Audiovisual Translation Avt

Audiovisual adaptation AvtWhat is audiovisual aid variation. Audiovisual transformation is delimitate as the reading of save audiovisual material (Karamitroglou, 2000, p. 2). The concept of recordedness underlines the event that thither is a difference betwixt the comment of recorded subscribe to reapings and the simultaneous subtitling or revoicing which should be regarded as a type of translation (Karamitroglou, 2000). AVT is also cognize as screen translation or picture translation. Screen translation stresses on the location of the medium where the translation product appears (e.g., TV, cinema or video screen). On this basis, the translation of websites which place be viewed on computer monitors is considered as a type of screen translation. mental picture translation, on the many another(prenominal) hand, is a restricted term due to around researchers who limit the term ikon to full-length quality films get windly, movies and sometimes l hotshotsome(pren ominal) cinema movies. According to this view, the concept of film does non include series, sports programs and documentaries. In AVT, the audio and visual aspects of communication ar foc apply (Karamitroglou, 2000). Un ilk books, radio, rec all or sign nomenclature which only custom unrivaled semioticalal channel, audiovisual communication benefits simultaneously from two the acoustic channel finished air vibrations and the visual channel through light waves (Delabastita, 1989).1.2. commentary presuppose and AVTThe consideration of AVT as a subfield of translation Studies whitethorn organize to chevy a number of questions. Oshea (1996) distinguishes amidst AVT and (written) literary translation as the principal(prenominal) quarryive of general translation theory be effort of a set of limitations which bloodline in the audio-visual nature of the goat and generatoral products. These limitations do- nonhing be considered as a) temporal constraints in revoicing, b) spatiotemporal constraints in subtitling, c) the accomp eaching visual source-culture elements in both(prenominal) revoicing and subtitling, d) the accompanying aural source- obstetrical deli precise elements in subtitling, e) the lip-sync imperative in dubbing, f) the cross semiotic nature of subtitling, and g) the inability of backtracking (with the exception of video) in both subtitling and revoicing (p. 240).These parameters whitethorn result in the consideration of audiovisual translation as adaptation rather than translation (Delabastita, 1989). What confines translation vs. adaptation a elusive issue is not merely a property of audiovisual translation in fact, quite a few translated or adapted school texts pitch raised the same issue within the field of literary translation (Delabastita, 1989). What plays a pivotal quality in this case is the attitude we spot in defining the term translation. Considering Tourys definition of translation as any target- de belongry u tterance which is pull up stakesed or regarded as much(prenominal) within the target culture, on whatever grounds (1985, p. 20), we brook freely include AVT as a part of translation studies.Karamitroglou (2000) presents the ascertaining set of reasons to emphasize on the comprehension of AVT as a part of translation studiesa) Audiovisual translation has much in common with written translation than one might mainly assume (Whitman-Linsen, 1992103). Most audiovisual translations at the present time argon performed with a written form of the original source text in hand (cf. Remael, 1995128), sometimes even withtaboo any further access to the film product itself.b) Typological studies in audiovisual translation pull in previously managed to present the various audiovisual battle crying transfer methods within the general shed of translation studies and along with the other traditional lyric transfer methods, in a coherent and scientific way, on the basis of the multiplicit y of the semiotic channels involved and the relative time of presentation of the source and target products (Gottlieb, 1994b271 Gottlieb, 1998246 cf. Delabastita, 1989199). Other studies in audiovisual translation have fall ined connections amidst certain audiovisual language transfer methods and established concepts from general translation theory, as for example with subtitling and overt translation (Ascheid, 199735).c) Audiovisual translation was innate(p) out of the same drive that conducted literary translation the necessity to cross the communication barriers imposed by linguistic fragmentation (Luyken et al., 19913).d) Just as it is the discovery of the hierarchy of factors (constraints, parameters) which operate in translation processes, procedures and products which constitutes a major task for translation theory (Even-Zohar Toury, 1981ix), the discovery of a similar fibril of the factors that function within audiovisual translation is also the task of audiovisual tra nslation theory. (p. 11)1.3. Branches of AVTA quite number of various taxonomies have been do for AVT among which the one prep argond by Luyken et al. (1991) is known as the just about outstanding. His suggested subfields for AVT argon as keep an eye on a) lip-sync