title: Ð¡Ð¿Ð¾ÑÐ¾Ð±Ñ Ð¿ÐµÑÐµÐ´Ð°ÑÐ¸ Ð¸Ð³ÑÑ ÑÐ»Ð¾Ð² Ð¿ÑÐ¸ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ðµ Ð°ÑÐ´Ð¸Ð¾Ð²Ð¸Ð·ÑÐ°Ð»ÑÐ½ÑÑ Ð¿ÑÐ¾Ð¸Ð·Ð²ÐµÐ´ÐµÐ½Ð¸Ð¹ (Ð½Ð° Ð¿ÑÐ¸Ð¼ÐµÑÐµ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° ÐºÐ¾Ð¼ÐµÐ´Ð¸Ð¹Ð½ÑÑ ÑÐµÐ»ÐµÑÐµÑÐ¸Ð°Ð»Ð¾Ð²)
title: Ð²ÑÐ¿ÑÑÐºÐ½Ð°Ñ ÐºÐ²Ð°Ð»Ð¸ÑÐ¸ÐºÐ°ÑÐ¸Ð¾Ð½Ð½Ð°Ñ ÑÐ°Ð±Ð¾ÑÐ° Ð¼Ð°Ð³Ð¸ÑÑÑÐ°
titleType: Subtitle
title: Methods of interpreting wordplay in audiovisual translation (based on the example of a comedy television series translation)
Creators: name: ÐÐµÑÐ½Ð°ÐºÐ¾Ð²Ð°, ÐÐºÐ°ÑÐµÑÐ¸Ð½Ð°
Publisher: name: Ð¡Ð°Ð½ÐºÑ-ÐÐµÑÐµÑÐ±ÑÑÐ³ÑÐºÐ¸Ð¹ Ð¿Ð¾Ð»Ð¸ÑÐµÑÐ½Ð¸ÑÐµÑÐºÐ¸Ð¹ ÑÐ½Ð¸Ð²ÐµÑÑÐ¸ÑÐµÑ ÐÐµÑÑÐ° ÐÐµÐ»Ð¸ÐºÐ¾Ð³Ð¾
Year: 2021
Subjects: Ð°ÑÐ´Ð¸Ð¾Ð²Ð¸Ð·ÑÐ°Ð»ÑÐ½ÑÐ¹ Ð¿ÐµÑÐµÐ²Ð¾Ð´
Ð¸Ð³ÑÐ° ÑÐ»Ð¾Ð²
Ð¿ÑÐ°Ð³Ð¼Ð°ÑÐ¸ÑÐµÑÐºÐ°Ñ Ð°Ð´Ð°Ð¿ÑÐ°ÑÐ¸Ñ
ÑÑÐ°Ð½ÑÐºÑÐµÐ°ÑÐ¸Ñ
Ð¿ÐµÑÐµÐ²Ð¾Ð´ÑÐµÑÐºÐ¸Ðµ ÑÑÐ°Ð½ÑÑÐ¾ÑÐ¼Ð°ÑÐ¸Ð¸
Ð´Ð¸Ð½Ð°Ð¼Ð¸ÑÐµÑÐºÐ°Ñ ÑÐºÐ²Ð¸Ð²Ð°Ð»ÐµÐ½ÑÐ½Ð¾ÑÑÑ
ÑÐ¾ÑÐµÐ½Ð¸Ð·Ð°ÑÐ¸Ñ
Ð´Ð¾Ð¼ÐµÑÑÐ¸ÐºÐ°ÑÐ¸Ñ
Ð·Ð°ÐºÐ°Ð´ÑÐ¾Ð²ÑÐ¹ Ð¿ÐµÑÐµÐ²Ð¾Ð´
Ð°Ð½Ð³Ð»Ð¸Ð¹ÑÐºÐ¸Ð¹ ÑÐ·ÑÐº
audiovisual translation
wordplay
pragmatic adaptation
transcreation
translation transformations
dynamic equivalence
foreignization
domestication
voice-over translation
English language

description: ÐÐ°Ð½Ð½Ð°Ñ ÑÐ°Ð±Ð¾ÑÐ° Ð¿Ð¾ÑÐ²ÑÑÐµÐ½Ð° Ð²ÑÑÐ²Ð»ÐµÐ½Ð¸Ñ Ð¿ÑÐ¸ÑÐ¼Ð¾Ð² Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° Ð² ÐºÐ¾Ð¼ÐµÐ´Ð¸Ð¹Ð½ÑÑ ÑÐµÐ»ÐµÑÐµÑÐ¸Ð°Ð»Ð°Ñ, ÑÐ¿Ð¾ÑÐ¾Ð±ÑÑÐ²ÑÑÑÐ¸Ñ Ð¿Ð¾Ð»Ð½Ð¾ÑÐµÐ½Ð½Ð¾Ð¹ Ð¿ÐµÑÐµÐ´Ð°ÑÐµ Ð¸Ð³ÑÑ ÑÐ»Ð¾Ð² Ñ Ð°Ð½Ð³Ð»Ð¸Ð¹ÑÐºÐ¾Ð³Ð¾ ÑÐ·ÑÐºÐ° Ð½Ð° ÑÑÑÑÐºÐ¸Ð¹. ÐÑÐµÐ´Ð¼ÐµÑÐ¾Ð¼ Ð¸ÑÑÐ»ÐµÐ´Ð¾Ð²Ð°Ð½Ð¸Ñ ÑÑÐ°Ð»Ð¸ ÑÐ¿Ð¾ÑÐ¾Ð±Ñ Ð¿ÐµÑÐµÐ´Ð°ÑÐ¸ Ð¸Ð³ÑÑ ÑÐ»Ð¾Ð² Ð¿ÑÐ¸ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ðµ ÐºÐ¾Ð¼ÐµÐ´Ð¸Ð¹Ð½ÑÑ ÑÐµÐ»ÐµÑÐµÑÐ¸Ð°Ð»Ð¾Ð² Ñ Ð°Ð½Ð³Ð»Ð¸Ð¹ÑÐºÐ¾Ð³Ð¾ ÑÐ·ÑÐºÐ° Ð½Ð° ÑÑÑÑÐºÐ¸Ð¹ Ð¿Ð¾Ð´ Ð·Ð°ÐºÐ°Ð´ÑÐ¾Ð²Ð¾Ðµ Ð¾Ð·Ð²ÑÑÐ¸Ð²Ð°Ð½Ð¸Ðµ. ÐÐ°ÑÐµÑÐ¸Ð°Ð»Ð¾Ð¼ Ð¸ÑÑÐ»ÐµÐ´Ð¾Ð²Ð°Ð½Ð¸Ñ Ð¿Ð¾ÑÐ»ÑÐ¶Ð¸Ð» ÐºÐ¾Ð¼ÐµÐ´Ð¸Ð¹Ð½ÑÐ¹ ÑÐµÐ»ÐµÑÐµÑÐ¸Ð°Ð» Â«The Good PlaceÂ», Ð² ÐºÐ¾ÑÐ¾ÑÐ¾Ð¼ Ð±ÑÐ»Ð¾ Ð¾ÑÐ¾Ð±ÑÐ°Ð½Ð¾ 211 Ð¿ÑÐ¸Ð¼ÐµÑÐ¾Ð² Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° Ð¸Ð³ÑÑ ÑÐ»Ð¾Ð² Ñ Ð°Ð½Ð³Ð»Ð¸Ð¹ÑÐºÐ¾Ð³Ð¾ ÑÐ·ÑÐºÐ° Ð½Ð° ÑÑÑÑÐºÐ¸Ð¹, Ð²ÑÐ¿Ð¾Ð»Ð½ÐµÐ½Ð½ÑÐ¹ ÐºÐ¾Ð¼Ð¿Ð°Ð½Ð¸ÐµÐ¹ NewStudio. ÐÐµÑÐ¾Ð´Ð¾Ð»Ð¾Ð³Ð¸ÑÐµÑÐºÑÑ Ð¾ÑÐ½Ð¾Ð²Ñ Ð¸ÑÑÐ»ÐµÐ´Ð¾Ð²Ð°Ð½Ð¸Ñ ÑÐ¾ÑÑÐ°Ð²Ð¸Ð»Ð¸ ÑÐ°ÐºÐ¸Ðµ Ð¼ÐµÑÐ¾Ð´Ñ, ÐºÐ°Ðº Ð¸Ð·ÑÑÐµÐ½Ð¸Ðµ Ð¸ Ð°Ð½Ð°Ð»Ð¸Ð· ÑÐ°Ð±Ð¾Ñ ÑÐ¾ÑÑÐ¸Ð¹ÑÐºÐ¸Ñ Ð¸ Ð·Ð°ÑÑÐ±ÐµÐ¶Ð½ÑÑ Ð»Ð¸Ð½Ð³Ð²Ð¸ÑÑÐ¾Ð² Ð² Ð¾Ð±Ð»Ð°ÑÑÐ¸ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð¾Ð²ÐµÐ´ÐµÐ½Ð¸Ñ, ÑÑÐ°Ð²Ð½Ð¸ÑÐµÐ»ÑÐ½ÑÐ¹ Ð°Ð½Ð°Ð»Ð¸Ð· Ð¿ÑÐ¸Ð¼ÐµÑÐ¾Ð² Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° Ð¸Ð³ÑÑ ÑÐ»Ð¾Ð², Ð¾Ð±Ð¾Ð±ÑÐµÐ½Ð¸Ðµ ÐµÐ³Ð¾ ÑÐµÐ·ÑÐ»ÑÑÐ°ÑÐ¾Ð². Ð ÑÐ¾Ð¾ÑÐ²ÐµÑÑÑÐ²Ð¸Ð¸ Ñ ÑÐµÐ·ÑÐ»ÑÑÐ°ÑÐ°Ð¼Ð¸ Ð¸ÑÑÐ»ÐµÐ´Ð¾Ð²Ð°Ð½Ð¸Ñ Ð¼Ð¾Ð¶Ð½Ð¾ ÑÐ´ÐµÐ»Ð°ÑÑ Ð²ÑÐ²Ð¾Ð´ Ð¾ ÑÐ¾Ð¼, ÑÑÐ¾ Ð½Ð°Ð¸Ð±Ð¾Ð»ÐµÐµ ÑÑÑÐµÐºÑÐ¸Ð²Ð½ÑÐ¼ Ð¿Ð¾Ð´ÑÐ¾Ð´Ð¾Ð¼ Ðº Ð¿ÐµÑÐµÐ²Ð¾Ð´Ñ Ð¸Ð³ÑÑ ÑÐ»Ð¾Ð² Ñ ÑÐ¾ÑÑÐ°Ð½ÐµÐ½Ð¸ÐµÐ¼ ÐºÐ¾Ð¼Ð¸ÑÐµÑÐºÐ¾Ð³Ð¾ ÑÑÑÐµÐºÑÐ° ÑÐ²Ð»ÑÐµÑÑÑ ÐºÐ¾Ð¼Ð¿ÐµÐ½ÑÐ°ÑÐ¸Ñ, Ð¿Ð¾ÑÐºÐ¾Ð»ÑÐºÑ ÐºÐ°Ð»Ð°Ð¼Ð±ÑÑ Ð±ÑÐ» ÑÑÐµÑÑÐ½ Ð»Ð¸ÑÑ Ð² 3% Ð¾Ñ Ð¾Ð±ÑÐµÐ³Ð¾ ÑÐ¸ÑÐ»Ð° Ð¿ÑÐ¸Ð¼ÐµÑÐ¾Ð² Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° Ñ Ð¿Ð¾Ð¼Ð¾ÑÑÑ Ð´Ð°Ð½Ð½Ð¾Ð¹ Ð¿ÐµÑÐµÐ²Ð¾Ð´ÑÐµÑÐºÐ¾Ð¹ ÑÑÐ°Ð½ÑÑÐ¾ÑÐ¼Ð°ÑÐ¸Ð¸. Ð Ð±Ð¾Ð»ÑÑÐ¸Ð½ÑÑÐ²Ðµ ÑÐ»ÑÑÐ°ÐµÐ² Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° Ñ Ð¿Ð¾Ð¼Ð¾ÑÑÑ Ð´Ð°Ð½Ð½Ð¾Ð³Ð¾ Ð¿Ð¾Ð´ÑÐ¾Ð´Ð° ÑÐ´Ð°Ð»Ð¾ÑÑ Ð¿ÐµÑÐµÐ´Ð°ÑÑ ÐºÐ¾Ð¼Ð¸ÑÐµÑÐºÐ¸Ð¹ ÑÑÑÐµÐºÑ. Ð ÑÐµÐ·ÑÐ»ÑÑÐ°ÑÐµ Ð¿ÑÐ¾Ð²ÐµÐ´ÐµÐ½Ð½Ð¾Ð³Ð¾ ÑÑÐ°Ð²Ð½Ð¸ÑÐµÐ»ÑÐ½Ð¾Ð³Ð¾ Ð°Ð½Ð°Ð»Ð¸Ð·Ð° Ð¼Ð¾Ð¶Ð½Ð¾ ÑÐ´ÐµÐ»Ð°ÑÑ Ð²ÑÐ²Ð¾Ð´ Ð¾ Ð²Ð°Ð¶Ð½Ð¾ÑÑÐ¸ Ð¸Ð·ÑÑÐµÐ½Ð¸Ñ ÐºÐ¾Ð½ÑÐµÐºÑÑÐ°, ÑÐ¸ÑÑÐ°ÑÐ¸Ð¸, Ð»Ð¸Ð½Ð³Ð²Ð¾ÐºÑÐ»ÑÑÑÑÐ½ÑÑ Ð¾ÑÐ¾Ð±ÐµÐ½Ð½Ð¾ÑÑÐµÐ¹ ÑÑÑÐ°Ð½Ñ Ð¸ÑÑÐ¾Ð´Ð½Ð¾Ð³Ð¾ Ð¿ÑÐ¾Ð¸Ð·Ð²ÐµÐ´ÐµÐ½Ð¸Ñ Ð¸ ÑÑÑÐ°Ð½Ñ, Ð´Ð»Ñ ÐºÐ¾ÑÐ¾ÑÐ¾Ð¹ Ð²ÑÐ¿Ð¾Ð»Ð½ÑÐµÑÑÑ Ð¿ÐµÑÐµÐ²Ð¾Ð´, Ð¿Ð¾ÑÐºÐ¾Ð»ÑÐºÑ ÑÑÐ¾ Ð¿Ð¾Ð·Ð²Ð¾Ð»Ð¸Ñ Ð¿ÐµÑÐµÐ´Ð°ÑÑ Ð·Ð°Ð¼ÑÑÐµÐ» ÑÐ¾Ð¹ Ð¸Ð»Ð¸ Ð¸Ð½Ð¾Ð¹ ÑÑÑÐºÐ¸ Ð² ÑÐ¾ÑÐ½Ð¾ÑÑÐ¸ ÑÐ°ÐºÐ¶Ðµ, ÐºÐ°Ðº ÑÑÐ¾ Ð·Ð°Ð´ÑÐ¼ÑÐ²Ð°Ð» Ð°Ð²ÑÐ¾Ñ. ÐÑÐ½Ð¾Ð²Ð½ÑÐµ Ð²ÑÐ²Ð¾Ð´Ñ Ð´Ð¸ÑÑÐµÑÑÐ°ÑÐ¸Ð¾Ð½Ð½Ð¾Ð³Ð¾ Ð¸ÑÑÐ»ÐµÐ´Ð¾Ð²Ð°Ð½Ð¸Ñ, Ð° ÑÐ°ÐºÐ¶Ðµ ÑÐ¾Ð±ÑÐ°Ð½Ð½ÑÐ¹ ÑÐ¼Ð¿Ð¸ÑÐ¸ÑÐµÑÐºÐ¸Ð¹ Ð¼Ð°ÑÐµÑÐ¸Ð°Ð» Ð¸ ÑÐµÐ·ÑÐ»ÑÑÐ°ÑÑ ÐµÐ³Ð¾ Ð°Ð½Ð°Ð»Ð¸Ð·Ð° Ð¼Ð¾Ð³ÑÑ Ð½Ð°Ð¹ÑÐ¸ Ð¿ÑÐ¸Ð¼ÐµÐ½ÐµÐ½Ð¸Ðµ Ð¿ÑÐ¸ ÑÐ¾ÑÑÐ°Ð²Ð»ÐµÐ½Ð¸Ð¸ ÐºÑÑÑÐ¾Ð² Ð¿Ð¾ ÑÐµÐ¾ÑÐ¸Ð¸ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð°, Ð° ÑÐ°ÐºÐ¶Ðµ ÑÐ¿ÐµÑÐºÑÑÑÐ°Ñ Ð¿Ð¾ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ñ ÐºÐ¸Ð½Ð¾.
description: Present work is devoted to the identification of translation methods that can improve a wordplay translation from English into Russian in comedy TV series. The subject of the study are the methods of translating wordplay in comedy television series from English to Russian for voice-over. The research material is based on a comedy TV series called "The Good PlaceÂ», where 211 examples of the wordplay translation from English into Russian were selected. The methodological basis of the research was made up of following methods: analysis of the Russian and foreign linguistsâ works in the field of translation studies, comparative analysis of wordplay translation examples, and generalization of the results. According to the results of the study, it can be concluded that the most effective approach to translating wordplay while preserving the comic effect is compensation, since the pun was lost only in 3% of the total number of translation examples using this transformation. Using this approach, it was possible to convey a comic effect in most cases. As a result of the comparative analysis, we can conclude that it is important to study the context, linguistic and cultural characteristics of both countries: of the source and target languages; since this will allow us to convey the meaning of a particular joke the way an author intended. The results of thesis research, as well as collected empirical data and the results of its analysis, can be used in making courses in the translation theory and special courses in film translation.