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Patrick Zabalbeascoa
Patrick Zabalbeascoa is a Professor in Translation Studies at
the Pompeu Fabra University in Barcelona, Spain. He lectures in
translation theory and audiovisual screen translation, mostly from
English into Spanish and Catalan. His research is focused on translation
studies, with special attention to the television and the cinema. He also
has numerous publications in translation theory, an area in which he
has developed a model of priorities and restrictions, and proposed
alternative approaches to traditional views on so-called translation
techniques, or shifts. Some of his most recent thinking and publications
have to with developing the idea of "mapping" translation solutions
through a system of binary branching, and also "mapping" audiovisual
text components on coordinates defined by an audio/visual axis, and a
verbal / non-verbal axis.
He has worked on several EC funded projects and Thematic Networks.
He is co-director of a Postgraduate Diploma (UPF-BSM) in Audiovisual
Translation.
He is co-director of a Masters Degree (UPF-BSM) in Audiovisual and
Literary Translation.
http://upf.academia.edu/PatrickZabalbeascoa
http://orcid.org/0000-0002-4027-5178
https://producciocientifica.upf.edu/CawDOS/jsf/principal/principal_upf.jsf
trafilm.net
http://clipflair.net/
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the Pompeu Fabra University in Barcelona, Spain. He lectures in
translation theory and audiovisual screen translation, mostly from
English into Spanish and Catalan. His research is focused on translation
studies, with special attention to the television and the cinema. He also
has numerous publications in translation theory, an area in which he
has developed a model of priorities and restrictions, and proposed
alternative approaches to traditional views on so-called translation
techniques, or shifts. Some of his most recent thinking and publications
have to with developing the idea of "mapping" translation solutions
through a system of binary branching, and also "mapping" audiovisual
text components on coordinates defined by an audio/visual axis, and a
verbal / non-verbal axis.
He has worked on several EC funded projects and Thematic Networks.
He is co-director of a Postgraduate Diploma (UPF-BSM) in Audiovisual
Translation.
He is co-director of a Masters Degree (UPF-BSM) in Audiovisual and
Literary Translation.
http://upf.academia.edu/PatrickZabalbeascoa
http://orcid.org/0000-0002-4027-5178
https://producciocientifica.upf.edu/CawDOS/jsf/principal/principal_upf.jsf
trafilm.net
http://clipflair.net/
<span id='badgeCont207971' style='width:126px'><script src='http://labs.researcherid.com/mashlets?el=badgeCont207971&mashlet=badge&showTitle=false&className=a&rid=F-4159-2014'></script></span>
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development of Vinay and Darbelnet’s initial proposal (henceforth ‘the initial proposal’). For some people, the study of translation techniques is the cornerstone of translation methodology and translator training; for others it is a theoretical anacronysm. Does this mean that some teachers and textbook writers are not keeping up to date with the latest developments in theoretical studies, or does it mean that the theorists have chosen to ‘sweep the issue under the carpet’ and direct their interests elsewhere? We must be very careful not to oversimplify the answer to this, although the real question is, put bluntly, in what way is technique a useful concept? Possible answers might include (i) to better understand or explain certain phenomena (from the theoretical domain); (ii) as categories and tools for description (within descriptive studies); (iii) to make the learning process of trainees more efficient, or to fill in important terminological gaps for reviewers and critics (within the applied extensions).
In this paper I have argued for a more coherent terminology in the field and proposed terms and definitions to that effect. We have a history and a tradition in Translation
Studies, and these cannot and should not be ignored, nor should they be perpetuated in
the theoretical and pedagogical domains. My answer to this situation is to propose that
the term techniques be given a historical dimension to refer exclusively to Vinay and
Darbelnet’s initial proposal and to similar proposals by other authors such as Newmark.
For the theoretical field, the recommendation is to continue working in establishing
discrete categories along the lines of what is proposed above for equivalence and
compensation. We need to change a single list of overlapping categories such as the
initial proposal, probably for several lists of solution-types (one for types of equivalence, another for types of compensation, etc.) which contain a more coherent set of categories for research and for better communication among scholars.
