the world of translation cerm pdf c 03 015 pdf

El Mundo de la TraducciónLES 6 LANGUES DE L’ONU:

Inauguration du Master 2 complet en traduction anglais-arabe et anglais-chinois

à l’UNIVERSITE DE MONS (FTI-EII) Belgique

Dossier de ce numéro: LA TRADUCTION AUDIOVISUELLE ET LES TIC

mars 2015 ISSN 1780-9584

Le#Monde#de#la#traduction,#The#world#of#Translation############################################################################Mars#2015#

ISSN#1780>9584# 2#

#

#

#


ISSN#1780>9584# 3#

#

#

Sommaire o Présentation de la revue o Edito

Nouvelle avancée de l'enseignement du chinois: niveau universitaire en Belgique ZHANG Guoxian

o Nouvelles de la traduction.

TRADUCTION LITTERAIRE AUDIOVISUELLE : adaptation et labialisation SAFAR H.

DOSSIER: Eye-Tracking in Audiovisual Translation: A Tool for Multimodal Analysis to Overcome Audiovisual Translation Constraints: Pedagogical and Methodological Curriculum (PMC) in Training Audiovisual Translation Najwa HAMAOUI Multimodality and Audiovisual Translation Brahim HANNACHI Action in Audiovisual Translation through Eye-Tracking Morgan BAUWENS Eye-Tracking in Respeaking Ilaria DODERO Audio-Description and Eye-Tracking Wafa OUCHEN

o Livres récents o Listes bibliographiques

Directeur : Hayssam Safar Chef de rédaction : Abdallah Amid Comité de rédaction : Najwa Hamaoui Hajar El Faker Rabah Bentolba H. SAFAR Comité consultatif : Yousif Ilyas Joseph Matta Joseph Ayoub Nahla Baydoune Hanane Belgaid Mourad Zarrouk Amira Gomaa Mohammed Jadir

Abonnements et correspondance

8 avenue Maistriau, (ISIMs) CERM

7000 Mons. (Building II) www.cermumons.be 32 65 39 45 16 ou 14 +

[email protected]

Prix du numéro Pays de l’Union européenne : Individus : 5 € Institutions : 10 € Autres pays : Individus : 6 € Institutions : 12 € Maghreb : 3 € Institutions : 6 € Abonnement: 15€ Institutions: 30€


ISSN#1780>9584# 4#

PRESENTATION DE LA REVUE

#

Le#Monde#de#la#Traduction#a#été#publié#pour#la#première#fois#en#1994#à#l’initiative#de#

deux#professeurs#A.#AMID#(ESIT>UNESCO>Paris)#et#H.#SAFAR#(CERM>EMO,#FTI>

UMONS)#qui#sont#aussi#à#l’origine#de#la#reprise#actuelle#de#cette#nouvelle#édition.#

Après#la#sortie#à#l’époque#de#quelques#numéros,#des#difficultés#budgétaires#se#sont#

dressées#sur#le#chemin#de#la#revue#et#il#a#fallu#se#rendre#à#l’évidence#que#

l’interruption#de#sa#publication#était#inéluctable.##

A#présent,#ce#périodique#scientifique#ouvre#ses#pages#aux#chercheurs,#aux#formateurs#

et#aux#spécialistes#professionnels#de#la#discipline,#afin#qu’ils#puissent#y#présenter#

leurs#projets#et#leurs#travaux,#et#s’y#exprimer#librement.#

Quoi#de#plus#beau#pour#un#centre#d’études#et#de#recherche#que#de#voir#sa#ville,#

MONS#2015,#choisie#comme#capitale#culturelle#de#l’Europe,#et#le#centre#d’études#

récompensé#après#un#peu#moins#de#quarante#ans#de#bons#et#loyaux#services,#par#la#

création#de#deux#nouveaux#départements#complets#en#son#sein,#de#même#que#deux#

prestigieux#Masters#2#en#traduction#et#en#interprétation,#pour#reprendre#la#parution#

de#la#revue.#Le#FNRS#soutient#de#telles#initiatives,#et#la#matière#est#en#suffisance,#

d’autant#que#nous#assistons#à#une#phase#d’évolution#historique#de#la#discipline#de#la#

trad>prétation,#même#s’il#existera#toujours#quelques#vieilles#gardes#allergiques#à#tout#

changement.#La#mondialisation#a#accéléré#le#brassage#linguistique#et#culturel#suite#à#

l’explosion#de#la#communication#et#au#développement#accéléré#des#TIC.#Il#est#évident#

que#ce#phénomène#a#touché#pas#mal#de#disciplines#scientifiques#parmi#lesquelles#se#

trouvent#la#traduction#et#l’interprétation.#Des#milliers#de#stations#de#télévision#

émettent#dans#les#différentes#langues#des#5000#peuples#que#compte#l’humanité.#

Certaines#d’entre#elles#diffusent#leurs#émissions#en#dix#ou#vingt#langues#

simultanément,#sans#parler#des#chaînes#qui#traduisent#et#sous>titrent#ou#doublent#

des#documents#audiovisuels#ou#des#films#en#très#grands#nombres.##

#

Un#autre#phénomène#montre#la#demande#croissante#en#traduction#et#en#

interprétation.#Il#s’agit#de#la#réaction#de#certains#Etats#par#rapport#à#la#mondialisation#

elle>même,#en#créant#des#organisations#régionales#reconnues#par#l’ECOSOC#et#l’ONU#

(Chap.#VIII#de#la#Charte#des#Nations#unies),#et/ou#des#zones#de#libre>échange,#pour#se#

protéger#d’une#menace#que#ces#Etats#percevaient#comme#imminente.##

#

Enfin,#la#DG#interprétation#de#l’UE,#comme#la#DAGC#de#l’ONU#tire#la#sonnette#

d’alarme#concernant#la#pénurie#récurrente#d’interprètes#dans#le#monde.#Tout#cela#

montre#à#quel#point#l’évolution#est#visible#et#dans#quelle#mesure#il#faut#

l’accompagner.#Cette#dernière#bouleverse#aussi#notre#enseignement#si#nous#voulons#

adapter#ce#dernier#à#la#demande#du#marché.#Nous#pouvons#constater#ce#besoin#au#

niveau#de#la#traduction#audiovisuelle#qui#est#devenue#une#discipline#

multidimensionnelle#et#très#technologique.#Aucune#des#formations#que#nous#

dispensons#dans#nos#facultés#ne#pourra#continuer#à#ignorer#cela,#au#risque#de#perdre#

toute#crédibilité.###

#

Le#Monde#de#la#traduction#compte#prendre#part#dans#ce#débat,#et#l’alimenter.###


ISSN#1780>9584# 5#

Editorial

!MONS%CAPITALE%CULTURELLE%DE%L’EUROPE%EN%2015%:%année%de%création%à%l’UMONS%FTICEII%des%deux%MASTERS%2%anglais!(!chinois%et%anglais!(!arabe.%%La#ville#de#Mons#vient#d’être#élue#Capitale#européenne#de#la#culture#pour#2015.#Une#

somptueuse#inauguration#a#tout#juste#eu#lieu#et#Mons#s’est#vêtue#d’un#nouveau#manteau,#

celui#de#la#création,#de#l’innovation#et#de#l’embellissement#de#son#patrimoine.#Des#musées#et#

des#salles#de#concert#ont#été#bâtis#et#des#festivités#sont#prévues#tout#au#long#de#l’année.#En#

outre,#la#Faculté#de#Traduction#et#d’Interprétation#FTI#de#l’Université#de#Mons,#héritière#de#

l’Ecole#d’Interprètes#Internationaux#EII,#vient#de#fêter#son#cinquantième#anniversaire#en#

2013,#et#elle#est#depuis#plusieurs#années#la#seule#faculté#du#pays#qui#travaille#dans#le#

domaine#scientifique#de#la#traduction#et#l’interprétation.#En#effet,#cette#faculté#membre#des#

plus#prestigieuses#institutions#scientifiques#et#professionnelles#mondiales#dans#cette#

discipline,#l’AIIC,#la#CIUTI,#le#MoU>ONU,#et#l’EMT,#dispose#d’une#expertise#reconnue#à#

l’échelle#nationale#et#internationale.#L’ouverture#sur#le#monde#distingue#la#FTI#et#lui#procure#

un#rayonnement#international.#

#

Avec#la#création#en#septembre#2015#de#deux#départements#complets#de#langues#et#cultures#

chinoises#et#arabes,#la#FTI>EII#couvre#ainsi#toutes#les#langues#onusiennes,#et#renforce#par#la#

même#occasion#l’accord#MoU#signé#avec#l’ONU.#Les#deux#sections#de#chinois#et#d’arabe#

existent#déjà#depuis#plusieurs#décennies#à#la#FTI>EII#sans#le#Master#2.#Cette#innovation#

permet#ainsi#aux#formateurs#dans#ces#orientations#académiques#de#mettre#leur#expérience#

au#service#des#deux#nouveaux#départements,#et#des#étudiants#qui,#à#l’aune#d’un#monde#en#

mutation,##sont#à#la#conquête#des#secteurs#professionnels#prometteurs.#Ils#désirent#doter#

leur#arc#de#cordes#porteuses#d’emplois#et#de#possibilités#de#réalisation#de#soi.##

#

La##revue#Le#Monde#de#la#Traduction#félicite#l’UMONS#et#la#FTI>Eii#pour#cette#initiative#

attendue#de#longue#date.########################################################################################################################

#

Le#Professeur#Guoxian#ZHANG#présentera#dans#ce#numéro#les#nouvelles#avancées#de#

l'enseignement#du#chinois#au#niveau#universitaire#en#Belgique.#En#outre,#nous#exposerons#ci>

après#l’expérience#en#langue,#traduction#et#interprétation#relative#au#couple#langue>culture#

arabe,#avec#comme#langue#de#base,#le#français#:#

#

La#langue#arabe#a#commencé#à#être#enseignée#à#l’Université#de#Mons#dans#une#première#

classe#en#1976#par#Léon>Paul#Vinnois.#Nous#voudrions#lui#rendre#hommage#à#cette#occasion.###

#

LES%ETUDES%%ARABES%ET%EUROCMEDITERRANEENNES%A%L’UNIVERSITE%DE%MONS%Département#de#Langue#et#Culture#Arabes#DLCA

1:%

Depuis#1978,#les#études#arabes#et#euro>méditerranéennes#existent#à#l'Université#de#Mons,#à#

la##Faculté#de#Traduction#et#d’Interprétation#FTI#>#Ecole#d'Interprètes#Internationaux,#à#

#############################################################1#L’équipe d’enseignants: Najwa Hamaoui (Chef de département), Alice Sawaya , Xavier Verstrepen,

Robert Anciaux (ULB), Abdelkader Djeflat Univ. Lille1, Abdallah Amid ESIT Paris et H. SAFAR FTI. #


ISSN#1780>9584# 6#

l’initiative#de#Lucien#Cosson,#et#de#deux#interprètes#jurés:#Najwa#HAMAOUI#et#Hayssam#

SAFAR.#

En#1984,#après#six#années#de#cours#de#langue,#de#civilisation#et#d’institutions,#Le%DLCA%de#l’Ecole#d’Interprètes#Internationaux#organise,#son#premier#repas#annuel,#avec#au#menu:#

agneau#farci#et#Baklawa#en#dessert.#La#section#s’étoffe#au#fil#des#années#:#137#étudiants#s’y#

inscrivent#cette#année>là#dans#les#quatre#niveaux#(cf#article#de#presse:#

cermumons.be/upload/dep_lang_cult.doc)#.############################################################################################################################################################################################

Dans#le#hall#d’entrée#décoré#d’affiches#invitant#au#voyage,#de#longues#tables#étaient#

dressées.#Etudiants,#professeurs#et#membres#du#personnel#opèrent,#couteau#électrique#à#la#

main,#le#délicat#découpage#de#la#viande#dans#une#ambiance#festive.#Trêve#de#conventions#et#

de#chichis,#place#aux#conversations##qui#se#mettent#alors#à#rouler#sur#les#sujets#les#plus#

divers…#Désormais,#le#souper#devient#une#tradition#annuelle,#qui#complète#les#séminaires,#

projections#de#films,#débats#sur#des#sujets#d’actualité#brulante#euro>arabe#:#dépendance#

énergétique,#échanges#économiques,#relations#culturelles,#etc.#Bonne#manière#de#briser#les#

barrières#et#de#mieux#se#connaître…(Marcel#LEROY,#Nord#Éclair#3#mars#1984).####################################################################################################################################################

Quelques#semaines#plus#tard,#les#3,#4#et#5#avril,#le#département#organise#un#colloque#de#

portée#internationale#(Nord#Eclair,#Samedi#26#février#1984)#à#Mons.#Colloque'euro)arabe%organisé#par#le#DLCA##en#collaboration#avec#la#Commission#européenne#et#le#Commissariat#

Général#aux#Relations#Internationales#(CGRI)#de#la#Communauté#française#de#Belgique.#Les#

actes#publiés#dans#un#ouvrage,#les#photos#et#images#vidéo#sont#disponibles#à#la#bibliothèque.#

De#hautes#personnalités#politiques#dont#deux#ministres#des#Affaires#étrangères#et#18#

ambassadeurs,#ainsi#que#de#nombreux#universitaires#traitent#dans#la#superbe#salle#

académique#de#la#FWSE,#du#Dialogue%euroCarabe,%sur%les%plans%de%la%culture,%de%l’éducation%et%de%l’information%et%de%ses%répercussions%économiques.#Ce#colloque#largement#couvert#

par#la#presse#dont#la#RTBF,#a#un#grand#retentissement#aux#retombées#positives#pour#le#

département#et#les#relations#entre#les#deux#régions.##

Le%Centre%d'Etudes%arabes%(CEA)%dont#les#statuts#ont#été#publiés#au#Moniteur#belge,#est#né#

peu#de#temps#après#le#Département#de#langue#et#de#culture#arabes.#Depuis#lors,#de#

nombreuses#disciplines%#y#sont#proposées,#en#langue#et#dialectes,#en#traduction#et#interprétation#de#conférence#arabe>français>anglais,#en#négociation#multilingue#centrée#sur#

les#pays#euro>méditerranéens,#en#TIC#et#tradprétation#à#partir#des#langues#européennes#vers#

et#à#partir#de#la#langue#arabe.#Des#diplômes#universitaires#sont#délivrés#par#l’Institut#de#

Linguistique#de#l’Université#dans#ces#différentes#spécialités,#et#des#études#de#troisième#cycle#

MC,#anciens#DES,#DEA,#en#Négociation#multilingue,#en#Traduction#audiovisuelle,#en#

Interprétation#de#conférence#et#en#Traduction#AR/EN,#sont#alors#proposés#via#cet#Institut#aux#

étudiants#et#au#public#de#la#région#et#du#Nord#de#la#France. De#nombreux#travaux,#près#de#

cent#notes#de#recherche#publiées#aux#éditions#du#CEA,#et#des#dizaines#de#mémoires#et#

travaux#de#fin#d'études#sont#réalisées#dans#ces#différentes#disciplines#au#CEA#et#au#DLCA.##La#

liste#et#des#exemplaires#des#documents#en#question#sont#disponibles#à#la#bibliothèque#du#

centre.#Cette#dernière#contient#plus#de%2000#ouvrages,#PC#en#langue#arabe,#journaux#et#revues#en#provenance#des#22#pays#de#l'autre#rive#de#la#Méditerranée.#Les#entreprises#de#la#

région#y#trouvent#toute#l’aide#dont#elles#ont#besoin#pour#préparer#une#mission#économique#

ou#commerciale#dans#l’un#des#22#pays#arabophones.#######################################################################%%%%%%%%%%%%%%%%%%%%%%%%%

Plusieurs#autres#congrès#internationaux#sont#ensuite#organisés#à#l’Ecole#d’Interprètes#

internationaux#de#l'Université#de#Mons#à#l'initiative#du#CEA#et#du#DLCA,#parmi#lesquels#:#%

En%1985,%un%Congrès%sur%La!situation!des!travailleurs!et!cerveaux!arabes!immigrés!en!


