An-Najah National University Faculty of Graduate Studies Loss and Gain in the Translation of Songs from English into Arabic: The Case of Dubbed Animations By Maysa’ Musleh Tahseen Musleh Supervised Dr. Abdel Kareem Daragmeh This Thesis is Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Applied Linguistics and Translation, Faculty of Graduate Studies, An-Najah National University, Nablus- Palestine. 2014 iii Dedication This humble work is dedicated to the candles of my life, my father, my mother, and my two brothers, Tahseen and Mohammad for their constant support, encouragement, love and care. iv Acknowledgements First and foremost, I wish to express my gratitude to Allah for facilitating my way and surrounding me with people who are my source of power. My sincere gratitude is also due to Dr. Abdel Kareem Daragmeh for his continuous encouragement and excellent guidance. He opened many closed doors for me through the course of this study. His valuable help and advice made it possible for this thesis to see the light. A special than is to my examiners: Dr. Omar Najjar and Dr. Nabil Alawi. Their precious comments, suggestions, and questions enrich this research paper. I am very grateful to Dr. Roqaya Herzalla, Dr. Odeh Odeh and Dr. Ayman Nazzal for their encouragement and support. I would like to extend my gratitude to my teachers at AAUJ who gave me self-confidence and determination to succeed in my education. Deepest thanks are to my source of enthusiasm, my father and mother for sharing all the moments with me. I really appreciate their encouraging words and patience. They are the reason for my success. Warm thanks are to my soul mates, my dear brothers whose smiles and continuous care soothe me in the darkest moments. A special thank is to my husband, Tahseen who believes in me and always encourages me to do my best. I wish to thank my dearest friends, Wafa’ and Ahlam with whom I was thinking loudly and whose laughter softened my stress. Finally yet importantly, I wish to thank my dear colleagues and my students who did not hesitate to help me when I needed their help. v رقاا اإل :أنا الموقع أدناه مقدم الرسالة التي تحمل العنوان Loss and Gain in the Translation of Songs from English into Arabic:The Case of Dubbed Animations باستثناء ما تمت اإلشارة إليه حيثما , جهدي الخاصأقر بأن ما اشتملت عليه هذه الرسالة إنما نتاج أو أي جزء منها لم يقدم من قبل لنيل أي درجة علمية أو بحث علمي ،و أن هذه الرسالة ككل ،ورد . أو بحثي ألي مؤسسة تعليمية أو بحثية أخرى Declaration The work provided in this thesis, unless otherwise referenced, is the researcher’s own work, and has not been submitted elsewhere for other degree or qualification. Student’s name: :اسم الطالب Signature: التورقيع: Date: التا يخ: vi Table of Contents No. Content Page Dedication iii Acknowledgment iv Declaration v Table of Contents vi List of Tables viii List of Diagrams ix List of Abbreviations x Abstract xi Chapter One Introduction 1 1.1 Introduction 1 1.2 Statement of the Problem 3 1.3 Purpose of the Study 6 1.4 Significance of the Study 6 1.5 Questions of the Study 7 1.6 Thesis Chapters 7 Chapter Two Scope and methodology 10 2.1 Review of Related Literature 10 2.2 Corpus of the Study 15 2.3 Methodology 17 2.4 Limitations of the study 19 Chapter Three Compensation in Translating Phonic and Prosodic Features of Dubbed Animation Songs into MSAD: The Case of Anastasia’s Songs 20 3.1 Introduction 20 3.2 The Phonic Level of Dubbed Animation Songs 24 3.2.1 The Phonic Features of the SS ‘Once upon a December’ 25 3.2.2 The Phonic Features of the MSAD of the Song ‘Once upon a December’ 30 3.2.3 Conclusion 36 3.3 The Prosodic Level of the Dubbed Animation Songs 37 3.3.1 The Prosody of the SS ‘Journey to the Past’ 38 3.3.2 The Prosodic Features of the MSAD of the Song 41 3.4 Translation Issues in Focus 46 3.4.1 The Translation Method 46 vii 3.4.2 Equivalence 47 3.4.3 Translation Criteria 48 3.5 Conclusion 48 Chapter Four The Dubbing of Animation Songs into Egyptian Dialect: The Case of ‘Be Our Guest’ from the Animation Beauty and the Beast 50 4.1 Introduction 50 4.2 The Phonic Features of the Animation Song ‘Be our Guest’ 51 4.2.1 Rhyme, Alliteration, Assonance 54 4.2.2 Repetition in the EDTS 58 4.3 The Prosody of the SS and its Dialectical Dubbing 66 4.3.1 Sentence Length in the SS and the EDTS 66 4.3.2 Intonation 67 4.4 Gain 73 4.5 The Translation Method 73 4.6 Conclusion 74 Chapter Five Unavoidable Loss in Translating Metaphors: The Dubbing of Loaded Expressions in Animation Songs 76 5.1 Introduction 76 5.1.1 Metaphor Translation in Literary Texts: The Faithful versus the Beautiful 77 5.1.2 Chapter Scheme 79 5.2 English Culture-Specific Metaphors Translated into Equivalent Arabic Metaphors 80 5.2.1 ‘Still a Little Sapling Just a Sprout’ 81 5.2.2 ‘My Sneer Could Curdle Dairy’ 85 5.2.3 Translation Procedure 89 5.3 The Metaphor is Lost Altogether 90 5.3.1 The Image Metaphor ‘Dying in the Dust’ 91 5.3.2 The Metaphor ‘Without a Soul to Wait upon’ 94 5.4 Conclusion 100 Chapter Six Conclusions and Recommendations 102 6.1 Conclusions 102 6.2 Recommendations 108 References 109 ب الملخص viii List of Tables No. Table Page 1 Two stanzas from the song ‘Once upon a December’ and their MSAD 26 2 SC and WC of the second stanza from the song ‘Journey to the Past’ 39 3 Sentence length of the MSAD of the stanza 42 4 ‘Be our Guest’ and its dubbing into ED 53 5 The intonation system in the SS and EDTS 68 6 Two metaphors from ‘Tangled’ and their translation into Arabic 81 7 The first stanza from the song ‘Mother Knows Best’ 84 8 The first stanza from the song ‘I’ve Got a Dream’ 87 9 Metaphors translated into ground 90 10 A stanza from the song’ Be our Guest’ 95 ix List of Diagrams No. Diagrams Page 1 The spectrum of translation strategies 46 2 Translation strategies 73 x List of Abbreviations Abbreviation Term TL Target Language SL Source Language ST Source Text TT Target Text DS Dubbed Song TS Target Song DTS Dubbed Target Song SS Source Song MSA Modern Standard Arabic ED Egyptian Dialect MSAD Modern Standard Arabic Dubbing EDD Egyptian Dialect Dubbing EDTS Egyptian Dialect Target Song SD Source Domain TD Target Domain SM Source Metaphor TM Target Metaphor EAM Equivalent Arabic Metaphor CIK Compensation in Kind CIP Compensation in Place CBV Compensation by Visuals CBS Compensation by splitting xi Loss and Gain in the Translation of Songs from English into Arabic: The case of Dubbed Animations By Maysa’ Musleh Tahseen Musleh Supervised Dr. Abdel Kareem Daragmeh Abstract This study tackles the issue of dubbing animation songs from English into MSA and ED. It depicts how the phonic and prosodic features together with their thematic value are transferred into the target song. It also spots some light on the translation of metaphors which have sound effects. This study, furthermore, presents the translation strategies used in the dubbing of animation songs. The analysis reveals that the balanced translation strategy is followed in the MSAD, and the semantic translation strategy is followed in the EDD. Dubbing animation songs from English into Arabic is feasible without compromising the meaning for the sake of form or vice versa. This is possible through the use of different compensation strategies: CIK, CIP, CBM, CBS, and CBV. In other words, it is not always true that when form and meaning are interrelated we approach a situation of untranslatability. 1 Chapter One Introduction 1.1 Introduction Several studies tackle the issue of dubbing animations. Animation is the transformation of a story or novel into an audiovisual film that includes images, character dialogues, and songs. Blair (1994:6) defines animation as the “[p]rocess of drawing and photo-graphing a character –person, animal, or inanimate object– in successive positions to create lifelike movement” (as cited in Wells, 2002:3-4). In other words, animation is the creation of a cartoon film about a character by using technological improvement on paintings or drawings to produce a colored-film for a young audience. Since such films are intended for young audience, production companies try to increase easiness by much more than mere use of a simple language in the subtitles. For example, they often resort to dubbing, i.e. the process of replacing target language (TL) voice in the place of source language (SL) voice in the translation of films) for entertainment, musical and culture-related purposes. Furthermore, songs and music are other techniques used in animations to attract the young audience and increase their entertainment. A song is an oral expressive musical genre which combines music and words. Jakobson (1971:701) describes this combination as “two particularly elaborate systems of purely auditory and temporal signs” (as cited in Gorlee, 2005:187). Music is a vital attribute for any song and often 2 communication is made through the musical notes. When one hears the music even without hearing the spoken words, one could feel the relevance of tone to song theme. Traven (as cited in Gorlee, 2005:103) explains that “since musical rhetoric was a semiotic system capable of communicating with or without the aid of verbal texts, music can enhance the verbal text, add information to, or contradict the verbal text”. Furthermore, music, as Suzzane Langer (1942) states, has the power to reflect peoples’ emotions and feelings more effectively than language (as cited in Albrecht, 2010). Therefore, music has a meaning in itself, and when it is combined with words, it reflects the sense and emotions these words are intended to arouse. Regarding the language of animation songs, on the other hand, it is characterized by short sentences usually with an identical syllable count. Emphasis in animation songs is a function of phonic and prosodic features rather than the “presentation of information as foregrounding or back- grounding, predictability and unpredictability” (Dickens et al., 2002:74). Moreover, both the phonic and prosodic patterns in animation songs, function as cohesive and coherent tools. The use of sensory language and figurative speech is, additionally, another feature of the language of animation songs. Obviously, both music and language are important factors to be considered in the dubbing of animation songs. In the process of dubbing songs, we have encountered a number of obstacles, such as, lip synchronization, sentence length, and syllable count 3 (Lathy, 2006:23). The audience should not feel that they are not listening to the actual speakers. Syllable count and sentence length, on the other hand, are important elements as they affect the music of the song. In the dubbing of animation songs, additionally, transparency is important for having a good dubbed song. Norman Shapiro says “a good translation is like a pane of glass. You only notice that it is there when there are little imperfections–scratches, bubbles. Ideally, there should not be any. It should never call attention to itself ” (as cited in Venuti, 2008:1). The ‘scratches and bubbles’ that distort the translation of animation songs are not only linguistic; any foreign element –whether it is cultural, stylistic, or contextual– calls attention to the translated text makes it not transparent, and thus imperfect. Such elements make the dubbed animation song not natural and not comprehensible for young audience, then the function of entertainment is not achieved. 