Abstract Over the last few years, cloud-based environments have simplified traditional localisation workflows and have made it possible for virtual teams of audiovisual translation (AVT) professionals to work together from all corners of the earth ( Díaz Cintas and Massidda 2019 ). In addition, AI-powered technologies have been integrated into localisation workflows to accelerate translation processes: this has led to a progressive automation of AVT practices and has created brand new roles for language professionals. This paper presents the preliminary results of the international pilot project ¡Sub! Localisation Workflows (th)at Work (2020–2022). A series of experiments was conducted in the spring of 2021 to compare three different workflows in the subtitling of documentaries: traditional (i.e., using only subtitling software), semi-automated (using automatic speech recognition and captioning) and fully automated (relying on automatic speech recognition, captioning and machine translation). The experiments involved twenty-four final-year MA students and recent graduates from UNINT and Roehampton University (twelve of them working from English into Italian and twelve from Spanish into Italian), in subtitling teams that included a project manager, a spotter, a subtitler, and a reviser. All the work was recorded via screencast technology and documented in a project logbook, a quality assessment form, and a workflow summary sheet. The aim of the experiments was to identify the most effective workflow equation, i.e., the one able to deliver the best quality output in the tightest turnaround time. This paper illustrates the experimental set-up and materials and discusses the preliminary results emerging from a quantitative and qualitative analysis of our data.
在过去的几年中，基于云的环境简化了传统的本地化工作流程，并使视听翻译(AVT)专业人员的虚拟团队能够在地球的各个角落一起工作(Díaz Cintas and Massidda 2019)。此外，人工智能技术已被集成到本地化工作流程中，以加速翻译过程:这导致了AVT实践的逐步自动化，并为语言专业人员创造了全新的角色。本文介绍了国际试点项目“Sub!工作中的本地化工作流程(2020-2022)。我们在2021年春季进行了一系列实验，比较了纪录片字幕的三种不同工作流程:传统(即仅使用字幕软件)、半自动(使用自动语音识别和字幕)和全自动(依靠自动语音识别、字幕和机器翻译)。实验涉及24名来自UNINT和罗汉普顿大学(Roehampton University)的硕士生和应届毕业生(其中12人从英语翻译成意大利语，12人从西班牙语翻译成意大利语)，他们被分成字幕组，其中包括一名项目经理、一名监察员、一名字幕编辑和一名校对。所有的工作都通过屏幕录像技术记录下来，并记录在项目日志、质量评估表和工作流程总结表中。实验的目的是确定最有效的工作流方程，即，能够在最短的周转时间内交付最佳质量输出的方程。本文说明了实验装置和材料，并讨论了从我们的数据的定量和定性分析产生的初步结果。
{"title":"¡Sub! localisation workflows (th)at work","authors":"Serenella Massidda, Annalisa Sandrelli","doi":"10.1075/ttmc.00115.mas","DOIUrl":"https://doi.org/10.1075/ttmc.00115.mas","url":null,"abstract":"Abstract Over the last few years, cloud-based environments have simplified traditional localisation workflows and have made it possible for virtual teams of audiovisual translation (AVT) professionals to work together from all corners of the earth ( Díaz Cintas and Massidda 2019 ). In addition, AI-powered technologies have been integrated into localisation workflows to accelerate translation processes: this has led to a progressive automation of AVT practices and has created brand new roles for language professionals. This paper presents the preliminary results of the international pilot project ¡Sub! Localisation Workflows (th)at Work (2020–2022). A series of experiments was conducted in the spring of 2021 to compare three different workflows in the subtitling of documentaries: traditional (i.e., using only subtitling software), semi-automated (using automatic speech recognition and captioning) and fully automated (relying on automatic speech recognition, captioning and machine translation). The experiments involved twenty-four final-year MA students and recent graduates from UNINT and Roehampton University (twelve of them working from English into Italian and twelve from Spanish into Italian), in subtitling teams that included a project manager, a spotter, a subtitler, and a reviser. All the work was recorded via screencast technology and documented in a project logbook, a quality assessment form, and a workflow summary sheet. The aim of the experiments was to identify the most effective workflow equation, i.e., the one able to deliver the best quality output in the tightest turnaround time. This paper illustrates the experimental set-up and materials and discusses the preliminary results emerging from a quantitative and qualitative analysis of our data.","PeriodicalId":36928,"journal":{"name":"Translation and Translanguaging in Multilingual Contexts","volume":" 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135285861","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}
Abstract The unprecedented growth of audiovisual translation practices in the creative industries has boosted the role of creativity which has taken centre stage and become the emblem of global cultural policies. The study addresses the role of creativity in the digital space of Netflix as a means of cross-cultural mediation and communication, and as a multidimensional tool in audio description (AD), in order to provide the end-users (the blind and visually impaired audiences) of digital audiovisual products with participatory and engaging forms of access to the audiovisual ‘planet’. The aim is to investigate whether and how creativity is used to transmit culture-specific references (CSRs) from a translation perspective within a highly discussed TV series streamed on Netflix. To do so, the rendering of the most significant CSRs in the Korean Netflix series Squid Game ( SG ) as transferred into the English and Italian ADs will be examined.
