Intertextuality in retranslation

Zhang, Huanyao; Ma, Hongyu

doi:10.1080/0907676x.2018.1448875

Cited by 13 publications

(4 citation statements)

References 14 publications

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“…Although intralingual translation may be facing a similar situation in other countries, such a claim extends the scope of this paper. 2 Given the numerous intralingual retranslations of Turkish classics, it becomes evident that intertextuality in retranslation discussed by Huanyao Zhang and Huijuan Ma (2018) is a topic which lends itself well also to intralingual translation studies. Intralingual (re)translations from the perspective of IR-abbreviation as used by the authors to refer to intertextuality in retranslation-may be discussed in another article.…”

Section: Discussion Within the Theoretical Framework Drawn By Zethsen And Hill-madsenmentioning

confidence: 99%

Intralingual Translation Has No Name in Turkey: Conceptual Crowdedness in Intralingual Translation

Bakkal

2019

transLogos

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This article aims to discuss the conceptual crowdedness in intralingual translation in Turkish with the hope to clear the way for it to be called by its own name, a step which may also hopefully still pave the way for intralingual translation to be seen as a type of 'proper' translation first by some scholars who currently oppose the idea, then by the agents of translation and eventually by the (Turkish) public. Departing from the view that one first needs its name to be recognized by its milieu before claiming a position in it, it is believed that refraining from using its name and replacing it with the names of translation strategies employed within it may be the major obstacle for intralingual translation to surmount if it is to take its 'proper' place in the field. Titles used for intralingual translation will be exemplified via publisher's notes, copyright pages, inner and back covers of different intralingual (re)translations of Hüseyin Rahmi Gürpınar's Gulyabani, with a special focus on two of them as they come from the same publisher: Can Yayınları. A theoretical discussion (indeed a metadiscussion as it is already on a discussion) will be held based on Karen Korning Zethsen and Aage Hill-Madsen's (2016) article, "Intralingual Translation and Its Place within Translation Studies: A Theoretical Discussion." Such metadiscussion will reflect on the views of various theorists and on some translational concepts in terms of their connotations for intralingual translation. Special emphasis will be on Roman Jakobson's tripartite classification and Gideon Toury's "assumed translation" concept.

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Section: Discussion Within the Theoretical Framework Drawn By Zethsen And Hill-madsenmentioning

confidence: 99%

Intralingual Translation Has No Name in Turkey: Conceptual Crowdedness in Intralingual Translation

Bakkal

2019

transLogos

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“…Meanwhile, the re-dub consisted of professional Lebanese voice actors (more known in the dubbing industry). In fact, the mere existence of a first translation and a subsequent retranslation immediately elicits rivalry through difference (Pym 1998(Pym /2014Deane-Cox 2014;Venuti 2004), as also pointed out by Zhang & Ma (2018), who argue that intertextual links between (re)translations can create dissidence. When it comes to audio-visual retranslation, Zanotti (2015) considers re-dubs a negative phenomenon and lists changing the original voice actors and dialogue as the main reason, but only in passing.…”

Section: Monsters Inc As a Case Studymentioning

confidence: 97%

Transcreating humour for (re)dubbing into Arabic

Yahiaoui

2022

EJHR

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The transfer of humorous elements in audio-visual texts is a challenging task as verbal expressions heavily rely on witty wordplay and are visually bound. To overcome such a challenge, the translator has to have two particular skills: creativity and a thorough understanding of the context and/or intended meanings. This paper aims at investigating the realisation of humour in dubbing animation vis-à-vis register variation and creativity by comparing the Egyptian dub with the Modern Standard Arabic (MSA) re-dub of Disney’s Monster’s Inc. Drawing on House’s (2015) translation quality assessment model, the data analysis reveals that resorting to colloquialism as a covert translation strategy provided a functionally adequate, nuanced leeway for the translator to capture the essence situational humour of the source text by relying on the on-screen visuals. Therefore, the translator quasi-assumes the role of an author to communicate interpersonal meanings as effectively and humorously as possible. Meanwhile, resorting to the standard variation as an overt translation strategy significantly deflated and sacrificed verbal humour due to the translator’s literal style and Al-Jazeera’s ideological orientation that shuns functional equivalence for the sake of linguistic homogenisation.

