CC BY
4УДК 81
Batueva A.D.
Ural Federal University named after Boris Yeltsin (Ekaterinburg, Russia)
AN ANALYSIS OF SUBTITLE TRANSLATIONS OF A SHORT FILM LES GRANDES VACANCES BY VALENTINE CADIC FROM THE PERSPECTIVE OF SKOPOS THEORY
Аннотация : inaccurate subtitle translation can lead to misinterpretation, whilst accurate subtitle translation can adequately convey cultural subtext and foster intercultural communication. This study helps translators to determine the problems in subtitling to create a translation, that is perceived as equivalent and accessible to the addressee (receiver), despite the distinction between source language (SL) and target language (TL). The aim of this study is not solely to provide an analysis of subtitles of the source language (French) and the translations into English and Russian, but additionally is to explore whether provided translations correspond to the three rules of Skopos theory based on the short film ««Les grandes vacances».
Ключевые слова: subtitling, skopos theory, intercultural communication.
Introduction.
Presently more and more countries create pieces of art, music, films and books, after launching, most of these products become extremely widespread and globalized. As globalization continues to grow, intercultural communication has become one of the most important aspects of our lives, due to this translation and interpreting grows along in its value. From this instant, we are focusing on subtitling. Translating movie subtitles is challenging, especially in finding the equivalence between French, English and Russian as these languages have their own structure. Moreover, the differences among the cultures create a wide gap for misunderstandings to appear and not only during translation process itself, but also during perception of the original material.
The aim of the study is to provide an analysis of subtitle translation of a short film «Les grandes vacances» by Valentine Cadic, additionally the characteristics of subtitle translation and its limitations are present in the paper strictly for furtherance in suggesting supplementary variants for the current subtitle translation.
Material and methods.
Subtitle translation.
An increasingly growing new form of translation is subtitling, with each passing day it becomes more and more demanded and important. Previously subtitling was used mostly by countries with a low budget due to expensiveness dubbing, but nowadays subtitling translation is widespread for the interpretation of foreign films and series not solely for this reason. Unlike dubbing, which covers the original voices of actors and the original sound itself, subtitling allows the receivers not only to perceive the original language of the film, but also encourages language acquisition [1, p 1].
Cambridge Online Dictionary states that subtitles are «words shown at the bottom of a film or television picture to show what is being said, or to translate it into a different language» (Cambridge Dictionaries Online).
Likewise, Mariam Webster Dictionary provides the definition of the term as «a printed statement or fragment of dialogue appearing on the screen between the scenes of a silent motion picture or appearing as a translation at the bottom of the screen during the scenes of a motion picture or television show in a foreign language».
There are two types of subtitles that can be distinguished linguistically [1, p 4]:
1. Intralingual subtitling - the subtitles, that are done as a transcription of the spoken words, thus changing mode but not language. This type of subtitling is provided for done for hearing impaired or for learners of a foreign language.
2. Interlingual subtitling - the subtitles are a translation of the spoken words, thus changing both mode and language.
Aside from these two types, there are additional categories of subtitling translation. These categories are emphasized depending on what is being translated [1, p 4]:
1. Narrated - translation of the dialogue of the film, which is the most common form.
2. Forced - are only present when the characters are speaking a foreign language or there is a sign or text in a scene where it was not translated during dubbing.
3. Content - the subtitles give extra information about the movie, are usually seen at the beginning or the end of a movie.
Previous studies on subtitle translation.
The term "audiovisual translation" has entered Russian linguistics and translation studies not so long ago. For a long time, works of Russian linguists were devoted to the study of film/video translation as a special type of translation activity aimed at translating film productions as complete artistic works. However, as noted by researchers in AVT, the translation of audiovisual works was perceived as literary, artistic and a kind of dramaturgical translation, which hinders the modern understanding of the essence of this type of translation. From this perspective, the semiotic systems are firmly connected with the textual component of the film and have a significant impact on the result: "visual syntax, video sequence, noise and music series, significant inscriptions, etc." [4, 5, p 24].
