Дипломная работа (бакалавр/специалист) на тему Особенности перевода юмористических текстов

Содержание:

Abstract 3
Introduction 5
Chapter 1. Theoretical aspects of the study of the specifics of the translation of humorous texts 9
1.1. Characteristics of humorous texts 9
1.2. The essence of transformations in the translation of humorous texts 17
1.3. Types of transformations 24
Summary to Chapter 1 27
Chapter 2. Characteristics of lexical and grammatical transformations 29
2.1. Lexical transformations in translation 29
2.2. Grammatical transformations in translation 35
Summary to Chapter 2 41
Chapter 3. Analysis of the specifics of the translation of humorous texts 42
3.1. Transformation in the translation of the work of J.K. Jerome « Three Men in a Boat» 44
3.2. Transformations in the translation of M. Twain’s work «The Adventures of Tom Sawyer» 51
Summary to Chapter 3 60
Conclusion 62
List of references 65

Введение:

Humor is difficult to convey in another language – this is a known fact. Outside the community in which humor is created, he is faced with two main barriers that limit the realization of his laughing function: distinguished languages and distinguished cultures. The translation of humor is an attempt to cross and thereby destroy these almost insurmountable barriers, and the investigation does not always correspond to the goal of such a task, and sometimes it is completely unexpected. The effect of the translation of the work, which is laughed at in the environment where the original appeared, is generally difficult to predict. For a long time in theory, humor was considered untranslatable. However, no matter how difficult the humor was, he was always interested in the complexity of the translators who were constantly looking for adequate solutions.
The relevance of the topic of this study is due to the increased interest of philologists in many aspects of its problems and is witnessed by the recent appearance of a large number of works in which various aspects of humor are revealed. Despite the interest in the topic, the vast majority of domestic and foreign works devoted to the translation of humor focuses on the study of individual artistic means of creating humor (N.A. Abrosimova [2], S.Yu. Kapkova [21:26], I.A. Stolyarova [57:25] and others), language games and puns (D.M. Vavrinyuk [6], V.S. Vinogradov [9:69-80], A.V. Garamyan [10:169], D. Delabastita [70:522;600], N.V. Yakimenko [67:26] and others), phraseological units with a humorous component (S. Kuzmin [28:47-58] and others) or difficulties in translating it (J. Vandaele [76:180-183], S. Laviosa [72:26-37], B. Lopez [74:456], E.I. Panchenko [45:144-148], D. Raphaelson-West [75:128-141], C. Han [71:832-836] and others). Meanwhile, further coverage requires a theoretical understanding of the concept of translatability of humor and the practical need for a holistic study of the reproduction of humor in literary translation, and the definition of ways to reproduce the specifics of English humor in Russian translation. In this work, the translation of humor is studied not only in terms of the linguistic means of its creation, but also as a mental and cultural phenomenon that complicates the understanding and interaction of peoples.
The world has long recognized the existence of “subtle English humor”, recognizing it as a specific feature uniting the English people. This recognition is promoted by the high status of English culture and the global spread of the English language. However, England does not hold a monopoly on the specifics of its humor, because it is understood throughout the world, although it is certainly marked by clear ethnocultural features. Thanks to the translation, many books of English comedians gained planetary popularity. A significant number of translations of English literature, in particular in Russian, only confirms the fact that English humor itself overcomes the limits of the English language, “breaks away” from it and penetrates into other languages and cultures. To a large extent, this is due to the talent and creativity of translators, who reproduce in translations specific features of humor related to the structure of the language and the specificity of English culture. However, it is clear that this would not have happened without objective prerequisites, especially since the current globalization testifies to the dynamics of the boundaries of translatability, interaction and promotion of cultures. Both this and the other require the close attention of the researcher in translation. Moreover, given the multiplicity of modern criteria for evaluating the work of the translator and the requirements for the quality of translation, the debatable question remains open, which the reader and criticism are constantly violating: do Russian translators adequately convey English humor in all its subtleties. And in theory, the question remains what can be considered an adequate translation of foreign-language humor: if it means to make fun, make laugh not only from the same, but also in the same way, how does this correlate with the fact that there are no two people in the world, at least within the same linguistic and cultural community, who would laugh the same way.
It is quite natural that in the process of the transition of humor from one language to another, certain of its shades inherent in the donor culture are lost. At the same time, humor is acquiring other nuances inherent in the culture of succession. Studying the phenomenon of the translation of humor, the researcher inevitably stumbles upon the complex problem of translatability and needs theoretical work in this important area of translation studies. The attitude of many scholars to certain aspects of humor as “untranslatable,” and at the same time the wide popularity of humorous works and their recognition by art facts, in particular in translations, prompt us to appeal to the practice of translation as a criterion of truth, to an analysis of the ways of translating humor as developed in text to conceptualized systems of creative labor. Of course, in the theory of translation, the problem of the boundaries of the translatability of humor is solvable only taking into account the degree of its practical solution, and therefore, in the translation methodology, the study of the specific application of the arsenal of translation transformations when transmitting humor in another language is of particular importance.

