La adaptación cinematográfica como un tipo de traducción literaria interespecies en la enseñanza de los futuros filólogos Film adaptation as a type of interspecies literary translation in teaching students majoring in philology

The aim of the research is to study the process of text transformation in the course of interspecific literary translation in teaching students majoring in Philology students majoring in Philology based on the interpretations of literary works. To fulfill the research objectives a set of methods were involved: consolidation and systematization of knowledge; hermeneutic method; comparative method; the etymological analysis; the bibliographic and descriptive method; genre variety method; structural-functional method. The authors identified the types of adequacies of interspecies literary translation and showed their practical implementation in teaching, where film adaptation was defined as a universal technique. The research results allow us to describe the process of text transformation from an initial state to a new one. In conclusions, the authors state that interpretation is a fundamental concept for interspecies literary translation based on a text interpretation and transformation of the source. This process is vividly illustrated by a film adaptation that simplifies intertextual translation mechanisms in the course of developing professional competence in students majoring in Philology. This, in turn, will let develop the methodology of film adaptation in teaching students majoring in Philology.


Introduction
Translation in its various manifestations, such as literary, natural, technical, and others, remains one of the universal methods in the course of developing professional competence in students majoring in Philology. For the other hand, the notion of translatability has long been the subject of discussion. There are various views and opinions on the definition of the translation as a general aesthetic phenomenon, particularly in its relationship with the concept of literary interpretation. Although these phenomena coincide at specific points, they are independent but still need terminological separation and recognition of originality and autonomy to each other, and hence the methodological correlation. All this led us to the definition of a modern literary discourse category as " interspecies literary translation". To better understand the term and its methodological usage, it is worth considering the basic concepts that form the ILT phenomenon and can be used in teaching students majoring in Philology.
The comparative method, together with the bibliographic descriptive one, allowed identifying the position of scholars (Arutyunyan, 2007;Barthes, 1994;Deleuze, 2004;Foucault, 1996;Ivanova, 2011;Lotman, 1973Lotman, , 1992Sontag, 1964;Reisenauer 2015;Zubryts'ka, 2007), which is close to the author's position concerning the relation between the primary text and its interpretations. This method contributed to the determination of the differences and common features between the original text and the text which is a product of ILT, presented mainly in the research schemes.
The structural-functional method was used to identify the impact of ILT on contemporary humanities discourse, in particular on translation theory, and to outline the prospects of using the phenomenon of the film adaptation in the context of teaching methods for students majoring in Philology (e. g. how film transcription can be applied to create methods of studying literary translation).
Therefore, the aim of the research is to investigate the process of text transformation in interspecies literary translation on the example of literary film adaptations to implement it in teaching students majoring in Philology. The aim determines the main research objectives: 1) describe the problem of the thesaurus of interspecies literary translation; 2) examine structural components of original texts for interspecies literary translation; 3) identify the types of ILT adequacy and show their practical implementation in teaching; 4) identify peculiarities of cinematic transcription of literary works as a specific type of artistic interaction that should be considered in teaching; 5) define film adaptation as a universal technique in the training of students majoring in Philology.

Literature review
To better understand the nature of ILT, it was necessary to consider the theoretical foundations of the concept of text and their transformation in postmodern discourse. Accordingly, we focused on the works of Bakhtin (1975), Lotman (1973, and Barthes (1994), because they extended the boundaries of understanding the text to the "cultural fabric", eliminating the author and bringing a multitude of interpretations to the fore.
The studies by these authors on time and space in the context of screen and fiction text interpretation are of particular note. The paper analyzes the temporal and spatial characteristics of cinematic transcription as understood by Lotman (1973) and his "freedom of the artist", Bakhtin's (1975) theory of temporal-spatial models (McCaw, 2015), and the importance of image-time in Deleuze's (2004) concept. A contemporary reading of these scholars, notably Hwan (2015) and Monticelli (2019), adds key emphases to understanding Lotman's (1973) legacy.
By his part, Umberto Eco's (2013)  The Invention of Tradition, which is considered one of the most influential books on the history of ideas, as well as studies of his creative legacy, is essential from the point of view of theorizing screen processes in the context of global cultural phenomena (Mazower, 2012). The issues of ILT of the literary text are based, first of all, on the tradition of comparative analysis of the verbal and visual, which has become particularly conspicuous in various research works starting from the 20 th century to the work of Eco (2013), Lotman (1973), Dudley (1984), Helman (1998. The definition of interspecies literary translation of a literary text is intertwined with the research into the interpretation. Linguists, philosophers and art historians have been working on this notion for many centuries. Deleuze's (2004) and Barthes' (1994) ideas, which we mention in our research, are of great value for the terminological expansion of the concept "interpretation". The interconnection of cultural languages and cultural universalities was actively considered in structuralism and postmodernism, especially by mentioned authors.
The theoretical foundations of film adaptations of literary works have been studied in academic, art, and cultural outcomes of modern scientific discourse, mainly focusing on translating literary works into cinematic language. The translation of literary works into the language of cinema has been most widely considered in theoretical and practical research. Perdikaki (2017; studies film adaptation as a modality of translation and provides a systemic analysis of the changes occurring in the adaptation of a novel for the big screen. Also, Viana da Silva (2013), while researching modern narratives and film adaptation as translation, analyzes the translation of representative contemporary narratives into films and discusses ways of reading these literary texts in the new media and possible implications to their reception.
Regarding the methodological aspects of the use of literary translation in teaching, we should mention that the effects of the marking method on the assessment of literary translations in a pedagogical context were examined (Wang & Wang, 2020). Attention was also paid to the differentiation of such concepts as "film translation" and "audiovisual translation" (Zhuravel, 2018). Valdeon (2018) investigates texts which study a variety of languages (including English, Spanish, Italian, Chinese, French, Japanese, Dutch, German and Swedish), use a wide range of approaches (quantitative review of literary translations; transfictional approaches to translation; a review of concepts such as paratexts, intralingual translation, intertextuality and retranslation; and so on), and aim to expand the existing debates on translation and translation studies as a subject. At the same time researches discuss how the nature of literary translation differs from other forms of translation by looking at practical difficulties and challenges notable in a specific language (e. g. the Arabic language and translation) (Khrais, 2017). But no one has compared it in the Ukrainian language.
For the other hand, Koletnik (2020), exploring the potential and limitations of employing translation in the additional language teaching of students majoring in Translation, paid attention to strengthening selected aspects of students' grammatical competence, followed by an investigation of its subsequent effect on the development of their translation competence.
Finally, the peculiarities of using media texts in developing the professional competence in students majoring in Philology and editors have been studied, and some exercises have been suggested (Gorodnycha & Olkhovyk, 2018). Given all these antecedents, it can be said thar the study of ILT enhances the methodological possibilities of students majoring in Philology ' professional and translation competence formation while studying foreign languages, editing or culture.

