Värinkuvaus maalaustaiteen kuvailutulkkauksessa

Abstrakt
 Cel badań. Przeprowadzone badania oscylują wokół zabarwienia emocjonalnego deskrypcji do reprodukcji malarskich. Punkt wyjścia dla rozważań nad audiodeskrypcją jest podział dokonany przez Romana Jakobsona, wedle którego audiodeskrypcja daje się sklasyfikować jako intersemiotyczny typ tłumaczenia audiowizualnego. W artykule zostaje podany zarys audiodeskrypcji w Polsce oraz jej ogólne ujęcie w dyskursie naukowym. Zwraca się uwagę również na dwa podejścia do tworzenia opisów audiowizualnych – niemieckie (zadaniowe i techniczne) oraz polskie (artystyczne i nastawione na wzbudzenie emocji u niewidomego odbiorcy). Celem badań jest ukazanie połączenia dydaktyki i przekazu emocji w audiodeskrypcji i określenie ich funkcji.
 Metodologia. Przedmiotem badań jest publikacja Beaty Jerzakowskiej Posłuchać obrazów, w skład której wchodzą deskrypcje do obrazów z Podstawy programowej dla uczniów gimnazjum i liceum. W ramach artykułu dokonana zostaje analiza jakościowa dwóch deskrypcji pod kątem językowym, para-tekstualnym oraz z uwzględnieniem elementów dydaktycznych.
 Wyniki. Audiodeskrypcja jest komunikatem emocji, która pomaga uczniom rozwijać swoją wrażliwość i poznawać nowe konteksty kulturowe.
 Wnioski. Deskrypcje spełniają funkcję artystyczną, ponieważ zastępują warstwę wizualną wyjściowego dzieła. Poza tym badane audiodeskrypcje niosą ze sobą funkcję edukacyjną, ponieważ stanowią uzupełnienie kształcenia literackiego i językowego uczniów. Kolejną funkcją audiodeskrypcji jest ich pragmatyzm – autorka książki świadomie łamie przyjęte standardy tworzenia audiodeskrypcji, dodając do opisów m. in. pytania retoryczne, metafory i synestezje. Ponadto dydaktyzm i próba przekazu emocji uwidaczniają się również w warstwie brzmieniowej tekstu oraz w muzyce wkomponowanej w każdą z AD.
 Słowa kluczowe: audiodeskrypcja, tłumaczenie audiowizualne, przekład intersemiotyczny, emocje.

Audio description (AD) is an audiovisual translation (AVT) and media accessibility mode aimed primarily at visually impaired users. Traditionally, AD has tended to use images and some sounds as the source text to create the AD script (the target text), therefore AD is known as an intersemiotic translation. However, some researchers have focused on the theoretical feasibility of opting for the interlingual translation of ADs into another language. Moreover, research has explored the combination of AVT with language teaching and learning, a discipline called “didactic audiovisual translation” with branches like didactic audio description (DAD). In this proposal, we argue that DAD needs to consider both the linguistic nature and application of AD to better differentiate the didactic potential of intersemiotic and interlingual AD, since they have different applications for L1 and L2 learning and teaching. More specifically, intersemiotic AD seems to be suitable for learning L1, for instance, to consolidate grammatical structures, to proofread texts, to develop writing and oral skills, to learn about L1 linguistic variation, etc. On the other hand, interlingual AD can be used to learn about vocabulary and grammar in L2, to develop foreign language oral and written skills, to develop translation skills, etc. All in all, given the potential of DAD for language learning and teaching, this line of research should be further explored with other combinations.

