El Estrés en la Traducción Escrita y Visual en el Entorno de Entrenamiento

Translation is a problem-solving activity, where the translator is in charge of problems arising not only from the translating material, but also from the emotional factors, the most significant of which stress. Stress can have both facilitative and debilitative impacts on the human performance, therefore, it is of paramount importance to indicate how much, if at all, the work of translator involves stress. To investigate stress in translation, a sample of translation students were asked to complete a written and a sight translation task from English to Persian. The changes in their blood pressure and heart rates were measured before and during the translation tasks. The findings revealed that sight translation is significantly more stressful than written translation and can result in a meaningful rise in blood pressure and heart rate. A significant increase in heart rate was observed during the written translation. Comparing the significant changes in systolic blood pressure of the male participants and heart rate of the female participants during the written translation, with no significant difference between the blood pressure and heart rate of both male and female participants throughout the sight translation, showed the difference in the stress response between the genders disappears during excessive stress.El estrés puede tener impactos facilitadores o debilitantes en el rendimiento humano, incluida la traducción. Para investigar el estrés en la traducción, se pidió a una muestra de estudiantes de traducción que completaran una tarea de traducción escrita y visual de inglés a persa. Los cambios en la presión arterial y el ritmo cardíaco se midieron antes y durante las tareas de traducción. Los hallazgos revelaron que la traducción visual es significativamente más estresante que la traducción escrita y puede resultar en un aumento significativo de la presión arterial y el ritmo cardíaco. Se observó un aumento significativo en el ritmo cardíaco durante la traducción escrita. Comparando los cambios significativos en la presión arterial sistólica de los participantes masculinos y el ritmo cardíaco de las participantes femeninas durante la traducción escrita, sin diferencias significativas entre la presión arterial y el ritmo cardíaco de participantes masculinas y femeninas a través de la traducción visual, mostró la diferencia en La respuesta al estrés entre los géneros desaparece durante el estrés excesivo

Exploring the Attitudes and Expectations of Iranian Audiences in Terms of Professional Dubbing into Persian

For more than seven decades, dubbing has been the dominant professional modality for overcoming language barriers in foreign movies and TV series in Iran and has been revered as a national art. Although limited, some recent work has explored Persian dubbing reception and to continue this endeavor, this study attempts to offer further insights into how the Iranian viewers perceive dubbing, translation for dubbing and what they expect from dubbing. More precisely, the study aims at examining how the Iranian audiences view dubbing and particularly its agents and translation. To these ends, a questionnaire including open and closed items was designed. The overall results revealed that translation quality was considered considerably less important than the technical issues related to the dubbing production, such as voice-acting and synchronization. The findings also suggested that the performance of dubbing actors and dubbing directors was regarded more important than the contribution of translators. Overall, these findings seemed to indicate that the Iranian viewers’ appreciation of a dubbed program is mainly guided by non-translation issues including the performance of the dubbing actors and the accuracy of the relevant synchronizations

PERSONALITY TYPE AND TRANSLATION PERFORMANCE OF PERSIAN TRANSLATOR TRAINEES

The study investigated the relationship between the personality typology of a sample of Iranian translation students and their translation quality in terms of expressive, appellative, and informative text types. The study also attempted to identify the personality types that can perform better in English to Persian translation of the three text types. For that purpose, the personality type and the translation quality of the participants was assessed using Myers-Briggs Type Indicator (MBTI) personality test and translation quality assessment (TQA), respectively. The analysis of the data revealed that the personality type of the participants seemed relevant to the translation quality of all the text types. The translation quality of the participants with intuitive and thinking types was significantly better than the sensing type counterparts in translating expressive texts. The participants with intuitive and feeling types also performed better than their counterparts with sensing type in translation of the informative text. Moreover, the participants with intuitive, feeling, and thinking personality types performed more successfully than the participants with sensing type in translation of the appellative text. The findings of the study are discussed in light of the existing research literature.

La traducción para voice-over de programas informativos de televisión: el caso de Irán

Compared with dubbing and subtitling research, the current literature on voice-over translation is fairly scarce, and research has been mainly reported from Europe. Likewise, there are few reports on the topic from an Asian context including Iran. The main goal of this paper is, therefore, to examine voice-over translation in Iranian news broadcasting. The study uses a corpus of English news materials translated into Persian and have been broadcast on Iranian Television. The study has described Persian translation for voice-over from two perspectives: synchronization techniques, and faithfulness and ideology in translation. The overall findings suggest that voice-over translation is a common modality used for translation of foreign news reports in Iran, which entails considerable appropriation and manipulation due to solutions adopted for synchronization and ideological purposes of the news agencyEn comparación con la investigación llevada a cabo en doblaje y subtitulación, la literatura disponible hasta la fecha sobre la traducción para voice-over (o voces superpuestas) es bastante escasa y los estudios existentes se centran en Europa. Del mismo modo, este tema se ha investigado poco en Asia, especialmente en el contexto iraní. El objetivo principal del presente artículo es analizar la traducción para voice-over de programas informativos en Irán. El corpus utilizado para este estudio se compone de material en inglés traducido al persa que ha sido emitido en la televisión iraní. La traducción persa para voice-over se describe aquí desde dos perspectivas distintas: técnicas de sincronización e ideología en traducción. Los resultados sugieren que la traducción para voice-over es una modalidad empleada comúnmente en la traducción de informativos extranjeros en Irán, lo que da lugar a la apropiación y a la manipulación debido a las soluciones que adoptan las agencias de noticias con fines ideológicos y de sincronizació

