The role of the verbal code in conveying the concept of “the past” in the screen adaptation of Stephen King’s 11/22/63: a comparative analysis of the effectiveness of interlingual translation and audiovisual equivalents / Роль вербального коду в передаванні концепту «минуле» під час екранізації роману C. Кінга «11/22/63»: порівняльний аналіз ефективності міжмовного перекладу та аудіовізуальних еквівалентів

Intersemiotic translation, particularly the screen adaptation of literary works, poses a major challenge for preserving complex philosophical and figurative concepts. While film constructs meaning through images, sound and acting, it cannot fully reproduce the rhetorical, rhythmic and metaphysical density of verbal texts. This raises the question of how interlingual translation, with its own tools of meaning transfer, compares in preserving such conceptual structures. The study aims to analyse and compare the effectiveness of interlingual translation and audiovisual equivalents in rendering the concept of the past in S. King’s novel “11/22/63” and its screen adaptation. The study draws on the Vinay–Darbelnet model of translation transformations, descriptive translation studies, structural, syntactic and conceptual analysis, as well as semiotic, intermedial and hermeneutic approaches. One hundred verbal fragments describing the past and their Ukrainian equivalents are examined and contrasted with their (non-)realisation on screen. Interlingual translation, through systematic use of modulation, transposition, addition and other transformations, preserves lexical recurrence, metaphorical density, rhythm and emotional tension, maintaining the past as a lexical and philosophical dominant. The role of modulation and transposition is significant, as they are the most frequently used transformations in case of adapting fragments that describe the image of the past. The series, by contrast, reduces this image to a few utterances and scattered visual hints, which simplifies its thematic, structural and psychological functions. Interlingual translation proves more effective than intersemiotic translation in retaining the stylistic and conceptual depth of the original, whereas screen adaptation, constrained by the resources of cinematic discourse, tends to smooth dominant philosophical images. Future research may focus on strategies for compensating such losses in intersemiotic translation and on the role of modality interaction and cognitive-contextual factors in the perception of complex concepts in multimodal environments.