up from their winter’s sleep

Ш.Б. Кожамкулова  
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лент – ученый.  Скорее  всего,  здесь  применена 
генерализация. Возможно, замена была вызвана 
тем, что слово «ученый» звучит и произносится 
легче, чем слово «профессор». Возможно слово 
«профессор»  в  русском  языке  вызывает  другие 
ассоциации,  нежели  в  английском  языке.  У  нас 
со  словом  профессор  больше  всего  ассоцииру-
ются слова «студент», «кафедра», «должность», 
«старый», «в  очках»,  но  никак  не  «открытие». 
Поэтому слово «ученый» оказалось кстати.  
Интересен перевод в /9/-ом предложения, где 
переводчик извлек информацию из претекстово-
го комментария оригинала – из синхронной речи 
Директора биологического отделения.
/9/. Примечательно, что в основном это самцы, поскольку особи женского пола 
                                              (10) 
 
                                     (10)
инстинктивно держатся группами, что спасает их от случайных порывов ветра.
 
  (10) 
    
СНХ
Подчеркнутые слова были извлечены из предложения (10) оригинала:
(10)  Most of the males will die, but the females 
will begin to leave in enormous groups to start the 
5000 kilometre journey to Canada.
В  основном  тексте (STORYLINE) не  содер-
жится  информации  о  том,  что  «это  спасает  их 
от случайных порывов ветра». Зато в описаниях 
видеоряда дается речь одного из героев сюжета 
– Эдмунда Лопеса, который работает в Универ-
ситете Мичиочана: 
“The deaths were caused not only by the drop-
ping temperatures below zero degrees (Celsius) but 
also due to the deforestation of some areas, where 
the butterfl ies now have no protection.”
 
Переведем  вышеуказанное  предложение.  В 
итоге получаем следующий вариант:
«Причиной  гибели  бабочек  оказалось  не 
только резкое снижение температуры, но и обе-
злесение  некоторых  территорий,  где  бабочки 
лишены защиты».
Отсюда  понятно,  что  исходя  из  слов  героя, 
переводчик  развил  мысль  и  выдал  ее  в  перево-
де:  обезлесение  означает  вырубку  деревьев,  а 
деревья  служат  защитой  для  растений  от  силь-
ных ветров, следовательно, там, где вырублены 
деревья, сила ветра губительна; а то, что бабочки 
держатся группами – спасает их от ветра.
Слово, написанное, и слово, сказанное,  – это 
не всегда одно и то же  [5]. Поэтому этот фактор 
переводчик тоже постоянно учитывает. Он наме-
ренно  заменяет ”females”(самки)  словосочета-
нием «особи женского пола», так как на русском 
языке фраза звучала бы неудачно: «…в основном 
это  самцы,  поскольку    самки  инстинктивно… 
спасает их от случайных порывов ветра». В этом 
предложении  встречаются 7 согласных  звуков 
«с», что на слух звучит не очень удачно.
Еще  один  закон  эфирной  журналистики 
был  учтен  при  создании  текста – восприятие 
цифр. The 5000 kilometre journey – превращает-
ся в «нелегкое путешествие». Это было сдела-
но  специально,  так  как  переводчик  знает,  что 
цифры  на  слух    воспринимаются  иначе,  чем 
зрительно.
Предложение (4) оригинала «The arrival of 
spring signals the end of the butterfl ies’ stay in 
their winter hideaway in Mexico”  оказывается 
первым предложением в переводе: “Еще одним 
свидетельством  приближения  весны  в  север-
ном  полушарии  стала  миграция  королевских 
бабочек».
«Еще  одним  свидетельством  приближения 
весны…»  вынесено  на  начало  сюжета,  чтобы 
заинтриговать  зрителя. «Что  может  свидетель-
ствовать  о  приближении  весны,  помимо  при-
лета птиц, увеличения долготы дня, набухания 
почек и распускания листьев?» – это вопрос, ко-
торый невольно задает себе зритель и который 
заставляет его прослушать основную часть ин-
формации. Это тоже один из факторов, который 
заставляет  переводчика  подчинить  текст  зако-
нам телевидения. Где еще можно встретить та-
кие особенности при переводе? Даже в художе-
ственном  переводе  переводчик  не  имеет  права 
переставлять  предложения,  или  менять  главы, 
это нарушит композицию произведения. В жур-
налистском переводе переводчик является авто-
ром и сам выбирает последовательность мысли.

