ISSN: 1579-9794

Hikma 23(2) (2024), 1 - 6

MILTON, JOHN & COBELO, SILVIA. TRANSLATION, ADAPTATION

AND DIGITAL MEDIA. ABINGDON, ROUTLEDGE, 2023, 273 PP., ISBN

9780367205263

The field of Translation Studies (TS) has gone beyond the traditional paradigm

of interlingual analysis to encompass intersemiotic transfer and multimodal

meaning-making, which are indispensable for cultural communication in the

age of digital media. Concurrently, the works of Hutcheon (2006) and Sanders

(2005), who have explored the transformation of texts across various media

and cultural contexts, have promoted further inroads into the field of

Adaptation Studies (AS). Against this backdrop, and with the advent of digital

media, scholars such as Jenkins (2006) and Manovich (2013, 2018) have

introduced the concepts of transmedia storytelling, i.e. the technique of telling

a single story or story experience across multiple platforms and formats, and

the implications of digital technology on cultural production, e.g. the

democratization of content creation, increased audience participation, and the

blending of various media forms to create immersive and interactive

storytelling experiences. Their works underscore the participatory nature of

digital media and its profound impact on traditional translation and adaptation

practices.

Translation, Adaptation, and Digital Media (2023) unites traditional theories

with contemporary challenges posed by the ever-changing nature of digital

media. This book offers a comprehensive guide to researchers who are

interested in examining the nature and characteristics of translation as well as

the dynamics of translational activities in the context of the digital age.

Intended as a textbook to familiarize readers with a wide range of central

topics in media translation, which refers to the process of translating content

across various media formats, this book consists of nine chapters covering

translation and adaptation for various media with suggested activities and

readings presented at the end of each chapter.

In the introductory chapter, the correlation between translation, adaptation,

and digital media is presented by Milton and Cobelo in the form of a

puzzlement that suggests a lack of mutual interest between TS and AS. A

rather poetic metaphor, “deux solitudes” (p. 1), is used to depict the situation,

and the absence of disciplinary interaction is evidenced by the authors’

thorough review of the works produced by scholars who have shown similar

concerns while appealing for more academic attention to the potential

cooperation between AS and TS. To elaborate on the evident relation between

AS and TS, the authors attempt to track the elements of adaptation disguised

under other terms widely known in TS. It is clear the primary aim of this chapter

is to fully tap into the potential of research studies that combine TS and AS

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and point out directions for future collaboration. However, possibly because

there are so many entry points leading into the often-ignored similarities

between TS and AS, a cluster of avant-garde concepts are referred to only in

passing, sometimes at the cost of an in-depth analysis of why a certain

concept is of unique value.

The second chapter is entirely dedicated to a case of translation and

adaptation without any theoretical discussion at the outset. It is a historical

and descriptive study of the Brazilian publisher and writer José Bento Monteiro

Lobato (1882-1948). Lobato was a public prosecutor and became a leading

figure in the Brazilian publishing industry after founding the country's largest

publishing company (pp. 19–20). Most of his best-selling works were

adaptations, which proved to be typical examples of retelling, rewriting,

intertext, and domestication, such as the adaptation of Peter Pan (1930) and

his retelling of Don Quixote for children in D. Quixote das Crianças (1936).

These are essential topics in TS, so Lobato’s case is used by the authors to

introduce core concepts that will be analysed in a more theoretical way in the

following chapters.

Fandom and transmedia are introduced in the third chapter. Undoubtedly, fan

culture is integral to the dynamics of digital media culture. Centring around fan

participation, which is the core feature of fan culture, the author elaborates on

various facets of fans as active agents that reshape the relationship between

authors and readers in fan-generated texts. Transmedia storytelling is

naturally interwoven into the discussion of fandom as it empowers fans to

have more control over authorship. Interestingly, the author also quotes

extensively to distinguish between transmedia and adaptation, noting that

while adaptation involves transforming a story from one medium to another,

transmedia storytelling spreads parts of the story across different media, each

contributing uniquely to the narrative" (pp. 55). While the exploration of

fandom and transmedia is compelling in this chapter, examples from non-

Western countries are lacking. For example, examining fan participation in

contexts such as anime fandoms in Japan or K-pop fandoms in South Korea

would highlight the global diversity of these phenomena and offer insights into

how cultural differences shape fan engagement and transmedia practices.

