Учебное пособие 1715

The advertising Instagram discourse is rich in all kinds of neologisms, and in addition to

“the specifics of using neologisms in authentic speech, which contributes to the further use of these lexemes by users of this language, as well as to the stylistic and cultural sensititvity, there is an important problem of translating such lexical units” [7]. For example, Scarlett mules -

мюли Скарлет, bullboxershoes – буллбоксеры. In this case, the name of the shoe model is transmitted into Russian using transcription, i.e. there is a phonemic transfer of the English word by phonemes of the Russian language or an explanatory or descriptive translation is used as in the case of “boho-glamheels” - “high-heeled shoes in the style of boho”.

At the syntactic level, the translation process changes the word order in the sentence, introduces new syntactic units, but the purpose of the statement does not change, the sentences merge or dismember. For example, when translating a sentence from a cosmetics advertising post, the word order was changed:

«I love the brush tooit separates all my lashes making them look so good and I felt it curled my lashes as well in the process as the formula is amazinghas to be my new favourite mascara @maybelline» [1*].

A long and complex sentence in English is divided into several simple sentences in Rus-

sian:

«Я также люблю эту щеточку. Она отлично разделяет и подкручивает ресницы. Они прекрасно выглядят. Формула – потрясающая. Это моя новая любимая тушь

@maybelline» [authors’ translation].

When translating, the purpose of the utterance is preserved. Equivalent substitutions are often used. So, for example, the antithesis:

«Hustle in silence. @fashionnova» [1*] in literal translation sounds like «Действуй без шума. @fashionnova» [authors’ translation].

The phrase «Hustle In Silence And Let Your Success Make The Noise» is a full version and is the equivalent of an expression in Russian «Деньги любят тишину» (see Table1).

Rendering advertising posts from English into Russian is often a big problem, because apart from the visual or structural design of the advertising text, it is necessary to preserve its pragmatics, stylistic and expressive coloring. According to our observations, paralinguistic means are often used in Instagram advertising: emojis, photos and video materials, stories, nonstandard graphic design (segmentation of the text, numbers, different fonts, emphasis, symbols, hashtags), which vary depending on the nature of a particular advertising post (Fig. 2).

The post presented below by the Karkalis Communications Communications PR-Agency [2*] contains the following paralinguistic means: a photo of the advertised product, rainbow and hand icons, hashtags, hyperlinks that allow interested users to quickly find a store that sells this accessory. Thanks to these paralinguistic means, the illusion of a stylish and expensive accessory is created.

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Figure 2. Paralinguistic means in the design of an advertising post

In cross-cultural communication information is not just transmitted to the recipient but goes through a series of complex transformations at various levels: linguistic, cultural, and communicative. The information component of posts is not always identical to their communicative one but may also contain hidden or intentional components. We agree with O.V. Zinkevich in this respect. He noted that modern interpretation and translation studies strive not for the equivalence of translation but for an effective text transformation, i.e. "the final text obtained in the process of translation may not be equivalent to the original one but at the same time preserve its pragmatics and an intentional component” [8]. In this case the translation may become a source of additional information or produce an independent aesthetic effect that is not observed in the original text [9].

The translator should consider any advertising text not just as a goal but as a communication means between the producer and the end user. As N.M. Shutova fairly notes to make an advertising post fulfill its communicative function, "it should not be considered only as a linguistic unit, it should not just be translated but included in the cultural environment of the translation language” [1]. A.D. Schweitzer, a famous linguist and translator, defines translation as an unidirectional and a two-phase process of interlingual and intercultural communication, when a secondary text (metatext) is created on the basis of a focused subject ("translation") analysis of the primary text. The secondary text replaces the primary one in a different language and cultural environment [10, p. 75]. “Desired reader’s perceptions of the ad and the product or service it is designed to promote and sell are really very much dependent on the prose usage or text or illustration format that an advertiser chooses to use” [11, p. 75]. According to L.P. Kovalchuk, advertising is " ... a manipulative mechanism for introducing certain cultural, social and political behavior” [12], and Instagram advertising is not an exception in this regard. Hidden advertising promoted by the influencers (e.g. show-business stars, successful blogers, TV-hosts and other media personalities) through promo offers or give-aways (free distribution of products of the advertised brand) has a strong manipulative effect on the behav-

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ioral models of the target audience. If you take part in the promotion of this kind you should subscribe to certain accounts of sponsors (their number may vary from 5 to 60 accounts) and put "likees" under the last five publications of the sponsors. This allows the organizers to generate the engagement as the inluencers’ million followers will look through the latest publications of each sponsor and, possibly, in future some of the subscribers will become loyal clients of a company participating in the promotion.

