Access

1
Lesson NineTransposition and Translation for
the Disempowered

• Access

2
Trans for the disempowered

• Visual Media.
• Audiovisual Translation.
• Accessibility through transposition
• (a) subtitles for the deaf and hard-of-hearing
• (b) audiodescription for the blind and partially
  sighted.
• and the texts that emerge from these processes.

3
Media empowerment

• Given that language is an empowering tool, the
  mass media have had an important role to play in
  many places in promoting literacy or
  consolidating language policy.
• For example, television is recognised to have
  had a major role in the dissemination of the
  Italian language against the background of
  widespread dialect use.

4
by extension

• the translation of media products has brought
  entire populations into contact with foreign
  cultures, however skewed these representations
  have often been. From the earliest films, mass
  audiences were introduced, for example, to
  American culture, even if reduced at times to
  Cowboys and Indians.

5
Schlesinger (2010)

• Key words for the 21st century
• Inter-sub-disciplines (subtitling/audiosubtitling
  /real time subtitles)
• Technology
• (eye-tracking, statistical surveys)
• LANGUAGE RIGHTS
• language serving as a bridge
• we are agents of change

6
Audiovisual Translation (AVT)

• the least studied of all branches of
  translation
• Sergio Viaggio 1992

7
Audiovisual Translation (AVT)

• Can be seen as giving an audience access to
  foreign language products through adaptation for
• dubbing,
• subtitling,
• surtitling
• voiceover,
• simultaneous translation,
• real time subtitling
• etc.
• These genres all involve some textual change in
  mode, information structure and
• flow or register in general, and linguistic
  change
• through processes of condensation, paraphrase,
  reformulation, etc.

8
Cultural Access

• Given the power of film and television to
  transmit directly or indirectly, consciously or
  unconsciously, elements of local and national
  culture, this form of translation has opened
  windows to millions of people, and it is
  reasonable to assume that it has been
  instrumental in enhancing international
  understanding.

9
However,

• the extent to which cultural values are accessed
  by
• viewers through screen translation is a complex
• question.
• Translation specialists point to
• lingua-cultural drops in translational voltage
  (Antonini Chiaro, 2005 39)

10
but how much does it matter?

• TV series like The Simpsons, Six Feet Under,
  Friends, etc. seem to be highly culture-bound
  and extremely difficult to translate.
• Quaglio wrote a whole book on the language of
  Friends, showing the inconsistencies, and
  pointing to the American-centredness of the show.
• but it is extremely popular everywhere.

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so the translation must be doing something

• The translator becomes the 'motivator' behind
  the ideas expressed in the translation, but
  he/she may be either 'loyal' (adding or
  subtracting in the spirit of the source as they
  see it) or 'disloyal' (engaging in his/her own
  writing project). A reworking of the traditional
  distinction between translating and adapting is
  proposed, to shed light on the distinction
  between what someone wrote and what they might
  have written.
• (Mossop)

12
And so

• access is provided via audiovisual translation
  (AVT) and even the most seemingly difficult
  audiovisual texts can be translated and
  understood, even if not exactly in the way
  initially intended.

13
Nord (2010)

• Question of loss or gain.
• There is potential loss in incorporating a
  newly composed meaning in the fabric of an
  already complete polysemiotic text (Moran)
• But translators widen the scope for a bigger
  audience or for other audiences.

14
extension of AVT

• nowadays room is to be found for individual
  needs and circumstances indeed, in the field of
  audiovisual translation, greater attention is
  being paid to the varying needs of people who
  cannot access the original productions for
  whatever reason
• to the deaf and hard of hearing and to the
  blind and sight impaired.

15
The situation regarding the deaf

• Problem arose after silent era and intertitles.
• Subtitles introduced in USA cinema in 1950s,
  television from 1970s.
• (UK 1960s, Italy 1986 Rear Window, then
  TV777.)
• Europe
• Legislation in each country, of course, plays
  an important role in the process, and although
  the results of legislative acts have not always
  met expectations, or at least not as fast as had
  been hoped, an increase in the volume of
  subtitling has occurred and calendars have been
  drawn up for progressively achieving 100
  subtitled programmes in the next few years, the
  UK leading the way (Díaz 2007, 2009).

