AVT (Translation Studies)

In recent years, there has been a significant expansion in the utilisation of ICT in language teaching and learning. In order to provide students with a quality education, teacher training is of paramount importance. Effective teacher training ensures that educators are well-equipped with the latest pedagogical strategies, technological tools, and interdisciplinary approaches necessary for fostering a dynamic and engaging learning environment. Furthermore, in view of the United Nations' Agenda 2030 (2015), the efforts of teachers increasingly focus on promoting sustainability awareness. This holistic approach not only enhances the educational experience but also aligns with broader societal goals, making language education a powerful tool for positive change This paper will present a case study with 14 pre-service secondary school teachers of English as a Foreign Language (EFL) in Spain. The purpose is to investigate whether pre-service teachers see feasible to implement Didactic Audiovisual Translation (DAT), particularly didactic voice-over, in the EFL classroom, and whether it can enhance integrated language skills and promote ecological awareness. The participants were initially introduced to DAT and its

Among the new methodologies developed to teach the L2, Didactic Audiovisual Translation (DAT) has proven to be highly successful as it deals with the four skills in a multimodal environment, which appears to increase motivation. This paper presents the results of a DAT implementation in an Elementary classroom (11-12 years old children) in a school which follows the Montessori Method. Twenty-four children, divided in groups of four, chose their favourite scenes of the TV series Goenkale (broadcast in the Basque channel Euskal Televista 1) and translated, dubbed and subtitled them from their L1, Basque, into the L2, English, by means of the tool VideoPad. As Montessori Pedagogy does not include tests, the authors could not follow the experimental scheme of pre and post-test to observe any improvement in language acquisition. Data was therefore collected by the teacher, and subsequently analysed considering the mistakes made by the pupils during the process. Pupils additionally completed a questionnaire, which indicated high levels of satisfaction towards this approach, thereby opening a new didactic path within Montessori Methodology.

Focusing on the language pair of English and German, this paper examines whether automatic translation tools can be useful in addressing the specific challenges associated with the interlingual translation of children's books. Previous research highlights that translating children's literature requires handling a variety of verbal and non-verbal specificities designed to appeal to a dual readership of children and adults. Collectively, these features are intended to support children's societal integration or to meet their emotional and educational needs. Children's books are often multimodal publications, enhanced by vivid illustrations and songs. Furthermore, with their distinctive sounds and rhythms or onomatopoeia, elements which enhance memorability, children's books frequently foreground the materiality of language. This paper, which mainly analyzes excerpts from contemporary children's books discussed in the translator training classroom, explores how these distinctive materialities of children's books inform their interlingual translation. Both the text-image relationship across languages and the linguistic particularities of children's books will be considered. For instance, students' suggestions for translating charactonyms, puns and rhymes will be compared to versions generated with tools such as DeepL and ChatGPT. The underlying key question is to which extent AI tools enhance or constrain a successful translation of these textual elements in children's books, which are often said to require high levels of creativity or cultural knowledge. Since children's books are designed to reflect and extend children's understanding of the world, we might think that AI tools are inutile for their translation because AI-generated language is not rooted in embodiment or human consciousness. While automatic translation tools are indeed deprived of access to the "Hinterland" of lived experience (cf. Mjölsnes 2022: 28), they can occasionally help us tackle the genre-specific challenges outlined above, precisely because they foreground the textual surface level. References: Mjölsnes, Ettore (2022). Der stumme Text: Eine Kritik der maschinellen Übersetzung. Digiboo.

The purpose of the present research is to propose creative subtitles to the first season episodes of TV show The Bridge (2013) that highlight the mixture between the Spanish and English languages. The specific objectives are: i) to categorize the alternances between English and Spanish according to the theory of Gumperz (1982); ii) to analyze and comparing the Brazilian official and non-official subtitles, observing the choices made regarding to this languages mixture by Netflix translators (professionals) and L.O.T.Subs (fansubbers); iii) to analyze/justify the proposed creative subtitle in comparison with Netflix and L.O.T.Subs subtitles. The theory used in this research is composed by the theory of Languages in Contact of Gorovitz (2012), Codeswitching by Gumperz (1982), subtitling by Cintas (2007) and creative subtitling by de McClarty (2012). The subtitles proposed in the research highlight the codeswitching through the use of subtitles with distinct colors for each kind of switch and it also keeps the Spanish untranslated in the subtitles to reinforce the situation of code mixing.

In recent years, within the field of didactic audiovisual translation (DAT), creativity has been increasingly incorporated in the language classroom to encourage students to expand their learning experiences. Creative DAT implies the 're-creation' of the original audiovisual text by producing a new and original output, be it with the help of captioning or revoicing, where learners can use their imagination (and humor, if possible) freely. The learning experience is hence enriched, both in terms of the motivation boost derived from the inclusion of creativity, and as regards communicative skills enhancement, provided the freedom learners feel when they produce their own new creative versions of a video. In this article, creative DAT is described, and a preliminary piloting of a creative DAT implementation is analyzed. Findings offer a very promising scenario for the application of creative DAT practices in language education.

