Perminova A. A Reception Model of Poetry Translation (Based on Translations of XX th century American Poetry).

The thesis provides theoretical generalization on the issue of a translator's reception as a means for modeling the meta-image of the source text author through the filter of a translator's creative individuality, recipient literary polysystem and sociocultural milieu. The research is based on Ukrainian and Russian translations of works by American poets of the twentieth century and elaborates the reception model of poetry translation. The conceptual core of the model consists of the principles of reception aesthetics that emphasize each particular reader's interpretation in making sense of a literary text. From the perspective of the reception model the translator is the human locus of intercultural activity that leads to the creation of a target text as a rightful and fully-fledged component of the recipient literary polysystem. The translator's individuality manifests itself through a number of choices (including the selection of the author, text, strategy, and words) aimed at intellectual and aesthetic stimulation of the target readership. During Soviet times the degree of the Ukrainian and Russian audience's awareness of the works of particular American poets greatly depended on how consistent the author's views were with prevailing social and political values imposed by the state. Therefore, some American poets were not welcome (e.g., Emily Dickinson, T.S. Eliot, Ezra Pound, E.E. Cummings, Sylvia Plath, and the Beat Generation). Others were more likely to appear in a role that would help amplify the target audience's sociocultural ideals and create the illusion of intercultural homogeneity (the image of Robert Frost as a farmer and a poet of nature).