ON NON-OBLIGATORY STRUCTURAL TRANSFORMATIONS OF THE LITERARY TEXT

Many features of the structure of a translated literary text are due to the articulation inherent in the text. The structure of a modern translated text at the level of division into large fragments (parts, chapters, subchapters) is usually isomorphic to the structure of the original text. But both at the level of dividing the text into paragraphs, and at the level of the structure of the paragraph itself, the modern translated text is not always isomorphic to the original one — translators can combine short paragraphs into one, and make two or more from one paragraph, and also violate the structure of the paragraph itself, fragmenting sentences of the original or combining two or more sentences into one. The preservation of the rhythmic features of the original in the translation is also not facilitated by the fact that sometimes, for one reason or another, one or several sentences are not translated intentionally. The presence of translation notes is also important for the structural appearance of the translated text. If before the XVI century. various kinds of translators’ comments were included in the translated text and together with it constituted a single work, then with the advent and, especially, the spread of printing and the realization that a work in a foreign language has its own form and its own author, these metatexts begin to be moved outside the translated work, forming a relatively independent text. The author of the article used for analysis modern translations of works of French literature: “The Glory of My Father” by Marcel Pagnol (translated by P. L. Baccheretti, T. Chugunova, 2018), “The Guermantes Side” by Marcel Proust (translated by E. V. Baevskaya, 2020), “Histories and short stories in verse” by Jean de Lafontaine (translation, afterword, article, comments by T. V. Chugunova, 2021).