Translation Constraint In Translation

A translation constraint, following Darwish’s definition, is “any factor in the translation process that limits the realization of an optimally approximated translation”, both at the internal and external levels (209). External constraints comprise aspects that are external to the very act of translating, such as the working environment, time deadlines and national norms, but also aspects that are inherent to the very act of translating and its manifestation such as the “information medium, readability, legibility and audibility of discourse” (Darwish 209). Darwish then refers to internal constraints as immaterial aspects that form the core cognitive activities of the act of translating, referring to “the translator’s aptitude to process information

Fodor, described by Matamala as a major figure in the description of dubbing synchronisation (2010: 5), first referred to this type of synchrony as character synchrony (Chaume 2004: 44). The term kinetic synchrony was then used by Whitman-Linsen (Ibid). If Fodor used the term character synchrony to refer to body movement synchrony, Whitman-Linsen used it to refer to the need to find dubbing actors whose voices match the original actors (Ibid). Chaume however assumes that this constraint is “related to the dramatization of dubbing actors, rather than a type of synchronization” (Ibid). Whether or not the need to find dubbing actors with voices similar to the originals is considered a synchronisation constraint, it is undoubtedly an issue. Indeed, the “tone, timbre, and pitch of voice, prosody (that is, intonation, melody and tempo), cultural variations, accents and dialects” in cinema give information on the characters and are often used, for example, to indicate stereotypes or the sociohistoric context (Matamala 2010: 6). Moreover, Voellmer and Zabalbeascoa explain that “voices are often deliberately used as a stylistic device” (236). They may indeed “[create] empathy, sympathy or antipathy for each important character” and therefore play a role in portraying the characters

As explained above, dubbing would be successful when unnoticed: the audience must believe that they are hearing the original version, even though it has been dubbed, which means censorship can occur. The risk of dubbing a film is that the viewer will perceive the film according to his own culture and thereby distort the original message of the film and alter audience reception (Ramière 105). In the same line of reasoning, Serban explains that “cultural references which are obvious to one audience may not be so to the other” (55). Once again, there is no clear definition of culture. The Longman Dictionary of Contemporary English for Advanced Learners defines a culture as “the beliefs, way of life, art, and customs that are shared and accepted by people in a particular society” (1). The dictionary provides the following example: “We speak Danish at home so that the boys don’t lose touch with their language and culture” (Ibid). Many indeed agree that language and culture are inextricably linked, since a language exists in the form of social variations bound to the environment within which a society operates. As Dwyer reminds, cinema was “conceived from the start as a cultural form with mass, international appeal” (295). Just as languages, cultural elements may play major roles in a film narrative. In Santamaria’s