I just moved my cat into our apartment about twelve hours ago and she’s very anxious and hasn’t moved before, save for when she was a kitten and moved into our house. It is currently about 2:45 AM and I’m trying to sleep on a futon on the kitchen floor near the bathroom she chose to stay in. Unsurprisingly, I’m sleeping poorly, and now that she feels safe enough, she’s walking around and exploring, which means I can’t SLEEP. My girlfriend’s cat is territorial, and although she’s confined into a different part of the apartment, they can still see each other and I don’t want them flipping out, so I really gotta supervise.
Anyway, post = I wanna sleep
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back on my bullshit (thinking about translation theory in the context of my silly little monster cartoons <3)
(this ended up so so fucking long so i put it under a read more lmao)
specifically thinking about it in the context of like a handful of world/postcolonial lit courses we took and some anth courses
what i mean by that is like
when it comes to just literature there are already so many things that have to be taken into account for translation! let's say you're taking a poem. in its native language, that poem has a sound, a rhythm, a way of communicating that a lot of poetry in a lot of languages do. when you translate it to another language, like english, are you going to translate in a way that preserves the meaning most, or a way that attempts to approximate the meaning while preserving the synesthetic qualities of its sounds?
the homeric epics are a really fun example for comparative translation analysis imo. and i mean fun because there are so many translations of them into english, and at least one madlad decided to make a prose translation of an epic poem. only recently did the first translation of the poem by a woman get published, and that revealed that a lot of biases in the linguistic nuance were kind of getting smoothed over like a crease in clay.
(i have a copy of emily wilson's translation but am not the guy who reads classics in our system, i just write the essays lmao. but she wrote multiple times about the theory of translation she was working with and if you're at all interested in this topic, look her up.)
but even if you aren't translating a text from antiquity and are, say, working with a more contemporary example of literary translation, you still have to bridge the gap between two cultures that may be very different. just a word for word translation may not work too, because figurative language like idioms might not be understood by the language you're translating to.
the amount of cultural knowledge required to sculpt a truly effective translation that preserves the image of the original while making it comprehensible to an otherwise ignorant audience is just. so cool to me. i say this as someone who could never really do translation work myself, on account of not having that kind of complex grasp on another language than my native one, of course, but you don't have to be fluently billingual to understand what i'm talking about here, imo.
another example, and one that i actually wrote comparative analysis on, is work from charles baudelaire's les fleurs du mal ("the flowers of evil"). works of short poetry are effective case studies in what different translations can look like, because translations of baudelaire's poetry still portray the subject matter in a way that is presumably true to the original french. while something may always be lost in translation (there's a saying for a reason there), the philosophy behind one's translation can also highlight one's own reading of a text, and offer a closer insight into said text for foreign audiences (me, it's me, i'm the foreign audience reading charles baudelaire in world lit and going absolutely insane about translation theory).
for my mileage, you end up seeing a paradigm between translations that span between "strict" and "loose," if that makes any sense. a strict translation makes no changes in its translation, preserving the literature in its entirety as it is translated, to the best approximation possible where a direct translation is impossible. a loose translation meanwhile may make more artistic choices in its translation, foregoing certain details in order to better articulate the artistry in the original work.
okay, now, the reason i'm thinking about this today, right now.
in literature this is already a complex subject, but when you get into other forms of art, like animation in the case of this blogs primary topic, there become a lot more moving parts. like with literature, there's going to be the simple fact of looking into a cultural window and trying to communicate that snapshot to foreigners.
with subtitling, you can add things like translator's notes. this is a non-diegetic method of communicating information to your audience, and you can see it present in literature as well (footnotes or endnotes are a frequent addition to many translated works; hell, they're common even in non-translated works). in animated works where there are vocal tracks (like anime openings or insert songs), you can also have subtitles for those, no problem!
however, when it comes to dubbing, you automatically include more elements to juggle in your translation work. you have to take into account individual voice, background tracks, visuals, etc. etc.. the method most dubs handle translating the work often discourages non-diegetic methods of communicating information, so you're less likely to see translator's notes in dub work. sometimes this even includes changing on-screen text so that a foreign audience can read it.
the lengths to which a dubbing company is willing to censor in translation is also, obviously, a conversation worth noting (see again my losing my shit at pinnochimon packing heat). a phenomenon i'm sure we've all noticed when it comes to dubbing (as opposed to most translations of literature i've seen) is that dubs may market to a specific age range in translation. sometimes that may end up defanging a work's themes, or changing them entirely. the censorship of a dub may come out of a cultural difference or hesitance to show certain subjects to a younger audience, but regardless it is part of the theory behind some dub work.
i don't really have a conclusion to this, but it's just in my mind a lot while i'm watching some of these series for the first time subbed. by all means, i don't think dubbing is a bad thing (if anything it's complex), but having the experience of watching the sub is allowing me to do a type of comparative analysis i don't think i've ever had the chance to actively do.
i know that there are folks who have done more thorough comparative analysis work than i'll probably end up doing, of course (there are so many wonderful blogs here on tumblr alone about that meta-analysis). it's just that i'm enjoying engaging with a childhood interest in a way that i suppose i didn't know i wanted to do so badly.
