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Translation Studies: Localization, Transcreation & Multimodality, Appunti di Lingua Inglese

Translation studies are evolving, focusing on localization, transcreation, and multimodality's impact. Translation now includes cultural adaptation and creative re-interpretation, integrating visual and gestural elements. Translanguaging and intercomprehension are key in multilingual settings, adapting content to local audiences while using multiple linguistic resources. Glocalization adapts global entities to local cultures, highlighting the interplay between language, culture, and technology. This analysis is crucial for understanding meaning construction across linguistic and cultural contexts, relevant for linguistics, translation studies, and intercultural communication students and professionals. Semiotic aspects of media also shape perceptions.

Tipologia: Appunti

2023/2024

Caricato il 27/08/2025

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Localization: theory !
1. The objects that are processed in localization are ‘products’ and not ‘texts’. !
2. The process incorporates both a linguistic and a cultural component, !
Languages are culturally situated (Bassnett and Lefevere 1990). !
The industry has consistently insisted on the separation of culture and language, even to the
point of maintaining that translation does not deal with culture (Microsoft Corporation 2003). !
3. The localized product moves from a source to a target ‘locale’, the most common term found
in industry definitions, !
even when in some cases the target ‘locale’ is substituted by ‘markets’ (Sprung 2000;
Schäler 2001; Lingo 2004; Gouadec 2007; Schmitz 2007), or ‘languages’ (Chandler 2005). !
4. The term ‘translation’ is avoided in order to imply its distinct nature (i.e. LISA 2003, 2007;
O’Hagan and Ashworth 2003). Very few cases do include the term ‘translation’ as such!
Localization vs. translation !
Translation is one of several services that form the localization process. So in addition to
translation, the localization process may also include adapting graphics to the target markets,
modifying content layout to fit the translated text, converting to local currencies, using of proper
formats for dates, addresses, and phone numbers, addressing local regulations and more.!
In the context of localisation, translation, intended as the process of converting written text or
spoken words to another language, requires the entire meaning of the source material to be
accurately rendered into the target language, with major attention to cultural nuance and style.
The goal of localization should be that people from a certain locale can use the product without
any diculty and cognitive eort in their own language !
Localization: a longer definition !
The processes by which digital content and products developed in one locale (defined in terms
of geographical area, language and culture) are adapted for sale and use in another locale.
Localization involves: (a) translation of textual content into the language and textual conventions
of the target language, (b), adaptation of non- textual content (from colors, icons and bitmaps, to
packaging, form factors, etc.) as well as input, output and delivery mechanisms to take into
account the cultural, technical and regulatory requirements of that locale. In sum, localization is
not so much about specific tasks as much as it is about the processes by which products are
adapted”. !
Localization is re-creating something in a dierent locale !
There can be many dierent motivations for doing or making something again, only this time in
your own setting and doing it yourself. It might be that you need your own version of it, or others
do. It might be a way of bringing the extant thing closer, or for you to draw closer to it. It can be a
way of understanding what the extant thing is or was, and a way of making it behave or mean
dierently – producing new knowledge and understanding. It can also be a form of entertainment. !
Go local? How?!
Localization Industry Standard Association (LISA): the objective of the localization process is to
release texts “with the look and feel of locally made products”. !
At times localization requires creative thinking to overcome linguacultural discrepancies !
Creativity ‘THINK OUTSIDE THE BOX’!
1. Creativity is a common human characteristic. !
2. This creative characteristic varies from basic to extraordinary levels. !
3. Creative activities can be spontaneous.!
4. Creativity can be enhanced through teaching and practice. !
5. Both individual and group work can be creative and produce many artifacts. !
6. Translation, compared with creativity, is understood as a creative endeavor. !
7. and translations as original artifacts, though involving a degree of copying or imitating. !
Human brain: our biggest strength & weakness? !
Triplett (1898) Compared top speeds of competitive bicycle riders racing under dierent
conditions: !
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Localization: theory

