Deforming tendencies, in the context of translation, refer to the inherent challenges and difficulties

that translators face when trying to convey the essence of a foreign text in another language.
Berman argued that these deforming tendencies are an integral part of the translation process and
should not be seen as negative or undesirable aspects of translation. Instead, he believed that these
difficulties, such as linguistic, cultural, and semantic gaps between languages, can lead to a more
profound understanding of the foreign text and its cultural context.
Berman's work emphasizes the idea that a translator must be aware of and grapple with these
deforming tendencies, as they can be a source of creativity and innovation in the act of translation.
By acknowledging and engaging with the challenges of translation, a translator can strive to bridge
the gap between languages and cultures while respecting the foreignness of the original text.
Now, let’s try to make an analysis of Deforming Tendencies in the English Translation of Olha
Kobylianska’s work “The Blind Man”. Theoretical framework for this research work comes from
the essay Translation and the Trials of the Foreign proposed by Antoine Berman. This theory
includes twelve deforming tendencies that investigate the problems of translating poetic source text
into the target text. The twelve deforming tendencies, as defined by Antoine Berman, are
rationalization, clarification, expansion, ennoblement, qualitative impoverishment, quantitative
impoverishment, destruction of the rhythm, the destruction of underlying networks of signification,
the destruction of the linguistic pattern, the destruction of vernacular networks or their
exoticization, the destruction of expressions and idioms, the effacement of the superimposition of
language.

Я осліп. Через що якраз — не варто й I’ve gone blind. There’s no sense in talking
казати. Все-таки найстрашніше те, що я about why or how it happened. Simply put, the
осліп. А зо мною разом у больниці сидів і most awful thing has happened: I’ve gone
другий такий темний, як я. Нам було добре, blind. There was another man in the hospital
як нас разом лишали. — Бачиш хоч дрібочку blind, like me. When they let us sit together, we
сонця? — питав я іноді нещасного товариша were content. “Can you see even a glimmer of
свого. — Ні, — каже він. — А ти? — І я ні. sunlight?” I would sometimes ask my
По тому наставало мовчання. Наші душі unfortunate friend. “No,” he’d say. “And you?”
піднімалися в нас і потопали одна в другу “Me neither.” Silence followed; our spirits rose
обопільно. to fathom one another
1. Rationalization: The English translation successfully rationalizes the original text to make it
clear and straightforward for English-speaking readers. The phrase "Я осліп" is transformed
into "I’ve gone blind," which is a rationalized and explicit expression. The intention is to
ensure that the reader immediately grasps the nature of the narrator's condition.
2. Clarification: The translation excels in clarifying the source text. The sentence "There’s no
sense in talking about why or how it happened" offers an explanation for not discussing the
cause of blindness. This clarity helps the reader understand the narrator's perspective.
3. Expansion: The translation exhibits some expansion, particularly in the phrase "There was
another man in the hospital blind, like me." The Ukrainian text is more concise, and the
expansion is necessary to provide the necessary context to the English-speaking audience.
This expansion is not excessive and serves the purpose of clarity.
4. Ennoblement: The translation retains the emotional tone and does not attempt to enoble the
source text. It does not impose values or standards from the target culture onto the original
text, preserving the original text's emotional impact.
5. Qualitative Impoverishment: The translation manages to retain the quality and emotional
impact of the source text. It conveys the narrator's sense of despair effectively.
6. Quantitative Impoverishment: There is some quantitative impoverishment due to the
expansion and clarification in the translation. However, this does not significantly affect the
overall meaning of the text, and the narrative remains intact.
7. Destruction of the Rhythm: The English translation largely maintains the rhythm of the
original, which is important for preserving the emotional impact of the text. While there may
be slight variations due to linguistic differences, the overall rhythm is preserved.
8. Destruction of Underlying Networks of Signification: The translation may not fully capture
the underlying cultural nuances and emotions associated with blindness in the original text.
However, it conveys the primary emotional tone and despair effectively.
9. Destruction of the Linguistic Pattern: The translation preserves the linguistic pattern, making
minor adjustments for fluency in English. The linguistic style and structure remain true to
the source text.
10. Destruction of Vernacular Networks or Their Exoticization: The translation successfully
retains the source text's emotional and cultural flavor without exoticizing it. It provides a
sense of the foreignness of the narrator's experience without making it too unfamiliar for
English-speaking readers.
11. Destruction of Expressions and Idioms: The translation maintains the core expressions and
idioms, ensuring that the emotional and contextual elements are preserved.
12. Effacement of the Superimposition of Language: The translation retains the primary
language without superimposition or significant changes. It does not overshadow the main
language used in the source text.
In summary, this English translation effectively balances the 12 deforming tendencies to
preserve the emotional depth and core meaning of the original Ukrainian text while making it
accessible to English-speaking readers. It achieves this by rationalizing and clarifying certain
aspects, expanding where necessary, and maintaining the essential cultural and emotional
nuances.