Translating from standard Slovene into Carinthian and the Prekmurje dialects in Slovene filmsMihaela Koletnik
, Alenka Valh Lopert
, Zinka Zorko
, 2009, original scientific article
Abstract: The present article analyses the translating written standard texts into the Carinthian and Prekmurje dialects in the case of the Slovene films Svetneči Gašper and Boj na požiralniku, and also Halgato and Traktor, ljubezen, in rock'n'roll, and film speech, i. e. speech in the spoken dialogue. In theory the genre of film is already in itself a special language comprising specific expressive means, therefore the term film speech will be used to interpret theresults of the analysis. Its basic form is dialogue treated as an interaction between two or more persons and the scriptwriter defines the language variety used in the films. The Slovene standard language is one that appears in different forms, i. e. varieties. The present article deals with the social varieties divided into standard and non-standard varieties, dialects being part of the latter. The language spoken in Slovene films up to the late 1960s was mostly the Standard. The awareness of the Slovene language diversity/stratification soon started to reflect in Slovene film as one of therealities of contemporary life being implicated also in the entire film facture. Lovro Kuhar - Prežihov Voranc wrote his novels in the standard Slovene language while also introducing expressions from the Carinthian dialect. Most of the films made on the basis of his novels were in the standard social variety, only two Svetneči Gašper (the novel Pot na klop) and Boj na požiralniku were in the Carinthian dialect spoken in Mežiška Valley. The actors born in Carinthia use their dialect in the dialogue speech at all language levels. They preserve the Carinthian diphthongs ie and uo, the stresspoint with all the typical shifts of stress to the left and short vowelsalso in the middle of the word. The pitch patterns in the sentences and words are distinctly falling. The consonant l before back vowels is pronouncedas w (šwa for šla). Feminisation of the neuter, typical dialectal Carinthian endings and inflections for person prevail with most of the actors.Most interjections are also in dialect, usually those expressing mood and requests. With most of the non-Carinthian actors a standard basis is observed, with, however, the presence of dialectal lexemes. Both feature films Halgato (1994) and Traktor, ljubezen, in rockćnćroll (2006) are produced in the Prekmurje dialect despite the fact that the novels by Feri Lainšček on which they are based were written in standard Slovene: (1) Namestokoga roža cveti (1991), the prize-winning Slovene best film of the year, and (2) Vankoštanc (1994). The translating of the dialogic part of the script from the standard variety into the Prekmurje dialect in Traktor, ljubezen in rock ćnć roll was the work of the writer Lainšček himself, he being a native speaker of this dialect. The results of the analysis show that the phonological, morphological and lexical levels are close to the Prekmurje dialect, while the syntax is nearer to the regional spoken language. The analysis of the speech in Halgato shows that all the actors speak the languagevariety anticipated for them in the script, i. e. the Prekmurje dialect. The acoustic realisation of the sounds, groups of sounds, words, phrases etc. is most consistent with actors who are native-speakers of the Prekmurje dialect. Some minor deviations from the dialect system occur with other actors who had to learn the dialect, especially in terms of stress placement, quantity and quality of vowels and intonation.
Keywords: Slovene language, dialects, Slovene films, dialects, Carinthian dialect, Prekmurje dialect
Published: 07.06.2012; Views: 1331; Downloads: 22
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