Conclusion.

Thus, the analysis of the linguistic tools used in hidden advertising posts revealed the most common techniques. On the phonetic level, these are alliteration and rhyme, on the lexical level-parallelism and phrasal verbs, on the syntactic level-exclamation and question sentences, as well as elliptical and parceled constructions, and the imperative mood.

These results prove that the tools used by the authors of posts are aimed at recognition, memorization, and contain a hidden call to action (most often in a dialogue form). All these tools affect readers not only on the linguistic level, but also on the emotional one.

Advertising posts are characterized by a certain expression, which should be preserved in translation while transmitting the communicative purpose of the advertising post depending on its type. The translation strategy of such posts is also explicated at the text level by means of tools related to various language levels: phonetic, lexical, and syntactic. The most frequently used translation transformations are distinguished and the most frequently used ones are described: omission, holistic transformation, lexical addition and semantic development

If the mencioned tools are used correctly in the recipient language it helps to create the most appropriate translation of the advertising texts that motivates users to perform actions.

Instagram advertising posts have a special visualization, which can be represented as a photo-carousel or video fragment, GIF animation or story, i.e. in addition to the linguistic tools, Instagram advertising also often employs the paralinguistic tools, which vary depending on the nature of a particular advertising post. The combination of the linguistic and paralinguistic tools makes it possible to create an artistic and expressive concept of the advertised product or service on Instagram.

References

[1]Shutova N.M. K voprosu o specifike perevoda v reklamnoj kommunikacii [Specificity of translation in advertising communication]/ N.M. Shutova [Elektronnyj resurs] // URL: https://cyberleninka.ru/article/n/k-voprosu-o-spetsifike-perevoda-v-reklamnoy- kommunikatsii/viewer (accessed February 10, 2020).

[2]Chernyavskaya V.E. Diskurs vlasti i vlast' diskursa: problemy rechevogo vozdejstviya [The discourse of power and the power of discourse: problems of speech exposure] / V.E. Chernyavskaya. - M.: Flinta: Nauka, 2006. – 136 p.

[3]Mihajlovskaya E.S. Tipologicheskie harakteristiki reklamnogo diskursa (na osnove reklamnyh statej) / E.S. Mihajlovskaya [Typological characteristics of advertising discourse (based on advertising articles)] // Nauchno-informacionnyj izdatel'skij centr i redakciya zhurnala «Aktual'nye problemy gumanitarnyh i estestvennyh nauk» (Moskva). – 2017, № 4-1. – pp. 152 – 156. ISSN: 2073-0071

[4]Yukhmina E.A., Obvinceva N.V. Tipologija kommunikativnyh form anglojazychnogo setevogo fol'klora (na primere social'noj seti Instagram) [Typology of Communicative Forms of English-Language Network Folklore (on the example of Instagram Social Network)]. Sovremennye lingvisticheskie i metodiko-didakticheskie issledovaniya. 43, no 3 (2019), pp. 1732.

[5]Latyshev L. K. Tekhnologiya perevoda []: Ucheb. posobie dlya stud. lingv, vuzov i fak. / Lev Konstantinovich Latyshev. — 2-e izd., pererab. i dop. — M.: Izdatel'skij centr

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«Akademiya», 2005. — 320 s.

[6]Perepelica M.S. Osobennosti vospriyatiya yazykovyh transformacij sovremennogo mass-medijnogo diskursa (po rezul'tatam lingvisticheskogo eksperimenta) [Features of perception of language transformations in the moderm mass media discourse (according to the results of linguistic experiment)]/ M.S. Perepelica // Izdatel'stvo: Odesskij nacional'nyj universitet imeni I. I. Mechnikova (Odessa) – 2014, No. 22. – S. 86 – 92. ISSN: 2307-4558

[7]Kozlova V.V. Specifika poyavleniya v sovremennom anglijskom yazyke realijneologizmov i vidy ih perevoda s anglijskogo na russkij yazyk (v kontekste lingvisticheskoj teorii perevoda) / V.V. Kozlova // Sovremennye lingvisticheskie i metodiko-didakticheskie issledovaniya. 2019. – № 4 (44). – S. 138 – 147, URL: https://elibrary.ru/download/elibrary_41662492_64750039.pdf (vremya obrashcheniya 10.02.2020).

