Search results

1

Emotionstransfer bei der Audiodeskription

100%

Anishchenko A.

Linguistische Treffen in Wrocław

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2020

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issue 18

23-32

EN

In classic communication, emotion is transferred via three channels: verbal, nonverbal and paraverbal. With the audio description, which should enable blind and visually impaired people to perceive visual processes, the visual channel is omitted. Emotions are objectified using the available linguistic and para-linguistic means. On the basis of the corpora of the German-language audio films, relevant forms and forms of emotion transfer in the audio description are analyzed.

2

Strategie opisu kulturemów w audiodeskrypcji

100%

Jankowska A., Szarkowska A.

Między Oryginałem a Przekładem

|

2016

|

vol. 31

136-152

EN

The article presents the issue of using strategies developed in Translation Studies to describe culture-bound elements in audio description. In the first part, the authors discuss the place of audio description in Translation Studies and especially within the field of audiovisual translation and Jakobson’s categories of intersemiotic, intralingual and interlingual translation. Then research on audio description carried out within the framework of Translation Studies and research on culture-bound references in audio description is presented. Finally, the authors present how translation strategies can be applied in audio description of culturebound elements.

3

Emotywny odbiór audiodeskrypcji dzieła malarskiego Wassilego Kandinskiego

100%

Jasielska A.

Człowiek i Społeczeństwo

|

2023

|

vol. 56

261-281

EN

Psychological models of art reception postulate the presence of two fundamental effects: cognitive understanding and emotional response. Unfortunately, these models are dedicated to sighted viewers. However, even though visually impaired individuals cannot directly perceive artistic creations, audio description enables them to experience the reception of, for example, a painting. In order to answer the question of whether the reception of audio description of a painting triggers similar emotions as the reception of the actual artwork, two independent studies were conducted. The research material was an audio description of Wassily Kandinsky’s abstract watercolour sketch for Composition VII, titled „Untitled”. Subjective experiences were measured using the SUPIN scale. In Study I (N = 138), higher intensity of positive affect was observed compared to negative affect after listening to the audio description. In Study II (N = 67), an increase in positive affect intensity and a decrease in negative affect intensity were observed following the audio description. The results indicate that listening to audio description, which represents an indirect contact with a visual artwork, can improve the well-being of the listeners. The obtained results will be analysed in the context of social construction of emotions and embodied cognition.

4

Audio description in puppet theatre for children – a case study

88%

Kiser N.

Między Oryginałem a Przekładem

|

2017

|

vol. 37

141-160

EN

The aim of this paper is to review existing guidelines and strategies for AD in children’s theatre and to prepare an accessible visit for visuallyimpaired children to a puppet theatre. Taking under consideration the complexity of Plastusiowy pamiętnik (Plastuś’ Diary) the performance chosen to be audio described, we decided to create an audio introduction, AD script and a touch-tour prior to the spectacle. We believed that in such a way children could enjoy the play to the same extent as the sighted audience do. Our intention was to find out how to describe the convention of puppet theatre as well as to reach the balance between the abundance of stimuli in the play and information that should be delivered in the AD script, without breaking the suspension of disbelief.

5

Book review : Dore, Margherita (2020). Humour in Audiovisual Translation: Theories and Applications. New York: Routledge.

88%

Leggieri A.

The European Journal of Humour Research

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2022

|

vol. 10

|

issue 2

162-165

6

Być czy nie być tłumaczem audiowizualnym w Polsce?

88%

Jankowska A.

Między Oryginałem a Przekładem

|

2014

|

vol. 23

61-79

XX

Recently audiovisual translation (AVT) became popular both in terms of research and teaching. Although the number of publications on AVT is constantly growing, it still seems that our knowledge of the professional practice and market are not sufficient. This article presents the results of a survey conducted among Polish audiovisual translators between November 2009 and April 2010. The main of the study was to investigate current situation on the professional AVT market and issues such as i.e. translator’s education, wages and working conditions.

7

Audio Description for Voiced‑over Films: the Case Study of Big Fish

88%

Jankowska A., Szarkowska A., Wilgucka M.

