Dentro de las relaciones sociales, las identidades raciales no solo varían entre contextos, sino también entre interacciones específicas que influyen en el lenguaje. Este fenómeno se puede observar en los materiales audiovisuales como las películas, donde diversos personajes con motivaciones y trasfondos distintos interactúan entre sí. De este modo, un traductor debe considerar bajo qué circunstancias se usan ciertos elementos lingüísticos como términos o frases. Con esta premisa, la presente investigación propone analizar la terminología y fraseología étnico-racial de los doblajes al español latino y peninsular de la película BlacKkKlansman; esto por medio de un corpus de términos y frases étnico-raciales previamente seleccionados de la cinta. Por un lado, el análisis de contenido permite analizar cómo el uso de esta terminología y fraseología étnico-racial en contexto se agrupa de acuerdo con una situación en específico en la que transcurren los diálogos seleccionados. Por otro lado, el análisis textual contrastivo tiene la intención de analizar cómo se tradujeron los diálogos con términos y frases étnico-raciales de la versión latina y peninsular entre distintos personajes pertenecientes a un grupo étnico específico en contexto de la versión original en inglés. / Within social relationships, racial identities not only differ between contexts, but also on specific interactions which influence language. This phenomenon can be noticed in audiovisual materials such as movies, where various characters with different motivations and backgrounds interact with others. Thus, a translator must consider under which context certain linguistic elements such as terms or phrases are used. Therefore, this study focuses on the analysis of the translation of ethno-racial terminology and phraseology in the dubbing of BlacKkKlansman into Latin American and European Spanish, based on a corpus of ethnic-racial terms and phrases previously selected from the movie. On one hand, the content analysis will allow us to analyze how the use of this ethno-racial terminology and phraseology in context is grouped according to a specific situation in which the selected dialogues take place. On the other, the contrastive textual analysis has the intention of analyzing how the dialogues containing ethnic-racial terms and phrases from the Latin American and European versions were translated between different characters belonging to a specific group or ideology in context of the original English version. / Trabajo de investigación