[8]Zinkevich O.V. Lokalizaciya kak process lingvisticheskoj transformacii struktury i soderzhaniya dinamicheskogo teksta [Localization as a process of linguistic transformation of

the structure and and content of a dynamic text]/ O.V. Zinkevich // Izvestiya SanktPeterburgskogo gosudarstvennogo ekonomicheskogo universiteta // Izdatel'stvo: SanktPeterburgskij gosudarstvennyj ekonomicheskij universitet (Sankt-Peterburg) – 2018, No. 3 (111). – S. 135 – 137. ISSN: 2311-3464

[9]Epshtejn M.N. Tekstonika. Vvedenie v elektronnuyu filologiyu / M.N. Epshtein // Slovo.ru: baltijskij akcent. – 2019. T. 10, № 4. S. 59 –71. doi: 10.5922/2225-5346-2019-4-5.

[10]Shvejcer A. D. Teoriya perevoda: Status, problemy, aspekty [Translation Theory: Status, Problems, Aspects]/ A. D. Shvejcer. – M.: Nauka, 1988. – 215 p.

[11]Motes W.H., Hilton C.B. Language, Sentence, and Structural variations in Print Advertising // Journal of advertising research. Cambridge University Press. V. 32. – № 5, 1992. – pp. 63-77.

[12]Koval'chuk L.P. Osobennosti allyuzii v amerikanskoj politicheskoj reklame / L.P. Koval'chuk // Sovremennye lingvisticheskie i metodiko-didakticheskie issledovaniya. 2019. –

№2 (42). – S. 111 – 120, URL: https://www.elibrary.ru/download/elibrary_38095539_52474191.pdf (vremya obrashcheniya 10.02.2020).

Analyzed sources

[1*] Sotsialnaia set Instagram, URL: https://www.instagram.com/ (vremya obrashcheniya – 10.02.2020).

[2*] PR-agentstvo “Karkalis Sommunications”, URL: http://instagram.com/karkaliscommunications?igshid=11p98844lg3u0 (vremya obrashcheniya

– 10.02.2020).

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UDC 81’255.4

TRANSFORMATIONS IN TRANSLATION OF CINEMA TEXTS (DOCUMENTARIES TAKEN AS AN EXAMPLE)

L. A. Borbotko

____________________________________________________________________________

Moscow City University Institute of Foreign Languages

PhD (Philology), Associate professor with Linguistics and Translation Studies department Liudmila Alexandrovna Borbotko

e-mail: ludmilaborbotko@gmail.com

____________________________________________________________________________

Problem statement. The article regards specific features of political documentaries as well as reveals structural and grammar transformations while translating cinema texts. Political documentaries taken as an example contribute to actualisung the essential features of cinema discourse tackled within the framework of media reality.

Results. Structural as well as structural and functional analyses featured the correlation of the original text and its translation. The findings revealed such transformations as the following: specification (narrowing, differentiation) and generalization (expansion). What is of primary importance is the features of cultural and historical development of the language and the nation, that dominate the overall style of the text as well as the choice and compatibility of the language means in use.

Conclusion. Translation proves a means of interlanguage and cross-cultural communication that features a text created on the bases of the original text that after the preliminary translation analysis makes the core of the latter. Cinema texts are viewed as a sophisticated system accumulating not only linguistic, but also extra linguistic factors that are necessary for designing and presenting the text, as well as addressing the recipient. Documentaries are community forming and belong to the major media genres. Documentaries are subject to linguistic studies due to specific features of documentaries that contribute to their adequate translation and presentation of the author’s paramount ideas to the viewers.

Key words: translation transformations, cinema texts, cinema discourse, documentary.

For citation: Borbotko L. A. Transformations in translation of cinema texts (documentaries taken as an example)/

L. A. Borbotko // Scientific Journal “Modern Linguistic and Methodical-and-didactic Researches”. – 2020. - № 2

(29). – P. 108 – 116.

Introduction.

Modern linguistics, engaged in various discourse types studies, regards movies as relevant objects for prospective research aiming at synthesis of interdisciplinary knowledge. Movies are constituents of media reality which a new synergetic type of communication [1].

