Часть дипломной работы на тему Translating Crime and Punishment Vocabulary in Humorous TV Series (Based on the Translation of “Lucifer” TV Series Into Russian)”

Содержание:

Contents

Introduction. 3

Chapter
I. Theoretical aspects in translation of crime and punishment vocabulary related to comedy series. 6

1.1
Vocabulary related to organized crime as an object of linguistics. 6

1.1.1 Definition of the vocabularies of criminal organizations and its
classification  8

1.1.2 The main features of the professional vocabulary of lawyers. 10

1.1.3 The main features of the vocabulary of criminals. 12

1.2
The language of TV series as an object of study of linguistics. 14

1.2.1 The main types of TV series. 16

1.2.2 Linguistic and stylistic features of comedy series focused on the
teenage audience  16

1.3
The main problems of crime and punishment vocabulary based on comedy TV series  18

1.3.1 The main problems of translating TV series. 22

1.3.2 The main problems of the presentation of alternate vocabulary in
the translation of humorous TV series. 22

Summary
of Results 27

Chapter II. Analysis of the main ways
of presenting crime and
punishment vocabulary in humorous TV series. 28

2.1
Analysis of translation methods 28

2.2
Lexical features of humorous TV series (based on the translation of “Lucifer”
TV Series into Russian) 43

Results
and Discussion. 49

Conclusion. 50

References. 52

Введение:

Introduction

Nowadays
the criminal subculture is acquiring ever higher professionalism and
organization, penetrating into all spheres of public life and thereby exerting
a significant impact on the consciousness and behavior of people. The influence
and pressure of the criminal subculture on society, the dissemination of its “morality”
through the media and, thus, its popularization deform the system of common
values, especially among young people, creating the preconditions for
disobeying the law and lowering the threshold of intolerance to crime. To put
it briefly, the issue is indubitably relevant and has to be addressed and resolved
because the spiritual dignity of mankind is in danger.

In
addition to “criminal” tattoos, jargon is of the greatest interest in the
criminological aspect. In this regard, in order to identify the degree of
prevalence of the criminal subculture among adolescents, the specific research
should be carried out. The current situation may indicate that high awareness
concerning crime and punishment vocabulary is a horrendous fact. Most often,
this process (using jargon in everyday speech) occurs uncontrollably and
unconsciously, starting with the use of certain words or phrases that have a
specific origin. However, it should be noted that the media influences such a
condition because jargon is omnipresent when it comes to TV series, articles,
blogs, infographics, electronic books, etc.

The
relevance of the paper lies in the growing popularity of the media, which in
itself becomes a priority on the way to the effective and inclusive worldwide
information sharing. The international importance of the media is a major
catalyst for solving the problems faced by uneducated or ignorant to a certain
extent people. The media, therefore, has to serve as an educational source that
provides the audiences with the quality content. Also, translating such content
has to be perfect as well because mistakes are crucial in this case, especially
when it comes to translating jargon. Thus, it is important to analyze
linguistic phenomena and those linguistic means used by the translator, which
makes it possible to better evaluate a work created in another language. Thus,
learning how to translate effectively is the key ingredient of educating people
in the right way. Comprehending how to incorporate jargon in media resources and
translate it can drastically improve the media content in terms of public
relations and public education.

The objective
of the research is to describe the linguistic and stylistic features of jargon
and identify the right methods of translating jargon and ways of applying
stylistic neutralization, which allows to preserve the artistic originality of
the original literary text. As the basis of the paper, “Lucifer” TV series was
selected.

The objective
of the paper determined the following research tasks:

1)
explore crime and punishment vocabulary and its peculiarities;

2)
identify specific features of using and translating jargon and analyze
theoretical and practical concepts;

3) analyze
the concept of translating humorous TV series into Russian.

The
object of the study of this paper is translating crime and punishment
vocabulary. The subject of the research is to study thoroughly the use of
jargon in “Lucifer” TV series and the ways of translating jargon into Russian.

The
research is based on the problem of the presence of a significant number of specific
colloquial elements which are characterized by a high degree of emotionality
and expressiveness. Analytical and comparative research methods were used in
the work.

Authors
studied the specifics of substandard vocabulary, and its interaction with other
lexical layers of the national language were considered in the works of both
domestic and foreign scientists, such as Kenyon J.S, Arnold I.V., Bloomfield
L., Bykova V.B., Vinogradova V.V., Galperina I.R., Lukyanova T.G., Miller A.A.,
J.K. Hotten (1960), T. Einat, D. Looser.

The
material under research includes different analytical articles, books, various
electronic sources (data bases, websites, etc.) and educational material
(textbooks).

Research
hypothesis: in the course of identifying various aspects that influence the
emergence of jargon comedy TV series, certain optimal ways of solving these issues
can be identified. Scientific research methods used in the work: analogy,
classification, synthesis, generalization, deduction, comparative analysis,
study of relevant literature and documentation and empirical observation.

The materials and
results of the research can be used in the development of lesson plans, lectures,
dissertations, in the preparation of textbooks on stylistics of the journalistic
translation for higher special educational institutions.

