Pub Date : 2007-11-01DOI: 10.1080/13556509.2007.10799240
María Calzada Pérez
Abstract The present article examines the role of translation studies in mediating the hegemonic ideology of the New Consumerism, of which advertising is a pivotal mouthpiece. The TS-inspired perspective proposed here draws on green activism, psychology and race and feminist studies, and makes particular use of semiotics as a tool of analysis. The critical method adopted throughout consists of a series of three inoculations (Sagarin et al. 2002) of increased complexity, which seek to raise awareness, principally among translation scholars themselves, with respect to their potential role in exposing and contesting some of the ethically negative aspects of advertising today. Stage one of inoculation draws on a basic understanding of Saussure’s approach to the sign; stage two complements the previous inoculation with Barthian concepts of denotation and connotation; stage three focuses on intertextuality’s systemic, social and subjective nuances. It is argued here that resisting the New Consumerism will benefit from the input of translation scholars. Proposals for engaging with a TS propramme of resistance bring to the fore textual meanings and meaning potentials that we, as consumers, cannot afford to ignore. It is further argued that translation studies will also benefit from participating in this programme of resistance.
摘要本文探讨了翻译研究在新消费主义霸权意识形态中的作用，广告是新消费主义霸权意识形态的关键喉舌。本文提出的ts启发视角借鉴了绿色行动主义、心理学、种族和女权主义研究，并特别使用符号学作为分析工具。整个过程中采用的关键方法包括一系列三种日益复杂的接种(Sagarin et al. 2002)，这些接种旨在提高意识，主要是在翻译学者自己之间，他们在揭露和争论当今广告的一些道德负面方面的潜在作用。接种的第一阶段是基于对索绪尔的符号方法的基本理解;第二阶段用外延和内涵的巴尔提亚概念补充了先前的接种;第三阶段关注互文性的系统、社会和主观细微差别。本文认为，抵制新消费主义有利于翻译学者的介入。参与TS抵抗计划的建议将文本意义和意义潜力放在首位，这是我们作为消费者不能忽视的。进一步认为，参与这一抵制计划也将使翻译研究受益。
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Pub Date : 2005-11-01DOI: 10.1080/13556509.2005.10799201
M. C. África, Vidal Claramonte, Jorge Luis Borges
Abstract From a vision of language as representation, both translation and legal studies have undergone significant changes in recent years which have allowed them to question core concepts like neutrality and universality. Increasing attention has been paid to the influence of ideology, position, gender, race, hegemony and marginalization in the understanding, reading and rendering of a text. This paper focuses on some of the problems and ethical dilemmas inherent to and often hidden in legal translation, drawing on Bourdieu’s concepts of habitus and capital and on his understanding of legal texts as signs of authority aimed at being believed and obeyed. It contributes to the articulation of the tenets of a new concept of responsibility which arises from an awareness of the ideological intricacies of meaning and the influence of power relations in the understanding of texts.
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Pub Date : 2005-01-01DOI: 10.1080/13556509.2005.10799187
Chris Bongie
Abstract Victor Hugo’s second novel, Bug-Jargal (1826), is one of the most important works of nineteenth-century colonial fiction, and quite possibly the most sustained novelistic treatment of the Haitian Revolution by a major European author. Between 1833 and 1866 Hugo’s novel was translated into English no less than four times. This article provides a comparative analysis of Bug-Jargal and the first of its English translations, The Slave-King (1833), which, unlike all subsequent translations, departs radically at points from its French model, demanding to be read not simply as a translation but as an adaptation of what Hugo wrote. Rather than respect the novel’s troublingly ambiguous attitude toward slavery and racial relations, the 1833 translation takes every opportunity to erase those ambiguities and adapt the novel to the requirements of abolitionist discourse. Examining the ways in which the 1833 translation conscripts the in-many-ways politically reactionary 1826 original to the liberal cause, this article reflects on the extent to which our own postcolonial sensibility remains implicated in the seemingly very different (‘reactionary’, ‘liberal’) colonial visions put forward in Bug-Jargal and its English double, The Slave-King.
