AVT (Translation Studies)

В статье рассматриваются различные подходы к определению понятия «аудиовизуальный перевод», предлагаемые отечественными и зарубежными переводоведами. Автор также приводит собственный вариант определения понятия «аудиовизуальный перевод», сформулированный на основании совокупности теоретического осмысления явления и практического опыта выполнения данного вида перевода. Ключевые слова: перевод, аудиовизуальный перевод, перевод кинофильмов, киноперевод.
The purpose of the research is to compare different approaches to defining the concept of audiovisual translation used by Russian and foreign translation scholars. The author suggests her own definition of audiovisual translation based both on theoretical underpinnings for this concept and practice of audiovisual translation.

ADVERTISING AS A POLYSEMIOTIC TRANSLATION

Szczerbowski, T. (2005). Reklama jako przekład polisemiotyczny. W: U. Kropiwiec, M. Filipowicz‐Rudek, J. Konieczna‐Twardzikowa (red.), Między oryginałem a przekładem. Między tekstem a obrazem (Przekład a telewizja, reklama, teatr, film, komks, internet) (s. 123–131). Kraków: Księgarnia Akademicka.

O estudo do Riso Enlatado, enquanto elemento semiótico relevante presente em muitas Sitcoms, tem sido negligenciado, embora represente um nível de constrangimento suplementar para o tradutor audiovisual. Usado como um indicador claro de comicidade, como uma pista explícita da presença do humor, a inserção desta faixa de risos pré-gravada gera opiniões discordantes e controversas junto de académicos e investigadores em Tradução Audiovisual, em Televisão e em Psicologia. Este artigo dá conta das diversas abordagens que o Riso Enlatado tem suscitado e pretende-se assim dar conta da sua relevância enquanto elemento condicionador da tradução do humor.

Abstract The study of Canned Laughter, as a relevant semiotic element present in many sitcoms, has been neglected in most Audiovisual Translation studies, despite the level of constraint it represents to the translator. Used as a clear and explicit sign and clue to the presence of Humour, the insertion of the pre-recorded laugh track produces controversial and contradictory opinions from academics and researchers in Audiovisual Translation, Psychology and Television studies. This paper accounts for the different approaches to Canned Laughter and its impact in the level of constraint in the translation of humour.

By adopting a comparative perspective, the present paper aims at investigating how and why differences are found in the dubbing and redubbing of the major motion picture E.T. The Extraterrestrial by Steven Spielberg. In particular, the analysis focuses on the translation and retranslation of culture-specific references (CSRs) found within the translation and retranslation of this major motion picture. The corpus comprises three different versions of the movie script: the original version in English (1982), the dubbed version in Italian (1982) and the redubbed version, still in Italian (2002). After an initial quantitative analysis of the three different scripts, a qualitative analysis was carried out adopting Vinay and Darbelnet's (1958/2002) taxonomy to categorize the translations of CSRs, as cases of Direct Translations or Oblique Translations. The study confirms Berman's (1990) Retranslation Hypothesis on literary retransmissions and indicates that the two decades that divide the first and second dubbing of the movie have been culturally and linguistically crucial, widening the cultural and linguistic horizon of contemporary Italian viewers.

En el campo de la traducción, la traducción audiovisual es la que más se sigue desarrollando en el presente y atrae cada vez más a profesionales. A diferencia de otros tipos de traducción, la audiovisual es también la que está más sometida a normas que rigen su fondo y su forma. Un sistema complejo de limitaciones imprescindibles condiciona este tipo de traducción y la trasforma en uno de los entornos más desafiantes para el profesional del campo. En Rumanía, la subtitulación sigue las normas generales impuestas por el entorno audiovisual de la difusión de los subtítulos pero, al mismo tiempo, presenta una serie de rasgos específicos al espacio cultural y al idioma al que se traduce. En el presente artículo nos proponemos analizar y describir la manera en la que se subtitula en Rumania para la televisión, contrastando las normas generales que rigen la subtitulación con la práctica de la misma, tal como se presenta en la pantalla, en varias cadenas de televisión nacionales, regionales e internacionales que emiten en nuestro país. En la presente investigación nos proponemos contestar a las siguientes preguntas: ¿Cómo se subtitula en Rumania? ¿Cuáles son las normas generales de la subtitulación que más se aplican? ¿Cuáles
son los rasgos específicos de la subtitulación en Rumania? El método de investigación se basa en el análisis de datos empíricos recogidos de las cadenas de televisión regionales, nacionales e internacionales, contrastados con las normas generalmente aceptadas en la traducción audiovisual en Europa. El marco teórico en el que se basa nuestro estudio está formado por los trabajos de estudiosos como: Bartoll (2010; 2015), Orero (2012), Díaz-Cintas (2010), Gambier (2009), Gottlieb (2005), Karamitroglou (1998) etc.

O estudo do Riso Enlatado, enquanto elemento semiótico relevante presente em muitas Sitcoms, tem sido negligenciado, embora represente um nível de constrangimento suplementar para o tradutor audiovisual. Usado como um indicador claro de comicidade, como uma pista explícita da presença do humor, a inserção desta faixa de risos pré-gravada gera opiniões discordantes e controversas junto de académicos e investigadores em Tradução Audiovisual, em Televisão e em Psicologia. Este artigo dá conta das diversas abordagens que o Riso Enlatado tem suscitado e pretende-se assim dar conta da sua relevância enquanto elemento condicionador da tradução do humor.

Abstract The study of Canned Laughter, as a relevant semiotic element present in many sitcoms, has been neglected in most Audiovisual Translation studies, despite the level of constraint it represents to the translator. Used as a clear and explicit sign and clue to the presence of Humour, the insertion of the pre-recorded laugh track produces controversial and contradictory opinions from academics and researchers in Audiovisual Translation, Psychology and Television studies. This paper accounts for the different approaches to Canned Laughter and its impact in the level of constraint in the translation of humour.

