Translation Studies: Retrospective and Prospective Views Year XII Volume 22/ 2019 Casa Cărții de Știință Cluj-Napoca, 2019 Translation Studies: Retrospective and Prospective Views Annual journal of the Department of English published under the aegis of: ∇ Faculty of Letters – Department of English ∇ Research Centre Interface Research of the Original and Translated Text. Cognitive and Communicative Dimensions of the Message Editing Team Editor-in-Chief: Elena Croitoru ([email protected]) Volume Coordinators Mariana NEAGU ([email protected]) Corina DOBROTĂ ([email protected]) Editorial Secretary Corina DOBROTĂ ([email protected] ) ISSN-L 2065-3514 Full content available at translation-studies.webnode.com/ © 2019 Casa Cărții de Știință Cluj- Napoca, B-dul Eroilor 6-8 www.casacartii.ro [email protected] ADVISORY BOARD Shala BARCZEWSKA, “Jan Kochanowski” University, Kielce, Poland Alexandra CORNILESCU, University of Bucharest, Romania Gabriela DIMA, “Dunărea de Jos” University of Galaţi, Romania Rodica DIMITRIU, “Al.I.Cuza” University of Iași, Romania Corina DOBROTĂ, “Dunărea de Jos” University of Galaţi, Romania Anna GIAMBAGLI, Scuola Superiore di Lingue Moderne Per Interpreti e Traduttori, University of Trieste, Italy Antoanela Marta MARDAR, “Dunărea de Jos” University of Galaţi, Romania Ioana MOHOR-IVAN, “Dunărea de Jos” University of Galaţi, Romania Mariana NEAGU, “Dunărea de Jos” University of Galaţi, Romania Nobel Augusto PERDÚ HONEYMAN, Universidad de Almeria, Spain Floriana POPESCU, “Dunărea de Jos” University of Galaţi, Romania Federica SCARPA, Scuola Superiore di Lingue Moderne Per Interpreti e Traduttori, University of Trieste, Italy Steluța STAN, “Dunărea de Jos” University of Galaţi, Romania Lazar STOŠIĆ, College for professional studies educators, Aleksinac, Serbia * The contributors are solely responsible for the scientific accuracy of their articles. TABLE OF CONTENTS EDITOR’S NOTE 6 Gabriela DIMA 7 A View of Page vs. Stage Translation Corina DOBROTĂ 14 Translation Strategies in Alice in Wonderland’s Rhymes D. H. DUFFY 23 Mapping an Aesthetics of Biblical English-Spanish Translation for The Romanian Video Game Gray Dawn Giacomo FERRARI 32 Localisation of Advertisements: Translation or Cultural Mapping? Florentina GÜMÜȘ & Mustafa Zeki ÇIRAKLI 49 "Slightly Less" or "Slightly More" Homo/Erotic Cavafy: A Comparative Analysis of the Translations of Cavafy’s Sensual Poems Irina HOLCA 63 Translating “Japan” in Communist Romania: Theory and Practice in the 20th Century Nejla KALAJDŽISALIHOVIĆ & Ervin KOVAČEVIĆ 87 On the Affective Component in Written Translation Tasks Antoanela Marta MARDAR 98 On Some English Environment Collocations and their Translation into Romanian Mariana NEAGU 109 Figurative Language in the Literary Discourse: A Cognitive Linguistic Perspective Violeta NEGREA 126 Translation as Part of Explicit Vocabulary Instruction Ana-Maria PÂCLEANU 134 Affective Meaning Affected – The Breach of Politeness Principles in Philip Roth’s Portnoy’s Complaint Eduardo del RIO 147 Fascination and Fear: Philip Ayres’ Translations of Spanish Verse Irina VRABIE 159 Lexicalization of Words Containing Diminutive Suffixes in English BOOK REVIEWS 171 Carmen OPRIȚ-MAFTEI Iulia-Corina Dobrotă (2017) Aspects of Metaphor in Economic Discourse, Galați: Europlus, 2017, 202 p. ISBN 978-606-628-181-2 PhD Theses Completed in the English Department 174 2019 TRANSLATOR LIST 175 Editor’s Note The present volume of the Translation Studies: Retrospective and Prospective Views series includes articles by specialists from partner universities, doctoral schools and academic research centres, as well as relevant work authored by the members of our own academic staff. A book review section and a translator list are added to round up the collection. The selection of papers actually reflects the format and the objectives of the long-established tradition of translation research carried out in the Department of English, Faculty of Letters, “Dunărea de Jos” University of Galati. The editors are grateful to the peer reviewers for their work and helpful suggestions which have contributed to the final form of the articles. Their special thanks go to each member of the English Department in the Faculty of Letters, “Dunărea de Jos” University of Galati, for their steady support and dedication during the editing works. The editors’ cordial thanks also go to all the contributors who kindly answered the publication requests thus authoring this new series of volumes on the current state of translation studies in Romania and abroad. They are also thankful to the Board of the University and that of the Faculty of Letters for their support in publishing this series and in organizing the conference whose name was granted to the review. The