Orientador: Lauro Maia Amorim / Resumo: O objetivo deste trabalho é analisar o camp talk (fenômeno sociolinguístico que ocorre entre alguns falantes homossexuais masculinos e mulheres transgêneras) na tradução para dublagem dos filmes Todo sobre mi madre (1999) e La mala educación (2004), ambos de Pedro Almodóvar, com foco na maneira como as identidades performadas pelas personagens gays e transgêneras foram recriadas no texto traduzido, apurando se houve maior assimilação à ideologia heteronormativa dominante ou se tal tradução foi recriada para servir como resistência diante dessa mesma ideologia. O presente trabalho apoia-se nos conceitos defendidos por Lefevere (2007) e Venuti (2013), dentro do escopo dos Estudos de Tradução, em Hall (2002) e Silva (2014), para os estudos sobre identidade e, por fim, em Butler (2003) e Harvey (1998), no âmbito da sexualidade e na interface entre tradução e gênero, respectivamente. Os filmes selecionados que compõem o corpus contêm personagens gays e travestis que fazem uso de um linguajar com características específicas. Buscou-se cotejar as falas originais com as traduções veiculadas na dublagem a fim de identificar aspectos lexicais, sintáticos, semânticos e fonológicos que contribuíram para a construção da identidade dos personagens do referido segmento social. Na análise realizada, foi possível perceber que o filme La mala educación apresentou maior tendência a assimilar essas identidades, ao passo que a dublagem do filme Todo sobre mi madre apostou em traduções mais hetero... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: In this work we analyze camp talk: a sociolinguistic phenomenon that occurs among male gay speakers and female transgenders, more specifically in the 1999 film Todo Sobre Mi Madre (All About My Mother), and in the 2004’s La Mala Educación (Bad Education), both by Pedro Almodóvar. We focus on the way the identities performed by gay and transgender characters are recreated with the translated scrypt, wether if there was more assimilation to the dominating heteronormative ideology, or if they used words that were rather an act of resistance against these principles. This work stands on concepts defended by Lefevere (2007) and Venuti (2013), within the scope of Translation Studies, by Hall (2002) and Silva (2014), when looked at the Identity Studies perspective, and by Butler (2003) and Harvey (1998), when it came to sexuality and the interface between translation and gender, respectively. These movies contain gay and transgender characters making use of a speech with very specific features, so we make a parallel between the original jargon with their corresponding equivalents used by the dubbed version in order to identify lexical, syntactic, semantic and phonological aspects that helped to build character identity in their related social segment. In this analysis, we noticed that La Mala Educación had a higher trend in assimilating such identity whereas Todo Sobre Mi Madre invested in more heterogeneous interpretations, making Agrado’s transgender identity visible. / Resumen: Este trabajo buscó analizar el camp talk (fenómeno sociolingüístico que sucede entre algunos hablantes homosexuales masculinos y mujeres transgénero) en el doblaje de las películas Todo sobre mi madre (1999) y La mala educación (2004), de Pedro Almodóvar, enfocando la manera como las identidades “performadas” por los personajes gais y transgéneros fueron recreadas en la traducción para que se averigüe si hubo mayor asimilación a la ideología heteronormativa dominante o si esa traducción fue recreada para actuar como resistencia frente a esa misma ideología. Este trabajo se basa en los conceptos defendidos por Lefevere (2007) y Venuti (2013), en el marco de la Traductología, en Hall (2002) y Silva (2014), para los estudios sobre identidad, y en Butler (2003) y Harvey (1998), en la esfera de la sexualidad y la interfaz entre traducción y género, respectivamente. Las películas elegidas que conforman el corpus contienen personajes gais y travestís que emplean un lenguaje con rasgos específicos. Se buscó cotejar las hablas de originales con las traducciones transmitidas en el doblaje para identificar aspectos lexicales, sintácticos, semánticos y fonológicos que colaboraron para que se construyera la identidad de los personajes de dicho segmento social. En el análisis, se constató que la traducción de La mala educación tuvo mayor tendencia a asimilar esas identidades, mientras que el doblaje de la película Todo sobre mi madre apostó por traducciones más heterogéneas que trajeron vi... (Resumen completo clicar acceso eletrônico abajo) / Mestre

Los procesos de doblaje son similares en todo el mundo. Sin embargo, existen ciertas convenciones propias de algunos países o estudios de doblaje que diferencian cómo se realizan los doblajes. Torre A, estudio de doblaje encargado de doblar Ciudad jardín al quechua chanka basado en Lima, Perú, tiene prácticas habituales para los doblajes al español. No obstante, el doblaje de Ciudad Jardín fue un caso particular por la lengua de llegada, la intervención de nuevos agentes y la participación del Instituto Nacional de Radio y Televisión del Perú (IRTP) en el proceso. Esta investigación describe el proceso de doblaje de Ciudad jardín con el fin de conocer las prácticas que adoptaron los agentes frente a las particularidades de este proceso. Con este fin, se identificarán las etapas del proceso de doblaje y las interacciones entre los agentes durante este. Se espera que el proceso haya consistido en las seis etapas determinadas por Chaume (2004) y en una etapa dedicada a la capacitación de los actores de voz. Además, se supone que el traductor y adaptador colaboraron directamente para realizar la traducción y adaptación; y que un asesor lingüístico apoyó al director de doblaje en la selección e instrucción de los actores de voz. Por tratarse de un fenómeno peculiar cuyo contexto influyó en su desarrollo, se utilizará el método de estudio de caso para comprobar estos supuestos. Se propone aplicar entrevistas a los agentes del proceso de doblaje. / Dubbing processes are similar around the world. However, there are some countries or dubbing studios that have their own conventions which determine the course of the dubbing process. Torre A, the Lima-based dubbing studio responsible for dubbing Ciudad Jardin from Spanish to Quechua Chanka, has its own conventions for its Spanish dubs. Nevertheless, dubbing animated series Ciudad Jardin into Quechua Chanka was a particular case because of the target language, the addition of new agents, and the involvement of Instituto Nacional de Radio y Televisión del Perú (IRTP) during the process. This research studies the dubbing process of Ciudad Jardín in order to describe and recognize the practices the agents adopted to overcome the particularities of this process. For that purpose, the phases of this dubbing process and the interactions between the agents during the process will be identified. It is expected that the process consisted of six phases determined by Chaume (2004) and another phase dedicated to training the voice actors. Furthermore, it is assumed that the translator and the adapter worked together to carry out the translation and the adaptation of the script. It is also assumed that a linguistic consultant supported the dubbing director in the selection and the voice actors training. Since it is a peculiar phenomenon whose context influenced its development, the case study method will be used to verify these assumptions. Additionally, applying interviews to the agents of the process to gather information is proposed. / Trabajo de investigación

