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La « huitième saison » de la traduction. Quelques propos sur la traduction collective et les nouvelles pratiques traductionnelles de l’ère numérique

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Rachwalska von Rejchwald J.
Studia Romanica Posnaniensia
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2018
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vol. 45
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issue 4
61-74
EN
In the world 2.0, dominated by Big Data and transmedia, the figure of a translator who is alone with the complexities of the text seems to be replaced by group translations. Our era, which has become “cocreative”, “co-participative”, promotes collective behavior (such as coworking and crowdsourcing), also those in the field of translation. The practice of joint translations may take the form of funsubbing, which amateur translators are passionate about, but it is increasingly entering university walls (joint translations of the plays or participatory transcription of G. Flaubert’s manuscripts). It is possible that the meaning to be conveyed is no longer the main driver of the activities of this new generation of collaborating translators and that there are also other goals that collaborating translators put together. This article is an attempt to describe and understand this new translation practice and its role in disseminating knowledge and culture.
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NETWORK SOCIETY: The Polish amateur fansubbing community as an example of online collaboration project.

87%
Mika B.
Miscellanea Anthropologica et Sociologica
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2015
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vol. 16(2)
143-168
EN
The availability of cultural content provided by modern means of communication isenormous. In developing countries, the internet becomes the main tool to bridge thegap in cultural transmission. Also, it facilitates active participation in the global culturalexchange, as today’s customers increasingly act as prosumers. They not only receive thecultural content but also participate in its development and modification. However, formany consumers in Poland and other countries in the (semi-)periphery of world system,the language is the main barrier to cultural consumption. Most of the content of cultureavailable on the internet – i.e., video content – is unintelligible for the Polish audience.Therefore, translation of dialogues becomes an essential aspect of cultural participation.This paper considers the internet community that responded to this need, i.e., amateurfansubbers. They create specific online mass collaboration projects whose characteristicswill be analysed within the framework of Talcott Parsons’s theory.
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