The current study examines whether the fear of being laughed at (gelotophobia) can be assessed reliably and validly by means of a self-report instrument in different countries of the world. All items of the GELOPH (Ruch and Titze, GELOPH〈46〉, University of Düsseldorf, 1998; Ruch and Proyer, Swiss Journal of Psychology 67:19–27, 2008b) were translated to the local language of the collaborator (42 languages in total). In total, 22,610 participants in 93 samples from 73 countries completed the GELOPH. Across all samples the reliability of the 15-item questionnaire was high (mean alpha of .85) and in all samples the scales appeared to be unidimensional. The endorsement rates for the items ranged from 1.31% through 80.00% to a single item. Variations in the mean scores of the items were more strongly related to the culture in a country and not to the language in which the data were collected. This was also supported by a multidimensional scaling analysis with standardized mean scores of ...

This study examines the challenges and strategies of subtitling the political interview War on Gaza and the Collapse of the West’s Civilizational Supremacy Image from Arabic into English, featuring Palestinian Ambassador Husam Said Zomlot. The project addresses the complexities of translating political discourse, which is rich in historical references, ideological nuance, and culturally sensitive terminology. Drawing on Gottlieb’s (1992) subtitling strategies model, this research explores how subtitling differs from conventional translation due to spatial and temporal constraints that require condensation, adaptation, and cultural mediation.

The analysis contrasts human and AI-generated subtitles, showing that while AI offers speed, it frequently produces literal or inaccurate translations and fails to capture cultural nuances or context. Human subtitling, by contrast, provides accuracy, sensitivity, and effectiveness in delivering the speaker’s intended message to diverse audiences.

The findings emphasize subtitling not only as a linguistic transfer but also as a form of political communication that shapes audience perception and challenges dominant media narratives. In an era of increasing automation, this research reaffirms the indispensable role of skilled human translators, positioning subtitling as both a technical process and a critical act of cultural and political advocacy.

This article offers a critical examination of the rapidly evolving landscape of interpreter training in the era of artificial intelligence. This paper draws on current academic discourse, industry reports, and original survey data to examine how AI tools are reshaping pedagogical practices, industry expectations, and professional identities. The analysis highlights diverging perspectives: while some view AI as an enabler of efficiency and innovation, others raise concerns about ethical boundaries, terminology misuse, and the erosion of human-centric competencies. Special attention is given to how interpreter training institutions can respond to these shifts through critical AI literacy, revised curricula, and public awareness strategies. The paper also explores the paradox that AI may not replace interpreters directly but may still undermine the profession indirectly through declining enrolments and institutional disengagement. Ultimately, it advocates for a balanced, evidence-based integration of AI into interpreter education-one that safeguards professional standards and ensures long-term sustainability.

The translation practices of dubbing and subtitling, according to Richard Kilborn, are more often than not held in disdain, with dubbing the more despised form. i However, it is worth pointing out that this negative attitude is more widespread in countries and television cultures that make less use of these practices, such as the United Kingdom. Both dubbing and subtitling are often conceived of in terms of necessity and practicality: the need for strict adherence to lip-synchronisation, the need for compatibility of source voice and dubbing voice, or the need to use no more than approximately 40 characters on screen in subtitling, ii to allow enough time for the viewer to read the words. A commonly held assumption is that dubbing and subtitling can, at best, produce a translated equivalentif not equivalence of information, then equivalence of effectto the source language version. iii It is also worth noting that inherent in this idea of equivalence are problematic assumptions that the text has a single "correct" meaning, which can be "correctly" read by viewers (or at least "competent" ones), and, somewhat contradictorily, that textual identity is stable. (We say "contradictorily," because the notion of equivalence suggests that there is a stable source text to which an equivalent can be given, when the very process of constructing an equivalentanother version -implies that textual identity is not stable.) In that view, complete transparency of the translated text is desired. If the two practices stray from this equivalence, charges of loss and lack of fidelity, even falsity, are likely to be made. However, while there is often a strong and, in many ways, "obvious" correspondence between the source and target language versions, what this essay argues is that there is no such thing as (total) equivalence: the two practices do not

This study examines the relationship between cinema, translation, and intercultural communication. It explores how cinema acts as a medium for cultural exchange, fostering understanding across linguistic and cultural boundaries. Through audiovisual translation, particularly subtitling and dubbing, films become accessible to global audiences, bridging diverse cultural identities. The paper reviews the evolution of translation theories, from literal approaches to intercultural methods. It highlights the challenges of conveying cultural expressions and nuances in subtitles, emphasizing the translator's role as both a linguistic and cultural mediator. The study advocates for intercultural competence in translation to improve dialogue and reduce cultural misunderstandings in an increasingly globalized world.

Over the last decades, audiovisual consumption has been thriving thanks to the emergence of streaming platforms which have triggered the proliferation of media content and the need of large pools of qualified professionals capable of satisfying these new demands in multiple languages. While many scholars have developed translation competence frameworks in recent years, the body of literature focused on audiovisual translation (AVT) in general, and subtitling in particular, is very limited. Inspired by previous work on translation competence and skills, the present paper puts forward a set of core competences, the Subtitling Competence Framework (SCF), that can be used in academic environments and has been implemented in the design of a professional certification in subtitling launched in 2023. This project responds to a desire to raise the visibility of the work carried out by subtitlers, by addressing the lack of a professional framework of reference in the media localisation sector, and to safeguard the professionalism of a field that is expanding at an ever-increasing rate.

