{"title":"Expanding translation studies: a (bio)semiotic approach","authors":"Margherita Zanoletti","doi":"10.18680/hss.2021.0013","DOIUrl":"https://doi.org/10.18680/hss.2021.0013","url":null,"abstract":"","PeriodicalId":36248,"journal":{"name":"Punctum International Journal of Semiotics","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79560998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The tourism industry circulates signs through its synergies with other cultural industries, such as film, music, museum, video gaming, and the sports industry, to name but a few. This paper aims at exploring the creation or preservation of tourist myths and ideologies through the cartoon industry following the travel experiences of one of the first and most widely known animation characters, Mickey Mouse, in animated films such as the Hawaiian Holiday (1937), Mickey’s Trailer (1938), Mr. Mouse Takes a Trip (1940), On Vacation with Mickey Mouse and Friends (1956), Croissant de Triomphe (2013), Tokyo Go (2013), Yodelberg (2013), O Sole Minnie (2013), Panda- monium (2013), Mumbai Madness (2014), O FutebalClάssico (2014), ¡FelizCumpleaños! (2015), Al Rojo Vivo (2015), Turkish Delights (2016), Entombed (2016), Dancevidaniya (2016), Locked in Love (2017), or Shipped Out (2017). In terms of methodology, this study of animated films and images will be conducted with the help of Greimas’ semiotic square combined with Roland Barthes’ writings on myth. The main objective of such research is to trace the tourist myths and ideologies that the animation industry proposes and highlights. The focus will therefore be on outlining any simplifications, stereotypes, and boundaries regarding tourist image-brand production, as well as foregrounding the creative practices and invitations to co-productions of meaning offered to young gazes, that is, those of future travelers.
旅游业通过与其他文化产业，如电影、音乐、博物馆、视频游戏和体育产业等的协同作用来流通标牌。本文旨在通过动画产业探索旅游神话和意识形态的创造或保存，其中最著名的动画人物之一米老鼠的旅行经历，在动画电影中，如夏威夷假日(1937)，米奇的预告片(1938)，老鼠先生旅行(1940)，与米老鼠和朋友一起度假(1956)，凯旋角(2013)，东京Go (2013)， Yodelberg (2013)， O Sole Minnie(2013)，熊猫(2013)，孟买疯狂(2014)，O futebalclapolsico (2014)， FelizCumpleaños!(2015)、Al Rojo Vivo(2015)、Turkish Delights(2016)、Entombed(2016)、Dancevidaniya(2016)、Locked in Love(2017)、Shipped Out(2017)。在方法论上，本研究将借助格莱马斯的符号学方阵结合罗兰·巴特的神话著作对动画电影和图像进行研究。这种研究的主要目的是追踪动画产业提出和突出的旅游神话和意识形态。因此，重点将放在概述有关旅游形象品牌生产的任何简化、刻板印象和界限上，以及突出创造性实践和邀请共同制作的意义，提供给年轻的目光，即未来的旅行者。
{"title":"The Synergy of Animation and Tourism Industry: Myths and Ideologies in Mickey Mouse’s Traveling Adventure","authors":"E. Papadaki","doi":"10.18680/hss.2021.0022","DOIUrl":"https://doi.org/10.18680/hss.2021.0022","url":null,"abstract":"The tourism industry circulates signs through its synergies with other cultural industries, such as film, music, museum, video gaming, and the sports industry, to name but a few. This paper aims at exploring the creation or preservation of tourist myths and ideologies through the cartoon industry following the travel experiences of one of the first and most widely known animation characters, Mickey Mouse, in animated films such as the Hawaiian Holiday (1937), Mickey’s Trailer (1938), Mr. Mouse Takes a Trip (1940), On Vacation with Mickey Mouse and Friends (1956), Croissant de Triomphe (2013), Tokyo Go (2013), Yodelberg (2013), O Sole Minnie (2013), Panda- monium (2013), Mumbai Madness (2014), O FutebalClάssico (2014), ¡FelizCumpleaños! (2015), Al Rojo Vivo (2015), Turkish Delights (2016), Entombed (2016), Dancevidaniya (2016), Locked in Love (2017), or Shipped Out (2017). In terms of methodology, this study of animated films and images will be conducted with the help of Greimas’ semiotic square combined with Roland Barthes’ writings on myth. The main objective of such research is to trace the tourist myths and ideologies that the animation industry proposes and highlights. The focus will therefore be on outlining any simplifications, stereotypes, and boundaries regarding tourist image-brand production, as well as foregrounding the creative practices and invitations to co-productions of meaning offered to young gazes, that is, those of future travelers.","PeriodicalId":36248,"journal":{"name":"Punctum International Journal of Semiotics","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75054774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyzes eromanga, Japanese pornographic comic books, in terms of the semiotic power of images to create an erotic fantasy space