SUBSTANDARD LANGUAGE IN THE UKRAINIAN TRANSLATION OF

THE FILM “THE WOLF OF WALL STREET”

Research paper

Scholarly supervisor:

Lviv 2023

TABLE OF CONTENTS
 2

INTRODUCTION.....................................................................................................3
CHAPTER I..............................................................................................................6
THEORETICAL BACKGROUND OF THE STUDY OF SUBSTANDART
LANGUAGE TRANSLATION................................................................................6
1.1. Substandard language as a linguistic phenomenon.........................................6
1.2. Types and peculiarities of substandard language............................................8
1.3. Functions of substandard language in literary texts......................................12
1.4. Specific features of rendering substandard language in terms of film
translation.............................................................................................................14
CHAPTER II...........................................................................................................18
TRANSLATION OF SUBSTANDARD LANGUAGE FROM ENGLISH INTO
UKRAINIAN..........................................................................................................18
2.2. Ways of translating substandard language from English into Ukrainian......18
2.2.1. Rendering slang from English into Ukrainian........................................18
2.2.2. Translation of English colloquialisms into Ukrainian............................20
2.2.3. Rendering vulgarisms in film translation................................................22
2.3. Main difficulties of substandard language translation..................................24
CONCLUSIONS.....................................................................................................28
LIST OF REFERENCES........................................................................................32

INTRODUCTION
 3

The modern language situation is characterized by deformation of the

stylistic system that developed earlier, the blurring of the boundaries of the literary
language, fluctuations in its norms. Given a number of historical, economic,
political, cultural and ideological and other reasons, a mass of language
phenomena, which used to traditionally function on the periphery of
communication, powerfully flows into language communication.
Cinematography is an integral part of the daily lives of people of different
ages. Thanks to advanced modern technologies, today we have the opportunity to
watch films by various directors, from different countries, with or without
translation; we can choose almost any language or watch a film in its original
language. When it comes to foreign films and series, we choose a film with quality
translation to get the maximum enjoyment from watching: it is important for us to
receive a translation that is as accurate as possible, conveying the content,
atmosphere, and mood of the film as closely as possible to the original.
However, do viewers consider how much meticulous work goes into
translating a film that lasts approximately an hour and a half? Taking into account
the genre-specific features of the film, the cultural and national characteristics of
the country in which it was created, ensuring the preservation of the content of the
original video material, and the quality reproduction of the characters' lines,
considering the peculiarities of the linguistic culture for which the film is
translated, and, finally, synchronizing the translated text with the original text – all
of this is the responsibility of the translator, who, in the process of translating the
film, encounters a large number of challenges.
One of such challenges is the translation of substandard language. It
involves striking a balance between staying true to the original context and
ensuring cultural sensitivity, as different languages and cultures may have varying
degrees of tolerance for substandard language. Therefore, the translation of
substandard language in films adds an extra layer of complexity to the already
intricate task of film translation.
 4

It is important to study this issue taking into account modern realities,

namely, the global and intensive process of language democratization. This process
not only influences the spread of substandard vocabulary in the media but also
actively impacts the use of such language in cinematography. Therefore, the
topicality of the present research lies in the fact that translators need to adapt to the
conditions of contemporary realities and employ innovative approaches and
methods in translating audiovisual works containing substandard lexical units to
preserve the original content and mood of the film.
The problem of translating substandard vocabulary is addressed in the works
of scholars such as O. I. Brodovich [8], R. Lung [14], I. Stipanov [20]. The issues
of using substandard language in films are studied by P.A. Devi, I.M.Suastra [11],
K. B. Fagersten, K. Stapleton [12]. V. Konkulovskyi [2] and O. D. Gulieva [26]
researched into the specifics of rendering substandard language units in film
translation.
The object of the paper is substandard language units (slangisms,
colloquialisms and vulgarisms) in the film “The Wolf of The Wall Street” and their
Ukrainian translation.
The subject of the research is the ways of translation of English substandard
vocabulary from the film “The Wolf of The Wall Street” into the Ukrainian
language.
The aim of the study is to define and analyze ways of translating English
substandard language units in film translation into the Ukrainian language.
The objectives of the research paper include the following ones:
 to study the phenomenon of substandard language as well as to define
its types and peculiarities;
 to find out the functions of substandard language in literary texts;
 to examine the specific features of rendering substandard language in
film translation;
 to analyze the translation of slang, colloquialisms and vulgarisms in
the English-Ukrainian film translation;
 5

 to consider the main difficulties of substandard language translation.

Compositionally, the research paper consists of 35 pages, including
introduction, two chapters, conclusions, and the list of references. Introduction
states the topicality of the research, enumerates the scholars who studied the
problem of substandard language translation, especially in terms of film
translation, defines the object and the subject of the paper, sets the aim and
objectives of the research.
Chapter I provides theoretical background of substandard language
translation study, including the research into the types, peculiarities and functions
of substandard language.
Chapter II discussed the main ways of translating slang, colloquialisms, and
vulgarisms from English into Ukrainian in terms of film translation.
Thus, the present research is an attempt to examine the methods and
techniques translators use while rendering English substandard vocabulary into the
Ukrainian language in film translation.

