dileMMas and Contexts oF JudiCial ethiCs in Court interPreting 1
8. disCussion oF results
8.1 Questions 2, 3 and 4: themediaconsuminghabitsoftheresPondents
InmyquestionnairewithQuestions 2, 3 and 4I examinedthemediaconsuminghabitsof
a specificagegroup(studentsof7thand8thgrade).Basedontheanswersitturnedoutthatthis
agegroupspentlesstimewatchingaudiovisualcontentthanthenationalaverage(basedon
the2016nielsenaudiencemeasurements),butstillspentconsiderabletimeeverydayinfront
ofthetelevisionorthecomputerscreen.Therefore,mostofthemareexposedtothelanguage
oftelevisionmorethan1houra day.
WithQuestion 2I examinedwhattypeofaudiovisualtranslationsthegroupofrespond-entspreferswhenwatchingmediacontent,anditbecameclearthatthisagegroup,which
ismuchmoreexposedtodownloadedandon-demandcontentsthanthepreviousgenera-tions,andlearnsforeignlanguagesfroma youngage(usuallyfromthebeginningofprimary
school),stillpreferswatchingaudiovisualcontentwithsomekindoftranslationaid.This
leadstotheconclusionthatthisagegroupisstillexposedtoaudiovisualtranslations(either
intheformofdubbingorsubtitling)quiteregularly,whichunderlinestheassumptionthat
thelanguageuseofthisagegroupcanbeaffectedbythelanguageofaudiovisualtranslations,
asI hypothesisedearlierinthispaper.
TheaimofQuestion 4wastogeta pictureofthecontentpreferencesoftheexaminedage
group.Basedontheanswersitturnedoutthattheywatchedfictionalprogrammes–movies,
TVseriesandcartoons–themostoften.Thesegenresareusuallydubbedorsubtitled,which
againpointstotheconclusionthatthisagegroupisoftenexposedtosuchmodesofaudio-visualtranslations.realityshowsseemtobetheleastpopulargenreamongtheexamined
programmeswithinthegroupofrespondents.Infotainmentprogrammesturnedouttobe
a bitmorepopularwithinthegroupofrespondentsthantalkshowsandmusicprogrammes.
althoughthisquestionwasnotdirectlyrelatedtoaudiovisualtranslation,thetypesofpre-ferredgenresholdimportance,becauseusuallymoviesandTVseriesaretranslatedbymore
experiencedtranslatorsandareofa higherqualitythantranslationsofinfotainmentand
realityprogrammes,whicharegenerallytranslatedbyvoice-overinHungary.Itleadsusback
tothepolysystemtheory:wecansafelysaythatmoviesandTVserieshavea centralposition
withintheaudiovisualpolysystem,sincetheyarewatchedbythehighestnumberofviewers,
andtheirtranslationisdonebythemostexperiencedtranslatorsoftheprofession.
8.2 Questions 5 and 6: newmeaningsthroughmistranslations
Therestofthequestionsexamined4distinctphenomenarelatedtotheimpactofaudiovisual
translationsonthelanguageuseofthegroupofrespondents.Questions 5 and 6examinedtwo
wordsthatareoftenmistranslatedinaudiovisualtranslations,andtheresultsinonecase(pa-tetikus)confirmedthatthetranslationswereabletodeviatetheoriginalmeaningoftheword
towarda newmeaningderivedfromtheregularmistranslationoftheword.Itturnedoutthat
only32%oftherespondentsknewtheoriginalmeaningoftheword,and68%ofthemhave
chosena meaningclosertothelook-alikeenglishversion(pathetic).a similarcasehoweverdid
notendinthesameresults,asmostoftherespondentswereabletoselectthecorrectmean-ingofanothersimilarword,epikus.Itmightbeduetothefactthattheyarestudyingliterary
genresinschool,andtheuseofepicinenglishina newkindofinformalwayisa morerecent
phenomenon.Thecaseofpatetikusprovesthatmistranslationscanleadtochangesina word’s
meaning.althoughwecan’tstateasa factthatthisdeviationisonlyduetomistranslationsin
audiovisualtranslations,duetotheoccurrenceofthisenglishwordinprogrammestranslated
toHungarian,thismightdefinitelybea factorinthisinterestingchangeinlanguageuse.
