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Arabic is one of the languages in the world that is used to interaction and communication, has the function to send messages and ideas. Arabic in Indonesia influences the vocabulary of the Indonesian language. With the absorption of the vocabulary of the language, it gives rise to a variety of languages. A variety of languages is a variant in a language that can be a dialect, style and even variations of the standard language. A variety of languages can be found in the form of verbal language that can be used in terms of address in the Arabic language. Terms of address in the Arabic language like ummi, abi, jid, jiddah, khale, khalati, amme, ammeh, ane, ente, antum, ustad, Muhammad, habib, bin, binti, akhi, ukhti, buya, and others. Besides that, the researcher also uses the Indonesian dictionary as a reference to see the term of address taken from Arabic. This research uses a survey or direct observation of the location also conducted a literature study on a variety of language: terms of address in the Arabic language in vocabulary developments of Indonesian language in the city of Medan.

Družbene spremembe, sporazumevalna pomnožitev in tehnološke spremembe so ustvarile stopnjevano potrebo po večji dinamičnosti in variantnosti tudi v jeziku in z jezikom. Sočasno sporazumevanje temelji na govornosti, ki spreminja pojmovanje standardiziranosti jezika, ta je tradicionalno temeljila na pisnosti. Statična standardizirana različica postaja manj pomembna, družbena in sporazumevalna dinamika proizvajata drugačne in nove različice jezika, te se močno notranje razčlenjujejo in interferirajo pod izrazitejšim vplivom standardnega jezika (zemljepisna narečja), mednarodnosti sporazumevanja in kompleksne dejavnosti nosilcev (družbena narečja). V javno sfero se opazno širi pogovornost. Izrazito se povečuje število poklicnih poimenovanj, ki nastopajo kot najbolj dinamični del besedišča, obenem pa narašča njihovo vstopanje v druge jezikovne različice in stile sporočanja. Posameznik z jezikom uresničuje tako svojo individualnost in ustvarjalnost kot pripadnost družbeni in kulturni skupini v aktualnem sporazumevalnem prostoru. Pomembnost vloge jezika v izobraževalnem procesu se kaže v dejstvu, da je jezik tudi način pridobivanja in oblikovanja znanja. Social change, communicative multiplicity and technological innovation have all created a greater need for increased dynamism and variation in language but also with language. Synchronous communication is based on spoken language, which alters the concept of language standardization and is usually based on the written form. The static, standardized version is losing importance, while social and communicative dynamics create various new language variants these new versions have major internal subdivisions based on pronounced interference from standard language (geographical dialects), and from the forces of globalization and the complex transactions of language users (social dialects). The colloquial variant of language is visibly expanding into the public sphere. The result is a marked increase in the number of professional designations, which are the most dynamic part of our vocabulary, but also in their presence in other language varieties and communicative styles. Individuals use language to showcase both individuality and creativity, as well as their inclusion in social and cultural groups in the contemporary communications arena. The importance of language in the education process can be shown in the fact that it is evidently a means of receiving and shaping knowledge. Our contemporary society is currently undergoing a transition stage, one that includes language, communication habits and patterns, as well as relationships.

Prispevek v sklopu "Slovesnost ob 20-letnici Pleteršnikovega muzeja v Pišecah in okrogla miza Slovensko slovaropisje (Pišece, 2. 10. 2014)"

The article discusses the use of language varieties by the main character in the animated film Chicken Little in English and Slovene. Both versions of the film are dubbed by professional actors and are aimed at a young target audience, children. The main intention of the article is to analyze the characteristics of Chicken Little’s speech in both languages, to compare the differences in the use of language varieties, and to evaluate the consequences of shifts in language use on the character and the story in the target language. The analysis is based on a transcript of the speech and enables comparison on four different levels: phonetics, morphology, syntax and vocabulary. The main focus is on the analysis of speech in the target language: Maribor regional colloquial language, with influence from the dialectal speech of Ruše. The main conditions influencing the use of certain language varieties are taken into consideration: the characteristics of the dubbing process, specifics of the target audience, and prevailing norms related to the use of language on television. Članek obravnava jezikovno zvrstnost glavnega lika animiranega risanega filma Mali Pišček v angleški in slovenski različici filma. V obeh jezikih so besedilo sinhronizirali profesionalni igralci, film pa je namenjen mladi ciljni publiki, tj. otrokom. Cilj raziskave je analizirati značilnosti govora Malega Piščka v obeh jezikih, primerjati razlike v uporabi jezikovne zvrstnosti in ugotoviti, kakšne posledice so premiki na jezikovni ravni imeli na značilnosti lika in zgodbe v ciljnem jeziku. Preučevanje temelji na transkripciji govora v obeh jezikih, na podlagi katere je opravljena primerjalna analiza značilnosti govora z vidika glasoslovja, oblikoslovja, skladnje in besedja. Posebna pozornost je namenjena analizi govora v ciljnem jeziku, tj. mariborskemu pogovornemu jeziku z vplivi ruškega govora. Uporaba jezikovne zvrstnosti je analizirana z vidika značilnosti procesa sinhronizacije, posebnosti ciljne publike in prevladujočih norm o jezikovni rabi na televiziji.

