Illustrations and Ambiguity in Eighteen Illustrated Translations of Hans Christian Andersen’s “The Steadfast Tin Soldier”1

Alvstad, Cecilia

doi:10.7202/017976ar

Cited by 12 publications

(5 citation statements)

References 2 publications

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“…There are readily available means for considering the "communicational forms people use -image, gesture, gaze, posture, and so on -and the relationships between them" (Jewitt, 2009, p. 14). Some studies, for example those by Alvstad (2008), Kaindl (2004), andSnell-Hornby (2009), have explored such means successfully. However, this study, in an attempt to expand and enrich multimodal analysis within Translation Studies, adopted a triple model and operationalized Halliday's Systemic Functional Grammar (SFG), Krees and van Leeuwen's integrated approach combining textual and visual grammar, and Leeuwen's (1999) framework of musical analysis with ad hoc analytical tools, as illustrated in Table 3.…”

Section: An Integrated Approach To Multimodal Analysismentioning

confidence: 99%

Intermodal and Intermedial Translation of Songs in Stage and Film Musicals: Application of an Integrated Approach in Turkish Context

Yetkiner¹,

Şahin²

2022

litera

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Engaging with a spectrum of intermodal and intermedial translation, the primary aim of this study is to present and apply a holistic multimodal approach to song translation through which the interaction of the potential meaning of semiotic resources can be considered as a composite and indivisible whole. The focus of this study is Fiddler on the Roof, chosen because it has been translated for both stage and film musicals in Turkiye. With this purpose, we adopted a triple model which operationalized Halliday's Systemic Functional Grammar (SFG), Kress and van Leeuwen's integrated approach by combining textual and visual grammar, and Leeuwen's (1999) framework of musical analysis. Our historical approach to the Turkish musical landscape proposes that translation strategies for songs in film musicals reflect a consistent pattern of choice (mainly mixed translation) arising from state-monopolized TV impositions; while in contrast, for stage musicals, the wider range of translation strategies shed light on fluctuations in multi-semiotic popular arts entertainment, caused by ideologically-and economically-driven practices. Our in-depth multimodal analysis revealed that an integrated approach can bring to the surface the potential density of interacting semiosis in the performative and narrative dimensions of musicals. These new dimensions, enabled through a multimodal analysis, require new skills, knowledge and literacies, thus, expanding the boundaries of translation studies.

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Section: An Integrated Approach To Multimodal Analysismentioning

confidence: 99%

Intermodal and Intermedial Translation of Songs in Stage and Film Musicals: Application of an Integrated Approach in Turkish Context

Yetkiner¹,

Şahin²

2022

litera

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“…L' enjeu dans ces cas est de préserver la nature ou la fonction de l' original plutôt que sa forme ou son sémantisme, particulièrement lorsque des éléments acoustiques ou visuels entrent en ligne de compte. D'autres genres, telle la littérature jeunesse, appellent la recréation du message en fonction des besoins sociolinguistiques du nouveau lectorat (Puurtinen, 1995 ;Oittinen, 2000 ;O'Sullivan, 2005 ;Alvstad, 2008 ;Lathey, 2015). Ce type d'adaptation se manifeste principalement par des techniques de synthèse, de paraphrase et d' omission.…”

Section: Quelques Définitionsunclassified

Présentation

Florentin

Bastin

2020

TTR

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L'adaptation en traductologie a longtemps eu mauvaise presse. Considérée à l' origine comme la « limite extrême de la traduction » (Vinay et Darbelnet, 1958 ; Vázquez-Ayora, 1977, notamment), une opération distincte de la traduction, voire une « trahison » ou même un « manque de respect » (Bensoussan, 1988), l'adaptation a vu resurgir cette image négative chaque fois que des questions d' équivalence, de fidélité et de primauté du texte source sont invoquées. Et ce, en dépit des appels de nombreux auteurs à la considérer comme partie intégrante de l'opération de traduction (Hurtado, 1990 ;Bastin, 1990 ; Gambier 1992, notamment) et de la revendication d'autres à y voir un domaine d'étude de plein droit (Hutcheon, 2006 ;Raw, 2012 ;Cattrysse, 2014 ; mais aussi Doorslaer et Raw, 2016). Il est donc permis de se poser deux questions essentielles : a) L'adaptation fait-elle ou non partie de l'opération de traduction ? b) L'adaptation comme domaine d' étude comprend-elle ou non l'adaptation-traduction ? a) Personne ne niera aujourd'hui l' omniprésence de la démarche adaptative en traduction professionnelle, qu' elle soit publicitaire ou audiovisuelle ou qu' elle soit localisation de logiciels, de jeux vidéo ou de téléphonie. Faut-il y voir un procédé ou une vision de la traduction ? Le domaine littéraire, romanesque, poétique ou théâtral, n' échappe pas non plus à des modes d'adaptation. Faut-il y voir une négation de l'Autre ou un impératif de notre temps ? L'adaptation est-elle par essence ethnocentrique ? Où se situe la limite entre adaptation et appro priation ? 10 TTR XXXIII 1

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“…Smith, 2008). Besides advertising, a range of other genres have been treated from the perspective of multimodality, including illustrated fiction (Oittinen, 2003(Oittinen, , 2008Alvstad, 2008;Pereira, 2008), experimental literature (Gibbons, 2012), film (Baumgarten, 2008) and technical documentation (Risku and Pircher, 2008). These applications demonstrate how visual (and, in some contexts, aural) information interacts with the verbal text to create an intersemiotic fabric of signs in a holistic meaning-making process that engages different sensory dimensions simultaneously.…”

Section: Translation and Multimodalitymentioning

confidence: 99%

Performing multimodality: literary translation, intersemioticity and technology

Lee

2013

Perspectives

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Based on literary projects ranging from cyber-literature to art installations combining design and poetry, this paper conceptualizes translation as a kind of biliterate performance that forms part of a more holistic literary communication. The paper identifies three cases that illustrate different modes of engagement among the written word, translation-as-performance, technology and our sense modalities. It proposes a multimodal perspective on translation and a translational perspective on multimodal expression in this digital age. Thus understood, translation is no longer rooted to the word, which is usually (though by no means always) the origin from where a source text emanates but not necessarily where the target text locates itself. Translation does not just 'carry across' meaning in its etymological sense, but partakes in the making of meaning in literary production, either centrally or peripherally. A technologically-mediated sense of translation that traverses the boundaries of not just two languages but also two or more media opens up the potentialities of different ways of communicating literary meaning. Thinking about translation in this way is profitable for negotiating meaning, in both its abstract construction and material form, in an age of communication where our sensory perceptions are more engaged in discursive practices than ever before.

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Illustrations and Ambiguity in Eighteen Illustrated Translations of Hans Christian Andersen’s “The Steadfast Tin Soldier”1

Cited by 12 publications

References 2 publications

Intermodal and Intermedial Translation of Songs in Stage and Film Musicals: Application of an Integrated Approach in Turkish Context

Intermodal and Intermedial Translation of Songs in Stage and Film Musicals: Application of an Integrated Approach in Turkish Context

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Performing multimodality: literary translation, intersemioticity and technology

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