'The Brothers Grimm' in the Ukrainian translation. Курсовая работа (т). Английский.
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Ministry of Education and Science of UkraineFranko National University in Lvivof Foreign LanguagesHryhoriy Kochur DepartmentTranslation Studies and Contrastive Linguistics
The Brothers Grimm in the Ukrainian translation
Сhapter 1. The characteristics of audiovisual translation
Сhapter 2. The characteristics of intertextuality and closely related notions
2.1 The notion of the vertical context
2.2.4 Ways of translation of allusions
Сhapter 3. The reproduction of allusions in the translation of the film The brothers Grimm
The Brothers Grimm is an adventure fantasy film, directed by Terry Gilliam in 2005. In spite of receiving mixed reviews from critics, it gained millions of viewers all over the world not only with black comedy and fabulous atmosphere, created by the director, but also due to lots of intertextual references to the real brothers life and their famous fairy tales. Thus, as the plot can be considered to be one big allusion, Ukrainian adaptation of this film presented the translator with complicated challenges. The present research paper focuses on investigating the linguistic methods and techniques, applied by the translator in the target text in order to preserve and render the effects of the original intertextuality.aim of this research is to define the main difficulties of creating a proper Ukrainian reproduction of the original English text, as well as to analyze how the allusions of the source text are reproduced in the Ukrainian adaptation. topicality of the research lies in the necessity to provide a proficient Ukrainian translation of foreign films generally and of British films in particular. Even an inadequate interpretation of the only title can cause serious troubles with rendering the original effect of the movie on the viewers in a specific country. The researched movie s text is remarkably shaped by lots of references; therefore it is of vital importance that the appropriate equivalents will be provided, so that the target viewers will be affected in a proper way.objects of the research are the allusions used in the original text of Terry Gilliam s film The Brothers Grimm and their Ukrainian reproduction.subject of the research consists in investigating the strategies and peculiarities of rendering the original text s intertextual references in the Ukrainian reproduction.research sets the following objectives:
§ To get an insight into the theoretical material on the subject of the paper under analysis.
§ To examine the notion of intertextuality, allusion, vertical context and their role in creating the specific effect on the target viewers.
§ To conduct a contrastive analysis of the source and the target texts from the viewpoint of the researched theoretical topic.
§ To analyze the ways of intertextuality reproduction, used by the translator in the target text.appropriate analysis of the movie The Brothers Grimm and its Ukrainian reproduction requires using several methods of linguistic research. The contrastive and comparative methods were applied in the theoretical part. The practical part is based on the method of dictionary definitions (used to contrast English and Ukrainian meanings of lexical units), method of linguostylistic analysis of the original and the translation, as well as Translation Studies analysis.novelty of the course paper lies in dealing with the intertextual references in the source text and its Ukrainian reproduction. It is thought that all modern texts are in some way shaped by previous texts. Therefore, the problems of the reproducing such connections is always novel and topical.course paper consists of the introduction, three chapters, conclusions and the list of references. The first chapter is dedicated to the notion of audiovisual translation and focuses on the methods of translation films. The second chapter dwells upon the conception of intertextuality and vertical context. It mostly focuses on the notion of allusion, its types, functions and ways of translation. The third chapter encompasses the analysis of the translation of allusions in the film The Brothers Grimm . The number of corpus collected constitutes 29 samples. In the conclusion the results of the research are summed up. The list of references comprises the theoretical and lexicographical resources used while writing the present research paper.
