IdentitiesinTranslationWorkshopProgram27thofSeptember,2017

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Welcome

totheIdentitiesinTranslationWorkshop

IamdelightedtobewelcomingresearchersworkingacrossthehumanitiesandsocialsciencesinintersectingfieldssuchasLinguistics,MediaStudies,CulturalStudiesandTranslationStudies.Itismyhopethatwecanengageindiscussionacrossdisciplinesandbuildnetworksforfuturecollaborativework.OverthecourseoftheWorkshopwewillfeature3specialsessionsbyourinvitedspeakersandorganiser.InthemorningsessionDrJasonChristopherJoneswillpresentonTransferralandTranslation:MakingWineLexiconandWineKnowledgeAccessiblethroughtheGraphicNovel.Afterashortbreak,aseventorganiser,IwillbespeakingonCulturalTranslationandthe2020Games:Framingthe“LGBT”Boom(DrClaireMaree).Intheafternoonsession,DrTessaDwyerwillpresentherresearchonSub/DubWars,SplitSelvesandPseudo-Translation.TherewillalsobethreegeneralsessionswithspeakerspresentingtheirworkonarangeoftopicsrelatingtoIdentitiesinTranslation.Topicsrangefromtranslationofmovies,topoliticaltranslationtotheinterpretationandtranslationofsigns.

Asweaimtofosterdiscussioninrelationtothepresentationsandoverarchingworkshopthemesof‘identitiesintranslation’wehavelimitedtheaudiencesize.Wehopethatwhetherpresentingornot,theaudiencewillbeinvolvedinquestions,commentsanddiscussions.Iwouldliketothanksthoseorganisationsthathavegenerouslysupportedthisworkshop:theAsiaInstitute(UniversityofMelbourne);ArtsFaculty(UniversityofMelbourne).TheIIT-2017Workshopissupportedby"Writing Identity onto the screen: Subtitles and captions inJapaneseMedia"(DP150102964).ManythankstothesmallIITteamwhohaveworkedtirelesslytobringtheeventtogether.ThankyouforyoursupportofIIT-2017.ClaireMareeSeptember,2017

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TableofContents

Schedule.................................................................................................................4InvitedSpeakerProfiles..................................................................................5AbstractSchedule...............................................................................................6Abstracts................................................................................................................7OldArtsMap......................................................................................................16

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ScheduleWednesday27/09(all-daycateringprovided)SessionswilltakeplaceinOldArtsSouthLecture–Room224

CateringwillbeprovidedinArtsHall–Room222

9:00-9:10 Welcome ClaireMaree 9:10-10:10 Invitedspeakersession JasonJones10:10-11:00 MorningSessionA ZiliaZara-Papp AngelaTarantini,TaylorSpence&

RubenBenatti11:00-11:20 Coffeebreak 11:20–12:20 Invitedspeakersession ClaireMaree12:20-1:30 MorningSessionB XiaofangYao YiChen&ZhongweiSong BeiHu1:30-2:30 Lunch 2:30-3:30 Invitedspeakersession TessaDwyer3:30-4:00 AfternoonTea 4:00-5:00 AfternoonSession MegumiOkugiri YiJing Pleasejoinusafterthefinalsessionforapost-workshoprefreshmentatTsubuwhereyoucanpurchasearangeofalcoholicandnon-alcoholicbeveragesaswellassnacks!

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InvitedSpeakersDr Jason Christopher Jones is a Lecturer in Japanese Studies at Monash University. Hisresearchexaminesculturaladaptationas represented in Japanese film, television,animation,manga, and other texts. He is also an active translator, interpreter, and subtitler. His mostrecentpapersinclude,“DelightfullySauced:WineMangaandtheJapaneseSommellier’sRisetotheTopoftheFrenchWineWorld”andtheco-authoredpaper,“FromWesttoEasttoWest:AcasestudyonJapanesewinemangatranslatedinFrench”.

