O som no cinema gera expectativas, guia o espectador através das imagens e molda a recepção das cenas (BORDWELL; THOMPSON, 2008). Para que o espectador surdo ou ensurdecido tenha acesso a esse input ao assistir a uma produção audiovisual, a legenda para surdos e ensurdecidos (LSE) traduz os efeitos sonoros dos filmes (ARAÚJO, 2004). Em busca de um modelo de LSE que supra as necessidades do público alvo, foi realizada uma pesquisa com 34 surdos brasileiros (ARAÚJO; NASCIMENTO, 2011; ARAÚJO ET AL, 2013). Os resultados sugeriram que as traduções existentes analisadas de efeitos sonoros confundiam o espectador ou não acrescentavam informações relevantes. Levando em consideração a importância do som no cinema, realizou-se uma pesquisa para observar como essas traduções ocorriam em três filmes brasileiros comercializados em DVD (NASCIMENTO, 2013). Os resultados mostraram que a maioria dos efeitos sonoros encontrados nos filmes da pesquisa foram legendados sem uma preocupação aparente de ligar o som à sua significação na trama. Assim, com o propósito de auxiliar os legendistas nessas traduções, esta pesquisa tem como objetivo principal convencionar legendas para efeitos sonoros, além de estabelecer algumas diretrizes para a tarefa de traduzir sons em palavras. Acredita-se, ainda, que o processo de padronização das legendas também tornaria mais acessível as legendas em língua portuguesa para o público-alvo, pois unidades convencionadas são lidas de forma mais rápida (WOOD, 2015). Para isso, foi coletado um corpus comparável que foi analisado com o auxílio do software WordSmith Tools. Para facilitar as análises com o software, as legendas dos filmes foram etiquetadas a partir de categorias de proveniência do som. Para os ruídos, apresentamse as seguintes etiquetas: sons produzidos pelo homem, sons produzidos por objeto, sons produzidos por animais, sons produzidos pela natureza, sons ficcionais e silêncio. Para as músicas, as etiquetas são: música de fosso e música de tela. Essas etiquetas foram utilizadas como nódulos de busca e possibilitaram encontrar relevantes dados numéricos, tais como as categorias mais frequentemente legendadas no corpus: sons produzidos pelo homem e música de fosso. Portanto, esses são os sons cujas traduções foram convencionadas nessa pesquisa. / The sound in the cinema creates expectations, guides the spectator through images, and shapes the reception of scenes (BORDWELL; THOMPSON, 2008). So that deaf and hard of hearing public may have access to this input when watching an audiovisual production, the subtitle for the deaf and hard of hearing (SDH) translates the movies sound effects (ARAÚJO, 2004). In search for a SDH model that meets the spectators needs, a research has been conducted with 34 Brazilians deaf subjects (ARAÚJO; NASCIMENTO, 2011; ARAÚJO ET AL, 2013). The results suggested that the existent sound effects translations would mislead the spectator or would not contribute with relevant information. Taking into account the importance of the sound in the cinema, another research has been conduct in order to analyze how translations of sound effect were made in three commercialized DVDs in Brazil (NASCIMENTO, 2013). The results showed that most sound effects in the films were translated without connecting them to their meanings within the movie plot. Thus, in order to help translators with these translations, this researchs main objective is to conventionalize sound effects subtitles and stablish some guidelines to the sound into words task. Furthermore, it is believed that conventionalizing subtitles could render them more accessible as conventionalized units are read faster than non-conventionalized (WOOD, 2015). Therefore, a comparable corpus was collected and analyzed by means of WordSmith Tools software. In order to render the analysis simpler, the corpus was tagged following categories defined by the sound provenience. The following tags were applied to noise: sound produced by men, sound produced by objects, sound produced by nature, sound produced by animals, fictional sounds and silence. To music, the tags were background music and screen music. These tags were used as search words and rendered possible find relevant data, such as the most frequently translated categories within the corpus, which are: sounds produced by men and background music. Therefore, these are the sound categories whose translations were conventionalized in this research.