Recent developments in Translation Studies and translation practice have not only led to a profusion of approaches, but also to the development of new text forms and translation modes. Media Accessibility, particularly audio description (AD) and subtitling for the deaf and hard-of-hearing (SDH), is an example of such a ‘new’ mode. SDH has been evolving quickly in recent decades and new developments such as interlingual SDH and live subtitling with speech recognition bring it closer to established forms of translation and interpreting. On the one hand, interlingual SDH reintroduces Jakobson’s (1959) ‘translation proper’ while the use of speech recognition has led to the creation of a hybrid form that has affinities with both subtitling and interpreting. Audio description, for its part, cannot even be fitted into Jakobson’s ‘intersemiotic translation’ model since it involves translation from images into words. Research into AD is especially interesting since it rallies methods from adjacent disciplines, much in the same way that Holmes ([1972] 1988) described TS when it was a fledgling discipline. In 2008, Braun set out a research agenda for AD and the wealth of topics and research approaches dealt with in her article illustrate the immense complexity of this field and the work still to be done. Although AD and SDH research have developed at different paces and are concerned with different topics, converging trends do appear. Particularly the role of technology and the concept of multimodality seem to be key issues. This article aims to give an overview of current research trends in both these areas. It illustrates the possibilities of technology-driven research – particularly popular in SDH and live-subtitling research – while at the same time underlining the value of individual, human-driven approaches, which are still the main ‘modus operandi’ in the younger discipline of AD where much basic research is still required.

Visual impairment is a consequence functional loss of vision which includes partially sighted low vision, legally blind and totally blind. To watch a movie is a challenge for the sight impaired people because most of the scenes are not verbally described in order to understand and have a full view of the program content. Due to this, it narrows down the opportunity of the sight impaired to access interactive learning in order to acquire knowledge and skills for independent learning. This paper presents the use of narration i.e., through spoken words and language in order to represent the visual content of chosen movie cartoons. To represent the visual content, an audio video description has been developed. Two cartoon movies were chosen. A user acceptance test was also conducted with two types of user groups. One group consists of 16 sighted students who were blindfolded to mimic the condition of visual impaired while the other group consists of 6 visual impaired adults. A set of questionnaire on the usability of the audio video description was distributed to the first users once they have completed reviewing the 2 movies. While the second group, was interviewed using the questionnaire as guide. Then, the 2 movies with audio descriptions were reviewed by 8 visually impaired children. Results have shown that the use of narration for audio video description can potentially be an avenue for the visually impaired to enjoy and experience a movie. The audio video description gradually can eliminate the dependence of the sight impaired individuals to their sighted companion who explains enough parts of the movie to them. Finally, the narrated audio video description will be another avenue for the sight impaired to access information through the use of multimedia.

Since 2007, there has been a systematic research conducted in the field of Audiovisual Translation (AVT) at ISCAP/ Porto Polytechnic Institute. At the time we embarked on a research endeavor focusing on audio description (AD), with the intent of systematizing AD guidelines, improving the AD process and reflecting on teaching/learning methods. This study presented at the Media For All conference, Antwerp, in 2009, aims to contribute to this project by focusing on issues linked to the generalized view that AD language should be ‘objective’ and therefore referential in nature, as stated in several guidelines. Indeed, the audio describer is even warned against expressing emotions or personal points of view. How seriously is this advice taken? Is this in fact what we should be teaching and doing? Are there identifiable common language functions in AD and are these clearly portrayed in the existing guidelines? In order to answer these questions, we assess the BBC Guidelines on the provision of television access services; the Audio Description International’s AD Guidelines Draft; the American Council of the Blind’s Audio Description Standards; the now extinct ITC Guidance on Standards for Audio Description; the Audio Description Coalition Guidelines for Audio Description, listing and contrasting their recommendations as to the ‘how’ and the ‘what’ of AD. Next, we compare these findings with randomly selected audio described feature films pertaining to the genres of drama, action, and suspense, namely Blindness, Revolutionary Road, The Happening, Body of Lies, The Eye, and Hancock. After analyzing both AD segments and movie clips in terms of visual rhetoric and Jakobson’s language functions, we propose that described movies stretch the concept of intersemiotic translation.

