6no.=75iYF.L Course Unit Code & Tit te: ELAN 60102 Translat ion and Interpret ing Studies I Ir

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Process and Skopos of South Park Dubbing

INTRODUCTION

There are times whenudrtain translated version is4ore popular than the the original one in the

target culture. It is not the case in which the idea that is conveyed in the content itself is more

welcomed in the target culture than in the source culture. Instead, the target text (target text)

receivers in the target culture feel disappointed when they receive the source text afterwards. One of

the examples of this phenomenon is South Park, a cartoon series made in the United States, then

dubbed in Taiwan. The objective Of this essay is to investigate this example infrie light of George

Steiner's hermeneutic motiorYand i?.eiss & Vermeer's skopos theoryV

Steiner asserts that there are four stages in the translation process: initiative trust,

aggression, incorporation, and compensation. First, before a text is transJate.d, it must be selected;1-r/ui/tQr lat-t flift' t tL /t.', o r

because there is something valuable that the translator believes is worth passing_to u"th}JT-g.%1g:.rnC(7.

and/or culture. Second, when translation begins, the decipherment of form and the extraction of

sense is termed 'aggression'. The scholar likens the source text as an open-pit mine and the

translator as the invader, who ruins the original appearancgrThird, the consequential influence that

is brought to the target language structure and target culture is believed to be either pr advantageous

or disadvantageous. On the one extreme, the new elements added to the target language give extra

vitality to it; on the other extreme, the foreign elements are not accepted, so the target text stays

outside of the target language canon. The metaphors given for the two circumstances are: receiving

a gift if the incorporation is successful, and if not, the target language and target culture will be

immune to the bacteria in the future. Fourth, the penetration of the translation into the source text

needs to be compensated in order to retain equilibrium in the system. The compensation is that, nowl,l-l.Li:,-

matteffiiffgettext is well or badly received, the source text is always enhanced through the

dialectic relationship between the two of themlln this relationship, the target text takes some of the

power away from the source text, and the source text gains a second life in the foreign culture and is

spread and known to wider r€n€darea1 Q97511992:312-319),( tL

Steiner's model raises awareness iothe long hidden, but important cause of the act of

translation and it also provides a way to look at the translation by sequencing according to which a

text is rendered from A language to B language.Ats depiction of the dialectic relatio4ship between

the two languages and cultures-plrall pe ex-amined by.qppJyifg it.to the cartoon series,.soqth Rarkftn-------- ,(i,'q)"lrq CuLi-'.trcL(-'/' (:4( /2c.. ''c\t*e(^-t /'n .r:*-'." --

this essay. )o*.lr.., ry.norre_o'f (e thgfries i1 g{t, some problematic aspects of this model shall./

be addret'sed as well. The common value which attracts the translator to translate mentioned by

Steiner is merely an abstract concept. Although he does point out that nonsense rhymes are

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'untranslatable' because "there is nothing there" (191511992: 196) to be conveyed, but it remains

unclear what exactly is the 'something' that is worth translating. On the other hand, the extraction

of sense from the source text is emphasized, but it is notable that Steiner does not mean extraction

that is done randomly. Among the many decisions that the translator has to make, the act of

choosing according to certain preferences is bound tg happen. It is more common for one to try tofld-

achieve successful incorporation than to marginaliz|;larget text on purpose. And the criteria for

'successful incorporation' alsp varies. One may endeavor to disrupt the literary canon of the targethrtli- C""'

language by experimentingprnusual translation method (for example, by adhering more to the

source language syntax), or one may try to advocate the new ideaslithe target culture by

sacrificing some layers of meaning that the source language encompasses so that the target text is

made more natural and easier to understand. ffst as there are different opinions regarding what/^""/LL(L

success is (for instance, some seek for a life that brings happiness, some view 4jhnes!- as the key to

a fulfilling life), there are also diverse factors that influence the method one uses in pursuing a

" perfect translation. In order to clarify how and why the production of the target text is influenced, it

is essential to transcend the restriction of dichotomy (such as accurate or inaccurate, faithfulness or

betrayal, domestication or foreignization), and turn the focus from the textual level to the contextual(Lvr( , - 'aL ) /'c:'

level. One of the theories that gives much importance on-considering the context is Skopos Theory.