1.2 Statement of the problem The problem this research tackles is about the nature and the degree of intervention in the dubbing of animation songs from English into Arabic. The dubbed songs (DSs) do not always have the same words of the SL songs. In fact, sometimes the DSs are entirely new versions and the degree of translator’s intervention is so elevated to the degree that when the lyrics of the DSs are compared with those of the SSs, one is inclined to think that the SS and TS are two different songs. Is such high degree of intervention justified or not? Can we call the new meta-song a translated version or is it 4 a new song? Do the meta-song and the original song convey the same effect even if they are communicated via different phonic and prosodic features? Such questions are answered by the end of this study. Another level of the problem is the music of animation songs. In the dubbing of audiovisual films, translators are constrained by time and lip and character movement. In the dubbing of animation songs, on the other hand, music is an additional constraint. It “predetermines certain syntactical and prosodic decisions of translators” (Gorlee, 2005:238). Furthermore, the dubbing of songs, as stated by Apter (1989:27), is constrained by the “physical limitation of the vocal apparatus, the metrical rigors of originally pre-set prosody, and the need to match verbal sense to musical color” (ibid.). The sound patterns of animation songs, such as, alliteration, assonance, rhyme (phonic features), and sentence length, syllable count, intonation, length, rhythm, pitch and stress (prosodic features) are some musical features that complicate the process of the dubbing of animation songs; particularly when these patterns have thematic value. Metaphors are felt to add another sizeable problem to the dubbing of animation songs. Translating metaphors is considered a real challenge “since it requires us to draw a great range of our imaginative, cultural and linguistic resources” (Bassnett & Bush, 2006:208). Moreover, most metaphors are culture-specific. The challenge of translating metaphors is intensified further more when metaphors have sound patterns. 5 The use of the three types of translation in the dubbing of animation songs is, moreover, another problem in the dubbing of animation songs; it also gives us a clue as to the level of complexity of this process. Translation scholars have identified three types of translation: inter-lingual translation which means translation between two different languages; intra- lingual translation which means translation within the same language; and inter-semiotic translation which is the translation of the verbal sign into a non-verbal sign or vice-versa (Bassnett, 2014:25). When an event happens in the animation, the song comments on it; this operation is intra-lingual. When this event is accompanied with music (non-verbal sign), this is an inter-semiotic case; and when the song is translated from one language into another, it is a case of an inter-lingual translation. The audience type of this study is also a problem. The animation films of this study are meant for young teenagers (who are 11-16 years old). This age group complicates the process of dubbing because both simplicity and foreignization are important criteria in the dubbing for young teenagers. These two criteria do not usually meet. Simplicity is not achieved if there are foreign elements, for example. However, in the dubbing of these animations, simplicity is to be achieved, and at the same time, foreignization has to be preserved in the parts where the foreign elements are known by young teenagers. 6 1.3 Purpose of the Study One aim for this study is to describe how the word level, the metaphorical level, the cultural level, and most importantly the phonic and prosodic levels are treated in the dubbing of animation songs. Attention will be paid to the degree to which the dubbing is able or unable to reproduce the phonic and prosodic features of the SSs considering what Dickens et al. (2002:80) say “No TT can reproduce the same sequence of sound segments/letters as ST”. This study focuses on dubbing into MSA and ED. Animations have rarely been translated into MSA. The second aim for this study is to decide what is more efficient and effective as far as the phonic and prosodic features are concerned. Moving to a more global aim, the study seeks to identify, describe, and assess the most common strategies used in the dubbing of animation songs into MSA and ED. In examining translation methods, the researcher will spot the light on the case of loss in animation songs dubbing, and examine what type of loss occurs when the form is sacrificed for the meaning or the meaning is sacrificed for the form. The role and value for using compensation strategies will also be highlighted. 1.4 Significance of the Study Few studies have handled the dubbing of animation songs as a central theme. On the other hand, there are few research attempts on the dubbing 7 of animation songs into Arabic. These attempts are limited to the linguistic and cultural aspects. The focus on the phonic and prosodic features, however, has not received enough attention. Hence, it is hoped that this study will make an important contribution in the area of animation songs dubbing. It will give due attention to important factors like music and phonic and prosodic features of words, and how they are handled in the dubbing of cartoon songs. As stated by Steinacher (1997) the non-verbal dimension of songs has to be taken into consideration a long with the verbal part (as cited in Gorlee, 2005). 1.5 Questions of the Study This current research aims to answer the following questions: When and how can the prosodic and phonic features of animation songs be maintained in translation? What are the most common strategies used when dealing with the metaphorical occurrences that combine sound with sense? Is there a significant difference between using MSA and ED in dubbing animation songs? Does using one or the other increase the translatability of the prosodic effects in animation songs? When and to what extent are compensation strategies necessary and useful? 1.6 Thesis Chapters This thesis consists of six chapters. Here bellow, the content of each chapter is summarized: 8 Chapter One is the introductory part used to highlight the main issues related to the dubbing of animation songs. It, moreover, presents the statement of the problem, the purpose of the study, the significance of the study, the research questions, and the thesis chapters. Chapter Two introduces the main claims in the previous literature on issues that are related to this topic. It presents the corpus of the study, the method used in analyzing the collected data, and the limitations of the study. Chapter Three deals with the MSA dubbing (MSAD) of the phonic and prosodic features of animation songs. Here we attempt to test whether these features are preserved in the dubbing or not. The translation methods and compensation strategies used are discussed here. Chapter Four analyzes the phonic and prosodic features of an animation song dubbed into ED. In this chapter the dialectical ability to translate the phonic and prosodic features of the SS is tested. Moreover, the chapter discusses the compensation strategies and translation methods used in the dubbing of animation songs into ED. Chapter Five covers issues related to the translation of metaphors in dubbed animation songs; particularly when these metaphors are used for sound effects. The challenges the translator faces and the ways s/he resolves them are discussed. The strategies followed and the quality of the outcome are, moreover, among the main issues to be dealt with in this 9 chapter. The researcher also talks about the elements that distinguish translating metaphors in cartoon songs from translating metaphor in other literary texts. Chapter Six, being the final one gives the conclusions by way of generalizations on translation behavior in the targeted area of study. 10 Chapter Two Scope and Methodology 2.1 Review of Related Literature When dubbing songs, the translator is often faced with the dilemma of whether to sacrifice content for the sake of form or form for the sake of content. Hatim and Munday (2004:10) give their view on this dilemma: Sense may be translated, while the form often cannot. The point where form begins to contribute to sense is where we approach un-translatability. This clearly is most likely to be in poetry, song, advertising, punning and so on, where sound and rhyme and double meaning are unlikely to be recreated in the TL. Nida and Taber (1969:4) also approach this dilemma. They declare that “anything that can be said in one language can be said in another, unless the form is an essential element of the message”. In his paper ‘Translating to Music’ which is included in ‘The Musical Quarterly’, (Speath, 1915, in Anon., 1958) sees that it is not possible to imitate the form of the original song without sacrificing the sense. He maintains that priority should be given to the musical setting even if accuracy of details is not accomplished. If these statements are true, songs will be translated with a significant degree of loss in either form or meaning. Luthen (2002:21) says that the loss in the translation of songs and stories is unavoidable; sound, information, and nuances of meaning are lost. This is because sound and sense are interrelated. Translating involves the sound systems of both SL 11 and TL. Hence loss in meaning is inevitable. This explains why preserving meaning and form at the same time is rather difficult. But what do we mean when we say form in songs? Do we refer to the sentence structure, the various types of phrases, and words of the song? Or do we refer to the lyrical elements and sound patterns like the phonic, and prosodic features? Actually, the syntactic features as well as the lyrical elements and sound patterns constitute the form of songs. However, it is much more difficult and simultaneously much more significant to maintain the lyrical elements and sound patterns than to handle the syntactic features in the dubbing of animation songs. The phonic and prosodic features are a real challenge in the dubbing of animation songs. The main phonic issues that will be discussed in this research are alliteration, assonance, and rhyme. The researcher focused on these three sound patterns because they are used frequently in animation songs. These sounds patterns, furthermore, have thematic value as well as musical effects. Dickens et al. (2002:81) define these three aspects as follows: “Alliteration is the recurrence of the same sound or sound-cluster at the beginning of words. Assonance is the recurrence within words of the same sound or sound-cluster. Rhyme happens when the last stressed vowel and all the sounds that follow it are identical and occur in the same order”. These three phonic aspects reflect repetition on the level of sound. However, repetition occurs on other levels in songs. Dissanyake (1992:113) says that repetition –on the levels of syllables, words, or phrases– is wildly 12 used in songs (as cited in Rover-Collier et al., 1988:44). Furthermore, the prosodic features, such as, “intonation, pitch, rhythm, tempo, resonance, loudness, and voice timber, shouting, sighing, or laughter” (Schjoldager, 2008:277) are also wildly used in animation songs. Dissanyake (1992:113) says that certain devices are used in songs to increase “beauty, memorable-ness, and effectiveness” (as cited in Rover- Collier et al., 1988:44). In animation songs, these devices are the phonic and prosodic aspects. For this reason, the lyrical and sound patterns of songs take priority over the syntactic features. It is often the case that the word used for phonic and prosodic effects also includes a metaphor. This special language usage often poses serious translational issues. A metaphor combines between being a figurative expression whose meaning depends on the context and a culture-specific expression. According to (Snell-Hornby, 1988:56) “the sense of the metaphor is frequently culture-specific”. Different cultures have different metaphors. What complicates this problem even further is that this expression is necessary for sound effects. Newmark argues that metaphors are used for aesthetic purposes “reinforced by sound-effect in an advertisement, popular journalism, and art-for-art’s sake or a pop song” (Newmark, 1988:104). Dickens et al. (2002) name five approaches to tackle translating metaphors namely: literal translation, transplanting the SL metaphor with an equivalent TL metaphor, paraphrasing the metaphor, converting the 13 metaphor to a simile, and the deletion of the metaphor altogether. The following are examples that represent these methods respectively: Can you paint with all the colors of the wind:تئدر ترسم بجميع الوان الريح, cause it soothes my inner kitty: اطفي نار ئلبي و , let your dream take wings: حقق حلمي بيك , she is shinning:و هي زي الئمر, and the earth is just a dead thing you can claim: ما Our view is that every single one of these methods affects .