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Journal articles on the topic 'Lyrics translation'
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1
Guerrero, María José Hernández. "La traducción de letras de canciones en la web de aficionados Lyrics Translate.com." Babel. Revue internationale de la traduction / International Journal of Translation 60, no. 1 (November 24, 2014): 91–108. http://dx.doi.org/10.1075/babel.60.1.06her.
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This paper aims to describe a sample of community translation: the web site Lyrics Translate.com, which offers translation for lyrics. Community translation consists of the translation of a large volume of content due to the collaboration of a group of amateur translators in Internet and it is characterized by the lack of a professional who guarantees the quality of the final product. The power and reach of amateur translation is surprising. The willingness of translators to work on a project without direct financial compensation is a widespread reality. Translators are motivated by recognition from the community, a sense of accomplishment that comes from improving as a translator and from enjoyment of the material they’re translating. Using French translations into Spanish language from the web site Lyrics Translate.com, we analyze their performance and the way in which users accomplish the task of translation. With this purpose, we will address some questions such as who are the translators, why they do that, the working languages and, specially, the quality of the translated material. Little attention has been paid to this newborn phenomenon of web sites offering translations carried out by amateur translators. However, these virtual communities around translation are widely spread in the cyberspace and, what is more, these new translating practices have already become a challenge for the future of translation professional work.
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Iswara, Jati Widya. "THE APPLICATION OF SKOPOS THEORY IN THE SONG LYRICS “HINGGA AKHIR WAKTU” TRANSLATED BY CHRISTIAN BAUTISTA." SALEE: Study of Applied Linguistics and English Education 1, no. 02 (August 1, 2020): 114–24. http://dx.doi.org/10.35961/salee.v1i02.98.
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The aims of this study were to analyze how many translation strategies found as applied in translating process of song lyrics entitled Hingga Akhir Waktu translated into English version by Chirstian Bautista as a singer and also the translator. The data were analyzed by Rainer Schulte and John Biuret’s translation strategies. Since the data consists of words and sentences, qualitative descriptive was applied in this research. The result of the study showed that there were certain types of translation strategies found in the process of translating song lyrics. The findings showed that the rules of Skopos theory in the translating process were running well.
Keywords: Skopos Theory; Translation Strategies; Song Lyrics; Hingga Akhir Waktu
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Irawan, Riki, and Mundriyah Mundriyah. "PROCEDURES OF TRANSLATING SONG LYRICS INTO INDONESIAN OF “THINGS WILL GET BETTER” BY AGNES MONICA." PROJECT (Professional Journal of English Education) 5, no. 2 (March 7, 2022): 288. http://dx.doi.org/10.22460/project.v5i2.p288-294.
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This study concentrated on investigating the use of the translation procedure of the translated lyrics. The objectives of the research were to find out the translation procedure used to translate song lyrics by Agnes Monica "things will get better" and the moral value in her album Agnezmo. This is a qualitative study. Data examination was paralleling the authentic language and the translated lyrics type to investigate the most used of translation procedure. The outcomes of the research displayed that there were 23 data of the translated lyrics and 8 translation procedures established in this study. Literal translation procedure was the highest often used with a total of nine, shadowed by Established equivalent with a total of four. Several other translation procedures were used temperately like linguistic compression with a total of three. The rest procedures used in small levels with a total of one in each, like modulation, amplification, linguistic amplification, and particularization. While the moral value of the song was an effort will not betray the results, but mutual trust and forgiveness of each other in a relationship is the key or way so that the relationship will go on better. Keywords: Translating Procedures, Lyric, Song, Moral Value
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Fitria, Tira Nur. "Linguistic problems of translating Indonesian popular lyrics of cover songs into English." JOALL (Journal of Applied Linguistics and Literature) 7, no. 1 (February 1, 2022): 1–14. http://dx.doi.org/10.33369/joall.v7i1.16504.
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Translation results can be influenced by linguistic aspects. The objective of this study is to investigate several kinds of linguistic problems in the translation of Indonesian popular lyrics’ cover-songs from Indonesian into English. This study applies descriptive qualitative research. This research uses the document to collect data. The document used is cover songs from several popular singers and bands such as Andmesh Kamaleng, Anneth, Budi Doremi, Nineball, and Christian Bautista. There are seven popular lyrics’ cover songs that have been analyzed. The result analysis shows that translation songs activities cannot be separated from linguistic problems as in morphological, syntactical, phonological, and semantic. Morphologically, the problem is in the difference of the grammatical system related to singular and plural nouns. In phonological, the problem is in the differences between Indonesian and English syllables. As a result, the differences cause a different pronunciation and produce a different number of syllables. Syntactically, the problem is in constructing sentence elements. In a sentence, both in Indonesian and English at least will need a subject and a predicate orderly. Semantically, the problem is related to the meaning contained in a word or sentence, but equivalence may occur in translating to achieve an adequate degree of equivalence. When translating a song, a translator must pay close attention to the many components that contribute to the creation of a full product song. These components include song lyrics or text, as well as musical elements like melody and rhythm. In its formulation, the song lyric is a language that is not isolated from the musical principles such as the song's rhythm, melody, and harmony. In song translation, the sense and facts of the source texts are often changed. Therefore, the translator is faced with a choice of whether or not to translate such a lyric.
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Wijaya, Andika, and Gloria Christine Setiyowati. "INDONESIAN TO ENGLISH SINGABLE TRANSLATIONS BY LOCAL AND FOREIGN TRANSLATORS." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 4, no. 2 (December 28, 2020): 223–34. http://dx.doi.org/10.30743/ll.v4i2.3103.
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Song lyric translation is important because in these recent decades people can access songs worldwide. The aim of this research is to gain an understanding of the difference between singable translations made by an Indonesian translator and a foreign translator by investigating what translation procedures and methods occur in two translated songs from Indonesian to English using qualitative descriptive method. The result of this research indicates that the singable translation made by a foreign translator is more identical to the source language (SL) compared to the one made by an Indonesian translator. However, despite the differences, the two translated songs share something in common, for instance the singability and the length of lyrics. Taking the findings into consideration, it could be said that the foreign translator is more faithful to the source text (ST), while the Indonesian translator emphasizes the target language (TL) more.
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Hartono, Edi, and Issy Yuliasri. "Techniques of Translating Adele’s 25 Album into Indonesian and The Naturalness Quality." Rainbow: Journal of Literature, Linguistics and Cultural Studies 8, no. 1 (July 29, 2019): 86–93. http://dx.doi.org/10.15294/rainbow.v8i1.29645.
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This research focuses on analyzing the use of translation techniques and the naturalness of the translated lyrics. The objectives of the study were to investigate the translation techniques used to translate song lyrics and to identify the naturalness in translated lyrics of Adele's 25 album songs. This research was done qualitatively. This research applied the translation technique classification proposed by Molina and Albir (2002:509-511) and the naturalness assessment proposed by Nababan (2012). Data analysis was done by comparing the original language and the translated lyrics version to find out the most used of translation techniques. The rater survey was also done by asking 20 respondents to find out the naturalness level of the translated lyrics. The results of the study showed that there were 276 data of the translated lyrics and 11 translation techniques found in this research. Literal translation technique was the most frequent used, followed by Linguistic compression. Some other translation techniques were used moderately such as, Established equivalent, reduction, and discursive creation. The rest techniques were used in low frequency such as modulation, amplification, compensation, linguistic amplification, transposition, and particularization. In terms of naturalness assessed by twenty respondents found that around 61.95% of the data were considered natural translation, 28.80% were less natural and 9.23% were unnatural. The translation techniques with the highest naturalness were Linguistic amplification technique with a percentage 68.18%, particularization was contributing most to less natural translation with percentage 45%, and the transposition technique was contributing most to unnatural translation with percentage 23%. From the data, it can be concluded that the translated lyrics of Adele's 25 album were mostly natural.
