This study is aimed at integrating theory and practice in the training of subtitlers in South Africa. In spite of the apparent benefits of subtitling for South Africa (improved access to information for viewers with impaired hearing and non-first language speakers of English, raised literacy levels and the promotion of language acquisition), subtitling has not been implemented on a large scale. However, there does seem to be a higher incidence of subtitling on SABC television, albeit of an uneven quality. This study attempts to define the parameters for the training of subtitlers in order to provide in the demand for this type of language transfer. Although the demand is as yet non-existent, PANSALB recognises subtitling as a valid way of addressing a number of language-related problems. In anticipation of the large-scale implementation of subtitling, it is worth initiating training for subtitlers who will be able to supply in this demand in a professional way when it does occur. Subtitler training needs to be firmly rooted in the user needs of South African viewers. Chapter 1 provides an analysis of the needs of viewers with impaired hearing (including pre-lingual and post-lingual deafness), viewers with low literacy levels, as well as viewers who are non-first language speakers of English. The needs of these groups are defined in terms of reading rate, access to non-linguistic audio elements, language structures, phoneme-grapheme correlation, translation, and vocabulary. Chapter 2 investigates existing subtitler courses in other (predominantly developed) countries. Aspects that shape these courses include the national context of subtitling, training aims, academic level, duration, course content, subtitling software and equipment used, practicum, entry levels, candidates envisaged, and the (non) use of scripts. The courses range from vocational to academic-theoretical. Chapter 3 proposes an outline for a South African curriculum for the training of subtitlers by integrating the domestic user-based parameters (chapter 1) and the aspects that shape existing courses in other countries (chapter 2). The curriculum is defined in terms of outcomes that are broken down into knowledge and skills required for their attainment. Chapter 4 addresses a perceived lack in existing subtitling theory, namely the absence of a model for balancing equivalence and condensing. The chapter proposes a semiotic model for subtitling that is aimed at providing a framework for South African subtitlers, as well as contribute to the international debate on equivalence in subtitling. / Thesis (Ph.D. (English))--North-West University, Vaal Triangle Campus, 2005.

The purpose of this study was to examine the role that the use of subtitling can play as an aid in academic literacy (AL) programmes, particularly against the background of insufficient AL levels at the University of Buea (UB) and elsewhere. Essentially, the study wanted to investigate whether the AL levels of freshmen at UB would improve significantly if they were to be exposed to subtitled popular television programmes (dramas and documentaries) over a period of one academic semester, compared to the AL levels of students who were not exposed to these programmes. The literature survey provided an overview of the field of AL at tertiary level as well as of the use of subtitling in an educational context, clarifying the relevant terminology related to AL, and also investigating other studies that have been done on the benefits of the mode. The survey also investigated the language policy in Cameroon and specifically at UB. Apart from determining whether exposure to subtitled programmes has a positive effect on AL levels, the study also sought to establish which specific areas of AL are improved by exposure to subtitling (if any), and whether the choice of genre (drama or documentary) or the medium of prior learning of participants (English or French) has an impact on AL levels in English. In order to determine the above, the study exposed four test groups enrolled for the UB AL course to popular television programmes over a period of 12 weeks or one academic semester. Two of these groups saw dramas (one with subtitles and the other without) and two saw documentaries (one with subtitles and the other without). A fifth group was used as control group and did not watch any film. The data used was collected from the Test of Academic Literacy Levels (TALL) used as pre-test and post-test, questionnaires, interviews and observations. The study concluded that: 1. In terms of overall improvement, even though there was statistically significant improvement in all test groups (in the case of the weighted data), the improvement of the groups that saw subtitled films was statistically highly significant and had large practical significance. This indicates that the AL levels of the two groups that saw subtitled film improved more than those of the two other groups when compared to the control group. 2. Specific areas of statistically significant AL improvement revealed by the experiment were academic vocabulary, text comprehension and text editing abilities, as a result of exposure to subtitled film (and in certain cases exposure to film without subtitles). 3. The study found no statistically significant difference between the improvement of the two groups that saw subtitled film, indicating that either genre could be used for this purpose. 4. It would also seem that Anglophone and Francophone students benefited equally from exposure to subtitled film. On the basis of these findings, a model was designed for the implementation of subtitling as an integrated aid in AL programmes at tertiary institutions. This model provides for a general and specific integration of subtitled audiovisual material. The former has been used successfully in this study at UB, and it should be possible to make use of the general application of this model with similar levels of success at other tertiary institutions. The use of the latter (applying the model for specific integration) focuses on institutions with discipline-based AL interventions or specific AL purposes. It is important, however, that the model proposed in this study is further refined by ongoing research on its implementation. / Thesis (Ph.D. (Lanuage Practice))--North-West University, Vaal Triangle Campus, 2010.

