Microsoft Word Revised Syllabus Ver doc

Reading Process
Like the scholar or critic, the translator attempts to disclose and apprehend the 
multiplicity of meanings of that textual otherness, of that alien discourse; to trace its own 
contexts, not as a single text but as the ensemble of the author's work. In his/her activity as 
critic, the translator studies the language of that author as poetic material, and will try to 
outline, in each text, the persona, its corresponding experience, and the individual 
consciousness in that text-given world; unveiling the forces of that dynamics, shaping poetic 
motion as rhythmic material. The representation of the text in the translator's mind will be 
actualized in the act of creating an object for aesthetic experience: thus, whatever pre-exists 
the poem, including the poet's peculiar literary heritage and the factors that have contributed 
to shape his/her writing features are investigated. 
The translator's preliminary readings of the poetic texts will be oriented to discover 
structures, thematic movements, and the networks of images, the speaker's perspective and 
tone, the lexical repertoire, the prosodic characteristics. Fundamental in poetry is the prosodic 
qualities and development which is also known by the term "rhythmic cognition". All these 
components will be part of the reading process of the translator-function. This rhythmic 
cognition articulates "the movement of feeling in a poem, and renders to our understanding 
meanings which are not paraphrasable" formal patterns of syntax and stress, arrangement of 
vowels, formal patterns of consonants, these prosodic elements also plays crucial role as 
textual components used by the poet, to be concretized as an aesthetic pole by the translator 
as reader.
Any possible resource will be used to elucidate the specific linguistic code and its 
function, the stylistic components and the textual clues; from multiple levels of meaning, the 
omniscient reader infers the aesthetic effectiveness of the text both on a virtual (interpretative 
reading) and actual (reading to write) levels; such are some of the aspects of possible 
knowledge about the author's work as oeuvre with its socio-historic context and its relation to 
the corresponding literary system.
A further consideration concerning the active role of the translator-function as reader 
is that in the communicative and aesthetic verbal interaction, ideological consequences must 
also be taken into account. This is inevitably linked with the poet's image and with the 
influence he/she may have or fail to have in system of the R-culture.
The decisive function in text-creativity and the semiosis involved in the production of 
aesthetic texts are significantly determined by the translator's interaction between ST and the 
receptor's interpretation, and simultaneously, this interaction may bring a renewal or an 
initiation of the dialogue of two cultures.
The translator, as interpreter and reader of various codes that form the message, 
handles a multilevel text with its variability, impelled by cultural and ideological suppositions 
and presuppositions. The interpretative operations are at work: as omniscient reader, the 
translator undertakes a specific decoding to perform a re-arrangement of the original 

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structuring of the complexity of signification in the text. The divergences between two or 
more versions of a R- text - by different translators, close of distant in history are not 
necessarily or exclusively caused by the different relations between the structures of the 
languages involved. In fact, two-or three or even more - translations of the same work into 
the same RL may differ substantially from the ST and each from each other.
The final omniscient-reader stage is when the translator reaches the acting writer 
function. At this particular moment, the translator begins to find ways to introduce the 
determinant textual strategies, in order to rearrange the textual design, to place the new 
interrelations of components concerning the ST.