Сhapter 1. The characteristics of audiovisual translation
The translation of audiovisual products, such as documentaries, films, news, debates, concerts, television series, etc., has become one of the most important translation activities in the last decades. Nowadays cinematograph has become a significant part of modern cultures and even an important branch of business life in most countries. In the result of the development of globalization and mainstream-culture that is going overnight, such kind of products have become significantly more approachable. With the help of television, the Internet, radio and cinemas any audiovisual product can immediately reach an enormous number of audiences in almost any part of the world. Audiovisual Translation helps these products to cross the borders of languages and cultures.to Lau Keneth, the Audiovisual Translation (AVT) can be defined as a discipline that is much more than mere transfer, as pictures, music, sounds and other nonverbal elements are also involved in the process, making it a kind of multi-semiotic transfer [42, p. 1]. Chiaro defines the term as follows:
[a]udiovisual translation is the term used to refer to the transfer from one language to another of the verbal components contained in audiovisual works and products. Feature films, television programs, theatrical plays, musicals, opera, Web pages, and video games are just some examples of the vast array of audiovisual products available and that require translation [25, p. 5]are two main features of audiovisual text. First of all it is received through two channels: acoustic and visual. Also there is a synchrony between verbal and non-verbal message. Аudiovisual text requires projection on a screen and it is based on reproducibleandrecordedmaterial[38]. Fіlms are a very influential and powerful way to transfer values, ideas and information. Film is сonsidered to be a polysemiotic medium that transfers meaning through different channels, such as dialoguе, music and picture. Items which used to be culture-specific tend to spread and encroach upon other cultures. The choice of film translation method or mode largely contributes to the reception of a source language film in а target culture. Understanding оf foreign films is impossible for people, who are not fluent in a foreign language. Only thanks to audiovisual translation is it possible for them to understand the plot in the proper way [28, p. 84].Translation is not necessarily made between two different languages (Inter-lingual Translation). It can be also provided for hard-of-hearing, blind and deaf people, with the help of sign-language and audio description (Intra-lingual Translation). A. Serban provides the following classification of Audiovisual Translation [40, p.4]:
· Subtitling - consists in the production of snippets of written text (subtitles, or captions in American English) to be superimposed on visual footage - normally at the bottom of the screen - while an audiovisual text is projected, played or broadcast;
·Dubbing - is a process in which vocal recording (likedialogue ) occurs subsequent to the original recording stage;
·Voice-over- a method that involves pre-recorded revoicing: after a few seconds in which the original sоund is fully audible, the volume is lowered and the voice reading the translation becomes prominent.
· Live subtitling (for instance news broadcasts);
· Subtitling for the opera and the theatre.
Since the topic of the research is dedicated to film translation, only interlingual translation is to be specifically analyzed herein. Subtitling and Dubbing are of particular interest, as far as Voice-over and the other types are concerned with television translation or with theatre translation.
The most significant difference between subtitling and dubbing lies in the way that the receiver percepts the very translation. On the one hand, subtitling "is the form that alters the source text to the least possible extent, and enables the target audience to express the foreign and be aware of its foreignness at all times". On the other hand, dubbing is the method in which "the foreign dialogue is adjusted to the mouth and movements of the actor in the film" [41, p. 2]. Hence, on the contrary, dubbing allows the viewers to percept the actor as real native speaker of the target language. addition, J. Diaz-Cintas points out the following differences that distinguish subtitling and dubbing: [26, p. 53].
· the reduction is fundamental to subtitling, however not so much to dubbing;
· the translation of exclamations and interjections is not a problem in subtitling, but it is critical in dubbing;
· the shift from oral to written does not occur in dubbing;
· the problems of linguistic variation are practically irresolvable in subtitling;
· the translation of expletives is much more urgent in subtitling than in dubbing;
· the coexistence of two languages in the subtitled version has an impact on the translation of subtitles that has no parallel in dubbing.subtitling and dubbing have certain advantages and disadvantages and both are put under the influence of certain factors that determine their choice. Hence, one of them cannot be considered to be better than the other. In case the viewer is not satisfied with the properness of one of the provided modes of translating, modern technologies allow him to have a choice between watching a subtitled version of a foreign film or a dubbed one.
Сhapter 2. The characteristics of intertextuality and closely related notions
The term intertextuality was introduced by the post-structuralism theorist Julia Kristeva in 1967. She defines this notion as a common property of different texts, expressed by obvious connections between them (or between parts of these texts), due to which they are able to refer to each other.examples of intertextuality can be clearly seen in works of ancient times, the introduction of this term in the 20 th century cannot be considered to be accidental. In the result of accelerated development of the mass media and the Internet, the major part of the mankind has a quick and free access to almost all pieces of art of any historical period. According to Polish paradoxographer Stanisław Jerzy Lec , Everything has been already said. Fortunately, not everything has been thought over . [38].interesting reference to this idea can be seen in the poem of the famous Ukrainian poet and writer Lina Kostenko. An extract from the very poem is provided in the English translation, made by Hennadii Pokryvailo[39]:silent words are frightening and mean, they hide at times to make the fears steady, and you don't know how to begin, for someone all these words has used already. , when you create something new, in order to validate its novelty you are forced to match it with something, that has been already created. In