Metaphor and metonymy in translation: transformation of images in Russian versions of Guillaume Apollinaire's works

Petrova Anastasiya Dmitrievna ORCID: 0000-0002-5899-9609 PhD in Philology Associate Professor, Department of Romance Philology, Faculty of Philology, St. Petersburg State University 199034, Russia, Saint Petersburg, nab. Universitetskaya, 9-7-11 petrovanas@spbu.su

Exploring the complex process of metaphor and metonymy in translation, this study is devoted to the study of the process of transformation of imaginative thinking in Russian translations of the works of Guillaume Apollinaire. The relevance of the research lies in the fact that it reveals the nuances of the interaction of these two most important linguistic means in the field of literary translation and highlights the multifaceted nature of language and cultural transfer. Guillaume Apollinaire, a luminary in the pantheon of twentieth-century literature, left behind a legacy that transcends linguistic boundaries. His works, imbued with revolutionary zeal, became a catalyst for a paradigm shift in the literary landscape, combining traditional forms with avant-garde techniques. The essence of Apollinaire's influence is manifested in his unique fusion of visual and verbal – a fusion that challenges the craft of the translator.

The relevance of metaphor and metonymy in literary translation cannot be overestimated. These tropes, fundamental in the tapestry of language, serve as guides for cultural and conceptual transfer. In the field of translation, they turn into a kaleidoscope through which the essence of the original text is refracted and reinterpreted. The role of the translator thus becomes a kind of alchemy, transforming the essence of metaphors and metonyms so that they resonate in the linguistic and cultural environment of the target language. The purpose of this study is to examine and analyze the metamorphoses of metaphor and metonymy in Russian translations of Apollinaire's works. By studying these translations, the study seeks to identify the techniques used to preserve the integrity and vividness of the imagery of the original text. The tasks include a thorough comparative analysis, comparing the original French texts with their Russian counterparts, which allows us to shed light on the successes and difficulties inherent in the translation of these complex linguistic elements.

This research aims to bring new insights into the field of translation studies. It seeks to unravel the intricacies of translating Apollinaire's unique combination of visual and verbal poetics, thereby giving an idea of the broader challenges and victories faced by the translation of metaphorical and metonymic language. The results of this study can enrich the discourse on literary translation and pave the way for future research in the field of translation of complex linguistic and cultural phenomena.

In the structure of linguistic expression, metaphor and metonymy are intertwined as the most important threads, each of which contributes to the richness of textual interpretation. G. Lakoff and M. Johnson in their seminal work explain metaphor not just as a figure of speech, but as a fundamental mechanism of the mind, with which we conceptualize abstract concepts and complex phenomena in more familiar terms [Lakoff & Johnson, 1980, p. 276]. This cognitive perspective emphasizes the ability of metaphor to go beyond its traditional role in rhetoric, positioning it as a cornerstone in our understanding and communication of the world.

On the other hand, metonymy, as explained by V.N. Vovk, operates on the principles of adjacency and association [Vovk, 1988, p. 127]. The cognitive process in which one entity is used to refer to another is based on their contextual or internal relationships. This linguistic technique encapsulates complex associations in a concise form, which makes it indispensable in both literary and everyday discourse.

The interaction of these two means in translation is a subject of deep interest. P. Newmark argues that the transfer of metaphors in translation is a delicate art balancing between the preservation of original imagery and idiomatic limitations of the translation language [Newmark, 1988, p. 292]. This delicate balance is reflected in W. Frawley's statement that translation is not just a linguistic act, but complex intercultural negotiations [Frawley, 1984, p. 224].

Works of J. Apollinaire, with its rich metaphorical and metonymic tapestry, presents a unique challenge for translation. The process of transferring Apollinaire's defiant imagery into another language, as A. Hyde Grit notes in his translation of "Kalligrams", includes complex solutions that form the reader's idea of the original essence of the poem [Apollinaire, Greet, 2004, p. 512].

The theoretical study of metaphor and metonymy in the field of translation is the study of how linguistic mastery intersects with cognitive processes. As noted by L. Venuti and A. Lefevre, translation is not only linguistic equivalence, but also cultural interpretation and recreation [Venuti, 1995, p. 353; Lefevere, 1992, p. 240]. Understanding the dynamics of metaphor and metonymy is crucial to navigating the intricate paths of meaning creation that define the craft of translation.

