Lingua inglese IV 19 marzo

1. Lingua inglese IV 19 marzo

2. Summing up:Homework and in-class exercises Task 1, PPTs on the 4 essays, will be presented this coming Wednesday Dubbing exercise (on Friends) will be discussed on March 26th together with other two exercises (which will be assigned today) ON MARCH 26TH BRING DICTIONARIES Task 2, Song adaptation exercise (I’ll give you a list of songs) will be handed in and discussed on April 30th. (Discussion means ‘how did you translate? What strategies did you use and why? What problematic areas did you find? Did you use a semantic or communicative method? What level (of analysis and translation) was the most difficult, syntax, lexis, cultural aspects?) (Carrying out both tasks will give you 1 or 2 extra marks) By the end of the course you are asked to hand in all of your other works (exercises) during my office hours.

3. Important: March 28th NO LESSON (SEDUTE DI LAUREA)

4. The unit of translating Normally (but not always!) we translate sentence by sentence, so sentences can be defined as ‘units of translation’. If the translation of the sentence has no problems (it is easy) this implies that you are translating it literally (or almost literally), that is in an automatic way. When the automatic correspondence begins to stagger, it means that literal translation is not possible and you have a problematic area (nodotraduttivo). How do you conduct this struggle? You try to forget the SL words, you produce independent thought, you take the message first and you reproduce it by using your words, the suitable words you can find in the TL.

5. Naturalness is crucial, but remember: “You should bear in mind that if long sentences and complicated structures are an essential part of the text, and are characteristic of the author rather than of the norms of the SL, you should reproduce a corresponding deviation from the TL norms in your version” (see Poe’s incipit read last week)

6. The translation of lexis However, the most important hurdles in translating are lexical and not grammatical (collocations, fixed expressions, idioms, neologisms etc.). Two kinds of problems: • You do not understand the word/lexical item; or • They are hard to translate. In the former case, difficulties arise for questions of polysemy/homonymy. Usually we have 4 types of meaning: • Physical (denotation) • Figurative (connotation) • Technical • Colloquial.

7. Expressions like the following must be carefully handled: He will get a taste of his own medicine Her reaction left a bad taste in my mouth She was on pins and needles all the day long Andò a finire a gambeall’aria (He fell flat on his back or He went bust) In gamba (!) Strong, fit, sprightly, clever, smart, on the ball, good, competent, keep well!, take care!, watch out!, keep your eyes peeled!

8. Of course, the context in which these words appear is helpful in translation. But,sometimes context is not enough. And when that happens you must make a decision (‘risks taking’ is quite frequent in translation) Sometimes you ‘stay’ on a single word for hours or days before choosing the right translation (while sometimes you translate 15 pages in one hour…).

9. Revision and other aspects BE ACCURATE! You have no licence to change words which can be translated literally just because for you ‘they sound better’. Be careful to synonyms: you can’t change words only to prove you are creative. Give particular attention to descriptive words and choose carefully adjectives, adverbs, nouns and verbs.

10. When elements can be translated one-to-one or word-for-word, DO NOT CHANGE THEM. If you find the French word ‘cicogne’ translate it as ‘cicogna’ and not, for instance, as ‘uccello migratore’. If the author wanted to mean ‘migrating bird’ he would have written ‘oiseau migratoire’!

11. Many translators and theorists state that ‘you have to translate sentences/ideas/messages not words’. THAT IS NOT TRUE because texts consist of words and you have to take all of them into account when you translate. You first act at words level and then you move on to sentences/ideas/messages.

12. Language functions All translations are based on a theory of language. Bühler’s functional theory of language: The three main functions of language are the expressive, the informative and the vocative (the three main purposes of using language). Here you will find these and other three by Jakobson which are usually applied to translation.

13. The expressive function This function is IN the mind of the author (speaker or writer) and the purpose is to express his/her feelings. Characteristic expressive text-types are: • ‘Serious’ imaginative literature (lyrical poetry, short stories, novels, plays) – lyrical poetry is the most intimate expression; • Authoritative statements (political speeches, documents by ministers, statutes, legal documents, scientific, philosophical and academic works); • Autobiography, essays, personal correspondence. Here, as translators, you should be able to distinguish/understand the personality of the author.