dubbing, b) voice-over/narration, and c) free- causerieary. (p. 40)Gambier (1994) also presents the pastime audiovisual language transfer methods a) subtitling, b) simultaneous subtitling, c) dubbing, d) interpreting (pre-recorded and consecutive), e) voice-over, f) narration, g) commentary, h) multilingual broadcast, i) surtitles and supratitles/supertitles, and j) simultaneous translation. (p. 277)1.4. SubtitlingSubtitling can be defined as the translation of the spoken (or written) source text of an audiovisual product into a written target text which is added onto the stunt mans of the original product, ordinarily at the bottom of the screen (Gottlieb, 1994a Gottlieb, 1998 Luyken et al., 1991 Delabastita, 1989 q td. by Karamitroglou, 2000, p. 5). It can be both intralingual (or vertical), when the target language and the source language be the same, and interlingual (or diagonal), when the target language and the source language argon diametrical (Gottlieb, 1994 Gottlieb, 1998 qtd. by Karamitroglo, 2000).Subtitles can be devote, when the target text constitutes a bodily part of the translated film and is genic in addition to the film sound and attribute, or closed, when the target text is stored in a digital/teletext format which is transmitted in as healthy as accessed via a separately coded channel at the fineness of the viewers (Luyken et al., 1991 Gottlieb, 1998 qtd. by Karamitroglou, 2000).Subtitles are dissimilar from displays which are fragments of text recorded by camera letters, newspapers, headlines, banners etc. (Gottlieb, 1994a qtd. by Karamitroglou, 2000) or captions (or toptitles) which are pieces of textual information usually inserted by the programme maker to id entify names, places or dates relevant to the story line (Luyken et al., 1991 cf. Gottlieb, 1994a qtd. by Karamitroglou, 2000, p. 5).In this thesis, subtitling come tos to interlingual open subtitling which does not include displays or captions.1.5. The concept of parableMetaphor is a trope based on which one amour is spoken of as if it is another(prenominal) thing. It is the permanent deliver of language. The ability to understand and produce parable is the acknowledgmentistic of mature linguistic competence so that parables are apply in intelligence test or to evaluate creativity. Metaphor is fundamen steepy used to state the experiences and concepts that literal language does not seem to be sufficient for their expression. therefore, it happens to cast up the range of articulation in language. Metaphor can refer to a novel and at the same time tremendous use in language (e.g., He slept off the fumes of vanity). I van also refer to the frequently-used footing in the for m of conventional illustrations (e.g., I see as I understand) or completely known dead fictions (e.g., to grasp a concept). Whether occupied with fictions novel or commonplace, theorists of language and of cognition have come to recognize that no sympathy of language and linguistic capacities is complete without an adequate account of parable (Asher, R. E., 1994, p. 2452).1.6. Purpose of allegoryThe most consequential rhetorical function of fiction is to stimulate imagination, to arose feelings and to fast proceeding (Elliot, 1984). Metaphors are applied to beautify the ordinary language and to increase the effect of language use. Moreover, they express our intended concept in a more subtle way. In this case, parables highlight a grouchy feature of a phenomenon while leaving out other aspects in a way that we come out at the phenomenon in hand form a certain angle. For example, in Life is a stage we merely look at life as a stage regard little of its other features lik e sorrow, pain and the like.Newmark (1981) believes that the main and one serious inclination of fiction is to describe an entity, event or quality more comprehensively and short and in a more complex way than is possible by using literal language. The process is initially emotive, since by referring to one physical disapprove in terms of another (a wooden face, starry-eyed), one appears to be sexual relation a lie original similes are often dramatic and take aback in effect, and , since they establish crowns of law of similarity between one object and another without explicitly stating what these resemblances are, they appear to be imprecise if not inaccurate, since they have undeterminable and undeterminable frontiers. (p. 84)Newmark (1981) states that I have never seen this purpose of metaphor say in any textbook, dictionary or encyclopedia. The issue is clouded by the idea of metaphor as an ornament, as a figure of speech, or trope, as the process of implying a resem blance between one object and another, as a poetic device. Further linguists assume that scientific or technological texts provide contain mainly literal language, illustrated by an episodic simile(a more cautious form of metaphor), whilst the purpose of metaphor is merely to live up other types of text, to make them more colourful, dramatic and witty, notoriously in journalism. All emotive expression depends on metaphor, being mainly rhetorical language tempered by psychological terms. If metaphor is used for the purpose of colouring language (rather than sharpening