The article examines the problem of translating experimental poetic texts into other languages. The focus is on the transfer of verse’s spatial design between the source and the target languages. We analyze some cases of unconventional poetry translation with particular attention to verbal/visual properties of avant-garde poems. Stéphane Mallarmé’s, Guillaume Apollinaire’s, Augusto de Campos’ and Dmitry A. Prigov’s visual poetry provides examples of autographic (hand-written or hand-drawn) and allographic (typewritten or typeset) texts. The former, as we argue, are problematic for translation, just like pictures in painting, whereas the latter may be rendered in another language. The analysis of E. E. Cummings’ allographic experimental verse allows to propose a special strategy for translating this kind of texts. By analogy with ‘phonetic translation’, this strategy can be called ‘graphic translation’. This type of translation preserves the visual and metagraphemic forms of the original text, rearranging its lexical elements in translation. It specifically applies to visually-oriented avant-garde and experimental texts. Graphic translation ‘transcreates’ the text to a certain degree and this contributes to preserve and reinforce the experimental nature of avant-garde verse in languages other than its own.

中文翻译：

---

实验诗的图解翻译作为诗歌文本的创译策略

这篇文章探讨了将实验性诗歌文本翻译成其他语言的问题。重点是诗歌的空间设计在源语言和目标语言之间的转移。我们分析了一些非常规诗歌翻译的案例，特别关注前卫诗歌的语言/视觉特性。Stéphane Mallarmé、Guillaume Apollinaire、Augusto de Campos 和 Dmitry A. Prigov 的视觉诗歌提供了自传（手写或手绘）和异体字（打字或排版）文本的示例。正如我们所认为的，前者在翻译上是有问题的，就像绘画中的图片一样，而后者可能会被翻译成另一种语言。对 EE Cummings 的同位异体实验诗的分析可以为翻译这类文本提出一种特殊的策略。与“音译”类比，这种策略可以称为“图译”。这种类型的翻译保留了原文的视觉和元字形形式，在翻译中重新排列了其词汇元素。它特别适用于视觉导向的前卫和实验文本。图形翻译在一定程度上“改造”了文本，这有助于保持和加强前卫诗歌在其自身以外的语言中的实验性质。