Upload
others
View
9
Download
0
Embed Size (px)
Citation preview
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
97
Tve*'.}Z:{t:1 42,97-118(2012)
ISSN: 0917-3536
A Diachronic Comparison ofthe English Translations
of Hayao Miyazaki's Animated Works
ADACHI Reito
Abstract
The purpose of this paper is to identify any trends in the English translations of Hayao
Miyazaki's recent animated works from a diachronic peint of view. Six of Miyazaki's
animated works have been translated into English two or more times. Quantitative and qual-itative researches are performed on the different translated versions of these animated
works. A metrical comparison between the initial and subsequent translated versions shows
a shift in emphasis from liberal to litera] translation around the year 2000. However, severa]elements such as pauses and silences, figures of speech, and taboos remain culture bound
and, thus, defy literal translation. FinaEIy, the subsequent translated versions appear to be
more faithful than the injtial ones to the source text and the multimodal situations, such as
screen images and sounds, thus maintaining the sense-fbr-sense equivalence as an audiovis-
ua] entertainment.
* This paper is an expanded and revised version ofthe pqper,
"Miyazaki
Hayao Sakuhin no Saihonyaku
ni Miru Saikin no Nippon Animeshon no Eiyaku Keiko [The Recent Tendency of the English
Translation ofJapanese Animation: A Perspective through the Re-translation efHayao Miyazaki's
Animated Films,]i' read at the 63rd Annual General Meeting ofthe English Literary Society ofJap an:
The Regional Branch of the Chugoku and Shikoku District on October 30, 2010, at Shikoku
University.
**
My special thanks are due to the anonymous referees. This paper owes much te their thoughtfu1 and
helpfu1suggestions.'"'
This research was supported by Grant-in-Aid fbr Scientific Research (C) (No. 23520355), Japan Society for the Promotion efScience,
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
98 TfitiCscIt,1 42 (2012)
1. Introduction
This paper examines the effects of audiovisual translation ofHayao Miyazaki's animated
works into English by analyzing the different translated versions from a diachronic point of
v{ew. As more Japanese animated works find a larger market abroad, hopes have been raised
that American audiences are gradually becoming better prepared to adjust their mindset so as
to accept the "otherness" ofJapanese animated works. The recent trend involving the retrans-
lation of Miyazaki's animated werks supports this expectationi, in this paper, I focus on
those six animated works directed by Miyazaki that have been recently translated into English
at least twice. My objectives are to identify any trends in the English translations of
Miyazaki's recent animated works and to determine whether the translational attitude toward
Japanese animated works has changed-and ifso, in what ways has it changed, Specifically,
the fbl]owing three questions direct the study: (1) As far as a metrical phenomenon is con-
cemed, how do the original English translations of Miyazaki's animated works differ from
these ofsubsequent versions? (2) Compared with the original English translations, in what
ways do subsequent translated versions shift their emphasis, in terms of linguistic and cul-
tural aspects? (3) In correlation with visual and auditory components, what elements defy
direct translation in subsequent versions?
2. Background and Preliminary Studies
It has been approximately thirty years since the terms "anime"
and "Japanimation"
were
first defined in major English dictlonaries 2. Initially, Americans and Europeans were troubled
by, er simply disapproved ot imported Japanese animated works because they contained
what was considered violent or sexually explicit material. As a consequence, Japanese
animated works were eften drastically edited so that they would be as nonviolent and inopt
fensive as possible. Japanese animated works eventually gamered more and more public and
critical acclaim, as evident frorn the success of the fo11owing: Pokemon; Zhe First Movie,
SipiritedAway, and Atamayama [Mt. ffead]3. Poke'mon: 7;Vie First Movie was such a box-
othce success that, according to Box Oence Mojo, it grossed approximately 85 million dollars
in America, a record that no other Japanese animated work has since broken. spiritedAway
was honered with both the Golden Bear (the highest prize awarded for the best film at the
Berlin International Film Festival) and the Academy Award fbr Best Animated Feature in
NII-Electronic
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
ADACIIIReito TranslationsofHayaoMiyazaki'sAnimatedWbrks 99
2002. It was the first time in history that the Golden Bear had been awarded to an animated
film. Atamayama was the winner of the 2003 Annecy Crystal Award (known as the Grand
Prix until 2002) at the Annecy International Animated Film Festival, which is one ofthe most
prestigious festivals celebrating artistic animated films. The breakthrough successes ofthese
Japanese animated works occurred at the turn ofthe miltennium. Lycos, a search engine and
web portal, announced that the most popular search term of 2001 and 2002 was t`Dragon
Ball." Although rnany other prominent news events happened in 2001 and 2002 (e.g., the
terrorist attacks of September 11, 2001, on the WOrld Trade Center; the circulation of the
euro; and the 2002 FIFA World Cup KorealJapan), "Dragon
Ball" was the term that peopie ail
over the world were the most curious to learn about (Hamano 155).
In analyzing the multiple codes (Delabastita) ofMiyazaki's animated works, Yamada took
an.important step by examining EPiritedAway and lt,ly AJeig. hbor 7btoro as audiovisual rnedia.
By giving attention to cinematographic language (Chaume), fbr example, [lamura developed
this idea a little further in her research on the addition of words in the process of voice dub-
bing. Moreover, in an analysis oftranslation techniques based on the categery ofculturemes
(Nord 34), Gonzalez compared the original Japanese subtitle ofPrincess Mononoke with its
two English and three Spanish subtitles, including fansubs (subtitles provided by fans). In
addition, Adachi investigated the changes in quantity and function of pauses and silences in
Japanese animated works that occur during the translation process compared with American
movles.
With regard to the diachronic approach to trans1ated Japanese animated works, some schol-
ars, including Yamada, suggested that comparing old and new translated versions could be
illuminating (Eigo-ban Anime Sakuhin ni miru Honyaku no Mondai 2). However, limited
attention has been given thus far to this approach, One reason for this limited attention is that
animation has long been identified and labeled as a subculture by critics and scholars. An-
other reason is that the research materials necessary fbr examining diachronic changes were
scarce until Miyazaki's animated works started being retransiated in the 1ate 1980s. Accord-
ing to Toury, translation norrns can vary considerably, depending on the specific characteris-
tics ofthe given cultural, social, and historica] situation in which a translation is done (211).In this paper, I explore another possible aspect of this study area, which to the best of my
knowledge has neyer been fu1ly examined. The works under examination in the present paper
are presented in Table 1.
