Greta Danilavičienė - Academia.edu (original) (raw)
Papers by Greta Danilavičienė
ICERI proceedings, Nov 1, 2016
The novelty of the thesis is that research in audiovisual translation has emerged only in recent ... more The novelty of the thesis is that research in audiovisual translation has emerged only in recent years due to the demand and supply of subject related study programmes courses, scientific conferences, PhD dissertations (Díaz Cintas, 2009, p. 3). Digitization era has stimulated the spread of Information and Communication Technology, thus, inducing translators to face new challenges (Gambier, 2006, p. 2). With regard to Lithuanian research, the first scientific research of audiovisual translation in Lithuania was carried out only in 2005 (Baravykaitė, 2005, p. 13); therefore, a decade of researching is not enough to draw the conclusions and more brief studies are required. The aim of the paper is to analyse the translation of cultural aspects from EN to LT in the feature film Django Unchained. The object is the translation of cultural aspects in the subtitles and the voice-over of the feature film Django Unchained
The novelty of the thesis is that research in audiovisual translation has emerged only in recent ... more The novelty of the thesis is that research in audiovisual translation has emerged only in recent years due to the demand and supply of subject related study programmes courses, scientific conferences, PhD dissertations (Díaz Cintas, 2009, p. 3). Digitization era has stimulated the spread of Information and Communication Technology, thus, inducing translators to face new challenges (Gambier, 2006, p. 2). With regard to Lithuanian research, the first scientific research of audiovisual translation in Lithuania was carried out only in 2005 (Baravykaitė, 2005, p. 13); therefore, a decade of researching is not enough to draw the conclusions and more brief studies are required. The aim of the paper is to analyse the translation of cultural aspects from EN to LT in the feature film Django Unchained. The object is the translation of cultural aspects in the subtitles and the voice-over of the feature film Django Unchained. The objectives are as follows: • to define characteristics of cultural aspects; • to analyse subtitles and voice-over in terms of cultural aspects; • to analyse subtitles with reference to their constraints; • to analyse what translation procedures and strategies are used to render cultural aspects in subtitles and voice-over. The thesis consists of seven major parts. The summaries in Lithuanian and English present a brief resumé of the whole paper; the introductory part introduces to the aim, objectives, object and novelty. The theoretical part introduces to audiovisual translation, subtitling, voice-over, their constraints and comparisons. Thereafter, the cultural aspects including realia, metaphors and parts of formulaic language are analysed. The subsequent parts present the research methods data for analysis and the scientific analysis of the feature film Django Unchained based upon the theory. Afterwards, the discussion and the conclusions are provided. After completing the analysis, one can conclude that in this paper, cultural aspects are analysed with a broader approach and are considered to be not only realia, but also metaphors and elements of formulaic language. The further analysis was carried out on subtitling constraints which revealed that all the subtitles meet the requirements set in the thesis. Last but not least, cultural aspect translation analysis revealed that the most frequent translation procedure is preservation of content. Only a fifth of procedures are invoked to reach domestication, consequently, the foreignisation strategy prevails in translating cultural aspects. This reveals that even though domestication strategy should generally dominate in translation, the cultural aspects were translated without considering the recommendations provided by scholars. This analysis has revealed that audiovisual translation requires further research and greater attention should be paid to translating the cultural aspects as such. The results of this project can be used in the further research in audioviausl translation or when compiling a glossary or a dictionary of realia, metaphors and / or elements of formulaic language. 1. SCOPE OF AUDIOVISUAL TRANSLATION Audiovisual translation (AVT) usually perceived as text genre is actually a text type. Audiovisual translation is one of the most common titles, as different scientists name AVT as cinema translation, film translation or screen translation. The concept audiovisual translation is used in this paper as it represents a clearer concept of what it is; as AVT represents not only film translation but the translation of all the audiovisual products in general (Díaz Cintas, 2009, p. 1; Chang, 2012, p. 71), for example, sitcoms, cartoons, documentaries, corporate videos, commercials, educational and edutainment productions, video games, cookery and property programmes, interviews, etc. (Díaz Cintas, 2009:6). According to Inghilleri (2009, p. 13), "audiovisual texts include language, image, music, colour and perspective". Scientists provide different definitions of audiovisual translation. According to D. Chiaro (2009, p. 141), AVT sets out "to cover the interlingual transfer of verbal language when it is transmitted and accessed both visually and acoustically, usually, but not necessarily, through some kind of electronic device". Although, one can object as not only verbal language can be translated in AVT products, because it is closely related to semiotics, therefore, various signs, symbols or