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Dissertations / Theses on the topic 'Audiovisual translator'

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Published: 5 September 2021
Last updated: 11 February 2022

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1

Villanueva-Jordan, Ivan, and Eliana Gallardo-Echenique. "A Pilot Study on Subtitling Tasks and Projects for Intercultural Awareness and Queer Pedagogy." Institute of Electrical and Electronics Engineers Inc, 2020. http://hdl.handle.net/10757/656454.

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El texto completo de este trabajo no está disponible en el Repositorio Académico UPC por restricciones de la casa editorial donde ha sido publicado.<br>This paper presents the results of a pilot study on the use of active interlingual subtitling for intercultural awareness and queer pedagogy. The subtitling tasks and project were carried out with Ooona, an online subtitling software, and as part of an optional course on gender and sexuality at an undergraduate university program in Translation. The data collected are based on the Spanish subtitles produced by the students from audiovisual content originally in English, as well as on questionnaires and reports that they completed after subtitling. The results reveal how cloud-based subtitling software is a useful tool for students to position themselves regarding online video content online, as well as how the audiovisual representation of queer characters allows students to reflect on aspects of the gender/sex system when they must transfer linguistic content that is rooted in different socio-cultural systems.
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2

Faria, Manuel Duarte Gouveia. "Relatório de estágio na empresa Wordzilla: a tradução e legendagem audiovisual." Master's thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/23207.

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Como trabalho final do mestrado em Línguas e Linguística; Especialidade em Tradução da Universidade de Évora, elaborarei o presente relatório de estágio que tem como base o estágio que tive a oportunidade de realizar na empresa de tradução Wordzilla, sediada em Leiria. Este estágio teve a duração de quatro meses. O objetivo deste trabalho é fazer um relatório que informará sobre a minha experiência ao longo do estágio e dos trabalhos que realizei no mesmo, analisando alguns aspetos importantes para o meu desenvolvimento como tradutor. A área da tradução em que me irei focar neste relatório de estágio é a tradução audiovisual e a legendagem, modalidade que pratiquei ao longo dos quatro meses de estágio. Irei analisar algumas traduções em que trabalhei e assinalarei as suas dificuldades e estratégias para resolver certos problemas que possam ocorrer, juntamente com os problemas que se encontram quando se faz uma legendagem; Abstract: Internship Report at Wordzilla: Translation and audiovisual subtitling. As my final project in the Master´s degree on Languages and Linguistics: Specialization in Translation at the University of Évora, I present the following internship report which is based on the internship in the translation company Wordzilla, in Leiria. The internship took place during a four-month period. The aim of this project is to inform about my experience over the course of the four months of the internship at Wordzilla, and the projects that I worked on, analyzing important aspects for my development as a translator. This report will focus on the work on a specific area of translation, namely audiovisual translation and subtitling, which is the result of my practice throughout the four months of internship. I will analyze some translations that I worked on and will point out the difficulties that arose and some of the strategies used to solve certain translation problems, in conjunction with the problems you can find when subtitling.
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López, Garcia Verònica. "Lingüística de corpus aplicada a la didáctica de la traducción audiovisual." Doctoral thesis, Universitat Autònoma de Barcelona, 2018. http://hdl.handle.net/10803/665316.

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Vivimos en la era de la inmediatez informativa, que es también la de la inmediatez en el ocio y el entretenimiento y los estudios y agencias de traducción deben traducir y doblar (o subtitular) series y documentales en tiempo récord, para lo cual es habitual el reparto de una misma serie entre varios traductores con los problemas de consistencia que esto acarrea. Además, en ocasiones, en las llamadas comedias de situación (o sitcoms) existen expresiones recurrentes que acaban haciéndose populares o marcas de idiolecto que los guionistas utilizan para dibujar el carácter de algunos de los personajes. Estos elementos, dada su relevancia, deben mantenerse en las versiones traducidas de estas series. Esta tesis presenta un método de análisis del guion basado en la lingüística de corpus que detecta de un modo semiautomático expresiones recurrentes y marcas idiolectales en guiones de series y documentales consiguiendo identificarlas, y así poder consensuar su traducción, antes de su reparto entre traductores. Para ilustrar el método, este se aplica a las series Seinfeld y Little Britain. Tras el éxito de la aplicación profesional de este método, esta tesis presenta también su aplicación didáctica mediante el diseño una unidad didáctica por tareas y sus dos pilotados con alumnos del Grado en Traducción e Interpretación de la Universitat Autònoma de Barcelona. Se presentan también los cambios que estos pilotados ocasionaron en la unidad didáctica inicial, así como los resultados de los cuestionarios en los que se recoge la autoevaluación de los estudiantes y su evaluación de la unidad didáctica (contenidos y organización). Los objetivos de aprendizaje principales de dicha unidad son: • Reconocer la importancia del análisis previo a la traducción • Conocer aplicaciones avanzadas del procesador de textos (macros, operaciones con Regular Expressions, etc.) • Analizar corpus de textos con gestores de corpus La unidad didáctica muestra también la versatilidad del método, haciendo que los estudiantes lo apliquen al análisis del guion de la película Casablanca y mostrando como su aplicación habría evitado alguno de sus más sonados errores de traducción.<br>We live in the era of instant news, which is also the era of instant entertainment and leisure activities. This means that translation agencies and recording studios have to translate and dub (or subtitle) series and documentaries in record time. In order to beat deadlines, a single series is often shared out among several translators, leading to multiple problems of coherence. Furthermore, some series, for example some sitcoms, frequently include recurring expressions that become popular in everyday speech, or idiolect markers used by scriptwriters to portray the personality of some of the characters. These expressions, are often so significant that they should also be recurring in the translated versions of these series. This thesis presents a script analysis method based on corpus linguistics that detects these recurring expressions and idiolect markers semi-automatically in the scripts of series and documentaries. Once they have been identified, a translation can be agreed upon before the series is divided up among the team of translators. The series Seinfeld and Little Britain have been used to illustrate the method. Having successfully created and applied this corpus-based method in a professional context, the author designed the application of the method to teaching translation through a task-based teaching unit. The thesis presents this and two pilot tests carried out with students from the undergraduate degree in Translation and Interpreting at the Universitat Autònoma de Barcelona. The thesis also describes the changes introduced to the original teaching unit after the pilot tests, the results of the questionnaires used to collect the students’ own self-assessment as well as their assessment of the teaching unit (content and organisation). The main learning objectives of this unit are: - To understand the importance of pre-translation analysis - To know and use advanced applications of MS Word (macros, operations with Regular Expressions, etc.) - To analyze corpus using a corpus manager (AntConc) One of the corpus used by the students in the teaching unit, the script of Casablanca, illustrates the versatility of the method. The students realise that by using the method, some of the most notorious translation errors in this famous film could have been avoided.
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Souza, Neto Domingos Soares de. "Asymmetrical relations in audiovisual translation in Brazil." reponame:Repositório Institucional da UFSC, 2015. https://repositorio.ufsc.br/xmlui/handle/123456789/160536.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2015.<br>Made available in DSpace on 2016-04-15T13:13:02Z (GMT). No. of bitstreams: 1 338052.pdf: 1996941 bytes, checksum: 68c54241e0a0b41f7f798c44505c4623 (MD5) Previous issue date: 2015<br>Abstract : This research sets out to analyse the rendition of fixed expressions (Moon, 1998) in dubbed and subtitled versions of the films Madagascar (2005) and Ice Age (2002), taking into account the asymmetrical relations between countries and languages. Asymmetrical relations are manifested by globalisation in its centrifugal and centripetal forces (Cronin, 2009) and have a translational counterpart in Venuti?s (1995) notions of domestication and foreignisation. The objective of the study is to verify how the translation of fixed expressions is dealt with in dubbing and subtitling methods in terms of domestication and foreignisation, which are considered means to undermine and reinforce the asymmetrical relations. A cross-analysis between dubbing and subtitling is carried out by means of parallel corpus (Baker, 1995). Contrasting dubbing and subtitling is relevant in a context of asymmetrical relations on account of a recent change in Brazilian public preference for dubbing over subtitling (Pesquisa Datafolha, 2013). Results show that the subtitled versions in the corpus, rather than the dubbed ones, are more prone to adopt foreignising strategies with regard to the translation of fixed expression. Additionally, there have been identified, in the subtitled versions of the films, translation instances that avoid the adoption of domestication strategies in spite of the lack of impediment. This seems to imply that, occasionally, the subtitled versions under scrutiny deliberately move away from target language fixed expressions.<br><br>Esta pesquisa se propõe a analisar as traduções de expressões fixas (Moon, 1998) em versões dubladas e legendadas dos filmes Madagascar (2005) e A Era do Gelo (2002), tendo em conta as relações assimétricas entre os países e línguas. As relações assimétricas manifestam-se pela globalização em suas forças centrífuga e centrípeta (Cronin, 2009) e tem contrapartida tradutória nas noções de domesticação e estrangeirização propostas por Venuti (1995). O objetivo da pesquisa é verificar como se dá a tradução de expressões fixas nos métodos de dublagem e legendagem em termos de domesticação e estrangeirização, que são considerados meios de atenuar e reforçar as relações assimétricas. A análise cruzada entre as versões dubladas e legendadas é realizada por meio de corpus paralelo (Baker, 1995). Contrastar dublagem e legendagem é relevante em um contexto de relações assimétricas por conta de uma recente mudança na preferência do público brasileiro da dublagem para a legendagem (Pesquisa Datafolha, 2013). Os resultados mostram que as versões legendadas no corpus, em detrimento das versões dubladas, são mais propensas a adotar estratégias estrageirizadoras no que diz respeito à tradução de expressões fixas. Além disso, foram identificados nas versões legendadas dos filmes, casos de traduções em que se evitam a adopção de estratégias domesticação apesar falta de impedimento. Isso parece sugerir que, ocasionalmente, as versões legendadas analisadas deliberadamente afastam-se das expressões fixas da língua-alvo.
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5

Cuéllar, Lázaro Carmen. "Proper Names in Audiovisual Translation. Dubbing vs Subtitling." Gesellschaft für Namenkunde e.V, 2016. https://ul.qucosa.de/id/qucosa%3A16264.