8.3 Question 7: raisingaccePtabilityof englishlook-alikes
Question 7included4wordsoftenappearingininfotainmentprogrammesandoftenmistrans-latedintoformsmoresimilartotheenglishoriginal.unfortunately,theresultsofthequestion
mightbemisleading,becausewhenI wasn’tpresentattheschoolwhenthestudentsfilledout
thequestionnaires,theteachersmighthavefailedtoclarifythatthequestionisrelatedtothe
correctHungarianform.Sincednaisthecorrectenglishformofthisword,studentsstudying
englishmighthavechosentheanswer“both”,notbecausetheythoughtthatbotharecorrect
formsinHungarian,butbecausetheyknewthatitisa correctforminenglish.Intheother
threecases,therewerenosuchproblems,astheincorrectformsaredefinitelyHungarianwords
(uránium and morfin).Ifwedisregarddnabecauseofthemisleadingnatureofthequestion,
wecanseethatintwocases(SiliconValleyandmorphine)therespondentsseemedtobeaware
ofthecorrectformoftheHungarianversions.onlya fewofthemvotedfortheincorrectform,
andonly¼ofthem(orevenlessinthecaseofSiliconValley)havereckonedbothformstobe
correct.onereasonforthatmightbethattheexaminedexpressionsarenotoftenpresentinpro-grammeswatchedbytheexaminedgroup,whichissupportedbytheresultsofQuestion 4,where
theanswersshowedthatthestudentsrarelywatchinfotainmentanddocumentaryprogrammes.
anotherpossibleexplanationisthatthemistranslationoftheexaminedwordsisnotasregular
asI presumed,thereforeithadn’tbeenheardbytheexaminedgroupthatfrequently.
Thetranslationofuraniumhasbeentheonlyoneofthefourquestionswhichseemedto
supporttheideathatthefrequentoccurrenceoftheincorrectformintranslationsmightmake
thisincorrectformmoreacceptable,sinceonly59ofthe310respondentshavechosenthe
correctHungarianformastheonlycorrectform,whilea largemajorityoftherespondents
havethoughtthatbothforms(theenglish-stylelongerandthecorrectHungarianversion)are
correct.Thismightwellbeduetothefactthattheincorrectformisoftenappearingintransla-tions–althoughitmightbearguedthatitsoccurrenceisnotthemostfrequentinaudiovisual
translations,butintranslatednewsandotherinternet-basedcontents.Therefore,itmightnot
bethebestexampletoassesstheimpactofaudiovisualtranslationsonthelanguage,although
itisstilla relevantexampleoftheimpactoftranslationsingeneralonlanguageuse.
8.4 Questions 8 and 9: newmeaningsfrominnovativetranslations
Questions 8 and 9presentedtwocaseswherethetranslators’innovativetranslationofnewly
emergingtargetlanguageitemsmaketheirwayintothevocabularyoftheaudienceoftrans-lations.TheresultswereunequivocalinthecaseofgeekanditsHungariantranslation,gyík,
JuditSereg
sincemorethanhalfoftherespondentsseemedtoknowthenewmeaningaddedtothe
wordbytheregulartranslationofgeek.Theresultswerenotsoevidentinthecaseoflame,
althoughtheanswersshowedthat20%oftherespondentshavealreadyheardthewordláma asthetranslationoflame.Thisseemstoindicatethatthenewmeaning,addedtothewords
bytranslationbasedontheword’spronunciation,isstartingtospreadamongtheviewersof
audiovisualtranslations–a newmeaningisaddedtoalreadyexistingwordsintheHungarian
language,andithappenedthroughtheworkoftranslators.
8.5 Questions 10 and 11: newexPressionsfrommirrortranslations
TheresultsofQuestions 10 and 11wereprobablythemostenlighteningofall.Thefactthatinthe
caseofQuestion 1064%,andinthecaseofQuestion 1159%oftherespondentsexplainedthe
examinedexpressionusingthesamewordsseemstoverifytheassumptionthatnewHungarian
expressionscanbebornbymirrortranslations.Whileolderviewersmightfindsuchexpres-sionsforeignandstrange,membersoftheyoungergenerationscangetusedtohearingthemat
a youngerage,theycanincludetheexpressionsintheireverydayvocabularyaswell.Theresults
inthiscaseseemtosuggestthatthetwoexpressionsarespreadingamongtheHungarianyouth
andstartingtobecomecompletelyacceptableinnaturalHungariandiscourseaswell.