CHAPTER I
THEORETICAL BACKGROUND OF THE STUDY OF SUBSTANDART
LANGUAGE TRANSLATION
 6

1.1. Substandard language as a linguistic phenomenon

Substandard language is a term used in linguistics to describe language

varieties or forms that deviate from the standard or prestige variety of a language.
It is important to note that the term “substandard” does not imply inferiority or lack
of intelligence; rather, it reflects a deviation from a socially or academically
established norm [3: 35]. The Merriam-Webster Thesaurus defines the term
substandard as deviating from or falling short of a standard or norm. If
substandard refers to a language, the thesaurus suggests the following definition:
conforming to a pattern of linguistic usage existing within a speech community but
not that of the prestige group in that community [41]. In academic discourse, the
term has frequently been employed without an inherent intention of passing a
negative judgment. However, some linguists and educators today oppose this
usage, contending that in some cases the term conveys a sense of poor or low
quality and in language usage it is perceived negatively. As an alternative, they
advocate for the term nonstandard [7; 36; 40].
Several factors contribute to the emergence of substandard language [15:
219]:
 Socioeconomic factors: people from different social and economic
backgrounds may use language in distinctive ways. Varieties
associated with certain social groups may be considered substandard
by those who adhere to a different linguistic norm.
 Geographic variation: language can vary significantly across regions,
leading to the development of regional dialects. Some dialects may be
perceived as substandard by speakers of other dialects or by those who
adhere to a standardized version of the language.
 Educational attainment: individuals with lower levels of formal
education may use language differently than those with higher levels
of education. This can lead to the perception of their language as
substandard in certain contexts.
 7

 Cultural influences: cultural factors, including slang, informal

expressions, and language innovations within specific communities,
can contribute to the development of substandard language.
 Language evolution: languages naturally evolve over time, and certain
linguistic changes may be considered substandard by traditionalists or
purists who adhere strictly to established norms.
It is essential to recognize that linguistic diversity is a natural and valuable
aspect of language. Linguists typically aim to understand and describe language as
it is used by speakers, without passing judgment on whether a particular form is
“correct” or “incorrect” [15: 213]. Sociolinguistics, a field within linguistics,
explores the relationship between language and society, including the study of
substandard language varieties and their social implications [18].
Substandard language is recognized as a composite lexical-semantic
category organized in a hierarchical structure, encompassing a collection of
socially determined lexical systems as well as stylistically low lexical layers. These
linguistic elements exhibit notable variations and disparities in fundamental
functions, socio-lexicological attributes, as well as pragmatic and stylistic
aspects [20: 114].
Generally, substandard language represents a lexical layer that requires a
comprehensive research for better understanding of its definition and stratification.
The concept of substandard speech is intricately linked to language style,
encompassing both functional and expressive styles. Therefore, the significance of
functionally-situational context and emotionally-situational criteria cannot be
overstated, as they play a crucial role in determining the classification of
substandard language [15: 218].
In summary, substandard language is a linguistic phenomenon that arises
from various social, economic, geographic, and cultural factors. Linguists study
these variations to better understand the rich tapestry of human language.
 8

1.2. Types and peculiarities of substandard language

Substandard language is a complex language phenomenon that consists of

several sub-systems. According to K. Sorning, substandard language comprises
slang and colloquialisms [19: 4]. However, many other scientists also consider
vulgarisms as a category of substandard language [16: 171]. Thus, the structure of
substandard language, on which the present research is based, is presented on
Picture 1.1.

Picture 1.1.
The Components of Substandard Language

The first component, that is slang, is considered highly informal and is

frequently employed in everyday conversations. While the use of slang is prevalent
in contemporary times, historically, slang was often linked to vulgar words and
viewed as nonstandard language [16: 172].
 9

R.L. Chapman and B.A Kipfer [25: 6] suggest that slang originates from the
distinctive languages of subcultures, straying away from the primary purpose of
language and representing the least linguistic form. Slang is something universally
recognizable yet elusive to precise definition. The utilization of slang by teenagers
continues to be a source of innovation, contributing to the ongoing creation of new
slang lexemes.
Broadly speaking, the widespread popularity of slang is evident across
languages and manifests in various contexts. Conducting research on slang proves
intriguing as it offers additional insights into new words and speech patterns in
many languages, including English, shedding light on the authentic meanings of
slang as employed in movies for example [11: 3].
Colloquialisms, which are the second component of substandard language,
refer to informal, everyday expressions and phrases commonly used in casual
conversation rather than in formal or literary contexts. These substandard linguistic
elements are an integral part of spoken language and often contribute to a sense of
familiarity and immediacy in communication. Colloquialisms vary across regions,
social groups, and cultures, reflecting the rich diversity of language use.
Colloquialisms are inherently informal and are typically avoided in formal or
professional settings. They add a conversational and relaxed tone to
communication. It should also be noted that different regions and communities
have their own colloquial expressions, contributing to regional dialects and
linguistic diversity. Some linguists believe that local slang and idiomatic
expressions are parts of colloquialisms [16: 177].
Colloquial language is dynamic and evolves over time. New colloquial
expressions emerge, while others may fall out of common usage. This dynamism
reflects the adaptability of language to cultural shifts and trends.
While colloquialisms are prevalent in spoken language, writers and speakers
often make conscious choices about when and where to use them based on the
formality of the situation. Understanding colloquialisms is essential for effective
 10

