The translated text has a specific value in the new culture: it can be a translation of a literary text, and it can be a translation of culture, i.e. a synchronic text of a cultural system. There are two principal concepts which are used in the present article: ‘translation’ and ‘reception’. Reception begins with the selection of the author, literary or historical epoch, literary style, or ideology. So, every translation and reception begins with reading, and every reading creates meanings. At the same time, reception is also translation: it is a moment when two distinct cultures mix, and this situation needs understanding of the other. The translated texts create the image of the translated culture and/or nation. The article examines texts from Latvian and Lithuanian literatures from the second half of the 18th century to the early 20th century which have been translated into Estonian: what kind of texts are translated in different periods and by different translators (the selection of the authors and the texts); what the purpose of the translations is; how these translations translate Latvian or Lithuanian culture into Estonian; and how Estonians understand and accept these translated texts. And, finally, how these translated texts create the image of the translated culture and/or nation.

Equimetrical translation of verse, which conveys the metre of the source text, should be distinguished from equiprosodic translation of verse, which conveys theversification system of the source text. Equiprosodic translation of verse can rely on the possibilities of natural language (for instance, when presumably Publius Baebius Italicus created the Ilias Latina, he made use of the quantitative structure in Latin), but it can also employ an artificial system (cf., for example, the quantitative verse in Church Slavonic or English). The Estonian language makes it possible to convey the syllabic (based on the number of syllables), accentual (based on the number and configuration of accents) and quantitative (based on the configuration of durations) versification systems. In practice, combined types are most frequent, for instance, the ones in which both the syllable count and the configuration of accents is relevant; in Estonian, versification systems with theparticipation of all three principles are possible as well. Despite the contrast of quantity in Estonian, the transmission of the quantitative structure of ancient metrics still involves a number of difficulties which result from differences in the prosodic structures. The transmission of purely syllabic versification system has also been problematic: it is hard to perceive such structure as verse in Estonian and therefore it has often been conveyed with the help of different syllabic-accentual or accentual-syllabic verse metres. Although equiprosodic translation is not necessarily equimetrical, in actual translation practice it usually is so.

The article is devoted to the notion of autogenesis and mechanism of unpredictable emergence in culture. The notion is treated in the context of the semiotics ofculture and the theory of semiosphere. The examples are drawn mainly from Russian avant-garde culture.

This article deals mainly with problems of cultural/transcultural translation between the Quechua and Spanish cultures, analysing these on the basis of some ideas by Juri Lotman and Peeter Torop. The process of translation implies considering the Quechua semiosphere’s internal borders as well as the external borders related to the cultures that existed at the time of Tahuantin Suyo, and all changes that have come from the Spanish conquest of Latin America. In the case of the Quechua culture, the problems are numerous and conflicting in several dimensions. First of all, Quechua is an agglutinating language that creates problems for translation into a flexional language such as Spanish. Secondly, and more importantly, there exists a mythopoetical model of the world that has been built in this culture, which does not use concepts of rational logic, but poetic images integrated into mythical thinking: it represents a different cognitive pattern. Thirdly, the presence of the logic of the concrete in Quechua culture, articulated with the mythopoetical model, makes translation from Western abstract formal logic difficult. Reflections on these issues provide new analytical possibilities.

In Finnish poetry of the 1960s, the city, and above all the capital Helsinki, is the scene where the metamorphosis of Finland from an agrarian into an urban society is staged, analysed and commented. It is also a symbol that serves to situate the country in the global context, with all the contradictions that were characteristic of the position of Finland in the cold war system. Writing about the city was a means to reflect on the transformations of social and political reality and of the physical environment, a means to represent the confusion these transformations produced or to work towards understanding them. The article analyses the city in texts belonging to the “new poetry” of the 1960s, as well as in texts representing the modernist poetics of the 1950s, arguing that the very co-existence of two contrasting poetic discourses was crucial for the semiotic development of Finnish culture in the period of time in question.

The paper observes the relation of fictional/figural discourses to language-games that are active in reality. The starting point for the discussion is the “theory of two contexts” by Arne Merilai, the basic idea of which is distinguishing between fictional and factual speech acts on the basis of their different contexts of truth value. It seems to be justified to expand it to the whole sphere of figurality. After that the paper views John Gibson’s Wittgensteinian theory of fiction as an archive of standards/etalons of language-games and a laboratory of reshaping and creating these standards. The fictional/figural sphere can be described as the area of possibility that creates language-games of reality via poiesis. The article describes some cases where the logic of figural sphere is introduced directly into real political discourse, forcing the reality to act according to the rules of art, but thus excluding the ethical freedom of our real-life language-games. It means that there exists a certain principle of metonymy between the figural sphere as archive and laboratory of standards, on the one hand, and the language-games of reality, on the other hand, while violation of that principle involves a danger of losing the reconciliatory power of fictionality/figurality that, according to Jaak Tomberg, is a significant function of literature as a human practice. There are several possibilities for further analysis: the cases where the danger can be turned into something positive; the problems and gains of art forms (certain forms of the theatre, happenings) that use techniques of intrusion into reality; the questionif such violation of the “principle of metonymy” is specifically connected with modernist avant-gardism or not.