However,a fewoftheanswerscategorisedinthe‘other’groupwerealsoquiteinstructiveand
thought-provoking.oneofthemostrevealinganswerscamefromoneoftherespondentswho
wrote“Iamnotusingit,butitisoftenwritteninbookswhensomeoneisinlove”.Thisinsight-fulobservationshowsthatalthoughitdoesnotcomenaturallyformostpeople,therearesome
whorealiseandareawareofinstancesof‘translationese’inwrittenandaudiovisualtranslations.
9. ConClusion
Theaimoftheresearchpresentedinthecurrentpaperwastoprovea mostlyintuition-based
hypothesisregardingtheimpactofaudiovisualtranslationsonthelanguageuseoftheaudi-enceinthetargetlanguage.Whilethepolysystemtheoryprovidesa strongtheoreticalbasis
fortheassumptionthattranslatedliteraturehasa placeintheliteraturepolysystemofa cer-tainlanguage,itcouldbetakenonestepfurtheranditcouldbeassumedthatthetranslated
movies,ormorebroadly,translatedaudiovisualmaterialshavea placeintheaudiovisual
polysystemofa language.
Theassumptionthattranslations(andbyextensionaudiovisualtranslations)haveanim-pactonthetargetcultureisnota newnotion,howeverinthepastitwasmostlyanintuitive
assumptionmadebyresearchersinthefield,andthisimpactwasmainlyconsideredasan
impactorinfluenceonthecultureofthetargetlanguage,andnotonthetargetlanguageitself.
Theimpactonthelanguageuseoftheaudienceinthetargetculturewasmostlyignoredor
mentioneden passant.
Byanalysingtheaudiovisualcontentconsumptionofa specificagegroupinHungary
I triedtolaythefoundationsforthehypothesisthatmanymembersofthisagegroup(and
thegeneralpublic)havesomekindofexposuretotranslatedaudiovisualcontent.Bythese-lectedlinguisticexamplesandtherelatedquestionsmygoalwastoprovethattheimpactof
translatedlanguagecanbedetectedthroughempiricalresearch.I foundproofthatregular
mistranslationofa wordcanleadtonewmeaningsaddedtoa word(seethecaseofpatetikus),
non-translationscanraisetheacceptabilityofforeignwordformsbythetargetaudience(asin
thecaseofuránanduránium),innovativetranslationscanalsoaddnewmeaningstoexisting
targetlanguagewords(asinthecaseofgyík)andnewexpressionscanmaketheirwayintothe
activeandpassivevocabularyofthetargetlanguageaudience(likethemirrortranslationsof
“butterfliesinone’sstomach”and“savetheday”).
ofcourse,thedevelopmentofa languagethroughitsinteractionwithotherlanguagesis
a well-knownandlongexistingphenomenon,butthisresearchtriedtocaptureitinrealtime,
andinsomecasesI believeithassucceeded.Byincludingthequestionsrelatedtothetelevi-sion(andaudiovisualmaterial)consuminghabitsoftheexaminedstudentsandbyselecting
languagephenomenaoftenappearinginaudiovisualmaterials,I wastryingtoprovethatthere
isdefinitelya connectionbetweenthelanguageuseandaudiovisualtranslations,althoughitis
impossibletoprovethatthesourceoftheexaminedimpactisstrictlyfromaudiovisualtransla-tions.Itismostprobablynottrue:theviewersofaudiovisualmaterialsarealsoconsumersof
thetranslatedandforeignlanguagewrittenmaterialsontheinternet,translatedliteratureand
foreignlanguageclasses,allofwhichcanbea sourceofnewwordsandnewmeanings.
althoughthesmallnumberofexaminedlinguisticphenomenacanbeviewedonlyasan
indicatorofthisimpact,theresultsmayprovetobeusefulfordesigningwiderandmorein-depthresearchesinthefuture.onesuchresearchmayaddressa questionwhichwasnotinthe
scopeofthecurrentstudy,namelyawareness.Itmayprovetobeusefultoassesshowmuch
thetargetaudienceisawareoftheimpactoftranslations.dotheyknowwheretheexpressions
theyarestartingtoacceptandusecomefrom?aretheyabletopinpointtheinstancesofdub-beseintelevisionprogrammes?a researchsimilartotheonedonebyantoniniandChiaro
(2009)mighthelpinansweringsuchquestionsinthefuture.