communication, as they play a significant role in capturing the nuances and

authenticity of everyday language.
The term vulgarism in modern linguistics refers to expressive, evaluative
language that has historically emerged as a violation of taboos. It includes coarse
words or expressions outside literary vocabulary, abusive expressions (insults),
invectives, and swear words [16: 176].
Analyzing the phenomenon of vulgarisms, D.O. Gulieva notes that in words,
as in sacred formulas, there has long existed a whole range of deeply hidden
tabooed elements: designations of animals, natural phenomena, the sky, certain
parts of the human body, related to procreation, which have a direct sacred
connection with higher forces of nature [26]. Later, vulgarisms came to be
understood as a prohibition on the use of words for certain pragmatic purposes.
This led to categorizing certain referents as tabooed for verbal designation and
endowed with a negative connotation. Taboo arises under specific conditions
influenced by various social and cultural factors. The purpose of taboo is to restrict
the use of certain words, dictated by social, political, historical, cultural, ethical, or
emotional factors, to exclude not the concept that remains necessary for society but
the word-label used not so much to denote an object as to express the speaker's
negative attitude toward the addressee or the object itself. Vulgarisms emerged as a
violation of taboo [26].
A vulgarism is a linguistic formation that does not represent a system and is
not prevalent at the lexical-phraseological level; it pertains to substandard language
and contrasts with the lexical fund of literary language. Vulgarisms refer to
obscene words and expressions, offensive language that falls outside the ethical
norms of society [26]. Vulgarisms are characterized by maximum stylistic
debasement and the intensity of emotional evaluation. Vulgarisms constitute
lexicon with indecent connotations. Indecency should be understood as a non-
compliance with the ethical and cultural norms of a specific society [26].
The peculiarities of substandard language encompass a range of linguistic
characteristics that distinguish it from the standard or prestige variety of a
 11

language. These features may vary across different linguistic contexts, and it is
essential to approach the study of substandard language without attaching value
judgments. According to the views of different authors on the problem of
substandard language characteristics [14; 15; 16] some common peculiarities
associated with all sub-groups of substandard language are the following:
 Lexical innovations: substandard language often incorporates new
words, expressions, or adaptations of existing vocabulary. These
lexical innovations may arise from cultural influences, regional
dialects, or social groups.
 Simplified syntax: substandard language may exhibit simplified or
altered phrase or sentence structures compared to the standard form.
This can include the use of non-standard grammar or deviations from
formal syntactic rules.
 Phonetic deviations: pronunciation variations and phonetic deviations
from standard norms are common in substandard language. These
deviations can be influenced by regional accents, socio-economic
factors, or educational backgrounds.
 Pragmatic features: substandard language often exhibits distinctive
pragmatic features, including different speech registers and
communicative styles. These features may be context-dependent and
shaped by social and cultural factors.
 Informality: substandard language is more informal than the standard
variety. It is typically used in relaxed language situations and may
include simplified grammar structures.
It is important to approach the study of substandard language with sensitivity
to linguistic diversity and without perpetuating stigmatization. Linguists often
analyze these linguistic variations to gain insights into the dynamic nature of
language and its role in various social and cultural contexts.
 12

1.3. Functions of substandard language in literary texts

Literary texts refer to written works of creative expression that are

recognized as art, often produced with an emphasis on aesthetic and intellectual
qualities. These texts encompass a wide range of genres, including novels, short
stories, poems, plays, essays, and more. Literary texts serve as a medium for
authors to convey ideas, emotions, and narratives in a unique and stylized manner.
They are distinguished by their creative use of language, symbolism, and various
literary devices. The interpretation of literary texts often involves a deeper analysis
of themes, characters, and the author's stylistic choices, making them a rich source
for literary study and appreciation [8: 27]. As many of the features mentioned also
relate to films, in the present research movie script is considered as a literary text.
The use of substandard language in literary texts involves the intentional
incorporation of nonstandard linguistic elements for creative or expressive
purposes. Authors deploy substandard language to achieve specific literary effects
and convey a sense of authenticity or realism.
Substandard language performs various functions in literary texts, including
films. For example, K. Beers Fagersten and K. Stapleton conducted a research to
understand the pragmatic functions of using vulgarisms in media. According to the
scholars, vulgarisms (swear words) fulfill various interpersonal pragmatic
functions and serve as a distinguishing characteristic of both speakers and contexts.
It serves characterization, interactional, and narrative functions [12: 93]. The
research found that roughly 50% of the instances of swearing in the study material
were dedicated to the interpersonal function of affiliation. This underscores the
significance of swearing in diminishing social distance and fostering social bonds
within a diverse group of strangers compelled to collaborate [12: 103].
Generally, substandard lexemes can function as social markers in literary
texts. The use of substandard language can indicate affiliation with specific social
or cultural groups, shared cultural experiences. It may contribute to a sense of
 13

identity and community. Certain units of substandard language may be specific to

particular age groups, social classes, or communities.
In addition, authors use substandard language to authentically represent the
speech patterns of characters, particularly when those characters belong to specific
social, regional, or cultural groups. This contributes to the depth and believability
of the characters.
Another function of substandard language that deserves to be considered is
creation of the atmosphere. Substandard language can help establish the setting and
atmosphere of a literary text. Different slang units or colloquial expressions
contribute to the sense of time and place, immersing readers / viewers in a
particular cultural or social environment.
Substandard language can influence the narrative voice, allowing authors to
adopt a specific tone or perspective. It adds a layer of authenticity to the
storytelling and shapes the overall mood of the text.
Furthermore, authors often use substandard language for comedic effect or
satire. Through wordplay, exaggeration, or the use of informal expressions, authors
can create humor and make satirical comments on various aspects of society [6:
687].
In literary texts substandard language can also function as a type of social
commentary. The use of substandard language may serve as a tool for social
commentary, addressing issues related to identity, class, or cultural diversity. By
incorporating specific language units, authors can make nuanced statements about
societal norms and values [6: 687].
Additionally, substandard language is employed to emphasize particular
emotions or moments in the story. Nonstandard expressions can convey a
character's passion, frustration, or excitement more vividly than formal language.
The choice of substandard language in a literary text contributes to the
characterization of individuals within the narrative. It helps define characters'
backgrounds, social status, or personalities based on their linguistic expressions [6:
688].
 14