Типологизация переводческих трансформаций  в казахстанских электронных СМИ
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Литература
1 Материалы международных информацион-
ных агентств Reuters и APTN с 1999-2002 гг.
2 Брандес М., Провоторов В.И. Предперевод-
ческий анализ текста (для институтов и факуль-
тетов ин. яз.). – Курск: Изд. РОСИ, 1999. – 224 с.
3  Кожамкулова  Ш.Б.  Стратегия  перевода  в 
средствах  массовой  информации  Казахстана  в 
условиях  двуязычия // Международная  научно-
практическая конференция: Актуальные пробле-
мы межкультурной коммуникации и перевода. – 
Алматы, 2001. – C.349-352.
4  Материалы  новостных  выпусков,  вышед-
ших  в  эфир  телевизионного  агентства  Хабар  в 
1999-2002 гг.
5 Зарва М. Слово в эфире. – М.: Искусство, 
1971. – 246 с.
Ш.Б. Қожамқұлова 
Қазақстандағы телеарналардың жаңалықтарды аудару типологиясы
Мақалада Қазақстандағы телеарналардың шетелдік жаңалықтарды ағылшын тілінен орыс тіліне аудару мəселелері талда-
нады. Автор аударма процесін зерттеу нəтижесінде, эфирге ұсынылатын мəтіндерді аудару барысында аудармашы тарапынан 
қандай да бір шешім қабылдауға əсер ететін факторларды алға тартады. Автор бір мəтіннің қалай аударылғанын бүге-шігесіне 
дейін  талдайды.  Нəтижесінде  телеарна  аудармашысына  журналистік    тəжірибе  қажет  екендігі  анықталады.  Бұл  аса  қажет 
мəселе, өйткені аудармашы тек аудару қызметімен ғана шектелмеуі тиіс, сонымен қатар ол телеэфир ерекшеліктерін де білуі 
керек.       
Түйін сөздер:  телевизиялық мəтін, аударманың трансформациялары, журналист-аудармашы, Қазақстан.
Sh.B. Kozhamkulova
The Typologization of Translation Transformations in Kazakhstan’s Broadcast News Media
The article analyses how translation of foreign news is done on television in the example of Kazakhstan’s broadcast news media. 
The author describes the translation process and exposes the factors that infl uence the translator’s decisions when translating the texts 
for broadcast news. As an example, the author provides a detailed analysis of how one text was translated. The results show that a trans-
lator on television must be aware of basic broadcast journalist’s writing skills. It is necessary because the translator should not only be 
able to provide accuracy in translation, but also he or she must be able to follow broadcast style rules. 
Keywords: television text, translational transformations, journalist-translator, Kazakhstan.
 
  

Ken Harvey
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UDC 654.197(4/9) 
Ken Harvey
KIMEP University, Kazakhstan, Almaty
E-mail: kharvey@kimep.kz
Public service broadcasting faces economic challenges
A
bstract: Public service television is funded in many countries by government grants and taxes, along 
with donations from NGOs and individual viewers. But with the economic downturn, the U.S. government 
is considering eliminating its public service TV funding altogether. But public service television is not 
the only medium being hurt in the economic crunch, and even commercial media are starting to look at 
government for help. Is there a solution? This article demonstrates that there is.
Keywords: public service television TV economy funding Internet free video
Public service broadcasting faces fi nancial dif-
fi culties at the best of times. PSB is typically de-
pendent on government support (though not con-
trol), non-government grants and public donations. 
UNESCO says:
  Public Service Broadcasting (PSB )is broad-
casting made, fi nanced and controlled by the pub-
lic, for the public. It is neither commercial nor 
state-owned, free from political interference and 
pressure from commercial forces. Through PSB, 
citizens are informed, educated and also enter-
tained. When guaranteed with pluralism, program-
ming diversity, editorial independence, appropriate 
funding, accountability and transparency, public 
service broadcasting can serve as a cornerstone of 
democracy.
In the United States most public service stations 
are owned by universities and by non-profi t, non-
government organizations. Without support from 
paid advertising, such organizations must pursue 
grants and donations to survive. Providing qual-
ity programming through such inconsistent funding 
sources has always been challenging. But current 
economic woes have made things even worse. The 
U.S., for example, has one of the most advanced 
systems of public service TV programming, which 
has enjoyed substantial government funding in the 
form of grants directly to the PSB stations or to pro-
gramming producers. But the U.S. is currently go-
ing $1-$1.7 trillion dollars deeper into debt every 
year trying to maintain services and spend itself out 
of the current quasi-recession. That’s $3,000-$5,000 
for every man, woman and child in the country, 
which means now that upon birth a baby inherits 
from the federal government $50,000 in federal debt 
before he dirties his fi rst diaper. A family of four 
currently shares a $200,000 portion of the federal 
debt. Many American politicians believe the coun-
try’s Public Broadcasting System is one of the fi rst 
programs that needs to be defunded in order to re-
duce the growth in the federal defi cit. Big Bird (a 
favorite character in children-oriented educational 
programming) must die. Public service broadcast-
ing is facing similar fi nancial challenges worldwide.
To be put into perspective, it must also be under-
stood that many commercial media are also facing 
very diffi cult times – partly because of the recession 
but also because of the impact of the Internet. Cur-
rent trends indicate we will soon witness the death 
of many printed publications and the transition of 
most others into online-only “publications” or ser-
vices. 

