Intersemiotic Translation Research Papers - Academia.edu (original) (raw)

In the last decade, theatre research has been marked by a growing interest in the documentation, reconstruction, and analysis of creative processes in the performing arts. 1 Theatre, dance, and performance scholars, often in collaboration... more

In the last decade, theatre research has been marked by a growing interest in the documentation, reconstruction, and analysis of creative processes in the performing arts. 1 Theatre, dance, and performance scholars, often in collaboration with or in response to theatre makers and choreographers keen on exploring and sharing their own creative processes and working methods, have expanded their horizon from the 'final product'-the performanceto the varied and often complex activities that precede and eventually establish that performance. 2 One of the underlying ideas that fuel the interest in the analysis of what Josette Féral once termed the 'pre-performance', is the expectation that insight in the genesis of the performance will provide a more encompassing perspective on the work as a whole. 3 This 'genetic' perspective is especially fruitful when we consider the contemporary performing arts and, more specifically, 'postdramatic' theatre, which will be the subject of this article. Even a cursory glance reveals that the vast aesthetic diversity of theatrical languages in contemporary theatre is matched by an almost equally great variety of working methods and creative strategies. These methods are often specific to the theatre makers who use them, or even to individual projects-'[e]ach work creates its own method' the Belgian dramaturge Marianne Van Kerkhoven once stated. 4 But the relationship between the creative process and the final performance is complex, often elliptical, and without a predetermined, linear path that leads from inception to result. Gaining access to, and understanding this relationship, especially in theatre forms that rely more on performative and visual rather than textual elements can pose significant methodological challenges. In this article, we will focus on one crucial element of this creative process, namely the varied notes that are produced by the theatre director 1. This work was supported by FWO-Research Foundation [grant number G038513N]. Some notable publications in the growing list of publications on the genesis of theatre are

Caribbean Decolonisations: Derek Walcott's Narrative Rewritings and Artistic Encounters

Una tragedia, un melodramma, un film: Macbeth. Tre autori: William Shakespeare, Giuseppe Verdi, Orson Welles. Una minuta costellazione di testi, ognuno dei quali ospita i testi precedenti, presentandosi come un tessuto di richiami,... more

Una tragedia, un melodramma, un film: Macbeth. Tre autori: William Shakespeare, Giuseppe Verdi, Orson Welles. Una minuta costellazione di testi, ognuno dei quali ospita i testi precedenti, presentandosi come un tessuto di richiami, citazioni, rimozioni e vuoti non sempre istituiti secondo la logica di una derivazione localizzabile, di un’imitazione volontaria, ma spesso secondo una logica della disseminazione. Più del fatto che un testo ne riproduce un altro, deve essere considerato rilevante il fatto che ognuno di essi produce un senso relativamente autonomo nel momento in cui riattiva in tutto o in parte il senso dei testi che sono in esso disseminati, prima di innestare a sua volta del senso in quelli in cui viene successivamente in tutto o in parte disseminato.
I tre Macbeth vengono letti come altrettante epifanie di un unico testo, il cui significante, al di là delle metamorfosi che lo investono (dal linguaggio verbale a quello musicale a quello cinematografico), lavora incessantemente su se stesso in relazione a un ristretto numero di nuclei semantici. I tre autori vengono colti nell’atto di codificare, decodificare e surcodificare testi, cioè mentre scrivono, leggono e attraversano senza sosta la frontiera tra scrittura e lettura, portando a compimento qualcosa che non è né l’una né l’altra, qualcosa di instabile, di fuggitivo, che riunisce in sé i tratti dell’interpretazione, della citazione e della trasposizione. Ci appaiono cioè come autori-lettori che non solo decifrano, ma accumulano linguaggi, si lasciano instancabilmente attraversare da essi, divenendo a loro volta il luogo e la figura di quell’attraversamento.

Palavras-chave: Comunicação. Semiótica. Tradução intersemiótica. Adaptação.

