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The study supports the hypothesis that creativity is essential to translators’ personal linguistic identity and can be cultivated through professional preparation.",{"@graph":14,"@context":77},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & 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LITERARY TRANSLATOR’S  \nLINGUISTIC IDENTITY  \nMichael M. Naydan  \nThe Pennsylvania State University, University Park, USA  \n[mmn3@psu.edu](mmn3@psu.edu)  \nMariia Ivanytska  \nTaras Shevchenko National University of Kyiv, Kyiv, Ukraine [ivanytska@ukr.net](ivanytska@ukr.net)  \nAlla Perminova  \nTaras Shevchenko National University of Kyiv, Kyiv, Ukraine [alla.perminova777@gmail.com](alla.perminova777@gmail.com)  \nThe article discusses the development of the linguistic identity of a novice literary translator in the course of academic training. The authors claim that teaching literary translation presupposes creating an academic environment conducive to untapping the creative potential of translation students. The paper describes an experiment in which 30 Ukrainian translations of the prologue from Julia Franck’s novel “Die Mittagsfrau” executed by young translators were analysed. The outcomes of the research allowed for the identification of translation strategies and typical translation mistakes, and the dependence of translations on the translator's linguistic identity. The study proves the hypothesis that creativity comprises an indispensable component of the translator’s personal linguistic identity and can be developed in the course of professional training. This also allows the authors to highlight the factors that influence the formation of the translator's professional competence as well as outline perspectives for further research into thinkaloud protocols provided both by experienced and novice translators.  \nKeywords: linguistic identity; novice translator; literary translator; creative approach; creativity; translator competence; strategy.  \nIntroduction  \nDue to the incessantly growing market for translated literature, the issues of the quality of literary translation (House, 2001, pp. 197-200) along with the nurturing of a new generation of professionals who can meet the readership’s demand efficiently are becoming more and more relevant. Despite Venuti’s (1995) well-known statement about the translator’s invisibility, we argue that a reasonable degree of creative visibility is expected from the translator of literary texts. We also assert that creativity lies at the core of the translator’s linguistic identity, the creation of an environment conducive to the formation and development of which should be one of the top priorities of schools of higher education in preparing literary translation specialists.  \nA creative approach is an integral part of the literary translator’s professional competence. It implies the ability to move away from a conventional understanding of textual units and to reassess them in the broader context of a global picture. This suggests the need for obligatory changes of the source text (ST) units, necessitated by semantic and syntactic discrepancies between the source and target languages (SL, TL), as well as for adaptation of the target text (TT) to the linguistic and cultural norms of the TL. A creative translator consciously chooses in favour of losses, provided they are justified by the aim to create a pragmatic effect commensurate with that of the original.  \nBoth Ukrainian and foreign scholars have developed methods that enable educators to take a deeper look into the very process of the birth of creative translation and consequently improve approaches to literary translators’ training (Vienne, 1994, pp. 51-59) . Psycholinguistic methods have been successfully implemented by a Ukrainian Translation Studies scholar Rebrii (2012), which allowed him to discuss such issues as constraints to creativity in translation, to highlight systemic and creative aspects of translation, and ultimately to posit the theory of a translator’s creativity, as well as lingual, textual and activity-related dimensions. Gile’s integrated problem and decision reporting method encourages students to report on their reflections on specific translation challenges, which contribut","cbCaitgyexUWXIus","https://ap.wps.com/l/cbCaitgyexUWXIus","pdf",365694,"English","# Introduction\n## Creativity and linguistic identity in translation competence\n## Creative approaches and translation strategies\n## Background research and methods","[{\"question\":\"What is the main focus of the study?\",\"answer\":\"The study focuses on how a novice literary translator’s linguistic identity develops through academic training and creative approaches to translation.\"},{\"question\":\"How was the experiment conducted?\",\"answer\":\"The authors analyzed 30 Ukrainian translations of the prologue from Julia Franck’s novel “Die Mittagsfrau” produced by young translators.\"},{\"question\":\"What findings connect linguistic identity to translation results?\",\"answer\":\"The outcomes identify translation strategies and typical mistakes, showing that translations depend on the translator’s linguistic identity.\"},{\"question\":\"Why is creativity considered important for translators?\",\"answer\":\"The paper argues that creativity forms an indispensable component of the translator’s personal linguistic identity and can be developed in professional training.\"}]","Approaches to the Development of a Literary Translator’s Linguistic Identity | PDF",1792066306,18]