The study determined the effect of input method like video, audio, and captions (VAC) tool on Grade 5 pupils' language skills development. This quasi-experimental study involved 35 purposively selected Grade 5 pupils in Calamba Elementary School. A pretest/post-test assessment tool was the main instrument of the study. The pre-test assessment yields an MPS of 68.14 showing that the pupils are low performers. Meanwhile, the post-test yields an MPS of 77.29 which manifests increased in performance. The formative tests yield a mean score of 43.49 and MPS of 86.97. The comparative analysis reveals significant difference between the results of the pre-test and post-test assessment ([tcomputed=-2.923; ttabula =1.995; p-value=0.005) which implies that the use of VAC tool has significant effect on pupils' language development. The usefulness of VAC tool was restricted by pupils' capacity to divide their attention among three types of stimuli: visual images, text, and audio. According to , pupils' attention capacity is limited, learners have to use attention selectively. The researcher offered a framework to enhance the development/preparation and implementation of VAC tool to maximize its effects on pupils' language skills development.

Through a series of questions and responses, in this dialogue-based article we aim to stimulate reflection on indirect translation within the audiovisual translation community, offering perspectives on this practice. We start by delving into the historical roots of indirect translation in the industry, questioning how far back such practices extend. Then we shift the focus to the challenges translators face in indirect translation workflows, to the potential contributions of research to the ongoing debates surrounding indirect translation, as well as to how indirect translation and machine translation intersect. Finally, looking to the future, we examine potential developments in indirect translation workflows and consider how educational programs can adapt to meet the changing demands of the industry.

This study focuses on creative practices in media accessibility. It examines the differences between the conventional approach to subtitling for the D/deaf and hard-of-hearing (SDH) and an emergent creative approach experimented with by Netflix, with a special focus on the descriptive quality of SDH tags. It explores the extent to which SDH subtitlers steer away from standard norms and practices when granted creative freedom by the client and the extent to which their authorial input is visible. A secondary aim is to observe whether there is also an element of authorial intent suggesting the possibility of some kind of agenda. To this end, this study engages in an in-depth comparative analysis of two episodes of the Netflix TV series Stranger Things, one belonging to the first season, following the conventional approach, and the other to the fourth season, in which subtitlers were given free rein. The SDH tags in each episode were singled out, quantified, and categorized according to Chaume's (2004) taxonomy of filmic signifying codes (linguistic, paralinguistic, musical, special effects, sound arrangement, photography, mobility, planning). The analysis also reveals which categories are impacted the most by the creative input. The main findings reveal how subtitlers adopting this freer approach tend to stress the communicative meaning of the SDH tags, enhancing the hearing-impaired users' experience. To achieve this, they use a vaster number and variety of adjectives (compared to conventional practices) while trying to create terms that resonate on a sensory level with the specific genre and plot.

Abstract:
This paper examines the subtitling of cultural references in the first season of The Office (U.S. version), aiming to assess whether domestication or foreignization predominates, and how translators' decisions are shaped by patronage constraints. Using Toury’s (1995) DTS methodology and Pedersen’s (2005) taxonomy, 68 culturally significant tokens were analyzed. Findings show a tendency toward foreignization, even in the absence of explicit enforcement by Netflix’s style guide. The study highlights how contextual and normative factors influence translation choices and suggests that globalization has fostered greater tolerance for foreign culturemes among Spanish-speaking audiences.

Keywords:
Audiovisual translation, Subtitling, Cultural references, Domestication and foreignization, Patronage


Resumen:

Este trabajo analiza la subtitulación de referentes culturales en la primera temporada de The Office (versión estadounidense), con el objetivo de determinar si predomina la domesticación o la extranjerización, y cómo influyen las restricciones impuestas por el patronazgo. Aplicando la metodología DTS de Toury (1995) y la taxonomía de Pedersen (2005), se identificaron 68 tokens culturalmente relevantes. Los resultados revelan una tendencia hacia la extranjerización, incluso cuando las guías de estilo de Netflix no intervenían directamente. Se concluye que las decisiones traductológicas están condicionadas por factores contextuales y normativos, y que la globalización ha incrementado la aceptación de culturemas extranjeros por parte del público hispanohablante.

Palabras clave:
Traducción audiovisual, Subtitulación, Referentes culturales, Domesticación y extranjerización, Patronazgo

This paper aims to find out what actually the industry needs from their translators when performing Audiovisual (AV) translation, and whether the academic environment, in this case the English Department of Universitas Brawijaya Malang, has fulfilled the industrial needs. From the results of academic document observation and questionnaire to owners of an Indonesian localization company, the authors make some recommendations to include the topic of AV translation in the course of translation that is currently available in the aforementioned English Department. The topic is comprised of the basic concepts of AV text and AV translation, practice of dubbing script translation, and practice of subtitling. The modification of the available course is expected to make the course more relevant to the current needs.

