The Pavia Corpus of Film Dialogue: Methodology and applications

29/10/2015
The Pavia Corpus of Film Dialogue:
Methodology and applications
Prof. Maria Pavesi
Dept. of Humanities
University of Pavia
University of Trieste
26.10.2015
• Translated language has attracted the attention
of researchers combining a Descriptive
Translation Studies approach with Corpus
Linguistics principles and methodology
 Corpus-based Translation Studies (e.g. Baker
1993; Granger 2003; Laviosa 2011; Kruger et al.
2011; De Sutter et al. 2012).
• Within this research paradigm, the language of
audiovisual translation is worth investigating in
itself, and in the search for regularities at various
linguistic, generic and translational levels.
•
1
29/10/2015
The Pavia Corpus of Film Dialogue (PCFD)
• was conceived and developed within two research
projects: The nationally relevant project Ecolingua: ecorpora in linguistic and multimodal studies, in
translation, and in on-line language learning and
testing was funded –Miur (2005), coordinated
nationally by Christopher Taylor.
• The international project English and Italian
audiovisual language: translation and language
learning funded by the AMTF (2010-2012) and
directed by Maria Pavesi.
University of Trieste
• Macro-aim of the corpus: to research the
representation of spokeness in the two
varieties of audiovisual dialogue (original and
translated), on their own, in parallel and
contrastively.
• Dubbed and original film languages are
exemplary instances of “language written to
be spoken as if not written” (Gregory 1967:
191-192), forms of simulated spoken
language.
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Realism and naturalness in AV language
Naïve to assume that AV language exactly reproduces
spontaneous spoken language.
Film language is a genre or register, a hybrid variety.
It is constrained by teleological structure of film (Cresti 1982; Remael 2002,
2008) and its specific communicative, narrative, generic and
aesthetic functions (Kozloff 2000).
It displays specific language features (Taylor 1999; Rossi 1999; Piazza et al. 2011).
It is characterized by increased discourse immediacy, reduced
vagueness, emotionality and formulaicity (Quaglio 2009; Forchini 2012;
Taylor 2008).
However
AV language is representation of orality
Several linguists have issued a call to use screen
language as a source of data reliable for
linguistic analysis (Murphy 1978; Tannen and Lakoff 1994; Rey (2001)
Alvarez-Pereyre 2011) .
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Dubbing as a discovery procedure
Groups of features can be identified that flag
orality in AV language.
Dubbing can be capitalized on as a source of
information on the translation of
conversational language.
E.g. - the degree of translatability
- problems of translation of spoken
language
The Pavia Corpus of Film Dialogue:
Sampling Criteria
• time span 1996-2009
• contemporary setting
• conversational films, i.e. characterised by faceto-face conversations in daily contexts
• cutting across rigid film genre distinctions
• no costume films, nor musicals
• successful movies both with the critics and the
general public
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Production
Film Title
Year
of
releas
e in
Italy
Film
Director
Screenwriter
TranslatorDialogue
Writer
Ratings
Br
Ae Fond Kiss
2004
Ken Loach
Paul Laverty
Federica
De Paolis
Am
Autumn in New
York
2000
Joan Chen
Allison
Burnett
Br
Bend It Like
Beckham
2002
Gurinder
Chandha
Gurinder
Chandha
No.
Tokens
(ENG)
No.
Tokens
(ITA)
***
ooo
9,409
8,911
Francesco
Vairano
***
oooo
7,733
6,952
Elettra
Caporello
***
ooo
10,377
9,878
Paul Haggis
Filippo Ottoni
****
oo
10,326
8,938
Am
Crash
2004
Paul
Haggis
Am
Dead Man
Walking
1996
Tim
Robbins
Tim Robbins
Lorena Bertini
**½
ooo
13,149
11,594
Am
Erin Brockovich
2000
Steven
Soderberg
Susannah
Grant
Marco Mete
**½
ooooo
14,629
13,164
2001
Gus Van
Sant
Mike Rich
Elettra
Caporello
***
ooo
11,170
10,902
***½
ooo
Am
Br
Finding Forrester
Looking for Eric
2009
Ken Loach
Paul Laverty
Alessandro
Rossi
13,010
13,050
Sofia Coppola
Elisabetta
Bucciarelli
***
ooo
5,888
4,926
Am
Lost in Translation
2003
Sofia
Coppola
Am
Match Point
2005
Woody
Allen
Woody Allen
Elettra
Caporello
***½
oooo
14,524
12,621
Am
Michael Clayton
2007
Tony Gilroy
Tony Gilroy
Francesco
Vairano
***½
oooo
13,063
11,664
Am
My Best Friend’s
Wedding
Mauro Trentini
***
ooooo
9,880
9,355
1997
P.J. Hogan
Ronald Bass
Productio
n
Film Title
Year
of
releas
e in
Italy
Film
Director
Screenwriter
TranslatorDialogue
Writer
Ratings
No.
