Accessible scenic arts and Virtual RealityA pilot study with aged people about user preferences when reading subtitles in immersive environments

Referències bibliogràfiques

• Agulló, Belén; Mario Montagud & Isaac Fraile. (2020) “Making interaction with virtual reality accessible: rendering and guiding methods for subtitles.” AI EDAM (Artificial Intelligence for Engineering Design, Analysis and Manufacturing) 33:4. Electronic version: https://ddd.uab.cat/pub/artpub/2020/203753/AIEDAM_-_Article_Agullo_Montagud_Fraile_-_PREPRINT_VERSION.pdf
• Agulló, Belén; Pilar Orero & Anna Matamala. (2018) “From disabilities to capabilities: testing subtitles in immersive environments with end users.” Hikma 17, pp. 195-220. Electronic version: https://www.uco.es/ucopress/ojs/index.php/hikma/article/view/11167
• Alba Rodríguez, Teresa. (2014) “Traducción audiovisual accesible a personas con discapacidad intelectual mediante el uso de subtítulos adaptados.” Estudios de Traducción 4, pp. 199-209. Electronic version: https://revistas.ucm.es/index.php/ESTR/article/viewFile/45376/42696
• Arnáiz-Uzquiza, Verónica. (2012) “Los parámetros que identifican el Subtitulado para Sordos. Análisis y clasificación.” In: Agost Canós, Rosa; Pilar Orero & Elena Di Giovanni (eds.) 2012. MonTI. Monografías de Traducción e Interpretación 4, pp. 103-132. Electronic version: http://www.erevistes.uji.es/index.php/monti/article/view/1590/1334
• Audience Agency. (2017) “National Classical Music Audiences. An analysis of Audience Finder box office data for classical music events 2014-2016.” Electronic version: https://www.theaudienceagency.org/asset/1303
• Auslander , Philip. (2012) “Digital liveness. A Historico-Philosophical Perspective.” PAJ: A Journal of Performance and Art 34:3, pp. 3-11. Electronic version: http://raley.english.ucsb.edu/wp-content/Engl800/Auslanderdigital-liveness.pdf
• Bartoll, Eduard. (2004) “Parameters for the classification of subtitles.” In: Orero, Pilar (ed.) 2004. Topics in audiovisual translation. Amsterdam: John Benjamins, pp. 53-60.
• Bartoll, Eduard. (2008) Paràmetres per a una taxonomia de la subtitulació. Ph.D. thesis. Barcelona: Universitat Pompeu Fabra. Electronic version: https://www.tdx.cat/handle/10803/7572
• Bernabé, Rocio & Pilar Orero. (2019) “Easy to Read as Multimode Accessibility Service.” Hermeneus 21. (In press)
• Bonwit, Stuart. (1998) “Mac at the opera.” Washington Apple Pi Journal, May/June 1998, p. 30. http://www.wap.org/journal/surtitles/surtitles.html
• Burton, Jonathan. (2009) “The joy of opera. The art and craft of opera subtitling and surtitling.” In: Kemble, Ian (ed.) 2009. The Changing Face of Translation. Proceedings of the 8th Portsmouth Translation Conference 2008, pp. 29-34. Electronic version: http://www2.port.ac.uk/media/contacts-and-departments/slas/events/tr08-burton.pdf
• Burton, Jonathan. (2001) Writing surtitles. Unpublished paper provided by the author and written for the Royal Opera House, Covent Garden, pp. 1-17.
• Burton, Jonathan & Amanda Holden. (2005) “Oper Übersetzen”, Die Horen. Zeitschrift für Literatur, Kunst und Kritik, 218: 124.
• Carlson, Marvin. (2006) Speaking in Tongues: Languages at Play in the Theatre. Michigan: University of Michigan Press.
• Chaume, Frederic. (2018) “An overview of audiovisual translation: Four methodological turns in a mature discipline.” Journal of Audiovisual Translation 1, pp. 40-63. Electronic version: https://www.jatjournal.org/index.php/jat/article/view/43/3
• Desblache, Lucile. (2019) How is Music Translated? Mapping the Landscape of Music Translation. Music and Translation. London: Palgrave Macmillan.
• Desblache, Lucile. (2018) “From minor to major: Accessing marginal voices through music. New ways for translation?” In: Lewandowska-Tomaszczyk, Barbara (ed.) 2018. Contacts & Contrasts: Languages, Translation and Educational Contexts. Cham: Springer, pp. 143-155.
• Desblache, Lucile. (2017a) “Music Translation.” In: Sin Wai, Chan (ed.) 2017. An Encyclopaedia of Practical Translation and Interpreting. Hong Kong: The Chinese University Press.
• Desblache, Lucile. (2017b) “Music.” In: Washbourne, Kelly & Ben van Wyke (eds.) 2017. The Routledge Handbook of Literary Translation. London: Routledge, pp. 282-296.
