(in English): The thesis looks at the transfer of humour in audiovisual texts in sitcoms. The theoretical part introduces the topic, including types of jokes, strategies relating to the transfer of humour and the factors influencing the choice of a particular strategy. The empirical part is based on the analysis of professional and amateur subtitles of the British sitcom Miranda. This part analyses the humour of the series from the polysemiotic perspective. It focuses on the strategies of the transfer of language-dependent, cultural and complex jokes, the functionality of translation based on whether a humorous effect is produced or not, and the differences between the strategies of professional and amateur translators.

M.A. (Applied Linguistics and Literary Theory) / Fan subtitling, or fansubbing, has become a new form of subtitling, in which fans, often with little to no training, subtitle a film or series they enjoy, and then release the subtitles or a subtitled version of the film on the internet for free download, often by other fans, who often have an interest in the source language and culture and who may have an interest in using subtitles as a language-learning device. Subtitles produced for this fan audience can differ substantially from those created in a professional environment. For this reason, fansubs could be seen as a new genre of subtitling, employing strategies that would be unacceptable in a professional subtitled product aimed at general consumption. Professional subtitlers and translators are encouraged to follow the norms or ‘best practice’ of their industry in order to produce subtitles that are consistent, of a high quality and that have been made easy to process through methods such as length reduction and domestication. Fansubbers have no such imperatives imposed on their subtitles, being mostly self-taught and often judged by their peers and viewers on the ‘authenticity’ of their translations, rather than by other professionals and their standards. This creates an environment in which more creative translation strategies and presentation become possible, in order to create a translation that will be approved of by fans with a special interest in linguistic and cultural content. This need for the appearance of faithfulness or authenticity seems to result in a more source-oriented and complete translation approach, and a corpus-based investigation of French fansubs appears to confirm this. This dissertation attempts to explore the differences found in the two genres by analysing and comparing a translational corpus of professionally-produced and fanproduced English subtitles of French films. The average length of the subtitles and instances of discourse markers in the two sets of subtitles are compared in order to determine the degree of reduction found in each type of subtitle, and from the source to target culture. The translation strategies used in the two types of subtitling differ, with the fansub opting for a more complete rendering of the source text dialogue and a more source-oriented approach, which retains elements of spoken language found in the film dialogue. It appears that the differences between the target texts may be influenced by very different contexts in which they are produced, and possibly the differing needs and expectations of the audiences of the two genres.

This thesis focuses on translation norms of professional and amateur film subtitles. Adopting a descriptive approach, it first tries to establish recommended and actual technical and linguistic norms of translated film subtitles. Then, based on 109 films and corresponding 133 amateur and 101 professional subtitles, it quantitatively investigates which technical norms are actually upheld. The result is that actual technical norms of both groups are markedly different from the recommended ones and also slightly different from each other. Last, it qualitatively compares one amateur and one professional subtitles. Keywords: audiovisual translation, subtitling, amateur translation, fansubbing, translation norms 1

Triggered by globalisation and the increasing media convergence enabled by digital communication technologies, fansubbing has become one of the most observable aspects of Chinese participatory culture, both domestically and internationally. Informed by concepts drawn from the science of complexity and drawing on social self-organisation theory (Fuchs 2002), this study adopts a systems perspective and the method of netnography (Kozinets 2010) to bring to light the dynamics of collective identity formation in The Last Fantasy (TLF) fansubbing group, one of the most influential fansubbing networks in China. In particular, this study aims to reveal how TLF’s fansubbers deploy digital technologies to facilitate their daily subtitling activities, build and maintain their relationships, and express a collective voice in relation to the specific media context in China. Findings from this study are used to evaluate the role played by amateur translation, as exemplified by fansubbing activities carried out by TLF’s fansubbers, in China’s participatory culture. It is hoped that this study will enrich our understanding of the phenomenon of amateur translation in an increasingly networked society.

