Introduction – Semiotics of translation, translation in semiotics

Abstract

More specifically, structural linguistics dominated Europe and was trying to change the deeply rooted belief that Ferdinand de Saussure's parole or Algirdas-Julien Greimas's process or Roman Jakobson's message were not subjects worthy of scientific study. The main assumptions of structuralism and semiology (or semiotics) would be that for every process (an utterance, for instance) there is a system of underlying rules that govern it, and that the system arises contingently.And if parole is not worth studying, is the image worth studying? Can the image have rules? Roland Barthes' celebrated study La rhétorique de l'image (1964), among the first semiological studies of advertising, influenced desicively the way the scientific community approached the image. Although Barthes did not connect the image with translation, he contributed in establishing it as an object of study, next

Coquet's “Theory of instances of enunciation” in the analysis of Othello from the perspective of semiotics of translation

“…However, it was even before the establishment of translation studies as a separate field of science that the relationship between semiotics and the act of translation was put forward. Kourdis & Kukkonen (2015) attribute the relationship between translation and semiotics to Jakobson's 1959 paper in which three types of translation were put forth. As early as the mid-1970s, semiotics was considered a companion to translation studies.…”

Taal, cultuur en vertaling: Een semiotische benadering

“…In elk geval veronderstelt het maken van adequate en consequente keuzes een duidelijke visie op de verhouding cultuur, taal en vertaling. Sinds de 'cultural turn' in de vertaalwetenschap is voor zo'n visie de laatste decennia vaak teruggegrepen naar een semiotische benadering van de verhouding cultuur, taal en vertaling (Toury 1986;Gorlée 1994Gorlée , 2004Petrilli 2003;Kourdis & Kukkonen 2015). Sommigen vinden zelfs dat sinds de vertaalwetenschap die 'cultural turn' genomen heeft en zich heeft bevrijd van een te enge linguïstische kijk op het vertaalproces, een semiotische kijk zich opdringt.…”

“…Misschien is dat de reden dat de algemene vertaaltheorie die door de semiotiek in het vooruitzicht werd gesteld er vooralsnog niet is gekomen. Wat er in de plaats gekomen is, is een veelheid aan theoretische deelstudies, zoals bijvoorbeeld de belangrijke bundels van Susan Bassnett & André Lefevere (1990) en van Evangolos Kourdis & Pirjo Kukkonen (2015) ten overvloede illustreren.…”

The Barber as an Ambivalent Americana Icon in The Man Who Wasn’t There (Coen, 2001): Crossing the Borders Between Arts and Genres

“…The two types of barbers are depicted side by side in the Coen brothers' film: Frank (Michael Badalucco) embodies the traditional Rockwellian barber, and Ed (Billy Bob Thornton) is the mute, motionless, almost absent Hopperian barber. The presence of these two models, reinforced by the traditional filmic image of the barber as described earlier, denotes an intericonic process 13 of "resemiotisation" 14 which can be explained as the transfer of two occurrences of an icon from painting to film and the redefinition of what this icon means or evokes in popular culture. The opening credits and sequence focus on the barber's profession and environment as typically American and related to small-town culture.…”