14. The informative function External situations, the facts of a subject, reality outside languages. Typical informative texts are textbooks, technical reports, newspaper articles etc. Of course all of the above mentioned can have a peculiar tone going from formal to familiar style.

15. The vocative function This function is directed towards the addressee, the reader. ‘Vocative’ means ‘calling upon’ the reader to make him react (we can also call it pragmatic or conative). Instructions, advertising texts, persuasive writing in general, also tourist materials. In these texts the reader is clearly addressed with imperatives, or with ‘you’, or with ‘please’ and with a comprehensible language.

16. However… Most texts contain all the three functions, maybe with emphasis on one of the three. It is very rare to have texts which are purely expressive, informative or vocative.

17. The aesthetic function This kind of language is designed to ‘please the senses’ by means of sound and metaphors. Onomatopoeia, alliteration, assonance, rhyme, metre, intonation, stress. It is very difficult to translate sound-effects. When translating expressive texts there is always a clash/tension between the communication of meaning and the aesthetic function (truth and beauty)

18. In nonsense poetry the sound-effect is much more important than the sense. Ein Wiesel saβaufeinemKieselInmittenBachgeriesel A weaselperched on aneaselwithin a patch ofteasel. In children’s poetry or in ‘art-for-art’ literatureof the end of XIX century (Swinburne, Verlaine, Rimbaud, Wilde,Gautier etc.) beauty precedestruth and translationshouldrespectthis.

19. Brave Billy the Bold - Kundananji Bold Billy was a brave sailor; He steered his mighty ship with a stern eye Venturing onto vast oceans with his valiant men. He was no foolhardy fellow and knew no folly, Bad pirates he plundered, the good made partners. Brave Billy the bold was loved by all the land folk And hated by the heathen of heinous ways… But one fine fair day, Billy met his fate; His men soon sought sour and dastardly deeds, A vile idea they begot, turned glum and gunned him down And Brave Billy the bold was no more for aye

20. The phatic function This is used to maintain a friendly contact with the audience. In spoken language, the tone of voice, or expression like: How are you? Lovely to see you Have a good weekend Isn’t it hot today? (typically English) In written language the use of: of course, naturally, it is interesting to note, it is well known that, as you can see etc.

21. The metalingual function Simply ‘the language’s ability to explain, name, and criticise its own features’. Words like ‘sentence, grammar, verb, supine, ablative, illative, optative, politeness, perlocutionary act’ etc. are metalingual. The first examples are easy to translate while others could be difficult if those words are not part of the target language or if they are expressed with other lexical items.

22. Translation methods

23. The discussion on whether to translate literally or freely has been going on since the first century BC. Up to the XIX century: free translation, the sense and not the words, the message rather than the form. When cultural anthropology suggested that language is the product of culture, some thought that translation was not possible (Walter Benjamin, Vladimir Nabokov etc.) and that the transmission of culture could be achieved only by means of literal translation. In the XX century a new change took place when the (inter)discipline of Translation Studies was born (late 1970s).

24. When translating we can put emphasis… On the Source Language Word-for-word translation Literal translation Faithful translation Semantic translation or on the Target language Adaptation Free translation Idiomatic translation Communicative translation

25. Difference between methods and procedures (strategies) “While translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language“. (Newmark)

26. The methods explained Word-for-word translation: The TL is below the SL, the SL word-order is preserved and words are translated singly by their most common meanings. Literal translation The SL grammatical structures are converted to their nearest TL equivalents, but, again, words are translated in a denotative way out of context.

27. Faithful translation Both grammar structures and context are taken into account. Its goal is to be faithful to the author’s intentions. Semantic translation This differs from the above only in the fact that beyond grammar and contexts, the translator here tries to take into account also the aesthetic aspects (sounds, beauty). So faithful translation is rigid and dogmatic, while semantic translation is more flexibleand creative.

28. Adaptation This is the freest form of translation. Themes, characters and plots are usually preserved, but all the cultural aspects are rewritten and adapted to the TC. Free translation It reproduces the content but not the form, a sort of paraphrase of the original, usually too long and prolix.