TessaDwyer isalecturerinFilmandScreenStudiesatMonashUniversityinMelbourneandpresident of the journalSenseofCinema. She has publishedwidely on language politics inscreen media, including the recent monographSpeaking in Subtitles: RevaluingScreenTranslation(Edinburgh UP, 2017). Her work appears inThe Velvet Light Trap, theSouthAtlantic Quarterly,The Translator,Linguistica AntverpiensiaandRefractory, as well as innumerous anthologies includingLocating the Voice in Film(2017) andThe State of Post-Cinema(2016). Tessa belongs to the inter-disciplinary research group Eye Tracking theMoving Image (ETMI) and is co-editor with Claire Perkins, Sean Redmond and Jodi SitaofSeeingintoScreens:EyeTrackingtheMovingImage(Bloomsbury,forthcoming).

OrganiserClaireMareeisSeniorLecturerinJapaneseattheAsiaInstitute,UniversityofMelbourne.Herresearch areas are critical language studies, gender/sexuality and language studies, mediastudies and queer studies. Claire is currently sole CI on ‘Writing Identity onto the Screen:Subtitles and captions in Japanese media’ (ARC DP150102964). She also collaborates withcolleaguesfromAustraliaandJapan:on‘ThirtyYearsofTalk:APanelStudyofKobeWomen’sInterview Discourse’ (ARC DP170102598). Major publications include ‘Onē-kotoba’ Ron (On‘Onē-kotoba[languageofqueens]’)(Seidosha,2013);Hatsuwashanogengosotoratejītoshitenonegoshiēshonkōi (NegotiationasaLinguistic Strategyof Speakers) (Hituzi Shobo, 2007). Shehas published journal articles & chapters in collected volumes on Japanese language andgender,pragmatics,andqueerstudies.

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AbstractsInvitedSpeakerSession.........................................................................................................................................10JasonJones TransferralandTranslation:MakingWineLexiconandWine

KnowledgeAccessibleThroughtheGraphicNovelMorningSessionA....................................................................................................................................................10ZiliaZara-Papp TransplantingtheGhostintheShell–CulturalandTrans-Media

TranslationfromJapaneseMediaAngelaTrantini,Taylor “What’sinaname?”HowTipidutawiŋbecame“ScarletHouse”Spence&RubenBenetti duringtheDakota-USWar(1862-1878)OrganiserSpeakerSession...................................................................................................................................10ClaireMaree CulturalTranslationandthe2020Games:Framingthe“LGBT”

BoomMorningSessionB....................................................................................................................................................12XiaofangYao BilingualMessagesintheLinguisticLandscapeYiChen& UnderstandingInterpreters’IdentityinPoliticalSettings:ACaseZhongweiSong StudyintoChina’sGovernmentInterpretersinPressConferencesBeiHu TheReceptionofTranslatedForeignAffairsDiscourse:China’s

InternationalCommunicationSystemInvitedSpeakerSession.........................................................................................................................................14TessaDwyer Sub/DubWars,SplitSelvesandPseudo-TranslationAfternoonsession.....................................................................................................................................................15MegumiOkugiri TheGenderofTakarazukaOtokoyakuandtheFans’ExpectationsYiJing OmissionofInterjectionsinEnglish-to-ChineseFilmSubtitling:

