Search Results
. Baños , R. 2014 . Insights into the False Orality of Dubbed Fictional Dialogue and the Language of Dubbing . In: Abend-David , D. (ed.) Media and Translation. An Interdisciplinary Approach . New York : Bloomsbury . 75
scholars including Di Giovanni 2008 , Stopar 2016 , and Martín-Castaño 2017 ) is the dubbing of musical film, and especially – even despite its significant importance in many societies today – animated musical film. The 2013 Disney film Frozen was one
The present study focuses on children's cartoons dubbed from English into Arabic and shown on E-junior channels in Abu Dhabi and Dubai television. The paper examines the strategies adopted by Arab translators to render one of the most problematic areas in translation, that is idiomatic expressions, throughout the process of translating and dubbing children's cartoons. The analysis of the rendering of each idiomatic expression indicates that the following strategies are shown to be used in translating idioms for dubbing purposes: dynamic translation, naturalisation/localisation, addition, deletion and word-for-word translation.
Formulaicity, an inherent feature of language, may typify film discourse. Imitation of conversation is posited to extend to conversational routines in original fictive orality, whereas the language of dubbing is believed to increase its formulaicity through translational routines, reiterated translation solutions generating recurrent strings in the target texts. Despite the role assigned to formulaicity, few corpus-based investigations have set out to account for the types, frequency and functions of formulas in both original and dubbed audiovisual dialogue. By drawing on the Pavia Corpus of Film Dialogue − a unidirectional English–Italian parallel corpus totalling about 500,000 words − this study analyses a special kind of formulas, English demonstrative clefts, and their formulaic translations. It evaluates how closely film language reproduces these frequent features of conversational formulaicity, and to what extent source-based patterns are resorted to in dubbing. The results show that demonstrative clefts of the type That’s what I see are frequent in Anglophone film language, where they contribute to the naturalness of the register. In the Italian translations, English demonstrative clefts give way to recurring solutions that are calqued on the original triggers, exhibit a degree of fixedness in the target language and contribute to the specificity of dubbed Italian.
Dubbing is the norm in re-editing imported foreign screen programming in China. Yet the practice has been rarely critiqued. In this context, I have undertaken a stylistic analysis of a dubbed Chinese edition of Desperate Housewives , which was screened by China Central Television (CCTV) soon after its US release. This paper discusses the analysis and the ensuing findings. The paper presents a number of examples extracted from the original script, accompanied by the CCTV translation plus back translation of the program. I begin the paper by providing information about the CCTV edition of Desperate Housewives , focusing on its poor reception by the viewers. This is followed by a discussion of the four prominent translation strategies used in the CCTV rendition, which I have identified on the basis of the stylistic analysis. The strategies include being maximal, being literal, being logical and being sanitary. I then proceed to a critique of the four strategies. I argue that the use of the strategies is intended to serve two specific objectives. (1) Accomplishing the difficult task of translating the program from English into Chinese and from American culture into Chinese culture. (2) Taming the desperate language acts of the characters. It will be argued, however, that the use of the strategies prevents the foreign (i.e., articulation of the desperation of suburban American housewives) from coming through to the Chinese audience, which I believe contributes to the viewers’ disenchantment with the program.
Abstract
The paper presents the applicability of Oxyreactive Thermal Analysis (OTA) for the investigation of different kinds of carbon matter. For comparative reasons and more precise interpretation, along with OTA some physico-chemical properties of analyzed materials were used as the methods commonly applied for the investigations. The carbon materials of both natural (anthracites, graphite and diamonds) and synthetic origin (active carbon, glass carbon, expanded graphite, soot and synthetic diamonds) were investigated. It was stated that there is close relationship between structure parameters and physico-chemical properties and the thermal reactivity within the investigated groups of carbon matters. The results show that OTA can be accepted as a good investigative way for such materials.
References Ranzato , I. 2016 . Translating Culture Specific References on Television — The Case of Dubbing . London and New York : Routledge
The present paper gives an overview of cultural exchanges between Goryeo and Yuan China in the 13th and 14th centuries when Goryeo was under the rule of the Yuan Dynasty. The article discusses the historical background of the cultural trends dubbed Goryeoyang (高麗樣) and Mongolpung (蒙古風) which had a great deal of influence on both peoples in many spheres of life, from everyday life to politics. By taking into account a wide variety of examples including fashion, food, lifestyle as well as the linguistic dimension, many similar customs and traditions can be identified between the two nations.