Skopos, a word originally from Greek, means purpose or goal. The name of this theory was

given by Katharina Reiss and Hans J. Vermeer and was proposed in the 1980s. The main argument

of skopos theory is that the target text should be formed according to the needs of the target text

recipient. Thus, it is reasonable for a source text to be translated into many different versions of

target text. If the target text comes to be coherent ryith condition of the target text recipient, the;/ fla .f'

translation is deemed successful; if not, orfven leads to protest, which means that the feedback of

the reception is unanticipated, then the translation.is {eemed a failure (Reiss & Vermeer 1984:112).t . , , , - \r-: l - ' _l f

Knowing the skopos of the target text means @ry-bow the users will be interpreting and

receiving. |1l1$_trediction

is to be proved by the feedback of the user. The feedback of the user

is the response to tfre taiget t#;;;i"f"imaiion oTFr. I"fqrffiiop pfler isia term that Vermeer-g '. C /t2- ct' i\7Q ̂ "''--:-,rt3'...-

(1982:99)'uses to describe the source text. They prefer to view source text as an invitation of

interpretation. The recipient, including the translator, is free to comprehend and interpret the text in

his/her own way. The translator, accordingly, should treat the information offer in compliance with'/h",T l\_ 2

the two rules that Reiss hndYerfireer put forward. The two rules are: first, interaction is determined

by its purpose; and second, purpose varies according to the text receiver (1984:101). The

assumptions will be implemented and explored later in the discussion.{ llar,t qcr fe(iC( tt*J

i'n 6dr,n"c-^ ISOURCE TEXT AND TARGET TEXT INTRODUCTION

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South Park is an animation series made in the United States by two Americans, Tre1.P,1ker

and Matt Stone. The show is aired on Comedy Central every week and the production of it is done

within three weeks in the first seasons. Currently the animation team can create one episode within

a week. This allows the script writers to produce content that responds quickly to current events.

For instance, in 2005 the Terri Schiavo case which lasti for 15 years came to an end as the feeding

tube was finally removed from Terri, a patient who i-s, diagnosed as being in a persistent vegetative

state. There had been much debate about whether it is morally right to let her die. The case attracted

much attention and was still controversial when the decision to remove the feeding tube was passed

in the court. It was under such circumstances when the episode 'Best Friends Forever' was aired.wJl I r lwt luJ I vtwvwt YY4J 4lrvut j ,

# P /tt7.''<- t'l"'}' 4a'rLessthan12hoursaftertheshowwasaired,TeniSchiavodied.Tm!' , ,Y6"ft

lL( ' istt<'-nJ /n

the social issues is always satirical. Everything can be mocked, including religion, politics, -fr.:-\;

ethnicity, and even science. Some of the episodes are so controversial that they end up being €fr'cs rGfrrl

banned. Although it is often criticized due to the controversial content, it has still remairlpopular

over the years. The viewership reached 980,000 for the first episode, 'Cartman Gets an Anal Probe'

in 1997, and it continues to increase as the show becomes more well known. In 1998, the

viewership reached 6.2 million for the episode, 'Cartman's Mom is a Dirly Slut'. Althoug!-the fou;l,c,4fc'a-.',-ti'<c; / &*f- c"

main characters are fourth graders, b-ut as the _qreStors, Parker and Stone, aSJerts, the show is not

sut_?y" jorJg_qLg _qbl!4f.en. Not only is the social satire hard for young children to comprehend, but v'

the abusive use of taboo words and opinionated dialogues could also be harmful for children

viewers who lack the ability and experience to judge (W-tkipede-rye!!1!") - ry k:{ tU't qy cu-

South park was aired in raiwan on channel v and tfilldrosrams ""ffiJffi

ff"d;[;foreign languages are conventionally aired in two versions#ubtitled version and pubbed versionl -e

i(..,- 9

Viewers are free to choose which version they want to watch. However, South Park is an J'

exceptional case because it is only aired in the dubbed version (with subtitles). The show is aired

late at night at 11 p.m. to 12 a.m. and is classified as Parental Guidance Category (Channel V

website). According to the Govemment Information Office of Taiwan, all motion pictures should be

classified into one of the four categortes:

1. Restricted category: Viewing is not permitted for those under 18.

2. Parental guidance category: Viewing is not permitted for children under 12.

l,' 3. Protected category: Viewing is not permitted for children under six; children between six

' and 1l must be accompanied and given guidance by parents, teachers, seniors, or adult

relatives or friends.

4. General audiences category: Viewing is permitted for audiences of all ages (Government

Informat ionOff icewebsi te) . 'T ln)c , ' - in - . , , ,A rr1 / r ,

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'/1,r,'S r'*fo 4ua-hL e .-( t( /rta y3t'et,r. Jl'1ttu,' fltc-.f/,, Cc ̂ ct-'t'' 5t

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Therefore very few children under the age of 12 was permitted to watch this show, but many

students ofjunior high school and high school are fans of South Park.