When Richard Strauss saw Oscar Wilde's play Salome in Max Reinhardt's 1901 production, he felt that it "cried out for music". Indeed, the insistent repetition of dramatic phrases, incantatory dialogue, fashionable orientalism and stark... more

When Richard Strauss saw Oscar Wilde's play Salome in Max Reinhardt's 1901 production, he felt that it "cried out for music". Indeed, the insistent repetition of dramatic phrases, incantatory dialogue, fashionable orientalism and stark emotional contrasts all lent themselves very well to iconic representation through music, as became abundantly clear in Strauss' famous opera, first performed in 1905. This paper examines the various semiotic resources that Strauss used to effectively "translate" Wilde's play into music. They include an exploitation of the possibilities for signification inherent in musical genre, traditional tonality and operatic convention, as well as the use of Wagnerian leitmotif and musical quotation. The result is a musical portrait of world teetering on the brink of moral bankruptcy-an effective rendering of Wilde's fin-de-siècle spirit, which also offers a subtle comment upon Strauss' own times.

Il presente volume intende fornire un modello traduttivo utilizzabile tanto in ambito professionale quanto in ambito pedagogico, al fine di permettere lo sviluppo di strategie utili alla traduzione di diverse tipologie testuali. Il filo... more

Il presente volume intende fornire un modello traduttivo utilizzabile tanto in ambito professionale quanto in ambito pedagogico, al fine di permettere lo sviluppo di strategie utili alla traduzione di diverse tipologie testuali. Il filo conduttore del volume sarà dunque la discussione del modello sistematico, interdisciplinare e sequenziale proposto in apertura di volume, che verrà analizzato nei suoi vari aspetti teorici e pratici nelle rimanenti sezioni. Le analisi svolte all’ interno dei vari capitoli e le attività proposte (affiancate dall’ introduzione succinta dell’impianto teorico di riferimento), si riveleranno così utili a qualsiasi lettore intenzionato ad approfondire il discorso della “traduzione”, offrendo un utile strumento che possa favorire la realizzazione di traduzioni di qualità.

This article revolves around fansubbing, a subtitling-based mediation phenomenon whose emergence and consolidation in recent years has gone hand in hand with the globalisation of Japanese animated cinema. The paper begins with an overview... more

This article revolves around fansubbing, a subtitling-based mediation phenomenon whose emergence and consolidation in recent years has gone hand in hand with the globalisation of Japanese animated cinema. The paper begins with an overview of (i) the origins and rationale for the popularity of anime in Japan and beyond; (ii) the first attempts to localise anime into other languages; and (iii) the contribution of fansubbing to the expansion of anime fandom worldwide. The article then proceeds to delve into the organisation of the fansubbing process and outline its most distinctive practices. The final section appraises the potential for propagation of fansubbing practices within a fast-changing cultural landscape, drawing on the theoretical models that media sociology has developed to account for similar developments in the audiovisual marketplace.

In this thesis I focus on soundpainting-mediated musical experiences. Proposed in the mid seventies by the American musician Walter Thompson (b. 1952), soundpainting is a conventionalized artistic practice designed to create artistic... more

In this thesis I focus on soundpainting-mediated musical experiences. Proposed in the mid seventies by the American musician Walter Thompson (b. 1952), soundpainting is a conventionalized artistic practice designed to create artistic works in real time. Thompson’s definition of soundpainting as a sign language is central to the present artistic inquiry, based on different moments of artistic practice and on interviews with students and professional artists, and informed by an existentialist hermeneutic and yet pragmatic perspective. What does it mean to have an experience in soundpainting? Considering soundpainting as an artistic language, what does it mean to know and speak it? How is meaning mediated in soundpainting? What does a knowledge of soundpainting bring to classically trained musicians? Classically trained orchestral flutist as I am, my starting point has been the similarities and differences between the production and interpretation of signs as they occur in soundpainting-mediated practices and in personal experience of playing from scores and relating to conductors’ gestures.
The artistic, hermeneutic circle turns on transpositions across horizons of understanding, since in soundpainting one’s own practices are extended, and one frequently acts as instrumentalist, composer, and conductor. This is formulated as an example of artistic transaction, in the sense of acting across borders that usually separate roles. In addition to critical reflections on the indeterminacy of soundpainting as a practice and on the two performative perspectives possible in soundpainting (performance leader and performer), I explore soundpainting as an individual instrumental practice too. Although a particularization of soundpainting, this transposition from moments of qualitative transaction between two or more artists to an individual practice retains the significant aspects of standard practice in a soundpainting-mediated musical experience. In the process, significant opportunities were found to exercise different forms of embodying musical knowledge, wherein aspects of ownership and responsibility could be re-contextualized as different intentionalities (in the phenomenological sense) came to play. Through the exploration of such strategies for a systematic development of an improvisational mindset, it was also possible to nurture an empathic understanding of the activities of one’s fellow musicians (performers, conductors, composer, improvisers). All these findings speak to the all-important sense of presence in the moment of performance and can be extended to other forms of music-making, disclosing potential directions for further research on both artistic and educational grounds.