Due to the fact that in Western practice, the language localization processes were much more global and required systematic training of AVT specialists in large numbers, the studies of the specifics of this type of professional activity have been worked out much more deeply. A significant contribution to the formation of a general approach was made by Roman Jakobson's work "On Linguistic Aspects of Translation", in which the author distinguished between intralingual (rewording), interlingual (translation proper) and intersemiotic translation (transmutation). Intersemiotic translation was defined as the interpretation of verbal signs through nonverbal sign systems [6, p 238]. At this stage, the research of domestic and foreign scholars developed with approximately equal dynamics, and in 1971 Katharina Reiss pointed out that a separate genre should be singled out, requiring a special approach when translating audio-medial texts, which she later called multimedia texts. [7]. The
author raised the question of the need to form a separate approach to the translation of audiovisual texts [5, p 24].
The peak of study on subtitle translation in Western practice came in the early 1990s. For instance, «Overcoming Language Barriers in Television: Dubbing and Subtitling for European Audience» [8] was published, in this work scholars went through different translation forms of television shows and programs. A year later, in 1992, Jonas Ivarsson, who is a subtitle translator from Sweden, published «Subtitling for the Media: A Handbook of an Art» [9], in which the subtitle translation from a technical perspective was analyzed. These books created a solid foundation for further study on the matter [10].
Skopos theory.
Skopos theory is an approach to translation which originates from Germany from the late 1970s (Vermeer 1978). This theory reflects a general shift from predominantly linguistic and rather formal translation theories to a more functional and oriented towards cultural subtext of translation [11]. Skopos theory regards the process of translation as a communicative activity and human action [10].
The term «skopos» comes from Greek word for «aim» or «purpose» and was introduced into translation theory by Vermeer as a technical term for the purpose of a translation [11].
«Skopos theory takes seriously factors which have always been stressed in action theory, and which were brought into sharp relief with the growing need in the latter half of the twentieth century for the translation of non-literary text types. In the translation of scientific and academic papers, instructions for use, tourist guides, contracts, etc., the contextual factors surrounding the translation cannot be ignored. These factors include the culture of the intended readers of the target text and of the client who has commissioned it, and the function hitch the text is to perform in that culture for those readers. Skopos theory is directly oriented towards this function» [11].
From the perspective of the theory, translation is viewed as a specific form of human action not as a process of trans coding. Translation has a purpose, and the word
skopos is used as the technical term for the purpose of a translation. Skopos is to be defined before translation can be done, «in highlighting skopos, the theory adopts a prospective attitude to translation, as opposed to the retrospective attitude adopted in theories which focus on prescriptions derived from the source text. In addition to its purpose, any action has an outcome. The outcome of translational action is a translatum, a particular variety of target text» [11].
Vermeer posits that the purpose of the target text must be the determiner of the translation methods and strategies. From this, he deduces the skopos rule: «Human action (and its subcategory: translation) is determined by its purpose (skopos), and therefore it is a function of its purpose. The rule is formalized using the formula: IA(Trl) = f(Sk)» [11].
Therefore, the main goal of this functional approach is the skopos (prospective function) of target text as determined by client's needs. In this approach the source text or its effects on the source-text receiver, or the function given to it by the author don't determine the translation process. As it follows, the skopos is largely restrained by the target text user and one's cultural tradition.
The concept of text typology was created by Katharina Reiss in her book Translation Criticism: The Potential and Limitations. Katharina Reiss believed that equivalence should be achieved at text level rather than at the word or sentence level, so that the readers can make it possible that they understand the translated version of the text effectively and efficiently. In addition, Reiss further classified the concept of text types as content-focused text, form-focused text, appeal-focused text and audiomedia text.
The Three Basic Rules of Skopos.
Skopos Rule.
Different from the conventional translation theories that attach great imporotance to fidelity or equivalence or the functions of source text on target text readers, skopos theory gives top priority to the skopos of the target text, which determines the overall process of translation. Thus, skopos rule acts as the leading rule
guiding the translation process among the three rules. Vermeer explained it in a right way: Each text is produced for a given purpose and should serve this purpose.
The skopos rule thus reads as follows: Translate/interpret/speak/write in a way that enables your text translation to function when it is used and with the people who want to use it and precisely in the way they want it function [11]. In conclusion, Translator should always bear translational purpose in their mind whatever translation methods or strategies he chooses.
Coherence Rule.
The coherence rule states that the TT «must be interpreted as coherence with the TT receiver's situation» [14]. A successful communicative interaction can only be achieved under the condition that the translated version of the text is acceptable and meaningful for targeted receivers. Coherence Rule «specifies that a translation should be acceptable in a sense that it is coherent with the receiver's situation» [13].
Fidelity Rule.