Visual-VerbalCommensurability

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Abstracts

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TransferralandTranslation:MakingWineLexiconandWineKnowledgeAccessiblyThroughtheGraphicNovelJasonJonesWine lexicon – the words and expressions that we use to describe the myriad flavours,aromasandemotionsevokedbyagivenwine–remainacentral featureofwineculture. Italsoremainsoneofthemostsignificantbarrierstoentry.Forinstance,silencemightbethepreferablecourseofactionifonecannotmusteradescriptionwithmoreflairthan‘delicious’.Wine-centred Japanese graphic novels (manga) such as Kami no Shizuku, Sommelier andBartender and the audiovisual adaptations thereof constitute an innovative means oftransferringwine lexicon andwine knowledge in a convenient package.Here,wewill firstexaminethehistoricalfactorsleadingtothemasstransferralofwinelexiconandknowledgeintoJapan.ThiswillleadintoourdiscussionofhowJapanesewinemangaanditsaudiovisualadaptations have not only leveraged their visual nature to lower the barriers of entry toproficiencyinwinelexicon,butalsomovedthetranslationofwineexpressionbeyondwords.TransplantingtheGhostintheShell–CulturalandTrans-MediaTranslationfromJapaneseMediaZiliaZara-PappThis research aims to investigate the cultural translation of Ghost in the Shell manga andJapaneseanimationadaptedtoHollywoodcinemainEnglishlanguage. Thepaperprimarilylooksathowvisual imagery is translated fromthemangaandanime forms to theWesterncinema adaptation, as well as how key elements of character design and narrative arechangedwiththenewcinemaproduct.GhostintheShellisthetitleofasectionofthegroundbreakingmangaseriesKōkakuKidōtai(攻殻機動隊 , Armoured Riot Police) created by manga artist Masamune Shirō (1989).AnimationdirectionMamoruOshii(ProductionI.G.)basedhisanimatedfeaturefilmKōkakuKidōtai Gōsuto in za Sheru (1995) on the original manga, that was dubbed in English anddistributed internationally under theEnglish titleGhost in theShell in the same year.Oshiilaterproducessequelstotheoriginalanimationnarrative.In 2017 the live-action cinema adaptation of the narrative was produced by DreamWorkspictures,starringScarletJohanssonasMajor/MotokoKusanagi.Theprimarylanguageofthefilm is English, with the character of Chief Daisuke Aramaki (played by Takeshi Kitano)speakingJapaneseonly.The paper investigates how the original narrative of the manga, that is preserved to aconsiderableextentintheanimatedfilm,issubvertedintheWesternlive-actionadaptationinaway that the philosophical and existential intricacies of the original narrative are largelyreplacedbytechnology-orienteddiscoursethatbringsasimplifiedandoptimisticconclusion.The paper aims to dissect the notions of “identities in translation”, language and identity,translation of references to gender, body and consciousness fluidity, translation andtransnationalism,aswellastranslationfromoneaudio-visualmediumtoanother.Thepaperaimstodrawaconclusionrelatedtotheinevitabilityofbeinglostintranslation.

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“What’sinaname?”HowTipidutawiŋbecame“ScarletHouse”duringtheDakota-USWar(1862-1878)AngelaTarantini,TaylorSpence&RubenBenatti

Theaimofthispaperistoshowhowthetranslationofanameinacolonialcontextcan

contribute to thecreationof fictitious identitiesof Indigenouspeople.Our researchutilizes

translationstudiesandlinguisticstoilluminate‘thetranslationencounter’:themomentwhen

anagentofthegovernmenttranslatesanIndigenousperson’snameandrecordsit.Thispaper

builds on Spence’s article (pending revisions) on the violence an Episcopal missionary

committed against a Dakota girl named Tipidutawiŋ and her community in the Dakota-US

War (1862-1878). Spence argues that the Episcopal Church and the U.S. state translated

Tipidutawiŋ’snameinto“ScarletHouse”inordertocreateapersonathatexcusedallegations

ofsexualviolenceonthepartofthemissionary.

In thispaper,Benattianalyses the issueofnaming fromthepointofviewofsemantics,

philosophyoflanguage,andcognitivelinguistics(Kripke1980,TextorandRami2015,Gunina

2011).Afterabriefoverviewofthetheoryofreference, theauthorscompareandcontrasts

typologicalfeaturesofDakota(suchaswordorder),andculturalaspectssuchasthevalueof

coloursinthedifferentculturestoscrutinisewhetherthetranslationofTipidutawiŋ’sname

wassomehowbiasedbypersonal(orpolitical)interests.

Building on Spence’s historical research, and on Benatti’s linguistic analysis, Tarantini

examines the positionality of the translator within the uneven power dynamics between

translators and Indigenous peoples in the context of violence, and the dislocation of war

(TymoczkoandGentzler2002).Translation,then,ratherthanameanstoanend,becomesthe

activetoolthroughwhichcolonizersconstructanimageofIndigenouspeoplesinunbalanced

power dynamics (Tymoczko 2000). With this paper, we demonstrate that the act of

translatinganameisanintegralpartofthisfictionalconstructionofaperson’sidentity.

References

Gunina,N.A..2011."Conceptvsmeaning:cognitiveapproach."TransactionsofTSTU17:248-250.Kripke,Sau.1980.NamingandNecessity.Oxford:BasilBlackwell.Spence,Taylor.Pendingrevisions."NamingViolenceinUnitedStatesColonialism."JournalofSocial

History.Textor,Mark,andDolfRami.2015."ProperNames:PhilosophicalandLinguisticPerspectives."

