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The aim of the paper is to explore the appearance of positive and negative lexical transfer of plurilingual learners in English vocabulary acquisition. Cross-linguistic influences in the study are examined by word translation tasks from Croatian into English, including true, partial, and deceptive cognates or false friends in English, German, and Italian. The results have revealed different language dominances and positive or negative transfer manifestation. Lexical transfer from L4 German is manifested positively, but the Italian language seems to play a dominant role in the acquisition of English vocabulary. The effect of Croatian is manifested both positively and negatively. The study has confirmed previous psycholinguistic studies on the complexity of lexical connections in plurilingual learners and the dynamic interaction of various learning-based factors, such as language recency, proficiency, exposure to languages, the order in which languages are learned, and the formal context in language learning.

The article deals with problems of literary translation on the lexical level. Translation strategies and techniques used to reproduce stylistically marked words and expressions of Thomas Brussig’s novel “Am kürzeren Ende der Sonnenallee” and the equivalency of their functions in the Ukrainian translation are explored. The word choice of the well known German author targeted at creating humorous or satirical tone in his novels constitutes his own individual style which is diffi cult to reproduce in other languages. That is why each new translation of his novel arouses a great interest of linguists and translatologists. The purpose of this article, therefore, was to classify the stylistically coloured vocabulary of the novel and to examine the lexical and stylistical choices of the translator S. Onufriv, especially the means chosen to render dialectisms, slang and jargon expressions, historical words from the GDR time, expressive personal nicknames, and denominations into Ukrainian. The main terms used in this article to describe the relation between the original text and its translation are “stylistic equivalency” and “stylistic density”, their application being explained based on the linguistic theories of translation (Fedorov, Retsker, Koller, Reiß). In the article, the comparative and descriptive methods as well as the quantitative estimations were used. Seven text fragments with 123 stylistically coloured expressions of lower register were chosen for our analysis. It revealed a higher stylistic density of the Ukrainian translation compared to the German text due to the use of stylistically lower vocabulary and Ukrainian dialect words used to substitute stylistically neutral words of the German author: 181 coloured words and expressions were found. The most important translation issues regarding the reproduction of dialect, slang words and of expressive names were defi ned. It was discovered that the eff ect caused by combining words of diff erent registers (formal and casual) had been lost in translation. Full stylistic equivalency of the youth slang translation as well as features of individual translator’s style were revealed. Several suggestions were made on how to avoid word-to-word translation in some places of the analyzed text fragments. To obtain the whole picture of formal translation equivalency, the tasks for further equivalency studies on other text levels were formulated. Key words: stylistically marked words and expressions, dialectisms, slang expressions, expressive personal nicknames and denominations, translation, stylistic equivalency, stylistic density

The influence of the translator’s loyalties and underlying translation philosophy on the translation choices, with reference to the Afr2020 Bible translation. When the reader looks a little deeper than the initial superficial ‘Revised’ Old Translation impression that reading the Afrikaans 2020 translation gives you, then one realizes that a great deal of effort had to be put into leading such a large group of diverse translators to understand the essence of a direct translation and to be able to apply it consistently. But it is precisely here that problems can arise. Due to the nature of skopus and the style of the Afrikaans 2020 translation, this direct translation can be categorised on the side of the more literal translations and it thus has a very high percentage of agreement with the 1953 Old Afrikaans translation. If the direct translation is not just another name or a revision of the so-called word-for-word translation, then what is this direct translation? Van der Merwe referring to this translation also touches on this issue when he says: ‘a ‘direct’ translation of the Bible is not new jargon for a word-for-word translation of the Bible. It is an attempt to ‘interpretively resemble’ in good idiomatic Afrikaans all the communicative clues of the source text in the contexts construed for the source text audience’. This underlying fundamental premise brings a lot of tension to the fore. Van der Merwe also confirms this (2014:294) by stating: ‘attempts to translate ancient texts directly (is) an almost impossible ideal (to) pursue’.Contribution: This study evaluated the Afrikaans 2020 translation according to its own criteria, the translation brief and to its self-proclaimed nature as ‘direct’ translation in order to try to make an objective evaluation and assessment of this great work. This process also pointed out where the loyalties of the translators lie, and what the underlying translation philosophy is, and how difficult it is to make a distinction between the direct translation method and using archaic words and terms.

This research discusses the analysis of swearing words translation in the Joker movie. The purpose of this research is to describe the type of swearing word and the procedure used in translating swearing word. This study uses qualitative methods. The research data were obtained from English subtitles to Indonesian Joker movies. To answer the research question, the researcher used the theory types of swearing word proposed by Swan M. (1995) and procedure translation proposed by Newmark (1988) The results revealed that there were 49 swearing words. There are 2 types of swearing words namely: strong and weak swearing words. For strong swear words classified to exclamation of annoyance, surprise, insult, surprise question and emphasize the emotion and the weak swear word classified to exclamation of annoyance, surprise, insult and emotion. After that, procedures translation used in translating swear words only found 5 of 15 procedure translation in Joker's subtitle, namely: cultural equivalent, synonymy, through-translation, shift or transposition, and paraphrase. The most frequently type of swearing word is emphasize an emotion from strong swear word. Furthermore, the cultural equivalent procedure is the most used in translating.