Chapter four looks into the culture shaped by digital technology. Following the

works of Marshall McLuhan, the authors make it clear at the beginning of this

chapter that the medium is far more than just the carrier of the text (McLuhan,

1964). Media technology, which is essentially represented by the formal

aspects of media, is substantially transforming the way people live, including

among many other aspects how the translations and adaptations we consume

are carried out. The authors then examine the mechanisms of electronic

literature, i.e. hypertext fictions and online writing platforms, e.g. Wattpad to

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illustrate how the media environment in the Internet age has changed the way

novels are created, translated, published, and read. This chapter effectively

highlights the transformative impact of digital technology but could be

improved by addressing potential challenges, such as maintaining quality and

managing intellectual property rights in this new digital landscape.

In the fifth chapter, the authors analyse the translation and adaptation of

Miguel de Cervantes Saavedra’s literary masterpiece Don Quixote, originally

published in two parts in the early 17th century. A diachronic approach is

adopted by the authors to present the translation and adaptation of Don

Quixote, mostly in England and France. The authors highlight how later

retranslations and adaptations differ from the early versions, showcasing the

evolving interpretations and cultural influences over time. Despite much ink

spilt on discussing Don Quixote in European cultures, the authors place

greater emphasis on the adaptation in Brazil and discuss certain adaptation

formats such as Cordel literature and Brazilian Carnival, which allow readers

to gain a broader perspective on what adaptation can entail. This chapter

provides rich historical context but could be enhanced by a more critical

analysis of how these adaptations have influenced perceptions of the original

work across different cultures. For instance, while the authors highlight the

Brazilian adaptations, they could delve deeper into how these adaptations

reinterpret the themes and characters of Don Quixote to reflect local cultural

and social contexts. An examination of the reception of these adaptations in

Brazil versus their reception in European contexts would provide valuable

insights into the cultural exchange and transformation processes.

In chapters six to nine, the authors discuss four specific types of media

translation and adaptation: theatre, audio media, screen, and video game.

Chapter six emphasizes the subtle relationship between translation and

adaptation in theatre and the performing arts. The authors believe that theatre

translation should strive for target products suitable for stage performance,

which often leads to dilemmas faced by theatre translators and directors when

pondering whether to work towards translation or adaptation. Adaptation for

audio media, which has been less discussed in academia compared to visual

adaptation, is the focus of chapter seven, in which the authors draw on

Stephens (2018) to present a hierarchy of AS research topics that might

explain the neglect of audio adaptations. To appeal for more attention, the

authors first elaborate on the mediality of audio. As the authors explain, the

signature feature of the radio is its intimacy with the listener, and despite being

seemingly invisible, it is more likely to infiltrate our minds, thus opening our

imagination to the whole world (Hand & Traynor, 2011, p. 33). Then the

importance of sound in meaning-making for audio content is thoroughly

analysed before delving into case analysis. For instance, the authors examine

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the adaptation of War of the Worlds (1938) by Orson Welles, demonstrating

how sound can create vivid imagery and emotional impact.

Chapter eight, on screen adaptation, is divided into two parts: the first focuses

on film and television, while the second examines streaming and social media.

The authors analyse well-known adaptations, such as Jane Austen's novels,

highlighting the balance between maintaining fidelity to the original text and

engaging contemporary audiences. The discussion on streaming and social

media significantly expands readers' outlook by covering less traditional texts,

such as The Lizzie Bennet Diaries (2012-2013), which adapts Pride and

Prejudice (1813) through vlogs and social media. This section effectively

demonstrates how these adaptations involve unique translational elements

like interactivity and real-time engagement. However, a more critical

examination of the impact of algorithmic curation on content visibility and

diversity is necessary. The authors could explore how digital platforms

influence the prominence of certain adaptations and the resulting audience

perceptions.