The relevance,
objectives, object and subject of the research determined the following
structure of the thesis: introduction, two chapters, conclusions for the
chapters, conclusion, and references.

Заключение:

To
sum up, taking into consideration the information mentioned above, this research
proved that the ways in which actors organize and perform their material in
order to create humor, elicit laughter, and make the audience appreciate their
performances should be also vivid while translating the script from one
language to another. The research also provided an examination of the
audience's (particularly adolescents) central role in comedians' organization
and presentation of the material. In fact, the words used in comedy TV shows
are influenced by the audiences. Nowadays jargon is becoming more and more
popular so that numerous jargon words from different areas are used in such
shows.

 The creation of humor in humorous TV series is
seen as a combination of various linguistic features of joke telling such as
wordplay and punning, hyperbole, repetitions, timing, and paralinguistic
choices. In addition, the comedians develop a specific stage persona and create
their own style of performing. Spontaneity and flexibility are shown to be two
of the most important characteristics that an actor must possess in order to
give a successful performance. However, this contrastive analysis of the comedy
created by two performers of very different character affirms the observation
that successful humor in comedy TV shows depends neither on any specific type
of stage persona nor on a specific performance style. Instead, it is created
out of a comedian's use of a chain of various linguistic aspects of joke
telling and, in most cases, out of the incongruity revealed by the punch lines
in the stories and jokes. Hence, this study not only represents a linguistic
approach to humor, but also contributes to the field of discourse analysis, in
particular when dealing with such features as repetitions, discourse markers,
disfluencies, intonation, and so on.

Having
considered the features of the formation of the substandard vocabulary of the
English language, as well as having studied its main types, we can say that
non-standard vocabulary as a complexly organized lexical subsystem occupies a
certain place in the socio-stylistic hierarchy of the components of each
national language and performs a number of very important functions, including:
1 Expressive and evaluative; 2. Characterizing and evaluative; 3.
Communicative; 4. Social and distinctive. Moreover, non-standard vocabulary is
extremely heterogeneous in its composition. The instability, mobility of this
vocabulary, some of which eventually becomes a literary norm, complicates its
differentiation. Non-standard vocabulary, as a special linguistic, social and
cultural phenomenon formed by a certain vocabulary of the language, is a set of
deterministic, often expressive lexical systems, stylistically reduced lexical
layers that have an expression of ease and often pejorativeness, common and
well-known in the spheres of everyday speech, and also socially unmarked and
commonly used occasionalisms, which are characterized by significant
differences and discrepancies in basic functions and in pragmatic,
functional-semantic and stylistic aspects. In the use of non-standard
vocabulary, of course, essential are both the social characteristics of the
speaker (his age, gender, level of education) and the corresponding
characteristics of the addressee, the type of communicative situation, the
purpose of the speech act, and a number of others), as well as the
corresponding characteristics of the addressee, the type of communicative
situation , the purpose of the speech act and other circumstances, to one
degree or another, are socially significant. All this retains its importance in
translation audio-visual production, especially when it comes to cinema.
Examples taken from the American comedy "Dumb and Dumber" show that
among the stylistic reduced linguistic units in the text, slangisms, and
jargonisms, and vulgarisms, and other elements of substandard vocabulary are
equally used. Translation of substandard (reduced) vocabulary is a rather
complex issue. Based on a comparative analysis of the English-language text and
its translation into Russian, it can be concluded that when translating reduced
vocabulary, the translator uses such techniques as functional replacement,
neutralization, omission, addition, compensation, and descriptive translation.
Because of this, there is an underestimation of the degree of expression of the
lexical units of the original, which do not fully convey the emotional mood of
the speakers.

Фрагмент текста работы:

Chapter I. Theoretical aspects in
translation of crime
and punishment vocabulary related to comedy series

1.1 Vocabulary related to organized crime as an
object of linguistics

Nowadays
slang is an equivalent to being modern and ‘cool.’ Linguists have been trying to
answer the question why people use slang in their speech while literary
language is sufficient enough. It is believed that slang recalls the old things
in a new way. Thus, some linguists note that each generation seems to need some
new words to describe the same old things [10]. A similar thought comes from
I.V. Arnold, giving the following characteristic of slang words: “expressive,
mostly ironical words serving to create fresh names for some things that are
frequent topics of discourse” [1, p.285]. Slang also gives its own, different
from the standard, names for new objects and phenomena. Often slangism conveys
thought more precisely, brighter, more individual.

Slang is convincing and
expressive, laconic and emotional. He avoids formalities, complexities, there
is no long, boring words. Linguists point to eighteen main reasons for using
slang. Among them, in addition to the above, the use of slangisms for the sake
of a joke, fun, mischief, for the sake of disguise and secrecy. Slang is used
to prove it. individuality, dissimilarity, difference from others, so that attract
attention, shock. Some scholars emphasize the ability of slang to enrich
communication, giving it (as a culinary dish) a special taste, thanks to
special ingredients (it is hugely enriching, the spice in the greater
linguistic dish, enhancing quotidian ingredients with its brash new flavors