Translation and Film: Slang, Dialects, Accents and Multiple Languages Allison M
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PLEASE READ THESE DIRECTIONS in FULL: Spreckels Theatre
PLEASE READ THESE DIRECTIONS IN FULL: Spreckels Theatre Company announces it's Youth in Arts Summer Youth Program Disney's Sleeping Beauty, KIDS Music and Lyrics by Pyotr Ilyich Tchaikovsky George Bruns and Tom Adair, Winston Hibler and Ted Sears, Sammy Fain and Jack Lawrence Music Adapted and Arranged and Additional Music by Bryan Louiselle Book Adapted and Additional Lyrics by Marcy Heisler Based on the 1959 Disney film "Sleeping Beauty" and the story "Sleeping Beauty in the Wood" by Charles Perrault Stage Direction by Denise Elia-Yen Music Direction by Lucas Sherman Choreography by Michella Snider Performances on the Main Stage at Spreckels Performing Arts Center ********************************************************************* AUDITIONS: FRIDAY, June 16th, 5:00 p.m. – 8:30 p.m. *See below to arrange your audition slot if you are aged 10-17! CALLBACKS: SATURDAY, June 17th, 10:00 a.m. – 2:00 p.m. at director's discretion Auditions and Callbacks in the Condiotti Theater at Spreckels Performing Arts Center ********************************************************************* REHEARSAL SCHEDULE (please read carefully): July 16th, 17th and 18th: 6:00 p.m. - 9:00 p.m. Monday, July 24th thru Friday, July 28th: 9:00 a.m. - 3:00 p.m. Monday, July 31st thru Friday, August 4th: 9:00 a.m. - 3:00 p.m. Saturday, August 5th: Tech with cast 12:30 p.m. - 3:30 p.m. Sunday, August 6th: Cast and orchestra 12:30 - 6:00 p.m. Monday, August 7th, Tuesday, August 8th, Wednesday, August 9th and Thursday August 10th - 6:00 - 9:00 p.m. Friday, August 11th: actors prep at 4:00 p.m. -
Why YOU Should Be an English Major
Why YOU should be an English Major You’ll be able to communicate your ideas effectively. This is what employers want the most – people who can communicate clearly. Impress your employer with your ability to communicate, and you’ll get promoted. You’ll also sound smarter than everybody else. You’ll be able to learn new tasks and ideas. A liberal arts education teaches you how to learn, not how to do a specific job. Your employer will provide on-the-job training. Besides, the hot jobs of 20 years from now haven’t even been thought of yet; major in English, learn how to learn new job skills, and stay employed. You’ll be prepared for med school, law school, business school… Being an English major teaches you how to think critically. Graduate schools in every field are more interested in your ability to analyze situations and make connections between concepts than in your ability to memorize lists. You’ll get a good job. Major scientific, technological, industrial, and financial companies like to hire English majors. They want employees who can analyze problems, think up creative answers, and communicate those answers to coworkers. And an English degree teaches you to do all these things. You’ll earn lots of money. Well, maybe not as much as science graduates, but the 201 201 Payscale College Salary Report listed salaries for popular careers for English majors that ranged from $ to $ . 5- 6 40,000 76,000 You’ll move up the company ladder. Your English major taught you how to analyze problems, think creatively, synthesize intelligent solutions, and communicate those solutions to your bosses and coworkers. -
Using Languages in Legal Interpreting
UsIng LangUages In LegaL InterpretIng edItor’s note: In this issue of The Language Educator, we continue our series of articles focusing on different career opportunities available to language pro- fessionals and exploring how students might prepare for these jobs. Here we look at different careers in the legal field. By Patti Koning egal interpreting is one of the fastest growing fields for foreign “This job gives me the opportunity to see all sides of a courtroom Llanguage specialists. In fact, the profession is having a tough proceeding. A legal interpreter is a neutral party, but you are still time keeping up with the demand for certified legal interpreters and providing a tremendous service to the community and to the court,” translators, due to the increase in the number of individuals with she explains. “It’s also a lot of fun. There is always something new— limited English language skills in the United States, along with law you are dealing with different people and issues constantly. It really enforcement efforts against undocumented foreign nationals. keeps you on your toes.” Federal and state guidelines mandate that legal interpreters be That neutrality can pose a challenge for people new to the field. provided for any speaker with limited English skills in a courtroom “If you interpret, that is the only role you can play. You aren’t a proceeding, court-ordered mediation, or other court-ordered programs social worker, friend, advocate, or advisor and that distance is some- such as diversion and anger management classes. This includes defen- thing that has to be learned,” explains Lois Feuerle, a NAJIT director. -
Practical Transcription and Transliteration: Eastern-Slavonic View 35-56
