Dialect and Register Dr Wiebke Brockhaus-Grand German Studies

Week Variation and the translator 2.1 Identifying varieties in the source language 2.2 Establishing the cultural significance of variation in the source language text 2.3 Identifying parallel varieties in the target language 2.4 Resolving cultural dissimilarity – lost in translation?

2.1 Identifying varieties in the source language 2.1 Identifying varieties in the source language You see something that looks unusual in the source language. How can you tell what it is? You see something that looks unusual in the source language. How can you tell what it is?  Use any clues given by the author – with some common sense, you can normally work out what the unusual bit of language is meant to represent (see Example E)  If not, try asking a native speaker (But do they always know? See Example A and below)  Has tha fell out wi’ im?  Dinna gan doun their?  Wha is she a-doin of?

2.1 Identifying varieties in the source language 2.1 Identifying varieties in the source language  Research the work in the literature (on the Web!) if you can’t find the answers any other way

2.2 Establishing the cultural significance of variation in the source language text 2.2 Establishing the cultural significance of variation in the source language text Things are different outside Britain! Things are different outside Britain! Speaking dialect (i.e. a particular regional variety) does not necessarily identify an individual as being uneducated and/or of a lower social class (or make them a figure of fun) Speaking dialect (i.e. a particular regional variety) does not necessarily identify an individual as being uneducated and/or of a lower social class (or make them a figure of fun) Although authors sometimes want to do precisely that (e.g. Examples E, C and G), there are other interpretations, so think carefully what the variety is meant to convey in each case, e.g. Although authors sometimes want to do precisely that (e.g. Examples E, C and G), there are other interpretations, so think carefully what the variety is meant to convey in each case, e.g.  Brecht’s Mother Courage   Examples D and F

2.3 Identifying parallel varieties in the target language Careful here! You could end up with unintended effects when, say, attempting to replace one city variety with another (e.g. Dublin with Berlin) – adaptation may work, but can be risky Example B: country girl (Brabants), rural speech could work in English and German, but not French (patois associated with old people and often not understood by the general population)

2.3 Identifying parallel varieties in the target language Example A: French generally favours the standard variety and non-standard language is often written in fiction as standard (See Example A and consider the furore caused by Example D)

2.4 Resolving cultural dissimilarity – lost in translation? 2.4 Resolving cultural dissimilarity – lost in translation? So what do you do? Weigh up the the general cultural significance of the variety used, the author’s specific intention and the perception of your target audience Adaptation (e.g. Example G) Amplification (e.g. Examples E and F) Live with the fact that some nuances simply can’t be translated and be content with conveying the crucial information (e.g. about a person’s social status and regional origin)