What meets the eye. Cognitive narratology for audio description.
Cross-modal (intersemiotic) translation is the general task of audio description but not the specific problem faced by audio describers of narrative texts. Their specific task for this textual subgenre is to select those discourse elements which produce narrative force (narrativity), and thus to att...
| Publicado en: | Perspectives: Studies in Translatology Vol. 20; no. 1; pp. 87 - 103 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
2012
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=71347697&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 71347697 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 0907676X S2F jtl: Perspectives: Studies in Translatology issn: 0907676X maglogo: N pubinfo: dt: 2012 vid: 20 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 71347697 10.1080/0907676X.2011.632683 ppf: 87 ppct: 16 formats: fmt: – @attributes: type: T – @attributes: type: P size: 274KB tig: atl: What meets the eye. Cognitive narratology for audio description. aug: au: Vandaele, Jeroen affil: ILOS, University of Oslo, Oslo, Norway su: Translating & interpreting Lectures & lecturing Mental imagery Short films Problem solving sug: subj: Translating & interpreting Lectures & lecturing Mental imagery Short films Problem solving keyword: audio description cognition intersemiotic narratology Pear Film ab: Cross-modal (intersemiotic) translation is the general task of audio description but not the specific problem faced by audio describers of narrative texts. Their specific task for this textual subgenre is to select those discourse elements which produce narrative force (narrativity), and thus to attain a degree of narrative equivalence between source film and audio described film. This task is potentially difficult for two reasons: because narrative force is not just the realized action on screen: it is the receiver's state of mind, induced by the assumably realized events and by the discursively suggested hypothetical events; and because the suggestive, ‘intentional’ discourse triggers can be small. The following problem-solving procedure is proposed: equipped with a cogent definition of narrative force, audio describers can learn to recognize their narrative states of mind and become aware of the (possibly small) discursive triggers that generate those mental states. The second part of this paper argues that audio describers may also attempt to measure the spatial equivalence between the film images and the visual imagery that their descriptions produce – because such equivalence may be relevant for impaired people with residual mental imagery. Wallace Chafe's Pear Film is used to illustrate these ideas. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Perspectives: Studies in Translatology is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Perspectives: Studies in Translatology holder: Taylor & Francis Ltd dt: @attributes: year: 2012 holdings: @attributes: islocal: N |
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