Tokens
(ENG)
No.
Tokens
(ITA)
Br
Notting Hill
1999
Roger
Mitchell
Richard Curtis
Francesco
Vairano
**
ooooo
11,123
9,858
Am
Ocean’s Eleven
2001
Steven
Soderberg
Ted Griffin
Marco Mete
**½
ooooo
10,390
9,510
Am
One Hour Photo
2002
Mark
Romanek
Mark
Romanek
Carlo Valli
***
ooo
6,236
5,422
Lorena Bertini
***
ooo
7,887
7,321
Br
Saving Grace
2000
Nigel Cole
Mark Crowdy,
Craig
Ferguson
Br
Secrets and Lies
1996
Mike Leigh
Mike Leigh
Elisabetta
Bucciarelli
***½
oo
14,605
12,350
Br
Sliding Doors
1998
Peter Howitt
Peter Howitt
Francesco
Vairano
**½
oooo
9,503
8,486
Am
Something’s gotta
give
2003
Nancy
Meyers
Nancy Meyers
Elettra
Caporello
***
ooo
12,643
11,965
Am
Spanglish
2004
James L.
Brooks
James L.
Brooks
Marco Mete
***
ooo
10,704
10,057
Am
The Holiday
2006
Nancy
Meyers
Nancy Meyers
Fiamma Izzo
**½
ooo
12,927
11,819
Peter Morgan
Filippo Ottoni
***½
ooo
9,911
9,566
12,506
11,059
Br
The Queen
2006
Stephen
Frears
Am
The Runaway
Bride
1999
Garry
Marshall
Josann
McGibbon,
Sara Parriott
Manlio De
Angelis
*½
ooooo
Am
Two lovers
2008
James Gray
James Gray
Alessandro
Rossi
***
oooo
Am + Br
Whole Corpus
9,636
9,313
261,229
238,681
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The Pavia Corpus of Film Dialogue
BrE + AmE
It
ORIGINALS
TRANSLATIONS
BrE + AmE
TRANSLATIONS
It
ORIGINALS
As for alignment and systematic interrogation, the
PCFD has been converted into a relational database
(Freddi and Pavesi 2009, Freddi 2013),
Queries can begin from either the original or the
translated components. Parameters added :
textual and contextual variables, i.e. character speaking,
scene type and linguistic event (e.g. on the phone, on
television),
individual variables including accents (e.g. French
accent, Spanish accent),
accompanying paralinguistic behaviour (e.g.
whispering, shouting, giggling),
salient non-linguistic behaviour (e.g. waving, kissing).
University of Trieste
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Title
Cue Character
Scene
Attitude
Text
Translations
kisses
Yeah, call those guys, you know
and I- I- I'm gonna be back on
Sunday and I- I love you, you
know? Okay?
Sì, chiamali, è una
buona idea! E poi,
io, io, io torno
domenica e- e- e... ti
amo, lo sai. Okay.
Match Point 407 NOLA
clears
throat
Erm... I thought he was very
handsome. You know? And I told
you I was just... I was
overwhelmed with attention. So
what about you and Chloe?
Em… bè, lo trovavo
molto attraente.
Inoltre, te l'ho detto,
sono stata…
sopraffatta dalle sue
attenzioni. E la cosa
fra te e Chloe?
The Holiday 18
sighs
Ero innamorata
I was head over heels, you know?
cotta, lo sai? Lo
Everyone knew.
sapevano tutti.
Lost in
406 JOHN
Translation
IRIS
Two Lovers 1061 MICHELLE
Two Lovers 1166
REUBEN
(VOICE)
Michelle’s on the
window
phone
Neanch'io ti ho mai
I never saw you either. I could feel visto. Ma ti ho
you, you know? I could really feel sentito, credimi, ti
ho sentito
you.
tantissimo.
You know, we celebrate... we
pouring
Hebrew celebrate the New Year twice a
some wine accent year, you know? Because at
Rosh Hashanah and... All right...
