Mgr. Eva Reichwalderová, PhD.
Department of Romance Studies
Matej Bel University in Banská Bystrica
eva.reichwalderova@umb.sk

Abstract

This paper deals with cross-curricular activities and the opportunities of their development in a teaching process. It focuses on the relations between audiovisual translation and simultaneous or consecutive interpretation within the Translation and Interpretation field of study. This work is based on two assumptions partially inspired on Talván Zanón’s work and the author’s individual experience as Spanish language teacher, media translator and interpreter: firstly, when our students work with audiovisual material in their practically oriented seminars, it has a positive impact on their motivation and secondly, subtitling as a form of audiovisual translation helps to improve the efficiency of economization techniques in interpreting, which is essential for both consecutive and simultaneous interpreting modes. The main objective of this paper is to highlight the similarity of the process of interpreting and audiovisual translation (text reception, decoding and encoding phases, text interpretation) and to present possible innovations in the preparation of future translators and interpreters, especially within the Slovak-Spanish context, which is the field our investigation and pedagogical interest.

Introduction

Cross-curricular links belong among the frequently discussed topics in the context of primary and high schools as can be observed in the works of researchers and specialists in foreign language teaching as well as in other fields, such as Rascón (2013), Shenton (2013) or Turek (2008). However, in universities, the issue is paid very little attention, although it is more than desirable for the tertiary educational institutions to equip the graduates of their accredited study programmes with comprehensive preparation.¹

This paper aims to present the possible links between audiovisual translation and simultaneous and consecutive interpreting in the educational process, during which future translators and interpreters are trained; in the Spanish Language and Culture study programme (in combination with another language) this approach is actively used thanks to our individual teaching and research expertise in audiovisual translation and interpretation allows for it. Based on the theoretical works provided by renowned experts in the relevant fields, this paper points out how the specific interpreter’s competences overlap with those of an audiovisual translator (AVT), especially a subtitle translator. These competences can be trained and improved as early as in the preparatory exercises in Master studies in order to let the student automatize the requested activities in the gradual acquisition process of specialised, language, cultural, technical as well as market competences.

Comprehensible development of the basic competences in future translators and interpreters

This paper draws from expert opinions in multiple fields – didactics, translation studies, professional translators and interpreters provided in the recently published translation titled Didaktika prekladu a tlmočenia na Slovensku (Didactics of Translation and Interpreting in Slovakia, 2018). These experts agree on the set of basic competences the translator and interpreter should possess: “translating/interpreting, language and text, research, intercultural and technical competences” suitably complemented by “translation service provision” (Djovčoš, Šveda et al. 2018: 167, 184).²

Although the importance of cross-curricular links in the educational process and their development in order to interconnect the knowledge pertaining to multiple disciplines, creating a complex idea of the reality, the traditional division of educational contents into individual subjects still prevails in universities due to pragmatic reasons related to the issue of organizing schedules for teachers and students during the academic year. It also applies to future translators and interpreters. It results from the opportunity (or necessity) of allowing teachers to specialise in specific fields of research. The languages popular in the Slovak translator market naturally attract more translation and interpreting students than less demanded languages. University teachers specialising in the more popular languages have the opportunity of specialising in two or three specialised disciplines. However, the situation with other languages is different in Slovakia³, which also applies to Spanish. In the latter case, teachers are required to teach as many as five or six subjects, as is currently the case at Matej Bel University in Slovakia, so they tend to intensify the cross-curricular links among them probably more often than in the former case, because they are often forced to do so given the circumstances.⁴

This paper aims to point out how the enhancing of cross-curricular links develops the aforementioned translator and interpreter competences; the subjects pertaining to Master studies in the Translation and Interpreting study field in the Spanish Language and Culture (in combination with another language) study programme will be used to demonstrate the approach.

