VII Международная студенческая научная конференция Студенческий научный форум - 2015

In our work we have decided to investigate translation peculiarities of the movies related to the sport sphere.

Translation is an activity comprising the interpretation of the meaning of a text in one language- the source text- and the production, in another language, of a new, equivalent text- the target text, or translation. The goal of translation is generally to establish a relation of equivalence between the source and target texts (that is to say, to ensure that both texts communicate the same message), while taking into account a number of constraints. These constraints include context, the rules of grammar of languages, their writing conventions, their idioms, and the like. [1]

A translator first should be acquainted with that field of knowledge a text belongs to, second use all the methods of translation skillfully in order to make TT as more adequate and equivalent to the original as possible. As V. Komissarov writes “Translation in any case is the creative mental activity, the implementation of which requires the volume of knowledge and skills, the capacity to make the right choice taking into account the total volume of linguistic and extralinguistic factors. It occurs often by intuition, as a result of a creative act, and different translators possess the ability of successful translation at different levels. The highest level of that kind of skill is called the art of translation” [2]

There are two major types of film translation: dubbing and subtitling. Each of them interferes with the original text to a different extent. On the one hand, dubbing 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 domestication. On the other hand, subtitling, i.e. supplying a translation of the spoken source language dialogue into the target language in the form of synchronized captions, usually at the bottom of the screen, is the form that alters the source text to the least possible extent and enables the target audience to experience the foreign films and be aware of its “foreignness” at all times [3].

There are certain translation methods which are used in order to make an appropriate translation to the TL. The lexical methods of translation are transcription/transliteration, loan translation, description, commentary, parallel translation, semantic modification (concretization, generalization, neutralization, and intensification of emphasis).

The grammatical methods are employed when the subject of translation is a certain grammatical structure of ST from morpheme to superphrasal unity which has “non-standard” relations [4]. The grammatical methods are full translation, omission, addition, partial translation, replacement, word for word translation, conversion, antonymic translation.

The stylistic methods of translation are employed when stylistically marked units of ST are the object of translation [4]. The stylistic methods are replacement of words, replacement of image, replacement of trope, omission of figurative meaning, word for word translation (with or without commentary).

During the cinema translation a lot of difficulties could arise, however, they could be solved by the translator in the form of dubbing or subtitling. As for examples, we will analyze several movies which can show the arisen difficulties.

The first examples will show the lexical level. On the level of lexis they are in particular the names of players, coaches, names of teams and cities; nicknames; positions of players and umpires at a game; names of competitions and sport organization. Arisen difficulties can be solved with the help of transliterationtranscription or loan translation. As it shown below:

Names of the characters are perfect examples:

“James Hunt is known…”	“Джеймс Хантзнаменит как…”
“Niki Lauda”	“Ники Лауда”
“This is Ken Carter.”	“Познакомьтесь, Кен Картер.”
“l'm Timo Cruz, sir.”	“Тимо Круз, сэр.”
“Junior, Lyle, Kenyon and Worm.”	“Джуниор, Лайл, Кеньон и Ворм.”
“You get the privilege of joining Mr. Battle”	“А лично вы присоединитесь к мистеру Беттлу.”
“But what did we do in practice, Mr. Stone?”	“А что же мы отработали, мистер Стоун?”
“Just tell me, do you project we'll win more with Hatteberg or Pena at first?”	“Только скажи мне, мы станем чаще выигрывать, когда на первой будет Хеттаберг или Пенья?”
“Billy says he needs $225,000 for Ricardo Rincon.”	“Билли говорит, что ему нужно на Рикардо Ринкона 225 000.”
“Garcia for Guthrie, no kicker”	“Гарсия на Гатри, без доплаты”
“James J. Braddock”	“Джеймс Джей Брэдок!”

Examples show that transliteration and transcription are two perfect ways to render names, especially such names as “Worm”, “Battle”, “Hunt”, “Junior” and “Stone”. All these names have the meaning as the lexical unit, but translation by its’ meaning will be inappropriate and will sound odd to the receivers.

The nicknames are very interesting examples of the loan translation, or calque in other words:

“Hunt the Shunt.”	“Хант - Авария.”
“Herr Red Devil's on his tail.”	“Херр Красный дьявол висит на хвосте.”
“The Bulldog of Bergen”	“Бергенский Бульдог”
“Max Baer versus the Cinderella Man, Jimmy Braddock.”	Макс Баер против Золушки-Мужчины -Джимми Браддока.”
“Picking machine!”	“Супер подбор!”

Nicknames were translated with the help of calque, except the last example. In the last one the loan translation would be inaccurate; translator has decided to give another translation according to the meaning of the phrase and ended up with “Суперподбор!”