Übersetzung als Phänomen hat wahrscheinlich existiert seit Menschen verschiedene Sprachen gesprochen haben. Es ist bekannt, dass sie zumindest seit den Römern existiert, weil sie regelmäßig griechische Werke übersetzten (Munday 2012:19). Trotz ihrer langen Geschichte ist Übersetzungswissenschaft ein neues Fach der Linguistik und es gibt mehr oder weniger keine Regeln oder Normen in Bezug darauf, wie man klar und korrekt übersetzen soll. Es gibt in gewissen Bereichen der Übersetzungswissenschaft einige Regeln und Normen, aber der Übersetzer hat allgemein ziemlich freie Hand. Infolgedessen werden verschiedene Aspekte eines Texts stärker oder schwächer betont, was unten weiter beschreiben wird.

No description available.

The degree to which the SABC (South African Broadcasting Corporation) as public broadcaster gives shape to its language policy and language mandate, against the background of an investigation of language rights, establishes the central problem statement of this research.It is widely acknowledged that it is difficult to define the concept of language rights. Although the language-sociological literature associates this concept with minority and cultural rights, it can also be seen as individual rights. According to the Constitution of the Republic of South Africa, 1996, it is clear that language rights should be seen as individual rights that can be exercised within a particular community. Although this dissertation provides an extensive juridical and language sociological explanation of the concept of language rights, the description by Judge Albie Sachs will be used as a working definition for this research. His division between the following four fundamental language rights, viz.: (i) the right to use your language; (ii) the right to develop your language; (iii) the right to be understood and to understand other languages as well as (iv) the right not to be discriminated against because of your language, provides a useful investigation instrument with which the degree to which the SABC-TV acknowledges and protects language rights can be measured.It is found that despite the policy documents on national and corporate level that has equal consideration and treatment of the diverse South African languages in mind, it still happens that the SABC-TV fails to give form to the language rights of individuals that belong to indigenous minority language groups in South Africa. Due to this, the research suggests that the extensive implementation of subtitles, as a form of screen translation that differs from lip synchronised dubbing, can make a significant contribution to the acknowledgement and protection of language rights by the SABC-TV.In addition to a discussion on what subtitles entail, the technical nature and specific parameters thereof, a feasibility study is included within which the affordability of this project for the SABC-TV is indicated. It is found that this form of screen translation is ideal for the South African situation because it is cheaper than both lip synchronised dubbing and the creation of new television programmes, but also because it can effectively be employed in regional broadcasts. Furthermore, the use of bilingual subtitles and pivot subtitles are also alternatives that may be considered. It is essential though that subtitles can indeed contribute to the way in which the SABC, as a public broadcaster, acknowledges and protects the fundamental language rights of the multitude of South Africans that belong to different language communities in South Africa. (Written in Afrikaans)