The development of the concepts of metaphor and metonymy in linguistic theory has gone the way of complication and increasing importance. Initially considered as just rhetorical techniques, these elements have taken key positions in understanding language and thinking. J. Apollinaire's "Alcoles" serve as an example of the artistic potential of these means, where metaphor and metonymy intertwine, creating a tapestry of meaning that goes beyond the literal [Apollinaire, 2001, p. 160].

E.D. Boeva and E.A. Kulkina talk about the intricacies of translating author's metaphors in literary texts, demonstrating the complexity and creative approach to this process [Boeva and Kulkina, 2014, pp. 41-44]. This point of view emphasizes that metaphors and metonymies are not just linguistic decorations, but an integral part of the architecture of the narrative.

In his work on the theory of translation, V.N. Komissarov focuses on the linguistic aspects of these tools, emphasizing their importance in the transfer of meaning between languages [Komissarov, 1990, p. 253]. This point of view is held by J.I. Retsker, who discusses the nuances of translating these rhetorical figures, advocating a deeper understanding of their role in linguistics [Retsker, 2016, p. 244].

The philosophical aspects of metaphor and metonymy in translation are considered by U. Frawley, who argues that these figures of speech are not only linguistic tools, but also carry significant cognitive and cultural consequences [Frawley, 1984, p. 224]. The concept of equivalence in translation by E.A. Nida also highlights the difficulties associated with the transfer of metaphors and metonyms in different languages, emphasizing the need for a balance between literal accuracy and contextual relevance [Nida, 1964, p. 331].

G. Rabassa's reflections on the problems of translation, especially with regard to metaphorical and metonymic elements, emphasize the dynamic and often controversial nature of this field [Rabassa, 2005, p. 192]. This highlights the need for a nuanced approach to translation that takes into account the complexity of the original and at the same time adapts it to the cultural and linguistic framework of the target language.

The development of metaphor and metonymy in linguistic research and their application in literary texts testify to their fundamental role in the formation of human cognition and communication. Their complex interaction in literature and the problems that arise in translation are the most important areas of research that allow us to understand the depth and breadth of linguistic expression and interpretation.

Guillaume Apollinaire's literary work is a paradigm of modernist innovation, marked by a distinct fusion of traditional lyricism with avant-garde experiments. His collection "Alcohols", especially in English translation, embodies this synthesis, demonstrating an innovative use of free verse and a deep, image-based narrative style [Apollinaire, 2001, p. 160].

Apollinaire's "Calligrams" are another example of his artistic ingenuity, where he transcends the boundaries of verbal and visual poetry. The poems from this collection translated by A. Hyde Greta are not just text, they are visual constructions where the location and shape on the page play the same important role as the words themselves [Apollinaire, Greet, 2004, p. 512]. This fusion of visual and verbal elements marks a revolutionary step in poetic expression.

Linguistic metaphors in Apollinaire's works, analyzed by V.N. Vovk, reveal a complexity that challenges traditional norms of linguistic representation, embodying a form of secondary nomination, which deepens the interpretative richness of his poetry [Vovk, 1988, p. 127]. The complexity of this process creates unique difficulties in translation, as noted by Ya.I. Retsker, who emphasizes the difficulties associated with conveying the multifaceted nature of Apollinaire's metaphorical language [Retsker, 2016, p. 244]. In the context of translation studies, scholars such as L. Venuti and A. Lefebvre emphasize the importance of the translator's role in interpreting and recreating literary works for a new audience. This is especially true for Apollinaire texts, where the translator must navigate not only the semantic, but also the visual and structural nuances of the original [Venuti, 1995, p. 353; Lefevere, 1992, p. 240].

Apollinaire's work is a fusion of linguistic innovation and visual creativity, which confirms his status as the avant-garde of modernist literature. His ability to combine metaphor, imagery and form made his work a central point in the research of literary evolution and translation, emphasizing the enduring influence of his poetic genius. In the artistic landscape of Guillaume Apollinaire's work, metaphor and metonymy play a cardinal role, being the guides of his innovative self-expression. E.D. Boeva and E.A. Kulkina show how Apollinaire's use of metaphor overcomes traditional boundaries, creating a unique symbiosis between the literal and figurative [Boeva and Kulkina, 2014, pp. 41-44]. This interaction is not just a stylistic choice, but a fundamental aspect of his poetic vision, allowing him to explore themes and emotions in many ways.

