Volume 8, Issue 5 (2017)                   IQBQ 2017, 8(5): 181-204 | Back to browse issues page

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Khoshsaligheh M, Ameri S. Translator’s Agency and Features of Non-professional Translation of Video Games (A Case Study of Uncharted 4: A Thief's End). IQBQ. 2017; 8 (5) :181-204
URL: http://journals.modares.ac.ir/article-14-6499-en.html
1- Assistant Professor of Translation Studies, Department of English Language and Literature, University of Mashhad, Iran
2- PhD Student in Translation Studies, Department of English Language and Literature, Ferdowsi University of Mashhad
Abstract:   (1774 Views)
The presence of video games in Iran is an undeniable fact but it has received little academic attention in Persian translation studies and no local research has examined fan translation of video games. This qualitative research, therefore, set out to describe translation of video games into Persian from a non-professional translation lens. The study examined the translation and subtitling of cut-scenes in a fan-video recording of the game Uncharted 4: A Thief's End. These cut-scenes were non-professionally subtitled and uploaded on Aparat.com to share with other Persian-speaking gamers. Initially, the paper presents the key literature on game localization and describes the status quo video games in Iran and non-professional translation. In the next section, the collected data were presented and analyzed at two levels of macro and micro. The interview results of the macro-level revealed the subtitler’s background information, aims and motivations. At the micro-level, the non-professional Persian subtitles of a five-hour video recording were analyzed in terms of translator’s visibility and agency as well as technical and linguistic issues. The findings suggested that the aim of this novice subtitler for volunteering to render the cut-scenes into Persian was to improve his command of English language and to pursue his interest in gaming. In other words, he was seeking cultural in addition to symbolic capital. Other results suggested the visibility and presence of the subtitler in the translation through the frequent use of glosses and explanations. Analysis of the subtitles at textual and technical levels showed that in multiple cases the generally recommended regulations in terms of time and space related constraints were not respected and mistranslation of idioms was frequent. It is hoped that the present article would provide sufficient inspiration for further research on fan translation.    
 
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Received: 2017/02/2 | Accepted: 2017/05/17 | Published: 2017/11/22

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