for the reader. Manga are a central part of media culture in Japan. Alongside and closely connected to mainstream manga, eromanga have become important as a negotiation space for new semiotic expression methods. At the same time, they have become a battleground for questions of freedom of expression and defending youth and women from sexual violence, especially as manga ‘otaku’ fan culture becomes increasingly globalized. Focusing on a selection of contemporary eromanga artists, we explore the visual imaginary central to eromanga, a system of visual techniques which stretches the boundaries of the comic panel and the human body into new shapes and forms. Drawing from Thierry Groensteen’s and Natsume Fusanosuke’s theories of comic semiotics and Nagayama Kaoru’s and Kimi Ritodrawing’s work in the developing field of eromanga studies, we argue that eromanga portray sexuality by intensifying the on-page material – layout, bodies, and sighs (sounds as drawn images) – creating a multiple layering of time and fantasy for the reader. Eromanga often employs techniques and ideas that estrange the boundaries of the human body as we usually conceive it. Eromanga artists draw on erotic fantasies subtextual to anime and manga as a whole, making them explicit. At the same time, eromanga feeds into the broader mainstream world of manga, making thus the analysis of eromanga’s semiotics essential to a more comprehensive understanding of manga.
{"title":"Drawing Sex: Pages, Bodies, and Sighs in Japanese Eromanga","authors":"Caitlin Casiello","doi":"10.18680/hss.2021.0019","DOIUrl":"https://doi.org/10.18680/hss.2021.0019","url":null,"abstract":"This article analyzes eromanga, Japanese pornographic comic books, in terms of the semiotic power of images to create an erotic fantasy space for the reader. Manga are a central part of media culture in Japan. Alongside and closely connected to mainstream manga, eromanga have become important as a negotiation space for new semiotic expression methods. At the same time, they have become a battleground for questions of freedom of expression and defending youth and women from sexual violence, especially as manga ‘otaku’ fan culture becomes increasingly globalized. Focusing on a selection of contemporary eromanga artists, we explore the visual imaginary central to eromanga, a system of visual techniques which stretches the boundaries of the comic panel and the human body into new shapes and forms. Drawing from Thierry Groensteen’s and Natsume Fusanosuke’s theories of comic semiotics and Nagayama Kaoru’s and Kimi Ritodrawing’s work in the developing field of eromanga studies, we argue that eromanga portray sexuality by intensifying the on-page material – layout, bodies, and sighs (sounds as drawn images) – creating a multiple layering of time and fantasy for the reader. Eromanga often employs techniques and ideas that estrange the boundaries of the human body as we usually conceive it. Eromanga artists draw on erotic fantasies subtextual to anime and manga as a whole, making them explicit. At the same time, eromanga feeds into the broader mainstream world of manga, making thus the analysis of eromanga’s semiotics essential to a more comprehensive understanding of manga.","PeriodicalId":36248,"journal":{"name":"Punctum International Journal of Semiotics","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81042181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Besides its impact on health, economics, and politics, the COVID-19 pandemic was the source of phenomena of a discursive nature, specifically regarding the solutions found by societies to make sense of the crisis caused by the uncontrolled spread of the virus. This article analyzes from a socio-semiotic perspective the construction process of the collective identity of “the healthcare workers” during the pandemic. After generally introducing semiotics as the discipline interested in meaning-making and signification, the article studies four semiotic mechanisms present in the discursive construction of any collective identity. It then moves on to its main goal: the analysis of the functioning of those four mechanisms in the specific case of “the healthcare workers,” a collective identity that, since the beginning of 2020, has been central in the narratives that emerged around the COVID-19 pandemic. As such, it should render visible the semiotic mechanisms of segmentation, actorialization, generalization, and axiologization.
