Anna Bączkowska Kazimierz Wielki University Dept. of English Studies Bydgoszcz, Poland

1. MUTLIMODAL SUBTITLING OF COMPLIMENTS a cross-lingusiticperspectiveWhatWomen WantNancy Meyers, staring Mel Gibson and Helen Hunt, 2003 Anna Bączkowska Kazimierz Wielki University Dept. of EnglishStudies Bydgoszcz, Poland annabaczkowska.com

2. COMPLIMENTS, AVT, MULTIMODALITY • Publications devoted to audiovisual translation, including subtitling, loom large and rapidly gain popularity (Díaz Cintas 2009, Díaz Cintas and Ramael 2007, Orero 2004, Chiaro et al. 2008). - interest has been shown recently towards compliments (Herbert 1986, Holmes 1986, 1988, 1995, Lewandowska-Tomaszczyk 1989, Boyle 2000). -Reports on compliments in subtitles are scarce (Bruti 2006, 2009, in press), • multimodal approach to subtitles (Taylor 2003, 2009, Pettit 2007) Perego 2009, Chuang 2006, 2009, Bączkowska a, inpress), • multimodality analysed in the context of pragmatic issues in subtitles has not been an object of extensive research as yet (see Mubenga 2009, Desilla 2009, Bączkowska b, c, inpress. SUBTITLES COMPLIMENTS MULTIMODALITY SUBTITLES PRAGMATIC ISSUES COMPLIMENTS CROSS-LINGUISTIC

3. TYPES OF COMMUNICATION: ELEMENTS OF COMMUNICATION

4. Kress Baldry Taylor Perego Chuang Gunther Kress, socio-semiotic theory of communication Kay O’Halloran – teaching, advertisements Anthony Baldry – advertisements Paul Tibault – turn-taking Christopher Taylor – 2003, 2009, multimodal transcription Ying Ting Chuang Multimodality-lab.net Poland, Italy, Spain, Portugal, Taiwan, Sweden, UAE , Belgium MULTIMODALITY

5. MULTIMODALITY AND AVT Multimodality looks at how non-verbal signals visual and gestural signals, kinesics and proxemics interact with verbal signals in the construction of meaning. These operate in parallel in the same context and “create meaning seamlessly and synergistically” (Matthiessen 2009).

6. MULTIMODALITY AND AVT Multimodality looks at how non-verbal signals Previously, language has been viewed as constituting the central channel in interaction, and nonverbal channels have been viewed as being subordinated to it. While much valuable work on the interplay between the verbal and nonverbal has been established, I believe that the view which unquestionably positions language at the center limits our understanding of the complexity of interaction. (Norris 2004: 2).

7. COMPLIMENTS WHAT IS? A compliment is a speech act which explicitly or implicitly attributes credit to someone other than the speaker, usually the person addressed, for some ‘good’ (possession, characteristic, skill, etc.) which is positively valued by the speaker and the hearer. (Holmes 1986: 485). WHEN USED? -creating solidarity and a common ground, -expressing goodwill, praise and encouragement -maintaining rapport (Holmes 1995).

8. TAXONOMY -Kerbrat-Orecchioni (1987) : direct and indirect straightforward act of attributing positive values to an addressee v being expressed by making reference to another (third) person. You are beautiful is a direct compliment You are as beautiful as your mother -Holmes (1995): direct v indirect (You’relookinggood v Isthat a new suit) Indirect > covert What a politechild. Thankyou, we do ourbest. -Boyle (2000): explicit v implicit Yourdaughterisvery nice, shehasthe same beautifuleyes as hermother INDIRECT: X AS ADJ AS Y: 2 PERSONS COMPLIMENTED IMPLICIT: greaterepistemicdifference -Bruti(2009): overt, covert, dishonest/false (irony, criticism) , sincere/spontaneous Formulaic (a. appearance), noncanonical/creative STRATEGIES OF RESPONSE Herbert (1986) : 12 strategies (approval, contradiction, comment, attenuation, asking for interpretation, questioning, etc.

9. PERSPECTIVES Direct: Youperspective Indirect: IperspectiveorHe perspective Kate to Peter: Peter, you’re a genius (YOU are a genius) Kate to Peter: Peter, youare my idol (I perspective) Kate to Peter: Peter, youremind me of Brat Pitt, whois so handsome (HE perspective as theatributesdescribePittdirectly, but Peter indirectly)

10. ANALYSIS DATA: WhatWomen Want Languages: Polish, Italian, Swedish, Portuguese, Spanish (Arabic) 61 scenes 183 dialogues(in 3 lang.) Eachscenenumbered and entitled

11. Quantitativeanalysis Smaller no of complimentsinTTs Directtranslatedintoindirect Somecomplimentsareadded by subtitlers RESEARCH QUESTIONS 1. ARE NONVERBAL (EXTRALINGUISTC LINGUISTIC) SIGNALS ALLOWED FOR IN SUBTITLES 2. ARE THERE ANY SHIFTS IN COMPLIMENT TRANSLATIONS

12. Qualitativeanalysis • Shift inperspective Complimentpreservedin Pol., attenuatedinIt. Verbal and nonverbalsignalsinharmony

13. 2. English direct > indirect Compliment attenuated Verbal and nonverbal signals in harmony

14. 3 lack of synchrony Complimentpreserved V and NV signalssemi-compatibleinPolish -one gestureleftwithoutdescription, inSwedish-incompatible, compatibleinItalian

15. 4 no visualsignalsallowed for Complimentpreserved V and NV signals – incompatibleinPolish

16. 5 cross-culturaldifferencesinforms of address • Compliment – preserved • V and NV signals – compatible (nvsignalscomplementlack of explicit form of address)

17. RESEARCH QUESTIONS • ARE NONVERBAL (EXTRALINGUISTC LINGUISTIC) SIGNALS ALLOWED FOR IN SUBTITLES NOT ALWAYS (LACK OF SYNCHRONY WITH VISUAL SIGNALS) 2. ARE THERE ANY SHIFTS IN COMPLIMENT TRANSLATIONS YES DIRECT INTO INDIRECT IN ITALIAN MORE DIRECT IN POLISH THAN IN ITALIAN NOT ALL COMPLIMENTS ARE TRANSLATED Linguisticconventions play a role!

18. CONCLUSIONS-DISCUSSION-IMPLICATIONS TT SHOULD ALLOW FOR : ORIGINAL SOUNDTRACK AND VISUAL SIGNALS TRANSLATOR TRAINING IMPLICATIONS COMPLIMENTS SHOULD NOT BE CHANGED, SHIFTED TRANSLATOR TRAINING IMPLICATIONS?

19. THANK YOU Youare great audience!

20. MUTLIMODAL SUBTITLING OF COMPLIMENTS a cross-lingusiticperspectiveWhatWomen WantNancy Meyers, staring Mel Gibson and Helen Hunt, 2003 Anna Bączkowska Kazimierz Wielki Unviersity Dept. of EnglishStudies Bydgoszcz, Poland annabaczkowska.com