专著推荐 |Translation, Adaptation and Digital Media 新媒体翻译2023年新书

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2024-09-03

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关键词:创造性叛逆，误译，社会翻译学

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Translation, Adaptation and Digital Media

ISBN : 9781032017761 官网书价 129英镑（不计入国际物流关税等费用）语言学通讯特惠一口价：1350元

作者：John Milton, Silvia Cobelo

出版时间：2023年5月新书

出版社：Routledge

内容简介

This book originally started out with the name of Translation Studies and Adaptation Studies, and the early versions of the chapters kept to these two parallel yet contrasting areas. However, we realized that there was another huge area that we were missing out on, and which was becoming hugely popular, that of Multimedia, or as it has become to be known, Intermedia, or rather Transmedia Studies, which include new Digital Media. We thus made a change of direction. The chapters we had already partially written – Chapter 2, on the Brazilian author, editor, and translator, Monteiro Lobato, and Chapter 6, on theatre – were given a section on adaptations to digital media, and we decided to develop whole chapters on Digital Culture and Transmedia. We also joined the chapters TV, Film, Streaming, and Social Media into one – “Screen Adaptations”, and we hope to account for at least some of the enormous amount of work that has been done in these areas and emphasise the importance of the internet and digital media to both Translation and Adaptation Studies. Both authors, though from very different backgrounds, have many similarities in their academic paths, moving from Literary Studies to Translation Studies, and then opening out to Adaptation Studies, and then finally becoming aware of Transmedia Studies. John Milton (1956, Birmingham, UK) arrived in Brazil in 1979, and having studied English Literature and Spanish at the University of Wales, Swansea, took his MA in Applied Linguistics at the Catholic University, São Paulo (PUC-SP) with a dissertation on the changing syntax in questions in Shakespeare. Paulo Vizioli, Milton’s PhD supervisor, a practicing translator of poetry into Portuguese and Chair of the English Sub-Department at the São Paulo University (USP), where Milton began teaching in 1984, suggested he should write about literary translation. This suggestion was serendipitous, and in 1990 he presented his thesis “Past and Present Trends in Literary Translation Studies”, translated into Portuguese for the subsequent book O Poder da Tradução [The Power of Translation] (1993), republished as Tradução: Teoria e Prática [Translation: Theory and Practice] (1998). Milton then examined the adaptations of the monthly publications of the Clube do Livro book club (1942–1979), which cut stylistic, political, sexual, and racial references in its cheap editions sold by subscription to lower middle class and working class homes where books were usually not so plentiful, resulting in O Clube do Livro e a Tradução [The Book Club and Translation] (2002). This was followed by his work on the adaptations of Monteiro Lobato, producing the book Um País se Faz com Traduções e Tradutores: a importância da tradução e da adaptação na obra de Monteiro Lobato [A Country is Made by Translations and Translators: the importance of translation and adaptation in the work of Monteiro Lobato] (2019). While working on the Clube do Livro and Monteiro Lobato projects, he was publishing articles and attending a large number of Brazilian and international conferences on Translation Studies. But he had absolutely no idea of the existence of Adaptation Studies. No one at the Translation Studies conferences even mentioned it; he received no information of publications and conferences, and only discovered its existence in 2008/2009. “Adaptation Studies, Adaptation Studies, this is exactly what I’ve been doing for the last 20 years!”. Indeed, Milton felt very much like Molière’s M. Jourdain, from Le Bourgeois Gentilhomme (1670), who was delighted to learn that he had been speaking prose for more than 40 years! Silvia Cobelo (1960, Buenos Aires, Argentina) came to Brazil as a child, graduated in Biology (USP), and worked in genetic engineering. In 1993–1994, she obtained a screenwriting qualification from UCLA, later working with aquisions for the international film market and translation for dubbing and subtitles. Cobelo continued working as a translator, now with texts, books, and scholarly papers, and returned to USP interested in Don Quixote. The rewritings of Cervantes were virgin territory in Brazil. Thus, Cobelo’s supervisor, Maria Augusta da Costa Vieira, suggested that a comparative study of these translations might be a promising path for research, not really imagining that this would open a wider door: the study of Cervantes through the Translation Studies lens. In the midterm presentation, Heloísa Cintrão, also from the USP Spanish Department, heard that Cobelo was working on Translation Studies and suggested The Map (Williams and Chesterman 2002) and Method in Translation History (Pym 1998), and Cobelo found her path. She interviewed the translators and studied the translations from the first Portuguese edition (1876/78) published in Brazil in 1942/1943 until the 21st century. The PhD started one year later, in 2010, with the same supervisor, but now with the help of professors in the Translation Studies postgraduate course, plus summer schools at Mona Baker’s TRSS (Manchester 2011) and CETRA (Leuven 2013), and was presented in 2015. The thesis examined a corpus through Descriptive Translation Studies, particularly the work of André Lefevere (1985, 1992), to describe the printed adaptations of Don Quixote, producing a catalogue of the translations and