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This study combines two aspects of particular interest in the field of translation: the study of proper names, which, having a particular idiosyncrasy, make for especially interesting analysis in an interlinguistic context, and audiovisual translation, which, on account of the inherent restrictions governing a text of this nature, has particular characteristics. The precise aim of this study will be to analyse how proper names are dealt with in the two most established forms of audiovisual translation – dubbing and subtitling – using the German film Berlin is in Germany as an object of study. The Spanish dubbed and subtitled versions of the original German text will be analysed to determine the extent to which these two techniques may influence the final result, given the specific limitations of each form.
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Aldea, Silvia. "A comparative study of approaches to audiovisual translation." Thesis, Högskolan Dalarna, Japanska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-21695.

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For those who are not new to the world of Japanese animation, known mainly as anime, the debate of "dub vs. sub" is by no means anything out of the ordinary, but rather a very heated argument amongst fans. The study will focus on the differences in the US English version between the two approaches of translating audio-visual media, namely subtitling (official subtitles and fanmade subtitles) and dubbing, in a qualitative context. More precisely, which of the two approaches can store the most information from the same audiovisual segment, in order to satisfy the needs of the anime audience. In order to draw substantial conclusions, the analysis will be conducted on a corpus of 1 episode from the first season of the popular mid-nineties TV animated series, Sailor Moon. The main objective of this research is to analyze the three versions and compare the findings to what anime fans expect each of them to provide, in terms of how culture specific terms are handled, how accurate the translation is, localization, censorship, and omission. As for the fans’ opinions, the study will include a survey regarding the personal preference of fans when it comes to choosing between the official subtitled version, the fanmade subtitles and the dubbed version.
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Ferrer, Simó María Rosario. "La gestión de proyectos de traducción audiovisual en españa. Seis estudios de caso." Doctoral thesis, Universitat Jaume I, 2016. http://hdl.handle.net/10803/398416.

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La gestión de proyectos de traducción audiovisual en España a principios del siglo XXI a través de seis estudios de caso que ilustran el paso de los proyectos de corte tradicional a un escenario de proyectos de traducción y localización de producciones transmedia. Con el advenimiento de la era digital en la comunicación audiovisual, la cadena de valor de los procesos de las distintas modalidades de traducción audiovisual ha cambiado notablemente. Así, la tesis trata del rol de los diferentes agentes que participan en la gestión de un proyecto audiovisual extranjero, que se debe traducir para el mercado local, en el marco de la empresa especializada de traducción audiovisual. La tesis analiza seis proyectos concretos actuales, los agentes involucrados, el cambio de perfil de los roles de los agentes ante los nuevos retos que plantea la digitalización y los nuevos formatos audiovisuales, incluye una revisión histórica de la gestión de proyectos de traducción audiovisual y especialmente trata un fenómeno nuevo, los proyectos transmedia, que requieren una formación específica por parte de los traductores y de los otros agentes implicados en el proceso de traducción, dadas las peculiaridades de estos proyectos, en especial, los requerimientos de los clientes en torno a la unificación y coherencia terminológica entre todos los productos que pertenecen a una misma franquicia. Todo este recorrido permite a la autora proponer una ampliación de las funciones del nuevo traductor de textos audiovisuales que tiene una repercusión inmediata en la docencia y en la formación de traductores.
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Blaževičienė, Rasa. "AUDIOVISUAL TRANSLATION OF FEATURE FILMS FROM ENGLISH INTO LITHUANIAN." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080926_173942-28997.

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The situation of audiovisual translation is in its infancy in Lithuania, thus, the work specifies methods of audiovisual translation and highlights characteristic features of audiovisual-type texts. The novelty of the work lies in the investigation of the voiced-over language of the feature film. With reference to this fact, the contrastive analysis of the source language and voiced-over target language of the feature film “Bridget Jones’s Diary“was chosen as the subject of the research. The aim of the work is the examination of language and authenticity transfer of the film through voice-over as the method of audiovisual translation from English into Lithuanian.<br>Vertimo tyrinėtojai žengia pirmuosius žingsnius audiovizualiojo vertimo tyrinėjimo srityje, nors įgarsintus, subtitruotus ar jau ir dubliuotus filmus žiūrime kasdien per televiziją ar kino teatre. Naujosios technologijos leidžia vos panorėjus mėgautis filmais, kurie atlieka ne tik pramoginę, bet ir kitos kultūros pažinimo funkciją. Didžioji dalis į Lietuvą atkeliaujančių filmų yra anglų kalba. Juos įprasta įgarsinti. Tačiau dėl įvairių priežasčių ne visada lietuviškame filmo variante išgirstame tai, kas buvo pasakyta originale. Šio darbo tikslas – išnagrinėti gerai žinomo vaidybinio filmo „Bridžitos Džouns dienoraštis“ kalbos ir autentikos perteikimą per įgarsintą filmo vertimą, siekiant nustatyti vertimo procese naudojamas vertimo procedūras. Mokslinio darbo teorinėje dalyje išsamiai pristatomi audiovizualaus vertimo metodai, apžvelgiami audiovizualaus teksto ypatumai, jame slypintys kodai bei paaiškinama domestikacijos samprata. Empirinėje darbo dalyje aprašoma tyrimo eiga ir analizuojami rezultatai. Filmo vertimo tyrimas atskleidė, jog dėl pačių kalbų (anglų ir lietuvių) skirtumų, tokių vertimo procedūrų kaip glaudinimas, eliminavimas ir trumpinimas naudojimas bei vertėjo(s) klaidos lėmė prasminius vertimo kalbos nuostolius. Nors vertėja(s) didžiajai teksto daliai rado atitinkamus ekvivalentus bei daugelyje atvejų pasitelkė parafrazę ir plėtimą, vertimo kalba perteikta glausčiau dėl aukščiau minėtų veiksnių bei filmo vertimo metodo ypatumų.
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De, los Santos Espinal Victoria Guadalupe, and La Chira Sulay Mercy Paiva. "La traducción de las identidades otras en la subtitulación y el doblaje del inglés al español de la serie Glow." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/651893.

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La presente investigación es un estudio de caso que analiza la representación de personajes pertenecientes a comunidades “otras” en la traducción inglés-español (doblaje y subtitulación) de la serie Glow (Flahive & Mensch, 2017). Glow es una producción de Netflix que supone una relectura de los estereotipos de la sociedad estadounidense de los años ochenta. Se caracteriza la traducción de esta serie como un medio difusor de ideologías, ya que mediante el lenguaje empleado por los personajes se trasmiten estereotipos propios de un contexto cultural distinto al de la audiencia meta. El estudio asume un enfoque cualitativo para analizar de manera inductiva los diálogos en los que el lenguaje se utiliza como medio de representación de la alteridad de los personajes. De este modo, se realizará un análisis contrastivo de las representaciones obtenidas a partir del texto fuente con los diálogos doblados y subtitulados del inglés al español por la industria Netflix.<br>This article is a case study analyzing the characters representation belonging to “other” communities in the English-Spanish translation (dubbing and subtitling) of the Glow series (Flahive & Mensch, 2017). Glow is a Netflix production that re-reads the stereotypes of American society in the 1980s. The translation of this series is characterised as a means of disseminating ideologies, since the characters’ language is used to transmit the typical stereotypes belonging to a different cultural context of the target audience. This study adopts a qualitative approach to analyze inductively the characters dialogues in which language is used as a means of representing their alterity. In this sense, the representations obtained from the source text will be compared with the dialogues dubbed and subtitled from English to Spanish by the Netflix industry.<br>Trabajo de investigación
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Ortiz, Boix Carla. "Implementing machine translation and post-editing to the translation of wildlife documentaries through voice-over and off-screen dubbing." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/400020.