In terms of our own specialisation, cross-curricular links can be considered an inevitable part of the specialised preparation of future translators and interpreters, so they are already integrated in study plans. Since the last comprehensive accreditation (2015)⁵ in Slovakia which has a validity period of five years, students can specialise in translation and/or interpreting in the selected language combination during their Master studies in two profile translation studies modules⁶ consisting of compulsory elective courses: the Spanish 1 translation studies module – Translation of Current Literary Texts, Translation of Legal and Economic Texts, Audiovisual Translation for Hispanists; Spanish 2 translation studies module – Simultaneous Interpreting in Practice, Consecutive Interpreting in Practice, Translation in EU Institutions. All these courses take the form of a double lesson (80 minutes) once a week. If a single teacher teaches four of the aforementioned courses (see reference No. 4), it is understandable for them to exploit the benefits of the cross-curricular links in order to increase both the efficiency and attractiveness of the educational process; the contents and topics covered in the individual courses allow the establishment of these links. Like this, students learn to process translator and interpreter issues within a broader logical context and address them comprehensively, creatively and in line with the requirements of the dynamic translation and interpreting market.

The objective is not to establish a new education concept in the given field of studies; the aim is to explain that measured and conceptual cross-linking between different compulsory and compulsory elective courses can be beneficial not only for students and their professional future, but also for teachers who apply the knowledge from their own translation and interpreting practice. Paulínyová and Perez consider this knowledge an inseparable part of the “ideal” audiovisual translation teaching model (AVT) (In Djovčoš, Šveda et al. 2018: 200) and we identify with the opinion.

The state of the subject matter in Slovakia

The theory and didactics of audiovisual translation belongs among the most dynamically developing disciplines in translation studies in Slovakia, undoubtedly thanks to the fact that these experts have both academic and practical experience in the field. Although the first studies dealing with the specificities of audiovisual translation appeared in Slovakia almost 40 years ago, comprehensive publications began emerging only recently.⁷ Although the Slovak work centres dealing with translation studies realise the need for both theoretical and didactic AVT research, the implementation and promotion of compulsory or mandatory elective courses specialising specifically in AVT depends almost exclusively on the individual preference and staff capacity of the individual departments.

Apart from audiovisual translation, consecutive and simultaneous interpreting has a many-year tradition in Slovakia, which reflects not only in the number, but the relatively broad scope of specialised literature addressing the discipline; in this context, works dealing with the methodology of interpreting in the educational environment are of importance. In Slovakia, Úvod do komunikačnej teórie tlmočenia (Introduction to the Communication Theory of Interpreting, 1980) by A. Keníž initiated a revolution; to this day it is widely cited. More recent works include research studies and monographs by Belková, Bohušová, Djovčoš, Gromová, Melicherčíková, Müglová, Šveda and others. Similarly to publications addressing audiovisual translation, these works reflect the fact that their authors possess empirical experience in interpreting.

In the context of the cross-curricular links and their development across audiovisual translation and interpreting within university education, the author’s research into the issue showed that no specialised literature or scientific studies, except for Reichwalderová’s conference papers listed among the literature, are available. However, it must be pointed out that the direct interconnection of audiovisual, literary and partly specialised translation has been referred to in publications dealing with audiovisual translation, e. g. Paulínyová and Perez in the chapter titled Výučba audiovizuálneho prekladu na Slovensku (Audiovisual Translation Teaching in Slovakia) in the aforementioned monograph by Djovčoš, Šveda et al. (2018: 189, 191). Šveda (2016: 146) also sees the opportunity to achieve the synergy and cross-development of skills in the parallel teaching of simultaneous and consecutive interpreting: “The parallel model of teaching (…) can represent a benefit in the form of skills accumulation and the creation of synergy among individual disciplines on the level of basic analytical and memory activities. (…) The mutual interaction between the parallel development of cognitive-analytical processes in consecutive and simultaneous interpreting can be interesting, since they are applied differently in either of these modes of interpreting.”