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
1OO rxtic Jc:{k]42 (2012)
fable l Titles
into English
of Miyazaki's animatedworks that havebeentranslated two ormore times
Japancsc version 1st English ycrsion 2nd English version 3rd English version
Kariosutoro no Shiro
(1979)KZ]ze no nini no
Naushika(19g4)
71inku no shiro
Rcuo,uta(1986)
7bnari no 7btoro
(l988)Mbijo no 7inkkyubin
(1989)Ktirenai no Buta
(1992)
T)Cie Castle ofCagtiostiv ( 1 99 1 )vaZirriors ofthe va'ind(1985)Laputa;
T7ie ]FZ},inglsland(l989)
taJ Neighbor 7btoro(1993)Kiki
's
Detivei:y Service
(1989)Pofco Rosso (1992)
71he Castte qf'Cagliostro(2006, recerded in 2000)
Alausicaii ofihe P'alle.y ofthe "lind(2005)
Laputa,' Castie in theS)ty (2003, recorded in
1998)?L{b7
iN'eig. hbor 7btoro
(2006)Kikii Delivery Siervice
(1998)Poreo Rosso (2005)
Kiki 's DetiveT:}J Service
eelo)
3. Quantitative Research and Discussion
The purpose ofthis section is to obtain an overall picture ofthe difTerences between the
first and second translated versions of Miyazaki's animated works, based on a quantitative
comparison ofthe translation techniques used. 'Ib
analyze how equivaience in translation
functions, I haye decided to adopt the method ofclassifying translation techniques into fbur
categories (three liberal translation categories [interpolation, deletion, and replacement] and
one literal translation category) and to count the number of each type of adaptation that is
used during the first twenty minutes ofthe afbrementioned animated works4. The definitions
efeach type of translation technique, which are based on and adapted from those put fbrth by
Molina and Albir (509-11), are presented in "fable
2.
I do net discuss Molina and Albir's "linguistic extension" and
"linguistie compression"
here because both ofthese techniques are based on the increase or decrease ofthe number of
words between an original sentence and its translation. Making a direct comparison ofthe
number ofwords between English and Japanese does not work because these two languages
diff'er censiderably from each other in grammar and syntax.
The fo11owing Table3 provides examples of Japanese words and phrases from My
Aieighbor 7btoro. Their translation into English (two different versions) and their classifica-
tion into one ofthe ten categories oftranslation techniques used are presented.
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
ADACI'IIReito TranslationsofHayaeMiyazaki'sAnimatedWOrks 101
fable 2 Translationfechniques
LargerCategories Smaller Categories Definitiens
Liberal Interpolation a)Amplification
b) Substitution
Deletion c) Deletion
Replacement d)Adaptation
e) Descript]on
D Discursivc creation
g) Generalization
h) Particularization
i) '1'ransposition
Litcral j) Literal translation
a) The term "amplification"
meansto add detailed information. It includes Molina and Albir's compen-
sation technique, which is dcfined as recreating the source Ianguage (SL) effect by strategieall>, using
target language (TL) linguistic deyices or reproducing the effect in a difTerent part of the text
(Palumbo 2I), It also includes creation, which means adding a whole new sentence to fiH in pauses
and silences, I use this technique to supplement Molina and Albir's classificatien,
b) Thc term "`substitution"
refors to replacement between linguistic clcments and paralinguistic ele-
ments, including verbalized paralanguage,c) The term
"deletion"
includes Molina and Albir's "reduction;' which means to
"suppress
an ST
[source text] infbrmation item in the TT [target text]" (5 1O). Howeyer, the present study expands the
idea further te encompass the omission ofa whole sentence.
d) The term "adaptation"
means to replace a cultural word in the source language with one ftom the
target language. For exaTnple, in iLly IVreighbor 7btoro, the Japanese term L`IVM,"
which means
"fUton,"5
is translated into English as "bed."
e) The term "description"
means to substitute a word or phrase sarith a dcscription of its form or func-
tion.
D The teiin "discursive creation" means, according to Molina and Albir,
"to
establish a tcmporary
equiyalence that is totally unpredictablc out ofcontext" (51O). For example, in the first translatcd vcr-
sion ofKiki s' Delivet), Service, the Japanesc tcrm for "witch" is transiated into English as t`princess,"
g) The term "generalizatien"
means to use a broader and more general term than its original context to
refer to a specific object.
h) The term t`particularization,"
which is thc opposite ofgeneralizatlon, means to use dctails or specific
examples of a more general and neutral idea. For examplc, the Japanese term `LN,"
which means
C`country,"
is translated jnto English as "America"
in Porco Rosso.
i) The term "transposition" means to chaiige a grammatical attribute, In this paper, I deal mainly with
verbs, nouns, adjectives, and adverbs. For linguistic reasons rather than those oftranslation, I
exclude the fbllowing parts of speech: articles, prepositions in English, and nominal adiectives in
Japanese.
j) The term "literal
translation," in this paper, refers to the technique in which a phrase or a sentence is
translated word for word to express in another language the exact meaning ofa word, or the form of
words, of the source ianguage rather than to convey the sense or function of the original. Literal
translation includcs Molina andAlbir's calque, or loan translation.
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglishStudies
102 rpt}xs itm42 (2012)
Table 3 The English Translations of Some Example Words and Phrases
Tbtoro and Their Ciassification Based on the Translation lechnique Used
from 7bnari no
CharacterJapaneseEnglish (lst version)CategoryFnglish (2nd version)Catcgor}J
Kanta
SatsukiSatsukiSatsukiNannyKanta
Kanta
NannyFather
SatsuklSatsuki
NannyFatherSatsuki&Mei
abi, N 't ip iV abt,
e'D E? Ml,
ul: ?k,
M. crD(oZ iiL tpt 1:)tr )i Y 7bli L・i ?J[)
th Vi.
ts tft k s"', ,tsitetEtw
de >s !
?bv)5a),ts3d"A.t:SSkabs' th. 4 lt.
escD:]i, finVts.`e
6, trs ee '4 iig
A,aa) 0di 3 [, IF
tD-(sa]g.
kiV・ttshabtb
L'Stif es t
<Silence>
It's fbr Grandma.
Grandma?
IIey, wait up.
"'here are you going?
Kanta, don't be silly.
Hey, haven't youhcard?Ybu're
living in ahaunted house,
Ge away!
Well, 1 rememberdoing the very samc
thing when [ was hisage,I
hate boys.
But I tQve Nanny'sfbod better thananything else in thewhole wlde world.
Eat alfyou want.
Thanks fbr your help.
Bye!
Deletion (c)
Rep]acement (e)Litcral ti)Replacement (DInterpelation <a)Interpolation (a)
Replacement (i)
Replacement (Drnterpolation(a)
Literal g)Rcplacement (g)Replacement Ce)
Literal ti)Replacement (d)Intevpolation (b)
Eh ,,. Mv .,. morn '
said to give this to
Granny,
Oh, What is it?
Hey, wait!
What is this?
Is that Kanta`?
