Acquiring Translation Competence through the Use of Subtitling. Enhancing Language Learning through Translation and Translating.

The research work presented here is the result of two interconnected factors: on the one hand the results of a preliminary study on the skills of students of the degree courses “Mediazione Linguistica e Culturale” [Linguistic and Cultural Mediation] and “Lingue, Letterature e Culture Moderne” [Modern Languages, Literature and Cultures] to analyse and assess the translation of audiovisual products and on the other hand the analysis of the most recent literature on language learning and audiovisual material, in particular interlingual subtitling. The first shows that the competences acquired during the three years of study do not always guarantee satisfying language and translation skills – in particular, a rather literal approach to texts persists –; while the second presents encouraging results on the use of subtitling in foreign language teaching, although the studies conducted so far are few and on small samples. Hence, the need for students to abandon their word-for-word approach and the intrinsic characteristics of interlingual subtitling and of audiovisual texts (i.e. the time and space constraints imposed on the text) are the starting point of this dissertation. Although the Common European Framework of Reference (CEFR) acknowledges translation as part of the activities necessary to language learning, its status is not yet clear since it is sometimes included in reception and production skills. The lack of specific descriptors then, makes the role played by translation in language learning still uncertain. To this end a methodology based on the use of two pieces of software was designed and implemented, namely LvS 2.5.2 a subtitling simulator for didactic purposes and Translog 2006 that allows to record all cursor movements and keystrokes. The first was used to analyse the processes and products of the translation of audiovisual texts, while the latter to create subtitles from English to Italian. One of the innovative aspects of this project lies precisely in the combination of these two pieces of software for the survey and development of language and translation competence for English L2 learners. The first stage of this investigation consisted in a pilot study with 18 volunteers of the third year of the degree course “Mediazione Linguistica e Culturale” over three lessons. The main purpose of the pilot study was to test students' reactions to the use of LvS and Translog and improve the methodology, as well as the quality of the learning material. This provided us with positive reactions on the part of students and with preliminary data on translation processes that proved helpful to the trial. The most striking datum found is that around 40% of the students observed do not read the text before translating, with negative consequences on the working speed and quality of their translations. The trial had a larger sample of students (27) and took place over a period of about two months (10 lessons). Students underwent an initial profiling activity, so that their translation style and initial competence and were instructed on how to use LvS and Translog. The activities carried out during the trial were structured according to the main stages of the translation process (orientation, drafting and end-revision). Therefore, every lesson would entail three stages: a group watching of the material and students' comments on the content and possible translation problems, then the translation with Translog and a transposition on LvS, and finally a group discussion with students' proposals. The material was administered on the basis of the learner-centred approach in which the teacher was a mere facilitator and encouraged a critical dialogue among students as much as possible rather than impose her own perspective. The definition of competence the study and the analysis refer to is that proposed by the PACTE group (“the underlying system of knowledge required to translate”). The audiovisual texts propose to students were selected on the basis of a number of “Rich Points”, which were then the specific object of the qualitative and quantitative analysis. Special attention was paid to the three basic stages of the translation process and their evolution, the duration of pauses, number of re-elaborations and the quality of the solutions of Rich Points. Moreover, the trial group's translation performance was compared to that of a control group to allow better data validation. The results of the study have contributed to gather precious information on learners' translation style and techniques and seem to encourage the use of this practice in foreign language teaching through the analysis and translation of audiovisual material. In fact, the trial group outperformed the control group both as far as the general approach to translation is concerned and specific problems considered representative of the most common translation difficulties

The World’s A Stage: A Guide to International Stage Management

In the art of Stage Management, the care and feeding of any show large or small requires the ability to adapt to the many challenges that inevitably arise in any production. As the primary interface for all creative information, the stage manager must develop comprehensive systems to process and disseminate this data in a timely and efficient manner. Part of this duty is building a toolbox which enables us to call upon a variety of skills in tandem at a moment’s notice. Being prepared for every situation is impossible, but when armed with the best practices and the most information available we shield ourselves from a great deal of potential complications. Over the last fifty years technology has transformed our world into an immensely interconnected, interrelated interdependent place. Because of this trend our role as managers of screen and stage now must shift with these new winds of progress both backstage and front of house. This analysis of international touring procedures will reveal that among the major challenges facing production stage managers today adjusting to three issues prevail: the division of labor, socio-cultural norms, and theatre architecture. The goal of this exploration is to create a resource for those who wish to become not only better international stage mangers but also well-informed global citizens. To understand the styles and culture of others we must first reflect the standards, style, and culture of American stage managers. This study will rely on the collective bargaining labor agreements created by the Associated Actors and Artists of America as the basis of our organizational structure and as the control upon which other management styles are compared. When comparing the structure of theatrical management and the division of labor around the world we have a better grasp on the greater function of stage managers. By looking at the major theatrical landmarks we can see what role touring productions plays in the local community as well as on the international stage. In looking at the language and customs to each region we can heighten our awareness of popular vernacular and unfamiliar cultural standards

Imaging Exploitation, Complexity, and Paradox in Subaltern Labor Photography

Imaging Exploitation, Complexity, and Paradox in Subaltern Labor Photography is an expanded cinema performance examining \u27cheap\u27 labor in the fast fashion industry through a self-reflexive diasporic lens. The images and narration explores the garment factories in Bangladesh and contains ‘a photographer’s cognitive meta-data’, including ethical dilemmas while taking the images

Brushed in Light

Drawing on a millennia of calligraphy theory and history, Brushed in Light examines how the brushed word appears in films and in film cultures of Korea, Japan, Taiwan, Hong Kong, and PRC cinemas. This includes silent era intertitles, subtitles, title frames, letters, graffiti, end titles, and props. Markus Nornes also looks at the role of calligraphy in film culture at large, from gifts to correspondence to advertising. The book begins with a historical dimension, tracking how calligraphy is initially used in early cinema and how it is continually rearticulated by transforming conventions and the integration of new technologies. These chapters ask how calligraphy creates new meaning in cinema and demonstrate how calligraphy, cinematography, and acting work together in a single film. The last part of the book moves to other regions of theory. Nornes explores the cinematization of the handwritten word and explores how calligraphers understand their own work

Exploring the communicative competence of Chinese graduate students at Memorial University

A considerable number of Chinese international students enter Canada to pursue higher education every year. However, their less than adequate education in communicative competence domestically causes challenges in intercultural communication even for those students who study abroad by pursuing their Master's or doctoral degree. A great number of studies about Chinese students and their experiences in English speaking countries have been done in recent years. However, little research has provided a holistic picture of what Chinese students think about their own communicative competence, how they improve it consciously as well as what they think of the social and academic support offered by their universities. Therefore, this phenomenological ethnographic qualitative research project intends to fill this research gap. The results show that participants in this study perceived more challenges in terms of pragmatic competence and fluency. The strategies they used and the support provided by Memorial University and the province for improving their communicative competence were described. Pedagogical implications for ESL teachers and further support that should be provided by MUN are also addressed

Kenyon Collegian - April 7, 1977

https://digital.kenyon.edu/collegian/1963/thumbnail.jp