markers, etc. might be translated (Díaz Cintas, 2009, p. 9). According to Bartrina (2004, p. 157), the visual and the acoustic channels exist in AVT products, and the synchrony between verbal and non-verbal information is very significant. According to Gottlieb (1997, p. 97), dialogues in audiovisual translation can be transferred isosemiotically when voices are replaced by voices and diasemiotically when voices are transcribed into subtitles. The first studies in AVT were concise and not available for people at large. The lack of fundamental research in this area led the scientists to impasse as they did not know what other scientists had done in this discipline. Even though the situation has changed nowadays and "AVT has become a resolute and prominent area of academic research", there is still a lack of AVT historiography. However, recently AVT has emerged as independent theoretical and methodological approach and has its own scholarly area of research (Díaz Cintas, 2009, p. 1, 7). The situation and the position of AVT has changed in the twenty-first century because the analogue television is on the decline, the digital era has penetrated to almost all the human's lives and the need of foreign production and cable television has emerged. The cinema industry is also expanding, especially the growing prevalence of Hollywood films and film festivals that are celebrated by increasing number of visitors. Despite the need of AVT on television and in cinema, it is typical in the theatre, the opera and other live performances in the form of surtitles. Furthermore, the rights (especially in the European Union) of people with health impairments has lead the growing market of subtitling for the deaf and hard-of-hearing (SDH) and audio description for the blind and the partially sighted (AD), thus, expanding the boundaries of AVT and the scope of scholars' research (Díaz Cintas and Anderman, 2010, p. 1, 2). AVT cannot be isolated as it is an interdisciplinary subject connecting languages, technologies, culture and semiotics. New technologies, such as translations programmes, subtitling and other programmes have a direct impact of working practices. AVT "is always constrained by the presence of the original production, which lives on semiotically through images (and sound) in the adoptive culture" as the dialogues take place in certain situations and have a special context in a specific time. Thus, the translators of AVT must be aware of the "semiotic complexity of the audiovisual production" as it determines the implemented translation strategies (Díaz Cintas, 2009, p. 7-10). Traditionally, the world is under the tendency to be divided into four major blocks of AVT: source language countries, i.e. English speaking countries, a narrow market of imported AVT products; dubbing countries-German, Italian, Spanish and French speaking countries; subtitling countries-Scandinavian countries, the Netherlands, Japan, Romania, etc.; voice-over countries, Eastern European countries (because of the division of Europe during the Cold War) such as Russia, Poland and other countries that cannot afford dubbing
Studies About Languages, 2013
The paper presents an overview of machine translation (MT), its paradigms, and the differences be... more The paper presents an overview of machine translation (MT), its paradigms, and the differences between two machine translation systems: Google Translate and VDU Translate. Google Translate applies statistical techniques to learn translation models from different translated texts, bilingual or multilingual texts. Statistical machine translation (SMT) is the application of previously used algorithm, adopted from parallel corpora, parallel texts, bilingual texts or multilingual texts, to translate other completely new translation units. VDU Translate is a rule-based (RB) bilingual unidirectional MT system implementing linguistic rules in text translation. For the most part a range of morphological, syntactic, and/or semantic analyses are being applied, as well as the structural text transformations. Two texts (a scientific paper and a newspaper article) translated by Google Translate and VDU Translate have been compared in terms of 7 standards of textuality to find out their acceptability to the reader. The seven standards of textuality include cohesion, coherence, intentionality, acceptability, informativity, situationality, and intertextuality proposed by R. A. Megrab. The findings of the research demonstrated that the newspaper article and the scientific paper translated by both MT systems comply with standards of text cohesion. However, they do not comply with the standards of coherence, acceptability and informativity due to numerous semantic mistakes, therefore, translations of this quality cannot be informative or acceptable to the reader.
Translationes, Jun 1, 2017
The translation of elements of formulaic language is extremely difficult in subtitles or voice-ov... more The translation of elements of formulaic language is extremely difficult in subtitles or voice-over due to time and space constraints. Besides, it is very difficult to provide a comprehensive definition of formulaic language as its sequences exist in so many forms. Traditionally, 6 basic formulas are distinguished: polywords, phrasal constraints, meta-messages, sentence builders, situational utterances, and verbatim texts. The analysis of subtitles and a voice-over version of a film shows that differences in the procedures applied for the translation of formulaic language are insignificant, and the strategies used are distributed almost evenly between preservation of content, transformation and localisation.