16
The situation regarding the blind

• AD timeline (USA)
• 1981 audiodescription was invented by Margaret
  and Cody Pfanstiehl
• 1986 first audiodescription tours of museums
• 1990 Descriptive Video Services provides AD for
  TV viewers
• 1992 Motion Picture Access providing AD for
  first-run films
• 1994 first opera performance
• 1996 Telecommunications Act 1996 led to
  recognition of audiodescription
• 1998 Congress amends Rehabilitiation Act
• 2001 all film, video etc. produced by federal
  agencies must include AD
• 2002-2005 legal setbacks

17
Audiodescription in Europe

• Good progress has been made in the UK, Germany
  and
• Spain.
• Italy (see Arma, 2010)
• - between 352,000 and 380,000 blind people
• - 1,500,000 with low vision (age, illness,
  etc.)
• - various intermediary stages.
• First AD Spartacus 2001.
• AD on RAI television 2006-2009 - 36 circa
• 2010-2012 60?!
• Parliamentary Hearing on AD accessibility 2010

18
Accessibility services are both intralingual and
interlingual

• Subtitles for the deaf and HoH for films in the
  viewers own language
• Translated subtitles for the deaf and HoH for
  films in a foreign language.
• Audiodescription in the listeners own language
• Translated audiodescription for films in a
  foreign language, including audiosubtitling.

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(a) SDH

• Deafness is a clinical but also a sociological
  condition, a cultural issue.
• Culture, as I have stressed, is what is
  normalKatan (2004)
• or, if you prefer
• a system of congruent and interrelated
  beliefs, values, strategies and cognitive
  environments which guide the shared basis of
  behaviour (e.g. text production).
• The totally (prelocutive) deaf live in a
  non-hearing culture where concepts such as pitch,
  rhythm, volume, etc. are, at best, vaguely
  understood. They have a low reading speed, not
  knowing live langauge.
• The (postlocutive9 HoH have a hearing culture as
  a reference point.

20
SDH

• Subtitles for the deaf and hard-of-hearing do
  not enter into the fierce debate between
  subtitling and dubbing.
• They have their own features.

21
Paolinelli Di Fortunato (2005)

• subtitles, however good they are, are always a
  summary of what is said and force the viewer to
  continually switch his/her gaze from the images
  to the lower part of the screen, thereby ruining
  the magic of the voice.
• (my translation)

22
Subtitles list of characteristics

• economic
• maintain original dialogue
• advantage for Deaf and HoH
• alteration of original image
• partial loss of original content
• loss of overlap
• high degree of concentration required
• less manipulation of original
• less possibility to highlight sociolingusitic
  markers
• time/space constraints
• change of mode

23
SDH

• economic GOOD
• maintain original dialogue IRRELEVANT
• advantage for Deaf and HoH GOOD
• alteration of original image INEVITABLE
• partial loss of original content REGRETTABLE
• loss of overlap NOT SERIOUS
• high degree of concentration required ONLY
  VISUAL
• less manipulation of original GOOD
• less possibility to highlight sociolinguistic
  markers TRUE
• time/space constraints PROBLEMATIC
• change of mode NOT FOR DEAF

24
Subtitling and SDH

• De Linde and Kay (1999)
• Ivarsson and Carroll (1998)
• Uzquiza (2007) much activity in Spain.

25
SDH general features

• condensation
• longer exposition (6 second rule) (early intro)
• preference for one-liners (centred)
• simple syntax unmarked lexis
• synchrony (some deaf can lip read, or hear a
  little)
• identity markers (e.g. colours)
• phonological metalanguage (e.g. gunshots,
  coughing) at top rightof screen. Dont overlap
  with dialogue.
• punctuation to capture stress, intonation, etc.
  (e.g. capitals for volume) (smileys, icons?)
  Songs

