Міністерство освіти і науки України

Львівський національний університет імені Івана Франка

Факультет іноземних мов
Кафедра перекладознавства і контрастивної лінгвістики
імені Григорія Кочура

Курсова робота на тему:

«ОСОБЛИВОСТІ ВІДТВОРЕННЯ ВЛАСНИХ НАЗВ У
РАМКАХ СТРАТЕГІЇ ОДОМАШНЕННЯ НА ПРИКЛАДІ
МУЛЬТФІЛЬМУ «ДУМКАМИ НАВИВОРІТ»»

Студентки 3 курсу групи ІНП-32

напряму підготовки 6.020303 – Філологія
спеціальності «англо-український переклад»
Осмачко Наталі
Керівниця: асис. Демків М. О.
Рецензентка: асис. Лев І. В.
Національна шкала: ____________________
Кількість балів: ________________________
Оцінка ECTS: __________________________
Члени комісії:

__________________ ___________
(підпис)

__________________ ___________
(підпис)

__________________ ___________
(підпис)

Львів 2019
 Ministry of Education and Science of Ukraine
Ivan Franko National University in Lviv
Faculty of Foreign Languages
Hryhoriy Kochur Department of Translation Studies and Contrastive Linguistics

REPRODUCTION OF PROPER NAMES IN THE

FRAMEWORK OF DOMESTICATION STRATEGY ON THE
EXAMPLE OF THE ANIMATED MOVIE “INSIDE OUT”

Done by the 3th-year student

Natalia Osmachko
Group: INP-32
Scholarly supervisor:
M. O. Demkiv, assistant lecturer
Reviewer:
I. V. Lev, assistant lecturer

Lviv 2019
 2

CONTENTS
INTRODUCTION ............................................................................................................... 3
CHAPTER I. STRATEGY OF DOMESTICATION ...................................................... 5
1.1. The Notion of Domestication Strategy. .................................................................... 5
1.2. Role of Domestication Strategy in Audiovisual Translation. ................................... 6
CHAPTER II. PROPER NAMES ..................................................................................... 9
2.1. The General Notion of Proper Names......................................................................... 9
2.2. Classification of Proper Names. ................................................................................ 10
2.3. Ways of Rendering Proper Names. ........................................................................... 11
2.4. Some Peculiarities of Rendering Proper Names in Audiovisual Translation. .......... 14
CHAPTER III. ANALYSIS OF PROPER NAMES AND THEIR REPRODUCTION
INTO UKRAINIAN .......................................................................................................... 17
3.1. General Information about the Animated Movie “Inside Out”. ............................... 17
3.2. The Translation Analysis of Proper Names. ............................................................. 18
3.2.1 Replacement of Personal Name by a Common Name. ........................................ 19
3.2.2. Phonetic Adaptation to the Target Language. .................................................... 20
3.2.3. Substitution. ........................................................................................................ 20
3.2.4. Translation of Names with a Particular Connotation.......................................... 21
3.2.5. Replacement by a Name with another or Additional Connotation. .................... 25
3.2.6. Deletion. .............................................................................................................. 25
CONCLUSION .................................................................................................................. 27
LIST OF REFERENCES ................................................................................................. 29
 3

INTRODUCTION
The present research paper focuses on the proper names in the animated movie
“Inside Out” and their ways of reproducing into Ukrainian. The research of this issue is of
great importance while translating proper names in the framework of the strategy of
domestication in the audiovisual translation.
Domestication strategy, from Translation Studies point of view, was researched by
F. Schleiermacher, L. Venuti, and others. The theory of proper names was the point of
interest for such scholars as A. Gardiner, M. Kocherhan, O. Leonovych, V. Korunets,
S. Vlakhov, S. Florin, P. Newmark, T. Hermans, V. Coillie and others.
The object of this research paper is proper names from the animated movie
“Inside Out” and their Ukrainian translation by Le Doyen Studio.
The subject of this research paper is the ways of rendering proper names in the
animated movie “Inside Out” in Ukrainian translation by Le Doyen Studio.
The topicality of the work lies in the linguistic necessity to research the reproduction
of proper names in the dubbing of films.
The overall aim of the paper is to analyze the adequacy of rendering functional-
stylistic peculiarities of proper names in the framework of the strategy of domestication
and to outline the main ways of rendering them into Ukrainian.
The purpose of the research determines the following objectives:
 to provide a general theory of strategy of domestication;
 to define proper names, their classification, ways of translation;
 to outline the translator’s ways of rendering proper names into Ukrainian;
 to highlight peculiarities of rendering proper names in audiovisual translation;
 to identify proper names in the animated movie “Inside Out” and define their
functions;
 to analyze the reproduction of proper names in the Ukrainian translation of the
movie;
 to discover differences between the original and translation;
 to sum up the result of the research.
 4

As far as the methodology of the research is concerned, contrastive analysis,

structural and semantic analysis, method of dictionary definitions and method of deduction
were used in the course of this research.
The research was carried out on the basis of approximately fifty examples selected
from the animated movie.
The research paper consists of an Introduction, three Chapters, Conclusion, and the
List of References.
The Introduction briefly explains the topic of the paper, states the topicality,
indicates the overall aim of the research, objectives to be accomplished in the course of the
research, its object, and subject and lists the main methods used in the research.
Chapter I consists of two subchapters. The first subchapter deals with the general
notion of domestication strategy. The second one provides us with the role of
domestication strategy in audiovisual translation.
Chapter II consists of four subchapters. The first subchapter deals with the general
theory of proper names as viewed by different scholars. The second one provides us with
the classification of proper names. The third one deals with the research of ways of
rendering proper names. The last subchapter outlines some peculiarities of rendering
proper names in audiovisual translation.
Chapter III consists of two subchapters and deals with the ways of rendering proper
names by means of the target language. The first subchapter tells about the animated
movie “Inside Out” and Le Doyen Studio, which made its dubbing into Ukrainian. The
second one analyzes proper names reproduction into Ukrainian. The examples for the
practical part are divided into five sections, depending on the translation of the proper
name.
The Conclusion summarises the findings of the research.
List of References indicates in the alphabetical order all the theoretical,
lexicographic and Internet sources that have been used and cited in the course of writing
the paper.
 5