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Aquesta tesi doctoral explora la possibilitat d’incloure la traducció automàtica i la traducció automàtica seguida de postedició en el procés de traducció de documentals científics de fauna i flora mitjançant veus superposades i doblatge en off. Per a aconseguir-ho, es van portar a terme tres estudis: El primer estudi investiga els reptes que hauríem de superar per a poder introduir la traducció automàtica en el procés de traducció de documentals. Ens basem en estudis anteriors sobre traducció mitjançant veus superposades i doblatge en off i sobre traducció de documentals (per exemple, Franco et al., 2010) per a determinar els esmentats reptes, així com en l’anàlisi d’un corpus de guions de documentals en anglès, un corpus de documentals en castellà i un corpus de segments de guions de documentals i 9 traduccions, 8 de les quals van ser fetes per diversos motors de traducció automàtica en línia i gratuïts, i l’altra va ser traduïda per un professional. A més, l’estudi introdueix possibles solucions als reptes, que fem servir a l’experiment que presentem en el segon estudi. El segon estudi se centra en un experiment per a determinar l’esforç necessari per a posteditar documentals científics de fauna i flora en comparació amb l’esforç requerit per a traduir-los. Dotze estudiants de màster van participar en l’experiment, que es va basar en la noció d’esforç de Krings (2001), així com en altres estudis sobre esforç de postedició (per exemple, O’Brien, 2006). Les conclusions de l’experiment indiquen que post-editar requereix menys esforç que traduir. El tercer estudi compara la qualitat de documentals post-editats i traduïts. Per a fer-ho, es van portar a terme dos experiments. En el primer, sis experts van avaluar la qualitat dels documentals que van fer els estudiants de màster durant l’experiment del segon estudi. Així, doncs, els experts van posar nota als documents, els van corregir mitjançant una classificació d’errors basada en MQM que inclou especificacions per a la traducció documentals, i van respondre qüestionaris d’acord amb la seva opinió sobre les traduccions corregides. Les conclusions de l’experiment indiquen que la qualitat de les post-edicions i de les traduccions són significativament semblants. En el segon experiment, 56 possibles usuaris van avaluar la qualitat dels documentals post-editats i traduïts mitjançant un qüestionari de recepció. Igual com va indicar l’avaluació dels experts, els resultats mostra que no hi ha diferencies significatives entre la qualitat dels documentals traduïts i els posteditats. Els estudis presentats en aquesta tesi doctoral, doncs, permeten aconseguir l’objectiu principal de la tesi: “investigar si es podria incloure, satisfactòriament, la traducció automàtica, en quant a esforç i qualitat, en el procés de traducció de documentals d’un subdomini específic (fauna i flora) mitjançant veus superposades i doblatge en off; i validar les dues hipòtesis principals de la tesi: “esperem que la inclusió de traducció automàtica en el procés de traducció de documentals de naturalesa mitjançant veus superposades i doblatge en off optimitzi el procés en quant a esforç” i “esperem que la inclusió de traducció automàtica en el procés de traducció de documentals científics de fauna i flora per veus superposades i doblatge en off no afecti significativament la qualitat del producte traduït”.<br>Esta tesis doctoral explora la posibilidad de incluir traducción automática y traducción automática seguida de post-edición en el proceso de traducción de documentales científicos de fauna y flora mediante voces superpuestas y doblaje en off. Para conseguirlo, llevamos a cabo tres estudios: El primer estudio investiga los desafíos que necesitamos superar para poder incluir la traducción automática en el proceso de traducción de documentales. Nos basamos en estudios anteriores sobre traducción mediante voces superpuestas y doblaje en off y sobre traducción de documentales (por ejemplo, Franco et al., 2010) para determinar los desafíos que nos podemos encontrar. También nos basamos en el análisis de un corpus de guiones de documentales en inglés, un corpus de documentales en español y un corpus de segmentos de guiones de documentales y sus nueve traducciones, ocho de las cuales fueron producidas por motores de traducción automática gratuitos y en línea, y otra traducción hecha por un traductor humano. Además, el estudio introduce posibles soluciones para estos desafíos, que usamos en el experimento presentado en el segundo estudio. El segundo estudio se centra en un experimento que pretende determinar el esfuerzo requerido para post-editar documentales de naturaleza comparado con el esfuerzo necesario para traducirlos. Doce estudiantes de máster participaron en el experimento, que se basó en la noción de esfuerzo de Krings (2001), así como otros estudios relacionados con esfuerzo de post-edición (por ejemplo, O’Brien, 2006). Las conclusiones del experimento parecen indicar que post-editar requiere menos esfuerzo que traducir. El tercer estudio compara la calidad de documentales post-editados y traducidos. Para hacerlo, se llevaron a cabo dos experimentos. En el primero, seis expertos evaluaron la calidad de los documentales hechos por los estudiantes durante el experimento: los expertos pusieron nota a los documentos, los corrigieron usando una clasificación de errores basada en el MQM que incluye especificaciones para la traducción de documentales, y respondieron unos cuestionarios sobre su opinión de las traducciones. Las conclusiones del experimento indican que la calidad de las post-ediciones y las traducciones son significativamente similares. En el segundo experimento, 56 posibles usuarios evaluaron la calidad de documentales post-editados y de documentales traducidos mediante un cuestionario de recepción. Igual como indicó la evaluación de los expertos, los resultados muestran que no hay diferencias significativas entre la calidad de los documentales traducidos y los post-editados. Los estudios presentados en esta tesis doctoral, pues, nos permiten conseguir el objetivo principal de la tesis: “investigar si se podría incluir la traducción automática de manera satisfactoria, en cuanto a esfuerzo y calidad, en el proceso de traducción de documentales de un subdominio específico (fauna y flora) mediante voces superpuestas y doblaje en off”; y validar las dos hipótesis principales de la tesis: “la inclusión de traducción automática en el proceso de traducción de documentales científicos de fauna y flora mediante voces superpuestas y doblaje en off optimizará el proceso en cuanto a esfuerzo” y “la inclusión de traducción automática en el proceso de traducción de documentales científicos de fauna y flora mediante voces superpuestas y doblaje en off no afectará significativamente la calidad del producto traducido”.<br>This PhD explores the possibility of introducing MT and PE MT into the process of translating wildlife documentaries to be voiced-over and off-screen dubbed. In order to do so, 3 studies have been carried out: The first stud researches the challenges that would need to be overcome if MT is to be included in the process of translating wildlife documentaries through VO and OD. The challenges are based on previous studies on the translation via VO and OD, and the translation of documentaries (e.g. Franco et al., 2010), as well as an analysis of a corpus of wildlife documentary scripts in English, a corpus of wildlife documentary scripts in Spanish, and a corpus of segments of documentary scripts and 9 translations: 8 produced by free-online MT engines and 1 by a human translator. Furthermore, it presents possible solutions to such challenges, which are used in the experiment presented in the second study. The second study presents and experiment that intends to determine the effort required to post-edit wildlife documentary films, as compared to the effort needed to translate them from scratch. 12 MA students participated in the experiment, which was based in Krings (2001) notion of PE effort, and previous experiments on PE effort (e.g. O’Brien, 2006). The conclusions of the experiments seem to indicate that PE requires less effort than translating them from scratch. The third study compares the quality of post-edited and translated wildlife documentaries. In order to do so, two experiments were carried out. The first one presents the QA, made by 6 experts, of the documentary scripts translated by MA students during the second study. The experts assessed the quality by grading the documents, by correcting them using an MQM-based error classification that includes specifications of documentary translation, and finally, by answering questionnaires on their opinions. Conclusions indicate that the quality of post-edited and translated wildlife documentaries is significantly similar. In the second experiment of the third study, 56 end-users blindly assessed the quality of post-edited and translated wildlife documentaries by using user-reception questionnaires. As well as the QA by experts, the results show that there is no significant difference between the quality of post-edited and translated documentaries. All the studies presented in this dissertation help to accomplish its main objective: “research whether MT might be successfully included, effort and quality wise, into the process of translating documentaries of a certain subdomain (wildlife) through VO and OD”; and validate its main hypotheses, which stand that “the inclusion of MT into the process of translating wildlife documentaries through VO and OD will optimize the process in terms of effort” and that “the inclusion of MT into the process of translating wildlife documentaries through VO and OD will not have significant impact on the quality of the translated product”.
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Neves, Josélia. "Audiovisual translation subtitling for the deaf and hard-of-hearing /." [S.l.] : [s.n.], 2005. http://roehampton.openrepository.com/roehampton/bitstream/10142/12580/1/neves%20audiovisual.pdf.

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Neves, Josélia. "Audiovisual translation : subtitling for the deaf and hard-of-hearing." Thesis, University of Roehampton, 2004. https://pure.roehampton.ac.uk/portal/en/studentthesis/audiovisual-translation(b1dc4160-b445-46fa-974a-110888545271).html.

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A study of subtitling for the Deaf and Hard-of-Hearing (SDH) with special reference to the Portuguese context. On the one hand it accounts for a descriptive analysis of SDH in various European countires with the aim of arriving at the norms that govern present practices and that may be found in the form of guidelines and / or in actual subtitled products. On the other hand, it is the result of an Action Research project that aimed at contributing towards the improvement of SDH practices in Portugal. These two lines of research are brought together in the proposal of a set of guidlines -Sistema de legendagem vkv - for the provision of SDH on Portuguese television. This research positions itself within the tradition of Translation Studies (TS) by taking a descriptive approach to its subject. Nonetheless it takes a step beyond to seek reasons and to propose change rather then simply to describe objects and actions. Given its topic and methodological approach, this research also drank for other fields of knowledge, such as Deaf Studies, Sociology, Linguistics and Cinema Studies, amongst others. In this contect SDH is addresssed as a service to Deaf and Hard - of - Hearing viewers, thus implying a functional approach to all that it entails. In order to arrive at an emcompassing understanding of the subject, in the body of this work we may find a summary of the history of SDH as well as an overview of the overriding and specific issues that characterise this type of subtitling. Following this, the Portuguese situation is made known through the account of five case studies that were carried out in the course of 2002 and 2003. In response to the needs and requirements of Portuguese Deaf and Hard-of-Hearing viewers, the proposed set of guidelines is based on the special concern for adequacy and readability and is envisaged as a useful tool for students and practitioners of SDH.
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Neves, Josélia. "Audiovisual translation : subtitling for the deaf and hard-of-hearing." Doctoral thesis, University of Surrey Roehampton, 2005. http://hdl.handle.net/10400.8/409.

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Cordéus, Christian. "Synchronies in Dubbing : The Transfer of Vocal Characteristics through Audiovisual Translation." Thesis, Stockholm University, Department of English, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-28466.

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<p> </p><p>This essay aims to describe and analyze the process of dubbing and the factors of synchrony that must be taken into consideration when such a translation is done. By observing and carefully analyzing the film <em>The Lion King</em> the essay brings up the issue of fidelity and further observes the differences and similarities between the original, English-language version and the Swedish dubbing. Focus is put on the vocal qualities of the voice actors and comparisons are drawn regarding such factors as culturally specific archetypes, tonality, intonation, etc. The essay concludes that there is a very high level of fidelity in the TT of <em>The Lion King</em>.</p>
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Barreto, Sandra Isabel Correia. "Dificuldades de tradução para legendagem: análise da série How I Met Your Mother." Master's thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/13046.

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Nesta dissertação de mestrado abordar‐se‐ão as dificuldades de tradução na legendagem da série “How I met your mother”, no contexto audiovisual português, recorrendo a exemplos de cinco episódios. Ir‐se‐ão identificar algumas ocorrências problemáticas, ao longo da comparação das legendas na língua de partida com as mesmas na língua de chegada, e serão apresentadas alternativas para a tradução, que poderiam ser utilizadas nesses mesmos casos, de forma a elaborar uma análise sistemática de exemplos. Assim, ter‐se‐á sempre em consideração que a tradução não deverá ser efetuada do ponto de vista estritamente linguístico, porém tendo sempre em conta o contexto cultural da língua de chegada, devendo existir uma adequação e respetiva adaptação do texto a traduzir, para que este possa ser aceite e compreendido pelos espetadores. Não se pretende, assim, efetuar uma crítica à tradução existente, mas sim encontrar alternativas para melhorar a qualidade de mesma, recorrendo a estratégias de tradução; Abstract: Subtitling Translation Difficulties– Analysis of How I Met Your Mother TV show This dissertation will point out the translation difficulties in subtitling the TV show “How I met your mother”, according to the Portuguese audiovisual context, and using examples from five episodes. It will identify some of the problems comparing the English with the Portuguese subtitles, and it will offer some translation alternatives, that could be used instead, as an effective mean to produce an organized sample analysis. As a consequence, it is paramount to consider that translation should not occur simply from a linguistic point of view, nevertheless referring to the cultural background of the target viewers as well. The subject of translation should be adapted in a way that can be understood and accepted by the target community. It is not intended to criticize the main translation, but merely to help find alternatives as a way to increase its quality, discussing the translation strategies used.
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Mesquita, Luís Filipe Pernão. "Análise da tradução de guiões da série de humor britânica: "Monty python´s flying circus"." Master's thesis, Universidade de Évora, 2017. http://hdl.handle.net/10174/21788.