Między Oryginałem a Przekładem

|

2014

|

vol. 23

81-96

XX

Although the development of audio description (AD) in Poland has been on the rise since its beginnings in 2006, until recently foreign films were rarely made accessible for visually impaired viewers. The reason for this was that it was assumed that voice‑over (VO) – a major audiovisual translation technique used in Polish television broadcasting – was impossible to combine with audio description, since blind and partially sighted audiences would not manage to ingest multiple soundtracks (original soundtrack, voice‑over and audio description). The lack of AD to foreign films was also against the needs and wishes of the visually impaired community. In this article we present the findings of a focus group discussion and a survey on AD to foreign films conducted among blind and partially sighted viewers after a screening of voiced‑over and audio described film Big Fish (2003, dir. by Tim Burton). The results of the study confirm that visually impaired audiences not only want to, but also are able to watch voiced‑over films with audio description. There are however some important issues that should be taken into consideration when producing this type of AD, such as voicing, synchronisation and character identification.

8

OPENArt - a Tool Supporting Education in the Field of Culture and Art

88%

Piasecki A., Socha M., Górka W., Jankowska A.

e-mentor

|

2018

|

issue 5 (77)

53-59

EN

Many museums in Poland and all over the world make use of mobile technologies. Unfortunately, neither Polish nor overseas applications offer universal solutions for users with different levels of knowledge and different disabilities. People with sight and hearing disabilities, as well as those physically handicapped, are very often culturally excluded, which means they are excluded from an important aspect of social life. As part of the project ‘OPENArt – Contemporary Art for All,’ a multimedia guide was developed in the form of an application for portable devices. It was designed in accordance with the participatory design methodology and principles of universal design. It facilitates access to works of art exposed to people with hearing and visual impairments. The application can be used to educate the blind, visually impaired, the deaf and hard of hearing, as well as people working with non-disabled children in arts and language classes. In the paper the innovative features of the guide were presented, and its educational values were characterized.

9

О интерсемиотической передаче комического в аудиодескрипции к советским кинокомедиям

88%

Mocarz-Kleindienst M.

Studia Rossica Posnaniensia

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2022

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vol. 47

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issue 1

173-185

EN

Audio description (AD) is an additional soundtrack in a film containing concise, verbal information about what is happening on the screen. The language of the AD should be appropriate to the genre of the film lexically and stylistically. This means that the language of AD in film comedies should contain some verbal ‘signals’ of the comic as an aesthetic category. The author of the presented research has attempted to analyse lexical and stylistic means of conveying situational comic and character comic as the two main types of comic, apart from the verbal one expressed directly in the characters’ speech. The material for the research included the following Soviet film comedies: We are from jazz (directed by K. Shakhnazarov, 1983), Autumn marathon (directed by G. Daneliya, 1979), and The twelve chairs (directed by L. Gaidai, 1971). The analysis proved that the verbal track of the AD reflects the most important peripeteia of the characters, and together with them the features of the characters (appearance, character traits), the manner of their behaviour. The set of llinguistic and stylistic means is determined by the type of the comedy.

10

Audio Description in Fine Arts

88%

Wendorff A.

Zagadnienia Rodzajów Literackich

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2017

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vol. 60

|

issue 3 (123)

83-94

EN

This article is about audio description of works of art. The term audio description is defined at the beginning of the text, next there is a description of how AD began in the United States and in Poland. After that, the types of AD in works of art and the rules of its creating are presented. The following paragraphs are about translating paintings through the senses, that is the hearing (ekphrasis, soundpainting), the touch (miniature models, typhlographies, touch tours) the smell or the taste (specially prepared fragrance or taste composition). The article finishes with the author looking at AD in plastic arts in Muzeum Sztuki in Łódź and the Museum of the City of Łódź.

11

Tactile Perception of a Bas-relief. Audio Description as a Means to Make Art Available to the Blind. A Case Study

88%

Niestorowicz E.

Logopedia

|

2017

|

vol. 46 EN

263-276

EN

This article aims at answering the question whether a contextual information in the form of audio description, providing details of a given piece of art and its author, has an influence upon the level of recognisability and understanding of the studied piece. In other words, how the information about a piece of art (or its lack) influences perception and aesthetic evaluation of an art piece.The article discusses a problem of aesthetic competence in the mind of a person blind from birth. The focus of the research concerns perception of an art piece on base of a tactile study of a bas-relief (a copy of Józef Chełmoński’s painting Storks).

