T&I Studies II by pin kuo

and InterpretingStudiesII Course Unit Code & Titte: ELAN60102Translation 6no.=75iYF.L r iitt. of Essayor Assignment: Assignment1 (CriticalEssay) First Marker: Dr SiobhanBrownlie First Marker's Comments (Please complete each section

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Processand Skoposof SouthPark Dubbing

INTRODUCTION There are times whenudrtaintranslatedversionis4ore popularthan the the original one in the

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targetculture.It is not the casein which the ideathat is conveyedin the contentitself is more welcomed in the target culture than in the sourceculture. Instead,the target text (target text)

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receiversin the targetculture feel disappointedwhen they receivethe sourcetext afterwards.One of the examplesof this phenomenonis SouthPark,a cartoonseriesmadein the United States,then dubbedin Taiwan. The objectiveOf this essayis to investigatethis exampleinfrie light of George Steiner'shermeneuticmotiorYandi?.eiss& Vermeer's skopostheoryV Steinerassertsthat there are four stagesin the translationprocess:initiative trust, it must be selected aggression,incorporation,and compensation.First, beforea text is transJate.d, ;1-r/ui/tQr lat-t flift' t tL /t.', o r u"th}JT-g.%1g:.rnC(7. becausethere is somethingvaluablethat the translatorbelievesis worth passing_to and/orculture.Second,when translationbegins,the deciphermentof form and the extractionof senseis termed 'aggression'.The scholarlikens the sourcetext as an open-pitmine and the translator as the invader, who ruins the original appearancgrThird,the consequentialinfluence that is broughtto the targetlanguagestructureand targetculture is believedto be eitherpr advantageous On the one extreme,the new elementsaddedto the target languagegive extra or disadvantageous. vitality to it; on the other extreme,the foreign elementsare not accepted,so the targettext stays outsideof the targetlanguagecanon.The metaphorsgiven for the two circumstancesare: receiving a gift if the incorporationis successful,and if not, the targetlanguageand targetculture will be immune to the bacteria in the future. Fourth, the penetrationof the translation into the sourcetext needsto be compensatedin orderto retain equilibrium in the system.The compensationis that, no wl,l-l.Li:,is well or badly received,the sourcetext is always enhancedthrough the matteffiiffgettext dialecticrelationshipbetweenthe two of themlln this relationship,the targettext takessomeof the power away from the sourcetext, and the sourcetext gainsa secondlife in the foreign culture and is spreadand known to wider râ&#x201A;Źnâ&#x201A;Źdarea1 Q97511992:312-319), (tL

Steiner'smodel raisesawarenessiothe long hidden,but importantcauseof the act of translationand it also providesa way to look at the translationby sequencingaccordingto which a text is renderedfrom A languageto B language.Atsdepictionof the dialecticrelatio4shipbetween pe ex-amined by.qppJyifgit.to the cartoonseries,.soqthRarkftnthe two languagesand cultures-plrall ------/2c.. ''c\t*e(^-t /'n .r:*-'."-,(i,'q)"lrq CuLi-'.trcL(-'/' (:4( someproblematicaspectsof this model shall (e thgfries i1 g{t, this essay.)o*.lr.., ry.norre_o'f ./ be addret'sedas well. The common value which attractsthe translatorto translatementionedby Steineris merely an abstractconcept.Although he doespoint out that nonsenserhymesare

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/tL 'untranslatable'because"there is nothing there" (191511992:196)to be conveyed,but it remains unclearwhat exactly is the 'something' that is worth translating. On the other hand,the extraction of sensefrom the sourcetext is emphasized,but it is notablethat Steinerdoesnot meanextraction that is donerandomly.Among the many decisionsthat the translatorhas to make,the act of choosingaccordingto certainpreferencesis bound tg happen.It is more common for one to try to fldachievesuccessfulincorporationthan to marginaliz|;largettext on purpose.And the criteria for 'successfulincorporation'alsp varies.One may endeavorto disrupt the literary canonof the target hrtli-