Cinema discourse as the object under study is regarded as a multidimensional concept within the framework of linguistics. Thus, А. Zaretskaya employs linguistic semiotics approach and emphasizes the relevance of combining verbal text, non-verbal factors (audio-video) as well as extralinguistic ones (viewers’ background knowledge, time, setting, historical context, etc.) [2]. In turn, М. Samkova defines cinema discourse as a wide concept, that includes cinema text, the film itself, its creators initial idea and the subsequent interpretation by the audience [3]. Cognitive linguistics (I. Lavrinenko) accentuates the polymodality of cinema discourse, its ability to conjoin semiotic units of different nature along with the collective author that provides the scenario for the cinema discourse to be realized [4]. Moreover, А. Olyanich points out the specific facility of cinema discourse to reflect ethnic, social, linguistic and cultural features typical of its creators, the environment and the addressee [5].

The bottom line, cinema discourse can be interpreted as «a complex multidimensional concept, featuring the extended structure, which implies its direct relation to such concepts as cinema text, movie scenario, cinema dialogues» [6, p. 390].

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© Borbotko L. A., 2020

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The research aims at studying and clustering linguistic structural elements, relevant for translating film scenarios and documentaries.

Methodology of the research.

One of the relevant issues of today’s is revealing the nature of film characters’ language. Cinema industry has been censored lately, thus, main / secondary characters speeches have also been viewed as a specific independent genre that guaranteed following language conventions. The ultimate goal is to convey the message corresponding to the image on the screen in accordance with lexical, grammatical and syntactic conventions. The translated equivalent is due to fit the same requirements. The research focuses on the structural transformations while translating film scripts as well as on the general features of political documentaries that made up the empirical base (Citizenfour, directed by L. Poitras [1*]; The U.S. vs. John Lennon, directed by D. Leaf, D. Scheinfeld [2*]). The films under study are viewed as complex speech acts targeted at maintaining social and political communication within mass media along with influencing the audience [7; 8].

The film Citizenfour by L. Poitras [1*] is a documentary that belongs to event chronicles as it covers the public and political response to former NSA agent E. Snowden disclosing the information about the US government global surveillance. The film is also shot in a form of a conversation of E. Snowden, L. Poitras and G. Greenwald, a journalist. Moreover, the film features L. Poitras’ commentaries on the contents in the form of short videos and photos.

In its turn, the film The U.S. vs. John Lennon by D. Leaf, D. Scheinfeld [2*] is a political documentary that belongs to the genre of chronicle as it not only dwells one the political views of John Lennon’s himself, but includes videos showing the America of the 1960-s, its policy and strategies, anti-war propaganda and American mindset on the whole. The film belongs to the genres of chronicles and biopics, as such films tend not to be subjective, but depict the current situation in America on the brink of the 1960-s, 1970-s. Another relevant feature of that the film emphasizes J. Lennon transforming from The Beatles participant into one of the major advocates of the anti-war movement of that time.

The research claimed metalinguistic research of the references, along with comparative and functional analyses aimed at correlating the original and its translation.

Results of the research.

To start with, translation implies the original message is transformed into the one in a different language. Nevertheless, linguistic studies emphasize translating suggests multiple definitions and is science-related. Moreover, translation is seen as a result of such cognitive process, a text either written or oral designed by a translator. If language is viewed as a system of signs, then translation suggests recoding. Each sign within the system is substituted with a sign from a different system” [9, p. 12]. As a result, a conscious approach to text interpretation demands a command of major principles and avenues within a certain scientific area.

At the same time, a text contains certain information that is due to be transferred while translating. The semantic load on the utterance is not equal to the summary of definitions of words it is made of. A translator works with words while the subject of translation is rather meaning than words.

The level of understanding is actually heterogeneous and it results in translation being asymmetrical as understanding the original text in a foreign language may be challenging. Success in translation and its efficiency are attributed to original and foreign language systems being correctly converged [10].

The issues stated above require considering typical features of cultural and historical language and nation development, that dominate the general style of the text as well as the choice and combinability of the language means. Translation is a reflection of all the mentioned processes. Let us take Russian-to-English and English-to-Russian translation as an example to focus on the specific features that make up cultural and stylistic potential of English. The latter also prove principal while translating from English into Russian: reliance on facts and evidence

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in surge to prove the references are credible and the text data valid; positive thinking, which is reflected in cutting down on the number of negative forms that are more frequent in Russian; political correctness, which implies a widespread use of euphemisms; pragmatism and simplicity which are manifested through eliminating abstract and collective nouns which are typical for Russian in translation; vague difference between terminological and non-terminological discourses, which is represented due to the popularity of juridical terms in everyday English [11]. All the mentioned factors are relevant for English-to-Russian translation. They are first to be tackled while working on the text as «pre-translation level implies culturally relevant factors being analyzed first, which are followed by the analysis of structural elements, such as syntactic structures that differ in their pragmatic potential corresponding to different languages» [9, p. 17].