CHAPTER I. STRATEGY OF DOMESTICATION

1.1. The Notion of Domestication Strategy.
The term “translation strategy” does not have an unambiguous definition in
Translation Studies. Oxford English Dictionary states that strategy is “a plan of action
designed to achieve a long-term or overall aim” [30]. Strategies of translation involve the
basic tasks of choosing the foreign text to be translated and developing a method to
translate it. Both of these tasks are determined by various factors: cultural, economic, and
political [27, p. 240].
Yet the many different strategies that have emerged since antiquity can perhaps be
divided into two large categories. A translation project may conform to values currently
dominating the target-language culture, taking a conservative and openly assimilationist
approach to the foreign text, appropriating it to support domestic canons, publishing
trends, and political alignments. Alternatively, a translation project may resist and aim to
revise the dominant by drawing on the marginal, restoring foreign texts excluded by
domestic canons, recovering residential values such as archaic texts and translation
methods, and cultivating emergent ones [ibid]. Therefore, we may distinguish two main
strategies of translation: domestication (naturalization) and foreignization (alienation).
Domesticating strategies have been implemented at least since ancient Rome, when,
as Nietzsche remarked, “translation was a form of conquest” and Latin poets like Horace
and Propertius translated Greek texts “into the Roman present”: “they had no time for all
those very personal things and names and whatever might be considered the costume and
mask of a city, a coast, or a century”. As a result, Latin translators not only deleted
culturally specific markers but also added allusions to Roman culture and replaced the
name of the Greek poet with their own, passing the translation off as a text originally
written in Latin [27, p. 241].
The opposition of domestication and foreignization in Translation Studies is based on
the ideas of Friedrich Schleiermacher. In the lecture “On Different Methods of
Translation”, delivered on June 24, 1813, at a meeting of the Royal Academy of Sciences
in Berlin, Schleiermacher contrasted two strategies of translation. The first one assumes
that the translator seeks to reproduce as accurately as possible the original text by means
 6

of another language, without resorting to simplification, adaptation and other forms of

facilitating the reading task to the detriment of the author’s intention. According to the
second type, translation from this point of view is a reader-friendly version of the text in
which complex elements, or the author’s manner, are obscured and neutralized.
Schleiermacher emphasized that these ways are completely different, you can only follow
one of them, avoiding mixing them in every way, and otherwise, the result may be
deplorable: the writer and the reader may not meet at all [24].
The strategies of domestication and foreignization were formulated, in their modern
sense, by Lawrence Venuti. He introduced them to the field of Translation Studies into his
book “The Translator’s Invisibility: A History of Translation” in 1995. According to
Venuti, domestication refers to an ethnocentric reduction of the foreign text to target-
language cultural values, bring the author back home [26, p. 20]. Generally speaking,
domestication designates the type of translation in which a transparent, fluent style is
adopted to minimize the strangeness of the foreign text for target language readers
[25, p. 59].
To conclude, we may outline two main strategies of translation such as domestication
and foreignization, the opposition of which is based on the ideas of
Friedrich Schleiermacher. Besides, the strategy of domestication was used at least since
ancient Rome. And Lawrence Venuti introduced these strategies to Translation Studies in
their modern sense. In the following research, Venuti’s understanding of domestication
strategy will be taken as the main one.
1.2. Role of Domestication Strategy in Audiovisual Translation.
Audiovisual translation is generally a translation of the verbal component of the
video. Its main specific feature is the synchronization of verbal and nonverbal
components. While dealing with audiovisual product translators do not work only with
text but also with other aspects of media art which are of polyphonic nature. Thus, they
work with dialogues/comments, sound effects, image and atmosphere of the video. Gotlieb
distinguishes four main channels of information which are taken into consideration while
translating:
1) verbal audio channel: dialogues, off-screen voices, songs;
 7

2) nonverbal audio channel: music, sound effects, offscreen sounds;

3) verbal and visual channel: subtitles, signs, notes, inscriptions that appear on the
screen;
4) nonverbal visual channel: picture on the screen [18].
Scholars approximately distinguish ten kinds of audiovisual translation. However,
they can be united into two larger subgroups: revoicing and subtitling.
Revoicing is the term which is used to denote audiovisual methods of translation with
the aim of a complete or partial cover of the text of the original product by the new text of
the target language. Thus, revoicing can be subdivided into the following types: voice-over
or half-dubbing, narration, audio description, free commentary and dubbing [4].
The most popular subtypes of audiovisual translation are dubbing and subtitling.
Dubbing, to some extent, is proposed to be considered as a way of implementation of the
domestication strategy, and subtitling – foreignization.
Dubbing – is a type of translation of audiovisual works (films, cartoons, TV series,
anime, etc.), which completely replaces foreign language broadcasting of actors in another
language in order to broadcast the film in foreign countries [6, p. 105].
Subtitling – a text-based video accompaniment to a source language that duplicates or
complements an audio track. Subtitles show the broadcast of people and characters in the
frame. Under such conditions, the source text will practically not change, which allows the
target audience to feel a foreign language and understand its foreignness [ibid].
Thus, we may distinguish two main reasons for using the strategy of domestication
while translating movies. The first reason, traditionally, is an approximation of the text of
the movie to the target viewer. And the second reason is providing the text with domestic
colouring in order to gain comic effect or approximation of the text to the thesaurus of a
little spectator, especially in animated movies [ibid].
A dubbed movie often appears in the form of an entirely new product, rather than a
transformed one; it ceases to be a foreign movie and becomes just a new movie. In the
world of international commercial relations, the original cinema product functions as a
transnational declassified product, a raw material that should be transformed into other
cultural contexts of consumer states through the use of dubbing [13, p. 40]. The perception
 8

