EUPHEMISMS AND DYSPHEMISMS IN CINEMATIC TEXT: THEORY, PRAGMATICS, TRANSLATION

Abstract

The article explores the theoretical foundations for analysing euphemisms and dysphemisms in English- language cinematic texts, as well as the translation strategies used for rendering them into Ukrainian. The relevance of the study is driven by the growing popularity of audiovisual content, particularly films and television series, in the global information space, as well as the insufficient level of research into lexical, grammatical, and lexico- grammatical changes that occur during the Ukrainian-language rendering of these phenomena in cinematic texts.The article defines the concepts of “euphemism” and “dysphemism” and identifies their structural, semantic, and pragmatic features. Particular attention is paid to the specificity of their use in cinematic texts, their communicative functions, and their sociocultural impact on the audience. Existing classifications of euphemisms and dysphemisms, which are mainly based on semantic and lexico-semantic factors, are analysed. Approaches to their translation into Ukrainian are examined. The illustrative material for translation analysis includes scripts of the English-language films Deadpool (2016) and Venom (2018), along with their Ukrainian translations.The article also highlights the role of social, cultural, moral-ethical, psychological, and linguistic factors influencing the choice of translation strategies that accompany processes of euphemisation and dysphemisation.Examples of relevant translation transformations are provided (including calque, modulation, explicitation, and compensation). The paper discusses cases where the Ukrainian translation is more complex or expressive than the original, demonstrating the phenomenon of dysphemisation, as well as contexts in which English invective vocabulary is rendered through more neutral Ukrainian equivalents, indicating euphemisation in translation.The conclusion emphasizes the need for further research into dysphemisms in the translation of cinematic texts, the development of a generally accepted unified classification, and the importance of an interdisciplinary approach that encompasses both linguistic and sociocultural dimensions. The article may be of interest to specialists in linguistics, translation studies, media communication, and cultural studies engaged in the in-depth examination of the outlined topic.