O som no cinema gera expectativas, guia o espectador através das imagens e molda a recepção das cenas (BORDWELL; THOMPSON, 2008). Para que o espectador surdo ou ensurdecido tenha acesso a esse input ao assistir a uma produção audiovisual, a legenda para surdos e ensurdecidos (LSE) traduz os efeitos sonoros dos filmes (ARAÚJO, 2004). Em busca de um modelo de LSE que supra as necessidades do público alvo, foi realizada uma pesquisa com 34 surdos brasileiros (ARAÚJO; NASCIMENTO, 2011; ARAÚJO ET AL, 2013). Os resultados sugeriram que as traduções existentes analisadas de efeitos sonoros confundiam o espectador ou não acrescentavam informações relevantes. Levando em consideração a importância do som no cinema, realizou-se uma pesquisa para observar como essas traduções ocorriam em três filmes brasileiros comercializados em DVD (NASCIMENTO, 2013). Os resultados mostraram que a maioria dos efeitos sonoros encontrados nos filmes da pesquisa foram legendados sem uma preocupação aparente de ligar o som à sua significação na trama. Assim, com o propósito de auxiliar os legendistas nessas traduções, esta pesquisa tem como objetivo principal convencionar legendas para efeitos sonoros, além de estabelecer algumas diretrizes para a tarefa de traduzir sons em palavras. Acredita-se, ainda, que o processo de padronização das legendas também tornaria mais acessível as legendas em língua portuguesa para o público-alvo, pois unidades convencionadas são lidas de forma mais rápida (WOOD, 2015). Para isso, foi coletado um corpus comparável que foi analisado com o auxílio do software WordSmith Tools. Para facilitar as análises com o software, as legendas dos filmes foram etiquetadas a partir de categorias de proveniência do som. Para os ruídos, apresentamse as seguintes etiquetas: sons produzidos pelo homem, sons produzidos por objeto, sons produzidos por animais, sons produzidos pela natureza, sons ficcionais e silêncio. Para as músicas, as etiquetas são: música de fosso e música de tela. Essas etiquetas foram utilizadas como nódulos de busca e possibilitaram encontrar relevantes dados numéricos, tais como as categorias mais frequentemente legendadas no corpus: sons produzidos pelo homem e música de fosso. Portanto, esses são os sons cujas traduções foram convencionadas nessa pesquisa. / The sound in the cinema creates expectations, guides the spectator through images, and shapes the reception of scenes (BORDWELL; THOMPSON, 2008). So that deaf and hard of hearing public may have access to this input when watching an audiovisual production, the subtitle for the deaf and hard of hearing (SDH) translates the movies sound effects (ARAÚJO, 2004). In search for a SDH model that meets the spectators needs, a research has been conducted with 34 Brazilians deaf subjects (ARAÚJO; NASCIMENTO, 2011; ARAÚJO ET AL, 2013). The results suggested that the existent sound effects translations would mislead the spectator or would not contribute with relevant information. Taking into account the importance of the sound in the cinema, another research has been conduct in order to analyze how translations of sound effect were made in three commercialized DVDs in Brazil (NASCIMENTO, 2013). The results showed that most sound effects in the films were translated without connecting them to their meanings within the movie plot. Thus, in order to help translators with these translations, this researchs main objective is to conventionalize sound effects subtitles and stablish some guidelines to the sound into words task. Furthermore, it is believed that conventionalizing subtitles could render them more accessible as conventionalized units are read faster than non-conventionalized (WOOD, 2015). Therefore, a comparable corpus was collected and analyzed by means of WordSmith Tools software. In order to render the analysis simpler, the corpus was tagged following categories defined by the sound provenience. The following tags were applied to noise: sound produced by men, sound produced by objects, sound produced by nature, sound produced by animals, fictional sounds and silence. To music, the tags were background music and screen music. These tags were used as search words and rendered possible find relevant data, such as the most frequently translated categories within the corpus, which are: sounds produced by men and background music. Therefore, these are the sound categories whose translations were conventionalized in this research.