DEFINITION OF TERMINOLOGY

/ Vrmrli&"Before analyzingthe texts, it is necessary to elucidate two key terms: dulbing and shift.Jrea l-t/-l<t

First, the translation technique that is used for South Park is called, :OrOOrrr*'.''rh. r-.r-, ",

,t;; P'tt'irl;i:t:

by Josephine Dries, means any method that is used to "cover the original voice in an audio-visual c'-[ta

production by another voice" (1995:9). In iils book, the term is defined *l$u narrower sense. In

order to achieve the effect ofsource language speakers uttering target language, "the foreign

dialogue is adjusted to the mouth movements of the actor in the film" (1995:9). For that reason, a

major constriction of this technique is the need of synchronrzatron.It is hard because the dubbing

translator is obligated to search for target words that not only have the equivalent meaning, but

those equivalent words also have to match the source language speakers' movements of the lips.

However, as Delabastita (1989:203) noinllrgut, there are different levels of synchronization

in relation to how clearly ean the lips of the actortzbe seen. The closer the camera is to the lips of the

actor, the more the dubbing translator needs to be in harmony with the movements. Viewing from

this aspect, the level of synchronization is low when dubbing for South Park. It is not so demanding

because even in the originallanguag{the lip movements of the characters do not synchronize./

perfectly with the words being spoken. Thus, the dubbing translator of South Park possesses more

freedom than the dubbing translator of other geffes of motion picture. In the Taiwan version of

South Park, we can often find incidents of target text that are a lot longer than the source text. For

example:

1. Ms. Crabtree: SIDDOWN BACK THERE!

Atffil\Er{, iEE,{A+tf,frW ! MW | fback translation: all give me shut up! sit tight]

2. Kyle: Dude.

H/LT' l-EnX t IMfulFLFb" . . fback translation: mom ah! His ass...]

3. Cartman:No, Mr. Garrison, I'm fine.

F4 t - Y "' ZF.ffiT , ffi:I+ffiil1trd8tr'M ! fback translation: No need, my ass is hardly ever so

cool!l

Since the dubbing translators are allowed to choose among more translation strategies, they might

be more likely to make more changes when rendering the source text into the target text. Some call

the changes 'adaptation', but I prefer to use another term, 'shift'.

. Many scholars define the word 'shift' by their own means that suits their needs. In a

nuurower sense, 'shifts' occur when the source text is rendered into the target text due to the

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difference of grammatical structure, lexical discrepancy, or discrete collocations. Nonetheless,

linguistic differences can not account for all the changes that take place in the target text. It is

known that textual coherence, literary reference, and cultural background are all influential factors

that can contribute to the modification, rewording, or rephrasing of the languages. Hence I shall

adopt Popovid's definition of shift as "all that appears as new with respect to the original, or fails to

appear where it might have been expected" (1970:79).

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r '' t ! - DATA ANALYSIS

-)

Due to the constraint of space and time, I will only analyze the first episode of the first

season. This text is chosen because it represents the basic pattern of the narrative of each of the

episode in this series, and because it is the first episode, the characters are presented in accordance

with their most typical and original appearance and conduct. The following analysis will be in the

order as stated: first, the shifts that occur due to the skopos of the translation is investigated, then

the process of translation will be examined in the light of Steiner's hermeneutic motion.

The purpose of this series, as above mentioned, is to entertain the audience. This purpose is

passed to the target text. But the means in which the original series used to entertain is highly

cultural based. In order to adjust it to the target audience, shifts can be found in the usage of

emotionally charged expressions, for example :

1. Kyle: Dude, don't call my brother a dildo!

*il,A, Frl 9 - Y "T$[qft ffiffiDEDEE fback translation: Cartman, don't call my brother jr-p

jump eggl

2. Stan: Dude! Visitors!

/RE, 4,EFtJ t ftrlE.^ ! fback translation: mom ah! It's ET!]

In these two examples, although the same expression (dude) is used, but because of the different

context in which it occurs, in the Taiwanese culture, the expression varies. One is translated into

'Cartman', and another 'mom ah' Another example shows the distinct emotional expression used

by different ethnic groups, which is not a characteristic in the source text:

1. Chef: Mahahahahan oh man, first contact with the alien visitors. I've got to get myself ready.

zE, tffiTlHET. " " mHwgflRtl.E^+*ftHTt +fr1+-E*'#m++ffi" .. [backtranslation: ma le gebazi...(;6rorthern dialect way to say 'I') have the opportunity to contact ETs!

