Language-play can briefly be described as the wilful manipulation of the peculiarities of a linguistic system in a way that draws attention to these peculiarities themselves, thereby causing a communicative and cognitive effect that goes beyond the conveyance of propositional meaning. Among the various phenomena answering this description are the different kinds of puns, but also more strictly form-based manipulations such as rhymes and alliteration, in addition to a host of other, sometimes even fuzzier, subcategories. Due to its unusual nature, and especially its frequently strong dependence on the idiosyncrasies of a particular language, language-play can generally be assumed to constitute a significant challenge in a translation context. Furthermore, given its non-negligible effects, the translator is not free to simply ignore the language-play (provided it has been recognized as such in the first place) without having taken an active stance on its treatment. However, the difficulties in finding a suitable target-language solution are possibly exacerbated if the source text is a complex multimedia product such as a film, the translation of which, normally in the form of dubbing or subtitling, is subject to additional constraints. In view of these intricacies, it has been the aim of this study to analyze and measure how language-play in film has actually been treated in authentic dubbing and subtitle versions. As a prerequisite, the concept of language-play has been elaborated on, and more than a dozen subcategories have been described, developed, and employed. For the purpose of carrying out a meaningful analysis of the dubbing and subtitling of language-play, a corpus has been compiled, comprising 18 family films and 99 of their various target versions, most on DVD, and yielding nearly 800 source-text instances of language-play and thousands of translation solutions. The results indicate that especially two sets of factors, among the many that are likely to influence a translation, play a prominent role: the type of the language-play, and the identity and working conditions of the translator. By contrast, the mode of translation (dubbing vs. subtitling), the target language, or the general properties of the films, could not be shown to have a sizeable impact.

The present master's thesis named Subtitling and Dubbing on the Czech Television Screen deals with the attitudes and preferences of the Czech television audience from the point of view of audiovisual translation (dubbing and subtitling) and aims to identify the reasons for these preferences. The thesis also focuses on the impact of sociodemographic features (age, level of education, foreign language skills) on these preferences. The objective is to cover relevant matters of both audiovisual translation theory as well as practice abroad and in the Czech Republic. The theoretical part provides a systematic summary of studies and other relevant literature in the field of audiovisual translation. Firstly, the two main methods of audiovisual translation are introduced, including a comparison of their advantages and disadvantages for the viewer. This is followed by a description of the historical development of audiovisual translation in a global context and the current changes in the given field. Also other relevant audience studies are presented. The next part of the thesis discusses the specific context of the Czech Republic as a "dubbing" country not only from the historical point of view, but also from the present perspective. The author focuses mainly on the only Czech public television - Czech...

Text in English / India’s film production industry, referred to commonly as Bollywood, and the film production industry of America, referred to as Hollywood, have created a large number of musical films since sound was introduced into motion pictures. Both create fictional stories—illusions, if you will—through the use of prerecorded sound and playback technology coupled with lip-synching interpolated onto filmed images. While studies exist that treat the music of both production centres, there is very little research that compares both, and very little research on playback singers. Playback singers in both Bollywood and Hollywood may or may not be the actors who are seen on the screen; however, people in the Bollywood system—its directors, producers, creators, as well as the journalists who write about it—are very open about this practice, and playback singing is a highly respected career. Conversely, in the Hollywood system, playback singing that is done by an individual other than the on-screen actor remains uncredited or under-credited, and those who do the work are just hired workers; they are not respected as artists in the same way that their Bollywood counterparts are. I believe this difference has a cultural basis, shaped by variation in the way that illusion and reality are expressed by film production staff and interpreted by audiences in the two cultures. Through primary and secondary research, this project seeks to discover the differences and to understand how cultural implications of illusion and reality affect the playback singers in both film centres. / Art History, Visual Arts and Musicology / D. Litt et Phil. (Musicology)

En esta tesina trataremos el doblaje español de la película Green Street Hooligans y mediante una investigación cualitativa estudiamos cómo las elecciones generales, entratar el habla de los personajes, y las elecciones específicas, cómo se han manejado los saludos, han afectado la percepción de dos personajes escogidos y la película en sí. Los resultados que han sido revelados es que los rasgos tanto dialectales como idiolectales han sido normalizados a un español estándar y esto ha contribuido en crear un estilo, en la versión española, que es menos vívido, más formal, y menos conectado con los personajes que la versión original. Por eso, la vista que pueden tener los espectadores españoles al ver la película se diferencia mucho de la que pueden tener quienes que venla película en inglés. Esto ya que no van a poder sobreentender la pertenencia a una clase social, origen espacial y el estilo personal de los personajes solamente viendo la versión doblada de la película.

