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Reception, Text and Context in the Study of Opera Surtitles

Autor(es) y otros:
Mateo Martínez-Bartolomé, MartaAutoridad Uniovi
Editor/Coord./Trad.:
Gambier, Yves; Shlesinger, Miriam; Stolze, Radegundis
Palabra(s) clave:

opera surtitles, constraints, translation norms, macrostructure strategies, reception

Fecha de publicación:
2007
Editorial:

John Benjamins

Versión del editor:
https://doi.org/10.1075/btl.72.18mat
Citación:
Mateo Martínez-Bartolomé, M. (2007). Reception, text and context in the study of opera surtitles. En Yves Gambier, Miriam Shlesinger y Radegundis Stolze (Eds.) Doubts and Directions in Translation Studies: Selected contributions from the EST Congress, Lisbon 2004 (pp. 169-182). John Benjamins Publishing Company.
Serie:

Benjamins Translation Library;72

Descripción física:
p. 169-182
Resumen:

Opera surtitles have not received much attention within Translation Studies – not even within the field of multimedia translation, in which they belong – and it is the purpose of this paper to deepen our understanding of this translation type. The communicative context closely determines textual strategies for surtitles, which are constrained by technical, format and timing factors. And the function of surtitles – helping comprehension without too much interference with the overall reception of the opera – also affects their textual form. This paper will compare the translation strategies adopted by some opera houses from various countries, in order to show how different ways of implementing operational norms and of negotiating the constraints imposed by the transmission channel and by reception factors produce different surtitles in the same language. The analysis will force us to challenge some traditional concepts used in the study of translation.

Opera surtitles have not received much attention within Translation Studies – not even within the field of multimedia translation, in which they belong – and it is the purpose of this paper to deepen our understanding of this translation type. The communicative context closely determines textual strategies for surtitles, which are constrained by technical, format and timing factors. And the function of surtitles – helping comprehension without too much interference with the overall reception of the opera – also affects their textual form. This paper will compare the translation strategies adopted by some opera houses from various countries, in order to show how different ways of implementing operational norms and of negotiating the constraints imposed by the transmission channel and by reception factors produce different surtitles in the same language. The analysis will force us to challenge some traditional concepts used in the study of translation.

URI:
https://hdl.handle.net/10651/78925
ISBN:
978-90-272-1680-9
DOI:
10.1075/btl.72.18mat
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