The object of the study is the specifics of humorous texts and the difficulties of translating them from English into Russian.
The subject of the study is the features of the translation of humorous texts from English into Russian based on the material of the works of J.K. Jerome “Three in a boat”, M. Twain “The Adventures of Tom Sawyer and Huckleberry Finn” and their translations into Russian.
The hypothesis of the study is the assumption that the specifics of the translation of humorous texts depends on the personal experience of the translators, their knowledge of a particular culture, worldview and worldview
The aim of the study is to determine how to reproduce English humor in Russian.
Research objectives.
1. To characterize the humorous texts.
2. To reveal the essence of transformations in the translation of humorous texts.
3. Describe the types of translation transformations.
4. To characterize the lexical and grammatical transformations.
5. To analyze the use of transformations in the translation of the work of J.K. Jerome “Three in a boat”.
6. To analyze the use of transformations in the translation of the work of M. Twain “The Adventures of Tom Sawyer and Huckleberry Finn.”
Research methods: analysis of the literature on the topic of research; synthesis method; generalization method; continuous sampling method; comparative method; descriptive method; method of quantitative analysis.
The scientific novelty of the study is that individual creative paths and general trends in the reproduction of humor in a work of art are highlighted; Objective and subjective reasons for the loss of humor in the translation of a work of art are demonstrated.
The practical significance of the work is determined by the fact that the collected material can be useful at lectures and seminars on the practice of translation, genre theories of translation, in special courses on literary translation and editing. Ready-made samples of in-depth analysis of humorous works and critical observations on the reproduction of humor, clarification of approaches to solving complex translation problems can be useful for practical translators in their creative searches.
The theoretical basis of the research is represented by the works of such researchers as E.S. Abaeva, M.K. Apetian, L.S. Barkhudarov, R.K. Minyar-Beloruchev, V.S. Vinogradov, N.K. Garbovsky, O.O. Denina, V.N. Komissarov, L.K. Latyshev, Ya.I. Retsker et al.
The structure of the work is determined by the purpose and objectives of the study. The work consists of an introduction, three chapters, conclusions on chapters and a list of references. The introduction defines the purpose, hypothesis and objectives of the study. The first chapter describes the humorous texts, reveals the essence of transformations in the translation of humorous texts, describes the types of translation transformations. The second chapter describes the lexical and grammatical transformations. The third chapter analyzes the use of transformations in the translation of the work of J.K. Jerome “Three in a boat”; the analysis of the use of transformations in the translation of the work of M. Twain “The Adventures of Tom Sawyer and Huckleberry Finn”. The conclusion contains the main conclusions made as a result of the study. The list of references contains 97 items.

Заключение:

This study is devoted to the specifics of the translation of humorous texts from English into Russian based on the works of J.K. Jerome “Three in a boat, not counting a dog” (translation by M. A. Salier and M. A. Donskoy), M. Twain “The Adventures of Tom Sawyer and Huckleberry Finn” (translation by K.I. Chukovsky and L.E. Krasavitskaya) .
This study is significant for the theory and practice of translating humorous texts from English into Russian.
The main element of the mechanism of generation of humor is internal incompatibility, based on a combination of divergent concepts, ideas, images within the same context. The source of humor can be both the ambiguity caused by the game with language signs, and coming from the game with opinion. Unlike ordinary speech, where the presentation of thoughts is logical and involves a combination of comparable images, humor is based on a deliberately created ambiguity and discharge of contradiction. A successful understanding of humor to the perceivers depends not so much on the literal identification of the forms of expression as on the provision of the opportunity to interpret thoughts and images accordingly.
The dual nature of the phenomenon, which manifests itself in the fact that humor is inherent in all of humanity, but at the same time has distinctive national characteristics, directly affects the translation of humor. The fundamental difference between Russian and English humor lies in the role that humor plays within the framework of these communities, and in non-identical ways of expression: the omissions, secrecy, irony are traditional among the British, and openness, sincerity, openness — among the Russians. Ethnically determined and the theme of humor, and the specific means of expression, into which the English language holds a monopoly, not giving the translation. These facts are the reasons that lead to a partial or complete misunderstanding of English humor by representatives of other cultures.
Creative practice does not confirm radical pessimism regarding the ability of humor to overcome the ethnic language barrier. The difficulties of translating foreign-language humor lie mainly in the functional plane and do not lie in the fundamental stability of the original means of artistry of another language, but in the inability to achieve the same effect on the reader as the original, whose world is formed in an excellent laughter tradition.
The translatability of English humor as part of a work of art is a dynamic category. The mobility of the border of translatability is affected by: the place of realization of humor in the work; the connection of a humorous statement with the plot of the work; the connection of the content component of humor with its context; the richness of the linguistic-stylistic palette (expressive means) in the language of translation and the translator himself; the presence of ethnocultural components in the mood and the saturation of humor with them. In the translation of humor in an artistic work, the dominant translation is to recreate the flow in the nuances of the humorous tonality of the whole work as a whole, and not its individual elements.
The degree of translatability of humor depends not so much on its linguistic features, but on its close connection with the culture of the people, capable of producing a variety of specific features, including artistic ones, whose aesthetic nature takes translation beyond the boundaries of a communicative task and reveals the complex interaction of ethnic values. This is especially evident in view of the fact that the function of humor is by no means one-sided — it should cause not just laughter for the sake of laughter, but laughter for certain, specific reasons, it is subordinate to a specific goal, in particular artistic, which determines the pragmatic characteristics of each individual humorous device and piece generally.
Highlighting the individual creative strategies of humor translators, one can also identify some general trends. To reproduce the general tone of English humor in a work of fiction, translators sometimes tend to strengthen its expressiveness in order to ensure its acceptance by Russian culture. In the reproduction of linguistic humor, there is a similarity of certain techniques even in completely diverging strategies.
Partial losses in the translation of humor in a work of art are inevitable due to a number of objective and subjective reasons. Objective ones include the difference in the linguistic structures of the original and the translation, the differences between the source and target laughter cultures, the differences in the meaning-forming contexts of the original and the translation, and the like. Subjective reasons are connected with the personality of the translator, who may not perceive humor due to a lack of sense of humor, lack of competence in the language and culture of the original, or a conscious decision to release humor.
Most of the losses in translating humor from English into Russian occur when reproducing situations based on realities, ethnic stereotypes and associations. The difficulty is that the implementation of humor depends on the background knowledge of the reader.
The personality of the translator has a direct impact on the quality of humor in the text of the translation. The translator perceives humor as a representative of the recipient culture and passes it through a personal sense of humor. It is on his interpretation that the humor will be reproduced and how. When translating humor, the strategy of translation decisions is influenced not only by personal qualities, but also by the time frame, socio-historical conditions in which the translation process took place. This is evidenced by a comparative analysis of the translations of the analyzed works.
Thus, the research goal is achieved, the tasks are solved, the research hypothesis is confirmed.
Our study expands and complements previous studies on this topic. The prospect of further research is the study of syntactic transformations in the translation of humorous works.

