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A NEW APPROACH OF LOCALISATION IN THE TRANSLATION OF MUSICOLOGY TEXTS
Abstract
In this article we propose a new perspective of the concept of localisation that may be envisaged as a stage in the process of translating musicology texts. While most scholars have approached the concept and employed the term within the GILT paradigm [2] [3] [10], we believe this new perspective of localisation does not conflict with or diminish its current status. On the contrary, a potential semantic broadening may even help to distinguish it from other terms such as “adaptation” or “translation” [2] [8]. Thus, we view localisation as a practical stage in the process of translation with Nord’s [7] tripartite model applied to musicology texts, whereby the translation of musicology texts is seen as a complex process that begins with the translation brief (cf. [5] [6]) and ends with the production of (potentially multiple) target texts that fit both a “locale” and a skopos [11] [12]. By analogy with Mazur’s [2] view, localisation may be performed not only at the level of cultural norms and conventions, but also at the linguistic and even the technical levels. If the translator disregards this stage, the resulting target text will very likely not fulfil its purpose [11] [12], which is why we view it as an obligatory step in the process of translating musicology texts.
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