Multimodality as challenge in horror fiction translation

Sometimes the translators tend to shift the stresses by either emphasizing the part, which is not the focus of attention in the SL text or making it less emphatic by changing the graphic means: "He said that he was sent to warn but that he could not interfere. He said that he was ... I don't know ... that he was near Daddy because they were together when his soul was dis-dis-I can't remember!" she wailed" [King, 1983, p. 300]. - "Він сказав, що його послали попередити, але він не може втручатися. Він сказав, що був... Я не знаю... що він був біля татка, що вони були разом, коли його душа від... від... Я не можу пригадати! - Еллі зойкнула. " [Кінг, 2015, p. 305]. ""I don't know," Ellie said. "It was the dream. Something about Gage. Or maybe it was Church. I don't remember. I don't know"" [King, 1983, p. 300]. - "Я не знаю, - прошепотіла Еллі. - Я бачила сон. Щось про Ґейджа. Чи, може, про Черча? Я не пригадую. Я НЕ ЗНАЮ! " [Кінг, 2015, p. 305]. Moreover, the translator has also made certain lexical choices that affect the emphasis of the TL text. For example, in the SL text, the character wailed to express her frustration, being overcome with strong emotion. However, in the TL, the word прошепотіла is used and this downplays the character's frustration and the emotional intensity of the sentence. Thus, the translator made a mistake in rendering the emotional tonality of the SL message. As a result, the TL text lacks the emphasis and intensity present in the SL message.

Onomatopoeia is extensively featured in King's horror novels, significantly enhancing the expressiveness of speech. For instance, "Shhhhh. . . shhhh. We will not speak of such things" [King, 1983, p. 248]. The desired communicative effect can be reached by letter replication in writing. Thus, the SL and TL utterances formally correspond to each other in their communicative function and the portrayed situation, but the translators enlarged the number of letters in the TL, adding a threatening tone to the message: "Тсссссссс... тсссссссс. Ми не говоримо про такі речі" [Кінг, 2015, p. 253]. The same phenomenon can be traced in the following sentences: "Auggggh-ROOOOOO! Fred responded" [King, 1983, p. 334]. - "АгоооУУУУУУУУУ! АгрррУУУУУ- УУУУ! - відповів Фред" [Кінг, 2015, p. 340].

Topographemic means are also often found in King's horror fiction. In "Pet Sematary", they account for spatial parameters of the text set on the page. To illustrate the point, the following example can be drawn:

"BIFFER, BIFFER, A HELLUVA SNIFFER / UNTIL HE DIED HE MADE US RICHER" [King, 1983, p. 30].

In this example, the translators do not preserve the spatial textual characteristics of the message, spliffing it into two lines. Furthermore, they applied antonymic translation to achieve faithfulness of sense units in the TL text.

"БІФФЕР, БІФФЕР, ШВИДКИЙ, ЯК ВІТЕР.

ЯК БУВ ЖИВИМ, МИ ГРАЛИСЬ З НИМ" [Кінг, 2015, p. 37].

While the translators have attempted to maintain the sense units of the original text, the spatial characteristics of the message are lost in translation. The case illustrates the difficulties that translators may encounter when dealing with topographemic means in literary works.

In conclusion, to achieve equivalence in rendering the imagery, the intricate plot, and emotional reactions, the translators tend to use TL substitutes providing semantic identity with the SL text. However, this practice is not always efficient and may lead to inconsistencies and distortions in the output message. Moreover, syngraphemic, supragraphemic, and topographemic means bearing some stylistic and pragmatic load require a unique approach to their adequate translation. Thus, the translators incorporate various lexico-semantic (differentiation, loan, descriptive and antonymic translation), grammatical (compression, addition) and pragmatic (logi- zation, remetaphorization) transformations into their translation activity.

Conclusion

The research findings highlight the significant interaction between explicit and implicit components, which subconsciously immerse readers in the horror atmosphere and enhance their emotional perception of non-existent phenomena. It is evident that phonic means, exposing the vocal background of the depicted situations, play a crucial role in extending their profound impact on readers' consciousness. Conversely, graphic means emphasize the fragile state of human psychology under mental and nervous strain. Therefore, the engagement of multimodal elements in horror fiction not only aids in overcoming challenges related to plot interpretation but also imparts fragments of information that enhance sensory and visual text perception.

These conclusions demonstrate the valuable contribution of multimodal means in horror literature, shedding light on their ability to evoke suspense and facilitate a more immersive reading experience. By harnessing various sensory and visual techniques, these elements help captivate readers' attention and heighten their emotional engagement with the narrative.

The analysis of the collected corpora from King's novels [1983; 2018] revealed the application of semantic, grammatical, and pragmatic translation strategies that effectively preserve the author's communicative intent in the TL. The prevalent strategies employed in the translation process encompassed differentiation, omission, amplification, synonymous substitution, loan translation, and antonymic translation. Notably, the utilization of antonymic translation proved particularly valuable as it enhanced translation accuracy and reinstated the expressive nature of the original speech in the TL, successfully maintaining the integrity of the original imagery and its linguistic and stylistic framework.

However, it is crucial to acknowledge that translation mistakes were observed, stemming from the clumsy interpretation of multimodal means due to subjective choices and a lack of proofreading. To address this, it is recommended that translators exercise greater caution and employ thorough proofreading processes to ensure detailed interpretation and representation of the multimodal elements in the target text. Furthermore, it is vital to highlight the complexities involved in reproducing the horror genre's peculiarities and preserving the SL utterances' functional aspects in the TL to avoid any text misrepresentation or distortion. Finally, to navigate these challenges successfully, translators should employ a thoroughly selected combination of strategies, including but not limited to the careful selection of appropriate vocabulary, attention to the nuances of emotional tonality, and adherence to the intended atmospheric and psychological effects inherent in horror fiction.

Our findings put forward statements that give a strong perspective for further research and developing new approaches to horror novel interpretation.

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translation, multimodality and horror fiction

References

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Altmann, C.J. (2020). The Impact of Cultural Experience of Two Translators on Literary Translation. Research in Language, vol. 18, issue 1, pp. 37-52. DOI: http://doi.org/10.18778/1731- 7533.18.1.03

Anastasova, M. (2019). The Suspense of Horror and the Horror of Suspense. Cambridge, Cambridge Scholars Publishing, 229 p.

Anderson, J.A. (2021). Excavating Stephen King: A Darwinist Hermeneutic Study of the Fiction. Lanham - Boulder - New York - London, Lexington Books, 259 p.

Baker, M. (2018). In Other Words: A Coursebook on Translation. New York, Routledge Francis and Taylor Group, 390 p. DOI: https://doi.org/10.4324/9781315619187

Baldry, A., Thibault, P. (2006). Multimodal Transcription and Text Analysis: A Multimedia Toolkit and Coursebook. London, Equinox, 300 p.

Bateman, J. (2008). Multimodality and Genre: A Foundation for the Systematic Analysis of Multimodal Documents. New York, Palgrave Macmillan, 331 p.

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