Search results for: english-arabic subtitling

Authors: Sonia Gonzalez Cruz

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Subtitling activities allow for acquiring and developing certain translation skills, and they also have a great impact on the students' motivation. Active subtitling is a relatively recent activity that has generated a lot of interest particularly in the field of second-language acquisition, but it is also present within both the didactics of general translation and language teaching for translators. It is interesting to analyze the level of inclusion of these new resources into the existent curricula and observe to what extent these different teaching methods are being used in the translation classroom. Although subtitling has already become an independent discipline of study and it is considered to be a type of translation on its own, it is necessary to do further research on the different didactic varieties that this type of audiovisual translation offers. Therefore, this project is framed within the field of the didactics of translation, and it focuses on the relationship between the didactics of general translation and active subtitling as a didactic tool. Its main objective is to analyze the inclusion of interlinguistic active subtitling in general translation curricula at different universities. As it has been observed so far, the analyzed curricula do not make any type of reference to the use of this didactic tool in general translation classrooms. However, they do register the inclusion of other audiovisual activities such as dubbing, script translation or video watching, among others. By means of online questionnaires and interviews, the main goal is to confirm the results obtained after the observation of the curricula and find out to what extent subtitling has actually been included into general translation classrooms.

Keywords: subtitling, general translation, didactics, translation competence

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Authors: Yousef Sahari, Eisa Asiri

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Hollywood films are produced in an open and liberal context, and when subtitling for a more conservative and closed society such as an Arabic society, religious words can pose a thorny challenge for subtitlers. Using a corpus of 90 Hollywood films released between 2000 and 2018 and applying insights from Descriptive Translation Studies (Toury, 1995, 2012) and the dichotomy of domestication and foreignization, this paper investigates three main research questions: (1) What are the dominant religious terms and functions in the English subtitles? (2) What are the dominant translation strategies used in the translation of religious words? (3) Do these strategies tend to be SL-oriented or TL-oriented (domesticating or foreignising)? To answer the research questions above, a quantitative and qualitative analysis of the corpus is conducted, in which the researcher adopts a self-designed, parallel, aligned corpus of ninety films and their Arabic subtitles. A quantitative analysis is performed to compare the frequencies and distribution of religious words, their functions, and the translation strategies employed by the subtitlers of ninety films, with the aim of identifying similarities or differences in addition to identifying the impact of functions of religious terms on the use of subtitling strategies. Based on the quantitative analysis, a qualitative analysis is performed to identify any translational patterns in Arabic translations of religious words and the possible reasons for subtitlers’ choices. The results show that the function of religious words has a strong influence on the choice of subtitling strategies. Also, it is found that foreignization strategies are applied in about two-thirds of the total occurrences of religious words.

Keywords: religious terms, subtitling, audiovisual translation, modern standard arabic, subtitling strategies, english-arabic subtitling

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Authors: Rossella Resi

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This paper describes a project carried out in an Italian school with English learning pupils combining three didactic tools which are attested to be relevant for the success of young learner’s language curriculum: the use of technology, the intralingual and interlingual mediation (according to CEFR) and the cultural dimension. Aim of this project was to test a technological hands-on translation activity like subtitling in a formal teaching context and to exploit its potential as motivational tool for developing listening and writing, translation and cross-cultural skills among language learners. The activities proposed involved the use of professional subtitling software called Aegisub and culture-specific films. The workshop was optional so motivation was entirely based on the pleasure of engaging in the use of a realistic subtitling program and on the challenge of meeting the constraints that a real life/work situation might involve. Twelve pupils in the age between 16 and 18 have attended the afternoon workshop. The workshop was organized in three parts: (i) An introduction where the learners were opened up to the concept and constraints of subtitling and provided with few basic rules on spotting and segmentation. During this session learners had also the time to familiarize with the main software features. (ii) The second part involved three subtitling activities in plenum or in groups. In the first activity the learners experienced the technical dimensions of subtitling. They were provided with a short video segment together with its transcription to be segmented and time-spotted. The second activity involved also oral comprehension. Learners had to understand and transcribe a video segment before subtitling it. The third activity embedded a translation activity of a provided transcription including segmentation and spotting of subtitles. (iii) The workshop ended with a small final project. At this point learners were able to master a short subtitling assignment (transcription, translation, segmenting and spotting) on their own with a similar video interview. The results of these assignments were above expectations since the learners were highly motivated by the authentic and original nature of the assignment. The subtitled videos were evaluated and watched in the regular classroom together with other students who did not take part to the workshop.