GOVOR 32 (2015), 1 35 Pregledni rad Rukopis primljen 20. 4. 2015. Prihvaćen za tisak 25. 9. 2015. Maksym O. Vakulenko [email protected] Ukrainian Lingua‐Information Fund, Kiev Ukraine Practical transcription and transliteration: Eastern‐Slavonic view Summary This article discusses basic transcripition approaches of foreign and borrowed words in Ukrainian, Russian, and Belarusian; Ukrainian words in Latin script. It is argued that the adopted and foreign words should be rendered on different bases, namely by invariant transcription and transliteration. Also, the current problems of implementation of the Ukrainian Latinics as an international graphical presentation of Ukrainian, are analyzed. The scholarly grounded simple-correspondent transliteration system for Belarusian, Russian, and Ukrainian, is given in the paper. Key words: transcription, transliteration, Cyrillic script, latinization, foreign words 36 M. O. Vakulenko: Practical transcription and transliteration: Eastern-Slavonic view 35-56 1. INTRODUCTION Spelling of the words coming from another language is perhaps the most controversial issue in linguistics, so it is important to find a consistent scholarly approach to their proper rendering. There are two basic ways to do so: transcription and transliteration. Professionals should be able to render (transcribe) sounds, that is to know the "physics" (acoustics) of language. They need also to record the letters (phonemes) correctly – "literate" and transliterate – so to master the language "algebra". The subtleties of both approaches -
Piracy Or Productivity: Unlawful Practices in Anime Fansubbing
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Aaltodoc Publication Archive Aalto-yliopisto Teknillinen korkeakoulu Informaatio- ja luonnontieteiden tiedekunta Tietotekniikan tutkinto-/koulutusohjelma Teemu Mäntylä Piracy or productivity: unlawful practices in anime fansubbing Diplomityö Espoo 3. kesäkuuta 2010 Valvoja: Professori Tapio Takala Ohjaaja: - 2 Abstract Piracy or productivity: unlawful practices in anime fansubbing Over a short period of time, Japanese animation or anime has grown explosively in popularity worldwide. In the United States this growth has been based on copyright infringement, where fans have subtitled anime series and released them as fansubs. In the absence of official releases fansubs have created the current popularity of anime, which companies can now benefit from. From the beginning the companies have tolerated and even encouraged the fan activity, partly because the fans have followed their own rules, intended to stop the distribution of fansubs after official licensing. The work explores the history and current situation of fansubs, and seeks to explain how these practices adopted by fans have arisen, why both fans and companies accept them and act according to them, and whether the situation is sustainable. Keywords: Japanese animation, anime, fansub, copyright, piracy Tiivistelmä Piratismia vai tuottavuutta: laittomat toimintatavat animen fanikäännöksissä Japanilaisen animaation eli animen suosio maailmalla on lyhyessä ajassa kasvanut räjähdysmäisesti. Tämä kasvu on Yhdysvalloissa perustunut tekijänoikeuksien rikkomiseen, missä fanit ovat tekstittäneet animesarjoja itse ja julkaisseet ne fanikäännöksinä. Virallisten julkaisujen puutteessa fanikäännökset ovat luoneet animen nykyisen suosion, jota yhtiöt voivat nyt hyödyntää. Yhtiöt ovat alusta asti sietäneet ja jopa kannustaneet fanien toimia, osaksi koska fanit ovat noudattaneet omia sääntöjään, joiden on tarkoitus estää fanikäännösten levitys virallisen lisensoinnin jälkeen. -
Hollywood Movie Stars California History Section Display
CALIFORNIA STATE LIBRARY NOVEMBER-DECEMBER 2016 HOLLYWOOD MOVIE STARS CALIFORNIA HISTORY SECTION DISPLAY VISIT OUR CURRENT DISPLAY: MINING IN CALIFORNIA California History Section 900 N Street Room 200 9:30-4 Monday-Friday INTRODUCTION California has been a moviemaking powerhouse for over a century now! Get star- struck, and relive the glory days of yesteryear’s actors through our carefully curated selection of images, ephemera and books. If you want more infor- mation about our movie history resources, you can find them in the fol- lowing places: California State Library Catalog: Subject Searches: Motion picture actors and actresses California motion picture* Hollywood history California Information File II: Subject Searches: Motion picture actors and actresses California Motion picture* Hollywood history California Information File (In-house use): Subject Searches: Moving Pictures Counties: Los Angeles: Hollywood Drama: Actor Names California Image File (In-house use): Subject searches: Portraits: Actor Names Motion Pictures Contacting us: Web-form: Ask us a Question Email: [email protected] Enjoy our display! VISUALS Hoover, Art Company. 192AD. [Lena Basquette] (7 Views). Silent Movie Scene. 192AD. Hartsook, Photo. 192AD. Mary Pickford. VISUALS Blake, Orville T. 1929. Grauamaus [Sic] Chinese, Hollywood, CA. Graphic. Arthur Wenzel at Theater in Oakland. 1916. Graphic. Hoover, Art Company. 192AD. [Alice Terry] (2 Views). A Cecil B. DeMille Production: Fredric March in “The Buccaneer.” 1937. Graphic. VISUALS Farrell Collection. 1916. Mary Pickford in Hulda from Holland. Graphic. T&D. N.D. [Actor]. Graphic. Dobbins Collection. N.D. [Actress]. Graphic. VISUALS Portraits. N.D. Graphic. [Actors]. 1916. Graphic. Garrick Theater (Philadelphia, Penn.). c1913. [Advertisement]. Philadelphia: Garrick Theater. -