The conclusion for translator training is that the initial proposal, if used at all,
should be presented with great caution. The purpose of grouping solutions into
solution-types is to provide meaningful samples of options for the trainee and
illustrations of translator behaviour. Ultimately, the future translator will have to deal
with situations and contingencies that have not been presented in class or studied in the
literature, and it is with this in mind that strategies and attitudes are to be worked on.
Strategies and ‘solution-types’ are to be presented as mind-openers, not as a closed set
of categories that act as blinkers in the search for optimal solutions and fully satisfactory translations.
Points of departure for the mapping model include an interest in finding: (i) a way out of the maze of so many variables that come into play; (ii) a common ground for dealing with the enormous diversity of problems encountered during the translating process; (iii) a basis for translational criteria; (iv) translation as a problem-solving activity, involving identifying problems and finding solutions for them; (v) a search for a simple model that does not oversimplify the complexity of translation. My motivation is to offer an alternative to ill-defined ‘theoretical’ terminology, while providing a new reading of proposals from other authors, such as: Nida’s idea (1964) of translation as a matter of priorities; translation strategies as proposed and explained by Vinay and Darbelnet (1957) and Newmark (1988), among others; Toury’s (1995) study of metaphor translation; Delabastita’s study of pun translation (1993).
The purpose of the binary tree model is to enable researchers (and even translators) to experiment with different typologies for challenging problems until a tree structure can be found that seems to provide a satisfactory account or a clear pattern of regularities over a number of instances of the same problem throughout a TT, where the first impression might be one of haphazardness, or when for a given case there seems to be a number of problems instead of a single one which only comes into focus after careful thinking. Examples 5 and 6 showing Spanish-dubbed solutions seem to approach each case of L3 differently. However, if the problem is defined as one of intratextual translation, then there are times when the textual item (intratextual translation taken as a unit) is kept even when the L3 instance is changed quite considerably and for no apparent reason.
development of Vinay and Darbelnet’s initial proposal (henceforth ‘the initial proposal’). For some people, the study of translation techniques is the cornerstone of translation methodology and translator training; for others it is a theoretical anacronysm. Does this mean that some teachers and textbook writers are not keeping up to date with the latest developments in theoretical studies, or does it mean that the theorists have chosen to ‘sweep the issue under the carpet’ and direct their interests elsewhere? We must be very careful not to oversimplify the answer to this, although the real question is, put bluntly, in what way is technique a useful concept? Possible answers might include (i) to better understand or explain certain phenomena (from the theoretical domain); (ii) as categories and tools for description (within descriptive studies); (iii) to make the learning process of trainees more efficient, or to fill in important terminological gaps for reviewers and critics (within the applied extensions).
In this paper I have argued for a more coherent terminology in the field and proposed terms and definitions to that effect. We have a history and a tradition in Translation
Studies, and these cannot and should not be ignored, nor should they be perpetuated in
the theoretical and pedagogical domains. My answer to this situation is to propose that
the term techniques be given a historical dimension to refer exclusively to Vinay and
Darbelnet’s initial proposal and to similar proposals by other authors such as Newmark.
For the theoretical field, the recommendation is to continue working in establishing
discrete categories along the lines of what is proposed above for equivalence and
compensation. We need to change a single list of overlapping categories such as the
initial proposal, probably for several lists of solution-types (one for types of equivalence, another for types of compensation, etc.) which contain a more coherent set of categories for research and for better communication among scholars.
The conclusion for translator training is that the initial proposal, if used at all,
should be presented with great caution. The purpose of grouping solutions into
solution-types is to provide meaningful samples of options for the trainee and
illustrations of translator behaviour. Ultimately, the future translator will have to deal
with situations and contingencies that have not been presented in class or studied in the
literature, and it is with this in mind that strategies and attitudes are to be worked on.
Strategies and ‘solution-types’ are to be presented as mind-openers, not as a closed set
of categories that act as blinkers in the search for optimal solutions and fully satisfactory translations.
