Name Surname(s)
University, Place, Country
Title (e.g. Instructions for the publication of articles, EDI 2012)
Abstract
Before every article there has to be an abstract in English of 500 characters maximum
(spaces included) and you should include as well five key words. Abstract. Abstract.
Abstract. Abstract. Abstract. Abstract. Abstract. Abstract. Abstract. Abstract. Abstract.
Abstract. Abstract. Abstract. Abstract. Abstract. Abstract. Abstract. Abstract. Abstract.
Abstract. Abstract. Abstract. Abstract. Abstract. Abstract. Abstract. Abstract. Abstract.
Abstract. Abstract. Abstract. Abstract. Abstract. Abstract.
Key words (e.g.): Multimodality – Subtitles – Orality – Wordplay – Audiovisual translation
1. Subtitle 1 (e. g. Introduction. Use this Word pattern)
The final versions of the articles have to be sent in Word or RTF format to the
Conference Organizing Committee (edi@upf.edu) before February 1, 2013. We
ask you to include the author in the name of the file according to the following
model
to
facilitate
the
coordination
of
the
documents:
BrummeJenny_EDI2012.doc.
Please use this Word pattern, which helps us to prepare the final versions of the
articles to be published. This pattern ensures that all the articles have the same
layout and thus permits a faster production of the final volume. The complete
text including notes and bibliography may not exceed 35,000 characters
(spaces included).
The pattern is based on the use of styles (a function offered by layout
programmes). You can think of a style as a set of pre-defined formatting
instructions that you can use repeatedly throughout the document. For example,
if you need to apply formatting to the heading (or to quotations, subheading,…),
you have to go through the entire process each time to get the text the way you
want it, but if you store the formatting commands in a style, you can apply that
style any time you need it without having to do all of the reformatting. To
© Frank & Timme Verlag für wissenschaftliche Literatur
Name Surname
facilitate the identification of the styles used for EDI, they are written with the
capital letter T&F1 in the list of styles.2 T&F_en are for articles in English,
T&F_fr are for articles in French.
The easiest way to work with this pattern is by renaming it according to the
instructions given at the beginning of this document and then introducing the
text in it.
Notes
Please use footnotes, not endnotes.3
2. Subtitle 1 (e.g. General Instructions)
Indicate the title and underneath your first and last name(s), the institution you
belong to and the place.
Please use Times New Roman, 14 points. For headings, use 16 points. For
subheadings, use 14 points.
2.1. Subtitle 2 (e.g. Other Instructions)
There will only be published those texts written in one of the official languages
of the congress: French and English. The texts have to consist of a maximum of
35,000 characters including blank spaces, annexes, charts, etc.
This Word pattern is set in English, if the article is written in French, the French
style should be used (MaintextF&T_fr, ExampleF&T_fr, FootnoteF&T_fr,
QuotationF&T_fr,
ReferencesF&T_fr,
TitleF&T_fr,
Subtitle1F&T_fr,
Subtitle2F&T_fr, Subtitle3F&T_fr). Also the corresponding spell check should
be activated!
Please do not use bold, underlining, small cups, super and subscripts,
strikethrough, shading or other formats. Use italics for the titles of movies,
1
2
3
2
T&F refers to the editorial house Frank & Timme. Text. Text. Text. Text. Text. Text. Text.
Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text.
Text. Text. Text. Text. Text.
Styles
included
are:
AbstractF&T_en,
MaintextF&T_en,
ExampleF&T_en,
FootnoteF&T_en,
QuotationF&T_en,
ReferencesF&T_en,
TitleF&T_en,
Subtitle1F&T_en,
Subtitle2F&T_en,
Subtitle3F&T_en;
MaintextF&T_fr,
ExampleF&T_fr, FootnoteF&T_fr, QuotationF&T_fr, ReferencesF&T_fr, TitleF&T_fr,
Subtitle1F&T_fr, Subtitle2F&T_fr, Subtitle3F&T_fr. (Do not use: HeadF&T, FootF&T).
Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text.
Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text.
Frank & Timme Verlag für wissenschaftliche Literatur
Style Sheet The spoken language in a multimodal context. Description, teaching, translation, Barcelona, December 2012
books etc., and for topic-specific terminology and foreign expressions. Example:
Typical stereotyped expressions are often used, especially du meine Güte,
Himmel, um Himmels Willen. Translated expressions should be inserted as
follows: The stranger calls Mo Zauberzunge (‘magic tongue’).
Please do not use hyphens, as they will be introduced after the layouting.
Please make sure that the texts do not contain double line breaks or double blank
spaces.
Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text.
Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text.
Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text.
Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text.
Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text.
Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text.
Please number all examples:
(1)
Example. Example. Example. Example. Example. Example. Example. Example. Example.
Example. Example. Example. Example. Example. Example. Example. Example. Example.
Example. Example. Example.
(2)
Example. Example. Example. Example. Example. Example. Example. Example. Example.
Example. Example. Example. Example. Example. Example. Example. Example. Example.
Example. Example. Example.
If examples are in a language that is not the main language of the article, they
should be translated. The translations should be included in the example as
follows:
(3)
Vänta på mej [‘wait for me’] (MN: 18); det stod inte nåt om det i tidningarna [‘there was
nothing about it in the newspapers’] (MN: 191); jag kan hämta den i morron [‘I can pick it
up tomorrow’] (MN: 11)
(4)
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Name Surname
Dom har värsta huset [‘They have a super house’] (MN: 27)
For examples that are transcriptions of video/audio scenes the sequence of the
scene should always be indicated (see for example the time in windows media
player). Use a dash to indicate the range of time (the dash should not have a
space before or after it):
(4)
[Lena] Meine Mutter hat sich offensichtlich von diesem albanischen Terroristen getrennt
und ist jetzt in ihrer Wir-verarbeiten-die-Trennung-mit-guter-Laune-Phase. (UF-Freiheit:
00:44-00:50)
Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text.
Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text.
Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text.
Text. Text. Text. Text. Text.
2.2. Subtitle 2 (e.g. Quotations)
Quotations
Please make sure that sources are quoted correctly. Mark your own interventions
always as such by means of square brackets. For example: [...], [sic].
Quotation. Quotation. Quotation. Quotation. Quotation. Quotation. Quotation. Quotation.
Quotation. Quotation. Quotation. Quotation. Quotation. Quotation. Quotation. Quotation.
Quotation. Quotation. Quotation. Quotation. Quotation. Quotation. Quotation.
Indicate the source of a quotation in brackets:
surname of the author or editor + space + year of publication + colon + space +
page number
e.g. (Colomer 2002: 80)
Please always indicate the exact page numbers:
e.g. (Colomer 2002: 80-81), not (Colomer 2002: 80s) or (Colomer 2002: 80f)
(Colomer 2002: 80-83), not (Colomer 2002: 80ss) or (Colomer 2002: 80ff)
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Frank & Timme Verlag für wissenschaftliche Literatur
Style Sheet The spoken language in a multimodal context. Description, teaching, translation, Barcelona, December 2012
A dash is used to indicate the range of pages. The dash should not have a space
before or after it
e.g. (Colomer 2002: 80-81)
If the author’s name appears in the main text, please use the following pattern:
Ce phénomène est qualifié d’addressage par Jacobs (2001: 651-652).
Quotations of less than three lines are incorporated in the text as follows:
Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text.
Text. Text. Text “[...] el habla se traduce en una forma que intenta ser muy
próxima a lo coloquial [...]” (Colomer 2002: 80). Text. Text. Text. Text. Text.
Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text.
Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text. Text.
Text. Text. Text.
Quotations of more than three lines should be indented, written in 12 points and
separated from the main text by a one-line space above and below. Use no
quotation marks in this case.
