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In the framework of the present paper we suggest that intersemiotic cohesion employs two main types of non-verbal devices – graphic signs and punctuation signs. It seems viable to start with graphic signs, which compose prima facie a larger group.

The notable feature is that design of subtitles plays an important role for further processes of reading and comprehending. For instance, F. Karamitroglou notices that typefaces without serifs are preferable in subtitling, since the visual complexity ‘results in a decrease in the legibility of the subtitled text’ [6, p.2]. Although typefaces and fonts are significant visual units, we would like to study specifically those graphic elements that realize cohesive mechanisms.

Some theorizing upon how typography can realise textual meaning was provided by T. van Leeuwen. The author elucidates that typography can demarcate the visual elements and ‘express their degree of similarity or difference as textual elements, and it can foreground key elements of a text and background less important elements’ [7, с.143]. Analysing typographic features in the printed text of dramatic works, L.A. Borbot'ko demonstrates how polygraphic features of a printed text reflect extralinguistic aspects of communication. As she indicates, for instance, fonts are applied to reflect ‘intonation, facial expression, gestures and other extralinguistic aspects of oral speech’ [8; с.74]. A typical typographical tool in subtitling is the use of italics.

1) Italics. A cursive type is a significant non-verbal device in a subtitler's toolkit. Proposing a set of subtitling standards, F. Karamitroglou points out that italicised subtitles should be used ‘to indicate an off-screen source of the spoken text’ [6, p.6], as in the radio or TV translation, a narrator’s voice, etc. In the given shot, for example, the viewer sees a character with her lips pursed, but at the same time perceives some voiced expressions.

In effect, italics is a sort of graphic reference to the audially presented information. Cursive subtitles encourage the viewer to comprehend the acoustic message “Maybe not. No.” as the character’s inner thoughts. Such way of graphically presenting off-screen speech is implemented both in English and Russian subtitling practices:

2) Capitalisation. Capitalised subtitles are traditionally used to render short captions on screen [5]; [6].

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This graphic device of subtitles signals the viewer to correlate the capitalized subtitle with a visually presented caption. Due to the fact that the film is English, there is no need to present and capitalize the caption Yemen in English subtitles.

-- ЙЕМЕН

[1*]

Captions and written messages of such kind present diegetic objects, i.e. objects within the reality of the film, and introduced during film editing. Thus, the following shot demonstrates the caption Send that happens to be an element of the inner film reality and an element of the visual system if we observe the semiotic structure of the filmic text. To copy and insert the caption into the English subtitles would be ill-fitted and would only disturb the viewer.

Capitalized subtitles are visually salient not only on screen but in line with preceding and following subtitles. The phenomenon of visual emphasis is called by various theorists as visual salience [4]; [9]. G. Kress and T. van Leeuwen determine salience as a property of some elements to attract more attention that other elements [9, p.177]. So, it is possible to conclude that capitalization in subtitling may function as a signal, since when the viewer encounters capitalization, it forces him/her to pay more attention to the image and link the capitalized subtitle with the caption on screen. The meaning-making in such cases is determined not only by lexical meanings in capitalized subtitles, but by complex interaction of the lexical meaning in a subtitle, the non-verbal device with its signalling nature and the visual caption on screen.

In her works R. McClarty raises awareness of a new trend in audiovisual translation, viz. creative subtitling practices, where as she mentions, capitalized subtitles may be used to render shouted words or phrases [10, p.148]. In this case, from the perspective of intersemiotic cohesion capitalisation refers to prosodic features of an utterance. L.A. Nefedova and D.A. Mironova claim that a translator ought to realise his/her linguocreative potential. Studying transformed precedent phrases in headlines of media texts, the scholars assume that in the process of textgenerating a translator is inclined to critically evaluate precedent phrases, intensify the expressiveness of a text by their means and this way realise his/her own linguocreative potential [11, p.139]. Drawing a parallel, the concept is applicable to non-verbal cohesive devices. The use of

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graphic mechanisms shows that a subtitler is inclined to critically evaluate narrativecommunicative situation and technical constraints within a shot, to intensify reading and comprehension of subtitles and to realise his/her own linguocreative potential.