Sì, noi
festeggiamo… noi
festeggiamo il nuovo
anno due volte
l'anno. La prima è
Rosh Hashanah… e
adesso. Ecco.
University of Trieste
I suppose and its translations (sample output)
Title
Cue Character
Scene
Attitude
Text
Translations
The
Queen
18
QUEEN
smiling
Yes. I suppose that
is some consolation.
Sì. Suppongo che sia una
piccola consolazione.
Notting
Hill
79
MARTIN
neutral
Yes, I suppose so,
yes.
Sì, può anche darsi, sì.
on the
phone
Uhm I suppose so.
How are you?
Ehm, penso di no. Come
stai?
groaning
[…] I've no idea
how to date and be
this and I suppose
there's the
possibility I'm afraid
of what another
person might do to
who we are and how
we get from one day
to the next.
[…] Non so come stare
con una donna, ed essere
tutto questo. E immagino
che esista… la possibilità
che io abbia paura
dell'effetto che un'altra
persona potrebbe avere su
di noi e su come viviamo
giorno dopo giorno.
My Best
Friend's
772 KIM
Wedding
sighs
Why? I don't know
I'm still, I'm still
hoping for a miracle,
I suppose. I mean,
how can he think
that my father and I
would do such a
thing?
Non lo so. Perché spero
ancora in un miracolo,
forse. Come può pensare
che io e papà abbiamo
fatto una cosa simile?
Looking
for Eric
942 ERIC
Well, I suppose it's
whispering inevitable really,
innit?
Saving
Grace
falls
DR
on
949
on the
BAMFORD
television
floor
The
Holiday
The
Holiday
393 IRIS
763 GRAHAM
… I must say, it
does seem strange
that alcohol is legal
and marijuana, ehm,
isn't. An accident of
history, I suppose.
Yeah.
Bè… immagino…che in
fondo è inevitabile, no?
…Devo dire che è
alquanto strano, insolito,
che l'alcool sia legale e la
roba invece, invece no.
Sono gli incidenti della
storia, immagino. Già.
University of Trieste
7
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Immagino and its source language counterparts (sample output)
Title
The
Queen
Cue Character Scene Attitude
Text
TONY
75
smiling Me lo immagino.
BLAIR
Meravigliosa!
Secrets &
Immagino che sarai
198 MONICA
neutral
Lies
affamato, come al
solito.
Translations
I can imagine!
Scintillating! I
suppose you'll be
starving, as usual.
One Hour
MR
219
Photo
PARRISH
neutral Immagino di sì.
The
Holiday
neutral
Sei un uomo di
mondo, immagino.
You're a man
about town, I
presume.
Runaway
629 IKE
Bride
sighs
Immagino che il
portiere sia uno dei
tuoi tanti
ammiratori.
I take it, the desk
clerk is one of
your many
admirers.
The
Queen
neutral
Ne avrà sofferto,
immagino.
That must have
been difficult.
582 ERNIE
910
TONY
BLAIR
Secrets &
1201 MAURICE
Lies
neutral Immagino di sì.
Two
Lovers
neutral
1143 LEONARD
Immagino che sia
per Sandra.
University of Trieste
I guess I probably
do.
I suppose so.
Well, I think it's
'cause of Sandra.
Several specific questions have been addressed by
examining the PCFD
1.
What features simulate spontaneous spoken
language in audiovisual translation?
E.g. Personal pronouns – and in particular io and tu –
play a key role in dubbed Italian. Overall, personal
pronouns are as frequent in the LIP corpus as in the
PCFD, where they contribute to the interactivity of
the fast-paced turn taking .
University of Trieste
8
29/10/2015
Cumulative frequencies of 1st, 2nd and 3rd person pronouns in
PCFD, LIP and Forlixt
(Frequencies per 100,000 words)
1700
1650
1600
1550
1500
1450
1400
1350
1300
1250
1675
1609
Translated films
Conversation
Original films
1420
I, 2, 3
pers.
sing.
University of Trieste
Io and tu pronouns in Italian conversation (LIP corpus) and PCFD
per 100,000 words
1000
900
800
700
600
500
400
300
200
100
0
LIP convers.
Pavia corpus
io
tu
University of Trieste
9
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2.
What role do the source language and the
source texts have in shaping dubbed
languages?
Does interference account for peculiar patterns
in dubbed languages?
Personal pronouns much more frequent in English than
in Italian (which is a pro-drop language).
However, 2nd person pronouns have been found to be
overrepresented also in the original English texts .