of the film in the native language reduces the feeling of “foreignness” and hence is an
example of domestication.
Dubbing is also perceived “as recognition of the supremacy of the state language, of
its steady political, economic and cultural power within the boundaries of the nation”
[15, p. 612].
During the period of the Soviet occupation of Ukraine, dubbing of Ukrainian foreign-
language films practically did not occur, primarily because of the policy of
Internationalization and Russification. With the proclamation of Ukraine's independence in
1991, the situation did not change, and Ukraine practically did not have a Ukrainian
dubbing market until 2006 [38]. However, after passing the law on compulsory dubbing of
films in Ukrainian in 2006, the situation changed dramatically, and the Ukrainian dubbing
market began to evolve rapidly [7].
Briefly speaking, dubbing as a kind of translation of movies is a powerful tool aimed
at the target culture, which makes the source text meet the standards of the perceived
culture as much as possible, and therefore, in essence, satisfies the definition of
domestication strategy for L. Venuti.
 9

CHAPTER II. PROPER NAMES

2.1. The General Notion of Proper Names.
In our dynamic time, with the expansion of international relations and the rapid
exchange of information, the development of Translation Studies, the requirements for the
quality of translation are also increasing. An important place is the translation of proper
names, which are an integral part of any field of activity.
According to the Oxford English Dictionary, proper name (or proper noun) is “a
name used for an individual person, place, or organization, spelled with an initial capital
letter, e.g. Jane, London, and Oxfam” [30].
Merriam-Webster Dictionary defines the proper name as “a noun that designates a
particular being or thing, does not take a limiting modifier, and is usually capitalized in
English” [29].
According to Wikipedia a proper noun is “a noun directly associated with an entity
and primarily used to refer to that entity, such as London, Jupiter, Sharon, or Microsoft, as
distinguished from a common noun, which is a noun directly associated with a class of
entities (city, planet, person, corporation) and primarily used to refer to instances of a
specific class (a city, another planet, these persons, our corporation)” [47].
Alan Gardiner in his “The Theory of Proper Names” comes up with such definition:
“A proper name is a word or group of words which is recognized as having identification
as its specific purpose, and which achieves, or tends to achieve, that purpose by means of
its distinctive sound alone, without regard to any meaning possessed by that sound from
the start, or acquired by it through association with the object or objects thereby
identified” [17, p. 80].
Thus, we may distinguish such main features of proper names in English:
1) capitalized, regardless of the position in the sentence;
2) cannot normally be modified by an article or another determiner (e.g. any,
another), although some may be taken to include the article the;
3) mono-referential.
The study of proper nouns is sometimes called onomastics or onomatology.
 10

The problem of the translation of proper names has its origin in the philosophy of
language because we need to find out whether proper names have a meaning.
Notwithstanding, we need to know, first of all, what is a proper name and what
distinguishes it from a common name.
In linguistics, common nouns and proper nouns are distinct subclasses of nouns. A
common noun refers to a class of entity (e.g. dog), whereas a proper noun refers to an
individual entity (e.g. John or Kennedy) or a collection of entities (e.g. Hebrides). Proper
nouns are normally invariant for number: most are singular, but a few, referring for
instance to mountain ranges or groups of islands, are plural (e.g. Hebrides). Typically,
English proper nouns are not preceded by an article (the, or, a) or other determiners (not,
for instance, a John, the Kennedy, or many Hebrides). Occasionally, what would otherwise
be regarded as a proper noun is used as a common noun, in which case a plural form and a
determiner are possible (for instance the three Kennedys, the new Gandhi) [47].
To sum up, onomastics/onomatology studies proper names and defines some features,
which distinguish them from common nouns. Therefore, we need to know whether a
proper name has its particular meaning which should be taken into account in the
translation.
2.2. Classification of Proper Names.
M. Kocherhan indicates that proper names, in contrast to the common ones, serve to
distinguish their named object from a number of similar, its individualization and
identification; and offers the following classification of proper names:
1) anthroponyms – the names of people;
2) toponyms – geographical names;
3) theonyms – the names of deities;
4) zoonyms – the names of animals;
5) astronyms – the names of heavenly bodies;
6) cosmonyms – names of zones of outer space and constellations;
7) chrononyms (“quasi-names”) – the names of the segments of time associated with
historical events;
8) ideonyms – names of objects of spiritual culture;
 11

9) chrematonyms – names of objects of material culture;

10) ergonyms – the names of associations of people: societies, organizations, etc.;
11) hydronyms – names of reservoirs (rivers, lakes, seas, swamps);
12) ethnonyms – the names of peoples, ethnic groups [11, p. 187].
Classification of proper names, according to O. Leonovich, can be carried out in the
subject area, according to the objects marked by them:
1) the names of persons (name, surname, patronymic);
2) names (nicknames) of animals, birds, etc.;
3) topographical names – rivers, oceans, seas, bays, streams, lakes, countries,
mountains, mountain ranges, cities, settlements, parks, streets, roads, etc.;
4) the names of houses, establishments, steamboats, planes and other means of
transport;
5) titles of books, magazines, music groups, and performers, etc.[12].
Altogether, scholars have different views on classifying proper nouns. M. Kocherhan
managed to outline twelve types of proper names; on the other hand, O. Leonovich divided
all proper names into five groups. But both scholars classified proper nouns according to
the objects marked by them.
2.3. Ways of Rendering Proper Names.
To begin with, it should be noted that translators do not always use the same ways to
render proper names in different kinds of texts. Thus, different translation procedures for
translating personal names will be presented.
Vlakhov states that, in most cases, such processes are difficult to call a translation as
such, since, as a rule, proper names are transcribed or transliterated. However, in some
cases, proper names can be translated [5, p. 209].
V. Korunets highlights the following ways of translating proper names:
1) transliteration;
2) transcribing;
3) calque [10, p. 92].
Hervey and Higgins present these ways of translating proper names:
 12