Apollinaire's "Calligrams" translated by A. Hyde Greta demonstrate his skill in merging visual and verbal poetics [Apollinaire, Greet, 2004, p. 512]. The calligrams testify to his avant-garde approach, when words are arranged into visual images, thereby creating a double layer of interpretation. This visual aspect not only complements the textual content, but is an integral part of the poetic message, destroying the traditional framework of linear reading and interpretation. The difficulty of translating Apollinaire's work, as mentioned by V.N. Komissarov and Ya.I. Retsker, lies in capturing the essence of these metaphorical and metonymic elements, as well as visual poetics [Komissarov, 1990, p. 253; Retsker, 2016, p. 244]. The translator must navigate between semantic accuracy and the aesthetic integrity of the original, maintaining a delicate balance between verbal and visual.

The view of G. Lakoff and M. Johnson on metaphors coincides with the opinion of Apollinaire: metaphors are not just linguistic decorations, but tools for conceptual understanding and cognitive framing [Lakoff & Johnson, 1980, p. 276]. In the hands of Apollinaire, these tools become a means of rethinking reality, forcing the reader to interact with the text on different levels. Apollinaire's use of metaphor and metonymy, combined with his innovative visual poetics, marks a significant departure from traditional poetic forms. His work requires a subtle approach to translation, taking into account the complex interaction of visual and verbal elements. The difficulties inherent in the translation process emphasize the depth and innovation of Apollinaire's poetic craft, elevating his work to the rank of outstanding in the study of modern literature and translation theory. The translation of metaphor and metonymy is a complex linguistic task, intertwined with cultural and contextual nuances. Difficulties in translating figurative vocabulary are due to differences in connotations and cultural associations that metaphors and metonyms carry in different languages.

Take, for example, the French metaphorical expression "naviguer ? vue", which translates as "guided by the eye". A direct translation into Russian may sound like "navigating by eye", but this phrase does not have the connotative richness of decision-making in uncertain circumstances that is implied in French. A more contextually appropriate Russian translation might be "steering at random", which conveys a similar sense of uncertainty and reliance on intuition. Another example is the French metonym "la couronne", often used to refer to monarchy or royalty. The literal translation into Russian is "crown", but it cannot convey the full range of historical and cultural connotations associated with the monarchy in French culture. A more subtle translation might be "royalty", which more accurately reflects the institutional and symbolic aspects of the term.

These examples highlight the linguistic difficulties of translating metaphors and metonyms, when the translator must focus not only on the literal meanings, but also on the essence of expressions rooted in cultural and historical contexts. This process requires not only language proficiency, but also a deep understanding of the socio-cultural foundations of both the source and translated languages. The methods of translating metaphors and metonyms are complex and include several strategies to overcome linguistic and cultural differences between the source and the translating languages. These techniques often depend on the translator's ability to find a balance between fidelity to the original text and the need to ensure clarity and cultural relevance in the target language.

One of the strategies is substitution, when a metaphor or metonym in the source language is replaced by an equivalent in the target language that has a similar connotation. For example, the French metaphor "filer comme le vent", literally translated as "run like the wind", can be replaced in Russian by "run faster than the wind", which conveys a similar feeling of speed and impetuosity. Another approach is modulation, where the translator modifies the original metaphor or metonymy to better match the linguistic and cultural context of the target language. For example, the French phrase "se jeter dans la gueule du loup" (to throw oneself into the wolf's mouth) means getting into a dangerous situation. Russian Russian can translate this as "climbing into the lion's snout" (climbing into the lion's mouth), which retains a sense of danger in the original, but adapts the animal metaphor to a more familiar one for Russian culture.

A more direct method is literal translation, used in cases where a metaphor or metonymy has equivalent recognition and understanding in both languages. For example, "le c?ur de la ville" in French and "heart of the city" in Russian literally mean "heart of the city" and in both languages mean the central, most vital part of the city. However, these methodologies are not without difficulties. The choice of strategy depends on various factors, including linguistic structure, cultural context, and the intended impact of a metaphor or metonym in the source and translation languages. The translator must be adept at navigating these factors, making decisions that preserve the essence and subtleties of the original and at the same time ensure clarity and cultural resonance in the translation.

In this study, we will look at Russian translations of selected works by Guillaume Apollinaire in order to study the translation dynamics of his unique poetic style. Apollinaire's texts are known for their innovative use of language and provide rich ground for exploring the nuances of literary translation.

As an example, Apollinaire's poem "Pont Mirabeau", where the line "L'amour s'en va comme cette eau courante" is translated into Russian as "Love goes away like water in a river". In the original French, the fleetingness of love is metaphorically compared to the flow of water, and this concept is perfectly conveyed in the Russian translation, which preserves the fluidity and impermanence of the metaphor.