adaptations in Brazil, including prose, comics, and plays from 1886 to 2014, together with adaptors’ interviews, focusing on how the 400 years of interpretations forged these rewritings of Don Quijote. Chapter 9 is written by Ricardo Vinicius Ferraz de Souza (1979, São Paulo, Brazil), a keen gamer and specialist in the study of video games. He graduated in Portuguese/Spanish at USP in 2011, while working as an English teacher. At university he came into contact with Translation Studies through a number of optional courses, which inspired him to know more about this fascinating field. Souza’s future supervisor, John Milton, encouraged him to take up a MA course in Translation Studies. As a gamer since he got his Atari 2600 in childhood, and given that video game localisation was a somewhat underexplored subject in Brazil, Souza started his MA at USP in 2012, concluding in 2015. During this period, he also started working as a video game translator, an experience which proved valuable for his research, as it gave him the opportunity to combine theory and practice. The dissertation sought to provide an overview on the history of video game localisation in Brazil, as well as touching on the theories and translation challenges presented by the subject. Nowadays, Souza continues working on video game adaptations. Chapter 1, the Introduction, presents a number of theoretical approaches to Translation and Adaptation, stressing the idea that Translation Studies should open out to include other areas such as Adaptation Studies. It then shows that Adaptation Studies has been caught in a similar predicament and should itself open its doors to Transmedia Studies. Chapter 2 examines the adaptations of the very well-known Brazilian publisher, author, translator, and entrepreneur José Bento Monteiro Lobato (1882– 1948), who uses the technique of retelling to insert his own political opinions and social ideas into his adapted stories directed to children. The chapter ends by examining the way in which adaptations of Lobato’s stories for different media have maintained his popularity 100 years after he started writing. Chapter 3, about Transmedia, discusses the concept introduced by Henry Jenkins, the technique of telling a narrative across multiple platforms, where each medium makes its own contribution to the unfolding of the story. Jenkins’ seven Transmedia Principles are outlined, and several examples are drawn from Star Wars. Chapter 4, on Digital Culture, includes collaborative and interactive fiction, electronic literature translation, and pre-digital movements like Concretism. The web novel platform model, rewarding authors and translators, started with Chinese web novels and spread with webtoons and digital literature imitated by Wattpad and other self-publishing platforms. With great diversity, user-generated stories have emerged in different genres: fanfics, spinoffs, prequels, midquels, and sequels. Several are printed, translated, and adapted into film/series/video games and other media. Chapter 5, on Don Quixote, uses Cervantes’ work, a classic prose text, to illustrate the close relationship between sequels/continuations and imitations; translation and adaptation; abridgements and children’s books; dramatisations; and appropriations. The chapter presents some very Brazilian adaptations, like cordel, protest songs, graphic novels, and samba school carnival parades. Chapter 6 examines the central problem of translation for the theatre: “page or stage”, to translate for a printed, usually academic, version or to translate for a version that will be performed on the stage, to which alterations may be made in rehearsal and from one performance to another, thus making it difficult to have a fixed version. The chapter also looks at the extent to which dialect and colloquial language should be used and the new pandemic phenomenon of Zoom plays. Chapter 7 looks at adaptations in the often forgotten and frequently maligned area of radio, emphasising the importance of radio productions in the UK and the US, and dedicating a section to Orson Welles’ adaptation of H.G. Wells’ The War of the Worlds (1898), probably the best-known radio adaptation of all time. The chapter ends by describing audio adaptations on the internet and gives some examples of podcast adaptations and appropriations. Chapter 8 highlights the prevalence of audiovisual adaptations in our contemporary culture. Bringing together Film, TV, and Social Media studies, this chapter on Screen Adaptations discusses queer adaptations and those for and by other underrepresented groups; reboots and Americanised remakes; reality shows; Bollywood and Nollywood; piracy; and the main streaming players, Netflix, Amazon, Disney+,and Apple. The last segment is dedicated to social media adaptations, from Snap Originals to TikTok musicals. Chapter 9 examines the relationship between translation, adaptation, and video games and how they have been playing a pivotal role in the evolution and expansion of video games over the years. The chapter also describes the concept of localisation and how in video games it can act as a mediator in the interdisciplinary negotiation between Translation and Adaptation

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作者简介

John Milton is Titular Professor at the University of São Paulo, Brazil, and has taught English Literature at undergraduate level and Translation Studies at MA and PhD levels.

Silvia Cobelo is a literary translator (English and Spanish) and screenwriter. She also teaches disciplines and extension courses at the University of São Paulo, Brazil.

With a chapter on Video Games by Ricardo Vinicius Ferraz de Souza

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