[ES] El despegue de la traducción audiovisual (TAV) tuvo lugar dentro del mundo académico con la aparición de una edición de la revista Babel dedicada a la traducción del cine en 1960. Desde entonces, esta variedad de traducción se va adquiriendo una innegable pujanza. A partir de los años ochenta, los traductólogos coinciden en dar prioridad al aspecto comunicativo intercultural de la traducción. A principios de los noventa, se puso en marcha una perspectiva culturalista de la traducción denominada cultural turn o giro cultural de traducción. Durante el siglo XXI, la traducción audiovisual (TAV) ha alcanzado su máximo desarrollo experimentando cambios significativos gracias a los grandes avances tecnológicos y la eclosión de nuevas formas de difusión audiovisual. A partir del último tercio de la década de los años noventa, esta área de estudio ha visto un desarrollo vertiginoso en los círculos académicos. Sin embargo, los estudios dedicados a analizar la traducción de textos audiovisuales del árabe al español presentan un campo bastante escaso. Con el presente trabajo de investigación, pretendemos abrir el camino para llenar un vacío en tales estudios. Partimos de un marco metodológico descriptivo basado en el modelo de análisis elaborado por Martí Ferriol (2006) que consta de tres parámetros de análisis: las restricciones, las normas y las técnicas de la traducción audiovisual para facilitar la posterior identificación del método de traducción para la variedad audiovisual. El objetivo principal de esta tesis consiste en verificar si las tipologías de estrategias traductoras existentes, y tradicionalmente basadas en combinaciones de idiomas con el inglés son aplicables para analizar la TAV para el caso concreto de la combinación lingüística árabe - español. Para ello se realizó un análisis exhaustivo del tratamiento de los términos culturales presentes en dos películas egipcias subtituladas en español dirigidas por Youssef Chahine Estación Central (Bāb al-ḥadīd) (1958) y La tierra (Al-ʼrd) (1969). La elección estuvo condicionada por razonas traductológicas y cinematográficas. La profusión de términos culturales presentes, las marcas de oralidad que el traductor ha de solventar en el proceso traductor y la distancia cultural entre las culturas origen y meta suponían un gran desafío para el traductor. Desde el punto de vista cinematográfico, el director Youssef Chahine se desmarcaba del resto con una identidad cinematográfica propia y las películas, objeto de estudio, recibieron el reconocimiento de la crítica nacional e internacional, siendo seleccionadas en la lista de las mejores películas realizadas en la historia cinematográfica árabe. / [CA] L'enlairament de la traducció audiovisual (TAV) va tenir lloc dins del món acadèmic amb l'aparició d'una edició de la revista Babel dedicada a la traducció del cinema en 1960. Des de llavors, aquesta varietat de traducció es va adquirint una innegable puixança. A partir dels anys vuitanta, els traductòlegs coincideixen a donar prioritat a l'aspecte comunicatiu intercultural de la traducció. A principis dels noranta, es va posar en marxa una perspectiva culturalista de la traducció denominada cultural turn o gir cultural de traducció. Durant el segle XXI, la traducció audiovisual (TAV) ha aconseguit el seu màxim desenvolupament experimentant canvis significatius gràcies als grans avanços tecnològics i l'eclosió de noves formes de difusió audiovisual. A partir de l'últim terç de la dècada dels anys noranta, aquesta àrea d'estudi ha vist un desenvolupament vertiginós en els cercles acadèmics. No obstant això, els estudis dedicats a analitzar la traducció de textos audiovisuals de l'àrab a l'espanyol presenten un camp bastant escàs. Amb el present treball de recerca, pretenem obrir el camí per a omplir un buit en tals estudis. Partim d'un marc metodològic descriptiu basat en el model d'anàlisi elaborada per Martí Ferriol (2006) que consta de tres paràmetres d'anàlisis: les restriccions, les normes i les tècniques de la traducció audiovisual per a facilitar la posterior identificació del mètode de traducció per a la varietat audiovisual. L'objectiu principal d'aquesta tesi consisteix a verificar si les tipologies d'estratègies traductores existents, i tradicionalment basades en combinacions d'idiomes amb l'anglès són aplicables per a analitzar la TAV per al cas concret de la combinació lingüística àrab - espanyol. Per a això es va realitzar una anàlisi exhaustiva del tractament dels termes culturals presents en dues pel¿lícules egípcies subtitulades en espanyol dirigides per Youssef Chahine Estació Central (Bāb al-ḥadīd)) (1958) i La terra (Al-ʼrd) (1969). L'elecció va estar condicionada per raons traductològiques i cinematogràfiques. La profusió de termes culturals presents, les marques d'oralitat que el traductor ha de solucionar en el procés traductor i la distància cultural entre les cultures origen i meta suposaven un gran desafiament per al traductor. Des del punt de vista cinematogràfic, el director Youssef Chahine es desmarcava de la resta amb una identitat cinematogràfica pròpia i les pel¿lícules, objecte d'estudi, van rebre el reconeixement de la crítica nacional i internacional, sent seleccionades en la llista de les millors pel¿lícules realitzades en la història cinematogràfica àrab. / [EN] The advent of audiovisual translation (AVT) took place within the academic world with the publication of a special edition of the scholarly journal Babel in 1960 which was devoted to cinematographic translation. Since then, this field of translation has been growing rapidly. Since the 1980s, Translation Studies agreed to give priority to the intercultural communication aspect of translation by going beyond the translation's purview of transferring texts or languages to transferring cultures. A cultural approach to the study of translation or "cultural turn" was launched in the early 1990s. During the 21st century, the AVT has reached its maximum development undergoing significant changes thanks to the great technological advances and the emergence of new forms of audiovisual dissemination. Since the late 1990s, this area of study has experienced a remarkable development in academic circles. However, the studies dedicated to analyze the translation of audiovisual texts from Arabic to Spanish remain a limited field research. The present dissertation is an attempt to open the way to fill a gap in such studies. The methodological descriptive framework adopted in the present dissertation is based on the analysis model developed by Martí Ferriol (2006) which consists of three parameters: restrictions, norms and techniques of AVT to facilitate the subsequent identification of the translation method adopted by the subtitling versions. The main aim of this thesis is to verify whether the existing typologies of translation strategies, and traditionally based on language combinations with English, are applicable to analyze AVT for the specific case of the Arabic - Spanish language combination. In order to accomplish our aim of study, we carried out an exhaustive analysis of the treatment of the cultural terms in two Egyptian films subtitled in Spanish directed by Youssef Chahine Central Station (Bāb al-ḥadīd) (1958) and The land (Al-ʼrd) (1969). We chose our corpus on translation and cinematographic basis. The abundance of cultural terms in the selected corpus, the characteristics of verbal communication and the cultural distance between the origin and target cultures posed a great challenge for the translator. From the cinematographic point of view, the director Youssef Chahine stood out from the rest with his own cinematographic identity and the films, object of study, received the recognition of national and international critics, being selected in the list of the best films made in the Arab cinematographic history. / Abdallah Mohamed Abdelrahman Moussa, N. (2020). Análisis traductológico de los términos culturales en la subtitulación árabe-español [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/159276

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 & Musicology / D. Litt et Phil. (Musicology)

<p>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.</p><p>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.</p><p>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.</p><p>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.</p>

This theoretical and empirical interdisciplinary thesis examines censorship in cinematographic import to Czechoslovakia during the 1960s and 70s. Specifically we focus on English-spoken movies dubbed into Czech. The thesis summarizes existing theoretical research on the present topic and complements it with data acquired through interviews with contemporary witnesses. This information is then used for an analysis of two movies released to cinemas in Czechoslovakia during the researched period - The Entertainer (in Czech Komik, 1960) and Twelve Angry Men (in Czech Dvanáct rozhněvaných mužů, 1957). The thesis ends with a comparison of these two dubbings in their respective context and of the 1960s and 1970s from the perspective of the Czechoslovak dubbing. Finally, it offers several topics for further research.