O som no cinema gera expectativas, guia o espectador através das imagens e molda a recepção das cenas (BORDWELL; THOMPSON, 2008). Para que o espectador surdo ou ensurdecido tenha acesso a esse input ao assistir a uma produção audiovisual, a legenda para surdos e ensurdecidos (LSE) traduz os efeitos sonoros dos filmes (ARAÚJO, 2004). Em busca de um modelo de LSE que supra as necessidades do público alvo, foi realizada uma pesquisa com 34 surdos brasileiros (ARAÚJO; NASCIMENTO, 2011; ARAÚJO ET AL, 2013). Os resultados sugeriram que as traduções existentes analisadas de efeitos sonoros confundiam o espectador ou não acrescentavam informações relevantes. Levando em consideração a importância do som no cinema, realizou-se uma pesquisa para observar como essas traduções ocorriam em três filmes brasileiros comercializados em DVD (NASCIMENTO, 2013). Os resultados mostraram que a maioria dos efeitos sonoros encontrados nos filmes da pesquisa foram legendados sem uma preocupação aparente de ligar o som à sua significação na trama. Assim, com o propósito de auxiliar os legendistas nessas traduções, esta pesquisa tem como objetivo principal convencionar legendas para efeitos sonoros, além de estabelecer algumas diretrizes para a tarefa de traduzir sons em palavras. Acredita-se, ainda, que o processo de padronização das legendas também tornaria mais acessível as legendas em língua portuguesa para o público-alvo, pois unidades convencionadas são lidas de forma mais rápida (WOOD, 2015). Para isso, foi coletado um corpus comparável que foi analisado com o auxílio do software WordSmith Tools. Para facilitar as análises com o software, as legendas dos filmes foram etiquetadas a partir de categorias de proveniência do som. Para os ruídos, apresentamse as seguintes etiquetas: sons produzidos pelo homem, sons produzidos por objeto, sons produzidos por animais, sons produzidos pela natureza, sons ficcionais e silêncio. Para as músicas, as etiquetas são: música de fosso e música de tela. Essas etiquetas foram utilizadas como nódulos de busca e possibilitaram encontrar relevantes dados numéricos, tais como as categorias mais frequentemente legendadas no corpus: sons produzidos pelo homem e música de fosso. Portanto, esses são os sons cujas traduções foram convencionadas nessa pesquisa. / The sound in the cinema creates expectations, guides the spectator through images, and shapes the reception of scenes (BORDWELL; THOMPSON, 2008). So that deaf and hard of hearing public may have access to this input when watching an audiovisual production, the subtitle for the deaf and hard of hearing (SDH) translates the movies sound effects (ARAÚJO, 2004). In search for a SDH model that meets the spectators needs, a research has been conducted with 34 Brazilians deaf subjects (ARAÚJO; NASCIMENTO, 2011; ARAÚJO ET AL, 2013). The results suggested that the existent sound effects translations would mislead the spectator or would not contribute with relevant information. Taking into account the importance of the sound in the cinema, another research has been conduct in order to analyze how translations of sound effect were made in three commercialized DVDs in Brazil (NASCIMENTO, 2013). The results showed that most sound effects in the films were translated without connecting them to their meanings within the movie plot. Thus, in order to help translators with these translations, this researchs main objective is to conventionalize sound effects subtitles and stablish some guidelines to the sound into words task. Furthermore, it is believed that conventionalizing subtitles could render them more accessible as conventionalized units are read faster than non-conventionalized (WOOD, 2015). Therefore, a comparable corpus was collected and analyzed by means of WordSmith Tools software. In order to render the analysis simpler, the corpus was tagged following categories defined by the sound provenience. The following tags were applied to noise: sound produced by men, sound produced by objects, sound produced by nature, sound produced by animals, fictional sounds and silence. To music, the tags were background music and screen music. These tags were used as search words and rendered possible find relevant data, such as the most frequently translated categories within the corpus, which are: sounds produced by men and background music. Therefore, these are the sound categories whose translations were conventionalized in this research.

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.

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.

