Entries by liz
Case Study for T-Systems ABOUT T-Systems T-Systems is Deutsche Telekom’s corporate customer arm. Using a global infrastructure of data centers and networks, T-Systems operates information and communication technology (ICT) systems for multinational corporations and public sector institutions. With offices in over 20 countries and global delivery capabilities, T-Systems serves companies in all industries – from […]
As far as we know, one of the differences between English and Chinese is the structure. Most of the English magazines and newspapers have many long sentences which include several clauses. This enables translators feel difficult to deal with. But English sentence patterns mainly include the following five simply structures, that is: S+V+O; S+V+P; S+V+oO; S+V+OC; SV. So the English sentences generally include subject and predicate plus some other elements. But it is rare to see such structures in Chinese sentences, which is long influenced by the tradition and culture of the ancient people and prefer to keep sentences symmetrical.
Audiovisual translation is a branch of translation studies concerned with the transfer of multimodal and multimedial texts into another language and/or culture. Audiovisual texts are multimodal inasmuch as their production and interpretation relies on the combined deployment of a wide range of semiotic resources or modes. Major meaning-making modes in audiovisual texts include language, image, music, colour and perspective.
By comparing adaptations with the texts on which they are based, it is possible to elaborate a selective list of the ways (or modes) in which adaptations are carried out, the motivations (or conditions) for the decision to adapt, and the limitations (or restrictions) on the work of the adapter.
One of the most fascination things about exploring the history of translation is that it reveals how narrow and restrictive we have been in defining our object of study, even with the most flexible of definitions.
Translation is a mode.
To comprehend it as mode one must go back to the original, for that contains the law governing the translation: its translatability. The question of whether a work is translatable has a dual meaning. Either: will an adequate translator ever be found among the totality of its readers? Or, more pertinently: does its nature lend itself to translation and, therefore, in view of the significance of the mode, call for it? In principle, the first question can be decided only contingently; the second, however, apodictically. Only superficial thinking will deny the independent meaning of the latter and declare both questions to be of equal significance.