Ibelievethattheresearchwasabletoascertaintwothings:one,thatthelanguageof
translationshasanimpactonthelanguageuseofpeople,andtwo,audiovisualtranslationis
a factorinthatimpact,andmaybeshouldnotbeoverlookedasa secondary,oreventertiary
elementinthepolysystemoflanguage.
references
antonini,r.2009.TheperceptionofdubbedculturalreferencesinItaly.inTralineaVol.11.
(http://www.intralinea.org/archive/article/1651)
antonini,r.,Chiaro,d.2009.ThePerceptionofdubbingbyItalianaudiences.In:diaz
Cintas,J.,anderman,g.(eds)Audiovisual Translation.Basingstoke:PalgraveMacmillan.
97–114.
Baker,M.,Hochel,B.1998.dubbing.In:Baker,M.(ed.)Routledge Encyclopedia of Trans-lation Studies. London/newYork:routledge.74–76.
Bucaria,C.,Chiaro,d.2007End-user perception of screen translation:ThecaseofItaliandub-bing.TradTermno.13.91–118.
ChaumeVarela,F.2007.Qualitystandardsindubbing:a Proposal.TradTerm no.13.71–89.
diazCintas,J.2004.Insearchofa theoreticalframeworkforthestudyofaudiovisualtransla-tion.In:orero,P.(ed.)Topics in Audiovisual Translation.amsterdam/Philadelphia:John
Benjamins.21–35.
JuditSereg
dries,J.1995.Dubbing and Subtitling Guidelines for Production and Distribution.düsseldorf:
TheeuropeanInstitutefortheMedia.
even-Zohar,I.1978.Papers in Historical Poetics. Telaviv:universityPublishingProjects.
gambier,Y.2009.Challengesinresearchonaudiovisualtranslation.In:Pym,a.,Perekrestenko,
a.(eds)Translation Research Projects 2.Tarragona:InterculturalStudiesgroup.17–25.
House,J.1981.A Model for Translation Quality Assessment. Tübingen:günternarr.
Iaia,P.L.2015.The Dubbing Translation of Humorous Audiovisual Texts. newcastleupon
Tyne:CambridgeScholarsPublishing.
Parini,I.2009.FunctionalequivalenceanddomesticationStrategiesinFilmTranslation.
In:dynel,M.(ed.)Advances in Discourse Approaches.newcastleuponTyne:Cambridge
ScholarsPublishing.290–316.
Whitman-Linsen, C. 1992.Through the Dubbing Glass: The Synchronization of American Motion Pictures into German, French and Spanish. FrankfurtamMain:PeterLang.
Widler,B.2004.a SurveyamongaudiencesofSubtitledFilmsinVienneseCinemas.Meta Vol.49.no.1.98–101.
annexe 1
the original questionnaire (translated into english) dearrespondent,
MynameisJuditSereg,I ama PhdstudentinTranslationStudiesateLTeuniversityaswellasan
activefilmtranslator.Mysubjectofstudyisthetranslationofmoviesandtelevisionprogrammes,
andI wouldliketoaskyoutofilloutthisquestionnaireanonymously,tohelpmeconducta study
onthesubject,whichwillbeusedforwritinga paper.Thankyouverymuchforyourhelp!
1. age:...
2. Howmanyhoursdoyouspenddailywatchingmoviesortelevisionprogrammes?(Please
underlineyouranswer)
Lessthananhour1-2hours2-3hoursmorethan3hours
3. Howoftendoyouwatchforeignmoviesandserieswiththebelowlistedtranslationmethods?
(1:never,2:hardlyever,3:sometimes,4:often,5:that’stheonlywayI watchprogrammes)
Circleyouranswer.
WithHungariandubbing 1 2 3 4 5
Inoriginallanguage,withHungariansubtitles 1 2 3 4 5
Inoriginallanguagewithsubtitlesintheoriginallanguage 1 2 3 4 5
Inoriginallanguagewithoutsubtitles 1 2 3 4 5
4. Howoftendoyouwatchthebelowlistedtypesofprogrammes?(1:never,2:hardlyever,
3: sometimes,4:often,5:that’stheonlywayI watchprogrammes)Circleyouranswer.
