puti polucheniya znanii o yazyke: chasti rechi s kognitivnoi tochki zreniya, rol' yazyka v poznanii mira [Language and knowledge. On the path of acquiring knowledge of the language: parts of speech from the cognitive point of view, the role of language in the cognition of the world]. Moscow.4. Kuzanskii, N., 1979. Sochineniya [Works]. Moscow, vol. 1.5. Losev, A. F., 1982. Znak. Simvol. Mif [Sign. Symbol. Myth]. Moscow.6. Nikolina, N. A., 2009. Aktivnye protsessy v yazyke sovremennoi russkoi khudozhestvennoi literatury [Active processes in the language of modern Russian literature]. Moscow.7. Onatskaya, O. I., 2005. Stanovlenie defisnogo napisaniya slov v russkom pis'me XVIII — pervoi poloviny XIX veka [Becoming of hyphenated spelling words in Russian writing of ХVIII — the first half of XIX century]. Cand. philol. sci. diss. thesis. Moscow.8. Podoroga, V. A., 1995. Vyrazhenie i smysl [Expression and meaning]. Moscow.9. Fateeva, N. A., 2004. Directories "by", "from" and... "to", or Poetical language in progress. In: N. A. Fateeva et al., eds. Poetika iskanii ili poisk poetiki [Poetics of searching or searching for poetics]. Moscow, p. 79—89.10. Fateeva, N. A., 2006. Otkrytaya struktura: O poeticheskom yazyke i tekste rubezha XX— XXI vekov [Open structure: On the poetic language and the text of the turn of the XX—XXI centuries]. Moscow.M.MartynovThe subject of this paper is the semantics of the colour black in anarchism. The author analyses the sociocultural and ontological aspects of the colour black as a symbol of anarchist criticism of power and the state. The anarchist black colour is counterposed to the white colour — a symbol of power in many cultures. The author shows that the idea of destruction, which the black colour of anarchy manifests, is correlated with the anthropological universals of visual experience. This idea is connected with the prototypical root of the colour black — the night, which is associated with chaos across many cultures. The protest semantics of the colour black is increasingly used in contemporary art activism. The author considers examples demonstrating that the colour black is used to criticise political representation and the anonymity of power. The primary focus is on the artistic practices of blackout (painting over/blocking out in black ink), which are interpreted in the context of the criticism of the political idea of transparency. In conclusion, the opacity of the black and white colours is compared. It is shown that the colour black can serve as a tool to create a radical semantic gap.06072026111. Batai, Zh., 1997. Vnutrennii opyt [Internal experience]. St. Petersburg.2. Bakhilina, N. B., 1975. Istoriya tsvetooboznachenii v russkom yazyke [History of color designations in Russian]. Moscow.3. Burenina-Petrova, O. D., 2016. Anarchy and power in art (Varvara Stepanova and Alexander Rodchenko). Syuzhetologiya i syuzhetografiya [Plot theory and plotography], 2, pp. 120—137. Available at: http://www.philology.nsc.ru/journals/sis/pdf/SS2016-2/15.pdf [Accessed 18 August 2017].4. Vezhbitskaya, A., 1996. Color designations and universals of visual perception. In: Vezhbitskaya, A. Yazyk. Kul'tura. Poznanie [Language. Culture. Cognition]. Moscow, p. 231—290.5. Grois, B., Peppershtein, P., 1992. Dialog o prozrachnosti [Dialogue about transparency]. Available at: http://www.conceptualism-moscow.org/page?id=1695 [Accessed 18 August 2017].6. Dobrokhotov, A. L., 2008. White king, or metaphysics of power in Russian thought. In: Dobrokhotov, A. L. Izbrannoe [Selected works]. Moscow.7. King, D., 2005. Propavshie komissary. Fal'sifikatsiya fotografii i proizvedenii iskusstva v stalinskuyu epokhu [Missing commissars. Falsification of photographs and works of art in the Stalin era]. Moscow.8. Limanov, K., 1998. Anarchist symbolism. Naperekor. Katalizator umstvennogo brozheniya [Against. Catalyst of mental fermentation], 7, p. 55—59.9. Makkuair, S., 2014. Mediinyi gorod: media, arkhitektura i gorodskoe prostranstvo [Media city: media, architecture and urban space]. Moscow.10. Napreenko, G., 2015. «Studiya na Burakova, 27». Lektsiya iz tsikla «Drevo sovremennogo russkogo iskusstva», prochitannaya v muzee «Garazh» 11 sentyabrya 2015 goda ["Studio on Burakova, 27". Lecture from the cycle "The Tree of Contemporary Russian Art", read in the Garage