Intercode Translation

Abstract

Opera is a synchronization of different media of artistic expression, with a dual emphasis on music and drama. Operatic scholarship has voiced different views on the fusion of verbal and musical discourse, the two extremes being logocentrism and musicocentrism. The interlingual translation of the verbal subtext is a complex enterprise subject to multiple constraints. By focusing on its intricacies in some detail (the anatomy of the human vocal apparatus, high/ low pitches, stress, prosodic and intonational patterns, rhyme, etc., together determining the singability of the libretto), I hope that the discussion will shed light on the manifold problems involved in opera translation. The theoretical remarks are exemplified in an analysis of selected passages from Das Rheingold, by Richard Wagner.Résumé: L'opéra est une synchronisation de différents moyens d'expression artistique avec un double accent sur la musique et le drame. Les études scientifiques sur l'opéra ont exprimé différents points de vue sur la fusion du discours verbal et musical; les conceptions extrêmes ont été le logocentrisme et le musicocentrisme. La traduction interlinguale du subtexte verbal représente une tâche complexe soumise à des contraintes multiples. En mettant l'accent sur la complexité de cette tâche, en ce qui concerne les détails tels que l'anatomie de l'appareil vocal humain, les tons hauts et bas, l'accent tonique, les structures de la prosodie et de l'intonation, la rime, etc., tout ce qui ensemble détermine la qualité "chantable " du livret, nous espérons par la présente discussion mettre en lumière la complexité des problèmes inhérente à la traduction en matière d'opéra. Pour illustrer et vérifier ces remarques nous prenons comme exemple d'analyse Das Rheingold, de Richard Wagner.

Translating western musicals into Chinese: Adapting to the reception

“…16). Furthermore, compared with other forms of literary translations, the 'confrontation between two linguistic codes as well as between two art forms, poetry and music' (Gorlée 1997) creates more constraints for translating musical libretto. The translator has to face issues involving not just the aesthetic requirements of libretto with rhyme, assonance and tones, but also the functional requirements of fitting into the existing musical framework for singable purposes.…”

Türkçe Sözlü Hafif Batı Müziğinin Oluşumunda Fransızcadan Çevrilen Şarkılarda ‘Yerli Ve Millî Aşk’a Dair

“…Çeviribilimde şarkı çevirisi üzerine değişik odaklı çalışmalar bulunmaktadır: (bkz. Kaindl, 2005;Bosseaux, 2011;Apter & Herman, 2016;Andersson, 2015;Hilson, 2013;Susam-Sarajeva, 2008;McMicheal, 2008;Franzon, 2008;Schendl, 1997;Hewitt, 2000;Davies & Bentahila, 2008;Sarkar & Winer, 2006;Larkey, 2000;Locke, 2005;Laliberté, 2005;Apter, 1985;Gorlée, 1997Gorlée, , 2002Gorlée, , 2005Low, 2003Low, , 2005.…”

Tradução De Canção:

“…A questão da naturalidade envolve também clareza da informação, evitando ambiguidades, cacofonias, léxico complexo e/ou pouco usual, ordem sintática forçada, entre outros. A exemplo disso, Gorlée (1997, p. 247) comenta que muitos tradutores, por falta de boas estratégias, acabam utilizando clichês pedantes, fraseologia desgastada, sintaxe invertida, acentos mal-colocados, ritmo distorcido e outras soluções infelizes (GORLÉE, 1997, p. 247 apud LOW, 2005.…”