{"id":285,"date":"2021-07-26T23:08:40","date_gmt":"2021-07-26T23:08:40","guid":{"rendered":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/?post_type=chapter&p=285"},"modified":"2021-08-09T16:14:46","modified_gmt":"2021-08-09T16:14:46","slug":"7-3-2-entertainment-translations-synthesis","status":"publish","type":"chapter","link":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/chapter\/7-3-2-entertainment-translations-synthesis\/","title":{"rendered":"7.3.2 Entertainment translations (synthesis)"},"content":{"raw":"

English 102, February 2021<\/h3>\r\nThroughout\u00a0all of\u00a0human history, entertainment has been a staple of society. There was a\u00a0time,\u00a0however,\u00a0when people were unable to enjoy the entertainment and culture of a\u00a0different society. That time has long\u00a0passed, as advancements in technology and interest in other cultures have\u00a0grown tremendously.\u00a0Food, traditions, art, history, and many other aspects that are\u00a0vital\u00a0to a\u00a0specific\u00a0culture are being experienced\u00a0by many other\u00a0cultures in a great melting pot of\u00a0societies.\u00a0An\u00a0incredibly important piece of any culture\u2019s puzzle\u00a0would be the shows and movies they create as well. There is much speculation in this area though, as many people believe that others who watch\u00a0shows or\u00a0movies\u00a0from a different culture do not grasp the entire concept of it,\u00a0or\u00a0even\u00a0understand any of it for that matter.\u00a0The primary purpose of anyone who works in the field of translation of entertainment is to effectively\u00a0provide\u00a0the translation while preserving the original intent of the film or show.\r\n\r\nThere are many dialects and languages that must be incorporated into a\u00a0single\u00a0production\u00a0in order for\u00a0the work to be enjoyed by a larger audience\u00a0consisting of multiple cultures. While the cause is just, the effect may sometimes have a negative effect.\u00a0A specific example comes from an article titled\u00a0Development of Language Attitudes\u00a0<\/em>by Jordan Harden.\u00a0In this article, Harden discusses how the portrayal of a certain dialect, Hawaiin Pidgin English in this instance, causes a false and negative stigma revolving around the language and its\u00a0history as a whole. Language discrimination is\u00a0often\u00a0viewed as an\u00a0excusable\u00a0practice and\u00a0is commonplace in\u00a0numerous\u00a0public settings and workplaces.\u00a0This practice not only\u00a0deems\u00a0a particular dialect as\u00a0inferior but\u00a0demeans the speaker of the dialect as well (Harden\u00a02).\u00a0In the movie \u201c50 First Dates\u201d one of the main characters is a lazy,\u00a0unmotivated, immature\u00a0Hawaiin Native. Because he speaks in Hawaiin Pidgin English, a connection is made between the dialect and the\u00a0personalities of those who speak it. This type of translation is ineffective and damaging to the culture\u00a0of people who speak Hawaiin Pidgin English as opposed to Standard American English.\u00a0A lasting effect of this type of translation error is that the dialect and those who speak it are\u00a0deemed\u00a0inferior by those who are not exposed to it outside of a Hollywood production (Harden 2).\u00a0The problem that lies within this when it comes to translating films and shows, is that if the person in charge of the translation does not understand the language and dialect, there will be a\u00a0continued\u00a0false perpetuation which destroys the integrity of\u00a0the production.\r\n\r\nIn order to\u00a0watch and follow a show or movie that is in a foreign language one cannot speak or understand, there must be a\u00a0translation. The translation\u00a0that must occur\u00a0only comes in two forms, which are overdubs, and subtitles.\u00a0Each form is quite\u00a0literal\u00a0in its definition, as overdubs are when a studio or group removes the dialogue from the original\u00a0production and\u00a0replaces it with another one. Subtitles are when the original audio and dialogue are kept, but there is a written translation on the screen that viewers can read in their own language.\u00a0In an article written by Tatsuya Fukushima titled\u00a0Translation Course in Film Subtitling<\/em>, he\u00a0states, \u201cThe ultimate goal of a film translator is to produce the kind of translation that preserves the cultural identity of the source language while it is optimally accessible to the prospective audience at the same time.\u201d\u00a0One\u00a0of the most\u00a0daunting prospects of film translation is\u00a0maintaining\u00a0the original identity of the original production.\u00a0Enter in the decades-long dispute of over-dubbing versus subtitling. In Fukushima\u2019s article, he\u00a0provides\u00a0four critical reasons why subtitling edges out overdubs when it comes\u00a0to economic viability, technical efficiency, and artistic integrity.\u00a0The first reason Fukushima\u00a0provides\u00a0is that overdubbing from a financial standpoint is much less attractive than subtitling. There must be casting done to select the team of voice actors that will\u00a0provide\u00a0the dialogue for the overdub. Factoring in studio time, editing, and the voice actors themselves, overdubbing is\u00a0generally ten\u00a0times more expensive than subtitling\u00a0(Fukushima 59). Second, Fukushima tells how the process of overdubbing is much more time-consuming and intricate than subtitling, due to\u00a0its high degree of skill and collaboration.\u00a0A good example\u00a0of this\u00a0would be\u00a0overdubbing a Japanese film in English. Japanese is a syllable timed language, with each syllable occurring in regular intervals. On the other hand, English is\u00a0a stress-timed language, where each stressed or emphasized syllable occurs randomly. This\u00a0reason alone causes the out-of-sync dialogue to occasionally\u00a0distract viewers from\u00a0the experience\u00a0(Fukushima 59).