Keywords: ICT, L2, language learning, language mediation, subtitling

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Authors: Nahed Almutairi

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The subtitling process for period dramas implies a set of linguistic challenges. Audio-visual (AV) texts in this genre weave a rich tapestry of verbal irony blended with humor. The famous TV series Downtown Abbey contains such irony as one of the British aristocracy's linguistic markers. This study aims to examine subtitling strategies utilized in rendering such verbal irony. To counteract the negative postulated by Berman with the positive shifts, a qualitative analysis is conducted to examine the impact of the presence and absence of negative deforming tendencies in the Arabic subtitles of the first season of the British drama. This research is significant because it contributes to the discipline of translation studies, specifically the realm of AV translation. It seeks to provide a set of guidelines for optimal subtitling strategies that maintain the stylistic peculiarities of a social class that don’t exist in the target culture while also considering the practical aspects of translating subtitles. The findings indicate that negative shifts in the use of ironic expressions distort not only the stylistic elements of British aristocracy's utterances but also result in a loss of the intended meaning. This implies that what Berman’s model identifies as negative is also perceived as negative linguistic shifts in the Arabic subtitles of the British aristocracy’s verbal irony.

Keywords: Downton Abbey, deforming tendencies, berman, subtitling shifts, verbal irony

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Authors: Saber Noie, F. Jafarpour

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Translation of the movies was one of important issues of the translators. In this study, the notions of ‘foreignization’, ‘domestication’, and ‘critical discourse analysis’ (CDA) in translation studies were discussed. This study is a comparative study and attempts towards clarifying the lexical differences and similarities between dubbing and subtitling in audiovisual translation through CDA. The strategies proposed by Venuti (1995) and Newmark (1988) used first by researcher and then, the researcher went back to the Van Dijk’s CDA (1995), in the part dominance. This study shows that according to CDA, the dominant strategy in subtitling is foreignization and dominant strategy in dubbing is domestication.

Keywords: critical discourse analysis, CDA, dub, subtitle, foreignization, domestication

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Authors: Fatima Saab

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This paper attempts to study colloquialism in audio-visual translation, with particular emphasis given to investigating the difficulties and challenges encountered by subtitlers in translating Lebanese colloquial into English. To achieve the main objectives of this study, ample and thorough cultural and translational analysis of examples drawn from the subtitled movie Capernaum are presented in order to identify the strategies used to overcome cultural barriers and differences and to show the process of decision-making by the translator. Also, special attention is given to explain the technicalities in translating subtitles and how they affect the translation process. The research is a descriptive analytical study whereby the writer sets out empirical observations, consisting of descriptive and analytical examination of the difficulties and problems associated with translating Arabic colloquialisms, specifically Lebanese, into English in the subtitled film, Capernaum. The research methodology utilizes a qualitative approach to group the selected data into the subtitling strategies presented by Gottlieb under the domesticating or foreignizing strategies according to Venuti's Model. It is shown that producing the same meanings to a foreign audience is not an easy task. The background of cultural elements and the stories that make up the history and mindset of the Lebanese and Arabic peoples leads to the use of the transfer and paraphrase methodologies most of the time (81% of the sample used for analysis). The research shows that translating and subtitling colloquialism needs special skills by the translators to overcome the challenges imposed by the limited presentation space as well as cultural differences. Translation of colloquial Arabic/Lebanese can be achieved to a certain extent and delivering the meaning and effect of the source language culture is accomplished in as much as the translator investigates and relates to the target culture.