1) exotism: the name should remain unchanged from the SL to the TL, in this
method no cultural transposition occurs;
2) transliteration: the name is shifted to conform to the phonic or graphic rules of
the TL;
3) cultural transposition: the SL name is replaced by the TL name that has the same
cultural connotation as the original one [20, p. 29].
Peter Newmark holds that people’s names should, as a rule, not be translated when
their names have no connotation in the text. He adds some exceptions such as names of
known saints, monarchs, and popes, which are known in the translated form in the TL
[21, p. 214].
Newmark also recommends that, in communicative translation, a personal name,
along with its connotation, should be translated where proper names are treated
connotatively. In spite of that, the proper names must be transferred in semantic translation
[22, p. 151].
In addition, with regard to speaking names, which have connotations in the
imaginative literature such as in comedies, allegories, fairy tales, and some children’s
stories, Newmark recommends that they are translated. He adds that the previous rule
should be followed unless, like in folk tales, nationality is a significant aspect.
In cases where both nationality and connotation are significant aspects, the most
appropriate method, in Newmark’s opinion, is, first, to translate the name to the TL, then,
to naturalize the translated word into a new proper name provided that the personal name
is not yet current among the educated readers of the TL [21, p. 215].
Theo Hermans believes that there are at least four ways of rendering proper names.
He phrases them:
1) They can be copied, i.e. reproduced in the target text exactly as they were in the
source text.
2) They can be transcribed, i.e. transliterated or adapted on the level of spelling,
phonology, etc.
3) A formally unrelated name can be substituted in the target text for any given
name in the source text.
 13

4) And insofar as a name in a source text is enmeshed in the lexicon of that language
and acquires ‘meaning’, it can be translated [19, p. 13-14].
Hermans contends that some other alternatives are also possible, namely various
combinations of the above methods, omitting the source text (ST) proper name in the
target text (TT), substitution of a common name in the TT for the proper name in the ST,
the insertion of the proper name in the TT while no proper name exists in the ST [ibid].
Van Coillie’s model of translating proper names [14, p. 123-129]:
Types of strategy Character of translation
1) Reproduction Leaving foreign names unchanged
2) Non-translation plus an additional Adding explanations, either in the form of a
explanation note or in the text itself
3) Replacement of personal name by a Replacing a proper name by a common
common noun noun that characterizes the person
4) Phonetic or morphological adaptation Turning to phonetic transcription or
to the target language morphological adaptation
5) Exonym Replacing a name by a counterpart in the
target language
6) Replacement by a more widely known Opting for recognizing ability without
name from the source culture or an abandoning the foreign context
internationally known name with the
same function

7) Substitution Replacing a name by another name from

the target language
8) Translation of names with a Reproducing the connotation in the target
particular connotation language, when names have specific
connotations
9) Replacement by a name with another Adding or changing the connotation of a
or additional connotation name
10) Deletion Omitting all the proper names
 14

Van Coillie mentions the actual choice of strategy the translator makes depends on a
variety of factors. He distinguishes four categories [14, p. 123-129]:
Factors Translator Motives

Nature of the name The connotation attached to a name appears to be the most
important reason for changing it
Textual factors Names are invariably embedded in a cultural context. If
the context is not developed to a substantial degree, the
chances are that the corresponding names will be modified
The translator's frame of In making their choices, translators are guided by their
reference own frames of reference, the total sum of their knowledge,
experiences, ideas, norms, and values
Other factors Whatever strategy the translator chooses, sometimes the
ultimate choices are made by or in co-operation with other
actors in the literary communication process

In conclusion, translators do not always use the same ways to render proper names in
different kinds of texts. But each model of rendering proper names states that mainly
proper names should be transliterated/transcribed. Despite the situations when proper
names have a particular connotation in the text. In the following analysis of proper names
Van Coilie’s model of translating proper names is used.
2.4. Some Peculiarities of Rendering Proper Names in Audiovisual Translation.
American audiovisual production is the largest share among the products that are
offered to contemporary Ukrainian TV viewers. Audiovisual translation is similar to the
translation of fiction, the main criterion of which is not only the adequacy of the
vocabulary and the plot of the author’s text but also the preservation of the individual
author’s style. Among the key problems of translation is the reproduction of the
peculiarities of a particular culture, which is directly related to the translation of proper
names, which provide the appropriate cultural allusions.
 15

As it’s seen from the analysis of ways of translating proper names, anthroponyms
may be rendered in literary translation by means of transcription or transliteration as
proper names are traditionally rendered, but in this case, fictitious names become devoid
of the implication which they bear in the original. So in books where the names are part of
the writer’s intention they should be rendered strictly in compliance with their inner form
semantics, which predetermines the application of the domestication strategy via the
techniques of calquing, contextual replacement, semantic development and, in the most
tricky cases, descriptive translation or the translator's footnote [16, p. 181].
O. Boka calls speaking names kind of cultural-historical and linguistic indexes, a
source of study of the lexical richness of language since they reflect the names of objects
of realities and concepts and are specific to a particular country or nation [4, p. 15]. The
task of the translator is reduced to the fact that the lexical richness of the language of
translation translates the specificity of the concept encoded in its own foreign name.
In S. Vlakhov’s and S. Florin’s book “Untranslatable in Translation” it is noted that
proper (speaking) names are of special interest, they become a kind of “key” in revealing
the author’s artistic design, often they act as laconic characteristics. The proper names are
the basis of a figurative system of the work, and the study of their semantics is the primary
task of the translator because this will allow the holistic construction of the system of
images [5, p. 216]. In the nomination of heroes, the main functions of a proper name in the
plot are realized: the identification and allocation of the character from a number of others.
The question of translating proper names has long been the subject of linguists’ and
translators’ interests. The study of rendering proper names is reflected in the writings of
L. Gnapovsky, A. Supernansky, A. Peftiev, D. Ermolovich, V. Bondaletov, L. Vedensky.
In the opinion of these specialists, the main task of the translator is to make the translation
adequate, so that the recipient receives a complete understanding of the reality.
For the theory and practice of translation, realia that reflect the phenomena
characteristic of another culture are of great importance. Such realia include the names and
nicknames of people (anthroponyms). When working on this group, the translator should
focus on cultural-historical, linguistic-cultural information, coded in proper names. The
translator should translate these realia so that they function as markers that help to
 16