26
Identity markers - Speech-character relationship

• Subtitle under speaker
• Labels
• Colours (commonly used viewers should be told
  colour/character combination should alwats be
  the same in eg. series)
• Yellow on black for main character, etc.
• Where there is a dialogue between characters who
  have the same colour, use a dash.
• When two or more speak at the same time, use
  labels eg. BOTH, ALL

27
Barfuss (2005)

• A successful German comedy film in DVD
• intralingual subtitles for the deaf and HoH
• interlingual subtitles in Italian
• (interlingual subtitles in Russian)

28
Barfuss condensation, simple syntax, unmarked
lexis
Original English translation SDH Italian subtitle
Die Klobrillen müssen von links nach rechts geputzt werden, sonst zerkratzen sie The toilet seat must be cleaned from left to right, otherwise it gets scratched Die Klobrillen putzt man von links nach rechts Lasse va pulita da sinistra a destra, sennò si graffia
29
Barfuss phonological metalanguage

• non verbal sounds in brackets full stop
• (Das Telefon läutet.)
• OFF SCREEN
• (Jemand spricht auf Anrufbeantworter)
• Hier noch mal das Arbeitsamt

30
Barfuss not translated if not indispensable

• Ab in die Küche
• (meaning comes from gestures)

31
Barfuss non verbal to verbal, punctuation

• Psst!
• Ruhe!

32
Barfuss further general comments on SDH

• more freedom in word order
• affermative to interrogative and vice-versa
• change to simple past from perfect tense
• shorter synonyms
• neutralisation of slang, etc.
• no cultural mediation required

33
Intralingual SDH in Brazil

• Franco and Santiago Araújo (2003) conclude,
• following a pilot study on intralingual
• subtitling in Brazil, that
• deaf subjects differ from hearing subjects in
  their requirements
• condensation and editing are crucial
• necessary orality markers and soundtrack noises
  must be integrated, requiring skilful condensing
  to not lose image-subtitle synchrony
• all should be checked with the help of deaf
  subjects
• (see also Pagano and colleagues on SFL in
  translation)

34
Trieste experiment

• Two complete interlingual subtitled versions of
  Episode Ten of The West Wing were produced, one
  for hearers and one for the deaf. They were
  tested, via questionnaires, respectively on
  hearing and deaf audiences. Then the hearers
  version was tried on the deaf and vice-versa.
  Neither were successful so modifications were
  made in the search for a HARMONISED version that
  might suit both audiences (see Ivarsson, 1992).

35
All the time, the language is changing

• The original text goes through continuous
  changes
• original English
• gt Italian translation
• gt Italian adaptation for subtitles
• gt harmonised version
• gt 1st experimental version for SDH
• gt nth experimental version.
• and reveals some cracks.

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(b) AUDIODESCRIPTION

• What is Audiodescription?
• an enabling service for blind and partially
  sighted audiences () describing clearly,
  vividly and succinctly what is happening on
  screen or theatre stage in the silent intervals
  between progamme commentary or dialogue in
  order to convey the principal visual elements of
  a production.
• (Royal National Institute of the Blind)
• the visual made verbal
• Joel Snyder

39
clearly

• avoidance of obscure vocabulary and jargon.
• avoidance of clashes with dialogue and other
  sounds.
• avoidance of complicated sentences with
  subordinate clauses

40
vividly

• use of colourful adjectives and adverbs where
  appropriate
• exploitation of verb variations
• Eg. Walk stagger, stroll, stride, etc.
• use of stress, rhythm, intonation, etc

41
succinctly

• remember that audiodescription ADDS to the
  cognitive load (cf. subtitles)
• cluttered descriptions distract (studies show
  that humans can only remember three things at a
  time)
• time is of the essence! (usually) cf. Penelope
  Cruzs song in Volver where the description
  (and translation of the subtitles) has to be
  fitted into pauses in the singing.

42
The Audience

• As with the Deaf, the audiodescriber needs a
  thorough knowledge of the needs of a visually
  impaired audience.
• Royal Institute for the Blind, etc. collaborate
  with television producers.
• In Trieste we collaborate with the Istituto
  Rittmeyer per i Ciechi, Senza Barriere and
  Cineforum Senza Barriere.