I Japan är s.k. rollspråk, dvs. stereotypt språk kopplat till en viss typ av karaktär, vanligt i material riktat till barn, såsom barnfilmer. Trots att rollspråk som forskningsområde är relativt nytt finns ett antal studier som behandlar rollspråk i litterära översättningar, undertextningar och dubbningar till japanska. Få eller inga har dock jämfört hur rollspråket påverkar karaktäriseringen dels i undertexterna, dels i dubbningen av en och samma film. Denna uppsats analyserar japansk undertextning och dubbning av den svenska barnfilmen Du är inte klok Madicken och finner att båda versionerna använder rollspråk på ett liknande sätt för att förenkla karaktäriseringen och framhäva de kvinnliga karaktärernas femininitet genom bl.a. feminina satsfinala partiklar, pronomen, verbformer och interjektioner. / In Japan so called role language, i.e. stereotypical language associated with a certain type of character, frequently occurs in material for children such as children’s films. Role language is a fairly new area of research but despite this, there are a few studies dealing with role language in literary translation, subtitling and dubbing into Japanese. However, few or none of these examine how role language influences characterisation in the subtitles and dubbing of the same film. This thesis analyses the Japanese subtitling and dubbing of the Swedish children’s film Du är inte klok, Madicken and finds that both versions use role language in a similar way to simplify characterisation and emphasize the femininity of female characters through the use of feminine sentence-final particles, pronouns, verb forms and interjections etc.

The ever-changing practice of translating movies evolves along with living languages and media development. Dubbing a movie broadens its reach adequately when the primary audience is younger children with little knowledge of the movie’s source language and culture. Dubbing is a form of audiovisual translation where much of the original dialogue can be kept since the time restraints are ruled by the original dialogue. In this study, culture-bound references from the children's movie The Swan Princess (1994) have been analyzed with the purpose of identifying the translation strategies used. The study is qualitative, and the analysis is based on audiovisual translation theory. This study has shown that the cost of subtitling instead of dubbing a movie, for children, is its culture-bound expressions and references. Dubbing has many advantages for audiences who cannot read fast enough for the subtitles to contain something of substance.

本論文探討以實境學習觀點來培訓技職校院學生英語口語溝通能力的教學設計與實施。由於技職校院學生英語程度較弱，乃根據實境學習理論中的認知學徒見習期 (cognitive apprenticeship)的二個階段:觀察期(observation)及實作期(practice)來設計教學。在觀察期階段中，藉由觀賞英文電影讓學生觀察英語母語使用者之真實口語溝通情境及技巧；在實作期階段中，則指導學生為電影片段配音，目的在以影片做為前導與幫助(scaffold)，使學生在真實語言情境中建立英語口語溝通能力。本研究設計採用設計型研究（Design-based research）探討學生在此電影教學中的知覺及反應，研究結果顯示學生對電影配音活動的反應良好，例如能在其中觀摩英語母語使用者之口語技巧，較容易記得影片中英文單字及句子，以及建立開口說英語的自信與勇氣。 / This study is a design-based research focusing on the application of situated learning perspectives to the EFL classroom for the development of English oral communicative competence. Situated learning theory features cognitive apprenticeship, a learning process in which an apprentice learns a skill or knowledge from a master through the observation of expert process and practice with scaffolds (Brown, Collins, & Duguid, 1989; Lave & Wenger, 1991). In this study, a teaching project based on film dubbing activities was designed and implemented to 39 vocational college students, who were classified as lower-level EFL learners due to their limited English proficiency, with the purpose of developing their English oral communicative competence through cognitive apprenticeship. Film clips were viewed and instructed in class to provide the students with access to the social context of oral communication by native English speakers. After the students observed the expert process in the film clips, they were instructed to execute film dubbing tasks, in which they practiced oral skills with the scaffolds of the audio-visual presentation in the film clips. As a qualitative case study, the purpose of this study is to explore the students’ learning experiences, including their perceptions and reactions, in the teaching project. The research results reveal the students’ overall positive reactions to the film dubbing activities; for example, they were impressed by the opportunities to make close observation of real English use by native English speakers; they found it easier to remember English vocabulary and sentences through film dubbing activities; and they became more confident in speaking English.