Hey, you in there.
Your heuse ishaunted,
Kanta!Satsuki,
I actedjust
boy.like
that when I was a
l hate boys.
But I'm glad hebrought this cake youmade, It's great,Grannv.
Eat all you like.
Thanks, moying man!
Thanks, moving man!
InterpolatiQn (a)
Literal ")Literal G)LiteraL Cj)Literal a)Interpolation (a)
Literal ti)
Litera1 G)Replacement (e)InterpolaiLon (a)
I.itera] OReplacement (g)Replaeement (e)Interpelation (a)
Literal (i)Replacement (d)Interpolation (b)Interpelation (a)
Tlable 4 shows the number of liberal (interpolation, deletion, and replacernent) and literal
translation techniques used in two translated versions of the six animated works under inves-
tigation in this study.
When analyzing these results, I decided to divide the six animated works into two groups
based on when they were translated: films that were translated twice befbre 2000 and those
that were retranslated after 2000. Two films, 7lenku no Shiro Rapyuta and the second version
of Mojo no 7lrkdyubin6, were retranslated in the l990s before Japanese animated works
stepped into the limelight around 2000. The other fbur films, along with the third version of
,N4injo no 7inklp?ubin, were retranslated in the 2000s against the backdrop ofa growing interest
in, and recognition oC Japanese animation.
7lenku no Shiro Rql?yuta and the second translated version of Mojo no 7bkkyubin share
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
ADACHIReito TranslationsofHayaoMiyazaki'sAnimatedWorks 103
lable 4 The Number of Translation Techniques Used in the First and Second Translated
Versions of the Six Animated Films
Translation
Technique
Kariosutoro no
S]{liro
Kurenai no
Buta
Ktize no 7lrni no
A,raushiha
7bnari no
7btoro
Interpolation
Deletion
Replaccment
Literal
1st462864492nd
19
7
36110
1st3041
87109
2nd
45
27
95109
lst277494432nd
29
8
56136
1st511264992nd
26
6
47!30
fenku no Shiro
Rop),'utadefo no 7inkdyubin
Interpolation
Deletion
Replacement
Literal
1st171643942nd52
77268
1st43
971137
2nd106
15110106
3rd
62
17107105
something in common in that the number of liberal translation techniques, such as interpola-
tion and replacement, used markedly increased between the first and second translations,
whereas the number ofliteral translation techniques used decreased sharply. By contrast, the
number of liberal translation techniques, such as deletion and replacement, used dropped
between the first and second translations ofthe other four animated films, whereas the number
of litera] translation techniques used soared, except in Kburenai no Buta7.
To illustrate these trends more ciearly, I included interpolation, deletion, and replacement
under the general category of liberal translation techniques. In so doing, I can establish an
overall comparison of changes in the number ef liberal and literal translations between pre-
and post-2000 groups. The results are depicted in Figures 1 and 2.
Befbre 2000, the number ofliberal translation techniques used sharply increased, whereas
the number ofliteral translation techniques used was on the decrease. However, this situation
became reversed afier 2000, Around the turn ofthe millennium, the type oftranslation tech-
nique used in Miyazaki's animated works changed from liberal to literal, as clearly illustrated
in Figures 1 and 2, This finding concurs with the fbllowing remark made by Cindy and
Donald Heiwitt, translators and adapters ofthe post-2000 versions eflVausicadi ofthe P2illqy
ofthe }vand, My IVeighbor 7btoro, and Por:co Rosso: "It
Ltranslation] starts with us receiving
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
104 Ml'pt*scM 42 (2012)
400
300
200
100
o
l:・ll..um{Sgeitini・,....
'"',',i,ilL
pt Liberal
- .,tm,,tv"u,dy Literal
lst 2nd
Fjg. 1 Number of Translation fechnjques
before 2000
700600500400300200100
o
ve
1- m'T:le:Iti'lt"i・mtwixlg'Lm--ummrm.m-.mmnd
{gpmajge Liberal
ct.ime.・-・ww.;t・ Literal
lst 2nd
Fig. 2 Number of Tran$lation fechniques
after 2000
a direct translation of the script (I think it's always done by Jim Hubbert)." Translating
Miyazaki7s animated works is always conducted in collaboration with their co-translators,
Studio Ghibli, and distribution companies in America. Their translations are primarity based
on the source Japanese version, thus supportlng the view that the post-2000 transtations are
evidently source language oriented.
4. Qualitative Research and Discussion
The quantitative results show that a shift occurred at the turn of the millennium in the
translational attltude toward Miyazaki's animated works in America from a target language
orientation to a source language orientation. In this section, I further investigate specific difi
ferences between the pre- and post-2000 translations by fbcusing on the five animated works
that were retranslated iffto English in the 2000s: Kliriosutoro no Shirv, ktrenai no Buta, Ktrze
no 7lrni no 7Vbushika, Meg'o no 7Zxkdyubin (third version), and 7bnari no 7btoro. The different
translations ofthese works are examined in terms ofthe fo11owing features:
(1) Pauses and silences
(2) Patterns ofconversation (call-and-response style dialegue, fragmented dialogue)
(3) Figuresofspeech
(4) A]1 things Japanese
(5) Taboos
(6) Time- and culture-bound visual images
(7) Innerdepiction
NII-Electronic Mbrary
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
ADACHIReito TranslationsofHayaoMiyazaki'sAnimatcdWbrks 105
4.1 PausesandSilences
A previous study ¢ ornparing eleven Japanese animated works and eleven American ones
showed that the number efpauses and silences in the Japanese animated works significantly
decreased in the process oftranslation, whereas those in the American animated works did not
show such a tendency (Adachi). As Figure 3 shows, this tendency is true of the first trans-
lated versions ofMiyazaki's four animated works released after 2000. The original animated
works had 87 pauses and silences in total, but the number fe11 by more than 209,6 to 68 in the
pre-2000 translations. 'The
number ofpauses and silences remained almost at the same level
in the second translated versions released after 2000, increasing only slightly from 68 to 72.
This research suggests that it might be useful to examine further some ofthe important fea-
tures ofthe changes in the treatment ofthe original pauses and silences between earlier trans-
lated versions and current translated versions.
Excessive interpolation has disappeared from the post-2000 dubbed versions. A compari-
son of the pre- and post-2000 translated versions ofa passage from May'o no 7inkkyubin pro-
vides support for the preceding statement.