University of Trieste
1st person pronouns in the original and dubbed
dialogues of the PCFD
12000
10000
8000
I
io
6000
4000
2000
0
1st pers. pronouns
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Frequencies of I and you in films (PCFD) and
conversation (Biber et al. 1999: 334).Frequencies per 100,000 words
Anglophone films
5000
Conversation
4000
3000
2000
1000
0
I
you
3.
What specific functions do the identified carriers of
orality perform in dubbed language? And how is
audiovisual communication reflected in film
language?
Through the investigation of the parallel concordances, Freddi
(2012) has advanced the hypothesis that the translation of
conversational formulas serving a mimetic function is less
subject to routinisation than the translation of clusters serving
a diegetic function.
The fixed stem si può sapere translates the challenging function
of wh-questions frequently occurring in the original texts as
markers of defiance and hostility.
University of Trieste
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Title
Ae Fond
Kiss
Crash
Cue Character
66
ROISIN to
BOYS
88
Scene
Attitude
Text
Translations
shouting
E voi, fuori di qua! Si può
sapere che volete fare?
And you two outside! What on
earth are you doing?
ANTHONY
neutral
Bè? Che cazzo ridi, si può
sapere?!
What? What the fuck is you
laughing at, man?!
ERIC
Looking for
305 (VOICE) to
Eric
JACK
neutral
Che stai facendo, Jack, si
può sapere?
Jack, what are you doing for
fuck's sake?
Spanglish 425 JOHN
neutral
Si può sapere perché urli?
Che ti prende?
For Christ's sake, why are you
screaming?
neutral
Si può sapere che cavolo
succede? Eh? Perché quella
stronza dice che sei lesbica?
Ma non ti piaceva
l'allenatore?
What the bleeding hell's going
on, eh? What's that gora going
on about you being a lesbo? I
thought you fancied your
coach!
Bend it like
1000 PINKY
Beckham
Bend it like
1005 JULES
Beckham
The
Holiday
1028 JASPER
Jules and
Mrs Paxton
Si può sapere cosa ti sei
What the bloody hell were you
astonished
messa in testa?
in the car,
thinking?!
driving away
Ma si può sapere che cosa ti
neutral
What exactly has got into you?
è preso?
Looking for
1544 SPLEEN
Eric
Dove… Meatballs, si può
sapere dove cazzo siete?
on the
Così va tutto a puttane, è
walkie talkie
tutto pianificato. Dov'è il
pullman due? Dov'è?
Looking for
1615 FENNER
Eric
neutral
Che c'è? Si può sapere che
succede? Che c'è?
Where are...? Meatballs, where
are you, for fuck's sake? This
is going to cock, this has all
been planned! Where's coach
two? Where is it?
What? What? What? What?
What the fuck is going on?
4.
How does the relationship between the verbal and
non-verbal codes shape dubbed language?
Deixis is the major means through which the
verbal message is anchored to the extralinguistic space represented on screen.
• Among deictic features demonstratives are
the means that prototypically and universally
index the “joint focus of attention” in
discourse (Diessel 1999, 2006).
• In film, they perform a fundamental spatial as
well as a textual function.
University of Trieste
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Films investigated for demonstratives
Ae Fond Kiss
Bend it like Beckham
Billy Elliot
Dead Man Walking
Crash
Erin Brockovich
Finding Forrester
Notting Hill
Ocean’s 11
One Hour Photo
Secrets and Lies
Sliding Doors
Frequencies of demonstratives in the PCFD and
English conversation
(Biber et al. 1999: 349)
This + These
Original film corpus
English conversation
450
200
(531)
That + Those
967
1150
(1141)
total
1417
1350
(1672)
*Normalized frequencies per 100,000 words (Raw frequencies in brackets)
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Italian demonstrative pronouns in
PCFD, Forlixt and LIP
(Frequencies per 100,000 words)
1400
1200
1000
PCFD
Forlixt
LIP conv.
Whole LIP
800
600
400
200
0
PCFD
Forlixt
LIP conv. Whole LIP
Exophoric demonstratives
include both concrete entities, spaces and more abstract
phenomena such as abstract situations.
CLAIRE
ThisPSE5 is a signed copy, I can’t È una copia firmata, non la posso
accept thisPOE4, I mean, it must accettare, insomma, ti dev’essere costata
have cost you a fortune.
una fortuna. (FF)
DR SIMON
Jamal, we know leaving for
Jamal, sappiamo che trasferirsi in
another school, especially a
un’altra scuola, specialmente una scuola
private school, it’s not gonna be privata, non sarà facile ma questo non è
easy, but thisPSE1 isn’t the right più il posto giusto per te ormai. Jamal,
place for you anymore. Jamal, it’s non è una scelta difficile. (FF)
not a difficult choice.