It should also be noted, that certain units of substandard language, such as

vulgarisms, in literary texts refer to the deliberate inclusion of coarse or offensive
language, often considered indecent or inappropriate, for artistic or expressive
purposes. Authors may choose to incorporate vulgar language to achieve specific
effects [6: 689].
While the use of substandard language in literary texts can enhance the
richness and authenticity of the narrative, it is a deliberate stylistic choice that
should be considered within the broader context of the work and the author's
artistic intentions.

1.4. Specific features of rendering substandard language in terms of film

translation

Film translation, also known as audiovisual translation, encompasses the

linguistic and cultural adaptation of spoken and written content in films for
audiences with different linguistic backgrounds. This process is crucial for making
films accessible and enjoyable to a global audience, as it enables viewers to
understand and connect with the narrative, characters, and cultural nuances
regardless of their native language.
Two types of film translation are generally distinguished. They are subtitling
and dubbing [17: 12]. Subtitling involves displaying a translation of the spoken
dialogue at the bottom of the screen. Subtitling requires concise and well-timed
translations to ensure that viewers can read and comprehend the text while
watching the film [10: 20]. As for dubbing, the original dialogue is replaced with a
translated version performed by voice actors. This process involves matching the
lip movements of the actors to create a seamless viewing experience. Successful
dubbing requires skilled voice actors who can convey the emotions and nuances of
the original performances [9: 104].
Film translation is closely connected to such phenomenon as localization.
Beyond linguistic translation, localization involves adapting cultural references,
 15

idioms, and humor to make them more relatable to the target audience. This
ensures that the translated version feels natural and resonates with viewers from
different cultural backgrounds [17: 14].
Film translation must also navigate issues related to censorship and cultural
sensitivity. Some content may need to be modified to comply with local
regulations or cultural norms, while maintaining the integrity of the original story.
For example, according to K. Beers Fagersten and K. Stapleton in broadcast media,
substandard language has historically faced censorship or limitations in its
usage [12: 95]. However, today almost all films, television shows, or television
series contain the units of stylistically reduced vocabulary.
Translating substandard language in films poses a unique challenge for
translators, as it involves rendering colloquial or informal speech, slang, or even
vulgarisms. The goal here is to maintain the authenticity and impact of the original
dialogue while ensuring that the translated version is appropriate for the target
audience.
According to V. Konkulovskyi [2], contemporary translators often soften
offensive words during translation, and sometimes even distort their meaning,
especially when the translator does not perceive a difference in the degree of
expressiveness of the vocabulary in both languages. Substandard lexical units are
often replaced with euphemisms. V. Konkulovskyi believes that for preserving the
overall linguistic background, the most adequate and common techniques for
conveying substandard vocabulary in film translation are grammatical and lexical
substitutions, as well as the technique of compensation. The use of calque and
elements of literal translation is also considered as a viable option to maintain the
original level of intertextuality, while adherence to the timing of the film is ensured
through syntactic transformations [2: 242].
Nowadays there are films and series where it is impossible to do without
vulgarisms, colloquialisms, and slang. If translators soften or completely remove
the slang from a film, the entire atmosphere of the film is lost, along with its genre
characteristics, style, and the distinctive features of the characters. The translated
 16

version of the film in such case may undergo conceptual alterations due to the
inadequate reproduction of the original content blocks [2: 243].
The function of substandard language in cinematography is similar to its role
in other expressive means of creating characters. In order to make a character on
screen vivid and realistic, along with makeup, costumes, and set design, they need
to be endowed with a linguistic characteristic, a certain unique language. The task
of a film translator is to reproduce the speech and mood of the characters as
accurately and truthfully as possible, adapting substandard vocabulary to the
linguistic and cultural norms of the target audience [2: 242].
An example of the film containing a large number of substandard lexical
units that need to be adequately reproduced in the process of film translation is the
film titled “The Wolf of The Wall Street”. The film tells about an ordinary person,
an inconspicuous worker who reaches significant heights in the financial business
and earns millions. Most of the film's characters are simple, uneducated market
sellers and drug dealers who have become workers in the financial industry and
have earned huge amounts of money. The language of all the film's characters is
far from literary, as it includes a lot of colloquialisms, financial slang and
vulgarisms. The use of such vocabulary helps to reveal certain specific traits of the
characters; shows their social status; reveals their level of education; describes
their behavior and conveys their attitudes toward each other and life in general;
makes the depiction of the world more complete. In general, substandard language
in the studied film gives the language emotional coloring, allowing viewers to gain
additional information and form a proper impression of the characters [30].
The film “The Wolf of The Wall Street” is a dark comedy, and the language
of the characters consists precisely of slang and colloquial vocabulary. The
purpose of the film is to challenge the viewer's expectations, satirize the financial
upper echelon, and mock the “culture of excess” that has taken it over, instigating a
sense of disgust towards the so-called “elite.” This was achieved precisely through
the use of substandard language in the English version of the film. Professional
translators from one of the Ukrainian translation agencies believe that, this,
 17