Este artículo aborda la subtitulación en castellano del programa de televisión de realidad RuPaul’s Drag Race (RPDR) mediante un análi-sis porcentual de la presencia de rasgos microtextuales relativos al camp y la manera en que estos fueron traducidos en las versiones publicadas en Netflix y en el grupo de Facebook RPDR Venezuela. El artículo inicia con una elaboración sobre el camp (una sensibilidad estética comúnmente asociada con la identidad gay y difundida en espacios anglófonos) y el camp talk como categorías de estudio para la traductología. Más adelante se presentan los resultados del análisis de los subtítulos de dos episodios del programa de televisión. Finalmente, la discusión sobre los resultados alcances sobre el papel de la traducción en los procesos de aculturación relacionados al camp, así como sobre las nuevas funciones sociales de la subtitulación. / This article addresses Spanish subtitling for the reality television show RuPaul’s Drag Race (RPDR), which has been aired in the United States since 2009, analyzing the presence of specific microtextual features of camp (an aesthetic sensibility present in English-speaking spaces that is generally associated with homosexual identity) and of the manner in which these features have been translated into the Spanish subtitled versions found on Netflix and produced by the Facebook group RuPaul’s Drag Race Venezuela. The article begins with a description of the importance of researching camp talk in the context of Translation Studies and continues with an analysis of subtitles from two of the show’s episodes. Finally, results are discussed concerning the scope of translation’s role in camp-related acculturation processes, and new social functions for subtitling are considered. / Revisión pór pares

Šiame darbe nagrinėjami subtitravimo kaip audiovizualaus vertimo metodo ypatumai. Darbo tikslas yra ištyrinėti dokumentinio filmo “Super Didelis Aš” (2004) kalbos ir materialisios kultūros perteikimą per subtitruotą filmo vertimą siekiant nustatyti vertimo procese vartojamas transformacijas ir klaidas. Teorinėje straipsnio dalyje apžvelgiami subtitravimo ypatumai, kultūrinio vertimo samprata, bei specifiniai materialiosios kultūros (maisto) aspektai. Emipirinėje darbo dalyje aprašoma tyrimo eiga ir metodai. Filmo vertimo analizė parodė jog dėl Anglų ir Lietuvių kalbų skirtumo, bei subtitravimo kaip audiovizualaus vertimo metodo ypatumai, apsprendė vertimo transformacijų vartoseną. / The aim of the thesis is to investigate the transference of language and material culture of the documentary film “Super Size Me” (2004) through the audiovisual translation method of subtitling in order to identify translation transformations used in the process of translation. Theoretical part of the work concentrates on the peculiarities of subtitling method, explores the notion of cultural translation and specific aspects of material culture, food culture in particular. The process of the research and methods are described in the empirical part of the work. The analysis of the film translation revealed, that the usage of the translation transformations was determined by the differences between English and Lithuanian languages as well as by the peculiarities of the subtitled text.

Since the early days of cinema, the translation techniques used to create subtitles have gone largely unchanged. Although these cinematic translations are characterized by both corruption and textual deformation, audiovisual translators have historically justified such textual violence by citing the temporal and spatial constraints necessitated by the subtitling apparatus. This thesis takes the corruption of contemporary film translation techniques, particularly those used to translate humor, as a point of departure in order to question the ethics of these subtitles from both a practical and theoretical standpoint. The study also includes an English to Spanish translation of the film Iron Man 3 (2013) in order to root larger theoretical questions regarding the translation of humor and slang in specific examples.

Contemporary scholars have been studying audiovisual translation for the past twenty years. However, health communication has never yet been included as a part of the audiovisual material under discussion. The goal of this thesis is to create Russian subtitles for the deaf and hard of hearing from the original English version of The Three Amigos, a series of PSAs (Public service announcements) regarding the prevention of HIV/AIDS, and to analyse and discuss the theoretical and practical aspects of this work. After analysing the current situation on HIV/AIDS in Russia and Belarus, I use this series entitled The Three Amigos as an example of health communication that works, and therefore, should be accessible to more viewers. The thesis is organised into three chapters. Following a general introduction, Chapter 1 discusses health communication, presents statistics on HIV/AIDS in Russia and Belarus, and provides an example of health communication that fulfills its functions – public service announcements on HIV/AIDS prevention in the form of The Three Amigos. Chapter 2 discusses the necessity of subtitling for the target audience, and emphasises the fact that people with hearing impairment need special subtitles that differ from the ones that are suitable for viewers without hearing impairment. Chapter 3 contains the analysis of the subtitles for the deaf and hard of hearing that I created for this project. Finally, the conclusion summarises the findings of this research, and addresses possible directions for future projects on this topic.

In the light of recent changes on the audiovisual scene in Poland, audiences can choose among different AVT modalities. Although voice-over still prevails on Polish TV, subtitles have become more and more popular as an alternative form of film translation on television. Due to rapid technological advances, commercial requirements and differences in Polish viewers’ preferences, it is thus crucial to understand how audiences at different levels of English proficiency (low, medium, high) retrieve meaning, especially complex ironic meaning relayed through different methods of film translation, such as subtitles and voice-over and the extent to which verbal and non-verbal semiotic channels contribute to irony comprehension. Wilson and Sperber’s (1981, 1992; 1995) echoic theory of irony has been selected as the theoretical framework, given its ability to account for multimodal irony in audiovisual texts as well as the significant importance of non-verbal semiotic resources in the generation and interpretation of irony. The study employs triangulation, incorporating descriptive, experimental and interactionist components. The descriptive component involves multimodal transcription (Baldry and Thibault, 2006) of selected fragments in which irony plays a pivotal narrative role. This procedure aims to determine what non-verbal modes contribute to the multimodal construal of irony and how it is relayed in the subtitled and voiced-over translations. In the experimental component, viewers’ eye movements are recorded using eye-tracking technology while watching subtitled and voiced-over fragments of Sherlock Holmes (2009) and Sherlock Holmes: A Game of Shadows (2011). In the interactionist components, a questionnaire is used in order to elucidate how and/or whether they retrieve ironic meaning as intended by the filmmakers in the selected excerpts. The most obvious finding to emerge from the descriptive data analysis is that multimodal irony is not relayed by the film dialogue alone but, rather, in unison with non-verbal semiotic resources. The instances of multimodal irony in the two Sherlock Holmes films were found to perform narrative and comedic functions by combining the visual, kinesic and acoustic modes of film language. The analysis and comparison of SL dialogues and TL translations revealed two broad categories of irony relay, namely: preservation and modification. The majority of the instances of multimodal irony were modified in the subtitled version, while preservation is only sporadically opted for. In its voiced-over counterpart, the intended meaning is preserved and modified in equal proportions. The experimental component showed major differences in gaze patterns among the participants with different language skills in the subtitled clips. For instance, on average, LLPs spent more time reading the subtitles than HLPs or MLPs. Similar visual behavior, on the other hand, was observed among all viewers in the voiced-over clips in which the on-screen character’s face attracted the greatest amount of visual attention. The interactionist strand showed that the viewers retrieved the intended meaning to various extents depending on their English language proficiency. This data undergirds an assessment of the effectiveness of subtitles and voice-over in the translation and reception of multimodal irony on screen.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-05-16T11:06:11Z No. of bitstreams: 2 Paula Queiroz Dutra P2.pdf: 2766888 bytes, checksum: e5a03cba7c22ad75ea704611c4613418 (MD5) Paula Queiroz Dutra P1.pdf: 4701850 bytes, checksum: 65dec920916566cce3c8ce3511209712 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-16T18:03:03Z (GMT) No. of bitstreams: 2 Paula Queiroz Dutra P2.pdf: 2766888 bytes, checksum: e5a03cba7c22ad75ea704611c4613418 (MD5) Paula Queiroz Dutra P1.pdf: 4701850 bytes, checksum: 65dec920916566cce3c8ce3511209712 (MD5) / Made available in DSpace on 2013-05-16T18:03:04Z (GMT). No. of bitstreams: 2 Paula Queiroz Dutra P2.pdf: 2766888 bytes, checksum: e5a03cba7c22ad75ea704611c4613418 (MD5) Paula Queiroz Dutra P1.pdf: 4701850 bytes, checksum: 65dec920916566cce3c8ce3511209712 (MD5) Previous issue date: 2008 / Este estudo examina a tradução de humor nas legendas sob uma perspectiva descritiva. Através da análise das duas traduções brasileiras de 15 episódios do seriado norte americano Sex and the City, a do canal Multishow da TV por assinatura, realizada por Daniela P.B. Dias, e a dos DVDs da série vendidos no Brasil, cujo tradutor permanece desconhecido, procurou-se descrever e comparar as estratégias tradutórias utilizadas para a reconstrução do humor verbal e visual dos episódios em português. No seriado, observamos dois tipos principais de humor: o humor universal, pela temática de relacionamentos, e o humor local, baseado em referências à cultura americana. Os gatilhos de humor mais comumente encontrados nos exemplos selecionados foram jogos de palavras e comentários espirituosos e irônicos, com muitas ocorrências desses referentes culturais como elemento principal para acionar o humor. Considerando as especificidades desse tipo peculiar de tradução audiovisual que é a legendagem e o desafio que a tradução de humor