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Immigration is a frequently revisited matter in this country in regard to its effects on economy, education and many other public domains. I will translate the selected excerpts from the movie script Grow Your Own for the Romanians interested to immigrate to the UK and who would like to get an image of how the immigrants are perceived by the local community. The translated excerpts of this bittersweet comedy would enhance the understanding of Grow Your Own, Cultivaţi-vă legumele voastre by this group of people but also by the Romanian TV production directors who might consider broadcasting and subtitling this comedy.
My translation of these excerpts would challenge the reader with a script that requires some basic knowledge of English culture and English basic colloquial forms of addressing various members of the community e.g.: Big John and Little John. Therefore my purpose is to keep the English character of the text and so produce a text that is representative for the British community culture, preserving it from Romanian cultural community features while adapting the structure of the script to a recognised Romanian script style. Nevertheless in a manner of agreement, I would consider Bassnett’s view that translation is always culturally dependant and that the translated text is as much linked to the culture of the target audience as the original text is linked to the culture of the original audience. Therefore I will attempt to produce a translation relevant to the Romanian culture and which can be understood by the Romanian readers while they will still be challenged by the English cultural element.
In order to establish that the stage directions and characters’ interaction are the dominant tools in constructing the approach of the British community toward minorities’ integration in Grow Your Own I will first take into account the general and contextual considerations of Grow Your Own. After that I will analyze how the stage directions and characters’ interaction are used as tools for constructing the resistance. In the section The Differences between the Film and Script I will point out some essential lexis and play differences between the two formats. Lastly, I will explain my translation choices giving particular examples of translation devices used in order to achieve the extracts’ translation into Romanian.
Analysing and translating into Romanian few excerpts from”Catcall” by Linda Newbery and focusing on particular passages that reveal Josh’s identity shifts throughout the book.
Las metáforas no siempre se cimientan en una relación de similitud/analogía sino que el puente conceptual se origina en nuestros esquemas cognitivos y en nuestro mapping de la experiencia cultural. La traducibilidad de las metáforas, el grado de dificultad que impongan al traductor, está determinada por la mayor o menor afinidad cultural entre la LO y la LM. Más marcada culturalmente está una metáfora, mayores los obstáculos en la búsqueda de la equivalencia.
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