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TRANSLATION OF CARTOONS FROM ENGLISH TO UZBEK: LOCALIZATION
Rajabova Sevara
Termez State university
Scientific advisor:
PhD
Nigina Aliboyeva
https://doi.org/10.5281/zenodo.15368461
Abstract.
Nowadays, in the world of development in every sphere, there has been a
great demand for the translation of the animated cartoons of other countries into the local
one. Even though the process of translation has improved to great extent, there are some
aspects that need to be considered. Especially, when the cartoons of very different cartoons
are translated, it is required to take some necessary points into account. It must be
understood that how variation in translation can influence the product significantly and affect
the way how people perceive it. For example, the culture and perception of English-speaking
countries differ from those in Uzbekistan. Therefore, while translating certain points from one
language into another, these factors must be considered. The objective of this research is to
show how cartoons can be localized in accordance with culture as well as analyzing some
problems related to it.
Keywords:
variation in translation, localization, audio visual translation, target
audience, cultural value.
With the advancement of technology more and more cartoons are animated on a
regular basis. There is also significant demand to dub them from one language into another.
Yet the process of translation of these cartoons must be carefully planned in order not to have
a distinctive influence on their cultural value, especially when they target children as their
audience. It should be noted that a child spends an average of sixteen hours in a week for
watching TV and the majority of this is occupied with cartoons. For this reason, it is vitally
important to translate these cartoons wisely paying attention to some differing cultural
aspects. Children spend most of their time in front of the TV screen watching various cartoons
on different channels some of which are international ones. Thus, translation process is crucial
in order to address right information to children. Localization is adapting a piece of material
into target language both linguistically and culturally. It is obvious that there are so many
aspects in English and Uzbek languages and culture which are distinct from each other. In
that case, when something is translated from English some key steps must be followed in
order to achieve the goal. Translators must be well aware of the both culture so that they
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understand what is expressed. Localization is often confused with translation. However,
Localization goes beyond that. There are some steps in the process of localization: first step
involves translating the animated film, carefully conveying each part. In the next step, this
translation is localized based on the culture of the target language. Followed by this, the ready
product or material must be checked again in order to make sure that it is accurate.
The process of localizing cartoons involves much more than simply translating text; it
requires a comprehensive adaptation of the content to align with the cultural, social, and
linguistic norms of the intended audience. This intricate task includes altering humor, cultural
references, character names, and visual components to ensure that the cartoon resonates with
viewers from the target culture while preserving the original work's core essence and intent.
Localization is crucial for animated content, particularly because cartoons often target
younger audiences who are especially attuned to cultural subtleties. One of the most
significant challenges in localization is adapting humor, which is often deeply embedded in
specific cultural contexts. Humor frequently relies on wordplay, idioms, or local references
that may not translate effectively into another language. To overcome this hurdle, translators
must creatively reinterpret these comedic elements, substituting them with jokes or allusions
that are relevant to the target culture and elicit a similar emotional response. This requires a
profound understanding of both the source and target cultures, along with a flair for creativity
to preserve the comedic essence. Another vital aspect of localization involves reworking
character names. These names often carry symbolic meanings, reflect personality traits, or
serve comedic purposes. During localization, names may be modified to better suit the
phonetic and cultural preferences of the target language. For instance, a name that has
humorous or descriptive significance in the original version might be replaced with one that
conveys a comparable meaning or impact for the new audience. This is particularly important
when the name is integral to wordplay or the narrative itself. Cultural references and visual
elements also frequently necessitate substantial adaptation. Cartoons often feature cultural
symbols, landmarks, or traditions that may not be familiar to the target audience. In such
instances, translators might opt to replace these references with more relatable equivalents for
the new viewers. For example, a holiday depicted in the original could be substituted with a
local celebration that holds similar importance in the target culture. Additionally, visual
details like text on signs or labels may need adjustments to ensure clarity and relevance.
Localizing cartoons is a multifaceted process that goes well beyond mere word-for-word
translation. It demands an in-depth comprehension of both source and target cultures, as well
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as creative skills to make the content engaging and relatable for its intended audience. This
includes adapting humor, cultural nuances, character names, and even visual elements to meet
the diverse expectations of different viewers. Such efforts are particularly essential for
animated shows aimed at children, who are notably sensitive to cultural and contextual
intricacies.
The voice acting and script delivery play a crucial role in the localization process, as
they must effectively convey the emotions and personalities of the characters while also
aligning with the cultural expectations of the target audience. For instance, in an Uzbek
localization of "The Smurfs," it is essential that the voices chosen for the characters resonate
with viewers in a way that feels authentic and relatable. This means that Papa Smurf's voice,
for example, should reflect his wise and nurturing personality in a manner that appeals to
Uzbek-speaking audiences, capturing the essence of his character while also considering local
nuances in tone and expression
The adaptation of "The Smurfs" into various languages serves as a prime example of
how localization can transform animated content to fit different cultural contexts. By
thoughtfully adjusting linguistic elements, cultural references, and visual components, the
show can maintain its universal themes of friendship, teamwork, and adventure while
ensuring it resonates with diverse audiences around the globe. This careful balance allows the
original charm and intent of the cartoon to remain intact, creating an enjoyable viewing
experience for audiences across different cultural landscapes. Moreover, the choice of voice
actors is significant; they must not only deliver lines effectively but also emdiv the spirit of
their characters. In an Uzbek context, this could involve selecting voice talents who are
familiar with local dialects and expressions, ensuring that the delivery feels natural and
engaging. The emotional depth conveyed through voice acting can greatly enhance the
audience's connection to the characters, making them more relatable and endearing.
In summary, successful localization of animated content like "The Smurfs" hinges on
the effective integration of voice acting and script delivery. By focusing on capturing the
emotional essence of characters while adapting to cultural expectations, localization can
transform the viewing experience, allowing universal themes to shine through in a way that
resonates deeply with local audiences. This thoughtful approach not only preserves the
original intent of the cartoon but also enriches it for viewers from diverse backgrounds.
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References:
1.
Aliboyeva, N. (2022). SELECTION OF SPECIAL TRANSLATION METHODS
FOR ADEQUATE INTERPRETATION OF CHILDREN'S LITERATURE. Scientific
Collection «InterConf», (120), 121-124.
2.
https://journals.openedition.org/palimpsestes/2447?lang=en#
3.
T
OMASELLO
, Michael, 2006, “Acquiring Linguistic Constructions”, in D. Kuhn &
R. Siegler (eds.),
Handbook of Child Psychology. 6
th
Edition. Vol. 2: Cognition,
Perception and Language
, Hoboken, Wiley, p. 255-298.
4.
Aliboyeva, N. A. Q. (2023). LITERARY TRANSLATION OF CHILDREN’S
LITERATURE. CURRENT RESEARCH JOURNAL OF PHILOLOGICAL
SCIENCES, 4(07), 21-25.
5.
https://locatheart.com/mistakes-in-film-translations/