Exploring Ideological Discourse Structures In English And Persian Translator Education

The present research in two phases investigated how students of English translation in Iranian universities tended to approach the source text with socio-political content critically for representations of embedded ideologies during English to Persian translation. The first phase was a quantitative study involving a self-designed questionnaire instrument and a purposive sample population of 469 participants. The second phase was a mixed-methods design study using think aloud protocol data from a criterion sample population of 10 participants

A Didactic Approach to Curriculum Renewal on the Basis of Market Demands: A Grounded Theory Study

This study aims to provide sufficient information on the issues of the current approaches, materials, and curricula employed in the field of Translation Studies. To do so, the researcher investigated the demands of the market and the vocational realities so as to come to an understanding of the curriculum drawbacks. Furthermore, this study provides a review on the current trends used by academic institutions and private sector inIran. As a phase of the adopted model, several semi-structured interviews were held with authorities in the market of translation, and then the gathered data. Having analyzed the data, a number of themes emerged, the most important of which were the skills pertinent to technology and computer assisted translation. Finally, a number of recommendations were made to improve the official curriculum of Translation Studies. To the future researchers, this study provides baseline information on the recent status of translator teaching trends

Iranian Amateur Subtitling Apparatus: A Qualitative Investigation

The number of studies addressing non-professional or amateur subtitling or fansubbing has increasingly multiplied over the past years, underlying its relevance in the present world. This is partly because a growing number of audiences worldwide now watch TV series and films with subtitles by amateur subtitlers, which are freely shared online, and Iranian viewers are certainly included. In Iran, to get around the “cultural gate-keeping” policy advocated and strictly enforced by the state in the national media system, from the early 2010s onward, numerous Persian-language websites have embarked on a new initiative whereby original, especially American tv series and films are made available for download together with their Persian subtitles. Despite the upsurge of this phenomenon in the Iranian context, there is limited literature and research on Persian non-professional subtitling. To fill this knowledge gap, this article aims to examine and analyze the different practices that are closely associated with Persian amateur subtitling. This includes building a profile of Iranian amateur subtitlers, along with an account of their working process, followed by a description of fansubbed products. The data are gathered using an open-ended questionnaire with a criterion sample of Iranian non-professional subtitlers, a survey of Iran-based video and subtitle sharing websites, and a close examination of the common features found in fansubbed Persian products, including reading speed and fansubbers’ experimentation with the original.Submitted: 30/04/2019Accepted: 30/06/2019How to cite:Ameri, S. y Khoshsaligheh, M. (2019). Iranian Amateur Subtitling Apparatus: A Qualitative Investigation. Mutatis Mutandis. Revista Latinoamericana de Traducción, 12(2), 433-453. doi: 10.27533/udea.mut.v12n2a08Le nombre d’études portant sur le fansubbing s’est multiplié ces dernières années, soulignant ainsi sa pertinence dans le monde actuel. Ceci tient au nombre croissant de téléspectateurs qui regardent des séries télévisées et des films avec des sous-titres partagés en ligne par des sous-titreurs non professionnels, l’Iran n’y fait pas exception. En Iran, pour contourner la politique de « maintien de la culture » défendue et strictement dirigée par l’État, de nombreux sites Web en persan se sont lancés, à partir du début de l’année 2010, dans une nouvelle initiative dans laquelle les séries, en particulier les séries télévisées américaines, sont téléchargeables avec les sous-titres en persan. Malgré l’augmentation de ce phénomène dans le contexte iranien, il existe peu de littérature et de recherche sur le funsubbing en persan. Pour combler cette lacune, cet article vise à examiner et analyser les différentes formes de pratiques associées au sous-titrage en persan : le profil des sous-titreurs iraniens non professionnels, une description de leur processus de