En este trabajo se estudia la adaptación de la literatura al cómic a partir del caso concreto de El puente del troll, un relato de Neil Gaiman que Colleen Doran ha ilustrado más de veinte años después de la publicación del primero. En... more

En este trabajo se estudia la adaptación de la literatura al cómic a partir del caso concreto de El puente del troll, un relato de Neil Gaiman que Colleen Doran ha ilustrado más de veinte años después de la publicación del primero. En primer lugar, se contextualiza el fenómeno de la adaptación como parte de un entramado socioeconómico en el que ambas producciones (adaptada y adaptación) se retroalimentan. Se hace, no obstante, especial hincapié en distinguir los rasgos de un medio y los del otro incluso cuando el cómic de Doran vierte el texto original de Gaiman de manera íntegra. En segundo lugar, se atiende a los rasgos intersemióticos que se desprenden de la adaptación, a fin de examinar la transposición de los distintos elementos de un medio al otro. Así, se presta especial atención a la yuxtaposición de la palabra y la imagen, a la metáfora y, sobre todo, a la transmisión de las emociones en el marco de una fábula de carácter alegórico. Se concluye que el trasvase semiótico pleno es inviable en la medida en que se trata de dos medios distintos, si bien los constituyentes de la ficción (historia, personajes, escenarios) son en esencia los mismos.

Chinese traditional wedding is a marriage ceremony established with a pre-arrangement between families involving a ritual procession. In this respect, this study deals with the semiotics translation of Chinese traditional wedding signs in... more

Chinese traditional wedding is a marriage ceremony established with a pre-arrangement between families involving a ritual procession. In this respect, this study deals with the semiotics translation of Chinese traditional wedding signs in the ritual processions located in Medan.The aims of this research are: to analyse the types of semiotics displayed in the Hokkien Chinese Traditional Wedding signs, to translate the semiotics of each sign Chinese traditional wedding in Medan realized in English, and to discuss the cultural value in the semiotics translation of Hokkien Chinese Traditional Wedding in Medan. The research focuses on the semiotics meanings of Chinese traditional wedding signs in Medan, North Sumatra, by the community of Hokkien. The study employed a qualitative research design. Interview and documentations were used as the data collection methods. The research results showed that: there are thirty signs of Hokkien Chinese Traditional Weddings discussed in this research consisting of semiotics meanings which influenced and gave an effect to the bride and groom in their wedding, the tradition that has been practiced consisted of the cultural category of ecology culture, material culture, social culture, organization culture, gesture, and habit culture in which the most dominant one was the social culture. Based on these, it was concluded that all of the signs used in Chinese traditional wedding for the pre-wedding and wedding ritual were in hereditary from generation to generation, though some modifications had been made.

Roberte, anima e corpo. L'opera di Pierre Klossowski dalla scrittura sensuale alla pittura sensoriale di FABRIZIO IMPELLIZZERI «Ne Le Leggi dell'ospitalità e nella maggior parte dei disegni di Klossowski, Roberte è di conseguenza questa... more

Roberte, anima e corpo. L'opera di Pierre Klossowski dalla scrittura sensuale alla pittura sensoriale di FABRIZIO IMPELLIZZERI «Ne Le Leggi dell'ospitalità e nella maggior parte dei disegni di Klossowski, Roberte è di conseguenza questa donna dalle molteplici sfaccettature, misteriosa, inafferrabile e dal carattere molto complesso. Borghese, dall'apparenza ostile, austera e sobria, Roberte è l'emblema stessa dell'incoerenza e della dualità. La sua rappresentazione nei disegni dell'autore è similmente articolata e doppia, è spesso il risultato di una contraddizione che la contraddistingue, tanto da apparire morbida ed estremamente femminile nelle forme e al contrario spigolosa e maschile nei tratti del viso.»

