the italian translation of alan moore’s “ v for vendetta ”, a short comment

7/26/2019 The Italian translation of Alan Moores V for Vendetta , a Short Comment

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Lingua Inglese II LM

A.A. 2011 \2012

Valerio Cabiddu

Lingue per la Comunicazione Internazionale;

Matricola 107805

The translation of AlanMoores V for Vendetta,a

short comment


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2Index

Foreword 3

1. Analyses of a translation 5

2. The graphic novel 5

2.1 V for Vendetta plot 6

2.2 v for Vendetta the language, the internal references 7

3. Analyses of the translation of V for Vendetta 8

3.1 Direct translation techniques 8

3.1.1 Borrowing 8

3.1.2 Calque 11

3.1.3 Literal translation 12

3.2 Oblique translation techniques 15

3.2.1 Adaptation 15

3.2.2 Modulation 18

3.2.3 Transposition, compensation 21

3.2.4 Reformulation (equivalence) 24

Results 32

Images reference 33

Bibliography 34


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3Foreword

To translate is something quite hard to define. What is translation? In a simple

way, translation can be defined (in a primitive definition) as the act of takinga word

and expressing it in another language. Is it enough to take a word and put it in

another language? But we know that this is not all. We mean, it is already something

but surely it is not all in it. The act of translation is recreating a meaning somehow in

the destination language. Lets take the definition used in the Oxford English online

dictionary: to express the meaning of speech or writing in a different language1. Here

we find something more, we start to see that the act of translation is connected with

meaning. Making a literal translation of a word from language a into language b

does not take care of meaning. That is why an automatic translator will never be able

to substitute man, a human being, in order to translate something. But why? What is

there in the concept of meaning that makes a human being so important in order to

translate?

The first important thing that has to be said is that a normal translation is not a

translation of a single word. When we read something that has been translated it is

normally constituted by several items. In a first level we see the words, the sentences,

in a second level the words can be used to create idiomatic expressions, the sentences

can be used to create nonsensical speech, as sometimes heard in a pasquinade show

(etc.). Then it is already clear that when a translator sits down and he has to translate,

he has to face so many levels that seem to make the act of translation impossible.

Nonetheless it is still possible. Umberto Eco, in his essay on translation2, said that to

translate is to say almost the same thing. Perhaps this is the better definition of

translation. As a matter of fact when we translate a complex text we always lose or

change something in the original text, it can be a very little part of it, but not even the

best translator can give a translation that we can say is 100% faithful. That happens

because, as said above, a complex text has to face various levels of the language (in

both language a and b), those levels concern (but non only) morphological,

1http://oald8.oxfordlearnersdictionaries.com/dictionary/translate2ECOU. Dire quasi la stessa cosa. Esperienze di traduzione, Milano, Bompiani, 2003, (foreword)
http://oald8.oxfordlearnersdictionaries.com/dictionary/translatehttp://oald8.oxfordlearnersdictionaries.com/dictionary/translatehttp://oald8.oxfordlearnersdictionaries.com/dictionary/translatehttp://oald8.oxfordlearnersdictionaries.com/dictionary/translate


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4semantic and pragmatic aspects. When we speak of the morphological aspects of a

translation we mean that when a translation is made it should respect how the word is

constructed and how it should be used according its function in the sentence. To

respect the morphology of the source text means, for instance, to try to respect the

genre of the noun translated, however when passing from one language to another

this is not always be possible. The semantic aspects of a translation concern the

meaning of words, which is surely one of the most important tasks for the translator,

to convey the same meaning. The translator then has to face the pragmatic aspect of

the language which refers to the language in use and its internal or external

implications, the so called knowledge of the world . All these aspects affect the

translatorswork.

This essay will concentrate on this aspect of translation reflected on the

resulting translation techniques.


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51. Analyses of a translation

As said before, translating is a hard job. This essay will not be a translation of a

text but an analyses of an already published translation. How do we do something like

this? By following some steps, answering a couple of questions and presenting

examples, chosen from both the source text and the target text, that have brought the

translator to make a choice. Alternative translations will also be suggested. The steps

that will be followed in this essay are:

a. A short glance at the text type/linguistic genre in discussion.

b. Translation strategy used, for example: calque, amplification, modulation,

etc. divided in two subcategories (direct translation techniques and indirect

translation techniques).

c. Complex words or words that could be seen as very difficult to be translated

because they come from specialist word fields, songs, etc.

d. Internal language reference (they have to be seen as expressions that refer

to a particular aspect of the society, or of the source language) and we will

assess if they have been translated or not.

e. Idioms and reformulation.

2. The graphic novel

V for Vendetta, written by Alan Moore and illustrated by David Lloyds is a

work most commonly classified as a graphic novel. This classification is used to

indicate works that use the traditional form of a comic book (images, balloon etc.) but

are usually longer and they are a novel in the sense that there is a beginning, a middle

and an end3. However, the most important thing about the term graphic novel, is

the topics that they are about i.e. strong stories, political remarks, and then the

language that is used. This is what makes them more suitable for adults rather than

3

ROGERVANETA,Behind the Page: Jeff Smith, Part Two, Newsrama, 2008


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6Children. We can see for instance in Maus: My father bleeds history

4 which

memorializes the experience of the authors father of the Nazism Holocaust, or

Persepolis5which is about the memories of a young girl growing up in Iran during the

Islamic Revolution.

2.1 V for Vendettaplot

V for Vendetta appeared first in strips between 1982 and 1985 in England

inWarrior,a British anthology comic published byQuality Comics6and then published

in single magazine form in the United States as V for Vendetta 1 - 10 in 1990. Theplot was strongly inspired by the political climate of England during the early 1980s.

The fears of nuclear world conflict are portrayed in the book and, being particularly

pessimistic about politics at the time, Moore decided to portray a grim, bleak and

totalitarian future.

V for Vendettais about a man, his quest for revenge and his desire to right the

wrongs in his society. The story takes place in England, in 1997. It is a world ravaged by

war, famine and disease. In response to these changes, the government also changes.

It is a fascist dictatorship, which uses extensive means to control the people. As a

result, the populace sinks into a state of enforced contentment, making no effort to

regain their freedom. V rescues a woman, Evey, from a dangerous situation and takes

her under his wing. He makes it clear from the beginning what he is about, but

because he speaks in riddles, rhymes and literary quotations, she does not understand.