29. Idiomatic translation The message is preserved, but the meaning changes in that the translator uses idioms and colloqualisms which belong to the TL. Communicative translation It is the attempt to render the exact context of the SL in such a way that both content and form are immediately comprehensible and acceptable for the readers.

30. Only semantic and communicative translations fulfil the 2 main aims of translation, accuracy and economy. A semantic translation is written at the author’s linguistic level while a communicative translation is written at the reader’s level. Semantic translation is suitable for expressive texts (poetry in particular) while communicative translation is suitable for informative and vocative texts ( for ex. advertising).

31. A semantic translation, being faithful and respectful of the TL, is normally (from the point of view of ‘quality’) inferior to its original; there are many losses (though exceptions are possible, for ex. Baudelaire’s translation of Poe). A communicative translation is usually better than the original because the translator is free to render the message more suitable for the readership. A semantic translation interprets while a communicative translation explains.

32. The purpose of any translation should be to gain the EQUIVALENT EFFECT, that is to get the same effect on the TL reader as the effect it had on the SL reader (Nida calls it ‘dynamic equivalence’). In the communicative translation of vocative/informative texts, the equivalent effect is essential. In notices, in instructions, in propaganda, in advertising etc. effectiveness is achieved only if you convince the reader to, say, join a party, buy something etc.

33. Effectiveness and equivalent effect in semantic translation (‘serious literature’) are not always possible and depend on the concepts expressed in the texts. If the concepts are ‘universal’, for ex. ‘To be or not to be’, the equivalent effect is easy. But, when the concept is deeply culturally-bound and far from the TL reader, equivalence is more difficult to obtain. Keats: Season of mists and mellow fruitfulness Shakespeare: Shall I compare thee to a summer’s day? The equivalent effect may fail in countries where autumns and summers are unpleasant seasons.

34. If you have to translate ‘I haven’t the foggiest idea’ which solution among the following produces the best equivalent effect? Non lo so Non ne ho idea Non ne ho la minima idea Non ne ho la più pallida idea

35. However… Newmark (1991) writes of a continuum existing between "semantic" and "communicative" translation. Any translation can be "more or less semantic—more or less communicative—even a particular section or sentence can be treated more communicatively or less semantically." Both seek an "equivalent effect." Once chosen a method (semantic or communicative) you could decide that some parts of the text have to be translated semantically and others communicatively. As usual, translation is very subjective and it has no fixed/iron rules.

36. The problem today is that ‘translationese’ (bad translation) reigns and, often, informative and vocative texts are not translated communicatively, but too literally and the equivalent effect disappears. On the other hand, expressive texts are not translated semantically, but too freely and also here the equivalent effect fades away.

37. The same concepts with other names… Newmark: semantic and communicative translation Nida: formal e dynamic equivalence Venuti: foreignisation and domestication

38. Semantic or communicative? 1 “The international drug dimension is widely recognised as requiring more intense co-operation” “Oggi vi è un ampio consenso intorno al fatto che la dimensione internazionale della lottacontro la droga richieda una cooperazione più fattiva”.

39. Semantic or communicative? 2 “The context of the Commission’s programme in the NIS is very different from that in thecandidate countries” . “Il programma della Commissione nei NSI è situato in un contesto ben diverso da quello dei paesi candidati”. (NIS: New Independent States)

40. Semantic or communicative? 3 In poem 5 Catullo writes: … rumores senum severiorum/ omnes unius aestimemus assis. (the meaning is: do not pay attention to the scolding of grim/dull/obtuse old men) Le proteste dei vecchi tanto austeri/ tutte, dobbiamo valutarle nulla. E ogni acida censura di vecchi/ come un soldo bucato gettiamo via.