Erkenntnis80:191-194.doi:10.1007/s10670-014-9710-1.Tymoczko,Maria.2000."TranslationandPoliticalEngagement:Activism,SocialChangeandtheRole

ofTranslationinGeopoliticalShifts."Translator:StudiesinInterculturalCommunication6(1):23-47.

Tymoczko,Maria,andEdwinGentzler.2002."Introduction."InTranslationandPower,editedbyMariaTymoczkoandEdwinGentzler,xi-xxviii.Amherst:UniversityofMassachusettsPress.

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CulturalTranslationandthe2020Games:Framingthe“LGBT”BoomClaireMareeThispaperexploresthecontemporaryJapanese‘LGBTboom’inthesocio-politicalcontextofthe2020TokyoGames. It focuseson themediatisationandcultural translationof theanti-discrimination clause of the International Olympic Committee Charter that includes sexualorientation.The cultural translation of the anti-discrimination clause of the International OlympicCommittee (IOC) Charter that includes sexual orientation post-2015was influential to theformation of a multiparty caucus to examine discrimination against sexual minorities(launchedMarch2015).ThestatedaimsofthecaucusaretodeepenunderstandingofLGBTissues'toshowthatthereisnodiscriminationagainstLGBTpeoplesintherunuptothe2020Olympics and Paralympics' (Hase, 2015). This political recontextualization has emergedsimultaneouslywithacontemporaryJapanesemediagenerated'LGBTboom'.In this paper, I undertake a micro-analysis of the framing of "LGBT" through complexintralingual translations and citational practices common to contemporarymedia; such asimpact-captioning, 'sharing' on social-media and 're-tweeting'. These practices are part ofcontemporary 'language-labour': an overarching term for the collaborative aspects ofmediatedtextualproductionthatencompassesprofessionalproductionandeditingwork,aswell as interpersonal communication. Looking towards language-labour enables analysis ofhowpublicdiscoursesituatessocial,culturalandpoliticalgroupsinrelationtodomesticandinternationalaffairs.Iarguethatthecurrentexplosionofnewspaperandmagazinesarticles,light entertainmentandcurrentaffairs showswhich refer to 'LGBT' and the 'LGBTmarket'canbebetterunderstoodbyexaminingthelanguage-labourevidentinculturaltranslationofOlympicvaluesontolocalnormsofgenderandsexuality.

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BilingualMessagesintheLinguisticLandscapeXiaofangYaoA great number of multilingual suburbs are springing up thanks to a deeper and broaderprocess of globalisation. As people migrate across borders, their cultures, historicaltrajectories and most importantly, linguistic resources also get mobilised, which togethercreates transnational places most obviously observed from the linguistic landscape ofmetropolitan areas. Linguistic landscape originally refers to the combination of languagesusedonpublicsignage,butmorerecentlyextendsitsscopetoincludeavarietyofmultimodalsemiotic resources, such as typography, colour, spatial composition andmateriality. Thesesignsgiveoutimportantcluestoidentitiesandideologiesofpeopleinthesociety.Fromtheperspective ofmyself an overseas Chinese student,Melbourne is a fascinatingmultilingualand multicultural cosmopolitan hosting a great number of diaspora communities andethnicities. InBoxHill,asuburbofMelbournewheremostChinesecommunitiesreside, thelinguistic landscapeseemstobebothnostalgicandexotic,apparentlyappealingtodifferentaudiences.Thispaperthereforesetsouttoinvestigatetheidentitiesofbilingualsignsinthelinguistic landscape of Box Hill. In addition to a sociolinguistic analysis of text on signs, amultimodal analysis of other semiotic resourceswas also employed. The study shows thatwhile aplethoraof language combinationswere found,Chinese andEnglishbilingual signsclearly dominate the landscape. Moreover, the choices of languages, and for Chinese inparticular, themultiple characterandpinyinsystems,aremore likelyan informeddecisionmade under the specific sociocultural and political context. The signs are particularlyintriguing due to the overlapping, complementary, fragmentary and duplicating bilingualmessages in use, and the arrangement of different elements reveals sign writers’considerationoftheirownliteracy,identityandthelanguagesknownbytheirtargetreaders.