Overlapping and development of interpreter and subtitle translator competences in the educational environment

The course in audiovisual translation (currently titled Audiovisual Translation for Hispanists) at the Department of Romance Languages at FA MBU has been taught since the 2011/2012 academic year. It consists of lectures and practical seminars addressing AVT in the system of translation studies, specificities of translation for dubbing, subtitle translation and translation of the spoken commentary found in documentaries and reality series (voice-overs). A relatively large number of topics is addressed in the course (given that it takes the form of one 80-minute lesson per week); however, most time and space is dedicated to the practical subtitling of audiovisual works across different genres and topics.

Subtitling has been recently gaining importance in Slovakia since it allows for the quicker distribution of films in foreign languages to the Slovak viewer and subtitles significantly contribute to language learning.⁸ The benefits of subtitling or the use of subtitles (interlingual or intralingual) in language learning include the improvement of the auditive comprehension of foreign-language text, the contextualisation of specific information as well as direct contact with the actual world of the source-language culture, despite the discourse in question being often “created artificially” (Hardošová 2012: 87).

Active language proficiency (at the B2 level according to the Common European Framework of Reference for Languages) is a necessary precondition for the student to practice interpreting as such in the Master degree of their studies. Future interpreters must be able to deal with diverse topics (with different levels of terminological saturation), speech rates, pronunciation and intonation of different text expedients. Audiovisual text offers diversity across all its components (language, visual, auditive), therefore its use should not be random or complementary in the preparation of future translators and interpreters – it should represent an integral part of their training in terms of text selection and exercises developing individual interpreting strategies.

When the student has mastered reception, they proceed to train semantic analysis. The students gradually learn to distinguish between important and unimportant or redundant information in terms of language economy (interpreter as the expedient), and simplified reception (interpreter as the percipient) in the source text. As the creators of the new text in the target language they strive to achieve speech condensation and economisation in speech production (Keníž 1986). In terms of interpreter communication, students proceed to focus on their oral presentation to ensure its adequacy at all the observed levels (morphological, syntactic, phonetic, lexical, stylistic). Just like interpreters (oral form), subtitle translators (written form) are supposed to come up with solutions employing minimum effort and maximum efficiency (the minimax strategy)” (Bohušová 2009: 86, according to Köhler et al. 2005: 778). “The interpreter hereby takes the role of the speaker, although the content of their speech is merely (?) a mediation of the original content. The subtitle translator must prove their expertise in stylistics and orthography to copy the spoken language of the characters and transform it in line with temporal and spatial limitations. J. Želonka (2013: 149) states that subtitles resemble “shortened translation of original dialogue” and “interpreting in written form”.

Both interpreting and subtitling are accompanied with temporal, spatial and technical limitations (which the students are getting used to), therefore all “text-creation processes converge to reducing intertextual linking, meaning that the source text will be reduced to a part of the original semantic information – the text units carrying the semantic load” (Keníž 1986: 48). The translation of AV subtitles is characterised by relatively high text condensation at multiple levels. In the first stage, the dialogue sheet is translated and the subtitles are timed (both processes take place simultaneously) using mostly translation strategies known as compressing, selection and generalisation. If the subtitle translator does not have the proper materials (dialogue sheet, screenplay), they have to work with the auditory material loading their short-term memory, similarly to interpreting. In the final stage when the subtitles are checked in terms of correctness, embedding and timing, additional condensation often takes place – the prescribed form of the subtitles (as provided by the client) has to match the average reading speed of the recipient. Pošta (2011: 42) points out the importance of the preceding interpreting experience, which helps the subtitle translator finish their work, “when the subtitle translator play the video with the subtitles, listens to the original audio and checks the subtitles against it”.

The three stages of the interpreting process: the reception and comprehension of the information, holding and re-coding, reconstruction and production of the target text (Keníž 1986) are present in the translation of AV subtitles, too; however, oral presentation is hereby substituted by a visual output designed to be read.

