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Masterarbeit / Master's Thesis MASTERARBEIT / MASTER’S THESIS Titel der Masterarbeit / Title of the Master´s Thesis „ Der ,kollektive Übersetzer‘ bei der Synchronisation des österreichischen Star Wars-Fanfilmes ,Regrets of the Past‘ “ verfasst von / submitted by Maja Pletilić, BA angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien, 2017 / Vienna 2017 Studienkennzahl lt. Studienblatt / A 070 331 363 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Masterstudium Translation Deutsch, degree programme as it appears on Bosnisch/Kroatisch/Serbisch the student record sheet: Betreut von / Supervisor: Univ.- Prof. Dr. Larisa Schippel Mitbetreut von / Co-Supervisor: Danksagung Ich möchte mich an dieser Stelle bei all jenen bedanken, die mich während meiner Schreibphase fachlich und persönlich unterstützt haben und somit zum Gelingen dieser Masterarbeit beigetragen haben. Mein Dank gilt in erster Linie meiner Familie, die mich stets in allen Belangen und während meines gesamten Studiums unterstützt hat. Ein ebenso großes Dankeschön an meinen Freund Philip, der immer dafür gesorgt hat, dass ich mir genug Freizeit neben dem Studienalltag gönne und der auch vor allem in der letzten Phase des Schreibprozesses für mich da war. Weiterhin danke ich auch all meinen Freunden und insbesondere meiner lieben Freundin sowie Korrekturleserin Lilly, die mir ebenfalls in der letzten Phase des Verfassens meiner Masterarbeit mit Rat und Tat zur Seite gestanden hat. Besonders bedanken möchte ich mich auch bei Bernhard, der mir all seine Projektunterlagen von „Regrets of the Past“ zur Verfügung gestellt hat und ohne dessen Hilfe und Zusammenarbeit diese Masterarbeit nicht entstanden wäre. Bedanken möchte ich mich weiters bei Martin, der mir beim ersten Brainstorming mit nützlichen Tipps zur Seite gestanden und mir den Kontakt zu Bernhard vermittelt hat. Schlussendlich gebührt ein besonderer Dank meiner Betreuerin Univ. -Prof. Dr. Larisa Schippel, die mich im Hinblick auf mein Thema inspiriert und mich stets mit wertvoller Kritik unterstützt hat. Grundsätzlich seien in der vorliegenden Masterarbeit immer Frauen und Männer gleichermaßen angesprochen. Wo es sich anbietet, werden geschlechtsneutrale Formulierungen verwendet. Wenn im Folgenden aus Gründen der leichteren Lesbarkeit nur das generische Maskulinum verwendet wird, sind selbstverständlich stets beide Geschlechter gemeint. I N H A L T S V E R Z E I C H N I S 1. Einleitung ......................................................................................................................................... 1 2. Translationswissenschaftliche Grundlagen ..................................................................................... 3 2.1. Geschichtlicher Überblick ............................................................................................................. 3 2.2. Skopostheorie ............................................................................................................................... 4 2.2.1. Skopos & Zielorientiertheit ................................................................................................... 5 2.2.2. Translatoren als Kulturexperten ............................................................................................ 7 2.2.3. Konzept der textuellen Kohärenz .......................................................................................... 8 2.3. Theorie vom translatorischen Handeln ........................................................................................ 9 2.3.1. Translatorische Kooperation ............................................................................................... 11 2.3.3. Expertenhandlung ............................................................................................................... 13 2.4. Scenes-and-frames Semantik ..................................................................................................... 14 3. Übersetzungskritik ......................................................................................................................... 17 3.1. Allgemeines ................................................................................................................................ 17 3.2. Kritik an der Übersetzungskritik ................................................................................................. 18 3.2.1. Negative vs. positive Kritik .................................................................................................. 19 3.2.2. Nutzen der Translatkritik ..................................................................................................... 20 3.3. Funktionale Übersetzungskritik nach Ammann ......................................................................... 21 4. Translation und die multimediale Dimension ............................................................................... 26 4.1. Der Film als multimedialer Text ................................................................................................. 26 4.1.1. Die Multimedialität.............................................................................................................. 26 4.1.2. Die Dominanz des Bildes ..................................................................................................... 27 4.2. Audiovisuelle Translation ........................................................................................................... 29 4.2.1. Gegenstand der audiovisuellen Translation ........................................................................ 29 4.2.2. Formen audiovisueller Translation ...................................................................................... 30 4.2.2.1. Untertitelung ................................................................................................................ 30 4.2.2.2. Voice-Over .................................................................................................................... 31 4.2.2.3. Synchronisation ............................................................................................................ 32 4.3. Auswirkungen der Digitalisierung .............................................................................................. 43 4.3.1. Digitalisierung und der (un)eingeschränkte Zugang zu audiovisuellen Medien ................. 43 4.3.2. Fanübersetzungen ............................................................................................................... 44 4.3.2.1. Zur Problematik von Fanübersetzungen ...................................................................... 45 4.3.2.2. Translatoren vs. Fanübersetzer: (K)eine homogene Gruppe? ..................................... 47 4.3.3. Alles eine Frage der Qualität ............................................................................................... 49 5. Korpus ............................................................................................................................................ 52 5.1. Eckdaten zum Untersuchungsgegenstand ................................................................................. 52 5.2. Der Regisseur und sein Projekt................................................................................................... 52 5.3. Inhalt ........................................................................................................................................... 53 5.4. „Regrets of the Past“ & Kontroversen ........................................................................................ 53 5.4.1. Der „kollektive“ Übersetzer ................................................................................................. 54 6. Übersetzungskritische Analyse des Untersuchungsgegenstandes ............................................... 57 6.1. Die Problematik bei der Übersetzungskritik für Synchronfassungen ......................................... 57 6.1.1. Das erweiterte übersetzungskritische Modell nach Ammann ............................................ 59 6.2. Das Konzept der Wirkung ........................................................................................................... 60 6.3. Zur Problematik der (Ziel)Kultur ................................................................................................. 61 6.4. Die Funktion des Translats ......................................................................................................... 64 6.5. Die Funktion des Ausgangstextes ............................................................................................... 65 6.5.1. Exkurs: Österreichische Aussprache .................................................................................... 66 6.6. Analyse der Filmszenen .............................................................................................................. 67 6.6.1. Szene 1 [02:10:01-03:57:00] ............................................................................................... 68 6.6.2. Szene 2 [17:29:23-18:47:11] ............................................................................................... 73 6.6.3. Szene 3 [19:47:13-21:22:09] ............................................................................................... 78 6.7. Fazit der Analyse......................................................................................................................... 82 7. Diskussion .....................................................................................................................................
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