case the novelty is totally absent, it has become extremely popular to use already created forms and structures so as to point author s conversance with the masterpieces of the classic literature. Thus, the overwhelming majority of 20 th century pieces of art can be considered to be examples of intertextuality [38].notion of intertextuality is rather multiple. Therefore, different scholars can provide totally different definitions of it, depending on their theoretical or philosophical preferences. The only common assumption for all of them can be the statement, that each and every text is a kind of reaction to previous texts [14, p. 18]. The most universal definition of intertextuality was provided by R. Barthes: Each text is an intertext; other texts are present in it on different levels and in various degrees of recognizability; each text is a new fabric, created on the basis of old quotations [24, p. 78].can be considered to be a kind of literary device that is self-consciously used by authors for the purpose of creating a certain effect on the target reader. Furthermore, we can analyze in what way the author conscious references to previous texts, called prototexts , modifies the sense of the new text, known as the metatext . The terms prototexts and metatext were introduced by the Slovakian translation theorist A. Popovi ć , who defined them as the primary and the secondary texts, as well as the source-text and the target text [15, p. 19].important notion in the conception of intertextuality - especially from the viewpoint of translation theory - is the so-called precedention of texts. The term precedential text was introduced by a famous Russian linguist Yu. Karaulov. He states that it is a kind of text that is obligatory to be known within the confines of a specific national culture and, therefore, is generally familiar to all native speakers of the very culture. Most commonly these texts characterize a specific historical period of an ethnic group. Hence, the usage of references to such texts by modern authors is a very efficient way of forming the culture s national identity [p. 20].can be expressed in many ways, depending on the stylistic preferences of the specific author. According to V. Heinemann, a text can be enriched with the following forms of intertextuality [23, p.60]:
· I. R. Galperin defines a quotation as a repetition of a phrase or statement from a book, speech and the like used by way of authority, illustration, proof or as a basis for further speculation on the matter in hand [8. p. 169];
· The notion of a hint is explained in the Free Dictionary in the following way: it is a mean to convey an idea covertly or indirectly, but in a way that can be understood [34];
· According to the Oxford Dictionary, paraphrase can be defined in the following way: to paraphrase means to [e]xpress the meaning of (he writer or speaker or something written or spoken using different words, especially to achieve greater clarity [35];
· Text collage is [a] work, such as a literary piece, composed of both borrowed and original material [34];
· Parody is an imitation of the style of a particular writer, artist, or genre with deliberate exaggeration for comic effect [34];
· Travesty is an absurd or grotesque misrepresentation, a parody, or grossly inferior imitation [43].may serve the following functions in the text [38]:
Ø Expressive - the selection of intertextual quotations, the character of allusions and other references can be an element of the author s self-expression;
Ø Appellate - the selected references are often used to appeal to a totally specific type of receivers that can see the true value of the intention that stands for the selection of the very reference;
Ø Poetical - often the identification of intertextual references can be considered to be a kind of entertaining game, as working a crossword puzzle. The complicacy can be different: from recognizing the quotations from extremely popular films, to detecting such intertextual relations that were used by the author with no intention;
Ø Referential - obviously, the usage of intertextual references causes sharing of various types of information that was expressed in the source text;
Ø Metatextual - when the reader detects a reference in the text, he/she has two options: to continue reading, considering the referential piece to be an organic part of the text, or resort to the source text in order to get a better understanding of the very reference;context encompasses the historical-philological information that was intentionally put in the text by the author. It follows that in order to understand and interpret this kind of information in a proper way, the receiver must have corresponding background knowledge. very notion was introduced by O.S. Akhmanova and I.V. Giubbenet in the second part of the 20 th century. Depending on the means of bringing vertical context in the text, the following types can be outlined:
· Philological vertical context - the usage of allusions, quotations, deformed idioms.
· Social-historical vertical context - the usage of various realia, proper names and toponyms. [2, p. 47]. .V. Boldyrieva differentiates the social and historical vertical context (a part of philological historical information, intentionally put in the text in order to provide a description of the outer world), and the social and historical background of the period, described in the text (features, that characterize the daily life of the characters as the representatives of a certain social group in the course of a given historical period) [5, p. 9-12].is a fair amount of ways to bring vertical context to a literary text. I.V. Giubbenet distinguishes the following ones:
· The author provides the detailed information about the source.
· The characters of the very literary text give this information to the reader.
· The author intentionally provides references to wrong sources in order to create a comic effect.
· Famous quotations are provided as authorless, sometimes even as proverbs or sayings.
· Sometimes vertical context is not graphically marked. Consequently, that leads to a fusion of the author s words and the citatory speech.
· The quotation is modified, that leads to a mixture of registers and styles.
· Comparisons (when some element of the literary text is compared to the corresponding element in the source text. This helps the reader to get a better understanding of the used references, in case he/she has proper background knowledge).
An excessive usage of alluded figures of speech can cause serious difficulties in understanding the text for the reader. Moreover, it can cause the same problems for the translator in the course of adaptation, especially when the vertical context is brought to the text without using any comments or graphical markers [9, p. 47].