unfortunately, cannot be said about the Ukrainian version of the film. The slang,
colloquialisms and vulgarisms, which are used so often in the film that can even be
considered as its “main characters” are almost entirely absent in the Ukrainian
translation. This, consequently, makes the film flat, polished, devoid of sharpness
and the main idea [30].
In the present research the main ways of translating substandard language
units in the film “The Wolf of The Wall Street” from English into Ukrainian will
be discussed in Chapter II.
Thus, film translation is a complex and multifaceted process that requires a
deep understanding of both the source and target languages, as well as the cultural
nuances embedded in the film. Successful film translation allows audiences around
the world to enjoy and appreciate diverse cinematic experiences, fostering a global
appreciation for the art of filmmaking. Translating substandard language in films
requires a delicate balance between preserving the original tone and adapting the
language to suit the cultural and linguistic nuances of the target audience.
Translators play a crucial role in ensuring that the translated dialogue maintains the
intended impact and authenticity of the original, even when dealing with
substandard vocabulary.

CHAPTER II
TRANSLATION OF SUBSTANDARD LANGUAGE FROM ENGLISH
INTO UKRAINIAN
 18

2.2. Ways of translating substandard language from English into Ukrainian

2.2.1. Rendering slang from English into Ukrainian

Substandard vocabulary constitutes a significant part of any language and is

one of the most popular linguistic tools used in virtually all spheres of modern
culture. In modern linguistic studies slang is considered the most numerous and
widespread component of substandard language [5: 177].
In the film “The Wolf of The Wall Street” there are numerous instances of
using slang related to the main hero’s professional activities, that is, financial
slang. These include specific, understood, and commonly used terms in the
financial domain to denote phenomena and processes. Some examples to illustrate
this are given below:
1) To make fortune це хіба сленг? [22] – заробити статки [21];
2) Penny stocks [22] – копійчані акції [21];
3) Bad publicity це хіба сленг? [22] – погана реклама [21];
4) Keep the sharp between the ears [22] – тримати голову в тонусі [21];
5) Supply and demand це хіба сленг? [22] – попит народжує пропозиції
це що за переклад такий? [21];
6) Time to paint the tape [22] – час програти запиc треба
прокоментувати цей оригінал і переклад. Що це означає? Що це за тип
перекладу? [21];
7) Hit the bull’s eye [22] – точно в ціль [21].
As one can see from the examples, all of the slang units are commonly used
terms in the sphere of finances. They are translated into Ukrainian with their direct
equivalents (а що таке ‘direct equivalents’? Приклад 6 – це теж ‘direct
equivalent’?) that preserve their stylistic connotation and functions in the dialogue.
The last example (7) is considered to be a professional idiom meaning to be exactly
correct [34]. Thus, it is translated into Ukrainian without any loss of information
or stylistic features.
 19

However, there are also many idioms in the film that are translated into
Ukrainian using the strategy of neutralization, that is, when a substandard lexical
unit in the original is translated into a neutral lexical unit:
1) Money crazed little shit [22] – грошова криза [21];
2) To give a blue balls [22] – обломати це по-Вашому ‘neutral’? [21].
In the first example the strategy of neutralization is implemented through the
use of grammatical transformations such as omission of the word combination
little shit and grammatical substitution (the English adjective crazed is substituted
with the Ukrainian noun криза). Moreover, the word shit is considered to be a
vulgarism and its omission in translation made the Ukrainian equivalent of the
English slang unit more neutral in semantic connotation.
In the second example the slang term blue balls means sexual frustration in
the English language [32]. In translation the transformation of generalization
(when a world with a narrower semantic meaning is substituted by a word with a
wider semantic meaning) contributed to neutralization of the Ukrainian slang unit.
The film also features general slang units that express a negative description
of a person:
1) Worthless piker [22] – марний пішак [21];
2) Off the wall [22] – ненормальний [21].
In the examples above both slang units are rendered into Ukrainian
preserving their connotative meaning. However, unlike in the original, in the
translated film text both units are expressed with the help of general vocabulary.
A large layer of substandard vocabulary in the film is associated with drug
use:
1) I was hooked within seconds [22] – я підсів на це за секунду [21];
2) Weed [22] – травичка [21];
3) One hit [22] – одна затяжка [21];
4) Tootski? [22] – Коксику? [21];
5) Crack [22] – крек [21].
 20

As it can be seen from the examples, the Ukrainian translation features the
same stylistic connotation of slang words and word combinations. Slang words that
denote types of drugs (weed, tootski, crack) and the ways of their usage (to be
hooked, hit) are translated with equivalent Ukrainian slang lexemes.
So, the film “The Wolf of The Wall Street” features a lot of slang units both
professional financial slang and general slang that serve the function of expressive
means of creating characters. In most cases slang lexemes are translated into
Ukrainian with the equivalents that have similar stylistic connotation. The strategy
of neutralization, when a slang unit in the original is translated into a more neutral
lexeme, is used less often.