Keywords: Lebanese colloquial, audio-visual translation, subtitling, Capernaum

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Authors: Ghada Ahmed

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Feminist translation is one of the strategies adopted in the field of translation studies when a gendered content is being rendered from one language to another, and this strategy has been examined in previous studies on written texts. This research, however, addresses the practice of feminist translation in audiovisual texts that are concerned with the screen, dialogue, image and visual aspects. In this thesis, the objectives are studying feminist translation and its adaptation in subtitling from Arabic into English. It addresses the connections between gender and translation as one domain and feminist translation practices with particular consideration of feminist translation strategies in English subtitles. It examines the visibility of the translator throughout the process, assuming that feminist translation is a product directed by the translator’s feminist position, culture, and ideology as a means of helping unshadow women. It also discusses how subtitling constraints impact feminist translation and how the image that has a narrative value can be integrated into the content of the English subtitles. The reasons for conducting this research project are to study language sexism in English and look into Arabic into English gendered content, taking into consideration the Arabic cultural concepts that may lose their connotations when they are translated into English. This research is also analysing the image in an audiovisual text and its contribution to the written dialogue in subtitling. Thus, this research attempts to answer the following questions: To what extent is there a form of affinity between a gendered content and translation? Is feminist translation an act of merely working on a feminist text or feminising the language of any text, by incorporating the translator’s ideology? How can feminist translation practices be applied in an audiovisual text? How likely is it to adapt feminist translation looking into visual components as well as subtitling constraints? Moreover, the paper searches into the fields of gender and translation; feminist translation, language sexism, media studies, and the gap in the literature related to feminist translation practice in visual texts. For my case study, the "Speed Sisters" film has been chosen so as to analyze its English subtitles for my research. The film is a documentary that was produced in 2015 and directed by Amber Fares. It is about five Palestinian women who try to break the stereotypes about women, and have taken their passion about car-racing forward to be the first all-women car-racing driving team in the Middle East. It tackles the issue of gender in both content and language and this is reflected in the translation. As the research topic is semiotic-channelled, the choice for the theoretical approaches varies and combines between translation studies, audiovisual translation, gender studies, and media studies. Each of which will contribute to understanding a specific field of the research and the results will eventually be integrated to achieve the intended objectives in a way that demonstrates rendering a gendered content in one of the audiovisual translation modes from a language into another.

Keywords: audiovisual translation, feminist translation, films gendered content, subtitling conventions and constraints

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Authors: Qihang Jiang

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Fansubbing, the combination of fan and subtitling, is one of the main branches of Audiovisual Translation (AVT) having kindled more and more interest of researchers into the AVT field in recent decades. In particular, the quality of so-called non-professional translation seems questionable due to the non-transparent qualification of subtitlers in a huge community network. This paper attempts to figure out how YYeTs aka 'ZiMuZu', the largest fansubbing group in China, translates swearwords from English to Chinese for its fans of the prevalent American sitcom The Big Bang Theory, taking cultural, social and political elements into account in the context of China. By building a bilingual corpus containing both the source and target texts, this paper found that most of the original swearwords were translated in a toned-down manner, probably due to Chinese audiences’ cultural and social network features as well as the strict censorship under the Chinese government. Additionally, House (2015)’s newly revised model of Translation Quality Assessment (TQA) was applied and examined. Results revealed that most of the subtitled swearwords achieved their pragmatic functions and exerted a communicative effect for audiences. In conclusion, this paper enriches the empirical research concerning House’s new TQA model, gives a full picture of the subtitling of swearwords in AVT field and provides a practical guide for the practitioners in their career of subtitling.

