This study is focused on explanation of basic questionable aspects of artistic translation. By means of proportion between theory and practice the author aims to define scholarly oriented linguistic conceptions of systematic character (Hjelmslev, Saussure) on one hand, and the developing trend of newer studies, which take into account the bounds between the artistic language and common linguistic locution (Cohen) on the other hand. The author considers this knowledge necessary because according to him only the respecting of previous knowledge enables us to proceed to more integral conceptions of translating. Therefore he emphasizes the need for a useful confrontation of Slovak works (Bakos, Popovic, Miko) within this field, with foreign results. The incentive for more principal revaluation of functional and structural fundaments is searching more immediate bounds between linguistics and literature. In recent period this 'shift' is signaled by intensified orality of artistic speech, its subjective rhythmical expression, which leads directly towards a more complex view on translation, in which not only the boundaries between particular genres but also between particular approaches to a work of art disappear (the analysis of the rhythm merges with the analysis of semantics and style). Recently this approach is identified with anthropology oriented understanding of the literary text and rehabilitates the position of the subject focused on culture-, interliterary-, and interdisciplinary studies in the cognitive process. In this relation the author suggests a more concise notion translation thinking, which reflects more complex view on the real ideal of translating activity. Then he demonstrates the given orientation by reference to two conceptually different literary poetics: the poetics of the so-called fantastic realism implemented mainly in the Argentinean literature, and the universalistic post. Symbolist handwriting (Claudel) revivifying the epical, symbolically open and ethically fertile bound of literature with the spiritual and practical fundaments of the human existence (see Franek L.:'Stýl prekladu'. Bratislava: Veda, 1997). The result of the translator's work (cooperation) with a similar model is ipso facto a creation of a natural corrective - a rate, which is a necessary presumption of the up-to-date cultural and social dialogue.