12

Transmettre aux aveugles le comique d’une production multimédia. Étude d’un cas

88%

Tomaszkiewicz T.

Studia Romanica Posnaniensia

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2021

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vol. 48

|

issue 4

65-77

EN

In this paper the author demonstrates the limits of audio description in the transfer of the humorous effects of a film comedy which constitute the “semantic dominant” of this kind of production. The analysis is illustrated by examples from Philippe de Chauveron’s film, À bras ouverts (2017). In this form of intersemiotic translation, the lack of certain visual data can block the possibility of understanding the comic by blind or visually impaired people. The author tries to propose some solutions to this problem in the form of creative audio description.

13

Podobieństwa i różnice w polskiej i zagranicznej audiodeskrypcji malarstwa. Na przykładzie porównania opisów obrazów Pabla Picassa Panny z Avignon i Dziewczyna z mandoliną

75%

Jerzakowska B.

Socjolingwistyka

|

2013

|

issue 27

169-177

EN

This article is about audio description in painting. It shows similarities and differences between audio description Girls with Avignon in Polish and Girl with mandolin in English, both painted by Pablo Picasso. Especially noted of details, interpretation and speaking of colors and shapes. This text can inspire to lead next research.

14

Intersemiotisches Übersetzen: Anmerkungen zur Audiodeskription aus einer übersetzungswissenschaftlichen Perspektive

75%

Jung L., Chica Nuñez A. J.

Glottodidactica

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2018

|

vol. 45

|

issue 2

169-183

DE

There is no doubt that Translation Studies have firmly established themselves as an independent scientific field. However, there are thematic overlaps in some areas concerning other disciplines. This work investigates the relations between interlinguistic translation and intersemiotic translation from the point of view of translation studies. First of all, a set of criteria for the identification of proper translation is offered and, in a second step, we examine how theoretical elements like communicative equivalence and communicative value can be transferred to a linguistic discourse by means of the intersemiotic translation modality known as audio description (AD)

15

Poetyka intersemiotyczna a dydaktyka literatury

75%

Grodecka A.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

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2017

|

vol. 5

48-61

PL

Intersemiotic poetics and teaching literature The article is devoted to intersemiotic poetics derived from the theory of translation, that is the principle of translation described by Roman Jakobson (the interpretation of linguistic signs by means of non-verbal signs). From the reconstruction of research stances, changes in the concepts of the mind, and a new understanding of the processes of perception and metaphor, the Author relates the mechanisms of intersemiotic translation to borderline forms (ekphrasis and audio description) and the principles of teaching. By analyzing selected examples (Jacek Kaczmarski’s ekphrasis and editorial notes to Wisława Szymborska’s poem Utopia), she proves that after rejecting the principles of equivalence and similarity, while simultaneously maintaining the principle of causality, one may look for affinities in deeper semantic layers (amplification, addition) or engage in teaching literature, where intellectual precision is related to the shaping of emotions and skills involved in the multisensual reading of cultural texts.

16

NIEWIDOMY ODBIORCA SZTUKI – SPOŁECZNE, EDUKACYJNO-REHABILITACYJNE ZNACZENIE AUDIODESKRYPCJI PRZEDSTAWIEŃ TEATRALNYCH DLA OSÓB Z NIEPEŁNOSPRAWNOŚCIĄ WZROKU

75%

Paplińska M.

Forum Pedagogiczne

|

2016

|

issue 1

181-194

PL

Udostępnianie sztuki, zwłaszcza przedstawień teatralnych i filmów, osobom niewidomym ma ogromne znaczenie w ich aktywizacji społecznej, jak również spełnia rolę edukacyjno-rehabilitacyjną. Udział osób niewidomych w warsztatach teatralnych sprawia, że mogą być w pełni uczestnikami i odbiorcami sztuki. Audiodeskrypcja spektakli sprzyja zrozumieniu niedostępnych dla dzieci niewidomych pojęć.

EN

Access to performing arts, including theatre performances is particularly important in social activation as well as education and rehabilitation of people with visual impairments. Theatre workshops can give blind individuals an opportunity to develop a sense of complete and active participation in artistic activities. Theatre performance audio description helps blind people understand visual concepts that are otherwise difficult to comprehend.

17

Blended Learning in Audio Description Training

75%

Jankowska A.