TERREL
Jamal, thisPSE5 is crazy.
Jamal, ma è incredibile. (FF)
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Endophoric demonstratives
Textual deictics. They pick up portions of text. In films, they are almost
exclusively discourse deictics.
ROISIN
CASIM
ROISIN
Casim, we’re good together, you
know? I mean, it’s easy, it feels
right, you know? And I think that
we can, if we want to, we can make
it work.
For how long?
I don’t know, but who knows
thatPOD4? Does anybody ever
really know thatPOD4? You just,
you just take a chance.
Casim, noi stiamo bene insieme,
tutto è così facile fra di noi, ci
capiamo su tutto e penso che
possiamo, se vogliamo, possiamo
farcela.
E per quanto tempo?
Non lo so! Chi può saperlo! Pensi
che qualcuno possa saperlo? Devi
solo...devi solo provarci.
(AFK)
Translation strategies
Translation patterns
Degree of translatability
Cross–linguistic contrasts
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Full translation
Jess It’s just culture!
That’s all. Better
than sleeping
around with boys
you ain’t going to
marry! What’s the
point in that?
Girl That’s the best bit!
È la nostra cultura! Tutto
qui. Sempre meglio che
andare a letto con uno che
non sposerai! Chi te lo fa
fare?
Quella è la
migliore!
parte
That is the best part!
(Bend it like Beckham)
Replacement with other
demonstrative
Erin No, you told me I’d No, mi ha detto che ero a
be set.
cavallo.
Ed
Never said that.
Non ho mai detto questo
I have never said that.
(Erin Brockovich)
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Replacement with clitic pronoun
Roisin I don’t know, Non lo so!
but who
Chi può saper=lo!
knows that?
not it know-prs.ind.1sg
can know=it
who
I don’t know! Who can know
it? (Ae Fond Kiss)
Omission
Ed This is the only
thing you got?
È l’ unica cosa che
hai?
is the only thing that haveprs.ind.2sg
Is it the only thing you
have? (Erin Brockovich)
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(Partial) Explicitation
Erin I’m.. I’m telling
Ti dico, ti dico la verità, e
you the, the truth, andrò in fondo a
and I, I will get to
questa storia.
the bottom of all of
go-fut.1sg in bottom to/at
this.
this story
I’m telling you the truth and
I will go to the bottom of this
matter.
(Erin Brockovich)
(Full) explicitation
Jess […] They think I’ve […] Credono che abbia
got a job at HMV.
trovato un lavoro per
l’estate.
They think I have a summer
job.
Mel Blimey, that’s not
Le bugie non si dicono
on.
the lies not pron.rifl.3pl
say-prs.ind.3pl
You shouldn’t tell lies.
(Bend it like Beckham)
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Compensation
Rosalind Well, there may Forse
be jobs where
you can
disappear for
days at a time,
but this isn’t one
of them.
ci
sono lavori
dove puoi scomparire
per giorni e giorni ma
qui non puoi
far=lo.
Perhaps there are jobs
where you can disappear
for days, but here you can’t.
(Erin Brockovich)
ANNOTATION
All proximal and distal English demonstrative pronouns
in the corpus have been manually annotated for
syntactic role (subject, direct object, object of
preposition) and
pragmatic function (exophoric, endophoric) in the
source texts, and
translation strategy from English into Italian.
Endophoric demonstratives are almost exclusively represented by
discourse deictics. (The main results have been reported and discussed in
Pavesi 2013).
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Demonstratives translated with
demonstratives in the PCFD
1678
1800
1600
1400
1200
1000
800
600
400
200
0
Al
1148
530
214
em
ld
r.
st
n
o
o
Pr
w
x.
149
ith
pr
65
.
ox
ith
a
st
Di
English
Italian
al
st
i
d
lw
Major translation strategies for
demonstratives: %
45
40
35
30
25
20
15
10
5
0
42
13
9
12
13
12
This + That
.