2.2.1 The notion of allusionof the most frequently used occurrences of intertextual connections is allusion. This notion can be defined as an indirect reference (a word or a phrase) to a historical, literary, mythological, biblical fact or to a fact of everyday life, made in the course of speaking or writing [4, p.24]. A. Mashkova does not draw significant distinction between conscious reproducing the form and content of earlier works and cases, when the author does not comprehend someone s impact on his works [18, p. 9]. In contrast, A.S. Yevsieiev states that allusion is a stylistic device that should necessarily contain author s conscious intention so as to create a desired effect on the receiver [13, p. 7]. to The Oxford Dictionary of Allusions, allusion is the mentioning of the name of a real person, historical event or literary character which is not simply a straightforward reference, but which conjures up some extra meaning, embodying some quality or characteristic for which the word has come to stand [36, p. 11].comparison with quotations, no indication of the allusion s source is given. I.R. Galperin provides another significant difference that lies in the structural nature of an allusion: a quotation must repeat the exact wording of the original even though the meaning may be modified by the new context, while an allusion is only a mention of a word or phrase which may be regarded as the key-word of the utterance [8, p. 171]. I.V. Giubbennet defines allusions as a maximally deformed quotation. [10, p. 35] On the contrary, M. Wheeler considers allusion to be a common indication for a reference and a quotation as well [Wheelr, p. 134].order to distinguish allusion from other types of intertextual references, A. Tyutenko outlined the following criteria of allusion identification [22]:researcher K. Lototska provides the following definition of allusion: allusion is a hint, an indirect reference to something presumably known to the receiver that can be used without fear of being misunderstood and without being forced to give lengthy explanations of it. [17, p. 109].to K.R. Novozhilova, allusions are expressed by a hidden authorless quotation containing a hint at some literary or common cultural fact that is familiar to both the author and the target receiver [19, p. 77]. The author just mentions some detail of what he/she considers to be an analogy in fiction/history to the topic that is being discussed, without having to provide any explanations. Nevertheless, the receiver s educational level and his intertextual competence should be corresponding in order to be able to recognize the stylistic value of the very allusion. [16, p. 171]. Apparently, in case the text s allusion remains to be unidentified, the communication process between the author and the target receiver fails Therefore, allusions are sometimes made to things and facts which need commentary before they are understood..P. Belokurova underscores that an allusion always has a wider meaning than the phrase or quotation that she refers to. Hence, this forces the receiver to correlate them and indicate their common and distinguishable features [3, p. 15].
2.2.2 Types of allusionsto A.S. Yevsieiev, a reference to a source text can be accomplished in two ways: by a nomination and by a quotation. In such manner, Yevsieiev distinguishes two types of allusions that are based on the difference that lies in the different type of denotation [13, p. 4-5]:
· Citatory allusion - the denotation consists in the text and metonymously related objects (for instance, a parody of some specific person, that includes also reproducing his/her linguistic peculiarities); D. Diuryshyn also points out overt and covert citatory allusions [12, p. 153-154];
· Nominative allusion - all other types of denotation [4, p. 2]..D. Tukharelli suggests an interesting classification of allusions that is based on the semantical and structural peculiarities of allusion [21, p. 16-17]: Proper name allusions [PN] include the following notions:
· Cosmonyms - names of astronomical bodies;
· Ktematonyms - names of historical figures, events and artistic works. According to R.Leppihalme, these kinds of names are sometimes borrowed from Holy Scriptures or myths . [Lepp, p. 67].
· Theonyms - names of gods, demons, mythological characters.
R. Leppihalme s also singles out key-phrase allusions [KP] that are expressed by some words or phrases. They can refer to a literary work, quotation, fact or any other expression from the source text. The researcher points out the following sources of key-phrase allusions [27, p. 68-69].
· Nursery rhymes and children's tales;
· Well-known films and topical television programs
· Various catch-phrases, clichés and proverbs
· Various popular beliefs, assumptions and storiesRegarding the allusion as a literary text, A. Mamaieva defines it as an allusion that is expressed by a whole literary text which is characterized with an enormous amount of peculiarities of another text and duplicates its order of parts. The example of such allusion in the world literature can be considered to be J. Joyce s Ulysses that duplicates Homer s Odyssey [4, p. 3].
