Rethinking Intersemiotic Translation Through Cross Media Adaptation In The Works Of Joss Whedon

This thesis seeks to respond to the existing dearth of work on practical matters of intersemiotic translation in translation studies thus far by turning to other disciplines that have explored comparable phenomena in greater depth. In particular, in the current atmosphere of media convergence and transmedia production, characterized by the ubiquity of adaptations, remakes, spin-offs, and sequels in the entertainment industry, cross-media adaptation represents one of the most common and prominent forms of intersemiotic translation. Therefore, the various fields of inquiry related to current phenomena of intersemiotic translation, including adaptation studies, film studies, fan studies, and media studies in general, offer relevant and informative models for expanding our understanding of success in intersemiotic translation. The methodology employed involves an interdisciplinary descriptive approach, using examples of cross-media adaptation found in the works of one successful intersemiotic translator, Joss Whedon. Acknowledging the contextually contingent nature of any such case study, the findings of this thesis identify all three participants in cultural production - form, producer, and audience - as active contributors in the successful production and perpetuation of intersemiotic translations. In particular, this thesis explores possible causes of success in relation to specific cross-media adaptations, proposes attributes of the successful intersemiotic translator, and examines how the reiterative behaviors of active audiences, such as rereading, reinterpretation, and rewriting, help to extend a work's success. The capacity to inspire a continuing tradition of translation is itself a key contributing factor to the success of an intersemiotic translation and is most often performed with the collaboration of a community of interpreters. Achieving success is therefore a collective endeavor and a continual process of sustaining a work's presence in the collective consciousness by renewing its value across temporal, cultural, and semiotic systems. Based on these findings, notions of form, production, and reception in intersemiotic translation are understood by proposing a model of convergent translation, the notion of the auteur-translator, and a collaborative understanding of the construction of a text and its significance through the afterlife of translation.

A ground-breaking study of the roles played by foreign languages in film and television and their relationship to translation. The book covers areas such as subtitling and the homogenising use of English, and asks what are the devices used to represent foreign languages on screen?

In Film Narratology, Peter W.J. Verstraten makes film narratives his primary focus, while noting the unexplored and essentially different narrative effects that film can produce with mise-en-scène, cinematography, and editing.

Imagining Legality: Where Law Meets Popular Culture is collection of essays on the relationship between law and popular culture that posits, in addition to the concepts of law in the books and law in action, a third concept of law in the image—that is, of law as it is perceived by the public through the lens of public media. Imagining Legality argues that images of law suggested by television and film are as numerous as they are various, and that they give rise to a potent and pervasive imaginative life of the law. The media’s projections of the legal system remind us not only of the way law lives in our imagination but also of the contingencies of our own legal and social arrangements. Contributors to Imagining Legality are less interested in the accuracy of the portrayals of law in film and television than in exploring the conditions of law’s representation, circulation, and consumption in those media. In the same way that legal scholars have taken on the disciplinary perspectives of history, economics, sociology, anthropology, and psychology in relation to the law, these writers bring historical, sociological, and cultural analysis, as well as legal theory, to aid in the understanding of law and popular culture.

A mesmerizing novel of deception and betrayal from the acclaimed author of Wartime Lies and About Schmidt. John North, a prize-winning American writer, is suddenly beset by dark suspicions about the real value of his work. Over endless hours and bottles of whiskey consumed in a mysterious café called L’Entre Deux Mondes, he recounts, in counterpoint to his doubts, the one story he has never told before, perhaps the only important one he will ever tell. North’s chosen interlocutor–who could be his doppelgänger–is transfixed by the revelations and becomes the narrator of North’s tale. North has always been faithful to his wife, Lydia, but when one of his novels achieves a special success, he allows himself a dalliance with Léa, a starstruck young journalist. Coolly planning to make sure that his life with Lydia will not be disturbed, North is taken off guard when Léa becomes obsessed with him and he with her elaborate erotic games. As the hypnotic and serpentine confession unfurls, we gradually discover the extraordinary lengths to which North has gone to indulge a powerful desire for self-destruction. Shipwreck is a daring parable of the contradictory impulses that can rend a single soul–narcissism and self-loathing, refinement and lust.

.".. collection of selected articles from the joint International Maastricht-odz Duo Colloquia on Translation and Meaning ..."--Introduction.