43
On-line description (on seeing)Holsanova (2008)

• no time constraints
• natural expression
• details
• lists
• spatially oriented
• localised (in the foreground)
• perspective (from above..)
• interpretation

44
Difference between description and
audiodescription

• A student in Trieste audiodescribed a short
  advertisement for Martini.

45
Video Martini
46
Version 1 reading time 60 seconds

• Gwyneth Paltrow è seduta su un letto, di spalle,
  nuda. Si infila una camicia bianca maschile.
• (Where are you going?)
• Si gira verso luomo che giace sul letto, e gli
  lancia uno sguardo complice e un sorriso
  ammiccante.
• Si affaccia sul corridoio, è in un albergo.
• Percorre il corridoio di soppiatto, con addosso
  solo la camicia bianca.
• Si trova al bar dellalbergo. Scende tre scalini.
• Scavalca il bancone del bar. Ha ai piedi un paio
  di sandali neri con il tacco alto.
• Appoggia due bicchieri vuoti sopra il bancone.
• Prende la bottiglia di Martini da dietro le sue
  spalle.
• I bicchieri sono ora pieni di ghiaccio. Versa il
  Martini nei bicchieri.
• Aggiunge uno spicchio di limone in ciascun
  bicchiere.
• Afferra la bottiglia e si volta per rimetterla al
  suo posto.
• Un uomo e una donna, giovani ed eleganti, si
  avvicinano al bancone.
• Gwyneth Paltrow si gira verso di loro.
• I due giovani hanno preso i due bicchieri che
  erano sul banco, si voltano e fanno per
  andarsene.
• (Good night!)
• Gwyneth Paltrow abbassa lo sguardo con unaria di
  ironica rassegnazione.
• I due giovani si voltano verso di lei e luomo si
  avvicina di nuovo al bancone. Gwyneth ha unaria
  interrogativa.
• Lui porge una banconota.

47
Version 2 reading time 45 seconds.

• Gwyneth Paltrow è seduta su un letto, di spalle,
  nuda. Si infila una camicia bianca.
• (Where are you going?)
• Si volta verso luomo che giace sul letto,
  sorride.
• Si affaccia sul corridoio dellalbergo, lo
  percorre di soppiatto.
• E al bar dellalbergo, larredamento è molto
  ricercato.
• Scavalca il bancone del bar. Ha ai piedi una paio
  di sandali neri con il tacco alto.
• Appoggia due bicchieri sul bancone. Si volta e
  prende una bottiglia di Martini.
• Riempie i bicchieri. Aggiunge una fetta di limone
  in ciascun bicchiere. Si volta per rimettere a
  posto la bottiglia.
• Un uomo e una donna, giovani ed eleganti, si
  avvicinano al bancone e afferrano i due
  bicchieri. Si voltano per andarsene.
• (Good night!)
• Gwyneth ha unaria di ironica rassegnazione.
• Luomo torna al bancone, e le porge una
  banconota.
• Gwyneth sorride stupita.
• Bottiglia in primo piano e logo del Martini. Una
  mano in secondo piano afferra un bicchiere.
• (My Martini, please)
• Gwyneth sorride, e beve.

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Version 3 reading time 35 seconds

• Gwyneth Paltrow è seduta su un letto, di spalle,
  nuda. Si infila una camicia bianca.
• (Where are you going?)
• Si volta verso luomo che giace sul letto,
  sorride.
• Esce di soppiatto dalla stanza.
• E al bar dellalbergo.
• Scavalca il bancone.
• Appoggia due bicchieri sul bancone. Si volta e
  prende una bottiglia di Martini.
• Riempie i bicchieri. Si volta per rimettere a
  posto la bottiglia.
• Un uomo e una donna, giovani ed eleganti, si
  avvicinano al bancone e afferrano i due
  bicchieri. Si allontanano.
• (Good night!)
• Gwyneth ha unaria di ironica rassegnazione.
• Luomo torna al bancone, e le porge una
  banconota.
• Gwyneth sorride stupita.
• Bottiglia e logo del Martini. Una mano afferra un
  bicchiere.
• (My Martini, please)
• Gwyneth sorride, e beve.