Keywords: corpus-based approach, fansubbing, pragmatic functions, swearwords, translation quality assessment

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Authors: Elleuch Imen

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In this paper, it propose a new approach for learning Arabic as a foreign language via audio-visual translation, particularly subtitling. The approach consists of developing video sequences appropriate to different levels of learning (from A1 to C2) containing conversations, quizzes, games and others. Each video aims to achieve a specific objective, such as the correct pronunciation of Arabic words, the correct syntactic structuring of Arabic sentences, the recognition of the morphological characteristics of terms and the semantic understanding of statements. The subtitled videos obtained can be incorporated into different Arabic second language learning tools such as Moocs, websites, platforms, etc.

Keywords: arabic foreign language, learning, audio-visuel translation, subtitled videos

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Authors: Maria da Gloria Guara-Tavares

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This article reports a synthesis of the research in Brazilian Sign Language conducted from 2000 to 2017. The objective of the synthesis was to identify the most researched areas and the most used methodologies. Articles published in three Brazilian journals of Translation Studies, unpublished dissertations and theses were included in the analysis. Abstracts and the method sections of the papers were scrutinized. Sixty studies were analyzed, and overall results indicate that the research in Brazilian Sign Language has been fragmented in several areas such as linguistic aspects, facial expressions, subtitling, identity issues, bilingualism, and interpretation strategies. Concerning research methods, the synthesis reveals that most research is qualitative in nature. Moreover, results show that the cognitive aspects of Brazilian Sign Language seem to be poorly explored. Implications for a future research agenda are also discussed.

Keywords: Brazilian sign language, qualitative methods, research agenda, synthesis

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Authors: Hossein Heidari Tabrizi, Azizeh Chalak, Hossein Enayat

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The present study seeks to investigate the application of expansion strategy in Persian subtitles of English crime movies. More precisely, this study aims at classifying the different types of expansion used in subtitles as well as investigating the appropriateness or inappropriateness of the application of each type. To achieve this end, three English movies; namely, The Net (1995), Contact (1997) and Mission Impossible 2 (2000), available with Persian subtitles, were selected for the study. To collect the data, the above mentioned movies were watched and those parts of the Persian subtitles in which expansion had been used were identified and extracted along with their English dialogs. Then, the extracted Persian subtitles were classified based on the reason that led to expansion in each case. Next, the appropriateness or inappropriateness of using expansion in the extracted Persian subtitles was descriptively investigated. Finally, an equivalent not containing any expansion was proposed for those cases in which the meaning could be fully transferred without this strategy. The findings of the study indicated that the reasons range from explicitation (explicitation of visual, co-textual and contextual information), mistranslation and paraphrasing to the preferences of subtitlers. Furthermore, it was found that the employment of expansion strategy was inappropriate in all cases except for those caused by explicitation of contextual information since correct and shorter equivalents which were equally capable of conveying the intended meaning could be posited for the original dialogs.

Keywords: audiovisual translation, English crime movies, expansion strategies, Persian subtitles

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Authors: Juan-Pedro Rica-Peromingo

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Teachers constantly need to innovate and redefine materials for their lectures, especially in areas such as Language for Specific Purposes (LSP) and Translation Studies (TS). It is therefore essential for the lecturers to be technically skilled to handle the never-ending evolution in software and technology, which are necessary elements especially in certain courses at university level. This need becomes even more evident in Audiovisual Translation (AVT) Modules and Courses. AVT has undergone considerable growth in the area of teaching and learning of languages for academic purposes. We have witnessed the development of a considerable number of masters and postgraduate courses where AVT becomes a tool for L2 learning. The teaching and learning of different AVT modes are components of undergraduate and postgraduate courses. Universities, in which AVT is offered as part of their teaching programme or training, make use of professional or free software programs. This paper presents an approach in AVT withina specific university context, in which technology is used by means of professional and nonprofessional software. Students take an AVT subject as part of their English Linguistics Master’s Degree at the Complutense University (UCM) in which they are using professional (Spot) and nonprofessional (Subtitle Workshop, Aegisub, Windows Movie Maker) software packages. The students are encouraged to develop their tasks and projects simulating authentic professional experiences and contexts in the different AVT modes: subtitling for hearing and deaf and hard of hearing population, audio description and dubbing. Selected scenes from TV series such as X-Files, Gossip girl, IT Crowd; extracts from movies: Finding Nemo, Good Will Hunting, School of Rock, Harry Potter, Up; and short movies (Vincent) were used. Hence, the complexity of the audiovisual materials used in class as well as the activities for their projects were graded. The assessment of the diverse tasks carried out by all the students are expected to provide some insights into the best way to improve their linguistic accuracy and oral and written productions with the use of different AVT modes in a very specific ESP university context.

