THE PROBLEM OF INTERPRETATION AND TRANSLATION OF THE FRENCH AESTHETIC ANTHROPONYMS AND TOPONYMS (BASED ON THE NOVEL BY V. HUGO "NOTRE DAME DE PARIS")
Statement of the problem. The main objective of the study is to determine the optimal strategies for translating/non-translating and/or transmitting the semantic content of the aesthetic anthroponyms and toponyms in the novel by V. Hugo «Notre Dame de Paris» from the standpoint of an adequate interpretation of the onomastic units in the art text. Results. The basic tendencies of translation (or non-translation) of two main groups of the aesthetic proper names, the anthroponyms (32 units) and the toponyms (105 units) included in the corpus of the selected most illustrative examples from the art text of a classical work are revealed. By means of linguocultural and semantic-and-stylistic types of analysis, the translation processes used to transfer the aesthetic anthroponyms and toponyms of various categories are determined: from transliteration and the use of equivalents for the names and the titles fixed in the translation language ( Margarita of Flanders, Jean de Troyes, Phoebus ) to the semantic translation (for some nicknames) and the involvement of the metatext (subscript comments to the meanings of the names of some key and significant characters). Conclusion. The study of a special sample of the aesthetic anthroponyms (32 units) and toponyms (105 units) in the novel by V. Hugo «Notre Dame de Paris» confirms the high importance of the aesthetic anthroponymy and toponymy in the original text and in the translation in order to create a chronotope, to describe the scene, to create national and historical color, and to describe the social environment. It is proved that the names of the key characters and the iconic ubranonyms, which are the author's creation, and a special construct, both in the original and in translation, due to their synergic potential, have a conceptual meaning and go beyond the artistic discourse, acquiring a supranational general cultural status as a marker of one or another aesthetic and ideological direction.