Keywords: Song; Lyric; Translation Techniques; Naturalness
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Ghasani, Betari Irma. "The Strategies Dealing with Non-Equivalence Problem in The English-Indonesia Version of Song Lyric Lead the Way." PHILOSOPHICA Jurnal Bahasa, Sastra, dan Budaya 4, no. 1 (October 8, 2021): 1. http://dx.doi.org/10.35473/po.v4i1.1048.
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As a feature of translation, the concept of equivalence is a crucial issue which have to be considered by the translator. Equivalence is a term proposed by Baker (1992) for gaining the equal meaning between the source text and the target text. In translating the source text, some non-equivalence problems happen since several source language has unequal meaning with the target language. Objective of the Paper. This paper aims to identify, describe, and explain some problems of non-equivalence problem at word level and strategies dealing with it. Method. By using Baker’s theory (1992), the song lyric of both English and Indonesian version entitled Lead the Way (sung by Jhené Aiko) and Kita Bisa (sung by Via Vallen) are analyzed. Findings. The findings show that translation by omission is highly applied in translating the lyric followed by a varied occurrence of other strategies. Conclusion. The variation of the strategies is used in order to make a “singable” song. Finally, this paper provides suggestions that a study of the translation of song lyrics combining translation theory and interpersonal meaning of SFL for giving a better understanding is needed to be done for giving a broader understanding towards the text.
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Akkurt, Vladyslava, Alexander Procopenco, and Rymma Pastyr. "FEATURES AND PROBLEMS OF TRANSLATION OF ENGLISHLANGUAGE SONGS BY UKRAINIAN VIDEO BLOGGERS." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2020, no. 31 (December 2020): 7–22. http://dx.doi.org/10.24195/2616-5317-2020-31-1.
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The article deals with features and problems of translating texts of Englishlanguage songs and ways of translating them into Ukrainian by the blogger UkrTrashDub. With the advent of American culture and its influence on Ukrainian youth, research is becoming increasingly relevant in our time. In the course of a comparative analysis of the original, it was revealed that linguistic realities and reproduction of the form of the original text are the main difficulties in the perception and translation of songs. Despite a deep understanding of the ideological and thematic orientation of the original text, the translator must be able to find adequate verbal means and the specifics of the author’s language. In addition, when translating is a poetic text, it is very important to preserve its rhythmic organization and rhyme system, which, however, is not always possible. Speaking about the ways of translating lyrics, the authors dwell on the rhymed method of translation, focusing on achieving the maximum possible adequacy of the translation. Particular attention is paid to the social factor that motivates the existence of this type of translation. As part of the study, the main features, problems and means of translating English-language songs into Ukrainian were identified. The main features include: unstable poetic meter; the huge influence of the culture of native speakers of the original text; a large number of the realities of the culture of the native speakers of the original language depicted in the lyrics. The problems of translating lyrics are: preservation of the original form; adaptation and/or transmission of foreign language realities and the difference in languages, which forms the approach to writing poetry. It can be concluded that the main features of the translation of English songs are related to the preservation of the original form.
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Supardi, Moh, and Dea Amanda Putri. "Audio-Visual Translation Techniques: Subtitling and Dubbing of Movie Soundtrack in Frozen: Let it Go." Buletin Al-Turas 24, no. 2 (October 30, 2018): 399–414. http://dx.doi.org/10.15408/bat.v24i2.8621.
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This article is aimed at finding out the technique of subtitle and dubbing translation in OST Frozen: Let it Go. The article analyzes the lyrics of the song as the corpus. The data are analyzed qualitatively by using the subtitle translation techniques. The data collection is conducted through reading source language and target language, selecting and comparing the translation techniques done by the translator/dubber, marking, classifying and analyzing them based on the theories of translation technique proposed by Molina and Albir. The result shows that subtitle techniques done by the translator consist of eleven techniques. Based on the analysis of translation process translated from the lyrics into the subtitled version, the translator seems to use most of the technique. While the dubber only uses nine techniques in translating the lyrics into the dubbed version. In general, the translator’s technique applied in the subtitled version is mostly literal translation; While the dubbed version’s most common techniques are modulation and reduction.---Artikel ini bertujuan untuk mengetahui tentang teknik penerjemahan subtitle dan dubbing dalam OST Frozen: Let It Go sebagai korpusnya. Data dianalisis secara kualitatif dengan menggunakan teknik terjemahan subtitle. Pengumpulan data dilakukan melalui proses membaca bahasa sumber dan bahasa target, memilih dan membandingkan teknik penerjemahan yang dilakukan oleh penerjemah / dubber, menandai, mengklasifikasi dan menganalisisnya berdasarkan teknik penerjemahan yang diajukan oleh Molina dan Albir. Hasilnya menunjukkan bahwa teknik subtitle yang dilakukan oleh penerjemah terdiri dari sebelas teknik. Berdasarkan analisis proses terjemahan yang diterjemahkan dari lirik ke dalam versi subtitle, penerjemah tampaknya menggunakan sebagian besar teknik. Sedangkan dubber hanya menggunakan sembilan teknik dalam menerjemahkan lirik ke dalam versi yang dijuluki. Secara umum, teknik penerjemah yang diterapkan dalam versi subtitle sebagian besar adalah terjemahan harfiah; Sementara teknik yang paling umum dijuluki versi adalah modulasi dan reduksi.
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Weonsuk Hwang. "Psalm Translation for Lyrics: Focusing on John Milton’s Translations." THEOLOGICAL THOUGHT ll, no. 162 (September 2013): 249–77. http://dx.doi.org/10.35858/sinhak.2013..162.008.
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Suleimanova, Maryam Saidovna, and Mariza Magomedova. "On the adequacy of translation of the lyrics by Fazu Aliyeva into the Russian language." Филология: научные исследования, no. 12 (December 2021): 21–29. http://dx.doi.org/10.7256/2454-0749.2021.12.37085.
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The subject of this research is the adequacy of translation of Avar poetry into the Russian language on the example of the poem “If They Will Draw My Portrait” by the National Poet of Dagestan Fazu Gamzatovna Aliyeva. The object of this research is the lyrical works of Fazu Aliyeva and other Dagestan poets. Using the method of comparative analysis, the authors draw parallel between the Avar and Russian versions of F. Aliyeva’s poem, which has been translated by the Russian poet-translator Vladimir Turkin. The goal of this article lies in the comparative study of the lyrical poem by the Avar poet and its literary translation into the Russian language. The question of the literary translations of poetic texts from the native languages into the Russian language remains relevant at all times. The degree of accuracy and adequacy of the translation of modern or classic Dagestan poetic texts into the Russian language is yet to be fully researched. The novelty of this work consists in comprehensive analysis of the adequacy of translation of the lyrical texts of the Avar poet Fazu Aliyeva into the Russian language. The adequate professional translation into the Russian language is invaluable for the development of literature of the Caucasian peoples (and all national literatures of the peoples that are part of the Russian Federation). This helps them reach a wider readership. Juxtaposition of the original poetic text and its translation into the Russian language proves that Vladimir Turkin has achieved full adequacy of conveying the Avar text, despite the discrepancy in translating spatial details, which not in the slightest distorts the stylistic and emotional-expressive peculiarities inherent to the poem by the Dagestan poet Fazu Aliyeva.