Another example can be found in the poem "Zone", where Apollinaire writes: "Tu lis les prospectus les catalogues les affiches qui chantent tout haut." Russian translation: "You read brochures, catalogs, posters that sing out loud" – effectively conveys a sensory combination of visual and auditory images of the original, while maintaining the poet's innovative approach towards the perception of urban life.

In the song "Chanson du bad aime" there is this line: "Et mon coeur est pareil ? une flamme renvers?e". The Russian version – "And my heart is like an inverted flame" – reflects the poignant metaphor of the original: the heart is like an inverted flame, which speaks of confusion and trouble. This translation clearly demonstrates the difficulty of conveying complex emotional states using metaphor.

These examples illustrate the intricacies of translating Apollinaire's works. Russian Russian translations manage to preserve the essence of Apollinaire's poetic imagery, despite the differences in linguistic structure and cultural context between the French and Russian languages. The ability of translators to overcome these differences demonstrates the skill and depth of understanding needed in literary translation. Thanks to this comparative analysis, the richness and complexity of Apollinaire's works and their Russian interpretations are clearly manifested, which makes it possible to understand the transformative power of translation.

The transfer of metaphors and metonyms in Russian, especially in the context of translation from French, is fraught with difficulties and opportunities for creative expression. Russian, with its own set of idiomatic expressions and cultural references, sometimes coincides with French in metaphorical thinking, and sometimes diverges significantly. Consider the French phrase "Tomber dans les pommes", which literally means "to fall into apples", a metaphor for fainting. A direct translation into Russian would be "fall into apples", which would not convey the intended meaning for a Russian-speaking audience. Instead, the translator can use "faint", which directly translates as "faint" and accurately conveys the meaning of fainting. Another example is the French idiom "Changer de cap", literally "to change the cape", meaning a change of direction or decision. Russian Russian equivalent, "change course", is directly translated as "change course", preserving the navigation metaphor and adapting it to the Russian language context.

However, not all translations successfully convey the essence of the original metaphor or metonym. The complex French metaphor "Nager entre deux eaux", which means "to swim between two waters" and implies indecision or play on both sides, can be less effectively conveyed by a direct Russian translation: "To swim between two waters". In Russian, this direct translation does not carry the same idiomatic meaning, which can lead to confusion or lack of clarity. Similarly, the French expression "Avoir un c?ur d'artichaut", meaning "to have an artichoke heart" and implying a quick falling in love, has no direct equivalent in Russian. Russian Russian speakers are likely to be perplexed by the literal translation of "to have the heart of an artichoke", since the metaphorical use of "artichoke" in this context is not common in the Russian language.

Translating metaphors and metonyms from French to Russian requires not only linguistic knowledge, but also cultural sensitivity and an understanding of the idiomatic nuances of both languages. Successful translations are often associated with creative adaptation that resonates with the cultural and linguistic context of the target language, and unsuccessful ones may be the result of a lack of such adaptation or excessive dependence on direct translation. The art of translating these figurative expressions is to capture their essence and elicit similar emotional and cognitive reactions from the target audience. The study of the translation of metaphors and metonyms from French into Russian, in particular in the context of the works of Guillaume Apollinaire, revealed the complex and subtle nature of such a linguistic task. The analysis shows that the successful translation of these rhetorical figures depends not only on linguistic fidelity, but also on cultural and idiomatic resonance in the target language.

The study highlights the importance of metaphor and metonymy as not just linguistic embellishments; they are fundamental to the cognitive and cultural fabric of language, offering a deep understanding of human experience. Translating these elements from French into Russian is a unique task that often requires a creative approach to linguistics in order to preserve the integrity and essence of the original text. The results of this study make a significant contribution to understanding the translation of metaphors and metonymies, highlighting the difficulties associated with this process. It emphasizes the importance of cultural context, idiomatic relevance and the role of the translator in overcoming linguistic and cultural differences. The study also lays the foundation for future research, offering directions for further study in translation studies. Among them are the study of the translation of metaphors and metonymies in other language pairs, the impact of translation on the perception of literature in different cultures, as well as the development of new translation methodologies to more effectively solve the identified problems. Thus, this study enriches the field of translation studies by providing a detailed analysis of the problems and strategies of translating metaphors and metonyms. It offers a valuable insight into the complex interplay of language, culture and cognition, highlighting the role of translation in shaping our understanding of literature across linguistic and cultural boundaries.