Фрагмент текста работы:

Chapter 1. Theoretical aspects of the study of the specifics of the translation of humorous texts
1.1. Characteristics of humorous texts

From a linguistic point of view, the text is a combination of linguistic units (sentences), which has its own specificity in comparison with the elements that form it (L.V. Shcherba [66], V.V. Vinogradov [7]), A.M. Peshkovsky [47], I.A. Figurovsky [59], etc.), the highest communicative unit serving «the most diverse spheres of society» [37:33].
The main condition for a successful understanding of the text is the integrity of the communication chain: from the communicative intention of the addressee through a message encoded in verbal or non-verbal form to the content understood by the addressee and the corresponding feedback. By the understanding of the text is meant not so much an understanding of the meaning of individual linguistic units and syntactic structures as the ability to grasp the essence of the message — the meaning extracted from the relationship of propositions [58:36].
A text is semantically connected if it describes a possible, from the point of view of the author and reader, sequence of events (actions and situations). For example, the sequence of sentences “On Sunday we went to the cinema. Last year, Putin won the election” is not connected. Considering a similar phenomenon, T.A. van Dijk concludes that semantic coherence depends on our knowledge and judgments about what is possible in this world. The principle of “informational connectivity” of the text is also oriented to the fact that the semantics of discourse are not autonomous in the sense that it is enough to know only the lexical meaning of words and their combinations. To establish connectivity, a general knowledge of the world is needed. An analysis by the scientist showed that such knowledge is stored in memory in the form of “scenarios” that contain information generally available in a given culture about a specific stereotypical version of any episode [14:126-128].
“Immersion in life” (in the words of N.D. Arutyunova) of a certain message, in our opinion, can manifest itself in several moments [78:136-137]:
– firstly, one of the main functions of texts is a reflection of reality, that is, “life”;
– secondly, the text acts as a mediator between reality and the reader, since, based on the totality of such texts, the reader forms his own holistic view of reality.
It should be noted that the audience’s contact with the text is influenced by the knowledge and communication experience that the reader has with respect to the text medium [54].
New information about the world, which the reader receives from the text, enters into his consciousness in the general block of information about the described situation, heroes, etc., recalling various episodes, associative chains that allow you to form or adjust previously formed thoughts and views [44].
So, despite the laconicism of the message, it recalls a layer of information that is not directly embedded in the text and exists precisely within the framework of the daily experience of its readers.
The text cannot exist completely out of context or situation. Therefore, limiting the text to the functional core only is irrational and leads to the exclusion of the dynamic side of the text itself.
Thus, a “text” can be defined as a carrier of certain information, which has the form of a complex completed sign education, which serves to store and convey meanings and acts as a combined link in the act of communication.
Among literary texts, a significant part is occupied by texts of a humorous content, which are often of a culturally specific and intercultural character. The problem of understanding humorous texts has become a topic of research for many philologists, psychologists and philosophers. The scripts and stereotypes played out in humorous texts provide their understanding.
Today, humor is explored in various fields of science, such as aesthetics, sociology, psychology, cultural studies, linguistics, etc., and is regarded as a moral, intellectual, cultural, mental, speech, and aesthetic phenomenon. Scientists are studying diverse aspects of this phenomenon, which, taken together, represent a significant problem for the translation of humor.