scholarly journals Preserving the Humour in Puns in Audio-visual translation from Spanish. Practical Solutions

2020 ◽  
Vol 2 ◽  
pp. 117-130
Author(s):  
Veneta Sirakova
Keyword(s):  
Proper Names ◽  
Original Version ◽  
Television Series ◽  
Spanish Speaking ◽  
American Television

The article reveals specific features of the translation from Spanish to Bulgarian of some comic word games/ puns in the American television series Silvana sin lana, especially those based on polysemy and paronymy, neologisms and certain proper names. Based on the requirements presented in the audio-visual translation, several translation proposals are analysed, including different options for translation compensations aimed at generating the same comic impact on the Bulgarian public as the original version exerts on Spanish-speaking viewers. The results show that this objective, however complicated it may seem, in many cases is achievable, although with certain inevitable losses. Nevertheless, on other occasions the word games have practically disappeared from the target text both for purely linguistic reasons, and because of the limitations of audio-visual translation caused by the interpenetration of several codes of different kinds.

scholarly journals Researching Janet Dean

2021 ◽  
pp. 205-212
Author(s):  
Christina Lane
Keyword(s):  
Social Issues ◽  
Historical Narratives ◽  
Television Series ◽  
Television Production ◽  
Star Power ◽  
American Television ◽  
Hollywood Films ◽  
Growing Medium ◽  
Film Producer ◽  
Production Practices

The 1954 American television series Janet Dean, Registered Nurse (1954–1955) capitalised on the star power of its lead Ella Raines, business heft of CBS executive William Dozier, and cache of film producer Joan Harrison. Though a brainchild of Raines’, the series relied heavily on Harrison’s decades of nuts-and-bolts experience producing Hollywood films. It became a vehicle for both women to pool their creative talents, advance a growing medium, and comment on contemporary social issues. This contribution to the dossier considers the methodological challenges posed by analysing this instance of female collaboration in 1950s television production. It represents an effort to excavate undocumented production practices and women’s creativity, while decentring prevailing historical narratives surrounding the “great genius” male executive.

scholarly journals When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative

2021 ◽  
pp. 205-252
Author(s):  
Marta Dynel
Keyword(s):  
Philosophy Of Language ◽  
Television Series ◽  
Fictional World ◽  
Extant Literature ◽  
Multimodal Analysis ◽  
American Television ◽  
Theoretical Account ◽  
The Status ◽  
The One ◽  
Withholding Information

AbstractThis article gives a comprehensive theoretical account of deception in multimodal film narrative in the light of the pragmatics of film discourse, the cognitive philosophy of film, multimodal analysis, studies of fictional narrative and – last but not least – the philosophy of lying and deception. Critically addressing the extant literature, a range or pertinent notions and issues are examined: multimodality, film narration and the status of the cinematic narrator, the pragmatics of film construction (notably, the characters’ communicative level and the one of the collective sender and the recipient), the fictional world and its truth, the recipient’s film engagement and make believing, as well as narrative unreliability. Previous accounts of deceptive films are revisited and three main types of film deception are proposed with regard to the two levels of communication on which it materialises, the characters’ level and the recipient’s level, as well as the intradiegetic and/or the extradiegetic narrator involved. This discussion is illustrated with multimodally transcribed examples of deception extracted from the American television seriesHouse.In the course of the analysis, attention is paid to how specific types of deception detailed in the philosophy of language (notably, lies, deceptive implicature, withholding information, covert ambiguity, and covert irrelevance) are deployed through multimodal means in the three types of film deception (extradiegetic deception, intradiegetic deception, and a combination of both when performed by both cinematic and intradiegetic narrators). Finally, inspired by the discussion of Hitchcock’s controversial lying flashback scene inStage Fright, as well as films relying on tacit intradiegetic, unreliable narrators (focalising characters) an attempt is made to answer the thorny question of when the extradiegetic (cinematic) narrator can perform lies (through mendacious multimodal assertions) addressed by the collective sender to the recipient, and not just only other forms of deception, as is commonly maintained.

Killing Two Birds with One Deceit

2016 ◽  
Vol 8 (2) ◽  
pp. 179-218 ◽  
Author(s):  
Marta Dynel
Keyword(s):  
Real Life ◽  
Television Series ◽  
American Television ◽  
Speaker Meaning ◽  
Complex Mechanisms

This paper explores the workings of deception performed in multi-party interactions, a topic hitherto hardly ever examined by deception philosophers. Deception is here discussed in the light of a neo-Goffmanian classification of (un)ratified hearers and a neo-Gricean version of speaker meaning, anchored in non-reflexive intentionality and accountability, which is shown to operate beyond the speaker-hearer dyad. An utterance, it is argued, may carry different meanings, judged according to their (lack of) intentionality and (non)deceptiveness, towards the individuals performing different hearer roles. The complex mechanisms of deception with regard to different hearers are illustrated with examples culled from the American television series “House.” Deception in fictional interactions is illustrative of real-life manifestations of deception, yet it brings into focus also those rare ones, which are in the centre of philosophical attention.

