Translation of catch phrases in an audiovisual text

Moralova Ludmila Victorovna ORCID: 0000-0002-0113-2481 Assistant Professor; Department of English Studies and Cross-Cultural Communication; Moscow City University 129226, Russia, Moscow, Second Agricultural ave., 4 ludmilamoralova@yandex.ru

Abaeva Evgeniya Sergeevna Doctor of Philology Professor; Department of English Studies and Cross-Cultural Communication; Moscow City University 129226, Russia, Moscow, Second Agricultural ave., 4 abaevaes@bk.ru

Introduction

Interlanguage and intercultural transmission of catch phrases, by which we mean "stable expressions that have entered the language from a certain literary or historical source <...> and widely spread due to their inherent expressiveness" ^{[1, p. 104]} – the task for a translator is not always simple. Researchers talk about a number of characteristics that define winged expressions: stability, stereotyping and reproducibility, aphorism (brevity, capacity, conciseness), expressiveness, "certification by a specific textual source" ^{[2, p. 165]}, intertextuality, etc. Most often they talk about the inclusion of winged expressions in the phraseological fund of the language ^[3] Although some researchers emphasize the criteria indicating the special status of such units: connection with the source, genetic memory, separateness, stability that does not exclude variability, distinct national character, expressivity, unambiguity in most cases, diversity, stability of semantics ^[2].

In the case when winged words/aphorisms fall into the general cultural layer of audiovisual works, they express thoughts and feelings "so as to be understood by their compatriots throughout the entire space of our country" ^{[4, p. 143]}, convey those meanings that are extremely significant for representatives of a certain linguistic culture. Accordingly, the interlanguage and intercultural transmission of such expressions, as well as other culturally and nationally determined concepts that are important within the framework of the dialogue of cultures ^[5] – expressions belonging not to international phraseology, but to the culture of one language ^[3] – in the absence of an equivalent creates certain difficulties in translation, since there is "getting used to the world of another culture" ^{[6, p. 14]}. A certain number of studies have been devoted to the translation of catch phrases, the authors of which describe different ways and techniques when dealing with such difficulties. For example, Stepanova L. I. distinguishes translation by word, the selection of a catch phrase in the target language, descriptive translation, calculus ^[7]. But such results were obtained by analyzing the translation of already existing catch phrases.

In our case, the specificity and novelty of the conducted research, in addition to the audiovisual format of the source of the material (which is of great interest to philologists, since it was created using several sign systems and has a linguistic component ^[8]), which imposes a number of restrictions on translation, is due to the fact that expressions that later became popular while working on the translation they might not have been considered such. Therefore, the translators who worked on the text may not have mastered the linguistic and cultural context (the importance of these phrases for linguistic culture), which appeared later. Accordingly, the purpose of this study is not only to analyze the methods / techniques of transmitting catch phrases in subtitled translation from Russian into English, but also to analyze the result obtained from the point of view of preserving (of course, partially) the characteristics inherent in catch phrases in principle, and the national cultural component in particular.

Methodology and material

The source of the material is the famous audiovisual work "Moscow does not Believe in Tears", a Soviet melodrama shot in 1979 by director Vladimir Menshov. The film gained popularity both at home and abroad: it became the leader of the 1980 film distribution in the USSR and was awarded the Oscar by the American Academy of Motion Pictures in the nomination "Best Foreign Language Film" in 1981. This audiovisual text has become a precedent in Russian linguistic culture, many phrases and expressions have gone down to the people.