{"title":"Authorial (audio) description","authors":"Alessandra Rizzo, Cinzia Giacinta Spinzi","doi":"10.1075/ttmc.00121.riz","DOIUrl":"https://doi.org/10.1075/ttmc.00121.riz","url":null,"abstract":"Abstract The unprecedented growth of audiovisual translation practices in the creative industries has boosted the role of creativity which has taken centre stage and become the emblem of global cultural policies. The study addresses the role of creativity in the digital space of Netflix as a means of cross-cultural mediation and communication, and as a multidimensional tool in audio description (AD), in order to provide the end-users (the blind and visually impaired audiences) of digital audiovisual products with participatory and engaging forms of access to the audiovisual ‘planet’. The aim is to investigate whether and how creativity is used to transmit culture-specific references (CSRs) from a translation perspective within a highly discussed TV series streamed on Netflix. To do so, the rendering of the most significant CSRs in the Korean Netflix series Squid Game ( SG ) as transferred into the English and Italian ADs will be examined.","PeriodicalId":36928,"journal":{"name":"Translation and Translanguaging in Multilingual Contexts","volume":" 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135286152","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}
{"title":"Review of Dore (2022): Humour in Self-Translation","authors":"Maria Luisa Pensabene","doi":"10.1075/ttmc.00122.mar","DOIUrl":"https://doi.org/10.1075/ttmc.00122.mar","url":null,"abstract":"","PeriodicalId":36928,"journal":{"name":"Translation and Translanguaging in Multilingual Contexts","volume":" 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135192017","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}
Antonio Jesús Tinedo Rodríguez, Anca Daniela Frumuselu
Abstract Audiovisual products have gained ground in the last few decades, becoming a crucial part of our life nowadays. This research paper was carried out as part of the piloting phase of the TRADILEX project, which stands for Audiovisual Translation as a Didactic Resource in Foreign Language Education. The study aims to foster awareness on media accessibility through the application of Subtitling for the Deaf and the Hard of Hearing (SDH) as a didactic resource to explore its pedagogical potential in the English as a Foreign Language (EFL) classroom. A set of six SDH-based lesson plans were designed and implemented for students to develop their integrated language skills and to foster their equity, diversity, and inclusion awareness, with a special focus on accessibility. The Initial Test of Integrated Skills (ITIS) and the Final Test of Integrated Skills (FITIS) were designed within the framework of the TRADILEX project and used to measure the development of each participant’s language skills together with qualitative ad hoc questionnaires to gather their impressions about the intervention. Results show that participants have improved both their foreign language and subtitling skills, and gained more awareness regarding equity, diversity, and inclusion (EDI) issues. Thus, the current study stands as a proof for the potential of Didactic Audiovisual Translation (DAT) to develop both EFL and personal skills, which are crucial for the 21st century language education.