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The above chart shows how all traditional media 
are losing audience (and thus advertising revenues) 
among younger generations as they turn more to 
computers, smart phones and tablets for their news 
and information. 
2
 
The chart above, then, shows how much revenue 
American newspapers have lost since 2005 because 
of these trends. As indicated by the last item listed, 
the sale of digital advertising by newspapers (on 
their Web sites, etc.) is the only revenue source on 
the increase, and its growth does not come close to 
making up for the losses from other revenue streams. 
Blogger Alan Mutters concludes: “Print advertising 
revenues at newspapers in the fi rst half of this year 
fell 25 times faster than digital sales grew, demon-
strating the feebleness of the industry’s response to 
the shifting (shifted?) media landscape.”
3
 

Ken Harvey
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This loss of advertising revenues has led to the lay-
off of thousands of employees from the traditional 
media, led by the printed media. And, as shown in 
the above chart, the American newspaper industry 
has had to lay off tens of thousands of employees. 
Over 3,775 newspaper jobs were eliminated just in 
2011, according to Erica Smith, the author of the 
Paper Cuts blog. Since 2007 when Smith began 
her running count of publishing layoffs, 39,806 
newspaper jobs have been eliminated – 11% of 
the newspaper workforce of 360,633 reported by 
the Census Bureau in 2007. Considering the over 
50% loss in revenues, it may be surprising that the 
industry has only eliminated 11% of its jobs since 
labor is the industry’s greatest cost. However, many 
news organizations are also fi ling for bankruptcy.
4
The greatest proportion of news employees laid 
off is from the newsrooms, which worries many 
news executives that the Golden Era of Investiga-
tive Reporting is dead and gone forever. One of the 
biggest players in investigative reporting has been 
the Washington Post. Post Vice President at Large 
Leonard Downie Jr. is exploring how newspapers 
can maintain their reporting capabilities despite the 
disastrous decline of revenues, and one of his op-
tions is government funding such as PBS receives, 
or special grants as the National Science Foundation 
provides scientifi c researchers, or special tax incen-
tives as non-profi t corporations receive. In other 
words, every newspaper in America may become a 
PBS competitor for funding.
5
With all the economic challenges that will grad-
ually force most printed publications to stop their 
presses and move entirely onto the Internet and that 
will later begin forcing broadcasting organizations 
there, as well, it seems inevitable that public service 
broadcasting will eventually end up primarily on-
line. That’s the bad news.
 
NOW THE GOOD NEWS
There is good news, too. The Internet already 
offers an amazing array of products that are avail-
able free of charge for use by an online public ser-
vice broadcasting station. Just consider a very small 
portion of what’s available free from YouTube. At 
http://www.youtube.com/education?b=400 you can 
scroll through the right-hand column and see some 
of the bigger producers of higher-education videos. 
The YouTube educational videos include:

10,414 videos by the National Programme on 
Technology Enhanced Learning (Indian consortium 
of universities)

9165 videos by BigThink

7209 videos by the Virtual University of Pak-
istan

5299 videos by PBS (U.S. Public Broadcast-
ing System)

5161 videos by UCtelevision (University of 
California statewide system)

4700 videos by Google

4621 videos by the University of California 
– Berkeley

Public service broadcasting faces economic challenges
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
3768 videos by the National Geographic