V is a man always dressed in costume with a cloak, hat, wig and mask. He is never seen

out of costume. He is shadowy and mysterious and often his way of thinking is

incomprehensible. He wants revenge for what he has suffered during the beginning of

the fascist period and in his plan to kill the people responsible for the atrocities that he

had survived has a prominent role. The objective of V is not only revenge, but also a

personal fight against the totalitarian government that rules his country. After various

4ART SPIEGELMAN,Maus: my father bleeds history, Penguin Book, 2003

5MARJANE SATRAPI,Persepolis,Vintage Books, 20096http://en.wikipedia.org/wiki/V_for_Vendetta
http://en.wikipedia.org/wiki/Warrior_(comics)http://en.wikipedia.org/wiki/Warrior_(comics)http://en.wikipedia.org/wiki/Warrior_(comics)http://en.wikipedia.org/wiki/Quality_Communicationshttp://en.wikipedia.org/wiki/Quality_Communicationshttp://en.wikipedia.org/wiki/Quality_Communicationshttp://en.wikipedia.org/wiki/V_for_Vendettahttp://en.wikipedia.org/wiki/V_for_Vendettahttp://en.wikipedia.org/wiki/V_for_Vendettahttp://en.wikipedia.org/wiki/V_for_Vendettahttp://en.wikipedia.org/wiki/Quality_Communicationshttp://en.wikipedia.org/wiki/Warrior_(comics)


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7events V tests Eveys faith and she becomes the one who, at the end of the story,

definitively destroys the system, wearing herself, the V camouflage.

2.2 V for Vendetta, the language and the internal references

The graphic novelV for Vendettaincludes very little text when we compare it

to a normal novel. Thus the translators job could appear easier, however this is not

the case. All throughout his work, Moore includes allusions, or references to other

works which are hard to be translated. These works mainly derive from books,

paintings, movies or songs. The list is something as follows: Orwell, Huxley, Thomas

Disch, Judge Dredd, Harlan Ellison's "Repent Harlequin! Said the Ticktockman,

"Catman" and "Prowler in the City at the Edge of the World" by the same author,

Vincent Price's Dr. Phibes and Theatre of Blood, David Bowie, The Shadow, Nightraven,

Batman, Farenheit 451, the writings of the New Worlds school of science fiction, Max

Ernst's painting "Europe After the Rains" and Thomas Pynchon. Moore also takes

inspiration from the atmosphere of British Second World War films7.

The language used is then a melting pot of various styles: quotations from

Shakespeares works, gangsta talking, political speech, direct speech, songs and

verses, just to name a few.

With the language being so complex and full of references, it is understandable

that the work of the translator was not easy at all. The translation chosen for this essay

is the one that was published in Italy in 1991 as supplement to the Corto Maltese

magazine, printed by Rizzoli Periodici, and translated by Stefano Negrini8 an expert

translator, well known in Italy for his translation of fantasy novels such the

Dragolance saga.

7 For this very useful list it was seen:http://www.enjolrasworld.com/Annotations/Alan%20Moore/V%20for%20Vendetta/V%20for%20Vendetta%20Revised%20-%20Complete.html

8It was not possible to find a biography of the translator
http://www.enjolrasworld.com/Annotations/Alan%20Moore/V%20for%20Vendetta/V%20for%20Vendetta%20Revised%20-%20Complete.htmlhttp://www.enjolrasworld.com/Annotations/Alan%20Moore/V%20for%20Vendetta/V%20for%20Vendetta%20Revised%20-%20Complete.htmlhttp://www.enjolrasworld.com/Annotations/Alan%20Moore/V%20for%20Vendetta/V%20for%20Vendetta%20Revised%20-%20Complete.htmlhttp://www.enjolrasworld.com/Annotations/Alan%20Moore/V%20for%20Vendetta/V%20for%20Vendetta%20Revised%20-%20Complete.htmlhttp://www.enjolrasworld.com/Annotations/Alan%20Moore/V%20for%20Vendetta/V%20for%20Vendetta%20Revised%20-%20Complete.html


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83. Analyses of the Italian translation of V for vendetta

As said above it is not always possible to stay true to the original text. The

translator of V for Vendetta had to adopt a couple of the so called translation

strategies in order make the text comprehendible for the Italian reader. We will now

take a look at the text and his translation following the steps that were outlined in 1.

3.1 Direct translation techniques

Direct translation techniques are adopted when certain terminology and

phrases from the source text cannot be adequately translated into the

target text. Those include:

3.1.1 Borrowing.

Borrowing is when a word, or even of a complete sentence, is used directly,

or rather adopted,in the target text. No translation actually takes place. It

is especially used when the source text reports songs or pieces of poems

that would lose all their function when translated.

Examples:

Image a.1 (borrowing)


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9Source text Target Text

Look, you know as well as I do we had to

do what we did. All the darkies, the nancy

boys and the beatniks it was us or them.

Senti lo sai anche tu dovevamo farlo. Tutti I

negri, I finocchi, I beatnik9 si trattava di

loro o di noi.Alternative translation:

Senti, lo sai bene.. dovevamo faro, tutti I neri,I finocchi, i frichettoni, si trattava di loro o di

noi!

Comment

The meaning of the noun beatnik is a young person in the 1950s and early 1960s belongingto a subculture associated with the beat generation

10 . The origin of the word came from

beat (the movement) plus nik perhaps influenced by the American use of Yiddish nik

denoting someone or something who acts in a particular way.The choice of Negrini, to use the same word from the source text is due to the fact that the

beat movement, which took place in the U. S., didnt exist in Italy. Since Italy neverexperienced a similar movement there is no word to describe it. As a matter of fact this exactlexeme was adopted by Italian dictionaries and was used by Negrini too.

Note

In the alternative translation we propose the word fricchettone which indicates a young boywho dresses (or acts) in a strange way as a sign of protest against society11. It is itself a calquefrom the English freak. The word beatnick is not easily understood nowadays. The onlyword that could have been suitable for an alternative translation was a word that could convey,

for amplification, the meaning of freak, strange, different and against the norms dictated bysociety.