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Italia, Maddalena. "Eastern Poetry by Western Poets: Powys Mathers’ ‘Translations’ of Sanskrit Erotic Lyrics." Comparative Critical Studies 17, no. 2 (June 2020): 205–24. http://dx.doi.org/10.3366/ccs.2020.0359.
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This essay focuses on a pivotal (if understudied) moment in the history of the translation and reception of Sanskrit erotic poetry in the West – a moment which sees the percolation of this classical poetry from the scholarly sphere to that of non-specialist literature. I argue that a crucial agent in the dissemination and inclusion of Sanskrit erotic poems in the canon of Western lyric poetry was the English poet Edward Powys Mathers (1892–1939), a self-professed second-hand translator of ‘Eastern’ literature, as well as the author of original verses, which he smuggled as translations. Using Black Marigolds (a 1919 English version of the Caurapañcāśikā) as a case study, I show how Powys Mathers’ renderings – which combined the practices of second-hand and pseudo-translation – are intertextually dense poems. On the one hand, Black Marigolds shows in watermark the intermediary French translation; on the other, it functions as a hall of mirrors which reflects, magnifies and distorts the emotional and aesthetic dimensions of both the classical/Eastern and modern/Western literary world. What does the transformation of the Caurapañcāśikā into a successful piece of modern(ist) lyric poetry tell us about the relationship that Western readers wished (and often still wish) to have with ‘Eastern’ poetry? Furthermore, which conceptual tools can we mobilize to ‘make sense’ of these non-scholarly translations of classical Sanskrit poems and ‘take seriously’ their many layers of textual and contextual meaning?
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Chen, Xi. "When the classic speaks for children." APTIF 9 - Reality vs. Illusion 66, no. 4-5 (October 5, 2020): 780–95. http://dx.doi.org/10.1075/babel.00175.che.
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Abstract Bob Dylan has significantly influenced American song tradition and popular music for more than five decades. As his songs are famous for the creative poetic expressions, they are not merely song lyrics, but also can be regarded as lyric poems. This paper aims to investigate the retranslation of Bob Dylan’s songs in bilingual picture books to explore how his classic musical works are repackaged both verbally and visually for contemporary children. The data for analysis are selected from two bilingual picture books on Dylan’s songs published in China in 2018. Firstly, it conducts a detailed textual analysis of the English and Chinese song lyrics to analyze the appropriate translation strategies and methods for song translation. Secondly, based on visual narratives (Painter, Martin and Unsworth 2013), it analyzes the intersemiotic relations between texts and images in picture books to discuss how the emotions and narratives in Dylan’s songs are visually represented.
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Cintrão, Heloísa Pezza. "Translating “Under the Sign of Invention”: Gilberto Gil’s Song Lyric Translation." Meta 54, no. 4 (February 1, 2010): 813–32. http://dx.doi.org/10.7202/038905ar.
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Abstract The translation of song lyrics shares in the difficulties of constrained translation, as well as in the impossibilities of poetic translation. In Gilberto Gil’s adaptation of the song “I just called to say I love you” by Stevie Wonder, two translation procedures stand out: (1) to take broad semantic fields as translation units, and (2) to opt for cultural adaptation in terms of the translation’s poles of domesticating/foreignizing. The way Gil faces up to the challenges of the translation of the song is consistent with Haroldo de Campos ideas on transcreation.
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Iplina, Antonina Alekandrovna. "Reconstruction of Uzbek poetry image system in translation." Interactive science, no. 10 (44) (October 19, 2019): 30–32. http://dx.doi.org/10.21661/r-508132.
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The article deals with the poetic system of images in the poetic speech of Uzbek lyrics on the material of the poem «Oshi halol» by the modern popular poet and translator Rustam Musurmon in the original language, as well as translations into English and Russian in a comparative aspect.
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Poluwa, Mohamad Irham, and Nafilaturif'ah Nafilaturif'ah. "AUDIOVISUAL AND SONG TRANSLATION OF INDONESIAN SUBTITLE IN SHELTER MUSIC VIDEO." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 5, no. 2 (December 28, 2021): 332–39. http://dx.doi.org/10.30743/ll.v5i2.4481.
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The current study aimed to find out the translation techniques applied by the translator in creating the Indonesian subtitles for the original lyrics of Shelter – a collaboration project of music video by Porter Robinson and Madeon, A1-Pictures and Crunchyroll uploaded on YouTube in 2016. The data were analyzed based on the audiovisual translation theory, especially the linguistics of subtitling, the translation technical procedures in the compared stylistics, and the choice in song translation. The study also applied qualitative approach which enabled the researchers to emerge data in descriptive way (in the form of words or pictures instead of numbers). Furthermore, the data were also in the forms of an audiovisual content. The study indicated that most of the lyrics were translated based on literal translation that was reflected by the equivalence of the source language and the target language. The audiovisual theory, particularly reduction theory was also applied in creating the subtitles. In addition, the subtitles were created without taking the music into consideration, meaning that the subtitles were devoted as a supplement or no more than another piece of the source text.
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Aleshniskaya, Evgeniya V. "Translation in Forming Musical Discourse: A Case Study of English-Language Song Lyrics in Russia." Research in Language 18, no. 4 (December 30, 2020): 395–405. http://dx.doi.org/10.18778/1731-7533.18.4.03.
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The paper considers translation as an intermediate stage in the creation of English-language song lyrics by native Russian speakers. Russian songwriters quite often rely on their native language and translate their thoughts from Russian into English. This leads to the use of a “russified” variety of English, which performs poetic and pragmatic functions and serves as a medium harmonizing content, sound, and music. Drawing evidence from 214 songs in various musical genres, as well as 10 ethnographic interviews with Russian songwriters, it examines the specific features of the Russian variety of English used in song lyrics, and discusses the main views on the authenticity of translation in song lyrics depending on the musical genre.
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Hendra, Hendra. "TRANSLATION STRATEGY ON "LET IT GO" SONGS THAT WAS SUNG BY IDINA MENZEL WITH INDONESIAN VERSION." Journal of English Language Teaching and Literature (JELTL) 2, no. 2 (August 29, 2019): 101–9. http://dx.doi.org/10.47080/jeltl.v2i2.622.
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The purpose of this research is to analyze the translation strategy at the word level used in the translation of the song in the animated movie "Let it go" from English into Bahasa Indonesia. The frequency with which each translation strategy is measured. The translation strategy for addressing disparate words at Word level proposed by Baker (1992) is applied as a framework for data analysis. The data for this study is the lyrics of the original song "Let it go" sung by Idina Menzel in the original movie produced by Walt Disney "Frozen" with a translation version of Indonesian. The result shows that the seven strategies proposed by Baker (1992), identified as used in this study. Translation strategiesare translated by disappearances, translated by paraphrasing using unrelated words, and translations by cultural substitution.