3243 videos by Khan Academy

2839 videos by UCLA

2417 videos by MIT

2182 by Emory University

2042 videos by NASA

1929 by the Technion – Israel Institute of 
Technology

1665 videos by Stanford University

1350 by Case University

1250 by TED.com

1156 by Stanford Business

1138 by The Open University

1014 by Yale University

992 by the Johnson County Community Col-
lege

985 by VOALearningEnglish

970 by Dartmouth

833 by Harvard

642 by Penn State University

540 by Michigan State University

533 by Seton Hall University

524 by the University of Southern California

517 by Moscow State Institute of Interna-
tional Relations

414 by Purdue University

483 by the College of Charleston

407 by Cambridge University

383 by the University of New South Wales

383 by the Research Channel

374 by Carnegie Mellon University

293 by Marquette

254 by the Australian National University
And thousands of additional videos from over 400 
other universities and organizations producing college-
level educational resources. See http://www.youtube.
com/education_channels?level=higher_education.
6
There are similar video resources available on-
line to address the needs of other age groups and 
special-interest groups. For example, on YouTube 
there are about 20,000 free videos for learning Eng-
lish as a foreign language. Even though most of 
these educational videos can be freely embedded 
onto other Web sites, to my knowledge no one has 
invested the resources into organizing all of this free 
programming into easily searchable topics and in-
structional levels.
For many organizations, including news orga-
nizations and public service broadcasting organiza-
tions, there will be a growing need for employees or 
volunteers simply to inventory and organize the re-
sources already available. Just to demonstrate what 
this could look like, I have created an example at 
http://Virtual-Institute.us. It shows nearly 40 em-
bedded videos ready to click and watch and has one-
click access to directories with tens of thousands of 
additional public service videos. I put this together 
by myself in one day. What could an organization 
with dozens of volunteers or employees do? In addi-
tion, the featured video in the center can be changed 
for about $60 a month to a live video feed. And the 
live video feed can be simultaneously recorded for 
later view on demand.
 
 

Ken Harvey
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Meanwhile, one of the most amazing accom-
plishments of the Internet has been its ability to 
recruit and coordinate the activities of unpaid vol-
unteers. YouTube itself is a prime example. Every 
60 days YouTube processes and makes available 
more original video than the three oldest American 
TV networks – ABC, NBC and CBS – produced 
altogether in 60 years.
7
 Another great example of 
volunteer collaboration has been Wikipedia, which 
has developed an online encyclopedia with some 23 
million contributed stories. Volunteers have provid-
ed the writing, the editing and even most of the tech-
nical support, with about 100,000 active contribu-
tors. It offers stories in 285 languages and achieves 
nearly 3 billion page views per month.
8
 An analysis 
by several panels of experts has concluded that the 
quality of content is superior to most professionally 
produced encyclopedias. And this online miracle 
was accomplished with no paid employees during 
the early years and only one lead software developer 
now.
9
This new spirit of collaboration is now being 
seen in broadcast television production. Several TV 
stations, including Rogers TV in Toronto, Canada, 
are turning to volunteers to produce local news 
and entertainment. The Web site for Rogers TV ex-
plains
10
: 
Volunteer Positions
EXPERIENCE THAT LASTS A LIFETIME!
You are about to embark on a rewarding part-
nership and join the ranks of hundreds of Canadians 
who volunteer with Rogers TV. As a Rogers TV vol-
unteer you will be serving your community by in-
forming and entertaining.
In exchange for your commitment, you will be 
provided with hands-on training in many aspects of 
television production. What you gain from this expe-
rience is entirely up to you. Whether you’re looking 
to gain practical experience needed for further edu-
cation or a career change, or to simply take part in 
an exciting volunteer environment, Rogers TV will 
provide you with a solid experience in television 
broadcasting. You will learn skills that will help you 
increase your self-confi dence, your personal presen-
tation profi le and your communication abilities.
Imagine…a television station you can call 
home. Rogers TV is that place.
Rogers TV is committed to the value of commu-
nity television, consistently delivering local alterna-
tives to commercial broadcast television. Our sta-
tion provides a window to the community you live in 
and is an extremely effective vehicle for providing a 
voice for local diversity and expression.
Most of our programs are about you, your fam-
ily, friends and neighbours. We pursue stories that 
matter most in your community. We share in your 
successes and connect you to the events that have 
marked your past and those that are shaping your 
future.
As a volunteer we ask that you be dedicated, mo-
tivated and show initiative!
We look forward to your participation in our 
programming and wish you all the best in this ex-
perience.
The experience of YouTube, Wikipedia and now 
some TV stations suggests that original high-quality 
video productions can be created by public service 
stations – online or offl ine – by volunteers. But the 
future is almost certainly online where tens of thou-
sands of high-quality educational, informational 
and entertainment videos are already available free 
of charge. And if a concerted public service online 
broadcasting effort were made worldwide, collab-
orative success could well parallel that of Wikipedia 
and YouTube. Here are the steps I would suggest for 
an organization wishing to establish an online PSB 
TV station:
1)  Recruit volunteers to create a database 
of existing, embeddable high-quality online video 
content appropriate to the mission of public service 
broadcasting. At YouTube, for example, when vol-
unteers call up a video, they will see the title above 
the video, a content description below the video, 
and a SHARE button also below the video. If they 
click the SHARE button, they will fi rst see the of-
fi cial URL Web address of that video and will see 
another button that says EMBED. If they click the 
EMBED button, it provides an html code that can 
be easily used by a Web programmer to make that 
video available on essentially any other Web site – 
including the site used by the online PSB station.
2)  Also check the video source organization 
for credibility and for the URL Web address of that 
organization’s online directory of videos to which 
your online public service TV station can refer 
viewers. The YouTube name for the organization’s 
producer, for example, is typically right above the 
video and below the title. First is the organization, 
with a link to a page with information about that or-
ganization, and to the right of that button is a but-