9"Beatniks" were bohemian artists and poets who, during the 1940's and 1950's, romanticized the "negro" culture. As a

rule, they listened to jazz music, wrote avant garde poetry, and held politically lef tist (Marxist) opinions. The term wascoined 1958, by San Francisco journalist Herb Caen , and was probably partially derived from the jazz term "beat,"which refers to rhythm, with the Yiddish pejorative suffix "-nik" added on . However, "beat generation" member JackKeroac coined the root term, beat, in 1949; he insisted it came from the word "beatific," . http://am-

bucks.livejournal.com/49887.html10

http://oxforddictionaries.com/definition/beatnik?q=beatnik 11http://dizionari.hoepli.it/Dizionario_Italiano/parola/fricchettone.aspx?idD=1&Query=fricchettone
http://am-bucks.livejournal.com/49887.htmlhttp://am-bucks.livejournal.com/49887.htmlhttp://am-bucks.livejournal.com/49887.htmlhttp://am-bucks.livejournal.com/49887.htmlhttp://oxforddictionaries.com/definition/beatnik?q=beatnikhttp://oxforddictionaries.com/definition/beatnik?q=beatnikhttp://oxforddictionaries.com/definition/beatnik?q=beatnikhttp://dizionari.hoepli.it/Dizionario_Italiano/parola/fricchettone.aspx?idD=1&Query=fricchettonehttp://dizionari.hoepli.it/Dizionario_Italiano/parola/fricchettone.aspx?idD=1&Query=fricchettonehttp://dizionari.hoepli.it/Dizionario_Italiano/parola/fricchettone.aspx?idD=1&Query=fricchettonehttp://dizionari.hoepli.it/Dizionario_Italiano/parola/fricchettone.aspx?idD=1&Query=fricchettonehttp://oxforddictionaries.com/definition/beatnik?q=beatnikhttp://am-bucks.livejournal.com/49887.htmlhttp://am-bucks.livejournal.com/49887.html


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10Image a.2 (borrowing)

Source text Target Text

Wull, Am shura dont know why yur

askinme, am oot fer a bevy, yknow? Am not

intae athis gangster shite.12

E la chiedi prorpio a me? Io sono qui solo per

bere non mi occupo di queste stronzate da

gangster.

Alternative translation:

E la chiedi proprio a me? Io sono qui perbere, non mi occupo di queste stronzate damalvivente

CommentThe meaning of the noun gangster is a member of a violent group of criminals

13 The

choice of Negrini, to use the same word from the source text is due to the fact that in Italy theword gangster is well known through television and movies from the U. S. . The lexeme is

present in the Italian dictionary too14

. Its first appearance in the Italian language was made in1932.

Note

In the alternative translation the word malvivente was proposed. It has the same meaning asthe word gangster. Nonetheless the word gangsterappears better, as was used by Negrini.The choice of Negrini, considering how commonly the word is used nowadays, appears to bethe best choice.

12Crf. Page 26 about the Scottish slang used in V for Vendetta

13http://oxforddictionaries.com/definition/gangster?q=gangster14http://www.treccani.it/vocabolario/tag/gangster/
http://oxforddictionaries.com/definition/gangster?q=gangsterhttp://oxforddictionaries.com/definition/gangster?q=gangsterhttp://oxforddictionaries.com/definition/gangster?q=gangsterhttp://www.treccani.it/vocabolario/tag/gangster/http://www.treccani.it/vocabolario/tag/gangster/http://www.treccani.it/vocabolario/tag/gangster/http://www.treccani.it/vocabolario/tag/gangster/http://oxforddictionaries.com/definition/gangster?q=gangster


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11Image a.3 (borrowing)


So how can you tell me youre lonely

And say for you that the sun dont shine?

Let me take by the hand and lead you through

the streets of London, Ill show you

something

So how can you tell me youre lonely

And say for you that the sun dont shine?

Let me take by the hand and lead you through

the streets of London, Ill show you

something

Comment

This is a typical case of borrowing due to the fact that, as explained at the beginning of thesubparagraph, a song can hardly be translated without losing the message that it is conveying.

Note

The not fictional song is Streets of London by Ralpf Mc Tells 15.

3.1.2 Calque

The calque is a translation process whereby a neologism is produced in the

target language by modifying in some way the original word from the source language.

Several sorts of calque exist i.e. morphological calques, semantic calques, etc. An

15

http://www.youtube.com/watch?v=Nd-f1gb9pg8&feature=fvsthttp://en.wikipedia.org/wiki/Streets_of_London_(song), 1969
http://www.youtube.com/watch?v=Nd-f1gb9pg8&feature=fvsthttp://www.youtube.com/watch?v=Nd-f1gb9pg8&feature=fvsthttp://www.youtube.com/watch?v=Nd-f1gb9pg8&feature=fvsthttp://en.wikipedia.org/wiki/Streets_of_London_(song)http://en.wikipedia.org/wiki/Streets_of_London_(song)http://en.wikipedia.org/wiki/Streets_of_London_(song)http://www.youtube.com/watch?v=Nd-f1gb9pg8&feature=fvst


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12example of a calque from the English language to Italian is the use of the verb

realizzare. This verb meaning to do something, to make something real16

is a

calque of the English verb to realize. Originally, this verb in Italian was used

exclusively to mean to understand exactly something in his whole sense17

.

The use of calques in the Italian translation of V for Vendetta is minimal. In

fact only one18

example was found.

Image b.1 (calque)


He grow roses, beautiful roses the woman in

room one died this morning. The ski on her

face and neck was like polythene.

coltiva rose, rose stupende. La donna della

cella uno morta stamattina, aveva la pelle

della faccia e del collo come politene

Comment

Polythene is the technical name of a tough, light flexible synthetic resin made bypolymerizing ethylene, chiefly used for plastic bags, food containers, and other packaging

19.

Comment

In Italian the word politene did not exist until the invention of the synthetic resin itself. The

calque technique is used by creating the word in Italian, adapting this to the phonological andmorphologic aspect of the target language itself.