Points of departure for the mapping model include an interest in finding: (i) a way out of the maze of so many variables that come into play; (ii) a common ground for dealing with the enormous diversity of problems encountered during the translating process; (iii) a basis for translational criteria; (iv) translation as a problem-solving activity, involving identifying problems and finding solutions for them; (v) a search for a simple model that does not oversimplify the complexity of translation. My motivation is to offer an alternative to ill-defined ‘theoretical’ terminology, while providing a new reading of proposals from other authors, such as: Nida’s idea (1964) of translation as a matter of priorities; translation strategies as proposed and explained by Vinay and Darbelnet (1957) and Newmark (1988), among others; Toury’s (1995) study of metaphor translation; Delabastita’s study of pun translation (1993).
The purpose of the binary tree model is to enable researchers (and even translators) to experiment with different typologies for challenging problems until a tree structure can be found that seems to provide a satisfactory account or a clear pattern of regularities over a number of instances of the same problem throughout a TT, where the first impression might be one of haphazardness, or when for a given case there seems to be a number of problems instead of a single one which only comes into focus after careful thinking. Examples 5 and 6 showing Spanish-dubbed solutions seem to approach each case of L3 differently. However, if the problem is defined as one of intratextual translation, then there are times when the textual item (intratextual translation taken as a unit) is kept even when the L3 instance is changed quite considerably and for no apparent reason.
We have drawn examples from the dubbed versions of the film made in Germany, Spain (, and Italy. Each of these countries, where dubbing is a common practice, provides a different context in which one of the film’s languages may happen to coincide with the main language for the translation, and translators use different approaches when it comes to dealing with such a linguistically complex and unusual source text.
A further challenge for the translator of the German dubbed version is that there are numerous encounters between English- and German-speaking characters. In the dubbed version, this language barrier disappears as both languages are rendered in German. The script for the dubbed version is therefore forced to create another sort of communication problem or even a different sort of conversation.
Multilingual texts pose specific translation problems, practical and theoretical, regardless of whether they are audiovisual. Among these problems is the case of a coincidence of the main language of the TT with one of the languages of a multilingual ST which can be complicated even further if the ST includes a scene of intratextual translation (Zabalbeascoa 2012).
Inglourious Basterds offers a rich array of languages and their varieties, but we found no examples in any of the three different dubbed versions that challenge or contradict the variables and transfer options proposed so far for the concept of L3 in translation. A model like the one explained here can help us to account for multilingual films and television series in Translation Studies. Given the multilingual trend in Hollywood, multilingual audiovisual source and target texts include successful, highly grossing box-office films. Potential TT audiences are therefore very large and not necessarily the stereotypical independent film polyglot spectators, which shows that the problem we are dealing with (and its theoretical importance) is far from marginal.
When interpreting words, pictures and other text items during the
translating process, it seems important to be aware of what types of relationships can be established between them, whether they appear simultaneously, contiguously or separated by a considerable lapse of time. Herein I propose some of the types of relationships that any number of text constituents might relate to each other by, regardless of whether they belong to different or the same channels and/or codes (verbal or non-verbal sign systems).
The point of theoretical thinking is to gain insight, not to put blinkers on the translator or the scholar. To this end, there are three figures that help to visualise textual and audiovisual text components. This is a previous requirement to the proposal on how these components can combine to produce the whole array of audiovisual effects. The double axis (audio-visual, verbal / nonverbal) provides a ‘map’ on which to plot both text and their constituent elements. After that it has been possible to analyse what types of relationships can be established (for the translator to decide how to proceed), regardless of whether more might appear in the future, since, again the point is to provide insight and pointers, not to be authoritative or prescriptive. Finally, there is an alternative to the whole concept of constrained translation, which appears almost as a logical conclusion to the previous proposals."""