Museum September 11, 2015]. Available at: https://www.youtube.com/watch?v= sUOrUvYRBio [Accessed 26 August 2017].11. Obatnina, E., 2013. Artist and History, or how is "A monument to the perished anarchists" made. Novoe literaturnoe obozrenie [New literary review], 4(122), pp. 198—225. Available at: http://www.nlobooks.ru/node/3785 [Accessed 18 August 2017].12. Pasturo, M., 2017. Chernyi. Istoriya tsveta [The black. History of color]. Moscow.13. Regulations on the Black Guard, 1990. Anarkhist. Vestnik Tul'skoi Anarkhii [Anarchist. Bulletin of Tula Anarchy], 2, p. 1.14. Pchelov, E. V., 2010. The color symbolism of power in Russian culture. In: Trudy russkoi antropologicheskoi shkoly [Proceedings of the Russian Anthropological School], 10 (7), p. 66—84.15. Stepanov, Yu. S., 2004. Konstanty: Slovar' russkoi kul'tury [Constants: Dictionary of Russian culture]. Moscow.16. Tvorcheskaya strast', 2003. Situatsiya [Situation], 2, p. 4.17. Trepavlov, V. V., 2007. «Belyi tsar'». Obraz monarkha i predstavleniya o poddanstve u narodov Rossii XV—XVIII vv. [The «White Tsar». The image of monarch and the idea of citizenship of the peoples of Russia XV—XVIII centuries]. Moscow.18. Trutovskii, V. K., 1991. K voprosu o russkikh natsional'nykh tsvetakh i tipe gosudarstvennogo znameni Rossii [To the question of Russian national colors and the type of state banner of Russia]. Moscow.19. Fuko, M., 1999. Nadzirat' i nakazyvat': Rozhdenie tyur'my [Supervise and punish: Birth of prison]. Moscow.20. Chernaya, M., 2009. Chernyi Blok: vzglyad iznutri [Black Block: inside view]. Available at: https://avtonom.org/pages/chernyy-blok-vzglyad-iznutri [Accessed 01 September 2017].21. Groys, B., 2014. On Art Activism. Available at: http://www.e-flux.com/journal/56/60343/on-art-activism/ [Accessed 26 August 2017].Yu.DreyzisThis paper analyses structures typical of the classical Chinese poetry and the way they are used in contemporary Chinese verse. The analysis aims to demonstrate the work of traditional textual mechanisms in contemporary Chinese poetry and to describe their functional features. Poems by Dai Weina, Han Bo, Tashi Tentso, and Zhang Zao employ linguistic means that simultaneously engage several levels of utterances. These linguistic means include non-trivial semantic links created by means of phonographics. A linguistic analysis of relevant contexts shows that all the linguistic means contribute to the semantic cohesion of the text and make a bridge to the space of classical images and the tradition of the 20th century Chinese ‘New Poetry’. Such experiments expand the capabilities of the Chinese language and construct a type of text that relies on an unconventional usage of its elements.06072026111. Azarova, N. M., 2013. Anagramming as a mechanism for conceptualization. Kognitivnye issledovaniya yazyka [Cognitive studies of language], 15, p. 183—193.2. Azarova, N. M., 2015. Water graphics and stone graphics in a classic Chinese poem: is it possible to convey this in translation? (On the material of Du Fu's poetry). In: L. O. Zaionts, ed. Zhivoi kamen': ot prirody k kul'ture [Living stone: from nature to culture]. Moscow, p. 194—205.3. Alekseev, V. N., 1978. Kitaiskaya literature [Chinese literature]. Moscow.4. Dreizis, Yu. A., 2015. Development of the concept of poetic language in modern experimental poetry of China. Vestnik Moskovskogo universiteta. Ser. 13: Vostokovedenie [Moscow University Bulletin. Ser. 13: Oriental Studies], 3, p. 52—53.5. Lotman, Yu. M., 1995. K osnovaniyam modeliruyushchei poetiki [To the foundations of modeling poetics]. Available at: http://www.ruthenia.ru/reprint/trudy_ii/lotmanm.pdf [Accessed 22 July 2016].6. Aoshuan, T., 2001. Typological features of reduplication in Chinese. In: VI Mezhdunarodnaya konferentsiya po yazykam Dal'nego Vostoka, Yugo-vostochnoi Azii i Zapadnoi Afriki (25—28 sentyabrya 2001 g.): materialy i tezisy dokladov [International Conference on the Languages of the Far East, Southeast Asia and West Africa (September 25—28, 2001): materials and abstracts of papers]. St. Petersburg, p. 18—24.7. Fedorenko, N. T., 1987. The oldest monument of Chinese poetic culture. In: N. T. Fedorenko et al., eds. Shitszin. Kniga pesen i gimnov [Shijing. Book of songs and hymns]. Moscow.8. Barnes, A., 2007. Chinese through Poetry, an Introduction to the