Proceedings - Translation Concepts

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MuTra 2006 – Audiovisual Translation Scenarios: Conference Proceedings Sara Ramos Pinto appreciation of all the percentages made it possible to identify the procedures and different translation strategies which are discussed here: 5 Presence and meaning of the sub-standard variety in Bernard Shaw’s Pygmalion and Alan Jay Lerner's My Fair Lady Less prestigious varieties Prestigious varieties Substandard Social Regional Oral Standard Pygmalion (1938 film script) 51% 0% 33% 16% Pygmalion (1957 published book) 46% 0% 37% 17% My Fair Lady (1956 published book) 51% 0% 32% 17% My Fair Lady (1964 film script) 48% 0% 33% 20% Pygmalion (1938 film script) 55% 0% 34% 11% Tab. 1: Percentages of the less prestigious and prestigious literary varieties in the non-translated sub-corpus. Table 1 shows the percentages of the prestigious and less prestigious literary varieties in the non-translated sub-corpus. As we can see, all the source texts show a high percentage regarding the recreation of less prestigious varieties (social sub-standard variety and oral register) as opposed to the lower expression of the standard variety. As was mentioned before, sub-standard features (in this particular case, “cockney”), are representative of a low sociocultural group, denoting the character’s social peripheral status and low educational level. Its presence serves the communicative purpose of indirectly distinguishing the character, showing that she belongs to a lower social class. Concerning textual-linguistic features, we can easily see by the numbers presented in Table 2 the preference for graphic features instead of lexical or morphosyntactic ones. These regularities seem to confirm Page's research, when he says "[g]rammar and syntax are, apart from the most obvious differences, less readily absorbed by the casual listener, and are used relatively little by writers. Much more extensively used are devices for suggesting non-standard pronunciation" (Page 1988: 57). Textual-linguistic features Morphosyntactic Lexical Graphic Pygmalion (1938 film script) 28% 42% 51% Pygmalion (1957 published book) 26% 41% 48% My Fair Lady (1956 published book) 28% 36% 49% My Fair Lady (1964 film script) 22% 42% 43% Pygmalion (1938 film script) 37% 40% 49% Tab. 2: Percentages of the textual-linguistic features in the non-translated sub-corpus 6 The target texts: normalization and innovation Concerning the target texts, Table 3 shows the percentages of the less prestigious and the prestigious varieties. 60
MuTra 2006 – Audiovisual Translation Scenarios: Conference Proceedings Sara Ramos Pinto Less prestigious variety Substandard Medium Title Date Social Regional Oral Prestigious variety Standard Pygmalion (average) 50,7% 0% 34,5% 14,7% My Fair Lady (average) 49,5% 0% 32,5% 18,5% Public TV My Fair Lady 1987 14% 0% 35% 52% Public TV Pygmalion 1994 15% 0% 32% 54% DVD My Fair Lady 1994 11% 0% 29% 60% Private TV Pygmalion 1995 56% 0% 36% 13% Private TV My Fair Lady 1996 84% 0% 33% 26% Theater Pygmalion 1945 74% 21% 40% 4% Theater Pygmalion 1973 55% 0% 34% 13% Theater My Fair Lady 2003 31% 0% 42% 26% Tab. 3: Comparative analysis of the percentages of the less prestigious and prestigious literary varieties in the non-translated and translated sub-corpus If we look to the columns concerning the social and standard varieties, we will realize that they seem to be directly correlated: translations which exhibit high percentages in social variety (subtitles broadcasted in private TV and theater translations) also exhibit the lowest percentages in standard variety; the opposite is always verifiable, for example in the translations broadcasted in public TV. Translations portraying substandard discourse seem to denote a strategy of acceptability and, valuing the public’s expectations, seem to try to be closer to the target culture discourse. On the other hand, the choice for standard discourse allows us to conclude that there was a very strong concern for adequacy towards the written register. As regards the category of regional variety, which is recognizable in one of the translations oriented for performance, it is apparent only by the indistinction between [b] and [v] (a peculiar characteristic of the Portuguese northern dialect). This does not occur very often; because it would introduce a strong regional dimension which absent in the source text. Let us now look more closely at Table 4 which shows the textual-linguistic features of identified in the target texts. Textual-linguistic features Medium Title Date Morphossyntactic Lexical Graphic Pygmalion (average) 30,3% 41% 49,4% My Fair Lady 25% 39% 46% (average) Public TV My Fair Lady 1987 1% 32% 48% Public TV Pygmalion 1994 7% 40% 51% DVD My Fair Lady 1994 7% 29% 49% Private TV Pygmalion 1995 2% 25% 43% Private TV My Fair Lady 1996 3% 23% 49% Theater Pygmalion 1945 28% 41% 86% Theater Pygmalion 1973 20% 53% 52% Theater My Fair Lady 2003 9% 64% 17% Tab. 4: Comparative analysis of the percentages of the textual-linguistic features in the non-translated and translated sub-corpus 61
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Proceedings - Translation Concepts

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