16http://dizionarionline.zanichelli.it/dizionariOnline/index.php#117http://dizionarionline.zanichelli.it/dizionariOnline/index.php#1

18Please note that this can be anytime contradicted19http://oxforddictionaries.com/definition/polythene?q=polythene
http://dizionarionline.zanichelli.it/dizionariOnline/index.php#1http://dizionarionline.zanichelli.it/dizionariOnline/index.php#1http://dizionarionline.zanichelli.it/dizionariOnline/index.php#1http://dizionarionline.zanichelli.it/dizionariOnline/index.php#1http://dizionarionline.zanichelli.it/dizionariOnline/index.php#1http://dizionarionline.zanichelli.it/dizionariOnline/index.php#1http://oxforddictionaries.com/definition/polythene?q=polythenehttp://oxforddictionaries.com/definition/polythene?q=polythenehttp://oxforddictionaries.com/definition/polythene?q=polythenehttp://oxforddictionaries.com/definition/polythene?q=polythenehttp://dizionarionline.zanichelli.it/dizionariOnline/index.php#1http://dizionarionline.zanichelli.it/dizionariOnline/index.php#1


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133.1.3 Literal translation

A word by word translation is used depending on the sentence structure. The

English sentence the staff is working hard to finish the job would translate into

Italian as il personale sta lavorando duro per finire il lavoro. Sometimes this

translation technique works and sometimes it does not. The English sentence that we

are using for example could not be translated so easily into German. This example of a

possible word by word translation from English into Italian does not mean, of course,

that all sentences could be literally translated. It is still a technique that is used and

that works, it always depends on the sentence (and on its morphologic structure).

In the examples that follow, the structure of analysis that has been seen for the

previous translation strategies will not be used. There will only be the source text and

the target text. No comments are necessary because, as explained, it is only a word by

word translation, with no acting over the original source text.

Image c.1 (literal translation)

Source text Target text

your grace? are you alright?he hasnt hurt me. Be careful Dennis. Hes..

Remember, Dominic. Dennis has got a gun,this is in the dark, by the door.

vostra grazia? Sta bene?non mi ha fatto del male.Attenzione Dennis.

E..Rammenta, Dominic. Dennis ha una pistola.

Siamo al buio, vicino alla porta.


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14Image c.2 (literal translation)

Source text Target text

Deceased deceased deceased . theyredead, Dominic, all dead

Defunto defunto defunto. Sono morti,Dominic. Tutti morti.

Image c.3 (literal translation)


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15Source text Target text

at the last the 1998 show! The ballet on the

burning stage! The documentary seen upon

the fractured screen!!

finalmente lo show del 1998! Il balletto sul

palcoscenico in fiamme! Il documentario sullo

schermo sfaccetato!!

3.2 Oblique translation techniques

The oblique translation techniques are used by the translator when the

structural or meaning items of the text cannot be directly translated

without a loss or alteration of the meaning in the target text. They

concern the semantics and the pragmatics.

3.2.1 Adaptation

The adaptation is also known as free translation and it is a process

whereby the translator substitutes a cultural or social concept from the

source text with the corresponding concept in the target text. This

adaptation makes the text more understandable for the reader of the

target text. Adaptation is useful especially for poems, theater scripts oradvertising.

Examples:

Image d.1 (adaptation)


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Because if you did you wouldnt have picked

a vice detail on stakeout

Perch se lo sapessi non ci avresti provato

proprio con un agente della buon costume


Perch se tu lo sapessi non ci avresti provato

con un agente in pattugliamento

Comment

The meaning of the noun stake-out isa period of secret surveillance of a buildingor an areaby police in order to observe or prevent someones activities20

Negrinis decision to use buon costume is connected with the work that the characterwould like to begin (whoredom). It is believed to be a choice based upon the presence of the socalled police department in Italy, which especially investigates this kind of crime, making thenthe situation more Italianand understandable.Note

This modification of the source text is perhaps too drastic. The text could still be understoodwithout such a strong adaptation.



Just a minute, Mr Prothero! Shooter out Ted,

just in case

Solo un istante signor Prothero, fuori le berte

Ted, andiamo sul sicuro


Un attimo Signor Protero, fuori le sputa fuoco

Ted, andiamo sul sicuro

20http://oxforddictionaries.com/definition/stake-out?q=stake+out
http://oxforddictionaries.com/definition/stake-out?q=stake+outhttp://oxforddictionaries.com/definition/stake-out?q=stake+outhttp://oxforddictionaries.com/definition/stake-out?q=stake+outhttp://oxforddictionaries.com/definition/stake-out?q=stake+out


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17Comment

The meaning of the noun shooter [informal] is a gun21 , that is a noun that was used in

English speaking countries to indicate the weapon in the 1980s.The choice of Negrini to use berta is connected with theterm from the Bolognesedialect

22

with which the Italian policemen used to call the guns in movies from the 1970s. Those movieswere so popular that this denomination became very commonly used. It is also connected with

the name of a type of super-heavyhowitzer developed by the famous armaments manufacturerKrupp in Germany on the eve of World War I

23. The name of this howitzer in Italian was

grande Berta. Over the years the word changed from grande Berta (the howitzer) toberta (the name of a common gun).Note

Nowadays, the decision to translate shooter with berta can be seen as outdated, butconsidering the year of the translation, it is a suitable adaptation.



England prevails, Mr. Finch Ora e sempre Inghilterra, Signor Finch


LInghilterra prevarr [or vincer], SignorFinch

Comment

The meaning of the verb to prevailis to prove to be more powerful or superior24

Negrinis choice to use Ora e sempre Inghilterra is quite strange. The English for ora e

sempre Inghilterra would be England, Now and Forever. We see a strong adaptation of oneof the most present mottos in the whole graphic novel. Why this choice? According to research

