期刊动态 | 翻译学期刊Translation and Translanguaing2023年第3期

本期看点：如我们之前所说TTMC是一本很强欧洲特色的期刊。本期仍然是主题专刊，关注语境下的视听翻译。主编是来自意大利和英国的三位学者组成。第一篇论文关注的云环境下本地化流程得到优化，而且还有人工智能AI技术的加持，跨国视听翻译虚拟团队得以实现。本研究就展示了三种不同技术支持的纪录片字幕组翻译流程：第一组是传统方式，第二组是半自动方式使用了语音自动识别，第三组是全自动依使用了语音自动识别+机器翻译。共有24名学生译员参与了这项研究，译者角色划分按照了翻译项目管理方式安排了项目经理、观察员、字幕译员、审校，所有字幕翻译行为都做了录屏、项目记录日志、质量评估表等。第二篇论文也是TRADILEX课题的成果，研究字幕翻译作为视听翻译在聋人/听力障碍人群教学资源，探索字幕翻译在英语作为外语EFL的教学潜力。结果表明参与者提高了他们的外语和字幕技能，并且提高了教育公平、语言多样性和社会包容性等问题的认识。第三篇文章提出了“包容性字幕”的概念，该实证研究的语料库由参加第十一届和第十二届意大利西西里同性恋电影节的短片组成，并配有包容性字幕。研究结果将证明，"包容性字幕 "有可能满足更多不同的需求，包括电影节、剧院、博物馆、美术馆和类似的文化背景。与 Greco（2018 年）的普遍主义方法一致，并与 Martínez-Lorenzo（2020 年）最近提出的适用于少数民族语言的术语形成对比，"包容性字幕 "指的是语内或语际字幕、开放式或封闭式字幕（借助外部工具，如应用程序），并特别适用于电影节。第四篇比较了《雾都孤儿》三个字幕版本的视听翻译（AVT）模式。比较的背景是两个官方认可的版本（即音乐剧《雾都孤儿》（1968）和电影《雾都孤儿》（2005））以及在社交媒体平台上发布的非专业和创译版本的字幕。验证与人物姓名（称谓）、宗教术语和歌曲翻译有关的问题，这些问题在创译时会发生变化和创新转换。与传统的被动观看体验相比，观众对视听作品翻译的参与需求越来越高。在流行的视频共享平台上发布的以用户为导向的翻译模式显著增加，却尚未得到系统的研究。本文主要关注波兰斯基（2005 年）执导的《雾都孤儿》最新改编电影的中文字幕。这些字幕重新诠释和引导了产品的文化和历时特性及复杂性，以加强中国的传统文化（Liang 2020, 26）。创译作为一种区别于传统的灵活翻译方法，在字幕翻译中发挥了特殊作用，能够适应各种改编形式（戏剧、电影和社交媒体平台），最大化地发挥《雾都孤儿》的丰富内涵。本文借鉴阿贝-马克-诺恩斯（Abé Mark Nornes，1999 年）提出的 "滥用字幕"（abusive subtitling）的概念，研究了字幕翻译中的创译（transcreation）定义，审视了技术的创新尝试，并在语境中检验了多模态创造力。从这个意义上说，创译作为一种由粉丝驱动的字幕制作实践，以一种更具创造性的方式让艺术作品广为人知，并为其呈现出个性化的特点，以迎合不同受众的各种需求。第五篇选择了视听翻译里的意识形态偏见。在 20 世纪 50 年代的好莱坞战后史诗中，操着豪华口音的英国演员经常被塑造成邪恶的罗马暴君，或仅仅是故事中 "英雄 "所反对的当权派成员。然而，偏离模式同样可以揭示出反复出现的主题，我们将重点探讨肯尼思-威廉姆斯在 1964 年英国喜剧片Carry on Cleo中对凯撒的喜剧演绎，并分析其意大利语译本中令人发指的种族主义和性别歧视。第六篇瞄准了视听翻译的接受研究。本文讨论了在媒体无障碍框架内开展的一项观众接受研究，以评估盲人/弱视观众及其（视力）陪同人员在马切拉塔歌剧节（MOF）中的体验。采用定性分析方法，从填写事后自我报告问卷的样本中收集反馈信息，并测量三个相互依存的变量：(a) 理解和回忆，(b) 认知负荷，(c) 心理沉浸。这种定性分析与描述性方法相结合，利用态度数据来评估个人的生活体验，特别是他们的欣赏和偏好。结果显示，样本中盲人/弱视者和视力正常者（陪同者）这两个群体的变量值没有实质性差异。此外，语音描述和触觉导览增强了心理沉浸感，而不会导致认知超载。此外，高水平的欣赏和偏好与理解和回忆、认知负荷和心理沉浸有关。这证实了语音描述和触觉导览在提高盲人/弱视观众的参与度和能力方面的有效性。第七篇探讨了创意在 Netflix 数字空间中的作用，它是跨文化调解和交流的手段，也是音频描述（AD）的多维工具，为数字视听产品的最终用户（盲人和视障受众）提供了参与式的视听 "星球"。研究在 Netflix 上播放的一部讨论热烈的电视剧中，是否以及如何从翻译的角度利用创意来传播“特定文化指涉”（CSR，类似文化负载词）。研究韩国 Netflix 电视连续剧《乌贼游戏》（SG）中最重要的 CSRs 在英语和意大利语 ADs 中的呈现。本文编辑：王峰山东大学