Keywords: ESP, audiovisual translation, technology, university teaching, teaching

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Authors: Ya-Mei Chen

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The participatory culture enabled by Web 2.0 technologies has led to the emergence of online translation crowdsourcing, which mainly relies on the collective intelligence of volunteer translators. Due to the fact that many volunteer translators do not have formal translator training, concerns have been raised about the quality of crowdsourced translations. Some empirical research has been done to examine the translation quality of for-profit crowdsourcing initiatives. However, quality assurance of non-profit translation crowdsourcing has rarely been explored in detail. Using the TED Open Translation Project as a case study, this paper investigates how the translation-review-approval method adopted by TED can (1) direct the volunteer translators’ use of translation strategies as well as the reviewers’ adoption of revising strategies and (2) shape the final translation products. To well examine the actual effect of TED’s translation-review-approval method, this paper will focus on its two major quality assurance mechanisms, that is, TED’s style guidelines and quality review. Based on an anonymous questionnaire, this research will first explore whether the volunteer translators and reviewers are aware of the style guidelines and whether their use of translation strategies is similar to that advised in the guidelines. The questionnaire, which will be posted online, will consist of two parts: demographic information and translation strategies. The invitations to complete it will then be distributed through TED Translator Facebook groups. With an aim to investigate if the style guidelines have any substantial impacts on actual subtitling practices, a comparison will be made between the original English subtitles of 20 TED talks (each around 5 to 7 minutes) and their Chinese subtitle translations to identify regularly adopted strategies. Concerning the function of the reviewing stage, a comparative study will be conducted between the drafts of Chinese subtitles for 10 short English talks and the revised versions of these drafts so as to examine the actual revising strategies and their effect on translation quality. According to the results obtained from the questionnaire and textual comparisons, this paper will provide in-depth analysis of quality assurance of the TED Open Translation Project. It is hoped that this research, through a detailed investigation of non-profit translation crowdsourcing, can enable translation researchers and practitioners to have a better understanding of quality control in translation crowdsourcing in the digital age.

Keywords: quality assurance, TED, translation crowdsourcing, volunteer translators

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Authors: Juan-Pedro Rica-Peromingo