\u00a0Third, Fukushima sheds light on how overdubs tend to cut corners and rewrite the\u00a0dialogue\u00a0occasionally to achieve a more\u00a0accurate\u00a0depiction of lip-synchronization.\u00a0Lastly, subtitle advocates defend their stance by contending that\u00a0by using subtitles instead of overdubs, the cultural and artistic integrity of the foreign film is\u00a0retained\u00a0(Fukushima 60).\u00a0Combining all these points together, Fukushima\u00a0provides\u00a0a solid logistical argument that can be incorporated into the subtitles versus\u00a0overdub debate.\u00a0Additionally,\u00a0Fukushima does not forget to mention that advocates for overdubs argue that subtitles force the viewer\u00a0to read at a pace that is not their own, on top of having to watch and listen. Three cognitive efforts are bound to tire the viewer exponentially faster than just\u00a0two\u00a0and will result in the viewer\u00a0missing out on\u00a0key components and\u00a0important events\u00a0that occur\u00a0due to their mental fatigue (Fukushima 60).\r\n\r\nDespite the\u00a0numerous\u00a0pros and cons people have for either subtitles or overdubs, there are certain cultures that will only watch a foreign production if it is dubbed.\u00a0A book titled\u00a0Reassessing\u00a0Dubbing<\/em>, by Irene\u00a0Ranzato\u00a0and\u00a0Serenella\u00a0Zanotti\u00a0tackles many issues and theories\u00a0regarding\u00a0overdubbing in modern times.\u00a0These cultural trends are different in every country, and\u00a0they are\u00a0normally based on social, financial, and historical reasons\u00a0as to why they are so\u00a0(Ranzato\u00a01).\u00a0Netflix conducted interviews with their US consumers about preferences when watching foreign films and\u00a0the response was overwhelmingly in favor of watching with subtitles compared to overdubs.\u00a0Contrary to that result, 81% of\u00a0English-speaking\u00a0countries streamed the German TV series\u00a0Dark\u00a0<\/em>with overdubs. It was also found that those who began watching shows with overdubs were more likely to finish the series than those who\u00a0watched it\u00a0with subtitles\u00a0(Ranzato\u00a04).\u00a0While much work has gone into overdubbing and the strategies behind it, there has been a steady decrease in the research\u00a0into\u00a0it.\u00a0This is because worldwide interest in subtitles has been increasing,\u00a0and the two\u00a0are inverses of each other, so the worldwide interest in dubbing has been trending downward\u00a0(Ranzato\u00a06).\u00a0On the other hand, many countries have been flipping their preference and leaning more towards the other side of the discussion than they previously had.\u00a0Many dubbing countries have begun using subtitles more,\u00a0whereas\u00a0countries that primarily use subtitles are beginning to experience the ease of viewing that comes with overdubs\u00a0(Ranzato\u00a02).\u00a0\u00a0There are some places\u00a0where\u00a0broadcasting a show or movie with subtitles in a market where overdubs are popular will lead to audience drops of 30% or more (Ranzato\u00a02).\r\n\r\nFocusing on the historical aspect of it, dubbing has long been a symbol of oppression and\u00a0an\u00a0efficient\u00a0censorship\u00a0tool\u00a0used\u00a0by dictators and supreme leaders\u00a0alike.\u00a0Often, dubbing is seen as a relic from a disturbing past (Ranzato\u00a06).\u00a0It has also been the subject of much scrutiny, with\u00a0Herbert Fielden-Briggs stating, \u201cDubbing is a lie. You lie from beginning to end. It\u2019s a complete invention, so it can be\u00a0more or less faithful\u00a0to a\u00a0given\u00a0market\u201d\u00a0(Ranzato\u00a07).\u00a0Since many renowned figures in literacy and society have negative opinions on overdubs and are not shy to let it be known, it would make sense that\u00a0most people would share that opinion and subtitles would be more popular than overdubs.\u00a0That is not the case in many places.\u00a0A large number\u00a0of\u00a0countries prefer dubbing over subbing, and an even larger number will use overdubs when children are involved.\u00a0This is a particularly fascinating topic, because each side will die defending their own\u00a0side,\u00a0when in reality,\u00a0it\u00a0is all a personal choice and should not\u00a0influence\u00a0anyone else.\u00a0In an ideal world, all dubs and subs play out perfectly and are displayed smoothly on the screen.\u00a0Unfortunately, this world is anything but\u00a0ideal.\r\n\r\nWhether one enjoys their foreign show or movie with subtitles or overdubs, they will not be able to experience it in the way someone of that culture would be able to. Any person who watches\u00a0with subtitles or overdubs is not a part of that\u00a0production's\u00a0primary audience, and not included in the discourse of that culture. In Gee\u2019s\u00a0\u201cWhat Is Literacy,\u201d\u00a0Gee states how\u00a0each person is equipped with an \u201cidentity kit\u201d for a certain discourse.\u00a0Whether it comes from learning, acquisition, curiosity, or birth, this \u201cidentity kit\u201d places someone with other people of similar interests and\u00a0skills.\u00a0The \u201cidentity kit\u201d comes with the\u00a0appropriate characteristics\u00a0and instructions for one to be\u00a0grouped in with the members of a particular discourse\u00a0(Gee 18).\u00a0Relating to this topic, there\u00a0is no subtitle discourse versus overdub\u00a0discourse.\u00a0The \u201cidentity kit\u201d people obtain comes from watching foreign films and shows.\u00a0The method in which it is viewed is different, but not enough to make the\u00a0discourses\u00a0two separate entities.\u00a0This discourse is a form\u00a0of communication, and it is not the\u00a0individuals interacting\u00a0with\u00a0each other\u00a0through the discourse, but\u00a0rather the\u00a0discourse\u00a0interacting\u00a0with\u00a0itself and others through individuals (Gee 20).\r\n