it in order to describe the life of the arena or the mind more accurately), it cannot be taken all that seriously. ( p. 84)1.7. interpretation of metaphorThe term metaphor commencements in the Greek word metaphora which includes two move meta center over and pherein meaning to carry. It refers to a particular set of linguistic processes whereby aspects of one object are carried over or transferred to another ob ject, so that the due south object is spoken of as if it were the low gear (Terence Hawkes, 1972, p. 1).The earliest definition of metaphor had been presented by Aristotles The Poetics- quoted by I. A. Richards (1965) as a shift carrying over a word from its normal use to a new one (p. 89). As it can be viewed, this definition is so broad that can contain other figures of speech such(prenominal) as allegory, synecdoche, metonymy and the like. Most dictionaries refer to metaphor as a way of expressing something through the establishment of a comparison between that thing and another thing and without using the words like or as. The Concise Oxford dictionary (COD) defines metaphor as the application of a name or a descriptive term or a set phrase to an object or action to which it is not literally applicable (e.g., a glaring error, and food for thought). The Longman Dictionary of Contemporary English defines the metaphor as a way of describing something by comparability it to som ething else that has similar qualities without using the words like or as (e.g., the sun take up of her smile).In brief, metaphor as a figure of speech belongs to rhetoric. It helps us to use a word, which denominates a certain meaning, figuratively to refer to another meaning. This is basically done through a likeness or analogy between two things.Other definitions of metaphor taken from the Purdue Universitys beak (1995) include The act of giving a thing a name that belongs to something else. The transferring of things and words from their proper significance to an improper similitude for the sake of peach necessity, polish, or emphasis. A device for seeing something in terms of something else. taste and experiencing one thing in terms of another. A simile contract to its smallest dimensions.1.8. Structure of metaphorsIn the view of I. A. Rechards (1936 qtd. in Wikipedia), metaphor has two parts the melody voice and vehicle. The tenor is the subject to which attri plainlyes are assigned. The vehicle is the subject from which the attributes are borrowed. Other writers use the general terms ground and figure to denote what Richards identified as the tenor and vehicle. In All the worlds a stage, and all the men and women merely players, the phrases the world and men and women are respectively tenor and vehicle.Larson (1998) believes that metaphor is a figure of speech which is based on a comparison. Accordingly, he states that metaphor is a grammatical form which presents two propositions in its semantic mental synthesis. Each proposition includes a re eddy and a comment close that study. In John is tall, John is topic and is tall is comment. Translating a metaphor is highly dependent on analyzing that metaphor and discovering the two propositions in its semantic structure. The relation between two propositions is comparison which can be detected in the comments of two propositions. Comments whitethorn be alike or identical. In John is a beam pole, t he two propositions in the semantic structure can be discussed as follow1. John is tall2. A beam pole is tall.Here, the topic of the first propositions compared with the topic of the second. Comments are identical. The topic in the second propositions often called image. The point of similarity exists in the comments. Therefore, metaphor has intravenous feeding parts (see Beekman and Callow 1974 for more discussion)Topic the topic of the first proposition (nonfigurative), i.e., the thing really being talked about.Image the topic of the second proposition (figurative), i.e., what it is being compared with. lead of similarity found in the comments of the both of the propositions involved or the comment of the EVENT proposition which has the image as the topic.Nonfigurative equivalent when the proposition containing the topic is an EVENT proposition, the explanation is the nonfigurative equivalent.According to the above-mentioned points, the propositions in The moon is blood are as f ollows1. The moon is red.2. The blood is red.An analysis on these propositions can lead us to the following resultsTopic moonImage bloodPoint of similarity redIn The righteous judge impart give you the crown of life, the metaphor includes a censure which is encoding an event proposition. Hence, four parts should be discovered here1. (The officials) give (the victorious athlete) a crown.2. (God), who judges righteously, will give you (eternal life).Topic God who judges righteouslyImage officialsPoint of similarity receive a reward for doing wellNonfigurative meaning will give you eternal lifeWhat looks assistive in analyzing metaphors is to write down the propositions which make a vital role in the comparison. It includes topic, image, point of similarity and nonfigurative meaning (in case of instance Propositions). In fact, an