{"title":"The heroes of the pandemic","authors":"Sebastián Moreno Barreneche","doi":"10.18680/hss.2021.0002","DOIUrl":"https://doi.org/10.18680/hss.2021.0002","url":null,"abstract":"Besides its impact on health, economics, and politics, the COVID-19 pandemic was the source of phenomena of a discursive nature, specifically regarding the solutions found by societies to make sense of the crisis caused by the uncontrolled spread of the virus. This article analyzes from a socio-semiotic perspective the construction process of the collective identity of “the healthcare workers” during the pandemic. After generally introducing semiotics as the discipline interested in meaning-making and signification, the article studies four semiotic mechanisms present in the discursive construction of any collective identity. It then moves on to its main goal: the analysis of the functioning of those four mechanisms in the specific case of “the healthcare workers,” a collective identity that, since the beginning of 2020, has been central in the narratives that emerged around the COVID-19 pandemic. As such, it should render visible the semiotic mechanisms of segmentation, actorialization, generalization, and axiologization.","PeriodicalId":36248,"journal":{"name":"Punctum International Journal of Semiotics","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87040125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines a corpus of selected Italian translations of Gilbert Shelton's underground comic strip The Fabulous Furry Freak Brothers (initially collected in 13 issues by Rip Off Press, 1971–1997) using isotopies as a key tool in the analysis of comics in translation. After discussing the role and potential applications of isotopies (cf. Bertrand 2000; Greimas 1966b; Rastier 1972; Greimas and Courtés 1979), we argue that the act of translating comics inherently entails the selection, magnification, narcotization, and even erasure of the isotopies of the source text as well as the creation of new ones belonging exclusively to the target culture. Subsequently, Shelton’s works are analyzed as an example of politically-committed, subversive social satire, which can be considered the epitome of the 1960–70s’ US-countercultural zeitgeist. In Italy, Shelton’s comic strips received multiple translations from both alternative, militant publishers (Arcana and Stampa Alternativa) and mainstream houses (Mondadori and Comicon). This allows for a diachronic comparison of multiple translations of the same comics, each showing the signs of changing translational approaches, editorial policies, and target audiences. Finally, the contrastive analysis of original works and translations may provide insight into the negotiation and communication of cultural, social, and political identities through the medium of comics. In this respect, we employ a semiotic approach that disentangles the ideological and culture-bound premises and the hermeneutic frames that intervene in translating comics of such vital (counter-)cultural value as Shelton's Freak Brothers.