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Neste Trabalho de Projeto final de mestrado abordam-se vários aspetos relacionados com a tradução na legendagem da série “Monty Python’s Flying Circus”, recorrendo a exemplos retirados de seis episódios da série. Ao longo deste trabalho identificam-se também algumas ocorrências problemáticas na tradução, comparando as legendas na LC (Língua de Chegada) com o guião original na LP (Língua de Partida). O objetivo deste trabalho é o de efetuar uma análise à tradução existente (legendagem) e verificar as dificuldades na tradução, através da teoria sobre modalidades tradutórias e tendo sempre em conta o contexto cultural da LC, sendo necessária uma adaptação do texto original para a LC. Apontar-se-á também a relação entre língua e cultura; Abstract: Analysing the translation of British Comedy (Britcom) scripts: “Monty Python’s Flying Circus” In this Masters essay project, it’ll be appointed various aspects associated with the translation in the subtitling of the TV series “Monty Python’s Flying Circus” consulting examples taken from six episodes of the show. During this essay it’ll also be identified some problematic occurrences in the translation, confronting the subtitles in the TL (Target Language) with the original script in the SL (Source Language). This essay’s goal is to do an analysis on the existent translation (subtitles) and check its translation struggles, talking about the translation procedures and taking in account the TL cultural context, being necessary adapting the original text for the TL. Also in this essay there will be some talk about the relation between language and culture.
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Parra-Olmedo, Mar. "The audiovisual translation and audience reception of satire : 'Extras', a case study." Thesis, University of Strathclyde, 2017. http://digitool.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=29465.

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In recent years, the number of studies of the audiovisual translation (AVT) of humour and its audience reception have increased (e.g. Fuentes Luque, 2000; Chiaro, 2004, 2007; Schauffler, 2012 etc.). However, no previous studies of the audience reception of AVT have looked at specific types of humour such as satire. A more detailed look into the textual and discoursal properties of satire (Simpson, 2003) reveal that satire is significantly different from other types of humorous discourses and thus, its translation should be studied separately in order to gain insight into the translation issues that might be specific to this type of discourse. Moreover, Mason (2009: 55) notes that enquiries into reader response would be useful for translation studies. Audience reception experiments should aim at seeking evidence of inferences drawn by actual users of a text and its translation as a means to support and correct the analyst’s findings. In light of these observations, this study investigates the audiovisual translation and audience reception of satirical discourse. In order to fulfil this aim, and as a case study, the British television programme (Extras, 2005, BBC Two) and its dubbed version in Spanish for Spain are analysed in the light of Simpson’s (2003) model of satirical discourse. This comparative analysis is followed by an audience reception test which has been carried out in order to elicit responses from British and Spanish participants regarding their interpretations of both source and target texts. The results of the study show that recurrent aspects of satirical discourse such as culture-specific items, intertextuality and taboo topics etc. often prevent the successful ‘uptake’ of satirical discourse amongst the target viewers. The study also proves that the use of audience response tests is useful in order to elicit viewers’ responses to elements of satirical discourse and their translations.
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Barrenechea, Alvarez Valeria Jimena, and Ormeño Mariell de Fatima Quispe. "La traducción de sujetos trans* en el doblaje y subtitulación al español de la serie Tales of the City (2019)." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/651895.

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En este trabajo se analiza la representación de les sujetos trans* en la serie Tales of the City (2019) a partir de la comparación del texto fuente, la subtitulación y el doblaje. Específicamente, les personajes Jake, Margot, Ida Best y Shawna. Para el análisis, se extrajeron herramientas a partir de las teorías de género, sexualidad, lo queer, lo trans*, entre otras y se usaron las técnicas del análisis de contenidos y el análisis textual contrastivo. Además, se utilizó como instrumentos la matriz de vaciado del texto fuente, la matriz de transcripción del doblaje y subtitulación, la ficha contrastiva y la matriz de técnicas de traducción.<br>This study analyzes the representation of trans* individuals in Tales of the City (2019) by comparing source text subtitling and dubbing. Specifically, the characters Jake, Michael, Ida Best and Shawna. For the analysis, tool were extracted from the theories of gender, sexuality, queer, trans*, and others, and the techniques of content analysis and textual contrastive analysis were used. In adition, source text’s matrix, transcription of subtitling and dubbing’s matrix, contrastive matrix, and translation techniques’ matrix were use.<br>Trabajo de investigación
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Salim, Jade. "An examination of hardiness and stress-related growth following sport injury." Thesis, University of Roehampton, 2016. https://pure.roehampton.ac.uk/portal/en/studentthesis/audiovisual-translation(beafff75-2fd7-4b32-8e76-7073426e41e3).html.

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This thesis examined hardiness, coping and stress-related growth (SRG) following sport injury. Study 1 examined the relationship between hardiness and SRG. The data were analyzed using Pearson product-moment correlations and Preacher’s and Hayes’s (2008) bootstrapping procedure. Findings revealed a significant positive relationship between hardiness and perceived SRG, and two strategies were found to mediate this relationship: emotional support and positive reframing. That is, the reason why athletes higher in hardiness had higher SRG scores was because they reported greater use of their social support for emotional reasons (e.g., moral support, sympathy or understanding) and were able to construe their injury in positive terms. Despite these significant findings and their important contribution to research, the data is limited due to its quantitative nature. Therefore, Study 2 aimed to enhance the interpretability and meaningfulness of the findings from Study 1. Specifically, Study 2 aimed to explain how injured athletes high in hardiness promoted stress-related growth (SRG) and why athletes low in hardiness were less likely to derive such benefits. Semi-structured interviews were conducted and transcribed, which were then analyzed and displayed using composite sequence analysis. Findings revealed that athletes high in hardiness experienced SRG through four mechanisms: (a) emotional outlet, (b) positive reframing, (c) positive affect, and (d) investing in resources. In contrast, athletes low in hardiness had no emotional outlet, which led to a number of sub-optimal outcomes. This study observed the importance of emotional disclosure during one’s recovery from injury. Informed by the findings from Study 1 and 2, Study 3a and 3b aimed to evaluate an emotional disclosure intervention with injured athletes low in hardiness. The intervention was for four weeks, and included a four week follow-up and a three month social validation interview. The intervention consistent of three groups: a written-disclosure group (WD Group), verbal-disclosure group (VD Group), and the Control Group (C Group). The quantitative data were analyzed using repeated measures AVOVA and MAVOVA, and the qualitative data were analyzed using thematic analysis. Findings revealed the VD Group experienced significantly more SRG than the control group. This finding was explained from the VD Group fully disclosing their thoughts and feelings, and having sufficient time to restructure their stories. Both the WD and VD Groups recalled writing and talking to be a cathartic process; however, they did not report as many desirable outcomes as the VD Group. In conclusion, this thesis has achieved its purpose, and has made a significant contribution to research in a number of ways. From a theoretical perspective, it supported and extended a number of theories and models including the Wiese-Bjornstal et al.’s (1998) integrated model of responses to sport injury, the Organismic Valuing Theory (Joseph & Linley, 2005), and broaden-and-build-theory of positive emotions (Fredrickson, 2013). This thesis also had an empirical impact, as it integrated two lines of which have examined hardiness or SRG following injury, extended research by directly examining the relationship between hardiness and SRG and the coping strategies that mediate this relationship. This thesis not only supported previous hardiness research but also supported and extended research within the growth and sport injury literature, as well as disclosure research within in a sporting and non-sporting context. Finally, from an applied perspective, it emphasizes that practitioners who work with injured athletes may not only have an important role in preventing and/or repairing the negative consequences of injury, but also in terms of enabling them to experience SRG.
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Villanueva, Jordán Iván, Vega Fiorella Hermoza, and Diaz Monica Bravo. "Experiencias profesionales y percepciones sobre la subtitulación interlingüística en Lima, Perú." Universidad de Antioquia, 2017. http://hdl.handle.net/10757/622496.

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El presente artículo explora las experiencias de trabajo y percepciones individuales en relación con la subtitulación interlingüística de un conjunto de profesionales de Lima, Perú. El estudio se realizó a partir de métodos cualitativos: doce entrevistas semiestructuradas a cuatro grupos de participantes — empresas y profesionales de traducción, y empresas y profesionales de comunicación audiovisual—. Aunque los participantes asumen que la subtitulación no tiene un mercado establecido en la capital peruana, opinan que se trata de un nicho con una demanda en crecimiento. Asimismo, existe una diferencia respecto al modo de trabajo de las empresas y profesionales de traducción y de comunicación audiovisual, concretamente, en las etapas del proceso de subtitulación y el uso de protocolos, además de otros criterios para asegurar la calidad del servicio.<br>The following article explores the work experiences and individual perceptions of a group of professionals from Lima (Peru) regarding interlingual subtitling. Such study was conducted using qualitative methods. A total of twelve semi-structured interviews were made, including four groups of participants: companies and professionals of the translation field, as well as companies and professionals of the audiovisual communication field. Although participants believe that subtitling does not have an established market in the Peruvian capital, they do think that it is a niche with a growing demand. Likewise, there is also a distinction between the way translation and audiovisual companies and professionals work, particularly with regard to the subtitling process and the use of guidelines, as well as other criteria used to ensure the quality of the service.<br>Revisión por pares
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Fors, Sofia. "The attitudes of Swedish viewers regarding the quality of translation in audiovisual media." Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-24022.

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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.
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Peat, Nicholas. ""Is this Bizarro World?" : the adaptation of characterisation and intertextuality in German audiovisual translation." Thesis, Lancaster University, 2018. http://eprints.lancs.ac.uk/126015/.

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This thesis contributes to the scholarly understanding of intertextuality, characterisation and translation theory; building upon earlier analyses of audiovisual translation of genre television (e.g. Bosseaux 2015, Knox and Adamou 2011), my thesis undertakes analyses of interactions between recurring characters in the sixth season of the US television programme, Buffy the Vampire Slayer. The first major contribution of this thesis is the construction of a model of textual cues for characterisation specifically for audiovisual media (e.g. film, television), including non- English language media, building on Bosseaux’s (2015), Culpeper’s (2001) and Walker's (2012) models for dubbed television, drama and novels, respectively. The scene-based analysis of these textual cues in the original English, German dubbing and German subtitles allows the viability of my model for characterisation to be assessed with regard to the audiovisual-specific aspects they incorporate; examples include the visual features of a character's milieu (e.g. the furnishings with which characters are seen to surround themselves) or the visual representation of mental processes (e.g. hallucinations to which the viewer is privy), neither of which could be discerned from non-visual scripts or prose narration. The second major contribution of this thesis concerns intertextual references (see e.g. Fairclough 2003, Allen 2011) which, as a form of textual adaptation, are used in the text to create characterisation. As intertextual references are adapted in audiovisual translation (see e.g. Pérez-González 2014), the characterisation provided by those intertextual references is also adapted; these adaptations are the focus of analysis. For the purposes of this analysis, intertextual references are categorised as allusions, quotations, adaptations and co-text (categories chosen to reflect how intertextuality can be removed or introduced via audiovisual translation): these categories serve to help discern how specific forms of intertextuality are adapted in translation. These qualitative, scene-based analyses (Bednarek 2012) explore different ways in which audiovisual translation can adapt characterisation; adaptations via translation are considered in accordance with the specific limitations of dubbing and subtitles, as well as Systemic Functional Grammar (e.g. Halliday 2014) and multimodal codes (e.g. Chaume 2012), to explain salient decisions taken by translators. Through so doing, it is demonstrated that characterisation can be analysed in dubbed and subtitled texts and intertextual references can be analysed in terms of the characterisation they convey, which can be adapted in translation as the intertextuality is adapted. These are the contributions of this thesis to the fields of intertextuality, characterisation and translation.
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Bartoll, Eduard. "Paràmetres per a una taxonomia de la subtitulació." Doctoral thesis, Universitat Pompeu Fabra, 2008. http://hdl.handle.net/10803/7572.