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MARINA I., SVESHNIKOVA. "PRESERVING THE FEATURES OF THE POETIC LANGUAGE IN TRANSLATION." HUMANITARIAN RESEARCHES 79, no. 3 (2021): 83–89. http://dx.doi.org/10.21672/1818-4936-2021-79-3-083-089.
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The poetic language of any author is unique and original. The translation of the poetic works of many Russian (and not only Russian) poets causes certain difficulties. The poetic language of I. A. Bunin has its own peculiarities. It is necessary to consider the features of his lyrics to translate the poetic works of I. A. Bunin, and the translator faces these difficulties when translating the text into another language. In particular, it is necessary to take into account the significant difference in the phonetic, lexical and grammatical design of the text due to differences in the systems of the Russian and French languages when translating into French. The main principle of the organization of Bunin's poetic phonics is the principle of sound similarity. These, as well as special linguistic means related to the realities of language and culture, do not always find full equivalents in another language. A great difficulty in translating the poems of I.A. Bunin is also the grammatical design of the works.
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Migeon-Lambert, Camile. "Translations, adaptations, quotations from Baudelaire’s poetry into metal music: an anti-alchemy?" Punctum. International Journal of Semiotics 06, no. 01 (October 16, 2020): 221–42. http://dx.doi.org/10.18680/hss.2020.0011.
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This study examines how metal musicians appropriate Baudelaire’s poetry, one of the favorite sources of metal lyrics’ intersemiosis. We will consider several levels of intersemiosis, from the reference to the literal quotation, including the music inspired by Baudelaire’s life, inquiring what metal music, which is both counter-cultural and popular, does to a great classic of French poetry. Moreover, we intend to look closer at Baudelairean intersemiosis in the work of non-French-speaking metal musicians. When they retain the original French text, the lyrics reflect the vocalist’s relation to the foreign language. Eventually, the translation processes are all brought together in those cases involving an adaptation into the band’s own language. Some of the songs we analyze belong to the most extreme genres of metal. Given the French post-Romantic poet’s controversial reception and his sense of scandal, this partiality is far from being surprising. We propose using Baudelaire’s theory of correspondences to explain the adaptation of his verses into weighty, violent notes, and sounds. Finally, the case of Baudelaire’s reception allows us to analyze the many translations at stake when a contemporary music genre such as metal incorporates literary works into its lyrical material.
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Pan, Li. "Automatic Generation of Children's Songs Based on Machine Statistic Learning." International Journal of Emerging Technologies in Learning (iJET) 13, no. 03 (March 5, 2018): 17. http://dx.doi.org/10.3991/ijet.v13i03.8367.
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In this paper, the automatic generation of children's songs is studied. First of all, according to the number of key lyrics submitted by the songwriter, statistical machine learning is used to expand and obtain more theme-related lyrics, and then the first sentence is generated through the language model automatically. On this basis, the subsequent sentences are generated through the statistical machine learning translation method. In the process of the generation, the statistical machine learning is used to expand the conception of the song, so as to get richer sentence candidates. The main features and contributions of the study are: Firstly, the statistical machine learning translation is put forward as the theoretical basis, the preceding and next sentence relationship of children's songs are mapped into the relation of the source language and target language in the statistical translation model, and the machine statistics learning translation model is designed with the integration of the domain knowledge of songs. Secondly, the statistical machine learning is used in the generation process to expand the lyrics words, thereby enhancing the theme and conception of the song. The experimental results have confirmed the effectiveness of the proposed method.
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Gritsenko, Elena, and Evgeniya Aleshinskaya. "Translation of Song Lyrics as Structure-related Expressive Device." Procedia - Social and Behavioral Sciences 231 (October 2016): 165–72. http://dx.doi.org/10.1016/j.sbspro.2016.09.087.
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Onita, Adriana. "Translating Chicana Rap: Snow Tha Product." TranscUlturAl: A Journal of Translation and Cultural Studies 9, no. 1 (June 22, 2017): 132. http://dx.doi.org/10.21992/t9zd03.
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This project examines rap lyrics, interviews, and music videos by Chicana artist Snow Tha Product to show how rap has been culturally translated, performed, and appropriated by females in order to “flip the script,” or subvert the dichotomous model of female sexuality that has been imposed upon them. Weaving insights from three academic fields (cultural translation, Chican@ studies, and hip-hop feminism), this paper also aims to creatively expand the definition of translation by positioning rap music as a performative language in its own right, capable of encoding and translating complex cultural issues related to race, gender, and sexuality.
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Samuel, Jamuna. "Ethics and Musical Language: A Gramscian Reading of Dallapiccola’s Liriche greche and Their Influence." Articles 35, no. 1 (February 14, 2017): 123–53. http://dx.doi.org/10.7202/1038947ar.
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Luigi Dallapiccola (1904–75)—a pioneering figure as serialist, composer of protest music, and trailblazer for the avant-garde—wrote his Greek Lyrics song cycle (1942–5) as an escape from wartime anxiety. I locate the Lyrics within a nexus of technique, text setting, and ethical engagement. That complex resonated with the younger composers Berio, Nono, and Maderna, each responding in the postwar period with settings from the same collection, Quasimodo’s 1940 free translation of classic Greek lyrics. I examine Quasimodo’s ethics, placing his poetry and Dallapiccola’s settings within Gramsci’s notions of language and politics, which were highly influential on postwar Italian composers.
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Bobokulova, Oyjamol Saidovna. "Description And Interpretation Of Rind In Navoi’s First Translation." American Journal of Social Science and Education Innovations 03, no. 05 (May 30, 2021): 167–71. http://dx.doi.org/10.37547/tajssei/volume03issue05-32.
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In Uzbek literature, the issue of rind (disobeying the rules of Sharia) and it is one of the most unexplored and interesting issues. In Navoi’s lyrics a series of rind poems occupies a significant place in the content. In addition to the poet’s ghazals, the article analyzes the issue of rind and attitude to rind in his works, in particular, in his translation of the “Strange us-sig’ar”. This approach allows for a harmonious study of Navoi’s views on the ideals of life and aesthetics. Such views are expressed in the article on the example of Navoi’s biographical analysis.
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Fatmawati, Faijah Ida, and Teguh Setiawan. "KUALITAS TERJEMAHAN LIRIK LAGU “MUNAJAT CINTA” BAHASA INDONESIA-JAWA." Widyaparwa 47, no. 1 (August 26, 2019): 11–20. http://dx.doi.org/10.26499/wdprw.v47i1.258.