Results
The translation is the primary technique in the training of philologists and other literary competence and the Ukrainian language, because translation varieties allow developing skills of high fluency in foreign languages and the Ukrainian language. In this case, we focus on this type of translation, which methodologically enables the teacher to cover the entire possible spectrum of actualization of skills without intermediate language competence, and indirectly the skills of critical thinking, aesthetic taste, and artistic reflection, interpretation of texts and reading famous texts interpretations by other authors. The text means here postmodern reading (Barthes' reading), where the entire culture is understood as a text. So, any cultural image (story, book, painting, film, cinema, music, and others) can be a relevant example of a philologist's work with translation.
Another point to discuss is what a literary text gives students majoring in Philology in terms of the teaching methodology. Above all, this can be the diversity of knowledge, which will be acquired and actualized in the course of translation of different types of texts. It can also be a simple interpretation or a continuation of the fiction text, or a translation into a slang of a particular social group, understanding of the author's idea or a suggestion for a different reading of the context, and others. Secondly, such work with a literary text provides an update of other vectors of information: from the author's own writing experience to the hermeneutic body (epoch) that triggered the emergence of the text. Thirdly, it is the variability of translations of literary works: from translation into another language to the study of the term, the interpretation as another type of translation of a particular academic assignment. Finally, all this provides a wide methodological opportunity, which may be studied, and a theoretical possibility for understanding the accents to be taken into account in the learning process (see Figure 1).

Figure 1. The complexity of literary translation
Literary translation is one of the types that became the basis for developing the concept of ILT. The literary translation is always an interpretation in which it cannot be simply copying of the text. However, it is always realized as an understanding of the latter, and it always involves interpreting the text in a new, figurative-conceptual system that should be used in the development of professional competence in students majoring in Philology. Also, film adaptation involves working with a literary text, which allows this technique to be used methodologically in a comprehensive manner both in terms of language and empirical material.
This allows identifying this technique as a universal one in the training of philologists.
The complexity is the subjectivity of the recipient-interpreter's creative vision, which inevitably affects the spiritual atmosphere of modern times, combined with purely objective requirements for the adaptation of literary material to the specifics of cinematic language.
Therefore, defining film adaptation as a technique in teaching students majoring in Philology, we primarily pay attention to the use of cinematic language. This provides the use of pictorial and expressive means (construction of the frame and its subject content, editing, acting, music, and others); therefore, we should focus on the fact that cinematic language is significantly different from the artistic means of the art of speech. The elements of cinematic language also include such means of expression as perspective, lighting, color, sound effects. However, an essential feature of cinematic language is that each element acquires meaning only in the context.
The impossibility of identical conveying the artistic content of a literary source with the help of the language of another kind of art causes its semantic overemphasis, the introduction of new artistic meanings into its screen version. This fact must be considered in developing the methodology of teaching students majoring in Philology the introduction of the study of film adaptation as a variant of translation of a literary text (see Figure 2).   In this light, a genre of the cinematic story is of great interest. It joins the artistic elements, which created a specific type that embodied both a screenplay feature and a short novel. Examining particular features of both kinds of art (movie and literature) is elaborated into a cinematic story to understand the investigated phenomena better. The general concept of the story is top priority. It is worth mentioning that some problems are found in the interpretation of the genre of a cinematic story because one can find different views on this concept. Let us consider some of them: 1) based on understanding, there is a volume of this work; a cinematic story should be a full-length feature one-part film (if it is a two-part film, it is rather a film novel and short film).
2) there is eventfulness, the cast of the characters: the character in the film solves a problem (not the most global, often lyrical or production problem); while the film does not claim to high spirits, telling "about human lives", the cinematic story is "human" at first glance and has a weakened dramatic structure.
3) there is an adaptation to the script; a cinematic story is often an adaptation of the novel, but it can also be several stories or a short novel at its core. But a simple formation from the theoretical point of view has a problem in it, and the problem lies in the fact that it is at the border of two terminological paradigms (literary and cinematographic).
Therefore, a cinematic story is not always a film but rather a published screenplay or generally a literary text that potentially contains a film and could be adapted into a movie. This is why the cinematic story may remain only a printed story, but it can become an excellent empirical material for students majoring in Philology to study certain aspects of literary translation. For the other hand, the features of the film script are fragmentation, montage composition, expansion of dialogues, plot dynamics. Since the parts of the novel are epic principles of the life depiction, metaphor, author's digressions, vivid landscape pictures, you may assume at first glance that one cannot combine the incompatible, for instance, fragmentation and epics. This is, however, the specifics of the cinematic story (see Figure 3). In comprehending significant layers of reality, the authors use montage composition, which resembles individual shots linked together into an artistic coherence, the writer's creative intent and the development of the artistic idea. The cinematic story is close to drama with its dynamic and substantive dialogues.

