Abstracts of the Articles / Résumés des articles

Nº 24


Peeter TOROP: "Translation as Communication and Auto-communication"

Focusing on the process of translation as the main object of research in a science of translation makes it possible to typologize translations as the principle means of transmission of one set of languages-texts-cultures by another. But it does not negate the necessity of also seeing other parameters in the process of translation, in the first place economic and ideological aspects of translation that are in turn associated with professional ethics or with the professional ethics of the translator. The practice of translation is even more complex, and the behaviour of the translator and the quality of his work do not depend solely on his linguistic or literary abilities. The translator is simultaneously a mediator, creator, producer, manager, critic, and sometimes ideologue. All of these roles make up various aspects of cultural behaviour and can be correlated to the entire textual corpus of a culture. An actualization of the various cultural and social roles of the translator reflects the general effort of analysts toward a complex understanding of the phenomenon of translation in the processes of culture.      [Article in English]

Floyd MERRELL: "Translation as a Contradictory Conmplementary Convergence..."

Intralinguistic translation consists of a sign’s repetitive use within different contexts that, as contexts vary, so also the sign’s meaning, and thus the sign becomes a variation of itself. An extreme case: ‘Atom’ from Greek times as a minuscule solid, changeless, impenetrable sphere became transformed, after a series of differentiations over the centuries, into a wave amplitude of myriad possibilities one of which might at some instant become a particle. Interlinguistic translation is the customary use of the term ‘translation’. In such cases ‘atom’ in English becomes ‘átomo’ in Portuguese. Intersemiotic translation, between sign types and sign contexts, is a matter of a relatively simple sign’s becoming a more complex sign, or vice versa.      [Article in English]

PETRILLI & PONZIO: "Iconic Features of Translation"

Per invisibilia visibilia: Iconicity and evasion in the relation among signs and texts 2. Metaphor as a translative-interpretive device 3. The paradox of translation: the same other 4. Metempsychosis and transmigration across texts in translation 5. Iconicity and translation in and across verbal and nonverbal sign systems 6. Signs, significance and translation 7. The paradox of language: translating the untranslatable.      [Article in English]

Dinda GORLEE: "Metacreation"

Intersemiosis creates the secondary and derivative reproduction of the original text, called intercode translation or intermedial metacreation (Popovic, Holmes). Metacreation means interartistic (ex)change, creating cultural - literary, musical, sculptural, graphic, etc. - metatexts integrating the explicit and implicit revisions and commentaries by the reader/hearer or specialized interpreter/translator. Metalinguistic activities signify understanding and translation, specified in Jakobson’s varieties of six language functions and his three types of translation - presented in the 1950s. Jakobson’s models is brought in connection with Peirce’s three categories in association with Bühler as a forerunner of Jakobson. Bühler’s three functions with qualitative difference anticipated, perhaps not accidentally, Jakobson’s distinctions indicating quantitative difference within literary forms and structures in interdisciplinary genres of discourse as well as other fine arts. The semiotic discovery, criticism and perspectives of elements and code-units settle the numerical differences as well as the differences in realistic messages and conceptual codes. Jakobson’s metacreation is updated in vocal and musical translation, dealing with the virtual reality of opera on stage, and reaching a catharsis of the operatic mystique. The semiosic metacreation of word-tone synthesis will demonstrate the typological unification of verbal and nonverbal languages.      [Article in English]

AGUIAR & QUEIROZ: "Toward a Peircian Model of Intersemiotic Translation"

However important its theoretical relevance, and despite the frequency with which it is practiced, the phenomenon of intersemiotic translation remains virtually unexplored in terms of conceptual model;ing. The main methodological difficulty seems to be related to the comparison between radically different semiotic systems (see Dusi, this issue; Eco, 2007; Plaza, 1987). Here we propose a tentative approach, based on Charles S. Peirce’s model of sign process, to provide a preliminary conceptual framework to the phenomena, emphasizing iconic properties and aspects. We hope this approach presents a heuristically interesting frame to describe translation between different systems and processes. Our approach is based on two premisses: (i) intersemiotic translation is fundamentally a semiotic operation process (semiosis); (ii) intersemiotic translation is a deeply iconic-dependent process. There is no novelty regarding these premisses. Many authors have stressed that a translation is fundamentally a semiotic operation (see Hodgson, 2007; Gorlée, 2005, 1994: 10; Petrilli, 2003; Stecconi, 1999; Plaza 1987), as well as an iconic process (see Petrilli & Ponzio, this issue; Gorlée, 2005, 1994: 10; Plaza 1987).      [Article in English]

Nicola DUSI: "TTranslating, Adapting, Transposing"

Analysing texts does not mean forgetting the contexts in which they produce meanings that are socially shared. There is no contradiction: it is a question of thinking, for example, of a film or a TV show drawn from literature not as a separate object, but as the point of arrival in a process. On the one hand, this process has strong connections with the sources, that is, with the texts from which the cinematographic (or television) product draws themes, images, structures, and methods of storytelling. On the other hand, what is set in motion is a negotiation and a comparison with the target culture, which is often radically different from the source text it receives and decodes. It is thus important to examine not only how the source text was adapted, but also the choices determined by the means utilized, as well as the choices linked to the logistics of production and audience captivation, which directly depend on the producers and the receivers in the target cultural system.      [Article in English]

Christina RIGHI: "Choreographic Body and Intermedial Sense"

This paper focusses on how the dancer’s body — the choreographic body, as we will be calling it — is being represented in audiovisual and more advanced technological media in relation to the modifications that it must undergo, from an intersemiotic point of view, in the course of the transference process from one medium to the other. This will lead us to face some semiotic problems connected, on the one hand, to the procedure implied by the literal embodiment of sense in the actors’ bodies of live performance and, on the other hand, we will be led to compare how this live embodied sense is translated in non-live environments in which the intermedial dimension alter the essence of the body on both the semiotic plans of expression and content.      [Article in English]

Kathleen COESSENS: "Visual praxis: moving the body, the world and the self"

In this article, the hypothesis of a visual praxis as an embodied praxis and semiotic process is developed and sustained by artistic, ecological and cognitive interpretations. In the first part, I will consider Paul Klee's reflections on movement of and in the visual creation and image. In the second part, this artistic view will be met by ecological and cognitive theories of the visual and the notions of affordance and extension. In the third part, position and disposition in the relation between viewer and viewed will be considered. In the last part, Barthes' subjective view on photography and Peirce's tryade of interpretants will offer insights into the human perceptual and embodied position in visual praxis. This position opens a horizon, a continuous process of interpretation and reinterpretation, encountering and triggering an idiosyncratic semiotic disposition of the viewer. As such, this article explores the meaning-making processes of the human being concerning visual experiences and formulates the hypothesis of the visual praxis as an integral part of the extended body, linking movement in the visual with the movement — in the double sense of embodied movement and emotional movement — of the viewer, position with disposition.      [Article in English]

AS/SA Nº24 (2010.02.19)   ISSN 1204-6150

Editors/Rédacteurs : Pascal G. Michelucci & Peter G. Marteinson
University of Toronto

© 2010 AS/SA, Peter Marteinson

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