Стратегии перевода национально-ориентированных единиц с русского языка на китайский (на примере фильма "Он - дракон")

1. CONCLUSIONS

Thus, during the analysis of the translation of subtitles from Russian into Chinese and English, it was found that the most common methods of translation are: the selection of a functional analogue, an approximate, contextual, and also a descriptive method. The transcription method was used extremely rarely.

Translators' preferences, in our opinion, rest on the specifics of film translation, which determines the trajectory of the translation process when working with text. Thus, the advantages of a functional analogue lie in the fact that this method, as a flexible and plastic material, makes it possible to “pile” such a look of the sentence and its individual units, which would be perceived as naturally as possible, so that the viewers might think that the original language is not foreign, but their native language.

Approximate or contextual translation allows a specialist working with a text to unload a sentence, not to get stuck in unnecessary comments and explanations, which, on the contrary, will cause confusion in the minds of recipients. The compression of certain phrases is also dictated by the specifics of the genre - there are specific standards and restrictions on the number of characters in the translation line of the film text. As for transcription, the use of phonetic calque is limited to certain areas, so there are very few such examples in our analysis.

It is noteworthy that Chinese translators, as a tool for functional translation, usually resort to concretization, while English-speaking translators use hyperbole. The difference in approaches, of course, can be explained by the individual characteristics of the language and culture. At the same time, it is obvious that the dissimilarity in the translation of certain realities can be dictated by the context and the lexico-semantic group to which they belong. Thus, the main layer of examples studied by us refers to socio-political realities that indicate the social position and role of a person in society. Unlike Western European culture, in which there is no clear fixation on statuses (no doubt, in the Middle Ages, the attitude to this issue was different, but since translators are our contemporaries, they still pass the film through the filter of values of modern man), social roles, and today this issue is fundamental, there is a clearly defined hierarchy of power, therefore, higher and lower ranks are specifically delineated.

As mentioned earlier, the Russian movie “He is a Dragon” resonated with the hearts of Chinese viewers due to the fact that the translator was able to briefly and correctly convey the inner meaning of the characters’ phrases through the prism of the rich cultural tradition of the Chinese language, in particular through the use of chéngyǔ idiomatic expressions, which, on the one hand, the sides correspond to the artistic style, and on the other hand, they are familiar and understandable to the carriers of the Chinese cultural code.