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15 Questions, 15 (or whatever) Tags
I was tagged by @kikiroo - thank you!! *heart hug!*
1. Were you named after anybody?
Nope.
2. When was the last time you cried?
Um, I cannot stress enough that I cry at the drop of a hat in fictional situations (pretty much never in real life) so it was either Ted Lasso or reading The Celebrants by Steven Rowley, or it could’ve been The Emperor’s Bone Palace by Hailey Turner - I just finished that. I can’t remember if I did or not, but I was so stressed out, I probably did, things went poorly for a bit there and I was a wreck.
3. Do you have kids?
I do not and have no plans to. I’ve never wavered on that, I’ve always been very ‘who knows, could change,’ about it but so far: nah. And I feel like if I had ever wavered, my sister having two pandemic babies and me being her entire village (I am the only relative who lives in the same state. And the people who are best at babies do not live in the same country.) has nudged me more firmly towards: that’s really not for you, broh. I love them to death but I am so glad I get breaks where I just get to be a selfish monster for seventy-two hours straight.
4. Do you use sarcasm a lot?
Neever.
5. What sports do you play/have you played?
I played soccer for maybe a few weeks in middle school and then I was like: this is just running, and running is so much worse than sitting, was everyone aware of that? I’ll be on the bench if you need me. *throws up a peace sign* Though I did just tell my sister that I would absolutely fucking kill at basketball against K-1st graders and I stand by that.
6. What’s the first thing you notice about someone?
Sense of humor. Honestly, I don’t know if it’s an ace thing or not, but I can’t even describe people beyond: heightish and hairish until you interest me as a person, which is usually because you make me laugh. It’s kind of embarrassing sometimes because I really do not notice, and sometimes I’ll be asked to describe someone I’ve been in the vicinity of for, like, two months and I’m like: I genuinely cannot tell you a single thing about this person, I’m so sorry. I just don’t track details. That’s why I try really hard with names. I can’t tell you what they look like in any detail (do they wear glasses? Have freckles? ¯\_(ツ)_/¯ ), but I can tell you their name. And sometimes that can feel like a superpower tbqh, because you know who people come to find out the new person’s name: moi.
7. Eye color?
Blue.
8. Scary movies or happy endings?
Oh scary movies, hands down. They’re my favoritest things. I regularly have them on as background noise.
9. Any special talents?
If I do have them, they’re a secret even to me. I like to have that Kathleen Madigan mindset about it: “What if we’re all prodigies, but it’s just at something we’ve never tried yet? ... What if I sat down at a pottery wheel and made a cup and people were like: Holy Christ, lady, that is the most phenomenal cup ever made.” It could happen!
10. Where were you born?
St. Pete, Florida.
11. What are your hobbies?
Writing, reading, tending to an imaginary beluga whale that lives in my nephew’s bathtub, creating to do lists over and over again that I have no intention of ever completing, and playing Pokemon Go. There’s a girl at my work and we were the two nerds who were really into it, we would get together, do the fests and the raids and community days and such. We have now converted half our workplace into either reactivating their accounts or creating them and there are now at least two more people who are just as - if not more - into it than we are. (Like, they had to make a Pokemon Go policy because of us spreading it like a virus, lololol.)
12. Do you have any pets?
I have a doggo that I accidentally made obsessed with me and super introverted. You know how they say owners start to resemble their dogs? Nope. I broke her and now we like to stay in, are wary of strangers, and essentially try to occupy the same space at all times - I blame COVID, honestly, we were both way more normal before that. Or she was, anyway. The good news is I can let her off leash ‘cause she’s going precisely zero places without me.
13. How tall are you?
5’
14. Favorite subject in school?
English in high school, Evolutionary Psychology in college.
15. Dream job?
I hate to say it but: I do not dream of labor. Anything I’m passionate about doing, I would immediately tarnish by needing it to now be the source of my livelihood. It would lose all its joy because I would put immense pressure on it.
Though if I could somehow make bank through sleeping? Yeah, that.
I don’t know who to tag because I feel like I’ve seen everyone do this on my dash so: um, whoever hasn’t done it yet and wants to - consider this me tagging you!
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