Adaptation : une ambiguïté à interroger

Gambier, Yves

doi:10.7202/002802ar

Cited by 22 publications

(17 citation statements)

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“…Another paradox marks the use of the label "adaptation" in relation to that of translation: We talk of adaptation when the number and the type of transformations of SL are so numerous that they necessitate rewriting, assimilation to the norms, conventions, and the values of the target language and culture. Implicitly, translation, according to Gambier (1992), could thus be defined as a "literal effort, a mimesis of the original" (p. 421). So, on the one hand, translation sticks to literality, and on the other, "it changes into adaptation as soon as its target aspect prevails".…”

Section: Tradaptationmentioning

confidence: 99%

“…Bastin (1993), moreover, believes that adaptation is both a "re-creation" and a "necessity" (p. 473). For adaptation, according to Gambier (1992), is the "very basis of the communication process, understood as the sum of strategies, procedures of construction and exchange of meaning" (p. 424). An important question remains to be answered, however: Being as such, can adaptation rise to the level of being considered an "original" form of writing?…”

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confidence: 99%

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Tradaptation of Dramatic Texts

Studies¹,

Saoudi²

2017

Preprint

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This article deals with the feasibility of applying cultural translation studies approaches to intra-lingual adaptation of dramatic texts through the discussion of adaptation terminology, the interchangeability of adaptation and translation, and the relevance of combining both into “tradaptation”. The purpose is to study loose adaptations of dramatic texts, especially those of Shakespeare, following cultural translation studies principles. The study has shown that it is satisfactorily feasible to use inter-lingual translation principles, across the spectrum from strictly literal to loose free, and apply them to the intra-lingual adaptation of dramatic texts, with the example of The Al-Hamlet Summit as a main reference. Further studies can help attain substantial progress in the analysis of the concept of adaptation.

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Section: Tradaptationmentioning

confidence: 99%

mentioning

confidence: 99%

Tradaptation of Dramatic Texts

Studies¹,

Saoudi²

2017

Preprint

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“…Quand on évite de reproduire les stéréotypes sur les Italiens dans les traductions italiennes de Sherlock Holmes, quelle distorsion opère-t-on? Pour déjouer le problème, on a souvent multiplié les étiquettes : ainsi la traduction prenant ses aises et sa « liberté » (fruit alors des censures) deviendrait « belles infidèles, » « adaptation » (Gambier, 1992), naturalisation, domestication. Les retraductions (Gambier, 1994) ne serviraient-elles pas à débusquer les censures successsives, à déjouer les manipulations antérieures?…”

Section: Un Surmoi Vigilantunclassified

Les censures dans la traduction audiovisuelle

Gambier

2004

ttr

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La censure est, aujourd'hui dans nos sociétés, une notion floue ou du moins elle tend à être utilisée pour signifier diverses réalités. Elle est synonyme d'interdiction mais rejoint aussi les entraves du marché, tel qu'il se développe actuellement. Elle peut enfin fonctionner comme un contrôle social intériorisé : c'est l'auto-censure. Ces trois types de censure existent dans l'audiovisuel. Quelles sont les positions possibles du traducteur dans les divers modes de traduction à l'écran, notamment le sous-titrage ? En quoi son auto-censure est-elle téléguidée, dirigée ?In today’s societies, censorship is a broad notion encompassing various realities. Synonymous with banning, it also covers restrictions imposed by current market forces. In addition, censorship refers to an internalized form of social control—self-censorship. These three types of censorship are found in broadcasting and cinema. To what strategies does the translator of various types of screen translation, especially subtitling, have recourse? How is self-censorship (remote)-controlled and supervised

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“…2. General theory and language-specific challenges While many researchers discuss general models and theoretical constructs (Ballard 1993, Gambier 1992, Koutsivitis 1993, Lorscher 1992, Losa 1992, Newmark 1993, Nida 1992, Raffel 1994, others frequently examine challenges (specific translation problems) related to particular language combinations or pairs. Dollerup states that "[t]his contrastive point of departure will remain the backbone of translation critique and translatology" (1993:151).…”

Section: Equivalencementioning

confidence: 99%

Translation and Interpretation

Nicholson¹

1995

Ann Rev Appl Ling

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With increasing frequency, the distinction between “translation” (written product) and “interpretation” (oral product) is being recognized by those outside the profession. Interpreters especially are heartened when they see “Voice of Interpreter” flash on the screen during a newscast instead of “Voice of Translator.” Many scholars and practitioners (the terms are not mutually exclusive), however, choose the generic “translation” to include both oral and written product, some referring more specifically to “interpretation” as “oral translation” and to “simultaneous interpretation” as “simultaneous translation.”

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Adaptation : une ambiguïté à interroger

Cited by 22 publications

References 0 publications

Tradaptation of Dramatic Texts

Tradaptation of Dramatic Texts

Les censures dans la traduction audiovisuelle

Translation and Interpretation

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