adequate translation is only possible when the above points have been clearly discovered.Besides the up-coming view, Newmark (1981) has also considered th e following parts in the structure of a metaphora) Object that is, the item which is explained by the metaphor (Refered to by Beekman and Callow (1974) as topic).b) Image that is, the item in terms of which the object is explained (Richards vehicle).c) Sense that is, Richards tenor, Beekman and Callows point of similarity, which illustrates in what particular aspects the object and the image are similar.d) Metaphor the word(s) taken from the image.e) Metonym a one-word image which places the object, which may later turn into a dead metaphor, e.g. the fin of a motor cycle. In some cases, a metonym is figurative but not metaphorical, since the image distinguishes an outstanding feature of the object. It may also be a synecdoche (the seven seas is the whole world) which the voice may have to clarify within the text, and would normalize. (p. 85)1.9. Types of metaphorMetaphors have been taxonomized in distinct ways. A more commonly identified taxonomy of metaphors is as follow (W ikipedia)a) A dead metaphor is one in which the sense of a transferred image is not present. fashion models to grasp a concept or to poised what youve mum Both of these phrases use a physical action as a metaphor for collar (itself a metaphor0, but in no(prenominal) of these cases do most hoi polloi of English actually visualize the physical action. Dead metaphors, by definition, normally go unnoticed. Some people make a distinction between a dead metaphor whose origin most utterers are in all unaware of (such as to understand meaning to get underneath a concept), and a dormant metaphor, whose metaphorical character people are aware of but rarely think about (such as to break the ice). Others, however, use dead metaphor for both of these concepts, and use it more generally as a way of describing metaphorical cliche.b) An leng whereforeed metaphor, or conceit, sets up a principal subject with several infantryman subjects or comparisons. The above quote from As You Like It is a very good example. The world is described as a stage and then men and women are subsidiary subjects that are further described in the same context.c) A mixed metaphor is one that leaps from one appellative to a second identification that is inconsistent with the first one. Example He stepped up to the plate and grabbed the ball by the horns, where two commonly used metaphoric grounds for highlighting the concept of taking action are confused to create a nonsensical image.The following is another less common classification of metaphors which is not universally accepted (Wikipedia)a) An absolute or paralogical metaphor (sometimes called an anti-metaphor) is one in which on that point is no discernible point of resemblance between the idea and the image. Example The couch is the autobahn of the living room.b) An combat-ready metaphor is one which by contrast to a dead metaphor, is not part of daily language and is noticeable as a metaphor.c) A complex metaphor is one which mounts one identification on another. Example That throws some light on the question. Throwing light is a metaphor and there is no actual light.d) A compound or loose metaphor is one that catches the mind with several points of similarity. Examples He has the wild stags foot. This phrase suggests aggrandize and speed as well as daring.e) A dying metaphor is a derogatory term coined by George Orwell in his essay government activity and the English Language. Orwell defines a dying metaphor as a metaphor that is not dead (dead metaphors are different, as they are treated like ordinary words), but has been worn out and is used because it saves people the apprehension of inventing an original phrase for themselves. In short, a clich. Example Achilles heel. Orwell suggests that writers scan their survey for such dying forms that they have seen regularly before in print and replace them with alternative language patterns.f) An epic metaphor or Homeric simile is an extended metaphor containi ng details about the vehicle that are not, in fact, necessary for the metaphoric purpose. This can be extended to sidesplitting lengths, for instance This is a crisis. A large crisis. In fact, if youve got a moment, its a twelve-story crisis with a magnificent entrance hall, carpeting throughout, 24-hour porterage and an enormous sign on the roof saying This Is a Large Crisis.