يملكها وحده غير اهلل the lyrical style and sound patterns of the songs differently causing loss on the sense and sound levels. In handling metaphors in the dubbing of animation songs, translators will have to either keep the sound or be content with only the sense. The choice of the translator will be reflected in the use of translation method or strategy. The translation methods range between two extremes. Newmark distinguishes between communicative translation and semantic translation. Communicative translation attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original. Semantic translation attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original. (Newmark, 1981:39) One of the better translation methods used in the dubbing of animation songs is the one which renders the phonic and prosodic features of the SS as well as their semantic interpretation. Haupt (1959) and Stolting (1975) suggest two approaches for translating songs. The first type completely changes the SS; whereas, the second one reproduces the SS with minimal changes for musical reasons. It is felt that loyalty to the SS does not produce a functional song in the TL where factors such as, the addressed audience have to be taken into consideration (as stated in Gorlee, 14 2005:238/186). The TS addresses a different audience of a different culture, so some differences between the SS and TS are expected. In the functional scenario, loyalty to the SS is not the most essential criterion used in assessing the quality of translating songs as the main aim is to keep the musical function of the song and to produce on the target readers an effect that is close to the effect the SS produces on its readers. Nevertheless, in the dubbing of animation songs, loyalty to the content of the SS is important to have a functional song since the song is a reflection of an event in the animation film. This maximizes the challenge of dubbing animation songs as translators ought to consider the sound patterns of the song as well as the meaning and ought not to compromise one for the sake of the other. Several translation theorists argue that loss in translating songs is unavoidable. This study will emphasize how compensation strategies rescue the TSs from loss on the levels of meaning and sound patterns. Compensation means “mitigating the loss of important ST features by approximating their effects in the TT” (Dickins et al., 2002:40). There are different categories of compensation: “compensation in kind”, “compensation in place”, “compensation by splitting”, and “compensation by merging” (ibid.:44/45/47/48). It is, moreover, assumed that compensation strategies will help to achieve textual and functional equivalence. In dubbing songs, it is important to achieve both textual and functional equivalence. Textual equivalence –as defined by Baker (1992)– is a 15 combination between “similarity in ST and TT information flow and in the cohesive roles ST and TT devices play in their respective texts”. Newman (1994), furthermore, claims that to achieve functional equivalence a certain variable is highlighted in the translation according to the function intended for the target text (TT) (as cited in Baker, 2011:97). Textual and functional equivalence in the dubbing of animation songs are achieved when the phonic and prosodic features of the SSs and their thematic functions are reflected in the TSs. 2.2 Corpus of the Study Songs of four animation films are used in this study. One of these films is dubbed into MSA: ‘Anastasia’. The other three are dubbed into ED. These are ‘Beauty and the Beast,’ ‘Tangled’ and ‘Pocahontas’. These four animations belong to four types; musical, romance, drama, and fantasy films. Moreover, the protagonist in each animation is a girl. These animations are, moreover, intended for young teenagers because the themes of these animations are not simple nor complex; they fit this age group. In Chapter Three, two songs from ‘Anastasia’ and their MSAD are analyzed. The sound patterns like alliteration, assonance, and rhyme of the song ‘Once upon a December’ (which was retrieved from http://www.youtube.com/watch?v=5Bsdu57SFZc on 5 April 2013) are compared to the patterns in its MSAD (retrieved from http://www.youtube.com/watch?v=K4zgW8GyqeU on 5 April 2013). The sentence length and intonation of the song ‘Journey to the Past’ (which was http://www.youtube.com/watch?v=5Bsdu57SFZc http://www.youtube.com/watch?v=K4zgW8GyqeU 16 retrieved from http://www.youtube.com/watch?v=7bCKBHvpNSg on 8 April 2013) are also compared with its MSAD (retrieved from http://www.youtube.com/watch?v=7HlDzzTrVhs on 8 April 2013). The New Corporation Company translated this animation film. Chapter Four studies a song from ‘Beauty and the Beast’ which is dubbed into ED. The song ‘Be our Guest’ and its dialectical dubbing are analyzed in terms of their phonic and prosodic features. The English version of this song was retrieved from http://www.youtube.com/watch?v=afzmwAKUppU on 15 April 2013. Its EDD was retrieved from http://www.youtube.com/watch?v=K2yaoymnmoU on 15 April 2013. In Chapter Five, the translation of four metaphors from three different animations are analyzed. From the animation ‘Tangled’, the following two metaphors are used: ‘still a little sapling just a sprout’ from the song ‘Mother Knows Best’ (retrieved from http://www.youtube.com/watch?v=fi8kYcl2Y38 on 13 July 2013) and ‘my sneer could curdle dairy’ from the song ‘I've got a Dream’ (retrieved from http://www.youtube.com/watch?v=wbVlGESh9Mc on 15 July 2013). These metaphors translate as: ‘لسة عودك أخضر و رهيفة’ in the song ‘ انا ياما retrieved from http://www.youtube.com/watch?v=qh31DQ1_zes on( ’شفت 13 July 2013) and ‘ وشي بيئطع الخميرة من عجين أفران كتيرة ’ in the song ‘ أنا حلمي retrieved from http://www.youtube.com/watch?v=HhzNn9I_Lq0 on) ’جميل 15 July 2013). http://www.youtube.com/watch?v=7bCKBHvpNSg http://www.youtube.com/watch?v=7HlDzzTrVhs http://www.youtube.com/watch?v=afzmwAKUppU http://www.youtube.com/watch?v=K2yaoymnmoU http://www.youtube.com/watch?v=fi8kYcl2Y38 http://www.youtube.com/watch?v=wbVlGESh9Mc http://www.youtube.com/watch?v=qh31DQ1_zes http://www.youtube.com/watch?v=HhzNn9I_Lq0 17 From the animation ‘Pocahontas’, the metaphor ‘dying in the dust’ from the song ‘Savages’ (which was retrieved from http://www.youtube.com/watch?v=2av9SQsMIi8 on 20 July 2013) translates as ‘يال نحرء الزبالة دول’ (retrieved from http://www.youtube.com/watch?v=HZlAU7JJEsI on 20 July 2013). From ‘Beauty and the Beast’, the metaphor ‘he is not whole without a soul to wait upon’ is used. This metaphor is from the song ‘Br Our Guest’ (retrieved from http://www.youtube.com/watch?v=afzmwAKUppU on 15 April 2013). It translates as ‘مش موجود بال ما سيد يئولو هات’ in the song ‘ العشوة retrieved from http://www.youtube.com/watch?v=K2yaoymnmoU on) ’دي 15 April 2013). These three animations are translated by Disney Character Voices International, INC. In this chapter, it will be demonstrated that the meaning of the metaphor can be reflected in the dubbing preserving its sound patterns; nevertheless, compromising its vehicle and image if they do not exist in the TL or are not suitable for the sound patterns of the song. 2.3 Methodology The data was collected, as mentioned earlier, from animation songs dubbed into MSA and ED. The dubbing of these animation songs is rich with examples that are relevant to the discussion of loss and gain in terms of the phonic and prosodic features and the semantic effect they have. Above all, the dubbing of these songs may shed some different light on the claims/conclusions reached by translation scholars. One example is the claim made by Hatim and Munday (2004) who claim that songs are http://www.youtube.com/watch?v=2av9SQsMIi8 http://www.youtube.com/watch?v=HZlAU7JJEsI http://www.youtube.com/watch?v=afzmwAKUppU http://www.youtube.com/watch?v=K2yaoymnmoU 18 untranslatable material where sound, rhyme, and sense have to be recreated in the TL. In chapter three, the data was classified according to the compensation strategy followed to compensate the loss that occurred in the dubbing of animation songs into MSA. In chapter four, data was classified according to the translation procedure followed to dub the SS into ED. In chapter five, the data was classified according to the loss incurred in the translation of metaphors. Moreover, the descriptive analytic approach was used to analyze the data of this study. Since the animation songs of this study address young teenagers, they are expected to be easy, interesting, and attractive. Moreover, they are used in animations either to comment on an event in the cartoon film or simply for entertaining purposes. While translating them, the functions of the SS have to be reflected in the TS; this is what functionalism theories focus on. According to Vermeer, the purpose of the translation determines the translation strategies which are used to produce a TT that has the same function as the ST (as cited in Munday, 2008:79). However, this functionally equivalent song has to be easy for young teenagers, i.e. not much effort on the part of the audience has to be used to understand the TS. Producing a functional, natural, and acceptable song that is accessible and comprehensible song is achievable with some degree of translator’s intervention. The visibility of the translator in translating 19 animation songs is inevitable. Nevertheless, this intervention should not distort the SS. The researcher evaluated the collected data according to the following criteria: naturalness, acceptability, accuracy, fluency and musicality (sound effects). Accordingly, the audience is expected to listen to a ‘natural’ song which is clean from any linguistic, stylistic, contextual, and cultural peculiarities. A song that sounds as if it written in the TL in the first place. This song, furthermore, should include accepted sound patterns in Arabic; this is closely related to the musicality criterion. To meet this criterion, the TS should have the same music of the SS as the aim of dubbing animation songs is reflecting the SS not to change the music. Furthermore, music reflects the sense and emotions of words, and if it is changed, a loss in meaning is expected. It is also more economical to keep the same music of the SS. Accuracy in animation songs is determined by having the same music, sound patterns, and the same sense as well. 2.4 Limitations of the Study This study has some limitations. First, only one animation film dubbed into MSA was found and analyzed in this study. Second, this study is concerned with the dubbing from English into Arabic and not the other way round. Third, the researcher did the analysis by herself, so a degree of subjectivity is expected. 