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This study aims to describe and assess the accuracy, naturalness test, and readability test of the translation of the “Munajat Cinta” lyrics in Indonesian into Javanese. The data taken are words, phrases, or clauses which are the lyrics of Munajat Cinta. Data is collected with scrutinize techniques and note taking technique. Then, the data is analyzed by translational matching method with the technique of determining the determinant elements. The results show that the accuracy level is 1.69 points. In the naturalness test criteria the target language gets 1.82 points. Higher than the level of accuracy. Meanwhile, the third assessment criteria is readability of 2.24 points. Thus, the va-lue of the translation of the Indonesian Munajat Cinta song into the Javanese language as a whole is quite good with an average gain of 1.80 points. Although the song lyrics are not presented accurately, the translation results are still acceptable and can still be read by the target language reader quite well.Penelitian ini bertujuan untuk mendeskripsikan dan menilai keakuratan, keberterimaan/kewajaran, dan keterbacaan hasil terjemahan lirik lagu “Munajat Cinta” dalam Bahasa Indonesia ke dalam Bahasa Jawa. Data yang diambil ialah kata, frasa, atau klausa yang menjadi lirik lagu “Munajat Cinta”. Pengumpulan data dilakukan dengan teknik simak dan catat. Selanjutnya, data dianalisis dengan metode padan translasional dengan teknik pilah unsur penentu. Hasil penelitian menunjukkan bahwa tingkat keakuratan, sebesar 1,69 poin. Pada kriteria kewajaran/keberterimaan dalam bahasa sasaran menda-patkan 1,82 poin, lebih tinggi dibandingkan dengan tingkat kakuratan. Adapun, kriteria penilaian yang ketiga, yaitu keterbacaan sebesar 2,24 poin. Dengan demikian, nilai hasil terjemahan lagu “Munajat Cin-ta” dari bahasa Indonesia ke dalam bahasa Jawa secara keseluruhan cukup baik dengan perolehan rerata 1,80 poin. Meskipun lirik lagu tersebut tidak disajikan secara akurat, hasil terjemahan masih dapat dite-rima dan dapat dibaca oleh pembaca bahasa sasaran dengan cukup baik.
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Cherkasova, E. A. "V.S. Solovyov as a Translator of Dante (on Two Translations from “Vita Nuova”)." Solov’evskie issledovaniya, no. 1 (March 30, 2022): 40–54. http://dx.doi.org/10.17588/2076-9210.2022.1.040-054.
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This article examines two poetic translations of Dante Alighieri’s “Vita Nuova” by V.S. Solovyov. At the present time, Solovyov’s specific experiments of translation are merely considered in the field of literary studies, although a general assessment of them has been given in the past by scholars such as A.F. Losev, Z.G. Mints, T.F. Teperik, A.A. Asoyan and others. The logic underlying the selection of the translated materials might indicate a special attitude of Solovyov in choosing names and works, which are significant for the understanding and realization of the poetry tasks. The author of this article demonstrates that such was the name of Dante Alighieri, which embodied a special myth concerning the spiritual transformation of man through one’s love for a woman. This myth was in harmony with the concept of art, as the latter is reflected in many works of the philosopher. The author also proves that Solovyov, who knew Italian language quite well, translates Dante's sonnets rather freely: in this way, he is able to keep the ideological content of the original text while also offering a different Russian translation. The specific character of Solovyov’s translations is here considered in comparison with the three other translations of the same sonnets made by the professional linguists and translators: M.I. Liverovskaya, A.M. Efros, and I.N. Golenischev-Kutuzov. The author maintains that the distinctive “Italian” canon of the sonnet genre is preserved in Solovyov's translation: this fact would demonstrate the philosopher’s adherence to the European poetic tradition. The article finally analyzes V. Solovyov’s translations from the point of view of their connection with his corpus of lyrical poems. In conclusion, the author sums up the basic principles of V.S. Solovyov’s translation work and clarifies the nature of the dialogical connection between his poetic heritage and Dante’s lyrics.
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Fauzi, Deri, Fadilla Oktaviana, and Lia Amalia. "TRANSLATION EQUIVALENCE OF SONG LYRICS FOR THE REST OF MY LIFE AND REFLECTION." Journal of English Language Teaching and Literature (JELTL) 5, no. 1 (February 21, 2022): 32–39. http://dx.doi.org/10.47080/jeltl.v5i1.1563.
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This research focuses are to analyze the ttranslation equivalence and types of equivalence which occur in the song lyrics For the Rest of My Life and Reflection from English into Indonesian language. The writer uses documentation as the data of the research and uses content analysis as the research design. The result of research, as follows (1) For the song lyrics For The Rest of My Life, the meaning of equivalence with the different meaning category (FM) which is as much as 17 or 68%, there is no result value for rising meaning (RM) category, and for down meaning category (DM) as much as 6 or 24% appearances. Meanwhile, for non-equivalent, the missing meaning (MM) category as much as 1 or 4%; and for different meaning category (DM) as much as 17 or 68% appearances. Therefore, it can be concluded that the most appearance occurs on the different meaning (DM) category. (2) For the song lyrics Reflection, meaning of equivalence with the down meaning category (FM) which is as much as 15 or 51,7%, meanwhile there is no result value for full and rising meaning (RM) category. Meanwhile For non-equivalent, the missing meaning (MM) category as much as 1 or 3,4%, and for different meaning category (DM) as much as 13 or 44,8% appearances. Therefore, it can be concluded that the most appearance occurs on the down meaning (DM) category. In short, based on the data of analysis, either from the song lyrics For The Rest of my Life and Reflection then types of equivalence that occurs on the translation result on two the song are Dynamic Equivalence.
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Нгуен, Тхи Тхуй Кунь, and Надежда Вадимовна Крицкая. "SONG LYRICS IN ANIMATION FILMS AND FEATURES OF THEIR TRANSLATION." Tomsk state pedagogical university bulletin, no. 1(219) (January 25, 2022): 114–22. http://dx.doi.org/10.23951/1609-624x-2022-1-114-122.
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Введение. Важную роль в анимационных фильмах выполняет музыкально-песенный аспект, выполняющий особую функцию и требующий специального подхода к иноязычному воспроизведению.Актуальность исследования обусловлена вниманием современного переводоведения к поиску эффективных способов перевода песен и улучшению качества такого перевода в связи с возрастающей ролью анимационных фильмов в качестве посредников межкультурного обмена.Цель – на основе рассмотрения основных функциональных, лингвистических и структурных аспектов песенных текстов выявить основные способы их перевода и проанализировать их применимость к переводу песен анимационных фильмов.Материал и методы. Материалами исследования послужили источники по проблемам перевода песенных и аудиовизуальных текстов, а также песенные тексты анимационного фильма «Mulan» (Walt Disney, 1998). В качестве методов использовались общенаучные методы анализа, синтеза и обобщения, а также частнонаучный метод описания.Результаты и обсуждение. Принадлежность песен к текстам художественного стиля определяет их лексико-семантическое и синтаксическое наполнение, ритмическую и структурную организацию, в совокупности обеспечивающие их эстетическую ценность. В анимационном фильме структура и смысловая интерпретация песенного текста могут варьироваться, поскольку специфика жанра связана с зависимостью песни от сюжета и образов персонажей. Как формальная организация, так и содержательное наполнение песенного текста представляют собой равную важность для его полноценного иноязычного воспроизведения.Из разновидностей аудиовизуального перевода для перевода песен в анимационных фильмах применимы субтитрование и дубляж с преимуществом последнего в случае единственного перевода. При анализе применимости к дубляжу песен методов П. Лоу и Й. Франзона выявлено, что оптимальным вариантом для анимационных фильмов является адаптация текста, с наименьшими потерями позволяющая сохранить оба основных компонента песни – смысл и мелодию, с учетом специфики анимационного кино и ограничений перевода песен, а также аудиовизуального перевода.Заключение. Лексико-семантические, синтаксические, стилистические и структурные особенности песенного текста накладывают ряд ограничений на его перевод. В случае песен в анимационных фильмах эти ограничения дополнительно лимитированы их фактом принадлежности к аудиовизуальным продуктам, связывающим переводчика с необходимостью синхронизации исполнения с экранным изображением. Несмотря на существование ряда опций, наиболее щадящим вариантом иноязычного воспроизведения таких песен является адаптация текста на переводящем языке к оригинальной мелодии. Introduction. Relevance of the research is determined by the interest of modern translation science in search of effective ways of songs rendition, as animation films are getting the significant role as participants of modern crosscultural communication.Aim and objectives. The present paper attempts to discuss main functional, linguistic and structural aspects of song lyrics and analyze methods of their translation, as well as study applicability of these methods to song rendition in animation films.Materials and methods. The research is based on theoretical materials on audiovisual- and song translation, the exemplary texts taken from animation film “Mulan” (Walt Disney, 1998).Results and discussion Belonging to belles-lettres functional style, songs share with poetic texts their lexicosemantic and syntactic features, as well as rythmic and structural organization, which adds to their esthetic value. The specificity of songs in animation films is determined by their dependence on the plot and characters, both the form and the semantics of lyrics being equally important for their full-size foreign understanding. Subtitling and dubbing are the two methods of audiovisual translation, which fit the requirements of song rendition, with the latter as more preferable. Analyzing methods of modern song rendition and their applicability to the translation of songs in animation films, while having in mind certain limitations of both song- and audiovisual translation, we found out that the optimal option probably would be text adaptation, allowing to preserve the semantics and the melody as the two inseparable sides of the song unity.Conclusion. Lexico-semantic, syntactic, stylistic and structural peculiarities of song texts determine the features of their translation. From the whole list of translation options, the gentler one would be adaptation of the text to the original melody.
