TRANSLATION AND MEANING: A CULTURAL- COGNITIVE ...

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every other character that has ‘Duck’ in his/her name, but using only the phonological adaptation of the name. With Thursday, translated in Serbian as Četvrtko, we have a case of translation based on literary allusion. Četvrtko is a duck who lives on an uninhabited island, like Robison Crusoe and Friday. Only he cannot be Friday but Thursday. In Hungarian, the characters of Moby Duck and Thursday seem to be unknown, and in German, Moby Duck remains in the original and Thursday’s name could not be traced. 4. Unmotivated character names There are proper names which neither in the original nor in their translated versions acquire any special characteristic of either descriptive or allusive names. They are to a large extent unmotivated. Translators of cartoons and comic strips use phonological adaptation or lexical translation or replacement of foreign names with familiar ones: Minnie/ Mini/ Minnie/ Minni; Olive/ Oliva/ Olive/ Olivia; Daisy/ Pata/ Daisy/ Daisy, Speedy Gonzales/ brzi Gonzales/ Speedy Gonzales/ Speedy Gonzales, Hewy, Dewy, Louie/ Raja, Gaja, Vlaja/ Niki, Viki, Tiki/ Tick, Trick, Track. 5. Conclusion On the basis of the examples mentioned above, it can be concluded that when translating from English into Serbian, there are two basic methodological procedures: verbal and visual. If the visual image is taken as the starting point, the translation equivalent more often than not seems lexically opaque in relation to its original (e.g. Duško Dugouško), or vice versa, by preserving the lexical component of the name, the picture often remains blurred. As the examples illustrate, Hungarian and German often retain the name in its original form or only adapt it phonologically. The motivation for this is probably the wish to leave the names closer to their original. The nature of comic books and cartoons as a means of artistic expression is such that the full meaning that they convey can only be revealed by the interaction between the levels of picture and word. Consequently, any successful translation of the names that appear in them should represent a simultaneous effect achieved by both sound and picture. Depending on the extent to which we are able to preserve the balance between these two elements, and they complement each other, they will serve their purpose more or less well or will be more or less clear. As a result, the translation, i.e. adaptation of the text and the names which form
part of it will be more or less readily accepted by the target audience. Since comic strip and cartoon characters’ names often reveal a large part of their bearers’ dominant features, physical appearance, virtues and vices, in the process of their translation one should take into account all the above mentioned factors as well as the usual differences in culture. References Đurić-Paunović, I. 1998. ‘Prevođenje imena junaka crtanih filmova i stripova’(’The translation of cartoon and comic strip characters’ names’) in Folklor u Vojvodini, sveska 10. Novi Sad: Udruženje folklorista SAP Vojvodine: Zmaj, 79-84. Newmark, P. 1988. Approaches to Translation. London: Prentice Hall International. Newmark, P. 1995. A Textbook of Translation. Hertfordshire: Phoenix ELT. Tirnanić, B. 1989. Ogled o Paji Patku. Beograd: Biblioteka XX vek. http://german.about.com/library/bldisney_voc.htm http://german.about.com/cs/vocabulary/a/lonneyt.htm http://duckman.pettho.com/characters/characters.html http://users.cwnet.com/xephyr/rich/dzone/hoozoo/hzlist.html
Page 1 and 2: TRANSLATION AND MEANING: A CULTURAL
Page 3 and 4: for it. The semantic content is mor
Page 5 and 6: 4. The contextual evaluation of wor
Page 7 and 8: These interrelationships are most c
Page 9 and 10: fluent translation; 5) With the mos
Page 11 and 12: DEALING WITH ENGLISH CARTOON AND CO
Page 13 and 14: complexity of its connotative meani
Page 15 and 16: 4. Bugs Bunny. The name of this cha
Page 17: What generally holds true for the a
Page 21 and 22: for expressing a certain message, t
Page 23 and 24: e.g. ST: “This Regulation shall e
Page 25 and 26: various types of additional informa
Page 27 and 28: verbs, which are usually expected t
Page 29 and 30: sistem RBTR naţional şi au un un
Page 31 and 32: Superceanu, R. 2000. Elements of Di
Page 33 and 34: compounds. The membership of these
Page 35 and 36: phrases to the level of a lexical i
Page 37 and 38: 2.2.5 Infinitive Phrases The words
Page 39 and 40: 2.3.1 Independent Clauses Of all th
Page 41 and 42: compounds, words spelt with hyphens
Page 43 and 44: used any of the forms had he/she no
Page 45 and 46: TRANSLATING POE’S ‘TO HELEN’
Page 47 and 48: among others, by L.S.Spartali, G.D.
Page 49 and 50: see theee stand”), epithets (“p
Page 51 and 52: In translating the second stanza, v
Page 53 and 54: endition of the original image: “
Page 55 and 56: THE UNRELIABLE TRANSLATOR VERONICA
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Page 65 and 66: EVALUATION AND REVISION PROCEDURES
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similar in style or effect to the s
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Hönig, H. G., Kussmaul, P. 1987. S
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the context, and the inferential ef
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(3) By substitution I will refer to
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6.2. Differences between genres Acc
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or MOD can prove the most reasonabl
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