2023年第2期

¡Sub! localisation workflows (th)at work Serenella Massidda | Roehampton University Annalisa Sandrelli | Università degli Studi Internazionali di Roma 摘要：Over the last few years, cloud-based environments have simplified traditional localisation workflows and have made it possible for virtual teams of audiovisual translation (AVT) professionals to work together from all corners of the earth (Díaz Cintas and Massidda 2019). In addition, AI-powered technologies have been integrated into localisation workflows to accelerate translation processes: this has led to a progressive automation of AVT practices and has created brand new roles for language professionals. This paper presents the preliminary results of the international pilot project ¡Sub! Localisation Workflows (th)at Work (2020–2022). A series of experiments was conducted in the spring of 2021 to compare three different workflows in the subtitling of documentaries: traditional (i.e., using only subtitling software), semi-automated (using automatic speech recognition and captioning) and fully automated (relying on automatic speech recognition, captioning and machine translation). The experiments involved Twenty-four final-year MA students and recent graduates from UNINT and Roehampton University (twelve of them working from English into Italian and twelve from Spanish into Italian), in subtitling teams that included a project manager, a spotter, a subtitler, and a reviser. All the work was recorded via screencast technology and documented in a project logbook, a quality assessment form, and a workflow summary sheet. The aim of the experiments was to identify the most effective workflow equation, i.e., the one able to deliver the best quality output in the tightest turnaround time. This paper illustrates the experimental set-up and materials and discusses the preliminary results emerging from a quantitative and qualitative analysis of our data.Keywords: audiovisual translation, subtitling, automatic speech recognition, machine translation

SDH as a pedagogical tool L2, interculturality and EDI Antonio Jesús Tinedo Rodríguez | Universidad Nacional de Educación a Distancia Anca Daniela Frumuselu | Universitat de Lleida 摘要：Audiovisual products have gained ground in the last few decades, becoming a crucial part of our life nowadays. This research paper was carried out as part of the piloting phase of the TRADILEX project, which stands for Audiovisual Translation as a Didactic Resource in Foreign Language Education. The study aims to foster awareness on media accessibility through the application of Subtitling for the Deaf and the Hard of Hearing (SDH) as a didactic resource to explore its pedagogical potential in the English as a Foreign Language (EFL) classroom. A set of six SDH-based lesson plans were designed and implemented for students to develop their integrated language skills and to foster their equity, diversity, and inclusion awareness, with a special focus on accessibility. The Initial Test of Integrated Skills (ITIS) and the Final Test of Integrated Skills (FITIS) were designed within the framework of the TRADILEX project and used to measure the development of each participant’s language skills together with qualitative ad hoc questionnaires to gather their impressions about the intervention. Results show that participants have improved both their foreign language and subtitling skills, and gained more awareness regarding equity, diversity, and inclusion (EDI) issues. Thus, the current study stands as a proof for the potential of Didactic Audiovisual Translation (DAT) to develop both EFL and personal skills, which are crucial for the 21st century language education.Keywords: SDH, DAT, inclusive education, information and communication technologies (ICTs), EFL learning, EDI, interculturality