ISSN#1780>9584# 7#

Europe%a#réuni#62#spécialistes#de#ce#sujet.#Les#actes#disponibles#sont#publiés#à#Paris,#sous#la#direction#de#H.#SAFAR#aux#éditions#Maisonneuve#avec#une#introduction#rédigée#par#l’ancien#

Ministre#des#Affaires#étrangères#français#Michel#Jobert.#Les#images#vidéo#sont#aussi#

conservées#au#CEA.#

En%1987,%un%Congrès%sur%les%Relations%culturelles%euroCarabes%permet#de#mettre#en#

évidence#un#certain#nombre#de#problèmes#relatifs#aux#échanges#culturels#et#linguistiques,#

aux#accords#d’échanges#bilatéraux,#et#au#transfert#de#savoir#et#de#savoir>faire.#De#nombreux#

spécialistes#qui#représentent#un#certain#nombre#de#pays#membres#de#la#future#Union#

européenne#et#de#pays#arabes,#prennent#part#à#ce#colloque#international.#Les#documents#

audiovisuels#de#cet#évènement#sont#disponibles.#########################

En%1990,%l'Université%de%Montréal%propose%au%CEA%d'organiser%conjointement%un%congrès%à#l'Université#de#Mons%sur#La!Station!de!travail!du!traducteur!au!XXIème!siècle,#confirmant#

ainsi#l’expertise#du#CEA#dans#cette#matière#axée#sur#les#TIC.#Les#actes#de#ce#colloque#sont#

publiés#aux#éditions#AUPELF/UREF#de#l'Université#de#Montréal#sous#la#direction#d’André#Clas#

et#Hayssam#SAFAR#(http://www.bibliotheque.auf.org/doc_num.php?explnum_id=628).#

#

De#nombreux#autres#activités#et#séminaires#sont#organisés#à#l’UMONS#comme#la#quinzaine#

culturelle#euro>méditerranéenne#en#1995,#avec#plusieurs#expositions#historiques,#

calligraphiques,#de#musique#orientale#et#de#peinture.#A#cette#occasion,#plusieurs#conférences#

sont#organisées,#d'Ambassadeurs#d’Egypte,#de#Syrie#et#de#Palestine,#et#d’experts#sur#ces#

pays,#de#même#que#quinze#soirées#culturelles,#chacune#destinée#à#découvrir#un#pays#

(conférences,#art,#musique,#artisanat,#cuisine,#costumes#folkloriques,#danses,#etc…)#du#Maroc#

au#Golfe,#en#passant#par#la#Tunisie#et#l’Égypte.#Une#couverture#médiatique#journalière#est#

assurée#tout#au#long#de#ces#15#jours.##

Entre#1995#et#2000,#un#certain#nombre#d'accords#de#coopération##sont#signés#avec#des#

universités#tiers#méditerranéennes,#situées#en#Egypte#(Université#d’Alexandrie),#au#Liban#

(UOB#Balamand#et#Université#Libanaise#de#Beyrouth),#en#Syrie#(Universités#de#Damas#et#de#

Homs),#en#Tunisie#(Bourguiba#School#et#l’Université#de#Tunis),#au#Maroc#(l’Ecole#Supérieure#

de#Traduction#du#Roi#Fahd#à#Tanger).#De#nombreux#étudiants#de#l'autre#rive#de#la#

Méditerranée#viennent#alors#se#spécialiser#à#l’UMONS,#dont#des#groupes#importants#de#34#

étudiants#marocains,#dans#le#cadre#de#l’Accord#d’échange#belgo>marocain#Laraki>Tromont,#et#

de#32#étudiants#libyens,#dont#la#dernière#année#et#la#diplomation#se#déroulent#dans#les#pays#

d’origine.#

En#2000,#le#CEA#participe#au#Consortium#universitaire#constitué#par#la#Commission#

européenne#pour#la#création#du#Higher#Institut#of#Business#Administration#(HIBA)#en#Syrie.#

En#1999>2000,#c’est#au#tour#de#la#création,#au#sein#du#CEA,#du#Centre#d’études#et#de#

Recherches#multimédia#www.cermumons.be#et#du#renforcement#des#Accords#d’échanges#

avec#les#Universités#de#Balamand,#l’Université#Libanaise#officielle#de#Beyrouth,#et#celle#de#

Damas,#dans#le#domaine#de#l’interaction#entre#les#TIC#et#la#traduction.#

En#2002,#le#Congrès%sur%les!Relations!euro(méditerranéennes!et!la!Déclaration!de!Barcelone!a!lieu!à#l’Université#de#Mons#et#l’Observatoire#des#Relations#euro>méditerranéennes#OREM#

voit#le#jour.#

#################################################################################################################################################################En#

En#2004,#l'Université#de#Damas#confie#au#CEA#le#projet#de#création#d'une#Faculté#


ISSN#1780>9584# 8#

d'Interprètes#internationaux#sous#l’autorité#du#professeur#Joseph#Matta.#Cette%création%a%lieu%dans#les#premiers#mois#de#2004>2005#et#est#inaugurée#par#l’ambassadeur#de#Belgique#

sur#place#dans#les#bâtiments#du#Campus#Hamak.#Deux#sessions#intensives#de#formation#de#

dix#professeurs#sont#organisées#à#cet#effet#:#3#mois#à#Damas#et#3#mois#à#l’UMons.#D'autres#

projets#sont#en#cours,#comme#ceux#de#l’Université#de#Homs#et#l’Université#Al#Hawach.##

En#mai#2006,#le#secrétariat#permanent#et#la#Présidence#de#STRADEMED,#réseau#scientifique#

pour#la#Stratégie#de#Développement#en#Méditerranée,#reconnu#par#la#Commission#

européenne,#sont#installés#au#CERM#à#l'Université#de#Mons#en#juin#2006.#La#présidence#est#

confiée#à#Hayssam#SAFAR#www.cermumons.be/strademed.%

Quelques%années%plus%tard,%le%Congrès%international%à%Val%duchesse%en%novembre%2008%sur!L’échec!du!Processus!de!Barcelone'laisse#place#à#une#nouvelle#série#de#recherches,#de#travaux#et#de#collaborations.#A#partir#de#2009,#des#synergies##se#forment#avec#des#institutions#

culturelles#régionales#(APEDAF,#la#FFSB,#Le#Manège,..)#et#des#entreprises#privées#(projet#de#

spin#off#en#visio>interprétation),#ainsi#que#de#prestigieuses#entreprises#publiques#et#

professionnelles#comme#Titra,#LTi,#la#RTBF.#Ces#partenariats#se#font#d’une#part#grâce#à#la#

fusion#EII>UMONS#et#la#création#de#la#Faculté#de#Traduction#et#d’Interprétation#et#d’autre#

part,#grâce#à#celle#de#la#Faculté#Polytechnique#de#Mons#et#de#l’UMONS.#

Certains#des#anciens#étudiants#diplômés#du#DLCA#travaillent#dans#le#secteur#privé,#auprès#

des#20#ambassades#arabes#et#de#la#Chambre#de#Commerce#arabo>belgo>luxembourgeoise#à#

Bruxelles,#d’autres#dans#les#institutions#internationales#onusiennes#et#régionales,#dans#la#

traduction,#dans#l’enseignement,#et#d’autres#enfin#ont#trouvé#des#emplois#dans#des#

multinationales#et#dans#les#pays#arabes#de#l’autre#côté#de#la#Méditerranée...##

CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC%#

%

Nouvelle%avancée%de%l'enseignement%du%chinois%%

Niveau%universitaire%en%Belgique%

Dr%ZHANG%Guoxian#

#

#

#

M"F_C03 4��

��38h-�]c3p<Y�,ea�B$[?Ne!��eaJW�8l

f.�O�N�^�e�c�>��

qV�,\QTrj(7*,o:+#TEU@sM"FiKin`NeA3�

/�63<�3L*sZpL9b��,ea�B$gX�_C03Ne �T9

b�In0=S&R5;�GM�'1�[�)��PT%Dk7�#

#


ISSN#1780>9584# 9#

***************************************************************************#

#

L'Université#de#Mons#a#décidé,#dans#son#plan#pluriannuel#de#développement#2014>2020,#de#

créer#un#département#de#langue#et#culture#chinoises#dans#sa#Faculté#de#Traduction#et#

d'Interprétation#–#EII#en#proposant#une#formation#en#traduction#français>chinois>anglais,#

avec#un#programme#complet#de#5#années#d'études#(bachelier#+#master)#à#partir#de#l'année#

académique#2015>2016.#C'est#une#décision#d'une#importance#stratégique#qui#s'inscrit#

logiquement#dans#l'objectif#de#l'UMONS#de#proposer#un#enseignement#universitaire#

d'excellence#ouvert#sur#les#réalités#du#monde#d'aujourd'hui.#

#

Le%géant%chinois%s'est%réveillé#

La#Chine#est#en#plein#essor#et#tout#le#monde#crie#au#miracle.#En#effet,#son#économie#garde#

une#croissance#annuelle#soutenue#de#10%##en#moyenne#depuis#près#de#trente#ans#et#en#

passe#de#détrôner#les#Etats>Unis#pour#devenir#la#première#puissance#économique#du#monde.#

La#Chine#s'est##redressée#et#s'intègre#dans#l'économie#mondiale#en#jouant#un#rôle#de#plus#en#

plus#important.##

A#l'heure#actuelle,#la#Chine#lance#un#nouveau#tour#de#réforme#globale#et#approfondie#sur#les#

plans#économique,#politique,#culturel,#social#et#écologique#afin#de#maintenir#son#essor#et#de#

réaliser#le#grand#renouveau#da#la#nation#chinoise.##

“#Napoléon#disait#:#la#Chine#est#un#lion#endormi,#le#jour#où#elle#s'éveillera,#le#monde#

tremblera.#Aujourd'hui,#ce#lion#s'est#bien#réveillé,#et#il#se#veut#pacifique,#sympathique#et#

civilisé#”.#Cette#métaphore#utilisée#par#le#président#chinois#XI#Jinping#lors#de#sa#visite#d'Etat#

en#France#reflète#à#merveille#cette#montée#en#puissance#de#la#Chine#tout#en#apportant#une#

réponse#aux#questions#que#l'opinion#publique#internationale#se#pose#sur#la#Chine,#souvent#

avec#inquiétude#ou#crainte.#

La#Belgique#est#un#des#premiers#pays#occidentaux#à#suivre#de#près#et#à#soutenir#cette#

évolution,#s'ensuit#alors#le#renforcement#des#relations#belgo>chinoises#dans#les#domaines#

scientifique,#économique#et#culturel.#Selon#les#dernières#statistiques,#actuellement#environ#

400#projets#de#coopération#scientifiques#intergouvernementaux#sont#en#cours#et#on#compte#

900#projets#d'investissement#belges#en#Chine.#En#2014,#le#volume#du#commerce#bilatéral#

belgo>chinois#a#atteint#27#milliards#de#dollars#américains,#soit#une#augmentation#de#14%#par#

rapport#à#l'année#dernière#et#les#investissements#chinois#en#Belgique#ont#augmenté#de#près#

de#20%.#La#Belgique#est#le#sixième#plus#important#partenaire#commercial#de#la#Chine#dans#####

l'Union#Européenne#alors#que#la#Chine#occupe#la#première#place#en#tant#que#partenaire#

commercial#en#Asie#pour#la#Belgique.####

Avec#le#développement#économique,#la#Chine#joue#un#rôle#beaucoup#plus#important#sur#la#

scène#internationale,#pèse#plus#lourd#dans#des#institutions#internationales#et#préconise#le#

multilatéralisme,#la#multipolarisation#et#la#démocratisation#des#relations#internationales.#

Dans#ce#contexte,#le#besoin#de#mieux#connaître#la#langue#et#la#culture#chinoises#se#fait#de#

plus#en#plus#sentir,%

%


ISSN#1780>9584# 10#

La%langue%et%la%culture%chinoises,%un%atout%indéniable%%#

Pour#répondre#à#ce#besoin#croissant,#la#Chine#a#créé#en#2004#le#réseau#de#l'Institut#Confucius#

pour#la#promotion#de#la#langue#et#de#la#culture#chinoises#dans#le#monde.#Soutenu#

financièrement#par#le#gouvernement#chinois#et#toujours#en#partenariat#entre#deux#

universités,#l'une#chinoise#et#l'autre#du#pays#hôte,#ce#réseau#a#connu#une#expansion#

fulgurante#et#compte#actuellement#475#Instituts#Confucius#et#851#Classes#Confucius#(dans#

des#écoles#primaires#et#secondaires),#répartis#dans#126#pays#ou#régions#du#monde,#dont#4#en#

Belgique:#à#Bruxelles,#à#Liège,#à#Louvain#et#à#Bruges.##

En#Belgique,#ce#besoin#se#traduit#par#l'offre#de#cours#de#chinois#qui#se#multiplie,#à#tous#les#

niveaux#de#l'enseignement:#fondamental,#secondaire,#supérieur#ou#de#promotion#sociale.#

Citons#un#exemple:#la#Fédération#Wallonie>Bruxelles#a#lancé#un#programme#de#partenariat####

“Langue#et#Culture#d'Origine”#(LCO)##avec#l'Ambassade#de#Chine#depuis#l'année#académique#

2011>2012,#et#le#nombre#d'écoles#fondamentales#et#secondaires#qui#proposent#des#cours#de#

langue#et#culture#chinoises#atteint#celui#de#25#cette#année.#On#prévoit#d'ici#peu#l'introduction#

de#la#langue#chinoise#comme#langue#à#option#dans#l'enseignement#secondaire,#au#même#

titre#que#l'anglais,#l'espagnol#ou#le#néerlandais.##

Certes,#l'enseignement#du#chinois#en#Belgique#ne#date#pas#d'hier.#Rien#qu'à#l'Université#de#

Mons#sont#organisés#successivement,#à#partir#des#années#80,#des#cours#de#chinois#sous#

forme#de#cours#à#option,#cours#pour#le#grand#public,#cours#privés#dans#les#entreprises#ou#

cours#de#traduction#et#d'interprétation#français>chinois#dans#le#programme#du#diplôme#de#