1. INTRODUCTION term audio description refers to the spoken commentary is added to film soundtracks to enable visually impaired people to follow the action on the screen by supplementing the information is already available from character dialogue and other parts of the soundtrack. As this essay explains, there is currently a debate within this field regarding the possibility and desirability of objectivity in audio descriptions. Although this debate may appear to be of limited interest to anyone who is not directly concerned with the production and reception of audio descriptions, we feel it raises large and important issues are of relevance to all those who work in the much wider fields of narrative theory, stylistics and literary theory generally. We have in mind, in particular, our questioning of the apparently obvious distinction between descriptions of characters' actions and descriptions of characters' mental processes in fictional narratives. Specifically, this essay seeks to show how concepts from narratology and techniques from corpus linguistics can be applied to the analysis of audio description. We are concerned with the issue of what should be described in audio description for feature films, and how it should be worded. We introduce narratological concepts can help to better articulate this issue and to better analyze and compare examples of audio description. To complement the application of narratological concepts for a close reading of audio description samples, we show how corpus linguistics techniques can be used to learn about what is being described, and how, in a corpus of ninety-one audio description scripts. Our focus is on how an audio description utterance can, and, as it turns out, often does, describe a character's actions as depicted on-screen while simultaneously giving some information about the character's thoughts. Central to the practice and theory of audio description is the question of what should be included in a description (Vercauteren). Concerning the issue of what to describe, and how to describe it, some recent guidelines for audio description state: The best audio describers objectively recount the visual aspects of an image. Subjective or qualitative judgments or comment get in the way--they constitute an on the part of the describer and are unnecessary and unwanted ... Describers must differentiate between or (which requires an on the part of the observer) and the physical characteristics of or (which are more concrete and allow description users to conjure their own interpretations). (Snyder 17) While striking an exceptionally unequivocal tone, these guidelines reflect a point of view has been prevalent among audio description practitioners. Earlier guidance on standards for audio description provided by ITC is similar in advising not to interpret events or away the plot (ITC). ITC guidance also flags a contentious point about whether or not to give information that is not on the screen, without really explaining how to determine what is apparent. It seems to us such guidelines leave unanswered questions about what information is necessary for an audience to understand and enjoy a film, and what interpretation means in this context Also, and this becomes the main theme of the essay, with regards to what can be seen and hence described, we take issue with the supposedly clear-cut distinction is made between a character's emotion or reasoning (thoughts, which should not be mentioned according to the guidelines) and their apparent physical manifestations (actions, which may be described). This essay seeks to contribute to audio description theory and practice in two ways. First, we introduce more rigorously defined terms from narratology to clarify and simplify the issues alluded to in the previous paragraph. …

Audio description is an intersemiotic translation modality (Jakobson 1959/2000) that allows visually impaired people to access visual messages in different contexts, including audiovisual media, performing arts, museums and exhibitions (Snyder (ed.) 2010: 7). During the last decade, research in Translation Studies has dealt extensively with audio description and, as a result, it is now a well-established line of research within Audiovisual Translation (Gambier 2004: 9, Kruger and Orero 2010: 141). Most of these studies have focused on film and television audio description (Jiménez (ed.) 2007, Kruger 2010, Remael 2012), but there is now an incipient line of research on audio description at museums and exhibitions (de Coster and Mühleis, Neves 2012, Praxedes and Magalhães 2013, Araújo and de Oliveira 2013), to which this article intends to make a contribution. Making a museum accessible requires experts from various fields to collaborate towards the common goal of transforming the museum into an interactive social agent that contributes to universal accessibility and social inclusion. Audio description is an accessibility tool used in a growing number of museums in multiple countries (Soler 2012). It can be offered during a conducted tour or in an audio descriptive guide, and it has proved to enhance visually impaired visitors' access to the museum (RNIB y Vocal Eyes 2003: 22). The main goal of this paper is to foster the visibility and development of this accessible translation modality. In order to do so, we propose a descriptive methodology to analyse audio description as text genre and translation product. This methodology has been applied to a corpus composed of audio descriptive guides of three museum genres: art, archeology and history.

