Prezentare Radu, Serban, Stefanita

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POLITENESS IN SCREEN TRANSLATING Basil Hatim and Ian Mason

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Transcript of Prezentare Radu, Serban, Stefanita

  • POLITENESS IN SCREEN TRANSLATING Basil Hatim and Ian Mason

  • The characteristics of the screen translating and the main constraints of subtitling. They include four main categories: 1. The shift is made from speech to writing 2. The characteristics of the channel in which the meaning will be converted 3. The reduction of the text in order to make its meanings as clear as possible 4. The text must match the visual image in order to get a coherent subtitle

  • Politeness Politeness means all aspects of language usage which serve to establish, maintain, or modify interpersonal relationships between text producer and text receiver

  • FaceThe term face means everyones public image and has two main subcategories: a)The negative face: the claim to freedom of action and freedom of impositionb)The positive face: the desire that the public image is and stays appreciated.

  • Strategies the users can apply for maintaining a low-risk possibility of getting a negative face1.Do no use the threat-facing acts at all2.Use the off the record ( make them be seen as intentions)3.Do the FTA, but also maintain the negative politeness, which means that the users should assure others that they are respected, by using formal expressions.4.Do the FTA, but maintain the positive politeness, which means that the users should express sympathy or approval, to maintain the others positive face.5.Do the FTA baldy.

  • Audience design-the way speakers accommodate to their addressersThere are four types of audience:

    1.Addressees- known to the speaker, and directed addressed2.Auditors-known by the speaker , not directly addressed3.Over hearers-known by the speaker, not directly addressed, not ratified 4.Eavesdroppers-not known by the speaker, their presence is unaware

  • Positive and negative politeness

    Un coeur en hiver

  • Un coeur en hiver-a vous convient?-Oui, m -Dites.-Vous navez pas jouun peu vitte?-Si. Vous voulezlentendre sa vitesse-Oui si a ne

    -Like it?-Yes, but -Go on.-You took it a bit fast.

    -Yes. You want to hearit at the right tempo?-If you wouldnt mind

  • -Alors?-Cest trs beau.-Vous partez dj?-Oui.-Vous avez dautresrendez-vous?-Non mais j je doisvous laisser travailler.Au revoir.-Salut!-Well?-It very beautiful.-Leaving already?-Yes.-Other busines?

    -No, I must let you work. Goodbye.

    -Goodbye!

  • Rather than attempt a complete analysis of the interactions in this sequence, we propose to focus on selected features in order to add what has already been said. They are|:1.Camilles disagreement with the writter X2. Maximes attempted reconciliation3.Camilles challenge to Stephane

  • The expresion cest ca is a strong signal of the ironic intention, indicating that the opinion being stated is not sincerely held and that the words used are intented to mimic or parody another persons words.

  • ConclusionOur final point concerns the use of personal pronouns. The way in which speakers exploit personal references for purpose of positive and negative politeness. There is no space here for a complete analysis of pronominal use in "Un coeur en hiver", including the mutual use of "tu" by most of the friends in the film, constranting with the studied "vous" of Camille and Stephane to each other