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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. <br/><br/>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.<br/>Es proposen una sèrie de paràmetres formals a partir dels quals redefinir i formalitzar la classificació de les diverses modalitats de traducció audiovisual.<br/><br/>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.
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Nunes, Jefferson CÃndido. "A transmutaÃÃo monadolÃgica de BjÃrk: traduÃÃo intersemiÃtica da dor em trÃs dimensÃes, a partir de Black Lake." Universidade Federal do CearÃ, 2017. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=19606.

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nÃo hÃ<br>BjÃrk extravasa criatividade com sua arte singular e, assim, tem inovado e influenciado setores midiÃticos importantes, como os da indÃstria fonogrÃfica, da arte fotogrÃfica e digital e de video making. Com o seu Ãlbum mais recente, Vulnicura (BJÃRK, 2015n), a artista islandesa exprime um forte sentimento de dor que atinge seu Ãpice em Black Lake (2015c), quarta faixa do disco. A partir do texto poÃtico, composto pela letra dessa mÃsica, investigo como ocorreu a transmutaÃÃo da subjetividade de BjÃrk atravÃs da traduÃÃo intersemiÃtica desse texto-signo para trÃs polissistemas distintos: mÃsica, imagem e vÃdeo. Para tanto, proponho um diÃlogo, dentre outros, com os estudos de Jakobson (1992), Plaza (2003) e Pierce (2000), que tÃm trabalhos importantes sobre esse tipo de traduÃÃo, para compor a primeira parte da fundamentaÃÃo teÃrica desta investigaÃÃo. Ademais, baseio-me nas pesquisas de KÃhl (2008), Barthes (1977) e Goodwin (1992), que tratam, respectivamente, de traduÃÃes midiÃticas para mÃsica, imagem e vÃdeo, para compor os elementos especÃficos de anÃlise do corpus em estudo e, juntamente com outros autores, poder analisÃ-lo a partir de um referencial teÃrico mais heterogÃneo. Os resultados apontam para a maestria de BjÃrk, refletida na evidÃncia de sua capacidade artÃstica de transmutar singularmente a sensaÃÃo de dor â e, por extensÃo, transcriar-se a si mesma â para as trÃs dimensÃes sÃgnicas supracitadas, aguÃando esse elemento em suas traduÃÃes. Conclui-se, portanto, que a presente pesquisa se faz relevante para o fomento dos Estudos da TraduÃÃo e, mais especificamente, para proporcionar melhor compreensÃo sobre fenÃmenos concernentes à traduÃÃo intersemiÃtica.<br>BjÃrk 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 (BJÃRK, 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 BjÃrkâs 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 KÃhl (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 BjÃrk by evidence of her artistic ability to uniquely transmutate the sensation of pain â and, by extension, to transcreate her own self â 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.
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Nunes, Jefferson Cândido. "A transmutação monadológica de Björk: tradução intersemiótica da dor em três dimensões, a partir de Black Lake." reponame:Repositório Institucional da UFC, 2017. http://www.repositorio.ufc.br/handle/riufc/23512.

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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.<br>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)<br>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)<br>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<br>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.<br>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.
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Suarez, Silva Luciana, and Olaechea Diego Ignacio Schultz. "“Get those hot buns in here, girl” Estudio de recepción de la traducción del doble sentido en el doblaje de Hora de aventura." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/652353.

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La traducción del humor es uno de los más grandes desafíos para el traductor en el campo de la traducción audiovisual. Además, la diversidad de receptores hace que el trabajo del traductor sea aún más desafiante, ya que el traductor debe intentar en lo posible que no se pierda el sentido original del segmento a traducir, y que el producto en algunos casos sea apto tanto para niños como para adultos. La presente investigación se centrará en analizar la recepción del humor en el doblaje de la serie animada Hora de aventura en niños de 7 a 11 años y jóvenes adultos de 18 a 22 años del Perú, teniendo en cuenta que existen factores como las técnicas empleadas en la traducción del producto cultural que podrían afectar la percepción del mismo; en particular, la comprensión del doble sentido, ya que el empleo de ciertas técnicas de traducción pueden conllevar un acercamiento o alejamiento del producto al receptor. Mediante encuestas a 4 grupos de 25 estudiantes (2 grupos conformados por niños y 2 por adultos) se indagará en la comprensión que tuvieron sobre las bromas de doble sentido en el doblaje de la serie.<br>Translating humor is one of the greatest challenges for a translator when it comes to Audiovisual Translation (AVT). This, along with the diversity of receptors, makes the translator's job even more complex, as the translator must find a way to preserve the original meaning of the segment to be translated, and in some cases make sure that the product is suitable for both children and adults. For this reason, the research main focus is to analyze the reception of children, from 7 to 11 years old, and young adults, from 18 to 22 years old, of the dubbed version of the animated series Adventure Time, taking into account that there are factors, such as the techniques used in the translation of the cultural product, that could affect its perception; in particular, the understanding of the double meaning, since the use of certain translation techniques may help the text be easier for receptors to understand the message, or conversely, make it difficult to understand. By conducting surveys of 4 groups of 25 students (2 groups made up of children and 2 other groups made up of adults), we will investigate their understanding of the double meaning jokes in the dubbed version of the series.<br>Trabajo de investigación
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Adams, Edith J. "No Pongas Palabras en Mi Boca: Un Analisis de la Traduccion del Humor en los Subtitulos." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/461.

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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.
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Wojcik, Katarzyna Maria. "Community Contributions: Analysing The YouTube Subtitling Phenomenon." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/22863/.

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This dissertation aims at identifying the common characteristics and trends set by amateur subtitlers on YouTube. By introducing the Community Contributions feature, YouTube has invited viewers from all over the world to participate in the creative process of a video with their translations. Indeed, YouTube is characterised by a participatory culture where the viewer is at the centre of the choices made by the content creators. The subtitles created by the viewers reflect this participatory culture, as the subtitler’s presence is clearly visible. The first chapter introduces the YouTube platform and the world of YouTubers. The figure of the YouTuber shares some characteristics with celebrities, however, their most striking characteristics are authenticity and ordinariness. These are the elements that make YouTubers popular and loved by their audience. The second chapter deals with subtitling and its many forms: from professional subtitling standards to renditions of humour, to fansubbing. All these topics are crucial in the understanding of the YouTube subtitling phenomenon. The third and last chapter contains the analysis of the subtitles from seven selected videos. The analysis identifies the different characteristics and issues of the subtitles. Particular focus is given to the instances of spam and abuse, which led to the Community Contributions being discontinued on the platform.
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Sepielak, Katarzyna. "Voice-over in multilingual fiction movies in Poland. Translation and synchronization techniques, content comprehension and language identification." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/392684.