20 Chapter Three Compensation in Translating Phonic and Prosodic Features of Dubbed Animation Songs into MSAD: The Case of Anastasia’s Songs 3.1 Introduction When a cartoon film is dubbed from one language into another, songs are also transferred. There are three forms which animation songs often take: the songs are kept in the SL, they are translated into the TL in a form of subtitling, or they are dubbed into the TL. This chapter focuses primarily on dubbing songs into MSA. In the dubbing of animation songs, the pentathlon principle is necessary to be considered. This principle recommends five criteria; these are: “sing-ability, sense, naturalness, rhythm, and rhyme” (Gorlee, 2005:185). The first criterion means that TSs are dubbed pieces that can be sung to an audience. However, dubbing songs in another language is rather challenging. Peter Low mentions in his article, ‘The Pentathlon Approach in Translating Songs’ which was published in ‘Songs and Significance: Virtues and Vices of Vocal Translation’: “the TT must fit the pre-existing music – its rhythm, note values, phrasings, and stresses– while retaining the essence of the source text” (as cited in Gorlee, 2005:185). The work of translators is much more complex than that of poets who write the words of the song first, and then music is composed to fit them. Translators, on the other hand, work in a reverse way. The music is there, 21 but words should be created taking into consideration that the dubbed target song (DTS) is to be an approximation to the SS in terms of meaning and sound patterns. Regarding the sense criterion, translations aim at producing the meaning of the ST in the TT, but the degree of honesty, accuracy, and faithfulness differs according to text type. In the case of animation songs, do we need to reproduce exactly the sense of the SS, keeping all the connotations, denotations, puns, metaphors, and nuances of meaning, or is it enough to reproduce the general sense (the message)? Speath (1915:247) argues that “the demand of musical setting must be supreme in importance”. Thus, attention is primarily given to the musical, prosodic, and phonic features. However, another highly acclaimed aim of translation is to reproduce the same effect of the SS. If the details of meaning are not taken into consideration, will we have the same effect even if the musical features are kept? The source effect can be rescued by using compensation, whether it is compensation in place, compensation in kind, compensation by splitting, compensation by merging (Dickens et al., 2002), or the other available types of compensation. The first aim of this chapter is to show how translators are able to compensate meaning in one way or another and create a DTS with approximate sound patterns and meaning to those of the SS. This approximation means that the product does not reflect loss, but it is regarded as a change. Jones aptly states that “it was made useful to see 22 translation not so much as losing source elements but as changing them, i.e. to see the translator as one who can not only take a way but also add value” (as cited in Allen,1999:24). Accordingly, translators try to balance between what they take away and what they add to the DTS. The third criterion of the pentathlon principle is naturalness. It refers – as mentioned earlier– to receiving the DTS as if it is written in the TL in the first place. This song should not have any SL features that are not familiar to the target audience. Gutt (1991:389) says that unnaturalness results from the “interference from the original language or insufficient mastery of the receptor language”. Moreover, understanding or even memorizing a natural song does not require much effort on the part of the audience. Rhyme and rhythm are important features of the phonic and prosodic aspects of songs. The difference between rhyme and rhythm is that the former occurs on the word level. The words that rhyme are the words that have the same sound after the last stressed syllable. They have the same onset; whereas, rhythm is a result of “the arrangement of stressed and unstressed syllables” (Raffel, 1988:22). The second aim of this chapter is to see whether the MSAD of animation songs reproduces approximate rhyme and rhythm patterns to those of the SS or not. The multiplicity of factors to be considered when dubbing animation songs leads to the difficulty, and sometimes impossibility, of this process. As argued by translation theorists above, when translators are asked to dub 23 a song, they need to keep in mind many points to produce a natural, equivalent, and comprehensible song that is also sing-able. These points concern the semantic level (the denotative and connotative meanings, metaphors, puns, idioms and word play); the syntactic level (the structural arrangement of the text); and the pragmatic level (the context which includes the audience, text type and skopos). When dubbing animation songs, translators face a double challenge. They have to keep in mind all the previous points as well as the phonic and prosodic aspects. The phonic features that have to be taken into consideration are alliteration, assonance, and rhyme. On the other hand, the prosodic features include paralinguistic features, such as, intonation, rhythm, loudness, shouting and laughter, etc. When translators handle the semantic, syntactic, and pragmatic levels, they ought to think about the sound patterns (phonic and prosodic features) since they have semantic, syntactic and pragmatic values. Having said all this, it may seem that dubbing animation songs is impossible, but is it so? The third aim of this chapter is to show that the MSAD has been done successfully. This chapter is divided into four sections. The first section is about the phonic features of ‘Anastasia’s’ song ‘Once Upon a December’. It analyzes the phonic features of the SS and compares them to the phonic features of the MSAD. The comparison focuses on the compensation strategies used. The second section gives due attention to the prosodic features of ‘Anastasia’s’ song ‘Journey to the Past’. It analyzes the prosodic features 24 of the SS and compares them with the prosodic features of the MSAD. The third section handles general issues, such as, the translation strategy, equivalence, and criteria that are used in the MSAD of animation songs. 3.2 The Phonic Level of Dubbed Animation Songs “Language is nothing without the sounds of the utterance we hear, or the shapes on the page of those we read: every text is a phonic/graphic configuration” (Dickens et al., 2002:80). Since animation songs are oral texts, they should be investigated at the phonic level which entails “looking at a text as a sequence of sound segments or phonemes” (ibid.:80). These sound segments or sequences take several forms; they occur as alliteration, assonance and rhyme. When these sound segments have meaningful and expressive functions, they are called sound symbolism (ibid.:82). Since no two languages have the same sound system, some degree of loss is to be expected. In this context, Dickens et al. (2002: 21) see that “because SL and TL are fundamentally different, the transfer from SL into TL inevitably entails difference –that is loss”. This section is intended to test whether the difference that occurs because of two different sound systems is indeed a loss or not. It also aims to test whether the dubbing from one sound system into another affects the meaning of the SS or not, keeping in mind that sound patterns are sound symbolism. 25 3.2.1 The Phonetic Features of the SS ‘Once Upon a December’ The data in this section is collected from the Fox TV animated movie ‘Anastasia’ which is dubbed into MSA. Anastasia tells the story of a Duchess named Anastasia, also known as Anya, who was not affected by the curse of Rasputin, a man banished by her father because of treason. Anya and her grandmother were the only family members who survived; other family members died because of the curse caused by Rasputin. However, when one of the servants, Dirmitri, helped them to go out from the palace, the grandmother was able to board the train; whereas, Anya fell down and her head hit the ground. She forgot everything about her past and was sent to an orphanage. Ten years later, her grandmother (Marie) announced that she would give a reward for anyone who would find her granddaughter. To win the reward, Dirmitri and Vladimir started to train girls to pretend that they were Anya. When Anya grew up, she left the orphanage, and decided to search for her family in Paris. When she reached the deserted royal palace where she used to live with her family prior to the curse, Dirmitri and Vladimir were impressed to see her because of her resemblance to ‘real’ Anya. They started to teach her to be Anya as they did not know that she was the real one. Anya met Sophie, -Marie’s cousin- who interviewed the girls who pretended to be Anya before allowing them meet Marie. When Anya told Sophie how the servant helped her and her grandma to go out from the palace, Dirmitri and Vladimir discovered that she was the real Anya. When she met her grandmother, she remembered everything, killed Rasputin, and married Dirmitri. 26 ‘Once Upon a December’ is a song Anya sang when she reached the deserted royal palace. The following table presents two stanzas from the song together with their MSAD. In these two English stanzas, examples on alliteration, assonance and rhyme are found. The functions of these phonic features are analyzed here below. Table 1. Two stanzas from the song ‘Once Upon a December’ and their MSAD. SS MSAD Dancing pairs, painted wings داخلي شيء خفي Things I almost remember, لكني ال أتذكر And a song, someone sings لحن ما، صوت شجي Once upon a December أغنية عن شهر ديسمبر Someone holds me safe and warm. دائما حولي و قبل النوم Horses prance through a silver storm. ملكنها تبدو حقيقة اليو Figures dancing gracefully, كلما مرت بخاطري Across my memory تلهب مشاعري 3.2.1.1 Alliteration In the third line of the first stanza, the initial rhyme (alliteration) is found in ‘song someone sings’. The /s/ sound is repeated at the beginning of these three words. In the first and second lines of the second stanza, the initial ‘s’ is also repeated in ‘someone, safe, silver storm’. This alliteration has a thematic function as well as its sound effect. ‘Someone’ in the second stanza brings to mind ‘someone’ from the first stanza which alliterates with ‘sings a song’. This repetition gives the sense that the person who ‘sings a song’ is the same person who ‘holds me safe’ and whom the character could only vaguely remember. The referent 27 of this set: ‘someone sings a song and someone holds me safe’ is Anya’s grandmother. These words, on the other hand, alliterate with the phrase ‘silver storm’. The contrast between safe and storm should be noted. Storm implies violence, problems, and danger which are all in contrast with safety. The word ‘storm’, in this song, connotes the evil conspiracies that caused the princess to lose touch with her past and family; it refers to Rasputin’s attack on the castle when the royal family was celebrating. However, the alliteration that connects ‘storm’ with ‘safe and silver’ changes the connotations aroused by this contrast. Silver often collocates with words, such as, silver age; which means a period of achievement, and silver jubilee; which is a celebration of an anniversary. These connotations of anniversary and celebration refer to royal celebrations, so the negative connotations of ‘storm’ are overshadowed by the positive connotations of silver. The negative connotations of storm, moreover, are minimized because of the rhyme that connects ‘storm’ with ‘warm’ as discussed later under rhyme. Alliteration creates an intricate network of coherence and cohesion between the first and the second stanzas. It also creates a link between words in the same line, such as, the alliteration between ‘pairs and painted’. The word that is connected with other words by a sound pattern confers the connotations of other words with which it is linked (Dickens et al., 2002: 82). 