Introducing inclusive subtitles Gabriele Uzzo | Università di Palermo 摘要：In recent years, numerous variations of subtitling approaches, which have been variously defined as enriched, creative, dynamic, emotive (Neves 2018), but also ‘creactive’ (Sala Robert 2016), have been put forward by scholars in the attempt to diversify and expand the audiences’ access to audiovisual products through subtitles. Also, there has been a significant growth in international film festivals which, alongside long-established festivals, have contributed to providing audiences with a cultural window on the world. In Italy, for example, there are hundreds of film festivals, which vary in terms of size, subject-matter, and genre. Against the backdrop of recent research on audience(s) attending film festivals (Di Giovanni 2020), accessibility studies (Greco 2018), and preferences and familiarity with various types of subtitles for Deaf and Hard-of-Hearing people (Romero-Fresco 2015), this paper aims to introduce the notion of inclusive subtitling and to propose guidelines and applications within the context of accessible film festivals and cultural events. The corpus for this empirical study consists of the short films competing in the eleventh and twelfth editions of the Sicilia Queer Film Fest, inclusively subtitled. Results will prove that ‘inclusive subtitles’ have the potential to cater to more varied needs, embracing settings such as film festivals, theatres, museums, galleries, and similar cultural contexts. In line with Greco’s (2018) universalist approach, and in contrast with the recent introduction of the term by Martínez-Lorenzo (2020) applied to minoritised languages, inclusive subtitles is an expression that refers to intralingual or interlingual subtitles, open or closed (with the aid of external tools, such as an app) and applied specifically to film festivals.Keywords: inclusive subtitles, accessible film festivals, audience(s), subtitling for the Deaf and the Hard-of-Hearing (SDH), closed captions (CC), accessibility studies (AS)

The Chinese Oliver Twist Transcreation in digital subtitling settings Lisi Liang（梁丽丝） | Sun Yat-Sen University 摘要：This article sheds light upon subtitling as the audiovisual translation (AVT) mode applied to three subtitled versions of Oliver Twist. The comparison takes place within the subtitling context of two officially sanctioned versions (i.e., the musical and the film) and the non-professional and transcreated versions released on social media platforms. Research has been carried out within audiovisual translation studies with the scope of verifying issues relating to the translation of characters’ names (appellation), religious terminology, and songs, which are subject to changes and innovative transformations when transcreated. There is an increasingly high demand for viewer-generated participation in the translation of audiovisual productions as opposed to traditional passive viewing experiences (Di Giovanni and Gambier 2018, vii–viii). The significant rise of user-oriented modes of translation released on popular video-sharing platforms has not been systematically researched. Attention is primarily paid to the Chinese subtitles produced for Oliver Twist’s most recent film adaption directed by Polanski (2005). These subtitles reinterpret and redirect the product’s cultural and temporal specificities and complexities to reinforce Chinese cultural heritage (Liang 2020, 26). A particular role is played by transcreation in subtitling as a translation method that is able to embrace the richness of Oliver Twist in its various adapted forms: theatre, cinema, and social media platforms. Drawing upon the concept of abusive subtitling coined by Abé Mark Nornes (1999), the paper investigates the definition of transcreation within subtitling procedures and scrutinises technological advances and multimodal creativity within the context of Oliver Twist. In this sense, transcreation as a fan-driven practice in subtitling has the scope of giving visibility to artistic works in a more creative way, as well as of presenting them tinted with individualised characteristics which cater to the various demands for a variety of audiences.Keywords: transcreation, Oliver Twist , subtitles, social media platforms