Maîtrise#en#Traduction#à#l’IL.##A#la#Faculté#de#Traduction#et#d'Interprétation#(FTI–EII),#trois#

niveaux#de#cours#à#option#de#chinois#sont##toujours#programmés#depuis#des#années#pour#les#

étudiants#de#3e#Bachelier#et#de#Master.#La#nouvelle#formation#de#master#en#traduction#en#

anglais>chinois#complètera#ce#tableau#et##étendra#significativement#l'offre#de#formation#de#la#

FTI#–#EII#.###

L'intérêt#pour#les#cours#de#chinois#a#évolué#aussi#avec#le#temps.#Auparavant,#apprendre#le#

chinois#était#surtout#motivé#par#intérêt#culturel#ou#défi#intellectuel,#alors#qu'aujourd'hui#la#

connaissance#du#chinois#est#de#plus#en#plus#considérée#comme#un#atout#complémentaire#

dans#la#réussite#professionnelle#dans#de#nombreux#secteurs#tels#que#les#institutions#

internationales,#bureaux#de#traduction#et#d'interprétation,#diplomatie,#entreprises#

multinationales#ou#enseignement.#Des#cas#concrets#où#un#jeune#décroche#un#emploi#ou#

développe#un#projet#professionnel#grâce#à#sa#connaissance#du#chinois#se#multiplient.#############

#

C'est%du%chinois%?%#

C'est#la#vérité!#Le#chinois#est#réputé#comme#une#des#langues#les#plus#difficiles#à#apprendre,#

mais#ce#n'est#pas#pour#autant#une#“mission#impossible”.#

En#tant#que#langue#maternelle,#la#langue#chinoise#est#la#langue#la#plus#parlée#dans#le#monde#

avec#plus#de#900#millions#de#locuteurs.#Elle#est#une#des#six#langues#de#travail#de#l'ONU#et#son#

utilisation#est#croissante#dans#les#institutions#internationales#ou#dans#le#milieu#des#affaires.###

La#langue#chinoise#est#une#langue#à#tons#(éléments#mélodiques#pertinents#situés#au#niveau#

d'une#syllabe),#monosyllabique#et#dépourvue#de#flexion#ou#de#changements#

morphologiques.#Lorsque#l'on#parle#de#langue#chinoise,#il#faut#distinguer#deux#aspects:##


ISSN#1780>9584# 11#

>#oralement#c'est#le#mandarin#(en#chinois#Putonghua#Hmd),#la#langue#des#Hans#qui#

constituent#l'immense#majorité#de#la#population#chinoise#(#92%)#.#C'est#la#langue#officielle#de#

la#Chine,#basée#sur#le#parler#de#Beijing#et#les#dialectes#du#Nord,#langue#parlée#standard#pour#

toute#la#Chine,#outil#indispensable#de#communication#et#ciment#de#toute#la#nation,#tout#en#

préservant#l'existence#d'un#nombre#très#élevé#de#dialectes#principalement#dans#le#sud>est#de#

la#Chine#ou#de#langues#non#sinophones#pratiquées#par#quelque#55#minorités##nationales.#

>#En#écrit,#c'est#une#écriture#idéographique#composée#de#caractères#chinois,#Hanzi#(N2),#

une#des#écritures#les#plus#anciennes#du#monde,#inventée#il#y#a#plus#de#cinq#mille#ans,#mais#

toujours#en#usage.#Ces#caractères#qu'on#peut#définir#globalement#comme#idéogrammes,#

sous#forme#de#carrés#avec#des#traits#linéaires,#représentent#une#image#d'un#objet#concret#ou#

évoquent#et#suggèrent#une#idée#plus#abstraite#ou#complexe.#Cette#écriture#idéographique#

n'a#donc#pas#de#rapport#direct#avec#la#prononciation,#c'est#la#raison#pour#laquelle#tous#les#

Chinois#peuvent#communiquer#en#écrivant#ou#en#lisant#en#caractères#tandis#que#s'ils#parlent#

chacun#dans#son#dialecte,#ils#ne#se#comprennent#même#pas.#L'écriture#chinoise#a#connu#

plusieurs#réformes#qui#consistaient#à#simplifier#une#partie#des#caractères#composés#d'un#

nombre#trop#élevé#de#traits.#Cette#écriture#simplifiée#est#en#usage#en#Chine#et#adoptée#dans#

l'enseignement#du#chinois#langue#étrangère.#Parmi#plus#de#50.000#caractères#chinois#

recensés,#2.500#caractères#les#plus#fréquents#constituent#le#vocabulaire#de#base#tandis#que#la#

bonne#maîtrise#de#l'écriture#chinoise#demande#la#connaissance#de#plus#de#5.000#caractères.#

La#langue#et#la#culture#sont#intimement#liées.#Le#chinois#est#le#reflet#d'une#culture#plusieurs#

fois#millénaire,#avec#un#système#différent#de#représentation#du#monde#et#une#façon#de#

penser#différente.#Durant#la#formation,#des#cours#de#culture#et#de#connaissance#du#pays#sont#

proposés#pour#fournir#aux#étudiants#une#compétence#culturelle#indispensable#à#leur#

formation#et#la#possibilité#d'effectuer#un#séjour#d'immersion#totale#en#Chine,#augmentera#

leur#chance#de#réussite.#Apprendre#le#chinois#est#donc#un#défi#très#enrichissant,#

linguistiquement#et#culturellement,#mais#demande#beaucoup#plus#d'efforts#et#de#

persévérance.##

Composée#de#pédagogues#expérimentés#et#spécialisés#dans#la#recherche#scientifique#en#

didactique#du#chinois#langue#étrangère,#de#la#traduction#et#de#l'interprétation,#notre#équipe#

professorale#adopte#une##pédagogie#communicative#et#fonctionnelle#centrée#sur#les#

spécificités#des#apprenants#francophones#pour#assurer#un#enseignement#de#qualité#et#un#

encadrement##répondant#aux#exigences#de#cette#formation#en#traduction#au#niveau#

universitaire.#

---------------------------------------------------------

Nouvelles%de%la%traduction%/%Translation%News%%%%%%%%%%%%%%%%%%%%%%%%%%%Colloques%en%2015%/%Conferences%in%2015%

3/2/2015 Economics, Linguistic Justice and Language Policy Germany 3/2/2015 Plurilingualism and Orality in Translation India

3/5/2015 Translators at Work: Ergonomic Approaches to Translation Practice and Training France


ISSN#1780>9584# 12#

Nous proposerons à nos lecteurs un résumé des travaux des différentes conférences MoU-ONU tenues à ce jour, dont voici le premier :

3/19/2015 Advanced Research Seminar on Audio Description Spain

3/25/2015 New Job Opportunities in Translation and Interpreting: Challenges for University Programmes and Language Services Providers Portugal

3/26/2015 Queering Translation - Translating the Queer Austria 3/27/2015 Anglophone Translations of the Classics and The History of Sexuality UK

3/28/2015 Monterey Forum 2015: Educating Translators, Interpreters and Localizers in an Evolving World USA

4/10/2015 STIAL V: V Simposio de Traducción/Interpretación del/al Alemán Spain 4/10/2015 Comics and Adaptation in the European Context UK

4/23/2015 ITI conference: Renew, Rejuvenate, Regenerate – Translating and interpreting in an evolving world UK

4/24/2015 IMIA Congress USA

4/30/2015 Translating the Past: Studies in the Transmission of Literature Across Time and Space Canada

5/1/2015 CATS Canadian Association for Translation Studies, Literary Translation and Canada Canada

5/1/2015 Business and Practice conference for freelance translators Croatia 5/7/2015 Traduction et Politique - Translation and Politics Belgium

5/7/2015 Corpus-based Interpreting Studies: The State of the Art First Forlì International Workshop Italy

5/27/2015 The Fictions of Translation Canada 5/27/2015 Translating Creolization Barbados 6/1/2015 Literary Translation and Canada Canada 6/12/2015 Respeaking, Live Subtitling and Accessibility Italy 6/19/2015 Legal Translation, Court Interpreting and Comparative Legilinguistics Poland

6/23/2015 Crisis, Conflict and Resolution: Translation and Interpreting in History Australia

6/24/2015 Transius: Law, Translation and Culture Switzerland

7/7/2015 Innovation Paths in Translation and Intercultural Studies, IATIS 5th International Conference

Brazil

8/25/2015 Synergising the Translation Community: From Academia to Professional Practice

Malaysia

9/23/2015 Media for All: 6th International conference Australia

11/4/2015 Annual Conference of the American Translators Association ATA

USA


ISSN#1780>9584# 13#

REPORT OF THE FIRST CONFERENCE OF MOU UNIVERSITIES

Held in Salamanca, 3 and 4 May 2011

I- Objectives of the conference

II- Participants

III- Programme of the conference

IV- Conclusions and recommendations

A) Agreed conclusions

B) Other Recommendations

1- The first conference of universities signatories of memorandums of understanding with the United Nations Department for General Assembly and Conference Management (MoU universities) was held in Salamanca on 3 and 4 May 2011. The Conference was organized jointly by DGACM and the University of Salamanca and hosted by the University of Salamanca.

I- Objectives of the conference

2- As indicated in its original concept paper, the main purpose of the conference was

launch a network of universities and tertiary-education schools that are committed to

enhancing their programmes for training translators and interpreters so that they fit better

the United Nations’ requirements.

3- This was to be achieved through agreement on concrete proposals in the following

areas: (a) building synergies between the academic (research and training) orientation of

Universities and the task-oriented, institutional nature of the UN’s language services; (b)

facilitating exchanges of information and good practices among universities in the areas of

curricula, course materials, training methods (including virtual and distance training)

technological support, student selection/evaluation criteria, etc.; (c) enhancing coordination

between the universities and the UN with regards to a set of competencies that are

considered essential for pursuing a language career at the UN; (d) examining ways to

strengthen collaboration between the universities and the UN, including pedagogical visits,

joint training activities, and internships/traineeships; (e) establishing an MoU Executive

Committee.


ISSN#1780>9584# 14#

II- Participants

4- The conference was attended by representatives MoU universities, representatives of

the UN secretariat and members of the Executive Committee of IAMLADP, including other

UN system organizations and European Unions institutions (See list of participants, Annex

XVI).

III- Programme of the conference

5- In accordance with its above-mentioned objectives, the conference organized its work

into sessions, around the following six main themes (See detailed programme, in Annex I):

• Session 1: Why do so many applicants fail at the UN exams? Cross-cutting issues in

translation and interpretation

• Session 2: Adapting curricula and evaluation procedures to meet UN standards and

requirements

• Parallel sessions 3a and 3b:

o Interpretation: Building skills in the target language

o Translation: Practical approaches to the training of future UN translators

• Session 4: Research and Training for/with UN staff

• Session 5: Working together: job expectations, traineeships, exchanges and

networks

6- In addition to the main sessions, the following events also took place during the

conference:

• A keynote presentation by Mr. Shaaban M. Shaaban (Under-Secretary-General for

General Assembly and Conference Management, and Chair of the Conference), on

the topic “Role of the MoU university network”, followed by and interactive

discussion;

• A master class in translation by Mr. Stephen Sekel (former Director of

DD/DGACM, UN consultant);

• An interactive session with students on interpretation, lead by Ms. Lynn Visson,

former UN interpreter and consultant and Ms. Rasha Ajalyaqeen, Chief of the

Arabic Interpretation Section, New York;

• Presentation of commemorative plaques to the MoU universities by Mr. Shaaban M.

Shaaban;

• The launching of the DGACM Language Outreach Portal.


ISSN#1780>9584# 15#

IV- Conclusions and recommendations

A) Agreed conclusions

1- The Conference adopted the following agreed conclusions:

Cross-Cutting Issues 1. MoU universities will introduce remedial programmes to strengthen their students’

mastery of language A (their main working language).

2. MoU universities will raise awareness within their programmes of the key

competencies – both general and linguistic – required for working at the UN.

3. The UN will provide traineeships for trainers.

4. MoU universities will standardize their evaluation criteria. The first step will be for

each university to invite professors from other universities to participate in its

examination juries. Competencies required by the UN will serve as a basis for the

evaluation criteria.

5. MoU universities will create a common bank of curricula, syllabi, teaching

materials, manuals, etc., which will be available on the Language Outreach Portal.

Adapting Curricula and Methods

6. The United Nations will draw up an inventory of the skills and competencies

required of its translators and interpreters to serve as a guide for universities in

adapting curricula and methods and advising students and, for the UN, as a basis for

designing tests to measures such skills and competencies and evaluating candidates

for language posts.

7. MoU universities will further develop horizontal cooperation among themselves in

the fields of (a) adapting curricula and methods to UN requirements; (b) exchanges

of students who wish to improve their proficiency in their second passive language,

when such language is used in the host university.

8. Personal contacts will be facilitated between teachers and students of MoU

universities on the one hand, and between them and UN language professionals on

the other hand, for the purpose of sharing current, up-to-date UN materials,

assessing and providing feedback on the student’s translations of such materials,

and providing model translations produced by UN professionals. In this connection,

expanding the internship programme is highly desirable.


ISSN#1780>9584# 16#

Interpretation

9. To ensure structured cooperation, pedagogical assistance will be discussed with the

beneficiary schools in advance to allow students to prepare for visits by professional

interpreters.

10. The UN will consider strengthening its assistance to universities in the UK that train

students in Russian, French or Spanish, due to the serious recruitment problems

encountered by those universities following the introduction of high tuition fees

across the UK.

Practical Approaches to Translator Training

11. Universities will help identify textbooks and reference materials dealing with topics

that are important to UN language services (example: grammar, style manuals, law

and educational systems). The list could be shared among members of the network

and other interested universities and international organizations.

12. Universities experience in screening applicants for admission to their training

programmes will be shared with the UN as a guide for the latter’s pre-screening of

candidates for its competitive examinations.

Training and Research

13. The UN will communicate with national ministries of education on the need to

ensure students’ proficiency in their mother tongue before they graduate from high

school.

14. Training programmes will allocate more time to studying subject-matters of

importance for the UN.

Working Together

Participants in the conference:

15. Discussed various ways of strengthening the internship programme in the light of

the experience gained thus far. Ideas included exploring the possibility of study

visits by university faculty members and traineeships in which trainees would be

paid a stipend but would also be assigned part of the regular workload of the host

service or unit.

16. Explored various possibilities for networking, including those offered by the

European Masters in Translation and by the Optimale Project and the establishment


ISSN#1780>9584# 17#

of a dedicated forum for former interns and trainees to share their experiences,

including with prospective interns/trainees.

17. Highlighted the need for increasing reliance on horizontal cooperation among MoU

universities, including the sharing of best practices and leveraging the strengths of

individual members, such as the experience of the University of Geneva in

computer-supported collaborative learning (e-learning).

B) Other Recommendations

Evaluation

1. Formalize the UN’s criteria for evaluating language professionals, including a grading

matrix or grid, and sharing them with the universities in order to help modify

curricula and focus training. Organize joint exercises to practice using such a

matrix/grid in order to ensure consistency and uniform application.