Między Oryginałem a Przekładem

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2017

|

vol. 38

101-124

EN

This article is a practice report that discusses the course in audio description that was taught by the author of the articles in 2016/2017 at the Chair for Translation Studies and Intercultural Communication at the Jagiellonian University in Krakow by means of blended learning.

18

Kultura informacji osób z niepełnosprawnością wzroku w refleksji tyflologiczno-informatologicznej

75%

Czerwińska M.

Interdyscyplinarne Konteksty Pedagogiki Specjalnej

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2017

|

issue 18

29-52

PL

The subject of this paper is the specificity of the information space of persons with visual disabilities as a component of their information culture, according to the concept proposed by M. Kisilowska. Based on systematic analysis of documents and long years of participative observations, the deliberations focus on legal solutions governing the access of persons with visual disabilities to information, the navigation and cognition spheres of a blind information user and the specificity of providing information, in particular the Braille system, tactile graphics, audio description, alternative materials and augmentative technologies. The deliberations highlight obstacles in accessing information by persons with visual disabilities and suggest both practical solutions and research proposals for a complex analysis of the information culture of persons with visual disabilities in Poland.

19

AUDIODESKRYPCJA JAKO PUNKT WYJŚCIA DLA WIELOSENSUALNEGO POZNAWANIA HISTORII I SZTUKI – PROJEKT OBRAZY BEZ BARIER

75%

Wątrobiński D.

Ogrody Nauk i Sztuk

|

2019

|

issue 9

170-177

PL

Cel. Celem badania jest ukazanie dydaktycznego charakteru audiodeskrypcji, tj. jej zastosowania jako środka dydaktycznego w nauce niewidomej i niedowidzącej młodzieży. Audiodeskrypcja jest więc w tym kontekście rozumiana jako usługa oraz element wspierający naukę i poznawanie rzeczywistości. Metody badań. Po wprowadzeniu teoretycznym dotyczącym badań nad dydaktyką audiodeskrypcji (Zabrocka, 2014; Paplińska, 2016) oraz jej emocjonalizmem (Künstler, 2014), potencjał dydaktyczny audiodeskrypcji zostaje omówiony na przykładzie projektu Obrazy bez barier, zorganizowanego dla niewidomych i niedowidzących uczniów z wielkopolskiego ośrodka szkolno-wychowawczego. Celem projektu było udostępnienie niewidomym odbiorcom muzealnych eksponatów historii i sztuki. Młodzież wysłuchiwała w tym celu emocjonalnie zabarwionych audiodeskrypcji oraz uczyła się wielosensualnie, tj. poprzez różne kanały zmysłowe (słuch, dotyk, węch). Wyniki. Przeprowadzone w ramach projektu „Obrazy bez barier” zajęcia, warsztaty oraz odbyte wizyty w muzeach pokazały, że przemyślana audiodeskrypcja, ukierunkowująca niewidomych uczniów na wielosensualne poznawanie eksponatów i przedmiotów, jest znakomitym środkiem dydaktycznym. Młodzież ze specjalnymi potrzebami edukacyjnymi była przez cały czas zainteresowana przekazywanymi treściami, a ich prace artystyczne wykonane pod koniec projektu były złożone, bogate w szczegóły i nietuzinkowe, co świadczy o tym, że zebrane przez nich w trakcie projektu doświadczenia były równie wielobarwne. Wnioski. Warto tworzyć audiodeskrypcje zaangażowane, przemyślane i ukierunkowane na wielozmysłowość doświadczania sztuki i historii. Takie audiodeskrypcje powinny stanowić podstawowy środek dydaktyczny w nauce niewidomych uczniów.

EN

Aim of the study. The aim of the study is to show the didactic nature of audio description, i.e. its use as a didactic means in learning the blind and visually impaired youth. Audio description is in this context understood as a service and an element that supports learning and reality experience. Research method. After a theoretical introduction to research on teaching of audio description (Zabrocka, 2014; Paplińska, 2016) and its emotionalism (Künstler, 2014), the didactic potential of audio description is discussed on the example of the project "Images without barriers" organized for blind and visually impaired students. The aim of the project was to make museum and art exhibits accessible to blind recipients. The youth listened to this purpose emotionally colored audio description and learned in a multisensory way – through different sensory channels (hearing, touch, smell). Results. The classes, workshops and visits to the museums conducted as part of the project “Images without barriers” showed that thought-out and targeting blind students to multi-annual learning about exhibits and objects audio description is an excellent didactic tool. Young people with special educational needs were constantly interested in the content they were given, and their artistic work done at the end of the project was complex, rich in details and extraordinary, which means that the experiences they collected during the project were equally colorful. Conclusions. It is worth creating audio descriptions that are involved, thought out and oriented towards the multi-sensuality of experiencing reality. Such audio descriptions should be the basic didactic method in learning blind students.