translation, given the fact that irony is so common in all sorts of texts. This film was chosen because of the importance that irony has in it as a form of expression in AV communication, a wide range of possibilities for combining verbal and non-verbal
elements is exploited to the full. The examples under analysis, mostly from Trainspotting, provide highly interesting information for the characterization of the AV text on a plane defined by a verbal/ non-verbal axis and an audio/ visual axis. Each axis
is a continuum spanning from more to less (presence, importance) of verbal and nonverbal items, on the one hand, and visual (photography, writing) and audio (music, speech), on the other. Each problem, or feature, can be mapped onto such a plane
according to these continua. Furthermore, it is essential to be fully aware of all the possible relationships between one element and another. Types of relationships proposed in this article are: complementarity, contradiction, separability and redundancy. After taking all of this into account, a model of AV translation is proposed as an alternative to the concept of constrained translation, one that has closer contact to the concepts of adaptation and (verbal/ non-verbal) compensation."
más en concreto, para las versiones extranjeras de las películas utilizando la técnica del doblaje. Annie Hall es una película que reúne muchos de los elementos más característicos de la filmografía de Woody Allen y por esta razón ha sido el texto escogido para los ejemplos. Por otra parte, ofrece algunas peculiaridades interesantes desde el punto de vista del doblaje. Nos centraremos sobre todo en un humor basado en la ironía y algunas de las soluciones que aparecen en una versión doblada al castellano y una publicación de la traducción del guión.
Woody Allen se distingue por su dominio no sólo de la cámara sino también del lenguaje. Posiblemente por las connotaciones freudianas que es capaz de detectar en muchas palabras y expresiones, entre otras razones, sabe de la importancia de cuidar al máximo la expresión verbal antes de combinarla con el lenguaje no verbal de la imagen y de la banda sonora. Es, por lo tanto, un director—un autor—de cine que merece por parte del traductor un cuidadoso análisis de la presencia y colocación de cada palabra, sobre todo porque el disfrute de su obra depende casi exclusivamente de la gracia y habilidad que tiene para contar una historia, introduciendo al mismo tiempo su propia visión de las cosas e invitándonos a reflexionar sobre la nuestra; y hace todo esto sin recurrir a un despliegue de medios técnicos, ni a efectos especiales, ni a los actores más taquilleros, estrategias tan comunes en otras cintas.
... No es exclusivamente por respeto al autor por lo que algunas traducciones más directas han merecido una mejor valoración en este capítulo (ejemplos 5, 6, 7, 9); es porque también constituyen elementos más efectivos dentro del esquema del argumento, de la coherencia audiovisual, de la caracterización de los personajes y del valor humorístico que se le supone a toda película de género cómico. Precisamente
Annie Hall es un texto que pone claramente de relieve que también se puede buscar una traducción que insinúe más que defina, que refleje los recursos y mecanismos del humor más que su manifestación concreta, y que sepa reconocer y transmitir una ironía sin aspavientos ni estridencias, buscando la complicidad del espectador en vez de su indoctrinamiento. Este valor de complicidad nos obliga a recordar que Woody Allen tiene muchas características del llamado cine de autor y que tiene un público muy fiel. Eldilema que se plantea al traductor de este tipo de cine es si traducir para el público más fiel y conocedor de su obra (manteniendo los elementos culturales)o si producir una versión (ejemplo 8) con menos alusiones y referencias de todo tipo para ampliar el público potencial y asegurar supuestamente de esta manerael éxito de taquilla.
absolutamente singular, material fascinante tanto para los estudios de traducción como los del humor. Este capítulo desarrolla la tesis de que un repaso detenido a la obra de Woody Allen y a traducciones de sus películas puede arrojar más luz a la tarea de la traducción de comedia y de audiovisuales.
Lo que queremos plantear aquí es que no todos los textos audiovisuales están fuertemente equilibrados —cualitativa y cuantitativamente— en cuanto a la explotación de los canales y códigos, y si estamos en lo cierto, ello supondría una distribución de los textos audiovisuales por toda la zona marcada por estos dos ejes, o en el mismo sentido, la posibilidad de dibujar una parrilla (cuadro 3b, que sintetiza las figuras 1-7 y el cuadro 3a) de distribución o clasificación, entendiéndose que en ningún momento se trata de compartimentos estancos sino de la ilustración de unas tendencias.