A book of this calibre would be incomplete without a discussion on video game

adaptations. The authors clarify that localization, often conflated with

translation, is “a broad multitask industrial and technological process of which

translation is one part” (p. 259), emphasizing the importance of transcoding

texts on the screen. They explore the nuanced relationship between

localization and translation by examining common issues in localization, such

as cultural adaptation and technical constraints, compared to traditional

translation settings. The chapter concludes with an insightful discussion of the

future interactions between AS and TS, highlighting how video games are

increasingly integrating with other media forms and evolving in complexity.

However, while the chapter provides a solid overview, it would benefit from

more detailed case studies to illustrate the practical challenges and innovative

solutions in game localization. For instance, an in-depth analysis of the

localization process for a popular game franchise such as The Witcher (1986-

2013) could provide valuable insights into the specific hurdles and creative

strategies employed by translators and developers. Additionally, a more

critical examination of the ethical implications and commercial pressures in

the gaming industry, such as the impact of localization on narrative integrity

and player experience, would add depth to the discussion.

In general, those who are already familiar with the basics of media translation

and are looking for more critical views on current research might find that this

book is less of a perfect fit. Aside from the theoretical consideration on the

lack of interaction between TS and AS in the first chapter, most of the other

chapters and sections are uncritical descriptions of existing scholarship and

industry developments. Additionally, the order of the chapters and contents is

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worth reconsidering. For instance, chapters two and five easily present two

case studies, whereas other chapters cover more general topics with cases

provided throughout the discussion. This decision seems unjustified, and the

current order can ultimately prove difficult for readers who might struggle to

fully understand the logical connection between the different chapters in their

current form.

Having said that, as a textbook, Translation, Adaptation, and Digital Media

addresses the critical intersection of TS and digital media rather satisfactorily.

Milton and Cobelo effectively argue that adaptation is a fundamental

component of translation, which furthers our understanding of how texts

evolve and are reinterpreted across different media and cultural contexts. This

connection enriches TS scholarship by demonstrating the fluidity and

adaptability of texts in the digital age, thus highlighting the importance of

interdisciplinary approaches. Overall, this book is a valuable addition to

current research on media translation, providing essential insights and

fostering a deeper comprehension of the dynamic interplay between

translation, adaptation, and digital media.

REFERENCES

Gentzler, E. (2017). Translation and Rewriting in the Age of Post-Translation

Studies. Routledge. https://doi.org/10.4324/9781315619194

Hand, R. and Traynor, M (2011). The Radio Drama Handbook: Audio Drama

in Practice and Context. Bloomsbury Publishing.

https://doi.org/10.5040/9781628928488

Hutcheon, L. (2006). A Theory of Adaptation. Routledge.

https://doi.org/10.4324/9780203957721

Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide.

New York University Press. https://doi.org/10.18574/nyu/9780814743

683.001.0001

Manovich, L. (2013). Software Takes Command. Bloomsbury Academic.

https:// doi.org/10.5040/9781472544988

Manovich, L. (2018). AI Aesthetics. Strelka Press. https://strelka.press/book-

ai-aestetics-lev- manovich

McLuhan, M. (1964). Understanding Media. McGraw-Hill.

https://www.amazon.com/Understanding-Media-Marshall-

McLUHAN/dp/0070454353

Sanders, J. (2005). Adaptation and Appropriation. Routledge.

https://doi.org/10.4324/9780203087633

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Stephens, B. (2018). “Great Voices Speak Alike: Orson Welles’s Radio

Adaptation of Victor Hugo’s Les Misérables”. In Dennis Cutchins.; Katja

Krebs. and Eckart Voigts (Ed.) The Routledge Companion to

Adaptation (pp. 256–264). Routledge. https://

doi.org/10.4324/9781315690254

[TIANJI GUO]