Works\u00a0Cited<\/p>\r\nFukushima, Tatsuya. \u201cTranslation Course in Film Subtitling.\u201d\u00a0Translation\u00a0Review<\/em>, www.tandfonline.com\/doi\/pdf\/10.1080\/07374836.2002.10523828?needAccess=true<\/a>.\r\n\r\nGee,\u00a0James Paul. \"What is literacy.\"\u00a0Negotiating academic literacies: Teaching and learning\u00a0<\/em> across languages and cultures<\/em>\u00a0(1998): 18-25. Accessed February 25, 2021.\r\n\r\nHarden, Jordan.\u00a0Development of Language Attitudes<\/em>, 3 Nov. 2019, https:\/\/blogs.uoregon.edu\/hc424h\/author\/cvaughn\/page\/2\/<\/a>\r\n\r\nRanzato, Irene. \u201cReassessing Dubbing.\u201d\u00a0Google Books<\/em>, Google,\u00a0https:\/\/books.google.com\/books?hl=en&lr=&id=_LGoDwAAQBAJ&oi=fnd&pg=PA1&dq=subtitles+versus+overdubs&ots=9-_uD0mfdx&sig=WPEY1FOVwJxgLl8B3KLfTK1CwDI#v=onepage&q&f=false<\/a>\r\n\r\nThis is simply a link to a page that illustrates which countries prefer overdubs versus subtitles. https:\/\/webcasts.td.org\/uploads\/assets\/9888\/document\/Commit_Video_dubbing_vs_subtitling.pdf<\/a>","rendered":"

