Проблемы перевода англоязычных фильмов (The problems of translation English films)
Chapter I. Theoretical questions of translation
1. The history of translation
2. The art of translation
2.1. Literary translation as a profession
3. Translation and translatability
3.1. Available translation procedures
3.2. Grammatical difficulties of translation
4. Semantic structure of the word
5. Writing style and national mentality
Chapter II. Film translation
1.The power of film translation.
2. Types and history of film translation.
3. The function of film titles
3.1 Film titles translation
Chapter III. The problems of translation English film “Snatch” to the Russian language
1. General characteristic of Russian translations of the film “Snatch”
2. Comparison of two variants of Russian translation (“official” and “right
Показать все”) in the aspect of the original text reflection
2.1. Specific features of the film’s title translation
2.2. Specific features of the heroes’ names translation
3. Semantic development of the initial text
4. The search for Russian equivalents for the English speech units
5. Adoption of the English speech units
6. Compensation for loss the in the translation process
6.1. Semantic loss
6.2. Stylistic loss
7. Using of the polysemy
8. Reproduction the lingvocultural specific features of the film in the Russian translations
8.1. Using phraseological units and idioms in the English and Russian versions
9. Expressive and evaluative language means in the initial scenery and its Russian translations
10. Using jargon and slang lexis in the original and Russian translations
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2.Arnold I.V. Stylistics of modern English language. L. 1973.
3.Arnold I.V. The English Word. М., 1986.
4.Barkova L.A. Pragmatical aspect of use of phraseological units in advertising texts: Abstract Ph.D. thesis of candidate of philological science. M. 1983.
5.Bradley H. The Making of English: McMillan and Co. Ltd. L., 1937.
6.Fedosov I.A. Functional and stylistic differentiation of Russian phraseology. M., 1977.
7.Galeeva N.L. Characteristics of the artistic text and translation. Tver, 1999.
8.Galperin I.R. Stylistics. M., 1971. P. 313.
9.Gurevich A.J. A sketch of medieval culture. М., 1980.
10.Koonin A.Y. Phraseological Dictionary. M., 1954.
11.Kozhina M.N, Duskaeva L.R. Salimovsky V.A. Stylistics of Russian language.
Показать всеМ., 2008.
12.Kunin A.V. English-Russian phraseological dictionary. M., 1967.
13.Kusmin S.S. Russian-English dictionary for the translators. M., 2001.
14.Kuzmin S.S. Idiomatical translation from Russian into English. Theory and practice. M., 2005.
15.Litvinov P.P. English-Russian dictionary with a thematic classification. M., 2000.
16.McKnight G.H. English Words and Their Background. N.Y.-L., 1931.
17.Nikolenko L.V. Leksikology and phraseology of modern Russian. М., 2005.
18.Richie G. Snatch: The scenario of the film. London, 2000.
19.Romanova I.V. Translation as a cognitive activity. Kemerovo, 2008.
20.Sannikov V. Z. Russian language in a mirror of language game. М., 2002.
21.Shansky N.M. Phraseology of modern Russian. Spb. 1996.
22.Skrebnev Y.M. Fundamentals of English Stylistics. M., 2000.
23.Solganik G.Y. Syntactical stylistics. М., 1973.
24.Telija V.N. Russian phraseology: Semantic, pragmatical and lingvoculturological aspects. М, 1996.
25.The phraseological dictionary of Russian / Under the editorship of A.I. Molotkov. М, 1978. Скрыть
I have found and proved that every country cultivates a different tradition of translating films and subscribes to one of the two major modes: dubbing and subtitling as far as cinema translation is concerned, or sometimes to a third, minor, mode—voiceover—in the case of television translation. The decision as to which film translation mode to choose is by no means arbitrary and stems from several factors, such as historical circumstances, traditions, the technique to which the audience is accustomed, the cost, as well as on the position of both the target and the source cultures in an international context.
On the one hand, dubbing (full translation) is known to be the method that modifies the source text to a large extent and thus makes it familiar to the target audience through domestic
Показать всеation. It is the method in which the foreign dialogue is adjusted to the mouth and movements of the actor in the film and its aim is seen as making the audience feel as if they were listening to actors actually speaking the target language. The variety of different techniques are used in dubbing, I have analyzed the positive and negative results of their using in the practical part of my work.
The issue of power in translation seems to be especially pertinent and applicable to contemporary cinema. As a host of translation scholars has agreed recently, translation does not take place between words but rather between cultures. And I proved this statement by the examples from the British film “Snatch” in my work. The text is perceived as an integral part of the world and not as an isolated specimen of language. Consequently, the process of translation is seen as cross-cultural transfer, which is determined by the degree of prestige the source and target cultures have, as well as by their reciprocal relations. Translators should transmit as much as it possible from one culture to another using all the power of language.
I have analyzed the difference between two variants of Russian translation of the English original text: one is so called “official” that deprives of the text personal character and another is the literal one (made by Dmitry Puchkov) that tries to keep the specific features of the language and style of the original text in Russian version. Скрыть
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