Tout au long de l’histoire de sa réception, Reflets dans l’eau a souvent été associé aux paysages aquatiques de peintres impressionnistes comme Manet, Renoir, Sisley, Monet. Pour Emile Vuillermoz, Paul Roberts, François Sabatier et tant... more

Tout au long de l’histoire de sa réception, Reflets dans l’eau a souvent été associé aux paysages aquatiques de peintres impressionnistes comme Manet, Renoir, Sisley, Monet. Pour Emile Vuillermoz, Paul Roberts, François Sabatier et tant d’autres, les sonorités de cette pièce évoquent des paysages typiques de ces peintres. Comment une expérience purement sonore peut-elle renvoyer à de telles perceptions visuelles suggestives, jusqu'à tisser, comme le disait André Suarès, un véritable « poème de l’agonie de la lumière » ? Les métaphores de la réception nous fournissent des clés de lecture de la pièce. Et une analyse perceptive de l’œuvre permet d’étudier les équivalences entre expériences auditives et visuelles comme mise en jeu de mécanismes de perception similaires. La poétique de la pièce se présente ainsi comme axée sur la relation entre une mobilité inertielle et géométrique de la surface et une mobilité vitale et non gestaltique du fond.

As a crucial communication material, the brand name exhibits its growing importance in the worldwide communication. It is a special text with a strong function and a clear persuasive purpose. This paper aims to explore the translation... more

As a crucial communication material, the brand name exhibits its growing importance in the worldwide communication. It is a special text with a strong function and a clear persuasive purpose. This paper aims to explore the translation strategy and methods of English brand names from the perspective of culture. According to Skopostheorie, the prime principle determining any translation process is the purpose of the overall translational action. The translation methods should be based on the text's function and the target culture. This paper is a tentative study of the guiding strategy and possible methods used in English brand names translation by analyzing the Chinese and English brand names, and how they fulfill the function of promoting products and enhancing the cultural exchange in the hope of offering a new perspective in the brand name translation practice. The study used the Skopostheorie as the guiding theory and strategy to analyze English brand names, which were selected from the brand names database " brandirectory ". It is found that the translation should follow the target-culture oriented strategy to conform to the habitual use of target language, social culture and aesthetics in target market.

Epistemologically framed by Black Feminism, (auto) ethnography, the heuristic I approach, and racial studies in Colombia, the present work centers the author's lived experience in the analysis of day-today school dynamics and the ways in... more

Epistemologically framed by Black Feminism, (auto) ethnography, the heuristic I approach, and racial studies in Colombia, the present work centers the author's lived experience in the analysis of day-today school dynamics and the ways in which they (re)produce gendered racial discourses laying at the very foundation of the Colombian national project. The concurrence of biographic narrative and digital ethnogrpahy, highlights particular intersections of class, race, sexuality, ability, and gender, and ultimately brings forth notions of belonging, national identity, and ideal femininity.

Creativity is a skill that translators need to hone in several cases, whether they deal with a technical or a literary text. When translations cross medial as well as cultural boundaries, creativity may be more pressing to examine. This... more

Creativity is a skill that translators need to hone in several cases, whether they deal with a technical or a literary text. When translations cross medial as well as cultural boundaries, creativity may be more pressing to examine. This paper focuses on intersemiotic translation (Jakobson 1959/2012). More specifically, it discusses the case of film adaptation, i.e. the transposition of a narrative from a novel to the big screen. Similarly to translation, which has been conceptualised as rewriting (Lefevere 1992), it has been suggested that adaptation can also be viewed through this lens (Aragay 2005; Hutcheon 2013). The changes observed between source novel and film adaptation have traditionally been analysed against the yardstick of fidelity, whilst creative considerations have remained under-researched. In this paper, creativity is approached as one of the fundamental motivations of adaptation as process and product. The analysis focuses on the film adaptation Silver Linings Playbook (Russell 2012) and looks into two prominent instances of creativity as expressed by the agents involved in the adaptation process. Emphasis is placed on the ways in which adapter and cast put their creativity at the service of their reinterpretation of the source narrative and thus assume the role of intersemiotic translators.

The aim of this essay is to investigate the relation between adaptation and intermediality and to demonstrate why adaptation studies would profit from a broad intermedial research context. A list of ten ways of delimiting the notion of... more

The aim of this essay is to investigate the relation between adaptation and intermediality and to demonstrate why adaptation studies would profit from a broad intermedial research context. A list of ten ways of delimiting the notion of adaptation within the broader field of intermediality is presented and thoroughly discussed. The goal is to pinpoint border zones of adaptation that are only partly recognized as such by adaptation scholars. It is argued that failing to reflect on these borders ignores relevant neighbor disciplines, and that insufficient attention to related theoretical fields reduces the possibility for adaptation studies to produce research that is relevant for a broader range of phenomena and a broader field of scholars. The essay also briefly investigates some core issues of intermedial research, and hence of adaptation studies, and summarizes some vital notions that are helpful for investigating essential similarities and differences among media and for capturing the material and semiotic conditions for adaptation.