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translationmethod(for example,by adheringmore to the languageby experimentingprnusual sourcelanguagesyntax), or one may try to advocatethe new ideaslithe target culture by so that the targettext is sacrificingsomelayersof meaningthat the sourcelanguageencompasses made more natural and easierto understand.ffst as there are different opinions regarding what /^""/LL(L successis (for instance,some seekfor a life that brings happiness,someview 4jhnes!- as the key to a fulfilling life), there are also diversefactorsthat influencethe methodone usesin pursuinga " perfecttranslation.In order to clarify how and why the productionof the targettext is influenced,it is essentialto transcendthe restrictionof dichotomy (suchas accurateor inaccurate,faithfulnessor betrayal, domesticationor foreignization), and turn the focus from the textual level to the contextual ( L vr ( ,- ' a L

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level. One of the theoriesthat gives much importanceon-consideringthe context is SkoposTheory. Skopos,a word originally from Greek,meanspurposeor goal. The nameof this theory was given by KatharinaReissand Hans J. Vermeerand was proposedin the 1980s.The main argument of skopostheory is that the targettext shouldbe formed accordingto the needsof the targettext recipient.Thus, it is reasonablefor a sourcetext to be translatedinto many different versionsof targettext. If the targettext comesto be coherentryith condition of the targettext recipient,the ;/ fla .f' translationis deemedsuccessful;if not, orfven leadsto protest,which meansthat the feedbackof the receptionis unanticipated,then the translation.is{eemed a failure (Reiss& Vermeer 1984:112). t.,,, -\r-:l-' _l

Knowingthe skoposof the targettext means@ry-bow

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receiving. is to be provedby the feedbackof the user.Thefeedbackof theuser |1l1$_trediction oTFr.I"fqrffiiop pfler isia termthat Vermeer is the response to tfretaigett#;;;i"f"imaiion C /t2- ct' i\7Q ^"''--:-,rt3'...'. -g (1982:99)'uses to describethe sourcetext. They prefer to view sourcetext as an invitation of

interpretation.The recipient,including the translator,is free to comprehendand interpretthe text in The translator,accordingly,shouldtreatthe information offer in compliancewith his/herown way. '/h",T

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the two rules that ReisshndYerfireerput forward. The two rules are: first, interactionis determined by its purpose;and second,purposevariesaccordingto the text receiver(1984:101).The assumptionswill be implementedand exploredlater in the discussion.

SOURCETEXT AND TARGETTEXT INTRODUCTION

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SouthPark is an animationseriesmadein the United Statesby two Americans,Tre1.P,1ker and Matt Stone.The show is aired on ComedyCentralevery week and the productionof it is done within three weeks in the first seasons.Currently the animation team can createone episodewithin a week. This allows the script writers to producecontentthat respondsquickly to currentevents. For instance,in 2005 the Terri Schiavocasewhich lasti for 15 yearscameto an end as the feeding tube was finally removedfrom Terri, a patientwho i-s,diagnosedas being in a persistentvegetative state.Therehad beenmuch debateaboutwhetherit is morally right to let her die. The caseattracted much attention and was still controversialwhen the decision to remove the feeding tube was passed in the court. It was under suchcircumstanceswhen the episode'Best FriendsForever' was aired. w Jl

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Everything canbemocked,includingreligion,politics, -fr.:-\; thesocialissuesis alwayssatirical. â&#x201A;Źfr'cs rG thattheyendup being aresocontroversial ethnicity,andevenscience.Someof theepisodes frrl banned.Although it is often criticized due to the controversialcontent,it has still remairlpopular

over the years.The viewershipreached980,000for the first episode,'Cartman Getsan Anal Probe' in 1997,and it continuesto increaseas the show becomesmore well known. In 1998,the viewershipreached6.2 million for the episode,'Cartman's Mom is a Dirly Slut'. Althoug!-the fou; c" / &*fl,c,4fc'a-.',-ti'<c; is not show aSJerts, the Parker and Stone, graders, the b-utas main charactersare fourth _qreStors, v' Not only is the social satire hard for young children to comprehend,but sut_?y" jorJg_qLg _qbl!4f.en. the abusiveuseof taboo words and opinionateddialoguescould also be harmful for children

tojudge(W-tkipede-rye!!1!") viewerswholacktheabilityandexperience

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park ff"d;[; v andtfilldrosrams onchannel inraiwan was aired South ""ffiJffi in two versions#ubtitled version andpubbed versionl -e

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Viewers are free to choosewhich versionthey want to watch. However, SouthPark is an

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exceptionalcasebecauseit is only aired in the dubbedversion(with subtitles).The show is aired late at night at 11 p.m. to 12 a.m. and is classifiedas ParentalGuidanceCategory(ChannelV website).According to the GovemmentInformation Office of Taiwan, all motion picturesshouldbe classifiedinto one of the four categortes: 1. Restrictedcategory:Viewing is not permittedfor thoseunder 18. 2. Parentalguidancecategory:Viewing is not permittedfor children under 12. ,i .t

3. Protectedcategory:Viewing is not permittedfor children under six; childrenbetweensix and 1l must be accompaniedand given guidanceby parents,teachers,seniors,or adult

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relativesor friends. 4. Generalaudiencescategory:Viewing is permittedfor audiencesof all ages(Government In for mationOfficewebsite).