21http://oxforddictionaries.com/definition/stake-out?q=stake+out

22http://www.ciccioweb.it/vocabolario/corso_lessico_bo.html

23http://en.wikipedia.org/wiki/Big_Bertha_(howitzer)24http://oxforddictionaries.com/definition/prevail?q=prevail
http://en.wikipedia.org/wiki/Howitzerhttp://en.wikipedia.org/wiki/Krupphttp://en.wikipedia.org/wiki/Imperial_Germanyhttp://en.wikipedia.org/wiki/World_War_Ihttp://en.wikipedia.org/wiki/World_War_Ihttp://oxforddictionaries.com/definition/stake-out?q=stake+outhttp://oxforddictionaries.com/definition/stake-out?q=stake+outhttp://oxforddictionaries.com/definition/stake-out?q=stake+outhttp://www.ciccioweb.it/vocabolario/corso_lessico_bo.htmlhttp://www.ciccioweb.it/vocabolario/corso_lessico_bo.htmlhttp://www.ciccioweb.it/vocabolario/corso_lessico_bo.htmlhttp://en.wikipedia.org/wiki/Big_Bertha_(howitzer)http://en.wikipedia.org/wiki/Big_Bertha_(howitzer)http://en.wikipedia.org/wiki/Big_Bertha_(howitzer)http://oxforddictionaries.com/definition/prevail?q=prevailhttp://oxforddictionaries.com/definition/prevail?q=prevailhttp://oxforddictionaries.com/definition/prevail?q=prevailhttp://oxforddictionaries.com/definition/prevail?q=prevailhttp://en.wikipedia.org/wiki/Big_Bertha_(howitzer)http://www.ciccioweb.it/vocabolario/corso_lessico_bo.htmlhttp://oxforddictionaries.com/definition/stake-out?q=stake+outhttp://en.wikipedia.org/wiki/World_War_Ihttp://en.wikipedia.org/wiki/Imperial_Germanyhttp://en.wikipedia.org/wiki/Krupphttp://en.wikipedia.org/wiki/Howitzer


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18conducted for this essay, the only explanation possible has to be seen in a paradoxical use byNegrini of an Italian resistance motto, that was as a matter of fact ora e sempre [resistenza].

Being the work of a story of a world of fascism, perhaps Negrini took this decision, using awell-known Italian motto.Note

The hand of the translator is, in this case, too strong. The total changing of the source text isnot made for any special need of the target reader, but could be considered as well as another

translation technique: reformulation.

3.2.2 Modulation

Modulation is the strategy of using a phrase that is different in the source and

target languages to convey the same concept. It modulates the semantics and shifts

the point of view of the source language. Through modulation, the translator

generates a change in the point of view of the message without losing meaning and

without creating a sense of loss in the reader of the final text. This strategy of changing

the point of view in a message is what lets the reader of a translated text say: "Yes, this

is exactly how we express it in our language". An example between Italian and English

could be:

English: It is not difficult to make

Italian, literal translation: non difficile da fare

Modulated translation in Italian: facile da fare25

The modulation process works here; making a sentence, that in the source

language is negative, affirmative. As shown, there is no distortion in meaning, but the

change makes for a more pleasant sounding result in the target language.

It can easily be seen, as well for the previous question concerning the calque

and the borrowing, that modulation could be mistaken with the adaptation process.

But here there is no moving from one word to a different one (in the target language)

26

25This example is reported byhttp://www.traduzione-testi.com/traduzioni/tecniche-di-traduzione/strategie-di-

traduzione.html26Cf. page 7
http://www.traduzione-testi.com/traduzioni/tecniche-di-traduzione/strategie-di-traduzione.htmlhttp://www.traduzione-testi.com/traduzioni/tecniche-di-traduzione/strategie-di-traduzione.htmlhttp://www.traduzione-testi.com/traduzioni/tecniche-di-traduzione/strategie-di-traduzione.htmlhttp://www.traduzione-testi.com/traduzioni/tecniche-di-traduzione/strategie-di-traduzione.htmlhttp://www.traduzione-testi.com/traduzioni/tecniche-di-traduzione/strategie-di-traduzione.htmlhttp://www.traduzione-testi.com/traduzioni/tecniche-di-traduzione/strategie-di-traduzione.html


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19Image e.1 (modulation)


She is bit hard on him, isnt she? Lo tratta un po male, vero?


un po dura con lui, non trovi che lei lo sia?

Comment

The phrase to be hard on somebody has several27

meanings. Here it is used in order to

convey this meaning: to treat or criticize (someone) severely28

.Negrini in his translation uses the modulation process. The Italian phrase trattare male hasgot the same meaning as the above English one. Despite this, the literal translation would have

been written as (lei) un po dura con lui[]. Here the focus of the phrase used by thetranslator changes: the focus is on him. Lo tratta un po male . Here we also find anotherone of the features of modulation. The Italian phrase trattare male is more often used in oral

conversation rather than essere duri (con qualcuno), making the whole sentence more typicaland understandable by the target reader.Note

As already stated in this essay on a number of occasions, a translators jobis never easy. Somepeople may think thatNegrinis choice of a more literal translation would have been better thanthe modulated one. This affirmation shouldnt be disregarded either. The act of translating willalmost always leave some people disappointed, however we can say that in this particular case,Negrini has made the right choice in making use of modulation.

27Cf for the others meaningshttp://oxforddictionaries.com/definition/hard?q=to+be+hard#hard__3328http://oxforddictionaries.com/definition/hard?q=to+be+hard#hard__33
http://oxforddictionaries.com/definition/hard?q=to+be+hard#hard__33http://oxforddictionaries.com/definition/hard?q=to+be+hard#hard__33http://oxforddictionaries.com/definition/hard?q=to+be+hard#hard__33http://oxforddictionaries.com/definition/hard?q=to+be+hard#hard__33http://oxforddictionaries.com/definition/hard?q=to+be+hard#hard__33http://oxforddictionaries.com/definition/hard?q=to+be+hard#hard__33http://oxforddictionaries.com/definition/hard?q=to+be+hard#hard__33http://oxforddictionaries.com/definition/hard?q=to+be+hard#hard__33


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20Image e.2 (modulation)


What?? But, look, uh, I was.. Cosa??? Ma senta, ehm, io


Cosa??? guardi, ehm, io

Comment

This is a good example of the modulation process. The change in perspective in the target texttakes place by changing the verb from to look in the source text (in Italian guardare) toto listen (in Italian sentire). Bothare useful to indicate a pause, a moment of suspension inthe speech or of the acting. There is no change in meaning, no change in the grammatical

structure and Negrinis translation is only a choice of soundbased on the situation presentedin the strip.

Image e.3 (modulation)


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Heh heh. Thats morse code, yknow. Mm in codice Morse, sai?


Mm questo sai, codice Morse.

Comment

Here there is another typical example of the modulation process. The change in perspective inthe target text takes place by changing the sentence type, from an affirmative one to aninterrogative. The change of perspective is simply a structural modification, there is no changein meaning at all.Note

Negrinis decision to use an interrogative sentence, instead of the affirmative one given in theproposed alternative translation, is due perhaps to the fact that in Italian the use of rhetoric is atypical way of interacting in conversation

29.

