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ENGLISH LANGUAGE IV: February 19 – Lesson 1

ENGLISH LANGUAGE IV: February 19 – Lesson 1. Classes: TUESDAY 14.30 – 17.30 Office hours: Wednesday 10.30 – 11.30 Friday 10.30 – 12.30 Email address: baronelnd@tiscali.it. Course objectives .

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ENGLISH LANGUAGE IV: February 19 – Lesson 1

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  1. ENGLISH LANGUAGE IV: February 19 – Lesson 1 Classes: TUESDAY 14.30 – 17.30 Office hours: Wednesday 10.30 – 11.30 Friday 10.30 – 12.30 Email address: baronelnd@tiscali.it

  2. Course objectives • Acquisizione di strumenti di analisi testuale e traduzione a livello avanzato di testi letterari e non letterari; • Comprensione di un’ampia gamma di testi complessi che si differenziano per genere, tipologia testuale, registro e stile; • Capacità di affrontare i problemi della traduzione, oltre che attraverso il rinforzo e l’approfondimento delle capacità di ricerca, anche attraverso la pratica costante della traduzione letteraria e non letteraria; • Capacità di comprendere con facilità tutto ciò che si legge e conseguente abilità nel rendere i testi nella propria lingua madre rispettando le caratteristiche stilistiche, testuali e pragmatiche a seconda del contesto professionale; • Abilità di sintesi delle informazioni provenienti da fonti sia orali che scritte e conseguente sistemazione dei dati in presentazioni orali e scritte.

  3. Programme • Newmark, A Textbook of Translation, London, Prentice Hall, 1988 Essays and chapters from books: • Barone, Limiti della traduzione audiovisiva in contesti multilinguistici, multiculturali e tecnologici: i casi di ‘Miracle at St. Anna’ e di’ Inglourious Basterds’. • Benjamin, The task of the translator: an introduction to the translation of Baudelaire’s Tableaux Parisiens • Blum-Kulka, Shifts of cohesion and coherence in translation • Chamberlain, Gender and the metaphorics of translation • Derrida, What is a relevant translation? • Jakobson, On lingustic aspects of translation • Lefevere, Mother Courage’s Cucumbers: text, system and refraction in a theory of literature • Lefevere, Why waste our time in rewrites: the trouble with interpretation and the role of rewriting in an alternative paradigm

  4. Nida, Principles of correspondence • Petillo, Il doppiaggio filmico: una forma di traduzione totale? - Il doppiaggio italiano di ‘Catch me if you can’. (Doppiaggio e sottotitolazione: problemi linguistici e traduttivi nel mondo della screen translation). • Scarpa, Dimensioni di variazione e caratteri generali delle lingue speciali - Aspetti macro-e microlinguistici delle lingue speciali (La traduzione specializzata) • Schleiermacher, On the different methods of translating • Snell-Hornby, From Translation Studies: An integrated approach. (fotocopie) • Spivak, The politics of translation • Steiner, The Hermeneutic motion • Venuti, Translation as cultural politics, regimes of domestication in English • Venuti, Translation, community, utopia • Vinay and Darbelnet, A Methodology for Translation

  5. FROM A TEXTBOOK OF TRANSLATION ChaptersfromNewmark • 2. The analysisof a text; • 3. The processoftranslation; • 4. Languagefunctions, text categories and text types; • 5. Translationmethods; • 6. The unitoftranslation and discourseanalysis; • 8. Othertranslationprocedures; • 9. Translation and culture; • 10. The translationofmetaphors; 13. The translationofneologisms; • 15. The translationofseriousliterature

  6. During the course you will be given 3 activities to carry out at home. They will allow you to get one or two extra marks (final assessment) and avoid several parts of the programme. EXAM: 1. TRANSLATION EXAM (during our last or second last class) 2. A FINAL WORK to be handed in two weeks before the oral exam: TRANSLATION OF A LITERARY OR NON LITERARY TEXT (of your choice) AND ANALYSIS OF YOUR TRANSLATION (You will translate a text and then write a paper in which you analyse your translation, highlighting all the problematic areas and commenting on your choices of translation) ORAL EXAM: DISCUSSION OF THE FINAL WORK, QUESTIONS FROM THE TEXTBOOK (5 chapters of your choice), 3 ESSAYS among those included in the programme. The students who won’t do all the exercises assigned during the course will study all the 10 chapters plus the other materials provided during the classes (chapters from books / academic papers/ my ppts/ all the primary sources used for practice)

  7. In class exercises During the in-class practice you will analyse and translate short texts and comment on your work also comparing your translation with the original when they are available. Bilingual dictionaries are allowed, also for the translation exam. Some academic essays will be given to be read at home and discussed during classes.