This study is aimed at integrating theory and practice in the training of subtitlers in South Africa. In spite of the apparent benefits of subtitling for South Africa (improved access to information for viewers with impaired hearing and non-first language speakers of English, raised literacy levels and the promotion of language acquisition), subtitling has not been implemented on a large scale. However, there does seem to be a higher incidence of subtitling on SABC television, albeit of an uneven quality. This study attempts to define the parameters for the training of subtitlers in order to provide in the demand for this type of language transfer. Although the demand is as yet non-existent, PANSALB recognises subtitling as a valid way of addressing a number of language-related problems. In anticipation of the large-scale implementation of subtitling, it is worth initiating training for subtitlers who will be able to supply in this demand in a professional way when it does occur. Subtitler training needs to be firmly rooted in the user needs of South African viewers. Chapter 1 provides an analysis of the needs of viewers with impaired hearing (including pre-lingual and post-lingual deafness), viewers with low literacy levels, as well as viewers who are non-first language speakers of English. The needs of these groups are defined in terms of reading rate, access to non-linguistic audio elements, language structures, phoneme-grapheme correlation, translation, and vocabulary. Chapter 2 investigates existing subtitler courses in other (predominantly developed) countries. Aspects that shape these courses include the national context of subtitling, training aims, academic level, duration, course content, subtitling software and equipment used, practicum, entry levels, candidates envisaged, and the (non) use of scripts. The courses range from vocational to academic-theoretical. Chapter 3 proposes an outline for a South African curriculum for the training of subtitlers by integrating the domestic user-based parameters (chapter 1) and the aspects that shape existing courses in other countries (chapter 2). The curriculum is defined in terms of outcomes that are broken down into knowledge and skills required for their attainment. Chapter 4 addresses a perceived lack in existing subtitling theory, namely the absence of a model for balancing equivalence and condensing. The chapter proposes a semiotic model for subtitling that is aimed at providing a framework for South African subtitlers, as well as contribute to the international debate on equivalence in subtitling. / Thesis (Ph.D. (English))--North-West University, Vaal Triangle Campus, 2005.

The purpose of this study was to examine the role that the use of subtitling can play as an aid in academic literacy (AL) programmes, particularly against the background of insufficient AL levels at the University of Buea (UB) and elsewhere. Essentially, the study wanted to investigate whether the AL levels of freshmen at UB would improve significantly if they were to be exposed to subtitled popular television programmes (dramas and documentaries) over a period of one academic semester, compared to the AL levels of students who were not exposed to these programmes. The literature survey provided an overview of the field of AL at tertiary level as well as of the use of subtitling in an educational context, clarifying the relevant terminology related to AL, and also investigating other studies that have been done on the benefits of the mode. The survey also investigated the language policy in Cameroon and specifically at UB. Apart from determining whether exposure to subtitled programmes has a positive effect on AL levels, the study also sought to establish which specific areas of AL are improved by exposure to subtitling (if any), and whether the choice of genre (drama or documentary) or the medium of prior learning of participants (English or French) has an impact on AL levels in English. In order to determine the above, the study exposed four test groups enrolled for the UB AL course to popular television programmes over a period of 12 weeks or one academic semester. Two of these groups saw dramas (one with subtitles and the other without) and two saw documentaries (one with subtitles and the other without). A fifth group was used as control group and did not watch any film. The data used was collected from the Test of Academic Literacy Levels (TALL) used as pre-test and post-test, questionnaires, interviews and observations. The study concluded that: 1. In terms of overall improvement, even though there was statistically significant improvement in all test groups (in the case of the weighted data), the improvement of the groups that saw subtitled films was statistically highly significant and had large practical significance. This indicates that the AL levels of the two groups that saw subtitled film improved more than those of the two other groups when compared to the control group. 2. Specific areas of statistically significant AL improvement revealed by the experiment were academic vocabulary, text comprehension and text editing abilities, as a result of exposure to subtitled film (and in certain cases exposure to film without subtitles). 3. The study found no statistically significant difference between the improvement of the two groups that saw subtitled film, indicating that either genre could be used for this purpose. 4. It would also seem that Anglophone and Francophone students benefited equally from exposure to subtitled film. On the basis of these findings, a model was designed for the implementation of subtitling as an integrated aid in AL programmes at tertiary institutions. This model provides for a general and specific integration of subtitled audiovisual material. The former has been used successfully in this study at UB, and it should be possible to make use of the general application of this model with similar levels of success at other tertiary institutions. The use of the latter (applying the model for specific integration) focuses on institutions with discipline-based AL interventions or specific AL purposes. It is important, however, that the model proposed in this study is further refined by ongoing research on its implementation. / Thesis (Ph.D. (Lanuage Practice))--North-West University, Vaal Triangle Campus, 2010.