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CHEN, Bing. "Cultural Memories and Translations of Zhuang Liao Songs." Asia-Pacific Journal of Humanities and Social Sciences 01, no. 04 (January 31, 2022): 103–18. http://dx.doi.org/10.53789/j.1653-0465.2021.0104.014.
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Rooted in ancient Zhuang civilization with unique lyrics and tones, Zhuang Liao Songs have described Zhuang people’s life and work for generations. As the collective cultural memory of the Zhuang minority, Liao Songs have great values in literature, arts, history, folklore, and culture. They were listed in Chinese National Intangible Cultural Heritage in 2008, with their multi-functions of moralizing ideologies, edifying virtues, regulating behavior, and boosting the local economy. The integrative study of memory and its translation has received increasing attention from researchers of intangible cultural heritage. This paper aims to analyze the cultural memory of Zhuang Liao Songs and their intra-lingual and inter-lingual translations for the acceptability and accuracy of English translation in the era of “excellent Chinese culture going out”; to ensure the high-quality translation and dissemination of Zhuang Liao Songs.
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SAFINA, ZAREMA M., and OLEG S. TERENTYEV. "PROPERTIES OF A COMPLEX DYNAMIC SYSTEM IN THE STRUCTURE OF WORDPLAY AND ITS TRANSLATION." Theoretical and Applied Linguistics, no. 2 (2021): 104–14. http://dx.doi.org/10.22250/2410-7190_2021_7_2_104_114.
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The article studies structural characteristics of wordplay and ways of its translation from English into Russian. The research is a case study of wordplay translation in the lyrics of еру American rap artist Eminem. We argue that the theory of complex dynamic systems helps reveal the many aspects of wordplay. The vertical and horizontal axes of wordplay, the peculiarities of their use in the artist’s verses, as well as the difficulties of translating wordplay were considered. Any difficulties and differences that result from the translation process may be overcome if the language is viewed as a complex fractal system. It is concluded that the modern system approach provides a completely different conceptual framework for the linguist. The properties of a language as a dynamic system should be taken into account in wordplay investigation and wordplay translation to ensure adequate interpretation of the ideas meant by the author.
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Thornton, Daniel. "A “Sloppy Wet Kiss”? Intralingual Translation and Meaning-Making in Contemporary Congregational Songs." Religions 12, no. 10 (October 13, 2021): 874. http://dx.doi.org/10.3390/rel12100874.
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Translation as a form of music localization does not only occur in diverse cultural or lingual contexts, it also occurs within an ostensibly homogenous culture and language. The global genre of contemporary congregational songs (CCS) is written and performed through a variety of theological lenses. Sometimes a theological position conveyed in, or ascribed to, CCS can be problematic for certain local expressions of the Christian faith to replicate without needing to alter lyrics, and/or musical content, or at least reinterpret those lyrics in a way which aligns with their theological understanding. This article explores popular CCS, as measured by Christian Copyright Licensing International (CCLI) which have been either accepted, rejected, reinterpreted, or otherwise altered in order to play their part in defining local (English-speaking) church worship and identity. Translation studies and music semiology are applied to selected CCS to demonstrate this nuanced interpretation of “translation” in the localizing of religious musical practice
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Thornton, Daniel. "A “Sloppy Wet Kiss”? Intralingual Translation and Meaning-Making in Contemporary Congregational Songs." Religions 12, no. 10 (October 13, 2021): 874. http://dx.doi.org/10.3390/rel12100874.
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Translation as a form of music localization does not only occur in diverse cultural or lingual contexts, it also occurs within an ostensibly homogenous culture and language. The global genre of contemporary congregational songs (CCS) is written and performed through a variety of theological lenses. Sometimes a theological position conveyed in, or ascribed to, CCS can be problematic for certain local expressions of the Christian faith to replicate without needing to alter lyrics, and/or musical content, or at least reinterpret those lyrics in a way which aligns with their theological understanding. This article explores popular CCS, as measured by Christian Copyright Licensing International (CCLI) which have been either accepted, rejected, reinterpreted, or otherwise altered in order to play their part in defining local (English-speaking) church worship and identity. Translation studies and music semiology are applied to selected CCS to demonstrate this nuanced interpretation of “translation” in the localizing of religious musical practice
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Užgiris, Rimas. "Unexpected Laureate: Louise Glück in Lithuania." Vertimo studijos, no. 13 (December 28, 2020): 89–109. http://dx.doi.org/10.15388/vertstud.2020.6.
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The aim of this paper is to give an overview of the work of the American poet, Louise Glück, winner of the 2020 Nobel Prize in Literature, with a discussion of what kinds of challenges her poetry might pose for translators. Very few people knew of her work in Lithuania prior to the Nobel Committee’s announcement. Her poems were only published in Lithuanian translation for the first time in July, 2020, and only a handful at that. This paper argues that her work has important similarities and differences to Lithuanian poetry of the twentieth century, and that despite her free-verse lyrics written in rather plain diction, there are still many challenges to rendering her work in another language. The Lithuanian translations reveal stumbling points over ambivalent word choices, surreal imagery caused by ambiguous syntax, and the need for careful attention to the tone of the narrative voice (the lyrical subject) of the poems.
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Osatinski, Amy S. "Fiddler Afn Dakh (Fiddler on the Roof ), music by Jerry Bock, lyrics by Sheldon Harnick, book by Joseph Stein, Yiddish translation by Shraga Friedman, directed by Joel Grey." Studies in Musical Theatre 13, no. 3 (December 1, 2019): 349–50. http://dx.doi.org/10.1386/smt_00012_5.