{"title":"SDH as a pedagogical tool","authors":"Antonio Jesús Tinedo Rodríguez, Anca Daniela Frumuselu","doi":"10.1075/ttmc.00116.tin","DOIUrl":"https://doi.org/10.1075/ttmc.00116.tin","url":null,"abstract":"Abstract Audiovisual products have gained ground in the last few decades, becoming a crucial part of our life nowadays. This research paper was carried out as part of the piloting phase of the TRADILEX project, which stands for Audiovisual Translation as a Didactic Resource in Foreign Language Education. The study aims to foster awareness on media accessibility through the application of Subtitling for the Deaf and the Hard of Hearing (SDH) as a didactic resource to explore its pedagogical potential in the English as a Foreign Language (EFL) classroom. A set of six SDH-based lesson plans were designed and implemented for students to develop their integrated language skills and to foster their equity, diversity, and inclusion awareness, with a special focus on accessibility. The Initial Test of Integrated Skills (ITIS) and the Final Test of Integrated Skills (FITIS) were designed within the framework of the TRADILEX project and used to measure the development of each participant’s language skills together with qualitative ad hoc questionnaires to gather their impressions about the intervention. Results show that participants have improved both their foreign language and subtitling skills, and gained more awareness regarding equity, diversity, and inclusion (EDI) issues. Thus, the current study stands as a proof for the potential of Didactic Audiovisual Translation (DAT) to develop both EFL and personal skills, which are crucial for the 21st century language education.","PeriodicalId":36928,"journal":{"name":"Translation and Translanguaging in Multilingual Contexts","volume":" 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135241380","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}
Abstract This article sheds light upon subtitling as the audiovisual translation (AVT) mode applied to three subtitled versions of Oliver Twist . The comparison takes place within the subtitling context of two officially sanctioned versions (i.e., the musical and the film) and the non-professional and transcreated versions released on social media platforms. Research has been carried out within audiovisual translation studies with the scope of verifying issues relating to the translation of characters’ names (appellation), religious terminology, and songs, which are subject to changes and innovative transformations when transcreated. There is an increasingly high demand for viewer-generated participation in the translation of audiovisual productions as opposed to traditional passive viewing experiences ( Di Giovanni and Gambier 2018 , vii–viii). The significant rise of user-oriented modes of translation released on popular video-sharing platforms has not been systematically researched. Attention is primarily paid to the Chinese subtitles produced for Oliver Twist ’s most recent film adaption directed by Polanski (2005) . These subtitles reinterpret and redirect the product’s cultural and temporal specificities and complexities to reinforce Chinese cultural heritage ( Liang 2020 , 26). A particular role is played by transcreation in subtitling as a translation method that is able to embrace the richness of Oliver Twist in its various adapted forms: theatre, cinema, and social media platforms. Drawing upon the concept of abusive subtitling coined by Abé Mark Nornes (1999) , the paper investigates the definition of transcreation within subtitling procedures and scrutinises technological advances and multimodal creativity within the context of Oliver Twist . In this sense, transcreation as a fan-driven practice in subtitling has the scope of giving visibility to artistic works in a more creative way, as well as of presenting them tinted with individualised characteristics which cater to the various demands for a variety of audiences.
摘要本文探讨了《雾都孤儿》三个字幕版的字幕翻译模式。比较是在两个官方认可的版本(即音乐剧和电影)以及在社交媒体平台上发布的非专业和改编版本的字幕背景下进行的。在音像翻译研究中进行了研究，其范围是验证与人物名称(称谓)，宗教术语和歌曲翻译有关的问题，这些问题在翻译时可能会发生变化和创新转换。与传统的被动观看体验相反，对观众参与视听作品翻译的需求越来越高(Di Giovanni and Gambier 2018, vii-viii)。在流行的视频分享平台上发布的以用户为导向的翻译模式的显著增长尚未得到系统的研究。我们主要关注的是由波兰斯基导演的最新电影《雾都孤儿》(2005)的中文字幕。这些字幕重新诠释和重新定位了产品的文化和时间特殊性和复杂性，以加强中国文化遗产(Liang 2020,26)。译创在字幕翻译中发挥着特殊的作用，作为一种翻译方法，它能够以各种改编形式(戏剧、电影和社交媒体平台)拥抱《雾都孤儿》的丰富性。本文以ab Mark Nornes(1999)提出的滥用字幕的概念为基础，探讨了字幕翻译过程中跨创作的定义，并在《雾都孤儿》的背景下审视了技术进步和多模式创意。从这个意义上说，翻译作为一种粉丝驱动的字幕实践，其范围是使艺术作品以更有创意的方式呈现出来，并使其呈现出个性化的特征，以满足不同受众的不同需求。
{"title":"The Chinese <i>Oliver Twist</i>","authors":"Lisi Liang","doi":"10.1075/ttmc.00118.lia","DOIUrl":"https://doi.org/10.1075/ttmc.00118.lia","url":null,"abstract":"Abstract This article sheds light upon subtitling as the audiovisual translation (AVT) mode applied to three subtitled versions of Oliver Twist . The comparison takes place within the subtitling context of two officially sanctioned versions (i.e., the musical and the film) and the non-professional and transcreated versions released on social media platforms. Research has been carried out within audiovisual translation studies with the scope of verifying issues relating to the translation of characters’ names (appellation), religious terminology, and songs, which are subject to changes and innovative transformations when transcreated. There is an increasingly high demand for viewer-generated participation in the translation of audiovisual productions as opposed to traditional passive viewing experiences ( Di Giovanni and Gambier 2018 , vii–viii). The significant rise of user-oriented modes of translation released on popular video-sharing platforms