The general criteria for AV subtitling⁹ have been defined by a number of authors (among hispanists it was J. Díaz Cintas, in the Czecho-Slovak context, Miroslav Pošta). An important precondition for subtitle quality is their brevity determined by the limited time for which it appears on the screen. A single line can consist of 35–40 characters on average, which depends upon the target medium (cinema, TV, DVD, etc.) and the source/target languages. The subtitles usually appear in the bottom part of the screen in one, two and sometimes even three lines. Each subtitle can appear for 5-6 seconds with the minimum of 2 seconds in the case of a short single-line subtitle. The subtitle should encompass a separate semantic idea, ideally a single sentence, allowing the viewer to focus on the artistic impression as well as other audiovisual aspects of the AV work.

Similarly to oral translation (interpreting), subtitle translation requires the correct interpretation of the text and ensures that the translation as a product covers all important information and contents of the characters’ speech. Both the interpreter and subtitle translator must avoid incomprehensible and complicated complex sentences; they are supposed to eliminate the unimportant and redundant parts of the text by employing adaptation-specific textual processes such as selection, substitution and sometimes (rarely, although necessary) explication. Omitting onomatopoeia, addressing, greetings, and character names already known from the context, tautologies and fillers (muletillas) are considered a common practice.

Subtitles as a form of written translation should be thoroughly prepared and logical in terms of their syntax. Simultaneous interpreting and subtitle translation both require the interpreter/translator to “copy” the timing of the characters/communicators’ speech; it means that if the character speaks quickly, the subtitles will be condensed and thus shorter than the actual speech of the communicators in the AV work. The oral bilingual communication activity of the interpreter is substituted by the written bilingual communication of the subtitle translator, which is directly related to the visual and non-verbal aspects (screen framework) of the AV work.

Interpreters as well as subtitle translators are mediators, the recipients receiving their interpretation of the heard/seen text. They filter out certain information from the source text; however, it is inevitable and considered appropriate. The interpreter receives the text part by part without having the opportunity of rectifying their own speech which they produce because the original communication is of an oral nature; therefore it is unique and unrepeatable. In comparison, the subtitle translator is provided with the context (dialogue sheet, screenplay, temporally and formally limited AV work) in which the individual means of expression are determined more precisely. The interpreter can only rely on the previous context or anticipate certain information if they are experienced enough. The subtitle translator does not necessarily need to develop their anticipation skills since they can return to the problematic parts of the text and use all available translator resources during the process (dictionaries, databases, personal consulting, etc.). However, actual subtitle translators often work under time pressure without having enough time for extensive proofreading or consulting during the spotting/timing of the subtitles. The invisible rectification is also absent in the simultaneous subtitling of TV programmes and films.

Perfect control of one’s short-term memory synchronised with the re-coding phase is the precondition for a quality interpreting performance. This short-time fixation of the source text in order to capture key information represents the precondition for the next stage in the interpreting process – the reproduction or actual interpreting of the information heard in the target language. Short-term memory is trained using synonym exercises, which significantly improves the language competence in the AV translator as well. This also supports the idea that cross-linking between AV translation and simultaneous and consecutive interpreting can be of interest in an innovative approach to the preparation of future translators and interpreters and provide benefits.

According to Haringhová (2010: 90) requirements for a quality translator of subtitles and dialogue sheets as dubbing materials suggest that the complexity and “hybridity” of their profile overlap with the requirements for a quality interpreter: “(…) they must be highly proficient in the source and target languages, their registers, dialects and nuances, as well as able to simplify and reduce the language; to trim the idea in a way that the viewer does not get lost in the context and ensure that they transfer the unfamiliar realia into the context of the domestic culture”. The improving of auditory skills in the language skill comprehension, conceptualisation of the information and (to some extent) direct contact with the actual world of the source culture represent important aspects of the preparation of future translators and interpreters, who are both mediators of intercultural communication and carriers of the transcultural communication. The regular and measured incorporation of the cultural components into the individual content standards in the translation and interpreting studies through authentic audiovisual materials is natural, inevitable and desirable.