28 Painted, as defined by al-maany dictionary, means “coloured; tinged” (“Painted”, 2013). This word is used as an adjective to describe ‘wings’ to give the sense that these wings are imaginary. Because ‘pairs’ alliterates with ‘painted’, this sound connection implies that the ‘dancing pairs’ are also from Anya’s imagination. This connection provokes her dreamy royal past which she is trying to recall. The effect of this alliteration is to create sympathy in the audience, especially when Anya’s dreamy past is to be contrasted with her current situation. 3.2.1.2 Assonance Assonance is the repetition of the same sound or sound-cluster within words (Dickens et al., 2002:81). Examples of assonance in the song are: ‘dancing/wings/ things/sings/ song’. This assonance evokes the sense of movement, happiness, and singing all over the song. It implies that the things Anya is trying to remember show how glorious her past was. The word ‘things’, on the other hand, functions as a cohesive device that connects ‘wings and dancing’ in the first line with ‘song and sings’ in the third. This assonance identifies what things she is trying to remember. Without this assonance, it would not be easy for the young audience to identify these things. 3.2.1.3 Rhyme Rhyme is another noticeable feature in these two stanzas. It occurs “where the last stressed vowel, and all the sounds that follow it, are 29 identical and occur in the same order” (ibid.:81). These pairs of words rhyme with each other: ‘wings, things and sings, storm, and warm, December, remember and gracefully and, memory’. In the first stanza, the second line ends with ‘remember’ and the fourth line ends with ‘December’. The listener will be able to link these two words. This word-rhyming scheme gives the sense that what Anya is trying to remember happened in December. December is the time when the grandmother promised to meet Anya in Paris. The rhyme indicates that December is an important time that she has to remember. It can be a key for her to remember other things. There is a rhyme, furthermore, between ‘warm and storm’. If we interpret ‘storm’ without considering the connotations of ‘warm’, an unintended meaning will be evoked. Storm means, as defined by Merriam- Webster dictionary: “a serious disturbance of any element of nature, a tumultuous outburst, a sudden heavy influx or onset and a disturbed or agitated state : a sudden or violent commotion” (“Warm”, 2013). However, when ‘storm’ is linked by rhyme with ‘warm’, it gains a positive meaning. Warm means, as defined by Merriam-Webster dictionary, “having or giving out heat to a moderate or adequate, comfortably established, marked by or readily showing affection, gratitude, cordiality, or sympathy” (“Storm”, 2013). In the lines ‘someone holds me safe and warm/ horses prance through a silver storm’, Anya is referring to 30 the celebration when she was with her grandmother for the last time. She is talking about the warmth and comfort caused by her grandmother’s hugs and the happiness because of the royal family celebration. The rhyme between ‘warm and storm’ implies that Anya is describing her emotions not as agitated and disturbed; on the contrary, she is talking about emotions of comfort, affection, cordiality and gratitude. Alliteration, assonance, and rhyme are the phonic features used in the SS. These patterns have a thematic function. Anya’s grandmother, their song together, Anya’s dreamy glorious past, the warm emotions, the importance of December, and the royal celebrations are the themes which are highlighted by these sound patterns. In the following part, the phonic features of the MSAD are analyzed and classified according to the compensation strategy that is used to make up for any loss in the sound patterns or their meaning. The loss and gain are then identified. 3.2.2 The Phonic Features of the MSAD of the Song ‘Once Upon a December’ 3.2.2.1 Compensation in Kind (CIK) This compensation strategy “entails a difference in kind between the ST textual effect and the TT textual effect” (Dickens et al., 2002:44). For instance, compensating an effect aroused by a certain sound pattern by a word or vice versa is called CIK. 31 The most obvious sound pattern in the MSAD is the rhyme between the words: ‘خفي – شجي / أتذكر – ديسمبر / النوم – اليوم / بخاطري – مشاعري’. The rhyme between the two words ‘خفي وشجي’ draws attention to what Anya could not recall well and describes it as being not clear ‘خفي’, sad, and melodious ‘شجي’. The referent is to the song that Anya sang with her grandmother the last time they saw each other. ‘شجي’, furthermore, alliterates with ‘شهر’. This alliteration implies that the melodious unclear thing has a relation with ‘شهر’ which refers back to December. December is the time when Marie and her granddaughter agreed to meet in Paris. The rhyme between ‘أتذكر وديسمبر’, in addition, means that what Anya is trying to remember is something that is going to happen in December. In the SS, December and Anya and her grandmother’s song are highlighted by using a tail rhyme between ‘December, remember’, and an internal alliteration between ‘sing a song’. On the other hand, these themes are highlighted in the MSAD by using a tail rhyme between ‘خفي وشجي‘ ,’ أتذكر و ديسمبر’ and a cross alliteration between ‘شجي وشهر ’. The kind of alliteration differs. Moreover, the alliteration in the SS occurs between a verb ‘sing’ and a noun ‘a song’; whereas, the alliteration in the MSAD occurs between an adjective ‘شجي’ and a noun ‘شهر’. Furthermore, the referent of ‘sings a song’ in the SS, which is the song Anya sang with her grandmother, is direct and clear. But, the reference of ‘شهر شجي’ is not as clear as in the SS. This CIK makes the explicit implicit, in this instance. 32 Additionally, the CIK occurs on the level of sound patterns. The dubbing compensates a sound pattern in the SS by another sound pattern in the TS. For example, the alliteration in the first line: ‘dancing pairs, painted wings’ is compensated by an interior forced rhyme between ‘ شيء ,The cohesion resulting from the rhyme between ‘wings, things .’وخفي sings’ is compensated by a cross forced rhyme between ‘ , خفي, شجي, شيء داخلي, لكني ’, and an alliteration between ‘ لحن, لكني ’. 3.2.2.2 Compensation by Visuals (CBV) To compensate a meaning or a referent by an image, picture, or body movement is called CBV. The first line in the first stanza is dubbed in a way that gives the meaning without paying attention to each single word. ‘Dancing pairs, painted wings’ are things from Anya’s imagination. She is remembering her early days when she was living with her family in the palace where there were royal celebrations, dancing, and singing. It is something in her mind ( داخلي) , something invisible ( خفي) . As is clear, the royal past is not referenced in the MSAD by words as it is in the SS. The visuals, however, show the royal celebrations to indicate that the girl is a princess not an ordinary girl. The image of dancing pairs is clearly displayed and the image of wings is shown, too. When Anya starts to sing, dancing pairs appear from the pictures that are posted on the walls of the deserted palace. These pairs are flying around the palace hall, as if they have wings. This will arouse sympathy in the audience when they compare between Anya’s past and her current situation. 33 CBV is an important strategy in dubbing animation songs as audience will be watching while listening to these songs. The translator did that in an attempt to keep the phonic and prosodic features while simultaneously maintaining the contextual meaning. 3.2.2.3 Compensation by Splitting (CBS) CBS “involves a change in economy, ST features being spread over a longer length of TT” (Dickens et al., 2002: 47). This compensation strategy is used in the following instance. ‘And a song someone sings’ is dubbed into ‘ صوت شجي, لحن ما ’. There is a difference between ‘song’ and ‘لحن’. The ‘song’ is a composition of music and words; whereas, ‘لحن’ is just music without words. But when the dubbing adds ‘صوت شجي’, it compensates the meaning lost in using’لحن’. The meaning of ‘لحن’ is also compensated in another place by the word ‘أغنية’ as the following part demonstrates. 3.2.2.4 Compensation in Place (CIP) CIP entails “change of place, the TT textual effect occurring at a different place, relative to the other features in the TT, from the corresponding textual effect in the S ”T (ibid.: 45). CIP is found in the following instances. First, the word ‘song’ is also used in the line ‘ أغنية عن which is a dubbing for ‘once upon a December’. Having said all ’شهر ديسمبر this, the meaning of the word ‘song’, which is dubbed as ‘لحن’, is compensated by two words ‘صوت وأغنية’ in two different places. 34 Second, in the second stanza, ‘someone holds me safe and warm// horses prance through a silver storm’ refer to Anya’s grandmother and the last royal celebration they attended together. The dubbing of these two lines is ‘دائما حولي و قبل النوم’. The referent here is to Anya and her grandmother’s special song which is sung to tuck Anya into bed. The grandmother gave Anya a jewelry box that plays this song in the last celebration they attended together. The grandmother asked Anya to hear this song, before going to sleep, and imagine that they are singing it together. Every time she does so, she remembers her grandmother. However, the sense of warmth aroused by the English lines is not reflected in their dubbing. It is compensated in the dubbing of the following lines: ‘ يتلهب مشاعر //يكلما مرت بخاطر ’. The effect of the rhyme between ‘warm, and storm’ in the SS is compensated by ‘تلهب مشاعري’ in another place in the MSAD. Third, ‘things I almost remember’ is dubbed as ‘لكني ال أتذكر’. The original shows that she could remember a little bit; this is obvious by the use of ‘almost’. In the dubbing, ‘ال’ indicates that she does not remember anything. The sense that she starts to remember is, however, compensated in the second line of the second stanza when she says: ‘ دو حقيقة اليوملكنها تب ’. It compensates for what she says in the previous stanza. The alliteration in links these two lines which occur in two different places with ’لكني ال و لكنها‘ each other. 35 On the level of sound patterns, alliteration occurs in the following words: ‘تبدو / تلهب ,حولي / حقيقة , / لكنها / ال / لحن لكني /شي/شجي /شهر.’ The alliteration in the MSAD occurs in different places compared to places of alliteration in the SS. 3.2.2.5 Zero Compensation: Loss ‘Once upon a December’ is dubbed as: ‘أغنية عن شهر ديسمبر’. There is a difference in meaning between these two lines. A song about December differs from once upon a December. Anya and her grandmother’s special song goes: ‘ ديسمبر موعدنا في شهر... طفلتي ال تقلقي و أنا لن أتذمر كوني معي دوما معي ’. The original song says: ‘On the wind, Across the sea/ Hear this song and remember. Soon you’ll be home with me/ once upon a December’. The song refers to their reunion in December in Paris. When it is dubbed as ;a loss in the referent occurs. It is not about December ,’أغنية عن شهر ديسمبر‘ it is in December, so the translator has to use في rather than عن. The dubbed words change the meaning from a reunion into singing about December stories. The loss that occurs here is a loss in the referent which is not compensated for in the MSAD. The sense of safety evoked in the line ‘someone holds me safe and warm’ is not expressed in the dubbing. Furthermore, the image of the line ‘horses prance through a silver storm’ is lost and is not compensated for. This image is not manifested by visuals in the animation; accordingly, it is not necessary to be preserved in the MSAD. What is of importance is the 36 sense of royal celebrations this image evokes. This sense is reflected in the MSAD by visuals. 