Interlingual translation, intersemiotic translation, and mediation seem to be the main means by which students who are learning English as a foreign language in Greece connect the learning of English as a foreign language and Greek as a... more

Interlingual translation, intersemiotic translation, and mediation seem to be the main means by which students who are learning English as a foreign language in Greece connect the learning of English as a foreign language and Greek as a mother tongue. This research probes into the teaching of English in Greek state schools and more specifically the teaching of English, as a foreign language, in the first year of junior high school. The research attempts to evaluate the authors' choices of visual iconic messages that promote the Greek culture and language, the students' mother tongue, as a means of mediation— mostly through interlingual translation—to familiarize them with the target language and culture, namely, the English language and culture. The fact that the visual iconic and verbal signs under scrutiny are all derived from a textbook published by the Greek Ministry of Education, Research and Religious Affairs gives more significance to the specific signs (thus legitimizing them).

We live in a world which is globalized and where international relations are much more active than ever. As people do not speak common language, need for translation and interpreting is more crucial in this regard. We cannot think of... more

We live in a world which is globalized and where international relations are much more active than ever. As people do not speak common language, need for translation and interpreting is more crucial in this regard. We cannot think of close contacts among states, societies, people and businesses without the mediation of translation and interpreting than before. Thus, translation and interpreting have became crucial and are playing a very important role in human interactions. International law, which regulates relations between organizations and states, has also gained importance. Thus, it can be said that international law (as a result of this translation and interpreting as well) has also become more crucial. Thus, legal translation has also become important among the other domains of translation. However, translating and interpreting are not easy at all. There is no room for error in translation and interpreting as legal consequences may follow. Legal translation involves very complex matters and specialized terminology. This is why it is extremely important to assign the legal translation task to a translator who is well qualified and specialized to handle translation of legal documents. The field of legal translation in Kosovo is not so much developed. There is a limited work and study done in this regard. Therefore, this paper attempts to make a modest contribution in this regard with description and discussion of the issues regarding translation of legal texts. Solutions offered herein may be taken as a basis for further research.

The collective power of Japanese popular culture permeating the rest of the world through manga and anime is a recent issue of interest for scholars. Studying the scanlation and translation of the manga, which are multimodal texts that... more

The collective power of Japanese popular culture permeating the rest of the world through manga and anime is a recent issue of interest for scholars. Studying the scanlation and translation of the manga, which are multimodal texts that hybridize linguistic and visual arts, also entails several topics of discussion and interest for the translation scholar. There are facets of these multimodal texts as in manga the narrative is conveyed through composite, cinematographic narrative with integrated frames. In turn these can yield interesting translation solutions and strategies, especially when compared in terms of the two mediums of production (i.e., in print and on the Internet). The following study entails a comparative analysis of the scanlation and translation of the manga Naruto into Turkish especially concentrating on: the format (i.e., arrangement of pages, lettering, typography), what was translated what was not (i.e., dialogues, onomatopoeia, honorifics, names), and the use of diverse translation strategies (i.e., adding notes, dealing with discourses, registers and translators choices). In this sense, as is the aim behind the study, manga translations present translation studies with rich grounds of research into multimodal, multicultural dialogue and interaction. As the potential for intercultural dialogue through comics has never been stronger than the present, manga seem to be a medium through which this may be achieved across cultures. Comparative studies in different languages and cultures would not only be a benefit for the comics' translators and scholars, but also the field of translation, as discussing the abundance of decisions and possibilities would enrich the discipline.

Translation activity in culture cannot take place in isolation from experience of culture and technological environment. Underlying the diversity of communication processes is the progression from printed media towards hypermedia and new... more

Translation activity in culture cannot take place in isolation from experience of culture and technological environment. Underlying the diversity of communication processes is the progression from printed media towards hypermedia
and new media. In this new situation, the peculiarity of translation activity consists in the actualization of intralingual and intersemiotic translation alongside interlingual translation: first, in synthetic form, combining
all three types of translation (thus also interlinguistic translation can be regarded as comprising intralingual and intersemiotic translation as well); and second, in analytic form, that is, as three autonomous types of translation producing diverse types of texts. The widening of the boundaries of translation process results in the intensified search for appropriate methodologies. One indication of this is the repeated reconceptualization or further elaboration of Jakobson’s typology of intralingual, interlingual, and intersemiotic translation at the intersection of semiotics, translation studies, analysis of culture, and communication. At the same time, translation studies show signs of methodological innovation, accompanied by semiotic
steps. Semiotics, on the other hand, is at the same time undergoing an actualization of translation issues, and the concept of semiotranslation refers now to the possibilities of methodological synthesis between translation studies and semiotics.