Conclusion

Subtitle translation as a preparatory exercise for interpreting performance targeted at Master degree students in the Translation and Interpreting field of study can be a rewarding, diversifying and efficient element in the educational process, given that the training of the translator and interpreter skills and strategies is harmonised in terms of time and topics.

Working with audiovisual materials positively influence the motivation of students; translation subtitling as a form of audiovisual translation helps them learn efficient techniques of language economisation necessary in both interpreting modes. Through subtitling, students develop their verbal expression; they are learning to capture the invariant of the source text and transform it into the target language without relying on literal translation. After hours of work required for the translation of subtitles, they are able to express themselves spontaneously (in both oral and written forms), fluently and using correct grammar. They improve their sensitivity in distinguishing semantic nuances and accents and communicate in a constructive way regardless of cultural diversity. During their studies they create and maintain specific multilingual glossaries, which will help them to overcome the difficulties related to the initial stage of their interpreting practice, and last but not least, they get to regularly exercise interpreting strategies, paraphrasing, compressing, condensation, generalisation and selection. They learn to use the subtitling software at a level that significantly increases their chances in the translation and interpreting market after graduation.

The author realizes that the presented paper does not offer specific solutions of how the cross-curricular links can be established within the university preparation of future translators and interpreters, however, we believe the paper can contribute to initiate a discussion on the inter-university level. At the Matej Bel University, for years the author has been traditionally working with small groups of students who attend interpreting as a compulsory course and AVT as an optional course (max. 10 students per an academic year attend both these courses). To verify the validity of the experience-based assumptions of the author presented in this paper, a much larger group of research subjects is needed for a proper qualitative and quantitative research. This paper serves as a call for the fellow universities to start cooperation to research and possibly pursue the benefits of introducing the cross-curricular links into university preparation of future translators and interpreters in the next accreditation period.

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1. In 2014 Z. Kraviarová proposed a framework for integrated teaching of specialized translation and a strategy for incorporating various skills into the teaching flow. In 2015 M. Bachledová extended her research.
2. The aforementioned collective monograph reflects the experience of Slovak university teachers specialising in English and German, i.e. world languages with a permanent major position in the Slovak translation market.
3. The author draws from years of expertise she has gained at MBU in Banská Bystrica. For example, in the 2017/2018 academic year, the Spanish Language and Culture (in combination with another language) study programme in both Bachelor and Master degrees is provided by merely four Hispanists.
4. Compare the number of subjects taught by individual polonists (Olchowa, Račáková) or hispanists (Ďurovková, Reichwalderová): https://www.ff.umb.sk/app/cmsSiteAttachment.php?ID=5729 (Accessed on: 04/08/2018), pp. 66–68, 82–84.
5. The final accreditation results achieved by the Slovak universities can be consulted in: https://www.minedu.sk/vysledky-komplexnych-akreditacii-cinnosti-vysokych-skol-ukoncenych-v-roku-2015/ (Accessed on: 04/08/2018)
6. Compare: https://www.ff.umb.sk/app/cmsSiteAttachment.php?ID=5730 (Accessed on: 04/06/2018)
   Besides the compulsory elective courses offered by the modules, the students attend a compulsory course in consecutive and simultaneous interpreting, which takes the form of a triple lesson (120 minutes) per week for one semester.
7. The relevant bibliography can be found in the cited literature appended to the paper.
8. Despite the clearly determined criteria for students enrolling in the Spanish Language and Culture (in combination with another language) study programme, including the requirement that these students already have achieved the B1 level of language proficiency, some students enrol despite insufficient or even zero proficiency in the Spanish language; they take the risk despite the fact that several disciplines pertaining to linguistics and translation studies are taught (exclusively or partly) in the foreign language and even by native speakers from the very beginning of Bachelor studies. Compare the results of the quantitative research performed by M. Melicherčíková (2016).
9. This paper deals specifically with subtitles targeted at viewers without hearing impairments. In Slovakia, subtitling for hearing-impaired viewers is addressed mainly by E. Perez.