The aim of this article is to analyze the linguistic techniques used to develop the audio description (AD) for a multimedia video installation and to reflect critically upon creativity and “invisibility” of AD in abstract art. Considering AD as a type of intersemiotic translation, a functionalist approach to audio description (Mazur, 2020) was adopted as our theoretical framework. Taking into account that the main function of art is aesthetic (Eisner, 2022; Iseminger, 2004) and considering the main goals of the exhibition, we embarked in a challenging decision-making process to determine what linguistic and creative techniques to use our particular piece. Among those techniques, metaphors proved to be very effective tools. The results indicate that the main metaphors to describe abstract art were synesthesia, participation, and vocal emphasis metaphors. Another conclusion is related to the degree of creativity in audio describing abstract art and the boundaries that the audio describer can easily trespass by creating metaphors that go beyond the source domain of the original work. It is precisely here where the function of the art piece and the purpose of the exhibition play a crucial role in finding that balance between fidelity and creativity. Lay summary This article analyses the linguistic techniques used to create audio description —the translation of images into words mainly intended for blind audiences— for a multimedia video installation in an art museum. Taking into account that the main function of art is aesthetic (Iseminger, 2004) and considering the main goals of the exhibition, we embarked on a challenging decision-making process to determine what linguistic and creative techniques to use for our particular piece. Among those techniques, metaphors proved to be very effective tools (Luque Colmenero & Soler Gallego, 2020). The results indicate that the main metaphors to describe abstract art were synaesthesia —incorporation of sensations experienced by senses such as touch, smell or hearing—, and vocal emphasis. Another conclusion is related to the degree of creativity in audio describing abstract art and the boundaries that the audio describer can easily trespass by crafting metaphors that go beyond the original work. It is precisely here where the function of the art piece and the purpose of the exhibition play a crucial role in finding that balance between fidelity and creativity.

Cross-modal (intersemiotic) translation is the general task of audio description but not the specific problem faced by audio describers of narrative texts. Their specific task for this textual subgenre is to select those discourse elements which produce narrative force (narrativity), and thus to attain a degree of narrative equivalence between source film and audio described film. This task is potentially difficult for two reasons: because narrative force is not just the realized action on screen: it is the receiver's state of mind, induced by the assumably realized events and by the discursively suggested hypothetical events; and because the suggestive, ‘intentional’ discourse triggers can be small. The following problem-solving procedure is proposed: equipped with a cogent definition of narrative force, audio describers can learn to recognize their narrative states of mind and become aware of the (possibly small) discursive triggers that generate those mental states. The second part of this paper argues that audio describers may also attempt to measure the spatial equivalence between the film images and the visual imagery that their descriptions produce – because such equivalence may be relevant for impaired people with residual mental imagery. Wallace Chafe's Pear Film is used to illustrate these ideas.

O Brasil apresenta um contingente de mais de 6,5 milhões de pessoas com deficiências visuais, sendo 582 mil cegas e 6 milhões com baixa visão. Neste universo, poucas iniciativas educacionais em geociências são identificadas, e, em geral, não fazem uso de vídeos educativos. O presente estudo tem como objetivo a apropriação do recurso da audiodescrição em vídeos educativos, com foco no ensino de ciências, especificamente, conteúdos relativos às geociências e meio ambiente. A produção de materiais de divulgação científica para deficientes visuais, com foco na educação básica, carece de recursos didáticos, tal como a audiodescrição, que auxiliem ao professor e propiciem ao aluno com deficiência visual acesso a vídeos encontrados no YouTube. A audiodescrição (AD) baseia-se em técnicas de transformação do visual em verbal, abrindo-se um leque de possibilidades de acesso à cultura e à informação, promovendo a inclusão social, cultural e escolar de indivíduos com deficiências visuais, e pode ser aplicada em espaços formais e não formais de educação. A audiodescrição, por se tratar de uma temática muito recente no campo social e científico, e que envolve a educação inclusiva, necessita de pesquisas sistemáticas, para que se possa desenvolver normas de audiodescrição que uniformizem a técnica em diferentes países em que a AD é aplicada. Assim, as atividades que permearam esse estudo foram efetivadas no âmbito do projeto “Cinco Pedrinhas”, componente do Programa Espaço Ciência Cultura Educação (ECCE), da Escola de Artes, Ciências Humanidades (EACH-USP). A audiodescrição foi desenvolvida para ser incorpora ao vídeo em stop motion publicado no YouTube, “Cinco pedrinhas saem em aventura”, propiciando assim uma narração descritiva em áudio. Para compor essa audiodescrição foram utilizadas referências nacionais e internacionais de técnicas que permitiram o desenvolvimento dos textos, além do acompanhamento de um audiodescritor para correção e direcionamento do trabalho, e estudos de campo por meio do acompanhamento de peças teatrais e musicais nas quais a audiodescrição estava disponível.