English 102, February 2021<\/h3>\n

Throughout\u00a0all of\u00a0human history, entertainment has been a staple of society. There was a\u00a0time,\u00a0however,\u00a0when people were unable to enjoy the entertainment and culture of a\u00a0different society. That time has long\u00a0passed, as advancements in technology and interest in other cultures have\u00a0grown tremendously.\u00a0Food, traditions, art, history, and many other aspects that are\u00a0vital\u00a0to a\u00a0specific\u00a0culture are being experienced\u00a0by many other\u00a0cultures in a great melting pot of\u00a0societies.\u00a0An\u00a0incredibly important piece of any culture\u2019s puzzle\u00a0would be the shows and movies they create as well. There is much speculation in this area though, as many people believe that others who watch\u00a0shows or\u00a0movies\u00a0from a different culture do not grasp the entire concept of it,\u00a0or\u00a0even\u00a0understand any of it for that matter.\u00a0The primary purpose of anyone who works in the field of translation of entertainment is to effectively\u00a0provide\u00a0the translation while preserving the original intent of the film or show.<\/p>\n

There are many dialects and languages that must be incorporated into a\u00a0single\u00a0production\u00a0in order for\u00a0the work to be enjoyed by a larger audience\u00a0consisting of multiple cultures. While the cause is just, the effect may sometimes have a negative effect.\u00a0A specific example comes from an article titled\u00a0Development of Language Attitudes\u00a0<\/em>by Jordan Harden.\u00a0In this article, Harden discusses how the portrayal of a certain dialect, Hawaiin Pidgin English in this instance, causes a false and negative stigma revolving around the language and its\u00a0history as a whole. Language discrimination is\u00a0often\u00a0viewed as an\u00a0excusable\u00a0practice and\u00a0is commonplace in\u00a0numerous\u00a0public settings and workplaces.\u00a0This practice not only\u00a0deems\u00a0a particular dialect as\u00a0inferior but\u00a0demeans the speaker of the dialect as well (Harden\u00a02).\u00a0In the movie \u201c50 First Dates\u201d one of the main characters is a lazy,\u00a0unmotivated, immature\u00a0Hawaiin Native. Because he speaks in Hawaiin Pidgin English, a connection is made between the dialect and the\u00a0personalities of those who speak it. This type of translation is ineffective and damaging to the culture\u00a0of people who speak Hawaiin Pidgin English as opposed to Standard American English.\u00a0A lasting effect of this type of translation error is that the dialect and those who speak it are\u00a0deemed\u00a0inferior by those who are not exposed to it outside of a Hollywood production (Harden 2).\u00a0The problem that lies within this when it comes to translating films and shows, is that if the person in charge of the translation does not understand the language and dialect, there will be a\u00a0continued\u00a0false perpetuation which destroys the integrity of\u00a0the production.<\/p>\n

In order to\u00a0watch and follow a show or movie that is in a foreign language one cannot speak or understand, there must be a\u00a0translation. The translation\u00a0that must occur\u00a0only comes in two forms, which are overdubs, and subtitles.\u00a0Each form is quite\u00a0literal\u00a0in its definition, as overdubs are when a studio or group removes the dialogue from the original\u00a0production and\u00a0replaces it with another one. Subtitles are when the original audio and dialogue are kept, but there is a written translation on the screen that viewers can read in their own language.\u00a0In an article written by Tatsuya Fukushima titled\u00a0Translation Course in Film Subtitling<\/em>, he\u00a0states, \u201cThe ultimate goal of a film translator is to produce the kind of translation that preserves the cultural identity of the source language while it is optimally accessible to the prospective audience at the same time.\u201d\u00a0One\u00a0of the most\u00a0daunting prospects of film translation is\u00a0maintaining\u00a0the original identity of the original production.\u00a0Enter in the decades-long dispute of over-dubbing versus subtitling. In Fukushima\u2019s article, he\u00a0provides\u00a0four critical reasons why subtitling edges out overdubs when it comes\u00a0to economic viability, technical efficiency, and artistic integrity.\u00a0The first reason Fukushima\u00a0provides\u00a0is that overdubbing from a financial standpoint is much less attractive than subtitling. There must be casting done to select the team of voice actors that will\u00a0provide\u00a0the dialogue for the overdub. Factoring in studio time, editing, and the voice actors themselves, overdubbing is\u00a0generally ten\u00a0times more expensive than subtitling\u00a0(Fukushima 59). Second, Fukushima tells how the process of overdubbing is much more time-consuming and intricate than subtitling, due to\u00a0its high degree of skill and collaboration.\u00a0A good example\u00a0of this\u00a0would be\u00a0overdubbing a Japanese film in English. Japanese is a syllable timed language, with each syllable occurring in regular intervals. On the other hand, English is\u00a0a stress-timed language, where each stressed or emphasized syllable occurs randomly. This\u00a0reason alone causes the out-of-sync dialogue to occasionally\u00a0distract viewers from\u00a0the experience\u00a0(Fukushima 59).\u00a0Third, Fukushima sheds light on how overdubs tend to cut corners and rewrite the\u00a0dialogue\u00a0occasionally to achieve a more\u00a0accurate\u00a0depiction of lip-synchronization.\u00a0Lastly, subtitle advocates defend their stance by contending that\u00a0by using subtitles instead of overdubs, the cultural and artistic integrity of the foreign film is\u00a0retained\u00a0(Fukushima 60).\u00a0Combining all these points together, Fukushima\u00a0provides\u00a0a solid logistical argument that can be incorporated into the subtitles versus\u00a0overdub debate.\u00a0Additionally,\u00a0Fukushima does not forget to mention that advocates for overdubs argue that subtitles force the viewer\u00a0to read at a pace that is not their own, on top of having to watch and listen. Three cognitive efforts are bound to tire the viewer exponentially faster than just\u00a0two\u00a0and will result in the viewer\u00a0missing out on\u00a0key components and\u00a0important events\u00a0that occur\u00a0due to their mental fatigue (Fukushima 60).<\/p>\n