La presente tesi ha come scopo l’analisi della traduzione per il doppiaggio dell’umorismo costruito su argomenti tabù (quali ad esempio riferimenti al sesso, alla sessualità, all’obesità, al consumo di alcol e droghe) presente in quattro sitcom americane, nello specifico Friends, Will & Grace, How I Met Your Mother e 2 Broke Girls. In particolare, partendo dalla teoria della riscrittura proposta da Lefevere (1992,) la ricerca mira ad identificare casi di censura e manipolazione presenti nella traduzione in italiano dei suddetti testi audiovisivi. Con un approccio traduttivo descrittivo, i dialoghi trascritti dall’inglese sono stati confrontati con la loro traduzione in lingua italiana e i risultati dimostrano che censura e manipolazione all’interno della traduzione per il doppiaggio sono due fenomeni esistenti pur non essendo sempre possibile distinguere tra i due dal momento che non solo i vari specialisti coinvolti nel doppiaggio, quali traduttori, direttori del doppiaggio, doppiatori, adattatori, ma anche gli organi afferenti al patronato (Lefevere 1992) possono in qualche modo influire sull’atto traduttivo stesso. Un confronto diacronico tra le sitcom prese in esame dimostra tuttavia come fenomeni censori e manipolatori nella traduzione dell’umorismo tabù siano oggi in diminuzione rispetto al passato, probabile segno di una mutata ideologia nella cultura di arrivo. / The purpose of the present thesis is to analyse the translation for dubbing of humour based on taboo topics – such as, for example, references to sex, sexuality, obesity, alcohol and drug addiction – present in four American sitcoms, namely Friends, Will & Grace, How I Met Your Mother and 2 Broke Girls. Moving from the theory of rewriting introduced by Lefevere (1992), the present research aims to identify cases of manipulation and censorship in the Italian translation of the above-mentioned audiovisual texts. Following a descriptive translational approach, the English dialogues have been compared to their Italian translation. Results show that censorship and manipulation exist in the translation for dubbing even though it is not always possible to distinguish between the two. Indeed, not only the several specialists involved in the dubbing process, such as translators, dubbing directors, dubbing actors, adaptors, but also the powers linked to patronage (Lefevere 1992) can influence in several ways the translation process. However, a diachronic comparison of the analysed sitcoms demonstrates that censorial and manipulative phenomena in the translation of taboo humour are decreasing compared to the past, and this is probably due to a change in the receiving culture ideology.