understand the movie, that is, they have contributed to the effective viewing of the
audiovisual product.
Problems in translating proper names are due to the fact that they relate to the non-
equivalent vocabulary. Thus, according to Newmark, proper names convey encyclopaedic
information, they have no semantic meaning or additional connotation, therefore the most
optimal way of their translation is to reproduce the graphics shell of the word from the
language of the first creation to the language of the second work [23, p. 70].
In fact, proper names relate to a particular object and perform a symbolic function.
As K. Zaitseva notes, a properly selected name not only shows the connection of form and
value but also enhances emotional impression [8, p. 6]. Therefore, when translating proper
names it is important to find out their semantics, which translator and translation editor
should pay the greatest attention in the process of adaptation to the target language.
Furthermore, according to I. Derik, names of the characters in the texts, which he
defined as “characteronyms”, create a special system in artistic texts and thus demand
particular attention when rendered into a foreign language. Among the characteronyms
there occur both real patronyms and fictitious poetonyms, among the latter, literary
characters with the “speaking names”, i.e. significant names take a special place. Many
allusions may prove oblique to foreign readers which factor predetermines the necessity of
the translator’s footnotes, detailed references, explanations, and comments [16, p. 182].
In conclusion, the process of translating proper names in audiovisual translation is
one of the most complex, it has its own specifics and requires the use of effective methods
for achieving a successful translated version. Proper names are coded cognitive texts, the
content of which the translator has not only to decode but also to encode to the
corresponding cultural ground.
 17

CHAPTER III. ANALYSIS OF PROPER NAMES AND THEIR REPRODUCTION

INTO UKRAINIAN
3.1. General Information about the Animated Movie “Inside Out”.
“Inside Out” is a 2015 American 3D computer-animated comedy-drama film
produced by Pixar Animation Studios and released by Walt Disney Pictures. The film was
directed by Pete Docter and co-directed by Ronnie Del Carmen, with a screenplay written
by Docter, Meg LeFauve and Josh Cooley, adapted from a story by Docter and
Del Carmen [44].
“Inside Out” is about how five emotions, personified as the characters – Anger,
Disgust, Fear, Sadness, and Joy – grapple for control of the mind of an 11-year-old girl
named Riley during the tumult of a move from Minnesota to San Francisco [49].
Docter first began developing “Inside Out” in 2010, after noticing changes in his
daughter’s personality as she grew older. The film’s producers consulted numerous
psychologists including Dacher Keltner from the University of California, Berkeley, [39]
who helped revise the story by emphasizing the neuropsychological findings that human
emotions affect interpersonal relationships and can be significantly moderated by them
[49].
After premiering at the 68th Cannes Film Festival on May 18, 2015, “Inside Out”
was released in North America on June 19, 2015. The film was praised for its concept,
screenplay, subject matter, Michael Giacchino’s musical score, and the vocal
performances.
The film grossed $90.4 million in its first weekend, making it the highest opening for
an original title at the time, [40] accumulating over $857 million in worldwide box office
revenue in 2015, making it the seventh-highest-grossing film of 2015. The film received
several awards, including a BAFTA Award, Golden Globe Award, Critics’ Choice Award,
Annie Award, Satellite Award, and Academy Award for Best Animated Feature [44].
“Inside Out” was dubbed into Ukrainian by Le Doyen Studio for Disney Character
Voices International in 2015 [ibid].
 18

Le Doyen Studio is a Ukrainian post-production and dubbing studio that started its
activities in 2008. In January 2009, it became the first studio in Ukraine to receive the
“Dolby Premier Studio” certificate [45].
Its appearance was preceded by a long preparatory process and the efforts of leading
specialists. The studio of this level is not only unique for Ukraine but also one of the best
in the world. Le Doyen has been tested for compliance with international quality standards:
the technical capabilities and acoustics of the premises have been tested and approved by
James Sidon, principal consultant for the creation of new Dolby production studios [36].
According to statistics for 2012, Le Doyen Studio dubbed about 60% of all film
distribution in Ukraine [45].
Along with the soundtrack for Dolby Digital movies, Le Doyen also performs other
types of sound works: toning, dubbing, composing music, sound designing movies and
videos [36].
The Ukrainian dubbing of the animated movie “Inside Out” by Le Doyen Studio
received a lot of positive reviews. On the website uafilm.tv this movie has got 95% of
positive feedback. And the translation plays an integral part in this estimation.
To summarise, in light of the foregoing, “Inside Out” is a very successful movie.
Actions take place not only in the outer world but also in Riley's inner world. The task of
translating it into Ukrainian is very difficult because the translated version should have the
same success, provoke the same emotions, and make the same impression. Characters of
the inner world play extremely important roles in this animated movie. They carry
speaking names which pose a challenge to translators. Rendering of their names is a very
important and complicated issue.
3.2. The Translation Analysis of Proper Names.
The following chapter is dedicated to the analysis and comparison of the original and
the translation. Analysis of proper names in the animated movie “Inside Out” is carried
out according to Van Coillie’s model of translating proper names. Van Coillie offered 10
ways of rendering proper names:
1) Reproduction;
2) Non-translation plus additional explanation;
 19

3) Replacement of personal name by a common noun;