  8. Genrestakeninto account More generallythree are the areasof interest in translation: • Science and technology; • Social, economic, political and institutionaltopics; • Literary and philosophicalworks. In particularhere: Literarytranslation; AVT (audiovisualtranslation); Technicaltranslation (business, scientific, academic and institutionaltexts); Journalisticmaterialstranslation Advertising texts and touristmaterialstranslation. Songsadaptations Translationof humour

  9. Dictionary of translation studies Translation An incredibly broad notion which can be understood in many different ways. For example, one may talk of translating as a process or a product, and identify such sub-types as literary translation, technical translation, subtitling and machine translation (among others).

  10. “To translate means to understand the internal system of a certain language, the structure of a given text in this language and to construct a double of the textual system which, submitted to a certain discreetness, could produce analogous effects on the reader, on the semantic and syntactic, as well at the stylistic, metrical, phono-symbolic levels, and also upon the passional effects to which the source text tends‟ UMBERTO ECO, 2007

  11. Newmark’s first statement: “Bear in mind that knowing a foreign language and your subject is NOT as important as being sensitive to language and being competent to write YOUR own language dexterously, clearly, economically and resourcefully.” (P. Newmark)

  12. Mastery of the target language A translator must possess “(…) the abilityto discriminate nuancesof the languageof…habitualuse and writeelegantly, neatly and naturally in a numberofstylisticregisters” (Newmark 1988: 19); “La competenza nella lingua di partenza deve essere soltanto passiva – e può essere quindi acquisita ex novo anche in età già adulta – mentre la competenza nella lingua di arrivo è attiva e richiede una padronanza assoluta da parte del traduttore, e quindi in età adulta può essere soltanto affinata”. (Scarpa, 2008: 259)

  13. R. Jakobson makes an important distinction: Intralingual translation Interlingual translation Intersemiotic translation (On linguistic aspects of translation)

  14. Intralingual translation or rewording: an interpretation of verbal signs using other signs of the same language (synonyms, circumlocutions, summary) But, also, varieties of the same language.

  15. Interlingual translation or translation proper: an interpretation of verbal signs using another language. This entails the concept of ‘untranslatability’ What is that? Every language has a set of basic colour terms: • English = 11 • Nez Perce (language of North America) = 7 • Jalé (language of New Guinea) = 2 Is it possible to translate the 11 English colours into Jalè?

  16. And… “Sami people (original inhabitants of Northern Scandinavia mainly) have many words that describe reindeers (different colours, sizes, antler spreads, and fur textures). There is actually a separate word describing a male reindeer in each year of his life. A poem by Nordic Council-prizewinning poet Nils-Aslak Valkeapää consists mainly of different Sami words for different kinds of reindeer. There are also hundreds of words that differentiate snow according to its age, depth, density, and hardness. For example, terms exist for powdery snow, snow that fell yesterday, and snow that is soft underneath with a hard crust on top.“

  17. According to Jakobson all experience is conveyable in any existing language by means of: •loanwords •neologisms •circumlocutions The Northeast Siberian language says •“ rotating nail” instead of “screw” •“hard iron” instead of “steel” •“writing soap” instead of “chalk” •“hammering heart” instead of “watch”

  18. Intersemiotic translation or transmutation: an interpretation of verbal signs using signs of nonverbal (sign) systems Equivalent messages in two different codes or modes: ? Can you think of any examples?

  19. Can the followingbeintersemioticallytranslated?

  20. YinYang Darkness Light Moon Sun Night Day Female Male Passive Active Cold Hot Rest Energy Evil Good Negative Positive Winter Summer Autumn Spring Right Left Introversion Extroversion Low High Water Fire Phoenix Dragon Death Life War Peace

  21. The internationally recognized symbol for peace was originally designed for the British nuclear disarmament movement by Gerald Holtom in 1958. The symbol is a combination of the semaphore signals for the letters "N" and "D," standing for "nuclear disarmament". In semaphore the letter "N" is formed by a person holding two flags in an inverted "V," and the letter "D" is formed by holding one flag pointed straight up and the other pointed straight down. Superimposing these two signs forms the shape of the centre of the peace symbol.

  22. The 'Moving Waters' of Gustav Klimt by L. Ferlinghetti Who are they thenthese women in this paintingseen so, deeply long agoModels he slept withor lovers or othershe came uponcatching them as they wereback thendreamt sleeperson moving waterseyes wide openpurple hair streamingover alabaster bodiesin lavender currentsDark skein of hair blown backfrom a darkened face…

  23. INTERSEMIOTIC TRANSLATION • From literature to cinema/theatre/music • From figurative arts to literature/music • From poems to songs • From songs to videos etc.

  24. To start with... Harry Potter and the Chamber of Secrets: Tom Marvolo Riddle... is the anagram of ‘I am Lord Voldemort’. Can we preserve this in other languages?

  25. In French: Tom Elvis Jedusor = Je suis Voldemort (jeu du sort = game of faith). In Italian: Tom Orvoloson Riddle (???) = son io Lord Voldemort. Here the translator tries to preserve the form at the expenses of the content and meaning

  26. What’s in a name? The Italian choice does not allow a full comprehension of the meaning (an average reader may ignore the meaning of ‘riddle’). ‘Marvolo’ recalls ‘marvelous’, but also contains ‘volo’ which in Latin may stand for either ‘to want’ or ‘to fly’ (a character who ‘wants’ power in a fast way). And, ‘Marvolo’ recalls the name of a Shakesperean character... Malvolio (Twelfth Night) who is very similar to Voldemort (thirst of power, egoism, revenge, belief of being superior).

