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[QUOTE] And this gets back to the Genji talk above, and the huge role of translation choices for the reader: is this version replicating the experience of the original readers in another culture? Of modern readers in another culture? Or is the story and not the "reading/listening experience" the important part? Will the original aim of this story be understood by other cultures, and does that even matter, in critical theory terms where the reader's reality is what’s important? [/QUOTE] [URL=https://nintendotreehouse.tumblr.com/post/167703261242/localizing-jump-up-super-star]Here's an article I may have linked to elsewhere about the English lyrics of Mario Odyseey's instant classic vocal song.[/URL] The lyrics in literal meaning diverge quite radically from the original, but interpreting author intent and direction were central to its writing. The notion of the song being "fun to sing, regardless of content", and the lyrics still having a strong sense of meaning to somebody who is utterly unfamiliar with the Mario games makes it a sort of double-whammy when it comes to how it should be thought of from the audience direction. But it is also very much so that this is a case where the localizer is able to converse directly with the original writer, and both are working in modern languages with modern vocabularies, a luxury not afforded to, say, a translator of Genji. I think that the idea of "the death of the author" is a somewhat arrogant one, because it is one that comes from the perspective of a consumer who claims sole authority of a work's interpretation, possibly from a perspective of cultural isolation or at least linguistic isolation. Interpretation being defined as the translation of somebody's live speech as opposed to the translation of written work we can exclude from this discussion briefly for the sake of having a more common medium to consider, but translation absolutely sees the notion of "death of the author" seem fatuous, because word choice absolutely matters. And given that word choice matters, the translator must constantly make decisions about what the right word is, especially in works where structure or form are particular such as poetry or lyrics. Footnotes aren't a thing you get in a live vocal performance! So divining the intent behind particular words becomes important, and even choosing to try to be as "neutral" as possible can fail entirely as in the example of The Odyssey, because some words or idioms simply don't have a good equivalent in other languages. As we've discussed before, the translation of highly stylized genre writing such as noir into other languages poses a similar challenge, because there is a clearly apparent atmosphere and style to the writing across the genre that may not tonally be expressible in writing in other languages. The simple object/subject omission that gives a profundity to Chinese proverbs is quite difficult to capture in English in a way that sounds natural: rendered literally in English, it's like the person is speaking in a clipped and weirdly vague way, but in Chinese, there is nothing unnatural about it, and it may even make it more approachable as an aphorism. [QUOTE]welcome to the jungle[/QUOTE] [:jojo_dododo:] I got some good laughs out of this, and I think there's plenty of a trip through the jungle that just comes out as a phantasmagoria no matter how hard we try to make it be normal.
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