While examining acoustic aspects of conflict stages, M. Iu. Seiranian come to a conclusion that the prosodic nature of an oral text and discourse dynamics are interconnected. According to the academic, prosody has all the potential ‘to contextualize discourse’, here a case of the conflict discourse [12, p.153]. Following his concept, we may suppose that graphic devices used in subtitling to render prosodic features (as in the case above with capitalized subtitles in creative subtitling) have all the potential to contextualize a subtitle within a shot and to intertwine it into the semiotic composition of a film.

3)Colour. Apart from aesthetic purposes, colour may serve some particular technic and meaning-modifying purposes. Subtitles are traditionally coloured into pale white. As F. Karamitroglou notices, snow-bright white is not preferable since this way coloured subtitles would be too flashy and ‘tiring to the viewer’s eYe’ [6, p.3]. In Subtitling for the Deaf and the Hard-Of- Hearing (or SDH) there is a practice of using different colours to identify speakers [5, p.130]. Thus, it seems felicitous to claim that colour may function as an intersemiotic tie between a certain subtitle and an expression of a certain character. The Russian and English subtitles analyzed here are coloured in a conventional white, as the subtitles are aimed at the hearing viewer and prepared accordingly.

4)Numeric symbols. The practice of using numeric symbols instead of letter forms to render numbers is largely caused by spatial considerations.

For instance, the given below subtitles contain numbers. Comparing the numeric version of the number with its verbal version, we see that 10,000 consists of six characters, a comma inclusive (it is also worth mentioning that a comma here is a demarcating element that facilitates legibility and comprehension), whereas ten thousand consists of twelve characters with a gap. It is self-evident that six characters are more viable in terms of space constraints. In Russian subtitles expressions 10-ть тысяч and десять тысяч contain approximately the same number of characters. However, the subtitler could afford the former variant by means of omitting two lexical units in the original – well and would.

If the given space within a subtitle allows to use letter forms, then alphabetical writing is preferred. Generally it regards the numbers up to 10, which is at the same time explained by the stylistic norms of the English and Russian languages (the horizontal line in the right column separates two succeeding subtitles):

Два миллиона?! [1*]

The following shot demonstrates that numeric symbols may as well serve as cohesive units. As we see, the verbal component 50-ть in the subtitle corresponds with the visually presented 50. Moreover, the numeric writing here is a prerequisite.

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It is also rather noteworthy to mention that the translation in the shot renders a telephone message. The telephone message, as it can be seen, is quite sizeable and takes up four line, which forces the subtitler to compress the text. This is why the lexical units bin Zaidi and pounds are omitted in the Russian subtitle. Nevertheless, such a decision seems rational, since the sheikh’s full name was mentioned in the film earlier and the monetary unit can be easily guessed because the story begins in the UK and there is the symbol of the British currency visible on screen.

4) Hyphens. Hyphens as an orthographic concept may be introduced into subtitles in order to indicate peculiarities of pronunciation (as in stammering, stuttering, drawling, etc.) The given

Russian subtitle shows how a hyphen refers to the prosodic aspect, i.e. the character’s voice trembled for a second. In addition, the use of hyphen enables to achieve certain pragmatic intention in translation-here to reflect the emotional state of the speaker, his surprise.

Along with graphical devices that realise the interplay between subtitles and film's audiovisual elements, there are also punctuation marks, which may add up or modify a meaning. According to T. van Leeuwen, there are many typographical symbols that, apart from alphabetical characters, can realise textual meaning. Following the author, punctuation marks too extend their scope:

Many typographical signs that are not letter forms realise textual meaning, the most obvious example being punctuation marks – and they, too, are now rapidly developing new uses and new signs [7, p.143].

The notable feature of filmic texts as a genre is that they depict dynamically unfolding stories. Taking that into consideration, there may appear rather many situations when speakers talk simultaneously.

1) Dashes. In subtitling practices in order to indicate an exchange between two different speakers, it is common to insert a dash at the beginning of each subtitle line.

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Therefore, a dash preceding a subtitle line informs the viewer that s/he should connect the first line with an utterance of one speaker and the second line with an utterance of the other speaker on the screen.