ICERI proceedings, Nov 1, 2016
The novelty of the thesis is that research in audiovisual translation has emerged only in recent ... more The novelty of the thesis is that research in audiovisual translation has emerged only in recent years due to the demand and supply of subject related study programmes courses, scientific conferences, PhD dissertations (Díaz Cintas, 2009, p. 3). Digitization era has stimulated the spread of Information and Communication Technology, thus, inducing translators to face new challenges (Gambier, 2006, p. 2). With regard to Lithuanian research, the first scientific research of audiovisual translation in Lithuania was carried out only in 2005 (Baravykaitė, 2005, p. 13); therefore, a decade of researching is not enough to draw the conclusions and more brief studies are required. The aim of the paper is to analyse the translation of cultural aspects from EN to LT in the feature film Django Unchained. The object is the translation of cultural aspects in the subtitles and the voice-over of the feature film Django Unchained
The novelty of the thesis is that research in audiovisual translation has emerged only in recent ... more The novelty of the thesis is that research in audiovisual translation has emerged only in recent years due to the demand and supply of subject related study programmes courses, scientific conferences, PhD dissertations (Díaz Cintas, 2009, p. 3). Digitization era has stimulated the spread of Information and Communication Technology, thus, inducing translators to face new challenges (Gambier, 2006, p. 2). With regard to Lithuanian research, the first scientific research of audiovisual translation in Lithuania was carried out only in 2005 (Baravykaitė, 2005, p. 13); therefore, a decade of researching is not enough to draw the conclusions and more brief studies are required. The aim of the paper is to analyse the translation of cultural aspects from EN to LT in the feature film Django Unchained. The object is the translation of cultural aspects in the subtitles and the voice-over of the feature film Django Unchained. The objectives are as follows: • to define characteristics of cultural aspects; • to analyse subtitles and voice-over in terms of cultural aspects; • to analyse subtitles with reference to their constraints; • to analyse what translation procedures and strategies are used to render cultural aspects in subtitles and voice-over. The thesis consists of seven major parts. The summaries in Lithuanian and English present a brief resumé of the whole paper; the introductory part introduces to the aim, objectives, object and novelty. The theoretical part introduces to audiovisual translation, subtitling, voice-over, their constraints and comparisons. Thereafter, the cultural aspects including realia, metaphors and parts of formulaic language are analysed. The subsequent parts present the research methods data for analysis and the scientific analysis of the feature film Django Unchained based upon the theory. Afterwards, the discussion and the conclusions are provided. After completing the analysis, one can conclude that in this paper, cultural aspects are analysed with a broader approach and are considered to be not only realia, but also metaphors and elements of formulaic language. The further analysis was carried out on subtitling constraints which revealed that all the subtitles meet the requirements set in the thesis. Last but not least, cultural aspect translation analysis revealed that the most frequent translation procedure is preservation of content. Only a fifth of procedures are invoked to reach domestication, consequently, the foreignisation strategy prevails in translating cultural aspects. This reveals that even though domestication strategy should generally dominate in translation, the cultural aspects were translated without considering the recommendations provided by scholars. This analysis has revealed that audiovisual translation requires further research and greater attention should be paid to translating the cultural aspects as such. The results of this project can be used in the further research in audioviausl translation or when compiling a glossary or a dictionary of realia, metaphors and / or elements of formulaic language. 1. SCOPE OF AUDIOVISUAL TRANSLATION Audiovisual translation (AVT) usually perceived as text genre is actually a text type. Audiovisual translation is one of the most common titles, as different scientists name AVT as cinema translation, film translation or screen translation. The concept audiovisual translation is used in this paper as it represents a clearer concept of what it is; as AVT represents not only film translation but the translation of all the audiovisual products in general (Díaz Cintas, 2009, p. 1; Chang, 2012, p. 71), for example, sitcoms, cartoons, documentaries, corporate videos, commercials, educational and edutainment productions, video games, cookery and property programmes, interviews, etc. (Díaz Cintas, 2009:6). According to Inghilleri (2009, p. 13), "audiovisual texts include language, image, music, colour and perspective". Scientists provide different definitions of audiovisual translation. According to D. Chiaro (2009, p. 141), AVT sets out "to cover the interlingual transfer of verbal language when it is transmitted and accessed both visually and acoustically, usually, but not necessarily, through some kind of electronic device". Although, one can object as not only verbal language can be translated in AVT products, because it is closely related to semiotics, therefore, various signs, symbols or markers, etc. might be translated (Díaz