A comparison of the difTerent versions of this passage makes c]ear that a one-to-one
corregpondence exists between the number of lines of dialogue in the original and that of
the current translation. Many other examples can be cited that seem to support the view
that heavy editing in the English versions of the 1 990s has given way to a more appropriate,
Fig,
100
90
80
70
60
50
40
30
20
10
o
orig preL2000 post-2000 trans trans
3 Change in the Number of Pauses and Silences in Four of Miyazaki's Animated Works
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglishStudies
106 mnxscttl42 (2012)
lable5 Comparison between Different Versions of Atfajo no 71iikkyubin
Characters Japanese Version Pre-2000Translation Post-2000 Transl ation
Friends
JijiJljiJijiMotherKikiKikiFather
Father
rf- tf- 1 #-}
NS ib 6 -9S
.x S 22x ft.
'lt ]st iJz li. ft. .$ e: 3-T D
k*b ).iS
Ge, Kiki! Ge, Kiki!Go, Kiki! Go!
Bear right,
Go left! Go lefi! Go left!
Okay.Aim
your broomstick!
Goed-bye, everybedy.
I'll miss you.
She's okay.
May our little baby be
well and have a safe trip,
Go, Kiki! Go, Kiki!Go, Kiki! Ge!
Aim your broomstick!
May our little baby be
well and have a safe trip.
ifnot faithfu1, translation.
Despite the aforementioned change, the number of pauses and si!ences in the post-2000
translations remains a]most at the same level as that ofthe pre-2000 versions. '1'he
main rea-
son is probably that the interpolation ofshort extra words occurs more frequently in the mo-
ments ef silence, especially in action scenes ofthe currerrt translation. They include exclama-
tiens, which are rarely written in scripts. Some typical examples found in 77ie Castle ofCagliostro are inteejections, such as
"hey,"
"oh,"
and "ha
ha," whieh are repeatcdly inserted
into long, fast-paced action scenes that lead up to the climax. In this manner, pauses and si-
lences are also skillfu11y avoided in the post-2000 translations.
Whereas the pre-2000 English translations include large and extreme modifications te fill
in pauses and silences in the original Japanese scripts, the post-2000 English translations
include the frequent use of fi11er words and inteejections to fu1fill the same objective. As a
result, the numbers ofpauses and silences in current translations remain practically equal to
those in previous translations. This finding suggests that, despite the growing popularity of
Japanese animated works in America, pauses and silences in scripts are not yet fully accepted
by the American audience.
4.2 Patterns ofConversation
4.2.1 Call-and-responseStyleDialogue
In iN{ly IVeighbor 7btoio, there are two consecutive scenes inwhich call-and-response pat-
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
ADACHIReito TranslationsofHayaoMiyazaki'sAnimatedWbrks 107
terns are observable in the brief exchange ofgreetings between Satsuki and the postman and
between Satsuki's father and Kanta, respectively. In the original Japanese version, both the
postman and Kanta respond silently with a gesture, However, in the 1993 English translation,
they express themselves through words, fbllowing the interactional conversation pattern of
call and response. In the 2006 dub, this pattern is lost, and the original silent gestures are
included. There are many more similar examples.
These changes reflect a difference in translational attitude between the two translated ver-
sions. As is often the case in Japanese animated works, convcrsation relies heavily on factors
other than explicit speech to convey messages, including nonverbal and shared cultural mean-
ings. In the earlier translated versions, these examples ofhigh-context communication were
one of the obvious targets for serious modification. However, the post-2000 translations
show that the trend has shifted back to the pattern of high-context communication in the
Japanese original,
4.2.2 Fragmented Dialogue
The unique features ofthe high-context dialogue in the original Japanese versions include
not only the incomplete pattern of call and response but also fragmented sentences. In the
fbllowing dialogue in Table 6, the repetition of fragmented sentences generates an escalating
rhythm ofthe girls' excitement about moving into a different home.
This conyersation is about a ramshackle house and a tall camphor tree growing behind it,
but the words "X"
C`house") and `L*"
("tree") are not uttered in the dialogue ofthe Japanese
version or the 2006 translation. Yet, these words are used in conversation in the l993 transla-
tion. Hence, the identities ofthe onscreen objects in the 1993 version are clarified by not only
pictures but also words, As the camera takes a tilt-up shot ofthe tall camphor tree in the sun,
fbr example, Satsuki's voice can be heard offscreen, saying, "Wow,
what a tree!" The earlier
translation, with its precise contextual messages, attempts to reproduce the structure of the
original and spell out the infbrmation explicitly in the dialogue so as to make up fbr the lack
of shared meaning.
By contrast, the 2006 translated version fbcuses more on the texture ofdialogue. Each line
ofdialogue is as short and crisp as the original version and has few rhetorical embellishments.
The 2006 version is basically an exact line-for-line translation of the original dialogue and
maintains the exact timing ofspeech. However, it is subject to some exceptions. In the source
Japanese text, for example, Mei gleefu11y echoes Satsuki's words, like "
[・ ge6" ("shabby") and
"af6tte3"' C`ghost"), Whereas the 1993 translated version omits these repeated words and
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglishStudies
108 rec;ic'Jvatt,g42 (2012>
-lable6 Comparison between Different Versions of 7bnari no fotoro
Character Japancse Version Pre-2000Translation Post-2000Translation
Satsuki
MeiSatsuki
Mei
SatsukiMei
Satsuki
MeiSatsuki
2)EE}, lX75e
i'ge5ckS,ft]tJ-,edw,B4rt:Li.
ti6Ittr?
aso(koavtLZ).
zat'L4opt i rz
'( l" 6Le
5 ,k. ?el
oj .
Jit gg v>ta.
What a lot ofneat old
junl<.
Do you think it'shaunted?
Maybe Lt is!
Oh bQy! vCome
on,IbetIcan bcat
you around the house!
Hey, wait a minutel
It's completely rotten.
Uh-oh, it's going to fa1l
down.(Mei)
It's collapsing!
Wow, Mei, look up.
VVhat?Up
there, look.
Wow, what u tree!
It's giant!
Wl)xN'! It's creepy.
Creepy!
It looks Iike it could behaunted,
What?Haunted?・
Whoa, whoa.
Loek. It's rotten.
(Satsuki) It's collapsing!
Mei look at that! 'Huh?Look,
Wow! It's huge, isn't it?
phrases, the 2006 translated version enhances this reiteration feature ofthe conversation pat-
tern by increasing the number ofrepetitions from two to three times ("creepy," "haunted,"
and
"It's collapsing"). The 2006 version places greater importance on expressing the rhythm and
structure ofthe originai than on communicating its content verbatim.
