ЩОДО ПЕРЕКЛАДУ МЕТАФОРИЧНИХ МОДЕЛЕЙ ЦІЛЬОВОЇ НАЗВИ «ЛЮДИНА» УКРАЇНСЬКОЮ МОВОЮ

Статтю присвячено лінгвокогнітивним особливостям лекси- ко-семантичних трансформацій у перекладі антропоцентричних продуктивних метафоричних моделей. Матеріальною базою послугували літературні та енци- клопедичні джерела, а також тлумачні словники. У статті досліджено та опи- сано особливості лексико-семантичних трансформацій. Автор ставить за мету провести й описати лінгвокогнітивний аналіз антропоцентричних метафорич- них моделей у мові оригіналу та перекладу з метою визначення адекватності перекладу. Об’єктом аналізу вибрано 50 концептуальних антропоцентричних метафоричних моделей із твору «Vanity Fair» by William Makepeace Thackeray. Предмет дослідження становлять лінгвокогнітивні особливості використання перекладацьких трансформацій у перекладі антропоцентричних метафоричних моделей з урахуванням їхнього конотативного потенціалу. Аналіз відбувається з використанням загальнонаукових методів дослідження: описово-аналітич- ного – для визначення закономірностей концептуального моделювання; концеп- туального та контекстуального – для формулювання рівнів еквівалентності перекладу згідно з антропоцентричними концептуальними моделями. У статті визначено, що тексти художньої літератури уособлюють процес вербалізації концептів. Концепти є здебільшого універсальними, осо- бливості концептуалізації та категоризації залежать від етнокультурних чинників. Автор доводить, що концептуальна проєкція в перекладі метафоричних моделей залежить від того, наскільки концептуальні картини світів мови оригіналу та мови перекладу близькі одна до одної. Показано, що вибір кон- цептуального співвідношення зумовлений творчою індивідуальністю перекладача, його знанням когнітивної бази культури, урахуванням особливостей реципієнта.

Belt v Lawes and the Meaning of Authorship

The 1882 Belt v. Lawes libel trial centered around aesthetic questions, of precisely the kind that judges usually seek to avoid. The occasion for the dispute was an article in Vanity Fair by Charles Lawes, asserting that Richard Belt, a sculptor and member of the Royal Academy of Arts, relied on his assistants to do his work. At trial, Lawes proposed an artistic skills test of sorts, suggesting that Belt verify his abilities by executing a sculpture in the courtroom. This evidentiary drama, and the aesthetically freighted-arguments mustered by the parties at trial, make it a fruitful historical episode to study conceptions of authorship and the artistic process, the development of modern copyright doctrine, and the status of expert artistic testimony in the law.

Nickolas Muray, Environmental Portraiture, Vanity Fair

This thesis is a case study of five environmental portraits made in Europe by New York studio photographer Nickolas Muray (1892-1965) for a 1926 commission by Vanity Fair magazine (1913-1936). The thesis, in the form of a sixty-three page illustrated essay, describes the circumstance of his photographic production, and the magazine's subsequent use of his photographs. Muray produced environmental portraits by photographing his assigned subjects in their workplaces, homes and gardens. He retouched, and then contact-printed the negatives; the prints he surrendered to Vanity Fair. The magazine cropped and otherwise manipulated the images in order to effectively place them in page layouts. From negatives, to prints, to offset-printed reprodutions, the photographic materials bear aesthetically significant images of environmental portraiture that testify to Muray's versatility, technical control, and creative vision.

Nickolas Muray, Environmental Portraiture, Vanity Fair

This thesis is a case study of five environmental portraits made in Europe by New York studio photographer Nickolas Muray (1892-1965) for a 1926 commission by Vanity Fair magazine (1913-1936). The thesis, in the form of a sixty-three page illustrated essay, describes the circumstance of his photographic production, and the magazine's subsequent use of his photographs. Muray produced environmental portraits by photographing his assigned subjects in their workplaces, homes and gardens. He retouched, and then contact-printed the negatives; the prints he surrendered to Vanity Fair. The magazine cropped and otherwise manipulated the images in order to effectively place them in page layouts. From negatives, to prints, to offset-printed reprodutions, the photographic materials bear aesthetically significant images of environmental portraiture that testify to Muray's versatility, technical control, and creative vision.

Processing Edward Steichen's Celebrity Portrait Photographs at George Eastman House.