3.2.2. Transposition, compensation

These two translation strategies appear here together because some studies

have shown them to be subcategories of adaptation and modulation. Slight differences

in their characteristics can be found, that is why here you find a concise explanation of

these two strategies and also examples of them from the work of our analyses.

Transposition is a translation strategy whereby the translator changes the word

sequence in the translation. If the word sequence of the target text were to be

left the same as in the source text, then the reader would sense a sort of

awkwardness. This changing can be made also in a sense of word class (verb to

noun or noun to adjective etc.) An example of this can be, in English blue ball

that in Italian is palla blu.

29http://www.grammaticaitaliana.eu/domanda_retorica.html
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22Image f.1 (transposition)


You were my lifeline. I was stuck at home.

You connected me to the world, and Im still

clutching at you, even though youre broken

and Im adrift

Io ero relegata a casa, e tu eri il mio unico

legame con il mondo e mi aggrappo ancora a

te, anche se non ci sei pi


Tu eri la mia ancora di salvezza. Io ero

costretta a casa. Tu mi connettevi al mondo, e

io mi aggrappo ancora a te, anche se tu sei

affondato e io sono alla deriva.

Comment

The process of transposition appears here with a switching of word class: the English verb to

connect tois translated with the noun legame. The meaning is the same, it does not change.

Note

The modification of the source text could be considered a bit too dramatic. If it were left as aliteral translation, without the use of transposition, the text would still be understood.

Compensation is used, generally, when something cannot be translated but the

meaning that is lost still has to be expressed in some way in the target text.

One example can be in the translation in Italian of the English you, which is

used for both degrees of formality, both formal and informal30

.

30Peter Fawcett, Translation and Language, St. Jerome, Manchester, 1997 (especially Chapter 4 on TranslationTechniques).


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23In the shown examples, the analyses procedures that we have seen so far in

this essay will not be taken into account and there will not be any alternative

translation. The comments will solely focus on the translation of you in the Italian

target text.

Image f.2 (compensation)


Did you think to kill me? Theres no flesh or

blood within this cloack to kill.

Credeva di uccidermi? Sotto questa cappa

non ci sono n carne n sangue da uccidere

Youve n idea how hard its been

maneuvering him into a position where he can

take charge.

Non sai come stato difficile farlo arrivare ad

una posizione importante.

CommentAs explained before, the translation of you from English to Italian is something that depends

on onescontextual knowledge of the text.In the reported strip we see two speech interactions:

AV (the main character, who is always characterized by a very refined way of speaking)

talks with an officer. Through his knowledge of the internal world of the story, Negrini has


24/34

24surely understood that V, though enemy of the officer, respects him. His choice to use a formaltone in the Italian translation is perhaps due to this.

B The speech interaction takes place in an informal situation. The two characters are in abedroom, talking about some secret business. Like before, Negrinis choice touse the informal

pronoun in the translation is due to his general understanding of the internal world of thestory.

3.2.3. Reformulation (equivalence)

With reformulation the translator expresses something in a completely

different way. The process is creative but not easy. How does a translator deal

with an idiom31

? The problem with idioms is really fascinating; the translator

has to find an expression with the same meaning while trying to keep the

originality of the source language.

However reformulation is not just about idioms. The same translation

technique has to be adopted in cases in which there is slang that cannot be

translated in the target language and with expressions that cannot be deduced.

In our short analyses of V for Vendetta, with reference to the reformulation

technique, we will analyze these cases:

Three cases of idioms (images g.1, g.2, g.3. )

The use of Scottish slang (images g.4, g.5, g.6)

The reformulation of a particular sentence (image g.7)

A loss and a defeat in the translation (image g.8, g.9)

31http://oxforddictionaries.com/a group of words established by usage as having a meaning not deducible from those

of the individual words
http://oxforddictionaries.com/http://oxforddictionaries.com/http://oxforddictionaries.com/http://oxforddictionaries.com/


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25Image g.1(idiom)


We thought he appeared out of the blue two

months ago.

Credevamo che si fosse fatto vivo solo due

mesi fa.

Alternative translation

E noi credevamo che fosse comparso sulla

scena solo due mesi fa.

Comment

The idiom, that is used here, is out of the blue. It means 1.From an unexpected orunforeseen source or in others case 2.At a completely unexpected time

32. In this case, the

former meaning is the correct one.The Italian idioms that can reformulate this English idiom are several: venir fuori, comparso

sulla scena, saltar fuori(etc).Negrinischoice of farsi vivois quite strange. Farsi vivo in Italian has got quite a differentmeaning in English; to show up. Even if this meaning depicts a sense of appearing, it isusually used to indicate the returning of someone already known. In this case, with theidiom, the source text would convey the meaning of a first appearance.

32http://www.thefreedictionary.com/out+of+the+blue
http://www.thefreedictionary.com/out+of+the+bluehttp://www.thefreedictionary.com/out+of+the+bluehttp://www.thefreedictionary.com/out+of+the+bluehttp://www.thefreedictionary.com/out+of+the+blue


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26Image g.2 (idiom)


Ahh.. but I see you have already made up you

mind very well. We replace the cloth.. like

so and when next we wisk it away

Oh, ma vedo che hai gi deciso. Va bene

rimettiamo il telo cos e quando lo

togliamo

Comment

The idiom that is used here is to make up (one's) mind. It means 1.To decide betweenalternatives; 2. come to a definite decision or opinion.33. In this case the latter meaning is the

correct one.This idiom is translated in Italian with the verb decidere or with the phrase fare una scelta.Negrinis choice appearsmore than adequate.

Image g.3 (idiom)

33http://www.thefreedictionary.com/make+up+(one's)+mind
http://www.thefreedictionary.com/make+up+(one's)+mindhttp://www.thefreedictionary.com/make+up+(one's)+mindhttp://www.thefreedictionary.com/make+up+(one's)+mindhttp://www.thefreedictionary.com/make+up+(one's)+mind


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27


He didn evenput up a fight, they just opened

up with the shooters and..

Non ha neanche opposto resistenza. Hanno

aperto il fuoco, e


Non si neppure ribellato, hanno iniziato a

sparare e

Comment

The idiom that is used here is to put up a fight. It is American English and it means 1.tomake a struggle, a fight, etc. (Fixed order.)