2. Organize visits by UN staff members to participate in supervising mock examination

exercises, as a means to familiarize students with the process in realistic situations and

to emphasize UN standards and requirements.

Common projects and the sharing of resources

3. Increase use of UN corpora, available online through Official Documentation System

(ODS), as a tool for translation training, as well as critical evaluation of texts and

deduction of the different translation techniques used in practice by UN translators,

and as a means to build knowledge of the various topics dealt with by the UN. It is

important however to emphasize the need build translation competency and

proficiency in general, rather than limiting the learning process to specific UN texts.

4. Encourage collaboration between university faculty and UN translators in developing

terminology databases, and have staff translators evaluate student translations,

pointing out errors and sharing best practices. These activities could be carried out via

email or through the UN Language Outreach Portal.

5. The AUC offered its interpretation facilities to the UN to use for its upcoming

interpretation examination. The University of Damascus offered the opportunity for

staff members to take specialized courses at the university, as well as exchange

opportunities for students, or staff members, wishing to enhance their Arabic

language skills.

6. Create a forum/section on the Portal, listing the criteria and procedures for

applications to all of the 18 MOU universities;


ISSN#1780>9584# 18#

7. Provide guidance on how the UN can assist educational institutions in making

maximum and proper use of UN resources within the time available to teach students

the basic skills and materials UN interpreters must know

8. Establish a commission of MOU and UN representatives to work on such

standardizing admission criteria to translation and interpretation programmes; post

sample entrance exams provided by universities.

9. Encourage close cooperation between UN trainers and university staff to produce

appropriate modules for a bridge programs between the university programs and UN

internship/training, making full use of virtual technology to assist students who are

unable to attend such programs in person.

10. Use the Outreach portal to allow UN staff to indicate the locations where they will be

on home leave or on missions during which they will be near MOU universities, and

to allow university staff to indicate when they expect to be near a UN offices. Such

visits can allow for no-compensation exchanges.

11. Use the Outreach portal to allow MOU universities to provide a list of short-term

courses they are offering that may be of interest to UN staff, and opportunities for UN

staff to teach in such courses in exchange for university privileges.

Use of virtual technology

12. Create exchange programmes where UN staff teach for short periods at

technologically advanced MOU universities in return for training in the use of virtual

programs and techniques for teaching interpretation.

13. Create a section of the Portal listing and coordinating all existing data banks and

glossaries (with the participation of UN terminology staff and making use of the

extensive glossaries compiled by members of UN language Services).


ISSN#1780>9584# 19#

TRADUCTION LITTERAIRE AUDIOVISUELLE :

Adaptation et labialisation H. SAFAR

%Abstract:

La#traduction#audiovisuelle#dans#toutes#ses#formes#s’est#développée#depuis#quelques#années#

à#une#vitesse#que#jamais#aucune#autre#discipline#n’avait#atteinte#avant#elle.#Elle#est#devenue#

multidimensionnelle,#avec#une#véritable#industrie#technologique#digitalisée##dont#la#

traduction#littéraire#audiovisuelle#constitue#l’une#de#ses#nombreuses#formes.#

Traduire,#adapter#et#labialiser#un#texte#d’une#langue#source#en#vue#de#le#porter#à#l’écran,#

revient#à#le#réécrire#et#à#le#recréer#dans#la#langue#cible.#Il#s’agit#de#la#tâche#quotidienne#de#

l’auteur#adaptateur2.#Celui>ci#dispose#de#droits#d’auteurs#sur#la#diffusion#de#son#œuvre#qui#

sont#garantis#par#les#Sociétés#des#auteurs,#compositeurs#et#éditeurs.##

#

%

Key%Words:%Labialisation,#adaptation,#audiodescription,#responsabilité#éditoriale,%#

Préambule%:%

La#déverbalisation#du#texte#recréé#débouche#à#son#tour#sur#un#discours#qui#est#lui>même#

recréé#aussi#dans#la#langue#cible#avec#tous#les#attributs#auxquels#ce#dernier#à#droit#:#la#voix,#

l’accentuation,#la#prosodie,#les#champs#sémantiques..,#qui#conviennent#au#contexte#et#qui#en#

précisent#et#facilitent#la#transmission#du#contenu.#

L’auteur>adaptateur#est#le#seul,#en#tant#que#créateur,#à#en#apprécier#les#différentes#facettes#

pour#en#modifier#les#détails.##

#############################################################

2#L’adaptateur est un traducteur dialoguiste qui traduit et donne une forme à un script cible à

partir d’une œuvre littéraire originale écrite sous la forme classique d’un récit. En Belgique francophone, il n’existe qu’une dizaine d’auteurs-adaptateurs dont les droits sont reconnus et qui tentent de répondre à la demande du marché. #


ISSN#1780>9584# 20#

Ce#processus#s’inscrit#dans#le#cadre#de#la#traduction#littéraire#audiovisuelle3#et#plus#

particulièrement#dans#celui#des#textes#traduits#et#destinés#à#être#adaptés#à#l’écran#ou#sur#

scène,#et#cela##sous#l’une#ou#l’autre#des#différentes#formes#possibles#d’adaptation#et#dont#

nous#allons#évoquer#ci>après#quelques>unes#d’entre#elles.##

%

1°)'Sous'forme'de'sous)titres':!

Certes,#le#sous>titre#constitue#à#lui#seul#une#unité#trop#synthétique#pour#être#qualifié#de#

«#littéraire#»#mais#s’il#s’agit#de#l’une#des#séquences#d’un#texte#complet#adapté#à#l’écran,#alors#

on#ne#pourra#plus#lui#refuser#cette#qualité.###

Le#sous>titrage#est#la#première#des#disciplines#de#la#traduction#audiovisuelle.#En#effet,#c’est#

autour#d’elle#que#la#plupart#des#autres#pratiques#de#la#traduction#littéraire#audiovisuelle#se#

sont#développées.#

Le#sous>titrage#a#beaucoup#évolué#ces#dernières#années#car#il#est#devenu#une#profession#à#

part#entière#du#traducteur#et#a#donc#gagné#en#qualité,#en#fidélité#et#en#esthétique#au#niveau#

de#la#forme#et#du#contenu#grâce#au#traducteur#professionnel,#mais#aussi#à#la#communication#

interculturelle#et#à#la#traduction#littéraire#qui#ont#eu#un#rôle#essentiel#dans#cette#réussite.#

Cette#évolution#a#pris#forme#aussi#au#niveau#du#développement#de#plusieurs#sous>disciplines#

du#sous>titrage#allant#du#sous>titrage#intralinguistique#au#sous>titrage#pour#les#

malentendants#en#passant#par#le#respeaking#qui#unit#l’interprétation#simultanée#à#la#

traduction#audiovisuelle#grâce#à#la#reconnaissance#vocale,#pour#produire#un#sous>titrage#

simultané.###############################################################################################################################################################################

Il#s’agit#donc#dans#ce#cas#précis#d’un#sous>titrage#en#temps#réel#qui#exige#que#l’interprète#

ainsi#que#son#rédacteur#>#réviseur#soient#formés#au#style#qui#convient#à#cette#forme#de#la#

traduction#littéraire#audiovisuelle.##

Le#temps#exigé#par#le#sous>titre#entre#la#langue#source#oralisée#et#le#moment#de#le#porter#à#

l’écran#est#de#quelques#secondes.#########

Dans#chacune#des#ces#différentes#variantes#du#sous>titrage,#il#existe#une#composante#

d’adaptation#de#la#traduction#littéraire.#Cette#adaptation#obéit,#lorsque#le#sous>titrage#n’est#

pas#en#temps#réel,#à#un#certain#nombre#de#règles#en#matière#de#rédaction,#de#style,#de#

volume,#de#ponctuation#et#de#respect#des#contraintes#techniques#issues#de#la#

digitalisation.##########

Contrairement#aux#autres#disciplines#citées#plus#haut,#le#respeaking#est#celui#qui#permet#le#

plus#au#style#de#s’exprimer,#car#les#règles#techniques#imposées#au#sous>titrage#classique#en#

terme#de#longueur#des#séquences#écrites#du#texte#exposé#à#l’écran#ne#s’imposent#plus#

puisque#l’on#peut#afficher#jusqu’à#quatre#ou#cinq#lignes#dans#chaque#sous>titre.###########

#############################################################3#Il s’agit d’une discipline qui a beaucoup bénéficié des nouvelles technologies et son

développement a été fulgurant.

#


ISSN#1780>9584# 21#

Inutile#de#dire#que#l’influence#de#la#mondialisation#sur##le#développement#de#la#

communication#multilingue#à#travers#la#planète#a#stimulé#la#demande#et#a#apporté#au#sous>

titrage#des#fonctions#inattendues#telles#que#la#promotion#de#la#lecture#de#textes#littéraires,#

ainsi#que#l’amélioration#des#compétences#en#langue#étrangère.#Certains#chercheurs#ont#mis#

en#évidence#ces#résultats#dans#certaines#régions#d’Europe,#exemple#dans#l’arc#

germanophone#qui#a#traditionnellement#plus#d’affinité#avec#la#pratique#et#la#diffusion#du#

sous>titrage#qu’avec#celle#du#doublage#:#http://eacea.ec.europa.eu/llp/studies/documents/study_on_the_use_of_subtitling/resume>fr.pdf.############

2°)'Sous'forme'de'doublage'labialisé'et'synchronisé':''

########C’est#bien#entendu#au#niveau#du#doublage#que#la#traduction#littéraire#audiovisuelle#

retrouve#ses#lettres#de#noblesse,#car#par#exemple,#la#discipline#purement#narrative#de#

l’audiodescription#se#conjugue#avec#celle#de#la#labialisation,#en#passant,#par#celle#de#la#voix#

hors>champ#dite#aussi#voix#off#dans#un#faux#anglicisme,#et/ou#superposée#en#Voice#over.###

########Cette#technique#relève#du#champ#de#la#traduction#littéraire#déverbalisée.#Le#texte#est#

doublement#réécrit,#car#après#la#traduction#et#l’adaptation#arrive#ensuite#l’étape#de#la#

labialisation#qui#est#une#seconde#réécriture#dans#un#code#différent#des#langues#source#et#

cible,#avec#un#autre#changement#de#mode#d’expression,#dans#ce#domaine#spécialisé,#ainsi#

que#l’édification#d’un#tout#conceptuel.#C’est#une#nouvelle#(ré)#interprétation#littéraire#et#

sémantique.########################

Dans#un#doublage#synchronisé,#le#script#écrit#en#langue#source#est#traduit#avant#de#subir#la#

phase#d’adaptation#qui#consiste#à#créer#un#nouveau#texte#adapté#à#la#langue#et#à#la#culture#

cibles.#Cette#opération#s’effectue#au#moyen#de#la#labialisation.#############

Ainsi,#le#texte#traduit#est#retravaillé#dans#la#langue#cible#afin#qu’il#donne#l’illusion#que#les#

lèvres#de#l’acteur#présent#à#l’écran#parlent#et#articulent#bien#la#langue#cible.#Pour#que#cette#

opération#soit#couronnée#de#succès,#il#faut#que#la#traduction#du#script#original#soit#fidèle,#que#

la#correspondance#entre#le#script#cible#et#le#mouvement#des#lèvres#soit#optimale#et#enfin,#

que#le#niveau#de#langue#utilisée#dans#la#traduction#corresponde#bien#à#la#manière#de#jouer#

de#l’acteur.############

Si#la#labialisation#est#incontournable#en#doublage#synchronisé,#elle#offre#cependant#un#

certain#nombre#d’atouts.#En#effet,#les#traducteurs>adaptateurs#dialoguistes#qui#sont#chargés#

de#cette#tâche,#n’expriment#pas#seulement#dans#le#texte#cible#qu’ils#réécrivent,#le#contenu#du#

script#original,#mais#ils#doivent#se#substituer#aux#acteurs,#au#réalisateur#et#au#producteur,#via#

la#labialisation,#afin#de#dépasser#les#frontières#linguistiques#et#culturelles#de#la#

communication#verbale.#La#labialisation#est#une#forme#d’adaptation#qui#s’érige#en#médiateur#

verbal#de#la#communication#interculturelle.#La#synchronie#visuelle#ou#phonétique#et#dont#les#

paramètres#sont#la#correspondance#des#syllabes#dans#les#deux#langues,#la#longueur,#le#débit,#

la#théâtralité,#etc.#n’est#que#l’une#des#contraintes#et#des#facettes#de#cette#tâche.#La#

transposition#interculturelle#en#terme#de#contexte#lié#aux#concepts#socioculturels#typiques,#

d’allusions#culturelles#liées#par#exemple#aux#institutions,#et#aux#noms#propres,#d’humour,#de#

métaphores,#de#jeux#de#mots,#de#phrases#idiomatiques,#de#proverbes,#de#dictons,#etc..#

représentent#d’autres#aspects#tout#aussi#importants#de#cette#réécriture#contextuelle#et#

gestuelle.##


ISSN#1780>9584# 22#

Voici#quelques#exemples#concrets#:######################################################################################################################################################################

a)#La#célèbre#réplique#de#Jean#Gabin#à#Michèle#Morgan#«#t’as#de#beaux#yeux#tu#sais#»,#qui#est#

traduite#comme#suit#:#############################################################«##U####o###I%####o###u########u###O###»##

«'You’ve'got'beautiful'eyes,'you'know'»,'''''''''''''##

#est#labialisée#sans#difficulté#comme#suit#(cf#comparaison#de#la'labialisation'de#la#réplique#dans#les#deux#langues,#et#du#nombre#de#mesures#du#temps#de#chacune)#

«#Uo###u####O###I###o#(u##u)#Ou####o#####u#o#»#

«'You’ve'got'beautiful'eyes,'you'know”''''''''''''''##

Cependant,#quelle#que#soit#la#réussite#de#cette#adaptation,#il#y#a#néanmoins#une#dimension#

qui#manquera#toujours#et#qui#selon#G.L.#Gautier#(1981#p.#109)#«#met#en#évidence#les#limites#

naturelles#de#la#traduction#littéraire#audiovisuelle,#et#réside#dans#l’inimitable#intonation#de#

Jean#Gabin#»#!#

b)#En#revanche,#la#phrase#“See#Naples#and#die”#exige#de#l’adaptateur#vers#le#français#de#

rechercher#un#terme#synonyme##de#«#mourir#»#qui#altère#la#synchronie,#par#exemple#:#

«#décéder#».#############

c)#Dans#le#film#«Dangerous#Liaisons#»,#lorsque#Mme#Verteuil#dit#à#Valmont#«#I#am#tempted#to#

consider#this#pacte#nil#and#void#»#(je#suis#tentée#de#considérer#notre#pacte#comme#nul#et#non#

avenu)#il#lui#répond#«#what#do#you#mean#Madam?#»#qui#pour#les#besoins#du#synchronisme#

parfait#devient#non#pas#«#Que#voulez>vous#dire#Madame#?#»#mais#«#par#quel#caprice#

