Audiovisual Translation - Subtitling for the Deaf and Hard-Of-Hearing

School of Arts Theses and dissertations from the School of Arts Roehampton University Year  Audiovisual Translation: Subtitling for the Deaf and Hard-of-Hearing Joselia Neves Roehampton University, This paper is posted at Roehampton Research Papers. Audiovisual Translation: Subtitling for the Deaf and Hard-of-Hearing by Josélia Neves BA, MA A thesis submitted in partial f
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  School of Arts  Theses and dissertations from the School of  Arts  Roehampton University  Year    Audiovisual Translation: Subtitling forthe Deaf and Hard-of-Hearing Joselia Neves Roehampton University, This paper is posted at Roehampton Research Papers.    Audiovisual Translation: Subtitling for the Deaf and Hard-of-Hearing by Josélia Neves BA, MA A thesis submitted in partial fulfilment for the degree of PhD School of Arts, Roehampton University University of Surrey 2005    Abstract The present thesis is a study of Subtitling for the Deaf and Hard-of-Hearing (SDH) with special focus on the Portuguese context. On the one hand, it accounts for a descriptive analysis of SDH in various European countries with the aim of arriving at the norms that govern present practices and that may be found in the form of guidelines and / or in actual subtitled products. On the other hand, it is the result of an Action Research project that aimed at contributing towards the improvement of SDH practices in Portugal. These two lines of research are brought together in the proposal of a set of guidelines – Sistema de Legendagem vKv   – for the provision of SDH on Portuguese television. This research positions itself within the theoretical framework of Translation Studies (TS) by taking a descriptive approach to its subject. Nonetheless, it takes a step beyond to seek reasons and to propose change rather than to simply describe objects and actions. Given its topic and methodological approach, this research also drank from other fields of knowledge such as Deaf Studies, Sociology, Linguistics and Cinema Studies, among others. In this context, SDH is addressed as a service to Deaf and hard-of-hearing viewers, thus implying a functional approach to all that it entails. In order to arrive at an encompassing understanding of the subject, in the body of this work, we may find a summary of the history of SDH, as well as an overview of the overriding and specific issues that characterise this type of subtitling. Following this, the Portuguese situation is made known through the account of five case studies that were carried out in the course of 2002 and 2003. In response to the needs and requirements of Portuguese Deaf and hard-of-hearing viewers, the proposed set of guidelines is based on the special concern for adequacy and readability and is envisaged as a useful tool for students and practitioners of SDH.    Acknowledgements “A utopia está para cá do impossível.” One can only believe that any dream is worth pursuing when it is shared with and by others. I am among those lucky few who have had the privilege to live what true collaborative research means. Time, knowledge and companionship were precious gifts that many offered me, placing these three years among the most fruitful of my life. All those who contributed towards this research are far more than can be named. My gratitude goes to all who made me believe that utopia is, in fact, there for the taking. My special thanks go to: −   My PhD supervisors, Professor Jorge Díaz-Cintas and Professor Maria Teresa Roberto, for their knowledgeable advice, their patience and their kindness. They were the first to teach me the meaning of perseverance and excellence. I see them as models to be followed and friends to be cherished. −   To my examiners, Professor Ian Mason and Professor Frederic Chaume, for their valuable comments and contributions that helped me to give this piece of work its final touches. −   My research companions, Ana Maria Cravo and Maria José Veiga, for all the long hours working together, for reading this thesis through, and for all those special moments that were seasoned with tears and laughter. −   My (ex-)students, Rita Menezes, Marco Pinto, Tânia Simões, Inês Grosa, Catarina Luís, Tânia Guerra, Carla Marques, Inga Santos, Pedro Gonçalves and Sérgio Nunes for all their hard work and generosity. They make me believe that the future has much in hold. −   All those professional subtitlers and translators, in Portugal and abroad, who taught me that there is so much more to the job than comes in books. A special thank you goes to
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