In bringing together accomplished and thoughtful scholars of different disciplines, with a command of literature ranging from the legal to the literary, and in relating the works to the central arguments of the late Professor Robert Cover, Sarat and Kearns have created a first-rate up-to-date exposition of this important and complicated issue, namely, how to understand better the violence implicit and explicit in law.--Legal Studies Forum The relationship between law and violence is made familiar to us in vivid pictures of police beating suspects, the large and growing prison population, and the tenacious attachment to capital punishment in the United States. Yet the link between law and violence and the ways that law manages to impose pain and death while remaining aloof and unstained are an unexplored mystery. Each essay in this volume considers the question of how violence done by and in the name of the law differs from illegal or extralegal violence--or, indeed, if they differ at all. Each author draws on a distinctive disciplinary tradition-- literature, history, anthropology, philosophy, political science, or law. Yet each reminds us that law, constituted in response to the metaphorical violence of the state of nature, is itself a doer of literal violence. Austin Sarat is William Nelson Cromwell Professor of Jurisprudence and Political Science and Chair of the Program in Law, Jurisprudence, and Social Thought, Amherst College. Thomas R. Kearns is William H. Hastie Professor of Philosophy, Amherst College.

White extends his conception of United States law as a constitutive rhetoric shaping American legal culture that he proposed in When Words Lose Their Meaning, and asks how Americans can and should criticize this culture and the texts it creates. In determining if a judicial opinion is good or bad, he explores the possibility of cultural criticism, the nature of conceptual language, the character of economic and legal discourse, and the appropriate expectations for critical and analytic writing. White employs his unique approach by analyzing individual cases involving the Fourth Amendment of the United States constitution and demonstrates how a judge translates the facts and the legal tradition, creating a text that constructs a political and ethical community with its readers. "White has given us not just a novel answer to the traditional jurisprudential questions, but also a new way of reading and evaluating judicial opinions, and thus a new appreciation of the liberty which they continue to protect."—Robin West, Times Literary Supplement "James Boyd White should be nominated for a seat on the Supreme Court, solely on the strength of this book. . . . Justice as Translation is an important work of philosophy, yet it is written in a lucid, friendly style that requires no background in philosophy. It will transform the way you think about law."—Henry Cohen, Federal Bar News & Journal "White calls us to rise above the often deadening and dreary language in which we are taught to write professionally. . . . It is hard to imagine equaling the clarity of eloquence of White's challenge. The apparently effortless grace of his prose conveys complex thoughts with deceptive simplicity."—Elizabeth Mertz, Yale Journal of Law and the Humanities "Justice as Translation, like White's earlier work, provides a refreshing reminder that the humanities, despite the pummelling they have recently endured, can be humane."—Kenneth L. Karst, Michigan Law Review

This interdisciplinary collection investigates the relations between translation and different forms and systems of censorship that were operating in nineteenth-century Europe. The volume presents and discusses broadly the research findings of translation studies scholars from a total of nine countries. Contributors have studied not only the apparati of power that enforce censorship but also the symbolic dimension that as well as being inherent to systems is also an explicit activity on the part of decision makers. The nineteenth century has been very neglected in studies of translation censorship to date. This volume addresses this gap in research, showing how discourse was filtered by official and unofficial censorship mechanisms against a background of massive political and technological change. The volume brings together eleven essays on censorship of literature, philosophy and the press in Austro-Hungary, Belgium, Finland, France, Germany, Great Britain, Portugal, Russia and Spain. Publisher's note.

This highly accessible introduction to translation theory, written by a leading author in the field, uses the genre of film to bring the main themes in translation to life. Through analyzing films as diverse as the Marx Brothers’ A Night at the Opera, The Star Wars Trilogies and Lost in Translation, the reader is encouraged to think about both issues and problems of translation as they are played out on the screen and issues of filmic representation through examining the translation dimension of specific films. In highlighting how translation has featured in both mainstream commercial and arthouse films over the years, Cronin shows how translation has been a concern of filmmakers dealing with questions of culture, identity, conflict and representation. This book is a lively and accessible text for translation theory courses and offers a new and largely unexplored approach to topics of identity and representation on screen. Translation Goes to the Movies will be of interest to those on translation studies and film studies courses.