La figura de un narrador infantil de un barrio popular hace verosímil las frecuentes
distorsiones de las alusiones cultas, las abundantes hipérboles como recurso de
intensificación, los recursos malsonantes y escatológicos o la apelación a la ciencia como
explicación o criterio de autoridad de la realidad [...] Dado que se finge la oralidad de ese
personaje, el habla se traduce en una forma que intenta ser muy próxima a lo coloquial a
través de una gran cantidad de vulgarismos, paronimias, frases hechas, repetición de
secuencias y expresiones reiterativas, barbarismos, etc. (Colomer 2002: 80)
Text. Text. Text. Text.
Text. Text. Text. Text.
Text. Text. Text. Text.
Text. Text. Text. Text.
Text. Text. Text. Text.
Text. Text. Text. Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
Text.
2.2.1. Subtitle 3 (e.g. Citation of Corpus)
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5
Name Surname
For reasons of homogeneity and economy of space, your corpus should be cited
as follows:
Original publications should be cited by their author’s initials, e.g. for Walt
Disney’s film The Jungle Book (1967) the shorthand citation WD should be
used.
Translations should be identified by their target language. Thus, the French
version of the film is cited and listed as WDF.
[Languages: A = Arabic, C = Catalan, CR = Croatian, D = Dutch, E = English, F
= French, G = German, H = Hebrew, I = Italian, PL = Polish, P = Portuguese, R
= Romanian, SE = Serbian, SL = Slovenian, S = Spanish]
For works with more than one author an ampersand should be used, so H&H
stands for: Hawking, Lucy, and Stephen Hawking. 2007. George’s Secret Key to
the Universe. London: Random House.
To distinguish several publications by the same author, a keyword from the title
should be added: JKR-Stone = Rowling, J. K. 1997. Harry Potter and the
Philosopher’s Stone. London: Bloomsbury.
When different translations into the same language are discussed, the
translator’s (main) surname should be added. Thus, CDP-Cabral identifies the
Portuguese translation of Charles Dicken’s Oliver Twist by Rodrigo Espinosa
Cabral (2002), while CDP-Guaspari means the translation by Marina and Sylvia
Guaspari (2002).
In the case of two anonymous translations of the same book published in the
same year, they should be identified by the publisher’s initials.
Reference to dubbed text vs. subtitles in the same language should be marked by
the addition of -D and -S, respectively.
2.3. Subtitle 2 (e.g. Diagrams, figures and tables)
Diagrams, figures and tables will be formatted after the delivery of the article.
They should, however, be consistent throughout your article.
3. Subtitle 1 (e.g. Copyright)
For any materials copyrighted by others (diagrams, pictures etc.) that you
include in your work, you must have received written permission for inclusion
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Frank & Timme Verlag für wissenschaftliche Literatur
Style Sheet The spoken language in a multimodal context. Description, teaching, translation, Barcelona, December 2012
in your article. Copies of such permissions should be delivered with the
delivery of the final manuscript. The author of the article has to warrant that all
rights have been transferred to him.
4. Subtitle 1 (e.g. Corpus)
Before the list of references the corpus of examples should be listed as follows:
JKR-Chamber = Rowling, J. K. 1998. Harry Potter and the Chamber of Secrets. London:
Bloomsbury. Paperback edition.
JKRC-Chamber = Rowling, J. K. 1999. Harry Potter i la cambra secreta. Translated by
Laura Escorihuela, cover illustration by Enric Jardí. Barcelona. Empúries.
JKRF-Chamber = Rowling, J. K. 1999. Harry Potter et la Chambre de Secrets. Translated by
Jean Françoise Ménard, cover illustration by Jean-Claude Götting. Paris: Gallimard: Folio
junior 961, 2007
JKR-Goblet = Rowling, J. K. 2000. Harry Potter and the Goblet of Fire. London:
Bloomsbury. Paperback edition.