Madame#?#»,#cela#contribue#par#la#même#occasion#à#améliorer#la#texture#de#la#langue.#Il#est#

donc#intéressant#de#constater#ici#que#le#film#est#rendu#meilleur#qu’il#ne#l’est#au#départ.#(cf.#

entretien#avec#Eric#Kahane#:#«#Profession#adaptateur#»).############

Ci>après#d’autres#exemples#:#####################

1.###How#did#that#happen?#

1.#Alors#comment?###

2.##How#did#we,#homosapiens,#become#so#different?######

2.###Comment#les#homo#sapiens#paraissent#si#différents#

3.##Ours#is#perhaps#the#strangest#journey#of#all#

####### 3.##Il#s’agit#peut>être#du#plus#étrange#des#voyages#########

Dans#cet#exemple#n°#3,#le#second#phonème#de#fermeture#du#mot#«#perhaps#»#n’a#pas#trouvé#de#correspondant#dans#la#langue'cible#à#l’instant#correspondant#à#ce#mot,#et#le#terme#en'français#qui#aurait#pu#le#faire#est#désynchronisé#par#«#du#».#Cela#étant,#cette#«#entorse#»#à#la#


ISSN#1780>9584# 23#

règle#passe#inaperçue#grâce#au#comédien#professionnel#de#doublage#qui#exécute#ce#script#en#

réussissant#fort#bien#la#superposition#des#phonèmes#de#la#langue#cible.###########

3°)#Sous#forme#de#récits#non#labialisés#mais#audiodécrits:#

Il#s’agit#du#domaine#de#l’audio>description#qui#s’écrit#en#se#servant#de#la#version#traduite#

labialisée#et#synchronisée#sans#la#modifier,#et#qui#constituera#avec#cette#dernière#un#récit#lu#

et#destiné#aux#malvoyants.############

L’audiodescription#est#une#technique#d’écriture#et#de#création#d’un#texte#original#imaginé,#

car#ce#dernier#n’existe#pas#nécessairement#dans#la#V.O.##de#départ#de#l’œuvre.############

Le#narrateur#exécutera#ce#script#descriptif#sous#forme#de#répliques#insérées#dans#l’espace#

«#temps#»#offert#par#l’œuvre.#Cette#forme#de#littérature#audiovisuelle#permet#aux#personnes#

malvoyantes#d’accéder#au#cinéma#et#au#théâtre.#############

Ce#domaine#qui#touche#aussi#bien#la#description#interlinguistique#qu’intralinguistique#est#le#

seul#à#ce#jour#qui#bénéficie#de#lois#aux#USA,#en#France#et#dans#bien#d’autres#pays,#qui#en#

assurent#la#diffusion#par#des#quotas,#certes#variables#d’un#pays#à#l’autre,#mais#qui#ont#le#

mérite#d’exister.############

C’est#dans#cet#exercice#que#l’écrivain#traducteur>adaptateur#pourra#donner#libre#cours#à#son#

imagination#et#à#son#sens#de#la#rhétorique##et#de#l’expression#du#détail.#Aucun#frein#ne#peut#y#

entraver#la#liberté#d’exprimer#et#de#décrire#la#charge#culturelle#éventuelle,#sinon#la#variante#

«#espace>temps#»#disponible,#qui#à#son#tour,#encourage#la#concision#orale.#

Exemple#de#texte#créé#d’audiodescription#(extrait#de#J.#Gramegna,#CERM#2006,#p145)…#

#

Code###du#

temps#TC#

Script#original# Audiodescription#

00#:#00#:10#

–#00.00.13#

(Titrage#en#anglais)# Pirates#des#Caraïbes,#la#malédiction#du#

Black#Pearl.#Un#film#de#Gore#Verbinski,#

avec#dans#les#rôles#principaux#Johnny#

Depp,#Orlando#Bloom#et#Keira#

Knightley#

## ## Souvenirs#d’enfance.#Un#navire#avance#

en#mer.#Zoom#sur#la#jeune#Elizabeth#

Swan#qui#chante#sur#le#pont#avant#du#

bateau.#

00#:00#:30#–#

00#:00#:53#

Elisabeth#Swan#:#On#est#de#vraies#

canailles,#des#maudits#pirates.#Trinquons,#

mes#jolis.#Yo#ho#Yo#ho,#nous#sommes#des#

pirates,#les#forbans.#On#rançonne,#on#

ravage,#on#pille,#on#vole.#Trinqu…hhh#

##

## ## Une#main#vient#se#poser#sur#l’épaule#de#

la#jeune#fille.##


ISSN#1780>9584# 24#

##

##

#

##

4°)'Sous'forme'de'récit'non'labialisé'mais'en'version'Voice)over':''''''''''''

Le#récit##remplace#à#la#fois#la#synchronisation#et#l’audiodescription#par#une#narration#non#

labialisée#de#l’ensemble#de#l’œuvre.#

Ces#différentes#formes#de#réécriture#du#texte#traduit#font#l’objet#depuis#un#certain#nombre#

d’années,#de#travaux#au#CERM*#(FTI>EII,#IRSTL,#Université#de#Mons)#basés#sur#les#acquis#de#la#

culture#digitale,#et#en#collaboration#avec#des#entreprises#professionnelles.#Un#Master#de#

spécialisation#est#proposé#aux#étudiants#désireux#d’ouvrir#leur#propre#entreprise,#ou#de#

travailler#dans#ce#secteur#en#Europe.#

Conclusion:#

La#traduction#audiovisuelle#en#général,#avec#ses#nombreuses#branches,#continuera#son#

développement#et#deviendra#très#probablement#la#discipline#dominante#de#la#traduction#et#

de#l’interprétation#en#terme#d’offre,#même#si#elle#rencontre#encore#ici#ou#là#des#résistances#à#

cette#évolution#profonde.################

L’appauvrissement#de#l’œuvre#originale#dont#on#accusait#la#traduction#littéraire#audiovisuelle#

n’existe#plus#grâce#au#fait#que#les#professionnels#de#ce#secteur#sont#à#présent#tous#formés#en#

traduction#ou#en#interprétation,#du#moins#en#Belgique,#même#si#tous#les#spécialistes#le#

reconnaissent#,#il#restera#toujours#une#chose#que#le#traducteur>adaptateur#dialoguiste#ne#

pourra#pas#créer,#c’est#la#qualité#exacte#de#la#voix#de#l’acteur#telle#qu’elle#existe#dans#l’œuvre#

originale#et#qui#apporte#une#certaine#saveur#au#film.#

A#part#cet#aspect,#quelle#que#soit#la#discipline#faisant#partie#de#la#traduction#littéraire#

audiovisuelle,#le#script#est#traduit,#adapté#et#oralisé#par#des#professionnels#de#la#langue#qui#

s’efforcent#souvent#de#faire#gagner#la#langue#cible#en#texture#sans#trahir#le#genre#de#l’œuvre.#

En#outre,#le#débat#concernant#les#avantages#d’une#forme#de#traduction#littéraire#

audiovisuelle#sur#une#autre#est#dépassé#aussi,#car#si#l’arc#latin#a#marqué#sa#préférence#pour#le#

doublage#plutôt#pour#le#sous>titrage#des#œuvres#en#général,#les#professionnels#pensent#pour#

leur#part#que#certaines#œuvres#se#prêtent#plus#à#une#traduction#écrite#à#l’écran#alors#que#

d’autres#gagnent#à#être#labialisées#et#oralisées.#

#

bibliographie:#

J.#GRAMEGNA#«%La%Traduction%audiovisuelle%et%ses%Technologies%»#Mémoire#de#3ème

#cycle,#UMH##CERM#2006>7#

(439p.).##

E.#KAHANE#«%Profession%:%Adaptateur%»%%pp#377>380#in#Traduction#audiovisuelle#PUM#2006.##

A.#CLAS#,#H.#SAFAR#«##L’environnement%Traductionnel%:%la%Station%de%travail%du%Traducteur%au%%

XXIème%S.%»#Editions#de#l’Université#de#Montréal#1992#(392#p.).%

G.L#Gautier#«#Doublage!et!sous(titrage,!les!deux!mamelles!de!la!traduction!»,#in#Image#et#Son#n°#363,#1981,##

H.#SAFAR#«Curriculum%d’Education%et%Projet%pédagogique»#édit.#Le#Cercle>Bruxelles#1992#(227#p.)####


ISSN#1780>9584# 25#

H.#SAFAR#«%%La%Traduction%Audiovisuelle%»#Presses#de#l’Université#de#Mons,#2006##(600p.).####

H.#SAFAR#«%Audiovisual%translation”%:%Taxonomy#or#Typology#?##Texte#de#la#Conférence#présentée#à#l’Université#

de#Copenhague,#05#05#06#####

H.#SAFAR#:#«%Traduction%Audiovisuelle%:%la#nécessité#d’une#typologie#»#Conférence#au#Colloque#de#################################l’#Association#Européenne#de#Traduction#à#l’Ecran,#Berlin#26#10#06.###

H.#SAFAR#:#Euroconference#MuTra:##«%Visio,%Remote,%Tele%and%Community%interpreting%»#Conférence#à#l’Université#de##Vienne#29#04#07:#

H.#SAFAR#«Nouvelles%Technologies,%Traduction%et%Interprétation%»#Conférence#à%l’Université#d’Alger#mai#2008.%#

#

#

-------------------------------

DOSSIER :

Eye-Tracking in Audiovisual Translation:

A Tool for Multimodal Analysis to Overcome Audiovisual Translation Constraints

Abstract: A study of eye movement through eye-tracking would significantly foster research in audiovisual translation and help apprehend the multimodal message in audio-description, dubbing, respeaking and subtitling. The analysis of the multimodal message in a film through eye-tracking could be pertinent for the selection of relevant visual elements in meaning production, in order to avoid the redundancy in editing subtitles and thus help address subtitling space and temporal issues to avoid repeating the same message.

Trainers and trainees or professionals in audiovisual translation are obliged to adapt their strategies to new technologies every day. This article will emphasise the use of eye-tracking as a tool to be integrated in training methodology in audiovisual translation and in developing an analysis based on objective factors. Eye-tracking highlights the relevant elements in a subtitling exercise, if presented individually or to a group of persons and helps in giving specific indications for pedagogical and methodological curriculum (PMC) in training audiovisual translators.

The reception analysis of respoken subtitles by the deaf and hard of hearing through eye-tracking would highlight their problems regarding reading speed and linguistic and grammatical factors. Additionally, analysing the visual reception of a dubbed film by a sighted audience through eye-tracking would objectively help to select the relevant image elements to audio-describe for the blind and visually impaired.

(Max. 250 words)

Key Words: audiovisual translation (AVT), multimodality, pedagogical and methodological curriculum (PMC), redundancy and relevance


ISSN#1780>9584# 26#

Pedagogical%and%methodological%curriculum%(PMC)%in%training%audiovisual%translation%

N.%HAMAOUI4,%% Audiovisual Translation (AVT) seems to be well established in European universities thanks to the European Multilingualism Policyi. Several European reports and studies on the subject have encouraged audiovisual trainers in education and language learning to often use audiovisual support in their teaching. Audiovisual material has a huge psycho-pedagogical impact of language transfer practices on the population’s ability to speak and/or understand foreign languages. The frequency of using audiovisual tools also facilitates the teaching and understanding of foreign languagesii. Subtitling, for example, reinforces individuals to learn, speak and understand taught languages in a natural way.

Psycholinguistic research at UMONS has shown that the presence of technological tools helps in teaching new languages. The structural-global method in teaching second and third languages has been used for fifty years at the UMONS Faculty of Translation and Interpretation, while subtitling started under the foundation of the European Association for Screen Titling in Cardiff twenty years ago. Our objective in this article is to find solutions to constraints in AVT (subtitling, respeaking and audio-description).

Our other objective is to help trainers, who have to readapt their strategies in teaching AVT day after day, by showing many examples of short cuts to help their trainees understand the task of respecting the AVT norms. This action is very difficult to explain, even by professionals who are not able to explain their strategies step by step while adapting their audiovisual translations.

Eye-tracking is a tool that measures the eye movement of one person or a group of audiences and may help trainers to encourage the majority of a group to discover the relevant elements on the screen, explain to trainees how to adapt subtitles to avoid redundancy, how to select the relevant elements to respeak for the deaf and hard of hearing, or to audiodescribe for a blind audience.

This article will start by analysing the multimodality in AV translation (subtitling, audio-description and respeaking). Secondly, the article will explain our action in this regard by adding a technological tool (the eye-tracking) to the methodology in AVT training. Thirdly, it will analyse the possible use of eye-tracking as a tool in subtitling methodology by focusing on the constraints and will describe the test of the impact of technical norms in subtitling on reading speed. The forth part will analyse the impact of respoken subtitles on the reading speed of the deaf and hard of hearing. Lastly, the article will explain the importance of discovering the relevant elements to audio-describe to blind audiences by using the eye-tracking device.

After analysing the different layers of meaning in an audiovisual material, it is necessary to define our action and to specify the general aim and the operational and specific objectives of

#############################################################4#Chief of Department, at CERM - FTI/EII, UMONS, Belgium#


ISSN#1780>9584# 27#

the AV translation. We have to select the cognitive activity to be applied by trainees to achieve the desired result. In the CERM Pedagogical and Methodological Curriculum (PMC) in audiovisual translationiii, we specified the aims of AVT teaching for each discipline (subtitling, respeaking and audio-description)iv and adopted strategy that included training in a professional environment with guidelines for operational objectives for every course. We also specified the goals and the tasks before choosing the cognitive activities that will be offered to trainees to apply the know-how for the mentioned disciplines in order to obtain the awaited trainee profile. This result combined with the mentioned cognitive activity and the specific objectives related to it will represent the different components of the methodological sequence of our action, to be assessed objectively. If the trainer counts on multiple viewpoints of a group then the trainees will work all together to understand the phenomenon, and the instructions will be given in better conditions and will receive better results in this particular training.

In general, viewer-learners are encouraged to compare dialogues and shots on the screen. They formulate and reformulate possible translation and adaptation hypotheses. For example, if the trainer shows a shot on the screen while a lady says to another “you’re wearing your red dress”, should the trainee repeat the same unnecessary information in the subtitle or not? Will it be considered as redundant or not? If the whole group have fixed their gaze on the red dress then is it obvious that the information in the subtitle needs not to be repeated? The verbal information which is provided in the translation/adaptation is contextually rich, due to the presence of visual and situational images similar to those available in daily life: actors interact on screen within a specific setting, and their gestures, body language and live movements while communicating are visible to the audience, so the verbal text on the screen should take the visual part of the screen into consideration, otherwise it will be considered as redundant.

Measuring the eye movement will give the research on AVT a tool for evaluating each cut in the audiovisual sequence objectively. It will also help to create step-by-step guidelines for a good translation/adaptation in subtitling, in audio-description or in respeaking while they remain in the same framework of a useful methodology.

This interaction inside each situation will contribute to clarify our specific objectives and will make them operational for our training. It concerns different areas such as all exchanges in the dialogues and contextualisation and will stimulate comprehension. Contextualisation and visual cues enhance the comprehension of audiovisual input (for subtitling, audio-description and respeaking), and how to justify each adaptation in the trainees’ translation. It is important that the trainees carry this out due to precise instructions. Redundancy is usually considered very important in any teaching and learning situation, especially in learning languages, but is it as important in teaching audiovisual translation? As every second is needed to adapt translations for audiovisual material, we have to teach our trainees to be synthetic and synchronised and not to be redundant in their adaptation.

