Aesthetic actualization of the image is indispensable in literary translation, so that aesthetic experience is activated and the text is comprehended in more manifested aspects. The transition from the image-G into goal-language exponents would be more equivalent than item for item replacement, and subjective data in representations can be organized to form a unified experience. When we have such unified emotional experiences, we understand them -- we feel something definite. And only when we feel this way can we translate definitely. Besides, the establishment of an image-G is an essential prerequisite to effective text processing, hence effective text reproduction, because it can reduce the possibilities for alternative meanings and increase the possibilities for thematic coherence. Rather than providing an explicit structuration, the translator is to discover the potential structure correspondence in the T-text. In order to do so, the translator has to formulate a mental conception out of the SL elements. The image is the key to the literary text, and, under the pretext of searching for this image, we may distance ourselves from the linguistic confinement. The small-scale aspects are not handled directly and may not be correspondent or equivalent, but larger stretches of text are transposed and hence correlate the original in a gestalt sense. 

According to de Beaugrande (1978), the word can not be the unit of translation, but only the text in communication. Should the translator be motivated to strive for maximal correspondence between texts, such a plan cannot be realized by proceeding word for word. Instead, the translator who has translated the text can then work backwards toward obtaining some small-scale correspondences after the entire context is established.This is the model of a gradation from the general toward the specific. In this view,the non-correspondence of single words is revealed to be a spurious problem.

Both for the aesthetic significance in the literary text, and the overall structure of a certain image, there are various types of linguistic representation with various techniques to produce them, of which, image-G is the prerequisite and particularly pivotal for literary translation. It is a necessary facilitation for the comprehension, which will be especially effective if the translator is able fully to integrate textual and visual elements, and a facilitation also for the reproduction, for image-G-based text production can result in a more consistent structure, a more harmonic experience and a better choice of individual items. In my dissertation, I will try to illustrate that the representation of image gestalt can result in similar aesthetic significance, and on the contrary when it is not reconstructed, the aesthetic effect cannot be arrived at, and even mistranslation may arise.

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