Language and Imagery of Traditional Verse. London.9. Erbaugh, M. S., 1986. Taking stock: the development of Chinese noun classifiers historically and in young children. In: C. G. Craig, ed. Noun classes and categorization: Proceedings of a Symposium on Categorization and Noun Classification, Eugene, Oregon, October 1983. Amsterdam, p. 399—436.10. Fang, J., Connelly, M., 2008. Chinese Measure Word Dictionary. Boston.11. Li, C. N., Thompson, S. A., 1981. Mandarin Chinese: A Functional Reference Grammar. Los Angeles.12. Li, W., 2000. The pragmatic function of numeral-classifiers in Mandarin Chinese. Journal of Pragmatics, 32, p. 1113—1133.13. Ming, D., 2017. Letter from Beijing: New Poets and New Trends in China. Available at: https://pionline.wordpress.com/2017/01/19/letter-from-beijing-new-poets-and-new-trendsin-china [Accessed 17 May 2017].14. Norman, J., 2007. Chinese (Cambridge Language Surveys). Cambridge.15. Shie, J.-S., 2003. Figurative Extension of Chinese Classifiers. Journal of Da-Yeh University, 12 (2), p. 73—83.16. Sun, Ch., 1988. The discourse function of numeral classifiers in Mandarin Chinese. Journal of Chinese Linguistics, 2, p. 298—322.17. Yeh, M., 2008. «There Are no Camels in the Koran»: What is Modern about Modern Chinese Poetry? In: Ch. Lupke, ed. New Perspectives on Contemporary Chinese Poetry. New York, p. 9—29.18. Min, D. 明迪, 2017. Beitszin laisin': Chzhungo sin' shizhen' sin' shifen 北京来信：中国新诗人新诗风 [Letter from Beijing: New Authors and Trends in Chinese Poetry]. Available at: https://poetryeastwest.com/2017/01/11/new-poets-new-trends-in-china/ [Accessed 20 August 2017].19. Van, L. 王力, 1958. Khan'yui shilyuisyue 汉语诗律学 [Chinese versification]. Shankhai.20. Dai Veina de shi 戴潍娜的诗 [Verses of Dai Vein], 2015. Available at: https://site.douban.com/246933/widget/notes/190584204/note/522164743/ [Accessed 19 August 2017].21. Khe, T. 何杰, 2001. Syan'dai khan'yui lyantsy yan'tszyu 现代汉语量词研究 [Study of countable words of modern Chinese]. Pekin.22. Khu, Sh. 胡适, 1991. Ven'syue gailyan chui 文学改良刍议 [Preliminary proposals on literary reform]. In: Khu Shi ven'tsui 胡适文萃 [Collection of articles by Hu Shi]. Pekin, p. 3—13.23. Chzhai, S. 翟秀峰, 2004. Chu Tan shi chzhun de lyantsy tszi tsi yuifakhua chendu 初唐诗中的量词及其语法化程度 [Countable words in the Early T'ang poetry and the degree of their grammaticalization]. Ven'syue tszyaoyui 文学教育, 3, p. 142—143.24. Chu tsy 楚辭 [Chu stanzas], 2016. Available at: http://ctext.org/chu-ci/jiu-tan [Accessed 19 August 2017].25. Shitsy mintszyui van 诗词名句网 [Portal of poetic aphorisms] Available at: http://www.shicimingju.com/chaxun/shiju/%E4 %B8 %80 %E9 %92 %A9 %E6 %96 %B0 %E6 %9C%88 [Accessed 19 August 2017].S.ZolyanTranslation is a multidimensional phenomenon. All the theories stress the diversity of its types and strategies. Phenomena described as an unexplainable deviation within one theory can form the foundation for another. This may lead to the idea of replacing a theory of translation with its empiric version. However, a different approach is also possible. The outlines of the theory of translational and traductological relativity can be derived from the ideas first voiced by Schleiermacher in his lecture On the different methods of translation (1813), from Quineʼs theory of indeterminacy of translation, and from Benjaminʼs concept of untranslatability. From a multi-disciplinary perspective, this heterogeneity is viewed as a benefit. Instead of a universal typology, which inevitably breaks down into a plethora of loosely connected theories of literary, technical, simultaneous, and other types of translation, one can employ an approach where theories differ in axiomatics rather than descriptions. This will produce a family of linguistic, semiotic, and hermeneutic theories. These theories will a) be based on family resemblance, b) aim to describe adequately a certain type of translation, and c) complement each other. Instead of searching for principles universal to all types of translation, this approach strives to correlate different theories, to estimate the range of applications of these theories, and to analyse the mutual translatability/untranslatability of translation theories.06072026111. Avtonomova, N., 2008. Poznanie i perevod. Opyty filosofii yazyka [Cognition and translation. Experiences of language philosophy]. Moscow.2. Avtonomova, N., 