This chapter explores the transformative potential of translation practices in multilingual educational settings by exploring the concept of cultural diaspora. It examines how translation reshapes learning environments, transforms pedagogical approaches, empowers multilingual societies, and creates diasporic spaces. Translation and multilingual communication foster cross-cultural understanding in classrooms and beyond. Translanguaging, translation courses, and multilingual environments prepare students for a globalized world. Digital platforms further transform translation, enabling diasporic experiences and lifelong learning. Online platforms enable user-generated translations such as fansubbing and danmu subtitling, thereby fostering language acquisition and digital media literacy through interactive, participatory practices. By introducing the subsequent 13 chapters and extracting examples such as linguistic landscapes, fansubbing, and multilingual classrooms, this chapter provides a holistic overview of how translation acts as a catalyst for educational transformation. Ultimately, it develops a theoretical perspective that systematically integrates the concept of cultural diaspora into this holistic understanding of translation in multilingual educational settings.

In recent years, the globalization of media content has increased the demand for high-quality audiovisual translation, particularly in culturally rich genres such as historical television dramas. One persistent challenge in this domain is the effective translation of culture-specific items (CSIs), which often carry unique semantic, historical, and socio-cultural meanings that are difficult to transfer across languages. Despite growing interest in translation strategies for CSIs, few studies have focused on how these elements are handled in Chinese historical dramas. This study explored how Chinese culture-specific items (CSIs) are translated into the TV drama Romance on the Farm. The aim of the study was divided into three specific objectives: categorizing culture-specific items (CSIs), analyzing the strategies used in translating CSIs, and exploring the condition that leads to the chosen strategies. The study used Pedersen's taxonomy of CSI translation strategies as well as his classification of CSIs. The findings reveal that the choice of translation strategies was affected by the different types of CSIs, and the most frequently used strategy is substitution. These results suggest that translators need to be adaptable and aware of the cultural significance of each CSI, and they should change their methods based on the type of CSI. This is useful for making subtitles more culturally accurate and easier for viewers to understand, especially in dramas that are full of historical and cultural references. This study tries to contribute to improving translation practices in audiovisual translation by providing insights and strategies for better handling culture-specific items.

This study aims to investigate the linguistic features that distinguish spontaneous and informal communication between individuals, often known as unplanned discourse. This study thoroughly examines a range of grammatical features and patterns seen in conversational discourse. The study analyzes the distinctive grammatical structures and phenomena that develop in unplanned discourse by studying a wide range of conversational data from different scenarios, dialogues, and casual conversations found in David Sedaris' Calypso. The study takes a qualitative approach, employing linguistic analysis techniques to discover recurrent patterns and syntactic variations contributing to spontaneous conversational discourse's overall order and coherence. The findings emphasize the informality, flexibility, unfinished utterances, and dynamic nature of grammatical usage in conversations, as seen by the inclusion of colloquial expressions, and digressions. The research adds to our understanding of how language is used in everyday interactions by throwing light on the various grammatical elements that distinguish conversational speech and their significance in supporting efficient communication. The findings of this study can be used to improve language teaching approaches and discourse analysis frameworks, as well as to contribute to the development of linguistic theories about unplanned discourse.

Audiovisual translation (AVT) has been hailed by many as one of the most prolific and fast-growing areas of research in the field of Translation Studies and as the quintessential translation practice of the 21st century. This is hardly surprising in a society like ours, saturated with screens and mediated by the constant presence of moving images, as we turn to audiovisual productions for entertainment, to secure information, to carry out our work, to keep in touch with our peers, to learn and to study. As a result of the exponential boom in audiovisual texts and formats over recent decades, today’s language learners are typically very familiar with a range of digital formats that crop up, and indeed they use, in their everyday life for very many different purposes. This exposure, in which social media and interactions are also instrumental, means that language learners are also versed in the interplay of the different codes on which audiovisual material draws in order to construct ...

This collective project brings together critical reflections and methodological proposals that rethink audiovisual translation and media accessibility through concepts such as materiality, affect, representation, tangibility, palpability, and artefact. A valuable opportunity to expand how we understand and practise translation across media.

This paper aims at presenting the main theoretical and philosophical cornerstones that frame the contemporary research in translational hermeneutics, such as represented by researchers like Radegundis Stolze, Bernd Stefanink, Larissa Cercel, and many more. The topics covered range from the historical-philological origins of hermeneutics to the contributions of Schleiermacher, Heidegger, and Gadamer, so as to illustrate the backdrop against which the contemporary research in translational hermeneutics stands. The conclusion brings some remarks on the status of hermeneutics in contemporary translation research.

The rise of intralingual blogger subtitling on YouTube has introduced innovative practices in today's mediascape, particularly through the use of subtitles that include notes. These affective subtitles may enhance audience engagement and inclusivity by helping viewers better understand and connect emotionally with the content. Nonetheless, subtitling on YouTube, particularly from an affective labor angle, remains relatively unexplored. To fill this void, the study focuses on the popular Persian YouTube channel @Kouman, known for its entertaining content targeted at Persian-speaking audiences. Informed by theories of affect theory and affective self-mediation, this study examines how captions create a platform for materializing affective labor through subtitlers' notes, which convey their voice and inner thoughts to create a more personalized viewing experience. The findings suggest that these notes function as a form of affective labor, exhibiting subtitler's witty remarks and inner thoughts that shape how the video content is felt and understood. These affective and embodied strategies help build affective bonds with the viewers, creating a stronger connection between them and the channel. This study argues that translation theory should reconceptualize subtitles as dynamic, mood-shaping assemblages rather than mere conduits of dialogue.