The material was winged expressions in the amount of 34 units, selected by a continuous sampling method with verification based on Internet sources (30 life quotes from the movie "Moscow does not believe in tears", 2015. - [Electronic resource]. – URL: https://cameralabs.org/9570-30-zhiznennykh-tsitat-iz-kinofilma-moskva-slezam-ne-verit (date of address: 07/08/2024)), ("Moscow does not believe in tears": 15 citations, 2012. – [Electronic resource]. – URL: https://www.buro247.ru/cinema/news/10911.html (date of access: 07/09/2024)), and their audiovisual translation into English (the type of translation in question is subtitles). Further, the methods of comparative (since the texts of the original and the translation were compared, and not the texts of two (or more translations), as in the case of comparative analysis ^[9]) and contextual analysis were used to determine the methods/techniques of translating winged expressions, as well as the degree of preservation/change of national and cultural flavor and partial correspondence of characteristics inherent in the winged expressions.

Results and their discussion

Since the source of the material was an audiovisual work, it is necessary to say a few words about the specifics of this type of translation, which could not but determine translation decisions in a number of cases. Audiovisual translation, which cannot be attributed to either oral or written translation, nevertheless has features of both types of translation – it is "one of the types of professional activity of a translator, characterized by complex activities to analyze a number of parallel developing semiotic systems and republish a verbal series in conditions of extralinguistic limitations" (Kozulyaev A.V. Integrative model of audiovisual teaching translation (English): dis. ... candidate of Pedagogical Sciences. M., 2019. 234 p.). Its features include polysemiotics, conciseness (due to the influence of the time factor), reliance on the principle of pseudo-verbality, existence as a product of a collective author, transcreation, the predominance of dynamic equivalence over formal, the priority of visual over verbal, and some others. There are several types of audiovisual translation (dubbing, voiceover and subtitling), which have common limitations that are taken into account within the framework of a communicative and functional approach (polysemiotics, functioning in a certain communicative situation, orientation to ensuring comfortable viewing in accordance with the expectations of viewers). There are also technical limitations specific to a particular type of audiovisual translation ^[10]. For example, the restrictions for subtitles depend on the translation client, as well as on the general requirements for the quality and format of subtitles. These include, for example, the number of lines in the subtitle, the number of characters per line and the speed of uttering a replica – those restrictions that can lead to significant changes in the translation text, even if the character limit is exceeded by only one unit. Given the strict technical limitations, the translator does not always have the opportunity to convey all the information contained in the replica, and in cases where several characters speak to each other and the pace of speech is fast, as well as when there are background phrases, the translator is even forced to omit entire replicas. It should also be noted the importance of the national cultural component in audiovisual translation: audiovisual texts reflect the linguistic and cultural specifics of the producing countries and influence the formation of the recipients' worldview ^[11]. Taking into account all the above information, let's move on to the results of the analysis carried out during the work.

In a particular case, for obvious reason, there is no method of selecting an equivalent – a catch phrase in the target language. In general, it can be noted that most often the translator resorted to the selection of a functional analogue, omission of part of the information and partial or complete calculation, taking into account the culture of the target language and the potential recipient (similar techniques – omission, replacement with an equivalent, as well as addition – were highlighted when translating realities in a film comic ^[12]). Next, let's look at some examples illustrating the observation data.

Let's start with the first method – the selection of a functional analogue – in which the situation / image / object is depicted through other sides / signs / qualities in order to preserve the overall impression of the viewer, that is, to comply with pragmatic equivalence.

Everyone climbs into Moscow as if it were made of rubber. // Everyone wants to come to Moscow, but we can't live like sardines.

In translation, the image is transferred based on the seme "cramped": in the original, Moscow is not rubber (it cannot stretch), and in translation, people in Moscow cannot live like sardines in a jar (they cannot live in cramped quarters). The mundane image of the translation is logically justified, does not change the meaning, but the statement lacks the conciseness characteristic of an expression that can go to the people.

We see a similar image transfer in the following example:

It all seemed... I'm not living, but so... I'm writing a draft, I'll still have time to fill it up. // I've always pretended it was just a rehearsal, that real life still lay ahead.