  27. Can you find a better solution? Not easy…but possible I spent 10 minutes trying to find a solution preserving both content and form and something came out. 1) Tom MalevolioLordoveli (Io, ilmalevoloVoldemort): It is an anagram It sounds like a proper Italian name. It does mean something (volereil male, ‘lordo’, ‘veli’) And ‘Lordoveli’ starts with ‘Lord’ which is the title used to call him. Or, simplifying even more: 2) Tom Ordoveli / Veliordo (Io, Voldemort) – ‘veli’ as before and ‘ordo’, ‘ordire’ which has a negative connotation.

  28. Comprehensibility and translatability Before translating anything, keep always in mind some keywords: • Text type/genre • Language (style and tone) • Audience • Purpose

  29. Not all texts and text users are the same. Translating more serious texts as the Bible or Shakespeare’s works is different from translating more pragmatic/fixed texts as marriage certificates, instruction booklets or advertising material.

  30. Exercise 1 Read and translate the following (20 minutes). You have no context, no author, no clues, so write your translation accordingly. Then, after discussing your works, you will be faced with 3 available translations of this extract and you will critically express your opinions on them. Which is the most natural? The most respectful of the source language? Or just the one you like best? Why?

  31. Your opinions on the language? Complex structures? Style? Tone? Pace? TRUE! – nervous - very, very dreadfully nervous I had beenand am; but why will you say that I am mad? The diseasehad sharpened my senses - not destroyed - not dulled them.Above all was the sense of hearing acute. I heard all things inthe heaven and in the earth. I heard many things in hell.How, then, am I mad? Hearken! and observe howhealthily - how calmly I can tell you the whole story.

  32. Translation 1 TRUE!—nervous—very, very dreadfully nervous I had beenand am; but why will you say that I am mad? The diseasehad sharpened my senses—not destroyed—not dulled them.Above all was the sense of hearing acute. I heard all things inthe heaven and in the earth. I heard many things in hell.How, then, am I mad? Hearken! and observe howhealthily—how calmly I can tell you the whole story. Sì, è vero! Sono stato sempre, sono tuttora, nervoso, straordinariamente nervoso; ma perché mai mi volete pazzo? Il male ha acuito i miei sensi, non già disfatti, né ottusi. Più d’ogni altro acutissimo era il senso dell’udito. Tutto ciò che accadeva in cielo ed in terra, io l’udivo, e molto di ciò che accadeva nell’inferno. Perchè mai, dunque, sarei folle? Ascoltate! E badate con quanta lucidità, quanta calma io sia in grado di narrarvi tutta la storia.

  33. Translation 2 TRUE!—nervous—very, very dreadfully nervous I had beenand am; but why will you say that I am mad? The diseasehad sharpened my senses—not destroyed—not dulled them.Above all was the sense of hearing acute. I heard all things inthe heaven and in the earth. I heard many things in hell.How, then, am I mad? Hearken! and observe howhealthily—how calmly I can tell you the whole story. VERO! Irritabile, ero molto irritabile, tremendamente irritabile e lo sono ancora; ma perché dovete dire che sono folle? La malattia ha affinato i miei sensi, non li ha distrutti, non li ha intorpiditi. Particolarmente acuto era il senso dell’udito. Sentivo tutto, in cielo e in terra. Sentivo molte cose dall’inferno. Quindi, com’è possibile che io sia folle? Ascoltate attentamente! E osservate con quale lucidità e con quale calma sono in grado di raccontarvi l’intera storia.

  34. Translation 3 TRUE!—nervous—very, very dreadfully nervous I had beenand am; but why will you say that I am mad? The diseasehad sharpened my senses—not destroyed—not dulled them.Above all was the sense of hearing acute. I heard all things inthe heaven and in the earth. I heard many things in hell.How, then, am I mad? Hearken! and observe howhealthily—how calmly I can tell you the whole story. Questo è vero, sono un uomo nervoso, spaventosamente nervoso, e lo sono sempre stato; ma perché pretendete che sono pazzo? La malattia mi ha reso i sensi più acuti – mica me li ha distrutti – logorati. E già avevo l’udito finissimo, e tutto ho sentito del cielo e della terra. Anche dell’inferno ho sentito parecchio. Com’è dunque che sarei pazzo? State attenti! E osservate con quanto senno, con quale calma sono capace di raccontarvi tutta la storia.

  35. Translations Poe, Il rumore del cuore, 1983, traduzione di Giorgio Manganelli Poe, Il cuore accusatore, 2013, traduzione di Linda Barone Poe, Il cuore rivelatore, 1961, traduzione di Elio Vittorini. Story available at: http://www.poemuseum.org/works-telltale.php

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