Translating documentaries required a translator to focus not only on finding equivalent but on opting for transformations while transforming original text into its equivalent in translation.

Translation transformations are «interlingual transformations aimed at finding equivalents while translating texts from one language into another» [12, p. 152]. The following research regards grammatical transformations while translating documentaries which implies a word or a phrase is substituted in another language with a word or phrase of a different nature and form» [12, p. 168].

The typology of transformations is as follows: concretizing (narrowing, differentiation) and generalizing (broadening). C o n c r e t i s i n g is when a word or a phrase with a more generalized meaning is substituted with the one having a more specific meaning. Let us dwell on the examples from Citizenfour [1*]:

G. Greenwald: We will again s e t an example for the world that the law is not subject to the whims of stubborn rulers... – Г. Гринвальд: Мы должны снова п р о д е м о н - с т р и р о в а т ь миру, что закон не подвластен капризам своенравных правите-

лей (the translation given here and as follows is author’s copyright).

The word set is polysemantic. Consequently, English-to-Russian translation of a polysemantic word is determined by the context.

Next comes g e n e r a l i s i n g , which opposes concretising. It implies a word in English with a more narrow meaning is substituted with the one with a more general meaning while English-to-Russian translation. Here is the example [1*]:

G. Greenwald: It was the f i v e - m i n u t e meeting. – Г. Гринвальд: Это была к о -

р о т к а я встреча.

An attributive phrase f i v e - m i n u t e meeting is translated into Russian as короткая встреча (also пятиминутка, in less frequent cases летучка or встреча, которая длилась на протяжении пяти минут). The context dominates the choice or the words while translating.

Translation transformations often require extra words to be implemented into a phrase. The latter is due to concise and brief English sentences claim for an expanded sentence to in Russian to convey the exact message of the speaker. These are the cases of l e x i c a l a d d i n g [1*]:

G. Greenwald: Go into particulars? – Г. Гринвальд: Э д в а р д , д а в а й т е погово-

рим о б э т о м поподробнее?

Sometimes semantically empty verbal nouns are restored while English-to-Russian translation:

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W. Cronkite: This summer's almost certain stand-off will either end in real give-and-take n e g o t i a t i o n s or terrible escalation – У. Кронкайт: И равновесие сил завершит-

ся либо п р о в е д е н и е м очередных переговоров, либо эскалацией.

Let us focus on o m i s s i o n as a kind of lexical transformation which is opposite to adding. Both English-to-Russian аnd Russian-to-English translations require transforming the words that seem semantically empty in the other language. Here is an example from The U.S. vs. John Lennon [2*]: pair synonyms F o r e v e r a n d e v e r – Н а в с е г д а .

All in all, substitutions while translating often go together with structural transformations on the basis of metonymy, which is «the use of words in figurative meaning, when one word is substituted with another due to some causal, time-space or other relations» [9, p. 229]. In other words, there is a regular pattern of transformation. Metonymy may be systematic (such as in case of Russian action predicates correlating with English state predicates [2*]:

Д. Леннон: Он н е с е т полную о т в е т с т в е н н о с т ь за свои слова. – J. Lennon: He i s r e s p o n s i b l e for his words), as well as culturally determined (e.g. the hidden subject transformation) [1*]: Э. Сноуден: Я работаю на п р а в и т е л ь с т в о и связан с р а з в е д к о й . – E. Snowden: I am a s e n i o r g o v e r n m e n t e m p l o y e e in the i n t e l l i g e n c e c o m m u n i t y ).

It appears that developing causal relations sometimes call for antonymic translation, which implies «a complex both lexical and grammatical transformation of a positive-form unit translated as a negative-form one and vice versa. In this case one of the constituents is substituted with its antonym in another language» [13, p. 215]. Thus, English-to-Russian translation requires introducing negative constructions typical of the Russian language. The examples are as follows [1*]:

Ср.: E. Snowden: The following s o u n d s c o m p l e x but should only take minutes to complete for someone technical. – Э. Сноуден: Это н е с л о ж н о , у человека, знако-

The sentences above feature English lexical units translated into Russia with the negations несложно, не должны, along with a positive-form phrase дело серьезное, which, actually, tends to preserve the initial meaning implies.

Causal metonymy also claims for a c o m p l e t e t r a n s f o r m a t i o n of a certain word, a phrase or even a sentence. The examples are as follows [1*]:

Ср.: J. Pregerson: M i n d y o u r o w n b u s i n e s s . – Д. Прегерсон: Вас это н е к а с а е т с я .

