Lingua inglese 4BIS

SOUND

The sound effects do have an impact on the transnational strategies. The AV translator has to consider both the visual and the sound elements and some elements may be removed if it doesn't fit with all the modes and the TL.

2ND SEMESTER

SUBTITLES

• No more than two lines on the screen at once
• Lines cannot be longer than 36 spaces
• At least two seconds for a single-line title and four for a two-lines title > no more than 6 sec for any title
• Voice off (telephones, voices, narrations) are in italics
• Basic rules of punctuation are accepted BUT if the end of the phrase coincides with the end of the title, NO full stop.
• Avoid ambiguity > make every title a clear statement
• When a sentence is split over in more than one title, end the first with 3 suspension points and begin the next with 3 suspension points as well

VINAY and DARBELNET's TAXONOMY > one of the most influential methodologies that has also been applied to cultural specific elements found in the texts >

utilised to categorize CSRs found in texts.>> ET > 1982 and 2002 versions

The translation in Italian shows us that what is acceptable and what is thought being appropriate in translation changes over time.

In the second translation more vulgar words are utilised.

In the 1982 version, many words could not be translated. In the later version, cultural words existed by then in Italy and there was no need to find an equivalent in Italian.

Cowgirl Cowboy in the 1982 version

Cowgirl in the 2002 version

TRANSLATING CULTURAL SPECIFIC REFERENCES

➢ ABOUT ITALY

Italy’s preferred form of AVT has always been dubbing

Despite this, it is rarely commented on, as if it were not a part of the final product or too natural a part to even need comments > it is often taken for granted even by experts, as there is not much research going on, if not over the last 5 years.

Data shows that television is the main vehicle of information, favoured by Italians VS north european countries > books>

mediterranean countries tend towards AV products rather than printed ones> the percentage of foregn fictional programs in Italian television is much higher that that ofItalian production > we import much more than what we export

Italian products rarely reach foreign audiences

Creating and exporting an AV product, we exportan ideology and part of the culture as well >we import other ideologies

Our exposure to translated AV texts has had an impact on the language > today’s Italian idiomcontains many calques, loans which have become part of the italian vocabulary

cinema and television were created by Mussolini’s fascist

Both dubbing forgovernment > creation of the Italian dubbing industry

La città del cinema o Cinecittà opened in 1937

Its initial role was to modernise and centralise the means of production but it soon became amean to glorify the Italian Empire through the diffusion of its cultural production.

Dubbing was a mean of CONTROL > this is

TRANSLATION OF CULTURAL SPECIFIC ELEMENTS (CSR)

These elements are used by authors to give colour and substance to their scripts + provide the texts with features embedded in the SC and to which the audience can relate.

They appeal directly to people's emotions as they stimulate mnemonic associations and recall familiar images for the source audience (SA).

They're vital as they locate the product in a specific culture.

We have to consider the issues of censorship and manipulation of content raised by the presence of CSRs. We might not want certain elements/ideas imported/exported. There might be potentially sensitive features (swear words, taboo contents...) and contents related to political or sexual themes.

Toury in 1980 defines NORMS as being vital to the act and the

The characteristics of CSRs is Finkel in 1962. These elements “stand out from the common lexical context, they distinguish themselves for their heterogeneity and consequently they require a reinforcement of attention in order to be decoded” defined what they named “realia” as.

In 1969, Vlahov and Florin“words oe composed locutions typical of a geographical environment, of a culture, of the material life or historial-social peculiarities of a people, nation, country or tribe and which, thus, carry a national, local or historical colouring and do not have precise equivalents in other languages”.

They may also be included in the wider group of untranslatable words as Leemets defines them“Every language has words denoting concepts and things that another language has not considered worth mentioning, or that are absent from the life or consciousness of the other nation. the cultures of the nation’. Also,

The reasons are differences in the way of life.

Traditions - in one word differences can be observed on conceptual level: different languages often nominate concepts from different points of view and they also tend to classify them slightly differently. - by Maihac, 1996

Cultural reference we mean any reference to a cultural entity which, due to its distance from the target culture, is characterised by a sufficient degree of opacity for the TR (target reader) to constitute a problem.

The translation problems may come from two different situations:

• an OBJECTIVE one - the non-existence of the referred item
• a RELATIVE one - the different intertextual status of the TT with respect to the ST

Because of the dynamic nature of the two cultures and a certain translation at a point in time, might not be appropriate in another point of time.

The problems of translation are also underlined by another influential scholar named Leppihalme - he prefers to refer to a particular set of CSRs which may create a cultural bump to

the translator= a small-scale cultural shock which may create problems in translation, infind the right cultural equivalentThis has become a relevant point since the 1980s’growing interest in audience reception and in therole of the reader“When using allusions, a writer tends to assume an established literary tradition, abody of common knowledge with an audience sharing that tradition, an ability on behalf of theto “pick up”the reference.”audience Cuddon, 1999Among the scholars who have considered this problem with reference to dubbing there’s Agost“which make a society different from another, so that eachCanos > cultural elements are those itemsidiosycracies”culture has its The cultural power that some culture exert on others(for instance US culture on the rest of the world) maycontribute to reduce the cultural gap between twocultures.Chiaro, 2009 > with reference to both dubbing and subtitling:CSRs are entities that are typical

of one particular culture and that culture(a national figure, dance…) exclusivelyalone, they can be exclusively or predominantly visual,verbal or else both visual and verbal in nature. > they’re rooted in a context of space and time inCultural embeddedness > texts always belongwhich they’re best comprehended.Foreing viewers are likely to have a much more superficial understanding of the product.The more a product is embedded, the more it is difficult to transfer it to another culture. There is aprivileged relationship between the author and the SA (source audience) which allows the latter tounderstand almost every sign contained in the text.➔ loosen the “bonds of belonging”the role of the translator is to of a text toits original culture and to find strategies to embed it in the TC (target culture).

CLASSIFICATION OF CULTURAL SPECIFIC REFERENCES

❖ BUGARSKI, 1985

It’s a very general kind of classification > CSRs are “cultural

Elements and systems ranging from food, clothing, work, leisure and sports, to economy, politics, religion, law and philosophy. Any word belonging to these areas can be defined as CSRs and might consist in a problem for translators.

NEWMARK, 1988

It's more specific, he took inspiration and adapted from and to Nida's work in 1945. His classification is often quoted in translation studies literature and still used today.

We can classify CSRs by dividing these names in different categories:

• Ecology - terms related to flora, fauna, geography...
• Artifacts - material culture including references to food, clothing, house...
• Social culture - words referring to work and leisure
• Organizations, customs, activities and so on - political and administrative references, religious/historical/artistic terms
• Gestures and habits

DIAZ CINTAS and RAMAEL, 2007

Improved version of the previous ones. There are 3 main macrocategories:

• Geographical references
• Objects