The use of dashes to render an utterance exchange is a common practice in both English and Russian subtitling. However J. Diaz Cintas and A. Remael draw our attention to the fact that there is a new convention being set, which is to insert a single dash at the beginning of the second line to rationalize the given space [5, p.112]. The academics illustrate this technique on the following example [ibid.]:

I couldn't move her.

-Be firm, for goodness' sake!

2)Inverted commas. The use of inverted commas in English and Russian subtitles varies depending on the language norms. For instance, the Russian subtitle below shows how language rules prescribe to use angled quotation marks to reflect names of objects. The presented quotation marks are a graphic reference for the viewer to catch on that what is being enumerated is names of fishermen’s magazines.

The horizontal line in the left column shows two succeeding subtitles, whereas the Russian translation is united into one single subtitle. Such merging of subtitles is possible if the spatial considerations, like the maximum number of symbols per line, are born in mind. Moreover, this subtitling technique allows to ease the reading workload for the viewer.

The English linguistic norms, on the other hand, prescribe the use of italics to reflect names of objects. The practices of English subtitling show that inverted commas are mainly placed to indicate quotation, a letter/poem uttered out loud, certain words or phrases, etc. [5, pp.119-124]. What is also worth paying attention to is that English inverted commas are typographically curved as in “…” or neutral/vertical as in "...". For example:

The analysis of theoretical sources upon the matter and the practical examination of the material allow to conclude the following:

the main intersemiotic cohesive devices both in English and Russian subtitling happen to be graphic signs and punctuation marks;

the analysed non-verbal cohesive devices allow not only to compress the translation text in spatial terms but to add on distinctive meanings;

the comparative analysis of Russian and English subtitles shows standards and practices in English and Russian subtitling are similar to a great extent;

the off-screen speech both in Russian and English subtitles is rendered in italics;

captions on screen turn into capitalized messages both in Russian and English subtitles, however, subtitles in the original language of the film do not reproduce the caption;

some cases show that due to specific language norms there may appear divergences as demonstrated in case of rendering names. When Russian subtitles would render names using inverted commas, English subtitles would render names in italics;

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in case of numbers both Russian and English subtitling practices prefer the use of numeric symbols. However, due to stylistics norms of each language there are some peculiarities to appear. Thus, the Russian stylistic norms prescribe to add endings (50-ть, 1- й) and if spatial conditions allow the subtitler has to stick to these norms. English numbers may contain a different separating sign, for instance a comma in 10,000;

there are obvious variations in the use of inverted commas, since the Russian language traditionally operates with angled quotation marks, whereas the English language prefers the neutral inverted commas.

In addition, we would like to say that the research results do not claim complete work but, on the other hand, invite to further examinations. As potential perspectives we see a closer inspection of the given non-verbal cohesive devices, attempts to define new ones and systematize all of them, to determine all the functions of non-verbal cohesive devices in the process of textbuilding. As the comparative analysis demonstrated there are cases when Russian and English subtitling practices do not coincide. Thus, the research results may appear relevant to many academics and experts engaged in subtitling or interested in multisemiotic text analysis.

Bibliographic list

1.Royce T.D. Intersemiotic Complementarity: A Framework for Multimodal Discourse Analysis / T.D. Royce, W.L. Bowcher, eds. // New Directions in the Analysis of Multimodal Discourse. Lawrence Erlbaum Associates, 2007. Pp. 63-110.

2.Liu Y., O’Halloran K.L. Intersemiotic Texture: analyzing cohesive devices between language and images / Social Semiotics 19:4, 2009. pp. 367-388.

3.Van Leeuwen T. Introducing Social Semiotics. London: Routledge, 2005. 330 p.

4.Bateman J.A., Schmidt K.-H. Multimodal film analysis: how films mean. (Routledge Studies in multimodality). New York: Taylor & Francis, 2012. 330 p.

5.Diaz Cintas J., Remael A. Audiovisual Translation: Subtitling. Manchester: St. Jerome, 2007. 272 p.

6.Karamitroglou F. A Proposed Set of Subtitling Standards in Europe. Translation Journal, 2(2). Available at: http://www.bokorlang.com/journal/04stndrd.htm (Accessed 8 May 2016).