has not been systematically researched. Attention is primarily paid to the Chinese subtitles produced for Oliver Twist ’s most recent film adaption directed by Polanski (2005) . These subtitles reinterpret and redirect the product’s cultural and temporal specificities and complexities to reinforce Chinese cultural heritage ( Liang 2020 , 26). A particular role is played by transcreation in subtitling as a translation method that is able to embrace the richness of Oliver Twist in its various adapted forms: theatre, cinema, and social media platforms. Drawing upon the concept of abusive subtitling coined by Abé Mark Nornes (1999) , the paper investigates the definition of transcreation within subtitling procedures and scrutinises technological advances and multimodal creativity within the context of Oliver Twist . In this sense, transcreation as a fan-driven practice in subtitling has the scope of giving visibility to artistic works in a more creative way, as well as of presenting them tinted with individualised characteristics which cater to the various demands for a variety of audiences.","PeriodicalId":36928,"journal":{"name":"Translation and Translanguaging in Multilingual Contexts","volume":" 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135291204","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}
Abstract The variations on broadly fixed formulas used to represent such characters as the one portraying the Roman emperor, Julius Caesar, are all the more conspicuous for their, sometimes, almost imperceptible nuances. This article will illustrate some meaningful examples of filmic Caesars, focusing on the linguistic representation of this character, often handled as a stock character. The larger definition of stock characters, which includes but is not limited to stereotypes, encompasses a set of both visual and linguistic formulaic features which depend on identity constructions or social positions, to put it in Quantz’s terms (2015) . The character Julius Caesar is often made to follow what film historians have called a general ‘linguistic paradigm’, by which British actors with posh accents, in post-war Hollywood epics of the 1950s, are frequently cast as wicked Roman tyrants or simply as members of the establishment opposed by the ‘hero’ of the tale. Departures from a schema can be however just as revealing in order to pinpoint recurrent themes, and they will be explored by focusing on the comic rendition of Caesar as interpreted by Kenneth Williams in the 1964 British comedy Carry on Cleo , and on the analysis of its outrageously racist and sexist Italian translation.
{"title":"Carry on Caesar","authors":"Irene Ranzato","doi":"10.1075/ttmc.00119.ran","DOIUrl":"https://doi.org/10.1075/ttmc.00119.ran","url":null,"abstract":"Abstract The variations on broadly fixed formulas used to represent such characters as the one portraying the Roman emperor, Julius Caesar, are all the more conspicuous for their, sometimes, almost imperceptible nuances. This article will illustrate some meaningful examples of filmic Caesars, focusing on the linguistic representation of this character, often handled as a stock character. The larger definition of stock characters, which includes but is not limited to stereotypes, encompasses a set of both visual and linguistic formulaic features which depend on identity constructions or social positions, to put it in Quantz’s terms (2015) . The character Julius Caesar is often made to follow what film historians have called a general ‘linguistic paradigm’, by which British actors with posh accents, in post-war Hollywood epics of the 1950s, are frequently cast as wicked Roman tyrants or simply as members of the establishment opposed by the ‘hero’ of the tale. Departures from a schema can be however just as revealing in order to pinpoint recurrent themes, and they will be explored by focusing on the comic rendition of Caesar as interpreted by Kenneth Williams in the 1964 British comedy Carry on Cleo , and on the analysis of its outrageously racist and sexist Italian translation.","PeriodicalId":36928,"journal":{"name":"Translation and Translanguaging in Multilingual Contexts","volume":" 23","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135192955","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}
Abstract This essay discusses an audience reception study carried out within the framework of media accessibility to evaluate the experience of blind/partially sighted patrons and their (sighted) accompanying persons in the context of the Macerata Opera Festival (MOF). Adopting a qualitative analytical approach, feedback was collected from individuals in the sample who completed post-hoc self-report questionnaires, and three interdependent variables were measured: (a) comprehension and recall, (b) cognitive load, and (c) psychological immersion. This qualitative analysis was combined with a descriptive methodology, using attitudinal data to evaluate the lived experience of individuals, notably their appreciation and preferences. Results revealed that there was no substantial divergence in the values of the variables recorded for the two groups in the sample: blind/partially sighted and sighted (accompanying) patrons. Additionally, audio descriptions and tactile tours increased psychological immersion, without provoking cognitive overload. Furthermore, high levels of appreciation and preferences were related to comprehension and recall, cognitive load, and psychological immersion. This confirms the effectiveness of audio descriptions and tactile tours in enhancing the engagement and empowerment of blind/partially sighted members of the audience.