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Understanding Interpreters’ Identity in Political Settings: A Case Study intoChina’sGovernmentInterpretersinPressConferencesYiChen&ZhongweiSongInterpreting is commonly recognized as an oral form of translation intended to facilitatecommunicationacrosslinguisticorculturalbarriers(Pochhacker,2004).Sinceinterpretingisfundamentally a language-based activity, the roles of the interpreter are enactedthroughtheiruseoflanguageincontext.

Theaimofthisstudyistounderstandtheinterpreter’sroleinpractice,ormorespecifically,the roles of the in-house interpretersenactedin the Chinese premier’s two-session pressconference, which is a high-profile political event and broadcast alive to the worldviewers.Thestudyusesaspecializedcorpusbuiltoutofsevenpressconferences,andadoptssystemicfunctionallinguistic(SFL)asitstheoreticalandanalyticalframework,toinvestigatetheinterpersonalchoicesmadebytheinterpretersandthecontextinwhichthesechoicesaremade,particularlythoseinrelationtothechangeinspeakers,addresseesandthetopicofthequestionandanswersetincommunication.

Thestudyfindsthatthesegovernmentin-houseinterpretersperformdualrolesinthepressconferences: as a professional interpreter and as a civil servant. On the one hand, theinterpreters are committed to their professionalism in providing linguistic service only incommunication. On the other hand, they respond to the influence of their institutionalallegiance.Thesetworolesarealsodeterminedbythecontextinwhichtheyareinterpreting,therebymakingcorrespondingchoicesatbothlexicogrammaticalandsemanticlevels.

By investigating the interpreters’ roles and their linguistic choices from the perspective ofsystemic functional linguistics and on the basis of a specialized corpus, the study offersbenefits to both interpreting practitioners and researchers, by 1) providing linguisticevidence that the interpreters tend to play a proactive role in communication;and2)demonstrating that the linguistic choices made by the interpreters are reflective of thecontextualconstrainstheyface.

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TheReceptionofTranslatedForeignAffairsDiscourse:China’sInternationalCommunicationSystemBeiHuWith increasing globalization and integration, international communication is influential inenhancing a nation’s image abroad and gaining universal recognition. Alongside the globalincreaseininterlingualcommunication,translationhasbecomepartandparcelofacountry’sinternational communication today more than ever. The growing demand for translationstudiesin foreign affairs discourseis pertinent for two main reasons. First, whenever theintensityofinformationflowsneedtobedistributedacrossdifferentcultures,translationascross culture communication has always been a fact of frontiers in connectingwithwiderinternationalproblematics.Second,sinceforeign affairs discourse concerns with identifyingnationalculturalspecificity,translatingitintoanotherwithoutlossofcommunicativevalueisnotapurely linguistic event.If language were merely a code for communication, then allwouldbenefitfromtheuseofaninternationallinguafranca.This researchaims toexamine thewaysdifferentaudiencesengagewith translated foreignaffairsdiscourse, takingChina’s internationaldiscoursesystemasacasestudy.TheChinesegovernment has invested significantly in promoting itsinternational communicationsystemaspartofefforts tobuildinternational trust,butChina’sviewof itselfandthe imageperceived overseasseem to beout of alignment, leavingwide open the question of exactlyhow the target audience responds to China’s translated narratives.Analyzing receptions oftranslated foreign affairs discourse,weassume that much depends on who the receiveris.Wethusinitiallyasktowhatdegreereceptionsofthetranslationsvary withtheaudience’srelative familiarity with the start culture.Wethen examinehow different kinds oftranslationsaffect thereceptionbythe foreign audienceandwhether the production normsforthetranslationsalignwiththereceptions.Sub/DubWars,SplitSelvesandPseudo-TranslationTessaDwyerWhatdoscreentranslationpreferencestellusaboutourselves,andhowdotheyalsoreflecton-screen content and contexts? When is subtitling merely decorative and dubbingdysfunctional? This paper deploys such green translation oddities as springboard forunpackingtheculturaldynamicsandidentitypoliticsofsub/dubdivides.