Next is grammatical level. In the sphere of movies it is very important to keep the translation short. Mainly phrases are short and in order to follow the actors’ lips and movie’s time frame translator should make the translation according to these rules. And the most applied transformation is omission, which is shown below where the omitted parts are marked:

I had a skin graft operation where they put half my right thigh in my face.	Мне пересадили кожу, половина правого бедра на лице.
Lauda has the lead right now!	Лауда лидирует!
What horsepower are you getting?	Сколько лошадиных сил?
But what did we do in practice, Mr. Stone?	А что же мы отработали, мистер Стоун?
Bring your A game, young man.	Чтоб играл на отлично.
And this leads people who run Major League Baseball teams	И это приводит людей, которые управляют командами.
Right here in the middle of the store?	Прямо здесь, в магазине.
Well, you were out like a light.	Ты вырубился.
Hey, your dad ever tell you that I used to spar with him?	Папа говорил тебе, о наших спаррингах?
Number two heavyweight contender in the world.	Он второй среди тяжеловесов.
You want to lose the championship to this goddamn nobody?	Хочешь отдать чемпионство этому ничтожеству?

Here we see that long complicated constructions, phrases which are not necessary such as “Hey”, “young man”, “right now” were omitted. At the same time quality of the translation was not decreased. Last example shows the tendency of the abuse language omission, which is convenient. There are different degrees of expressivity between Russian and English languages. Russian language is more emotionally colored, it is the reason why English abuse language should NOT be translated.

The last level which will be examined is stylistic level. On this level we will examine stylistically marked units which were used in the movies related to the sport sphere. There are several: slang, jargons, units which can be used in some particular field.

Any mounting or fixing plates strip it out also.	Все щитки и крепежныенакладки снимайте.
memorizing the circuit, in this case Monaco.	запоминание трассы, в данном случае – Монако.
Drives like a pig.	Колымага
Он входит в первый поворот.	He leads into the first corner.
Lauda tries to sneak up the inside.	Лауда пытается пройти по внутренней траектории.
Yo, l put my fist up, man.	Я вот так кулак поставил
Need some Gatorade or something.	Нужно выпить чего-нибудь тонизирующего.
Time, sir.	Тайм-аут, сэр.
Go hard to the hole.	Каждый старается прорваться к кольцу.
Sub, for five.	Замена, 5-го
D up!	Прибавьте в защите
It’s all ball	Сыграно в мяч
Those five tools, you don't see that very often.	Такие универсалы не так часто встречаются.
Boston wants to cut him.	Бостон хочет от него избавиться.
I'm not in it for a ring.	Не ради чемпионского перстня.
You may favor the right.	Ты любишь бить правой.
You know, I got that fight tonight at the armory.	Знаешь, у меня будет бой сегодня в Арсенале.
Who KO'ed Slattery in the ninth...	Кто отправилвнокаут Слаттери в девятом раунде…
In this corner the sensational heavyweight slugger…	В этом углу знаменитый тяжеловес…
And Braddock is stepping in post holes	И Брэдок отброшен на другую сторону ринга.
You see something in a fighter.	Ты видишь что-то в боксере
Braddock just took a tremendous shot!	Брэдок получил сокрушительный удар в голову
All right. Three-punch combo, okay?	А теперь давай тройкой
Inside is yours!	В ближнем бою
“I'm not in it for a ring.”	“Не ради чемпионского перстня.”

From the examples above we can see special units which are used in the sport field and at the same time they are stylistically marked. Also it is worth mentioning that several units can be used in different sport areas. Thus “corner” is used both in boxing and racing fields, but the meaning is different, “угол’ in boxing and “поворот” in the racing. Same shows the word “shot” in the basketball and boxing fields. This means “бросок” in basketball and “удар” in boxing. The interesting example is the “ring” word. In boxing it is a main place, called “ринг”. But in other sports, such as baseball and basketball, it means the winning award, called “чемпионский перстень”.

Having implemented the investigation, we have figured out that in most cases translators follow all the rules and limitations which are required by the cinema translation. But in several cases lack of knowledge or information about the movie or in the sphere of sport, can lead to the translation which wouldn’t be suitable for the case. And it could be considered as unprofessionalism.

Bibliography

1. Baker M. Routledge Encyclopedia of Translation Studies. Routledge., London and New-York. - 1997. – 128p.

2. Комиссаров, В.Н. Теория перевода (лингвистические аспекты)/ В.Н. Комиссаров. – М. : Высшая школа, 1990. – 253 с.

3. www.translationjournal.net

4. Казакова, Т.А. Практические основы перевода. English – Russian : учебное пособие / Т.А. Казакова. – СПб. : Лениздат; изд-во Союз, 2002. – 230 с.

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