Lenka Mundevová Translation of Colloquial Language Devices in Fiction: A Century of Maupassant's Ivrogne in Czech Translation Abstract The dissertation compares the stylization of the dialogues in the French original of Maupassant's short story Ivrogne (The Drunkard), written in 1884, with five Czech translations published between 1902 and 1997. The comparative analysis is focused on the devices of colloquial language, including dialect, which appear frequently in the dialogues of the story and prove to be extraordinarily useful when interpreting Maupassant's text. The analysis of the excerpted material is preceded by the description of the basic characteristics of colloquial French and Czech, followed by the description of their stratifications. The mutual relation of the colloquial language varieties is an important prerequisite for the evaluation of the translations of colloquial language devices and their appropriateness in the individual Czech versions of Ivrogne. The paper also deals with the development of Czech aesthetic translation standards and their relation to the standard of local fiction, outlining the important tendencies of Czech fiction translation applied when colloquial devices were conveyed from French to Czech during the specified timeframe. The individual language devices used in the...

V pričujočem delu smo podrobneje predstavili sinhronizacijo filmov raziskovali smo proces sinhronizacije in pogoje, ki jih sama sinhronizacija zahteva. V primerjavi s podnaslavljanjem, ki prav tako spada k avdiovizualnemu prevajanju, smo odkrili kar nekaj slabosti in prednosti sinhronizacije. V teoretičnem delu smo se osredinili na sinhronizacijo animiranih filmov, kar je tesno povezano s prevajanjem za otroke. Primerjali smo sinhronizacijo animiranih in igranih filmov. V empiričnem delu smo se osredinili na primerjalno analizo sinhronizacije animiranega filma Obuti maček in igrano-animiranega filma Alvin in veverički 3, pri čemer smo bili pozorni na prevajanje lastnih imen in prevajanje kulturno zaznamovanih izrazov ter zvrstnost jezika v izvirniku in prevodu. V sklopu analize smo ugotovili, da je prevod animiranega filma prilagojen ciljni publiki, saj so lastna imena prevedena v slovenščino, kulturno zaznamovani izrazi pa so prilagojeni ciljni publiki. Prevod igrano-animiranega filma se od animiranega filma razlikuje zgolj v tem, da osebna lastna imena niso prevedena v slovenščino. In the graduation thesis we presented the dubbing films in detail. We researched the dubbing process and required conditions for the dubbing process. In comparison with subtitling which is also a part of audiovisual translation we discovered some advantages and disadvantages of dubbing. In this theoretical part we also focused on the dubbing animated films, which is closely linked with the translating for children. At the end of the theoretical part we compared the dubbing animated films and live-action films. In the practical part we used the comparative analysis to compare the original and dubbed animated film Puss in Boots and the original and dubbed live-action/animated film Alvin and the Chipmunks 3. The analysis focuses on three different fields: translating proper names, translating culture-specific terms and varieties of language in the original and in the translation. The analysis has shown that the translation of animated film is adapted to the target audience, because the proper names were translated into Slovene and culture-specific term were adapted to the target audience. The translation of live-action/animated film differs from the animated film only in the translation of personal names, which were not translated.