The study aimed to correlate the reading comprehension and translation performance of English linguistic students, then inform some pedagogical implications for the teaching of reading comprehension in translation classes in order to... more

The study aimed to correlate the reading comprehension and translation performance of English linguistic students, then inform some pedagogical implications for the teaching of reading comprehension in translation classes in order to enhance the translation quality performed by the students. To this end, 45 junior students of English linguistics specialization of Hung Vuong University, including 5 males and 40 females, aged from 20 to 22, were subject to a TOEFL reading comprehension test and a translation performance test (ATA guidelines, 2011). Data were analyzed using the Pearson Correlation, SPSS version 20.0. The coefficient correlation of students' reading comprehension and their translation performance was noted 0.721 at the significant level of 0.01. It was found that the Reading comprehension was closely related to translation performance. Along the reading comprehension question types, translation performance was affected by the ability to determine gist and main ideas of the text, identify the vocabulary, infer the implied meanings and identify the writer's style and attitudes. The results were discussed, and implications for teaching reading comprehension to enhance translation performance were presented.

Le cinéma (ce qu'on appelle cinéma), qui n'est pas encore qu'au principe, deviendra au terme de son évolution la plus formidable trouvaille du monde, en ce sens qu'il dressera devant l'humanité une surhumanité ainsi qu'en face de la... more

Le cinéma (ce qu'on appelle cinéma), qui n'est pas encore qu'au principe, deviendra au terme de son évolution la plus formidable trouvaille du monde, en ce sens qu'il dressera devant l'humanité une surhumanité ainsi qu'en face de la création une surcréation. Ce cinéma futur multipliera de ses natures la Nature » Saint-Pol-Roux (1925-1930), Cinéma Vivant, Rougerie, 1972, p. 15. ! Our analysis will be based on the Freudian theories applied to the narration of the three first movies which chronologically form the "second trilogy" of the Star Wars 1)Saga: Star Wars (1977, re-baptized Episode IV, A New Hope in 1999), 2) The Empire Strikes Back (1980, Episode V), 3) Return of the Jedi (1983, Episode VI), and the first edition of the biography of Georges Lucas written in 1983, Skywalking: The Life and Films of George Lucas by Dale Pollock.

The purpose of this paper is to approach film adaptation as a modality of translation and to provide a systematic analysis of the changes occurring in the adaptation of a novel for the big screen. These changes, i.e. adaptation shifts,... more

The purpose of this paper is to approach film adaptation as a modality of translation and to provide a systematic analysis of the changes occurring in the adaptation of a novel for the big screen. These changes, i.e. adaptation shifts, are examined by means of a model that consists of a descriptive/comparative component and an interpre-tive component. The model is derived from combining insights from adaptation and translation studies and thus builds on the interdisciplinary nature of adaptation studies so as to offer a comprehensive methodological tool for the analysis of adaptations. As processes and products, adaptation and translation involve an act of communication between a source and a target text within a new sociocultural context. In this light, adaptation can be examined as a case of intersemiotic translation in that it involves the transfer of meaning between two different media; in the case of film adaptation, more specifically, meaning is transferred from book to film and the dynamics between the source novel and adaptation is juxtaposed with that between a source text and its translation. The adaptation model is applied to the film adaptation Silver Linings Playbook with an aim to understand the aspects in which This work is licensed under a Creative Commons Attribution 4.0 International License. Ovaj rad dostupan je za upotrebu pod licencom Creative Commons Imenovanje 4.0 međunarodna.

