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

Содержание:

Contents. 2

Introduction. 4

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  6

1.1.2 Main features of the professional vocabulary of
lawyers. 13

1.1.3 Main features of the vocabulary of criminals. 15

1.2
Language of TV series as an object of study of linguistics. 17

1.2.1 Main types of TV series. 17

1.2.2 Linguistic and stylistic
features of comedy series focused on the teenage audience. 19

1.3
Main problems of crime and punishment vocabulary based on comedy TV series  20

1.3.1 Main problems of translating
TV series. 20

1.3.2 Main problems of the
presentation of alternate vocabulary in the translation of humorous TV series. 29

Summary
of Results. 32

Chapter II. The main methods of transfering Crime and punishment vocabulary
while translating humorous tv series “lucifer”. 33

2.1
Types of crime and punishment vocabulary in humorous TV series. 33

2.2
Analysis of crime and punishment vocabulary in humorous TV series “Lucifer”  46

Results
and Discussion. 54

Chapter 3. Practical relevance of research results in
modern linguistics. 55

3.1
Modern concepts of crime and punishment vocabulary. 55

3.2
Practical relevance for linguistic studies. 57

3.3
Results and Recommendations. 61

Conclusion. 62

References. 64

Appendix
1. 70

Appendix
2. 72

Appendix
3. 73

Appendix
4. 76

Введение:

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.

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 preserving 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) to explore crime and punishment vocabulary and its peculiarities;

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

3) to 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

1.1.1 Definition of the vocabularies of criminal
organizations and its classification

Nowadays slang is 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 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 and more individual.

Slang is convincing and expressive, laconic and
emotional. Slang words avoid formalities, complexities, and long boring words. Linguists
point to eighteen main reasons for using slang: the use of slangisms for the
sake of a joke, fun, mischief, disguise, and secrecy. Slang is used to prove a person’s
individuality, dissimilarity, a difference from others so that it attracts
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).

Many researchers note the
transience slangisms, their quick appearance, and just as fast disappearance.
Something that sounds bright and individual for one generation is not the same
for the next. Therefore, a lot of slangisms come out of use and are forgotten.
Slang is characterized by mobile (flexible) synonymy. Synonyms are concentrated
around the centers of attraction – the most meaningful concepts for slang
speakers. Synonyms in measure uses are often erased, losing their expressive