Incorporating Fansubbers Into Corporate Capitalism on Viki.Com
“A Community Unlike Any Other”: Incorporating Fansubbers into Corporate Capitalism on Viki.com Taylore Nicole Woodhouse TC 660H Plan II Honors Program The University of Texas at Austin Spring 2018 __________________________________________ Dr. Suzanne Scott Department of Radio-Television-Film Supervising Professor __________________________________________ Dr. Youjeong Oh Department of Asian Studies Second Reader ABSTRACT Author: Taylore Nicole Woodhouse Title: “A Community Unlike Another Other”: Incorporating Fansubbers into Corporate Capitalism on Viki.com Supervising Professors: Dr. Suzanne Scott and Dr. Youjeong Oh Viki.com, founded in 2008, is a streaming site that offers Korean (and other East Asian) television programs with subtitles in a variety of languages. Unlike other K-drama distribution sites that serve audiences outside of South Korea, Viki utilizes fan-volunteers, called fansubbers, as laborers to produce its subtitles. Fan subtitling and distribution of foreign language media in the United States is a rich fan practice dating back to the 1980s, and Viki is the first corporate entity that has harnessed the productive power of fansubbers. In this thesis, I investigate how Viki has been able to capture the enthusiasm and productive capacity of fansubbers. Particularly, I examine how Viki has been able to monetize fansubbing in while still staying competitive with sites who employee trained, professional translators. I argue that Viki has succeeded in courting fansubbers as laborers by co-opting the concept of the “fan community.” I focus on how Viki strategically speaks about the community and builds its site to facilitate the functioning of its community so as to encourage fansubbers to view themselves as semi-professional laborers instead of amateur fans. -
CHAPTER 2 Registers of Language
Duranti / Companion to Linguistic Anthropology Final 12.11.2003 1:28pm page 23 Registers of CHAPTER 2 Language Asif Agha 1INTRODUCTION Language users often employ labels like ‘‘polite language,’’ ‘‘informal speech,’’ ‘‘upper-class speech,’’ ‘‘women’s speech,’’ ‘‘literary usage,’’ ‘‘scientific term,’’ ‘‘reli- gious language,’’ ‘‘slang,’’ and others, to describe differences among speech forms. Metalinguistic labels of this kind link speech repertoires to enactable pragmatic effects, including images of the person speaking (woman, upper-class person), the relationship of speaker to interlocutor (formality, politeness), the conduct of social practices (religious, literary, or scientific activity); they hint at the existence of cultural models of speech – a metapragmatic classification of discourse types – linking speech repertoires to typifications of actor, relationship, and conduct. This is the space of register variation conceived in intuitive terms. Writers on language – linguists, anthropologists, literary critics – have long been interested in cultural models of this kind simply because they are of common concern to language users. Speakers of any language can intuitively assign speech differences to a space of classifications of the above kind and, correspondingly, can respond to others’ speech in ways sensitive to such distinctions. Competence in such models is an indispensable resource in social interaction. Yet many features of such models – their socially distributed existence, their ideological character, the way in which they motivate tropes of personhood and identity – have tended to puzzle writers on the subject of registers. I will be arguing below that a clarification of these issues – indeed the very study of registers – requires attention to reflexive social processes whereby such models are formulated and disseminated in social life and become available for use in interaction by individuals. -
Presenting to Elementary School Students Sample Script #1
Presenting to Elementary School Students These sample presentations, tips, and exercises that can be adapted for your needs. If you do use any of these materials, please be sure to acknowledge the author’s contribution appropriately. Sample Script #1 Please acknowledge: Lillian Clementi Please note that this presentation incorporates a number of ideas contributed by other people. Special thanks to Barbara Bell and Amanda Ennis. Length. The typical elementary school presentation is about 20 minutes, though you may have less for Career Day or more if you're doing a special presentation for a language class. There are several interactive exercises to choose from at the end: adapt the script to your needs by adding or eliminating material. Level. This is pitched largely to third or fourth grade. I usually start with the more basic exercises and then go on to the next if I have time and the group seems to be following me. For younger children, simply make them aware of other languages and focus on getting the first two or three points across. For fifth graders, you may want to make the presentation a little more sophisticated by incorporating some of the material from the middle school page. Logistics. It's helpful to transfer the script to index cards (numbered so they're easy to put back in order if they're dropped!). Because they're easier to hold than sheets of paper, they allow you to move around the room more freely, and you can simply reshuffle them or eliminate cards if you need to change your material at the last minute. -