{"title":"Accessibility and reception studies at the Macerata Opera Festival","authors":"Francesca Raffi","doi":"10.1075/ttmc.00120.raf","DOIUrl":"https://doi.org/10.1075/ttmc.00120.raf","url":null,"abstract":"Abstract This essay discusses an audience reception study carried out within the framework of media accessibility to evaluate the experience of blind/partially sighted patrons and their (sighted) accompanying persons in the context of the Macerata Opera Festival (MOF). Adopting a qualitative analytical approach, feedback was collected from individuals in the sample who completed post-hoc self-report questionnaires, and three interdependent variables were measured: (a) comprehension and recall, (b) cognitive load, and (c) psychological immersion. This qualitative analysis was combined with a descriptive methodology, using attitudinal data to evaluate the lived experience of individuals, notably their appreciation and preferences. Results revealed that there was no substantial divergence in the values of the variables recorded for the two groups in the sample: blind/partially sighted and sighted (accompanying) patrons. Additionally, audio descriptions and tactile tours increased psychological immersion, without provoking cognitive overload. Furthermore, high levels of appreciation and preferences were related to comprehension and recall, cognitive load, and psychological immersion. This confirms the effectiveness of audio descriptions and tactile tours in enhancing the engagement and empowerment of blind/partially sighted members of the audience.","PeriodicalId":36928,"journal":{"name":"Translation and Translanguaging in Multilingual Contexts","volume":" 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135241540","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}
Abstract In recent years, numerous variations of subtitling approaches, which have been variously defined as enriched, creative, dynamic, emotive ( Neves 2018 ), but also ‘creactive’ ( Sala Robert 2016 ), have been put forward by scholars in the attempt to diversify and expand the audiences’ access to audiovisual products through subtitles. Also, there has been a significant growth in international film festivals which, alongside long-established festivals, have contributed to providing audiences with a cultural window on the world. In Italy, for example, there are hundreds of film festivals, which vary in terms of size, subject-matter, and genre. Against the backdrop of recent research on audience(s) attending film festivals ( Di Giovanni 2020 ), accessibility studies ( Greco 2018 ), and preferences and familiarity with various types of subtitles for Deaf and Hard-of-Hearing people ( Romero-Fresco 2015 ), this paper aims to introduce the notion of inclusive subtitling and to propose guidelines and applications within the context of accessible film festivals and cultural events. The corpus for this empirical study consists of the short films competing in the eleventh and twelfth editions of the Sicilia Queer Film Fest , inclusively subtitled. Results will prove that ‘inclusive subtitles’ have the potential to cater to more varied needs, embracing settings such as film festivals, theatres, museums, galleries, and similar cultural contexts. In line with Greco’s (2018) universalist approach, and in contrast with the recent introduction of the term by Martínez-Lorenzo (2020) applied to minoritised languages, inclusive subtitles is an expression that refers to intralingual or interlingual subtitles, open or closed (with the aid of external tools, such as an app) and applied specifically to film festivals.