{"title":"Isotopy as a Tool for the Analysis of Comics in Translation: The Italian ‘Rip-Off’ of Gilbert Shelton’s Freak Brothers","authors":"Ch Polli","doi":"10.18680/hss.2021.0016","DOIUrl":"https://doi.org/10.18680/hss.2021.0016","url":null,"abstract":"This article examines a corpus of selected Italian translations of Gilbert Shelton's underground comic strip The Fabulous Furry Freak Brothers (initially collected in 13 issues by Rip Off Press, 1971–1997) using isotopies as a key tool in the analysis of comics in translation. After discussing the role and potential applications of isotopies (cf. Bertrand 2000; Greimas 1966b; Rastier 1972; Greimas and Courtés 1979), we argue that the act of translating comics inherently entails the selection, magnification, narcotization, and even erasure of the isotopies of the source text as well as the creation of new ones belonging exclusively to the target culture. Subsequently, Shelton’s works are analyzed as an example of politically-committed, subversive social satire, which can be considered the epitome of the 1960–70s’ US-countercultural zeitgeist. In Italy, Shelton’s comic strips received multiple translations from both alternative, militant publishers (Arcana and Stampa Alternativa) and mainstream houses (Mondadori and Comicon). This allows for a diachronic comparison of multiple translations of the same comics, each showing the signs of changing translational approaches, editorial policies, and target audiences. Finally, the contrastive analysis of original works and translations may provide insight into the negotiation and communication of cultural, social, and political identities through the medium of comics. In this respect, we employ a semiotic approach that disentangles the ideological and culture-bound premises and the hermeneutic frames that intervene in translating comics of such vital (counter-)cultural value as Shelton's Freak Brothers.","PeriodicalId":36248,"journal":{"name":"Punctum International Journal of Semiotics","volume":"284 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76841832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The British Ministry of Health’s poster campaign Coughs and Sneezes Spread Diseases brought World War II to the British home front by making it personal and served as a visual call to arms for civilians. Although involving visual materials, the campaign provides a case for examining how posters engage people’s extra-visual senses in responding to this call. By using the concepts of intersensoriality and synaesthetic metaphor, we discuss the possibility of enhancing the audience experience of print posters by associating verbal and visual language with the rest of the senses. Premised on the assumption that it is possible to establish an interrelation between the senses related to sneezing, we argue that, once synchronized, all associated senses may increase the perception of propaganda experienced in the poster campaign.
{"title":"Intersensorial translation of coughing-and-sneezing in an epidemic social context","authors":"George Damaskinidis","doi":"10.18680/hss.2021.0006","DOIUrl":"https://doi.org/10.18680/hss.2021.0006","url":null,"abstract":"The British Ministry of Health’s poster campaign Coughs and Sneezes Spread Diseases brought World War II to the British home front by making it personal and served as a visual call to arms for civilians. Although involving visual materials, the campaign provides a case for examining how posters engage people’s extra-visual senses in responding to this call. By using the concepts of intersensoriality and synaesthetic metaphor, we discuss the possibility of enhancing the audience experience of print posters by associating verbal and visual language with the rest of the senses. Premised on the assumption that it is possible to establish an interrelation between the senses related to sneezing, we argue that, once synchronized, all associated senses may increase the perception of propaganda experienced in the poster campaign.","PeriodicalId":36248,"journal":{"name":"Punctum International Journal of Semiotics","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89657258","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The choice between substance ontology and process ontology has been haunting our thinking since, at least, Ancient Greek philosophy. The assumption seems that things are the way they are and that one has to put work into changing them. Constancy or substance, in this view, is primary and change (or process) secondary. In translation studies, this plays out in the source text as the stable starting point that has to be transformed into a target text. Based on Peirce’s process semiotics and other process thinkers, I inverse the above argument, arguing that change or process is primary and constancy or substance secondary. Because the universe is subject to the Second Law of Thermodynamics, it is a process taking form rather than a form changing. Any text is a process that has been constrained materially to be relatively stable, but the stability is not original; it is the effect of semiotic work, translation. My interest is in the semiotic work done to constrain the semiotic process into some form of stability and how one can get to know or understand these constraints. Part of this paper explores some of the implications of process thinking for translation studies. However, this reversal of ground and figure also challenges the modeling of translation. If translation is a process, how do we model it in a static medium such as print? Therefore, I explore the affordances that new computational technology offers for translating static models into dynamic ones.
