Rendering culture-specific items (CSI) into another language has always been a challenge for translators for obvious reasons: CSIs are context-dependent text elements carrying a connotative meaning in the source culture. For the same reason, several typologies are available, like Newmark's (1988), Tomaszkiewicz´s (1993), Valdeon´s (2008), or Pedersen´s (2011). Newmark's typology has been generally accepted by experts in translation studies and translation pedagogy. Tomaszkiewicz´s (1993) eight strategies are based on exploring subtitling in films; Valdeon´s taxonomy (2008) based on audiovisual mode comprises strategies resulting from preservation and from substitution. Pedersen´s taxonomy (2011) involves source-language-oriented and target-language-oriented ones. These can be juxtaposed with Pym's (2016) taxonomy, which he calls a typology of translation solutions for many languages. He (ibid) assumes them to be behavioral, problem-based, potentially conscious, intersubjective and starting from the most general and basic translation solution: to change something. With the arrival of something new, a couple of questions may arise: Why do we need still another classification? How is this approach different? Our basic premise is that Pym's typology is more user-friendly (i.e. translator-friendly). The present paper aims to compare and contrast the existing typologies and in doing so streamline the current trend in the translation theory.
The paper falls in the area of discourse analysis and presents an initial framework for research into the nature of audio-visual text, namely the discourse of fi lm dialogue. This preliminary exploration should serve the purpose of fi nding areas worth further examination. The corpus to be studied is an episode from Friends (2002/2003). The utilized method is a SWOT analysis (an analysis in terms of strengths, weaknesses, opportunities, and threats) within which specifi c features are indicated and observed. In the paper it is proposed and discussed that the strength of the studied discourse is its being a paragon of neutral/informal speech and idiomaticity of the language; the weakness is seen in the relative ‘unnaturalness’ of the verbal conduct; the opportunities are represented by their potential to build pragmatic awareness and intercultural competence in viewers; the threat can be embodied in an incautious choice of the title or topic with regard to the viewers’ age and intellectual capacity. The explored features are explained and exemplifi ed utilizing portions from the target corpus. The preliminary enquiry triggers further questions and implications.
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