Deciphering L33tspeak
Ghent University Faculty of Arts and Philosophy Thesis Deciphering L33t5p34k Internet Slang on Message Boards Supervisor: Master Paper submitted in partial fulfilment of Prof. Anne-Marie Simon-Vandenbergen the requirements for the degree of ―Master in de Taal- en Letterkunde – Afstudeerrichting: Engels‖ By Eveline Flamand 2007-2008 i Acknowledgements I would like to thank my promoter, professor Anne-Marie Vandenbergen, for agreeing on supervising this perhaps unconventional thesis. Secondly I would like to mention my brother, who recently graduated as a computer engineer and who has helped me out when my knowledge on electronic technology did not suffice. Niels Cuelenaere also helped me out by providing me with some material and helping me with a Swedish translation. The people who came up to me and told me they would like to read my thesis, have encouraged me massively. In moments of doubt, they made me realize that there is an audience for this kind of research, which made me even more determined to finish this thesis successfully. Finally, I would also like to mention the members of the Filologica forum, who have been an inspiration for me. ii Index 1. Introduction .......................................................................................................................... 1 2. Methodology ......................................................................................................................... 1 2.1 4chan ............................................................................................................................... -
Strategies Used in Translating Into English Semiotic Signs in Hajj and Umrah Guides
I An-Najah National University Faculty of Graduate Studies Strategies Used in Translating into English Semiotic Signs in Hajj and Umrah Guides By Ahmad Saleh Shayeb Supervisor Dr. Sameer Al-Issa Co-Supervisor Dr. Ruqayyah HerzAllah This Thesis is Submitted in Partial Fulfillment of the Requirements of the Master Degree of Applied Linguistics and Translation, Faculty of Graduate Studies, An-Najah National University, Nablus, Palestine. 2016 III Dedication To whom I proudly belong to, the Islamic nation whether they are Arab or non-Arab. To those who are deprived from their human rights and look for peace and justice. To whom those I am indebted for ever my mother and my late father (may Allaah have on mercy him). To my brothers, sisters and to all my relatives. To everyone who has done me a favor to pursue my education, and for whom I feel unable to express my great gratitude for their precious contribution to finalize this thesis, this work is dedicated. IV Acknowledgement It is a great moment in my life to highly appreciate my supervisors endurance to help in accomplishing this thesis, especially Dr. Sameer El-Isa and Dr. Ruqayyah Herzaallah whose valuable feedback and comment paved the way for me to re- evaluate my work and develop my ideas in a descriptive and an analytical way. They were open-minded and ready to answer my inquiries about any information and they were also assiduous to give advice and direct the work to achieve fruitful results. I am also deeply thankful to Dr. Nabil Alawi who has eminently participated in achieving this project and who is always ready to support me in many respects during working on this project. -
In ACTING for FILM
Two-Year Degree Program ASSOCIATE OF FINE ARTS in ACTING FOR FILM AFA Acting students prepare to perform a scene in collaboration with Filmmaking students. 222 LOCATION LOS ANGELES, CALIFORNIA Location is subject to change. For start dates and tuition, please visit nyfa.edu 223 AFA Acting for Film OVERVIEW here are numerous elements and skills that go into making a critically acclaimed flm that viewers will appreciate. Yet an audience’s connection to an actor’s performance is often the most immediate and intimate relationship one makes with a movie. A good performance must appear efortless, yet still convey a rich tapestry of emotion and depth to create a T convincing character. Unlike acting in the theater, when performing on a flm or television set, an actor must contend with a far more chaotic environment where numerous crew members are running about, high wattage lights are aimed directly at the actor, and one is expected to give a believable and engaging performance take after take. Regardless of an actor’s inherent talent, he or she must learn how to efectively handle the countless variables at work on a flm or television production. The Associate of Fine Arts (AFA) Degree Program in Acting for Film provides students with the opportunity to exclusively focus on their professional and artistic development as actors. Over the course of the four- semester, two-year program, students gain a strong foundation in acting principles through such classes as Scene Study, Acting for Film, Voice and Movement, Improvisation, and Audition Technique. Please Note: curriculum and projects are subject to change and may vary depending on location.