  1. The objects that are processed in localization are ‘products’ and not ‘texts’.
  2. The process incorporates both a linguistic and a cultural component,
    • Languages are culturally situated (Bassnett and Lefevere 1990).
    • The industry has consistently insisted on the separation of culture and language, even to the point of maintaining that translation does not deal with culture (Microsoft Corporation 2003).
  3. The localized product moves from a source to a target ‘locale’, the most common term found in industry definitions,
    • even when in some cases the target ‘locale’ is substituted by ‘markets’ (Sprung 2000; Schäler 2001; Lingo 2004; Gouadec 2007; Schmitz 2007), or ‘languages’ (Chandler 2005).
  4. The term ‘translation’ is avoided in order to imply its distinct nature (i.e. LISA 2003, 2007; O’Hagan and Ashworth 2003). Very few cases do include the term ‘translation’ as such Localization vs. translationTranslation is one of several services that form the localization process. So in addition to translation, the localization process may also include adapting graphics to the target markets, modifying content layout to fit the translated text, converting to local currencies, using of proper formats for dates, addresses, and phone numbers, addressing local regulations and more. → In the context of localisation, translation , intended as the process of converting written text or spoken words to another language, requires the entire meaning of the source material to be accurately rendered into the target language, with major attention to cultural nuance and style. The goal of localization should be that people from a certain locale can use the product without any difficulty and cognitive effort in their own language Localization: a longer definition → The processes by which digital content and products developed in one locale (defined in terms of geographical area, language and culture) are adapted for sale and use in another locale. Localization involves: (a) translation of textual content into the language and textual conventions of the target language, (b) , adaptation of non- textual content (from colors, icons and bitmaps, to packaging, form factors, etc.) as well as input, output and delivery mechanisms to take into account the cultural, technical and regulatory requirements of that locale. In sum, localization is not so much about specific tasks as much as it is about the processes by which products are adapted”. Localization is re-creating something in a different locale There can be many different motivations for doing or making something again, only this time in your own setting and doing it yourself. It might be that you need your own version of it, or others do. It might be a way of bringing the extant thing closer, or for you to draw closer to it. It can be a way of understanding what the extant thing is or was, and a way of making it behave or mean differently – producing new knowledge and understanding. It can also be a form of entertainment. Go local? How?! Localization Industry Standard Association (LISA): the objective of the localization process is to release texts “with the look and feel of locally made products”. At times localization requires creative thinking to overcome linguacultural discrepancies Creativity‘THINK OUTSIDE THE BOX’
  5. Creativity is a common human characteristic.
  6. This creative characteristic varies from basic to extraordinary levels.
  7. Creative activities can be spontaneous.
  8. Creativity can be enhanced through teaching and practice.
  9. Both individual and group work can be creative and produce many artifacts.
  10. Translation, compared with creativity, is understood as a creative endeavor.
  11. and translations as original artifacts, though involving a degree of copying or imitating. Human brain: our biggest strength & weakness? Triplett (1898)→ Compared top speeds of competitive bicycle riders racing under different conditions:
  • Timed, each cyclist separately
  • All cyclists together in a race How would you explain these results?
  • Cyclists were significantly faster when they raced solo, against the clock.
  • Cyclists were faster when they raced together. Finding connections
  • A couple starts a long-distance relationship when one moves to another city for a job. Will their relationship survive?
  • Yes: “absence makes the heart grow fonder”
  • No: “out of sight, out of mind” ↳ Post-hoc rationalization : we are able to explain anything, after the fact CREATIVITY & TRANSLATION • TRANSCREATION • LINGUISTIC RELATIVITY & COGNITION • NEW MEDIA & TRANSLATION • SEMIOTICS • MULTIMODALITY & MULTIMODAL ANALYSIS Creativity & Translation Translation Studies (TS) strives to describe, explain and integrate new concepts, processes, and methods that have already emerged within the language industry. Nevertheless, the long story of ‘translation’ continues to influence the contemporary and popular ideology of ‘translation’, causing uncertainty in defining our activities when we translate, transcreate, transedit, or localize. → Creativity appears as a unique feature of human cognition and, even if AI applications seem to be getting closer to human performance, human creativity – thinking outside the box or expanding the pre-trained box – remains essential for many of the tasks and subprocesses related to translation (e.g., communication, mediation, transediting, copywriting, etc) Translation as a creative process Reading for translation (interlingual) takes longer than reading for other purposes. ↳ Translation as a process & practice requires the translator to adopt a different approach to his or her task than that required for reading and than that required for writing Transcreation Transcreation is a concept used in translation studies to describe the process of adapting a message from one language to another while maintaining its intent, style, tone and context.
  • Translation + creation → creative writing & translation = A step further in comparison to localization ↓ Transcreation: a definition? Still ongoing, because a very recent phenomenon ↳ a translation-related activity that combines processes of linguistic translation, cultural adaptation and (re-)creation or creative re-interpretation of certain parts of a text → A professional practice within the language service industry → international standards → an added- value translation service. → A transcreator is a translator and a copywriter, and increasingly so, an adept prompt engineer A successfully transcreated project evokes the same emotions and carries the same implications in the target language as it does in the source language Transcreated content is customized to fit the culture, slang and dialect of the target audience. Where can transcreation be required? Transcreation can be required in multiple different channels of content. For example: taglines, slogans, promotional materials, advertisements, marketing emails, global branding campaigns, brochures, signs and posters, presentations, product names, character names, etc