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Review of: Fiddler Afn Dakh (Fiddler on the Roof), music by Jerry Bock, lyrics by Sheldon Harnick, book by Joseph Stein, Yiddish translation by Shraga Friedman, directed by Joel Grey Stage 42, New York, 21 March 2019
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Поликарпов, А. М. "On the “Authorised Germanisation of the Versification” of Afanasy Fet in the translations of Fyodor Fiedler." Иностранные языки в высшей школе, no. 4(59) (February 10, 2022): 83–96. http://dx.doi.org/10.37724/rsu.2021.59.4.009.
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Целью представляемого исследования является изучение творческого наследия Афанасия Фета посредством сопоставления оригинальных лирических произведений с их переводами, выполненными в начале XX века Федором Фидлером. Новизна проведенного исследования заключается в рассмотрении стихотворных переводов Фидлера как результата «авторизованной германизации стихосложения», что подразумевает не только наличие сверки переводов самим автором поэтической лирики, но и оценку качества перевода, в первую очередь с учетом сохранения эстетики и особенностей стихосложения текстов-оригиналов. Интегративное переводоведение, с позиций которого автор исследования осуществляет предпереводческий анализ текстов оригиналов и сопоставительный анализ переводов Фидлера с поэтическими произведениями Фета, позволяет посмотреть на результаты переводческого процесса в максимально широком ракурсе. Четыре основных уровня рассмотрения стихотворного перевода (смысловой, ритмический, строфический и рифмический) образуют лишь основу для оценки качества переведенных лирических шедевров. Значимыми представляются такие аспекты, как сохранение эстетической информации, а также нюансы, определяющие стиль и творчество как самого поэта, так и переводчика. Для этого необходим экскурс в жизнь и творчество как Фета, так и Фидлера. Отсутствие диахронической дистанции при создании Фидлером стихотворных переводов и наличие непосредственного контакта переводчика с автором поэтических произведений, Афанасием Фетом, объясняют максимальную близость переводов к текстам-оригиналам не только по смыслу, ритму, строфическому оформлению и рифмам, но и по сохранению цельности текстового единства, передаче определенных признаков индивидуального стиля автора. The aim of this study is to explore the creative legacy of Afanasy Fet by comparing the original lyrical poems with their translations, performed in the early 20th century by Fyodor Fiedler. The novelty of this research lies in the consideration of Fiedler's poetry translations as a result of the “authorized germanization of versification”, which implies not only the verification of the translations by the author of the poetic lyrics himself, but also suggests the assessment of the translation quality, first and foremost, taking into account the preservation of aesthetics and specificities of the source texts. The integrative translation studies, from which we perform the translational analysis of the source texts and the comparative analysis Fet's poetic works and its translations performed by Fiedler. It allows to look at the results of the translation process from the broadest possible perspective. The four basic levels of verse translation (semantic, rhythmic, strophic and rhymic) form only the basis for evaluating the quality of the translated poems. The preservation of aesthetic information as well as the transfer of features which define the style and work of the poet, for which an excursion into the life and work of both Fet and Fiedler is essential, are also of particular importance. The absence of diachronic distance in poetry translations performed by Fyodor Fiedler and the presence of direct contact between the translator and the author of source texts, Afanasy Fet, explaines the maximum closeness of translations to the source texts not only in sense, rhythm, strophic design and rhymes, but also in preserving the integrity of textual unity and the dominance of certain attributes in the author's individual style.
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Davies, Eirlys E., and Abdelâli Bentahila. "Translation and Code Switching in the Lyrics of Bilingual Popular Songs." Translator 14, no. 2 (November 2008): 247–72. http://dx.doi.org/10.1080/13556509.2008.10799258.
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Jidai, Yumi, Anne Kultti, and Niklas Pramling. "In the order of words." Research on Children and Social Interaction 1, no. 2 (December 18, 2017): 199–221. http://dx.doi.org/10.1558/rcsi.31348.
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This study investigates, from a sociocultural perspective on communication and learning, translating as a joint activity and how it supports the development of metalinguistic awareness in children. Data in the form of audio recordings were generated in an English immersion preschool in Finland. In the analysed activity, the participants are engaged in a discussion around word order when translating the lyrics to a children’s song. The study shows how the teacher scaffolds the children’s language learning through providing contrast and using qualifying markers important to promoting the development of metalinguistic awareness. More generally, the study shows how a translation activity can function as a language-learning practice in bilingual early childhood education.
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Mkhitaryan, G. S. "Some Techniques of Equirhythmic Translation (Based on Russian Covers of Foreign Songs)." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 163, no. 1 (2021): 81–92. http://dx.doi.org/10.26907/2541-7738.2021.1.81-92.
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Translation techniques used to adapt original song lyrics to other languages were considered. The research is highly relevant, because no methodological basis has been developed for equirhythmics as a special type of translation. A total of 272 cases obtained by the method of continuous sampling among the Russian covers of foreign songs were analyzed. A variety of lexical, grammatical, and lexical-grammatical equirhythmic translation techniques were singled out: generalization, omission, expansion, integral transformation, change of grammatical indicators, etc. The important influence exercised by the equiphonic component on the quality of equirhythmic translation was emphasized. It was concluded that equirhythmic translation is extremely challenging, but it provides a whole number of opportunities for translators to create a highly equivalent and adequate covers of foreign songs.
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Inkster, Becky, and Akeem Sule. "Drug term trends in American hip-hop lyrics." Journal of Public Mental Health 14, no. 3 (September 21, 2015): 169–73. http://dx.doi.org/10.1108/jpmh-05-2015-0019.
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Purpose – Many young people around the world embrace hip-hop music and culture. Since the genre’s conception in the 1970s, hip-hop music and lyrics have made regular references to drugs. Understanding the relevance of these documented trends is important, especially as adolescence is a period of high risk for substance misuse. The purpose of this paper is to explore how and possibly why different lyrical trends in hip-hop music have emerged, risen and fallen out of popularity by examining word usage frequency of drug terminology in hip-hop lyrics spanning several decades of this genre. Design/methodology/approach – Electronic searches were completed using an open source database known as Rap Genius Rap Stats, which contains verified annotations and text. Word frequency was plotted against time using data available from 1988 to 2015. Word frequency was defined as a percentage of the number of hip-hop songs containing a specific drug-term (per year) based on the number of hip-hop songs recorded/produced (that year). Standardized “medical/pharmaceutical” terminologies and common “street” terminologies were plotted independently for time series visualization. Drug terms were represented using the highest frequency search term. Generic “street” terms with multiple meanings were excluded. Findings – As might be predicted, the usage of “street” terms in hip-hop lyrics was more frequently observed than the usage of “medical/pharmaceutical” terms. An exception was the term “crack”, which was included in both plots as this word could be referenced as a “street” term and as a “medical/pharmaceutical” term. The authors observed larger fluctuations in “street” term usage across time relative to only slight fluctuations of “medical/pharmaceutical” term usage across time. Originality/value – In this study, the authors illustrate several drug terminology trends in hip-hop lyrics. The authors discuss some of the socio-political, socio-demographic and geographical implications that may have influenced these trends, such as the rise of the “street” term molly that emerged when references to molly made by hip-hop artists became increasingly popular and a more suburban demographic transpired. This preliminary work may help to enhance two-way youth-oriented communication between health care professionals and service users, possibly improving the translation of drug-related medical messages. The preliminary work may also inform future research to consider whether such lyrical trends precede or follow changes in population substance use.