scholarly journals Culinary lexicon in the dialects of Spanish language

2021 ◽  
pp. 38-54
Author(s):  
Angelina Yur'evna Pshenichnikova
Keyword(s):  
Dominican Republic ◽  
Latin American ◽  
Proper Names ◽  
Spanish Language ◽  
Separate Group ◽  
Spanish Speaking ◽  
Language Analysis ◽  
National Cuisine ◽  
The Impact ◽  
Latin American Countries

This article discusses the peculiarities of linguistic consciousness of the representatives of ethnoses of Latin American countries through the modern dialects of Spanish language. Analysis is conducted on the lexicon of the national cuisine of Cuba, the Dominican Republic, Peru, Ecuador, Argentina, Paraguay, and Uruguay. The article includes the analysis of linguistic zones of the Spanish language. The goal lies in examination of the lexicon of national cuisine of Latin American countries and, and creation of culinary dictionary of Spanish-speaking countries. The author aims to determine the national-specific gastronomic realities of Latin American countries through the prism of ethno-cultural space, and establish correlation between the uniqueness of gastronomic realities with the mentality and fragments of the linguistic worldview of Latin American countries. The conclusion is formulated on the impact of loanwords upon the national culinary lexicon of Latin American countries. The author draws a chart with the lexemes of national cuisines of Cuba, the Dominican Republic, Peru, Ecuador, Argentina, Paraguay, and Uruguay. In accordance with the linguistic zones of Spanish language, the national culinary lexicon is divided into three groups of indigenisms; considering the influence of other languages on the formation of the vocabulary of the regional Spanish language, the national culinary lexicon is divided into the following loanwords (Africanisms, Arabisms, Gallicisms, Anglicisms, and Italianisms). Lexical units, which are widespread in the territory of two, three, or four national dialects of the Spanish language are referred to as regionalisms. Lexical units that are characteristic to one national dialect of the Spanish language are referred to as variantisms. The proper names are allocated into a separate group. The scientific novelty consists in examination of the poorly studied national culinary lexicon of such Latin American countries as Cuba, the Dominican Republic, Peru, Ecuador, Argentina, Paraguay, and Uruguay.

Du dialogue interculturel à la construction identitaire interpersonnelle et numérique - possibles exploitations pédagogiques de la série télévisée Emily in Paris (2020) -

Transilvania ◽  
2020 ◽  
pp. 93-96
Author(s):  
Dumitra Baron
Keyword(s):  
New Media ◽  
Cultural Identity ◽  
Intercultural Communication ◽  
Television Series ◽  
Cultural Stereotypes ◽  
Media Usage ◽  
Construction Identitaire ◽  
American Television ◽  
Contemporary Cinema ◽  
Working Hypotheses

In this article, we propose to sketch some working hypotheses around the problem of the use of television series in the teaching of the FLE, addressing in an interdisciplinary way the possible fields of exploitation of contemporary cinema. We will focus most of our observations on the use of cultural stereotypes and intercultural communication, considering their expanded exploitation and illustration in the American television series Emily in Paris (2020). The issue of personal and cultural identity will also be explored from the perspectives of new media usage.

Constructing the antihero: Linguistic characterisation in current American television series

2017 ◽  
Vol 46 (1) ◽  
Author(s):  
Christoph Schubert
Keyword(s):  
Television Series ◽  
American Television

AbstractThis paper investigates the ways in which immoral villains in contemporary fictional television are linguistically constructed as antiheroes that are appealing and even likeable to a wide mainstream audience. The underlying dataset comprises the first thirteen episodes of each of the three American TV series

Reference and Preference in Narrative: Sherwood Anderson's Winesburg, Ohio

1989 ◽  
Vol 7 (1) ◽  
pp. 33-43
Author(s):  
Michel Grimaud
Keyword(s):  
Present Article ◽  
Short Story ◽  
Proper Names ◽  
Cultural Influences ◽  
Cross Cultural ◽  
Original Version ◽  
Text Coherence ◽  
Specific Description ◽  
Proper Name ◽  
Story And Discourse

In story and discourse proper names may be seen as one of five basic choices confronting the text producer: proper name (given name, surname); specific description (the tall one); classifier (the woman); pronoun (they); and zero anaphora. In Grimaud [1, 2], I studied cross-cultural (Hungarian and American) strategies in the use of those categories; in the present article, I look at some of the psychological implications of the various possible category choices by having twenty-five students comment on their preferences for one of the three versions of Sherwood Anderson's short story “The Strength of God” (in Winesburg, Ohio, 1919); a proper name only, a description only, and the mixed original version. Two influences dominated: a “friendliness” factor of proper names or descriptions (depending upon subject) and expectations concerning text coherence. Seven narrative maxims are postulated to account for the socio-cultural influences on preference for names in narrative.

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