Converging Texts: Teaching Culture throughTranslaVon and

 Converging Texts: Teaching Culture throughTransla4on and Sub4tling Dr. Pia Arboleda University of Hawaii at Manoa Components of an Integrated Approach
to Teaching, Culture and Translation
Courses
Philippine Literature
Philippine History and
Culture
My Subtitling
Project
Translation course
Philippine Language
courses
Philippine Film
Student
output
Teaching Translation
Course Description: This course is an introduction to
the theory and practice of translation from Filipino to
English and vice versa. The student will learn the
fundamentals of translating literary and non-literary
texts for a specific purpose and a specific audience.
Objectives: By the end of the semester, the student
should have been able to exhibit an understanding of
translation theories, use these theories to analyze
translated texts, apply these theories to produce a
translation project.
Methodology for Fil 435: Translation Theory and
Practice
v Theoretical discussion
v Discussion on aims of translation
v Writing a critical review
v Choosing projects
v Review of cultural/historical contexts (source
language and target language)
v Determining linguistic competence
v For subtitling: transcription of original text
v Actual translation
v Critique
v Revision and finalization of project
v Writing final papers
My Subtitling Project
Aim: accessibility
Target Audience: Filipino heritage language learners
and non-Filipino language
Main Principle: to “[reproduce] in the receptor
language the closest natural equivalent of the sourcelanguage message, first in terms of meaning and
secondly in terms of style.” (Nida and Taber in The
Theory and Practice of Translation)
Challenge: Many equivalents; the equivalents may be
accurate in meaning, but unnatural in colloquial
delivery.
Notes on
Raymond Red’s
Sakay
I considered the following:
§  the historical and cultural context of the
period—accuracy of names, places, dates
and events, the inclusion of Spanish words
§  the formal register of Filipino that was
used in the film
§  literary tone
§  the same understanding for non-Filipino
viewers as they would for native speakers
§  brevity
setting of the movie,
Sakay
L to R: seated, Julian Montalan, Francisco Carreon, Macario Sakay,
Leon Villafuerte; standing, Benito Natividad, Lucio de Vega
source: Flores, Paul. "Macario Sakay: Tulisán or Patriot?" in Hector Santos, ed., Philippine Centennial Series; at hHp://www.bibingka.com/phg/sakay/. US, 24 August 1996. comedia, or moro-­‐moro, a folk drama based on the ba4les between Chris7ans and the Muslim Moro, the Philippines photo courtesy of Philippine Embassy worker in kalesa (horse carriage) shop
Sakay’s vest with religious figures and La4n phrases. This was his an4ng-­‐an4ng (amulet) believed to protect him from bullets and other hazards of war. Further reading: Abad, Antonio K. General Macario L. Sakay: Was he a bandit or a patriot? Manila: J.B. Feliciano & Sons, 1955. Constan4no, Renato. The Philippines: A past revisited. Quezon City: Tala Publishing,1975. Ileto, Reynaldo C. Pasyon and revoluDon: Popular movements in the Philippines, 1840-­‐1910. Quezon City: Ateneo de Manila University Press, 1979. Sample video clips on using these videos
to teach culture
Video clip
here
Maraming salamat po!
For questions or comments:
pca62@hawaii.edu