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Thereforevery few children underthe age of 12 was permittedto watch this show, but many studentsofjunior high schooland high schoolare fans of SouthPark.

DEFINITIONOF TERMINOLOGY

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Before analyzingthetexts, it is necessaryto elucidatetwo key terms: dulbing and shift.Jrea l-t/-l<t First, the translationtechnique that is usedfor SouthPark is called, :OrOOrrr*'.''rh.r-.r-, ,t;; P'tt'irl;i:t: ", c'-[ta by JosephineDries, meansany methodthat is usedto "cover the original voice in an audio-visual productionby anothervoice" (1995:9).In iils book, the term is defined*l$u

narrowersense.In

order to achievethe effect ofsource languagespeakersuttering targetlanguage,"the foreign dialogueis adjustedto the mouth movementsof the actor in the film" (1995:9).For that reason,a major constrictionof this techniqueis the needof synchronrzatron.Itis hard becausethe dubbing translatoris obligatedto searchfor targetwords that not only have the equivalentmeaning,but thoseequivalentwords also have to matchthe sourcelanguagespeakers'movementsof the lips. However, as Delabastita(1989:203)noinllrgut, thereare different levels of synchronization seen.The closerthe camerais to the lips of the in relationto how clearly eanthe lips of the actortzbe actor,the more the dubbingtranslatorneedsto be in harmonywith the movements.Viewing from this aspect,the level of synchronizationis low when dubbing for SouthPark. It is not so demanding becauseeven in the originallanguag{the lip movementsof the charactersdo not synchronize ./ more perfectly with the words being spoken.Thus,the dubbingtranslatorof SouthPark possesses freedomthan the dubbingtranslatorof other geffes of motion picture.In the Taiwan versionof SouthPark,we can often find incidentsof targettext that are a lot longer than the sourcetext. For example: 1. Ms. Crabtree:SIDDOWN BACK THERE!

all giveme shutup! sit tight] Atffil\Er{, iEE,{A+tf,frW! MW | fbacktranslation: 2. Kyle:Dude. mom ah! His ass...] H/LT' l-EnXt IMfulFLFb". . fbacktranslation: Mr. Garrison, I'm fine. 3. Cartman:No, No need,my assis hardlyeverso F4t - Y "' ZF.ffiT, ffi:I+ffiil1trd8tr'M ! fbacktranslation: cool!l theymight areallowedto chooseamongmoretranslationstrategies, Sincethedubbingtranslators whenrenderingthe sourcetext into the targettext. Somecall be morelikely to makemorechanges the changes 'adaptation', but I preferto useanotherterm,'shift'. . Many scholarsdefinetheword 'shift' by theirown meansthatsuitstheirneeds.In a into thetargettext dueto the nuurower sense,'shifts' occurwhenthe sourcetext is rendered

7514402 differenceof grammaticalstructure,lexical discrepancy,or discretecollocations.Nonetheless, linguistic differencescan not accountfor all the changesthat take place in the targettext. It is known that textual coherence,literary reference,and cultural background are all influential factors that can contributeto the modification,rewording,or rephrasingof the languages.HenceI shall adoptPopovid'sdefinition of shift as "all that appearsas new with respectto the original, or fails to appearwhere it might have been expected" (1970:79). !

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DATA ANALYSIS -)

Due to the constraintof spaceand time, I will only analyzethe first episodeof the first season.This text is chosenbecauseit representsthe basicpatternof the narrativeof eachof the episodein this series,and becauseit is the first episode,the charactersare presentedin accordance with their most typical and original appearanceand conduct.The following analysiswill be in the order as stated:first, the shifts that occur due to the skoposof the translationis investigated,then the processof translationwill be examinedin the light of Steiner'shermeneuticmotion. The purposeof this series,as abovementioned,is to entertainthe audience.This purposeis passedto the targettext. But the meansin which the original seriesusedto entertainis highly cultural based.In order to adjustit to the targetaudience,shifts can be found in the usageof emotionallychargedexpressions,for example:

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

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jr-p Cartman, don'tcallmy brother ffiffiDEDEE fbacktranslation:

jumpeggl 2. Stan:Dude! Visitors! /RE,

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! fbacktranslation:mom ah! It's ET!]

