1. Converging Texts: Teaching Culture throughTranslation and Subtitling Dr. Pia Arboleda University of Hawaii at Manoa

2. Components of an Integrated Approach to Teaching, Culture and Translation My Subtitling Project Philippine History and Culture Philippine Film Translation course Student output Philippine Literature Philippine Language courses Courses

3. Teaching Translation Course Description: This course is an introduction to the theory and practice of translation from Filipino to English and vice versa. The student will learn the fundamentals of translating literary and non-literary texts for a specific purpose and a specific audience. Objectives: By the end of the semester, the student should have been able to exhibit an understanding of translation theories, use these theories to analyze translated texts, apply these theories to produce a translation project.

4. Methodology for Fil 435: Translation Theory and Practice  Theoretical discussion  Discussion on aims of translation  Writing a critical review  Choosing projects  Review of cultural/historical contexts (source language and target language)  Determining linguistic competence  For subtitling: transcription of original text  Actual translation  Critique  Revision and finalization of project  Writing final papers

5. Aim : accessibility Target Audience : Filipino heritage language learners and non-Filipino language Main Principle : to “[reproduce] in the receptor language the closest natural equivalent of the source- language message, first in terms of meaning and secondly in terms of style.” (Nida and Taber in The Theory and Practice of Translation) Challenge : Many equivalents; the equivalents may be accurate in meaning, but unnatural in colloquial delivery. My Subtitling Project

6. Notes on Raymond Red’s Sakay

7. I considered the following:  the historical and cultural context of the period—accuracy of names, places, dates and events, the inclusion of Spanish words  the formal register of Filipino that was used in the film  literary tone  the same understanding for non-Filipino viewers as they would for native speakers  brevity

8. setting of the movie, Sakay

9. L to R: seated, Julian Montalan, Francisco Carreon, Macario Sakay, Leon Villafuerte; standing, Benito Natividad, Lucio de Vega source: Flores, Paul. "Macario Sakay: Tulisán or Patriot?" in Hector Santos, ed., Philippine Centennial Series; at http://www.bibingka.com/phg/sakay/. US, 24 August 1996.

10. comedia, or moro-moro, a folk drama based on the battles between Christians and the Muslim Moro, the Philippines photo courtesy of Philippine Embassy

11. worker in kalesa (horse carriage) shop

12. Sakay’s vest with religious figures and Latin phrases. This was his anting-anting (amulet) believed to protect him from bullets and other hazards of war.

13. Further reading: Abad, Antonio K. General Macario L. Sakay: Was he a bandit or a patriot? Manila: J.B. Feliciano & Sons, 1955. Constantino, Renato. The Philippines: A past revisited. Quezon City: Tala Publishing,1975. Ileto, Reynaldo C. Pasyon and revolution: Popular movements in the Philippines, 1840-1910. Quezon City: Ateneo de Manila University Press, 1979.

14. Sample video clips on using these videos to teach culture Video clip here

15. Maraming salamat po! For questions or comments: pca62@hawaii.edu