Despite the\u00a0numerous\u00a0pros and cons people have for either subtitles or overdubs, there are certain cultures that will only watch a foreign production if it is dubbed.\u00a0A book titled\u00a0Reassessing\u00a0Dubbing<\/em>, by Irene\u00a0Ranzato\u00a0and\u00a0Serenella\u00a0Zanotti\u00a0tackles many issues and theories\u00a0regarding\u00a0overdubbing in modern times.\u00a0These cultural trends are different in every country, and\u00a0they are\u00a0normally based on social, financial, and historical reasons\u00a0as to why they are so\u00a0(Ranzato\u00a01).\u00a0Netflix conducted interviews with their US consumers about preferences when watching foreign films and\u00a0the response was overwhelmingly in favor of watching with subtitles compared to overdubs.\u00a0Contrary to that result, 81% of\u00a0English-speaking\u00a0countries streamed the German TV series\u00a0Dark\u00a0<\/em>with overdubs. It was also found that those who began watching shows with overdubs were more likely to finish the series than those who\u00a0watched it\u00a0with subtitles\u00a0(Ranzato\u00a04).\u00a0While much work has gone into overdubbing and the strategies behind it, there has been a steady decrease in the research\u00a0into\u00a0it.\u00a0This is because worldwide interest in subtitles has been increasing,\u00a0and the two\u00a0are inverses of each other, so the worldwide interest in dubbing has been trending downward\u00a0(Ranzato\u00a06).\u00a0On the other hand, many countries have been flipping their preference and leaning more towards the other side of the discussion than they previously had.\u00a0Many dubbing countries have begun using subtitles more,\u00a0whereas\u00a0countries that primarily use subtitles are beginning to experience the ease of viewing that comes with overdubs\u00a0(Ranzato\u00a02).\u00a0\u00a0There are some places\u00a0where\u00a0broadcasting a show or movie with subtitles in a market where overdubs are popular will lead to audience drops of 30% or more (Ranzato\u00a02).<\/p>\n

Focusing on the historical aspect of it, dubbing has long been a symbol of oppression and\u00a0an\u00a0efficient\u00a0censorship\u00a0tool\u00a0used\u00a0by dictators and supreme leaders\u00a0alike.\u00a0Often, dubbing is seen as a relic from a disturbing past (Ranzato\u00a06).\u00a0It has also been the subject of much scrutiny, with\u00a0Herbert Fielden-Briggs stating, \u201cDubbing is a lie. You lie from beginning to end. It\u2019s a complete invention, so it can be\u00a0more or less faithful\u00a0to a\u00a0given\u00a0market\u201d\u00a0(Ranzato\u00a07).\u00a0Since many renowned figures in literacy and society have negative opinions on overdubs and are not shy to let it be known, it would make sense that\u00a0most people would share that opinion and subtitles would be more popular than overdubs.\u00a0That is not the case in many places.\u00a0A large number\u00a0of\u00a0countries prefer dubbing over subbing, and an even larger number will use overdubs when children are involved.\u00a0This is a particularly fascinating topic, because each side will die defending their own\u00a0side,\u00a0when in reality,\u00a0it\u00a0is all a personal choice and should not\u00a0influence\u00a0anyone else.\u00a0In an ideal world, all dubs and subs play out perfectly and are displayed smoothly on the screen.\u00a0Unfortunately, this world is anything but\u00a0ideal.<\/p>\n