• Desblache, Lucile. (2007) “Music to my ears, but words to my eyes?: Text, opera and their audiences.” Linguistica Antverpiensia, New Series 6, pp. 155-170.
• Dewolfe, Linda. (2001) “Surtitling operas. With examples of translations from German into French and Dutch.” In: Gambier, Yves & Henrik Gottlieb (eds.) 2001. (Multi)Media translation, concepts, practices and research. Amsterdam: John Benjamins, pp. 179-188.
• Díaz Cintas, Jorge & Aline Remael. (2007) Audiovisual Translation: Subtitling. Manchester: St. Jerome.
• Espasa, Eva. (2000) “Performability in translation: Speakability? Playability? Or just saleability?” In: Upton, Carole-Ann (ed.) 2000. Moving target. Theatre. Translation and cultural relocation. Manchester: St. Jerome, pp. 49-62.
• Ezpeleta, Pilar. (2007) Teatro y traducción. Aproximación interdisciplinaria desde la obra de Shakespeare. Madrid: Cátedra.
• Eardley-Weaver , Sarah. (2014a) “Opera (Sur)titles for the Deaf and the Hard-of-Hearing.” In: Díaz Cintas, Jorge; Josélia Neves & Diana Sanchez (eds.) 2014. Audiovisual Translation - Taking Stock. Amsterdam & New York: Rodopi, pp. 261-277.
• Eardley-Weaver , Sarah. (2014b) Lifting the Curtain on Opera Translation and Accessibility: Translating Opera for Audiences with Varying Sensory Ability. Ph.D. Durham University. Electronic version: http://etheses.dur.ac.uk/10590/
• Eardley-Weaver , Sarah. (2013) “Opening Eyes to Opera: the Process of Translation for Blind and Partially-sighted Audiences.” In: Ehrensberger-Dow, Maureen; Birgitta Englund Dimitrova; Severine Hubscher Davidson & Ulf Norberg (eds.) 2013. Describing Cognitive Processes in Translation: Acts and Events. Amsterdam: John Benjamins, pp. 125-145.
• Eardly-Weaver , Sarah. (2010). “Opening Doors to Opera: the Strategies, Challenges and General Role of the Translator.” InTralinea Vol. 12. Electronic version: http://www.intralinea.org/archive/article/Opening_doors_to_opera_
• Eugeni, Carlo. (2006). “Il sopratitolaggio. Definizione e differenze con il sottotitolaggio.” Intralinea, Vol. 8. Electronic version: http://www.intralinea.org/archive/article/il_sopratitolaggio
• Gorlée, Dinda L. (2005) Song and Significance: Virtues and Vices on Vocal Translation, Amsterdam & New York: Rodopi.
• Greco, Gian Maria. (2016) “On Accessibility as a Human Right, with an Application to Media Accessibility.” In: Matamala, Anna & Pilar Orero (eds.) 2016. Researching Audio Description. London: Palgrave Macmillan, pp. 11-33.
• Griesel, Yves. (2009) “Surtitling: Surtitles another hybrid on a hybrid stage.” TRANS 13, pp. 119-127.
• Griesel, Yves. (2005) “Surtitles and translation towards an integrative view of theater translation.” MuTra 2005 Challenges of Multidimensional Translation: Conference Proceedings, pp. 1-14. Electronic version: http://euroconferences.info/proceedings/2005_Proceedings/2005_Griesel_Yvonne.pdf
• Hughes, Sally; Kathryn Warren-Norton; Pat Spadafora & Lia E. Tsotsos. (2017) “Supporting Optimal Aging through the Innovative Use of Virtual Reality Technology.” Multimodal Technologies Interact 4:23, pp. 2-7.
• Huygelier, Hanne; Brenda Schraepen; Raymond van Ee; Vero Vanden; Abeele & Céline R. Gillebert. (2019) “Acceptance of immersive head-mounted virtual reality in older adults.” Scientific Reports 9. Electronic version: https://www.nature.com/articles/s41598-019-41200-6.pdf
• Inclusion Europe. (2016) “Information for all. European standards for making information easy to read and understand.” Electronic version: https://easyto-read.eu/european-standards/
• Kaindl, Klaus. (1997) “Die Übersetzung als Inszenierung: Ein interdisziplinärer Rahmen zur Analyse von Opernübersetzungen.” Target 9:2, pp. 271-287.
• Low, Peter. (2017) Translating Song: Lyrics and Texts. London: Routledge.
• Low, Peter. (2002) “Surtitles for opera. A specialised translating task”. Babel 48:2, pp. 97-110.
• Matamala, Anna & Pilar Orero. (2008) “Opera Translation: An Annotated Bibliography.” Translator 14:2, pp. 427-451.