4.3 FiguresofSpeech
A figure of speech, such as a simile, a metaphor, and an ironic expression, is a word or a
group of words that is used in a nonliteral sense to create rhetorical or vivid effect. Its use
defies literal translation. Among Miyazaki's animated works, rhetorical expressions are used
most frequently in Kurenai no Buta, The fbllowing conversation between Gina and Porco in"I}tble
7 is a notable examp]e:
Most of this phone conversation is one sided, with Porco, who is overwhelmed by the
power of Gina's remarks, speaking up only near the end. Gina's and PorcoTs lines contain
four figures of speech in all: "YEv e fi=dith"Nh"t .W. o ( 6 O ? "
C`YOu think 1'm your
The Society of English Studies
NII-Electronic Library Service
The Sooiety of English Studies
ADACHI Reito ’1’ranslations ofHayao Miyazaki’s Animated Works 109
Table 7 Comparison between Different Versions of 尸orco Rosso
Character Japanese Version Pre−2000 Translation Post−2000 Translation
Gina
Porco
Gina
人 を伝 言 板 か 何 か と
思 っ て る の ?
い くら心 配 して もあ ん
た達飛行 艇乗 りは,女
を桟橋の 金 具 くらい に
しか 考 え て な い ん で
し ょ う
今に ロー
ス トポ ーク に
な っ ち ゃ うか ら
私イヤ よそん なお葬式
飛 ばねえ豚 は た だの 豚
だ
バ カ
What do you think l am ?
Your answering scrvice
or somothing ?
You never think ofme as
anything more than adoormat.
Keep up the way you’
re
going and you are goingto be a roasted pork.
And I don,
t want that to
happen.
A pig that doesn’t fly is
nothing but a groundedpork.
Jcrk.
The Italians have a
warrant out fbrvour ゾarrest , remember ?
ldon ’t care how greatvour mechanic is overげthere.
IdQn ,
t wanna yell at you ,
but ifyou keep acting so
pigheaded, you’rc gonna
end up dead.
Ican ,t bear to go to
anQther pilot’s fUneral.
Come home, will you?
Sorry, baby. Gotta H》孔
Youjerk !
bulletin board or somethingl”
);“
あ ん た達飛行艇 乗 りは,女 を桟橋 の 金 具 くら い に しか
考えて ない ん で しょ う”
(“ You flying boat pilots only regard women as nails in a landing
pier”
);“
今 に ロ ース トポ ー ク に な っ ちゃ うか ら
”
(“ Ybu ’
re going to end up as roast pork
someday”
);and“
飛 ば ねえ豚は た だ の 豚だ”(“A pig who doesn’t fly is just an ordinary
pig”
). Gina and Porco engage in circumlocution as ifto disguise their innermost feelings.
The first English translated version is based on literal translation. As in the original ver −
sion, Gina and Porco speak figuratively, but modifications (e.g., the metaphor of a
t‘bulletin
board” is replaced with that of an“answering service
,
”and the simile of
‘‘nails in a landing
pier” is changed to that of a
“ doormat ”
)are made because the original figurative expressions
are not the same in Engllsh. Although some figures of speech are modified, the forms of
rhetoric are preserved faithfully as they are , By contrast , the second English translated
version shifts emphasis to fUnctional translation for dynamic equivalence by ‘ ‘dropping” alI
ofthese figures ofspeech, to quote Eugene Nida. Gina does not mention a
‘‘bulletin board”
and c‘
nails in a landing Pier,”
nor do she and Porco express themselves through the rhetoric of
a‘‘
roasted pork”
and a‘‘flying pig.
” They instead say what they really mean, using straight一
N 工工一Eleotronio Library
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
110 rptti(tlltS 42 (2012)
fbrward, unambiguous words and phrases, such as "dead,"
"funeral,"
and "Gotta
fly,"
The reason for this change in translational attitude, from literal to liberal, is to bridge the
gap between words and images. While Gina is talking on the phone, the camera shows her
tense body language and worried facial expressions, which indicate that she is desperate to
persuade Porco to come back. Figurative expressions containing words and phrases such as
"bulletin board," "nails
in a landing pier," and L`roasted
pork" not enly make it diMcu]t to
convey the meaning ofthe source text through translation but also are likely to put a damper
on the tense atmosphere created by the visual information.
The same is true of Porco's closing line: "ftejrJicL
JIHX(・g7k: f:iO)EXf:il." lt conveys the
impression of both a masochistic humor and the esthetics of dandyism, The first English
translated version ef this line reads, "A
pig that doesn't fly is nothing but a greunded pork."
This version is essentially a word-fbr-word translation. However, the code ofconnotation is
read diflerently from culture to culture and across time. The English translation ofthis sen-
tence has multiple layers ofmeaning, In its literal sense, this line refers to pigs in general.
Based on the context, Porco wants to keep flying, and his remarks are actually aimed at him-
self This line also brings to mind the English phrase "pigs
might fly." The negative connota-
tion of this English phrase can overshadow the ironic humor ofthe original sentence.
By contrast, the second English version makes a liberal translation without employing
rhetoric. It stresses function over meaning and is straight to the point. Moreover, it adds
another connotation to Porco's remark so that it works better as a closing line. The relation-
ship between Porco and Gina, as well as his parting words to her, "Gotta
Hy," cal]s to mind
the 1927 musical, S7iow Boat. One ofthe numbers in the musical is "Can't Help Lovin' Dat
Man," which includes the fo11owing lyrics: "Fish
got to swim, birds got to fly. I got to love
one man till I die. Can't help lovin' dat man ofmine." In the denouement ofthe musical, the
heroine, who retains her enduring and devoted love fbr her lover despite his ill-use, accepts
him after all. The connection between them corresponds exactly with that between Gina and
Porco. Hence, it may not be merely coincidental that the stories ofKurenai no Buta and Show
Boat are set in the 1920s.
4.4 All Things Japanese
The phrase "all
things Japanese" refers to any aspect oflife that is uniquelyJapanese. The
inclusion ofJapanese elements has increased in recent translations ofMiyazaki's animated
works. As a consequence, these translations adhere more closely to the original material. For
NII-Electronic
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
ADACHIReito TranslationsofHayaoMiyazaki'sAnimatedWorks 111
example, Japanese elements are fbund in the fbllowing phrases: "Mptfttt)i<`U"
("rice-
planting ho)iday") and `'ts
X o 8 re i g "(S"
(`Sust around the corner") from 7bnari no
7btoro and "UUN
UK t Ctrt]" C`member ofthe generation born in the first nine years ofthe
Showa peried") and "ts
g e t" oU g g" ("Sorry to have kept yeu waiting") from Kdriosutoro
no SZziro. In the pre-2000 version, the phrase "Hitas
J?. ilCJ5it" is translated into English simply
as "We
got off today from scheol," and no reference to rice planting is made. By contrast, this
phrase in the post-2000 version is more directly translated into English as "It's
a rice-planting
day"; it carries the connotation that there is no school on that particular day. Another example
is the difference in the translations fbr the phrase " E> s o L e t Si V(}." ln the initial trans-
lated versien, this phrase is translated as "Going
to get some fiowers," whereas in the current
version, it is translated as "I'mjust
offto run some errands," The vagueness of"run some
errands" is much closer to the sQurce Japanese than the specificity of "get
some flowers."