JKRC-Goblet = Rowling, J. K. [2001] 2005. Harry Potter I el calze de foc. Translated by
Laura Escorihuela, Barcelona: Empúries. Paperback edition 2005 used here.
JKRF-Goblet = Rowling, J. K. 2000. Harry Potter et la coupe de feu. Translated by Jean
Françoise Ménard, cover illustration by Jean-Claude Götting. Paris: Gallimard: Folio
junior 1173, 2007
If the translator is unknown:
HS = Stretton, Hesba. 1873. Lost Gip. London: Henry King.
HSSW-S = Stretton, Hesba. 1874. Lilla Tata eller Den bortkomna i London. [Anonymous
translation.] Stockholm: Söndagsskoleföreningsen förlag.
If your corpus is a databank, please cite as follows:
CREA = REAL ACADEMIA ESPAÑOLA: Banco de datos (CREA) [online]. Corpus de
referencia del español actual. Accessed January 27, 2013. http://www.rae.es.
5. Subtitle 1 (e.g. References)
References should be in alphabetical order of the surnames. They should not be
arranged by type of reference.
5.1. Subtitle 2 (e.g. Articles in journals)
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Name Surname
García Yebra, Valentín. 1994. “Un curioso error en la historia de la traducción.” Livius 5:3951.
Smith, Sara W., Hiromi P. Noda, Steven Andrews, and Andreas H. Jucker. 2005. “Setting the
Stage. How Speakers Prepare Listeners for the Introduction of Referents in Dialogues and
Monologues.” Journal of Pragmatics 37:1865–1895.
For special issues:
Cronin, Michael. 1998. “The Cracked Looking Glass of Servants: Translation and Minority in
a Global Age.” In “Translation & Minority”, edited by Lawrence Venuti, special issue, The
Translator 4(2):145-163.
5. Subtitle 2 (e.g. Books)
Brumme, Jenny, ed. 2008. La oralidad fingida: descripción y traducción. Teatro, cómic y
medios audiovisuales. Con la colaboración de Hildegard Resinger y Amaia Zaballa.
Madrid: Iberoamericana; Frankfurt am Main: Vervuert.
Cunillera, Montserrat, and Hildegard Resinger, eds. 2011. Implicación emocional y oralidad
en la traducción literaria. Berlin: Frank & Timme.
Koch, Peter, and Wulf Oesterreicher. 2007. Lengua hablada en la Romania: español, francés,
italiano (tr. Araceli López Serena). Madrid: Gredos.
For newer editions, include the year of the first edition in [ ] before the year of
the edition you are using.
Coseriu, Eugenio. [1962] 1982. Teoría del lenguaje y lingüística general. Cinco estudios. 3rd
ed. Madrid. Gredos.
Fludernik, Monika. [1993] 2006. The Fictions of Language and the Language of Fiction. The
Linguistic Representation of Speech and Consciousness. 2nd ed. London: Routledge.
If you use books from languages other than Romance and Germanic languages,
the reference should be translated and cited as follows:
Tavčar, Lidija. 2009. Homo spectator. Uvod v muzejsko pedagogiko. [Homo Spectator: An
Introduction to Museum Pedagogy]. Ljubljana: Pedagoški inštitut.
5.3. Subtitle 2 (e.g. Chapters of books)
Brumme, Jenny. 2012.·“Translating Phrasemes in Fictive Dialogue.” In The Translation of
Fictive Dialogue, edited by Jenny Brumme and Anna Espunya, 269-287. Amsterdam:
Rodopi.
Fischer, Martin B., and Miquel Pujol Tubau. 2008. “Estudio crítico de la traducción al catalán
de la serie Harry Potter.” In Estudios críticos de Traducción de Literatura Infantil y
Juvenil. Análisis de las traducciones de obras inglesas y alemanes a las cuatro lenguas
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Style Sheet The spoken language in a multimodal context. Description, teaching, translation, Barcelona, December 2012
oficiales de España, vol. 2, edited by Veljka Ruzicka Kenfel and Lourdes Lorenzo García,
coordinated by Carmen Valero Garcés, 163-223. Oviedo: Septem.