2.2.2. Translation of English colloquialisms into Ukrainian

Colloquialisms are used in the analyzed film in everyday informal

conversations among characters and contribute to a sense of familiarity in their
communication. Colloquialisms express the affiliation of characters with a specific
social group. They add a relaxed tone to the dialogues in the film. The analysis of
the English colloquial expressions showed that the film “The Wolf of The Wall
Street” mostly contains colloquialisms with negative connotation:
1) The pin head [22] – дебіл [21];
2) Schmucks [22] – лохи [21];
3) Knuckleheads[22] – дебіли [21];
4) Bomheaded eagle [22] – тупоголовий орел [21];
5) Rat on [22] – стукачити [21];
6) Sniffing around [22] – винюхувати інформацію [21].
All of the colloquialisms above are stylistically low lexical units that either
denote negative characteristics of people, especially the lack of intelligence (the
pin head, schmucks, knuckleheads, bomheaded eagle) or some actions that are
considered to be undesirable (rat on; sniffing around). In all cases English
colloquialisms are rendered into Ukrainian with the help of equivalents that have
 21

similar stylistic connotation. To illustrate this, we will consider the definitions of

the colloquial units that denote the lack of intelligence in English and Ukrainian
Dictionaries:
1) The pin head [37] – a very dull or stupid person; дебіл – людина із
вродженою психічною неповноцінністю, розумовою відсталістю;
недоумок [27].
2) Schmuck – a stupid, foolish, or unlikeable person [39]; лох – дурень,
йолоп, людина, яку не поважають [28].
3) Knucklehead – a stupid person [35]; дебіл – людина із вродженою
психічною неповноцінністю, розумовою відсталістю; недоумок.
4) Bomheaded– is another word of calling someone a fool [33];
тупоголовий – нерозумний, некмітливий; туполобий [29].
Some other examples of the translation of colloquialisms with the
equivalents that have similar stylistic connotation include the following ones:
1) Depraved Chinaman [22] – стрьомний китаєць [21];
2) Snooks [22] – лошки [21];
3) Rathole [22] – підставна особа [21];
4) Sleazy salesmen [22] – підлі торгаші [21].
However, there are instances when the Ukrainian translation is more
expressive that the original one:
1) Rugrat [22]– шмаркач [21].
In this example in the translation of the unit rugrat, which is quite neutral,
the word шмаркач is used, which has a more negative connotation. According to
The Britannica Dictionary, rugrat means a young child [38]. Yet, the Thesaurus of
the Ukrainian Language gives the following explanation of the word шмаркач:
молода, недосвідчена, невміла людина, яку не поважають; уживається як
лайливе слово [31]. So, in this case the strategy of compensation is used. That it,
when a neutral lexical unit is translated into an expressively colored substandard
lexical unit.
 22

Thus, English colloquialisms in the film “The Wolf of the Wall Street” play
a significant role in capturing the nuances and authenticity of everyday language.
They mostly describe negative features of the characters like lack of intelligence,
or indicate undesirable actions of other characters, and translated into Ukrainian
either with equivalents that have similar stylistic connotation or by using the
strategy of compensation.

2.2.3. Rendering vulgarisms in film translation

In the English language, viewers perceive vulgarisms adequately and

without offense when used in films. In the Ukrainian language, the use of
vulgarisms is considered unacceptable in most cases.
There is a tendency to soften or neutralize excessively offensive words in
translation and replace them with equally expressive and emotional but less
offensive equivalents or simply omit them in the translation [30].
According to some professional translators [30], such a strategy contradicts
the general rules of translation, which assert that all the peculiarities of the original
should be preserved in the translation. As a result, the unique traits of film
characters expressed through the use of substandard vocabulary are lost.
Vulgarisms are characterized by maximum stylistic debasement and
intensity of emotional evaluation. In the representation of language culture bearers,
vulgarisms are lexicon with indecent connotations. Indecency should be
understood as a deviation from the ethical and cultural norms of a particular
society [26].
Vulgarisms also include obscene vocabulary and swear words. They as well
express a spontaneous linguistic reaction to an unexpected (usually unpleasant)
situation [26].
Vulgarisms are generally divided into [26]:
 names of individuals with explicitly negative characteristics;
 23

 names of socially tabooed parts of the body;

 names of the process of engaging in a sexual act;
 names of some physiological functions;
 names of the results of some physiological functions.
In the film “The Wolf of The Wall Street,” the word fuck is used 569 times –
an average of 3.16 instances per minute. If all these words were translated into
Ukrainian directly, the entire film would consist of vulgar words. Of course,
Ukrainian-speaking viewers would perceive this negatively. Thus, translators used
different transformations to find various equivalents in the process of translating
this vulgar word:
1) Let‘s fuck [22] – Погнали!; [21];
2) Until one of us passes the fuck out [22] – Поки один з нас не
вирубиться [21];
3) And tip the fuck over [22] – І вся ця хрінь скінчиться [21].
The examples show that the word fuck is usually either omitted in the
Ukrainian translation or is replaced with equally expressive but less offensive
equivalent.
The first example is the phrase spoken in private conversation. The film
characters use expression derived from the name of socially tabooed designations
of a sexual act. In this case the translators used the transformation of modulation,
that the substitution of the original word or phrase with a target word or phrase, the
meaning of which can be logically deduced from the original meaning. This
transformation made the translation less expressive and more neutral.
In the second example the word fuck is omitted, which, in our opinion, led to
the loss of expressiveness of the whole phrase.
In the third example the word fuck is substituted with a less offensive
equivalent – хрінь. This substitution led to a slight difference at the connotative
level. This is explained by the differences in cultural traditions: in Ukraine, the use
of coarse vulgarisms in films is deemed unacceptable.
 24