3.2.2.6 Gain Despite these minor losses, there are gains in the MSAD. The same contextual meaning is preserved. The phonic patterns like alliteration and rhyme are reproduced and compensated for when and where necessary. Furthermore, both the SS and TS have the same rhyme scheme: ABAB/CCDD. They start with the same sounds /da/: /دا/. In addition, the last sound of the words in the lines (2, 4, 5, 6, 7 and 8) is the same in both the SS and DTS: remember: أتذكر / December: ديسمبر/ warm: النوم / storm: The same music is also .مشاعري :memory / بخاطري :gracefully / اليوم preserved. The MSAD produces a sing-able song which is, in addition, easy to comprehend by young Arab audience since the MSAD is clearer than the SS. For example, the dubbing of the lines, which are full of images, ‘Horses prance through a silver storm // figures dancing gracefully/ across my memory’ is ‘ كلما مرت بخاطري تلهب مشاعري// لكنها تبدو حقيقة اليوم ’. 3.2.3 Conclusion MSAD is an approximation to the SS in terms of phonic features and meaning. The TS fits the music of the SS; therefore, it matches the lip movement of the characters. Regarding the meaning, themes that are highlighted by the phonic features in the SS are approximated in the MSAD using some compensation strategies. However, loss incurs in some 37 instances. For example, the safety sense expressed in the SS is not preserved in the TS, and the use of the preposition ‘عن’ evokes a meaning that is not intended by the SS. Various kinds of compensation (CIK, CIP, CBV, CBS) are used to minimize the loss in the MSAD. It is obvious that the MSAD is different from the SS. This difference, however, is not considered a loss. Therefore, the translation of songs from one sound system into another is not only possible but also successful in approximating the sense and sound patterns of the SS. 3.3 The Prosodic Level of Dubbed Animation Songs Prosody, as defined by McArther (1992:818), “goes beyond the study of phonemes to deal with such features as length, rhythm, stress, pitch, intonation, and loudness in speech” (as cited in Kawaguchi et al., 2006:103). Length is the “extension of sound in time” (ibid:105). The rhythm, moreover, is a pattern of stressed and unstressed syllables (Raffel, 1988). Stress is defined as a feature that distinguishes the syllable that is uttered louder, higher in pitch, and longer than unstressed syllables. Pitch, also, as defined in Oxford dictionary, is “the quality of a sound governed by the rate of vibrations producing it; the degree of highness or lowness of a tone” (“Pitch”, 2013). Pitch, furthermore, is one aspect of intonation (Lambert and Moser-Mercer, 1994). 38 These features are not only used for sound effects or music tones, they are also used to express a meaning. Therefore, in dubbing a song, the prosodic features of the SS should be rendered effectively into the TS. This section will demonstrate that the translator is able to create approximate prosody of the SS in the MSAD. 3.3.1 The Prosody of the SS ‘Journey to the Past’ ‘Journey to the Past’ is the first song Anya sang in the animation film when she left the orphanage house. She was heading to Paris in a try to find her family. She reached a cross road, and she was confused which road to take. After she asked God to give her a sign on where to go, she saw her dog running towards St. Petersburg. She took that for a sign from God. She sang this song while she was walking down the road. The song is all about finding her past and her reunion with her family. The prosodic features (sentence length and intonation) of this song are analyzed in the following parts. 3.3.1.1 Sentence Length The second stanza of the song is analyzed according to the number of words and syllables as follows: Table 2. WC and SC of the second stanza from the song ‘Journey to the Past’ Somewhere down this road Four words Five syllables I know someone's waiting 39 Four words Six syllables Years of dreams just can't be wrong Six words Seven syllables Arms will open wide Four words Five syllables I'll be safe and wanted Five words Six syllables Finally home where I belong Five words Eight syllables Well, starting now I'm learning fast Six words Eight syllables On this journey to the past Six words Seven syllables Sentence length is an important feature to be considered as it affects the musicality of the song. In this song, there are short sentences. The number of words ranges from 4-6 per sentence, and the number of syllables ranges from 5-8. 3.3.1.2 Intonation Intonation, as defined by Robert Ladd (2008:6), refers to the use of supra-segmental phonetic features which are: the pitch, the stress, and the intensity. Intonation is not an independent system; on the contrary, it is a system that correlates: tone, pitch, loudness, rhythm, and tempo. It is, furthermore, used to convey “post-lexical or sentential-level pragmatic meaning” (ibid.:4). It reflects this meaning in a linguistically structured way by the distinction of weak or strong, low or rising pitch. Intonation 40 features that are discussed in this part are: pitch, drawl, length, and soft voice. In this stanza, all the lines end with a rising pitch. The falling/ rising intonation is used for invoking known information. In this stanza, Anya is not adding something new. She is recalling what she already knows. She knows that someone is awaiting her, for example. Furthermore, the first two lines, ‘somewhere down this road / I know someone’s waiting’, she is singing them slowly as if she is singing each syllable separately. This “slowing down of a syllable creates an auditory effect of "clipped" or "drawled/" held" speech”. This drawl creates either hesitation or emphasis (Lambert and Moser-Mercer, 1994:232). In these lines, the drawl expresses emphasis; Anya is trying to reassure herself that there is a family waiting for her. Length, moreover, is another prosodic feature in this stanza. The long words are: ‘wrong, belong, fast and past’. The paralinguistic emotional meaning that this feature of intonation expresses is as follows: ‘Wrong’ indicates fear. Anya is terrified that all her imagination and years of dreams are wrong. ‘Belong’ indicates that she is optimistic about having a home to which she belongs. ‘Fast’ indicates that she is happy because she is learning fast; meaning that she is remembering her past quickly. ‘Past’ indicates the importance of her previous life. 41 In this stanza there are two sets of words she sings in a soft voice. These words are: ‘just can’t, and ‘safe’. In ‘years of dreams just can’t be wrong’, she says ‘just can’t’ in a soft voice to show that she is talking to herself. She tries to convince herself that these dreams can’t be wrong. This is emphasized even more when she stresses ‘wrong’ at the end of the line. In the next line, she says: ‘I’ll be safe and wanted’, she stresses ‘wanted’ and says ‘safe’ in a soft voice to show that these two things are important to her. Because she wants to emphasize being wanted and safe, she uses two different sound features: a soft voice for safe and stress for wanted. This aspect of high and low, weak and strong tone is called relative prominence, the second aspect of intonation (Ladd, 2008). The following analysis is meant to test whether these prosodic features are kept in the MSAD or not. The semantic interpretation of these features is also investigated. The data is classified according to the compensation strategy that is followed. 3.3.2 The Prosodic Features of the MSAD of the Song 3.3.2.1 CIK 3.3.2.1.1 Sentence Length In the MSAD, it is expected that the lines will keep the same or approximate sentence length. The following table shows the number of words and syllables of the MSAD. The second stanza is dubbed as: Table 3. Sentence length of the MSAD of the stanza 42 قلبي االن يقول Three words Six syllables سيري نحو الماضي Three words Six syllables ماض يعرف من أكون Four words Eight syllables ماض حيث األهل Three words Five syllables حيث أرى المستقبل Three words Eight syllables قد يكون أحلى مما Four words Seven syllables ويعيد لروحي ذكرايا Four words Ten syllables وال يهجرني مدى الحياة Five words Ten syllables If we compare the number of words and syllables in the SS and MSAD, we find that they are approximately the same. The SS has 40 words and 52 syllables; whereas, the MSAD has 35 words and 54 syllables. The shorter Arabic version compensates by adding more syllables. This is called CIK. Syllable count is an important feature to keep the same rhythm of the original song. Frits Noske (1970:30) says, “musical prosody requires that the rhythm and number of syllables be identical with those of the original lines” (as cited in Gorlee, 2005:196). 3.3.2.1.2 Intonation 43 Intonation is another aspect of prosody that is also preserved. The MSAD uses intonation and different pitch patterns to meet the same functions created in the SS. The MSAD has a rising intonation like that of English. Regarding the high pitch, loudness and length, the MSAD uses the same length for the words that are parallel in position to those in the original. These words are: ‘أكون يكون ذكرايا الحياة’ which are parallel to the English words: ‘wrong, belong, fast and past’, respectively. ‘Wrong, belong, fast, past’ reflect fear, happiness, optimism, and the importance of the past, respectively. ‘أكون’ in the MSAD implies that Anya is afraid. She is not sure who she is; this fear appears when she stresses this word. On the other hand, ‘يكون’ reflects that she is hopeful that what is coming is better than what has gone. ‘ذكرايا’ reflects that she is happy because what is coming will remind her of her past. ‘الحياة’ reflects that these memories about the past mean a lot to her. In the SS, fear was shown further through the use of a soft voice to say ‘just can’t’ which proceeds ‘wrong’. In the MSAD, this was compensated by a short pause before saying ‘أكون’ and ‘يكون’. This is called CIK. The effect that is achieved by soft voice in the SS is achieved by a pause in the MSAD. So far, there is no loss in either the prosodic features or their effects. 3.3.2.2 CBV 44 When Anya says ‘somewhere down this road, I know someone’s waiting’, she means going down the road will reunite her with her past. The dubbing says, ‘ سيري نحو الماضي//قلبي اآلن يقول ’; Anya is talking about the choice she had to make by following her heart. The choice of one road direction is expressed by visuals, so the word ‘road’ is compensated by visuals in the movie. Compensating the image of the road by using visuals helps the translator to choose words that match the prosodic features of the SS. ‘Somewhere and someone’ in the SS are two syllable words. The singer sings each syllable separately as an individual word. In the MSAD, ‘ قلبي و .are also two syllable words which the singer says separately ’سيري 3.3.2.3 CIP The use of the word ‘قلبي’ is justified as it is mentioned in the first stanza in the line ‘heart don’t fail me now’. This line is dubbed as ‘ آه لو في .in another place in the song ’قلبي‘ The translator used .’