[ES] En esta tesis se presenta una investigación de la Enseñanza del Español como Lengua Extranjera (ELE) para los alumnos chinos del periodo superior de Filología Hispánica, con la que se espera poder contribuir al desarrollo integral de sus habilidades lingüísticas en español. El objetivo de la investigación desarrollada consistía en diseñar un proyecto de doblaje que no sólo fomentara las habilidades lingüísticas de los alumnos chinos, sino que también favoreciera el desarrollo de otras competencias necesarias próxima a su carrera profesional. Dicho esto, entre los objetivos específicos de este trabajo se incluían: 1) diseñar un curso de doblaje según las características de la ELE en el contexto universitario chino; 2) identificar la contribución de este curso en el desarrollo de las habilidades lingüísticas y demás competencias; 3) conocer las ventajas y límites de la propuesta didáctica. Con el fin de alcanzar estos objetivos, se diseñó un curso de doblaje siguiendo la Enseñanza Basada en Proyectos y se puso en práctica en un grupo de alumnos chinos del tercer y cuarto año del grado universitario. Para valorar su eficacia, se contrastaron las valoraciones y evaluaciones de los alumnos de este curso con los de sus homólogos del curso regular de Comprensión Audiovisual. Según los resultados obtenidos tras los diferentes análisis cuantitativos y cualitativos llevados a cabo, el curso de doblaje se muestra altamente eficaz en el fomento de habilidades de traducción y sight-translation, y ayuda al desarrollo de otras competencias. Es por ello que los alumnos que han participado en este curso también han experimentado un mayor progreso en las competencias cooperativas, la comprensión de expresiones coloquiales y de términos específicos. No obstante, el resultado también muestra una menor práctica de la comprensión auditiva que el curso regular de Comprensión Audiovisual, y la complejidad y la gran cantidad de trabajo ha causado mucha presión en los alumnos, lo que ha afectado en cierto grado al aprendizaje de otras asignaturas. / [CA] En aquesta tesi es presenta una investigació sobre l'ensenyament espanyol com a llengua estrangera (ELE) per als alumnes xinesos del període superior de Filologia Hispànica, amb la qual s'espera poder contribuir al desenvolupament integral de les seues habilitats lingüístiques en espanyol. L'objectiu de la recerca desenvolupada consistia a dissenyar un projecte de doblatge que no només fomentés les habilitats lingüístiques dels alumnes xinesos, sinó que també afavorís el desenvolupament d'altres competències necessàries en la seua propera carrera professional. D'altra banda, entre els objectius específics d'aquest treball s'incloïen: 1) dissenyar un curs de doblatge segons les característiques de l'ELE a la Xina en el context universitari; 2) identificar la contribució d'aquest curs en el desenvolupament de les habilitats lingüístiques i altres competències; 3) conèixer-ne els avantatges i els límits de la proposta didàctica. Per assolir d'aquests objectius, es va dissenyar un curs de doblatge basat en l'Ensenyament Basat en Projectes i se'l va posar en pràctica en un grup d'alumnes xinesos del tercer i quart any del grau universitari. Per valorar-ne l'eficàcia, es van contrastar les valoracions i les avaluacions dels alumnes d'aquest curs amb els dels seus homòlegs del curs regular de Comprensió Audiovisual. Segons els resultats obtinguts després de les diferents anàlisis quantitatives i qualitatives dutes a terme, el curs de doblatge es mostra altament eficaç en el foment d'habilitats de traducció i sight-translation, i ajuda al desenvolupament d'altres competències. Es per això que els alumnes que han participat en aquest curs també han experimentat un progrés més gran en les competències cooperatives, la comprensió d'expressions col·loquials i de termes específics. No obstant això, el resultat també mostra una pràctica menor de la comprensió auditiva que el curs regular de Comprensió Audiovisual, i la complexitat i la gran quantitat de treball ha causat molta pressió en els alumnes, cosa ha afectat en cert grau a l'aprenentatge d'altres assignatures. / [EN] This research addresses the didactic use of dubbing in the context of teaching Spanish as a foreign language (ELE) for Chinese students of the superior period of Hispanic Philology. With this research we expect to contribute to the integral development of these students' Spanish linguistic abilities. The objective of the research is to design a dubbing project that not only fosters the Chinese students' language skills, but also favors other skills' development which would help them in their professional career. The specific objectives of this work include: 1) designing a dubbing course according to the Chinese ELE's characteristics; 2) identify the contribution of this course in their language skills and other skills' development; 3) know its advantages and limitations as a didactic proposal. In order to meet the objectives, we designed and put into practice a project-based dubbing course in a group of Chinese third- and fourth-year college students. To confirm its effectiveness, we compared the result of the ratings and evaluations of the students in this course with those of their counterparts in the regular Audiovisual Comprehension course. According to the results obtained after several quantitative and qualitative analysis, the dubbing course is highly effective in promoting translation and sight-translation skills, and helps develop other skills. Students who have participated in this course have also experienced greater progress in cooperative skills, comprehension of colloquial expressions and specific terms. However, the results also revealed less effectiveness of the dubbing course on enhancing the listening comprehension in comparison with regular Audiovisual Comprehension course, and the complexity and large amount of work of the course has caused a lot of pressure on the students, which has affected the learning of other subjects to a certain degree. / Lian, M. (2022). La aplicación didáctica del doblaje a la enseñanza del español como lengua extranjera (ELE) para estudiantes chinos del tercer y cuarto curso de filología hispánica [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/184815