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1

Translation of Irony in the Hungarian Subtitles ofDownton Abbey

100%
Ajtony Z.
Acta Universitatis Sapientiae, Philologica
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2014
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vol. 6
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issue 2
197-210
EN
This paper proposes to analyse ironic utterances in the British TV series Downton Abbey (Season One) by comparing the English source text (ST) irony found in the script of the film to its subtitled variant of the Hungarian target text (TT). First the literature of the domain is surveyed in order to draw attention to the difficulty of rendering irony in audiovisual subtitles which emphasises that, as a multidisciplinary area, it involves not only audio and visual, but also verbal and non-verbal factors. This section is followed by a brief survey of irony theories highlighting the incongruence factor of irony, which also needs to be rendered in the TT After offering an outline of the story, several examples of ironic utterances are discussed, applying the dynamic equivalence method.
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Na(d)pisy teatralne – translacja pomiędzy sztuką a techniką

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Czubińska M.
Między Oryginałem a Przekładem
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2016
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vol. 31
153-166
EN
Surtitling, one of the multiple modern forms of stage translation, consists in the projection on a screen above the stage the text necessary for the understanding of the original drama. It is also a kind of hybrid form of translation situated between interpretation and translation and between audiovisual and literary translation. Based on the theatre semiotics, the author of this paper will determine the difference between surtitling and other forms of audiovisual translation and traditional theatre translation. The main purpose is to define phases of the work on the French version of surtitles for „(A)pollonia” – Polish drama directed by Krzysztof Warlikowski. As theatre art is always based on collaboration, we will determine and describe the contributions of the translator, director and surtitler to the final result – a play with surtitles.
3
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Kultowy film a przekład – za i przeciw

100%
Paszkowska A.
Studia Translatorica
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2020
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issue 11
127-135
EN
This article is devoted to the translation of the film “Sara” done using the voice-over technique and subtitles. The analysed film is one of the Polish classic film productions of the ‘90s. The peculiar character of film dialogues requires that the translator adopts translation techniques which do not conform with technical requirements for selected techniques that are applied in audio-visual translation. The viewer needs to have additional competences including the knowledge of linguistic norms, cinematographic traditions, customs, etc., in order to get a proper understanding of a specific scene.
4

Humor w badaniach nad przekładem

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Rębkowska A.
Romanica Wratislaviensia
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2016
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vol. 63
157-174
EN
Humour, manifesting itself at different semiotic levels of a text, is considered to be one of the most common translation challenges. However, previous studies dealing with translation of humour mainly consist of various aspects of translating humorous phenomena expressed themselves especially at the linguistic level. The aim of the article is to present the most important linguistic theories of humor (structural isotopy, semantic theory of scripts, the general theory of verbal humor, humor seen as a violation of the conversational maxims or as the game with implicatures), as well as some observations in the field of translation studies, and subsequently to develop describing tools for the translation of humorous phenomena in audiovisual texts.
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Difficulties in Translation of a TV Series Community by Dan Harmon and Proposals of their Solution

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Drab E.
Między Oryginałem a Przekładem
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2014
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vol. 23
45-60
EN
In the text are presented the pitfalls and translational traps related to the understanding of cultural background of the audiovisual material, in this particular case a sitcom called Community. At the beginning of the text the specificity of audiovisual translation is described as well as the list of strategies applicable in written translation and in audiovisual translation exclusively. Next, the cultural value of the material and the translator’s cultural knowledge are pointed to as to elements influencing the quality of the translation. The last part of the article reveals a classification and a detailed analysis of the series in question.
6
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Comment la présence de l’image influence-t-elle les décisions du traducteur? Étude des relations du couple mot/image dans la traduction filmique