Taneva, Ivanka. 2008. “Scherz und Ironie in der Kommunikation als Triebkräfte von
Veränderungen im Wortschatz – eine exemplarische Untersuchung am Beispiel des
Duden-GWDS.” In Humor. Grenzüberschreitende Spielarten eines kulturellen Phänomens,
edited by Tina Hoffmann, Marie-Cristin Lercher, Annegret Middeke and Kathrin Tittel,
171-179. Göttingen: Universitätsverlag Göttingen.
5.4. Subtitle 2 (e.g. PhD dissertations / M.A. theses)
Baumgarten, Nicole. 2005. The Secret Agent: Film Dubbing and the Influence of the English
Language on German Communicative Preferences. Towards a Model for the Analysis of
Language Use in Visual Media. PhD diss., University of Hamburg.
5.5. Subtitle 2 (e.g. Online documents)
Observatoire de l’économie du livre. 2011. Économie du livre. Le secteur du livre: chiffresclés 2009-2010. [Paris]: Centre Nacional du Livre. Accessed January 8, 2012.
http:www.centrenationaldulivre.fr/IMG/pdf/Chiffres-cles_2009-1020.pdf.
Please do not activate the links!
Doubts and contact
If you have any doubts or questions concerning the application of these rules or
the use of the pattern, please don’t hesitate to contact us: edi@upf.edu.
Frank & Timme Verlag für wissenschaftliche Literatur
9
Name Surname
Using styles
By contrast, when you use styles to format your document, you can quickly and
easily apply a set of formatting choices consistently throughout your document.
A style is a set of formatting characteristics, such as font name, size, color,
paragraph alignment and spacing. Some styles even include borders and
shading.
For example, instead of taking three separate steps to format your heading as 16point, bold, Cambria, you can achieve the same result in one step by applying
the built-in Heading 1 style. You do not need to remember the characteristics of
the Heading 1 style. For each heading in your document, you just click in the
heading (you don’t even need to select all the text), and then click Heading 1 in
the gallery of styles.
If you decide that you want subheadings, you can use the built-in Heading 2
style, which was designed to look good with the Heading 1 style.
The Quick Styles that you see in the gallery of styles are designed to work
together. For example, the Heading 2 Quick Style is designed to look
subordinate to the Heading 1 Quick Style.
The body text of your document is automatically formatted with the Normal
Quick Style.
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Frank & Timme Verlag für wissenschaftliche Literatur
Style Sheet The spoken language in a multimodal context. Description, teaching, translation, Barcelona, December 2012
Quick Styles can be applied to paragraphs, but you can also apply them to
individual words and characters. For example, you can emphasize a phrase by
applying the Emphasis Quick Style.
When you format text as part of a list, each item in the list is automatically
formatted with the List Paragraph Quick Style.
If you later decide that you want headings to have a different look, you can
change the Heading 1 and Heading 2 styles, and Word automatically updates all
instances of them in the document. You can also apply a different Quick Style
set or a different theme to change the look of the headings without making
changes to the styles.
Built-in styles turn on timesaving features
The built-in styles (Heading 1, Heading 2, etc.) provide other benefits, too. If
you use the built-in heading styles, Word can generate a table of contents
automatically. Word also uses the built-in heading styles to make the Document
Map, which is a convenient feature for moving through long documents. If you
have a document that uses the built-in heading styles, open it, and on the View
tab, in the Show/Hide group, select the Document Map check box. Click a
heading in the document map to jump to the corresponding part of the
document.4
4
http://office.microsoft.com/en-gb/word-help/style-basics-in-wordHA010230882.aspx?CTT=1
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