Contemporary scholars have been studying audiovisual translation for the past twenty years. However, health communication has never yet been included as a part of the audiovisual material under discussion. The goal of this thesis is to create Russian subtitles for the deaf and hard of hearing from the original English version of The Three Amigos, a series of PSAs (Public service announcements) regarding the prevention of HIV/AIDS, and to analyse and discuss the theoretical and practical aspects of this work. After analysing the current situation on HIV/AIDS in Russia and Belarus, I use this series entitled The Three Amigos as an example of health communication that works, and therefore, should be accessible to more viewers. The thesis is organised into three chapters. Following a general introduction, Chapter 1 discusses health communication, presents statistics on HIV/AIDS in Russia and Belarus, and provides an example of health communication that fulfills its functions – public service announcements on HIV/AIDS prevention in the form of The Three Amigos. Chapter 2 discusses the necessity of subtitling for the target audience, and emphasises the fact that people with hearing impairment need special subtitles that differ from the ones that are suitable for viewers without hearing impairment. Chapter 3 contains the analysis of the subtitles for the deaf and hard of hearing that I created for this project. Finally, the conclusion summarises the findings of this research, and addresses possible directions for future projects on this topic.

The purpose of this thesis is to explore how the approaches identified for the translation of Taiwanese Mandarin dialogues into English subtitles is different from those described in research studies which examined the translation of English film dialogues into Mandarin subtitles using data gathered from a Taiwanese movie entitled Cape No. 7. Taiwanese Mandarin is significantly influenced by the Tai-yu dialect, and in order to carry out the translation of Taiwanese Mandarin, it is important to deal with the functions of the dialect and related culture-specific items (CSIs). Therefore, the researcher of this thesis has investigated whether the translator of Cape No. 7 successfully applied a variety of translation strategies and prioritized the translation criteria well, to enable the target audience to receive the same message of the film as the source audience, especially when subtitling is constrained by time and space. There are two research areas which have been examined: slang and humour. The data analysis of slang scenes included Tai-yu slang and swearing, while humorous scenes were divided into three areas: puns, irony and metaphor. The research data have been analysed by means of analysis diagrams, which were trialled in a pilot study, described in Chapter Three. The pilot study lead to a new categorization based on previous researchers’ taxonomies (Aixelá, 1996; Davies, 2003; Tveit and Fong 2005, as cited in Yang, 2006), and this was applied to the analysis diagrams. According to the findings from the analysis chapters (Chapter Four & Five), the translator of Cape No. 7 preferred to use mostly the paraphrasing strategy in translating Tai-yu slang and humour, and the synonymy strategy in conveying swearing. In addition, the translator often strengthened swear words rather than toning them down in the English subtitles. However, when subtitling humorous scenes, the translator preferred to incorporate two strategies to deal with the cultural barriers when conveying the humorous effect. The compensation strategy was not used often in slang translation. In regard to the translation criteria, pragmatics and accuracy appeared to have been deemed more important by the translator than other criteria. Surprisingly functional equivalence did not seem to have been the translator’s first priority, as suggested by earlier research. Overall, this research study appeared to show that the translator of Cape No. 7 considered the paraphrase strategy to be the most efficient strategy for maintaining CSIs, and that pragmatics and accuracy were the translator’s most important criteria, which differs from the findings of previous research studies.