This thesis is an applied project undertaken to process celebrity portraits by Edward Steichen that were gifted to George Eastman House by Steichen's widow, Joanna Steichen, in 2002. These photographs were made for Condé Nast Publications between 1923 and 1937. This thesis discusses processing donations of photographic materials, identifying acetate and nitrate negatives, handling gelatin silver contact prints, and rehousing procedures based on institutional-specific collections management policies. The analytical paper portion discusses processing methods, proposes future processing procedures, and addresses the relationship between the contact prints and printed images in Vanity Fair magazine in order to highlight the importance of creating relationships between objects in museum collections.

Processing Edward Steichen's Celebrity Portrait Photographs at George Eastman House.

This thesis is an applied project undertaken to process celebrity portraits by Edward Steichen that were gifted to George Eastman House by Steichen's widow, Joanna Steichen, in 2002. These photographs were made for Condé Nast Publications between 1923 and 1937. This thesis discusses processing donations of photographic materials, identifying acetate and nitrate negatives, handling gelatin silver contact prints, and rehousing procedures based on institutional-specific collections management policies. The analytical paper portion discusses processing methods, proposes future processing procedures, and addresses the relationship between the contact prints and printed images in Vanity Fair magazine in order to highlight the importance of creating relationships between objects in museum collections.

READING ‘THE NEWCOMES’ IN DIFFERENT WAYS: LITERARY AND CRITICAL ‘DUEL’ OF CHERNYSHEVSKY AND DRUZHININ

The essay deals with the issues of reception of English literature by Russian literary criticism; it analyzes polemically pointed evaluations of The Newcomes (1853–1855) by two leading Russian critics of the 1850s – 1860s – Nikolay Chernyshevsky and Alexander Druzhinin. To look at their reviews of the novel is worthwhile as it leads to a better understanding of both Russian literary process of the period and Russian reception of English literature in the middle of the 19th century. While examining these reviews, it is necessary to remember that this novel occupies quite an important place in the creative work of Thackeray and has many peculiarities at such levels of its structure as genre, plot, narrative, character-making, irony. The novel belongs to the after Vanity Fair period of Thackeray’s oeuvre with its own aesthetics which just in The Newcomes gets its final look. The novel pictures the life of the English upper classes with the help of chronicle and panoramic methods of plot-making; direct satire, keenest irony and invective do not work here as they work in Vanity Fair. It is precisely this ‘otherness’ of The Newcomes, in comparison with the most famous novel by Thackeray, that becomes the matter of the opposite estimates of this novel by two Russian critics: at one extreme, Chernyshevsky who, though noting some strong plot-making and narrative positions in the novel, criticizes the writer for poor conceptuality of the novel, the petty themes raised, the hero’s unimpressiveness, procrastination and slowness of the narrative; at the other extreme, the benevolent view of Druzhi­nin who reveals some important facets of the novel’s artistic originality. He does not assess the novel from the ideological positions which are, in many respects, the products of the first Russian ‘thaw’ after the period of political reaction of the regime of Nicholas I and which determine the position of Chernyshevsky. Since Druzhinin had been taken by Chernyshevsky as his ideological rival and the founder of ‘art for art’s sake’ conception, his review was a severe polemical answer to Druzhinin’s review published earlier. That is one of the main reasons why such a profound literary critic as Chernyshevsky did not notice or did not want to notice many merits of The Newcomes which are stressed in the essay. It is shown in the essay that, while wri­ting his review of The Newcomes, Chernyshevsky was thinking more about Russian literary situation than Thackeray’s novel itself and the literary process in England in the middle of the 19th century.

Consuming Class. Imagining Upper-Middle Classness through Photography in Vanity Fair

This art historical close-reading enters into dialogue with theories of class and is located at the intersection of visual history, periodical studies and historical consumer research. While the term “consuming class” is closely connected to the present globalized world, the origins of this social phenomenon date back at least to the 19th century. The article examines the ways in which photography is used to imagine this class and its sense of distinction. Taking as its object Vanity Fair’s November 1922 issue, the author analyzes different uses of photography and its relation to readers. Stressing social theories by Thorstein Veblen and C. Wright Mills, she defines the consuming class as an upper-middle class, searching for a point of orientation in high society culture in order to stabilize their own class-consciousness. In this sense, she argues that the visual content of Vanity Fair is rather a presentation for – than a representation of – the consuming class. The article also examines the modern magazine as a display and circulation platform for modern art, photography and advertisement which motivates the visual and social practice of image consumption.