( obtuseadder)g) An covert metaphor is one in which the tenor is not specified but implied. Example closed in(p) your trap Here, the mouth of the listener is the unspecified tenor.h) An implied or unstated metaphor is a metaphor not explicitly stated or frank that compares two things by using adjectives that commonly describe one thing, but are used to describe another comparing the two. An example rosy baked skin, comparing bakery goods to skin or green blades of nausea, comparing green grass to the pallor of a nausea-stic person or pinnate-leafed golden sunset comparing the sunset to a tree in the fall. i) A simple or tight metaphor is one in which there is but one point of resemblance between the tenor and vehicle. Example Cool it. In this example, the vehicle, Cool, is a temperature and nothing else, so the tenor, it, can only be grounded to the vehicle by one attribute.j) A underwater metaphor is one in which the vehicle is implied, or indicated by one aspect. Example my winged thought. Here, the audience must supply the image of the bird.k) A synecdochic metaphor is a trope that is both a metaphor and a synecdoche in which a small part of something is chosen to invent the whole so as to highlight certain elements of the whole. For example a pair of ragged claws represents a crab in T.S. Eliots The Love mental strain of J. Alfred Prufrock. Describing the crab in this way gives it the attributes of sharpness and savagery normally associated with claws.Black (1962a) believes that the only entrenched classification is grounded in the trite opposition between dead and live metaph ors. On this basis, he asserts that this is no more facilitative than, say, treating a corpse as a special case of a person A so- called dead metaphor is not a metaphor at all, but merely an expression that no longer has a pregnant metaphorical use. His classification of metaphors is as follow1. Extinct metaphors whose etymologies, material or fanciedpropose a metaphor beyond resuscitation (a muscular tissue as a little mouse, musculus)2. Dormant metaphors where the original, now usually unnoticed, metaphor can be usefully restored (obligation as involving some kind of bondage)3. participating metaphors that are, and are perceived to be, actively metaphoric (p. 25)Black (1962a) also distinguishes between two types of active metaphor an emphatic metaphor whose producer will allow no variation upon or supplant for the words used, and a resonant metaphor which supports a high degree of implicative elaboration. (p. 26)Newmark (1988) considers the following six types of metaphors in his suggested taxonomya) Dead metaphor which frequently relates to universal terms of space and time, the main part of the body, general ecological features and the main homophile activities. Dead metaphors have lost their figurative value through overexploitation and their images are hardly evident (e.g., reflect as think and shine as excel).b) Clich metaphor is usually known to be a dismal area between dead and investment firm metaphor which consists of two types of sort collocations figurative adjective plus literal noun (simplex metaphor), as in lousy lucre or figurative verb plus figurative noun (complex metaphor), as in explore all avenues, leave no stone unturned, and stick out a mile. This type of metaphor has outlived its usefulness, and is used as a substitute for clear thought, often emotively, but without corresponding to the facts of the matter.c) Stock or banal metaphor is an established metaphor, which in an informal context is an efficient and neat method of covering a physical and/or mental pip both referentially and pragmatically. Unlike dead metaphors, a stock metaphor is not deadened by overuse. Examples of this kind of metaphor include she wears the trousers and he plays second fiddle.d) Adapted metaphor usually includes proverbs or is actually a stock metaphor that has been adapted into a new context by its speaker or writer (e.g., almost carrying coals to Newcastle).e) Recent metaphor is produced through coining and spreads promptly in the source language (e.g., pissed as drunk, fuzz as police, spastic as stupid, skin as bankrupt, and greenback as note).f) maestro metaphor is created or quoted by the SL writer, and in the broad sense, contains the core of an authoritative writers message, his personality, his comment on life. Examples are lets weight the night of a village, the log Zs of a gazelle, and I can hear the clear sound of solitude, hypothesis and closing its window, and where the Norweyen banners flout the sky, an d fan our people cold. (p. 106-112)1.10. How to interpret metaphorsLarson (1998) believes that understanding metaphors is not forever an easy task. A literal or word-for-word translation of metaphors in target language may lead to a partial tone or complete misunderstanding on the part of readers. On this ground, he presents a number of reasons to emphasize on the fact that the translation of metaphors is not continuously an easy task and literal translation of metaphors, in some cases, might not be the adequate one. These reasons are as followsFirst, there is a possibility that the image of metaphor is unknown in the sensory sensory receptor language. For example, I washed my clothes snow white might be meaningless in some parts of the South Pacific because people in these religions have no idea about snow instead, the images in seashell white or bone white are quite comprehensible for these people.Lack of clearance over the topic of a metaphor may result in some problems for readers. In The tide turned against the government, the phrase public opinion has been left implicit and hence is kind of unnoticeable for readers.The hardness in understanding metaphors may be due to the implicit concept of the point of similarity. For example, the point of similarity is uncertain in a sentence like He is a pig.A reference to pig may connotes different concepts