.
n
n
n
tr
sl
on
io
io
ou
si
ns
an
s
n
at
at
r
i
o
t
s
o
t
i
r
n
m
ll
ic
p
em
O
pe
c
pl
Fu
rd
m
iti
Ex
l
e
o
C
C
th
O
20
29/10/2015
Omissions: percentages
50
45
40
35
30
25
20
15
10
5
0
l
Al
46
42
32
Omissions
t
s
hi
ha
:T
:T
s
s
on
on
si
si
is
is
m
O
Om
s
on
si
s
i
om
Omissions
TOPHER to RUSTY
((Rusty has just arrived)) Oh
hey Russ aah we got another
player, if thatPSD5's cool with
you.
((Rusty has just arrived)) Oh
ehi! Rusty, abbiamo un altro
giocatore, se per te va bene.
(OE)
TESS
I don't have a cell phone.
ThisPSE5 isn't mine.
Io non ho un cellulare.
Non è mio. (OE)
LINUS as SHELDON
WILLIS
[…] take it from your silence
that you are not gonna refute
thatPOD5.
Mr Benedict, I'm afraid you've
been employing an ex-convict.
[…] Deduco dal suo silenzio che
non ha intenzione di
controbattere.
Signor Benedict, temo che lei
abbia assunto un ex galeotto.
LINUS
Smash-and-grab job, huh?
Un colpo arraffa e scappa, eh?
RUSTY
Slightly more complicated than
thatPCD5.
Appena appena un po’ più
complesso. (OE)
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Clitics: functional equivalents; resources
available in spoken Italian.
Translation by clitics reflects their role in Italian.
They perform the same endophoric and
exophoric functions as demonstrative
pronouns, but with a lower deictic force (cf. Berretta
1985; Guadino-Fallegger 1992; Sabatini 1985).
Replacement of demonstratives with clitics
GEORGE
ERIN
GEORGE
NINA YORKIN
MR PARRISH
Hey, baby. Let me tell you
something. Let me get thatPOE4
out of your hair.
Uh. Oh.
Thank you.
Ehi, tesoro, devo dirti una cosa.
Aspetta che te lo tolgo dai capelli.
Oh!
(EB)
Because, Will’s been trying to
get me to go digital and-Oh, don’t do thatPOD4, I’d be
out of a job! Oh, you have one
shot left.
Will vuole convincermi a prenderne
una digitale ma io-Oh, non lo faccia. perderei il lavoro!
Oh ((sighs)) … è rimasta una posa.
(OHP)
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Translation strategies of the English singular
pronouns: DIRECT OBJECTS
This
Dir.Ob
j.
%
That
Dir.Ob
j.
%
Replacements
Full
translatio with clitic
pronoun
ns
Omissi Tot
ons
27
24.1
8
3.1
22
19.6
56
22.0
34
30.4
111
43.5
112
22.6
255
22.6
Replacements with other demonstrative
The replacements of demonstratives bring to the fore crosslinguistic differences in pragmatic use.
The strategy accounts for 9% of all translations.
Proximal pronouns are very rarely affected (only 4 this  quell- in
the whole corpus).
By contrast, English distal pronouns are more frequently translated
with a demonstrative of the other series in Italian:
65 that / those  quell-,
150 that / those quest-
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Replacements with other demonstrative:
Endophora
BELLA
Yeah. But on the other hand, her Però, d’altro canto, la sua migliore
best friend is Anna Scott.
amica è Anna Scott.
HONEY
Oh well, that’s true, I can’t deny it. Oh, questo è vero, non posso negarlo,
I mean, she needs me. What can I ha bisogno di me, che posso dire? (SD)
say?
RUSSELL
Well, she’s got a point. You can’t
stand Elton John.
Russel, forget about Elton John.
That’s not the issue, what do I do?
GERRY
Non ha tutti i torti. Tu non sopporti
Elton John.
Russel, lascia perdere Elton John. Non
è questo il problema. Che cosa faccio?
(SD)
Replacements with other demonstrative: Exophora
Cross-linguistic differences are also – unexpectedly revealed by the analysis of exophoric that.
The multimodality of films is very useful. It (re)presents
the wider context in which interaction takes place.
E.g.:Characters’ movements, postures, gazes, pointing
gestures and reciprocal orientation.
The same is true of the interactional dimension.
The repeated translational choices give access to
similarities and dissimilarities between the two spoken
languages.
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Exophoric that pronouns
• 31 are translated with a distal pronoun in
Italian.
• 35 are translated with a proximal
demonstrative questo o questa.
Replacements with other demonstrative:
Exophora
Title
Cue
Secrets & Lies 1265
Character
ROXANNE
Scene
Attitude
Neutral
Text
Translations
Tutto a posto
Maurice? Ti ho
All right,
portato
Maurice? I
got you that. questo.