األحالم In the line ‘حيث أرى المستقبل’, the word future is used although it does not exist in the original line ‘I’ll be safe and wanted’. It is, however, mentioned in the last stanza of the SS in the line ‘to find my future’. Using words mentioned in the SS in different places in the MSAD is a procedure followed in the translation of animation songs. This procedure is called CIP. The translator did that for prosodic and phonic reasons. The MSAD ends with the line ‘وال يهجرني مدى الحياة’ which is a dubbing for ‘on this journey to the past’. It means that she is in her way to her past. 45 In the dubbing, ‘ال يهجرني’ refers to the past. When she finds her past, she will keep it forever. There is no loss here as the image of journey and the word ‘past’ are conveyed through the use of ‘ماض’ in the line ‘ ماض حيث are considered a gain in the dubbing as ’ماض و األهل‘ The two words .’األهل is explained in the following part. 3.3.2.4 Gain ‘Arms will open wide’ is dubbed as ‘ حيث األهل ماض ’. The referent of the English line is Anya’s family. The translator, instead of keeping it implicit, makes it explicit by using the word ‘األهل’. This is a gain in the dubbing. The word ‘ماض’ in Arabic is a pun; it has two meanings. It means the past or walking toward something. In the line, when she says: ‘ ماض حيث it means that she is walking toward her family which relates to the ,’األهل past. It is, at the same time, a cohesive device (repetition) that connects this line with the previous one: ‘ ماض يعرف من أكون ’. ‘Well, starting now I’m learning fast’ is dubbed as: ‘ويعيد لروحي ذكرايا’. The word learning is ambiguous. It leads to a misunderstanding. Anya had sung this song before she met Dirmitri and Vladmir who were teaching her how to pretend to be Anya. ‘Learning’ may refer to how she was learning to pretend to be the real princess which is not the intended meaning in this line. But in ‘ذكرايا‘ ,’يعيد لروحي ذكرايا’ is clearer and related to the context of the song more than ‘learning’; this is another gain. 46 After discussing the phonic and prosodic features and their thematic function in the MSAD, it is time to talk about general translation issues. These issues are: the translation method, the degree of equivalence, and the criteria of assessment. 3.4 Translation Issues in Focus 3.4.1 The Translation Method It is clear that the MSAD is not an inferior version to the original; on the contrary, it is a version that is coherent, cohesive, and rather faithful to the original. In dubbing these animation songs into MSAD, the translator situated his/herself somewhere on a scale between the semantic and communicative translation methods. The method is shown in the diagram below: Diagram 1. The spectrum of translation strategies Both semantic and communicative translation methods aim at rendering the exact contextual meaning. The semantic translation, on the one hand, “takes more account of the aesthetic value of the ST, ST Bias TT Bias Balanced Translation Semantic T Literal T Communicative T TT TT Bias TT Bias TT Bias Free T 47 compensating on meaning where appropriate so that no assonance, word play or repetition jars in the finished version” (Newmark, 1988:46). Semantic translation is used in the dubbing of animation songs to reproduce the sound patterns of the SS as closely as possible. On the other hand, the MSAD is acceptable in both content and form. It also communicates the message more or less accurately. Deletion, explicitness and rewriting; moreover, prove to be useful in the dubbing of animation songs. As these procedures are used, loss in nuances of meaning is anticipated. Concerning rewriting process, it does not go to the extreme. This means that even if the SS is rewritten in the MSAD, approximate sound patterns and meaning are produced in the TS. The TS is a translation for the SS not a new version. A method that balances between the communicative and semantic translation is used. This method is called balanced translation. 3.4.2 Equivalence In the dubbing into MSA, equivalence is achieved at different levels. At the denotative level, the words of the SSs and their MSAD should refer to the same referents in the real world. At the textual level, the text length, number of words and the meaning of the MSAD are equivalent to the SSs. At the pragmatic level, the contextual meaning is transferred into the MSAD. At the functional level, the TTs are sing-able and have the same 48 function of entertainment as the SSs. Finally, the formal equivalence is achieved because the sound patterns are rendered approximately to the MSAD. Nevertheless, equivalence at the connotative level is not achieved. Same connotations of the SSs are not preserved in the MSAD. 3.4.3 Translation Criteria If we were to judge the quality of the translation using the criteria of accuracy, musicality, naturalness, acceptability, and fluency, we will notice that accuracy is the only criterion that is not achieved. Accuracy is compromised at the level of the exact images and the exact meaning; however, the MSAD is accurate in relation to the SS if judged on the basis of contextual meaning of the SS and its musicality. The DS, on the other hand, does not have any peculiarities whether they are linguistic or stylistic; it is transparent, fluent and natural, then it is acceptable (Venuti, 2008:1). 3.5 Conclusion It has been demonstrated that it is potentially feasible to translate the content (general message) of the source animation song and its form (the phonic and prosodic patterns). The latter were adapted into phonic and prosodic patterns of MSA to produce a natural dubbed sing-able Arabic song. 49 This chapter, furthermore, proves that it is clearly possible to produce approximate phonic and prosodic features of the SS in the MSAD and to keep their thematic functions. The MSAD, at the same time, has the same matter as the original even if nuances of meaning are compromised. Dickens et al. (2002:84) describe this phenomenon in comic text translation: TT means an unacceptable sacrifice of denotative and connotative meaning. With some sort of ST( especially comic or sarcastic ones), where the precise nuances of meaning are less important than the phonic mockery, it is often easier, and even desirable, to stock the TT with rhymes and echoes that are different from those of the ST, but just as obtrusive, and to similar effect. It is also proved that not only loss is minimized in the MSAD, but instances of gain are also found. The most noticeable gain is making the MSAD clearer and easier to comprehend by young Arab audience. This is achieved by using different compensation strategies. The various compensation strategies prove to be useful to a large extend in the MSAD. The compensation strategies that were used are: CIK, CIP, CBS, and CBV. MSAD has been done successfully. Chapter Four 50 The Dubbing of Animation Songs into Egyptian Dialect: The Case of ‘Be Our Guest’ from the Animation Beauty and the Beast 4.1 Introduction Standard Arabic is very different from locally spoken dialects. It is taught in schools and is commonly used in formal situations. However, every person in the Arab world acquires the dialect of the place where s/he is born. Each region, country, or town has its own dialect. The dialect, as defined by Dickens et al. (2002:166), is “a language variety with features of accent, lexis, syntax and sentence formation characteristic of a given region”. What distinguishes standard Arabic from locally spoken dialects is that a dialect “easily coins words, adapts and adopts foreign expressions, incorporates the latest cultural concepts and trends, and propagates slogans” (Ryding, 2005:5). In dubbing cartoon films into Arabic, translators tend to use ED which is understood all over the Arab world. It is so because of the increasing number of Egyptian films, series, and songs. Children grow up listening to these films and songs, so this dialect is familiar to them (Mahmoud, 2007). Furthermore, scholars agree that ED fits the entertainment purpose of cartoon films more than MSA (Al-Alami, 2011). In addition, vernaculars gain their linguistic repertoire from “popular songs, folk songs, punning and jokes, folk tales, and spontaneous performance art” (Ryding, 2005:9). Since the vernaculars gain such 51 repertoire from oral resources, they are more appropriate to be used in dubbing songs. This chapter is meant to test to what degree the Egyptian dialect dubbing (EDD) meets the phonic and prosodic features of the SS and their thematic interpretations. The researcher will highlight the added value for using dialectical Arabic in dubbing animation songs. This chapter consists of five main sections. The first section describes the phonic level of the animation song ‘Be Our Guest’ and examines the way it is dubbed into ED. The second section handles the prosodic aspects of both the SS and the Egyptian dubbed target song (EDTS). In the third section, the instances of gain in the dubbing into ED are presented. In the forth section, the translation method is discussed. Finally, conclusions about the dubbing of the phonic and prosodic aspects of animation songs into ED are stated. 4.2 The Phonic Features of the Animation Song ‘Be Our Guest’ The song ‘Be Our Guest’ is from ‘Beauty and the Beast’ which is a fairy tale about a young beautiful girl, Belly, and a beast. The beast fell in love with Belly, but she refused to marry him. In her dreams, she often saw a handsome prince who always asked her why she refused to marry him. She did not, however, make the connection between the beast and the prince thinking that the prince was held captive in the beast’s castle. 52 Once, she went to visit her sisters and her father. She promised the beast to come back to the castle a week later; however, when her sisters knew that she was happy in the castle, they envied her and convinced her to stay a day more with them. When she did not return to the castle on time, the beast thought that she was not going to come back. He got very sick and was dying. Belly discovered that the beast was half dead by looking at the mirror the beast had given her before she left the castle. When Belly looked at the mirror, it showed her what was going on in the castle. She returned quickly only to discover that the beast was almost dead. As she cried and told him that she really loved him, her tears touched him. He turned into the prince she saw in her dreams. He told her that a witch had turned him into a beast and turned all his servants into kitchen tools; the curse would only vanish if he found true love despite his ugliness. Finally, they got married and lived happily ever after. In this section, the researcher analyzes the rhyme, alliteration and assonance of the SS and EDTS of ‘Be Our Guest’. The kitchen tools sang this song when Belly came to the castle as they invited her for dinner. Two stanzas from this song are presented in the following table. The first column includes the SS and the second includes the EDTS. Table 4. ‘Be Our Guest’ and its EDT SS EDTS 53 Be our guest Be our guest Put our service to the test Tie your napkin ‘round your neck, cherie And we provide the rest Soup du jour Hot hors d’oeuvres why, we only live to serve Try the grey stuff, it’s delicious Don’t believe me? Ask the dishes They can sing They can dance After all, Miss, this is France And a dinner here is never second best Go on, unfold your menu Take a glance and then you’ll Be our guest Oui, our guest Be our guest Beef ragout Cheese soufflé Pie and pudding "en flambé" We’ll prepare and serve with flair A culinary cabaret You’re alone And you’re scared But the banquet’s all prepared No one’s gloomy or complaining While the flatware’s entertaining We tell jokes اش.... عش وا عشوا اش من طعمتها الودن توش حطي الفوطة يا قطقوطة على ما اللحمة الزبدة تطش Soup du jour Hot hors d’oeuvres ااش مغطي فشرم العش دوئي النوع دا دا لزيز اوي و اسالي صحنو حيئول اوي أطباق أنس ترئص رئص عادي جدا سيال فغانس أما الغير عادي العشوة دي محصلتش نزرة يا جميل عالمينيو تبئي زبونة فسانية بدون وال ئرش ال مش مش عشوا اش Beef ragout 23 Cheese souffle2 3 7 3و البالوزة افالمفي 7 4لحمة و طيرة مالتحضيير 8 3شو محصلش بكاباريه حاسة بخوف خوف و حدة و بس و ليمتك كيف الكيف ئولي لنفسك ليه