sempre representou, este estudo apresenta reflexões sobre a prática de legendagem associada à tradução de humor na TV e no DVD, uma lacuna nos estudos realizados até o momento no Brasil. A pesquisa demonstrou que há uma maior formalização do estilo nas legendas do DVD, por meio de omissões e minimizações de palavrões e referências sexuais, do uso de pronomes oblíquos e de estruturas sintáticas mais formais, o que até certo ponto compromete a recriação do humor e a representação do coloquialismo dos diálogos de partida. Na TV também há minimizações, mas em menor grau do que no DVD, enquanto que os empréstimos ocorrem em um maior grau. Observamos também a tendência das legendas do DVD serem mais longas do que as da TV, o que deve ser levado em conta na análise comparativa entre as duas versões, já que o número de caracteres pode limitar a possibilidade de recriação do tradutor. De um modo geral, a versão televisiva revela uma maior liberdade do tradutor, com um maior número de adaptações e, por isso, legendas mais criativas em termos de humor. / Salvador

NUNES, Jefferson Cândido. A transmutação monadológica de Björk: tradução intersemiótica da dor em três dimensões, a partir de Black Lake. 2017. 153f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Estudos da Tradução, Fortaleza (CE), 2017. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-06-21T15:36:12Z No. of bitstreams: 1 2017_dis_jcnunes.pdf: 4735582 bytes, checksum: 2375ed77fc22e4825e2d8998b6b635d0 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-06-22T13:29:48Z (GMT) No. of bitstreams: 1 2017_dis_jcnunes.pdf: 4735582 bytes, checksum: 2375ed77fc22e4825e2d8998b6b635d0 (MD5) / Made available in DSpace on 2017-06-22T13:29:48Z (GMT). No. of bitstreams: 1 2017_dis_jcnunes.pdf: 4735582 bytes, checksum: 2375ed77fc22e4825e2d8998b6b635d0 (MD5) Previous issue date: 2017 / Björk goes beyond creativity with her unique art and thus has innovated and influenced important media sectors, such as the music, the photographic and digital art, and the video making industries. With her latest album, Vulnicura (BJÖRK, 2015n), the Icelandic artist expresses a keen sense of pain that reaches its apex in Black Lake (2015c), the fourth track of the disc. From the poetic text, composed by the lyrics of that song, I investigate how the transmutation of Björk’s subjectivity happened through the intersemiotic translation of that text-sign to three different polysystems: music, image and video. Therefore, I propose a dialogue, among others, with the studies of Jakobson (1992), Plaza (2003) and Pierce (2000), who have important works on intersemiotic translation, to compose the first part of the theoretical foundation of this research. In addition, I ground it in the investigations of Kühl (2008), Barthes (1977) and Goodwin (1992), who deal, respectively, with media translations to music, image and video, to compose the specific elements of analysis of the corpus here studied and, along with other authors, to be able to analyze it from a more heterogeneous theoretical framework. The results point to the mastery of Björk by evidence of her artistic ability to uniquely transmutate the sensation of pain – and, by extension, to transcreate her own self – to those three sign dimensions, reinforcing such an element in her translations. It follows, therefore, that this research is relevant to the development of the Translation Studies and, more specifically, to provide better understanding of phenomena concerning the intersemiotic translation. / Björk extravasa criatividade com sua arte singular e, assim, tem inovado e influenciado setores midiáticos importantes, como os da indústria fonográfica, da arte fotográfica e digital e de video making. Com o seu álbum mais recente, Vulnicura (BJÖRK, 2015n), a artista islandesa exprime um forte sentimento de dor que atinge seu ápice em Black Lake (2015c), quarta faixa do disco. A partir do texto poético, composto pela letra dessa música, investigo como ocorreu a transmutação da subjetividade de Björk através da tradução intersemiótica desse texto-signo para três polissistemas distintos: música, imagem e vídeo. Para tanto, proponho um diálogo, dentre outros, com os estudos de Jakobson (1992), Plaza (2003) e Pierce (2000), que têm trabalhos importantes sobre esse tipo de tradução, para compor a primeira parte da fundamentação teórica desta investigação. Ademais, baseio-me nas pesquisas de Kühl (2008), Barthes (1977) e Goodwin (1992), que tratam, respectivamente, de traduções midiáticas para música, imagem e vídeo, para compor os elementos específicos de análise do corpus em estudo e, juntamente com outros autores, poder analisá-lo a partir de um referencial teórico mais heterogêneo. Os resultados apontam para a maestria de Björk, refletida na evidência de sua capacidade artística de transmutar singularmente a sensação de dor – e, por extensão, transcriar-se a si mesma – para as três dimensões sígnicas supracitadas, aguçando esse elemento em suas traduções. Conclui-se, portanto, que a presente pesquisa se faz relevante para o fomento dos Estudos da Tradução e, mais especificamente, para proporcionar melhor compreensão sobre fenômenos concernentes à tradução intersemiótica.

