range, rather than a communicative, or connective goal – words have aesthetic function. In this reason, literary translation may be consider as kind of art, in this field translator is figuring as writer rather than a “translator” in common sense.

Therefore, to complete literary translation, it is not enough to master the language, translator also has to be talented in writing, as Pound says, the talent can not be learnt; translator also has to learn history, culture and related branches and to have a vivid life experience, wide area of thoughts etc..“Translator-writher”and original author forming their language from observation of native literary language and its developing during the history. According to Pound, literary translation is accepted only if translator has a poetic sensibility, good taste and ability to write well, therefore, foreign language facility is not a requirement for literary translation. In the West, a phenomenon of intuiting foreign text was common in sixteen years. Milan Kundera in an article in New York Times wrote that “The Joke” was translated into all Western languages by rewriting, recomposition and elimination, moreover, the translation was accomplished by translator who did not know a word of Czech. “Then how did you translate it?” “With my heart.”(Gentzler 1). According to Nida, translator must understand not only obvious content of message, but also emotive values of words and the stylistic features which determine the “flavor and feel” of the message (Nida 150). Translator producing the energy or “trust” of the text, and translation cannot be estimated as “correct” or “wrong” translation.

In literary translation, the national flavor of original language is obtained by description of the time, place, and ideological restrictions. In other words, translator has to transport sensability, mood and atmosphere to the present culture and try to avoid “translatorese” by creation of new connections in the present.

Any writer has his own world view, hence, he has his own descriptive methods. Translator’s inpiduality also displays in what the author and workshop he choose to translate. As is often the case, during translation, translator does not have a deep reception of the text. In such cases translated text becomes “heartless”.

Translator has to integrate with author’s thoughts and understand, what the message author wants to transmit to readers. Integration needs inventiveness, empathy and fineness of intellect. Translator has to reveal his inpiduality, but in the way which does not intercepts author’s distinction - he needs to think, feel, speak as author does. Nida says that translator should have the same cultural background as author, same talent and transfer same emotion to the reader as it is given by the original. The problem of such requirement is that it is almost impossible to transfer simple structures to deep structure, because “simple structures” invariably distorting. There will always be a space to interpret the text by different ways. Also, as literary critics say that what a work says and what the author means are two different things.

Translation studies has been developed massively in recent years - it was learnt as part of comparative literature, contrasive linguistic courses and language-learning

methodology. Due to theoretical, descriptive, applied translation studies and other

interrelated branches, the research has structured initially. In recent time, the interdisciplinarity of translation studies has become apparent, also recent

developments have increased specialization and importation of models and theories from other disciplines.

1.2 Translation models

The translation theory exploring what basic mechanisms underlie in translation activity. In linguistic translation theory, translation models is a process of mental (linguistic) operations under speech units, which chosen by translator. The task of translation models is to describe sequence of actions to solve many translation problems.