The examples of the use of other vulgarisms in the studied film include the
following ones:
1) We don‘t give two shits [22] – Нам насрати [21];
2) Enough of this shit‘ll make you invincible [22] – Якщо в тебе багато
цього лайна – станеш непереможеним [21];
3) Village asshole [22] – місцевий мудак [21];
4) Cock [22] – член [21];
5) Prostitution ring [22] – бордель [21].
The examples show that other types of vulgarisms used in the film are those
that socially tabooed parts of the body (cock); names of some physiological
functions and their results (shit); names connected to sexual acts (places)
(prostitution ring); words that express negative opinion about people (asshole).
In all of the examples mentioned, the translation is equally expressive and
emotional to the original resulting in preserving of the unique traits of film
characters expressed through the use of substandard vocabulary.
Thus, vulgarisms significantly differ from neutral language in their
derogatory nature (in terms of evaluation, ethics, and aesthetics), but they are
typical for informal communication environments of the film characters. However,
such lexical units have pragmatic advantages over the neutral style of language as
they are better able to influence the consciousness of the contemporary English-
speaking audience, which the film is oriented towards. In the analyzed film, the
considerable amount of vulgar vocabulary serves the function of lowering the
social status of a character or expressing the attitude to a certain individual.
Concerning Ukrainian translation, in most cases analyzed vulgar words are
substituted with those that are equally expressive and emotional but less offensive.

2.3. Main difficulties of substandard language translation

Recently, there has been a total destandardization of spoken language, with

the infiltration of substandard vocabulary into mass media and literature. It is hard
 25

to call this a natural course of language development. More likely, it is a common

marketing move, catering to the average consumer, a desire to appeal to the public.
Audiences (listeners, readers) dislike a “dry style”; people want to see emotions, a
clear positive or negative attitude from the speaker. To create such an effect,
authors use substandard vocabulary.
The translation of substandard language poses several challenges for
translators. Some of the main difficulties include [14: 269-272]:
1. Cultural Sensitivity. Substandard language often contains vocabulary
units that are deeply rooted in a specific culture. Translators must be aware of
cultural nuances to accurately convey the intended meaning without causing
misunderstandings or offense. Cultural sensitivity is one of the most crucial aspects
of translating substandard language. Substandard language is often used to reflect
social dynamics, relationships, and hierarchies within a community. Translators
must consider the social context in which the substandard language is employed
and ensure that the translation accurately reflects these dynamics. Translators
should also be cautious about perpetuating stereotypes when translating
substandard language associated with specific cultural or social groups. It is
essential to avoid reinforcing negative or inaccurate portrayals [18].
2. Idiomatic Expressions. Substandard language is rich in idiomatic
expressions and figurative language that may not have direct equivalents in the
target language. Translators need to find creative and contextually appropriate
ways to convey these expressions while maintaining their original impact.
3. Dynamic Nature. Substandard language evolves rapidly, with new
expressions and trends emerging regularly. Translators must stay current with the
latest linguistic developments to accurately reflect the contemporary use of
substandard language.
4. Register and Tone. Substandard language often reflects a specific register
or tone, such as informal, casual, or even vulgar. Capturing the appropriate register
and tone in the target language is crucial to maintaining the authenticity and
intended impact of the substandard language.
 26

5. Preserving Intent and Impact. Substandard language is often chosen for its
specific impact, whether it be humor, emphasis, or a particular emotional tone.
Translators face the challenge of preserving the original intent and impact of
substandard language, ensuring that the translated text elicits a similar response
from the audience.
6. Legal and Ethical Considerations. Some substandard language may
involve legal or ethical concerns, such as offensive or discriminatory content.
Translators need to navigate these issues carefully, considering the cultural, legal,
and ethical implications of the substandard language they are translating.
7. Audience Appropriateness. Translators must consider the target audience
and ensure that the translated substandard language is appropriate for the intended
readers or viewers. This involves making choices that align with cultural norms
and expectations in the target language context.
8. Linguistic Diversity. Substandard language can vary significantly across
different regions and communities within a language. Translators may encounter
challenges in adapting substandard language to suit the linguistic diversity of the
target audience [14: 269-272]:.
From film translation perspective, translating substandard vocabulary is a
very delicate and complex process. Unlike written texts, film dialogue is delivered
in real-time, leaving less room for lengthy explanations or footnotes. Translators
must make quick and effective decisions to convey the meaning without disrupting
the flow of the scene. Maintaining lip synchronization with the original actors'
speech is crucial in film translation, especially in dubbing. Translators must ensure
that the translated dialogue fits within the same time constraints as the original,
while also matching the lip movements of the actors. Similar issue concerns
subtitling, because subtitles have limited space and duration on the screen.
Translators must convey the essence of the dialogue within these constraints while
ensuring that the subtitles are readable and do not overwhelm the viewer [17: 15].
Most scholars believe that substandard lexical units in films should be
reproduced with equivalent substandard lexical units in the target text. Substandard
 27

lexical units in the target text should have the same emotional-expressive and
stylistic coloring as the substandard lexical units in the source text [30].
To sum up, translating substandard language requires a nuanced
understanding of both source and target cultures, creativity in handling colloquial
and slang expressions, and careful consideration of the dynamic and evolving
nature of language. Translators play a crucial role in bridging linguistic and
cultural gaps while maintaining the authenticity and impact of substandard
language in the translated text.

