with some necessary conceptual distinctions regarding media interpreting andpoint to some of the research carried out to date. Within the framework of functionalist translation theory, I will then formulate the research question forthe corpus-based analysis; that is, how do highly professional interpretersworking under very stressful conditions cope with the task of renderingculture-specific references? To what extent does their output reflect constraint-related strategies and norm-governed translational behaviour? Following adescription of the corpus, this question will be addressed in my empiricalanalysis in both quantitative and qualitative terms, with special emphasis onthe rendition of acronyms.
Interpreting in the Media
Types and distinctions
While it is beyond the scope of this paper to provide a comprehensiveaccount of media interpreting and the research carried out so far, it isimportant to point out that there are more than one ways of ‘interpreting in themedia’ and that the notion of media interpreting leaves ample scope fordefinition. To begin with, we need to specify the type of ‘media’ in question.Prototypically, media interpreting would refer to broadcast mass media, i.e.radio and television, but newer types of electronic media and transmissionsuch as webcasting also need to be taken into account. Irrespective of the modeor channel of transmission, media content may be live or prerecorded
another distinction of particular relevance to interpreting, which, as such, isalways done ‘live’ for the here and now but may benefit in some prerecordingscenarios from previewing or remastering options.A basic choice in media interpreting, as in any interpreting, is of course that between the consecutive and the simultaneous mode, even though the boundaries between the two modes are not always clear-cut. Dialogueinterpreting in talk shows, for instance, usually involves whispered (simulta-neous) interpreting for studio guests, especially of questions by the host, and aconsecutive, or semi-simultaneous, rendition of foreign-language utterancesfor the benefit of the studio and/or broadcast audience. In the case of deaf TVaudiences, on the other hand, everything spoken will usually be interpretedsimultaneously into signed language.These examples also highlight the complexity and variability of theinteraction constellations in media interpreting: the interpreter may be onsite (‘on the set’) to enable live communication between two or moreinterlocutors, with or without an audience in the studio and sometimes evenacting in a dual capacity (see Chiaro, 2002; Mack, 2002). Alternatively, theinterpreter’s task may be to render, usually in the simultaneous mode, broadcasts of events that occur independently in a different location, frommoon landings to royal weddings (Kurz, 1997). In the latter case, dual-channeltransmission technology would permit access to the (spoken-language)interpretation on a separate channel; more commonly, though, the simulta-neous interpretation is heard as a voice-over, largely covering the original also
Perspectives: Studies in Translatology
D o w nl o ad ed A t : 23 :26 18 F eb r u a r y 2009