This research attempted to evaluate the quality of Persian translation of drug leaflets. The researchers randomly selected a set of 30 pharmaceutical leaflets collected between March-August, 2015. The leaflets were analyzed based on... more

This research attempted to evaluate the quality of Persian translation of drug leaflets. The researchers randomly selected a set of 30 pharmaceutical leaflets collected between March-August, 2015. The leaflets were analyzed based on House's functional-pragmatic model of translation quality assessment. At first, the profiles of both source texts and target texts were collected. Then, their overtly and covertly erroneous errors and the kinds of strategies used by the translators in translating the pharmaceutical leaflets into Persian were identified. The results indicate that out of 90 selected sentences of English leaflets, 47 were overtly erroneous and 43 were error-free. These overtly erroneous translations had 27 instances of " mistranslation " , 15 instances of " grammatical mistakes " , six instances of " addition " , six instances of " omission " and four instances of " substitution ". The only covert error was " tenor mismatch " in all sample sentences. The study findings can help teachers in translation studies to improve the quality of students' translation. Moreover, awareness of the errors in the current leaflet translations can assist students in performing their future jobs as translators. The findings may directly and indirectly affect the health of patients in an efficient and effective way.

The present paper studies diverse procedures related to Venuti " s strategies of domestication and foreignisation in Farsi dubbing and subtitling of the English movie, Warcraft directed by Duncan Jones. The procedures of both... more

The present paper studies diverse procedures related to Venuti " s strategies of domestication and foreignisation in Farsi dubbing and subtitling of the English movie, Warcraft directed by Duncan Jones. The procedures of both domestication and foreignisation were studied and statically analysed for the purpose of exploring the film translation method (dubbing or subtitling) which is closer to target-language-culture and the one which is closer to source-language-culture. In other words it was intended to explore which translation strategy (domestication or foreignisation) dominates dubbing and which one dominates subtitling. The tertiary purpose was to compare the reasons of differences in dubbing versus subtitling on the one hand, and the reasons of differences of the target text from the source text. The statistical analysis revealed that in dubbing, cultural equivalence is the most frequently used procedure (38.26%) apparently for making the movie visible for the public Iranian audience and adjust the movie to cultural considerations. Henceforth, dubbing orients to domestication. However, subtitling, with literal translation as the most frequently used procedure (57.4%), orients to foreignisation. In dubbing of the movie, most differences are related to cultural equivalence (38.26%) and the literal translation (29.56%) is in the next step. An interesting point is that the procedure of calque is neither used in subtitling nor in dubbing. In subtitling, cultural equivalence stands in the second place (17.34) and explanation (9.50%) occupies the third place. Other procedures " frequencies show no meaningful difference. Once implemented on more cases, the findings of this study have the potentialities of generalization to identify the most frequently occurred errors in movie translation industry and henceforth suggesting translation solutions for rendering dubbing and subtitling with more degree of naturalness.

Εκκινώντας από την αρχιτεκτονική παρακειμενικότητα του τίτλου "The Belly of an Architect" ταινίας του Peter Greenaway, η παρούσα μελέτη ενδιαφέρεται για τον τρόπο με τον οποίο ο κινηματογράφος αναφέρεται σε έργα άλλων τεχνών, εντάσσοντάς... more

Εκκινώντας από την αρχιτεκτονική παρακειμενικότητα του τίτλου "The Belly of an Architect" ταινίας του Peter Greenaway, η παρούσα μελέτη ενδιαφέρεται για τον τρόπο με τον οποίο ο κινηματογράφος αναφέρεται σε έργα άλλων τεχνών, εντάσσοντάς τα στα συμφραζόμενά του. Ο τρόπος και η ποσότητα της επαφής και της διαπλοκής των έργων τέχνης στο σώμα του κινηματογραφικού έργου, είναι ο βασικός άξονας που θα απασχολήσει την παρούσα μελέτη. Εν αρχή, επιχειρείται μια κατηγοριοποίηση των περιπτώσεων διακαλλιτεχνικής «επαφής». Από τον Bahktin και την Kristeva, που εισάγουν τις έννοιες της διαλογικότητας και της διακειμενικότητας (Λαγόπουλος & Boklund-Λαγοπούλου,2016:237), στο Jakobson που αναφέρεται στον όρο διασημειωτική μετάφραση (Jakobson, 1959:233) και τέλος, στην έννοια της διακαλλιτεχνικότητας ή διαμεσικότητας, όπως την ορίζουν οι σύγχρονες θεωρίες (Rajewsky,2002:15). Έπειτα, εξετάζονται δύο ταινίες του Peter Greenaway, "The Belly of an Architect" (1987) και το "The Cook, the Thief, his Wife and her Lover" (1989), προκειμένω να εντοπισθούν σε αυτές παραδείγματα χρήσης των παραπάνω εννοιών.