Editors 6 A VIEW OF PAGE VS. STAGE TRANSLATION Gabriela DIMA1 Abstract The paper highlights aspects of translating dramatic texts and the concepts commented upon focus on the features of page and stage translations, with their limits and common borders, as illustrated in a fragment from Shakespeare’s A Midsummer Night’s Dream. Key words: drama translation, drama translator’s roles, dramatic texts, performability, naturalness Introduction The binary opposition announced within the title anticipates our discussion of some concepts that are accepted as givens by various specialists in the domain of drama translation. To the date, the two poles of the opposition have been a matter of much debate among theorists and practitioners, publishers and artistic directors alike, dealing with either scholarly, academic translation, concerned with studying the play at the level of semantic and syntactic units of language or with translation that focuses on the dramatic impact and mise-en-scène. These cross-interdisciplinary approaches show the intricate, long process from page to stage that a translator must follow and the many facet-roles he is attributed with along the way. Drama translator’s roles Drama translators should be well acquainted not only with the linguistic system of the source language, but also with all the translation variants of the play he has to translate, “with its genesis and its première, its subsequent production history, in order to gain an awareness of what will be required of the new version when it reaches the stage” (Meech in Baines et al 2011: 126). 1 Professor, PhD, Dunărea de Jos University of Galaţi, Romania, [email protected] 7 Translation Studies: Retrospective and Prospective Views Year XII Vol.22 2019 Furthermore, the drama translator must consider story, subject or character first, and then, find the linguistic means with which to convey them. Johnston states that the communication of character and situation are key to effective translation, since “actors […] are constantly searching for the emotional truths of their character, forever exploring motivation, hidden agendas and emotional turning points” (2004: 36). As it can be noticed, the translator is not only the initiator of the creative process, but he also provides access to the source culture and the source text through the processes of adaptation and staging, offering opportunities of a cross-cultural exchange, taking into account the specificity of its complex dynamics of location, temporality, situation and participants. This chain of actions will have as a result what Bassnett calls cooperative translation whose protagonists are the translator, the director, the actors, with the translator acquiring different roles: “[…] from the fidus interpres who produces a reader-oriented translation concerned with the philological exactness of language to the theatre-maker, who produces a stage-oriented translation concerned with audience reception” (Perteghella 2004: 6, 12). Pavis states that “The translator is a dramaturg who must first of all effect a macrotextual translation, that is, a dramaturgical analysis of the fiction conveyed by the text”(1989: 27). Other specialists consider that the theatre translator is a cultural mediator, (Bassnett 1998, Aaltonen 2000), negotiating meaning between the two cultures. The set of roles ascribed to a drama translator is completed by that of co-adapter who finally decides on the linguistic characteristics of the adaptation in order to assure and maintain the overall coherence of the dramatic text. We can eventually state that the roles are overlapping, assigning the translator-co-adapter-cultural mediator with more power in the long process from page to stage (Rose, Martinetti in Baines et al 2011: 152). Features of dramatic texts These roles help the translator in choosing the best translation methods in achieving the performability, naturalness and breathability of the dramatic text. Seen from the perspective of stage translation, the term performability means more than stageability, being a very controversial term, varying from culture to culture, period to period, text type to text 8 Translation Studies: Retrospective and Prospective Views Year XII Vol.22 2019 type and depending often on the economic policies of theatrical systems. The theatre and publishing industries determine what is ‘performable’ in response to what they believe audiences wish to see, as the French director Jacques Lassalle declares ’’It is the period in history, as much as the individual, that determines translation.’’ (1982:12,) translators being only likely to translate texts that conform with publishing and production systems. Naturalness is another basic term, used sometimes as a synonym to speakability, meaning the