Proceedings - Translation Concepts

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Source Culture MuTra 2005 – Challenges of Multidimensional Translation: Conference Proceedings Jan Pedersen Text External ECRs Intertextuality Polysemiotic TEXT Text Internal ECRs Subtitles SLinspired names Fig. 3: Extratextuality flow chart 5.3 Centrality of reference This is one of the most important influencing parameters, and it works on multiple levels. When establishing the centrality of an ECR in a text, one has to look at the ECR on at least two levels: the macro level and the micro level. If an ECR is central on the macro level, it may typically be the subject matter, or at least a very central theme of the film or TVprogramme at hand. It would then be more or less impossible to render it by using any other strategy than Retention or Official Equivalent. To render the county in Bridges of Madison County as anything other than ‘Madison’ would be slightly absurd. If an ECR is just mentioned in passing a few times in the film, then the ECR would be peripheral on the macro level. The treatment of it would then depend on how central it is to local discourse on the micro level. If it is peripheral on the micro level as well, e.g. it could just be one in a long list of ECRs, then there is plenty of evidence of Omission being used, and responsibly at that. However, if the ECR e.g. carries local discourse forward, is referred to later on, or is the trigger of a joke, then it would be central on the micro level. There may then be a need for interventional strategies. In example (5) above, we saw an example of this. Even if the ECR (‘Mr Rogers’) is very peripheral on the macro level, appearing in the film just once, it is 124
MuTra 2005 – Challenges of Multidimensional Translation: Conference Proceedings Jan Pedersen central on the micro level. This is probably why the Danish subtitler chose to Substitute for it something that would be accessible to the TT audience. 11 5.4 Intersemiotic redundancy Subtitles differ from the common notion of TT, because they are part of a polysemiotic text. Subtitling is additive (Gottlieb 1997: 141), it adds information, unlike literary translation or dubbing (isosemiotic translation, Gottlieb 1997: 146), where the ST is replaced by the TT. Gottlieb (1997: 143) distinguishes between four semiotic channels in polysemiotic texts (e.g. films or tv-programmes): the non-verbal visual channel (i.e. the picture), the non-verbal audio channels (e.g. music and sound effects), the verbal audio channel (i.e. the dialogue) and the verbal visual channels (signs and captions). All these channels carry semiotic information, and there is often a degree of overlap, or Intersemiotic Redundancy between them. From a subtitling point of view, the greater the Intersemiotic Redundancy, the less the pressure for the subtitler to provide the TT audience with guidance. An example: if something is referred to in the dialogue and at the same time clearly visible in the picture, it may be enough to refer to it by using a pronoun in the subtitles (Generalization). It may simplify the referring process in other ways as well, as in example (10). In the film As Good as it Gets, the leading lady returns home to find a car carrying M.D. license plates parked outside her house. Thinking that something has happened to her asthmatic son, she becomes upset, and gasps: (10) M.D. en läkarbil (Back translation: a doctor’s car) (As Good as it Gets: 1,04,07) As the practice of marking physicians’ cars in this way is unknown in Scandinavia, some sort of explanation would be necessary to explain why she becomes upset and how she knows that there is a doctor in her house. In this example, the verbal audio channel - her short utterance of “M.D.” - is supported by a) the verbal visual channel: the license plate inscription “M.D.”, and b) the non-verbal visual channel: a car is seen in the picture. This has two effects for the subtitles. First, the redundancy caused by the identical information between the two verbal channels means that the subtitler only has to subtitle the message once (normally pertinent signs in the picture are subtitled). Second, the presence of the car makes it possible for the subtitler to use the brief Paraphrase strategy in (10), instead of having to come up with some more cumbersome explanation for her behaviour, or alternatively leaving the TT audience in the dark as to the trigger for her behaviour. 5.5 Co-text This parameter is fairly uncomplicated. Just as there may be overlapping information in the other semiotic channels in the polysemiotic text, there may be overlapping information elsewhere in the co-text (the dialog). If an ECR is disambiguated or explained at some point earlier or later in the co-text, the subtitler does not have to perform the task at every point. 11 The Swedish subtitlers of this film opted for Retention here, which is less felicitous, as that may lead the Swedish TT audience taking the utterance at face value, rather than as ironic, making them think that ‘Mr Rogers’ was the “bad guy” in the movie. 125
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