Audiovisual translation (AVT) is a well-established field of study in academia and is ripe with research opportunities for scholars (Pérez-González 2020; García-Escribano 2025). A dynamic and multifaceted area of study within AVT is the translation of taboo and offensive language, which has been of rising interest in the last two decades. The vitality and richness of this research area are evident in a burgeoning body of research on the topic (see Valdeón 2024). In this context, the book The Challenge of Subtitling Offensive and Taboo Language into Spanish: A Theoretical and Practical Guide makes a valuable contribution to current scholarship and offers a reliable reference for subtitling training and research. The present literature on the translation of taboo and offensive language is grounded on two main strands of research: how AVT translators handle taboo and offensive language (i.e., translation strategies) and how the socio-cultural environment of the receiving culture governs translators’ renderings. Given that the translation of taboo and offensive items is highly culture-dependent, it has been studied in various European (Guillot 2023; Ávila-Cabrera 2016; Xavier 2022), Asian (Khoshsaligheh, Ameri, and Mehdizadkhani 2018; Al-Zgoul and Al-Salman 2022; Jin and Ye 2023) and Latin American countries (Cândido Moura and Iost Vinhas 2023). Recent studies have ignited a burst of new investigations in the field by incorporating audience and reception studies (Pavesi and Zamora 2022; Chen 2022; Moura 2024), cross-cultural studies (Guillot 2023) and English-language AVT (Barrera-Rioja 2023), among other things.

Attraverso una serie di ricordi e considerazioni, la conversazione di Margherita Zanoletti con Andrea Sirotti evidenzia il duplice ruolo della scrittrice Waanyi, Alexis Wright come narratrice e portavoce delle popolazioni indigene australiane. In parallelo, l'intervista richiama l'attenzione sul ruolo del traduttore come lettore, interprete, mediatore e coautore, offrendo spunti di riflessione sulle dinamiche del settore editoriale.

Alexis Wright è nata nel 1950.  Il suo romanzo "Carpentaria" (in italiano "I cacciatori di stelle", edito da Rizzoli) è stato pubblicato da Giramondo nel 2006. Si tratta di un’epopea ambientata nel Queensland nord-occidentale e racconta la vita nella precaria cittadina costiera di Desperance. Nel 2007 "Carpentaria" ha vinto il Miles Franklin Literary Award, l’Australian Literature Society Gold Medal e il Victorian Premier’s Literary Awards.

YouTube Kids is an engaging and easy-to-use resource for young students who wish to study English. Its vast library of educational resources offers a rich and diverse learning environment, including engaging animations and interactive films. YouTube Kids fosters a welcoming and stimulating environment that enables children to quickly advance their English language proficiency by incorporating play and exploration into language training. This study employed a comprehensive narrative literature review as the qualitative approach. According to the pertinent literature examined, YouTube Kids offered advantages and disadvantages as a medium for learning English. YouTube Kids is an invaluable tool for young students attempting to learn English. However, there are some possible drawbacks as well. In particular, certain films might not use similar English customs or accuracy, which could lead children to poor pronunciation or grammar. Parents and teachers must cautiously choose and monitor the video material their children watch to safeguard their children's YouTube Kids content that aids their language learning objectives. Parents and teachers can minimize potential drawbacks and optimize the site's value as a tool for teaching young students English language skills through rigorous monitoring and curation.

Voice is one of the means by which fictional characters reveal-among other things-their sexuality. People belonging to cultural minorities are often reduced to a few characteristics in fiction so that they can be easily recognisable to the audience. This study intends to apply the methodologies of Audiovisual Translation (AVT) Studies from the perspective of Language and Sexuality Studies, as it seeks to examine homosexuality and its linguistic representation in AVT, in line with the third approach to the study of gender in AVT research, as discussed by von Flotow-Josephy-Hernández (2019). The linguistic variety analysed in this article is the fictional representation of gayspeak, a way in which characters index their homosexuality. This case study focuses on a comparison between the French cinematic adaptation of La Cage Aux Folles (literally, "the cage of insane women"), a 1978 comedy film directed by Édouard Molinaro based on the 1973 play of the same name by Jean Poiret, and its adaptations into Italian and English. This article will analyse the way gayspeak is rendered in the three languages, as each culture indexes sexualities with different linguistic elements.