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Pub Date : 2004-11-01DOI: 10.1080/13556509.2004.10799181
Elsa Simões Lucas Freitas
Abstract The main purpose of this article is to study the way in which the same concept is conveyed in different media involved in the advertising campaign for a given product or service, considering advertisements as semiotic entities and thus translation as an intersemiotic process. Three sets of recent Portuguese campaigns are analyzed, which include television, magazine and radio advertisements. The article demonstrates that some elements can be kept in an almost unchanged form, whereas others have to be altered to achieve similar effect. The ads conveyed by different media strive for an effect of equivalence in their results, making the most of whatever resources the specific languages can offer. Detailed analysis of the advertisements also shows that the meaning of the advertising texts, i.e. the main concept of the campaign, is construed by the viewer in an integrated way, as part of a whole discourse in which the media has a complementary function.
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Pub Date : 2004-11-01DOI: 10.1080/13556509.2004.10799176
Marieke de Mooij
Abstract Translating advertising copy is like painting the tip of an iceberg. What you see are the words, but there is a lot behind the words that must be understood to transfer advertising from one culture to another. This paper demonstrates that consumer behaviour and the way consumers communicate are heavily dependent on their cultural values. For advertising, one important distinction is between low- and high-context communication, which can help us understand that people categorize the world in different ways. Another important influence of culture is on consumers’ needs, motives and emotions. Variations in inter-personal communication styles are reflected in advertising styles. Thus, effective advertising uses a culturally appropriate advertising style. For example, in Europe and Asia these styles are very different from US advertising style, of which rhetoric is an integral part. Another idea which is expanded in the present paper is that the persuasive communication function of advertising is biased toward rational claims. This is the sort of style that can be translated, but translation does not necessarily render such advertising appropriate for other cultures.
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Pub Date : 2003-11-01DOI: 10.1080/13556509.2003.10799154
Elena Di Giovanni
Abstract This paper describes the main strategies by which cultures which are distant in time and space are depicted in a selection of Disney animated films produced in the 1990’s. Specifically, the language component of such films as ‘Aladdin’ (1992) and ‘Hercules’ (1997) is used to observe the representations of cultural otherness, together with the projection of western stereotypes and American values depicted in them. This descriptive study draws upon the semiotics of cinema and intercultural studies to analyze the three main strategies used in the original versions and in their subsequent Italian translations. The author shows that, in the case at hand, the main difficulty lies in translating the “narrating” (i.e. American) rather than the “narrated”, remote, culture.
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Pub Date : 2003-11-01DOI: 10.1080/13556509.2003.10799158
Adrián Fuentes Luque
Abstract The successful reception of audiovisual productions depends heavily on the quality of the translation of the audiovisual text. Audiovisual translation has been dealt with in depth by a number of studies in the last few years. However, most studies seem to ignore the key question of reception. This paper aims to address this gap in the literature by analyzing some questions relating to the level of reception of AV translated humour in English. The emphasis is on empirical testing, through an experiment designed to examine the degree of positive transfer of AV translated humour. To this end, a case study of one of the best well-known Marx Brothers’ films, Duck Soup, is presented.
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Pub Date : 2003-04-01DOI: 10.1080/13556509.2003.10799147
Helena Miguélez Carballeira
Abstract In Mercè Rodoreda’s widely acclaimed, first-person narrative La Plaça del Diamant (1962), language provides the main sociocultural frame and functions as the primary means of characterization of the female narrator. Natàlia’s account in her own terms of life before, during and after the Spanish Civil War is not only permeated with references to a highly specific historical, cultural and spatial setting and to her outward struggle for survival; her speech also reveals her inner struggle towards self-expression as an unquestioning woman, trying to uncoil verbally the unfathomable experiences of fear, loss and love. This interpretation, which is largely supported by the increasing number of critical studies of Rodoreda’s work, has arguably not been adequately relayed in the two English translations of the novel. This paper examines the various sites of tension among original, translations and criticism, focusing on the narration’s oral resonance, cultural setting and gendered language. An argument is presented for a third translation into English where the narrator’s language may better reveal her nature and situation.