Media

  • can include all sorts of things from buildings to furniture, to paintings, to photographs to electronic devices to internet platforms.
  • often connected to or used together with other media in complex ways → multimediality.
  • affect the kinds of messages we can transmit to others, how those messages can be formulated, who can formulate those messages, who can receive them, and what recipients can do with them.
  • affect how people experience the world: all our experiences of the world are in one way or another mediated (media → mediation).
  • People often have strong feelings about where, when, and how different media ought to be used. Media Mediation
  • Lev Vygotsky (1962): all environments are mediated through ‘cultural tools’:
  • physical tools like hammers and telephones
  • mental tools like language and systems of counting.
  • Everything we do, including thinking, is mediated by these tools, and the kinds of tools we have available to us determine the kinds of things we can do (including the kinds of thoughts we can think). Linguistic relativity The structure of a language affects how its speakers think, perceive, and understand the world, aka Sapir- Whorf Hypothesis (named after linguists Edward Sapir and Benjamin Lee Whorf) Language shapes thought → People who speak different languages may think and perceive the world differently. There is no “neutral” language → Every language reflects a specific cultural and cognitive worldview. Cultural worldview → Language is closely tied to culture—how people speak reflects their cultural values and practices ↳ examples:
  • Colour perception→ Some languages have more or fewer words for colours: this affects how speakers distinguish and categorize colours (blue in English vs. sinij / goluboj in Russian) → multimodality & different semiotic codes
  • Time and space→ Some cultures use cardinal directions (north/south) instead of left/right —this affects how they navigate and think spatially -> multimodality & position of different semiotic elements
  • Gender and grammar→ In languages with gendered nouns, people may associate different traits with inanimate objects (e.g., "bridge" is feminine in German, masculine in Spanish).

Semiotic modes

  1. Verbal (spoken or written language) – Using words to convey meaning.
  2. Visual (images, colours, shapes) – Using visual elements like pictures, symbols, or gestures.
  3. Gestural (body language, facial expressions) – Using body movements and facial expressions to communicate.
  4. Auditory (sounds, music, tone of voice) – Using sounds, music, or tone to express meaning.
  5. Spatial (arrangement of objects, proximity) – Using space and spatial relationships to convey meaning.
  6. Tactile (touch, texture) – Using the sense of touch to communicate. New literacy: multimodality Language is multimodal:

- the selection and combination of modes is “not at all arbitrary or anarchic,” but is motivated by

the interests and intentions of the sign-makers.