Movies are everyday entertainment for people in their daily lives. There are a lot of foreign movies that are being played in Indonesian theatres. Unfortunately, there are many places where people watch the movie with the subtitles that are not created by the professional translators. The Social Network was translated by more than one translator. This research was conducted to analyze how accurate the translation is and what the similarities and differences between the translators are. This study is a qualitative descriptive study, which analyzes the slang word translation accuracy in the movie The Social Network using Newmark theories of translation quality assessment. The finding of the study showed that the translation from both of the translators is accurate enough and there is almost no inaccurate translation, also there are several slang words that are not included in the data of the previous study, but the writer found on subtitle the data of the other two translators.Keywords: Slang, Translation, Accuracy

A notion of a film text is currently an object of scientific research, which is caused by a rapid development of cinematic art within the last century and an increasing attention of scientists to a linguistic constituent of this phenomenon. The film text is one of the most important displays of a media text. In a film text, two semiotic systems are present, linguistic and non-linguistic ones, which operate signs of different kinds. The linguistic system of the film text is serviced by sign-symbols, created from an establishment of a connection between something, which is being explained, and something, which is explained based on a conditional agreement. It is represented by two components: written one (credits, captions which constitute a part of a movie universe) and oral one (an actor’s speech, a voice-over, a song, etc.), which are expressed with the help of symbolic signs – words of a natural everyday language. An investigation of a political fiction movie text belongs to modern explorations of text stylistics in the direction of description and standardization of the system of speech genres in the field of linguistics and literature studies. Also, this investigation describes stylistic and translation aspects of a linguistic part of a political fiction movie text. The article considers stylistic indications of a political fiction movie text and ways of their translation. A political fiction movie communicates to the audience a political stance and a worldview, or makes it aware of political problems. During the translation of a political fiction movie, the author of the translation takes into consideration the stylistic tonality of the text, which, contrary to the phonetic one, represents in itself the concentrate of expressive means of the original text. In the case of a political movie, this is about stylistic dramatic-epic tonality. The main task for the translator of a political movie is to skillfully carry out translation transformations, for the translation text to convey all the information contained in the original text with the maximum possible accuracy. The most effective transformations in the Ukrainian translation of the analyzed fiction movie are: contextual lexical-semantic substitution, concretization, word-for-word translation, synonymic translation, syntactic omission of a part of a sentence, syntactic replacement in a word combination structure, grammatical replacement.

The paper is devoted to explaining the key cognitive distinctions characteristic to translation process and its teaching. Among them are linguistic interpretation of the input text’s contents, its conceptual adaptation to the accepting culture, etc. To demonstrate them, multiple examples are given to show that translators, particularly not trained enough, often choose for basic translation dominants in the accepting culture those equivalents that are primarily purely linguistic, ignoring conceptual and cultural background of the original and the accepting culture’s notions and forms. Meanwhile, the latter help avoid such translation failures as literal / word by word translation, etc. Special attention in the paper is paid to the translation into the foreign, English, language, its contrastive culture-specific and communicative features as compared to those in the Russian language: to their cognitive dominants in communication and their cross-linguistic asymmetry and in-congruency which generate quite «natural» cross-linguistic interference in Russian-English translation. It is particularly obvious when there are extensive textual nominal ex-pressions, especially terminological, which demonstrate at present an active, extensive and productive usage in English, but present a serious problem in teaching English as a foreign language and translation into it. It is also shown that in Russian their cross-linguistic idiomatic analogues are language specific and show different patterns, but still can be adequately matched with their foreign counter-parts.

        The objectives of the study to find out the types of English slang words used and strategies in translating slang words from English to Bahasa uttered in “To All the Boys I’ve Loved Before” movie. The data were collected using the theory of Partridge and Bloomfield, and theories of translation strategies by Mona Baker. The result showed that there were 61 slang words were found in this movie. They were classified into 7 types of slang words namely cockney slang, public house slang, workmen’s slang, slang in theater, slang in art, slang in public school and university, and society slang. Society slang is the utmost type of slang used in the movie and other pop cultures. The translation strategies used were translation by more general word, translation by more neutral/ less expressive, translation by paraphrase using the related word, paraphrase using the unrelated word, translation using loan word, cultural substitution, translation by omission, and translation by illustration. In conclusion, the researcher mostly used translation strategy named translation by a more general word in this research which has been determined by analyzing each source of data.

The “Brain’s Tyre” in a “Faint Light of Progress”: The Pitfalls of Syntagmatic and Indirect Translation on the Example of the Italian Version of Bieguni (Flights) by Olga Tokarczuk This paper is devoted to the Italian translation of Bieguni by Olga Tokarczuk, entitled I Vagabondi. As the author argues, it is a kind of patchwork translation, partly translated from the original language, partly from the novel’s English version (Flights). The Italian translation of both source texts, Polish and English, contains a full range of typical syntagmatic translation errors, consisting in mechanically reproducing the structures of the source language (word-for-word translation) without delving into the meaning of the translated text. The author analyses at first, on selected examples, translation errors from the Polish source text, distinguishing between lexical errors and dictionary equivalents, including those impeding the fluidity of the target text, false friends, calques, misinterpretation errors as well as omissions and additions. He focuses next on analogous errors produced in the indirect translation from English, sorting separately the lexical and interpretative errors resulting already in the English intermediate text and reproduced in the Italian translation.