Looking at Japanese media online, one often finds comments such as "crazy Japan" from international viewers in the comment section. A quick search on YouTube forJapanese comedy would give an understanding of the origin of this statement. Japanese humour contains many unconventional concepts, and Japanese stand-up comedy is no exception. This study investigated fan subtitling for Japanese comedy, and the chosen material is one episode from the Japanese TV variety show Gaki no Tsukai ya Arahende: Batsu game special (Gaki files, 2011). The research question is: Which of Gottlieb’s strategies was employed to translate each punchline that resulted in a penalty (Batsu) in the fan-subtitled translation of Gaki no Tsukai ya Arahende: airport special? Since there is no official translation, this research used only the fantranslation to analyse the strategies utilised in this five-hour special episode. This was done by transcribing humorous punchlines in the original and analysing the fantranslated version using the translation theory of Henrik Gottlieb (1992). By exploring the strategies and translation errors found in this fan translation, this study hopes to give some theoretical and practical applications for Japanese language learners and translators. Finding answers to the main research questions in this study also resulted in practical examples of naturally occurring translation theories.

La tesi «Paràmetres per a una taxonomia de la subtitulació» identifica tots els diferents tipus de subtítols existents i dissenya una taxonomia per a ordenar de manera sistemàtica tota la casuística de paràmetres classificatoris aplicables als diferents tipus de subtítols, tant existents com possibles. En primer lloc es revisa la noció de text audiovisual i de traducció audiovisual, partint dels elements que els configuren i amb un repàs bibliogràfic sobre el tema.Es proposen una sèrie de paràmetres formals a partir dels quals redefinir i formalitzar la classificació de les diverses modalitats de traducció audiovisual.S'analitzen les característiques de la subtitulació, les restriccions que presenta i les estratègies de què disposa el traductor per a fer-hi front i també s'examina el concepte de normes i s'aplica a la subtitulació. Finalment, els paràmetres de la taxonomia de la subtitulació s'apliquen a diferents exemples de textos audiovisuals subtitulats, segons el seu suport, i també s'apliquen a nou programes de subtitulació.

The communication regarding the new corona-virus raises questions about availability and plain language. In Sweden, approximately 1.5 million people are in need of this communication through written language due to, inter alia, hearing impairment. Although subtitles are considered one of the most read genres today, it has received little focus in Swedish linguistic research, especially when it comes to intralingual subtitles. However, the communication through subtitles is limited and can lead to information loss. In Sweden, SVT as a public service channel has special requirements to maintain good quality in subtitles but nonetheless omissions are a prerequisite. However, this must never affect the loss of important information. Modality is considered within the Systemic-Functional Linguistics as linguistic tools to create opportunities to shift communication in different degrees and directions. A similar shift in degree can occur in expressions of valuation and opinions. Therefore, modality and valuation are interesting and important to study in a well-known TV- show that communicates, informs and debates about a social-crisis like the Corona-virus. This paper examines modality and expressions of valuation in the adaption from speech to subtitles in the Swedish news-program Agenda (SVT) reporting on the Corona-virus in Sweden and the world. Through the subtitling-shift model created by Sahlin (2001), I examine the omissions of modality and the expressions of valuation. The results show that the communication in subtitles have a weaker emphasis of conflicting opinions, are more objectively constructed and that there is a shift in nuances.

A tradução para legendas compreende, além de fatores culturais e linguísticos, questões técnicas específicas, as quais exercem grande influência no momento de fazer as escolhas tradutórias. É frequente a sensação, para os conhecedores da língua fonte, de que a legenda não compreende tudo o que está sendo dito na tela. Entretanto, o conhecimento das restrições técnicas, bem como a análise de fatores extratextuais envolvidos no material, permitem ao espectador discernir as possíveis intenções do legendador. Nesta pesquisa, analisamos o script do filme O auto da Compadecida, de Guel Arraes (2000), a fim de identificarmos marcadores culturais e quais os tratamentos dispensados a eles nas traduções para as legendas disponíveis no DVD oficial do filme, a partir do conceito de modalidades tradutórias de Aubert (2006). Após o levantamento dos marcadores e as análises das traduções, observamos as relações estabelecidas entre a tradução textual, as restrições técnicas da legendagem e os elementos extratextuais presentes no filme, conforme Titford (1982), e o quanto essas relações favorecem a compreensão da natureza dos marcadores por parte dos espectadores estrangeiros. Como resultado, apresentamos quatro tipologias de legendas combinadas com as modalidades, com o propósito de favorecer futuros estudos que versarão sobre a tradução de marcadores culturais e tradução para legendagem. / Translation into subtitles includes, in addition to cultural and linguistic factors, specific technical concerns, which exert great influence in the moment of making translation choices. It is often felt by those who have a solid knowledge of the source language, that the subtitle does not consist of everything that is displayed on the screen. However, the knowledge of specific technical constraints, as well as the analysis of extratextual factors involved in the material, allow the viewer to discern the possible intentions of the subtitler. In this research, we analyzed the movie script of O auto da Compadecida (A dogs will) by Guel Arraes (2000) in order to identify cultural markers and what treatments were given to them in the official subtitles which are available in the DVD, based on the concept of translation modalities by Aubert (2006). After selecting the cultural markers and having analyzed the translations, we observed the relations established between the textual translation, the technical constraints and the extratextual elements present in the movie, according to Titford (1982), as well as how these relations allow the comprehension of the nature of the markers by the foreign viewers. As a result, we present four typologies of subtitles united with the modalities, with the purpose of providing support for future studies that deal with translation of cultural markers and translation for subtitling.