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Esta tesis doctoral analiza las voces superpuestas de películas multilingües en Polonia. Primero se centra en diferentes técnicas de traducción y sincronización aplicadas en las voces superpuestas en películas multilingües y luego analiza el procesamiento de la información, la comprensión y la identificación de los distintos idiomas en las películas con voces superpuestas. Se han formulados tres objetivos: 1) Establecer cómo los elementos multilingües se traducen en las películas con voces superpuestas en polaco; 2) Establecer la relación entre las técnicas de sincronización y traducción de las películas multilingües con voces superpuestas y analizar qué combinaciones de técnicas de sincronización y de traducción son más eficientes en la expresión de contexto multilingüe; 3) Analizar cómo los elementos multilingües son procesados, tanto en películas multilingües con voces superpuestas como con subtítulos. Con estos objetivos en mente, se han llevado a cabo dos estudios descriptivos y uno experimental. El primer estudio muestra que la introducción de elementos multilingües en los textos de origen es un procedimiento deliberado, que a menudo desaparece en los textos de llegada. El análisis del corpus muestra que los elementos multilingües se reducen significativamente en las versiones polacas. El análisis revela que sólo dos técnicas, de imitación y de exposición, refuerzan el contexto multilingüe en las versiones traducidas. Otras técnicas más frecuentes borran la diversidad lingüística presente en las versiones originales. Sin embargo, como la banda sonora original en las películas con voces superpuestas es audible hasta cierto punto, la sincronización hábil de las dos bandas sonoras ayuda a marcar contexto multilingüe en las películas. El segundo estudio indica que existe cierta relación entre los diferentes tipos de sincronía y algunas técnicas de traducción, sobre todo, la condensación, la transferencia, la paráfrasis y decimación. Sin embargo cada sincronía muestra diferentes patrones en cuanto a la naturaleza de esta relación. En el caso de isocronía, la relación es definitivamente no causal. La práctica habitual consiste en el hecho de que el lector lea la traducción después de escuchar el original, sin pautas en cuanto al número exacto de segundos que deben pasar antes de comenzar la lectura de la traducción. La sincronía literal aparece en muy pocos casos. La relación de este tipo de sincronía con las técnicas de traducción también es casual. La sincronía quinésica se mantiene en la mayoría de los casos gracias a las técnicas de transferencia y condensación. El análisis también revela que de los cuatro tipos de sincronías, la isocronía es la única que ayuda a exponer contexto multilingüe en las películas. Dada su naturaleza, ya que expone la banda sonora original aunque por un corto período de tiempo, esta sincronía podría aumentar la diversidad lingüística en la película. Estos resultados llevan a la pregunta si esta diversidad es procesada por los espectadores. Esta cuestión se trata empíricamente en el tercer estudio. Por razones comparativas y de control, el tercer estudio añade el subtitulado para el análisis. Los resultados del experimento muestran que la comprensión del contenido depende de la modalidad de traducción audiovisual, con mejores resultados en la condición de subtitulado que de las voces superpuestas. Los resultados sugieren que el procesamiento de información en los programas con voces superpuestas no es tan eficiente como en la versión subtitulada. Los resultados indican que el modo de traducción audiovisual no predice el rendimiento en la detección del número de idiomas hablados por los personajes en producciones multilingües. Por último, se concluye que ni la modalidad de traducción audiovisual ni los personajes multilingües y monolingües son predictores significativos de la identificación de idiomas hablados por personajes en una película multilingüe.<br>This dissertation analyzed voiced-over multilingual movies in Poland. In particular, it focused on different translation and synchronization techniques applied in voiced-over multilingual movies and then shifted its focus to information processing, comprehension and identification of various languages in voiced-over movies. Three main objectives were formulated in this research: 1) To establish how multilingual elements are translated in voiced-over movies into Polish; 2) To establish the relationship between synchronization and translation techniques in multilingual movies voiced-over into Polish and to analyze which combinations of synchronization and translation techniques are most efficient in rendering multilingual context; and 3) To test how multilingual elements are processed by Polish viewers in both voiced-over and subtitled multilingual movies. With those objectives in mind, two descriptive and one experimental studies were carried out. The first study showed that introducing multilingual elements in source texts was a deliberate procedure, which often disappeared in the target text. The analysis of the corpus showed that multilingual elements were significantly reduced in the Polish versions. The analysis revealed that although many translation techniques were detected in utterances with L3 elements, only two techniques—imitation and exhibition—reinforced multilingual content in the translated version. Other techniques, most frequently encountered, just erased linguistic diversity present in the original versions. However, as the original soundtrack in voiced-over movies is still audible to some point, skillful synchronization of the two soundtracks helped in marking multilingual context in the movie. The second study indicated that the relationship between different synchrony types and some translation techniques, mainly condensation, transfer, paraphrase and decimation did exist but each synchrony showed different patterns as to the nature of this relationship. In the case of voice-over isochrony, the relationship was definitely not causal. The standard practice consisted of the voice artists reading the translation after hearing the original utterance with no guidelines specifying the exact number of seconds they should leave before starting reading the translation. Literal synchrony appeared in very few cases. The relationship of this type of synchrony with translation techniques could also be qualified as random Action and kinetic synchronies, on the other hand, were kept in most of the cases and transfer and condensation were the most common techniques that could be related to them. The analysis also revealed that out of four types of synchronies, voice-over isochrony is the only one which actually helped expose multilingual context in the movie. Given its nature, as it exposed the original soundtrack even if for a short amount of time, this synchrony might enhance the linguistic diversity in the movie. This led to the question whether this diversity was in fact processed by viewers, an inquiry that was empirically addressed in the third study. For comparative and controlling reasons, the third study introduced subtitling to the analysis. The results of the experiment showed that content comprehension depended on the audiovisual translation mode, yielding higher levels of performance in the subtitled condition than in the voice-over one. At the same time, the findings suggested that information processing in voiced-over programs was not as efficient as in the subtitled version. Second, the results indicated that the audiovisual translation mode did not predict the performance on detection of the number of languages spoken by character in multilingual productions. Finally, it was concluded that neither the AVT mode nor the multilingual and monolingual characters were significant predictors of character– language pair identification in a multilingual movie.
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Villanueva, Jordan Ivan. "You better werk. Rasgos del camp talk en la subtitulación al español de Rupaul’s Drag Race." Universidade Federal de Santa Catarina, 2019. http://hdl.handle.net/10757/626406.

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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.<br>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.<br>Revisión pór pares
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Ponce, de León Diaz Allison Andrea, and Chocña Raul Antonio Espinoza. "Las preferencias en torno al doblaje y la subtitulación de géneros de cine entre estudiantes universitarios de Lima Metropolitana." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/652532.

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El doblaje y la subtitulación son las dos modalidades de traducción audiovisual (TAV) más practicadas en la actualidad que permiten al público tener acceso a películas extranjeras en su lengua materna. Y Perú no es ajeno a esta realidad. Sin embargo, los estudios en el campo del doblaje y la subtitulación orientados a las preferencias del público por una u otra modalidad son escasos en Latinoamérica y, en particular, en Perú. Para subsanar este vacío, el presente estudio cuantitativo busca dar a conocer cuáles son las preferencias de los estudiantes universitarios en torno al doblaje y a la subtitulación de géneros de cine, así como las opiniones sobre cada una de estas modalidades. Se empleó una metodología cuantitativa por medio de un muestreo de tipo intencional que incluyó la aplicación de 200 encuestas a estudiantes de dos universidades (una privada y una pública) de Lima, Perú, y su posterior análisis. Los resultados mostraron que hay una mayor preferencia por la subtitulación y que los géneros que mejor se adecúan a esta modalidad son el drama, el romance y la ciencia ficción. Por otro lado, el género animado es el más adecuado para ser doblado según los encuestados. Asimismo, a partir de las diversas opiniones en torno a la TAV, se puede inferir que existe cierto desconocimiento por parte de los encuestados en cuanto a los procesos y la naturaleza de este tipo de traducción.<br>At present, dubbing and subtitling are the two most practiced modes of audiovisual translation (AVT), which allow the public to watch foreign movies in their mother tongue. Peru is not alien to that reality. Nevertheless, there are very few studies in Latin America, and more specifically in Peru, focusing on the public preferences for one mode of AVT or the other. In this sense, this quantitative study seeks to know the preferences of university students in regards to dubbing and subtitling of film genres, as well as the opinions about any of these modes. This study employed a quantitative methodology (surveys) with a purposive sample of 200 students from two universities in Lima, Peru (one private and one public). The results showed that there is a greater preference for subtitling and the genres that best suit this mode are drama, romance, and science fiction. As for dubbing, animation is the genre most suitable to be dubbed according to respondents. In addition, considering our respondents’ opinions about AVT, we can infer that their knowledge of the processes and nature of AVT is very limited.<br>Tesis
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Ivanovaitė, Margarita. "Dokumentinių Filmų Vertimas iš Anglų Kalbos į Lietuvių Kalbą." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100903_164624-87163.

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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.<br>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.
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Matamala, Ripoll Anna. "Les interjeccions en un corpus audiovisual. Descripció i representació lexicogràfica." Doctoral thesis, Universitat Pompeu Fabra, 2004. http://hdl.handle.net/10803/7498.

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"Les interjeccions en un corpus audiovisual: descripció i representació lexicogràfica" aborda l'estudi de les interjeccions en un corpus audiovisual de comèdies de situació originals i doblades de l'anglès al català. En la tesi es descriuen les interjeccions des de diferents perspectives i, després d'analitzar-ne la representació als diccionaris, es proposa una aplicació lexicogràfica electrònica bilingüe.<br>"Les interjeccions en un corpus audiovisual: descripció i representació lexicogràfica", PhD studies interjections in an audiovisual corpus of sitcoms, both original and dubbed from English into Catalan. Interjections are described from different perspectives and, after analysing their representation in dictionaries, a bilingual electronic lexicographical tool is proposed.
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Abdallah, Mohamed Abdelrahman Moussa Noha. "Análisis traductológico de los términos culturales en la subtitulación árabe-español." Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/159276.

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[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.<br>[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.<br>[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.<br>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<br>TESIS
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Dore, Magherita. "The audiovisual translation of Humour : Dubbing the first series of the TV comedy programme Friends into Italian." Thesis, Lancaster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525323.

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Trencia, Pascale. "Pluricentric dubbing in French and Spanish: the translation of linguistic variation and prefabricated orality in films." Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/668119.

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El present estudi examina com es tradueix el discurs fílmic, especialment els elements marcadors de la variació lingüística, al francès i al castellà, dues llengües pluricèntriques, és a dir, llengües que tenen més d’un centre normatiu. El fet que diverses nacions adoptin mesures per promoure la indústria nacional del doblatge, en general per motius econòmics i culturals, en ocasions porta a duplicar les varietats de doblatge. Per tant, una qüestió clau és saber com es comparen aquestes versions doblades i com aconsegueixen transmetre la variació lingüística i la oralitat prefabricada a través de les seves respectives traduccions. L’objectiu d’aquesta investigació consisteix a examinar quines són les principals diferències i similituds entre el discurs fílmic doblat de Quebec i de França (per al francés) i d’Espanya i Amèrica Llatina (per a l’espanyol), sobre la base d’un estudi de la pel·lícula Death Proof (2007) de Quentin Tarantino. Aquesta pel·lícula va ser seleccionada pel seu alt nivell de variació lingüística i la importància que Tarantino dóna a la llengua (no estàndard) de les seves pel·lícules. Al Quebec, el principal motiu adduït per produir la seva pròpia versió doblada és escoltar la seva varietat francesa a la pantalla. Així, es podria suposar que les versions doblades a Quebec presenten característiques típiques del francès del Quebec. No obstant això, les investigacions anteriors sobre el tema mostren que al Quebec s’utilitza una varietat sense variació lingüística anomenada francès internacional, similar a l’espanyol neutre de la indústria del doblatge d’Amèrica Llatina. Vaig descobrir que la versió del Quebec presentava elements propis de la varietat del francès del França, que suggereixen la influència dels estàndards exògens. En aquesta investigació, vaig exainar aspectes claus del discurs de la pel·lícula doblada. Mentre que la majoria de versions doblades van transmetre una certa immediatesa comunicativa, els resultats de la versió llatinoamericana contrastaven amb els altres amb el seu alt nivell de distància comunicativa. A més, vaig descobrir que la majoria de versions doblades mostraven una orientació més aviat cap a la cultura font, incloent la versió de França, que ha estat qualificada de tenir tendències més domesticadores. En general, aquesta anàlisi em va ajudar a fer un retrat de les tradicions i pràctiques de traducció audiovisual en aquestes comunitats de parla.<br>The present study examines how filmic speech, especially the elements bearing marks of linguistic variation, are translated into French and Spanish, two pluricentric languages, that is, languages which have more than one normative centres. A number of nations adopt measures promoting their own national dubbing industry, usually for economic and cultural reasons, occasionally leading to more than one dubbed version for a same language. A key question, therefore, is to know how these dubbed versions compare to one another and how they manage to transmit linguistic variation and prefabricated orality through their respective translations. The purpose of this research is to examine the main differences and similarities between dubbed filmic speech from Quebec and France, and from Spain and Latin America, on the basis of a case study of Quentin Tarantino’s Death Proof (2007). This movie was selected for its high level of linguistic variation and the importance Tarantino gives to (non-standard) language in his films. In Quebec, the main reason evoked for producing its own dubbed version is to hear its French variety on screen. Thus, one could assume that the versions dubbed in Quebec feature characteristics typical of Quebec French. However, previous research addressing the topic showed that a variety supposedly free of linguistic variation, called ‘International French’ was used instead, not unlike the ‘Neutral Spanish’ known in the Latin American dubbing industry. I found out that the Quebec French version actually featured elements typical of the Franco-French variety, which suggest the influence of exogenous standards. In this investigation, I also examined key aspects of dubbed film speech. While most dubbed versions conveyed more or less communicative immediacy, results for the Latin American version contrasted with the others with its high level of communicative distance. Furthermore, I discovered that most dubbed versions displayed an orientation rather towards the source culture, including the Franco-French version, which has been qualified as having more domesticating tendencies. Overall, this analysis helped me draw an accurate portrait of the AVT traditions and practices in these speech communities.
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Martínez, Pleguezuelos Antonio. "Queer AVT Club: "Gender in Translation: Beyond Monolingualism" de Judith Butler (2019)." Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653020.

