Mariana Carvalho-Jones

Idiomas

Áreas de atuação

Produções bibliográficas

• JONES, K. E. ; CARVALHO-JONES, M. . Translation from English into Brazilian Portuguese and Closed Subtitling for DVD of the Educational Film Shakespeare Works!, 2011. (Tradução/Outra).

Projetos de pesquisa

• 2011 - 2011

  Software Localisation. Translation and adaptation from English Language to Brazilian Portuguese of the webpage BetClic.com (2010) by BetClic Limited for a Brazilian audience average age 43 years old., Descrição: The project introduces students to the principles and practice of localisation in the area of multimedia interactive entertainment software, a.k.a. of material that make up the process, including in-game, User Interface, interactive subtitles, online help, voice-over, manuals, packaging, graphics files, official website. Students look at the different genres of video game and study the complexities involved in translating such interactive entertainment material in a professional context. This project consists of the translation and adaptation of the egaming homepage of the website BetClic.com (2010) by BetClic Limited (APPENDIX 1), from English Language (APPENDIX 2) to Brazilian Portuguese (APPENDIX 3). It is aimed to appeal to a Brazilian audience similar to the Game Informer?s (2010) average social gamer: 43 year-old female 55% female 45%, 38% play multiple times a day, mostly likely to have a strong interest in online gaming and sports, that wants to bet. Part of the strategy for localising the webpage, described in more detailed in the commentary, is to use the translation memory tool SDL Trados and terminology management list on SDL MultiTerm Studio (APPENDIX 4). The reason why I have chosen to translate and adapt this excerpt from the website BetClic.com is because localising web content have been considered a problematic area both from the perspective of its linguistic and technical point of view, owing to the fact that it is at odds with the main principles of localisation - ?it must start from an in-depth knowledge of the local culture and requirements, then address those requirements within the framework of existing local structures? (Diaz Cintaz and Anderman, 2009:192). Furthermore, no matter how complex issues concerning the traditional translation, where the material is transferred from one language to another may be. They are relatively simple when compared to the intricacy of the term ?localisation?, which is ?used in commercial translation as the process of making a product linguistically and culturally, but also technically and legally, appropriate to the target country and language? (Bernal, 2006). According to Esselink (2000:1) ?a typical localization project would encompass full translation and engineering of a software application, its online help files, a set of printed manuals, and reference and registration cards included in the product box. However, because of new web-based publishing and distribution technologies, localization can now include the translation and adaptation of web-based applications and database-driven web sites.?. , Situação: Concluído; Natureza: Pesquisa. , Alunos envolvidos: Mestrado acadêmico: (1) . , Integrantes: Mariana Carvalho-Jones - Integrante / Andy Walker - Coordenador.

• 2011 - 2011

  Translation from English Language into Brazilian Portuguese and Closed Subtitling of 06.39.14 minutes from the episode Bollo from the BBC television series The Mighty Boosh (2004) destined to a DVD for a Brazilian audience between 18 and 34 years old., Descrição: Over the past twenty-five years, the practice of subtitling has expanded across all media and entertainment sectors; at the same time Audiovisual Translation has gained recognition as a distinct academic discipline. Subtitling has been the traditional mode of audiovisual transfer in many countries, but its presence is more central than ever today in international film festivals, the Internet and the commercial sectors of DVD and streaming. The main concepts and practice of subtitling underpin adjoining activities, such as surtitling, and captioning for the deaf and hard-of-hearing. This project examines these concepts in detail and will train students in the techniques of subtitle synchronisation using specialised software. Students also have the opportunity to practice their interlingual and/or intralingual translation skills, working with subtitling experts in small groups. Finally, this project equips students with an in-depth understanding of the audiovisual translation sector and of their place as newcomers in the subtitling industry. This project consists of 108 subtitles of the excerpt from the episode Bollo from the television series The Mighty Boosh (2004) by the BBC. The material is 06.39.14 minutes of closed subtitling executed on WinCAPS software, translated from English Language into Brazilian Portuguese, destined to a DVD for a Brazilian audience between 18 and 34 years old. It is aimed to appeal to a Brazilian audience similar to the BBC Statements of Programme Policy (2007/2008), ?among 16 and 34s through a multi-genre offer that engages and reflects the diversity of its target audience, such as The Mighty Boosh.? Therefore, a young mixed-genre Brazilian audience, most likely to have some understanding or interest on English Language and British Culture, able to afford buying DVDs, that wants to experiment and innovate. The reason why I have chosen to translate this excerpt from the episode Bollo is because humor and translation have traditionally been considered a problematic area both from the perspective of its practical translation and from a theoretical point of view, owing to the fact that it is at odds with the main principles of translation theory - the concepts of equivalence and translatability (Vandaele, 2002; Chiaro, 2005). Furthermore, according to Chiaro (2006) ?no matter how complex issues concerning the translation of written and spoken instances of Verbally Expressed Humour (VEH) may be, they are relatively simple when compared to the intricacy of having to translate them when they occur within a text created to be performed on screen. Films are multifaceted semiotic entities simultaneously communicating verbal signs acoustically (dialogue, song lyrics, etc.), visually (written texts, such as letters, newspaper headlines, banners, etc.), non-verbally but acoustically (music, background noises, etc.), and non-verbally but visually (actor's movements, facial expressions, setting, etc.). Yet, the translator's intervention is limited to only one of these aspects, i.e. the dialogue, leaving all the other features unchanged?.. , Situação: Concluído; Natureza: Pesquisa. , Alunos envolvidos: Mestrado acadêmico: (1) . , Integrantes: Mariana Carvalho-Jones - Integrante / Dr Dionysios Kapsaskis - Coordenador.

