Table of Contents for
Manual of Romance Languages in the Media

Manual of Romance Languages in the Media by Christiane Maaß, Kristina Bedijs Manual of Romance Languages in the Media

Cover
Title Page
Copyright
Table of Contents
Media and Linguistics
- 0 Preface
- 1 Media Linguistics: Interfaces to Media and Communication Studies
Text Linguistic Approaches to Language in the Media
Orality and Literacy of Media Text Types
Methods in Linguistic Media Research
Romance Matters
Media Texts and Multilingualism
Index

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Manual of Romance Languages in the Media

Such analytical breakdowns into macro and micro elements can also be used for TV spots. For first attempts cf. Demarmels (2008) and in Reimann (2008).

201

‘[…] Komplexität durch die Gleichzeitigkeit von schriftlichem (stillem oder sich bewegendem) und mündlichem (gesprochenem, gesungenem) verbalen Text, von non-verbalem, von bewegtem/animiertem und stillem Bild’ (translation above by the editors).

202

It appears that the authors are referring to the “Carosello” advertising type.

203

‘The typologies of advertising messages are also multiplying: to the spot and the promo has been added the televendita (offer to buy via telephone), the billboard (invitation to or thanking for the listening at the beginning or the end of a program), and the diario (short spot of 5 seconds which opens the break in which several spots will follow)’ (translation by the editors).

204

‘capacity to translate in a captivating way the rhythm of a musical piece, selecting and reworking pre-existent narrative or stylistic solutions. Hybrid par excellence, it combines an extreme flexibility of the language with an extraordinary capacity of adaptation to different contexts of use, surmounting the dimension of television palimpsest and invading the territories of daily acting’ (translation by the editors).

205

Hipergaleguismos are words created in Galician that result from an inadequate application of the norms by analogy with Spanish, e. g., “primaveira” instead of “primavera”.

206

Part of the diagnosis included in Table 1 is inspired by the Plan xeral de normalización da lingua galega [‘General Plan for Normalization of the Galician Language’] adopted unanimously in the Parliament of Galicia in 2004. This document provides multiple measures aimed to foster the use of Galician in different domains. Among them, there is a section devoted to communication media and cultural industries. The Plan was conceived as its adoption as a key instrument of Galicia’s language policy. In practice, however, its implementation has been very uneven in the different autonomous governments.

207

For a more detailed historical overview of AVT in Spain, please refer to Izard (1992; 2001), Ávila (1997), Chaves (2000), Díaz-Cintas (2001) or Chaume (2004).

208

Díaz-Cintas/Remael (2007, 248) define intertitles as “a piece of filmed, printed text edited into the midst of (i.e. -inter) the photographed action, generally to convey character dialogue, or descriptive narrative material related to the material photographed” in silent motion pictures.

209

Interlingual AVT modes involve transfer between different languages, whereas intralingual AVT modes refer to those which involve transfer within the same language, and sometimes between different sign systems (visual elements to aural elements or vice versa).

210

For detailed information on typographical conventions used in Spanish subtitling, please refer to Díaz-Cintas (2003).

211

‘Subtitles for the deaf and the hard of hearing could be defined as a modality of transfer between modes (from oral to written) and, occasionally, between languages; it consists in the onscreen presentation of written text which offers a semantic renarration of the broadcast program, yet not only of what is said, how it is said (emphasis, vocal tone, accents and foreign languages, vocal noises) and by whom it is said, but also of what is heard (music and ambient sounds) and of discursive elements that appear on the screen (letters, legends, signs, etc.)’ (translation by the author).

212

Cf. <http://centresderecerca.uab.cat/caiac/content/transmedia-catalonia> (15.11.2016).

213

Cf. <http://www.ugr.es/~dpto_ti/invest_files/TRACCE/TRACCE.htm> (15.11.2016).

214

The ClipFlair Project (Foreign Language Learning through Interactive Revoicing and Captioning of Clips) has been funded with support from the European Commission. More information can be found at <http://clipflair.net> (15.11.2016).

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Table of Contents for Manual of Romance Languages in the Media

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Table of Contents for
Manual of Romance Languages in the Media