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WAITRESS
SY
These are your uh, relations?.
Yes. That’s-- my little nephew
Jake
Sono-- tuoi parenti?
Sì!. Questo è il mio nipotino Jake
Translation patterns show a specificity of English
• That does not mean ‘far away from the
speaker / close to hearer or far from both’.
That is the unmarked demonstrative of faceto-face conversation,
• which may neutralize distinctions in terms of
proximity to conversation partners.
• It is often charged with an interactional and
interpersonal component, whereby when the
addressee’s point of view is taken.
• Space is thus construed as shared by both
interactants.
University of Trieste
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English vs. Italian
• In Italian, the same interactional functions
favour the demonstrative prototypically
encoding physical proximity to the speaker,
and questo prevails.
University of Trieste
Reference texts for the lecture
Pavesi Maria (2013) “This and that in the language of film dubbing: a corpus-based
analysis”. Meta, 58/1, pp. 107-137.
Maria Pavesi (2014) “The Pavia Corpus of Film Dialogue: a means to several ends”. In
Maria Pavesi, Maicol Formentelli, Elisa Ghia (eds.). The Languages of Dubbing.
Mainstream Audiovisual Translation in Italy. Bern: Peter Lang, pp. 29-55.
Maria Pavesi (2015) “The translation of conversation and film dubbing as a discovery
procedure. Evidence from demonstratives”. In Emanuele Miola and Paolo Ramat
(eds.) Language across Languages: New perspectives on translation. Newcastle
upon Tyne: Cambridge Scholars Publishing, pp. 143-171.
University of Trieste
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29/10/2015
General bibliography on the topic
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Alvarez-Pereyre, Michael. 2011. “Using Film as Linguistic Specimen.” In Telecinematic Discourse: Approaches to the Language of Films and Television
Series, ed. Roberta Piazza, Monika Bednarek and Fabio Rossi, 47-67. Amsterdam: Benjamins.
Bednarek, Monika. 2010. The Language of Fictional Television. Drama and Identity. London: Continuum.
—. 2012. “‘Get us the Hell out of Here’: Key Words and Trigrams in Fictional Television Series.” International Journal of Corpus Linguistics 17 (1): 3563.
Berretta, Monica. 1985. “I pronomi clitici nell’italiano parlato.” In Gesprochenes Italienisch in Geschichte und Gegenwart, ed. Günter Holtus and Edgar
Radke, 185-224. Tübingen: Narr.
Biber, Douglas, Johansson Stig, Geoffrey Leech, Susan Conrad and Edward Finegan. 1999. Longman Grammar of Spoken and Written English. London:
Longman.
Botley, Simon and Tony McEnery. 2001. “Demonstratives in English. A Corpus-based Study.” Journal of English Linguistics 29 (1): 7-33.
Cardinaletti, Anna. 2009. “Si impersonale e dimostrativi: due casi di influenza dei dialetti sull’italiano?” In Italiano, italiani regionali e dialetti, ed. Anna
Cardinaletti and Nicola Munaro, 29-54. Milano: Franco Angeli.
Carter, Ronald and Michael McCarthy. 2006. Cambridge Grammar of English. A Comprehensive Guide. Spoken and Written English. Grammar and
Usage. Cambridge: Cambridge University Press.
Da Milano, Federica. 2005. La deissi spaziale nelle lingue d’Europa. Milano: Franco Angeli.
Diessel, Holger. 1999. Demonstratives. Forms, Function, and Grammaticalization. Amsterdam: Benjamins.
—. 2006.“Demonstratives, Joint Attention, and the Emergence of Grammar.” Cognitive Linguistics 17 (4): 463-89.
—. 2014. “Demonstratives, Frames of Reference, and Semantic Universals of Space.” Language and Linguistics Compass 8 (3): 116-32.
Dixon, Robert M.W. 2003. “Demonstratives: A Cross-linguistic typology.” Studies in Language 27 (1): 61-122.
Fowler, Roger. 2000. “Orality and the Theory of Mode in Advertisements.” In Changing Landscapes in Language and Language Pedagogy, ed. MarieNoëlle Guillot and Marie-Madeleine Kenning, 26-39. London: AFLS/CiLT.
Freddi, Maria and Maria Pavesi. 2009. “The Pavia Corpus of Film Dialogue: Methodology and Research Rationale.” In Analysing Audiovisual Dialogue.