Whereas the line "H"fN
UL 8 }tk" is omitted in the pre-2000 translation, an attempt is made
in the post-2000 version to express the content of this line by transiating it as "devoted
old
type ofJapanese worker." An explanation ofthe cultural implication is provided in the post-
2000 version because equivalent words do net exist in English. Finally, the phrase "iBlli
e5
2t' 5 " k" in the pre-2000 version is translated into English as "Eajoy
your meal," a com-
mon phrase that a waiter or waitress uses when serving fbod. By contrast, this phrase is
translated in the post-2000 version as "Sorry
for the wait." The translation used in the post-
2000 version more closely adheres to the original source. When an individuaL working in a
restaurant or shop in Japan utters the phrase "
Bff e ti" 5 g g ," it is not meant as a sincere
apology but rather as a routine expression ofcourtesy,
4,5 [laboos
Oijbnt Dictionat:y ofEnglish (second edition) defines the word "anim6"
as `LJapanese
film
and television animation, typically having a science-fiction theme, and sometimes including
violent or explicitly sexual material." A comparison of pre- and post-2000 translations of
Miyazaki's animated works reveals that little has changed in terms ofthe translation oftabeo
expressions-that is, taboo expressions used in Miyazaki's works continue to be modified
considerably in English translations.
Some examples include the fbllowing: the Iine "7tfth"6l((・awt)k
iLE" ("That's why I
dislike women") is completety edited out because ofits sexist language; the racist term "
ct o
< J5 < 6 'll-
t'i" ("Pitch-black Blackie") is deraciaiized and translatcd into English as "soot
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
112 ree)RIS[{kl 42(2012)
gremlins"; the line "tii} )t;:V" t E H! E lg D < k E"' CCIfyou don't come out, we'11 pick out
your eyeballs") is cut fbr its violent language; and the line "ts
Lo ll ? -E`
eDiZ!-(F L ):it
3
V>" C`Pee-pee? Do it over there") is reversed in meaning and translated as "Put
your clothes
back on,"
Other topics considered taboo that undergo an even greater degree of modification in the
translation process include references to certain substances (e.g,, alcohol, tobacco, illegal
drugs, caffeine) and entertainment facilities fbr adults. For example, the question "
S A = al
Zei) 6 thi ? " ("You got a cigarette?") in Kurenai no Buta was initially translated word fbr word
as "De
you have a cigarette?" However, in the new English version, the reference to tobacco
is omitted, and the line is changed to "Ybu betcha." The Motion Picture Association of
America (MPAA) announced in 2007 that it would be more rigid about smoking in movies.
This group considers all types of smoking as part of its ratings criteria. For example, the
MPAA awarded Tim Burton's Alice in VVbnderland with a PG rating partly because a charac-
ter (the caterpillar) in the movie smokes tobacco from a hookah (tobacco pipe). Another
example ofa reference te a taboo substance is the use of the word "coffee"
in Mojo no
72ikklyubin. Osono offers coffee to thirteen-year-old Kiki in the original version, but the term
"coffee" is substituted with the term "het
chocolate" in later translations. This type ofrewrit-
ing seems to refiect the firm belief among some parents that children should not be given
beverages containing caffeine. Yet another example ofa reinforcement oftaboos in the media
is the incident that occurred during the Super Bowl halftime show in 2004 when Janet Jack-
son exposed her right breast (Davidson). This event was broadcast on CBS, a non-cable free
channel, where censorship is pushed to the extreme,
The growing trend in Western society toward the strict regulation ofcontent aimed at chil-
dren is also refiected in the recent translations ofMiyazaki's animated works. This trend to-
ward strict regulation, however, seems to be at odds with the trend toward faithfulness in the
translation of original Japanese animated works.
4.6 Time- and Culture-bound Visual Images
There are various e]ements in Miyazaki's animated works that are likely to be incompre-
hensible to an American audience because they are out ofdate or culture bound. In this case,
the problem is not with thc words being spokcn but rather with the onscreen images. This
type of situation raises the fbllowing question: How do time- and culture-bound visual im-
ages fbund in Japanese animated works affect the translation process?
NII-Electronic
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
ADACHIReito TranslationsofHayaoMiyazaki'sAnimatedWorks 113
A good example is the scene in My Alaighbor 7btoro showing Satsuki's drawing ofMei as
a crab that is waiting fbra persimmon seed to grow. This scene is based on the Japanese
fblktale, "Saru
Kani Gassen" ["Monkey-Crab Baule"], which is about a crab that grows a
persimmon seed in the garden and watches over it every day. In 7bnari no 7btoro, Mei acts
exactly like the crab. So Satsuki draws a picture ofa little crab, that looks like Mei, in her
letter to her mother and names it "Mei Gani" ("Mei Crab"). The moment that the dra";ing of
the crab appears in closeup, fi11ing the screen, Satsuki narrates the scene in the original film,
stating "g
6 v("aJ'
]V de =AWdi fi =eC ij D ktskVi" ("She's just like the crab of the
monkey-crab fable"), Needless to say, this allusion to a Japanese fblktale would make a di-
rect translation ofthis line unac ¢ eptable to an American audience. A proper understanding of
this line depends on intertextuality, which I use here in the sense that texts acquire meaning
through referencing or evoking other texts, Hence, this line in the 1993 translated version of
this animated work was drastica]ly revised. In 1993 version, Satsuki says, "Oh
yes, Mei
sends her tove, and wanted to make sure you saw her drawing." The l993 dub explains in
passing that the picture ofthe crab was drawn by Mei but neglects to mention the meaning of
the crab, The Problem with this version is evidently that it makes no sense to the audience
why the crab looks like Mei. The closeup shot of the drawing further increases the audience's
confusion,
On the other hand, the 2006 translation adopted a ditferent method, making Satsuki speak,
"It's starting to make her crabby. Here's a picture ofMei as a crab." Although the 2006 ver-
sion does net mention the Japanese folktale, Satsuki's words do correspond with the images.
The pun on the word "crabby"
works well here: Just like the crab in the old story, Mei hovers
over the seeds every day, waiting in a crabby, or impatient, manner fbr them to sprout, Sat-
suki's description ofthe illustration-"Here's a picture of Mei as a crab"-helps make sense
ofthe cEoseup shot ofthe draNaJing. The Iiberal translation ofthis line ofdialogue in the 2006
version reestablishes the functional connection between the verbal and visual elements,
which is severed in the 1993 translation.
