Linguistic and cultural features of the translation of artionyms (on the example of works presented at the exhibition project "Peredvizhniki")

this article examines the linguistic and cultural content of the artionym, in particular, the process of linguistic and cultural adaptation, as well as the specifics of the translation techniques (tactics) used in interpreting the names of paintings. The aim of the study was to identify semantic, stylistic and syntactic inconsistencies between the names of the Peredvizhniki paintings in the original and the translation in the process of linguistic and cultural adaptation. The authors also formulated a hypothesis: the names of the paintings of the Wanderers in Russian undergo semantic, stylistic, and syntactic changes in the process of their translation into English. At the same time, linguistic and cultural adaptation acquires shades of figurative euphemia or dysphemia. To confirm or refute the hypothesis, as well as to achieve the goal set in the framework of writing the work, the authors conducted a comparative analysis of the artionyms and their translations into English presented at the exhibition project "Peredvizhniki" in the State Tretyakov Gallery. According to the results of the study, it was possible to come to the conclusion that in the names of the Peredvizhniki paintings there is a syntactic, stylistic or semantic linguistic and cultural adaptation, characterized by episodes of characteristic dysphemia with a predominance of concretization with an increase in meaning, or a figurative leitmotif depicted on the canvas.

artionym, onomastics, translation, dysphemia, figuratively-concretizing translation dysphemia, linguoculturology, extralinguistics, peredvizhniki