{"title":"Translating Time: Modelling the (Re)Processing of Emerging Meaning","authors":"K. Marais","doi":"10.18680/hss.2020.0006","DOIUrl":"https://doi.org/10.18680/hss.2020.0006","url":null,"abstract":"The choice between substance ontology and process ontology has been haunting our thinking since, at least, Ancient Greek philosophy. The assumption seems that things are the way they are and that one has to put work into changing them. Constancy or substance, in this view, is primary and change (or process) secondary. In translation studies, this plays out in the source text as the stable starting point that has to be transformed into a target text. Based on Peirce’s process semiotics and other process thinkers, I inverse the above argument, arguing that change or process is primary and constancy or substance secondary. Because the universe is subject to the Second Law of Thermodynamics, it is a process taking form rather than a form changing. Any text is a process that has been constrained materially to be relatively stable, but the stability is not original; it is the effect of semiotic work, translation. My interest is in the semiotic work done to constrain the semiotic process into some form of stability and how one can get to know or understand these constraints. Part of this paper explores some of the implications of process thinking for translation studies. However, this reversal of ground and figure also challenges the modeling of translation. If translation is a process, how do we model it in a static medium such as print? Therefore, I explore the affordances that new computational technology offers for translating static models into dynamic ones.","PeriodicalId":36248,"journal":{"name":"Punctum International Journal of Semiotics","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86991354","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article will focus on our personal experience in Russian translation of the reference book by French semioticians Algirdas Julien Greimas and Jacques Fontanille on the semiotics of passions. In particular, possible translative variations of terms relating to passions such as ‘umbrage’ with no exact analogue in Russian have been discussed with one of the authors, Jacques Fontanille. According to Umberto Eco, for a theory of translation, not only may it be necessary to examine many examples of translation, but also to have had at least one of the following three experiences: in checking translations by others, in translating, and in being translated - or better still, in being translated in collaboration with one’s translator. We will also present Yuri Lotman’s semiosphere, being especially interested in the French translation of concepts such as ‘unpredictability.’ The experience of written scientific translation, on the one hand, and experience in the international cultural sphere, on the other hand, will allow us to put forward some hypotheses about the importance of intersemiotic translation.
{"title":"La traduction franco-russe d’un point de vue sémiotique","authors":"Inna Merkoulova","doi":"10.18680/hss.2020.0014","DOIUrl":"https://doi.org/10.18680/hss.2020.0014","url":null,"abstract":"The article will focus on our personal experience in Russian translation of the reference book by French semioticians Algirdas Julien Greimas and Jacques Fontanille on the semiotics of passions. In particular, possible translative variations of terms relating to passions such as ‘umbrage’ with no exact analogue in Russian have been discussed with one of the authors, Jacques Fontanille. According to Umberto Eco, for a theory of translation, not only may it be necessary to examine many examples of translation, but also to have had at least one of the following three experiences: in checking translations by others, in translating, and in being translated - or better still, in being translated in collaboration with one’s translator. We will also present Yuri Lotman’s semiosphere, being especially interested in the French translation of concepts such as ‘unpredictability.’ The experience of written scientific translation, on the one hand, and experience in the international cultural sphere, on the other hand, will allow us to put forward some hypotheses about the importance of intersemiotic translation.","PeriodicalId":36248,"journal":{"name":"Punctum International Journal of Semiotics","volume":"90 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83934303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Audio description (AD) is a service for people with sight loss that makes audiovisual content such as films and TV series accessible to them by verbally describing the visual elements they cannot access. This form of intermodal translation entails various challenges. One of them is how to render orally the emotions, feelings, and other mental states of narrative characters, i.e., elements that we infer from concrete actions, facial expressions, and gestures shown on screen. In practice, we can use various strategies, situated on a continuum ranging from an objective ‘describe what you see’ approach to more interpretative, subjective descriptions, explicitly naming the mental state underlying the visuals. Although early AD guidelines recommend objective descriptions, recent research has indicated that more subjective approaches may offer various advantages to target audiences in terms of immersion in the story world or imposed cognitive load. In this paper, we present the results of a case study involving the analysis of three episodes from different Dutch-spoken TV series to explore a) what strategies audio describers use to express mental states and b) where do they stand on the objective-subjective continuum. The results show that, contrary to what the guidelines recommend, the descriptions are situated nearer the subjective side of the continuum, suggesting that, when translating visual elements into a verbal form, audio describers tend to look beyond the screen to infer the implicit underlying meaning.