41. Semantic or communicative? 4 Plauto: Inter sacrum saxumque stamus (meaning: we are between two equivalent dangers) Stiamo tra la vittima e la pietra Siamo tra l’incudine e il martello

42. Fonte: http://www.viaggio-in-germania.de/corso-di-traduzione.pdf Slogan della Mazda3 Warum Eintopf, wenn Sie Chili haben können. Una traduzione semantica o letterale sarebbe inefficace in italiano. Perché? Due pietanze = due differenti concezioni o modi di vita. "Eintopf" è il tipico piatto unico della tradizione culinaria tedesca, formato da minestra, verdure, patate e carne. Non esiste un equivalente nella cucina italiana. “Genuinità del cibo casalingo", "sana tradizione", sicurezza dell'abitudine, ma anche monotonia del quotidiano e mancanza di fantasia e di inventiva.

43. "Chili", al contrario, richiama un tipo di cucina esotica, saporita e piccante, ricca di gusto e fantasia. Quali piatti tipici diffusi in tutto il nostro paese possono corrispondere all'Eintopf? Non certo la pizza e gli spaghetti, diventati ormai pietanze internazionali, simboli di convivialità ed allegria. Piuttosto il minestrone e la polenta. Ma quale pietanza sostituire al chili, che abbia per gli italiani lo stesso significato che ha per i tedeschi? Forse le ostriche ed il caviale: ma si avrebbe in tal caso un'associazione con qualcosa di sofisticato, elegante e costoso. Lo slogan sarebbe allora: "Perché la solita zuppa se si può avere caviale"? Ma perché si dovrebbe rinunciare ad una pietanza italiana per qualcosa che, comunque, si può gustare solo una volta ogni tanto? Lo slogan della pubblicità basato sulla contrapposizione di cibi probabilmente non funzionerebbe in Italia. I pubblicitari italiani hanno inventato per la Mazda3 uno slogan completamente diverso. Vostra opinione? Mazda3. Essereaudace.

44. For next Monday (March 26th ) Read the following text and then compare the three translations provided. Are they similar? What changes? Which is the ‘best’? Does the year of the translation weigh upon the translated texts? Are these translations semantic or communicative?

45. The incipit of an American detective story It was about eleven o’clock in the morning, mid October, with the sun not shining and a look of hard wet rain in the clearness of the foothills. I was wearing my powder-blue suit, with dark blue shirt, tie and display handkerchief, black brogues, black wool socks with dark blue clocks on them. I was neat, clean, shaved and sober, and I didn’t care who knew it. I was everything the well-dressed private detective ought to be. I was calling on four million dollars. (The Big Sleep, Chandler, 1939)

46. Translation 1 Erano le undici di una mattina di mezzo ottobre, senza sole e con una minaccia di pioggia torrenziale nell’aria troppo tersa sopra le colline. Portavo un completo azzurro polvere, con cravatta e fazzolettino blu scuro, scarpe nere e calze nere di lana, con un disegno ad orologi blu scuro. Ero ordinato, pulito, ben raso e sobrio, e non me ne importava che la gente se ne accorgesse. Sembravo il figurino dell’investigatore privato elegante. Andavo a far visita a un milione di dollari. (Omboni, 1958)

47. Translation 2 Erano pressappoco le undici del mattino, mezzo ottobre, sole velato, e una minaccia di pioggia torrenziale sospesa nella limpidezza eccessiva là sulle colline. Portavo un completo blu polvere, con camicia blu scuro, cravatta e fazzoletto assortiti, scarpe nere e calzini di lana neri con un disegno a orologini blu scuro. Ero corretto, lindo, ben sbarbato e sobrio, e me ne sbattevo che la gente lo vedesse. Dalla testa ai piedi ero il figurino del privato elegante. Avevo appuntamento con quattro milioni di dollari. (Del Buono, 1987)

48. Translation 3 Erano pressappoco le undici di una mattina di metà ottobre, con il sole velato, e sulle colline un bagliore che preannunciava pioggia a rovesci. Mi ero messo l’abito azzurro polvere con camicia, cravatta e fazzolettino blu, scarpe nere e calze di lana nera con una fantasia di orologi blu. Ero in ordine, pulito, rasato e sobrio, e non me ne importava che lo si notasse o no. Andavo a far visita a quattro milioni di dollari. (Grimaldi, 2001)

49. Try to translate the following slogans…

50. Make a house a home! Cruelty to children must stop, full stop. Don’t live a little, live a Lotto. Eye it - try it - buy it! My Goodness! My Guinness! Grace.... space... pace