Made available in DSpace on 2014-12-17T15:06:42Z (GMT). No. of bitstreams: 1 AidaCRS.pdf: 186343 bytes, checksum: 50a84ecd73306d77c0bdd56a9c0bc4aa (MD5) Previous issue date: 2008-06-13 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico / In this research we present a study of cultural aspects in dubbed and subtitled films. As a case study, we chose to compare the original French version of "Le fabuleux destin d'Amelie Poulain" with both the subtitled and the dubbed versions in Portuguese, with focus on the interaction between the French and the Brazilian cultures. First we considered that (i) the translation process interferes on the perception of cultural relationships; and that (ii) dubbing and subtitling are two methods of translation that result in distinct perceptions from the spectator. Then, we adopted the translation interpretative theory (Seleskovicth; Lederer, 2001; Deslile, 1980) as the general theoretical framework, since it emphasizes the extralinguistic equivalence on the translation process. Furthermore, we based this research on three analytical procedures, which are: the four-step translating operation, the contrastive perception and a translation's typology based on Vinay and Dalbernet's linguistic procedures (Srpov?, 1991, 1995, 2004). We extracted forty-six culture-related elements from the film and identified those belonging to the French ethno-universe. Then, the elements were classified with respect to a theoretical typology, based on concepts found in the Ethnography of Communication and a general typology, based on five general thematic groups, defined by the corpus. The results showed that both Brazilian versions tend to preserve those culture-related elements by using lexical loan and literal translation. The visual context, in its association with the linguistic procedures in both Brazilian versions, was also observed as an important element to the comprehension of the culture-related elements as they are considered in the French culture. As a general observation, the perception of culture-related elements in the film seems effectively be oriented by the translation methods / Este ? um estudo de caso, no qual realizamos uma an?lise descritiva e interpretativista da vers?o original do filme franc?s O fabuloso destino de Am?lie Poulain (2001), em contraste com as vers?es de legendagem e de dublagem brasileiras, com o intuito de explicitar a intera??o entre as culturas francesa e brasileira. Partimos dos pressupostos de que (i) o ato tradut?rio interfere na percep??o intercultural e (ii) a especificidade de cada modalidade de tradu??o resulta em implica??es distintas para a percep??o. Por privilegiar a equival?ncia extraling??stica na opera??o tradut?ria, adotamos a teoria interpretativa da tradu??o (Seleskovicth; Lederer, 2001; Deslile, 1980) como quadro te?rico geral. Na metodologia, Srpov? (1991, 1995, 2004) nos fornece tr?s recursos anal?ticos, quais sejam: a opera??o tradut?ria em quatro etapas, a tipologia das tradu??es -que se trata de uma reformula??o dos procedimentos ling??sticos propostos por Vinay e Dalbernet (1958) - e a percep??o contrastiva. A partir de um corpus constitu?do de quarenta e seis fragmentos do filme, identificamos os elementos culturais pertencentes ao etno-universo franc?s representado no filme e os classificamos conforme duas tipologias: uma de natureza te?rica, cujas no??es tomamos emprestadas, sobretudo, da Etnografia da Comunica??o; a outra, correspondente a cinco eixos tem?ticos, definidos pela natureza do pr?prio corpus. Os resultados indicam que ambas as tradu??es brasileiras tendem a conservar essas especificidades por empr?stimo lexical e tradu??o literal. Foi constatada, tamb?m, a import?ncia da associa??o dos procedimentos ling??sticos utilizados com o contexto visual, para uma melhor compreens?o do sentido das especificidades culturais francesas, conforme o etno-universo de partida. De maneira geral, a percep??o desses elementos culturais parece ser orientada pelas modalidades de tradu??o adotadas na pesquisa