such as dirty, gluttony, stubborn and the like in different cultures.An even more serious problem is that the point of similarity may be understood in two cultures in two entirely different ways so that one certain image may be used with different meanings. In different cultures, a sentence like John is a rock may convey different meanings such as He is still, He cant talk, He is always there or He is very strong. Linking a person to displace may raise a wide variety of images in different cultures (e.g., long-haired man, a drunkard, a person who doesnt answer back, one who moreover follow without thinking and a young fellow waiting for girls to follow him). Therefore, it can be concluded that a literal translation for He is a ship without determining the point of similarity will be misleading in the second language.On the other hand, the comparison in Target Language (TL) may be done in a different way compared to that of Source Language (SL). For example, despite of the SL metaphor in There was a thrust in the national parliament yesterday, storm may have never been used in the receptor language to speak of a heated debate. Keeping this metaphor in the translation, we will have no choice but to replace the image of the SL metaphor (a storm at sea) with a familiar equivalent image for TL readers (e.g., fire to refer to heated debate).Languages differ in how they produce metaphors and how often they use them. If the production of new metaphors is a common issue in a language, it is possible to create new metaphors when translating to that language. However, one should be aware that the newly-made metaphor will be working in the receptor language. There are other languages, as well, with a very low frequencyin producing metaphors. For such languages, direct translation of SL metaphors may result in the hardness of understanding on the part of SL readers.In languages with high frequency of metaphor usage, most images have already had metaphorical meanings. Therefore, using an image in a different way in the Source Text may cause misunderstanding due to its difference with the accepted common image in the receptor language. For Example, the literal translation of John is a rock when it content He is severe in the SL and he has hard muscles in the TL will only make wrong meaning.1.11. How to translate metaphorsThe translation of metaphors has always been focused by translation experts and linguists due to The problems in the way of understanding and interpreting metaphors and their direct influence on translating this figure of speech. Accordingly, Larson (1998 ) suggests the following strategies for translating metaphors1. The metaphor may be kept if the receptor language permits (that is, if it sounds natural and is understood correctly by the readers)2. A metaphor may be translated as a simile (adding like or as)3. A metaphor of the receptor language which has the same meaning may be substituted4. The metaphor may be kept and the meaning explained (that is, the topic and/or point of similarity may be added)5. The meaning of the metaphor may be translated without keeping the metaphorical imagery (p. 277-279)Newmark (1988b) has also presented seven strategies to translate metaphors. These strategies which could won the financial aid of language and translation experts and later will be focused in this thesis to process its data are as follows1. Reproducing the same image in the TL2. Replacing the image in the SL with a standard TL image which does not clash with the TL culture3. Translation of metaphor by simile, retaining the image4. T ranslation of metaphor (or simile) by simile plus sense, or occasionally metaphor plus sense5. vicissitude of metaphor to sense6. Deletion. If the metaphor is redundant or serves no practical purpose, there is a case for its deletion, together with its sense component7. Translation of metaphor by the same metaphor combined with sense. The addition of a gloss or an explanation by the translator is to ensure that the metaphor will be understood (p. 107)1.12. Rationale of this studyCinema is considered as one of the most influential media in the field of culture. What gives cinema such a high status is not merely due to its salient potential in entertaining its audience. It is a medium which sends rather important messages to the people of a community or peoples in different communities. These messages can cover a wide range of issues including science, imagination, religion, morality, culture and the like.On the other hand, language is known to be among the most outstanding ways of transferring such messages particularly in the field of culture. Thus, the study of subtitling metaphors in cinema movies could be significant in different ways. Metaphors have been long regarded as cases of untranslatability. This is generally due to their unique structure based on which one cannot guess the meaning of a metaphor from its constituent parts. So the matter of subtitling metaphors turns to reveal unique features and constraints. Another outstanding point about the translation of metaphors is in regard with their role as the key cultural components in language. Metaphors root in the culture of a nation so th