The fidelity rule concerns intertextual coherence between translatum and source text and stipulates merely that some relationship must remain between the two once the overriding principle of skopos and the rule of (intratextual) coherence have been satisfied [11].
Analysis of Subtitle Translation of Les Grandes Vacances based on Skopos
Theory.
1.1 Skopos Rule.
As it was mentioned above, Skopos rule states that translation act is ought to be determined by its skopos (aim). According to skopos theory, the translator should not solely pay attention to the target language and culture, but also take the receivers' responses into consideration.
Original: Vous êtes là quand je reviens?
Translation (En): And you'll be there when I come back?
Translation (Ru): Когда вернусь, застану вас?
This sentence occurs when the main character, Blandine, has a conversation with a receptionist. Blandine explains that she basically has nothing with her, and she travels without any trailer or anything of that sort, the receptionist offers her a tent for an additional payment and asks whether she has a duvet with her, she says that she does not have one. He suggests she goes and buys one in the nearest shop, she agrees and wants to clarify whether she will see him at the place where the conversation is held once she gets back. In the original sentence adverb of place is used «la» which means there, that is the adverb which is used in the English version. This choose of the word may confuse the audience because in this scene it would be correct to use «here» as an adverb of place. In the Russian version translator decides not to use any adverbs of place and instead uses the verb «застать», which means «having appeared in somewhere, to find, meet someone». In the Russian translation the skopos is presented because the semantical aim of the sentence is not set on the place but on a person. This variant appears to be the correct version, because instead of using the method of literal translation which would make the audiences confused, the translator adopts the principle of Skopos rule, making it easy to perceive.
1.2 Coherence Rule.
Moving on to the second rule of skopos theory, coherence rule states that a successful communicative interaction can only be achieved under the condition that the translated version of the text is acceptable and meaningful for targeted receivers.
Original: Je fais un article sur la base nautique.
Translation (En): Excuse me, I'm a local journalist, I've been sent to write about the nautical base.
Translation (Ru): Мне поручили написать статью о турбазе.
This sentence occurs in a scene on a little bridge. The main character meets a local journalist who wants to interview her. The journalist is writing an article about the touristic base, where the main character came to look at the lake. In the original sentence the touristic base is called la base nautique, the adjective basically has three meanings: 1) something that relates to science and research of marine life, 2) something
that is pertained to swimming and recreational aquatic activities, 3) something that relates to naval base. These three meanings must be distinguished. In the English version the translator used adjective nautical is of relation or association with seamen, navigation, or ships, which is not quite true for the setting of the scene, therefore, it would be correct to use the term touristic whereas the term nautical, because in this case wrong choice of adjective may confuse the audience. In the Russian translation translator uses the term «турбаза», which is semantically correct. This term means «a separate building or their complex for accommodation, catering and cultural and domestic services for tourists».
1.3 Fidelity rule.
Fidelity rule states that the target text should follow the intertextual coherence to the original text. Here is the example:
Original: On dirait les gamins qui peuvent pas se retenir sur une photo, en mode
sérieux.
Translation (En): Like kids who can't keep control in class photos, they're like
serious.
Translation (Ru): Вы как дети на школьной фотографии, которые пытаются быть серьёзными.
In the scene where a group of teenage girls from the touristic base are discussing something, the sentence appears in this scene, and it contains a phrase «en mode sérieux». The meaning of the phrase in the original sentence is «to act serious, calm and collected», in the English version the translator uses a confusing phrase «they're like serious» which basically does not convey the semantics. Perhaps it would be correct to rebuild the sentence itself, probably it would be better if the sentence is structed like this: «You're like kids at the school photoshoot that are trying to act all serious but can't». The whole sentence is about people who are happy to be in the situation together so they can not stay collected for even a second and keep smiling and laughing. Therefore, in the Russian version the semantics are represented correctly because the translator uses the verb «пытаться» which means to try.
Conclusion.
Based on the research, it can be concluded that skopos theory portrays a path for us to follow in the case study of subtitle translation. We have discovered that the three basic rules of skopos theory can be a guideline to checking of not only the equivalent correctness of the translation, but also the correctness of the purpose of the translation and the audience comprehensiveness of the target text. Ultimately, the target text is created for the audience to understand what a film or a book is about, exactly for this reason the rules must be applied during the process of translation. Even though this study is limited, there is still space for improvement and additional research.
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