Whatever actualized in linguistic form is first of all actualized mentally. Psychologists, when dealing with literary comprehension, discuss mental representation. As an artist, the translator must have a high degree of ability to represent, in the mind's eye, certain combinations of the S-text. Like a painter who has an uncommon visual imagery, the musician auditory imagery, the translator must have verbal imagery. As Zwaan claimed (1993:170), text comprehension is a process influenced by hoth textual and cognitive factors. That is, text comprehension does not just lie in the meaning the text
conveys, but also in how the reader approaches and responds to it. In the process of meaning comprehension, or in this context, of image-actualization, the translator-reader has his cognitive mechanisms, such as analyzing, rearranging, synthesizing, and his aesthetic faculties such as imagination, operate to actualize the meaning and achieve certain aesthetic experience.
The translating of literary texts is a very difficult and complex activity, difficult in that the reproduced text is to represent not only the linguistic meaning of the original, but also its aesthetic quality as well; complex in that it involves the mental processing of the translator in his reading and transferring the text. Given the fact that of the same text there are several, often differing, versions, it is unlikely that every text is mentally processed in exactly the same way. A literary text may be read or comprehended and represented in different ways. One of the differences lies in the aesthetic effect, which largely depends on how the translator understands the original text and how he transfers it into another language. Apart from the basic operations being carried out in all text comprehension: " letters are decoded, sentences parsed, words assigned meaning, anaphora resolved, inferences drawn, gist's constructed," (Zwaan, 1993:2) image-G actualization plays an indispensable role.
Different translators with different operations of psychological faculties might produce different comprehension of a literary text, hence different translated versions. This point is held by Iser who described the personalized aspect in the following way:
In the same way two people gazing at the night sky may both be looking at the same collection of stars, but one will see the image of a plough and the other will make out a dipper. The stars in a literary text are fixed; the lines that join them are variable.
(from Reinhold Viehoff,1986)
Such claim justifies the notion of dynamics in one's comprehension, which is also true in the comprehension of text meaning, thus the actualization of the aesthetic qualities of the image-G is dependent much on subjective perception and judgment. The artistic image is not a thing with a definite structure but a dynamic reality which becomes actual in aesthetic perception. First of all, the aesthetic quality originates in a creative process where the activity involved is vital and out of lived experience. The translator as an author in his re-creative activity has also to articulate the life of the mind. Hence if the reader is to actualize the image or quality, his dynamic activity is to be involved. It is for this reason that we will take into special account the translator's suljective role particularly his psychological operations in his image-actualization.
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