Questo saggio analizza l'uso di codici linguistici multipli nei prodotti audiovisivi e nelle rispettive versioni doppiate, prendendo come caso di studio la serie TV firmata da Paolo Sorrentino The Young Pope (2016). Nonostante diversi studi sostengano che i prodotti audiovisivi multilingue tendano a fornire una rappresentazione della società moderna più realistica da un punto di visto sociolinguistico, l'analisi sembra dimostrare che questo non avviene necessariamente in tutti i casi. Infatti, l'uso delle lingue nella serie TV è realistico solo fino a un certo punto, in quanto l'inglese viene usato anche in quei contesti in cui sarebbe ragionevole aspettarsi che i personaggi comunichino in italiano. Analogamente, il realismo linguistico non pare essere una priorità nemmeno nella versione italiana, in cui tutte le lingue sono state doppiate in italiano standard, indipendentemente dalle origini dei personaggi.

This paper analyzes the use of multiple linguistic codes in audiovisual products and in translation, taking as a case study Paolo Sorrentino's TV series The Young Pope (2016). In spite of the various studies that claim that multilingual audiovisual products tend to represent a more realistic depiction of modern society from a sociolinguistic perspective, the results of the analysis seem to demonstrate that this is not always the case. Indeed, the use of languages in the TV series is realistic only to a certain extent, as English tends to be used even when it would be reasonable to expect people to speak Italian. Likewise, linguistic realism is not a priority also in the Italian version, where all languages have been dubbed into standard Italian, regardless of the origins of the speakers.

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. Keywords: audiovisual translation, subtitles, voice-over, elements of formulaic language. Zusammenfassung: Die Übersetzung von Elementen der formelhaften Sprache ist extrem schwierig, in Untertitel oder Voice-over aufgrund Zeit-und Platzgründen. Es ist sehr schwierig eine umfassende Definition der Mustersprache bereitzustellen, wie seine Sequenzen in so vielen Formen vorliegen.Traditionell sind sechs Grundformeln hochgestellt: Polywords, Phrasenbegrenzungen, Meta-Nachrichten, Satzbilder, Äußerungen der Situation und wörtliche Texte. Die Analyse der Untertitel und Voice-over-Version eines Films zeigt, dass die Unterschiede in dem Verfahren für die Übersetzung von formelhaften Sprache unbedeutend sind und die Strategien verwendet werden, fast gleichmäßig zwischen der Erhaltung der Inhalte, Transformation und Lokalisierung. Schlüsselwörter: audio-visuelle Übersetzung, Untertitel, Voice-over, Elemente der formelhaften Sprache.

The aim of this paper is to highlight the validity of subtitling as a pedagogical tool having a significant impact on the improvement of various skills, ranging from translation to the acquisition of socio-cultural knowledge and intercultural awareness. Specifically, it describes a didactic proposal based on the integration of interlingual subtitling into university general translation courses. The didactic project was carried out with a class of undergraduate language students attending a university translation module who were asked to engage in subtitling activities of a variety of films and TV series. Particular emphasis was given to multilingual films which involve specific translation problems, such as the rendering of language diversity and variation (i.e. ethnolects, dialects, sociolects, accents, language varieties, idiolects, etc.) and cultural references. Such translation tasks can enhance students’ awareness of the complexity of the translation process and of the role of the translator as a cultural mediator, not only fostering the development of strategies related to audiovisual comprehension and audiovisual translation, but also promoting students’ intercultural awareness.

Abstract: Since the 1960s, video games have gradually taken up more and more space in our societies to eventually get to the point of being one of the most leading means of communication in 2018. This phenomenon encouraged the human beings to think about video games and try to understand them. This non-exhaustive research is part of this context of understanding the video games while adding a fine detail that one easily forgets: translation. Moreover, this research aims to demonstrate that video games are more than simple toys used by children, but powerful tools that, helped by translation, have a highly important purpose in the world.

Zhirafar, Ahmad (2014). A Comprehensive History of Dubbing into
Persian in Iran: 1941-1971 (Volume 1). Tehran: Kule Poshti Press,
714 pp.

Zhirafar, Ahmad (2014). A Comprehensive History of Dubbing into
Persian in Iran: 1971-2013 (Volume 2). Tehran: Kule Poshti Press,
742 pp.

The International Research School for Media Translation and Digital Culture is aimed at an international audience and will primarily address the needs of doctoral and early career researchers in translation and interpreting studies, as well as more experienced academics who are new to the discipline or interested in engaging with recent developments in the field. It aims to contribute to realizing one of the priorities of the Jiao Tong Baker Centre for Translation and Intercultural Studies, namely, advancing the study of translation in the context of digital (audiovisual) media and online spaces.

The School will take place in Jiao Tong University, Shanghai once every two years, starting in July 2019 and rotating thereafter with the ARTIS International Research School.

The following investigation analyses the way in which Gomorrah – The Series has been adapted for an international audience. In particular, some of the processes that have brought a local reality into a glocal context will be analysed, focusing on how culture-bound elements are rendered in (re)translation. More specifically, the following study uses Corpus Linguistics methodologies in order to look at the specific linguistic patterns that can be highlighted in the construction through subtitling of a given representation of the reality in which the TV series is set and the characters are immersed. The following contribution, therefore, wants to investigate to what extent (in the subtitles) the translation into Italian of the Neapolitan script of Gomorrah – The Series and its (re)translation into English contribute to the transcultural remediation of the reality-construction process enacted in the translation of this AVT product. This will confirm some of the observations made in previous studies on other forms of the transmediation of the original exposé by Roberto Saviano (2006).