CONCLUSIONS
 28

1. Substandard language is a term used in linguistics to describe language

varieties or forms that deviate from the standard or prestige variety of a language.
Substandard language is recognized as a composite lexical-semantic category
organized in a hierarchical structure, encompassing a collection of socially
determined lexical systems as well as stylistically low lexical layers. Substandard
language consists of several sub-systems that include slang, colloquialisms, and
vulgarisms.
Slang is considered highly informal and is frequently employed in everyday
conversations. The widespread popularity of slang is evident across languages and
manifests in various contexts. Slang offers additional insights into new words and
speech patterns in many languages.
Colloquialisms refer to informal, everyday expressions and phrases
commonly used in casual conversation rather than in formal or literary contexts.
These substandard linguistic elements are an integral part of spoken language and
often contribute to a sense of familiarity and immediacy in communication.
The term vulgarism refers to expressive, evaluative language that has
historically emerged as a violation of taboos. It includes coarse words or
expressions outside literary vocabulary, abusive expressions (insults), invectives,
and swear words.
Some common peculiarities associated with all sub-groups of substandard
language have been identified in the study. They include lexical innovations,
simplified syntax, phonetic deviations, pragmatic features, and informality.
2. The use of substandard language in literary texts involves the intentional
incorporation of nonstandard linguistic elements for creative or expressive
purposes. Authors deploy substandard language to achieve specific literary effects
and convey a sense of authenticity or realism. Substandard language performs
various functions in literary texts. Generally, substandard lexemes can function as
social markers in literary texts. In addition, authors use substandard language to
authentically represent the speech patterns of characters. Another function of
substandard language is creation of the specific atmosphere. Substandard language
 29

can influence the narrative voice, allowing authors often use substandard language
for comedic effect or satire. In literary texts substandard language can function as a
type of social commentary. Substandard language is also employed to emphasize
particular emotions or moments in the story. The choice of substandard language
in a literary text contributes to the characterization of individuals within the
narrative.
3. Translating substandard language in films poses a unique challenge for
translators, as it involves rendering colloquial or informal speech, slang, or even
vulgarisms. The goal here is to maintain the authenticity and impact of the original
dialogue while ensuring that the translated version is appropriate for the target
audience. Film translation must also navigate issues related to censorship and
cultural sensitivity. Some content may need to be modified to comply with local
regulations or cultural norms, while maintaining the integrity of the original story.
Contemporary translators often soften offensive words during translation, and
sometimes even distort their meaning, especially when the translator does not
perceive a difference in the degree of expressiveness of the vocabulary in source
and target languages. Substandard lexical units are often replaced with
euphemisms Translating substandard language in films requires a delicate balance
between preserving the original tone and adapting the language to suit the cultural
and linguistic nuances of the target audience. Translators play a crucial role in
ensuring that the translated dialogue maintains the intended impact and
authenticity of the original, even when dealing with substandard vocabulary.
4. Substandard vocabulary constitutes a significant part of any language and
is one of the most popular linguistic tools used in virtually all spheres of modern
culture. The research found that the film “The Wolf of The Wall Street” features a
lot of slang units, colloquialisms, and vulgarisms. In this very film substandard
vocabulary serves the function of expressive means of creating characters,
contributes to a sense of familiarity in characters’ communication, expresses the
affiliation of characters with a specific social group etc.
 30

In the English-Ukrainian translation of the film “The Wolf of the Wall

Street”, slang lexemes are mostly translated into Ukrainian using their equivalents
that have similar stylistic connotation. In some cases the strategy of neutralization
is applied, that is, when a slang unit in the original is translated into a more neutral
target lexeme.
In the analyzed film colloquialisms play a significant role in capturing the
nuances and authenticity of everyday language. In most cases English
colloquialisms, like slang units, are rendered into Ukrainian using their equivalents
with similar stylistic connotation. However, there are instances of the use of the
strategy of compensation. It means that a neutral lexical unit is translated into an
expressively colored substandard lexical unit.
Vulgarisms appeared to be typical for informal communication environment
of the film characters. In the analyzed film, the considerable amount of vulgar
vocabulary serves the function of lowering the social status of a character or
expressing the attitude to a certain individual. In the English-Ukrainian translation
of the film “The Wolf of The Wall Street” vulgarisms are usually substituted with
those units that are equally expressive and emotional but less offensive. However,
in some cased vulgarisms are omitted in translation.
5. The research found that the translation of substandard language poses
several challenges for translators. They include cultural sensitivity of substandard
vocabulary; its dynamic nature and tone; the problem of preserving intent and
impact; legal and ethical considerations; appropriateness for the target audience;
linguistic diversity etc. Translating substandard language requires both exceptional
knowledge of the language and nuanced understanding of both source and target
cultures.
Concerning rendering substandard language in film translation, unlike
written texts, film dialogue is delivered in real-time, leaving less room for lengthy
explanations or footnotes. Maintaining lip synchronization with the original actors'
speech is crucial in dubbing. Translators must ensure that the translated dialogue
fits within the same time constraints as the original, while also matching the lip
 31

movements of the actors. Similar situation is in subtitling, because subtitles have

limited space and duration on the screen. Translators must convey the essence of
the dialogue within these constraints while ensuring that the subtitles are readable
and do not overwhelm the viewer. Thus, translating substandard vocabulary in
films is a very delicate and complex process.
 32

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 34

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 35

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 36

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