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Borowczyk P.
Studia Romanica Posnaniensia
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2021
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vol. 48
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issue 4
51-64
EN
The audiovisual text constitutes an inherent and obvious whole, the components of which, being linked to each other and entering into different types of relations and interactions, contribute to the construction of its meaning. This article presents a study of cases where visual information influences decisions made by the translator and ultimately sometimes changes the translation of dubbed dialogues. In the analysis, the following examples are distinguished:– those in which, under the influence of the image, the translator modifies the source text (compared to the original version) by adapting it to the visual contents of the audiovisual document, or by adding information to the target text;– one in which, under the influence of the image, both the author of the original version and the translator modify one of the elements of a given idiomatic expression.In this regard, contemporary computer-animated films (such as « Shrek 2 », « Madagascar » and « Monsters, Inc. »), aimed at all types of audiences and translated for dubbing, where the visual component plays a prominent role, represent interesting cases.
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Bonchoir, biloute! L’hétérolinguisme comme source d’humour dans Bienvenue chez les Ch’tis et dans sa version polonaise

100%
Rębkowska A.
Między Oryginałem a Przekładem
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2014
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vol. 23
169-188
EN
Both in the novel and in the film, the use of language variation may serve different purposes. Using examples from the comedy Bienvenue chez les Ch’tis and its Polish translation, the article examines humourous effects created by highlighting some of the phonetic and lexical features of ch’ti variation and the ways these effets are handled in polish translation of the movie.
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Audio description in puppet theatre for children – a case study

88%
Kiser N.
Między Oryginałem a Przekładem
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2017
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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.
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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
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vol. 10
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issue 2
162-165
10

Dubbing Dark Humour: A Case Study in Audiovisual Translation

88%
Bucaria C.
Lodz Papers in Pragmatics
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2008
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vol. 4
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issue 2
215-240
EN
In an attempt to analyze the ways in which dark humour travels cross-culturally in audiovisual translation, the present study takes into consideration the processes involved in dubbing humour from English into Italian as observed in the English- and Italian-language versions of ten British and American dark comedies from the 1940s to the 2000s. In order to identify some of the main mechanisms of the dark humour genre, the humorous content of the films was analyzed in terms of the elements on which specific scenes are based, mainly the non-verbal and verbal components. In the cases in which verbal elements were involved, i.e. the examples of verbally expressed humour, the analysis was concerned with the translation strategies adopted and with possible effects of alteration of the dark humour content as a result of translation.
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Intersemiotischer Charakter des Films „Er ist wieder da“ am Beispiel vielerlei Übersetzungsstrategien

88%
Kminikowski M.
Linguistische Treffen in Wrocław
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2022
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issue 21
347-360
EN
In this article subtitling and the resulting from it translation strategies are analysed. The article puts the main emphasis, on the one hand, on the technical restrictions, the resulting from it need to shorten, con- dense and simplify the text, and the translation strategies used for this purpose according to Gottlieb, Chesterman, Tomaszkiewicz and Belczyk, e.g.: deletion, condensation, omission, numbers, decimation, paraphrasing, simple syntaxis, etc. On the other hand, it deals with the translation of culture-related components, based on such strategies: omission, literal translation, borrowing, adaptations, substitu- tion of Culture-Specifics, generalization, translation of black humour, explications/explanations. The German-Polish subtitling of the movie „Er ist wieder da“ (2015) served as a case study, from which many examples illustrate the discussed phenomena. The aim of this paper is to examine the translated linguistic-cultural-comic triad, taking into account the strategies used in translation. Based on the multidimensional (at syntactic-semantic-pragmatic level) analysis of the original and its translation, these results point to possible that the translator faced seemingly insurmountable hurdles. In order to translate equivalently, he had to make use of many different word combinations. Thanks to numerous examples of text condensation strategies, it can be stated that many movie scenes can be translated intersemiotically. Many omissions that were made could be compensated without problems by means of image and/or sound, so that it is unnoticeable for the viewer at semantic-trans-cultural level.
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Dowcipy (audio)wizualne w sitcomach amerykańskich