1969. M. Gasparov: 'Shakespeare's sonnets — translations of Marshak'. Voprosy literatury [Issues of literature], 2, p. 100—112.3. Ben'yamin, V., 2012. Task of the translator. Foreword to the translation of Baudelaire's «Paris paintings». In: Ben'yamin, V. Uchenie o podobii. Mediaesteticheskie proizvedeniya [The doctrine of similarity. Media-aesthetic works]. Available at: http://kassandrion.narod.ru/ commentary/11/6ben.htm [Accessed 17 May 2017].4. Vitgenshtein, L., 1958. Logiko-filosofskii traktat [Logico-philosophical treatise]. Moscow.5. Zolyan, S. T., 2013. Text-centric semantics and translation theory. Inostrannye yazyki v vysshei shkole [Foreign languages in higher education], 2 (25), p. 11—18.6. Zolyan, S. T., 2016. Text-centric semantics and translation theory. Article 2: Semantics of translation as a semiotic variable. Inostrannye yazyki v vysshei shkole [Foreign languages in higher education], 4 (39), p. 45—55.7. Zolyan, S. T., 2017. M. L. Gasparov and the principle of relativity of poetic translation. In: M. Akimova, M. Tarlinskaya, eds. M. L. Gasparov. O nem. Dlya nego: Stat'i i materialy [Gasparov. About him. For him: Articles and materials]. Moscow, p. 486—504.8. Quine, W., 2000. Slovo i ob"ekt [Word and object]. Moscow.9. Quine, W., 2005. Eshche raz o neopredelennosti perevoda [Once again about the uncertainty of the translation]. Logos, 2(47), p. 32—45.10. Lotman, Yu. M., 2000. Semiosfera [Semiosphere]. St. Petersburg.11. Fedorov, A. V., 1938. Osnovy obshchei teorii perevoda [Fundamentals of general theory of translation]. Moscow.12. Shleiermakher, F., 2000. 'On different methods of translation: Lecture, read on June 24, 1813'. Vestnik MGU, Ser. 9.: Filologiya [Bulletin of the MSU, Ser. 9: Philology], 2, p. 127—145.13. Barthes, R., 1979. From Work to Text. Textual Strategies: Perspectives in Poststructuralist Criticism. Ithaca, N. Y., p. 73—81.14. Derrida, J., 2001. What Is a "Relevant" Translation. Critical Inquiry, 27 (2), p. 174—200.15. Eco, U., 2008. Experiences in translation. Toronto.16. Kearney, R., 2006. Introduction: Ricoeur’s philosophy of translation. Ricoeur, P. On Translation. Routledge, London, p. 7—20.17. Jakobson, R., 1960. Linguistics and Poetics. In: T. Sebeok, ed. Style in Language. N. Y.18. Nida, E. A., 1991. Theories of Translation. TTR: traduction, terminologie, rédaction, 4 (1), p. 19—32.19. Ricoeur, P., 2006. On Translation. London.20. Steiner, G., 1998. After Babel. Aspects of Language and Translation. Oxford.M.TarasovaThis article deals with the roles and functions of a translator of poetry. The study identifies certain components of the process, within which a translator acts simultaneously as a transmitter of the original culture, a mediator between the reader and the author of the source text, a co-author, a linguistic innovator, a poet, and a linguist. The two latter roles are crucial for translating poetry. Translators of poetry create ‘their own’ texts. It is obvious that they cannot distance themselves completely from their poetic selves and their language personalities. At the same time, translators of poetry must convey the linguistic features of the original. This requires a comparison of the source and target languages and the solving of concrete linguistic problems. In some cases, these functions are divided between a poet and the author of a literal translation, who becomes another intermediary between the author of the source text and the reader. Literal translation determines what linguistic, rhythmic, and formal features of the original the translator will identify. In this situation, the quality of the final translation depends on the quality of the literal translation. This can make the translation either to liberal (if the literal translation was done poorly) or too literal (if the literal translation managed to convey all the details).06072026111. Gadamer, Kh.-G., 1988. Istina i metod: Osnovy filosofskoi germenevtiki [Truth and method: Fundamentals of philosophical hermeneutics]. Moscow.2. Kade, O., 1978. Problems of translation in the light of communication theory. In: V. N. Komissarov, ed. Voprosy teorii perevoda v zarubezhnoi lingvistike [Problems of the theory of translation in foreign linguistics]. Moscow, p. 69—90.3. Kazakova, T. 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