近年来，学者们提出了多种多样的字幕方式，将其定义为丰富的、创造性的、动态的、情绪化的(Neves 2018)，以及“创造性的”(Sala Robert 2016)，试图通过字幕多样化和扩大受众对视听产品的获取。此外，国际电影节也有了显著的增长，这些电影节与历史悠久的电影节一起，为观众提供了一个了解世界的文化窗口。例如，在意大利，有数百个电影节，它们在规模、主题和类型方面各不相同。本文旨在介绍包容性字幕的概念，并提出在无障碍电影节和文化活动背景下的指导方针和应用。本文以最近对参加电影节的观众的研究(Di Giovanni 2020)、无障碍研究(Greco 2018)以及聋人和听力障碍者对各种类型字幕的偏好和熟悉程度(Romero-Fresco 2015)为背景。本实证研究的语料库包括参加第十一届和第十二届西西里酷儿电影节的短片，包括字幕。结果将证明，“包容性字幕”有可能满足更多样化的需求，包括电影节、剧院、博物馆、画廊和类似的文化背景。与Greco(2018)的普遍主义方法一致，并与Martínez-Lorenzo(2020)最近引入的适用于少数民族语言的术语形成对比，包容性字幕是一种表达，指的是语内或语间字幕，开放或封闭(借助外部工具，如应用程序)，专门适用于电影节。
{"title":"Introducing inclusive subtitles","authors":"Gabriele Uzzo","doi":"10.1075/ttmc.00117.uzz","DOIUrl":"https://doi.org/10.1075/ttmc.00117.uzz","url":null,"abstract":"Abstract In recent years, numerous variations of subtitling approaches, which have been variously defined as enriched, creative, dynamic, emotive ( Neves 2018 ), but also ‘creactive’ ( Sala Robert 2016 ), have been put forward by scholars in the attempt to diversify and expand the audiences’ access to audiovisual products through subtitles. Also, there has been a significant growth in international film festivals which, alongside long-established festivals, have contributed to providing audiences with a cultural window on the world. In Italy, for example, there are hundreds of film festivals, which vary in terms of size, subject-matter, and genre. Against the backdrop of recent research on audience(s) attending film festivals ( Di Giovanni 2020 ), accessibility studies ( Greco 2018 ), and preferences and familiarity with various types of subtitles for Deaf and Hard-of-Hearing people ( Romero-Fresco 2015 ), this paper aims to introduce the notion of inclusive subtitling and to propose guidelines and applications within the context of accessible film festivals and cultural events. The corpus for this empirical study consists of the short films competing in the eleventh and twelfth editions of the Sicilia Queer Film Fest , inclusively subtitled. Results will prove that ‘inclusive subtitles’ have the potential to cater to more varied needs, embracing settings such as film festivals, theatres, museums, galleries, and similar cultural contexts. In line with Greco’s (2018) universalist approach, and in contrast with the recent introduction of the term by Martínez-Lorenzo (2020) applied to minoritised languages, inclusive subtitles is an expression that refers to intralingual or interlingual subtitles, open or closed (with the aid of external tools, such as an app) and applied specifically to film festivals.","PeriodicalId":36928,"journal":{"name":"Translation and Translanguaging in Multilingual Contexts","volume":" 9","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135285864","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 paper reports on a case study implemented at the University of Salento and, partially, at the Autonomous University of Barcelona, concerning the use of subtitles as a didactic tool to develop intercultural communication skills. This study examines the intralingual and interlingual translations of the reportage Fortress Italia: Capsized in Lampedusa, about migrant arrivals in Italy and Europe. Although the video is of interest to international viewers, the lack of proper subtitling may undermine its accessibility to non-native English speakers. On the one hand, subtitles do not appear when Standard English is used, so the comprehension of those utterances depends on the receivers’ listening skills; on the other hand, the official retextualizations are characterized by formal register and editorial additions that may affect their readability. For these reasons, an alternative rendering was commissioned to a number of undergraduate and postgraduate students of Translation and Interpreting, in order to enquire into new areas of adoption of English as an International Language and as a Lingua Franca. The analysis of the selected corpus of extracts will pinpoint the strategies of lexical and structural simplification and condensation, along with the selection of specific verb tenses and aspects, which are expected to enhance the envisaged recipients’ understanding of the video’s message. Since these features of English are actively selected, by the subjects that were involved in this research, so as to foster cross-cultural communication between the authors and viewers of the news report, this study contends that specific lingua-franca uses can be activated when subtitling multimodal texts. Hence, the notion of ‘audiovisual mediation’ will be introduced in order to label an approach to audiovisual translation aiming to: (i) make the illocutionary force accessible and acceptable to the envisaged, international audience; and (ii) overcome the conventional associations between dubbing and domestication, and subtitling and foreignization.