بتعاني و الفضية مسلياني نكتة نئول 54 I do tricks With my fellow candlesticks [Mugs:] And it’s all in perfect taste That you can bet [All:] Come on and lift your glass You’ve won your own free pass To be out guest [Lumiere:] If you’re stressed It’s fine dining we suggest [All:] Be our guest Be our guest Be our guest و ألعب لعب شمع يطير يدوب و يطب بجودة وده كلو , بقلك اش ارفع يا جميل هالكاس و كلي االصناف بحماس العشوا اش لما يكش ئلبك عشيه تلئيه بئي فرش عشوا اش عشوا اش عشوا اش 4.2.1 Rhyme, Alliteration and Assonance 4.2.1.1 Rhyme In these two stanzas, the rhyme, if analyzed according to its position, is a tail rhyme, internal rhyme, cross rhyme, and off-centered rhyme. It comes as follows: ** Tail rhyme • Guest/guest/guest/ test/ rest/ best/ suggest/ guest/guest/guest//**taste//** forced rhyme. • / jour/ d’oeuvres • Delicious/ dishes 55 • Dance / France • Soufflé/flambé • Flair / cabaret • Scared/prepared • Complaining/entertaining • Jokes/ tricks/ candlesticks • Glass / pass **Internal Rhyme  Prepare / flair ** Cross Rhyme  Bet/ lift  Menu/ you’ll ** Off-Centered Rhyme  Dinner/ never In the first five lines, the rhyme in ‘guest, test, rest’ is a perfect rhyme. This rhyme implies that the guest (Belly) has to watch the servant’s (kitchen tools) work, take some rest, and feel comfortable. However, in this song, ‘rest’ does not mean being comfortable; it means that all the work 56 will be done by the tools. The homonym ‘rest’ arouses more than one meaning with positive connotations which attract Belly and satisfy her. The word ‘rest’, even if what it means is clear from the context, sets off its other meaning( being comfortable) in the mind of Belly. The rhyme that connects these three words with ‘taste’ towards the end creates cohesion and coherence in the song. It adds that Belly tests the food by tasting it. Nevertheless, the rhyme between ‘guest, test, rest’ and ‘taste’ is a forced rhyme as ‘taste’ does not exactly have the same sound as the other three words. 4.2.1.2 Alliteration and Assonance Alliteration occurs in ‘napkin- neck// serve- service- soup- stuff- sing- scared-stressed- suggest// delicious- dishes- dance- dinner// be- beef// pie- pudding- prepared// culinary- cabaret- candlestick- complaining- come// tell- tricks- taste // flatware- fellow- free- fine’. Assonance, on the other hand, is found in’ go on – unfold’. These poetic phenomena have a thematic function in addition to their musical effects. The alliteration in ‘service- serve- soup- stuff- sing- scared-stressed- suggest’ has a thematic value. ‘Service’ is the noun from the verb ‘serve’; this repetition of serving shows the emphasis on the work of the kitchen tools which is to serve Belly. The repetition of the sound /s/ in the words ‘soup-stuff’ helps listeners to imagine what kind of things the kitchen tools serve. They offer soup and stuff. Actually, the alliteration in ‘soup and 57 stuff’ leads to discovering the referent of the word stuff. In this context, it refers to soup or other kinds of food. On the other hand, the word ‘sing’ does not seem to belong to the other words that start with the sound /s/; yet, it gives the sense that the tools do not only serve Belly but also sing to her while she is having her dinner. It adds to the happy atmosphere. The alliteration in ‘scared-stressed’ describes how Belly feels; she is stressed and scared. Because she is so, the tools are serving her and singing to her in an attempt to comfort her and make her happy. ‘Suggest’, furthermore, implies that the tools are only suggesting stuff to Belly; they are not forcing her to choose a certain kind of food. In addition, ‘delicious- dishes- dancing- and dinner’ alliterate to arouse a sense of happiness. The dinner that is served is delicious. Because it is so, the dishes are dancing happily as Belly will be satisfied. In this context, the touch of the supernatural element in animations is obvious. Alliteration, moreover, is used to connect similar things, such as, ‘pie and pudding’ which-in turn- alliterate with ‘prepare’. This alliteration connects ‘pie, pudding’ with the line ‘we’ll prepare with flair’. This connection shows how these things are prepared. ‘Flair’ means style or way. In the song, however, there is nothing that explains what the style of presenting food is. The alliteration in ‘flair’, ‘flambé and French’ explains the style in which the food is presented. The food is presented hot and sizzly and this is a French way. 58 Alliteration, on the other hand, is used to connect between two contrasting ideas, such as, ‘culinary cabaret’. Culinary relates to food and cooking; whereas, cabaret is all about singing, dancing, and entertaining. The kitchen tools use these two words on purpose to show that at this palace, they offer what others do not. All the words of the song are carefully chosen for a purpose. Repetition at all levels, even the repetition on the sound level, as Dissanayake (1992) says, “conveys emphasis, intensity, making ordinary element specially interesting in their own right” (as cited in Rover-Collier et al., 1998: 44). Thus, in dubbing animation songs, the repetition should be kept or compensated or there will be a loss in the DS. Accordingly, the repetition in the EDTS will be analyzed in the following section to test whether it is feasible to imitate the phonic features of the SS in the dialectical dubbed song or not. 4.2.2 Repetition in the EDTS The issues of repetition that are analyzed in this section are: rhyme, alliteration, consonance, word repetition and root repetition. The data is classified according to the translation procedure that is followed. 4.2.2.1 Compensation 4.2.2.1.1 CIP 59 The rhyme of the EDTS is as follows: Tail Rhyme:  فرش/ اش/ محصلتش/ العش/ تطش/ توش/ اش  d’oeuvres/ Jour  اوي/ اوى  فرانس/ رئص/ انس  افالمبي / Soufle  مسلياني/ بتعاني  يطب/ لعب  بحماس/ الكاس Internal Rhyme:  ئطئوطة/ فوطة  Cross Rhyme:  سانية/ نزرة Off-centered Rhyme:  وحدة/ حاسة 60  نفسك/ وليمتك When we compare between the SS and the EDTS, we find out that both of them have four kinds of rhyme: tail, cross, internal, and off- centered rhyme, but do they occur in the same place in the SS and the EDTS? The rhyme scheme helps to answer this question. The first stanza: SS: A A A B A C C D E E F G G h h A I J A A A EDTS: A A A B b* A C C A D D E E E A g F g G A A A * The small letters show the internal, cross, and off-centered rhyme. The second stanza: SS: K L L m M M N O O F F P P P A Q q R R A S S S A A A EDTS: H I I J k k L m L m N N O P P A Q Q A A A A A A It is clearly evident that the SS and EDTS do not have exactly the same rhyme arrangement or number. The arrangement of rhyme patterns, on the one hand, does not affect the musicality of the song; particularly because a rhyme pattern in the SS occurs in a different place in the EDTS. For example, the pattern A is repeated regularly in both versions but in different places. The number of rhyme patterns, on the other hand, affects the musicality. Although the number of rhyme patterns in the first stanza of the 61 EDTS is more than that of the SS, the SS has more patterns in the second stanza. CIP is used to compensate the arrangement and number of rhyme patterns. Furthermore; CIP, when used, creates equivalence at the level of the song as a whole. When a phrase is dubbed in a way that does not reflect the meaning of the source phrase, textual equivalence is achieved if the meaning is compensated in another place in the song. For example, the first phrase ‘be our guest’ is dubbed as ‘عشوا اش’ which does not reflect the same meaning of the source phrase. However, if we listen to the introduction in the SS, it says: ‘Ma cherie Mademoiselle, it is with deepest pride and greatest pleasure that we welcome you tonight. And now we invite you to relax, let us pull up a chair as the dining room proudly presents - your dinner!’ This is dubbed as: ’مدموزيل حصلنا االنشراح و مزيد الشرف بترحيبنا بيكي الليلة ’ عشاكي -و اآلن مطلوب منك االسترخاء و بنسحبلك كرسي على ما أودة السفرة تئدم بفخر 62 Clearly, Belly is a guest and the kitchen tools are cooks and waiters serving her. There is no loss in dubbing the phrase ‘be our guest’ as ‘ عشوا The sense that Belly is a guest is compensated in another place. This .’اش sense is not only reflected in the introduction; it is also expressed in the first stanza when the tools say: ‘ نزرة يا جميل ع المنيو تبئى زبونة بسانية بدول و ال ‘ .’ئرش اش ’ is added to ‘عشوا’ to meet the number of syllables of the SS and thus avoid any damage to the rhythm and rhyme. Moreover, ‘be our guest’ at the end of the first stanza is dubbed as This phrase does not reflect the meaning of the source .’بدون و ال ئرش‘ phrase. However, it compensates the sense that Belly does not pay anything which is expressed in the second stanza in ‘you’ve won your free pass’. This line is dubbed as ‘ وكلي األصناف بحماس ’. The translator did that to reproduce the rhyme pattern of the SS in the EDTS as close as possible. ‘ rhymes with ’ئرش‘ اش ’ and ‘الكاس’ rhymes with ‘بحماس’. The meaning which is expressed in the second stanza is compensated in the first. This is called CIP. 4.2.2.1.2 CIK The role of rhyme to create sound effect is not disputed. It also helps in creating continuity of sense. For example, the rhyme in ‘ , تطش , توش, اش فرش, قرش, العش ’ creates coherence and cohesion in the song. ‘ اش ’ is just a 63 sound cluster that is used for sound effect. Its connection with ‘ توش, تطش ’ means that food preparation is not done in silence. This reflects the atmosphere of singing in preparing food in the palace. The use of ‘العش’ arouses the sense of being comfortable, but here ‘شرم العش’ means one kind of plates which are covered where to keep the food hot. When the food is presented in such a plate, this means that the guest is an important and special person. The aim of the servants is to comfort Belly; this is obvious in the word ‘فرش’. All this is offered without any ‘ئرش’ since it is presented to a guest. If we compare this meaning aroused by the rhyme in ‘ , توش, تطش , اش العش, ئرش,فرش ’ and the meaning aroused in the SS by the rhyme in ‘guest, test, taste, rest’ and alliteration in (serve, service, sing // flair, French, flambé), it will be clear that there is no significant loss in meaning. The meaning aroused by rhyme and alliteration in the SS is expressed by rhyme in the EDTS. This is called CIK. Moreover, the thematic interpretation of the alliteration in ‘flair- flambé- and French’ is also compensated by the root repetition ‘كيف الكيف’ which reflects that the food is presented in a perfect way. Furthermore, the words ‘ تطش -طعمتها -ئطئوطة -فوطة ’ form consonance with each other. These words ‘فوطة و ئطئوطة’ imply that Belly is preparing herself to eat not to prepare food; the tools prepare and serve food which tastes delicious. Being delicious is revealed in the words ‘طعمتها تطش’. The 64 use of consonance compensates the two sets of alliteration in ‘serve, service, stuff ‘ and ‘ delicious, dishes, dinner’. The sense alliteration arouses in ‘dishes, dancing’ is reflected by the word repetition in ‘ترئص رئص’. The repetition of the sound / ص/ in the word reveals that the dishes are dancing; here the touch of the ’صحنو‘ supernatural element in animations is clear. 4.2.2.1.3 CBV ‘ العش اش مغطى بشرم ’ is a dubbing for ‘we only live to serve’. The sense of serving is lost, but from the visuals in the film, it is clear who is serving and who is being served. The priority in dubbing animation songs is to keep the sound patterns of the SS. Compensation strategies that are used in the dubbing of the song ‘Be our Guest’ into ED are: CIP, CIK, and CBV. Furthermore, other translation procedures are used in the dubbing of this song. These are: deletion, addition, adaptation, and transliteration. 4.2.2