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Tercera reunión del grupo de lectura Queer AVT Club. Se discutió el artículo de Judith Butler: "Gender in Translation: Beyond Monolingualism". La introducción estuvo a cargo de María Pérez L. de Heredia de la Universidad del País Vasco.
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Barros, Lívia Rosa Rodrigues de Souza. "Tradução audiovisual: a variação lexical diafásica na tradução para dublagem e legendagem de filmes de língua inglesa." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-31072007-154148/.

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As Variações Lexicais Diafásicas, ou seja, as diferenças entre os diversos tipos de modalidade expressiva, têm sido freqüentemente ignoradas pelos tradutores de filmes, talvez por desconhecimento do tradutor, ou pelo trabalho de pesquisa que se deve desenvolver nesse caso, o que descaracteriza muitas personagens. O objetivo desta pesquisa é levantar questões lexicais relevantes no processo de legendagem e dublagem de filmes de língua inglesa, em língua portuguesa do Brasil. O cinema, como produto de entretenimento e, antes de tudo, arte e produto de uma cultura, tem a capacidade de criar figuras, registrá-las e reproduzi-las continuamente e confere a essa forma de representação um poder especial: o de gerar e manter acesas suas construções simbólicas, mesmo aquelas que não possuem relação com as figuras da prática cotidiana. Por isso mesmo, o trabalho dos atores, produtores, diretores, e equipe técnica deve ser preservado. O respeito às Variações Lexicais Diafásicas é trabalho obrigatório do tradutor. Um exame detalhado de um corpus de traduções para dublagem e legendagem de filmes de língua inglesa para o português brasileiro sugere que, em alguns casos, essa tarefa pode ser bastante complexa, mas bastante viável. E os resultados desta pesquisa confirmam essa possibilidade no que se refere a linguagem dos jovens demonstrando que se deve traduzir o \"espírito do filme\",uma vez que o tradutor de filmes \"não somente traduz a fala das diversas situações de comunicação no filme, mas também tem a preocupação de caracterizar cada situação de discurso\" (BAMBA, 1997)<br>The diaphasic lexical variations which is the differences between several types of expressive modalities, have been frequently ignored by the movie translators, maybe for lacking of acknowledge of the translators, or the work of research that one must be developed in this case, what mischaracterize many characters. The goal of this research is bring up relevant lexical questions about the dubbing and subtitling movie process in English and Portuguese from Brazil. The movies, as product of entertainment and first of all a culture product and art, are capable of creating characters, register them and reproduce them continuously and they grant this kind of representation a special power: to generate and to keep alive their symbolic constructions, even those who don\'t have relation with the everyday characters. That\'s why the actors, producers, directors and technical crew work must be preserved. The respect to the diaphasic lexical variations is a translator duty. A detail exam in a corpus of dubbing and subtitling movies translations in English idiom into Brazilian Portuguese suggests that, in some cases, this task might be very complex, but very viable. And the results from this research confirm this possibility as for language of the young demonstrating that one must to translate the \"film spirit\", once the movie translator \" not only translate the dialog from different situations of communication from the film, but also have the concern to characterize each situation of speech\" (BAMBA, 1997)
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Machado, Gabriela Pires. "Cinema-passagem: a tradução intersemiótica e a intermídia no intercurso da criação audiovisual contemporânea." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-29102013-093141/.

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Este trabalho pretende compreender como os conceitos de Intermídia (HIGGINS, 1966) e Tradução Intersemiótica (PLAZA, 1987) têm interferido e modificado os processos de criação no cinema contemporâneo, principalmente o cinema experimental. Valendo-se da semiótica peirciana, busca-se compreender como cada uma das funções da linguagem atua na linguagem cinematográfica e permite chegar a diferentes arranjos ao colocar em jogo uma extensa rede de linguagens e mídias fundadas, sobretudo, na transformação como qualidade. Levando em consideração a mudança dos paradigmas em relação aos processos criativos das imagens em movimento ao longo do século XX, e, principalmente, a partir dos anos 1960, buscou-se refletir como estas mudanças possibilitaram o surgimento de um estado da arte mais fluido e participativo, e que aponta para a necessidade de se fazer uma revisão da noção de autor. As obras de Alain Resnais (1922-) e Peter Greenaway (1942-) foram somadas à pesquisa a fim de permitir compreender e identificar, dentro de seus respectivos processos criativos, as questões que tocam a produção artística fundada no pensamento inter-artes e nas poéticas da transformação.<br>This paper aims at understanding how the Intermedia (HIGGINS, 1966) and Intersemiotic Translation (PLAZA, 1987) concepts have interfered and modified the creation processes in the contemporaneous cinema, mainly the experimental one. Using Peirce\'s semiotic, we pursue to understand how each of the functions of language works in cinematographic language and allow us to come to different arrangements, putting in evidence an extensive language and media net that are mostly grounded in transformation as a definition of quality. Having in mind the paradigm shift in relation to the creative processes of images in motion during the XX century and mainly from the 1960s on, we consider how these changes made it possible the emerging of a state-of-the-art more participative that made necessary a review on the author\'s participation. Alain Resnais (1922-) and Peter Greenaway\'s (1942-) works were added to this research to allow us to understand as well as identify the issues that are related to the artistic production in inter-arts and the transformation of poetries.
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Marangoni, Melissa. "Ready Player One: The Analysis of Specific Dialogue Translation Problems and Potential Cultural Consequences." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/18346/.

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In a world where we find ourselves constantly talking about “the latest Oscar-material movie” and “that new super cool Netflix series”, it is impossible to deny that the entertainment industry is one of the biggest money machines ever created. The global box office revenue is forecast to reach the 50 billion USD mark in 2020 (Statista, 2018) and the global entertainment market size is expected to reach 114.93 billion USD by 2025 (Financial Buzz, 2018). Throughout the years, accessing media products has become increasingly easier (Parrot Analytics, 2018), to the point where we now have an incredibly broad and commercial-free choice of contents at our fingertips (Abend-David, 2014, p. 293). This is especially true for English-speaking countries, but what happens when media products have to be translated and marketed in countries where English is not one of the main languages? Using Steven Spielberg’s 2018 science fiction adventure movie, Ready Player One (Spielberg, 2018), this study highlights how a cheap and hasty adaption work can heavily affect a media product. This paper also outlines what skills a good translator should have in order to be able to overcome these obstacles. A simple legitimate question that could arise at this point is “Why is it so important?". Movies are one of the most widespread and influential tools when it comes to cultural transmission (Pavesi, 2012, p. 14). Movies mirror reality and their dialogues carry out the same function they have in real life: they establish and sustain social relationships and play a decisive role in making individuals unique (Pavesi, 2012, p. 9). Movies are not just a way to entertain the audience, but also and above all a way to educate it (Swain, 2013). For all these reasons, everyone should have access to the original media product, regardless of what language they speak.
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Parra, López Guillermo. "Disorderly speech in audiovisual fiction and its translation : portrayals of characters under the influence of alcohol and drugs." Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/668236.

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Much research has been conducted on language variation and marked speech in its various forms, such as dialects, registers, and styles. There is one variety, however, which seems to have been broadly overlooked in translation studies to date, and which I call disorderly speech. The concept arises from the need to account for a very particular, and unexplored, phenomenon which is widespread in audiovisual fiction: the effect of drugs or alcohol consumption on a character’s linguistic output. This thesis focuses on the analysis of English-language films and their dubbed and subtitled versions into Spanish. It uses a descriptive approach to identify and compare markers of disorderly speech at all linguistic levels in both the source texts and their translations. Since there is no specific theory for this phenomenon, it is addressed by combining different perspectives, such as fictional orality, language variation, style, and L3 and multilingualism.<br>Mucho se ha dicho sobre el lenguaje marcado en sus múltiples formas, como dialectos, registros o estilos, pero hay una variedad que se ha pasado por alto hasta ahora en los estudios de traducción, a la que denomino lenguaje alterado. Este concepto surge de la necesidad de explicar un fenómeno muy extendido en la ficción audiovisual: el efecto del consumo de drogas o alcohol en la producción lingüística de los personajes. Esta tesis se centra en el análisis de películas de habla inglesa y de sus versiones dobladas y subtituladas al español. Se sigue un enfoque descriptivo para identificar y comparar los marcadores del lenguaje alterado a todos los niveles lingüísticos, tanto en los textos de partida como en las traducciones. Dado que no existe una teoría específica para este fenómeno, se aborda combinando diferentes perspectivas, como la oralidad fingida, la variación lingüística, el estilo y la L3 y el multilingüismo.<br>Molt s’ha dit sobre el llenguatge marcat en les seves múltiples formes, com dialectes, registres o estils, però hi ha una varietat que s’ha passat per alt fins ara en els estudis de traducció, la qual denomino llenguatge alterat. Aquest concepte sorgeix de la necessitat d’explicar un fenomen molt estès en la ficció audiovisual: l’efecte del consum de drogues o alcohol en la producció lingüística dels personatges. Aquesta tesi se centra en l’anàlisi de pel·lícules de parla anglesa i de les seves versions doblades i subtitulades a l’espanyol. Se segueix un enfocament descriptiu per identificar i comparar els marcadors del llenguatge alterat a tots els nivells lingüístics, tant en els textos de partida com en les traduccions. Atès que no existeix una teoria específica per a aquest fenomen, s’aborda combinant diferent perspectives, com l’oralitat fingida, la variació lingüística, l’estil i l’L3 i el multilingüisme.
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BOUROKBA, ABDELKADER. "La representation des applications audiovisuelles interactives : outils de gestion et de traduction." Paris, ENST, 1988. http://www.theses.fr/1988ENST0001.

