ON THE ISSUE OF RENDERING ENGLISH PHRASEOLOGICAL UNITS IN UKRAINIAN FILM TRANSLATION

Abstract

The study focuses on exploring the specific features of translating phraseological units (PUs) from English into Ukrainian in the context of film translation, particularly in dramatic films. The main objective is identifying effective methods for rendering phraseological units while preserving their emotional, stylistic, and cultural nuances. It also examines the unique challenges associated with adapting PUs within the technical constraints of film translation. This research is grounded in analysing a corpus of phraseological units extracted from a dramatic film. For systematisation, it employs Yu. Pradid’s classification, based on grammatical structure and thematic elements, as well as a proprietary classification of translation methods. The proposed methods include lexical translation, phraseological analogues, descriptive translation, full and partial equivalents, and omission. The study combines quantitative and qualitative analyses of these methods, with a particular focus on translation strategies and the pragmatic aspects inherent to film translation. The innovative nature of this research lies in its detailed examination of the grammatical and thematic classifications of phraseological units in film translation. It integrates linguistic and cultural specificity with the technical requirements of audiovisual content. Special attention is devoted to challenging cases, such as the adaptation of wordplay and the interaction of phraseological units with the context of individual scenes–topics that have been rarely addressed in previous studies. For the first time, a structured approach is proposed for analysing phraseological units in dramatic films, taking into account both national and cultural contexts as well as the technical constraints of film translation. The findings of the study reveal that lexical translation is the most frequently used method for rendering phraseological units, providing a practical approach to ensuring their comprehensibility in film translation. The significant presence of phraseological analogues demonstrates the efforts of translators to preserve cultural specificity. Partial equivalents reflect the adaptation of PUs to the unique characteristics of the target language. Omissions are also widely employed, often due to time constraints in audiovisual formats. Descriptive translation is less commonly used, while full equivalents offer precise and faithful renditions of the original meaning. A noteworthy challenge identified in the study is the translation of wordplay, which requires creative solutions to maintain both the original meaning and stylistic impact of the source text.