• 2011 - 2011

  Game Localisation. Critical Analysis to Investigate Normative Practices to Game Localisation. Through Translating and Adapting an excerpt from the game Professor Layton and The Lost Future (2010) for the Nintendo DS from English (UK) into Brazilian Portug, Descrição: The project introduces students to the principles and practice of localisation in the area of multimedia interactive entertainment software, a.k.a. of material that make up the process, including in-game, User Interface, interactive subtitles, online help, voice-over, manuals, packaging, graphics files, official website. Students look at the different genres of video game and study the complexities involved in translating such interactive entertainment material in a professional context. Professor Layton and The Lost Future is a hand-held game for the Nintendo DS. Originally released in Japan in 2008 by the Japanese developer Level-5 (Thorsen, 2011). It was localised in 2010 and subsequently became a bestselling game in the United States, Australia and Europe. According to Fukuoka (Japan-based shop), the Professor Layton series and the last series Professor Layton and The Lost Future have shipped 11.47 million units worldwide (Thorsen, 2011). According to Chandler (2008: 34), the original Japanese content is modified to appeal to an American audience, but the inherent ?look and feel? of the original Japanese game play experience is maintained. Games such as this are unconventional and quirky, reference popular Japanese culture, are fun to play, have a low barrier to entry, and appeal to a mass audience. Hence, it is worthy of attention and most certainly, a proper understanding of the challenges a translator faces when trying to replicate this success with other localisations. Therefore, I have chosen this game to translate and adapt from English (UK) to a Brazilian audience, commenting on the main points of difficulties regarding the localisation of the game and what strategy has been used to solve it as well as discussing the translation terminology, phraseology and cultural references encountered.. , Situação: Concluído; Natureza: Pesquisa. , Alunos envolvidos: Mestrado acadêmico: (1) . , Integrantes: Mariana Carvalho-Jones - Integrante / Dr Miguel Bernal-Merino - Coordenador.

• 2011 - 2011

  Translation from English into Brazilian Portuguese and Closed Subtitling for DVD of the Educational Film Shakespeare Works!, Descrição: This project is presented in part fulfilment of the requirements of the MA in Translation in the Department of Media, Culture and Language of Roehampton University Subtitling is increasingly being perceived as an attractive educational option in the field of language learning and teaching methodology. ?Subtitling can be a powerful training and teaching tool in the foreign language learning class. Hearing the original language while reading the dialogue in context provides a stimulating environment for students to consolidate what they are learning, enrich their vocabulary at the same time as they become familiar with and absorb the culture of a foreign language in an authentic setting? (Díaz Cintas and Anderman, 2009:7). The film Shakespeare Works! (SW!) (2005) is an introduction to Shakespeare used in primary and secondary schools across the UK. The film follows two presenters on a journey of discovery to find out why Shakespeare is so famous: who he was, what he did and how he has affected the world we live in today. The film uses contemporary references to open up the world of Shakespeare for young people of today. The film is predominantly used with Years 5 and 6 at primary school (10-11 year olds) and with Years 7 and 8 at secondary school (11 ? 13 year olds). It is also used with older students, especially those who find it difficult to access this subject. Furthermore, the film is used in Scandinavian schools where the level of English is very high and the students can follow the film without requiring subtitles. "Shakespeare Works! helps all schools make the words of the Bard come alive with its enjoyable activities." Prue Goodwin, Lecturer in Literacy Education and Children's books, Institute of Education, Reading University The audiovisual material is a 45-minute production in English Language ? see Source Text (ST) that has been translated into Brazilian Portuguese ? see Target Text (TT). It is destined to DVD for a Brazilian audience, most likely to be part of the social classes A and B (source: Official Brazilian Census, IBGE) i.e. people with greater level of education and above average per capita income, who study English at an intermediate or advanced level as their second language in private language schools to supplement the school curriculum. This project consists of 540 closed subtitles executed on WinCAPS software. SW! is original material by Kieron Jones Theatre and Films not previously subtitled. For this research, I have worked with the post-production version of the film script, which has all the dialogue transcribed verbatim. I believe it is a challenging piece to translate, because the script includes contemporary issues for translation such as jokes, puns, sarcasm, social and cultural implications, the use of different registers and the use of Shakespeare's original language. For Linde and Kay (1999: preface) the dynamic multimedia environment of a film involves more than solely linguistic practice as the transfer of the dialogue into written form is also strongly influenced by the structure and semiotics of the film. Subtitling processes are changing fast. This continual transformation creates an environment where old methods compete with new techniques. Consistency is not always maintained and complex problems arise. Subtitle styles tend to vary from country to country, even from company to company. Therefore, through transcribing, translating and subtitling SW! the analyses conducted on elements of choices, particular problems encountered, solutions and strategies, will hopefully highlight practical prescriptive questions about linguistic and cultural conventions for audiovisual translation of educational resources and relevant areas of further research. 1) https://youtu.be/lMTygMhsARk 2) https://youtu.be/Sz_pZXDjiZc 3) https://youtu.be/sA0_XXMlimQ. , Situação: Concluído; Natureza: Pesquisa. , Alunos envolvidos: Mestrado acadêmico: (1) . , Integrantes: Mariana Carvalho-Jones - Integrante / Lucile Desblache - Coordenador / Rita Revez - Integrante.