How to audiodescribe the relevant elements without being redundant and how to respeak for deaf and hard of hearing audiences in a convenient level of language? These questions inspired our research team to modify the pedagogical and methodological curriculum (Hamaoui, N. 2010) and to integrate a device that will help train audiovisual translators in their analysis to measure relevant elements in subtitling and to help trainers in reconsidering the translation/adaptation of an audiovisual support avoiding constraints. We propose criteria


ISSN#1780>9584# 28#

for an objective assessment that will help evaluators to coincide their points of view concerning a specific exercise. It can be used as a checklist for a systematic analysis in verbal, acoustic and visual elements in a film. The aim of this exercise is to subtitle a 1-minute sequence of an audio-visual support and to obtain an objective adaptation of the translation. The goal is to define an approach subdividing the task into different steps as follows:

! To select an audiovisual support. ! To view the sequence once or twice with the trainees. ! To discuss the different layers of meaning (interaction between image, music, dialogue

and sound effects). ! To define the target audience. ! To define the genre of the film with a summarised description of the sequence. ! To define the time needs. ! To achieve the work (translating, adapting and subtitling) by applying the norms…

The operational objectives: Presenting specific objectives, declaring the cognitive activities for a specific group and achieving the tasks and the awaited results related to this task. The trainee who is found in an AVT training laboratory and under the professor's teaching should be able to achieve the following specific objectives:

- To participate in a session where eye-tracking will be used as a tool to watch the chosen minute of a film.

- To select and measure the relevant elements of the sequence according to the predefined criteria.

- To apply the instructions in adapting the subtitles (saturation of the information, to avoid redundancy, contraction, to respect reading speed, time, synchronisation and technical aspects of subtitles).

- To add subtitles according to the previous step.

- To review the subtitled sequence.

- To note the imperfections.

- To re-adjust the subtitles by correcting these imperfections.

- To self-assess the translation/adaptation of the sequence according to a list of criteria with a number of points.

- To give a global appreciation and some recommendations before starting the next sequence.

- To specify the role of eye-tracking in adaptation compared to the classical methodology of adapting subtitling.

There are different types of eye-tracking that we can integrate in our methodology, but the basic principle is the same from one tool to another. This technology is becoming popular and is added to different software and hardware programmes and is becoming accessible to all.

Eye-tracking can be used not only individually but also with specific groups in AVT learning to prepare the same sequence simultaneously and to select the relevant elements to help establish adaptation of the audiovisual translation. On the other hand, the affective filter in learning is a mechanism, which determines the amount of input of learners. All trainers know


ISSN#1780>9584# 29#

that teaching in relaxed situations will keep the affective filter low and learners are likely to let in huge amounts of inputv. If the learning context gets stressful, learners' levels of anxiety rise and they find themselves facing threatening situations and they may develop a feeling of demotivation.

Researchers found that exposure to eye tracking is an engaging factor, but may be an entertaining learning task to be associated with a low affective filter. The cognitive process will begin later as a black box or a mediator in between observation and the reception of input by learners. Many questions were asked before creating the hypothesis of the study: concerning the input received by trainees? How many seconds in a sequence should be used to obtain good results? Should the selection and justification of the choice be explained to trainees?

• Before starting the installation of the tools, an announcement of the specific objectives is vital, and giving the instructions without deviating the participants from the main goal of the exercise is as important.

• Afterwards, the trainees start watching the sequence through eye tracking and the trainer starts observing, collects the results of the group and, at the end, analyses.

• The trainers should show and discuss the results of the analysis in front of the group and, if necessary, go back to watch the sequence and verify some or all the results.

• According to a certain consensus in the group, trainers can transform the results into a defined input.

• Trainers show the obtained adaptation to the group and, if possible, they invite other members who did not participate in the action from the beginning to watch the sequence and to give their feedback.

• Trainers verify that each result has its importance in the audiovisual material and evaluate this final product: if it is objective, clear, satisfying and confirms to the operational aspects mentioned in the process, it means that the exercise has met the goal of the training.

Before starting the experiment, we should ask the following questions:

• How many individuals are in the group? 15 to 20 maximum.

• What are the characteristics of the observed relevant factors?

• How many times were the relevant factors frequent?

• What are the qualitative variables?

• What are the factors that facilitate the perception?

• Are the structure and the sonority of syllables in the adaptation of the audiovisual translation clear enough for the audience?

These steps concern certain aspects of the methodology, but not all of them. The methodology is composed of different phases and it is forbidden to leave any gap between them, otherwise the trainers risk creating weaknesses in comprehension, in the evaluation and in the process in general.


ISSN#1780>9584# 30#

Multimodality%and%Audiovisual%Translation%

By%B.!HANNACHI5,!!

Every audiovisual product, such as a film, uses various means of expression to

produce meaning and effect. This would be, in this context, relevant to deal with the film’s component parts, namely the visuals and the soundtrack. The study of these elements would favour a better apprehension of the audiovisual communication mechanisms through semiotics. It would also highlight the interactions between the film components to produce effect and meaning. Since this study deals with audiovisual translation, our interest in the cinematographic means of expression lies in the definition of the various layers of meaning in a film. This approach is likely to locate the verbal language amongst other layers of meaning in order to analyse its impact in the meaning production and the complementarity part it may play with other film means of expression.

The visuals (image): In order to understand the semiotic functions of the image in a film, it is interesting to study the potential meaning it carries. Many questions could arise in this regard, such as: What do we expect from the image? What impact does it have on the message? How does it produce effect and meaning? In order to provide possible answers to these questions, it is important to point out that the film image is animated and technically composed of photograms constituting a shot. Marcel Martin defines it as:

“... The result of an automatic activity of a technical device reproducing exactly and objectively the reality presented to it. This activity is meanwhile performed to match the exact meaning as defined by the director” (Martin, 1985:21).

This definition is interesting in many respects. Firstly, the film image is somehow a reproduction of reality and a presentation of the world in front of the camera. Thanks to the realism effect, movements and colours give credibility to the image and enable it to invite the spectator to subscribe to the reality presented on screen to such a point that they may show reactions and emotions (laughter, tears, screams, etc.). In addition to movements and colours, the realism of the image could originate from its temporal value. The film’s image is always in the present time. Only the personal judgement and vision of the spectator can give it a different temporal dimension. In other words, the image could not be in the past or in the future without the spectator’s approval and judgement. Secondly, there is another element to be considered in the study of the film image, namely the director. This is an important parameter defining the values, thoughts and ideas presented on screen. Mitry (1990) argues, in this context, “The film-maker should have a style; in other words, the skill to adapt his aesthetic knowledge and use it advisedly to produce a personal work”. (Mitry, 1990 :24)

That being said, the film image is a reflection of the subjective filmmaker’s perception of the world through his aesthetic choices and the various technical editing operations that

#############################################################5#Phd.#Researcher#at#CERM#>#FTI/EII,#UMONS,#Belgium.''

#


ISSN#1780>9584# 31#

influence the world presented on screen to move, shock or make the audience laugh. The reality effect produced by the image is actually pure fiction shaped by the creative imagination of the filmmaker.

The image is then one of the multiple layers of meaning in a film. However, the expression function of the image cannot be considered only through the apprehension of the part it plays in the cinematographic language. This could be relevant to evaluate the relationship thereof with other filmic means of expression where other meaning layers could be found. The aim of the soundtrack as another layer of meaning is to back the film image and complete the expression function of it. The sound is a complex element that takes part in the meaning production in a film. It could be analysed through various subcategories since, unlike the film visuals that use the image as a unique means of expression, the soundtrack includes several elements that could be considered as “sound phenomena”. These phenomena could be classified through the consideration of the types of languages used in the soundtrack, namely the cinematographic sound effects (noises and music accompanying the image) and the verbal language contained in the dialogues (script and verbal utterances).

The filmic sounds constitute a third layer of meaning produced by the elements presented on screen through the filmic image (blowing of the wind, sounds of thunder, rain, barking of a dog, slamming doors, engine noise, applause in a theatre, etc.). These elements are rarely autonomous as they generally depend on the film visuals. The role of filmic sounds is to enhance the image’s realism. The synchronization of the visuals and the soundtrack gives every element of the image the appropriate sound. Just like the visuals, the soundtrack is the result of the director’s personal vision. For dramatic purposes, he may not always use raw sounds but could intervene on the soundtrack to include artificial sounds aimed at highlighting a meaning layer and ultimately better provoking the spectator’s reaction. However, the filmic sounds are not always a complement and a mere reflection of the image. Noises and sounds could be autonomously used as a metaphoric symbol or a sound background and yet no element on screen is likely to produce such noises. For comic purposes, for instance, a character may be filmed indoors thinking of his lover with a sound background of seagulls and waves. Although the scene is not filmed on a beach and there is nothing on screen likely to be presented by such sounds, the director included them to highlight the romantic aspect of the character with a hint of humour.

Music is one of the elements included in the meaning of a film. Just like the other sound elements of the soundtrack, music could play two roles. On one hand, it could traditionally represent an element of the image to enhance the realism effect. A scene showing a playing orchestra, for instance, needs appropriate sounds for each of the instruments evident on screen. On the other hand, the use of music could be subtle for purposes beyond realism. Through editing and post-production, the director may include a musical background to accompany images and scenes thus adding an additional meaning layer. For the director, music could be a means to introduce an emotional value to a given scene and thus provoke a particular feeling from the spectator. This is the case of dramatic, romantic or suspense scenes. Beyond the aesthetic value of a film, music could also be used to introduce other concepts. In sitcoms, for instance, there is generally a short piece of music between two scenes to indicate the passing of time. It is not only an element accompanying the image but it punctuates the scenes and gives rhythm to actions. In order to fulfil the aforementioned functions, music should be properly chosen to match the nature of the film and the targeted


ISSN#1780>9584# 32#

audience. The director, in this respect, should adapt the music to the dramatic purposes of the film and thus to the categories of spectators he wants to address. Pop-rock music could be, for instance, appropriate in young audience films (Friends sitcom, etc.).

Dialogues: Spoken dialogues are, by far, the most important benefit of the sound film era. Indeed, a subtle and a fluid means of expression is added to the film’s image, namely the verbal language. It accompanies other filmic means of expression, completes them and enhances the realism thereof. It also offers a new means of character identification through the voice and tone that undoubtedly play an important role in the meaning of a given scene. In addition to the human tone and realism, the dialogue uses the language as a means of communication. Although responsible for the whole work, the director focuses his attention on filmic means of expression and techniques, framing, visuals arts and shots rather on dialogues and verbal utterances. Dialogues reveal, however, the scenarists’ or the scriptwriters’ team work.

These considerations may prove relevant for the audiovisual translation and particularly in the definition of the subject of translation. Our approach is to highlight the various layers of meaning existing in a film in order to locate the verbal language and evaluate the part it plays amongst other means of expression, namely filmic sounds, music and images. It is important in this context to analyse the multimodal mechanisms of meaning production since the layers of meaning are complementary and often overlap. Depending on the audiovisual translation discipline, the multimodal analysis is likely to highlight the layer of meaning representing the field of work of each audiovisual translation technique. While the subtitler and the respeaker are interested in the layer of meaning resulting from the verbal language of dialogues, the audio-describer is interested in the layer of meaning resulting from the filmic image. However, given the overlapping character of the means of expression in a film, the subtitler, the respeaker and the audio-describer need a holistic apprehension of the filmic message in order to fulfil their respective tasks taking into consideration all layers of meaning.

Research in semiotics has been trying to analyse the filmic message by focusing on the parallels between film language and linguistics. However, J. Mitry points out that: “In Cinema, there is no verb-image, subject-image or adjective-image. However, the least shot contains all these elements and no meaning could be assigned to any structure. That is to say that the shot can definitely not be compared to a word. It is a construction unit that yet includes a number of relationships; it is a significant unit, not a unit of signification: A shot is not the equivalent of a word nor it is the equivalent of a sentence. It is rather the equivalent of a set of sentences.” (Mitry, J.1987:36)

It thus seems impossible to understand the meaning of a film taking into consideration its components separately. The multimodal analysis takes into account the interactions of all means of expression in a film. Although these considerations are deeply rooted in semiotics and film studies, they could be clarified through the interpretive theory of translation maintaining that the meaning cannot be apprehended by considering the signification of each element of the speech separately. The understanding of the multimodal language, in which the verbal language plays a part, requires the apprehension of the cognitive context and the interaction of the meaning layers. For the subtitler and the respeaker, the meaning of the verbal language to convey in subtitles is updated by considering the complements of meaning resulting from the image and other filmic sounds. For the audio-describer, the meaning of the


ISSN#1780>9584# 33#

image to convey in the description is updated by considering the components of meaning resulting from the verbal language and the other filmic sounds.

EyeCTracking%and%Subtitling:%%

Our approach in this study begins, first of all, by the apprehension of the technical constraints of subtitling as an audiovisual translation technique. Only a relevant description of the practical problems faced by the subtitler would favour a comprehensive reflection on the subject matter. The considerations we would like to deal with are based on the pilot test (mentioned later in this article), which includes the impact of subtitling as an AVT technique on the audience through eye-tracking device. A practical analysis of how subtitles are perceived by the human eye allowed an interesting and objective description of the technical problems of subtitling. Our objective, in this respect, is to introduce the eye-tracking device as a possible tool to address the technical constraints of subtitling. The technical constraints of subtitling: Subtitles are a subtle element with an important amount of information integrated to a film as an external element yet to be an integral part of the whole work’s meaning. However, the practice of subtitling as an AVT technique remains pragmatic and obeys a set of strict standards and requirements.

“Subtitles are generally condensed translations of the original dialogues (...) which appear as text lines often at the bottom of the screen. The subtitles correspond to an appropriate portion of the dialogue or original text. (...). The visual and oral nature of the subtitles and the re-expression process implies different constraints in terms of both translation and realization process” (Luyken G.-M., 1991 :41).

Thus, audiovisual translation is faced with new constraints, in addition to the traditional translation problems (cultural, cognitive, etc.), as it has to be condensed for a better integration on screen. The subtitlers should not only have translation skills and knowledge but should also be conversant with the rules and requirements of subtitling as an AVT technique. The synchronisation with the original spoken dialogues implies subsequent difficulties of readability regarding the restricted display time of subtitles.