- Cultural differences impact the resources and reach of modes: “the more pronounced the

cultural differences, the greater are the differences in the resources of representation and the practices of their use.” Multilingual multimodality? In multimodal texts (e.g., advertising, website interfaces), people co- construct meaning across languages and modes. This is where linguistic relativity (video in previous slides) meets multimodal literacy. → Ads in one culture may foreground individual agency through grammar and image composition → both have to be localized & transcreated ↓ In another culture, collective identity may be encoded linguistically and visually (e.g., via inclusive pronouns + group shots). If only the text is translated, the risk is to miss how non-verbal modes carry culturally shaped meanings, too. ‘The Photographic Message’, Roland Barthes (1977) “The press photograph is a message. Considered overall this message is formed by a source of emission, a channel of transmission and a point of reception. The source of emission is the staff of the newspaper, the group of technicians certain of whom take the photo, some of whom choose, compose and treat it, while others, finally, give it a title, a caption and a commentary. The point of reception is the public which reads the paper. As for the channel of transmission, this is the newspaper itself, or, more precisely, a complex of concurrent messages with the photograph as center and surrounds constituted by the text, the title, the caption, the layout and, in a more abstract but no less ‘informative’ way, by the very name of the paper (this name represents a knowledge that can heavily orientate the reading of the message strictly speaking)”. ↓ Words anchor the photograph to a particular set of meanings, other texts that accompany the photograph (texts which often make use of different modes, such as writing) are cotexts the social situation which surrounds the transmission = context Multimodal Analysis: Kress and van Leeuwen (2006)

  • A method based on Systemic Functional Linguistics (Halliday)
  • Primary focus on visual semiotics in multimodal communication.
  • The importance of analysing how visual elements (e.g., images, colour, layout) combine with verbal language in creating meaning. → Multimodal ensembles: a combination of different modes that interact to create a cohesive meaning. FROM GRAMMAR TO MULTIMODAL GRAMMAR • GRAMMAR OF VISUAL DESIGN • INDEXICALITY VS. ICONICITY • SOCIAL SEMIOTICS • MULTIMODAL ANALYSIS Grammar Grammar goes beyond formal rules of correctness. It is a means of representing patterns of experience. It enables human beings to build a mental picture of reality, to make sense of their experience of what goes on around them and inside them

Visual Grammar

  • Conventional grammar of...? Visual grammar is not universal. Visual language is culturally specific. Within Europe, increasing regionality counterbalances increasing globalization. So long as the European nations and regions still retain different ways of life and a different ethos, they will use the ‘grammar of visual design’ distinctly Multimodal Analysis: key concepts
  • Modes : These are the different channels of communication such as language, images, sounds, gestures, and so on.
  • Social Semiotics : The idea that meaning is not fixed but shaped by social practices and context.
  • The Semiotic Potential of Modes : Each mode (visual, linguistic, etc.) has its own "semiotic potential" to express certain meanings. → For instance, images might represent emotions or relationships, while written text often conveys logical, detailed arguments.
  • Intersemiotic Complementarity : This refers to how different modes complement each other in a multimodal text.
    • For example, a visual image may represent an emotion, while the text provides specific details or context.

Why images?