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Version 4 reading time 30 seconds

• (DEFINITIVE VERSION)
• Gwyneth Paltrow è seduta su un letto di albergo,
  di spalle, nuda. Si infila una camicia bianca.
• (Where are you going?)
• Sorride complice alluomo che giace accanto a
  lei.
• Esce di soppiatto dalla stanza.
• E al bar.
• Scavalca il bancone.
• Appoggia due bicchieri sul bancone. Prende una
  bottiglia di Martini e li riempie.
• Si volta per rimettere a posto la bottiglia.
• Una coppia giovane ed elegante si avvicina,
  afferra i due bicchieri e si allontana.
• (Good night!)
• Gwyneth ha unaria seccata, ma ironica.
• Luomo torna al bancone, e le porge una
  banconota.
• Gwyneth sorride stupita.
• Bottiglia e logo del Martini. Una mano afferra un
  bicchiere.
• (My Martini, please)
• Gwyneth sorride, e beve.

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Audiodescription (dynamic texts)

• time constraints!
• less natural
• less detailed
• spatial orientation
• (and) temporal orientation
• interpretation - judgements, appraisal??

51
Appraisal

• On-line describing also entails validity
  judgements, epistemic expressions, attitudinal
  meaning, etc. It is difficult to avoid
  interpreting from our own experience and
  expertise.
• e.g. I think this is .
• He seems angry
• and it is charming, lovely, amazing, etc.

52
So what is appraisal?

• Appraisal is the language of evaluation,
  attitude and emotion, of judgement, appreciation
  and engagement.
• (see Martin, 2000)
• It can be explicit or implicit, positive or
  negative.

53
How is it expressed?

• Adjectives
• Adverbs
• Verbs
• Nouns

54
Affect

• happy, sad, sure, bored
• proudly, passionately
• vow, suspect, trust
• fear, glee

55
Judgement

• greedy, innocent, crazy
• rightly, wrongly
• terrorise, deceive
• integrity, racism, liar

56
Appreciation

• unique, interesting, tedious
• beautifully, monotonously
• harmonise, unify
• best-seller, quality-time

57
BUT

• This has been frowned upon in audiodescription.
• GUIDANCE ON STANDARDS FOR AUDIO DESCRIPTION
  (ITC)
• the best audiodescribers objectively recount the
  visual aspects of an image. Subjective or
  qualitative judgements or comment get in the
  way.
• but there again

58
U.S. model (Audio Description Coalition -
Standards)

• Allow listeners to form their own opinions and
  draw their own conclusions.
• Dont editorialise, interpret, explain, analyze
  or help listeners in any other way.

59
Describe objectively

• If the conclusion is that a character is angry,
  describe what led to that conclusion the
  gestures/facial expressions of the character.

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and

• Use only those adjectives and adverbs that do not
  offer value judgements and that are not
  themselves subject to interpretation.

61
The English Patient screenplay

• Shocking bursts of gunfire.
• Carefully, the Beduoin eases the mask
• The effect is curious.
• Its a warriors face.
• Kip is young, lithe, contained, utterly
• focussed.
• Hana hurries past, walking carelessly up the
  road.
• Its so surreal.

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The English Patient AD

• Bullets tear holes in the fuselage.
• ___________________________
• ___________________________
• ___________________________
• a young Sikh officer.
• Hana walks past.
• ___________________________

63
Sad (Orero 2010)

• the eyelids droop as the inner corners of the
• brows rise, the corners of the lips pull down,
  and
• the lower lip pushes up in a pout

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Alternative suggestions

• She is sad
• She looks sad.
• She has a sad look on her face.