• Matamala, Anna & Pilar Orero. (2007) “Accessible Opera: Overcoming Linguistic and Sensorial Barriers.” Perspectives 15:4, pp. 262-278.
• Mateo, Marta. (2007a) “Surtitling nowadays: new uses, attitudes and developments.” Linguistica Antverpiensia, New Series 6, pp 135-154.
• Mateo, Marta. (2007b) “Reception, text and context in the study of opera surtitles.” In: Gambier, Yves; Miriam Shlesinger & Radegundis Stolze (eds.) 2007. Doubts and directions in translation studies. Amsterdam: John Benjamins, pp. 169-182.
• Mateo , Marta. (2002) “Los sobretítulos de ópera: dimensión técnica, textual, social e ideológica.” In: Sanderson, Jan (ed.) 2002. Traductores para todo. Actas de las III Jornadas de doblaje y subtitulación. Alicante: Universidad de Alicante, pp. 51-73.
• Mateo, Marta. (2001) “Performing musical texts in a target language: The case of Spain.” Across Languages and Cultures 2:1, pp. 31-50.
• Mele-Scorcia, Antonia. (2018) “Surtitling and the audience: A love-hate relationship.” Jostrans 30. Electronic version: https://www.jostrans.org/issue30/art_mele.pdf
• Neves, Josélia. (2010) “Music to my Eyes... Conveying Music in Subtitling for the Deaf and the Hard of Hearing.” In: Bogucki, Lukasz & Krzysztof Kredens (eds.) 2010. Perspectives on Audiovisual Translation, Lodz Studies in Language. Frankfurt am Main: Peter Lang, pp. 123-146.
• Oncins, Estella. (2015) “The tyranny of the tool: surtitling live performances.” Perspectives: Studies in Translatology 23:1, pp. 42-61.
• Oncins, Estella. (2014). Accessibility for the scenic arts. Ph.D Thesis. Universitat Autònoma de Barcelona. Electronic version: https://www.tdx.cat/handle/10803/133314
• Redzioch-Korkuz, Anna. (2018) “Constraints on Opera Surtitling: Hindrance or Help?” Meta 63:1, pp 216-234.
• Redzioch-Kork uz, Anna. (2015) “Media Accessibility and opera in Poland.” In: Bogucki, Lukasz & Mikolaj Deckert (eds.) 2015. Accessing Audiovisual Translation. Frankfurt am Main: Peter Lang, pp. 149-162.
• Rober ts, Amy R.; Bob De Schutter, Kelley Franks & M. Elise Radina. (2018) “Older Adults’ Experiences with Audiovisual Virtual Reality: Perceived Usefulness and Other Factors Influencing Technology Acceptance”. Clinical Gerontologist 42:1, 27-33, DOI: 0.1080/07317115.2018.1442380
• Romero -Fre sco, Pablo. (2018). In support of a wide notion of media accessibility: Access to content and access to creation. Journal of Audiovisual Translation, 1(1), 187-204.
• Schöne, Benjamin; Marlene Wessels & Thomas Gruber. (2017) “Experiences in Virtual Reality: a Window to Autobiographical Memory.” Current Psychology Research 106:3, pp. 1-5.
• Secara, Alina. (2018) “Surtitling and Captioning for Theatre and Opera.” In: Pérez González, Luis (ed.) 2018. The Routledge Handbook of Audiovisual Translation, New York: Routledge, pp. 130-144.
• Silveira, Jason M. & Frank M. Diaz. (2012) “The effect of subtitles on listeners’ perceptions of expressivity.” Psychology of Music 42:2, pp. 233-250.
• Snell-Hornby, Mary. (2007) “Theatre and Opera Translation.” In: Kuhiwczak, Piotr & Karin Littau (eds.) 2007. A companion to translation studies, Multilingual Matters. Clevedon: United Kingdom, pp. 106-119.
• UN. (2015a) “World Population Ageing 2015: Highlights”. Electronic version: https://www.un.org/en/development/desa/population/publications/pdf/ageing/WPA2015_Highlights.pdf
• UN. (2015b) “Ageing and disability.” Electronic version: https://www.un.org/development/desa/disabilities/disability-and-ageing.html
• Vervecken, Anika. (2012) “Surtitles: Types and functions.” In: Silvia Bruti & Elena Di Giovanni (eds) 2012. Audiovisual translation across Europe. An ever-changing landscape. New Trends in Translation Studies Vol. 7. Berlin: Peter Lang.
• Virkk unen, Rita. (2004) “The source text of opera surtitles.” Meta 49:1, pp. 89-97.
• W3C WORLD WIDE WEB CONSORTIUM. (2018) “Older Users and Web Accessibility: Meeting the Needs of Ageing Web Users.” Electronic version: https://www.w3.org/WAI/older-users/#background