• 2010 - 2010

  Media Access. Closed Subtitling of 3:54:20 minutes from the documentary Tyson the Movie (2008) destined for the deaf and hard-of-hearing for Television Channel ITV., Descrição: This project covers three different ways in which media content can be made accessible for people with hearing and visual impairments. New legislation, especially but not exclusively in the EU, is forcing broadcasters and subtitling companies to subtitle all their contents for deaf and hard of hearing viewers. This includes both pre-recorded and live programmes. A new type of audiovisual translation professional is thus needed, namely one who can produce a) standard subtitles for the deaf and hard of hearing (SDH) and b0 live subtitles through speech recognition (respeaking), which had already consolidated as the preferred method to subtilte live programmes. The project presented here is the first of its kind in the world and aims to provide students with the necessary theoretical and practical expertise to perform successfully in a professional context. Students become familiarised with the different types of viewers their subtitles are intended for, the particular features of these subtitles as well as the use of speech recognition to provide live subtitles not only on TV, but also in public events such as conferences, museums and even classrooms. Finally, this project also covers the provision of audiodescribed scripts for the blind and partially sighted. Through a range of exercises of different genres, students will be equipped with the necessary skills to work on audio description and broaden their awareness about the needs of visually impaired people and the grammatical and syntactic features of the language. This project consists of 51 subtitles from the documentary Tyson the Movie (2008) for people with hearing impairment so as to guarantee readability and therefore greater accessibility. The material is 3:54:20 minutes of closed subtitling executed on WinCAPS software destined for the television channel ITV. The reason why I chose this documentary is, firstly, because the original American DVD has not been subtitled so this is the first attempt. Secondly, it is a challenging piece to subtitle when incorporating the non-verbal components of the SDH conventions such as identification of characters, mood, sound effects and music as well as the verbal components such as formatting, layout and timing. According to Diaz Cintas, J., Pilar Orero & Aline Remael (2007: 93) ?Subtitling for the hearing impaired has been around for more than half a century. As far as television is concerned, it has been technically viable for over 30 years. However, only recently has SDH gained widespread visibility?. Therefore, many countries introduced SDH as a regular television service and countries such as Great Britain have now set forth the impressive benchmark of 100% since 2008 (Diaz Cintas, et al 2007: 93). Nowadays, the challenge to be addressed is that of quality and that is what I approach in detail in this commentary.. , Situação: Concluído; Natureza: Pesquisa. , Alunos envolvidos: Mestrado acadêmico: (1) . , Integrantes: Mariana Carvalho-Jones - Integrante / Pablo Romero-Fresco - Coordenador.

• 2009 - 2009

  Comparative Analysis of Source Text (ST) and Target Text (TT): Sushi for Beginners (2000) by Marian Keyes., Descrição: This project addresses the main theoretical issues that have been discussed by scholars and their impact on shaping translation, adaptation and intercultural practices. The purpose of the project is to make students aware of the main theoretical debates that have surrounded these areas throughout history and that are prominent in the 21st century. The project aims to enable students to see the relevance of theory to the practice of translation, adaptation and intercultural communication. It includes a broad range of approaches such as linguistic, socio-linguistic, (inter) cultural, cognitive, descriptive, media, gender and postcolonial. The project also relates theory to issues of cross-cultural and translation practice. In this comparative analysis of the excerpt from chapter one of the fiction book Sushi for Beginners (2000) by Marian Keyes, I firstly make and overall analysis of the source text comprising information about the author, publication, language and the text. Secondly, I comment on eight contrasting points of difficulties regarding the translation by Heloisa Maria Leal, identifying each translation problem and what strategy has been used to solve it (1-Literal translation 2-Paraphrase 3-Swear words and emphasisers 4-Idioms and fixed expressions 5-Thematic and information structures 6-Translation of proper names 7-Punctuation 8-Grammatical structure ? position of adjective). Finally, I suggest a list of resources that I would use to translate the excerpt chosen as well as useful documents for the translation terminology, phraseology and cultural references encountered.. , Situação: Concluído; Natureza: Pesquisa. , Alunos envolvidos: Mestrado acadêmico: (1) . , Integrantes: Mariana Carvalho-Jones - Integrante / Lucile Desblache - Coordenador.