Capitolo 11 "Introducing Translation Studies", Appunti di Lingua Inglese

Scarica Capitolo 11 "Introducing Translation Studies" e più Appunti in PDF di Lingua Inglese solo su Docsity! ChapT. 11 New dIrecTionS fRom tHe nEw mEdia The emergence and proliferation of new technologies have transformed translation practice. Additionally, new technologies are exerting an impact on the theorization of translation. Very dramatic developments in translation studies have occurred in the field of audiovisual translation, most notably subtitling. Katharina Reiss had included in her work the consideration about audio-medial text type, but this was not developed in the past. Then early articles by Titford and Mayoral coined the term constrained translation focusing on the non-verbal elements that marked out audiovisual translation. Delabastita, with his article, tends to identify the most important characteristics of this type of translation and the dynamics of the multi-code type communication: - The verbal (stylistic and dialectal features); - The literary and theatrical (plot, dialogue, appropriate to the genre); - The proxemic and kinetic (relating to non verbal behavior); - The cinematic (camera techniques, film genres…) He then lists five types of operative realizations deriving from Classical rhetoric: repetition, addition, reduction, transmutation and substitution. He also focuses on the sociocultural environment and not only on writing. He speaks of audiovisual language transfer, while Gottlieb describes subtitling as a form of diagonal translation (= it operates and stays within the code of verbal language. The subtitler does not even alter the original just adds and element). Gambier then discusses the competing terms audiovisual translation, screen translation and multimedia translation. He also identifies different types of visual translational activity: 1. Interlingual subtitling: now in various forms in tv, cinema and theater; 2. Bilingual subtitling: in countries where subtitles are provided in two languages simultaneously; 3. Intralingual subtitling: for the hard of hearing or who prefers to read dialogues; 4. Dubbing: this covers the lip synchronization and reenacting dialogues; 5. Voice-over: used mainly for documentary or interview; 6. Surtitling: when subtitles are provided on the upper part of the screen; 7. Audio description: a mainly intralingual audio commentary on the action of a film, stage, book, etc… More than any other translation practice, subtitling is restricted and restrained to the space and time constraints that lead to a necessary reduction in the number of words on the screen. Much has been written on the technical and linguistic aspects of subtitling, but less attention has so fare been paid to the integration of subtitling and broader analytic models. Katamitroglou is an early study that draws on polysystem theory and the concept of norms to discuss dubbing and subtitling preferences in Greece. The list of elements considered covers: - the human agents - the products (TTs) - the recipients (addressees and customers) - the mode (characteristics of audiovisual translation) - the institution (critics, tv, web, etc..) - the market (cinemas, films clubs…) They are many and their importance varies according to the sociocultural environment and the ethic disposition of the translator. The human agents include: spotters, time-coders, adapters, dubbing director, dubbing actors, sound technicians and video experts, etc… Contrasting Katamitroglou’s model, Taylor tackles the question of multimodal transcription, producing a multi-layered description between the division of frames (duration and order of frames, presentation of visual frames), shots (components of the visual image and kinesic action of the characters) and phases (dialogue and description of the soundtrack and metafunctional interpretation of how film creates meaning). Frederic Chaume then proposes a combination of translation studies and film studies to produce an ‘integral’ model of translation. He identifies 10 codes of communication, the first four concerning the acoustic channel and the last six about visual channel. 1. The linguistic code: referring to wordplay, co-presence of languages and culture-specific elements 2. The paralinguistic code: addition of symbols 3. The musical and special effects code: representation of sound and songs 4. The sound arrangement code: depends on whether the speaker is on or off screen 5. Iconographic code: iconographic symbols may need a precise explanation 6. Photographic codes: examples of problems like changes in light, perspective of a scene 7. Planning code:relating to close-ups that require lip-synchro 8. Mobility code: concerns the positioning of characters, to coordinate word and movements 9. Graphic codes: representation of intertitles, images and text during screenplay