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Do we want to reproduce the same experience

• or do we want sometimes to use our better
  judgement, based on our knowledge of the film and
  our (and the audiences) knowledge of the world.
• Is it a question of
• what you see
• what we think
• what they want? (NOT to be patronised)

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Iconic vs. indexical, but dont give too much away

• Eg. In the film Gran Torino we see a copy of a
  hospital admittance form. This becomes important
  only at the end when the protagonist in effect
  lets himself be killed knowing that he is going
  to die anyway.
• Anchoring
• Cf. House - toothpick

67
Video Wallander (2009)
68
Wallander

• Soaring over steel grey water with flat fields
  stretching out into the distance.
• this is Sweden
• appraisal
• non-finite clause

69
Wallander

• A narrow track meanders though the headlands
  rough, undulating terrain
• noun phrase theme verb variation
• vivid description

70
Wallander

• Parked up is a car.
• Two young women stride purposefully
• away from the car
• human theme
• non-finite clause
• verb variation
• appraisal

71
Wallander

• The drivers right eyelid flickers faintly
• His hand rests on the dashboard
• His taxi-driver ID .. is speckled with blood.
• tight anaphoric reference
• colourful lexis

72
Wallander

• One of the women lets a blood-soaked knife fall
  from her hand.
• anchoring
• (credits)
• Kenneth Branagh
• Wallander
• Firewall

73
Wallander

• Wallanders estate car draws to a halt on the
  grassy headland
• introduction of main reiteration
• character and status

74
Wallander

• The two teenagers are sitting placidly in the
  back of the police car.
• Wallander stares at them thoughtfully as it
  passes.
• appraisal

75
Wallander

• Later, in an interview room at the police
  station, Sonia sits solemnly Wallander sits back
  frustratedly
• subject
• time adjunct
• place adjunct
• appraisal

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Wallander

• Wallanders mobile.
• He holds the phone in his hand
• It displays the name Inga.
• written information
• isolated noun phrase
• Arriving home wearily

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Appraisal

• steel grey water (implicit coldness,
  negative, graded)
• Appraisal resources are used to establish the
  tone or mood of a passage of discourse.
• (Martin and Rose, 2003)

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Appraisal

• stride purposefully (force,
  appreciation, positive)

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Appraisal

• sitting placidly (judgement quiet,
  correct but theyve just commited
  murder!
• Cf. Sonia sits solemnly (judgement,
  serious, balance but shes
  provoking!)

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Linguistic aspects Theme

• Audiodescription involves a particular use of
  language present tense, solely declarative,
  vivid vocabulary, etc.
• It also displays particular theme choices and
  progression.
• All clauses are declarative, so often the subject
  is theme, often pronouns, predominantly, if not
  exclusively, third person.

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Relevance to AD

• Theme structures and theme patterns affect
  information structure and information flow. They
  determine ease of comprehension and semantic
  relevance.
• The blind audience, more than most, need clear
  presentation of information.

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Theme reiterationThe English Patient (1995)

• 010404 A Red Cross troop train.
• A young French-Canadian nurse, Hana, adjusts the
  belt of her uniform.
• She walks into a carriage where wounded soldiers
  lie one above the other on bunks.
• (Passing between them) she stops beside a young
  man.
• 010439 She bends over him.
• 010445 She moves on between the bunks.
• 010458 She joins her colleagues.

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The English Patient

• Number of clauses
• Screenplay 2,700
• Audiodescription 747

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Thematisation - Screenplay
Noun(s) 2,000c
Pronouns (3 person) 400
Pronouns (1 person) 8
Time adjunct 120
Place adjunct 140
Manner adjunct 32
Existential There (is) 32
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Thematisation - audiodescription
Noun(s) 302
Pronouns (3 person) 239
Time adjunct 38
Place adjunct 62
Manner adjunct 26
Adjectives 6
Non-finite clauses 74!
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Theme comparison

• When the figures are adjusted, we see that the
  screenplay thematises twice as many nouns, but
  fewer pronouns.
• Perhaps because the describer uses anaphoric
  reference more tightly for reasons of time.

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tight anaphoric reference

• The horribly burned pilot has been found by
  nomads.
• they cover his blackened flesh.
• He is barely alive.
• They investigate his belongings.

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Theme comparison 2

• The AD uses almost twice as many place adjuncts
  and three times as many manner adjuncts.
  Presumably this is because the blind audience
  need spatial orientation and need more
  information on how things are being done.
• The temporal dynamic seems to need no extra
  input.