20

Z obrazu na słowo. Kilka uwag o technice audiodeskrypcji

63%

Bolińska M.

Studia Socialia Cracoviensia

|

2014

|

issue 1(10)

169-180

PL

Audiodeskrypcja polega na podawaniu (bez interpretacji i komentarza) tego, co dzieje się na przykład w filmie lub spektaklu teatralnym między dialogami bohaterów, ale także na opisywaniu zabytków czy dzieł sztuki. Przekład treści obrazów na słowa, czyli inaczej werbalny opis warstwy wizualnej spektakli teatralnych, produkcji audiowizualnych, sztuk plastycznych oraz wydarzeń widowiskowych, sprawia, iż stają się one dostępne osobom niewidomym, ociemniałym i słabowidzącym. Audiodeskrypcja w Europie działa od lat 80. XX wieku. Od 2006 roku popularyzowana jest również w Polsce. W szkicu zostanie ukazana jej istota, zarysowana historia, zostaną omówione podstawowe założenia warsztatowe i rola w krzewieniu kultury.

EN

Audio description involves recounting (without interpretation and commentary) what is happening, for example, in a film or a theater play, in dialogues between characters, but it also attempts to describe the space, e.g.: monuments or works of art. Translation of visual content into words, or otherwise, verbal description of visible layers of plays, audiovisual productions, art and entertainment events makes them available to the blind and visually impaired as well as to those with poor eyesight. Audio description has been cultivated in Europe since the 1980s. Since 2006, it has been popularized in Poland too. In the sketch, we refer to the essence of audio description providing an overview of the history and discussing the basic workshop rules as well as its role culture promotion.

Refine search results

Emotionstransfer bei der Audiodeskription

Strategie opisu kulturemów w audiodeskrypcji

Emotywny odbiór audiodeskrypcji dzieła malarskiego Wassilego Kandinskiego

Audio description in puppet theatre for children – a case study

Book review : Dore, Margherita (2020). Humour in Audiovisual Translation: Theories and Applications. New York: Routledge.

Być czy nie być tłumaczem audiowizualnym w Polsce?

Audio Description for Voiced‑over Films: the Case Study of Big Fish

OPENArt - a Tool Supporting Education in the Field of Culture and Art

О интерсемиотической передаче комического в аудиодескрипции к советским кинокомедиям

Audio Description in Fine Arts

Tactile Perception of a Bas-relief. Audio Description as a Means to Make Art Available to the Blind. A Case Study

Transmettre aux aveugles le comique d’une production multimédia. Étude d’un cas

Podobieństwa i różnice w polskiej i zagranicznej audiodeskrypcji malarstwa. Na przykładzie porównania opisów obrazów Pabla Picassa Panny z Avignon i Dziewczyna z mandoliną

Intersemiotisches Übersetzen: Anmerkungen zur Audiodeskription aus einer übersetzungswissenschaftlichen Perspektive

Poetyka intersemiotyczna a dydaktyka literatury

NIEWIDOMY ODBIORCA SZTUKI – SPOŁECZNE, EDUKACYJNO-REHABILITACYJNE ZNACZENIE AUDIODESKRYPCJI PRZEDSTAWIEŃ TEATRALNYCH DLA OSÓB Z NIEPEŁNOSPRAWNOŚCIĄ WZROKU

Blended Learning in Audio Description Training

Kultura informacji osób z niepełnosprawnością wzroku w refleksji tyflologiczno-informatologicznej

AUDIODESKRYPCJA JAKO PUNKT WYJŚCIA DLA WIELOSENSUALNEGO POZNAWANIA HISTORII I SZTUKI – PROJEKT OBRAZY BEZ BARIER

Z obrazu na słowo. Kilka uwag o technice audiodeskrypcji