4) Phonetic or morphological adaptation to the target language;
5) Exonym;
6) Replacement by a more widely known name from the source culture or an
internationally known name with the same function;
7) Substitution;
8) Translation of names with a particular connotation;
9) Replace by a name with another or additional connotation;
10) Deletion.
In the following analysis, Van Coillie’s model is used because he offered the widest
range of ways of translating proper names. It is the most suitable model for rendering
proper names in this animated movie, for translating different proper names, characters’
speaking names, which have particular connotations. This movie has a wide range of
different ways of rendering proper names.
3.2.1 Replacement of Personal Name by a Common Name.
Example 1
Original Translation by Le Doyen Studio
01:22:33,560 --> …Spring Lake, where you …і озера, де ти вчилася ковзати.
01:22:36,370 learned to skate.
The communicative situation is the following: Riley tells her parents that she misses
Minnesota. (At the beginning of the movie they have moved from Minnesota to San
Francisco.) Her parents try to support her, her father starts to recall some unforgettable
moments, events and places from Minnesota. Riley likes skating, she skates from her
childhood. So father does not forget about Spring Lake, where Riley learned to skate.
Spring Lake is a lake located in Scott County, Minnesota. And in the translation, we
only have «озеро». We can observe that in the source text we have a proper name and in
the target text it is replaced by the common name. This is a very good example of when
we may use this way of translation. Spring Lake is not familiar to the target audience but
in this sentence, it does not play a very important role. The function of this proper name in
the source text is that it is a lake which is a memorable place for Riley; it is a place where
 20

she spent a lot of time, where she learned to skate. And even in the source text, it does not
matter if it is a Spring Lake or any other lake in Minnesota. So, the translation «озеро» is
suitable in this situation and has the same function in the target text.
3.2.2. Phonetic Adaptation to the Target Language.
Example 2
Original Translation by Le Doyen Studio
00:01:48,120 --> Hello. Riley. Look at you. Ку-ку. Райлі. Яка ж ти гарнюня.
00:01:56,526 Aren't you a little bundle of Ти наша найбільша в світі радість.
joy?
Riley is the main character in this animated movie. In the target text, her name is
transcribed. As transcribing/transliteration is the most popular way of translating proper
names, in this example it is also the most suitable. “Riley” is not a speaking name and it
does not carry any additional connotation. It is a very popular unisex given name in the
United States. In the target text, it is transcribed as «Райлі». Although, «Райлі» is not a
typical given name to the target culture, but the target audience is familiar to it. There is no
need in substituting this proper name with any popular given name in the target audience.
Moreover, «Райлі» is a catchy given name to the target audience that is important, as it
refers to the main character.
3.2.3. Substitution.
Example 3
Original Translation by Le Doyen Studio
00:34:54,040 --> Four years of piano lessons. - Чотири роки фортепіано - Ага,
00:34:59,804 Yeah, it looks pretty faded. - вже бліднуть. - Тоді так, лишай
You know what? Save “Собачий вальс” і гами, решту в
Chopsticks and Heart and кучу.
Soul, get rid of the rest.
The communicative situation is the following: Actions take place in Riley’s Long
Term Memory. Mind workers decide what thing Riley do not need and may forget, and
what things should remain in her memory (for example, like a catchy song from the
commercials that sometimes unconsciously plays in your head).
 21

“Chopsticks” (original name “The Celebrated Chop Waltz”) is a simple, widely

known waltz for the piano [41]. It is the most played piano song.
“Heart and Soul” is a popular song composed by Hoagy Carmichael with lyrics by
Frank Loesser [43]. It is also a very popular and known piano song.
«Собачий вальс» is “Flohwalzer” is a simple piano piece, often one of the first
learned because its fingering is simple and it allows beginners to perform a piece that is
harmonically and rhythmically pleasing [37].
«Гама» – a scale – any set of musical notes ordered by fundamental frequency or
pitch. In the educational process, gammas are used as exercises for the technical
improvement of musicians-performers [32].
Thus the function of proper names “Chopsticks” and “Heart and Soul” is that these
songs are the most played piano songs. Everybody who learns to play the piano knows
how to play these songs and remembers them because they are not difficult. And in the
target text, we have «Собачий вальс» and «гами» which are approximately the same for
the target audience. Consequently, the original and translation perform the same functions
and rendering the proper names by substitution is appropriate in this example. If we just
translate these proper names into the target language, the sentence will lose its connotation
that it has in the original.
3.2.4. Translation of Names with a Particular Connotation.
Example 4
Original Translation by Le Doyen Studio
00:02:57,280 --> Headquarters only got more У Головній конторі ставало
00:03:00,124 crowded from there. дедалі тісніше.
00:05:42,200 --> I love Honesty Island. And Ааа… обожнюю Чесно-острів.
00:05:45,443 that's the truth! Чесслово.
00:30:21,720 --> But it's right over the Memory Але ж під мостом Могильник
00:30:23,780 Dump. спогадів.
Headquarters, Honesty Island, Memory Dump and others are the departments of
Riley’s inner world.
 22

Headquarters, according to the Merriam-Webster Dictionary, is “a place from which

a commander performs the functions of command” [29]. In the word “headquarters” part
“head” means main, like it is also presented in the definition in Wikipedia, headquarters –
the location where most, if not all, of the important functions of an organization are
coordinated [42]. But in this movie part “head” also has the connotation that it is located in
Riley's head, it is the main department where live and work our five main emotion-
characters Anger, Disgust, Fear, Sadness and Joy.
We usually translate “headquarters” into Ukrainian like «штаб-квартира»,
«головний офіс/контора». And in this situation, it is better to use the word «головна
контора» as it is presented in our target text because the word «головний» represents the
connotation “main” and may also refer to “head” in its direct meaning. Thus, in this
context «Головна контора» fully corresponds to the proper name “Headquarters”.
“Honesty Island” is one of the islands of Riley's personality. In the target text, we
have «Чесно-острів», which is a full correspondent to the original. According to
Wikipedia, honesty is a facet of moral character that connotes positive and virtuous
attributes such as integrity, truthfulness, straightforwardness, including
straightforwardness of conduct, along with the absence of lying, cheating, theft, etc. And
in the translation the word «чесність» fully represents this definition. Thus, «Чесно-
острів» has the same connotation and plays the same function in the target text, as
“Honesty Island” in the source text.
“Memory Dump” is a deep chasm that stands below the Headquarters and the
Personality Islands. At the bottom of the pit are hills of faded memories that eventually
disappear if completely forgotten [46]. And in translation, we have «Могильник
спогадів», in which the part «могильник» means “burial complex”. In this example
«могильник» is a correspondent to the word “dump”, which is “a site for depositing
rubbish" [30]. However, these words are not the full correspondents, but in this context,
they have similar connotations and make a similar impression on the audience.
In brief, in the following example are presented departments of Riley's inner world.
These departments are translated because they have a particular connotation.
 23