In the original, a metaphorical comparison of life with a draft of a work is used – a trial, incomplete version, which, if desired, can be corrected for the final version, and in translation, life is compared with a rehearsal of a play – a preliminary performance of a work to practice skills and prepare for a real performance. It can be noted that a practical metaphor is used, since "the experience of communicating with some interaction partners is transferred to another situation" ^{[13, p. 63]}. The images used affect different spheres of art, which, nevertheless, are close to each other in the need for preliminary preparation, which makes it possible to interchange images. Unfortunately, in our opinion, the necessary conciseness and colloquialism are missing; there is no imagery in the second part of the phrase.

In the following example, the English idiom m oney doesn't grow on trees is used to preserve imagery and convey the meaning of "there is no money" in translation:

My machine broke down, which prints money. // Where do you expect me to get money? It doesn't grow on trees.

This option, however, does not bring a sense of "novelty" and "creativity" of the character's thinking, and in the absence of conciseness, it again cannot claim to have an effect similar to the winged expression.

In the example below, a metonymic transfer based on "part-whole" is used to create an image (man (husband, spouse) as a participant in a marriage union), due to which the meaning of the expression becomes more general and vague: in the Russian version, the role of the wife is explicated (the wife must try to "make" a good man for herself), and in translation it is unclear who should make efforts for marriage and what exactly efforts should be (and in relation to whom or what to be directed at):

You need to make a good man yourself, and not be ready to receive. // It takes a lot of work to make a marriage.

In general, the expressiveness and colloquiality of the whole expression is missed: As in the previous example, a more standard and formulaic phrase is used in the translation, which does not feel original and unusual.

The example below uses an antonymic translation, which allows you to convey, albeit with some bias, the general meaning and take into account the peculiarities of subtitling:

– So you're a bad person? – Me? Yes, I have practically no flaws. // – So that was your fault? – Actually I'm a very nice guy.

In this case, the expression turns out to be very concise, but the light humorous effect is lost, and in the absence of imagery, the resulting version can hardly be considered equivalent to a winged expression.

Let's move on to omitting information, a technique that is justified by the technical requirements for audiovisual translation, in particular, subtitles. Since the length of the replica is limited, the translator sometimes has to sacrifice some of the information that is not so important for the narrative or the creation of a certain image.

Don't teach me how to live, better help me financially. // Stop teaching me how to live my life.

In this example, the information from the second part of the sentence is omitted, but an attempt is being made to compensate for its absence by adding the idiom to live one's (own) life, which attracts the viewer's attention with a pair of converses (to live – a life) and alliteration. Nevertheless, there is a semantic loss, since it is the second part that is essential for creating imagery in general and a humorous effect in particular.

– These are not the right times. – The times are always the same! Before you get something, you need to earn it! // – Times have changed. – Some things never change.

In this case, since the whole remark from the second part of the dialogue is omitted, the heroine's attitude to the situation is not shown: in the original, she believes that there is no need to try to find excuses and blame the circumstances for everything, instead it is worth making the effort herself. However, in this case, the omission may have occurred due to technical requirements for subtitles.

– Alexandra, what does your mother call you? – Marusei. // – How does your mother call you? – Maroussia.

In this example, the proper name from the first replica is omitted, which in the original is important to achieve a humorous effect: the form "Marusya" is derived from the full name "Maria", not "Alexandra". However, it should be borne in mind that in the Russian language for full proper names there is a fairly large variety of derivative diminutive forms, some of which may not be perceived by native speakers of other languages as derivatives (for example, Alexander(a) - Sasha). Moreover, the heroine had already called her name several times before, which means that in this example, as in the past, the appeal can be omitted in order to save the number of characters in the line.

In the following example, as a result of omission, which may well be related to the technical requirements for subtitling, cultural information is lost, as well as the humorous effect that made this expression famous.

The owners have sent a telegram – they are coming the day after tomorrow. That's what intelligent people mean – they warn you in advance – they are afraid to catch you by surprise. // Our hosts will be here the day after tomorrow. That's what I call being polite. They warn you in advance.