34.

There are no other idioms that can reformulate this American idiom, nonetheless the verbs

difendersi, opporsi arepossible solutions in alternative translations.

Images g.4, g.5, g.6 (Reformulation, the case of Scottish slang)

34

McGraw-Hill Dictionary of American Idioms and Phrasal Verbs. 2002 by The McGraw-Hill Companies, Inc.(http://idioms.thefreedictionary.com/)
http://idioms.thefreedictionary.com/http://idioms.thefreedictionary.com/http://idioms.thefreedictionary.com/http://idioms.thefreedictionary.com/


28/34


Image g4.

Eh snofally nice bitta rumpy pumpy ygot

there, Godie

Bel pezzo di fighetta che ti sei trovato Gordie.

Image g5.

Ess no a pop gun yknow whut am sayin?

makesan offly big bang, yu wait tel yur

holden one, yull see. All be seen ylater,

then. Bye fer noo.

Insomma non una scacciacani, e fa un botto

pazzesco. Te ne accorgerai quando la avrai in

mano. Ci vediamo dopo allora. Saluti.

Image g6.

Cmon Jeanni .. cmon whassamatter wiyer?

Gissa shag, ay?

Dai, Jeannie dai, non fare la difficile!

Facciamoci una scopatina, eh?

Comment

From the source text we can understand that it is a Scottish man who is talking. As we can see,there is no characterization or special features used in the target language that allow the reader

of the final text to understand that this man is speaking with a heavy Scottish drawl instead of astandard English accent. The objective is to understand if, with this reformulation, the reader

actually misses out on something. Generally speaking, the target reader doesnt lose any of theplot, nor the message conveyed in the source text, however this nuance makes the reader of the

original text aware of the fact that the man speaking is a particular kind of man, with his ownidentity, in respect to the other characters of the graphic novel.Note

Irvine Wels is a very popular writer, who has written several novels which are set inEdimburgh, Scotland. The characters of those novels are young Scottish boys that live without

discipline and almost totally uneducated. Their way of speaking really reflects who they are,and in the Italian translation of these books the translator has recreated, with a strong use of

neologisms their language, often using footnotes in order to explain something. This means thatin some way it is possible to recreate an accent in a translation.

Here Negrini has not recreated, the Scottish intonation with neologisms, but his decision isprobably due to a reader oriented translation. The target reader would have found it difficult tounderstand neologisms such as the ones that are found in the translation of Welshs novels35

(when V for Vendetta was published graphic novels were read mostly by young lads).

35About Welsh and the translation of his novels can be interesting to see what he said in a interviewhttp://www.minimaetmoralia.it/?p=2759
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29Image g. 7 (A reformulation of a particular sentence)


In no longer pretty cities there are fingers in

the kitties, there are warrants, form and

chitties and a jackboot on the stairs

nelle citt sconciate ci sono mani in pasta, ci

sono mandati di arresto, moduli e tessere, e

scarponi sulle scale


Nelle citt ormai abbruttite ci sono mani in

pasta, mandati di cattura, documenti e tessere

e un anfibio militare sulle scale

Comment

This short passage of the graphic novel written in a form of song was almost totallyreformulated by Negrini. The first part of the first sentence, the phrase, in no longer prettycity was translated with in citt sconciate. Sconciatois an Italian past participle used asan adjective to mean dirty, obscene, indecent in English. It comes from the verb sconciarewhich is to ruin, to spoil, to deface36. The use of such an adjective, that nowadays is out of

fashion, maintains the tone of the source text, making the target text poetic and allowing thereader to understand that the city is being run down.

Thephrase there are fingers in the kitties was translated with an Italian idiom avere le maniin pastawhich means to be inside a particular business situation, connected with the powersystem

37. Finger in the kitties it is not an English idiom, or better, it is a neo - idiom

created here by Alan Moore. The word kitty means little cat but also common fund, as it

is used in gambling to indicate where the money is kept. The phrase then would mean thatthere are people trying to steal from the public money (most likely referring to dirty politicians

embezzling from the money coffers, or kitties). A "jackboot" is slang for a Nazi soldiersbootor a soldier in an oppressive government like the one shown in V for Vendetta. The use ofNegrinis translation of scarpone (boot) in the target text is a poorer description of themeaning that Moore wanted to convey using the noun jackboot.

36

http://dizionarionline.zanichelli.it/dizionariOnline/index.php#237http://dizionari.corriere.it/dizionario-modi-di-dire/M/mano.shtml#18
http://dizionarionline.zanichelli.it/dizionariOnline/index.php#2http://dizionarionline.zanichelli.it/dizionariOnline/index.php#2http://dizionarionline.zanichelli.it/dizionariOnline/index.php#2http://dizionari.corriere.it/dizionario-modi-di-dire/M/mano.shtml#18http://dizionari.corriere.it/dizionario-modi-di-dire/M/mano.shtml#18http://dizionari.corriere.it/dizionario-modi-di-dire/M/mano.shtml#18http://dizionari.corriere.it/dizionario-modi-di-dire/M/mano.shtml#18http://dizionarionline.zanichelli.it/dizionariOnline/index.php#2


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30Image g.8 (loss in the translation)


You are missing the party weve hired a

Punch and Judy man specially

Ti perdi la festa. Abbiamo fatto venire

apposta le marionette

Comment

Sometimes a translator as to face an expression that cannot actually be translated in the target

text. They are untranslatable for different reasons; sometimes they are word games that have nocorrespondence, sometimes they are words or phrases or concepts in the source text that do notexist in the target language and thus have to be reformulated in the target language minimizing

loss in meaning, which is sometimes unavoidable.The case of image g.8 helps us to understand this concept. As stated in the source text the man

talks about Punch and Judy. If the translator had chosen a literal translation, an Italian readerof the target text probably would not understand the message conveyed. Punch and Judy are

two puppets typical of English culture, which are not usually known by Italian people. Punchand Judy are extremely violent and not really suited to children audiences. Punch generallybeats all the other characters to death. The author has used an internal reference here: thecharacter Eve dreams about her father talking of Punch and Judy. Like V, the main character

of the graphic novel, Punch always destroys his enemies38

. There is an evident loss of this

internal reference, however the target text is totally understandable.

