Transfert stylistique des registres langagiers dans la traduction audiovisuelle vers le Français des deux films Égyptiens "femmes du Caire" et "les femmes du bus 678"

Abstract EN

Pre-recorded interlinguistic subtitles are texts added in the lower part of the image to translate simultaneously the scene seen and heard.

Subtitling is a delicate operation in which one must find the balance between the oral context presented on the screen and the written translation that scrolls at a pace that the viewer cannot control.

During the stylistic transfer of the film dialogue, subtitles are perceived not as syntaxicosemantic units read in isolation, but as an inseparable component of the audiovisual multimodal text.

The present study aims to provide answers to the following questions: what TAV strategies did the subtitler adopt to translate the dramatic cinematographic narration of the two films studied? And how does this affect the interpretation of a particular sequence by the second recipient, namely the French-speaking audience? What impact could a translational choice have on audiovisual adaptation in the target language-culture? An analysis of the registers used in the movies is targeted paying special attention to the pragmatic orientation of the message, the linguistic context of the utterance and sociocultural levels of the speaker and the audience.

To this end, different language registers are examined in the source language and the target language.

We identified in “Femmes du Caire” and “Les Femmes du Bus 678” two language registers, namely the common speech and the colloquial register whose use we examined in different scenes considering the linguistic classification of the language levels in French and in Arabic and taking into account the cultural and the situational frameworks, the context of production and reception and the relationship between the interlocutors.

Considering the spatio-temporal constraints of this mode of AVT requiring from the translator-adapter a hierarchy of the information contained in the speech in the light of a possible condensation, reformulation, economy, even omission, if necessary.

We also based our analysis on the theory of meaning and the theory of dynamic equivalence essential for the interpretation of the source language and the production of an intelligible target subtitles stylistically appropriate to the language level used.