Whether one enjoys their foreign show or movie with subtitles or overdubs, they will not be able to experience it in the way someone of that culture would be able to. Any person who watches\u00a0with subtitles or overdubs is not a part of that\u00a0production’s\u00a0primary audience, and not included in the discourse of that culture. In Gee\u2019s\u00a0\u201cWhat Is Literacy,\u201d\u00a0Gee states how\u00a0each person is equipped with an \u201cidentity kit\u201d for a certain discourse.\u00a0Whether it comes from learning, acquisition, curiosity, or birth, this \u201cidentity kit\u201d places someone with other people of similar interests and\u00a0skills.\u00a0The \u201cidentity kit\u201d comes with the\u00a0appropriate characteristics\u00a0and instructions for one to be\u00a0grouped in with the members of a particular discourse\u00a0(Gee 18).\u00a0Relating to this topic, there\u00a0is no subtitle discourse versus overdub\u00a0discourse.\u00a0The \u201cidentity kit\u201d people obtain comes from watching foreign films and shows.\u00a0The method in which it is viewed is different, but not enough to make the\u00a0discourses\u00a0two separate entities.\u00a0This discourse is a form\u00a0of communication, and it is not the\u00a0individuals interacting\u00a0with\u00a0each other\u00a0through the discourse, but\u00a0rather the\u00a0discourse\u00a0interacting\u00a0with\u00a0itself and others through individuals (Gee 20).<\/p>\n

Works\u00a0Cited<\/p>\n

Fukushima, Tatsuya. \u201cTranslation Course in Film Subtitling.\u201d\u00a0Translation\u00a0Review<\/em>, www.tandfonline.com\/doi\/pdf\/10.1080\/07374836.2002.10523828?needAccess=true<\/a>.<\/p>\n

Gee,\u00a0James Paul. “What is literacy.”\u00a0Negotiating academic literacies: Teaching and learning\u00a0<\/em> across languages and cultures<\/em>\u00a0(1998): 18-25. Accessed February 25, 2021.<\/p>\n

Harden, Jordan.\u00a0Development of Language Attitudes<\/em>, 3 Nov. 2019, https:\/\/blogs.uoregon.edu\/hc424h\/author\/cvaughn\/page\/2\/<\/a><\/p>\n

Ranzato, Irene. \u201cReassessing Dubbing.\u201d\u00a0Google Books<\/em>, Google,\u00a0https:\/\/books.google.com\/books?hl=en&lr=&id=_LGoDwAAQBAJ&oi=fnd&pg=PA1&dq=subtitles+versus+overdubs&ots=9-_uD0mfdx&sig=WPEY1FOVwJxgLl8B3KLfTK1CwDI#v=onepage&q&f=false<\/a><\/p>\n

This is simply a link to a page that illustrates which countries prefer overdubs versus subtitles. https:\/\/webcasts.td.org\/uploads\/assets\/9888\/document\/Commit_Video_dubbing_vs_subtitling.pdf<\/a><\/p>\n","protected":false},"author":253,"menu_order":6,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":["tzeman"],"pb_section_license":""},"chapter-type":[],"contributor":[74],"license":[],"class_list":["post-285","chapter","type-chapter","status-publish","hentry","contributor-tzeman"],"part":260,"_links":{"self":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/pressbooks\/v2\/chapters\/285","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/wp\/v2\/users\/253"}],"version-history":[{"count":2,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/pressbooks\/v2\/chapters\/285\/revisions"}],"predecessor-version":[{"id":581,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/pressbooks\/v2\/chapters\/285\/revisions\/581"}],"part":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/pressbooks\/v2\/parts\/260"}],"metadata":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/pressbooks\/v2\/chapters\/285\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/wp\/v2\/media?parent=285"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/pressbooks\/v2\/chapter-type?post=285"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/wp\/v2\/contributor?post=285"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/wp\/v2\/license?post=285"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}