38http://www.britannica.com/EBchecked/topic/2588/Academic-American-Encyclopedia
http://www.britannica.com/EBchecked/topic/2588/Academic-American-Encyclopediahttp://www.britannica.com/EBchecked/topic/2588/Academic-American-Encyclopediahttp://www.britannica.com/EBchecked/topic/2588/Academic-American-Encyclopediahttp://www.britannica.com/EBchecked/topic/2588/Academic-American-Encyclopedia


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31Image g.9 defeat in the translation.

Umberto Eco has said about the footnote in a translation:

Ci sono delle perdite che potremmo definire assolute. Sono i casi in cui non possibile

tradurre, e se casi del genere intervengono, poniamo, nel corso di un romanzo, il traduttore

ricorre all'ultima ratio, quella di porre una nota a pi di pagina - e la nota a pi di pagina ratifica

la sua sconfitta. Un esempio di perdita assoluta dato da molti giochi di parole39

There are losses that we can define as irretrievable. They are cases that cannot

possibly be translated. When those cases come up, if we assume that we are

translating a novel, the translator uses the extrema ratio by adding a footnote. The

footnote is his defeat. An example of this kind of irretrievable loss is a lot of word

games.

In this work just one case of footnoting appears. Perhaps, being a graphic novel,

the translator did not need to put footnotes, which appear much more often in

novels.

39ECO U. Dire quasi la stessa cosa. Esperienze di traduzione, Milano, Bompiani, 2003

The surname of one of the graphic

novels characters is Almond . The

other characters in the strip of the

image g.9 make a play on words telling

him that he is a bitter almond. This

word game could not be translated in

Italian, since the surname Almond was

not translated. Negrini in order to

explain the word game has used thefootnote.


32/34

32Results

As it has been shown in this short essay, the act of translation must keep, as

much as it can, the originality of the so called source text in the target text. The

several techniques of translation shown have proven that translation involves making

suitable alterations to the source text in order to produce a believable target text,

which is indeed a challenge.

Negrinis Italian translation of V for Vendetta presents cases that are

interesting and useful in understanding an approach to the concept of translation. As

we have seen, it was not always possible for the translator to maintain entirely true to

the source text, nevertheless the target text result is functional.


33/34

33Images reference

For the strip reported in this work, a list of their sources are given here in both

the source and target text. The first figure is the page number, the second one the

strip line, the third one the column (ex. 221, 2, 3: page 221, line 2, third column). Thefirst number in brackets refers to the source in the target text, the second in square

bracket from the target text.

Image a.1, pag. 7 (33, 3,1) [31, 3, 1]

Image a.2, pag. 8 (192,1,1)[238, 1, 1]

Image a.3, pag. 9 (233, 2, 12 - 3) [285, 2, 123 ]

Image b.1, pag. 11 (81, 3, 2) [90, 3, 2]

Image c.1, pag. 12 (61, 1, 1) [64, 3, 2]

Image c.2, pag. 13 (69, 3, 3) [76, 3, 3]

Image c.3, pag. 13 (90, 1, 2) [103, 1, 2]

Image d.1, pag.14 (11, 2, 2) [6, 2, 2]

Image d.2, pag. 15 (21, 1, 1) [17, 1, 1]

Image d.3, pag. 16 (30, 3, 2) [28, 3, 2]

Image e.1, pag. 18 (46,2, 1) [47, 2, 1]

Image e.2, pag. 19 (53, 2, 3) [55, 2, 3]

Image e.3, pag. 19 (59, 1, 1) [62, 1, 1]

Image f.1, pag. 21 (104, 1, 2) [119, 1, 2]

Image f.2, pag. 22 (236,3,1) and (228, 2, 1) [288, 3, 1 and 279, 2, 1]

Image g.1, pag. 24 (72, 1, 3) [80, 1, 3]

Image g.2, pag. 25 (94, 3, 3) [108, 3, 3]

Image g.3, pag. 25 (120, 2, 1) [141, 2, 1]

Images g. 4, g.5, g.6, pag. 26 (128, 3, 1); (192, 3, 2) (264, 2, 2) [150,3,1; 238,3,2; 320,2,2]

Image g.7, pag. 28(89, 1, 2) [102, 1, 2]

Image g.8, pag.29 (143, 3, 2) [173, 3, 2]

Image g.9, pag.30 (17, 3,3) [13, 3, 3]


34/34

34Bibliography

Source text

MOORE A.,LLOYD D(with) WHITAKER S., DODDS S., V for Vendetta, London, Titan Book, 2003 (1990)

Target text

MOORE A.,LLOYD D.(con) WHITAKER S., DODDS S., V per Vendetta, (traduzione di Stefano Negrini)V

per Vendetta, Milano, Rizzoli, 1991

Text about translation

ECO U.Dire quasi la stessa cosa. Esperienze di traduzione, Milano, Bompiani, 2003

MORINI M.La traduzione, teorie strumenti, pratiche, Milano, Sironi Editore, 2007

NEWMARK P. La traduzione: problemi e metodi. Teoria e pratica di un lavoro difficile e di

incompresa responsabilit, traduzione dall'inglese di Flavia Frangini, Milano Garzanti, 1988

POPOVIC A. La scienza della traduzione. Aspetti metodologici. La comunicazione traduttiva ,

Milano, Hoepli , 1995

ROGER V.,Behind the Page: Jeff Smith, Part Two, Newsrama, 2008

PETER FAWCETT, Translation and Language, St. Jerome, Manchester, 1997 (especially Chapter 4

on Translation Techniques).

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http://dizionari.zanichelli.it/

http://oxforddictionaries.com/

http://www.wordreference.com/iten/elencare

http://en.wikipedia.org/wiki/Main_Page

http://idioms.thefreedictionary.com/

http://www.britannica.com/EBchecked/topic/2588/Academic-American-Encyclopedia

http://www.minimaetmoralia.it/?p=2759

http://dizionari.corriere.it

http://www.enjolrasworld.com/Annotations/Alan%20Moore/V%20for%20Vendetta/V%20for%

20Vendetta%20Revised%20-%20Complete.html

http://www.traduzione-testi.com/traduzioni/tecniche-di-traduzione/strategie-di-

traduzione.html

http://am-bucks.livejournal.com/49887.html
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the italian translation of alan moore’s “ v for vendetta ”, a short comment

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