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New Points of View on Audiovisual Translation and Media Accessibility


Edited By Anna Jankowska and Agnieszka Szarkowska

This collection of articles offers a comprehensive overview of some of the most current research approaches found in the field of audiovisual translation (AVT) and media accessibility across Europe. The authors, well-known experts in the field of AVT, reflect on new challenges and look into potential avenues for investigation in professional practices like subtitling, surtitling, dubbing and voiceover as well as audio description (AD), subtitling for the deaf and the hard-of-hearing (SDH) and audio subtitling.
The book is divided into four sections. The first part discusses some of the cultural challenges encountered by professionals when dubbing and subtitling audiovisual productions and when surtitling live events. The second part focuses on AVT training, particularly on the teaching and learning of voiceover and subtitling. The third section is dedicated to AD and provides a detailed overview of some of the latest developments taking place in this area. The last section examines some of the most prevalent issues in SDH.
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Opera Surtitling in Poland: Theory and Practice


1.  Operatic langue and parole

Opera is usually understood as a stage performance based on the synthesis of various forms of arts, e.g. dance, singing, music, acting or stage scenery. Given its nature, it is rather a complex and multimodal phenomenon. Globally, opera may be perceived as an abstract system of various semiotic subsystems, building up the lavish collection of signs that form the very foundation of a single performance. Based on a hierarchical structure, the semiotic subsystems seem to vary in significance. Opera as an abstract system includes, for instance, differing forms of ballet or contemporary dance as well as the general art of acting, yet not all performances will draw on those elements to the same extent. It is though rather accepted wisdom that opera cannot do without words, music and the visual spectacle (even if based only on crude scenery) and no performance can be successful without those elements. All in all, it may be stated that the operatic langue appears complex, elaborate and internally heterogeneous.

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