TIMETABLE Prof Barone FRIDAY 8 30

TIMETABLE: Prof. Barone FRIDAY 8. 30 - 10. 30: TRANSLATION THEORY AND PRACTICE aula 7 Prof. Garzillo FRIDAY 12. 30 – 14. 30: TRANSLATION PRACTICE aula 9

CAE RESULT Student's Book Workbook Resource Pack WITH KEY Kathy Gude & Mary Stephens, Oxford English Collocations in Use Michael Mc. Carthy & Felicity O'Dell, Cambridge English Phrasal verbs in Use, Michael Mc. Carthy & Felicity O'Dell, Cambridge THE ABOVE BOOKS ARE USED WITH YOUR MOTHER TONGUE TEACHERS B. Hatim, J. Munday, Translation. An advanced resource book, London, Routledge, 2004 (pp. 40120 and pp. 160 -218) FURTHER MATERIALS WILL BE PROVIDED BY THE TEACHER

DYMANIC EQUIVALENCE AND THE RECEPTOR OF THE MESSAGE TEXTUAL PRAGMATICS AND EQUIVALENCE TRANSLATION AND RELEVANCE TEXT TYPE IN TRANSLATION TEXT REGISTER IN TRANSLATION TEXT, GENRE AND DISCOURSE SHIFT IN TRANSLATION AGENTS OF POWER IN TRANSLATION IN THE INFORMATION TECHNOLOGY ERA CONSIDERATIONS ON CINEMATIC LANGUAGE AND TRANSLATION

After each theoretical class you will be assigned a task to carry out for the following lesson. You will read papers by some of the most important scholars in the field of translation and you’ll be asked to write a PPP on them. You can work either on your own or in couple. Each presentation will be given to me and evaluated. After each theoretical lesson, we will have a lesson totally dedicated to your presentations. You will be asked to show your works to your colleagues. PPPs have to be very concise and their duration must be of max. 15/20 minutes. The concepts written in each slide have to be widened by you during the presentation, as if you were at an academic conference.

This is just an example of how to write a PPP. It is particularly useful because, besides being a PPP, it also gives advice on how to write academic papers and/or dissertations. This example of PPP is already available on my web page. http: //www. unisa. it//Facolta/Lingue_e_Lette rature_Straniere/Contatti/Docenti_e_Ricer catori/Barone/linda_barone. php in the section MATERIALE DIDATTICO

Your PPPs will be part of the final exam, each work will be given a mark. The average mark of your PPPs will be added to the mark you will get for the translation exam. The average between the two will be your final mark of this part of the course. The translation exam will be done during the last lesson. Your works plus the translation ARE your exam (both oral and written) concerning my course and prof. Garzillo’s.

pp. 161 – 167 NIDA, E. A. , Science of translation NIDA, E. A. , Toward a science of translation First presentation: FRIDAY 13 MARCH

By the end of the course you will write a paper of max. 1000 words. You’ll watch the movie Miracle at St. Anna by Spike Lee (both the original and the Italian dubbed version) You’ll read the screenplay of the movie as well. Some state that Miracolo a Sant’Anna is one of the worst dubbed movies ever. Starting from this assumption/hypothesis and after watching the two versions you are asked to write about the problems of translation that can be found in the Italian version.

Insisting on ‘full’ translatability may result in lack of comprehension/understanding. Insisting on ‘full’ comprehension (by explaining each translation with notes or paraphrases) results in something which is not translation anymore. The balance between these two concepts is fundamental. NIDA: anything which can be said in one language can be said in another, unless the form is an essential element of the message.

Translatability and comprehensibility working together and not considered as opposite have given rise to dynamic equivalence whose counterpart is formal equivalence. FE involves the replacement of words or phrases in the SL by others in the TL taking context into account. However, FE is NOT literal translation.

While literal translations tend to preserve formal features (a sort of machine translation), a formal translation is almost always contextually motivated: formal features are saved only if they can become part of the overall meaning.

Newsweek obituary of Sir Alec Guinness (famous British actor). (…) a face so ordinary as to approach anonymity, a mastery of disguise so accomplished he could vanish without a trace inside a role and a wary intelligence that allowed him to reveal the deepest secrets of his characters while slyly protecting his own. Formal equivalence means to focus one’s attention on the message in both form and content respecting the intentions of the author and the context in which the text appears.

Yet, for a wide variety of texts, formal equivalence is not enough and some explications and adjustments are needed. This happens when the ST contains words/phrases which are not transparent and would result in a threat to comprehensibility. In these cases the translator MUST intervene. This is an English translation of an Arabic advert: X Bank presents the banking services by phone. The Telebanking System welcomes you by the Islamic greeting ‘assalamu ‘alaykum’, completes your inquiries/transactions within few seconds and sees you off saying ‘fi aman allah’. THIS WAS A TOTAL FLOP and was soon withdrawn and then it re-appeared in this new guise: X Islamic Bank, the first Islamic Bank in the world, is pleased to offer you a sophisticated service through Automated Teller Machine Cash Card.

It means to modify a ST in order to make it acceptable to the target audience. The more form-bound a meaning is the more formal the equivalence relation will have to be. The more context-bound a meaning is (e. g. obscure references to source culture) the more dynamic the equivalence will have to be.

‘You must be excited about the film coming out’, a friendly acquaintance remarked at the end of 2001, a few months before the movie version of About a Boy was released. (Those weren't her actual words. Her actual words were, ‘You must be excited about About a Boy coming out’. I changed them because, prose stylist that I am, I wanted to avoid that double 'about'. I'm sick of it. My advice to young writers: never begin a title with a preposition, because you will find that it is impossible to utter or to write any sentence pertaining to your creation without sounding as if you have an especially pitiable stutter. ‘He wanted to talk to me about About a Boy’. ‘What about About a Boy? ’ ‘The thing about About a Boy. . . ’ ‘Are you excited about About a Boy? ’ And so on. I wonder if Steinbeck and his publishers got sick of it? ‘What do you think of Of Mice and Men? ’ ‘I've just finished the first half of Of Mice and Men. ’ ‘What's the publication date of Of Mice and Men? ’…Still, it seemed like a good idea at the time. )

“Dev’essere una bella emozione l’uscita del film” mi disse una simpatica conoscente alla fine del 2001, pochi mesi prima che uscisse About a Boy, la versione cinematografica di Un Ragazzo (anzi, più esattamente, le sue parole furono: “Dev’essere una bella emozione sapere che sta per uscire il film”. Le ho modificate perché, da prosatore attento allo stile, volevo evitare quel ripetersi dell’infinito. E’ un consiglio che do anche ai giovani scrittori: evitate simili cantilene, o vi colpiranno come un pugno nello stomaco appena vi rileggerete. “mi farebbe piacere sapere…” “E’ un vero piacere avere…” e così via).

TIMETABLE Prof Barone FRIDAY 8 30 — 10