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Unconventional Training Club

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Subtitle Scent Of A Woman [CRACKED]

Languages Available in: The download links above has Scent of a Womansubtitles in Arabic, Bengali, Brazillian Portuguese, Bulgarian, Croatian, Danish, Dutch, English, Farsi Persian, Finnish, French, German, Greek, Hebrew, Indonesian, Korean, Macedonian, Norwegian, Polish, Portuguese, Romanian, Russian, Slovenian, Spanish, Swedish, Thai, Turkish, Vietnamese Languages.

subtitle Scent of a Woman

As a single, unmarried woman in her mid-thirties, Lee Yeon-jae (Kim Sun-a) is meek and timid, considered a spinster by society. After spending ten years working for the same travel company owned by Kang Chul-man, she is falsely accused of stealing from a client. In addition to enduring the accusations of her superiors, she is diagnosed with gallbladder cancer with approximately six months left to live. Mustering up her courage, Yeon-jae resigns and embraces her remaining six months of life.

ne of the most challenging tasks for all translators is how to render culture-bound elements in subtitles into a foreign language. Indeed, not much attention has been paid to this problem by translation theories. According to Newmark: "Translation is a craft consisting in the attempt to replace a written message and/or statement in one language by the same message and/or statement in another language" (Newmark, 1981:7). However, with culturally-bound words this is often impossible. Indeed, the meaning which lies behind this kind of expressions is always strongly linked to the specific cultural context where the text originates or with the cultural context it aims to re-create.

In addition, they also reveal the Colonel's attitude towards his interlocutor: he does not care about using more standardized linguistic forms, as the student does; he feels completely 'at home," he is the 'boss' and the legitimate owner of the premises where the scene takes place. In the Italian subtitles, these non-standard forms of language have not been preserved and no inventive solution has been given in order to offer an equivalent form in the TL.

The term "Clinique" has been rendered with the more general one "lozione", which, despite not giving the brand name in the ST, still manages to communicate that Charles has been lent a good quality product. Chestnut Hill is an elegant suburban village in Massachusetts (Boston) where many people from the higher ranks of society live. Since it is unknown to the majority in Italy, the Italian subtitles have tried to suggest the underlying meaning of the character's sentence by explaining: "Lui è di una famiglia bene" ("he comes from a well-to-do family").

And, yet, the translation given by the Italian subtitles seem to be too reductive: "Prima faceva la sguattera in un pub". A "sguattera" is a "short-order cook" and has rather a negative and degrading sense (it is not like saying "cameriera", "waitress", which could have been used instead). Some might argue, anyway, that to an Italian audience a literal translation of the sentence would sound too strange. However, making coffee for more senior colleagues is one of the most common duties among people at their first job, together with doing photocopies. Thus, I believe that some solutions could have been: "Prima faceva caffè" or "prima faceva fotocopie". In this case, a culture-bound element which did not raise too many problems in translation thanks to the fact that it defines a social meaning which is common to both the source and the target culture has been deliberately changed. Maybe, the Italian translators wanted to stress the character's bad manners and unpleasantness (at least, this is the achieved effect).

The term "prep school" (which is a school paid for by parents), too, has not been translated literally (as "scuola privata") but as "bella scuola bene" (a school for well-to-do people). The communicative effect is achieved, since Mr. Slade is very polemical here (and the expression found in Italian sounds quite ironical) and, yet, the word in the ST was different, the sense of sarcasm being given more by the noun "palaver" than by the definition of the school. Another element which belongs to North American society (and, more specifically, to the educational field) is the "Young American Merit scholarship" Charles won. The Italian subtitles give quite a faithful translation: "borsa di studio per giovani promettenti". However, the adjective "American" has not been translated at all, though the award mentioned is supposedly specifically for students from America.

At this point, an analysis of the main translation techniques used for the Italian subtitles can be made. I will catalogue some of the most frequently adopted procedures—deletion, paraphrase, substitution—by listing them, together with some of the passages (both in L1 and L2) to which they have been applied:

Despite being different from each other, all these techniques presuppose the same attitude towards what belongs to the culture where the ST originated. There is a general tendency to make the 'foreign' become familiar. The terms which may not be understood by the target audience are transformed into something else. Changes lead to a new, different meaning, which was not in the original (banshees/bifolchi). In most cases, the culture-bound element in the ST is lost (and this occurs, in the examples listed above, six out of twelve times). Indeed, in the translation of subtitles one of the main goals to achieve is clarity, since they must be easily and quickly understood by the audience (which also has to follow the image sequence on the screen). Thus, what slows down the pace of reading because of the need to be 'deciphered' is felt as annoying.

As Kreuger's introduction points out, the works of Marie de France, the first known woman poet writing in French, establishes three key registers adopted in female medieval and Renaissance verse: the didactic (in the Fables), the courtly or lyric (in the Lais), and the devotional (in Saint Patrick's Purgatory). Shapiro conveys the earthy humor of her Fables, as in "The Peasant and the Beetle," where he hilariously describes the opening plight of the commoner protagonist: "A loutish lummox lay a-dozing,/Flat on his face, his arse exposing/ Unto the sun, with cheeks spread wide;/When lo! A beetle crawled inside." Although Christine de Pizan, France's first "professional" woman of letters, is best known for her inaugural role in the "Querelle des femmes," Shapiro's attention to her short courtly lyrics accentuates their startling compactness. Christine's following "Rondeau" suggests the haunting repetitive terseness of Emily Dickinson's "Wild Nights": "My love, come yet again this night,/At that same hour I...

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