With a graphic presentation on screen, subtitles are governed by pragmatic rules aimed to save as much space as possible and therefore not to overload the screen and hamper the image. Many parameters must be taken into account; the number of characters displayed on screen must be in the range of 32/40 characters (Luyken, 1991:45). The finished subtitle should then not exceed 50 to 70% of the original script (Tomaszkiewicz, 1993:24). However, the studies of Marleau) (1982) focus on human reading ability, pointing out that the eye needs a minimum number of successive images exposed by the same text. This required minimum is determined by the necessary time taken by the human eye to read a word of 5 to 8 letters. This is approximately the equivalent of a second, the time taken to display 24 images (1982: 276). The eye-tracking test on the reception of subtitles conducted by our team last year was interesting in terms of the observation of readability difficulties related to subtitles. The shift from the auditory communication channel (reception of spoken dialogues through hearing) to the visual communication channel (reception of spoken dialogues through reading) implies interesting considerations regarding the reading speed. In this context, the psycho-perceptual theory also provides solid grounds to support the effectiveness of subtitles in the memorisation of input. According to Paivio's (1986) dual coding hypothesis, as mentioned by


ISSN#1780>9584# 34#

Ghia (2012: 13-14), signs belonging to different systems activate each other when they are dually coded (i.e. coded verbally and nonverbally), since they are linked by referential connections.

Eye-tracking possible use as a tool for multimodal analysis in subtitling methodology: Adaptation is one of the most important concepts in subtitling methodology. Due to the specificities of subtitling as an AVT technique, the subtitler is not only asked to translate the script but also to adapt it for the screen, abiding by the space and temporal technical rules of the discipline. The condensation of the verbal message contained in the dialogues thus proves necessary. The notion of subtitling is in fact often considered as a mere mathematic and linguistic operation. Condensation in this context could be abusive in such a way that the subtitles are reduced without considering their communication function. The aim becomes strictly respecting the subtitling technical requirements to the detriment of the meaning of the multimodal message. The adaptation is in this case a pure linguistic technique. Besides, the adaptation, in this context, does not take into consideration the multimodal aspect of the film. It could be performed without considering the content of the film’s visuals and soundtrack. The multiple layers of meaning in a film contained in the image, the sound and the verbal language have to be analysed holistically before any adaptation or condensation operation. Our approach, in this respect, is based on the apprehension of the film multimodality and the analysis of the meaning layers lying in each film component (image, sound and dialogues) in order to locate what the subtitler has to adapt, taking into account the interaction of the subtitles with other means of communication evident on screen (the visuals). Giving these elements, we consider the subtitle as a unit of meaning that has to be intelligible and designed to be complementary with other elements of the film. At this stage of our research, we suggest possible solutions to the problems of subtitling thanks to the introduction of eye-tracking technology in the subtitling methodology. Regarding the space and temporal constraints of subtitling, a multimodal analysis of a film through eye-tracking is likely to highlight the complementarity potentials between elements of the image and the verbal language to be adapted in written subtitles. Abiding by the technical space and temporal rules of the discipline implies using the minimum of words to convey the maximum of information in a short period of time. Thanks to the analysis of the eye movement and gaze fixation on a particular element of the image, it is possible to identify the most important parts of the visuals in the meaning production. The result of this experiment would help the subtitler avoid the reproduction in the subtitles of elements evident on screen. The phenomena of multimodal redundancy could then be addressed with the consideration of the multimodal message in the preparation of subtitles. The most important visual elements in the production of meaning are then not repeated in subtitles for they can already be apprehended visually. The introduction of eye-tracking in the subtitling methodology as a multimodal analysis tool would overcome the technical spatiotemporal issues of the discipline. This theoretical approach will be applied through a detailed eye-tracking experiment (to be conducted soon). The presented considerations constitute a preliminary reflection on a future methodology of subtitling that uses eye-tracking technology as a multimodal analysis tool.


ISSN#1780>9584# 35#

Action%in%Audiovisual%Translation%through%EyeCTracking%By%%%%%%%%%%%%%%%%%M. BAUWENS6,%#

Eye-tracking and technical norms in subtitling:%We conducted a study on the impact of the subtitles layout on the reading speed, in collaboration with civil engineersvi at the TCTS Laboratory of the University of Mons, Belgium. Eighteen participants were tested using eye-tracking technology. Our main objective was to highlight the importance of some selected parameters (the font, the colour and the size of subtitles) on reading speed and readability, even if we were not going to obtain inference of these results.

Participants: Eleven out of eighteen members of the tested sample were between nineteen and twenty-five years old. We also had six people between twenty-five and thirty years old and a fifteen-year old. According to preliminary form, the main part of the group (eleven persons) used to watch subtitled TV-shows more than twice a week. Also, seven people of the group studied are studying translation.

Hypotheses: Before starting the tests, we tried to foresee the results. We thought that the white subtitles were likely to be the favourite, followed by the yellow and bigger subtitles. We also believed that the red and green subtitles were likely to cause some discomfort among the participants since these colours are said to be aggressive and even disturbing for the eyes. Therefore, we guessed that they were likely to get the worst results.

Audiovisual material: In order to conduct this study, we first needed an audiovisual material that was unknown to the participants. We also wanted to use a film in a foreign language unknown to any member of the group, and especially the translators. Therefore, we took five film strips from the Polish movie Uwiklanie by Jacek Bromski (2011). Each clip was between sixty and ninety seconds long. We translated and subtitled the official English script. Each subtitle respected the following standard rules:

- Maximum 37 characters per line - Two lines per subtitle

Each sequence had its own subtitling parameters, as shown below:

Font type Font colour Font size Border

Seq. 1 Arial White 24 None

Seq. 2 Arial Yellow 24 None

Seq. 3 Tahoma Red 24 yes (val.2)

Seq. 4 Arial Yellow 28 yes (val.2)

Seq. 5 Comic sans MS Green 24 None

#############################################################6#Audiovisual Translator/ Researcher at CERM, Belgium#


ISSN#1780>9584# 36#

Eye-tracking tool: to track each participant’s eyes, we used Seeing Machines' FaceLab 5 eye-tracker. FaceLab 5 consists of two cameras and one IR light projector. In short, the IR light is reflected in the eye's pupil while the two cameras track the reflection making the software able to determine the position of the eyes and the exact gaze direction. When used with a computer screen, FaceLab 5 is able to give the accurate position of the gaze on the screen. FaceLab 5 is a non-invasive device that can be placed just in front of a screen. To avoid any interference, the participant does not have to wear anything. This is why we chose this particular model. We wanted all the members of our sample to be as comfortable as possible in order to obtain the most natural reactions and therefore the most accurate results. FaceLab 5 is able to track the following elements: the head position and rotation, the eye position, rotation and gaze, the pupil diameter, the blink frequency, etc. In order to be accurate, FaceLab 5 needs to perform a short calibration process for each individual.

Test protocol: The eighteen participants were asked to come individually to the UMONS TCTS laboratory at a specific time. None of them had been given any information about the test. They all had to wait in a waiting room with one member of the CERM team who had to make sure that they were all at ease. Another team member invited the participants one by one and placed each one in order of turn in front of the computer to perform the calibration process. At this point, the viewer had to sit quietly in order not to change the calibration. We then explained the test process, but we did not inform the sample members that their eye movements were recorded by the computer, because we wanted to make sure that they did not influence the results by trying to "control" their eye movements. We tried to recreate a "neutral" environment. The test was fully automated by a computer programme and fulfilled our needs to leave each participant alone to avoid any distraction. The light in the room was also turned off. The first screen showed the programming language on a white background with some instructions on it, and an "OK" button. By clicking on it, the first movie sequence started. After each sequence, a new blank window appeared and the volunteer had to click on "OK" to start the next sequence.At the end of the test, we returned to the room and stopped the tracking process. We gave the participant a questionnaire feedback form. The aim of this form was to know the preferences of the volunteer regarding layout. We later confronted their preferences to the data provided by FaceLab 5.

Eye-tracking data: At the end of the test, FaceLab 5 creates a video file. When opened, this video shows the five movie sequences that had been shown to the participant with a green dot. This green dot actually shows where the participant was looking on the screen and moves at the same time. This video allows us to see the viewer behaviour.To obtain the numerical data, we used a software programme included in the FaceLab Software Suite (MathLab). This software can load the movie created by FaceLab 5 and work on it. We first took each sequence and delimited two areas: the subtitles area (their place on the screen) and the video area (the rest of the screen). Doing this enabled the software to figure out the amount of time spent by the volunteer's eyes on both areas. This data allowed us to find out which sequence had the shortest reading time (in other words, the shortest amount of time spent on the subtitles area).

Analysis of Results: The data provided by FaceLab 5 confirmed our hypotheses. The "Arial white" subtitles got the shortest reading times. The "big Arial yellow" subtitles took the second place, followed by the "regular Arial yellow" subtitles. The red and green subtitles got the longest reading times. Surprisingly, we highlighted two kinds of reaction with the green and red subtitles. Through the video created by FaceLab 5, we saw that some people tended to stay longer on the subtitle, and sometimes, read it again. On the other hand, some seemed to be really uncomfortable: their eyes tended to literally jump from the subtitles area to the video


ISSN#1780>9584# 37#

area successively, as if it was hard to stare at the green or red text. In both cases, the reading speed was by far longer than the reading speed of the white and yellow subtitles.

Participants' preferences: The results of the feedback forms met the results of the eye-tracking test: the white subtitles were the favourite, followed by the yellow ones. Red and green subtitles came in last. The most interesting information found in these forms came from the spontaneous members’ comments of the sample group; some preferred the white subtitles because “they are used to reading white subtitles on TV". We had the same comments for the yellow subtitles by those who are used to watching ART Channel and put them in first position. It seems that habits have a very important role in the subtitling field.

The Test Conclusion: As every audiovisual translator knows, one of the most important issues of subtitling is to convey the original message into another language while respecting a spatiotemporal constraint (only two lines and a maximum of 40 characters per line). Our main objective is also to offer the best audiovisual experience to the viewer. To be able to enjoy the visual part of a document, we should try to reduce the amount of reading time spent on the subtitles, and therefore maximize the time spent on the images. In this particular case, the eye-tracking device allowed us to emphasize the fact that the choice of the subtitling parameters is an important matter. As we have seen, this can affect the reading speed, for example, only by changing the colour. Eye-tracking could therefore be used to highlight the exact issues faced by the audiovisual translator and also by the viewer, so we can try and find a solution. There is a correlation between the subtitles’ parameters and the reading speed.

EyeCTracking%in%Respeaking:%I.!DODERO7,%%

Respeaking is a technique of live subtitling based on vocal recognition and shares common features with simultaneous interpretation. The objective is to shed light on the technical problems of the reception of respoken subtitles in order to meet the target audience’s needs through eye-tracking. The considerations dealt within the framework of this discipline would emphasise the benefits of eye-tracking in respeaking to obtain a better reception in audiovisual translation strategies. The latter used in different contexts, such as television, podcasted programmes (sports and news) and conferences, would help viewers in many fields. The respeaker reformulates the source message, dictates it to the speech recognition-based software that turns the original speech into subtitles, with a delay of approximately 3 seconds. Dragon Naturally Speaking is one of the dictation systems used in respeaking. Sysmedia installed a respeaking system in the CERM to offer trainees the possibility of using it anytime. Both systems have to be calibrated to recognize the voice and the respoken utterances. As they are not yet infallible systems, the subtitles should be revised before editing. Time constraints are unavoidable, especially in the case of live programmes or conferences. Live subtitling through respeaking is divided into two types: intralinguistic and interlinguistic. Respeaking was first dedicated to the deaf and hard of hearing in an intralinguistic perspective to apprehend the oral elements of speechvii. Afterwards, this technique took an interlinguistic dimension and has been used to give access to a text in a foreign language by subtitling the source message by interpreters in the language of the target

#############################################################7#Interpreter#&#Phd.#Researcher#at#CERM#>#FTI/EII,#UMONS,#Belgium.#

#


ISSN#1780>9584# 38#

audience. We will focus on the intralinguistic subtitling for the deaf and hard of hearing (HoH).

Audience and Issues of Respeaking: we consider the problems faced by hearing impaired people while reading respoken subtitles in the aim of achieving a high quality of speech for the deaf and hard of hearing. As a matter of fact, reproducing a suitable level of language for this audience represents one of the most important challenges of the respeaker’s work. In spite of the intralinguistic dimension, the live subtitling process for the deaf and hard of hearing implies a linguistic and cultural shift, revealing the specificities of the HoH community, regarding the language difficulties. The process of such activity is not a mere repetition from the source language to the target language, but a re-adaptation of the message for the linguistic and cultural needs of this community. Moreover, it is important to recap that the audience is often heterogeneous as there are different levels of hearing loss amongst the hearing impaired. While some of the HoH have a limited ability to hear sound, yet a good ability to lip-read or to read respoken subtitles, others have many difficulties in reading respoken subtitles and would not use this technique at all.

“Deafness may be defined in terms of audiological measurements, focusing on the causes and severity of the impairment, but it can also be seen in terms of social integration and language usage” (Neves 2005: 83).

If we refer to sociolinguistics, we denote Perego’s (2003) concept of “diamesic shift” concerning the change of communication channel which seems to be relevant in the respeaking context. In interlinguistic as well as in intralinguistic subtitles, a “diamesic shift”, recoding which involves transferring from oral to written language, intervenes in the process of respeaking, but also requires other parameters to be taken into account. In other words, it is essential to reproduce some para- and extra-linguistic aspects of nonverbal communication, such as noises, applauses, music, emotions, irony, etc. that will otherwise not be perceived by people with a hearing impairment.

Questions: The audience often encounters difficulties related to reading speed. According to our experience with the APEDAFviii, these problems would originate from inconsistencies between two linguistic systems (different lexicons, for instance).

This social dimension of AVT demands a better knowledge of viewers’ needs, reading habits, and reception capacity (Gambier 2009:22).

How can a “better knowledge of viewer’s needs” concerning live subtitles through respeaking be enhanced on a scientific basis? Our aim is to highlight this question by means of eye-tracking technology. This tool is based on a psychological aspect and requires a cognitive process where the viewer is able to answer selectively to external stimulus. Two variables are related to this selection: object features (quantity and quality of information, image aspects, such as colour or shape) and subject features (i.e. needs, requirements and past experiences)ix.

Moreover, the recent study of Romero Frescox about the respoken subtitles quality reception using an eye tracker encourages us to include this tool in our research to achieve two objectives:

1. To measure reading speed. 2. To explore relevant linguistic factors.


ISSN#1780>9584# 39#

The initial step is to select a significant sample of subjects of two main groups: deaf audiences and people with hearing residual, so as to avoid generalizations. The second step involves choosing a sequence of two different genres of audiovisual supports. After, the audiovisual material is shown to the participants.

Some questions will be kept in mind before starting the experiment, starting with those connected to the first objective mentioned above:

- What is the reading speed of hearing-impaired people?

- Does the reading rate change according to the level of language and content?

- Does the subject of speech (scientific conferences) affect the reading speed?

At this point, the primary potential benefit of the eye tracking technology is that we might be able to measure reading rate from a non-homogenous audience on account of different degrees of hearing loss, as we noted earlier. The degree of reception problems in reading subtitles would be highlighted through a questionnaire presented after the session. We would emphasise the degree of reception problems by reading two lines of sentences for instance, attempting to highlight their preferences by presenting a questionnaire after the session.

The results of this device could favour a reflection on how to handle the gap between the reading speed of hearing impaired people and the speed of respoken subtitles obtained through speech recognition. We assume that a high displaying rate of subtitles could disrupt the reading.

The following questions are strictly tied to our second objective concerning the linguistic dimension:

- How does our audience react to verbatim subtitles and adaptation?