Introduction:Audio description (AD) enables access to blind/low vision audiences by translating visual content into narrated descriptions. This study examines AD translation approaches for the Oscar-winning animated short Feast. Methods: Chinese and English AD scripts from Feast were analyzed to compare priorities in content selection and patterns in translation techniques. Results: Both versions prioritized graphics and dynamic symbols when deciding what to translate. Shared translation techniques included compensation, iconic description, and substitution. Differences emerged with more reduction, adaptation, and technical descriptions in the Chinese AD, versus more generalization in the English AD. Discussion: Disparities highlight the linguistic and cultural factors integral to effective AD translation. Implications: This analysis offers practical customization guidelines for AD providers and theoretical insights into intersemiotic translation complexity. Further comparative research could support tailored AD practices and accessibility for diverse global audiences.

Boundary-crossing events have been analyzed from the perspective of the thinking-for-speaking hypothesis (Slobin, 1996) both in first and second language acquisition. Moreover, this framework has also been applied to translation, leading to the thinking-for-translating hypothesis. Audio description (AD) is a type of intersemiotic translation (Jakobson, 1959) that involves translation across sign systems. In this field of research, no studies have been conducted on boundary-crossing testing the thinking-for-speaking hypothesis. The present study aims to fill that gap by analyzing this constraint in audio descriptions (ADs) of two films in the Harry Potter saga. Differences across English and Spanish AD are analyzed as well as the use of the different types and tokens produced in path, manner, and path+manner verbs. Additionally, the omission and inclusion of boundary-crossing across both ADs has been included. Findings show that English AD contains more boundary-crossing events. In Spanish AD, a higher proportion of path verbs were used while more manner verbs were used in English AD. Moreover, expressing Path and Manner outside the verb was more common in English AD, and boundary-crossing events were omitted to a larger extent in Spanish AD.

This study aims to make accessible the paintings of Aldemir Martins, at Museum of Art of UFC (MAUC) to blind and visually impaired people, focusing on the work of art Galo (1977). The research situates Audio Description (AD) as a form of Accessible Audiovisual Translation (AAVT) and tactile artwork as a translation of visual image into tactile language. Our work is based on the framework of Systemic Functional Linguistics (SFL) to provide an understanding of the piece of art. The theoretical and methodological frameworks of action research were used to create the AD and tactile artwork, harmonically. Computer-aided technologies for automatic or semi-automatic translation of paintings into tactile language were used. The first procedure was analyzing the paintings using the aforementioned theoretical background and writing the audio descriptions. The second procedure was submitting the AD to the group of participants, including blind audio description consultants, to ensure that the tactile pieces of art were made in harmony with the AD. The third step was submitting both resources to a reception test. As a result, it was possible to establish preliminary criteria for AD and tactile artwork. The results also show that one completes the other regarding accessibility.

Dealing with objects in audio description, and particularly with those objects that have a clear designer imprint or branding, is a complex matter when a brand name is part of the scene in a film. Deciding whether to describe or not, and how, becomes more than a technical matter that depends on text–image synchronization: it is a complex decision-making process comparable to other forms of audiovisual translation that needs to be approached as a paradigmatic example of intersemiotic translation. Davila-Montes and Orero address the audio description of branded objects in movies, and their intersemiotic translation from images to spoken words, a complex issue that may harbour additional insights into topics of a wider scope.

As the Translation Studies community moves forward in an increasingly networked globe, and the needs of the new market change, the range of interests of translation as a discipline broadens, new proposals are raised by the market stakeholders and new challenges are discussed in academia. The challenges discussed in this paper come from research on Audio Description (Diaz Cintas 2007) with particular reference to museum Audio Description (AD), an intersemiotic translation which pursues the aim of disseminating knowledge and helping social integration “by performing inclusive practices” (Jimenez Hurtado et al 2015). Starting from the assumption that the language used by the people performing the AD (the audio describers) is a special language shaped by the communicative needs of its users, this research focuses on issues of discursive representation, construction and mediation in English and Italian Audio Descriptions. While the existing literature has shed some light on this type of translation and its main features (i.e. verbal and adjectival constructions; see Neves 2012; Hurtado et al 2015), the area of analogies does not appear to have been investigated from a contrastive perspective. Thus, this paper seeks to address this gap by focusing on the use of analogies and claims that they should be considered as a creative strategy of intersemiotic translation.