{"title":"Audio describing the mental dimension of narrative characters. Insights from a Flemish case study.","authors":"Bonnie Geerinck, Gert Vercauteren","doi":"10.18680/hss.2020.0005","DOIUrl":"https://doi.org/10.18680/hss.2020.0005","url":null,"abstract":"Audio description (AD) is a service for people with sight loss that makes audiovisual content such as films and TV series accessible to them by verbally describing the visual elements they cannot access. This form of intermodal translation entails various challenges. One of them is how to render orally the emotions, feelings, and other mental states of narrative characters, i.e., elements that we infer from concrete actions, facial expressions, and gestures shown on screen. In practice, we can use various strategies, situated on a continuum ranging from an objective ‘describe what you see’ approach to more interpretative, subjective descriptions, explicitly naming the mental state underlying the visuals. Although early AD guidelines recommend objective descriptions, recent research has indicated that more subjective approaches may offer various advantages to target audiences in terms of immersion in the story world or imposed cognitive load. In this paper, we present the results of a case study involving the analysis of three episodes from different Dutch-spoken TV series to explore a) what strategies audio describers use to express mental states and b) where do they stand on the objective-subjective continuum. The results show that, contrary to what the guidelines recommend, the descriptions are situated nearer the subjective side of the continuum, suggesting that, when translating visual elements into a verbal form, audio describers tend to look beyond the screen to infer the implicit underlying meaning.","PeriodicalId":36248,"journal":{"name":"Punctum International Journal of Semiotics","volume":"194 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79801137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study examines how metal musicians appropriate Baudelaire’s poetry, one of the favorite sources of metal lyrics’ intersemiosis. We will consider several levels of intersemiosis, from the reference to the literal quotation, including the music inspired by Baudelaire’s life, inquiring what metal music, which is both counter-cultural and popular, does to a great classic of French poetry. Moreover, we intend to look closer at Baudelairean intersemiosis in the work of non-French-speaking metal musicians. When they retain the original French text, the lyrics reflect the vocalist’s relation to the foreign language. Eventually, the translation processes are all brought together in those cases involving an adaptation into the band’s own language. Some of the songs we analyze belong to the most extreme genres of metal. Given the French post-Romantic poet’s controversial reception and his sense of scandal, this partiality is far from being surprising. We propose using Baudelaire’s theory of correspondences to explain the adaptation of his verses into weighty, violent notes, and sounds. Finally, the case of Baudelaire’s reception allows us to analyze the many translations at stake when a contemporary music genre such as metal incorporates literary works into its lyrical material.
{"title":"Translations, adaptations, quotations from Baudelaire’s poetry into metal music: an anti-alchemy?","authors":"Camile Migeon-Lambert","doi":"10.18680/hss.2020.0011","DOIUrl":"https://doi.org/10.18680/hss.2020.0011","url":null,"abstract":"This study examines how metal musicians appropriate Baudelaire’s poetry, one of the favorite sources of metal lyrics’ intersemiosis. We will consider several levels of intersemiosis, from the reference to the literal quotation, including the music inspired by Baudelaire’s life, inquiring what metal music, which is both counter-cultural and popular, does to a great classic of French poetry. Moreover, we intend to look closer at Baudelairean intersemiosis in the work of non-French-speaking metal musicians. When they retain the original French text, the lyrics reflect the vocalist’s relation to the foreign language. Eventually, the translation processes are all brought together in those cases involving an adaptation into the band’s own language. Some of the songs we analyze belong to the most extreme genres of metal. Given the French post-Romantic poet’s controversial reception and his sense of scandal, this partiality is far from being surprising. We propose using Baudelaire’s theory of correspondences to explain the adaptation of his verses into weighty, violent notes, and sounds. Finally, the case of Baudelaire’s reception allows us to analyze the many translations at stake when a contemporary music genre such as metal incorporates literary works into its lyrical material.","PeriodicalId":36248,"journal":{"name":"Punctum International Journal of Semiotics","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87327347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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