Читать курсовая по английскому: ""The Brothers Grimm" in the Ukrainian translation" Страница 2

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“[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]:

o Inter-lingual Translation:

· 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.

o Intra-lingual (monolingual):

· Audio description for the blind;

· 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. .2 Subtitling vs Dubbing 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 2.1 The notion of intertextuality 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 20th 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

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