Discussions
The phenomenon of the film adaptation in the context of the methodology of translation implies cinematic language as an object of theoretical reflection. Exploring the specifics of the literary language of cinema, cultural scientist and semiotician Lotman (1973) cinematic story describes its essence as "a synthesis of two narrative tendencies-pictorial ("moving painting") and verbal", which is characteristic of ILT. That is why new semantic nuances are revealed at two levels of film narrative in a film adaptation. First, it can be done at the level of verbal narrative through the selection and transformation of fragments of the original text to be voiced by characters, through the distribution of narrative between actors, and sometimes "behind-thescenes" voice (titles can perform their function). Second, it is revealed at the level of the actual cinematic language through visualization and nonverbal elements of "sounding" (specifics of intonation of utterances, noise effects, music) verbal images of literary work.
Comparative analysis of literary work and its film adaptation can be defined as interdisciplinary research, which allows updating knowledge of different branches of the general and vocational field of students majoring in Philology . The term "cinematic transcription", which appeared at the turn of the 20 th century, must be considered. However, the correlations between film adaptation and cinematic transcription have many identical characteristics, so that we will use them as synonymous in the future.
Cinematic transcription in a broad sense is a product of the interaction of literature and cinematography. Sontag in her works interpreted cinematic transcription as the transfer of a literary work into the sign systems of other arts (songs, illustrations, performances, films) (Moser, 2019). Hence, we can interpret it as peculiar relevance of the free and precise type of appropriateness in the process of ILT. We suggest "fidelity to the original" as one of the first criteria for assessing cinematic transcription. Within this concept, "fidelity to the letter" and where certain varieties have to be considered, particularly in a rather popular classification by Dudley (1984). These are borrowing, transforming and intersecting. Borrowing seems to be the best model for building a methodological technique for introducing film adaptation into the educational process of students majoring in Philology. The director uses ideas, themes, individual scenes, and the form of a longer text while implementing it. Such a film demonstrates the source of the strength of the original, analyzing it and reaching out to the enduring forms and archetypes of culture.
In Lotman's (1973)  It's worth to mentioning thar space (as representation) and time (as duration) are integral components of any cinematic work, and they are equal in this sense. However, moving from a purely "subjective" level to a more creative dimension makes clear that there are films primarily focused on objectivity and spaciousness, and those that appeal mostly to temporal categories. For example, analyzing the cinematography of the war period, Deleuze admits the superiority of time image over movement image, which is closely linked to the phenomena of the character's inner life. Furthermore, Deleuze (2004) does not regard movement or displacement, nor change of position in time and space, but considers the time.
In general, the category of the genre is historically changeable and can be brought in line with the general needs of modern life. The classification of film genres is not entirely complete, as a single film can have the attributes of different genres, which should be considered in the development of ILT guidelines.

Conclusions
A film adaptation is a type of ILT that has an everyday basis for its interpretation.
"Most preferable" film adaptation is a creative analogy of the adapted work and its interpretation into cinematic language, preserving the main features of the content and style of the source. Also, film adaptation involves two levels of cinematography. On the one hand, there is verbal storytelling (selecting a fragment of the primary source) and the text distribution between the actors. On the other hand, there is a manifestation at the level of cinematic language visualization (a non-verbal voiceover of the verbal images of a literary work).
For the other hand, comparative analysis of a literary work and its adaptation are new meanings of interstitial recoding, which provides a wide range of methodological opportunities for using in the study of students majoring in Philology. All this allows developing the exercises to improve the professional and translation competences of students majoring in Philology. The analysis and recreation of the cinematic story or cinematic novel of famous literary works, work with foreign and Ukrainian original texts are the problems we should study in our further works.