- What does the audience read the most? What is easily readable?

- What are the most problematic structures for reading? Are they grammatical, syntactical or lexical?

- Does lexical or grammatical redundancy help them to better understand the message?

- Does the eventual presence of an idiomatic expression or a metaphor in respoken subtitles hamper their reading?

First of all, as Romero Fresco (2009) notes, we have to bear in mind that respoken subtitles are characterized by a shorter syntax than classic subtitles. In addition to this, the software imposes the segmentation of subtitles.

One of the challenges for a respeaker is to be able to meet the needs of his audience. The question is it preferable to privilege verbatim subtitles, as hearing loss associations and time constraints suggest or rather favour reformulation (Eugeni, C. 2008a). Eugeni wonders whether it is preferable to privilege verbatim subtitles or rather favour reformulation. The risk is to give rise to a levelling of subtitles. Eye-tracking will help respeakers to understand the reading habits of this audience thanks to the identification of the gaze direction. The objective is to determine whether a higher cognitive effort is needed when verbatim subtitles are used, or if an adaptation of the message is needed. Analysing the length of the task could better


ISSN#1780>9584# 40#

evaluate how to really increase the instructive value of the subtitles and improve reading skills.

Therefore, the assumption is that respoken subtitles have an important didactic function, because simple and short sentences require less effort than long sentences with more complex structure, as well as a known vocabulary rather than unknown terms more accepted by the HoH community. Nevertheless, we can reconsider the didactic role of subtitles and measure the attention of deaf viewers to new vocabulary. How is it read? We also assume that readability should be considered with regard to the intersemiotic dimension. Images are relevant elements too, but often these are not synchronized with the target message because of the delay of respoken subtitles, probably risking confusion of the viewers. The results might be different for the two sample groups, but could prove very useful to tackle difficulties in the reception of the respoken subtitles as well as in the reading rate and the linguistic structure. It is obvious that the respeaker’s task is not simple, but as he is the mediator then he has to restore the balance between the two groups.

AudioCDescription%and%EyeCTracking:%W.!OUCHEN8,%%#

Audio-description texts are written according to the specificity of the multimodal message, a message that includes, but goes beyond, the verbal dimension. This message is conveyed through several paralinguistic means of expression. The audiovisual material is based on both auditory and visual elements, and their interactions. This pair makes the meaning production mechanisms more complex. Therefore, the input of translation studies and film studies plays a major role in the analysis of audiovisual texts in a translational perspective. Film analysis is an essential step in preparing AD texts. It allows AD professionals to decode the message of the film for a relevant description of its visual components, whilst the blind and visually impaired audience appeal to, in addition to the director’s main message, their personal experience and the collective consciousness that surrounds them. Thus, before drafting any AD text, understanding the film’s multimodal message proves to be a perquisite. The audio-describer should know how to read all the possible meanings conveyed by its manifold channels. The audio-describer fulfils the same task as a translator but instead of translating words and conveying the meaning from text to text, he shifts from one channel (visual communication) to another channel (oral verbal communication), translating the meaning of images into verbal description.

AD could then be considered as a particular form of translation and be defined as an intermodal translation (Braun 2009). Besides, the audio-descriptions interrelate with other channels of expression, such as the visuals and the soundtrack. AD does not only take an interest in the visual content, but also, like in any audiovisual material, the various channels of expression to jointly produce meaning. Braun maintains that apprehension of a multimodal material should be “holistic”. It should be examined in its entirety. However, our research focuses on the audio-description of dubbed films for the involvement of an interesting intercultural aspect. Such materials address audiences of a different cultural environment from #############################################################8#Phd.#Researcher#at#CERM#>#FTI/EII,#UMONS,#Belgium.#

#


ISSN#1780>9584# 41#

that of the original version. This implies the consideration of other problems related to civilizational, cultural and ideological elements in addition to the traditional constraints of AD technique. The lack of a common or universal AD guidelines is one of the major subjects that grasp the attention of both researchers and professionals. In its early stages, AD scripts were drafted by some volunteers and few professionals, and even if the discipline is still lagging behind subtitling today, it is nevertheless gaining in popularity, mainly after the launch in 2011 of the European project ADLAB aimed at helping the blind to access media and drafting reliable AD guidelinesxi. However, every country has its own guidelines and most of these guidelines lack objectivity as they are based on experience instead of research.

Therefore, AD is a discipline that requires teamwork. The team is generally composed of three people: two audio-describers, to complement one another to best make objective descriptions and overcome constraints, and a visually impaired member to pinpoint information gaps and imprecisions. Another point to consider is that AD audiences are always assorted, as pointed out by Benecke (2004), in other words, from totally blind people who were born blind without any visual memory to people who became blind or lost their vision later in life and the partially sighted who are still able to see a little bit. The essence of a quality AD is meeting the needs and expectations of these different viewers at once.

Besides the spatiotemporal constraints, AD should respect the content of the original work, the author's style and genre, as it conveys, in addition to the images that encompass an infinite amount of information, its emotional effect, aesthetics and poetry, and above all, AD should be objective and neutral, but not monotonous. The audio-describer’s choices often involve a degree of subjectivity: one person will evoke a facial expression, and another will focus on a landscape. So, how can subjectivity be reduced in the selection of the visual elements to audio-describe? It is not always easy to tell what these people see without including their personal interpretation, especially when it comes to gestures or emotions. Often when watching a film, several questions are raised and criticism is levelled. It is therefore important to give the blind and visually impaired the opportunity to form their own idea and shape their mental image, which is one of the major constraints of AD. The audio-describer should not spoil the information presented on the screen but should make sure that the description does not give a subjective interpretation of the cinematographic values of the film.

In this article, we try to address this issue from an interactive angle between three major disciplines to be carefully considered. This interaction implies dubbing and audio-description as audiovisual translation (AVT) techniques, eye-tracking as a new technology and its role in addressing AD objectivity-related issues, and meeting both theoretical and practical needs. Furthermore, greater attention will be paid to AD issues and its constraints related to the transmission of the meaning and the effect of a film through oral description without disclosing the plot and the element that were supposed to be portrayed in the original film. At first sight, it may not seem quite obvious to find a link between dubbing and AD other than the fact that they are both techniques of AVT. However, in order to find solutions to problems related to the selection of the relevant features of the image to be audio-described to the blind and visually impaired, eye-tracking technology can be of more beneficial when selecting the most relevant parts of the image to audio-describe. A comparison between a dubbed film and its perception by a sighted audience has to be carried out. The relevance of this approach lies in the fact that the perception of the image elements of a dubbed film would


ISSN#1780>9584# 42#

give indications on the features of the image that are most relevant in the meaning production in a given scene and ultimately help audio-describe them for the blind and visually impaired. It is in this sense that the eye-tracking technology happens to be of paramount importance and cannot be ignored. It helps collect data to locate the areas of interest observed and shared by the viewers when watching audiovisual material. Analysing the eye movement and visual path would enable this tool to help define an objective approach to select the most relevant visual elements to audio-describe.

This research, carried out by our team, and the data resulting from it would be backed up by other methodological approaches. The purpose of this study is to show the relevance of inputting eye-tracking technology in identifying the main features of audio-visual content, which would most likely help establish consistent AD guidelines, enhancing objectivity in the performance of the audio-describer. We hope this study will shed light on the intercultural multimodal aspect of nonverbal communication as well as on the shift from nonverbal communication to verbal communication through audiovisual translation.

Conclusion: New technologies are considered a huge support for translators and interpreters. This alliance is fundamental for the evolution and development of all disciplines in translation and interpretation, particularly the multidimensional aspect of audiovisual translation that may become the most developed in the very close future. Eye-tracking is an ICT tool that can offer assistance to our teams of researchers to develop methodologies, as well as to define and specify training objectives, cognitive activities, assessment and feedback. AVT trainers usually emphasise their training according to a technical methodology by repeating audiovisual sequences many times to help trainees in the adaptation strategy. Essential training based on the trainer’s own appreciation of what is relevant and what is not must be implemented. Trainers cannot measure the operational approach to be based on evaluation criteria nor expect the results of the task. What kind of cognitive activity should the trainer expect the trainee to apply and what kind of specific objectives do we want to achieve? Eye tracking trainers might consider these questions and the possible answers regarding relevance and what should be taken into consideration in audio-visual translation/adaptation (subtitling, respeaking and audio-description). An objective process based on the majority of the group members’ point of view and also on what eye tracking has so far revealed.

References:

Benecke, B. Audio-description. Meta, Translator's Journal , 49 (1), 78-80, 2004 Braun, S. Audio-description from a discourse perspective: a socially relevant framework for research and training. Linguistica Antverpiensia NS , 6, 357-369, 2007. Braun, S. Audio-description Research: State of Art and Beyond. Translation Studies in the New Millenium , 14-30, 2008. D’Ydewalle, Géry, ‘The Mind at the Crossroad of Multiple Ongoing Activities : A Challange to Cognitive Psychology’ in Lars Bäckman and Claes von Hofsten, eds, Psychology at the Turn of the Millennium. Cognitive, Biological, and Health Perspectives (Hove: Psychology Press, 53-78, 2002.


ISSN#1780>9584# 43#

Eugeni, C. A Sociolinguistic Approach to Real-time Subtitling: Respeaking vs. Shadowing and Simultaneous Interpreting. (K. B. J. Cynthia, Éd.) International Deaf Communication , 72, 357-38, 2008a.

Eugeni, C. (s.d.). Introduzione al rispeakeraggio televisivo. Intralinea on line translation journal . Gambier, Y. Challanges in research on audiovisual translation. (A. P. Perekrestenko, Éd.) Récupéré sur http://isg.urv.es/publicity/isg/publications/trp_2_2009/trp_2_may_3.pdf, 2009. Géry, D. The Mind at the Crossroad of Multiple Ongoing Activities: A Challange to Cognitive Psychology . (P. Press, Éd.) Lars Bäckman and Claes von Hofsten. , 53-78, 2002. Ghia, E. Subtitling Matters: New Perspectives on Subtitling and Foreign Language learning. Bern: Peter Lang AG, International Academic Publishers, 2012. Hamaoui, N. Training and Methodology in Audiovisual Translation. Interpreting and Translation Studies Journal, , 14 (N° 1), 343-369, 2010. Joan, R. A Review of Second Language Listening Comprehension Research. The Modern Language Journal , 78/2, 199-221, 1994. Luyken, G.-M. Vaincre les barrières Linguistiques à la télévision, doublage et sous-titrage pour un Public européen, . (I. e. communication, Éd.) Manchester, 1991. Marleau, L. Les sous-titres... Un mal nécessaire. Meta , 27 (3), 271-285, 1982. Martin, M. le langage cinématographique (éd. le Cerf), 1985. Mitry, J. Esthétique et Psychologie du cinéma (éd. Universitaires, Vol. I). Paris, 1990. Mitry, J. La sémiologie en question (éd. du Cerf). Paris. 1987. Neves, J. Audiovisual Translation: Subtitling for the Deaf and Hard-of-Hearing. (R. University, Éd.) Récupéré sur http://rrp.roehampton.ac.uk/artstheses/1, 2005. Orero, P. Audio-description Behaviour: Universals, Rgularities and Guidelines. International Journal of Humanities and Social Science. , 2 (17), 2012. Paivio, A. Mental Representation: A Dual Coding Approach. New York: OUP, 1986. Perego, E., Evidence of Explicitation in Subtitling: Towards a Categorization, . Across Languages and Cultures , IV (N°1), 63-88, 2003. Pilar, O.,Film reading for writing audio-descriptions: A word is worth a thousand images? (E. Perego, Éd.) Trieste, 2012 Romero, Fresco, P., More haste less speed: Edited versus verbatim respoken subtitles, in VIAL, Vigo International Journal of Applied Linguistics, N° 6, 109-133, http://webs.uvigo.es/vialjournal/pdf/Vial-2009-Article6.pdf, 2009. Safar, H., Curriculum d’Education et Projet pédagogique, édition le Cercle- Bruxelles, 1992. Tomaszkiewicz, T., Les opérations Linguistiques qui sous-tendent le processus de sous-titrage des films (éd. Les Presses de l'Université Adama Mickiewieza), 1993. Williams, B. S. The Effect of Bimodal Input in Implicit and Explicit Memory: An Investigation of Within Language Subtitling. Applied Psycholinguistics , 23/4, 509- 2002


ISSN#1780>9584# 44#

NOTES:

#

#############################################################i Study on the use of Subtitling - The potential of subtitling to encourage foreign language learning and improve the mastery of foreign languages, http://eacea.ec.europa.eu/llp/studies/study_on_the_use_of_subtitling_en.php ii The structural–global method of “Guberina” in teaching foreign languages. iii Hamaoui, N. (2010). iv for further information : E Learning Moodle Platform UMONS, Belgium v Study on the use of Subtitling - The potential of subtitling to encourage foreign language learning and improve the mastery of foreign languages, http://eacea.ec.europa.eu/llp/studies/study_on_the_use_of_subtitling_en.php vi Matei MANCAS and Nicolas RICHE, Researchers,PhDs at Polytechnics UMONS vii Eugeni, C. Introduzione al rispeakeraggio televisivo, in Intralinea, online translation journal. viii Parents Association for HOH children, Brussels, Belgium ix Eye Tracking e Movimenti Oculari. The Eye Tracking Company: http://www.srlabs.it/it/cor-eye-movimenti-oculari.html x Romero Fresco, P. Quality in respeaking : The reception of respoken subtitles, http://www.mediaforall.eu/all3/pal_6d_romero.html xihttp://www.adlabproject.eu/. Last consulted: 09.04.2013 http://www.adlabproject.eu/Docs/ADLAB%20Infosheet.pdf

Trois prestigieux diplômes universitaires au CERM (umons.ac.be – FTI- Belgique, www.cermumons.be) diplômes reconnus mondialement, dont le DOCTORAT:

- Masters 2 en traduction ou en interprétation de conférence Ar-F-E,

- Master de spécialisation en Traduction ou interprétation, en Traduction audiovisuelle ou en Négociation multilingue:

https://portail.umons.ac.be/FR/universite/admin/aff_academiques/serv_gest_etudes/admission/Documents/Masters%20complémentaires/Admission%20MC%202014-2015.pdf

- Doctorat en Traductologie.

Ce dernier est un projet de recherche qui prend en moyenne trois ans de préparation, et confère le titre de docteur en Traductologie. Le thème de la recherche détermine l'orientation, par exemple la traduction et les TIC, la visio-interprétation, la tradprétation, La TA/TAO, la traduction audiovisuelle, etc..

Pour information et liste des éléments du dossier d'admission à présenter, veuillez consulter la page via le lien suivant:

https://portail.umons.ac.be/FR/universite/admin/aff_academiques/serv_gest_etudes/inscription/Documents%20DOCTORAT/Première%20inscription%20doctorat%202014-2015.pdf

Pour plus de détails: [email protected].#


ISSN#1780>9584# 45#

##############################################################################################################################################################################################


ISSN#1780>9584# 46#

##############################################################################################################################################################################################


ISSN#1780>9584# 47#

##############################################################################################################################################################################################