88%
Proczkowska K.
Studia Translatorica
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2019
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issue 10
147-160
EN
This paper deals with visual jokes consisting of aural verbal part and visual (non)verbal part that can be found e.g. in US-American sitcoms such as “Friends”, “The Big Bang Theory”, and “How I Met Your Mother”. The first part of the paper characterises audiovisual works in general, taking into consideration relations between visual and aural channel. Then, the characteristics of voice-over translations are described. The main part of the paper analyses chosen examples of the visual jokes and their official Polish translations. It is of main interest to see whether the analysed fragments have the same function, i.e. humorous function, also in the target version, and if the relations between the visual and the aural channel were respected by the translator.
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Cognitive load in intralingual and interlingual respeaking – a preliminary study

88%
Szarkowska A., Krejtz K., Dutka Ł., Pilipczuk O.
Poznań Studies in Contemporary Linguistics
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2016
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vol. 52
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issue 2
209-233
EN
In this paper we present preliminary results of the study on the cognitive load in intralingual and interlingual respeaking. We tested 57 subjects from three groups: interpreters, translators and controls while respeaking 5-minute videos in two language combinations: Polish to Polish (intralingual) and English to Polish (interlingual). Using two measures of cognitive load: self-report and EEG (Emotiv), we found that in most cases cognitive load was higher in interlingual respeaking. Self-reported mental effort that the participants had to expend to complete the respeaking tasks was lower in the group of interpreters, suggesting some parallels between interpreting and respeaking competences. EEG measures showed significant differences between respeaking tasks and experimental groups in cognitive load over time.
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Bella signora dai capelli turchini czy może o kruczoczarnych włosach – przekład nazw własnych w polskiej wersji dubbingowej Pinocchia Roberta Benigniego

88%
Król-Gierat W.
Między Oryginałem a Przekładem
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2014
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vol. 23
125-141
EN
The translation of proper names depends to a great extent on cultural marking, on the specific connotations they may evoke. The role played by each character is also important in films targeted mainly at children. The present article is an analysis of the translation of anthroponyms and toponyms in the Polish dubbed version of Roberto Benigni’s Pinocchio. This film adaptation is a perfect example of a living myth whose original colour is getting blurred.
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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
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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.
16
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Peut-on traduire une image? Implications de la créativité dans la traduction de textes audiovisuels

88%
de los Reyes Lozano J., Chaume F.
Studia Romanica Posnaniensia
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2021
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vol. 48
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issue 4
35-49
EN
Multimodality is an integral characteristic of Audiovisual Translation. Regardless of type and genre, audiovisual texts (i.e. film, TV series, videogame) are above all semiotic constructs comprising several signifying codes that operate simultaneously in the production of meaning. While audiences mechanically receive and interpret the information transmitted by each of these codes and signs, audiovisual translators must know their functioning and consider their possible impact on translation operations. In this context, images represent one of the major challenges to ensure coherence within audiovisual translation. This paper sets out to explore the main strategies used to explicit iconographic information in the target text. These practices typically involve, but are not limited to, the inclusion of linguistic signs related to the icon as well as the inclusion of signs belonging to other meaning codes, thanks to the possibilities that new technologies and digitalization now offer. Linked to the notions of transcreation and localization, these help target audiences fill gaps in the understanding of audiovisual texts, but also promote overtranslation. This may lead to an extreme domestication, a phenomenon in which foreign cultures would be erased. In this regard, we wonder if such practices will not assume a paternalistic approach to target audiences.
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Misgendered in Translation?: Genderqueerness in Polish Translations of English-language Television Series

88%
Szymon M.
Anglica. An International Journal of English Studies
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2020
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issue 29/2
165-185
EN
In recent years, the English-speaking world observed growing awareness of the gender non-binary/genderqueer community. Among other things, this involved the issue of in- clusive language, e.g. the singular they pronoun has been declared the word of the year by the American Dialect Society in 2015, and by Merriam-Webster in 2019. There is also growing media representation of characters using singular they in popular culture. This, however, poses a challenge to translators, as some languages – like Polish – are much more heavily gendered and lack an obvious equivalent of singular they. This article analy- ses Polish translations of three English-language television series featuring non-binary characters and discusses good practices one can employ when dealing with similar trans- lation challenges.
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La redéfinition des rôles du traducteur de théâtre face à l’essor du surtitrage