Audio description (AD) is an audiovisual translation (AVT) and media accessibility mode aimed primarily at visually impaired users. Traditionally, AD has tended to use images and some sounds as the source text to create the AD script (the target text), therefore AD is known as an intersemiotic translation. However, some researchers have focused on the theoretical feasibility of opting for the interlingual translation of ADs into another language. Moreover, research has explored the combination of AVT with language teaching and learning, a discipline called "didactic audiovisual translation" with branches like didactic audio description (DAD). In this proposal, we argue that DAD needs to consider both the linguistic nature and application of AD to better differentiate the didactic potential of intersemiotic and interlingual AD, since they have different applications for L1 and L2 learning and teaching. More specifically, intersemiotic AD seems to be suitable for learning L1, for instance, to consolidate grammatical structures, to proofread texts, to develop writing and oral skills, to learn about L1 linguistic variation, etc. On the other hand, interlingual AD can be used to learn about vocabulary and grammar in L2, to develop foreign language oral and written skills, to develop translation skills, etc. All in all, given the potential of DAD for language learning and teaching, this line of research should be further explored with other combinations.

Özellikle 1980’lerden itibaren özerkleşmeye başlayan çeviri eğitimi kısa bir zaman diliminde, teknolojik ivmelenmenin de etkisiyle, teknoloji odaklı yeniliklere uyum sağlamayı başarmış ve bu yeniliklerden beslenen alanlardan biri olarak görsel-işitsel çeviri, öğretim programlarına kademeli şekilde kazandırılmaya başlanmıştır. Çeviri eğitiminin sınırlarının genişlediği bu dönemde profesyonel çevirmenlerin görsel-işitsel çeviri alanında yetkinliğe sahip olmaları adına atılan adımlar, zaman içinde doğan ihtiyaçlarla birlikte bugün yerini yeni yönelimlere bırakmıştır. Demokratikleşen teknolojinin bir sonucu olarak profesyonel olmayan çevirmenlerin de katılımcı kültürdeki aktif varlığı, çeviri eğitiminin profesyonel çevirmenleri çağın ihtiyaçlarına uyum sağlayabilecekleri şekilde hazırlamasını da gerekli kılmıştır. Bu doğrultuda çalışma, Türkiye’deki görsel-işitsel çeviri eğitimine ışık tutmak amacıyla, profesyonel çevirmenlerin altyazı çevirisindeki yetkinliklerine odaklanmıştır. Kitle kaynaklı bir çeviri projesinden toplanan İngilizce-Türkçe dil çiftindeki veriler, Jan Pedersen (2017) tarafından dillerarası altyazıların kalitesini ölçmek üzere önerilen FAR Model çerçevesinde analiz edilmiştir. Dillerarası altyazıların ‘işlevsel eşdeğerlik’, ‘kabul edilebilirlik’ ve ‘okunabilirlik’ olmak üzere üç ayrı yönden incelemeye tabi tutulduğu bu model, çeviri kalitesine etki eden hataların gerekçeleriyle birlikte belirlenmesine de yardımcı olmuştur. Karma yöntemli analiz sonucunda, profesyonel çevirmenler tarafından üretilen dillerarası altyazılar, hem aynı çeviri projesinde faaliyet gösteren profesyonel olmayan çevirmenlerin ürettiği altyazılara ait kalite skorları hem de grup içi skorlar dikkate alınarak irdelenmiştir. Elde edilen bulgular içerisinden profesyonel ve profesyonel olmayan çevirmenlerin ortalama uygunluk oranları arasındaki fark ön plana çıkmış, ayrıca bazı profesyonel olmayan çevirmenlerin diğer çevirmenlere göre daha yüksek kalitede altyazılar üretebildiği de tespit edilmiştir. Yürütülen araştırma, dillerarası altyazı kalitesi perspektifinden Türkiye’de görsel-işitsel çeviri eğitiminin eksik ve geliştirilmesi gereken yanlarına dikkat çekerken çeviri yetkinliğinde eğitimin etkisine de yanıt aramaktadır.

