Ehlers-Danlos syndrome (EDS) is a heterogeneous group of heritable connective tissue disorders whose primary clinical features include soft and extensible skin, articular hypermobility and tissue fragility. EDS type VIIC or ‘human dermatosparaxis’ is an autosomal recessive disease characterized by severe skin fragility and sagging redundant skin (major criteria) with a soft, doughy texture, easy bruising, premature rupture of fetal membranes and large hernias (minor criteria). Dermatosparaxis (meaning ‘tearing of skin’), which has been described in several non-human species, is a disorder of the connective tissue resulting from a deficiency of the enzyme that cleaves the registration peptide off the N-terminal end of collagen after it has been secreted from fibroblasts. We describe a Mexican case from consanguineous parents with all the phenotypical characteristics previously described, plus skeletal abnormalities.
The bourgeoning and rapid evolution of cloud-based applications has triggered profound transformations in the audiovisual translation (AVT) mediascape. By drawing attention to the major changes that web-based ecosystems have introduced in localisation workflows, we set out to outline ways in which these new technological advances can be embedded in the AVT classroom. Along these lines, the present study sets out to explore the potential benefits of cloud platforms in AVT training curricula by exploring ways in which this technology can be exploited in subtitling training. An analysis of current subtitling practices and tools, localisation workflows, and in-demand skills in the AVT industry will be followed by an experience-based account on the use of cloud-based platforms in subtitler training environments to simulate and carry out a wide range of tasks. Our study pivots around the idea that cloud subtitling might prove useful to bridge the technological gap between academic institutions and the profession as well as to enhance the distance-learning provision of practice-oriented training in subtitling.
Humour transfer on screen responds to the inner constraints of audiovisual translation. Audiovisual humour imposes further challenges to translators because of its polysemiotic nature. This can be undeniably observed in auteur films that are specifically contextualised in a historical and sociocultural context, such as the 'early Almodóvar' films. Pedro Almodóvar' s first four films (1980)(1981)(1982)(1983)(1984) were created during the Spanish Movida movement after dictator Franco' s death, corresponding historically to the political Transition of Spain towards democracy. These films have been so important that they can now be considered samples of audiovisual expression of Spanish Movida changes. Verbally Expressed Humour elements in these films represent compelling examples of translation challenges that respond to both the complexity of wordplay transfer and the cultural components of Spain in the 1980s. Sets of examples from Almodóvar' s first films illustrate the difficulties of transferring Verbally Expressed Humour elements in subtitling. This paper finds that humour transfer is accomplished in many different ways by subtitlers, whose translation techniques can be analysed following descriptive studies specifically focused on Audiovisual Translation. ResumenLa transferencia del humor para la pantalla responde a las restricciones propias de la traducción audiovisual. El humor audiovisual impone mayores retos a los traductores por su naturaleza polisemiótica. No cabe ninguna duda de que esto es palpable en aquellas películas de autor que se sitúan en un contexto histórico y sociocultural específico, tales como las películas del primer Almodóvar. Las cuatro primeras películas de Pedro Almodóvar (1980-1984 del dictador Franco, tiempo histórico correspondiente a la Transición democrática española. Estos filmes han sido tan importantes que hoy se consideran muestras de expresión audiovisual de los cambios que ocurrieron en la Movida. Los elementos de humor expresado verbalmente que aparecen en las películas representan retos de traducción de gran complejidad, tanto por la transferencia del juego de palabras como por el componente cultural de la España de los ochenta. Una serie de ejemplos extraídos de los primeros filmes de Almodóvar ilustra las dificultades que entraña la transferencia de elementos de humor expresado verbalmente en la subtitulación. Este estudio señala que los subtituladores consiguen transferir el humor de muchas formas distintas. Las técnicas de traducción de los anteriores pueden analizarse siguiendo estudios descriptivos centrados específicamente en la Traducción Audiovisual.
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