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“…Venuti (2009) perceives intertextual equivalence in relations between foreign text and other texts, foreign text and the translation, and the translation and other texts. Departing from similar textual standpoint as Venuti, Sakellariou (2014) and Zhang and Ma (2018) tend to treat intertextual equivalence on textual domain, disregarding affective aspects like nostalgic values as the concerns. In prosthetic translation context, intertextual equivalence is revisitable by considering the necessity to incorporate mechanical and narrative aspects as elements within the equivalence.…”

Section: The Impacts Of Prosthetic Translation Upon Translation Theoriesmentioning

confidence: 99%

Prosthetic Translation: Retranslations of Video Game Remakes and Remasters Refute Retranslation Hypothesis

Purnomo¹,

Purnama²,

Untari³

2019

Humanus

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Retranslation Hypothesis claims that retranslations tend to be more source-oriented than the first translations. Video game translation (VGT) refutes this hypothesis since retranslations in VGT, occuring on game remakes and remasters, are target oriented. We argue that retranslations in VGT context are better to be termed prosthetic translation, a retranslation involving game mechanics adjustments at intertextual level. To prove that prosthetic translation is of existence, we applied theories of retranslation, multiplicity, commodified nostalgia, and intertextual continuity on seven titles of Square Enix’s award winning Final Fantasy series. The original Japanese versions, North American versions, their first translations, and retranslations were analyzed to prove the presence of prosthetic translation. The findings show that retranslations on the series are oriented to target gaming system and the aesthetics of mechanics and narrative intertextuality and thus refuting Retranslation Hypothesis. Based on the findings, we argue that retranslation of video game remakes and remasters focuses on repairing extremities or intertextual losses, occuring due to game narrative and mechanical aesthetics. These intertextual losses are repaired by attaching mechanical prostheses like dialogue box extension or modification, font type and size alteration, and other mechanical modification to ensure present time recontextualization of the remade and remastered games. Keywords: Retranslation hypothesis, prosthetic translation, remakes, remasters, video game translationPENERJEMAHAN PROSTETIK: SANGGAHAN TERHADAP HIPOTESIS PENERJEMAHAN ULANG (RETRANSLATION HYPOTHESIS) MELALUI REMAKE DAN REMASTER VIDEO GAME AbstrakHipotesis Penerjemahan Ulang (Retranslation Hypothesis) menyatakan bahwa penerjemahan ulang cenderung lebih berorientasi pada sumber jika dibandingkan dengan penerjemahan pertama. Penerjemahan video game menyanggah pernyataan ini karena penerjemahan ulang dalam konteks video game yang muncul pada remake dan remaster cenderung lebih berorientasi pada target penggunanya. Tulisan ini menyarankan bahwa penerjemahan ulang dalam penerjemahan video game sebaiknya disebut dengan penerjemahan prostetik, penerjemahan ulang yang mengikutsertakan penyesuaian mekanisme game-nya pada tataran intertekstual. Untuk membuktikan keberadaan penerjemahan prostetik, teori penerjemahan ulang, multiplicity yang membahas mengenai remake dan remaster, komodifikasi nostalgia, dan kontinuitas intertekstual diaplikasikan pada tujuh judul serial Final Fantasy untuk mengungkapkan keberadaan penerjemahan prostetik. Ketujuh judul tersebut terdiri dari versi asli Jepangnya, versi terjemahan bahasa Inggrisnya, versi terjemahan pertama dan terjemahan ulangnya. Hasil penelitian menunjukkan bahwa penerjemahan ulang dalam video game berorientasi pada sistem game sasarannya dan estetika intertekstualitas mekanis dan naratif game-nya. Temuan ini menyanggah Hipotesis Penerjemahan Ulang. Temuan juga menunjukkan bahwa penerjemahan prostetik berfungsi untuk memperbaiki ekstrimitas atau rumpang intertekstual, yang muncul karena estetika mekanis dan naratif dalam sebuah game. Rumpang intertekstual ini diperbaiki melalui prostetik mekanis seperti ekstensifikasi atau modifikasi kotak dialog, alterasi ukuran font, dan modifikasi mekanis lainnya guna terjaminnya rekontekstualisasi masa kini sebuah remake dan remaster video game.Kata Kunci: Hipotesis penerjemahan ulang, penerjemahan prostetik, remake, remaster, penerjemahan video game

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Intertextuality in retranslation

Cited by 13 publications

References 14 publications

Intralingual Translation Has No Name in Turkey: Conceptual Crowdedness in Intralingual Translation

Intralingual Translation Has No Name in Turkey: Conceptual Crowdedness in Intralingual Translation

Transcreating humour for (re)dubbing into Arabic

Prosthetic Translation: Retranslations of Video Game Remakes and Remasters Refute Retranslation Hypothesis

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