Earticle

Dubbing comprises utterances which are “prefabricated” to sound as authentic as possible; this is often achieved by using discourse markers. Studying the use of discourse markers in dubbing is therefore worthwhile, but there is little research on the subject. Drawing on theories and on prior research on frequently used discourse markers in both English and Korean, this paper aims to investigate the functions of discourse markers and their translation patterns on a pragmatic level, focusing primarily on two of Halliday’s metafunctions—the textual and the interpersonal. A parallel corpus of English animation films (ST) and their Korean translations (TT) and a reference corpus of Korean spoken language have been assembled for quantitative and qualitative analyses of three discourse markers: actually, well, and you know. The findings show that translation methods used for the three discourse markers in dubbed films can be divided into four categories: discourse markers, non-discourse markers (including fixed expressions), partial omission and complete omission. In addition, it turns out that the functional translation patterns of the three markers differ according to their respective contexts of usage and their characteristics, and to the associated semiotic elements embedded in the texts.

Shadowing is used in interpreting education for various purposes, from student screening to simultaneous interpretation training. This study analyzes student diaries to find out what effects students think they enjoy from practicing shadowing, what difficulties they experience, and what teachers need to consider when assigning shadowing practice for self-study. The analysis found that the greatest difficulties that students had was to shadow fast-speaking speakers. It indicates that phonemic or adjusted-lag shadowing are appropriate for students who begin their training, as the methods help enhance auditory decoding and articulatory encoding. In contrast, phrase shadowing, which enhances selective attention, is for advanced students who learn simultaneous interpreting. Post-shadowing recalls encourage students to concentrate more intently during shadowing and better remember shadowed expressions. Last but not least, teachers should offer lots of encouragement to students to perform shadowing, since shadowing is a mentally and physically strenuous task.

This study introduces TermCoord's university cooperation program to enhance translators' terminological competence. Under the program, the participating universities conduct terminology research projects and after validation by internal terminologists of the European Parliament's terminology unit, the project results are fed into the European Union's termbase or IATE. Students also can earn a master's degree through the program by carrying out terminology research and compiling terminology records on 50 or more terms in a certain field. Through the program, translation students can improve their employability while deepening their understanding of terminology work in the translation process. The current study suggests that the European model be adopted with some modifications in the Korean translation scene as terminological sub-competence will remain as one of the essential components of translators' competence even in the age of artificial intelligence.

Singable translation of songs is a complex task mainly because the target text must be compatible with the music. Moreover, translating English songs into Korean is even more challenging because of the stark differences in their linguistic sources: different syntactic structures and different uses of meters and stresses. This study briefly describes the problems related to singability identified in the English (and French)-into-Korean translations of the lyrics of major licensed musicals performed in Korea. The numbers of Rent, The Phantom of the Opera, Cats, Jekyll and Hyde, Miss Saigon, and Notre Dame de Paris were studied, and the following problems were identified in the translated texts: incompatible phrasing of lyrics, inappropriate locations of keywords, additions of syllables (or note splitting), leaving source text words untranslated, and others. These problems hinder the effective delivery of the original music and make singers uncomfortable with singing the target text.

In recent years, researchers have increasingly investigated the topic of professionalism in translation studies, revealing the field's desire to elevate Translation to professional status. Indeed, the aspiration to improve professionalism in the domain of Translation seems unchallenged in the literature, but Translation professionalism still remains an elusive concept. This study joins the burgeoning body of research in Translation professionalism and attempts to stimulate discussion by taking a different approach in defining Translation professionalism and examining the professional status of Translation in a rapidly changing landscape. To reach this objective, this article revisits the origin of professionalism built by Hall (1968), and discusses the structural and attitudinal dimensions of the concept within the Translation context. Barriers to Translation professionalism and suggestions for fostering the structural and attitudinal attributes are also briefly provided.

In an interpreter-mediated communicative event, the interpreter is required to perform two distinctive roles of the listener and the speaker at different points in time. In this paper, this unique dual structure of the speaker and listener in interpreter-mediated events was examined from the perspective of information structure of the source text viewed as a succession of old and new information. Givenness of information units presented in the source text was categorized according to their status in the discourse as well as vis-a-vis the hearer in two different stages of the interpreting event. In the first stage, the interpreter becomes the hearer, and as such takes on the task of analysing the information structure of the source text as it is presented in a linear manner. Interpreters can be better equipped to deal with difficulties presented by the source text by adapting their interpreting strategies according to the information status of a given message. In the second stage, where the interpreter becomes the speaker, it is advised for the interpreter to sequence their message according to its information status by actively analyzing it from the perspective of the hearer, i.e. the audience. The paper provides a detailed explanation of how the analysis of information structure can be exploited for the benefit of the interpreter as well as the audience.

This article deals with the question of the role of linguistic (im)politeness in fictional characterisation and rendering thereof in interlingual film subtitles. The discussion is based on a case study of the 2014 British action film “Kingsman: The Secret Service” and focuses on the representation of one of the film’s protagonists Harry Hart “Gallahad” as a ‘quintessential Englishman’ and gentleman-spy by exploring the pragmastylistic features of the character’s verbal behaviour in the English soundtrack and the Korean subtitles, as well as audience response of both language groups retrieved through the native speakers’ validation procedure. The analysis showed that in many cases the subtitler chose to deviate from the (im)politeness patterns of the original in order to retain the concordance with the situational context of a scene which resulted in the loss of some of the permanent features of the speech portrait of the analysed character. However, by deploying other pragmalinguistic devices, such as the predicate endings of different speech styles that are part of the complex honorific system of the Korean language, the translator was able to achieve a certain degree of similarity to the original impression of the character’s personality in a way that is understandable for the Korean audience.