Sebbene il presente lavoro abbia nel proprio titolo la parola "terminologia", si useranno piuttosto i termini lingue speciali o, ancor meglio, discorso specialistico. Tale scelta terminologica è dettata dal fatto che, come vedremo oltre, i "termini" sono usati da persone che utilizzano una varietà della lingua comune per comunicare con altre persone che avranno una conoscenza pari, inferiore o superiore dell'argomento trattato. Tali persone, che di fatto appartengono, od aspirano ad appartenere, ad una comunità di discorso fanno usi di testi scritti e orali che costituiscono le pratiche di discorso di detta comunità. La cosiddetta "rivoluzione digitale" ha favorito la nascita di nuovi strumenti di lavoro utili ai membri di tali comunità di discorso; nella fattispecie essi sono: Programmi di videoscrittura; Programmi di correzione automatica; Strumenti terminologici on-line: banche dati nazionali e internazionali, dizionari multi-, bi-, monolingui, corpora e opere di consultazione varie; Risorse di consultazione off-line: dizionari multi-, bi-, monolingui, thesauri, enciclopedie multimediali, ecc. Come è già stato messo in rilievo recentemente , i programmi di videoscrittura producono un testo digitale che è intrinsecamente immateriale; può essere rielaborato infinite volte senza lasciar traccia delle manipolazioni[1]; non è mai finito, definitivo, proprio perché è un testo sempre "aperto", facile da cambiare (a differenza del testo chirografico e di quello tipografico[2]). I programmi di correzione automatica, che generalmente accompagnano i maggiori programmi di videoscrittura, se ben concepiti, potrebbero affiancare il traduttore o il redattore di testi specialistici nella produzione di testi, e, a maggior ragione, potrebbero fornire un valido aiuto nella formazione di tali figure professionali, soprattutto se integrati con le banche dati terminologiche. Infatti, idealmente, si potrebbe: settare il correttore secondo il genere testuale, i destinatari, gli intenti comunicativi, e quindi le mosse discorsive; attingere ad una raccolta di testi specialistici e banche dati terminologiche; se usato a scopo didattico, un correttore automatico dovrebbe poter interpretare il testo, e quindi avvalersi del trattamento automatico del linguaggio naturale . implementare la possibilità di inserire il contenuto delle banche dati terminologiche nei correttori automatici. Ma come vedremo più avanti, ciò non si può fare con i correttori commerciali, ma forse si può fare con quelli opensource. Nei paragrafi che seguono tratteremo brevemente degli aspetti terminologici (ancora irrisolti all'interno della comunità accademica) che riguardano la nozione stessa di lingue speciali e di terminologia. Parleremo poi dei corpora specialistici di cui i terminologi si servono per costruire le banche terminologiche; quindi esporremo lo stato dell'arte attuale delle conoscenze scientifiche sui correttori automatici; infine mostreremo che, allo stato attuale, i correttori automatici commerciali non possano essere usati né come strumento di aiuto alla scrittura, né, tanto meno come supporto alla formazione dei traduttori o dei redattori di testi tecnico-scientifici. Per non appesantire la sezione dell'analisi dei dati verranno analizzati alcuni manuali d'istruzione ed estratti tratti dal presente articolo per la facilità di reperimento di tale materiale e perché esso è comunque abbastanza rappresentativo dei discorsi specialistici. [5] Nella presente sezione verranno brevemente delineati gli ambiti teorici da cui prendiamo spunto per l'analisi del corpus di testi specialistici, a cui verrà dato ampio spazio nella sezione successiva. Come riferisce Gotti (2005), gli studiosi del discorso specialistico ancora devono trovare un accordo sulla scelta del termine per definire il loro oggetto di studio. Infatti, la scelta terminologica non è affatto secondaria, ma centrale, in quanto lo stretto legame fra termine e referente riflette modi differenti di guardare alla lingua da un punto di vista teorico. Confortati da tali considerazioni, ci permettiamo di fare un breve excursus terminologico per arrivare ad una nostra definizione di lavoro. Berruto (1993: 70) definisce sottocodici o lingue speciali le varietà [6] diafasiche dipendenti in primo luogo "dall'argomento del

This article addresses some of the issues relevant to audiovisual retranslation with a focus on film redubs, a vast though still largely underexplored phenomenon that merits specific investigation. Redubbing is an umbrella term which encompasses translation and adaptation practices ranging from mere reacting of a previously translated dubbing script, to slight revision, to completely new translating (Chaume 2007; Zanotti 2015). The present contribution aims to illustrate what archival resources are available for scholars wishing to pursue research on film retranslation and the specific problems that arise in dealing with redubs when considered from a historical and archival perspective. A case study is presented, focusing on For Whom the Bell Tolls (1943), a classic Hollywood romance-at-war tale which was dubbed at least three times for distribution in Italy.

Translational routines are a key feature of translated audiovisual texts. They have been described as “recurrent solutions to translation problems which tend to become overextended” in time (Pavesi 2008: 94). This chapter focuses on the pair yeah – già, which has been reported as one of the most productive routines in Italian dubbing. A checklist of criteria for the identification of translational routines is proposed, against which data from the Pavia Corpus of Film Dialogue (PCFD) is assessed and discussed. The two complementary approaches of corpus analysis and historical research are used to investigate the entrenchment of yeah > già as a routine in contemporary dubbing and its use starting from early film translation practices.

Este relatório de estágio tem como objectivo a descrição e análise do trabalho de tradução de manuais de segurança, que foi realizado no Instituto Superior de Ciências Policiais e Segurança Interna (ISCPSI), em Lisboa, no âmbito do estágio do Mestrado em Tradução. Em particular, para além da tradução propriamente dita de um dos manuais, reflecte-se sobre alguns problemas que surgiram e a forma como os mesmos foram solucionados. O relatório está dividido em três capítulos. O primeiro capítulo é dedicado à caracterização do estágio, nomeadamente à forma como o mesmo decorreu, bem como à apresentação da entidade de acolhimento e dos textos traduzidos. No segundo capítulo, apresento aquilo que é a tradução sob a perspectiva de vários autores, focando-me na teoria do skopos, na teoria da equivalência e na teoria funcionalista. No terceiro e último capítulo deste relatório, apresento e analiso algumas questões que surgiram durante a realização da tradução, nomeadamente de origem lexical e...