V diplomskem delu je bila podrobneje predstavljena problematika sinhronizacije animiranih risanih filmov s poudarkom na otrocih kot ciljni publiki. Predstavljena in analizirana so bila posamezna področja prevajalskih problemov v risanem filmu Mali Pišček, ki so pomembno vplivala na razumevanje zgodbe v ciljnem jeziku, in sicer lastna imena, kulturno zaznamovani izrazi in zvrstnost jezika. Osnova za preučevanje je bila transkripcija govora v izvirniku in prevodu, zapisana po slušnem vtisu, na podlagi katere je bila opravljena podrobna primerjalna analiza sinhronizacije v obeh jezikih. Namen analize je bil ugotoviti, ali so prevajalske rešitve primerne za vrsto ciljne publike, ki ji je film namenjen, in preučiti, kakšen vpliv so imele določene spremembe na razumevanje zgodbe v ciljnem jeziku. Analiza je pokazala, da so bili lastna imena in kulturno zaznamovani izrazi prilagojeni tako ciljni publiki kot samemu postopku sinhronizacije, kar je publiki približalo vsebino filma in ji olajšalo razumevanje. Zvrstnost jezika se je v ciljnem jeziku razlikovala in je imela večjo karakterizacijsko funkcijo kot v izvirniku, kar je vplivalo tudi na razumevanje filma. The graduation thesis discusses the field of dubbing animated films aimed specifically at children. It focuses on three different fields of translation problems in the animated film Chicken Little: translating proper names, translating culture-specific terms and the use of language varieties. All three fields have influenced the understanding of the story in the target language. The analysis of translation problems and comparison of the dubbed film in both languages was based on the transcript of the speech in the original and in the translation. The aim of the analysis was to study whether the translation solutions in the target language are suitable for children, and to investigate the influence of some changes in the translation on the understanding of the story. The analysis has shown that the proper names and culture-specific terms were adapted to the target audience in the target language and were adjusted to the demands of the synchronization process, which domesticated the story and made the understanding easier. The language varieties in the target language were different from those in the source language and had greater influence on the characterization of some characters, which influenced the understanding of the story as well.

Treball de fi de grau en Traducció i Interpretació. Tutor: Eduard Bartoll Teixidor. One of many obstacles translators come up against is the process of transferring varieties of language from the source language text into the target language text. Their task becomes even more difficult when these varieties are transmitted through audiovisual media, because images impose limitations on words. Misfits is a good example of a complex fictional product in terms of varieties of language. For this reason, the aim of this dissertation is to analyse two types of varieties (colloquial language and social dialect) of the first episode of this British television series as well as to evaluate how they were rendered into the dubbed Catalan version on the basis of the techniques used by the translator. In order to do so I chose examples from the source language script and the transcription of the translation. These examples fall into various categories, each representing a level of language. The results from my analysis reveal that the language used in Misfits is complex because it has an abundance of colloquialisms, slang, expressive devices, obscenities and regional speech patterns. The results from my evaluation show that colloquial phenomena were generally translated by means of the technique of equivalence, whereas social dialect features were mainly transferred by means of the technique of neutralization. Consequently, the Catalan product is not as linguistically complex as the English product. This suggests that when rendering certain varieties of language (such as a sociolect) into Catalan it is not always possible to reconcile the criterion of credibility with that of the Catalan standard form. Un dels múltiples obstacles amb què topa el traductor és la transferència de la variació lingüística del text original al text meta. Les dificultats augmenten encara més quan aquesta variació es vehicula a través de mitjans audiovisuals, a causa de les restriccions que les imatges imposen a les paraules. Misfits és un bon model de producte de ficció lingüísticament complex. Per aquest motiu, l’objectiu d’aquest treball és analitzar dues varietats (el registre col·loquial i la varietat social) del primer capítol d’aquesta sèrie de televisió britànica i, posteriorment, valorar-ne el tractament en el doblatge al català en funció de les tècniques que va emprar la traductora. La descripció i la valoració dels fenòmens lingüístics s’ha realitzat a partir d’exemples extrets del guió original i la transcripció de la traducció, els quals s’han classificat prèviament en una tipologia basada en els diversos nivells de la llengua. Els resultats derivats de l’anàlisi demostren que el llenguatge de Misfits és complex, ja que presenta una abundància de col·loquialismes, argot, recursos expressius, obscenitats i dialectalismes. Els resultats procedents de la valoració mostren una tendència general de la traductora a usar la tècnica de l’equivalència per transferir els fenòmens col·loquials i de la neutralització per traslladar els fenòmens relatius a la varietat social. Per tant, la complexitat lingüística del producte original no s’ha conservat íntegrament en el producte meta, la qual cosa indica que en la traducció al català de certes varietats dialectals (com un sociolecte) no sempre és possible conciliar el criteri de versemblança amb el de norma.