在Mercè Rodoreda广受好评的第一人称叙事作品《钻石的广场》(La placarada del Diamant, 1962)中，语言提供了主要的社会文化框架，是塑造女性叙述者的主要手段。Natàlia以她自己的方式描述了西班牙内战之前，期间和之后的生活，不仅充斥着对高度具体的历史，文化和空间环境的参考，以及她为生存而进行的外在斗争;她的演讲也揭示了她作为一个毫无疑问的女人在自我表达方面的内心挣扎，试图用语言来展现恐惧、失去和爱的深不可测的经历。这种解释在很大程度上得到了越来越多的对罗多雷达作品的批判性研究的支持，但在小说的两个英译本中却没有得到充分的传达。本文考察了原著、译文和批评之间的张力点，重点考察了叙事的口头共鸣、文化背景和性别语言。提出了第三种翻译成英语的论点，这样叙述者的语言可以更好地揭示她的本性和处境。
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Pub Date : 2002-11-01DOI: 10.1080/13556509.2002.10799138
Christi Ann Merrill
Abstract How may one write an Indian story in English without replicating the violences of colonial narrative practices? Historiographers, novelists and translators often find themselves caught in the same double bind, responding to (and responsible for) two distinct audiences whose response to (and responsibility for) the other has been decidedly unequal. A similar disparity plays out between indigenous language communities within India as well, as the folktale-inspired fiction of Rajasthani writer Vijay Dan Detha shows. Detha’s narrative strategies play with these fixed divisions that trouble so many postcolonial critics, using humour to establish a more flexible, self-conscious narrative community necessarily in transition. This article suggests a more complex approach to postcolonial concerns regarding the question of agency in the project of translation, by showing how one may follow Detha’s lead in adapting storytelling techniques to a version of his work in English translation.
一个人如何用英语写一个印度故事而不复制殖民叙事实践的暴力?历史学家、小说家和翻译家经常发现自己陷入了同样的双重困境，他们对两种截然不同的受众做出回应(并对其负责)，而这两种受众对另一种受众的回应(和责任)显然是不平等的。正如拉贾斯坦邦作家维贾伊·丹·德萨(Vijay Dan Detha)受民间故事启发的小说所展示的那样，印度本土语言社区之间也存在类似的差异。Detha的叙事策略利用了这些固定的分裂，这些分裂困扰着许多后殖民评论家，他用幽默来建立一个更灵活、更自觉的叙事社区，这是过渡时期必不可少的。本文提出了一种更复杂的方法来解决翻译项目中关于代理问题的后殖民问题，通过展示如何跟随德萨的领导，将讲故事的技巧应用于他的作品的英语翻译版本。
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Pub Date : 2002-01-01DOI: 10.1080/13556509.2002.10799116
Leo Tak-hung Chan
Translation is often defined as interlingual transfer, with correspondences sought between two languages. But what if the original text is written in more than one language? This paper addresses a number of situations where bilinguality impacts on the translation process and problematizes conventional concepts of translation. Several categories of examples are discussed. The first of these involves texts (by Tolstoy and Hemingway) into which isolated stretches of a second language are incorporated. Then there are fictional works where a second language is extensively deployed, but already translated for the reader. Examples are works by Buck, Clavell and Maugham, where Chinese characters are made to speak English and the novelists have to play the role of translators. Finally, there are ‘postmodern’ texts wherein the author inhabits, as it were, two linguistic realms: those of his or her mother tongue and the acquired tongue. The discussion here will revolve around two distinct groups of writers: ...
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