This paper aims to study the results of dubbing from Japanese to Swedish using a pivot language. The author examines the Swedish dubbed version of the Japanese animated film Spirited Away by comparing it to the original version and finding differences in what in-formation is conveyed through the dialogue. Because the Swedish dubbed version has been translated using the English language script as a base, the English dubbed version is also examined. The findings are then presented, categorized and analysed according to where the changes have appeared and what they consist of. Finally, the results are dis-cussed and compared to previous findings in the field. The study finds how many lines of dialogue have been altered, and that the use of a pivot language has greatly increased the number of altered lines, although no proof was found of an increased amount of mistrans-lations. The increased amount of altered lines leads to the conclusion that the usage of a pivot language can be problematic.

nÃo hà / O objetivo deste estudo à descrever o estado da arte da localizaÃÃo/traduÃÃo de videogames. Pretende-se analisar o panorama atual da localizaÃÃo de videogames, traÃar um breve histÃrico e identificar as caracterÃsticas deste processo tradutÃrio. O mercado de videogames torna-se notÃcia, cada vez com uma frequÃncia maior, quando jogos atingem altÃssimas marcas de vendas no Brasil e no mundo. AnimaÃÃes foto realistas, roteiros e narrativas bastante desenvolvidas, com diÃlogos ricos e profundos, sÃo caracterÃsticas dessa indÃstria multibilionÃria, cuja importÃncia no ramo do entretenimento, em termos de faturamento, ultrapassou a de Hollywood. Seu desenvolvimento, principalmente no mercado nacional, fez com que as produtoras e distribuidoras passassem a se preocupar em localizar/traduzir seus tÃtulos. Apesar de ter seu inÃcio nos anos 1990, a localizaÃÃo de videogames à um fenÃmeno recente, jà que esse mercado somente se consolidou de fato nos Ãltimos anos. Justamente por ser algo novo, a quantidade de pesquisas nessa Ãrea à escassa. Este estudo tenta suprir essa insuficiÃncia, apontando aspectos importantes localizaÃÃo de jogos no Brasil, bem como identificando as peculiaridades, mecanismos e escolhas enfrentados em alguns processos de localizaÃÃo. Para tanto, serÃo analisados alguns jogos, sob uma perspectiva descritiva e histÃrica. A base teÃrica sÃo os conceitos de gameplay de Adams (2010), Novak (2012) e Rollings e Morris (2010), a âexperiÃncia de jogoâ de Mangiron e OÂHagan (2006) e Sousa (2015), a domesticaÃÃo/estrangeirizaÃÃo de Lawrence Venuti e os conceitos de localizaÃÃo, alicerÃados por Minako OÂHagan e Carmem Mangiron, Bert Esselink e Anthony Pym. / The main goal of this research is to describe the state of the art in localization/translation of video games. The aim is to analyze the current panorama of video game localization, to outline its historical background and to identify the characteristics of such translation process. The video game market becomes news as games time after time break sales records in Brazil and all over the world. It is a multibillionaire industry that has photorealistic animations, scripts and narratives very well developed with rich and profound dialogs. Its economic importance has surpassed Hollywood. The vigorous growth of the games industry, specially in Brazil, made the developers aware of the importance of localizing/translating their titles to Brazilian Portuguese. Video games localizations are a recent phenomenon in Brazil, despite having started in the early 1990s. There are very few papers done in this field of study in Brazil. This research tries to fill this gap by showing important aspects of video game localization in Brazil, pointing out its singularities, mechanisms and choices made in some localization processes. To do so, a few games are studied. The theoretical basis is the work done by Adams (2010), Novak (2012) and Rollings and Morris (2010) concerning âgameplayâ, the research on âgameplay experienceâ by Mangiron and OâHagan (2006) and Sousa (2012), the studies on domestication/foreignization by Lawrence Venutti and the ideas on Localization by Minako OâHagan, Carmem Mangiron, Bert Esselink and Anthony Pym