7.Van Leeuwen T. Towards a Semiotics of Typography / Information Design Journal + Document Design 14(2). John Benjamins Publishing Company, 2006. pp. 139-155.

8.Borbot'ko L.A. Tipograficheskie osobennosti avtorskogo metateksta v pechatnom teatral'nom tekste [Typographic features of author's metatext in the printed version of a theatrical text] / L.A. Borbot'ko // Nauchnyi vestnik Voronezhskogo gos. arkh.-stroit. un-ta. SovremennYe lingvisticheskie i metodiko-didakticheskie issledovaniia. – 2015. – vyp. 4 (28). – S. 73-81.

9.Kress G., van Leeuwen T. Reading Images: The Grammar of Visual Design. 2nd ed. London: Routledge, 2006. 291 p.

10.McClarty R. Towards a Multidisciplinary Approach in Creative Subtitling / MonTI 4, 2012. pp. 133-53.

11.Nefedova L.A., Mironova D.A. Taktiki perevoda lingvokreativnykh sredstv v zagolovkakh mediatekstov [Tactics of translation of linguocreative means in the headlines of media texts] / L.A. Nefedova, D.A. Mironova // Vestnik Cheliabinskogo gos. un-ta. Filologicheskie nauki. – 2016. – vyp. 4 (386). – S. 139-143.

12.Seiranian M.Iu. Akusticheskie korreliaty stadii konflikta [Acoustic correlates of conflict stages] / M.Iu. Seiranian // Nauchnyi vestnik Voronezhskogo gos. arkh.-stroit. un-ta. SovremennYe lingvisticheskie i metodiko-didakticheskie issledovaniia. – 2014. – vyp. 4 (24). – S. 143-153.

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Analyzed sources

1*. Ryba moei mechty / rezh. L. Khall'strem; v roliakh: E. McGregor, E. Blunt, K.C. Tomas. London: BBC Films; Davis Films et al. 2012. [Litsenzionnyi fil'm].

2*. Salmon Fishing in the Yemen / dir. by L. Hallström; starring: E. McGregor, E. Blunt,

K.C. Thomas / English subtitles. Retrieved May 8, 2016, from http://www.opensubtitles.org/en/subtitles/4589486/salmon-fishing-in-the-Yemen-en.

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SCIENTIFIC INFORMATION

Z.Ye. Fomina

on the 14-th Interuniversity Seminar “Linguistic Studies: Methods of Analysis and Teaching Technology”.

(15-16 June, Moscow State Univerity of International Relations, Ministry of Foreign

Affairs of the Russian Federation).

From the 15 to 16 June 2016 a regular seminar (the 14-th) “Linguistic Studies: Methods of Analysis, Teaching Technology” was held at Moscow State University of International Relations

(MSUIR) of Ministry of Foreign Affairs of the Russian Federation. Scientists from many higher educational institutions of Moscow (Moscow State University of International Relations, Russian University of Peoples` Friendship, Moscow State Linguistic University), Saint Petersburg, Kazan, Ufa, Ryazan, Tula, Voronezh, Tver, Smolensk, Kaliningrad, etc. took part in it.

A welcoming speech was delivered by Professor S.V. Evteev (Head of the Administrative Department of Language Teaching and Bolon Process of Moscow State University of International Relations).

The plenary session included the following reports:

of Valeriy Tishkov (Academician of the Russian Academy of Sciences, Head of the Institute of Ethnology and Anthropology named after N.N. Miklukho-Maklai, the

Russian Academy of Sciences) on the theme: “Linguistic Situation and Linguistic Policy on the Modern World”.

Of Svetlana Ivanova (Doctor of Philology, Head of the Chair of English Philology and Intercultural Communication of Bashkir State University) on the theme “Work Ethics in the Light of American and British Linguistic Cultures: Cultural-and valuable Dominants”.

Of Ludmila Vedenina (Doctor of Philology, Professor of Moscow State University of International Relations) on the theme “On Comparison of Unrelated Languages and Cultures”.

In his Paper V.A. Tishkov put a number of vital problems of modern linguistics which had previously been considered by him in details in his article “Languages of Nations” (2015) to which he referred at the beginning of his speech.