travail, suivi d’une description des produits sous-titrés par les fans. Les données sont collectées à l’aide d’un questionnaire ouvert comprenant un échantillon de critères provenant de sous-titreurs iraniens non professionnels, d’un sondage vidéo et de sites Web permettant de partager des sous-titres en Iran, ainsi qu’un examen détaillé des caractéristiques communes des produits sous-titrés par les fans, y compris la vitesse de lecture et les expériences de sous-titreurs amateurs avec l’original.Date de réception : 30/04/2019Date d'acceptation : 30/06/2019Comment citer cet article ?Ameri, S. y Khoshsaligheh, M. (2019). Iranian Amateur Subtitling Apparatus: A Qualitative Investigation. Mutatis Mutandis. Revista Latinoamericana de Traducción, 12(2), 433-453. doi: 10.27533/udea.mut.v12n2a08The number of studies addressing non-professional or amateur subtitling or fansubbing has increasingly multiplied over the past years, underlying its relevance in the present world. This is partly because a growing number of audiences worldwide now watch TV series and films with subtitles by amateur subtitlers, which are freely shared online, and Iranian viewers are certainly included. In Iran, to get around the “cultural gate-keeping” policy advocated and strictly enforced by the state in the national media system, from the early 2010s onward, numerous Persian-language websites have embarked on a new initiative whereby original, especially American tv series and films are made available for download together with their Persian subtitles. Despite the upsurge of this phenomenon in the Iranian context, there is limited literature and research on Persian non-professional subtitling. To fill this knowledge gap, this article aims to examine and analyze the different practices that are closely associated with Persian amateur subtitling. This includes building a profile of Iranian amateur subtitlers, along with an account of their working process, followed by a description of fansubbed products. The data are gathered using an open-ended questionnaire with a criterion sample of Iranian non-professional subtitlers, a survey of Iran-based video and subtitle sharing websites, and a close examination of the common features found in fansubbed Persian products, including reading speed and fansubbers’ experimentation with the original.El sistema de subtitulación aficionada iraní: Una investigación cualitativaResumenLa cantidad de estudios que abordan la subtitulación no profesional o aficionada, o fansubbing, se ha multiplicado en los últimos años, lo que subraya su relevancia en el mundo actual. Esto se debe en parte a que un número creciente de espectadores en todo el mundo ahora ve series de televisión y películas con subtítulos compartidos en línea por subtituladores no profesionales e Irán no es una excepción. Desde principios de 2010 en adelante, en Irán, numerosos sitios web en lengua persa se han embarcado en una nueva iniciativa para sortear la política de "filtrado cultural" —defendida y dirigida estrictamente por el Estado en el sistema de medios de comunicación nacional—, en la cual series y películas, especialmente estadounidenses, se comparten para descargar con subtítulos en persa. A pesar del aumento de este fenómeno en el contexto iraní, existe poca literatura e investigación sobre la subtitulación persa no profesional. Para llenar este vacío, este artículo busca examinar y analizar las diferentes prácticas estrechamente asociadas a la subtitulación persa. Esto incluye construir un perfil de los subtituladores no profesionales iraníes, junto a una descripción de su proceso de trabajo, seguida de una descripción de los productos subtitulados por aficionados. Los datos se recopilan mediante un cuestionario abierto con una muestra de criterios tomados de los subtituladores no profesionales iraníes, una revisión de los sitios web para compartir subtítulos y videos en Irán, y un examen detallado de las características comunes a los productos subtitulados por aficionados a la lengua persa, incluyendo la velocidad de lectura y la experimentación de los subtituladores aficionados con el original.Palabras clave: subtitulación no profesional, subtitulación aficionada, subtituladores aficionados, subtitulación persa, IránFecha de recepción: 30/04/2019Fecha de aceptación: 30/06/2019¿Cómo citar este artículo?Ameri, S. y Khoshsaligheh, M. (2019). Iranian Amateur Subtitling Apparatus: A Qualitative Investigation. Mutatis Mutandis. Revista Latinoamericana de Traducción, 12(2), 433-453. doi: 10.27533/udea.mut.v12n2a0

Translation of Graphic Codes: The Case Study of Two Official Persian Dubbed Versions