Todos los distintos elementos susceptibles de aparecer en un texto audiovisual se pueden distribuir en las cuatro celdas del cuadro de la figura 2, pero conviene recordar que muchos textos audiovisuales sólo requieren la presencia de dos o tres tipos de signos y no de los cuatro, y que si sólo son dos, uno deberá ser audio y el otro visual. En la figura 3 se ve cómo se podrían utilizar los parámetros audio, visual, verbal y no verbal, ya no para distribuir a los posibles elementos del texto audiovisual sino para clasificar a otros tipos de textos que sólo manifiestan un tipo de signo (al menos de manera predominante).
Se proponen los conceptos de texto estático y dinámico, según el grado de control que tiene el receptor en la velocidad de asimilación del texto. Se detallan tipos de cine y televisión según la importancia de lo audio y lo verbal. Se destaca la importante presencia de elementos paralingüísticos dentro de los elementos textuales con valor comunicativo y semiótico. Se introduce la noción de separabilidad y se aportan diversas combinaciones y ejemplos. Se concluye que la compensación, como estrategia de traducción puede tener en cuenta la posibilidad de intercambiar combinaciones de elementos verbales y no verbales, y audio por visual, etc.
The conclusion for translator training is that the initial proposal, if used at all, should be presented with great caution.
The purpose of grouping solutions into solution-types is to provide meaningful samples of options for the trainee and illustrations of translator behaviour. Ultimately, the future translator will have to deal with situations and contingencies that have not been presented in class or studied in the literature, and it is with this in mind that strategies and attitudes are to be worked on.
Strategies and ‘solution-types’ are to be presented as mind-openers, not as a closed set of categories that act as blinkers in the search for optimal solutions and fully satisfactory translations.
anticipo ya aquí, es que la complejidad de la traducción, de toda traducción, se ve más claramente a veces a través de la TAV, pero esto no es porque sean rasgos exclusivos de esta forma de traducir sino porque en la TAV los ejemplos son más visibles, más frecuentes o más extremos, según el caso. Al final de esta sección se presenta un cuadro resumen de estos siete puntos.
Damià Alou, Laura Freixas, Valerie Miles, Patrick Zabalbeascoa.
¿Es Lolita una historia de amor, es pornografía, una historia con moral(eja) o una apología de la pedofilia? Cuatro lecturas de Lolita aborda la obra de Nabokov desde 4 perspectivas y plantea un debate sobre la relación entre el arte y la moral, entre el artista y sus creaciones, entre la novela y el cine. Se aborda una reflexión sobre la traducción y el diálogo entre dos lenguajes: el literario y el cinematográfico.
• The translation of language combinations within the same film, TV product, or written work of fiction.
• The translation (or nontranslation) of constructed languages, i.e., languages made up by the author within a work of fiction.
• The translation of conditioned language utterances within a work of fiction, i.e. when communication is conditioned by cognitive or articulatory hindrances, because of the effects of overexcitement, intoxication, exhaustion, psychological condition, speech impairment.
• The rendering of dialects and/or sociolects within a work of fiction or non-fiction, when they are used as distinct forms of communication from a standard language operating as the main language of the source text.
• Translation creativity when dealing with stylistic and/or linguistic varieties and language combinations
• Instances of code-switching, diglossia, bilingualism, heritage languages within works of fiction or as parts of translation of non-fiction.
• The stylistic and functional effects and implications of linguistic variety as explained in the previous points, above, e.g. humour, stereotyping, xenophobia, censorship, character portrayal, narrative and rhetorical devices.
• Reports of professional experiences and practices on translation and multilingualism.
Abstracts (up to 300 words), along with the author’s name, communication information, and short bio-bibliographical note should be sent to trafilmproject@gmail.com with the indication “Trafilm Conference Proposal” on the subject line.