nÃo hà / Translation action is a complex task that involves a greater understanding of culture and must be performed critically so that there is a reflection on the meaning of words within a context and not just the handling of grammatical forms from a language to another. In this context, subtitle translation has emerged as a way of transmitting cultural values due to the fact that it is a tool that allows the interaction between different cultures. Thus, in this work the subtitles will be taken as reference, understanding them as a translation process that takes into account linguistic, technical and mainly cultural aspects. Taking into account the cultural aspects, this work aims to investigate the presence of cultural markers (CM) in the subtitles of five The Simpsons episodes related to North - American culture and analyze how these terms were translated, that is, which translation procedures (TP) are involved in the translation process of this CM. For this analysis, the Polysystem Theory, createded by Itamar Even-Zohar (1970), the Descriptive Translation Studies of Gideon Toury (1998), the domestication concept proposed by Venuti (1998) and the notion of TP offered by Vinay and Darbelnet (1995) were taken as reference. For the data collection, srt files were used with the original English subtitles and another file of the same format with subtitles in Brazilian Portuguese. Through comparative analysis, the CM were collected and subdivided into subcategories according to their characteristics to make the analysis systematized. This subdivision was developed by this work and does not represent a truth in itself, being susceptible of changes and critics in future studies. Therefore, six subcategories of CM were suggested: language, clothing, personal style, typical foods, arts and brands. In the second stage, these CM were organized into tables to be examined. Then, in the third stage of the work and for the analysis of the collected terms, an instrumental based on Vinay and Darbelnet (1995), Venuti (1998) and Ivacovoni (2009) were developed. After analyzing the data, the exposition of them was done through graphs. The study concluded that all the translation procedures indicated in the research literature were detected, however, it was necessary to include the TP of omission, since it appeared in some translations. It is concluded then that the analysis indicated that the translation of the subtitles chose to approximate the text to the culture of the target reader. / A aÃÃo tradutÃria à uma tarefa complexa que envolve um entendimento maior sobre cultura e que deve ser realizada de forma crÃtica de maneira que haja uma reflexÃo sobre o significado das palavras dentro de um contexto e nÃo somente o manuseio de formas gramaticais de uma lÃngua à outra. Nesse contexto, a traduÃÃo por meio de legendas tem despontado como um meio de transmissÃo de valores culturais devido ao fato de ser uma ferramenta que possibilita a interaÃÃo entre diferentes culturas. Neste trabalho, tomaremos as legendas como base, entendendo-as como um processo tradutÃrio que leva em consideraÃÃo aspectos linguÃsticos, tÃcnicos e principalmente cultural. Levando em conta os aspectos culturais, esta dissertaÃÃo tem como objetivo investigar a presenÃa de marcadores culturais (MC) nas legendas de cinco episÃdios da sÃrie televisiva Os Simpsons com temÃticas da cultura norte-americana e analisar como se procedeu a traduÃÃo destes termos, ou seja, quais procedimentos tradutÃrios (PT) estÃo envolvidos no processo de traduÃÃo deste MC. Para esta anÃlise, foram tomados como base a Teoria dos Polissistemas, cunhada por Itamar Even-Zohar (1970), os Estudos Descritivos da TraduÃÃo de Gideon Toury (1998), o conceito de domesticaÃÃo proposto por Venuti (1998) e os PT ofertados por Vinay e Darbelnet (1995). Para a coleta dos dados, foram utilizados arquivos em formato .srt com a legenda original em lÃngua inglesa e outro arquivo no mesmo formato com legendas em portuguÃs brasileiro. Por meio de anÃlise comparativa, os MC foram coletados e subdivididos em subcategorias de acordo com suas caracterÃsticas para tornar a anÃlise sistematizada. Esta subdivisÃo foi desenvolvida por este trabalho e nÃo representa uma verdade em si, sendo passÃvel de alteraÃÃes e crÃticas em estudos futuros. Logo, foram sugeridos seis subgrupos de MC: lÃngua, vestimentas, estilo pessoal, culinÃria, artes e marcas. Na segunda etapa, tais MC foram organizados em tabelas para serem averiguados. Em seguida, na terceira etapa do trabalho e para a anÃlise dos termos coletados, foi desenvolvido instrumental baseado em Vinay e Darbelnet (1995), Venuti (1998) e Ivacovoni (2009). ApÃs anÃlise dos dados, a exposiÃÃo dos mesmos se deu por meio de grÃficos e explicaÃÃo dos mesmos. O estudo obteve como resultado que todos os procedimentos tradutÃrios indicados na literatura da pesquisa foram detectados, contudo, foi necessÃria a inclusÃo do PT da omissÃo, visto que este surgiu como PT utilizado em algumas traduÃÃes. Conclui-se, entÃo, que as anÃlises indicaram que a traduÃÃo das legendas optou por aproximar o texto à cultura do leitor meta.