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ton that says how many videos that organization 
has uploaded. If volunteers click that button, they 
will reach a directory page for all the organization’s 
videos. Organizations that have produced and/or up-
loaded hundreds or thousands of videos should be 
of particular interest to a PSB organization and their 
viewers.
3) 
Have the volunteers place all this informa-
tion into the database – 

The name and description of each video.

The URL source address.

The embed code. If no embed code is avail-
able, don’t bother to proceed with this video. The 
embed code is essential, and not all organizations al-
low outside embedding. Most YouTube contributors 
and other video sites, such as TED.com, do.

Some searchable key words.

Perhaps an estimate of the level of program-
ming the video represents (beginning, basic, inter-
mediate, advanced…).

The name of the organization that produced 
and/or uploaded the video.

The URL address for that organization’s di-
rectory of videos, if available.
4)  Now recruit volunteers to begin creating 
original video, very similarly to how Rogers TV 
does it in Canada. Space in this article does not al-
low a full description of how to create low-cost but 
high quality PSB videos, but teaching volunteers is 
not a diffi cult process.
5)  And the cost of setting up an online PSB 
station can be under $10,000. High-quality video 
cameras for online use are no longer expensive, and 
free or low-cost software is also available. Budget 
considerations might include: 

Computers are the biggest cost. The better 
the computers, the faster the work. A $500 com-
puter can do the job, but it can be pretty slow. How 
many computers an online PBS station might re-
quire would vary by goals and circumstances. One 
is enough to begin.

Flip-style cameras now cost about $50 in 
America. They typically have a built-in microphone 
but no audio jack for an external microphone. They 
are excellent for close-up interviews and for back-
ground video over which volunteer video editors 
and place voice-over audio. And they fi t in a volun-
teer’s pocket for easy transport. 

Larger video cameras, such as the Canon 
Vixia models, cost around $500, have good zoom 
capability, and have an audio jack for an external 
microphone. These are still small cameras that vol-
unteers can hold in their hand, but for best results 
they should be attached to a tripod at an additional 
cost of $30-$50 apiece. 
For software, Audacity is an excellent audio cre-
ation and editing software that is downloadable free 
of charge. Other software, such as the Any Video 
Converter, can also be downloaded free, although 
some low-cost programs can convert a wider range 
of audio and video formats. Video editing software 
to handle a wide range of formats (including Vix-
ia’s) can be purchased for under $100. And Web-
conferencing software, such as HotConference, will 
allow a PSB online station to establish a live video 
feed on the Web site up to 24 hours a day for just $60 
a month (http://www.hotconference.com/members/
eduken/connection.php). And for the Web site itself, 
leased space on a server operated by a company like 
GoDaddy.com costs under $10 a month.
So, can a fairly small organization launch an ef-
fective online PSB station? With no big diffi culty or 
cost. A little money, some volunteers and a desire to 
serve. I believe this is the future of public service 
broadcasting.

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