Friday 26 May 2017, 1.30pm
BFI London Southbank NFT3
Refreshments at 4.00pm in the Atrium
ADMISSION FREE
Early booking is advised, please register at:
http://bit.ly/2mPronS
FURTHER INFORMATION
www. filmsintranslation.org
Twitter: #filmsintranslation
PLEASE JOIN US FOR TALKS AND DISCUSSION ON FILM SUBTITLING AND DUBBING OUR GATEWAYS TO FOREIGN FILMS
“Tapping the Power of Foreign Language Films” is an international and interdisciplinary network project funded by the Arts and Humanities Research Council, as a platform to explore audiovisual translation as cross-cultural mediation. It will run for eighteen months from 15 May 2016, with research and public events at the University of East Anglia (lead institution), University College London (CenTraS) and the British Film Institute, and is designed to develop and promote our understanding of linguistic and cultural representations, as conveyed through subtitling and dubbing, and of audiences’ responses to foreign language films.
In a world that seems continuously to be pushing the envelope of what is acceptable to the inhabitants of specific linguistic and cultural contexts, this interdisciplinary conference acknowledges the importance of investigating taboos and their reinforcement/breaking in various areas of language, culture and society, and across different cultures. We propose to explore the delicate balance and subtle boundaries between the need for inclusion and respect for different ethnic, religious, sexual, etc. backgrounds – which seems to be at the basis of modern multicultural societies – and a (un)conscious push towards the breaking of existing taboos, for example for shock value, as in the case of comedy and art. In such context, investigation of the linguistic, cultural, social, institutional and personal implications of taboo reinforcement/breaking appears of extreme value.
For its 3rd edition, The Taboo Conference series will specifically address the intricacies of taboo and humour/comedy in the broad contexts of language, culture, society, and the media and in its various occurrences from the points of view of production, performance, and perception/reception. The subject of taboo and humour seems to have become especially relevant in the last few years, in which political correctness at both the institutional and individual level has been seen, on the one hand, as a crucial tool in protecting minorities from verbal abuse and in preventing the reinforcement of stereotypes and, on the other hand, as a set of measures and a way of thinking which significantly stymie free speech in many aspects of the public sphere.
This conference seeks to explore the shifting boundaries of the acceptability of taboo humour and comedy in their various incarnations as produced and perceived in today’s multicultural society, both in real-life and virtual communities and contexts. Possible areas of inquiry include, for example, the interplay and the influence of political orientations on comedy, political satire, identity and gender politics, ethnic humour and stereotypes, comedy tackling different kinds of non-normative behaviour, political correctness and the discourse surrounding it, and the debate between real and perceived offense through comedy.
We welcome individual proposals or pre-organized panels from different disciplines pertaining – but by no means limited – to the following thematic areas and their intersections with humour and comedy:
Sex and sexuality (e.g. nudity, bizarre sex)
Death and dying (e.g. aging, widowhood, funerals and burials, mortal accidents)
Sickness, disability and deformity
Scatology (e.g. toilet humour)
Politics (e.g. political corruption, political incorrectness, prejudice, discrimination, party politics)
Religions and blasphemy (rituals, prejudice, afterlife)
Social institutions and cultural values (e.g. drugs and alcohol, law and order, family, education, food and eating habits, gambling, personal image, work ethics, social hypocrisy)
Money (meanness, greed, theft, exploitation, waste, extravagance, poverty)
Changing social attitudes towards violence, exploitation and abuse (prostitution, slavery, trafficking, rape, children’s rights)
Confirmed keynote speakers include Delia Chiaro (University of Bologna-Forlì) and Giselinde Kuipers (University of Amsterdam).
The working language for the conference is English. Each paper presentation should be scheduled for 15 minutes to be followed by 10-minute question time to the panel.
300-word abstracts and a brief bionote should be sent to thetabooconference@gmail.com by 15th January 2016 with the subject “TaCo2016 – proposal”. If you are interested in submitting a pre-organized panel, please contact us by the same deadline.
Notification of acceptance for both abstracts and panels will be given by 15th February 2016.