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-04-16T15:28:11Z No. of bitstreams: 2 Dissertação - Diego Goulart Machado Silva - 2018.pdf: 2438550 bytes, checksum: 01decd97120cd1804478525254b8b594 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-04-17T10:48:57Z (GMT) No. of bitstreams: 2 Dissertação - Diego Goulart Machado Silva - 2018.pdf: 2438550 bytes, checksum: 01decd97120cd1804478525254b8b594 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-17T10:48:57Z (GMT). No. of bitstreams: 2 Dissertação - Diego Goulart Machado Silva - 2018.pdf: 2438550 bytes, checksum: 01decd97120cd1804478525254b8b594 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Ce travail a pour but d’analyser les idéologies langagières manifestées dans les discours métapragmatiques dans des guides de sous-titrage d’équipes brésiliennes de fansubbing – le sous-titrage amateur de films, séries et animations faits par et pour les fans. Dans ce contexte contemporain de pratiques langagières, surtout de la production de sous-titres pour des films et séries faites par des legenders indépendants d’équipes brésiliennes, le thème principal de ce travail consiste aux évaluations de langue et de traduction faites par ces equipes et aux manières comment elles construisent la légitimité de leurs traductions au travers de leurs évaluations et orientations d’usage de la langue. Nous avons l’objectif d’identifier les idéologies langagières qui constituent, structurent et orientent la pratique de sous-titrage indépendante en équipe. Cette étude contribue avec l’approche ethnographique du numérique intéressée à la manière comment les pratiques en ligne influencent les pratiques hors ligne ; avec le domaine des idéologies langagières, intéressée à la manière comment les discours hégémoniques sur langue, surtout ceux issus d’un projet moderne, se soutiennent au Brésil ; finalement, avec le domaine d’études en traduction, intéressée à la manière comment les idéologies langagières fonctionnent dans la traduction. Nous avons donc deux catégories théorico-analytiques. Les idéologies langagières, que nous entendons comme les croyances et notions que des groupes de personnes partagent sur ce qui est une langue ; et les métapragmatiques de la langue en usage. Ces deux catégories nous ont fourni la possibilité d’analyser les idéologies langagières manifestées dans des commentaires qui rationalisent sur l’usage de la langue et/ou qui font fonctionnerles énoncées dans leurs contextes. Nos données et analyses indiquent um paradoxe où des idéologies langagières hégémoniques et non hégémoniques cohabitent. Les notions hégémoniques de langue qui suggèrent l’usage d’une variété standardisée et de prestige de langue, et l’obéissance aux règles grammaticales, sont soutenues. En même temps, la multimodalité constitutive des productions audiovisuelles (images, sons et textes) déstabilisent la linéarité du texte standard et la stabilité des règles grammaticales. / Este trabalho tem como foco analisar ideologias linguísticas que se manifestam em discursos metapragmáticos em manuais de equipes brasileiras de fansubbing. Por fansubbing entende-se a legendagem amadora de filmes, séries e animações feita por e para fãs. Levando em conta este contexto digital contemporâneo de práticas linguísticas, especificamente a produção de legendas para séries e filmes feitas por legenders independentes de equipes brasileiras, o tema central de interesse deste trabalho é como língua e tradução são avaliadas por estas equipes e em como estas equipes constroem a legitimidade de suas traduções através de suas avaliações e orientações de uso da língua. Mais especificamente, nosso objetivo está em identificar as ideologias linguísticas que constituem, estruturam e orientam a prática de legendagem independente em equipe. Este estudo contribui com uma abordagem etnográfica digital, interessada em práticas online e/ou em como práticas online afetam práticas off-line; com o campo das ideologias linguísticas, interessada em como discursos hegemônicos sobre língua, principalmente aqueles advindos de um projeto moderno, se sustentam no Brasil; e finalmente com o campo de estudos em tradução, interessado em como as ideologias linguísticas funcionam especificamente na tradução. Toma-se como categorias teórico-analíticas as ideologias linguísticas, aqui entendidas como as crenças e as noções que grupos de pessoas compartilham sobre o que é língua; e as metapragmáticas da língua em uso, que fornecem a possibilidade de analisar as ideologias linguísticas manifestadas em comentários que racionalizam sobre o uso da língua e/ou que fazem funcionar enunciados em seus contextos. Nossos dados e análises apontam um paradoxo onde ideologias linguísticas hegemônicas e não hegemônicas convivem ao mesmo tempo. Noções hegemônicas de língua que sugerem o uso de variedade padrão de prestígio da língua e a obediência às regras gramaticais são sustentadas ao mesmo tempo em que a multimodalidade constituinte de produções audiovisuais como imagens, sons e textos, desestabilizam e desafiam a linearidade do texto padrão e a estabilidade das regras gramaticais.