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Submitted by Jakeline Ortega (jakortega@unoeste.br) on 2017-07-21T13:34:11Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dilma Pereira dos Santos.pdf: 3316929 bytes, checksum: f23974c4aa0daa95988d34321b4e4e5f (MD5) / Made available in DSpace on 2017-07-21T13:34:11Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dilma Pereira dos Santos.pdf: 3316929 bytes, checksum: f23974c4aa0daa95988d34321b4e4e5f (MD5) Previous issue date: 2016-04-18 / The present dissertation was developed for the Master of Education degree at the Universidade do Oeste Paulista (Unoeste). The objective of this study was to investigate the influence of certain educational tools as pedagogical resources to promote the development of writing and reading comprehension skills in deaf, hard of hearing, and speech impaired students. This study is based on technological and human sociocultural theories which help one understand the process of learning the written and spoken Portuguese language. Additionally, it is also based on the ethical and legal guidelines that promote the use of educational tools as pedagogical resources in teaching deaf, hard of hearing, and speech impaired students. A group of six deaf, hard of hearing, and speech impaired students participated in this study. Their ages ranged from 9 to 10. These students were enrolled in a school that serves hearing and speech impaired students in Foz do Iguacu, Parana, Brazil. This qualitative study. As part of the methodology, the following took place: Structured diagnostic observation, collection of data produced by students, text interpretation, and verification of the quality of texts produced by the students. Next, the researcher applied intervention activities by using HagaQue, Tux Pent, and Scrapbooking which are tools that focus on writing and reading skills. A second evaluation was conducted to determine if any significant change was found in the students’ writing and reading comprehension skills. Results show the significance and validity of these educational tools as pedagogical resources to promote the development of writing and reading comprehension skills in deaf, hard of hearing, and speech impaired students. / A presente dissertação foi desenvolvida no Programa de Mestrado em Educação da Universidade do Oeste Paulista (Unoeste). A pesquisa tem como objetivo investigar a influência de Objetos de Aprendizagem como recurso pedagógico para promover o desenvolvimento da leitura e escrita para alunos com deficiência auditiva. Para fundamentação foram utilizadas bases teóricas voltadas ao sociointeracionismo no qual o humano e o tecnológico interagem no processo de aprendizagem da língua portuguesa escrita; bem como bases legais que sustentam o uso de objetos educacionais no desenvolvimento dos alunos com deficiência auditiva. Os sujeitos da pesquisa foram seis alunos com deficiência auditiva, entre 9 e 10 anos de idade; devidamente matriculados no ensino fundamental, no qual cursavam o quarto ano em uma escola em Foz do Iguaçu (PR). A pesquisa foi de cunho qualitativa. Como procedimentos metodológicos para coleta de dados promoveu-se observação estruturada diagnóstica, análise dos documentos da produção de textos desenvolvidos pelos alunos, a fim de verificar a qualidade da produção e interpretação textual. Em seguida, foram aplicadas atividades de intervenção com os objetos educacionais HagáQuê e Tux Paint que visavam à produção escrita e leitura. Uma segunda avaliação foi realizada para determinar se houve mudança quanto à produção da escrita e interpretação textual. Como resultado, verificou-se a importância e validade pedagógica de tais objetos educacionais no processo de ensino e aprendizagem da Língua Portuguesa para alunos com deficiência auditiva.

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The social work practice problem for this study was a lack of knowledge about social workers' experiences of working with deaf and hard of hearing people with mental illness. This study was needed to fill a practice gap by increasing an understanding of the experiences of social workers to inform best practices and address the needs of deaf and hard of hearing population through culturally and linguistically competent mental health services. The research questions focused on the experiences and challenges of social workers working with deaf and hard of hearing people and best practices identified by these social workers. Ecological systems theory was used to guide this study. Data were collected from a focus group comprising 9 social workers working with deaf and hard of hearing people with mental illness at a healthcare provider on the east coast of the United States that offered culturally and linguistically therapeutic services. Themes identified through thematic analysis of the data were cultural competence, empowerment and advocacy, professional education, and leadership to advance cultural competence. The findings of this study may be used to help healthcare providers identify key components of program design and service delivery that support culturally and linguistically competent mental health services for the population. This knowledge may also be used by social work practitioners and administrators to bring about positive social change by enhancing social work practice related to deaf and hard of hearing clients with mental illness, improving mental health outcomes, and supporting recognition of the importance of culturally and linguistically competent mental health services.