INTRODUCTION
It is unquestionable that a television series has become an outlet of many memorable lines, which we can recall in any moment of time. These lines of dialogues are scripted and fictional conversations between or among TV characters which are indeed fundamental to how televisual narrative works. Hence, dialogues move the story forward along in the direction of the plotline. In addition, it often illuminates the central theme of the series which is sustained from one season to another, even the forthcoming ones and beyond. Aside from the abovementioned, however, dialogues fulfill this another important function: the revelation of what's there within the character (social differences, intentions and personal stance/s). And this can actually be traced in one of the most, if not the most yet, far-famed drama series that is consumed by millions of viewers worldwide, including us.
Game of Thrones is the story of a deadly game among powerful houses for control of the Seven Kingdoms of Westeros, and to sit atop the iron throne. Basically, we have chosen this as our material because of our personal inclinations toward the series. Aside from its spectacular storyline, brilliant execution, exceptional casting and great camera work, Game of Thrones has captured us with its highly engaging dialogue that interplay with its respective characters. Honestly, there are so many dialogues in every episode that display exquisite intricacy leaving much of an impression to the viewers--to us. One of the many particular scenes could be on Episode 3 on its third season.
This scene is so compelling by its dialogue which accentuates the rising action of the episode and illuminates each TV character present. A slaver who insists upon a dragon; a queen who is in need of soldiers. Both of them could have been caught up in the chaos of language barrier and might have ended up in a dispute if it is not for Missandei who becomes more than just a servant but turns into a go-between. Accordingly, Huang (2005) pointed out that individuals often avoid taboos, odious ideas, and what are socially complicated by substituting them with polite phrases and accurate words (2005, pp.46-47). And little do we know, we are already using what we called 'Euphemism'. As social tools, euphemism is widely used in every level of society to meet certain communicative needs, show respect, humility, and politeness. These tools could make our speech more expressive and colorful since they adapt speech to different situations (Alkire, 2002).
The objective of this study is to analyze how the employment of 'Euphemism' in the translation of the slave emphasizes her social status, how it saves one's face through Politeness, and helps the negotiation between the Queen and her Lord to come to a harmonious level.
In order to answer these questions, it is best to use Conversational Analysis as an approach. Conversation analysis draws its conclusion mainly on the discovery of how the participants understand and respond to one another on their turn at talks and how it reveals their intentions, status and stance particularly through its language use, voice and the sequences of their action generated. For these observations, that particular scene in GOT Season 3 Episode 3 thus provides a fertile and challenging ground for conversation analysis.
RESEARCH QUESTIONS
1. How does social status affect Missandei’s translation in Game of Thrones season 3 ep. 3, from Valyrian to English?
2. How did Missandei manage her role as an interpreter to save the face or maintain the self-image of both different sides?
3. How does the employment of euphemism to Missandei’s translation help the negotiation between Kraznys and Daenerys to obtain harmony?
ANALYSIS
Particular transcription conventions are used in Conversation Analysis. The extracts are taken in our material which we provided. It is presented there, transcribed from a conversation analysis perspective. The transcription conventions that are used in the analysis are based on the work of Jefferson (2004) and are shown as a key to the analysis of the end of the conversations.
Transcription
Missandei: ALL? (0.5) Did this one's ear::s mishear, Your Grace?= (Asking, Summons)
Daenerys: =They did not. I want to buy them all. (Confirmation)
Missandei: She wants to buy them all. (Valyrian) (Inform)
Lord Kraznys: She can't afford them. The slut thinks she can flash her tits, and make us give her whatever she wants. (Valyrian) (Addressing?)
Missandei: There are eight thousand Unsullied in Astapor (0.5) Is this what you mean by all? (Asking)
Daenerys: Yes. (.) Eight thousand (.) and the ones still in training as well. (Confirmation)
Master Greizhen: If they fail in the battlefield, they will shame Astapor. (Valyrian) (Assert/Assessment)
Missandei: Mas(?)ter Greizhen say::s they cannot sell half-trained boys. (.) If they fail on the battlefield, they will bring shame upon all of Astapor.= (Refusal and Assessment)
Daenerys: =I will have them all or take none.(.) Many will fall in the battle=I'll need the boys to pick up the swords they drop. (Condition)
Missandei: ((speak Valyrian in whisper))
Lord Krazyns: The slut cannot pay for all of this. (Valyrian) (Claim)
Missandei: Master Krazynys says you cannot a:fford this. (Relay)
Lord Krazyns: Her ship will buy her one hundred Unsullied, no more.(Valyrian) (Affirmation)
Missandei: Your ship will buy you one hundred Unsullied-- (Relaying info)
Lord Kraznys: And this is because I like the curve of her ass. (Valyrian) (Unexpected answer)
Missandei: --because Master Kraznys is generous. (reasoning)
Lord Kraznys: What is left will buy her ten. (Valyrian) (inform)
Missandei: The gol:d:: you have left (0.5) is worth ten(?)-- (inform)
Lord Kraznys: I will give her twenty if it stops her ignorant whimpering. (Valyrian) (Offer)
Missandei: --but good Master Kraznys will give you twenty. (Consideration)
Lord Kraznys: Her Dothraki smell of shit. (Valyrian) (Unexpected answer)
Missandei: The DOTHRAKI you have with you(?)-- (inform)
Lord Kraznys: but may be useful as pig feed. (Valyrian) (unexpected answer)
Missandei: --the Dothraki you have (.) are not worth what they cost to feed. (Inform)
Lord Kraznys: I will give her three of those.= (Offer)
Missandei: =but Master Kraznys will give you three U::nsullied for all of them. (consideration)
Kraznys: So, ask this beggar queen, how will she pay for the remaining 7,877?