A tradução para legendas compreende, além de fatores culturais e linguísticos, questões técnicas específicas, as quais exercem grande influência no momento de fazer as escolhas tradutórias. É frequente a sensação, para os conhecedores da língua fonte, de que a legenda não compreende tudo o que está sendo dito na tela. Entretanto, o conhecimento das restrições técnicas, bem como a análise de fatores extratextuais envolvidos no material, permitem ao espectador discernir as possíveis intenções do legendador. Nesta pesquisa, analisamos o script do filme O auto da Compadecida, de Guel Arraes (2000), a fim de identificarmos marcadores culturais e quais os tratamentos dispensados a eles nas traduções para as legendas disponíveis no DVD oficial do filme, a partir do conceito de modalidades tradutórias de Aubert (2006). Após o levantamento dos marcadores e as análises das traduções, observamos as relações estabelecidas entre a tradução textual, as restrições técnicas da legendagem e os elementos extratextuais presentes no filme, conforme Titford (1982), e o quanto essas relações favorecem a compreensão da natureza dos marcadores por parte dos espectadores estrangeiros. Como resultado, apresentamos quatro tipologias de legendas combinadas com as modalidades, com o propósito de favorecer futuros estudos que versarão sobre a tradução de marcadores culturais e tradução para legendagem. / Translation into subtitles includes, in addition to cultural and linguistic factors, specific technical concerns, which exert great influence in the moment of making translation choices. It is often felt by those who have a solid knowledge of the source language, that the subtitle does not consist of everything that is displayed on the screen. However, the knowledge of specific technical constraints, as well as the analysis of extratextual factors involved in the material, allow the viewer to discern the possible intentions of the subtitler. In this research, we analyzed the movie script of O auto da Compadecida (A dogs will) by Guel Arraes (2000) in order to identify cultural markers and what treatments were given to them in the official subtitles which are available in the DVD, based on the concept of translation modalities by Aubert (2006). After selecting the cultural markers and having analyzed the translations, we observed the relations established between the textual translation, the technical constraints and the extratextual elements present in the movie, according to Titford (1982), as well as how these relations allow the comprehension of the nature of the markers by the foreign viewers. As a result, we present four typologies of subtitles united with the modalities, with the purpose of providing support for future studies that deal with translation of cultural markers and translation for subtitling.

In this study I have evaluated the answers from 39 informants regarding their attitudes towards the translations of English-language movies and TV series into Swedish. In addition the informants also answered questions on how they perceive their own proficiency in English. The ages of the informants range from 12 to past retirement age. The informants have different backgrounds in terms of education, but all of them have Swedish as their native language.    This study shows that there is a certain level of discontent, amongst viewers in Sweden, when it comes to the quality, of subtitling and dubbing in audiovisual media. Due to these findings I ultimately argue that the area of audiovisual media is in need of further research and possibly improvements as well.

Syftet med denna studie var att utifrån olika kvalitetsnormer jämföra och analysera skillnader mellan professionella undertextares undertexter och amatörers undertexter. Dialogen från fyra filmer parades med motsvarande undertexter av professionella undertextare så väl som av amatörer, varpå skillnader registrerades, viktades samt analyserades. Resultaten visar att det föreligger signifikanta skillnader mellan undertexter av professionella undertextare och amatörer på ett flertal punkter, som till exempel struktur och semantik, reduktion och expansion, antal tecken, antal ord, exponeringstid samt antal undertextenheter. Genomgående så översätter amatörerna originaldialogen mer ord-för-ord än vad de professionella undertextarna gör, samtidigt som de professionella undertextarna stryker stora delar av dialogen, vilket innebär att tittare som använder amatörundertexter får betydligt mer text att läsa, vilket i sin tur innebär att mindre tid ägnas åt filmernas bildmässiga innehåll.

(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.