There are several other instances in the first sequence ofthe same film in which visual ele-
ments, such as characters' behavior and obiects on the screen, are difTicult fbr an American
audience to understand without any additional explanation oftheir cultural features. For ex-
ample, the scene in which Satsuki crawls on her knees across the fioor probably looks strange
te American children but is not to a Japanese audience, who is well aware of the Japanese
custom oftaking off one's shoes at the door. In both the 1993 translation and the Japanese
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
114 li'ec*J]Z ・iEtM
42 (2012)
original, Satsuki's father al]ows her to act in this way, without commenting on her behavior.
However, in the 2006 version, Satsuki's father says, "Don't
fbrget to take your shoes ofii;
girls." This interpolated line is intended to function as a reminder to the audience of the
Japanese custom. This line explains why Satsuki crawls on her knees across the Hoor and
why Mei troubles herselfto kick offher shoes before going into the house. Aithough the ad-
dition of this line is a minor change, it exemplifies the translational attitude ofthe post-2000
version, in which closer attention is paid to specifying visually unldentified, or pessibly
misidentified, elements.
4.7 lnnerDepiction
In animation, objects are depicted from the outside. Therefore, movement is depicted first
rather than psychology. Words are used te describe a character's state ofmind in greater
depth. Ifa gap exists between the verbal and visual images, it often becomes evident through
the process of translation. The text of the pre-2000 translated versions of Miyazaki's ani-
mated works tends to be edited rather heavily, with greater importance placed on the initia-
tive, independence, and selfLsuff:iciency ofv}'ords, whereas a literal translation style is used in
the post-2000 translated versions. However, the post-2000 translations often adapt the source
dialogue rather freely to provide the best combination of words and ether codes, inc]uding
pictui'es, The fbllowing are a few examples. In Kurenai no Buta, several girls on a sightsee-
ing ai rplane noti ce Porco and scre am, " li" fi' p
N7
EX .k I EX 25 A.・ .]z I Eat 25 v- !L ! 7b ts lp V i
V'" ! "
C`Look at that. Apig. Mr, Pig. Mr. Pig. How cute!"). In the original Japanese ver-
sion, their words sound like they are making fun og or even jeering at, him, but their actions
and body language suggest that they havejust run into a celebrity. In the first version trans-
lated into English, the girls say, "Look,
a flying pig. Look this way. We're gonna take your
picture." This version essentially retains the comical disparity ofthe message in the Japanese
version. Although it is not a word-fbr-word translation, it is a kind ofa sense-fbr-sense trans-
lation of the original dialogue. 'lhe
reference to Porco Resso as a "fiying
pig," fbr instance,
is an exaggeration ofthe humorous aspect ofthe source text. By contrast, the second trans-
1ated version eliminates the mocking tone. The girls do not call him "a
pig" but instead ad-
dress him by his actual name: "Porco
Rosso! I can't believe it! I lovc you, Porco Rossol"
The second English version emphasizes Porco Rosso's heroic side, In other words, the sec-
ond translation is more fliithfu1 to the visual message ofthe animated work as a type of mul-
timodal media.
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
ADACHIReito TranslationsofHayaoMiyazaki'sAnimated"larks 115
5. Conclusion
In this paper, 1 use quantitative and qua]itative approaches to compare the various transla-
tions ofMiyazaki's six animated works. Based on the study's findings, I am now in a position
to answer the three questions posed in the Introduction section,
The first question fbcuses on how the original English translations ofMiyazaki's animated
works di ffer from subsequent versions. As Japanesc animated works have gained recognition
in America during the 2000s, their translations, which used to underge varied degrees of
modification in the 1980s and 1990s, have become more faithfu1 to the originals as a whole.
A metrica] comparison between first and subscquent translated versions that were available
befbre and after 2000 shows that modifications such as interpelation, omission, and replace-
ment increased in number, whereas word-fbr-word translation was on the decrease in the
1980s and 1990s. By contrast, the situation has reversed itselfin the 2000s, with the number
of literal translations soaring lately.
The second question addresses the linguistic and cultural aspects of subsequent transta-
tions. According to the qualitative research ofthe post-2000 translations, multimodal factors
are involyed, revealing hovvr specific features ofMiyazaki's animation in particular are trans-
lated. The general trend toward faithfu1 translation is reflected in some ofthe verbal features,
such as patterns of conversation and the discussion of uniquely Japanese aspects of life, as
well as theme and characterizatlen in general. However, some elements such as pauses and
silences, figures of speech, and taboo tepics remain in the culture-bound category and defy
literal translation.
The third question deals with the visual and auditory components in the subsequent transla-
tions of Miyazaki's animated "'orks. Attempts to be faithfu1 not only to the source text but
also to the multimodal situations (e,g., screen images and sounds) are detected in the subse-
quent translations. When an obvious conflict exists between the verbal and visual messages,
current translated versions prioritlze the visual message, thus maintaining the sense-for-sense
equivalence as an audiovisual entertainrnent.
The results ofthis study show that the pre-2000 translations adopted a method that is con-
sistent with a "low-context"
culture ofAmerica-that is, infbrmation and meaning are likcly
to be explicitly stated in the message or communication. Until Japanese animated works
started gaining recognition from the American public, such a process of adapting them to the
American market from a linguistic and cultural point ofview is considered to have been nec-
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
116 rlijll*JZM 42 (2012)
essary as entertainment and effbctive in promoting these animated works throughout Ameri-
can society. However, problems arise when the importance of independence and selflsuth-
ciency ofdialogue is canied too far in the process oflocalization: One such problem is the
discrepancy between verbal and visual messages (e.g,, Satsuki's drawing ofMei as a crab),
Because the functional transiation ofdialogue is heavily restricted by specific visual images,
translations have displayed a tendency to swing between excessive interpolation (too many
words) and excessive deletion (too few vLTords).
At the turn ofthe millenniurn, there was a shift in the translational attitude toward faithfu1
translation ofthe high-context communication ofthe source Japanese dialogue in Miyazaki's
films in which characters are supposed to share the same knowledge and assumptiens. The
post-2000 translated versions attempt to be faithfu] not only to the original dialogue but also
to the source images. There appears to be a grewing acceptance ofJapanese animated works
among eager anime fans, ifnot by the general public, in America3.
The post-2000 translations are so high context that they are dependent on the entire set of
codes, including screen images, Animation is one type ofmedia in which moving images and
sound effects are wcd together in collaboration with vvords. Its distinctive feature is the direct
influence ofvisual appea] on human emotions. Concrete words ereate mental images in the
minds ofaudience members. Through inner images, words arouse emotions. However, ifthe
mental images do not coincide "rith the concrete images that are displayed on the screen, lines
of dialogue are adj usted to reconcile the contradiction. This dilemma is one of the major fac-
tors defying literal translationL Here, a struggle fbr adequacy oecurs between the transla-
tional attitucles toward the original screen images and the original Japanese text. This strug-
gle is expected to bring fresh and illuminating insights into the concept of audiovlsual
translation.