In thesetwo examples,althoughthe sameexpression(dude)is used,but becauseof the different contextin which it occurs,in the Taiwaneseculture,the expressionvaries.One is translatedinto 'Cartman', and another'mom ah' Another exampleshowsthe distinct emotionalexpressionused by different ethnic groups,which is not a characteristicin the sourcetext:

1. Chef: Mahahahahanoh man, first contactwith the alien visitors. I've got to get myself ready.

.. [back +fr1+-E*'#m++ffi" zE, tffiTlHET." " mHwgflRtl.E^+*ftHTt translation:ma le gebazi...(;6rorthern dialectway to say 'I') have the opportunityto contactETs! An haveto go back prepareprepare...]

7514402 2.Mr. Hat: Well, Kyle. No!! You hearme?! You go to hell! You go to hell and you die!

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

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There are cultural referencesin the targettext which the targetaudienceis not familiar with. Consequently,shifts can be found where subjectsthat requirebackgroundknowledgeoccur:

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

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today our good friend mirror hider . . [back translation:every classmates,

will tell us story about Shi, Yanwen] Mr. Hat: That'sright, Mr. Garrison.ChristopherColumbusdiscoveredAmerica and was the Indians'bestfriend. He helpedthe Indianswin their war againstFredrick Douglassand and a freed the Hebrewsfrom Napoleonand discoveredFrance.And then in 1492 ...

o . \fStAEIHErf;ETfnF/\ ilft9HA'#€;ffiSUle{EEgHI. \ffidi4ffi+t;+ftH;ffi*9" {E!f;E I FH EtiHiH + \,fd,fr5,fffi H?ilE+ F = /t'tfitffiF+H ffiIWF"++,). ^ translation:(Taiwanese)If this Shi, Yanwenismentioned... trFHH'lJEtift\ -{EffiEEHHI [back

you have to listen to me to startwith the details...you everyonepossibly 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.

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rR! flF'fE4EEEfi!\T€SU1H+[,K?[Hey!Isn'tthatdrawingonthewheatfield

Liu, Dehua?]

Here the story aboutChristopherColumbus,who is a very importanthistoricalfigure in the United Statesis replacedby a famoushistoricalfigure who is one of the main charactersin a traditional fback translation:County Yun's famous

Taiwanesepuppetdramacalled, "*')ll)r.1ffi1t*.EgEl'

knight Shi, Yanwen] Also, Tom Selleckis replacedby Liu, Dehua,a famousmovie star in the Other than that, there are Mandarin Chinesespokenworld, known for his handsomeappearance. elementsthat refer to eventsor timing of the Vearthatfs cultural significance,for example: ! I I

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7514402 1. Officer Barbrady:This is the third cow this month. At this rate all of my cattle are gonnadie beforethe winter'sthrough.

1EfE,E ! \F1EET*. . . \Tstj!ft+ +nk1++A$tvJflFq! fback -Aqy?,T=ffi+T translation:This month threecows are dead!If this goeson... My cows will all be deadbefore Chinesenew year!] 2,Kyle: Ike! Do your impersonationof David Caruso'scareer!

H/LT'BB! ;dT;d?++t'ff5*€€,\xE)E&?\'R+nlsl4 V,^! [back translation: BB!Doyou rememberlast time we went to seesomeonejump from the storiedbuilding? Quickly imitate that deadmanll Ike: It's my turn! BB: #fT)u

[back translation: imitate deadman]

Ike: Oh, he fly out of the sky. BB: ftDb& tLr|Tl\!