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TheGenderofTakarazukaOtokoyakuandtheFans’ExpectationsMegumiOkugiriAmongmany Japanesepopular cultures,TakarazukaReviewCompany, amusical company,illustratesasignificanceingenderbecausebothmembersandfansarefemale.Allmembersofthecompanyarefemale,andaboutahalfofthemareotokoyaku,whoplaymaleroles.Forthefans,the90%arewomen(Nakamoto,2011).Thisstudywillarguethegenderandidentityofotokoyaku by illustrating their stereotypical speech, specifically their use of first personpronoun “watashi/boku/ore” in their speech on and off stage. On stage as a male role,otokoyakuactorsuse“boku”or“ore,”i.e.,firstpersonpronounsusedbymale(Kinsui,2016).Meanwhile,on televisionprograms, theyneverusesuchpronounsbut “watashi,” i.e.,a firstpersonused in female casual speech (Takarazuka Sky Stage).Thephenomenon shows thatotokoyakuactorshavetwopersonasinpublic(onstageandTV);asbothmaleandfemale.Thisstudywillexplainthereasonforthepersonasliesthefans’uniqueattitude,expectationanddesire.The fanscanmeet their favouriteactorswaitingat thestagedoorora fanclubparty,andmanyofthemwanttowatchaffectionatelyasotokoyakugrowsupforyears(oftenmore than adecade); fromTakarazukaMusic School to their retirement (Nakamoto, 2009;Miyamoto,2011).Theyhaveaspecialfeelingsimilartoparentallove(Nakamoto,2009).Thatisjustlikethefansareraisingagirl(namelytheirfavouriteactor)astheiridealchild.Anothernotablephenomenonisthatyoungergenerationfansseeandadmireotokoyakuasaniconoftheirperfectdreamworkingwoman(Robertson,2000),whohasovercomemanydifficultiesin the school and company: well-known as being extremely difficult to enrol and strict indisciplines and art. Otokoyaku is their dream who can behave regardless of the gender,thereforebeingconsideredtobeasuccessfulwoman(Robertson,2000).Kinsui,S.(2016).YakuwarigoShōjiten.Tokyo:Kenkyūsha.Miyamoto,N.(2011).TakarazukaFannoShakigaku.Tokyo:Seikyusha.Nakamoto,C.(2011).NazeTakarazukaKagekinoOtokoyakuwaKakkoiinoka.Tokyo:

TokyodoShuppan.Robertson,J.(2000).OdoruTeikokuShugi:TakarazukaoMeguruSekusyuaruPoritikkusuto

TaishūBunka.Tokyo:GendaiShokan.TakarazukaSkyStage.http://www.skystage.net

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Omission of Interjections in English-to-Chinese Film Subtitling: Visual-VerbalCommensurabilityYiJingThis study is concerned with the Chinese subtitling of what are commonly termed“interjections” in English language films.The motivation to focus on “interjections” comesfrom theirobservedtendency to beomitted, which raises the question of whether theomission entails significant loss of meaning.Subtitling literature has proposedthatinterjectionscanberegardedas“redundant”withthevisualinthefilm,whichlegitimizestheir omission.However, thecurrentresearch found no significant difference between theomission rates ofinterjectionswith and withoutvisualcorrelates.Certain interjections,typically represented byhey, were found to be strongcandidatefor inclusion rather thanomission despite the presence of visual correlates.The current data also revealed a slighttendency to discard interjectionswithoutvisualcorrelates,which overturns the hypothesisthat the absence of visual correlates would increase the likelihood of interjections beingincluded.These findings suggest that some visuals are more commeasurable withinterjections than other visuals, which renders some interjections more dispensable thanother interjections.The findings suggestthatsubtitlers actively engage the subtitles withothermodesinthefilmtoensurethetotalityofmeaningintheoriginalfilmisretainedinthetargetmultimodaltext.Thisresearchis thussignificant inraisingtheawarenessof linguisticaswellasnon-linguisticfactorsthatareatstakeintranslationwhenmultiplesemioticmodesare involved, and consequently lead to reconsideration of criteria for translation qualityassessmentbasedonthenotionoftranslation“equivalence”.

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