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Jongsul Choi. "Notes on the translation of Blok's lyrics : Experience and Problems of Korean Translation of Russian Symbolist Poetry." Cross-Cultural Studies 13, no. 2 (December 2009): 235–62. http://dx.doi.org/10.21049/ccs.2009.13.2.235.
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Admiati, Admiati, and Rudi Hartono. "Translation Quality of Idiomatic Expressions in "Lenka Kripac’s" Song Lyrics From English into Indonesian." Rainbow: Journal of Literature, Linguistics and Cultural Studies 8, no. 2 (November 30, 2019): 41–51. http://dx.doi.org/10.15294/rainbow.v8i2.34454.
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This study aims to find out translation quality of idiomatic expressions in Lenka Kripac’s song lyric from English into Indonesian. The objectives of this study are to find out the accuracy, the acceptability, and the readability of the translation of idiomatic expression which are translated in Indonesian. The translation assessment proposed by Nababan (2012). This study was conducted a descriptive qualitative research. Descriptive research is a procedure of problem solving by describing the subject or the object of the study based on the visible facts. Qualitative research does not deal with testing of a theory or hypothesis, but it deals with understanding of theory. The data were obtained by content analysis and questionnaire. The data were obtained by handing out accuracy rating instruments to three expert respondents then acceptability and readability rating instruments to fifteen respondents. The result of this study showed that there 185 data and 86 idioms. The idioms which were classified into six categories by Seidl & McMordie’s theory. There is kind of idiomatic expressions; those are (1) Phrasal Verbs Idiom (2) Prepositional Phrase Idiom (3) Idiom with verbs as keywords (4) Idiom with nouns as keywords (5) Idiom with adjectives as a key (6) Idiomatic pairs. The mostly used idiomatic expression in these songs is a translation by Phrasal Verbs Idiom. Then, in term of accuracy, there (78,74 %) were accurate, (19,46%) were less accurate, and ( 1,8 %) were inaccurate. In the term of acceptability, there were (68,95%) were acceptable, (24,15%) was less acceptable, and (6,9 % ) were unacceptable. In the term of readability, there were (78,2 %) readable, (16,60%) were less readable, and (5,15%) were unreadable.
Keywords: acceptability, accuracy, idioms, readability, translation quality
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Kirichuk, E. V. "«ARCH» OR «ARK» IN TRANSLATION OF LYRICS BY H. BAUCHAU INTO RUSSIAN." Science of the Person: Humanitarian Researches 4, no. 38 (December 2019): 10–14. http://dx.doi.org/10.17238/issn1998-5320.2019.38.10.
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Haapaniemi, Riku, and Emma Laakkonen. "The materiality of music: interplay of lyrics and melody in song translation." Translation Matters 1, no. 2 (2019): 62–75. http://dx.doi.org/10.21747/21844585/tm1_2a4.
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Bell, Travis R., and Victor D. Kidd. "“Mike Trout When I’m Battin’ Boy”: Unpacking Baseball’s Translation Through Rap Lyrics." Sociology of Sport Journal 37, no. 3 (September 1, 2020): 220–29. http://dx.doi.org/10.1123/ssj.2019-0038.
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Baseball and rap music are often not considered culturally or historically synonymous, but a shift appears underway. This research examines how 239 rap lyrics reach across the formerly confined (mostly racialized) boundaries of baseball to engage the sport through its reference to 128 baseball players. A thematic analysis explores how the languages of baseball and rap culture intersect through linguistic translation. The authors develop a broad understanding of the positive and negative “baller” references, and how it could affect the future growth of baseball role models for Black youth athletes. Thus, baseball “text” as a source language translates to rap “text” as a target language to form a commonly constructed language at an intersection of music, sports, and masculinity.
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Ayryan, Z. G. "National Identity in Lyrics of Yeghishe Charents in Translation by Mikhail Dudin." Nauchnyy dialog 5 (2017): 140–51. http://dx.doi.org/10.24224/2227-1295-2017-5-140-151.
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Racz, Gregary J. "Christopher Smart s English Lyrics: Translation in the Eighteenth Centuryby Rosalind Powell." Translation Review 96, no. 1 (September 2016): 70–74. http://dx.doi.org/10.1080/07374836.2016.1225475.
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Trimo Wati, Trimo Wati, Dina Safira Ikmaliani, and Mustolehudin. "Representasi Makna Denotasi dan Konotasi dalam Lirik Lagu Kun Fayakun (Analisis Semiotika Roland Barthes)." Alibbaa': Jurnal Pendidikan Bahasa Arab 3, no. 1 (January 24, 2022): 73–102. http://dx.doi.org/10.19105/ajpba.v3i1.5172.
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This study aims to describe the meaning implied in the Arabic song “Kun Fayakun” lyrics through translation and study process analysis. As for this research, the author used the qualitative-descriptive method by making observations through existing data, looking for patterns between relationships with various concepts that have not been previously determined, analyzing, then providing understanding and explanations. The data were collected by observation and documentation technique and analyzed by Roland Barthes's semiotic theory. The outcome that was gained from this research is as follows: 12 the denotative and 12 connotative meaning which have an important role in helping the reader to understand the song lyrics of literary meaning and its implicit meaning.
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Devonish, Hubert. "Kom Groun Jamiekan Daans Haal Liricks: Memba SE A Plie Wi A Plie." English World-Wide 17, no. 2 (January 1, 1996): 213–37. http://dx.doi.org/10.1075/eww.17.2.05dev.
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This article analyses a Jamaican cultural event, "Dance Hall", as a speech event. It then focusses on a particular controversy surrounding the lyrics of a piece of dance hall music performed by Buju Banton. It argues that much of the discussion about the lyrics in Britain and the USA dealt with these lyrics outside the sociolinguistic context of the Jamaican dance hall within which Buju Banton's recorded performance would be understood by many Jamaicans to belong. The article further argues that the international misunderstanding is compounded by the fact that Jamaicans as a group refuse to recognise Jamaican, the language of the lyrics, as a language separate and apart from English. The conclusion is that if this were to happen, it would be easier to present Jamaican cultural output to the international community in a manner which forces that community to understand and respect the linguistic and sociocultural autonomy of such output. Since Jamaican (i.e. Jamaican Creole) is the language of dance hall performances, the article was written in Jamaican and an English translation provided. There is a brief discussion of the process by which a sociolinguistic academic article was conceived of and written in Jamaican, traditionally a language of oral informal discourse.
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Odendaal, B., and N. Morgan. "’n Verslag oor die vertaling van dertien Jacques Brel-chansons in Afrikaans." Literator 30, no. 2 (July 16, 2009): 1–26. http://dx.doi.org/10.4102/lit.v30i2.76.
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A report on the translation of thirteen Jacques Brel chansons into Afrikaans The authors of this article also translated the thirteen Jacques Brel chansons in question into Afrikaans. A brief explanation of the generic nature of the French chanson and an evaluation of Brel’s stature as a twentieth-century chanson writer are followed by background details and a description of the translation process involved. Since literary quality is a particular characteristic of chanson lyrics, several paragraphs are dedicated to a discussion of the poetic nature of Brel’s songs.