Another researcher A. Kirillov has established a classification that is based mostly on the type of the source-text. The researcher has categorized allusions into 5 groups [15, p.103]
· Historical allusion (such as people, places, events)
· Literary allusion (such as characters, settings, plot)
· Biblical allusion (including texts from Old Testament, New Testament);
· Popular culture (related to contemporary people, places, events, literary works, works of art)
· The arts (related to music, works of art, theatre/film)
Much more comprehensive classification of allusions is provided by N.Yu. Novokhachova. It is based on the genre distinguishing characteristics of the text that includes the very allusion. She points out the following 10 types of allusions [20, p. 88]
2.2.3 Functions of allusionsway to classify and coin the functions of allusions is still a significantly controversial issue. Different approaches to this problem can fundamentally differ, depending on the researched linkages between the allusion and the source, and its role in expressing the sense and idea of the text. Nevertheless, they often coincide in some basic principles..A. Vasilieva singles out 2 major groups of functions. The first one lies in forming the informational unity of the text that includes the allusion. The second one is used to establish the genre distinguishing characteristics of the text. The researcher also subdivides these groups in the following way [7, p. 18-19]:forming functions:
· structural function, that consists in correlation between the structures of the prototext and the metatext;
· bringing up a recurrent topic (for instance the topic of war, love, violence), that makes a significant contribution to the formation of text s sense.
· bringing new extra sense to the text
· making the text more open , from the viewpoint of intertextuality;
· creating a characteristic of a character..R. Avramenko provides a classification of the functions that focuses on the inner world of the characters, their behaviour and reaction to the described historical period and the events that take place in the very text. Hence, the scholar points out the following 6 functions [ 1, p.4-5 ] :
· Rendering the account of the historical period of the events;
· Characterizing personal relationship between the characters;
· Characterizing activities of character s daily living;
· Explain (explicate) spiritual and intellectual features of the character;
· Portraying the feelings of the character;
· Characterize moral and aesthetical features of the character .classification of Ye.M. Dronova can is considered to be a way to summarize the approaches to this problem that were discussed above. Furthermore, it expresses some unique ideas [11, p. 48-49]:
· Valuating function - helps the author to make a disclosure on the inner world of the characters, to judge their actions and some other events that take place in the very work;
· Occasional function - using references to some historical facts and real historical figures in order to reproduce the spirit of the very age;
· Constructive function - allusion makes a contribution to maintaining the informational unity of the message and provides some additional information;
· Predictable function - lies in giving the reader a clue about the following unravelling of the plot on the basis of comparison of the very work with the referenced one.the contrary, R. Leppihalme claims that it is extremely complicated or even impossible to provide a complete list of functions of allusions. Nevertheless, the researcher points that it is advisable to use a distinction that draws a line between allusions that function on the macro- and on the micro level. The macro level comes over the inner structure of the text and its interpretation. The micro level lays in the lexico-semantical and the stylistic level [27, p. 31].
2.2.4 Ways of translation of allusions, the translation of allusions presents the translator with a significantly complicated challenge. He/she must be knowledgeable in history, folklore and the national literature of different countries. In order to provide an appropriate translation, the following can be applied: the vocabularies of quotations and allusions, as well as linguo-cultural encyclopedias. [6, p. 4]. .V. Grek claims that in the course of the allusion adaptation the translator should pay attention to one major criterion: its affiliation with the culture of the source text and the culture of the receiver. Therefore, the background knowledge of the target receiver is very important to identify the sense of the adapted allusion. Hence, the researcher singles out the following types of allusions and other intertextual references:
· National or individual.universal allusion lays in the common intertextual field for both the receiver of the original and the receiver of the adaptation. Thus, the recognition of such allusion does not require any translator s comment. Nevertheless, the same universal allusion can perform a different function in different texts, depending on the author s intention. Therefore, the translator is presented with a challenge to provide a proper adaptation not only of the allusion, but also of its effect on the receiver. L.V. Grek provides the following ways to achieve this objective:
· Citation of a canonical translation that can be found in the target culture;
· In case the allusion belongs to the texts of both source and target cultures, by reproducing the prototype directly from the used source; national or individual allusions are alien to the culture of the target receiver. The researcher points out the following ways of their translation:
· By the accurate reproduction of the linguistic material with a corresponding comment. The main disadvantage of this method consists in spoiling the joy, caused by recognition of the allusion ;
· By the selection of a functional analogue in the receiver s culture. The major advantage of this method lies in preserving the conditions of recognizing the allusion. Thus, this causes a reaction that is expected by the source author.
· By the explication of the allusion s sense [9, p. 3-5].R. Leppihalme draws a line between the proper name allusions [PN] and the key-phrase allusions [KP], the researcher establishes separate strategies for their translation. The translator can keep a PN unchanged, while a KP allusion always needs a change in wording. The PN Allusions translation can be provided in the following ways:
o Retention of the name (both unchanged and in its conventional TL form,); with three subcategories
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