An have to go back prepare prepare...]

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2.Mr. Hat: Well, Kyle. No!! You hear me?! You go to hell! You go to hell and you die!

trft$HA' #;=ffSilr€{E \^ft H ! \'ffi18'fEtE\l+ t ltn*+\nBTB-lf'tryffi€Eif r'fi ! [backtranslation: (Taiwanese) If this is mentioned, go lie to nut! You dead child! You want to die- You

give your dad sit tight!l

t . - '

There are cultural references in the target text which the target audience is not familiar with.

Consequently, shifts can be found where subjects that require background knowledge occur:

1. Mr. Garrison: And now children, our friend, Mr. Hat, is going to tell us about Christopher

Columbus.

HRZHfr, &lnnry \ +X+t,ff1V,1r+Efrts-iilffi^ \ 4##ft,fflEflitpg+IffifrIS. . . [back translation: every classmates, today our good friend mirror hider

will tell us story about Shi, Yanwen]

Mr. Hat: That's right, Mr. Garrison. Christopher Columbus discovered America and was the

Indians'best friend. He helped the Indians win their war against Fredrick Douglass and and a freed

the Hebrews from Napoleon and discovered France. And then in 1492 ...

ilft9HA' #€;ffiSUle{EEgHI. \ffidi4ffi+t;+ftH;ffi*9" o . \fStAEIHErf;ETfnF/\

H ?il E+ F = /t't fit ffi F+ H ffi IW F" ++,). + ^

\,fd,f r5,fffi {E !f;E I F H Et iH iH

trFHH'lJEtift \ -{EffiEEHHI [back translation: (Taiwanese) If this Shi, Yanwenis mentioned...

you have to listen to me to start with the details... you everyone possibly don't know that at first in

county Yun, there are two sworn brothers, they are both very handsome, very dandy, one of them is

Shi, Yanwen]

3. Cartman: Hey, that kind of looks like. .. Tom Selleck.

F4i- ' / ' ' rR! f lF' fE4EEEfi! \T€SU1H+[,K? [Hey! Isn' t thatdrawingonthewheatf ield

Liu, Dehua?]

Here the story about Christopher Columbus, who is a very important historical figure in the United

States is replaced by a famous historical figure who is one of the main characters in a traditional

Taiwanese puppet drama called, "*')ll)r.1ffi1t*.EgEl' fback translation: County Yun's famous

knight Shi, Yanwen] Also, Tom Selleck is replaced by Liu, Dehua, a famous movie star in the

Mandarin Chinese spoken world, known for his handsome appearance. Other than that, there are

elements that refer to events or timing of the Vear thatfs cultural significance, for example:

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1. Officer Barbrady: This is the third cow this month. At this rate all of my cattle are gonna die

before the winter's through.

1EfE,E -Aqy?,T=ffi+T

! \F1EET*. . . \Tstj!ft+ +nk1++A$tvJflFq! fbacktranslation: This month three cows are dead! If this goes on... My cows will all be dead before

Chinese new year!]

2,Kyle: Ike! Do your impersonation of David Caruso's career!

H/LT' BB ! ;dT;d?++t'ff5*€€,\xE)E&? \'R+nlsl4 V,^! [back translation: BB! Do youremember last time we went to see someone jump from the storied building? Quickly imitate that

dead manll

Ike: It's my turn!

BB: #fT)u [back translation: imitate dead man]

Ike: Oh, he fly out of the sky.

BB: ftDb& tLr|Tl\! [back translation: I jumped but am not dead yJ]

In these two examples, we can see the difference of the importance of the events. In the United

States, keeping cows alive throughout the winter is not easy because of the snow. But in Taiwan,

the weather in winter is not so severe, but it is important to save enough resources or money before

Chinese New Year comg, for people usually have to spend a lot of money on celebrating and

giving red envelop.t."-In th. second example the common social phenomenon in Taiwan, suicide by

jumping down fro_m storied building, replaces the decline of David Caruso's career, which is not(L.,

widely known for recipient in Taiwan.

Lastly, it is obvious that teenagers, instead of adulf are the targeted viewer group. The

popular crude mantra of the youth group is emphasized.

L Cartman: Yeah, go home you little dildo.