Carry on Caesar Creative manipulations of the cinematographic Roman emperorIrene Ranzato | Università di Roma Sapienza 摘要：The variations on broadly fixed formulas used to represent such characters as the one portraying the Roman emperor, Julius Caesar, are all the more conspicuous for their, sometimes, almost imperceptible nuances. This article will illustrate some meaningful examples of filmic Caesars, focusing on the linguistic representation of this character, often handled as a stock character. The larger definition of stock characters, which includes but is not limited to stereotypes, encompasses a set of both visual and linguistic formulaic features which depend on identity constructions or social positions, to put it in Quantz’s terms (2015). The character Julius Caesar is often made to follow what film historians have called a general ‘linguistic paradigm’, by which British actors with posh accents, in post-war Hollywood epics of the 1950s, are frequently cast as wicked Roman tyrants or simply as members of the establishment opposed by the ‘hero’ of the tale. Departures from a schema can be however just as revealing in order to pinpoint recurrent themes, and they will be explored by focusing on the comic rendition of Caesar as interpreted by Kenneth Williams in the 1964 British comedy Carry on Cleo, and on the analysis of its outrageously racist and sexist Italian translation.Keywords: dubbing, dialects, stock characters, stereotypes, censorship

Accessibility and reception studies at the Macerata Opera Festival Francesca Raffi | Università di Macerata 摘要：This essay discusses an audience reception study carried out within the framework of media accessibility to evaluate the experience of blind/partially sighted patrons and their (sighted) accompanying persons in the context of the Macerata Opera Festival (MOF). Adopting a qualitative analytical approach, feedback was collected from individuals in the sample who completed post-hoc self-report questionnaires, and three interdependent variables were measured: (a) comprehension and recall, (b) cognitive load, and (c) psychological immersion. This qualitative analysis was combined with a descriptive methodology, using attitudinal data to evaluate the lived experience of individuals, notably their appreciation and preferences. Results revealed that there was no substantial divergence in the values of the variables recorded for the two groups in the sample: blind/partially sighted and sighted (accompanying) patrons. Additionally, audio descriptions and tactile tours increased psychological immersion, without provoking cognitive overload. Furthermore, high levels of appreciation and preferences were related to comprehension and recall, cognitive load, and psychological immersion. This confirms the effectiveness of audio descriptions and tactile tours in enhancing the engagement and empowerment of blind/partially sighted members of the audience.Keywords: media accessibility, reception studies, Macerata Opera Festival, empowerment, inclusion

Authorial (audio) description Creativity in the transfer of CSRs in Squid Game Alessandra Rizzo | Università di Palermo Cinzia Giacinta Spinzi | Università di Bergamo 摘要：The unprecedented growth of translation practices in the media sector has favoured the emergence of the creative industries, where creativity has taken centre stage and become the emblem of global cultural policies. The study addresses the role of creativity in the digital space of Netflix as a means of cross-cultural mediation and communication, and as a multidimensional tool in audio description (AD) to provide the end-users (the blind and visually impaired audiences) of digital audiovisual products with participatory and engaging forms of access to the audiovisual ‘planet’. The aim is to investigate whether and how creativity is used to transmit culture-specific references (CSRs) from a translation perspective within a highly discussed TV series streamed on Netflix. To do so, the rendering of the most significant CSRs in the Korean Netflix series Squid Game (SG) as transferred into the English and Italian ADs will be examined.Keywords: creativity, culture-specific references, authorial intent, audio description, Squid Game

2023年国际学界在做什么研究？研究什么话题？发表什么论文？

期刊动态 | 翻译学期刊Translation Spaces2023年第1期

期刊动态 | 翻译学SSCI期刊Target2023年第1期

期刊动态 | 翻译学SSCI期刊Target2023年第2期

期刊动态 | 翻译学SSCI期刊Translation and Interpreting Studies2023年第1期

期刊动态 | 翻译学期刊Forum2023年第1期

期刊动态 | 翻译学SSCI期刊Babel2023年第1期目录摘要

期刊动态 | 翻译学SSCI期刊Babel2023年第2期目录摘要

期刊动态 | 翻译学SSCI期刊Babel2023年第3期目录摘要

期刊动态 | 翻译学SSCI期刊Perspectives2023年第2期摘要
 期刊动态 | 翻译学SSCI期刊Perspectives2023年第2期摘要

期刊动态 | 翻译学SSCI期刊Interpreting2023年第1期摘要

期刊动态 | SSCI期刊Pragmatics 2023年第1期