V.A. Tishkov analyzed the problems in the close contact with ethnology, anthropology, cultural studies and sociology. The speaker paid great attention to the problem “of language extinction” stressing that the so-called “red books of extinctioning languages” are not confirmed in real life. Thus, Tishkov noted that in 1996 and further, in 2001 and 2010, UNESCO published

“Atlas of World`s Languages in Danger” in which 2,5 thousand languages were announces disappearing out of 6 thousand languages existing on the planet and in the territory of the Russian Federation 116 languages were named under the threat of disappearing. Tishkov emphasized that among the disappearing languages there were all the languages of small peoples of the North and Siberia, the Udmurtia, Kalmyk, Chukotka languages, the Languages of the North Caucasus; 20 languages, including the Chechen, Tuva and BYelorussian were announced in danger. The atlas publication was the result of the project which started the international campaign to preserve the linguistic diversity in the world. On the question of whether or not the languages are dying out in Russia he stressed that “there is no mass extinction that was earlier predicted by some scientists and social active members”. Tishkov reminded of the fact that “different authors wrote about imminent extinction of the languages of the Russian North and mountain peoples already

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in the XIX-th century, but during the whole XX-th of the century there disappeared the carriers of the Ubikh language and the Sirenekov dialect of the Eskimos language”.

The census of 2010, as the speaker noted, showed that the Russian inhabitants pointed to the knowledge of 230 languages, of which 170 languages are the languages of Russian nationalities or their specific groups. The Mari and Mordovian people have two separate languages, the Ando-tsez people, belonging to the Avar nationality have about a dozen surviving languages. Tishkov also noted that there are the so-called the one-aul languages, when one-or-two national villages where some hundred people live for centuries maintain “rural” language and know languages of larger groups, including the Russian language. “If we speak about small Northern nations, today only tens of people master some languages”.

To Tishkov`s mind, the carriers of one-or-three minoritary languages can really disappear in Russia, as they remain in a small number and all of them are of “the old age”. But even in this case, the speaker noted, the language can be revived as it happened with the Hawaiian, Corsican, Welsh and some other languages in the last decades. However, Tishkov emphasized, that among these languages, there is none of those named in the Atlas mentioned. The speaker stressed that the “Chechen, Jakut, Tuva, Chukchi and other languages are powerful languages with their own writing, literature and folklore”.

Tishkov also noted that in 2013 the map of the most poly-ethnic and mono-ethnic states was drawn up. As is known, monoethnic states (with almost homogeneous national (ethnic) population) include Japan, North and South Korea, Italy, Portugal, Bangladesh, Denmark, Brazil, Poland, Hungary, Iceland, many Arabic countries (firs of all the countries of Arabian Peninsular) and others. Polyethnic states include, on the one hand, Canada, Belgium, Switzerland, Finland, Singapore (with dominance of two, three or more ethnic groups), on the other hand, they include the states where tens and thousands of ethnic groups (India, Russia, China, Vietnam and others) live. PolYethnic states are also represented by the African countries (Ethiopia, Uganda, Liberia and so on). Today Russia is represented by 193 peoples. According to the 2010 census, as Tishkov noted, more than 98 per cent of our country population master the Russian language.

“Practically, all the population is able to communicate with each other in one language that can be called the linguistic utility of the Russian people”. Not all large and even medium polYethic nations have such an advantage in the linguistic situation.

The next problem, put in Tishkov`s paper, concerned the phenomenon of native language: what language may be considered as the native one? The speaker emphasized that in view if globalization and convergence of cultures in the polycultural families children may have several native languages. V.A. Tishkov spoke about the importance of stimulating Russian etnic-and- national bilingualism and recognition of the part of the inhabitants right to specify the two native languages. “No science and international legal norms state that a person should have only one native language!” The thesis about the existence of two and native languages as well as understanding the very essence of the “Native Language” phenomenon aroused a lively discussion.

The view was expressed that the native language is, first of all, the mother language that is a component of identity, self-expression, spirituality and culture of the people, an ethnic symbol, the most important “ethnic-forming “factor” , rather than just one of the possible (equal) means of communication for a man.

Summarizing, Tishkov noted that in Russia two main linguistic hypostasises are combined.

