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Item TRANSFERTS INTERSÉMIOTIQUES ET TRANSFERT DES SENS DANS LES COMÉDIES FRANÇAISES SOUS-TITRÉES EN ROUMAIN(2023) Grădinaru, AngelaCet article se focalise sur l’étude de la traduction de l’humour dans le domaine audiovisuel. Notre objectif est d’explorer la manière dont certains types d’humour sont traduits du français vers le roumain via le sous-titrage de la comédie La ch’tite famille, d’identifier les problèmes rencontrés par le traducteur dans le processus du transfert des expressions humoristiques, des jeux de mots dans ces productions audiovisuelles, de déterminer les solutions existantes auxquelles le traducteur peut recourir pour résoudre ces problèmes. La traduction de l’humour dans le domaine audiovisuel pose des défis qui sont soulignés par les contraintes propres à ce domaine et par les particularités du type de production audiovisuelle analysé. Le transfert de l’humour d’une langue à une autre et sa compréhension en traduction audiovisuelle peuvent se produire au niveau non verbal (images, sons, effets sonores) et au niveau verbal (expressions humoristiques, jeux de mots) qui sont des éléments importants pour recevoir et reproduire l’humour au niveau intralinguistique et interlinguistique. Le contenu sémiotique de la production audiovisuelle qui comporte quatre canaux: verbalauditif (dialogue, bruit de fond, etc.), non verbal-auditif (sons naturels, effets sonores, musique), verbal-visuel (sous-titrage, tout texte apparaissant dans le film comme des lettres, des livres, des journaux, de la publicité, etc.) et non verbaux-visuels (la composition de l’image, la position et le mouvement des caméras vidéo, etc.) contribuent à construire le sens et obligent le traducteur à condenser les éléments transmis dans le message à travers une seule dimension (le texte écrit). L’humour peut être conditionné par les mots qui sont utilisés intentionnellement (jeu de mots) et involontairement. Par conséquent, la simple substitution de ces mots par d’autres comme des synonymes ou des équivalents est parfois propice à la perte de l’effet humoristique. La majorité des problèmes auxquels un traducteur peut être confronté trouvent également leur origine dans des connotations socioculturelles. Les stratégies utilisées par le traducteur pour transférer des séquences comiques sont illustrées par des exemples tirés de la comédie française La ch’tite famille. The present article represents a study of humour in audiovisual translation. Our aim is to explore the way certain types of humour are translated from French into Romanian via subtitling of the comedy La ch’tite famille (English title: Family is Family), to identify the problems the translator encounters in the process of rendering humour in these audiovisual productions, to determine the existent solutions the translator can resort to in order to solve these problems. Rendering humour in audiovisual translation poses some challenges which are emphasised by the constraints specific of this domain and by the peculiarities of the type of audiovisual production under analysis. The transfer of humour from one language into another and its understanding in audiovisual translation can occur at nonverbal level (images, sounds and sound effects) and at verbal level (humourous expressions, wordplay) which are important elements in receiving and reproducing humour at intralinguistic and interlinguistic level. The semiotic content of the audiovisual production that contains four channels: verbal-auditory (dialogue, background noise, etc.), nonverbal-auditory (natural sounds, sound effects, music), verbalvisual (subtitling, any text that appears in the film like letters, books, newspapers, advertising, etc.) and nonverbal-visual (the composition of the image, the position and movement of video cameras, etc.) contribute to building the meaning and compel the translator to condense the elements transmitted in the message through a single dimension (the written text). Humour can be conditioned by the words that are used intentionally (wordplay) and unintentionally. Therefore, the mere substitution of these words with others like synonyms or equivalents is sometimes conducive to the loss of the humorous effect. The majority of the problems a translator may face also originate in sociocultural connotations. The strategies used by the translator in transferring humorous units of meaning are illustrated through examples from the French comedy Family is Family.Item NUMELE PROPRIU ÎN TRADUCEREA AUDIOVIZUALĂ: A FACE CA LIMBA CELUILALT SĂ FIE ÎNȚELEASĂ ÎN PROPRIA LIMBĂ(CEP USM, 2022-04-14) Grădinaru, AngelaObiectivul principal al studiului este acela de a oferi o imagine globală asupra fenomenului traducerii numelor proprii și asupra tehnicilor de traducere aplicate de traducători. În opinia unor traductologi numele proprii nu ar trebui traduse. Traducerea audiovizuală oferă diverse dovezi ale posibilității și chiar necesității traducerii acestora. Majoritatea numelor proprii sunt traductibile și traduse. Există și nume proprii care pun probleme specifice de traducere dintr-o limbă în alta. Ne propunem să studiem modalitatea traducerii numele proprii în subtitrarea comediilor din limba franceză în limba română, tipologia eventualelor diferențe dintre forma din română și forma pe care o traduce, să sugerăm soluții pentru unificarea traducerii numelor proprii în limba română în procesul traducerii audiovizuale.Item O INCURSIUNE ÎN ISTORIA TRADUCERII AUDIOVIZUALE(CEP USM, 2022-05-13) Grădinaru, AngelaThis article is a study of the emergence and evolution of audiovisual translation, a review of scholars from different countries who have laid the theoretical foundations of audiovisual translation as a subfield of Translation Studies. Some researchers are concerned with the translation process, the final product, the translators’ activity and the decisions they make in the process of audiovisual translation. Others study the transfer of meaning and expressive valences, convinced that the greatest difficulty does not reside in the words, the expressions, for which there is no adequate equivalent, but in the realities to which they refer. They consider that the purpose of audiovisual translation is to establish equivalence between the source and target language texts. Other researchers are interested in the specificities of dubbing and subtitling, believing that the product of translation is primarily intended for future viewers. Translating means creating an “equivalent” of the original film, i.e., a film, with the least possible distortion of the content of the original version. The translator decides which translation approach to follow and which translation strategies to use.