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Nowadays, corpus linguistics has become a key research methodology for Translation Studies, which broadens the scope of cross-linguistic studies. In the case of the study presented here, the approach used focuses on learners with little or no experience to study, at an early stage, general mistakes and errors, the correct or incorrect use of translation strategies, and to improve the translational competence of the students. Led by Sylviane Granger and Marie-Aude Lefer of the Centre for English Corpus Linguistics of the University of Louvain, the MUST corpus (MUltilingual Student Translation Corpus) is an international project which brings together partners from Europe and worldwide universities and connects Learner Corpus Research (LCR) and Translation Studies (TS). It aims to build a corpus of translations carried out by students including both direct (L2 > L1) an indirect (L1 > L2) translations, from a great variety of text types, genres, and registers in a wide variety of languages: audiovisual translations (including dubbing, subtitling for hearing population and for deaf population), scientific, humanistic, literary, economic and legal translation texts. This paper focuses on the work carried out by the Spanish team from the Complutense University (UCMA), which is part of the MUST project, and it describes the specific features of the corpus built by its members. All the texts used by UCMA are either direct or indirect translations between English and Spanish. Students’ profiles comprise translation trainees, foreign language students with a major in English, engineers studying EFL and MA students, all of them with different English levels (from B1 to C1); for some of the students, this would be their first experience with translation. The MUST corpus is searchable via Hypal4MUST, a web-based interface developed by Adam Obrusnik from Masaryk University (Czech Republic), which includes a translation-oriented annotation system (TAS). A distinctive feature of the interface is that it allows source texts and target texts to be aligned, so we can be able to observe and compare in detail both language structures and study translation strategies used by students. The initial data obtained point out the kind of difficulties encountered by the students and reveal the most frequent strategies implemented by the learners according to their level of English, their translation experience and the text genres. We have also found common errors in the graduate and postgraduate university students’ translations: transfer errors, lexical errors, grammatical errors, text-specific translation errors, and cultural-related errors have been identified. Analyzing all these parameters will provide more material to bring better solutions to improve the quality of teaching and the translations produced by the students.

Keywords: corpus studies, students’ corpus, the MUST corpus, translation studies

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Authors: John D. Sanderson

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The popularity of American cinema worldwide has contributed to the development of sociolects related to specific film genres in other cultural contexts by means of screen translation, in many cases eluding norms of usage in the target language, a process whose result has come to be known as 'dubbese'. A consequence for the reception in countries where local audiovisual fiction consumption is far lower than American imported productions is that this linguistic construct is preferred, even though it differs from common everyday speech. The iconography of film genres such as science-fiction, western or sword-and-sandal films, for instance, generates linguistic expectations in international audiences who will accept more easily the sociolects assimilated by the continuous reception of American productions, even if the themes, locations, characters, etc., portrayed on screen may belong in origin to other cultures. And the non-normative language (e.g., calques, semantic loans) used in the preferred mode of linguistic transfer, whether it is translation for dubbing or subtitling, has diachronically evolved in many cases into a status of canonized sociolect, not only accepted but also required, by foreign audiences of American films. However, a remarkable step forward is taken when this typology of artificial linguistic constructs starts being used creatively by nationals of these target cultural contexts. In the case of Spain, the success of American sitcoms such as Friends in the 1990s led Spanish television scriptwriters to include in national productions lexical and syntactical indirect borrowings (Anglicisms not formally identifiable as such because they include elements from their own language) in order to target audiences of the former. However, this commercial strategy had already taken place decades earlier when Spain became a favored location for the shooting of foreign films in the early 1960s. The international popularity of the then newly developed sub-genre known as Spaghetti-Western encouraged Spanish investors to produce their own movies, and local scriptwriters made use of the dubbese developed nationally since the advent of sound in film instead of using normative language. As a result, direct Anglicisms, as well as lexical and syntactical borrowings made up the creative writing of these Spanish productions, which also became commercially successful. Interestingly enough, some of these films were even marketed in English-speaking countries as original westerns (some of the names of actors and directors were anglified to that purpose) dubbed into English. The analysis of these 'back translations' will also foreground some semantic distortions that arose in the process. In order to perform the research on these issues, a wide corpus of American films has been used, which chronologically range from Stagecoach (John Ford, 1939) to Django Unchained (Quentin Tarantino, 2012), together with a shorter corpus of Spanish films produced during the golden age of Spaghetti Westerns, from una tumba para el sheriff (Mario Caiano; in English lone and angry man, William Hawkins) to tu fosa será la exacta, amigo (Juan Bosch, 1972; in English my horse, my gun, your widow, John Wood). The methodology of analysis and the conclusions reached could be applied to other genres and other cultural contexts.

Keywords: dubbing, film genre, screen translation, sociolect

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