The paper investigates the knowledge and critical thinking skills of
teacher candidates regarding the use of ChatGPT in language translation. Focusing
on AI-generated versus human-generated translations, the study assesses
participants’ ability to distinguish between the two types, using direct and reverse
translations between English and Spanish. Employing a mixed-methods
approach with 96 second-year college students majoring in English Language
and Translation studies, the research incorporates pre-surveys, post-surveys,
translation tasks, and class discussions. The intervention comprises four twohour
sessions, including in-class translation activities and a training session
on the use of AI. Results indicate varying levels of familiarity and competence
with AI translation tools among students. The study reveals a significant challenge
in accurately identifying AI-generated content, highlighting the need for
enhanced educational strategies to improve students’ critical evaluation skills.
This research underscores the evolving role of AI in education, particularly in
language learning and translation, suggesting a crucial need for curriculum
adaptation to prepare future translators effectively.

This study aims to show how cultural linguistics, a newly created multidisciplinary field of inquiry, can contribute to translation studies and the translation of humor as a culturally constructed feature. The study begins by outlining the research's goals and objectives and the fundamental principles that make up our model of analysis by implementing the General Verbal Theory of Humor (GVTH). Then, as the study's major goal, we offer a new model for humor translation that includes a typology of conceptual structures for humor translation analysis, a significant step forward in translation studies that contributes to ongoing research in translation theory and practice. Later, we show how the suggested model and its typology of conceptual structures can be used in studies to analyze samples selected from novels in translation into English. The data was obtained from 50 data points from five selected audio books from three novels: Jane Eyre, The Adventure of Tom Sawyer, and Ivanhoe. Six parameters were used to analyze the data: script opposition (SO), logical mechanism (LM), situation (S), target (T), narrative strategy (NS), and language. The findings showed that the most important contributions and implications of LM are varied and simple narrative strategies combining dialogue study.

As interpreting studies advance, research on quality standards, and encountered difficulties to comply with it, abounds. However, one topic has been but fleetingly treated: humour. Translation studies, our next of kin, has been studying the translational problems posed by humour for decades now, and this proves at least two aspects: first, translators are aware they can brush shoulders with humour, and second, research is necessary to (as a minimum) discuss the suitability of the not always coinciding translational options. Is there a reason why we, interpreting teachers, should think this could not be the case for simultaneous conference interpreting? Which are the theoretical approaches, if any, currently existing in our field? Is interpreting humour considered as rare as to be worthless of any theoretical-practical reflection? The present paper supports the hypothesis that if junior students are trained to interpret humour, we might be helping them in designing better management strategies.

Interlingual subtitling is a popular mode of audiovisual translation in the Arab world and a manifestation of linguistic and intercultural communication that yields a wide range of audiovisual products exchanged overseas, among which, sitcoms. Presumably, sitcoms are intended to be primarily humorous and entertaining for both the source audience and the target viewers, and usually it is the punch line, that is the last few words of a joke, that makes it funny to the audience. In case of television and radio comedy, a canned laughter under the form of a recorded laughter is systematically used after punch lines to accentuate the humor intention and trigger the laughter effect. However, subtitling humor from English into Arabic is polysemiotic and proves to be challenging due to some linguistic and pragmatic differences between both languages. This research investigates humor in one of the most outstanding American sitcoms, that is Friends. The aim of this research is to examine the pragmatics of humor by identifying the different humor types in English-Arabic subtitling of sitcoms and their corresponding pragmatic transfer type using an inductive qualitative research method. Based on the theoretical framework of Raphaelson-West (1989) that advocates three types of humor; namely cultural, universal and linguistic; the analysis has been conducted over 33 episodes of Friends to analyze the translation of punch lines in Arabic. Results have showcased that Raphaelson-West (1989) threefold taxonomy has unfolded 9 other subtypes of humor that correlated with either negative or positive pragmatic transfer, and revealed that universal and linguistic humor were successfully transferred to the target language except for the phonological humor type. Cultural humor involving idioms and cultural concepts, however, proved to challenging, literally translated and devoid of humor. Particularly, the transfer of taboo-based humor and inferred humor are conditioned by understanding and recognizing the pragmatics of punch lines. The findings would contribute to existing literature and research on interlingual subtitling and humor studies.

This study presents a didactic sequence based on audiovisual translation tasks to address AI-related challenges in translation education. The activity aligns with the EMT competence model and the TRADILEX methodology, aiming to enhance C1-level English proficiency, cultural mediation, reverse translation and humour translation skills among students enrolled in a Multimedia Translation course taught in a Spanish higher education institution. This is achieved through the subtitling of a humorous animated video (Spanish-English) that explores AI's limitations regarding linguistic nuances, contextual interpretation, and copyright issues. Given the nature of the selected video, participants also engage critically with social issues related to professional translation. The proposal underscores a critical dilemma faced by Translation and Interpreting educators: embracing AI for its pedagogical benefits while mitigating the risk of overreliance which may hinder core linguistic and cognitive skills, to ensure a responsible and ethical integration of technology. Thus, the proposed didactic sequence effectively combines audiovisual translation with translation training, while addressing AI's impact and reinforcing essential translation competencies. Empirical findings from an ad hoc questionnaire provide insights into students' perceptions of their learning experience and professional development. Students' positive self-assessments indicate confidence in their skills, a crucial factor in an industry undergoing technological disruption.