Notes
1 Though there is no space tbr an extended cunsideration, it is irnportant to discuss here -'hy Miyazaki
could epen a niche market in consumer culture and gajn popularity on a global basis. I would like to
mention briefiy here that the discussion should eover a widc range oftopics, such as a broad fati base,
visual aestheties, techno-orientalism, complex stories with mature characters, statelessness, and mar-
keting strategies.
2 According to 0xford Dietionat:y ofEngiish, both -'ords appeared fbr the first timc in the 1980s,
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
ADACHIReito TranslatiensefHayaoMiyazaki'sAnimatcdWorks 117
3 I use Romanized characters fbr original Japanesc titles.
4 The data fbr the present study is taken from the first twenty minutes of each of the six films by
Miyazaki, so it seems reasonable to suppose that acertain degree ofhomogeneity in the data is en-
sured, Depending on the diversity of films selected, hewcvcr, it is highLy possible that data can be
biased due to the uneven distribution ofwords in a film. One way to solve this problem is, fbr exam-
ple, to take twenty-minute samples randomly from at ]east three differcnt parts ofa film and calculate
thc mean.
5 Word-fbr-word translations of original Japanese into English are provided within parentheses, and
English titles ofjapanese animated works are shown in italics in the text as they are or in square
brackets,
6 iLdbj'o no 7lrkkyubin occupies a unique posltion in the study of differences in translational attitude
because three different translated versions (1989, 1 998, and 201O) of it exist; however, it cannet be
discussed here fbr want of space.
7 The only cxception is Kutenai no Buta, which is intended fbr an adult audience, I would ]ike to dis-
cuss this issue further on another occasion,
8 lt would be too much to say that the same observation applies to Japanese animation as a whole. To
discuss the entire Japanese anirn ation is beyond the scope ofa briefpaper, it calls for further consid-
eratlon.
Works Cited
Adachi, Reito. "Basic Analysis ofDialogue Data on Pauses and Silences in Japanimation Movies: Com-
parison ofO;iginal Japanese and American Animations with '1'heir
Transl ated Vl]rsions." Eibeibunka
40 (2010): 243-59.
"Anime."
()xfont Dictionaiv ofEngiish. 2nd ed,, rey, 2005.
Box Ofiice Mojo, 1 Aug, 201 1 <http:f!boxoMcemojo.comfmovies!?id=pekemon1.htm>
Chaume, Frederic. "Film
Studies and Translation Studies: Two Disciplines at Stake in Audiovisual Trans-
1ation." Mleta; 7}"anslators '.lburnal
49,1 (2004): 12-24.
Davidson, Paui. aCFCC to Finc Viacom $O.5M for Super Bowl." Usu 7bdoy Online, 8 Sept. 2004. 1O Sep,
2011<http:/fwww.usatoday.com!moneyfmedia12004-09-07-bowl-x.htm>
Delabastita, Dirk, `LTranslation amd Mass-communication: Film and TV Translation as Evidence ofCul-
tural Dynamics," Babel 35.4: 193-218.
Gonzalez, Irene. "Culturemes
in Adononoke flime: A Comparative Analysis of Subtitles (English-
Spanish; DVD-Internet)." CineMagazilNet! 13 (2009). 20 Jan, 201O <http:!lwww.cmn.hs.h.kyoto-u.
The Society of English Studies
NII-Electronic Library Service
The Society ofEnglish Studies
I18 TptilCltc{ic] 42(2012)
ac.jp!Crm13/irene-article-2009.html>
Hamano, Yasuki. tLfoho Sttteru Nimpon: Eiga rinime kora Ilyori lksshon iimde t]rmitated Japan: J;?om
i14bvies andAnime to Dishes and Ftishions7. TQk}ro: Shodensha, 2005. 1 55,
Hewitt, Cindy and Den Hewitt. A Second Interview with Cindy and Don Hewitt. 77ie Hbyao Mlyctzaki
PP23b. May 2005. 10 Oct. 2009 <http:fAvww.Nausicati .netimiyazaki!intcrviews!hewitt-interview2.
html>
Melina, Luc(a and Amparo HurtadoAlbir, "Translatien
Techniques Revisited: A Dynamic and Function-
alist Approach." ?Ldizta; 7>'aHslators '.Jburnal
47.4 (2002): 49g-512,
Motion Picturc Association of Arnerican. Film Rating Board to Consider Smoking as a Eactor, Los
Angeles: MPAA, le May 2007. '
Nida, Eugene A. 7bward a Science qf'1)'anstating: uath S??ecial Rqference to f'rincipZes andPfAoceditnes
Invogved in Bibie 7>'anslating, Lelden: Brill, 1964.
Nord, Christiane, 7)'anslating as a Purposefi{l Activity: Functionalist Alzproaches ELx/plained. Manches-
ter: St. Jerorne, l997,
Palumbo, Giuseppe. Ke.v fe}Jms in T}"anslation Studies, London: Continuum, 2009.
Tamura, Chihiro. "Nippon
no Animeshon Eiga no Eigo Fukikae-ban ni okeru Serifu no Tsukekuwae ni
kansuru Kenkyu: Sutaj io Jiburi noAnime Sakuhin no Bunseki kara. [A Study ofAddition ofSpeech
Lines in English Dubbed Version ofJapaneseAnimated Movies: From the Analysis ofAnimations
of Studio Ghibli]. fnvitation to Xhe 7>-anslation Studies 4 (201O): 87-105.
Toury, Gideon, t`The
Nature and Role of Norms in Translation." Descriptive 7}'ansiation Studies and
Bqyond, Amsterdam: Be]ijamins, 1995, 53--69. Rpt, in Tlhe 7}'ansiation Studies Reader. Ed. Law-
rence Venuti. 2nd ed. New York: Routledge, 2002. 205-18.
Yannada, Kentaro. '`Eigo-ban Anime Sakuhin ni miru Honyaku no Mondai: Sen to Chihiro no Kami-
kakushi no Baai." [Problem of Translation Seen in English-Translated Animations: ln the Case of
spiritedAway]. Jburnai ofthe Faculty qf'Global Communication, Siebold Uhiversity ofAiagasaki 5
(2004): 195-205.
- . "Eigo-ban
Anime Sakuhin ni miru Honyaku no Mondai 2: Sen to Chihiro no Kamikakushi no
Baai," TProblem ofTranslation Seen in English-Translated Animations: In the Case of,l`ly AJeighbor
7btoro], fournal ofthe haculty qfGlobal Communication, Siebold Uhiversity qfA"agasaki 6 (2005):
273-84.