The article surveys an English and four Russian renditions of Czesław Miłosz’s A Song on the End of the World and explores the factors that may shape translation dominants. Shifts of imagery and ensuing implications for the reading of ideational and philosophical layer of the poem under translation are analyzed in the light of established literary‑scientific interpretations of the text. The apparent translators’ dominants (td’s) are described, and then juxtaposed with the translative one (TD). A summarizing scheme of the dominants and their correlations leads the author to call for a modification in the definition of the translative dominant as an operative concept: by acknowledging its intersubjectivity.
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