  1. Visual communication is always coded: transparency is a myth.
    • It is difficult to understand these codes as communication, as forms of ‘writing’ unless we are, or become, members of these cultures
    • Can be ideologically treated as “subjective”
  2. Societies develop explicit ways for talking only about those semiotic resources which they value most highly, and which play the most important role in controlling the common understandings they need in order to function.
    • Used to be written language,
    • Now multiple means of representation, with a strong emphasis on the visual^ •^ New curricula of ‘literacy’
    • Also to understand multimodal persuasion and/or propaganda Visual Communication (from Kress & van Leeuwen)
  3. Representational Function: The content or subject matter of the image (what is represented), cf. ideational metafunction in SFL
  4. Interactive Function: The relationship between the viewer and the image (e.g., gaze direction, angle, social distance), cf. interpersonal metafunction in SFL
  5. Compositional Function: The organization and layout of the elements in the image (balance, colour, focus, etc.); cf. textual metafunction in SFL Composition → Composition relates the representational and interactive meanings of the image to each other through three interrelated systems: (1) Information value. The placement of elements (participants and syntagms that relate them to each other and to the viewer) endows them with the specific informational values attached to the various ‘zones’ of the image: left and right, top and bottom, centre and margin. (2) Salience. The elements (participants as well as representational and interactive syntagms) are made to attract the viewer’s attention to different degrees, as realized by such factors as placement in the foreground or background, relative size, contrasts in tonal value (or colour), differences in sharpness, etc. (3) Framing. The presence or absence of framing devices (realized by elements which create dividing lines, or by actual frame lines) disconnects or connects elements of the image, signifying that they belong or do not belong together in some sense. Given & new: the information value of left & right In Western societies the right corresponds to key information, for example, an instance of what is to be learned in a textbook. The left is the side of the ‘already given’, something the reader is assumed to know already, as part of the (sub)culture. Ideal & real: the information value of top & bottom Vertical axis
  • the upper section visualizes the ‘promise of the product’, the status of glamour it can bestow on its users, or the sensory fulfilment it can bring.
  • the lower section visualizes the product itself, providing more or less factual information about it, and telling the readers or users where it can be obtained, or how they can request more information about it, or order it. There is usually less connection, less ongoing movement, between the two parts of the composition than in horizontally oriented compositions.

↳ embracing multimodality and intersemioticity, as well as cultural awareness and consumer orientation → consumer ethnocentrism = consumers’ positive bias towards products coming from their own country, culture, community or locale as opposed to foreign products.

  • one of the most powerful drives against globalization Internationalization
  • ‘think globally, act locally’ → motto
  • “The preparation of the original ‘multitext’ may also be regarded as a form of translation or pre- translation” ↓ In addition to smart centralization, i.e. a situation when instead of hiring multiple local offices of an advertising agency to do the transcreation, the brand goes to a single transcreation agency that covers all languages to retain more control. MULTINATIONAL BUSINESS DISCOURSE - TRANSLANGUAGING - INTERCOMPREHENSION Multinational companies
  • Multinational companies (MNCs) : sites where global and local dynamics co-construct reality instead of approaching globalization and localization forces as separate entities
  • Glocalization : a concept that merges globalization and localization, focusing on how global entities adapt to local cultures and markets
  • MNC globalization process -> introducing English as a common corporate language a lingua franca

→ BUT! MNCs remain multilingual establishments by nature

and employees widely speak local languages in several subsidiaries

  • (^) Multilingual franca the combined usage of different languages in MNCs → focus is on “language in use”.
  • a negotiated, situated approach to language where speakers use multiple linguistic resources to make themselves understood.

MNCs & language skills Traditional language skills in different national languages, and especially the language that employees commonly use at work, appear as an empowering resource for MNC employees. BUT! Companies do not prioritize combining different languages or relaxing the grammar rules of national languages that occur in translanguaging as a practice worth cultivating in the organization. Yet it happens. Translanguaging The origins of translanguaging lie in Welsh bilingual education in the 1980s. ‘Trawsieithu’, a Welsh term coined by Cen Williams, and later translated into English as ‘translanguaging’, was constructed as a purposeful cross-curricular strategy for ‘the planned and systematic use of two languages for teaching and learning inside the same lesson’. Researchers working in multilingual classrooms have begun to use the term ‘translanguaging’ to describe multilingual oral interaction and the use of different languages in written texts → Translanguaging as a bricolage where users “disinvent and reconstitute languages” The concept of translanguaging is “the act performed by bilinguals of accessing different linguistic features or various modes of what are described as autonomous languages, in order to maximize communicative potential. It is an approach to bilingualism that is centred (...), on the practices of bilinguals that are readily observable to make sense of their multilingual worlds.” ↳ “fluid practices that go between and beyond socially constructed language [...] systems, structures and practices to engage [...] multiple meaning-making systems and subjectivities”.

  • identity oscillating between nationality and language,
  • in multilingual, multicultural environments individuals may freely pick elements from their full array of meaning-making resources, - languages and non-verbal resources.
  • Translanguaging practices for consumer identification within minority or multi-language communities