Microsoft Word Tezisler Tercume 2009 2010 2011. doc

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a) Regarding the iconography: we find the same graphic elements in the French 
and Arabic versions: the perfume bottle is at the bottom of the page on the right; the 
advertising character (a woman) is at the center of the image and moving. She's dis-
playing the same smile in the two ads and the extras on the background are in the 
same position (sitting around a table). We can thus notice, on the iconographic level, 
the same scene shot from the same angle in both versions. 
But despite these common points, we easily notice a radical scene change when 
we go from one language to another. Instead of the indoor scene poorly lit and well 
delimited, one can see an outdoor scene much brighter and more open to the eye. 
The contrast between shooting indoors and outdoors is well illustrated by moving 
from a family scene (in French) to a street scene (in Arabic); the change is also 
obvious in the setting and the extras in the background. We go from the backyard of 
a house to a busy street. The impression of graphic similarity between the two ver-
sions is maintained mainly by the unity of perspective that puts the perfume bottle 
and the woman on the same line in both ads. The perfume is on the foreground, the 
character in the middle distance and the rest in the background blurred but crucial. 
b) Regarding the meaning: this graphic stratification renders the background 
elements that are decisive in determining the meaning of the advertising message. 
But these elements are totally different in the two versions, which lead to a change 
in meaning despite an apparent unity of perception. The unity is due to the Italian 
identity of the product in both versions whereas the difference is due to the shown 
aspect of this Italian identity. In both cases, the perfume brand name, clearly mentioned 
in the foreground (Tuscany per Donna) reflects the identity of the product and guides 
the reading of the advertising message. But the interpretation of the scene is also 
dependent on other graphic elements especially in this case, the elements that vary 
from one version to another. 
The privacy of the house is replaced by the exuberance of seduction, and the 
family smile by the flirtatious laughter. Thus the attitude of the ad's character could 
be interpreted differently. Instead of the complicity of the female attitude in French 
we have the feigned playfulness of the character in Arabic. In fact, in one version the 
woman turns her eyes towards the family and in the other version she turns her eyes 
away of the young men in the background. And yet it is the same character, the same 
smile and the same look; only the angle of shooting has been changed completely 
altering thus the global meaning of the message. 
The product (the perfume) which is at the heart of the ad doesn't bring about 
joy and delight in the family but instead it has a seductive power in attracting the 
attention of men on the woman who is wearing it. Thus the scene is totally different 
but it perfectly fits with the prevailing social representations in the cultural contexts 
targeted by the product. Pragmatism establishes therefore the nature of iconographic 
adaptation in international advertising. 

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«TƏRCÜMƏŞÜNASLIQ VƏ ONUN MÜASİR DÖVRDƏ ROLU»   IV Respublika tələbə elmi-praktik konfransı 
 
 
318 
Let us take now a case of textual adaptation that illustrates, among other things, 
the ideological dimension of advertising message. 
As example, we shall take the advertisement of the luxurious watches Tissot 
that have at least four different versions (French/ English/ Arabic/ Polish) and were 
broadcasted simultaneously in four different languages. What particularly interests 
me at this point is to show how the advertising message was adapted by translators to 
the real restrictions of the targeted market. 
Let us take the French and Arabic versions. This textual adaptation is visible on 
two levels. 
On one hand, on the level of rhetoric images with the translation of the expression 
"blue planet" in French by "our mother, the Earth" in Arabic which is more idiomatic 
and emotionally-charged. 
And on the other hand, on the level of the ideologically chosen words, with the 
translation of the word "citizen" by "inhabitant" in order to neutralize the political 
dimension that is still very consequential in Arabic because it refers to a type of go-
vernment that is rare in the Arab world (the republican and democratic system); to 
that we could add the universalistic range of the original message ("we are all citizens 
of the blue planet") that could irritate some nationalistic regimes. 
These two examples of localization show how the interaction between the trans-
lation itself and the cultural factors of the targeted market takes place within the 
commercial communication. 
Let us now take an example of localization that illustrates, in the same time, an 
adaptation of the text and the image and beyond that an adaptation of the interaction 
between linguistic signs and graphic signs in international advertising. 
We shall examine an advertisement for the perfume Poême by Lancôme that 
was a huge success in France and Europe. We have four versions in four different 
languages (French/ English/ Portuguese/ Arabic). 
The message efficiency lies in its poetic nature at both the text and image levels 
as well as in the double meaning of the woman's speech (interpreted by Juliette Binoche) 
who intones in French a line of poetry as a slogan ("You are the sun that rises to my 
head). 
Needless to insist on the real and objective difficulty to adapt such a message 
whose meaning even in French is still ambiguous and subject to several interpretations. 
(It is noteworthy that in the English version, this line was adapted as follows: 
"You are the sea, you cradle the stars". 
Adaptation of Text + Image + Praxis="Localization" 
The striking graphic adaptations in this version can be summarized in three 
prominent points: 

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