At the same time, since in the UK it is polite (which is typical for an intelligent person in its direct meaning) to really prevent the interlocutor from "losing face", it would be very difficult to convey the humorous effect when translating.

The last of the frequency methods of translating catch phrases that we have identified is calculus (full or partial).

To love is like a queen, to lose is like a million! // To love no less than a queen, to lose no less than a million.

In this example, the winged expression was subjected to minor changes during translation, and from the point of view of national and cultural flavor, this transformation is not decisive. The method used can also be considered relevant because in Great Britain, which is a constitutional monarchy, the image of the queen for the audience is likely to be appropriate. The preserved parallelism, along with the conciseness of the entire phrase, makes it possible to consider the translation completely adequate from the point of view of conveying the winged expression.

The conciseness of the winged expression is one of the most obvious characteristics that it is desirable to observe when translating. Accordingly, such a frequent grammatical transformation as sentence division may not be entirely appropriate in the case of a catch phrase.

– Do you work with your mother? — no. We work in different places, but I hope we will live together. // – Do you work in the same factory that mother does? – No, we don't work together. Though we're going to live together, I hope.

In this example, the meaning of the original is preserved. But perhaps the selection of a construction that reflects syntactic parallelism and makes it easier to read the opposition of "working apart / living together" would allow us to choose a more stylistically close analogue.

In general, standard techniques/methods were used when translating catch phrases, taking into account the specifics of the audiovisual text and the potential recipient. In many cases, additions/changes are justified by cultural and linguistic asymmetry. At the same time, in some cases, techniques that allow you to convey the meaning, take into account the potential foreign language recipient and the specifics of subtitling, do not allow you to preserve the flavor and imagery inherent in the phrase that has become a catch phrase:

What kind of people – and without guards! // Look who is here!

Or:

The evening ceases to be languid ... // The evening's been quiet till now.

Or:

– I suggest we make friends at home! – I agree. The counteroffer is to be friends with families // – I propose that we all get together at least once a week. – From now on it's like we're in the same family.

The original phrase from the last example has a cultural context that it is possible to be friends not only with a specific person, but also with all members of his/her family. Descriptive translation allows you to preserve the meaning, but does not allow you to preserve the imagery and conciseness of the phrase. Wordplay is also lost (to be friends with houses is to be friends with families).

Another example of the transfer of meaning, but the loss of imagery and conciseness is given below:

– <...> only I turned out to be very perfect. – Nothing, life will fix it. // Although they put it on a little thick, exaggerated. – Well, we'll find out in a couple of years.

But the following example is an illustration of both the transmission of meaning and the transmission of the necessary aphorism:

"What if someone asks me something and I blurt it out?" – And blurt it out, but blurt it out confidently. This is called a point of view. // – What if they ask me a question and I give a dumb answer? – Do it, but like you mean it. That's called "point of view".

The dictionary correspondence to the verb "blurt out" in English, although very figurative (have one's tongue run way ahead of the brain), would not allow us to take into account such a characteristic as brevity, which is necessary both in audiovisual translation and in the transmission of catch phrases. The modulation technique made it possible not to stretch the replica and maintain a reduced register (colloquiality).

Conclusions

Considering, as we have already mentioned above, that the analyzed phrases could become winged only later, we can say that translators tried to use a variety of translation techniques and methods so that, in addition to conveying meaning, the resulting text would comply with the norms of audiovisual translation and be understandable to the English-speaking recipient. We are forced to state a partial loss of cultural information, as well as some inconsistency in the "winged expression in the original/potentially winged expression in translation" system. At the same time, it should be noted that taking into account the specifics of some phrases in diachrony, understanding their importance for linguistic culture raises the question of some post-editing of the translation in order to more accurately convey the stylistic, figurative and national-cultural component in a specific audiovisual text. This will bring the perception of the English-speaking recipient closer to the perception of this text by native speakers.