Full-lengthmovies 1 2 3 4 5
Televisionseries 1 2 3 4 5
Infotainmentprogrammes 1 2 3 4 5
realityshows 1 2 3 4 5
Cartoonmovies 1 2 3 4 5
Talkshow,standupcomedy 1 2 3 4 5
Musicprogrammes 1 2 3 4 5
5. Whatdoestheadjectivepatetikus “fullofpathos”mean?underlinetheansweryouthinkis
correct.underlineonlyoneanswer.
szánalmas “pathetic”
ünnepélyes“fullofpathos”
ellenszenves “disagreeable”
6. Whatdoestheadjectiveepikus “heroicpoem”mean?underlinetheansweryouthinkiscor-rect.underlineonlyoneanswer.
elbeszélő “heroicpoem”
legendás “legendary”
érzelmes “emotional”
JuditSereg
7. Whichoneiscorrect?underlinetheansweryouthinkiscorrect.underlineonlyoneanswer.
dna dnS both
Szilikon-völgy Szilícium-völgy both
urán uránium both
morfin morfium both
8. Whatdoesthewordláma “llama”mean?Youcanunderlinemorethanoneanswer.
ügyetlen, értetlen ember “unsophisticatedperson”
emlősállat “atypeofmammal”
lomha, lusta “slow,lazy”
9. Whatdoesthewordgeek “lizard”mean?Youcanunderlinemorethanoneanswer.
alattomos, sunyi“sneaky,treacherous”
kocka (ember) “nerd,sociallyawkwardperson”
hüllők egy típusa “atypeofreptile”
10. Whatisthemeaningoftheexpression:pillangók vannak a hasamban“Ihavebutterfliesinmy
stomach”?defineitwithyourownwords.
...
11. Whatisthemeaningoftheexpression:megmenteni a napot “savetheday”?defineitwith
yourownwords.
Thankyouverymuchforyourhelp!
ModiFiCations
edina robin robin.edina@gmail.com
abstract:revisionhasbecomea widelyrecognisedandessentialcomponentforthequalityassur-ance of professional translations. In order to ensure that revision is indeed performed with total
precisionandexpertise,theworkhasbeguntocollect,synthesiseandsummarisetheknow-howof
translationrevision,withmoreandmoreemphasisbeinggiventothetrainingofprofessionalrevis-ers.Inthepresentpaper,aftera briefdiscussionofrevisionasa norm-governedactivity,I aimto
proposea typologyforthecategorisationofrevisionalinterventionsonthebasisoflinguisticand
translationrules,normsandstrategies(Toury1995,Heltai2004,2005),providingexamplesforeach
operationalcategory.Withtheclassificationofmodifications,itbecomeseasierforreviserstoex-plainandjustifytheirinterventions,aswellasfortranslatorstounderstandandacceptwhathas
beencorrectedandimproved(Mossop2001)intheirtargettexts.Separatingrule-based,norm-based
andstrategy-basedrevisionalmodificationsfromunnecessary,unjustifiablerevisionalinterventions
mayhopefullyfostermoreconsciousandmoreprofessionalworkonthepartoftherevisers,and
result in more harmonious cooperation between the participants of the translation process.
Keywords:revision,interventions,modifications,rules,norms,strategies,preferences
1. introduCtion
revisionhasnowbecomea widelyrecognisedandessentialtoolforqualityassurancewithin
thetranslationalprofession,itsimportanceandbeneficialeffectsareunderlinedbynumerous
experiencesandcase-studies(e.g.eszenyi2017).Theen-150381qualitystandard,andmore
recentlytheISo17100:20152internationalstandardontranslationservices,clearlyspecifies
thatanytranslationservicemustincludeasa minimum,translationandreview.accordingto
thedefinition,revisionisdonebya personotherthanthetranslator,examiningthetargettext
againstthesourcelanguagecontentforitssuitabilityfortheagreedpurpose,andrespectfor
theappropriateconventionsofthedomaintowhichitbelongs,aswellasrecommendingcor-rectionsonthebasisoftheidentifiederrorsandnoncomformities.underthestandard,quality
isguaranteednotonlybythetranslationitself,butbythefactthatthetranslationisbeing
reviewedandbythespecificationoftheprofessionalcompetencesoftheparticipants.
Inordertomakesurethatrevisionisindeedperformedwithtotalprecisionandexpertise,
theworkhasbegunwithintranslationstudiestocollect,synthesiseandsummarisethetheory
andmethodologicalknow-howoftranslationrevision,withmoreandmoreemphasisbeing
giventothetrainingofprofessionalrevisers(arthern1991,Mossop2001,Hansen2009,
1http://qualitystandard.bs.en-15038.com/
2https://www.iso.org/obp/ui/#iso:std:iso:17100:ed-1:v1:en