Frl9 - Y -: tr,nfi ! E*[8, €9]DKDbtr ! fback translation: Ass lah! Go back bah, electric jump

jump eggll

2. Cartman: God damn it, they didn't do anything to my ass. It was just a dream.

lah! Ass lah! There is absolutely no one who touched my ass. It was just a dream]

3. Cartman: Shut up!

Frl ? - '/ -: Effi ! [back translation: Ass lah!]

4. Cartman: Eh, no, that, that was just a dream. .. and I'm not fat, I'm big boned!

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F49-Y' :

m". " Er ! \f" . . +t,F,€f[fL#r. .. Rl'f l fTI+, +tF,€€4gtlbacttranslation: A... Ass lah! I... I was just dreaming nightmare... and I'm not fat, I'm just big boned!]

In the four segments, EI& (ass lah) replaces all the different expressions in English, no matter the

sense of that expression is positiv. $:r)

or negative (no). when rendered into M_andarirlChinese.

they au become negative ,rpryStsTA;{"rlrro^#illtitlrfof"r.+#n !rf:-"#ok ^rr'talking to should be treated with more respect in the target culture:

1. Ms. Cartman: Don't be difficult, Eric! Now, you go out and play in the fun snow.

p4(lf*Ih-nk* t \ +tlligt lTH HE)EE)htr 7 Rt+ElH#, ! [back translation: if r want you to

go, you just go! I haven't use jump jump egg for so many days, you better not bug me!]

Cartman: God - damn it! r i- l,.Af iS TU.|S )

r[{-i+ffi ! fback translation: ah- Ok lah!]

2. Kyle: Ike! [runs to the front of the bus] Stop the bus! Miss Crabtree, you have to stop this bus!

BB \'R'f+Hr[4 F]f#FoJ{4. . . ++-:^tlF'l*Hfiro+'f+T4'. o o [back translation: BB, quickly

stop the car, driver aunty... please quickly stop the car...]

Here we see that when Cartman reply his mother, he does not speak vulgar language, and when

Kyle speaks to the driver, he calls her 'aunty' because in Taiwan it is not polite to call seniors

directly by their names. ""'

After the investigatiot "JP*

skopos work in this translation, we can try to understand why

is it that the commissioner want this particular animation series to be introduced to the Taiwanese

society. In order to entertain people, which is the common objective of many of the TV program

producers, an important element that this series encompasses is the presentation of the nostalgia of

the carnivalism that every child enjoyt As Oittinen asserts, "several similarities [can be seen]

between children's culture and carnivalism: like carnivalism, children's culture is nonofficial with

no dogma or authoritarianism (2006:85)"; "children... use... vulgar language, which is not

considered acceptable in (official adult language"(2006:86); and "in carnivalism, the grotesque is

bodily in a positive sense"(2006:88). All of these universal characteristics are seen in South Park.

And in the process of translation, vulgar language and sexual hints are emphasized as extracted

sense. This can be seen in many segments of the TT.

L Kvle: Reallv? What about?

?Oo, fi rnnc'-tt^1,1

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ftfrfl? 6F[,F? [back translation: Really? Dream of sex?]

2. Chef: Well, today it's Salisbury steak with buttered noodles and a choice of green bean

casserole... or vegetable medley.

€ FIffiEUiLFA+HF \ #tfU,fE'H$m \ ffiHffi+-,*.Ril1H#1,)fy lbact translation: rhere

areViagra impotence steak, romance generated pasta, and salad that have the function of

contraception]

3. Kyle:No, Ike, go home.

6EIX1*trhH,E'7-*[back translation: No, quickly roll back home]

- t ' " ' '

Lastly, from the sentence that have become popular as the popularity of the show increases in

Taiwan, the existence of incorporation can be proved. The sentence is the one that always appear at

the end of every episode: F{tr,ift+*l'HT ! [Kenny is killed!] Looking at this sentence from a

linguistic aspect, it is not correct. But it is accepted because of the context in which it is used.

3*t flut N tutf A- &a""l/at'Q-"o t flo eit1\,,i'l- Cetd,ph,rw e

tz. / ,' 01,, rn ut 6od -' fl*q ,c/'K-(d rQ'ntuJ '

utt/u'cn,, /uaa W !4 fLr1o,,-7/.1t--t eat(ZW'\t-a of /L" rUJ@,of;uT,Tuo

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ICONCLUSION

Therefore, South Park has gain a second life in the target culture. If it is possible, it is also

worth examining the ideology issues in this series, for conflicts between different ethnic groups in

Taiwan is reflected in the show. (3982 words)

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REFERENCES fir r,.-'6Jny .,

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