Transcribing/transliterating is not a proper way of rendering into Ukrainian in this

situation.
Example 5
Original Translation by Le Doyen Studio
00:02:45,920 --> I'm Sadness. Я Печаль.
00:02:47,410
00:12:36,120 --> Good going, Sadness. Вітаю, Печалько.
00:12:38,060
Sadness is one of the main characters. Sadness came into existence after Riley’s first
33 seconds of her life; there, she met Joy. When she caused baby Riley to cry, Joy pushed
her aside and fixed the situation. Sadness was only used whenever Riley threw tantrums or
did not get her way. None of the other Emotions really understand what Sadness’ role is.
Sadness would love to be more optimistic and helpful in keeping Riley happy, but she
finds it so hard to be positive. Sometimes it seems like the best thing to do is just lie on the
floor and have a good cry.
Sadness is literally the very definition and being of sorrow and gloom. She is hardly
ever used because Joy is the boss and does not want Riley to ever be sad, even when she
needs to be. Because of this, Joy treats Sadness badly. Secretly, however, Sadness yearns
to earn her place among the other emotions, even though the others do not believe Sadness
has a purpose in the mind and almost always prevent her from trying. She is the most
sensitive out of all the emotions, as she felt genuinely hurt by Joy’s abandonment because
“Riley needs to be happy”, which made poor Sadness feel she was truly useless and
unneeded. Sadness also complains a lot, as seen when she keeps saying she’s too sad to
walk or do anything, much to Joy’s frustration. Sadness is also smarter, has more common
sense, and is more pragmatic than the others, which proved expedient in the journey
through Riley's mind. Despite her pessimistic disposition, sarcastic demeanour and being
negative virtually all the time, she is very considerate and compassionate towards others.
Unknowingly, this is because of Sadness’ true purpose – her role is to tell others when
Riley needs help by helping her let the sadness out so she can then let it go [48].
 24

Sadness has a speaking name which also reinforces her character, which helps to
make up her personality. This proper name should be translated into the target language in
order to perform the same function as in the source text. And in our translation, we have
«Печаль» which means sorrow, grief, sadness. So we have the same connotation in the
source text and target text. If we render this proper name by transcribing/transliteration it
will lose its connotation, its function in the target text.
Moreover, we have one more variant in the target text, such as «Печалька».
«Печалька» is a diminutive form of the name «Печаль». The Ukrainian language is
characterized by the widespread use of diminutive forms, not only in folklore, where
diminutives are often a means of expressing artistic language (козаченьки, серденько,
лебідонька) but also in everyday life, especially in mother’s language to children. The
most frequent use of diminutives is the diminutive forms of proper names (Олена –
Оленка, Петро – Петрик, Петрусь) [34]. Thus, it is very good to use the diminutive form
«Печалька» in the target text. It is an animated movie, most of the spectators are children
and using diminutives is more pleasant and habitual to them. Moreover, as the usage of
diminutives is characteristic of given names in Ukrainian, our speaking name «Печалька»
becomes even more similar to a given name and more convenient to the target audience.
Example 6
Original Translation by Le Doyen Studio
00:51:00,960 --> Hey! Our life was perfect until Слухай, життя було супер, доки
00:51:04,885 Mom and Dad decided to маму і тата не понесло у Сан-
move to San Fran Stinktown. Смердисько.
The communicative situation is the following: Actions take place in Riley’s inner
world. Anger is talking about their life in Minnesota. He says that the best moments, the
best events were in Minnesota. And then he says that everything has changed since they
have moved to “San Fran Stinktown”.
In the original, we have the proper name “San Fran Stinktown”. According to Urban
Dictionary, “San Fran” is the most annoying way possible to refer to the City of
San Francisco. It is even more annoying than calling it Frisco [31]. According to the
Merriam-Webster Dictionary, “stink” is a strong offensive odor, stench [29]. So in this
 25

example, we may see that Anger wants to show how annoyed he is about San Francisco
and compares it to something very stinky.
In the target text, we have «Сан-Смердисько». It was used a play upon words to
show the same connotation that we have in the source text. The part «Франциско» was
replaced with «Смердисько». «Смердисько» originates from the word «смердіти»,
which means “to stink”. By using this play upon words, the translator tries to show the
same function of this proper name, he also shows annoyance and abomination to San
Francisco.
3.2.5. Replacement by a Name with another or Additional Connotation.
Example 7
Original Translation by Le Doyen Studio
00:47:21,600 --> Princess Dream World! Принцеси Білий Замок!
00:47:23,125
The communicative situation is the following: Actions take place in Riley’s inner
world. Sadness and Joy are wandering there; they are searching the way out. And on their
way, they see how “Princess Dream World” is destroyed.
“Princess Dream World” is translated as «Принцеси Білий Замок», which means
princess white castle. We can see that the translator omitted the part “dream world” which
has a particular connotation. “Dream world” means something fantastic, invented,
idealized. And the translation lacks this connotation. «Білий Замок» only describes that
this castle is white, as we may see it on the screen. We may also translate it like «Світ
мрій принцеси». But in this particular example, the connotation of a world of fantasy is
not so important. We only see this castle on the screen for some seconds and it does not
appear again.
3.2.6. Deletion.
Example 8
Original Translation by Le Doyen Studio
01:15:36,320 --> Forget it, Jake. It's Забудь, Джейк. Усе хмарно.
01:15:38,482 Cloud Town.
 26

