“Supertext” as a Form of a “Strong” Fiction Text Existence

Abstract

The emergence and existence of a systemic-structural texts’ unity, defined as a center of translation attraction and formed by a “strong” text of fiction and its secondary versions of various semiotic nature, are considered in the article. The study is addressed to the hypothesis of formation of a “supertext” within the boundaries of the above mentioned center, which has polylingual, polycode, multimodal and polyauthory parameters. Being a multidimensional information object, a “supertext” unites the variations of the original information in translation, which increases the limits of its translatability and degree of its translatedness. The formation and functioning of a center and the corresponding “supertext” are defined as a prolonged, continuous and limitless semiosis, described primarily through the interpretation and adaptation. As a complex semiotic object, a “supertext” is formed as interpretations continuum of a “strong” original information potential, which makes it possible to reveal its aesthetic resources and contribute to its preservation in spatio-temporal coordinates of culture. The hypothesis of “supertext” is considered on the material of a “strong” text of W. Shakespeare’s tragedy “Hamlet, Prince of Denmark”, which is world culture heritage, and its numerous secondary versions generated for more than 400 years. In accordance with the Jakobsonian types of translation, main attention is paid to the interlingual and intersemiotic versions of the original. A brief history of play’s Russian translations covering the period of the 18th-21st centuries is given. As one of the most filmed literary texts, “Hamlet” has numerous screen adaptations, revealing their close connection with the world cinema history. There are cases of the Shakespeare’s text retranslation (In the broad sense of the process of original information reinterpretation by means of one foreign language or one semiotic system), as well as shifts in the ontological categories of primacy and secondarity related to verbal, nonverbal and not only verbal secondary texts belonging to the center of translation attraction. The analysis of “Hamlet” as a “supertext” presupposes its consideration in the trajectories of description and prescription and can contribute to the emergence of the history and theory of “supertext” as an object of translation semiotics.