n Stilet : Tydskrif van die Afrikaanse Letterkundevereniging - Die filmweergawe van André P. Brink se roman A Dry White Season as vorm van vertaling (deel 1)

Volume 29 Number 2
  • ISSN : 1013-4573


In this two part article the view of Delebastita (1988:214-215), that film “translation” is indeed translation per se, and not “adaptation”, is endorsed. The approach that is followed here is in accordance with Forseville’s argument (2007:1237) that there is a need for specific research in the field of multi-modality so that there can be a theoretical progress in what he calls a desolate field of research. Unlike Baldry and Thibault (2006), the focus is not on a micro level in the first place, but more on the macro level that Liu (2013:1262) regards as socio-cultural strategies. Our focus is therefore more pragmatic than structural. In the first part of the article a brief overview of translational theories is given as a backdrop for our specific approach which concentrates on foreignization, domestication and manipulation within the paradigm of the Scopos theory. Translation proper and film translation both entail the transforming of a source text (SC) into a target text (TT) and in a sense is a mediation between two cultures. Specific reference will be made to the processes of domestication and foreignization (Venuti) – which entail bringing the original culture nearer to home or on the other hand stressing the distance between source and target culture–; manipulation, manipulating aspects of the source text to align it with the target text’s readers’ (or in the case of a film, spectators’) expectations (Toury); and last but not least, the scopos of the translating/ film-rendering. Scopos (Vermeer) views translating as a process with an aim and with a “loyalty” (Nord) to the source text’s author, the target reader and the instructor (Encyclopedia, 1998:200 e.v.). In the latter part of this article fundamental criticism against this theory is scrutinized and with reference to film theory arguments are proposed in support of the supposition that the process of the film rendition of a novel can be seen as a process of translation.

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