Translation Studies
nosrat hejazi; Maryam Davoudi
Abstract
The purpose of this paper is to analyze the trilingual advertisment of Emirates airlines by three levels of analysis in translatological eco-paradigm presented by Gangshen Hu in (2004/2020). It seeks to investigate how does this company increase the effectiveness and acceptance of its brand in the destination ...
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The purpose of this paper is to analyze the trilingual advertisment of Emirates airlines by three levels of analysis in translatological eco-paradigm presented by Gangshen Hu in (2004/2020). It seeks to investigate how does this company increase the effectiveness and acceptance of its brand in the destination ecosystem by "adapting" and "selecting" the (para/peri)text of its advertisements? It is assumed that, the (para/peri)textual elements accommodated in the content & form of the ad, and also adequate “adaptation” and “selection” of linguistico-cultural ecosystems would maximize the optimal communicative effect on target audience.The results indicate that the (para/perه)textual elements (color, sound, schema, logo...) in the Emirates advertisements are more prominent than the linguistic aspects. Also, the "cultural dimension" has achieved a higher level of paratextual language by selecting multiple elements, codes and universal symbols (such as rhythm, dance, and physical-sportive movements) and therefore has created a higher impact factor among audiences.
Nosrat Hejazi; Roya Shirin
Abstract
Translation of movies, telecasts and any other audiovisual product is associated with special procedures and techniques which become more challengeable and complex when facing the culture and cultural elements. Due to the fact that the translator who writes the subtitles is confronted with myriads of ...
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Translation of movies, telecasts and any other audiovisual product is associated with special procedures and techniques which become more challengeable and complex when facing the culture and cultural elements. Due to the fact that the translator who writes the subtitles is confronted with myriads of technological restrictions, linguistics requirements and stylistic challenges, the question arises as follows: are subtitles essentially able to reproduce or duplicate the cultural elements? For studying the modalities of the transfer of the cultural messages from the original text (oral statements in Farsi) to the translated formats (subtitles in French) we have proposed a descriptivo-analytic approach applied on a case study. After giving a brief definition and an outlook of the concept, we move toward the possibility or impossibility of transferring cultural elements via the classification of cultural elements furnished by the Polish ethno-cultural theoreticians. Once the classifications are laid out, the analytical study of cultural elements in French subtitles of the “In the Eye of the Wind”, will be implemented. The results will lead us to the initial question: Translatability or untranslatability of cultural elements and the way by which they will be perceived by the audience.
Nosrat Hejazi; Sahar Hamidi
Abstract
Due to the advancement of film making technologies, we are witnessing, in this new era, the overabundance of different animations, such as Shrek, Brave, Frozen, etc., whose respondents are majorly children and adolescents. An important feature of these animations is their ironic or their humoristic language. ...
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Due to the advancement of film making technologies, we are witnessing, in this new era, the overabundance of different animations, such as Shrek, Brave, Frozen, etc., whose respondents are majorly children and adolescents. An important feature of these animations is their ironic or their humoristic language. Given that the transmission of humor (formally and functionally) varies in each culture and that the same message in two different linguistic-cultural spheres would not have the same effect (perception) and that the loyalty of dialogues in the translation of the films and animations is of less importance than the coherence of dialogues, audio and video, the question may be raised is that what translation techniques the translator adopts to translate the humoristic language. This paper, therefore, aims to investigate how humorous elements are translated within in Incredibles 2 (2018). First, we present the specified features of the multifaceted world of animation and its translational challenges. Then we examine the function and perception of humor in both the original and dubbed versions. Finally, the translator’s techniques for the transmission of humoristic references in the Persian version of Incredibles 2 are discussed.