Missandei: Master Kraznys asks how you proposed to pay for the remaining (.) 7, 877 Unsullied. (inquiry)
Daenerys: I have dragons (.) I’ll give you one. (unexpected answer)
Missandei: ((Speaking Valyrian))
Ser Selmy (to Daenerys): You will win the throne with dragons, not slaves, Your Grace.= (assessment)
Ser Jorah: =Khaleesi:: ple::ase:: (request)
Daenerys: ((walks toward Lord Krazyns))
Lord Kraznys: Three (.) dragons= (offer)
Daenerys: =One= (refusal and offer)
Lord Kraznys: =Two= (offer)
Daenerys: =ONE (refusal and offer)
(Lord Kraznys and Master Greizhen whispers)
Lord Kraznys: ((speaking Valyrian))
Missandei: They want the biggest one. (request)
Daenerys: Done= (acceptance)
Lord Kraznys: =Done (agreement)
(Daenerys will return back and she glance to Missandei)
Daenerys (to Missandei): I’ll take you as well (.) now You’ll be Master Kraznys’ gift to me (.) A token of a bargain well struck (Claim)
Missandei (to Kraznys Valyrian)): She asks that you give me to her, as a present. She asks that you do this now.(inform)
Keys
The most prevalent keys found in the transcription are the (.) and 0.N. The former indicates a brief interval while (0.N) indicates an indefinite second which is a conversant pause. This means that in negotiation it is important that the one involved should assess first before coming into offer or request. Negotiation is coming to a mutual agreement but both sides should be satisfied with what they have discussed. These keys signify the contemplation and attentive consideration of two powerful people. At the end, the Queen offers her biggest dragon while the Lord exchanges his 8000 soldiers for it.
Opening and Closing
Opening starts with a confirmation in regards to the on-going bargaining of soldiers. In such negotiation, there is, basically, an exchange of deals and discussions aimed at reaching an agreement which exemplifies at the end of the transcription/dialogue with "done".
Turn-Taking
The whole conversation often flows in this turn: English-Translation-Valyrian (and vice-versa). Sometimes, there is a simultaneous speech that occurs especially when the master adds something on his prior talk. While the turns between the queen and the slave-translator run almost smoothly, as they let one another finish their talk first.
Adjacency Pairs
The common adjacency pairs on the transcription are the following:
- Offer-Assessment
- Request-Refusal
- Acceptance-Agreement
Since the conversation is about the negotiation between the Queen and the Lord which aims at a mutual agreement through bargaining, these common adjacency pairs are expected. In negotiation, there is an offer which one assesses first, then a request which can either be admitted or refused, and the acceptance of the deal which one side can either agree or disagree with. (?)
CONCLUSION
As we have analyzed how the participants attend in the discourse with the aid of Transcription notations suggesting that there’s a contemplation before the translator makes an assessment. We, then, treat Missandei’s translation as the axis of the research study. What is the objective of euphemism in facilitating the negotiation?
(1) It’s not only the social status of a speaker that affects how he communicates socially but it also concerns the social statuses of the people he converses with. Given that Missandei is a slave and a translator, this requires her to interact preferably, because she’s engaging with powerful people. A speaker needs to be highly responsible and diplomatic in her words, delivering only the concerns of the negotiation and not including inappropriate information from the statement of the master, otherwise dispute and argument may occur.
(2) In order to prevent a chaotic communication. Missandei employed euphemism in her translation to express politeness and respect. Fabricating the self-image of her master and protecting the queen from humiliation. With this, Missandei established a positive face for her master, for the queen, and for herself, composing their ego. Therefore, euphemism stood as a communicative tool for saving one’s face.
(3) Using Euphemism, Missandei professionally withstood the negotiation between the two parties thus, securing a positive face and alleviating the “face-threatening acts” made by the master which has a potential to increase the discomfort and might offend the queen, however, with Missandei’s intelligent translation it finally resulted in a smooth, harmonious flow of negotiation, indeed, a bargain well-struck.
PERSONAL NOTE:
This analysis was put together by my groupmates (Ellaine, Regine, and Ryan) and me. This would not be possible if it weren't for them.
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