Translation quality assessment is at the heart of any theory of translation. It is used in the academic or teaching contexts to judge translations, to discuss their merits and demerits and to suggest solutions. However, literary... more

Translation quality assessment is at the heart of any theory of translation. It is used in the academic or teaching contexts to judge translations, to discuss their merits and demerits and to suggest solutions. However, literary translations needs more consideration in terms of quality and clarity as it is widely read form of translation. In this respect, Persian literary translation of Kite Runner was taken for investigation based on House's (2014) functional pragmatic model of translation quality assessment. To this end, around 100 pages from the beginning of both English and Persian versions of the novel were selected and compared. Using House's model, the profile of the source text register was created and the genre was recognized. The source text profile was compared to the translation text profile. The results were minute mismatches in field, tenor, and mode which accounted for as overt erroneous expressions and leading matches which were accounted for as covert translation. The mismatches were some mistranslations of tenses and selection of inappropriate meanings for the lexicon. Since the informal and culture specific terms were transferred thoroughly, the culture filter was not applied. Besides, as the translation was a covert one. The findings of the study have implications for translators, researchers and translator trainers.

""Recent scholarly developments both within and outside translation studies attest to the growing perception among researchers that, in the pursuit of understanding processes of interlingual and intercultural transfer and mediation,... more

""Recent scholarly developments both within and outside translation studies attest to the growing perception among researchers that, in the pursuit of understanding processes of interlingual and intercultural transfer and mediation, analysing language is not enough. The centrality of (mostly written) language in translation studies research is hardly surprising, with linguistics being widely regarded as the discipline which has most informed the study of translation and interpreting since they emerged as a field of academic inquiry in the middle of the twentieth century (Baker 1996). The emphasis of early research on short, often decontextualised stretches of text (Baker and Pérez-González 2010) resulted in an excision of language – understood as text or discourse – from its context that has become the object of growing scrutiny by translation and interpreting scholars over the last two decades. More importantly, this displacement of language from context has favoured the analysis of language and its instantiation in discourse separately from other forms of meaning-making resources. This paper sets out to examine recent theoretical developments seeking to redress the displacement of language from other kinds of meaning-making resources and their impact on the theorisation of translation and interpreting.
The starting premise of this chapter is that academic interest in non-verbal semiotic resources and their role in processes of interlingual and intercultural transfer is unevenly spread across different scholarly strands within the discipline. As far as the breadth of this research agenda is concerned, images appear to be the only non-linguistic meaning-making signs showing an increasingly recognised potential to inform research in translation studies. Dialogue interpreting, audiovisual and drama translation, to give but a few examples, still lack the theoretical and methodological concepts and tools to systematically analyse semiotic resources such as the gestures and facial expressions accentuating face-to-face conversation; the choices of fonts, colours and patterns of textual-visual interaction in printed advertisements; or the use of music and lighting in the staging of a drama production, respectively.
This paper surveys ongoing research on how different semiotic resources shape translational behaviour in different communicative contexts, including but not limited to the interaction between speech and image in printed media and motion pictures; the modelling of composite semiotic systems, such as movement, gestures and gaze; the representation of identities and ideologies using non-verbal resources; and the conceptualisation of space, interpersonal perspective and salience in a range of settings, such as museums. The paper then moves on to explore how insights imported from multimodal theory, as developed in the field of systemic functional linguistics and social semiotics, may help translation and interpreting scholars to gain new insights into old data. Key notions like ‘multimodal’, ‘multimedial’, ‘mode’, ‘modality’, ‘sub-mode’ and ‘medial realisation’ are introduced and explored in some detail.
The contribution of multimodal insights to research in translation studies are also gauged in relation to new data and their contexts of production, as illustrated by the way in which different modes function semiotically when combined in the modern discourse worlds afforded by the computer and the Internet. In these ‘new media’, information is proliferating in forms which push our methods of sharing it effectively; the shape of discourse communities using, assessing and circulating translations is changing with the changing shape of texts; ideological currents engaging with the interpretation of translations are flowing beyond existing linguistic means of analysis and critique; and new amateur phenomena, mainly fandom and political activism, are increasingly appropriating translation and interpreting as a means to effect social change.
The final section (before the conclusion) considers the methodological implications of multimodal research in translation and interpreting studies, with particular emphasis on new tools like multimodal transcriptions and multimodal corpora.
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