Cintas, 2009, p. 9). According to Bartrina (2004, p. 157), the visual and the acoustic channels exist in AVT products, and the synchrony between verbal and non-verbal information is very significant. According to Gottlieb (1997, p. 97), dialogues in audiovisual translation can be transferred isosemiotically when voices are replaced by voices and diasemiotically when voices are transcribed into subtitles. The first studies in AVT were concise and not available for people at large. The lack of fundamental research in this area led the scientists to impasse as they did not know what other scientists had done in this discipline. Even though the situation has changed nowadays and "AVT has become a resolute and prominent area of academic research", there is still a lack of AVT historiography. However, recently AVT has emerged as independent theoretical and methodological approach and has its own scholarly area of research (Díaz Cintas, 2009, p. 1, 7). The situation and the position of AVT has changed in the twenty-first century because the analogue television is on the decline, the digital era has penetrated to almost all the human's lives and the need of foreign production and cable television has emerged. The cinema industry is also expanding, especially the growing prevalence of Hollywood films and film festivals that are celebrated by increasing number of visitors. Despite the need of AVT on television and in cinema, it is typical in the theatre, the opera and other live performances in the form of surtitles. Furthermore, the rights (especially in the European Union) of people with health impairments has lead the growing market of subtitling for the deaf and hard-of-hearing (SDH) and audio description for the blind and the partially sighted (AD), thus, expanding the boundaries of AVT and the scope of scholars' research (Díaz Cintas and Anderman, 2010, p. 1, 2). AVT cannot be isolated as it is an interdisciplinary subject connecting languages, technologies, culture and semiotics. New technologies, such as translations programmes, subtitling and other programmes have a direct impact of working practices. AVT "is always constrained by the presence of the original production, which lives on semiotically through images (and sound) in the adoptive culture" as the dialogues take place in certain situations and have a special context in a specific time. Thus, the translators of AVT must be aware of the "semiotic complexity of the audiovisual production" as it determines the implemented translation strategies (Díaz Cintas, 2009, p. 7-10). Traditionally, the world is under the tendency to be divided into four major blocks of AVT: source language countries, i.e. English speaking countries, a narrow market of imported AVT products; dubbing countries-German, Italian, Spanish and French speaking countries; subtitling countries-Scandinavian countries, the Netherlands, Japan, Romania, etc.; voice-over countries, Eastern European countries (because of the division of Europe during the Cold War) such as Russia, Poland and other countries that cannot afford dubbing
Studies About Languages, 2013
The paper presents an overview of machine translation (MT), its paradigms, and the differences be... more The paper presents an overview of machine translation (MT), its paradigms, and the differences between two machine translation systems: Google Translate and VDU Translate. Google Translate applies statistical techniques to learn translation models from different translated texts, bilingual or multilingual texts. Statistical machine translation (SMT) is the application of previously used algorithm, adopted from parallel corpora, parallel texts, bilingual texts or multilingual texts, to translate other completely new translation units. VDU Translate is a rule-based (RB) bilingual unidirectional MT system implementing linguistic rules in text translation. For the most part a range of morphological, syntactic, and/or semantic analyses are being applied, as well as the structural text transformations. Two texts (a scientific paper and a newspaper article) translated by Google Translate and VDU Translate have been compared in terms of 7 standards of textuality to find out their acceptability to the reader. The seven standards of textuality include cohesion, coherence, intentionality, acceptability, informativity, situationality, and intertextuality proposed by R. A. Megrab. The findings of the research demonstrated that the newspaper article and the scientific paper translated by both MT systems comply with standards of text cohesion. However, they do not comply with the standards of coherence, acceptability and informativity due to numerous semantic mistakes, therefore, translations of this quality cannot be informative or acceptable to the reader.
Translationes, Jun 1, 2017
The translation of elements of formulaic language is extremely difficult in subtitles or voice-ov... more The translation of elements of formulaic language is extremely difficult in subtitles or voice-over due to time and space constraints. Besides, it is very difficult to provide a comprehensive definition of formulaic language as its sequences exist in so many forms. Traditionally, 6 basic formulas are distinguished: polywords, phrasal constraints, meta-messages, sentence builders, situational utterances, and verbatim texts. The analysis of subtitles and a voice-over version of a film shows that differences in the procedures applied for the translation of formulaic language are insignificant, and the strategies used are distributed almost evenly between preservation of content, transformation and localisation.