This master thesis deals with audiovisual translation with an emphasis on subtitles. In particular, it concentrates on the widespread phenomenon of amateur interlingual subtitling (fansubbing) using the Swedish feature movie Let the Right One In (Låt den rätte komma in) as material. In the theoretical part, the specifics of film subtitling are addressed: the most frequently used subtitling strategies and proceedings and the differences between professional and amateur subtitling in the single stages of the subtitling process - production, distribution and reception of subtitles and also translators' motivation and working conditions. In the empirical part, an analysis of Swedish audiovisual material is carried out, followed by an analysis of the respective professional and amateur-produced subtitles. The focus is on applied subtitling strategies, transfer of culture-specific items and marked speech, but also formal features of both subtitle types are discussed. In the course of the analysis, the current subtitling norms are taken into consideration, as well as the different socio-cultural context and distinctions between the Czech and the Swedish language. In the conclusion, the quality of the researched subtitles is assessed.

Fansub consiste à traduire et à sous-titrer les produits médiatiques étrangers tels que des films, des feuilletons ou des animes par des internautes bénévoles. Ce phénomène est aujourd’hui très répandu en Chine. Les amateurs s’organisent en groupes de fansub pour accomplir ce travail en collaboration. Les groupes de fansub se caractérisent par la virtualisation du lieu de travail, l’hétérogénéité des membres, la liberté de participation, la collaboration et la non-commercialité. Leur processus de travail et organisation est aussi particulier. Dans ce mémoire, je me suis intéressée à l’apprentissage des fansubbers, un aspect peu étudié dans la littérature sur le fansub. Le fansub a été abordé sous l’angle d’une communauté de pratiques pour comprendre comment les fansubbers acquièrent de nouvelles connaissances et améliorent leur compétence linguistique en sous-titrant les films de langue étrangère. L’étude est basée sur l’observation participative dans un groupe de fansub chinois-français, Fansub Yueyue. J’ai fait de l’observation participante auprès de ce groupe de fansub pour recueillir des traces du travail et des interactions entre les membres. Dix fansubbers du groupe ont aussi été interrogés. Les analyses ont indiqué que le groupe de fansub démontre les trois caractéristiques essentielles d’une communauté de pratique : l’entreprise commune, l’engagement mutuel et un répertoire partagé. Cet ensemble favorise l’existence du groupe ainsi que l’apprentissage des membres. Aussi, par l’analyse des erreurs fréquentes des fansubbers et leur autoévaluation, nous concluons que les pratiques de fansub aident les membres à améliorer leur compétence linguistique. L’apprentissage a lieu pendant le processus de travail de sous-titrage ainsi qu’à travers les interactions entre les membres ou avec des personnes hors de ce groupe. / Fansubbing consists of translating and subtitling foreign mass media productions by netizens interested in these films, television programs or cartoons. This phenomenon is growing rapidly in Chinese cyberspace with the proliferation of the Internet and the increasing number of foreign language learners. Fansub groups are organized by passionate amateurs willing to accomplish this work together. Characterized by a virtual workplace, heterogeneity of members, voluntary participation, and the non-commercial nature of their production, fansub groups have attracted the attention of academic researchers. Previous studies have considered the cultural aspects of fansub, problems of legitimacy as well as the question of audiovisual translation quality. However, this study considers fansub groups as communities of practice in which learning occurs. Specifically, we examine how one group’s members acquire new knowledge and improve their language abilities through the practice of subtitling. The study is based on participant observation in a Chinese-French fansub group named Yueyue Fansub. We collected and analyzed information and documents created during the work process. We also conducted interviews with ten fansub group members to deepen our empirical understanding. Our analysis shows that the fansub group has all three of the characteristics deemed essential in a community of practice: joint enterprise, mutual engagement and shared repertoire, and that this combination supports the group as well as members’ learning. In addition, analysis of common mistakes made by fansubbers combined with their self-evaluations indicate that fansub practices help improve language ability. Learning takes place during the subtitling work as well as in and through interactions among group members or with people outside the group.