Proceedings - Translation Concepts

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MuTra 2005 – Challenges of Multidimensional Translation : Conference Proceedings Henrik Gottlieb 6.1 The stuff that texts are made of: Semiotics in translations In Tab. 8, various emblematic types of translation – all of them stamping their mark on the language communities in which they are common and favored, are compared. As parameters for this comparison I have used the five defining features of subtitling (listed in section 5.2.1). The second column lists – for each type – the translational category in which it belongs, as stipulated in the taxonomy in tables 1 and 2. The ‘ambiguous’ notation for voice-over in the third column indicates that this type of revoicing is sometimes made on the spot. The void signs (Ø) in the third column from the right illustrate that the designation ‘synchronous’ is neither relevant to drama nor to literary translations. Both are presented to the public without any temporal links to the original works. Finally, polysemiotic types in which one semiotic channel carries less than 5% of the semantic load (cf. Tab. 4) are considered to operate without that channel. 6.2 What translations do to people: Audience benefits of selected types Where Tab. 8 used pluses and minuses to indicate whether a certain requirement was fulfilled or not, Tab. 9 uses zeros and stars (asterisks, to be exact), as we are no longer dealing with binary oppositions, but rather with degrees on a cline between two extremes. The zero sign (0) indicates total lack of the quality relevant to the particular column, while four stars represents the optimum. As a case in point, on affordability – a quite central parameter in the translation business – dubbing is rated a two-star enterprise, while its two rivals are handed four stars each. With dubbing ten times more costly than both subtitling and voice-over, one might find two stars a bit too kind; the reason, of course, is that domestic productions (whether remakes or original programs) are even more expensive: hence the single star in that cell. As in the previous table, the void sign (Ø) indicates irrelevance. In this table it only appears once (in the foreign-culture mediation column) as an illustration of the futility in trying to estimate how ‘foreign’ a domestic program is likely to be. Naturally, some TV genres tend to be almost claustrofobically local, while other programs (documentaries, for instance) may contain more ‘exotic’ content than found in certain imports. With these introductory remarks, I hope the tables will tell their tale of likenesses and differences, of assets and deficits of the selected specimens of the vast reservoir of translations that surround us. 54
MuTra 2005 – Challenges of Multidimensional Translation : Conference Proceedings Henrik Gottlieb Translation type Semiotic categorization Transient Prepared Written Additive Synchronous Polysemiotic ‘Normal’ subtitling Subtitling for the deaf Live subtitling for the deaf Cell 24: Conventional, interlingual and diasemiotic Cell 30: Conventional, intralingual and hyposemiotic Cell 30: Conventional, intralingual and hyposemiotic + + + + + + (4 channels) + + – + + + (2 channels) – + – – + + (2 channels) Voice-over Cell 30: Conventional, interlingual and isosemiotic Dubbing Cell 23: Conventional, interlingual and isosemiotic + / – – (–) – + + (3 channels) + – – + + + (3 channels) Audio description Drama translation Literary translation Simultaneous interpreting Cell 9: Inspirational, verbalizing and hyposemiotic Cell 23: Conventional, interlingual and isosemiotic Cell 23: Conventional, interlingual and isosemiotic Cell 26: Conventional, interlingual and hyposemiotic + – – – + + (2 channels) + – – Ø + + (3 channels) + + – Ø – – (1 channel) – – – – + – (1 channel) Tab. 8: Translation methods I: Semiotic qualities (intended audiences) 55
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Proceedings - Translation Concepts

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