Location: Barcelona
More Info: Conference Organiser
Organization: The Taboo Conference Series
Research Interests: Humour Studies, Taboo, Translation of Humour, and Theories in Translation of Satire and Humor
Dear Colleagues,
The past decade has seen a substantial rise in research publications focused more and more on the issue of translation tasks and projects having to tackle with texts that are not limited to a single language, dialect, or sociolect (Beseghi 2017, Ranzato and Zanotti 2018, Pérez and de Higes 2019, Rebane and Junkerjürgen 2019, to mention but a few). In other words, they display, and play with, the inclusion of words or phrases that do not belong to the standard language norm of the main language the text is composed in. The decade(s) before that required that such studies be introduced by a justification of the importance or relevance of language variation within texts (e.g., Sternberg 1981, Delabastita and Grutman 2005, Bleichenbacher 2008, Corrius and Zabalbeascoa 2011). This is no longer necessary nor is it accurate to claim that there is a woeful lack of studies on this topic. So, the question now is how far have we come exactly in our progress towards including this kind of sensitivity in the mainstream of translation studies, both theoretically and in the applied domain of professional practice and academic training?
How is (yet another) dichotomy—of foreign vs. non-foreign—called into question by multilingual phenomena, such as creoles and code-switching, which are not necessarily based on the same factors as national borders, especially if we take into account multilingual communities and co-official languages within a given country?
This Special Issue aims to address this question by accepting submissions that deal with it from different angles such as the ones suggested here but not limited to them:
Are translators proficient in all the languages of a multilingual fictional text (e.g., a novel or television series), and do they need to be?
How is multilingualism in fiction an element of an author’s style and how is multilingualism dealt with accordingly?
What strategies are used by translators in rendering scripted multilingualism and how they are affected by the habitual strategies involved in translation practices?
How have stereotypes (of character portrayal, conversational patterns or topics, or situations or events) developed and changed regarding the strategic use of foreign languages, dialects and non-native use of languages?
What are the practices and trends of using and rendering invented languages (e.g., as spoken by aliens from other planets or fantasy worlds)?
Are translations becoming more multilingual or linguistically diverse and, if so, by what means?
What genres and text-types are more affected by multilingualism, more problematic or innovative in translation?
In what aspects can / must we revise traditional theoretical approaches in the light of discoveries made in the area of multilingual translation? What about less traditional approaches, such as taking LGBTiQ+ studies/factors into account, or racial discourse, etc.?
To what extent is lingua franca a factor, and directionality, as in the distinction between from English vs. into English, for instance, or between languages that are not widespread on a global level?
Are there significant differences depending on whether the texts are written or audiovisual, i.e., mode and multimodality?
What are the relations between translation, multilingualism, pseudotranslations, creoles, code-switching, slang, non-native speech and other manifestations of sociolinguistic variation?
What historical periods can be meaningfully sketched both in the use of multilingualism in film, television, and video on demand, and the way they were and have been translated? What are the key characteristics of each period and the key factors of change from one period to another?
How have the researchers’ interests in the field of translation studies been sparked, what is the focus of their research and how has it evolved? What other aspects of translation has multilingualism been related to?
How is multilingualism tackled in machine translation, artificial intelligence, templates for translators, and post-editing practices?
We request that, prior to submitting a manuscript, interested authors initially submit a proposed title and an abstract of 400-600 words summarizing their intended contribution. Please send it to the guest editor (patrick.zabalbeascoa@upf.edu) or to Languages editorial office (languages@mdpi.com). Abstracts will be reviewed by the guest editor for the purposes of ensuring proper fit within the scope of the Special Issue. Full manuscripts will undergo double-blind peer-review.
Tentative completion schedule:
Abstract submission deadline: 12th October 2022
Notification of abstract acceptance: 20th November 2022
Full manuscript deadline: 20th January 2023
References
Beseghi, M. 2017. Multilingual Films in Translation. A Sociolingusitic and Intercultural Study of Diasporic Films. Oxford: Peter Lang.
Bleichenbacher, L. 2008. Multilingualism in the Movies: Hollywood Characters and Their Language Choices. Tübingen: Francke.
Corrius, M. & Zabalbeascoa, P. 2011. “Language variation in source texts and their translations. The case of L3 in film translation”. In: Target 23 (1), 113—130.