Ср.: E. Snowden: W e l l d o n e ! – Э. Сноуден: М о л о д е ц !

The sentences above underline causal shift which is culturally determined. An English evaluative unit, expressed through an elliptical verbal structure is translated into Russian with the help of a simple nominative sentence. Here comes an example [1*]:

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Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 2 (29), 2020 ISSN 2587-8093

G. Greenwald: It's usually a lot longer, but that's just a o n e - t i m e - o n l y t h i n g , right? – Г. Гринвальд: Похоже, в в а ш е м п а р о л е в с е г о ч е т ы р е с и м в о л а , я угадал?

The sentence contains an attributive chain which proves difficulty for translating into Russian due to curtailed predicativity. In this particular case the English phrase with curtailed predicativity means that the code chosen is too short. Translation demands the phrase is semantically transformed and the idea of the code being invalid is specified (it carries only 4 characters).

Another type of lexical transformations is r e a r r a n g e m e n t of formal components, which requires changes while translating. Here is the example [1*]:

Г. Гринвальд: …забота о здоровье остается немаловажным фактором.... – G. Greenwald: …we need to remember about health concerns.

The sentence demonstrates a change in the word order while translating which is due to the difference in representation of attributive phrases in English and Russian. An adjective + noun construction with the attribute coming first is more frequent in English, while Russian features prepositional and case noun structures.

Nevertheless, the major cases of word order changing stem from the relevance of sentence actual segmentation in Russian. It means that sentence formal segmentation is of less importance as the word order is free and may be altered depending on the author’s intention. Word order in an English sentence is, in turn, fixed. Subject goes first followed by the predicate, an object and an adverbial modifier. The rheme is defined by the never of the sentence in focus.

We find it interesting that complete transformation as well as compensation while translating prove that the translation is equivalent to the original only if the context is transferred not the separate words.

Another aspect is that English-to-Russian translation along with Russian-to-English one are asymmetrical as it was stated earlier. Though language means in English and Russian are apparently similar they differ in representing language world view. The latter claims for translation transformations [14].

Film script translation is no exception while claiming for an appropriate option while translating. Film translators face both linguistic and technical challenges which dominates the quality of translation and its technical realization on the screen (the phrases pronounced are to coincide with the articulation).

The research conducted requires naming specific features of documentaries, their defining the genres and specifying stylistic devices. To start, documentaries represent a genre of oral discourse that reflect current language tendencies. The latter is proves by documentaries aiming at grasping the real moment at a particular period in time.

Let us name stylistic features of documentaries on the bases of political documentaries. Concerning lexical features, they are largely dominated by the «factor of improvisation, which differs from fiction films with the script which is obligatory to follow. The ultimate goal here is to convey the speaker’s views and emotions in as explicit and detailed manner as possible in accordance to the moment captured» [15, p. 12]. That results in documentaries being abundant with short phrases and allusions. Here are the examples [1*]:

Ср.: E. Snowden: B u t u h , y e a h , anything I can do to help you guys get this out I will do. – Э. Сноуден: М н е . . . д а , и я готов делать все для того, чтобы это вышло наружу.

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Сноуден – полное имя.

Let us now proceed to the dialogue between John Lennon and the reporter interviewing him as an example [2*]:

Table. Correlation of the original script and its translation

Documentaries are characterized by the following grammatical and syntactic features:

­frequent use of first person pronouns both in the singular and in the plural: I, we, you (J. Lennon: I just sort of felt at home here as soon as I relaxed and got over the fact that I wasn’t, you know, in England, and that I was living somewhere else. Fortunately, or unfortunately, they speak English, so I just fitted in. – Д. Леннон: Я чувствую себя здесь как дома.

Как только я привык к тому, что я не в Англии, что живу в другом месте, где тоже говорят по-английски, я сразу прижился);

­the use of simple unexpanded sentences (D. Fenton: It was a 12-hour concert. It was broadcast live all over the state. – Д. Фентон: Это был 12-часовой концерт, который транслировали в прямом эфире);

­question-and-answer unities (two or more connected phrases, one of which contains a question while the following is the answer to it in correspondence to the contents) (Re-

porter: Do you think that they are kind of p i c k i n g o n y o u , John? J. Lennon: Oh, yeah, they p i c k e d o n m e . – Репортер: Думаете, они и г р а ю т с в а м и ? Д. Леннон: Да, о н и и г р а ю т с о м н о й );

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