{"title":"Audiovisual mediation through English intralingual and interlingual subtitling","authors":"P. L. Iaia","doi":"10.1075/ttmc.00100.iai","DOIUrl":"https://doi.org/10.1075/ttmc.00100.iai","url":null,"abstract":"\u0000This paper reports on a case study implemented at the University of Salento and, partially, at the Autonomous University of Barcelona, concerning the use of subtitles as a didactic tool to develop intercultural communication skills. This study examines the intralingual and interlingual translations of the reportage Fortress Italia: Capsized in Lampedusa, about migrant arrivals in Italy and Europe. Although the video is of interest to international viewers, the lack of proper subtitling may undermine its accessibility to non-native English speakers. On the one hand, subtitles do not appear when Standard English is used, so the comprehension of those utterances depends on the receivers’ listening skills; on the other hand, the official retextualizations are characterized by formal register and editorial additions that may affect their readability. For these reasons, an alternative rendering was commissioned to a number of undergraduate and postgraduate students of Translation and Interpreting, in order to enquire into new areas of adoption of English as an International Language and as a Lingua Franca. The analysis of the selected corpus of extracts will pinpoint the strategies of lexical and structural simplification and condensation, along with the selection of specific verb tenses and aspects, which are expected to enhance the envisaged recipients’ understanding of the video’s message. Since these features of English are actively selected, by the subjects that were involved in this research, so as to foster cross-cultural communication between the authors and viewers of the news report, this study contends that specific lingua-franca uses can be activated when subtitling multimodal texts. Hence, the notion of ‘audiovisual mediation’ will be introduced in order to label an approach to audiovisual translation aiming to: (i) make the illocutionary force accessible and acceptable to the envisaged, international audience; and (ii) overcome the conventional associations between dubbing and domestication, and subtitling and foreignization.","PeriodicalId":36928,"journal":{"name":"Translation and Translanguaging in Multilingual Contexts","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47740278","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}
As is often claimed, “the central problem of translation practice is that of finding target language translation equivalents” (Catford 1965, 21). Translation equivalence occurs when a source language (SL) and a target language (TL) text can be related to the same substance. Therefore, translation failure occurs when a concept in SL cannot be related to the equivalent in TL. Translation failures can be classified into two cases: those where it is impossible to find linguistic equivalence in TL, and those where it is impossible to secure cultural equivalence in TL. This study focuses on the latter, especially how to establish the equivalence of culturally specific concepts from SL to TL. Nobody can understand the meanings of words in a certain culturally specific domain if they do not understand some social institutions, and some history of social practices, in which these words are interpreted. Japanese words sontaku (roughly, surmise) and haragei, (literally, belly art) are examples of those culturally specific concepts. Translating these concepts into a TL text includes the identification of their semantic representation. For this purpose, using frame semantics paves the way. By defining frame elements and relations between them and also by identifying cultural practices, we can have a clear understanding of the concepts, which in turn can be related to the TL terms. It is also worth noting that culture-specific words have varying degrees of untranslatability, which can be defined by comparing synonymous words in terms of the frame semantic approach. This research sheds new light on the method of rendering culturally specific untranslatable concepts exemplified by sontaku and haragei more transparent by drawing on frame semantics.
{"title":"How to obtain translation equivalence of culturally specific concepts in a target language","authors":"Hideki Hamamoto","doi":"10.1075/ttmc.00099.ham","DOIUrl":"https://doi.org/10.1075/ttmc.00099.ham","url":null,"abstract":"\u0000As is often claimed, “the central problem of translation practice is that of finding target language translation equivalents” (Catford 1965, 21). Translation equivalence occurs when a source language (SL) and a target language (TL) text can be related to the same substance. Therefore, translation failure occurs when a concept in SL cannot be related to the equivalent in TL. Translation failures can be classified into two cases: those where it is impossible to find linguistic equivalence in TL, and those where it is impossible to secure cultural equivalence in TL. This study focuses on the latter, especially how to establish the equivalence of culturally specific concepts from SL to TL. Nobody can understand the meanings of words in a certain culturally specific domain if they do not understand some social institutions, and some history of social practices, in which these words are interpreted. Japanese words sontaku (roughly, surmise) and haragei, (literally, belly art) are examples of those culturally specific concepts. Translating these concepts into a TL text includes the identification of their semantic representation. For this purpose, using frame semantics paves the way. By defining frame elements and relations between them and also by identifying cultural practices, we can have a clear understanding of the concepts, which in turn can be related to the TL terms. It is also worth noting that culture-specific words have varying degrees of untranslatability, which can be defined by comparing synonymous words in terms of the frame semantic approach. This research sheds new light on the method of rendering culturally specific untranslatable concepts exemplified by sontaku and haragei more transparent by drawing on frame semantics.","PeriodicalId":36928,"journal":{"name":"Translation and Translanguaging in Multilingual Contexts","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46901526","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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