Delabastita, D. & Grutman, R. (eds.) 2005. Linguistica Antverpiensa 4, 11—34. DOI: https://doi.org/10.52034/lanstts.v4i
Pérez L. de Heredia, M. & de Higes, I. 2019. Revistas - MonTI - 2019, Special Issue 4. Multilingualism and Representation of Identities in Audiovisual Texts. University of Alicante.
Ranzato, I. & Zanotti, S. 2018. Linguistic and Cultural Representations in Audiovisual Translation. New York: Routledge.
Rebane, G. & Junkerjürgen, R. 2019. Multilingualism in Film. Peter Lang.
Sternberg, M. 1981. Polylingualism as reality and translation as mimesis. In: Poetics Today 2 (2), 221—239.
Prof. Dr. Patrick Zabalbeascoa
Guest Editor
Manuscript Submission Information
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Keywords
multilingualism in scripts and fiction
audiovisual translation
translator’s styles and solution-types, research trends, language variation, code-switching
Published Papers
This special issue is now open for submission.
Languages, EISSN 2226-471X, Published by MDPI DisclaimerRSS Content
ANNOUNCEMENT. - ANUNCI
The panels, workshops, roundtables and artistic initiatives are on our website.
We are inviting oral communications and posters until 15th September 2020.
Oral communications, submitted in response to one of our thematic panels or the general theme of the conference, will run for 20 minutes followed by 10-minute discussions.
Posters will be submitted in response to thematic panels or the general theme of the conference.
All proposals must be submitted through the conference management platform:
Link to Easychair: https://easychair.org/my/conference?conf=iatis2021#
[important note: you will first have to create an account and once logged in, just click again on the Easychair link to the conference]
Julie Boéri, Chair of IATIS Conference Committee
Patrick Zabalbeascoa, Chair of Barcelona Organizing Committee
IATIS 7th International Conference
Universitat Pompeu Fabra, Barcelona, Catalunya, Spain
29 June – 2 July 2021
The Cultural Ecology of Translation
enlace:
https://eventum.upf.edu/event_detail/14904/detail/i-congreso-hispanoamericano-de-traduccion-audiovisual.html
My theory is based on the notion of translation as having to deal with variables grouped into Factors, Priorites and Restrictions, illustrated largely by a case study of the BBC's Yes Minister, dubbed into Catalan. The thesis also includes a study of humour and its translation as a particular arrangement of Factors, Priorities and Restrictions. There is a proposal for joke-types specifically relevant for translation.""
The competition is open to AVT/film/media research students and reflective audio-visual translation professionals, as an opportunity to explore, and account visually for, the capacity of subtitled and dubbed foreign films to promote intercultural literacy for the benefit of the general public. It is organised by the University of East Anglia in association with the “Tapping the Power of Foreign Films: Audiovisual Translation as Cross-cultural Mediation” AHRC-funded research network project (TPFF), for which it will serve as a public interface (AH/N007026/1).
This document includes:
• Concepts and definitions, a glossary and abbreviations.
• A detailed, faithful representation of the online gallery and forms.
• Explanations and specifications to help newcomers become familiar with how the system works.
• Some screenshots and illustrations to help visualise what is being referred to.
• Instructions on how to fill in the forms.
The order of the forms is important as it reflects the dependency relationship that exists between them, whereby the metadata provided for the higher-level form is automatically shared by all lower-level forms.
The ultimate goal of Trafilm is to provide a database, as large as possible, that can be accessed, used and continually developed and made to grow by all of those who carry out research into audiovisual translation or have a stake in the profession.
Definition of terms.
Educational specifications for the revoicing and captioning tool of the web platform, including: methodological distinctions between bilingual and monolingual clips and exercises, attention to all four skills (writing, reading, listening and speaking), as well as different levels of language knowledge and proficiency (CEFR A1-C2).
Use case scenarios.
Activity samples.
Clip selection criteria, and ideas and instructions for developing and personalizing one’s own video-clip library.
Activity and clip description forms.