87%
Czubińska M.
Studia Romanica Posnaniensia
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2018
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vol. 45
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issue 4
47-60
EN
During the first two decades of the twenty-first century, we can observe an unprecedented shift in the practice of theatrical translation and a revision of the role of the theater translator. Nowadays, scenic translation methods, including surtitling, put in question the traditional perception of the key concepts of translatology such as translator, equivalence, translation process and methods or even the text. In this paper, based on the theoretical works, the voices of the researchers and theater professionals, the author discusses the status and roles of the theatrical translator as well as the challenges of his activity in the context of the modern theories of theater translation.
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L’exploitation de la multimodalité du message filmique dans le sous-titrage

76%
Borowczyk P.
Studia Romanica Posnaniensia
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2016
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vol. 43
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issue 1
3-15
EN
Audiovisual programs are meant to be seen and heard simultaneously. Screen translators have to take the verbal, acoustic and visual elements of audiovisual works into consideration. However they translate only the verbal content of the message. In the following article we focus on one of the main modalities for audiovisual translation, namely the subtitling. Our aim is to describe the specificity of screen translation and to think about the impact of subtitling process on the final product, that is on translation. We will show how translators take advantage of the presence of the verbal (dialogues) and the visual (screen) codes with the aim of reducing an original text.
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Senior Citizens as an Underresearched Age Group of Audiovisual Translation Users

75%
Szkriba S.
Półrocznik Językoznawczy Tertium
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2021
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vol. 6
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issue 2
170-193
PL
W ostatnich latach zauważalna jest zmiana podejścia do usług oferowanych w ramach przekładu audiowizualnego i dostępności mediów. Zamiast skupiać się na konkretnej grupie widzów, widoczne jest dążenie do bardziej uniwersalnych rozwiązań, które brałyby pod uwagę odbiorców o różnej charakterystyce. Zgodnie z tym podejściem niektórzy badacze sugerują na przykład, że napisy dla niesłyszących (SDH) czy aplikacje dostępnościowe stworzone z myślą o osobach niewidomych mogłyby być użyteczne także dla osób starszych. U tej grupy widzów mogą występować typowe dla starzenia zmiany w narządach zmysłu czy obniżenie sprawności poznawczej, co może mieć istotny wpływ na proces oglądania filmów oraz preferowaną metodę tłumaczenia. Biorąc pod uwagę starzenie się populacji wielu krajów, można założyć, że osoby starsze stanowią ważną część grupy potencjalnych klientów kin. Niestety niewiele wiadomo na temat konkretnych potrzeb i preferencji osób starszych związanych z przekładem audiowizualnym, ponieważ dotychczasowe badania skupiały się na młodszych widzach. Celem tego artykułu jest krótkie scharakteryzowanie osób starszych jako odbiorców przekładu audiowizualnego oraz omówienie tematów, jakie mogą podjąć przyszłe badania nad tą grupą widzów.
EN
In recent years, approaches to audiovisua translation and media accessibility services have shifted from serving one group of viewers only towards a more universal design that takes into account a wider range of users. In line with that approach, some scholars point out, for example, that subtitling for the deaf and hard of hearing (SDH) or accessibility applications created with the blind and partially-sighted in mind could prove beneficial to senior citizens. This group of viewers is likely to experience age-related sensori-motor and cognitive decline, which may significantly influence their film-watching experience as well as their preference for an AVT method. As populations in many countries are aging, senior citizens might be considered an important part of potential cinema clientele. Unfortunately, since studies in AVT have concentrated on younger audiences, little is known about senior citizens’ specific preferences concerning audiovisual translation. The objective of this article is to briefly characterise senior citizens as recipients of audiovisual translation and discuss the possibilities for future studies on the subject.
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