[back translation:I jumped but am not deadyJ]

In thesetwo examples,we can seethe differenceof the importanceof the events.In the United States,keepingcows alive throughoutthe winter is not easybecauseof the snow. But in Taiwan, the weatherin winter is not so severe,but it is importantto saveenoughresourcesor money before ChineseNew Year comg, for peopleusually have to spenda lot of money on celebratingand giving red envelop.t."-Inth. secondexamplethe common socialphenomenonin Taiwan, suicideby jumping down fro_mstoriedbuilding, replacesthe declineof David Caruso'scareer,which is not (L., widely known for recipientin Taiwan. Lastly, it is obviousthat teenagers,insteadof adulf are the targetedviewer 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 ! fbacktranslation:Ass lah! Go backbah,electricjump

jump eggll 2. Cartman:God damn it, they didn't do anythingto my ass.It wasjust a dream.

lah! Ass lah! There is absolutelyno one who touchedmy ass.It wasjust a dream] 3. Cartman:Shut up! Frl? - '/ -: Effi ! [back translation:Ass lah!] 4. Cartman:Eh, no, that, that wasjust a dream... and I'm not fat, I'm big boned!

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translation:A... Ass lah! I... I wasjust dreamingnightmare...and I'm not fat, I'm just big boned!]

In the four segments,EI& (asslah) replacesall the different expressionsin English,no matterthe senseof that expressionis positiv.

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or negative(no). when renderedinto M_andarirlChinese.

theyaubecome negative ,rpryStsTA;{"rlrro^#illtitlrfof"r.+#n!rf:-"#ok \,r' ,

talking to shouldbe treatedwith more respectin the targetculture:

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

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lTH HE)EE)htr if r wantyouto 7 Rt+ElH#, ! [backtranslation:

go, you just go! I haven't usejump jump egg for so many days,you betternot bug me!]

Cartman: God- damnit!

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r[{-i+ffi ! fbacktranslation: ah- Ok lah!] 2. Kyle: Ike! [runsto thefront of thebus]Stopthebus!Miss Crabtree, you haveto stopthis bus!

BB\'R'f+Hr[4F]f#FoJ{4. . . ++-:^tlF'l*Hfiro+'f+T4'. o o [backtranslation: BB,quickly stop the car, driver aunty...pleasequickly stopthe car...]

Here we seethat when Cartman reply his mother, he doesnot speakvulgar language,and when Kyle speaksto the driver, he calls her 'aunty' becausein Taiwan it is not polite to call seniors directly by their names. After the investigatiot

""' skoposwork in this translation,we can try to understandwhy

"JP* is it that the commissionerwant this particularanimationseriesto be introducedto the Taiwanese society.In order to entertainpeople,which is the common objectiveof many of the TV program producers,an importantelementthat this seriesencompasses is the presentationof the nostalgiaof the carnivalismthat every child enjoyt As Oittinen asserts,"severalsimilarities [can be seen] betweenchildren's culture and carnivalism:like carnivalism,children's culture is nonofficial with no dogmaor authoritarianism(2006:85)";"children...use...vulgar language,which is not consideredacceptablein (official adult language"(2006:86);and "in carnivalism,the grotesqueis bodily in a positive sense"(2006:88). All of theseuniversalcharacteristicsare seenin SouthPark. And in the processof translation,vulgar languageand sexualhints are emphasizedas extracted sense.This can be seenin many segmentsof the TT.

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Really?Dreamof sex?] ftfrfl? 6F[,F? [backtranslation: 2. Chef:Well, todayit's Salisburysteakwith butterednoodlesanda choiceof greenbean medley. casserole... or vegetable

rhere \ #tfU,fE'H$m\ ffiHffi+-,*.Ril1H#1,)fylbacttranslation: € FIffiEUiLFA+HF areViagra impotence steak,romance generatedpasta,and saladthat 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 sentencethat have becomepopular as the popularity of the show increasesin Taiwan, the existenceof incorporationcan be proved.The sentenceis the one that always appearat

from a theendof everyepisode:F{tr,ift+*l'HT ! [Kennyis killed!] Lookingat this sentence because of the contextin whichit is used. linguisticaspect,it is not correct.But it is accepted

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CONCLUSION

Therefore,SouthPark has gain a secondlife in the targetculture.If it is possible,it is also worth examining the ideology issuesin this series,for conflicts betweendifferent ethnic groups in Taiwan is reflectedin the show. (3982 words)

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REFERENCES

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/ ) .(llUrannel V website:http ://www. startv.com.tw/chv/prog.asp?forid:246&nouse:73 flastaccessed: 5 May 20101 /6,SOenAastita, Dirk (1989) 'Translationand Mass-Communication:Film and TV Translationas

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193-218. of CulturalDynamics' , Babel35(4): OEvidence

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