The purpose of this thesis is to explore how the approaches identified for the translation of Taiwanese Mandarin dialogues into English subtitles is different from those described in research studies which examined the translation of English film dialogues into Mandarin subtitles using data gathered from a Taiwanese movie entitled Cape No. 7. Taiwanese Mandarin is significantly influenced by the Tai-yu dialect, and in order to carry out the translation of Taiwanese Mandarin, it is important to deal with the functions of the dialect and related culture-specific items (CSIs). Therefore, the researcher of this thesis has investigated whether the translator of Cape No. 7 successfully applied a variety of translation strategies and prioritized the translation criteria well, to enable the target audience to receive the same message of the film as the source audience, especially when subtitling is constrained by time and space. There are two research areas which have been examined: slang and humour. The data analysis of slang scenes included Tai-yu slang and swearing, while humorous scenes were divided into three areas: puns, irony and metaphor. The research data have been analysed by means of analysis diagrams, which were trialled in a pilot study, described in Chapter Three. The pilot study lead to a new categorization based on previous researchers’ taxonomies (Aixelá, 1996; Davies, 2003; Tveit and Fong 2005, as cited in Yang, 2006), and this was applied to the analysis diagrams. According to the findings from the analysis chapters (Chapter Four & Five), the translator of Cape No. 7 preferred to use mostly the paraphrasing strategy in translating Tai-yu slang and humour, and the synonymy strategy in conveying swearing. In addition, the translator often strengthened swear words rather than toning them down in the English subtitles. However, when subtitling humorous scenes, the translator preferred to incorporate two strategies to deal with the cultural barriers when conveying the humorous effect. The compensation strategy was not used often in slang translation. In regard to the translation criteria, pragmatics and accuracy appeared to have been deemed more important by the translator than other criteria. Surprisingly functional equivalence did not seem to have been the translator’s first priority, as suggested by earlier research. Overall, this research study appeared to show that the translator of Cape No. 7 considered the paraphrase strategy to be the most efficient strategy for maintaining CSIs, and that pragmatics and accuracy were the translator’s most important criteria, which differs from the findings of previous research studies.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-05-16T11:06:11Z No. of bitstreams: 2 Paula Queiroz Dutra P2.pdf: 2766888 bytes, checksum: e5a03cba7c22ad75ea704611c4613418 (MD5) Paula Queiroz Dutra P1.pdf: 4701850 bytes, checksum: 65dec920916566cce3c8ce3511209712 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-16T18:03:03Z (GMT) No. of bitstreams: 2 Paula Queiroz Dutra P2.pdf: 2766888 bytes, checksum: e5a03cba7c22ad75ea704611c4613418 (MD5) Paula Queiroz Dutra P1.pdf: 4701850 bytes, checksum: 65dec920916566cce3c8ce3511209712 (MD5) / Made available in DSpace on 2013-05-16T18:03:04Z (GMT). No. of bitstreams: 2 Paula Queiroz Dutra P2.pdf: 2766888 bytes, checksum: e5a03cba7c22ad75ea704611c4613418 (MD5) Paula Queiroz Dutra P1.pdf: 4701850 bytes, checksum: 65dec920916566cce3c8ce3511209712 (MD5) Previous issue date: 2008 / Este estudo examina a tradução de humor nas legendas sob uma perspectiva descritiva. Através da análise das duas traduções brasileiras de 15 episódios do seriado norte americano Sex and the City, a do canal Multishow da TV por assinatura, realizada por Daniela P.B. Dias, e a dos DVDs da série vendidos no Brasil, cujo tradutor permanece desconhecido, procurou-se descrever e comparar as estratégias tradutórias utilizadas para a reconstrução do humor verbal e visual dos episódios em português. No seriado, observamos dois tipos principais de humor: o humor universal, pela temática de relacionamentos, e o humor local, baseado em referências à cultura americana. Os gatilhos de humor mais comumente encontrados nos exemplos selecionados foram jogos de palavras e comentários espirituosos e irônicos, com muitas ocorrências desses referentes culturais como elemento principal para acionar o humor. Considerando as especificidades desse tipo peculiar de tradução audiovisual que é a legendagem e o desafio que a tradução de humor sempre representou, este estudo apresenta reflexões sobre a prática de legendagem associada à tradução de humor na TV e no DVD, uma lacuna nos estudos realizados até o momento no Brasil. A pesquisa demonstrou que há uma maior formalização do estilo nas legendas do DVD, por meio de omissões e minimizações de palavrões e referências sexuais, do uso de pronomes oblíquos e de estruturas sintáticas mais formais, o que até certo ponto compromete a recriação do humor e a representação do coloquialismo dos diálogos de partida. Na TV também há minimizações, mas em menor grau do que no DVD, enquanto que os empréstimos ocorrem em um maior grau. Observamos também a tendência das legendas do DVD serem mais longas do que as da TV, o que deve ser levado em conta na análise comparativa entre as duas versões, já que o número de caracteres pode limitar a possibilidade de recriação do tradutor. De um modo geral, a versão televisiva revela uma maior liberdade do tradutor, com um maior número de adaptações e, por isso, legendas mais criativas em termos de humor. / Salvador