“On the one hand, our country possesses a unique and persistent linguistic diversity, that is little left in the world. On the other hand, Russia keeps its responsibility for one of the national languages without which it is impossible to present the world culture and modern civilization”.

Doctor of Philology, Prof. L. Vedenina made a fundamental analytical report on the theme:

“On Comparison of Unrealized Languages and Cultures”. In her paper she considered national, anthropological and ethnic-and-social community of Russia, the West and the East. Considering the 4 conceptions on the problem of defining the civilization status of Russia according to which: 1) Russia is a part of the West civilization; 2) Russia is a society of the Oriental type; 3) Russia 132

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is at the head of the Slavonic civilization (V. Soloviov); 4) Russia is Eurasia, the speaker analyzed these approaches on the basis of large empirical material, in particular, at the level of phraseological units, aphorisms, proverbs and sayings of different languages that allowed her to confirm or to deny some or other above definition of the civilization type of Russia.

To complete the research and create a meaningful argumentative base Vedenins traces similarities and differences of Russia, the West and the East, using 90 models of human activities singled out by American researches (for example, “toolmaking”, “property”, “dance”, “music”, “etiquette”, “faith in supernatural things”, etc.). The speaker also focuses on international differences in representing a person`s image. She singles out 6 clusters of these differences: 1. Differences in terms of habitat (Eurasians, Asians); 2. Differences in the linguistic representation of physical constitution of man. Thus, for example, the Arabic poetry, as Vedenina emphasizes, contains little descriptions of extremities (hands, feet and so on) whereas the European literary tradition notes a more detailed examination of the physical characteristics of a person. The detailed face description is relevant for the Russian literature, which for a man is, in Karl Lirhtenberg`s worlds, “the most entertaining surface of the Earth”. The French describe nose in the center; the Japanese - teeth and chin. Moreover, as Vedenina emphasizes, there is a different classification of the extremities in Europe and Russia (compare: Gernam “Hand” and “Arm” and Russian “ruka” (hand)). 3. Differences in representing the psychological human structure. The famous saying of Leonardo da Vinchi (“Painting is poetry which is seen, and poetry is painting, which is heard”) can be regarded as the reflection of various world views: east and west one. 4.

Differences in the sphere of cognitive processes. To Vedenina`s mind there are different degrees of metaphoricity in the European and Eastern cultures. 5. Differences in the sphere of the world view. In particular, it is a question of a man`s place in the Universe that is differently defined in the East, the West and Russia; 6. Differences in behavior code.

In discussing the problem of the interaction and interinfluence of different cultures and civilizations Prof. L. Vedenina stresses the significance of the term “Iridescent network”, introduces by N.S. Trubetskoy. She noted that Trubetskoy was one of the first to use the triple approach for comparative study of languages and cultures: historic-and-genetic, real-and-historical and typological methods. In this case, Trubetskoy came to the conclusion about the existence of the law of national cultures diversity. As N. Trubetskoy wrote, some nations and groups of peoples contribute their individual peculiarities to one or other cultural type. As a result, according to the author, there appears “that iridescent network, a unified and harmonious one owing to its continuity and at the same time infinantly varied due to its differentiation” (The Tower of Babel and confusion of languages // Eurasian Temporary Person. Berlin, 1923 Book 3. P. 148).

Vedenina systematized and generalized the problem set in the aspect of funding the similarities of languages and cultures, illustrating this by the example of value characteristics of the family status in the societies of Europe, East and Russia. As the author noted, the basis for this comparison involves three main levels: the meaning, the saying and the content. Universal and peculiar features are also singled out in the mental world.

During the 1-st day (June, 15) the work of the round table took place. The work was headed by Ludmila Vedenina (Professor of the French language chair of Moscow State University of International Relations), Oskar Goikhman (Doctor of Ped.Sc, academician of the European Academy of Natural Sciences, Head of the chair of Social-and-cultural Service of the new Russian University).

The leading scientists of humanitarian profiles took part in the round-table work: linguists, culturologists, philosophers, ethnologists, psychologists and others. The discussion was very productive and successful, it allowed the participants to analyze various methods (from the perspective of different scientific humanities) on common fundamental problem «Intercultural

Communication: Basic Concept, Methods, Results».

The round table discussed the two acute problems:

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