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MonTI.
Monografías de Traducción e Interpretación 2012, 4

Author: Adriana Serban

Source: http://www.redalyc.org/articulo.oa?id=265125413002


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MonTI.
Monografías de Traducción e Interpretación ISSN: 1889-4178 monti.secretaria@ua.es Universitat de València España Serban, Adriana TRANSLATION AS ALCHEMY: THE AESTHETICS OF MULTILINGUALISM IN FILM MonTI.
Monografías de Traducción e Interpretación, núm.
4, 2012, pp.
39-63 Universitat de València Alicante, España Available in: http:--www.redalyc.org-articulo.oa?id=265125413002 How to cite Complete issue More information about this article Journals homepage in redalyc.org Scientific Information System Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Non-profit academic project, developed under the open access initiative TRANSLATION AS ALCHEMY: THE AESTHETICS OF MULTILINGUALISM IN FILM Adriana Şerban University of Montpellier 3 (France) adriana.serban@univ-montp3.fr Abstract The aim of this paper is to explore the aesthetics of multilingualism in film.
We start with a discussion of translation strategy in several films and continue with two case studies based on Azur et Asmar (2006) by Michel Ocelot, on the one hand, and Nostalghia (1983) and Offret (1986) by Andrei Tarkovsky, on the other.
Our analysis does not involve a comparison between the original dialogues or monologues and their translations into one or several languages, but, rather, it focuses on the role of translation in film making, considering it independently from any pre-existing oral or written texts.
This will lead us to a number of reflections about the possibility and the limits of communication, about poetry and cinematography, and the role of language(s) and silence in film. Résumé Cet article se donne pour tâche d’examiner l’esthétique du multilinguisme au cinéma. Dans un premier temps, nous allons nous pencher sur des exemples de stratégie de traduction dans plusieurs films, pour ensuite analyser Azur et Asmar (2006) de Michel Ocelot et Nostalghia (1983) et Offret (1986) d’Andreï Tarkovski.
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