Orientador: Carmen Zink Bolognini / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-06T19:41:36Z (GMT). No. of bitstreams: 1 Mello_GianaMariaGandiniGianide_D.pdf: 530169 bytes, checksum: 6ca1a0d2dfcab8e1b4faea20eb050f94 (MD5) Previous issue date: 2005 / Resumo: Este trabalho pretende mostrar o papel participativo do tradutor na produção de legendas de filmes. A partir de trechos dos filmes O Auto da Compadecida, com legendas em inglês, e A Outra, com legendas em português, contrastamos aspectos dos filmes em língua original e as respectivas traduções com o objetivo de apresentar as diferenças de interpretação dos tradutores. Os trabalhos sobre legendagem, como mostramos, buscam reproduzir os sentidos dos diálogos originais, supostamente imutáveis e estáveis, nas legendas traduzidas, buscando sempre a não-diferença entre original e tradução. O tradutor teria como obrigação resgatar as intenções do autor das falas e colocá-las nas legendas. Em direção oposta, partimos do princípio de que toda leitura/interpretação denuncia sua origem, contexto, história e circunstâncias de produção. Assim, o tradutor não escapa de suas características mais singulares e as leva para a tradução de legendas, imprimindo, inevitavelmente, um viés, um contorno, uma particularidade que influencia o resultado final do texto das legendas. Pretendemos mostrar, então, que para o espectador que não compreende a língua original, as legendas apresentam o enredo, os personagens, o filme conforme os olhos de cada tradutor / Doutorado / Teoria, Pratica e Ensino da Tradução / Doutor em Linguística Aplicada

M.A. (Applied Linguistics and Literary Theory) / Fan subtitling, or fansubbing, has become a new form of subtitling, in which fans, often with little to no training, subtitle a film or series they enjoy, and then release the subtitles or a subtitled version of the film on the internet for free download, often by other fans, who often have an interest in the source language and culture and who may have an interest in using subtitles as a language-learning device. Subtitles produced for this fan audience can differ substantially from those created in a professional environment. For this reason, fansubs could be seen as a new genre of subtitling, employing strategies that would be unacceptable in a professional subtitled product aimed at general consumption. Professional subtitlers and translators are encouraged to follow the norms or ‘best practice’ of their industry in order to produce subtitles that are consistent, of a high quality and that have been made easy to process through methods such as length reduction and domestication. Fansubbers have no such imperatives imposed on their subtitles, being mostly self-taught and often judged by their peers and viewers on the ‘authenticity’ of their translations, rather than by other professionals and their standards. This creates an environment in which more creative translation strategies and presentation become possible, in order to create a translation that will be approved of by fans with a special interest in linguistic and cultural content. This need for the appearance of faithfulness or authenticity seems to result in a more source-oriented and complete translation approach, and a corpus-based investigation of French fansubs appears to confirm this. This dissertation attempts to explore the differences found in the two genres by analysing and comparing a translational corpus of professionally-produced and fanproduced English subtitles of French films. The average length of the subtitles and instances of discourse markers in the two sets of subtitles are compared in order to determine the degree of reduction found in each type of subtitle, and from the source to target culture. The translation strategies used in the two types of subtitling differ, with the fansub opting for a more complete rendering of the source text dialogue and a more source-oriented approach, which retains elements of spoken language found in the film dialogue. It appears that the differences between the target texts may be influenced by very different contexts in which they are produced, and possibly the differing needs and expectations of the audiences of the two genres.