The aim and purpose of this paper is to consider the problems of interlinguistic/intersemiotic translation of cultural cinematographic messages, which are completely alien to the world-vision of the recipient audience. Any movie is a very complex communicative system that includes linguistic units, iconic components and a sound-track (to mention the most important of them). Verbal and audio messages have a strong influence upon the denotation and connotation of iconic messages and vice versa. So the dubbing of only linguistic elements rarely portrays the original significance to speakers of another language/culture. The common belief that the images and audio components of a film are universal, and therefore should be conserved in the original form (i.e. without decoding), has to be called into question. In other words, the process of cinematographic translating requires that all those elements of a film that are part and parcel of the national encyclopaedia of a given language/culture be taken into consideration together with the polysemy and ambiguity of any natural language. So this paper discusses linguistic, iconic and audio gaps and the ways they may influence the final perception of Soviet/Russian films translated into Italian and of Italian films translated into Russian. Through the analyses of different examples, we will also try to show that even a perfect linguistic translation of a movie often fails in a semiotic perspective.
"Russkaja jazykovaja kartina mira": lingvospecifičnye koncepty i mežkul'turnaja kommunikacija
DENISSOVA, GALINA
2014-01-01
Abstract
The aim and purpose of this paper is to consider the problems of interlinguistic/intersemiotic translation of cultural cinematographic messages, which are completely alien to the world-vision of the recipient audience. Any movie is a very complex communicative system that includes linguistic units, iconic components and a sound-track (to mention the most important of them). Verbal and audio messages have a strong influence upon the denotation and connotation of iconic messages and vice versa. So the dubbing of only linguistic elements rarely portrays the original significance to speakers of another language/culture. The common belief that the images and audio components of a film are universal, and therefore should be conserved in the original form (i.e. without decoding), has to be called into question. In other words, the process of cinematographic translating requires that all those elements of a film that are part and parcel of the national encyclopaedia of a given language/culture be taken into consideration together with the polysemy and ambiguity of any natural language. So this paper discusses linguistic, iconic and audio gaps and the ways they may influence the final perception of Soviet/Russian films translated into Italian and of Italian films translated into Russian. Through the analyses of different examples, we will also try to show that even a perfect linguistic translation of a movie often fails in a semiotic perspective.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