Extended Abstract 1. Introduction One of the four channels of expression of meaning in audiovisual translation (AVT), with which translators have to deal, is verbal information in written forms on the screen. Although it has also been referred to in terms such as “integrated subtitles” (Fox, 2016) and “TELOP” (O’Hagan & Sasamoto, 2016), Chaume (2004a) prefers to use the term “graphic code” borrowing from the school of Film Semiotics for such verbal visual information on the screen. This school claims that cinema is composed of several meaning codes, thus Chaume (2004a, 2012) has worked on a taxonomy of film codes which apply to translation operations. Despite the considerable significance and rising number of graphic codes in an accurate understanding of the course of a dubbed movie, it has received relatively little attention in the literature on AVT. Hence, this study aims at examining and comparing the rendition of graphic codes in two of the methods, namely voice-off and insertion in two Persian versions of the new Sherlock Holmes TV series dubbed by an official Iranian TV network and a BBC Persian TV network. The study also attempts to provide answers to the research questions adopted from Chaume (2012). The audiovisual text is a complex medium and the audiovisual translator ought to handle verbal and non-verbal information, meanings openly expressed and meanings that are inferred by subtler forms of communication such as a rise in intonation or a gesture accompanying the utterance (Pettit, 2004). Therefore, the screen products are made up of complex visual codes comprising elements such as costumes, gesture, body movements, and facial expressions, or as Chiaro (2009, p. 142) names them “polysemiotic” elements. In general, graphic codes may be classified into two categories: static graphic codes – written information in newspapers and on computers which cannot be separated from the screen – and moving graphic codes – pop-up written information on the screen (O’Hagan, 2010) which can be possibly separated from the screen. Most studies have only focused on graphic codes as one of the communication channels in AVT (e.g., Chiaro 2009; Delabastita 1989). Other studies have also investigated graphic codes from a non-translational and filmmaking perspective (Pérez-González 2013; Sasamoto 2014); a few others have also examined them in terms of translational functions (Khoshsaligheh & Fazeli Haghpanah, 2016; O’Sullivan, 2013). Additionally, some research has also studied graphic codes using eye tracking (Fox, 2016; O’Hagan & Sasamoto, 2016). They have also been the focus of some experimental research as well (Mehdizadkhani & Khoshsaligheh, 2018 in-press). 2. Methodology This qualitative research is a case study which aims to investigate and compare two translation techniques, namely voice-off and insertion in the rendition of graphic codes in two official Persian dubbed versions of the case of Sherlock (Gattis, Moffat, & Vertue, 2010), a British TV series. The main reason for the choice of this case as the subject of the study was the availability of two professionally produced Persian dubbed versions, and in each version the graphic codes are rendered in the two different methods. The second reason was “the prominent role that digital technologies play in the actual adaptation of the series” (Pérez-González, 2013, p. 14) shown by moving graphic codes. Moreover, McMillan (2014) refers to Sherlock as the “best use” of graphic codes in the TV series. The researchers also classified moving graphic codes into three categories: SMS language, Sherlock’s web searches, and his unverbalized inner thoughts. 3. Discussion It was revealed that BBC Persian TV network rendered all of the graphic codes using the insertion technique. Voice-off technique, instead, was used by the Iranian TV network, but it left five scenes with graphic codes untranslated. The most common justification in such situations is the case of “code interaction” discussed by Chaume (2012, p. 107). That is, the voice-off method cannot be applied when graphic codes overlap with a close-up shot in which one or more characters are speaking. The results also indicated that the rendered graphic codes in the insertion technique remained on the screen for a fair amount of time giving the opportunity of rereading (see also Szarkowska, Krejtz, Krejtz, & Duchowski, 2013). Hence, Mehdizadkhani and Khoshsaligheh (2018 in-press) argue that this fair amount of time in the insertion technique could lead to better comprehension of graphic codes in comparison to when the voice-off technique is used. However, if the rendition of graphic codes in voice-off could be considered as normal dubbing (see Koolstra, Peeters, & Spinhof, 2002), the findings revealed that the dubbing team have not dealt with problems such as lip-synchronization (see Chaume, 2004b, 2013). Therefore, in comparison with insertion, this technique allows the dubbing team more freedom in modifying the stress, tone, and accent, and it helps the viewers to better focus on the film content (Mehdizadkhani & Khoshsaligheh, 2018 in-press). Iran is known as a dominantly dubbing country (Khoshsaligheh & Ameri, 2016; Naficy, 2011), but still in some cases, dubbers have to deal with (sub-)titles, intertitles, and written texts on the screen. Despite numerous instances and relying on the significance of graphic codes for the complete comprehension of Sherlock series (Pérez-González, 2013; McMillan, 2014), the findings seem to recommend that when dubbing translators encounter “code interaction” (Chaume, 2012, p. 107), they may use the insertion technique in rendition of graphic codes. 4. Conclusions It was beyond the scope of this study to examine the static graphic codes. On the other hand, to the researchers’ best knowledge, no previous study has investigated the translation of these codes in AVT of Iranian context. Therefore, a further study is recommended to explore and compare strategies used in translation of static graphic codes in different modes of AVT, such as in subtitling based on the frameworks introduced by Gottlieb (1992), Bogucki (2004) or Díaz-Cintas and Remael (2014). Moreover, this study did not address the translation quality of translated graphic codes. Although the two versions are professionally dubbed into Persian, the translation approach toward factors such as censorship and cultural references are very likely to be different. A further study on these issues with further focus on graphic codes is therefore suggested. Having divided the moving graphic codes into the three categories, the research questions that could be asked in audio description research area include how audio describers render those moving graphic codes and if the methods of translation of different types of graphic codes are similar