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Theme comparison 3

• But the most striking feature is the massive use
  of non-finite clauses in the AD and their virtual
  absence in the screenplay.

90
Marked themes non-finite clauses

• Passing between them,
• Swathed in blankets,
• Seated behind the pilot,
• Standing behind a railing,
• Forcing open a door,
• Wearing a simple skirt,
• Finishing his photography,

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Dialogue

• We do and we are while we speak.
• But for the blind, characters in films speak
  their roles but cannot be seen doing or
  being.
• Non-finite phrases provide that input succinctly.

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But what do we see?

• Eye-tracking technology has provided a window to
  the mind (dYdewalle, Perego, Kaltenbacher
  Kaltenbacher).
• Fixations and saccades can be compared to verbal
  foci. So describe what you actually see.
• Fixations can be on objects, locations,
  directions, attributes, activities, etc. with
  different levels of specificity and different
  degrees of creativity.
• But what do viewers actually look at?
• What is foregrounded?

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Video Marie Antoinette
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But in AD translation what considerations come
into play?

• One consideration is not to translate and start
  from scratch.
• Another is to use the original AD as a template
  for all other translations.
• Another is to consider that different
  nationalities/cultures /languages may need
  different adaptations.

99
In translation (The English Patient)

• A translation into Italian of the
  audiodescription seems to follow the English
  theme patterns and descriptions almost
  completely.
• Exceptions
• (1) Dimly, he sees the outline of his rescuers
• (-) riesce a malapena a vedere il profilo dei
  suoi salvatori
• Desperately she runs towards the mangled jeep
• (-) corre disperatamente verso la jeep distrutta

100
The Pear Tree project

• But there is evidence that different
  languages/cultures perceive (and therefore
  describe) things and events in different ways.
• Subjects in eleven countries were asked to
  describe a short film and, for example, to
  describe a man picking pears.

101
variables

• Direct or indirect reference to film
• Verb tense
• The fall of the child from the bicycle
• attribution of cause
• objects quoted
• Denomination of
• The man picking the pears
• The group of three boys who help the fallen child

102
Pear Tree

• In this film you see a man picking pears
• In the short movie you see a man who is picking
  pears
• There is a farmer who is picking some pears
• A man is picking pears
• There is a farmer in the countryside who is
  picking some pears
• We are in an outdoors
• The first scene of the film shows a rather tall
  and sturdy man picking some pears

103
Hierarchical Classification Procedure
dendrograms
variables

• Hierarchical classification (Cluster Analysis)
• Single Linkage
• Interval Euclidean Distances
• Cluster method Nearest neighbour

Objects
104
Cartogramma - Occorrenze
105
Cartogramma - Tempo dei verbi
106
Cartogramma Descrizione Raccoglitore di Pere
Dato medio (tipologia di modalità/numero
partecipanti gruppo) moltiplicato 100
107
Cartogramma Descrizione Raccoglitore di Pere
Dato medio (modalità-citazioni/numero
partecipanti gruppo) moltiplicato 100
108
Video The Hours
109
The West Wing

• Tutto Brilla
• Deaf and blind
• The Hours

110
Refs.

• Katan D.(2004) Translating Cultures An
  Introduction for Translators, Interpreters and
  Mediators, II ed., St. Jerome Publishing,
  Manchester, p329
• a system of congruent and interrelated beliefs,
  values, strategies and cognitive environments
  which guide the shared basis of behaviour (e.g.
  text production).
•  
•  
• Katan D. (2004) From Honeymoons to Realities
  The Role of Intercultural Sensitivity Models in
  Sensitising Translators, in ESRFD (a cura di),
  Interaction entre culture et traduction,
  Universite Abdelmalek Essaadi, Ecole Supérieure
  Roi Fahd de Traduction, Tangier, pp. 3-20.

111
refs

• Lemke, J. (1998) Multiplying Meaning visual and
  verbal semiotics in scientific text. In Martin,
  J. and Veel, R. Reading Science. London
  Routledge.
• Bishop, R. (1991) There is nothing natural about
  natural conversation. A look at dialogue in
  fiction and drama. Oral tradition 6/1, pp.
  58-78.