This study aims to investigate, in dubbed and subtitled versions of the films Madagascar (2005) and Ice Age (2002), how fixed expressions (Moon, 1998) are translated in dubbing and subtitling methods ...and to examine how employing domestication and foreignisation (Venuti, 1995) can undermine or reinforce the asymmetrical relations, here defined by globalisation as discussed by Venuti (1998) and Cronin (2003, 2009). The analysis is carried out through reference and parallel corpus (Baker, 1995). Final results show that subtitling, rather than dubbing, is more prone to adopt foreignising strategies with regard to the translation of fixed expressions. Additionally, there have been identified, in the subtitled versions of the corpus, translation instances that deliberately move away from target language fixed expressions.
Children’s stories have always been a source of entertainment and a way to discover the world for their readers. Today these stories have evolved and are now available on all kinds of media: books, ...tablets, and televisions. However, the importance of the translation of these stories remains the same, as children learn tremendously from every single one of them. The present article focused on one of theses stories, the French TV show Il était une fois… l’homme (1978), and our aim is to identify the translation norms in the version dubbed into Spanish. Furthermore, we will attempt to respond to these tendencies using studies into the translation of children’s literature as well as studies on audiovisual translation. Depuis toujours, les histoires pour enfants ont été une source de divertissement et de découverte du monde pour ces jeunes lecteurs. Aujourd’hui, ces histoires évoluent et se présentent sur tout type de supports, tels que les livres, tablettes ou téléviseurs. L’importance de la traduction reste pourtant la même, puisque l’enfant apprend énormément avec chacune d’entre elles. Ce travail vise à analyser la traduction de l’une de ces histoires, la série pour enfants française Il était une fois... l’homme (1978), et a pour but d’identifier les normes de traduction dans son doublage vers l’espagnol. Nous chercherons aussi à en expliquer les tendances en nous appuyant à la fois sur les études de traduction de la littérature d’enfance et de jeunesse mais aussi sur les travaux en traduction audiovisuelle.
This article is based on a consideration of the audiovisual text as a system in which different signifying codes converge, giving it a multimodal nature. Studies on the nature of the audiovisual text ...have addressed a multitude of aspects to date, although there are still concepts to be explained within the audiovisual paradigm. One such aspect has to do with varieties of language, specifically with the notion of sociolect. After a review of the literature, fragments of television sitcoms will be analysed to observe the possible audiovisual nature of the given sociolect. Specifically, it will be illustrated how language levels, slang, and scientific-technical language deal with audiovisual humour. The idea will be fostered that in this type of text, sociolects go beyond the linguistic scope and connect with the aural and visual dimensions. Accordingly, phenomena such as humour can be constructed thanks to elements that surpass a purely linguistic conception of sociolects.
Keywords: Audiovisual translation, Signifying codes, Language variation, Sociolects
Are interpreters better respeakers? Szarkowska, Agnieszka; Krejtz, Krzysztof; Dutka, Łukasz ...
The interpreter and translator trainer,
04/2018, Volume:
12, Issue:
2
Journal Article
Peer reviewed
Open access
In this study, we examined whether interpreters and interpreting trainees are better predisposed to respeaking than people with no interpreting skills. We tested 57 participants (22 interpreters, 23 ...translators and 12 controls) while respeaking 5-minute videos with two parameters: speech rate (fast/slow) and number of speakers (one/many). Having measured the quality of the respeaking performance using two independent methods: the NER model and rating, we found that interpreters consistently achieved higher scores than the other two groups. The findings are discussed in the context of transfer of skills, expert performance and respeaking training.
There has been a great interest in metaphors in translation in recent years, but few scholars have taken into consideration the extra complexities that are involved when translation takes place in ...audiovisual media. This paper seeks to remedy that, by qualitatively investigating how visualised metaphors in the TV series Yes, Prime Minister, and other audiovisual sources, have been translated into Swedish subtitles. When a metaphor is visualised, the vehicle of the metaphor is visible on screen, and this means that there is ambiguity between the literal and the figurative sense of the metaphor, with one sense coming through one discourse channel and the other coming via another of the discourse channels that makes up the polysemiotic text. This may cause serious translation crisis points and put severe constraints on the options available to the subtitler if unintended intersemiotic tension is to be avoided. This paper puts forward the theories necessary for handling these complexities and also offers some advice as to what strategies can be useful for solving these translation problems. The results indicate that it is a fairly rare translation problem, and one which can often be solved using conventional strategies. However, occasionally, it creates nearly unsolvable obstacles that cannot be solved without intersemiotic tension.
In Sweden, we do it like this Pedersen, Jan
Intralinea on line translation journal (Dipartimento di Studi Interdisciplinari su Traduzione Lingue e Culture),
2016
Journal Article
Peer reviewed
What would the VA say if Al Roker was a Keystone Kop at Panmunjon ? Subtitling is not just a matter of linguistic transfer; building bridges between cultures is every bit as important. This article ...is based on a subtitled translation of the episode of The West Wing which is the basis for this issue of inTRAlinea. The episode has been subtitled using established Swedish subtitling norms for television. These norms are of two kinds, partly technical, dealing with expected reading speed, subtitle density and condensation, and also translation-related. In this article the translation norms under discussion are those that govern the translation of extralinguistic cultural references (ECRs), i.e. references that are expressed verbally, but which refer to cultural items outside of language, such as names of people and places (like Al Roker or Panmunjon ). A model for rendering such references in subtitled translations is presented; it consists of two parts: a taxonomy of translation strategies, and a series of parameters that influence the choice of translation strategy. This model is applied to the ECRs in the episode, using Swedish subtitling norms. The results are presented and complex cases are discussed further, as we find out how we can make a target audience understand the connotations of those bungling Keystone Kops .
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