Linguistic and Translation Insights, eds. Maria Freddi and Maria Pavesi, 95-100. Bologna: CLUEB.
Gaudino-Fallegger, Livia. 1992. I dimostrativi nell’italiano parlato. Wilhelmsfeld: Egert Verlag.
Halliday, Michael A.K. and Raqaiya Hasan. 1976. Cohesion in English. London: Longman.
University of Trieste
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Kozloff, Sarah. 2000. Overhearing Film Dialogue. Berkeley: University of California Press.
Lakoff, Robin. 1974. Remarks on This and That.” In CLS. Papers from the Tenth Regional Meeting of the Chicago Linguistics Society, eds. Michael W. La
Galy, Robert A. Fox and Antony Bruck, 345-56. Chicago: Chicago Linguistic Society.
Lakoff Tolmach, Robin and Deborah Tannen. 1984. “Conversational Strategy and Metastrategy in a Pragmatic Theory: The example of Scenes from a
Marriage.” Semiotica 49 (3/4): 323-46.
Murphy, Paul R. 1978. “Sociolinguistics in the Movies: A Call for Research.” Anthropological Linguistics 20 (5): 226-33.
Pavesi, Maria. 2005. La traduzione filmica. Aspetti del parlato doppiato dall’inglese all’italiano. Roma: Carocci.
—. 2012. “The Potentials of Audiovisual Dialogue for Second Language Acquisition.” In Translation, Technology and Autonomy in Language Teaching
—. 2013. “This and That in the Language of Film Dubbing: a Corpus-based Analysis.” Meta 58 (1): 107-137.
Quaglio, Paulo. 2009. Television Dialogue: The Sitcom Friends vs. Natural Conversation. Amsterdam: Benjamins.
Quaglio, Paulo and Douglas Biber. 2006. “The Grammar of Conversation.” In The Handbook of English Linguistics, ed. Bas Aarts and April McMahon,
692-723. Oxford: Blackwell.
Remael, Aline. 2008. “Screenwriting, Scripted and Unscripted Language: What do Subtitlers Need to Know?” In The Didactics of Audiovisual
Translation, ed. Jorge Díaz Cintas, 57- 67. Amsterdam: Benjamins.
Rey, Jennifer M. 2001. “Changing Gender Roles in Popular Culture: Dialogue in Star Trek Episodes from 1966 to 1993.” In Variation in English: MultiDimensional Studies, ed. Susan Conrad and Douglas Biber, 138-55. London: Longman.
Richet, Bertrand. 2001. “Quelques données et réflexions sur la traduction des interjections.” Oralité et traduction, ed. Michel Ballard, 79-128 . Arras:
Presses Université.
Rossi, Fabio. 1999. Le parole dello schermo. Analisi linguistica del parlato di sei silm dal 1948 al 1957. Roma: Bulzoni.
—. 2011. “Discourse Analysis of Film Dialogue: Italian Comedy between Linguistic Realism and Pragmatic non-Realism.” In Telecinematic Discourse:
Approaches to the Language of Films and Television Series, eds. Roberta Piazza, Monika Bednarek and Fabio Rossi, 21-46. Amsterdam: Benjamins.
Rühlemann, Christopher. 2007. Conversation in Context: A Corpus-driven Approach. London: Continuum.
Serianni, Luca 1991. Grammatica italiana. Italiano comune e lingua letteraria. Torino: UTET.
Taylor, Christopher. 1999. “‘Look Who’s Talking’. An Analysis of Film dialogue as a Variety of Spoken Discourse.” In Massed Medias. Linguistic Tools
for Interpreting Media Discourse, Linda Lombardo, Louann Haarman, John Morley and Christopher Taylor, 247-78. Milano: Led.
Taylor, C. 2008. Predictability in Film Language: Corpus-assisted Research. In Taylor Torsello C., Ackerley K. & Castello E. (eds) Corpora for University
Language Teachers. Bern: Peter Lang. 167-180.
Tomaszkiewicz, Teresa. 2001. “La structure des dialogues filmiques: conséquences pour le sous-titrage.” In Oralité et traduction, ed. Michel Ballard,
381-99. Arras: Artois Presses Université.
—. 2009. “Linguistic and Semiotic Approaches to Audiovisual Translation.” In Analysing Audiovisual Dialogue. Linguistic and Translation Insights, ed.
Maria Freddi and Maria Pavesi, 19-29. Bologna: CLUEB.
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