The communicative situation is the following: Two policemen listen to the woman
who tells about an accident with her husband. But then the woman disappears and one
policeman says to another to forget it because it is Cloud Town.
Cloud Town is a place in Riley’s inner world. It is white and blue. Houses are made
of clouds, this woman is also like a cloud and policemen are like the drops of the rain.
In the target text, we do not have the translation of the proper name “Cloud Town”.
We only have the phrase «усе хмарно», which means that everything is cloudy. But also
this phrase may have the connotation that everything is obscure, confused, complicated.
And in the source text, the policeman said the phrase “Forget it, Jake. It's Cloud Town.” to
let Jake understand that the situations like this are typical for Cloud Town, they are
incomprehensible and they do not need to search a solution but just forget it.
In this example, there was deleted the proper name from the target text but the
meaning of this sentence was preserved.
To sum up, rendering of proper names was analyzed in this chapter. Many different
proper names were used in the text and they were translated into Ukrainian in different
ways by Le Doyen Studio. There were analyzed such examples, which were rendered into
Ukrainian by replacement of personal name by a common name, phonetic adaptation to
the target language, substitution, translation of names with a particular connotation,
replacement by a name with another or additional connotation and deletion. Every
particular way of translating has its own factors for applying and we should also pay
attention to the function, that proper names have in the source and target text.
 27

CONCLUSION
The present paper has been an attempt to research into the field of proper names,
which constitute an essential part of every language and to analyze the ways of their
rendering in the framework of domestication strategy in audiovisual translation.
The paper outlines two main strategies of translation such as domestication and
foreignization, the opposition of which is based on the ideas of Friedrich Schleiermacher.
Besides, the strategy of domestication was used at least since ancient Rome.
Lawrence Venuti introduced these strategies to Translation Studies in their modern sense.
Venuti’s understanding of domestication strategy was considered to be the main one in
this research. Furthermore, dubbing as a kind of translation of movies is a powerful tool
aimed at the target culture, which makes the source text meet the standards of the source
culture as much as possible, and therefore, in essence, satisfies the definition of
domestication strategy for L. Venuti.
The paper investigated the notion of proper names, as it’s seen by different scholars
(A. Gardiner, M. Kochergan, O. Leonovich, V. Korunets, S. Vlakhov, S. Florin,
P. Newmark, T. Hermans, V. Coillie and others). Onomastics/onomatology studies proper
names and defines some features, which distinguish them from common nouns. Therefore,
we need to know whether a proper name has its particular meaning which should be taken
into account in the translation.
The analysis of the paper focused on the animated movie “Inside Out” dubbed by
Le Doyen Studio. The task of translating it into Ukrainian is very difficult because the
translated version should have the same success, provoke the same emotions, and make
the same impression. Characters of the inner world play extremely important roles in this
animated movie. They carry speaking names which pose a challenge to translators.
Rendering of their names is a very important and complicated issue.
In the practical part of the research, the corpus of proper names from the animated
movie “Inside Out” was analyzed according to Van Coillie’s model of rendering proper
names. It is the most suitable model for rendering proper names in this animated movie,
for translating different proper names, characters’ speaking names, which have particular
connotations. This movie has a wide range of different ways of rendering proper names.
 28

There were analyzed such examples, which were rendered into Ukrainian by replacement
of personal name by a common name, phonetic adaptation to the target language,
substitution, translation of names with a particular connotation, replacement by a name
with another or additional connotation and deletion. The most often used type of
rendering proper names was translation of names with a particular connotation. On the
contrary, the least frequent was deletion.
Thus, the main goal for Le Doyen Studio was to adequately render the proper names
and at the same time to provoke the same connotation in the target text as it appeared in
the source text. Every particular way of translating has its own factors for applying and we
should also pay attention to the function, that proper names have in the source and target
text. Le Doyen Studio tried to perform this task and on the basis of the analyzed examples
it can be seen that it was quite successful. Therefore, this helped to achieve identical
functions as in the source text creating the equality of the text perception by the target
audience.
To conclude, audiovisual translation is continuously developing and proper names
play not the last role in it. Moreover, the issue of rendering proper names with particular
connotation plays not the last role while applying the strategy of domestication. This
strategy is often used in audiovisual translation, particularly in the dubbing of movies.
 29

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 31

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38. Чи варто дублювати українською.
URL : https://web.archive.org/web/20180409154114/https://detector.media/infospace
/article/6361/2006-02-01-chi-varto-dublyuvati-ukrainskoyu/.
39. A Conversation with the Psychologist Behind “Inside Out”.
URL : https://psmag.com/social-justice/a-conversation-with-psychologist-behind-
inside-out.
40. Box Office Report: “Inside Out” Surprises with $91 Million Opening.
URL : https://ew.com/article/2015/06/21/box-office-report-inside-out/.
41. Chopsticks (Music). URL : https://en.wikipedia.org/wiki/Chopsticks_(music).
42. Headquarters. URL : https://en.wikipedia.org/wiki/Headquarters.
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43. Heart and Soul (Hoagy Carmichael and Frank Loesser song).
URL : https://en.wikipedia.org/wiki/Heart_and_Soul_(Hoagy_Carmichael_and_Fran
k_Loesser_song).
44. Inside Out (2015 Film). URL : https://en.wikipedia.org/wiki/Inside_Out_(2015_film).
45. Le Doyen Studio. URL : https://uk.wikipedia.org/wiki/Le_Doyen_Studio.
46. Memory Dump. URL : https://disney.fandom.com/wiki/Memory_Dump.
47. Proper Noun. URL : https://en.wikipedia.org/wiki/Proper_noun.
48. Sadness. URL : https://disney.fandom.com/wiki/Sadness.
49. The Science of “Inside Out”.
URL : https://www.nytimes.com/2015/07/05/opinion/sunday/the-science-of-inside-
out.html.