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Cette these a pour but de normaliser toutes les applications audiovisuelles interactives "ravi" en une representation unique et de mettre en oeuvre des outils de gestion et de traduction pour permettre l'implantation de cette representation. En premiere partie on specifie cette representation realisee en collaboration avec le comite technique de pilotage du projet "ravi". La deuxieme partie de l'etude prend en compte les principaux programmes d'edition devant generer des applications sous une forme "ravi" et met en oeuvre toute une chaine de production de ces applications, ceci quelque soit le langage source
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Karamitroglou, Fotios. "Towards a methodology for the investigation of norms in audiovisual translation : : the choice between subtitling and revoicing in Greece." Thesis, University of Manchester, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488141.

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Díaz, Cintas Jorge. "Una conversación con Jorge Díaz Cintas." Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/652769.

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Jorge Díaz Cintas (University College London)<br>En esta entrevista, el Dr. Jorge Díaz Cintas (University College London) habla acerca del impacto del streaming en la TAV, su nuevo libro sobre subtitulación y las aplicaciones de subtitulación en la nube.
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45

Courvalin, Pauline. "De l’image au mot : analyse comparative de l’audiodescription du film The King’s Speech en anglais, allemand, français et espagnol." Master's thesis, Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-225180.

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Le droit à la culture devrait être universel, puisqu’il est essentiel au développement personnel de l’individu et à l’enrichissement de sa qualité de vie. De nos jours, les médias audiovisuels jouent un rôle majeur au sein de la culture. Dans une société visant un idéal d’inclusion sociale, l’audiodescription (AD) se révèle d’une grande utilité puisqu’elle garantit au public malvoyant l’accès à l’immense partie de la culture que représentent les médias audiovisuels. Le but de ce mémoire est de promouvoir l’accessibilité des médias en observant les différences de pratique entre le Royaume- Uni, l’Espagne, la France et l’Allemagne, puis en les classifiant selon leur origine. Ce travail interdisciplinaire relève des domaines de la traductologie, de la linguistique cognitive et de l’étude cinématographique. Il vise à définir des critères de qualité applicables aux quatre pays concernés et à faciliter la traduction de scripts d’AD. L’analyse contrastive du corpus multimodal quadrilingue composé des trente-trois premières minutes d’AD du film britannique The King’s Speech en anglais, allemand, français et espagnol permet de définir les principales similitudes et différences entre les quatre versions. Les analogies constatées sont considérées comme les indicateurs d’un degré élevé de neutralité. Les divergences entre les versions peuvent quant à elles être attribuées à trois facteurs : l’adaptation du texte audiovisuel cible à la culture cible, l’application ou le non-respect des directives en vigueur dans le pays de culture cible et enfin la subjectivité du descripteur. Cette dernière catégorie regroupe la majorité des différences entre les quatre versions. Le corpus analysé ici semble désigner la neutralité de l’AD comme un critère de qualité majeur permettant d’éviter de trop grandes divergences entre l’AD d’un même film dans différentes langues.
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Torralba, Miralles Gloria. "L'aprenentatge de llengües a través de la traducció audiovisual: la subtitulació com a eina per a l'adquisició de lèxic en llengua estrangera." Doctoral thesis, Universitat Jaume I, 2016. http://hdl.handle.net/10803/403984.

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Aquesta tesi s'emmarca dins dels Estudis de Traducció tot explorant els possibles vincles d'aquests amb la Didàctica de la Llengua i la Lingüística Aplicada ja que en ella s'indaga sobre el possible paper com a eina didàctica de la traducció audiovisual, especialment de la subtitulació. L'objectiu principal de la tesi és demostrar que l'ús de la subtitulació interlingüística activa en entorns docents és una ferramenta útil per a l'adquisició i retenció de lèxic d'una llengua estrangera. Per a això, l'autora repassa sumàriament les teories sobre adquisició de segones llengües, el paper de la traducció en el Marc Europeu Comú de Referència i les dues grans modalitats de traducció audiovisual (doblatge i subtitulació). A partir del disseny d'un experiment amb estudiants de Magisteri, es prova la progressió d'aquests en l'adquisició (activa i passiva) de lèxic a través de diversos tests i qüestionaris. La triangulació de mètodes quantitatius i qualitatius permet determinar que la subtitulació activa és el mitjà més adient per a l'adquisició de lèxic i que el text audiovisual és un recurs que facilita l'acceptació de la traducció com a eina pedagògica per parts dels docents.<br>This thesis extends prior work on Translation Studies while exploring possible links with Language Learning and Applied Linguistics. It focuses on audiovisual translation, especially subtitling, as a teaching resource. The aim of this thesis is to show that the use of active interlinguistic subtitling in educational environments is a useful tool for the acquisition and retention of foreign language vocabulary. It briefly reviews the most relevant theories related to second language acquisition, the role of translation in the Common European Framework of Languages, and the two major modes of audiovisual translation (dubbing and subtitling). It is based on an experimental study with Primary Education students whose progress in (active and passive) vocabulary acquisition is proven through different tests and questionnaires. By triangulating quantitative and qualitative methods, it is showed that active subtitling may be particularly suitable in terms of supporting the incidental acquisition of new word meanings, and that audiovisual texts promote teachers' acceptance of translation as a pedagogical tool.
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Sanchez-Requena, Alicia. "Audiovisual translation in foreign language education : the use of intralingual dubbing to improve speed, intonation and pronunciation in spontaneous speech." Thesis, Manchester Metropolitan University, 2017. http://e-space.mmu.ac.uk/620483/.

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Recent studies have shown that the current situation of foreign language learning in England seems to be discouraging in comparison with the European average (British Council, 2013; European Commission, 2013). The fact that numerous cities are becoming multilingual nowadays emphasises the usefulness of opening up to other communities. Bearing this in mind, communicating verbally with others in another language can be seen as a convenient skill to develop in the foreign language classroom. In an attempt to satisfy the need to practise oral conversations and offer innovative options in the context of England, new didactic approaches are being considered. Amongst these, the active use of techniques traditionally employed in audiovisual translation has proved to have a positive impact on foreign language learning (Talaván, 2013; Incalcaterra and Lertola, 2014; Baños and Sokoli, 2015). This thesis examines the effect of the technique of intralingual dubbing (where students replace the original voices of actors in video clips) on Spanish oral production. There are two main aims. The first is to provide objective evidence to support the hypothesis that the use of intralingual dubbing can enhance students’ speed, intonation and pronunciation when speaking spontaneously in Spanish as a foreign language. The second is to create a teaching and learning toolkit on the subject for teachers. To this end, a total of 94 students aged 16–19 with a B1–B2 level of Spanish dubbed videos in several stages. In addition, 28 teachers received training on dubbing activities and five of them implemented the activities in their classes with a total of 26 students. The data is triangulated qualitatively and quantitatively. Results confirm that the main hypothesis serve as evidence to support the theoretical justification for the inclusion of active AVT techniques in FL speaking classes.
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48

Teixeira, Walkiria França Vieira e. [UNESP]. "Elementos constitutivos do humor em sitcoms: uma análise à luz dos estudos da tradução baseados em corpus." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/136270.

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Submitted by WALKIRIA FRANÇA VIEIRA E TEIXEIRA null (walkiriateixeira@bol.com.br) on 2016-03-15T14:26:55Z No. of bitstreams: 1 Tese Doutorado-WalkiriaTeixeira.pdf: 7185012 bytes, checksum: cde9f5b330243bb444a632477fa3b7bf (MD5)<br>Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-03-15T14:58:07Z (GMT) No. of bitstreams: 1 teixeira_wfv_dr_sjrp.pdf: 7185012 bytes, checksum: cde9f5b330243bb444a632477fa3b7bf (MD5)<br>Made available in DSpace on 2016-03-15T14:58:07Z (GMT). No. of bitstreams: 1 teixeira_wfv_dr_sjrp.pdf: 7185012 bytes, checksum: cde9f5b330243bb444a632477fa3b7bf (MD5) Previous issue date: 2016-02-16<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>O objetivo deste estudo foi analisar a manutenção do humor no texto midiático, a partir da compilação e análise de três corpora paralelos das legendas em inglês e de suas respectivas traduções para o português dos episódios de três temporadas de cada uma das sitcoms Seinfeld, Friends e The Simpsons. Buscamos analisar elementos que pudessem contribuir para desencadear o humor nas sitcoms, e levantar se as ocorrências de humor seriam recorrentes aos diferentes tipos de sitcoms. Abordamos os estudos sobre humor desenvolvidos por Raskin (1979, 1985), Attardo e Raskin (1991), Attardo (1994, 2002, 2008) e Vandaele (1999b, 2010); os estudos sobre a Tradução do Humor Audiovisual feitos por Gottlieb (1992, 1998, 2005), Martinez-Sierra (2003, 2004), Carvalho (2005), Díaz-Cintas e Sánchez (2006), Díaz-Cintas e Remael (2007) e Veiga (2006, 2009). Apoiamo-nos na abordagem interdisciplinar adotada por Camargo (2007, 2008), a qual se fundamenta no arcabouço teórico-metodológico dos Estudos da Tradução Baseados em Corpus lançados por Baker (1993, 1995, 1996, 2000, 2004), para a investigação de ocorrências dos vocábulos, além da metodologia da Linguística de Corpus adotada por Berber-Sardinha (2004). Contamos com o auxílio dos programas computacionais WordSmith Tools e Align Assist para auxiliar no levantamento dos dados. Os resultados apontaram que a frequência de Advérvios de Negação, Intensificadores e Interjeições presentes nas legendas das sitcoms podem se caracterizar como elementos constitutivos do humor.<br>The objective of this study was to analyze the maintenance of humor in the media text, starting from the compilation and analysis of a parallel corpus of English subtitles and their translations into Portuguese, from the episodes of three seasons of each sitcoms: Seinfeld, Friends and The Simpsons. We analyze the elements that could contribute to trigger the humor in the sitcoms, searching if the occurrences of humor would be recurring to the different types of sitcoms. We based our research in the studies of humor developed by Raskin (1979, 1985), Attardo and Raskin (1991), Attardo (1994, 2002, 2008) and Vandaele (1999b, 2010); the studies of Audiovisual Humour Translation made by Gottlieb (1992, 2001, 2005), Martinez-Sierra (2003, 2004), Carvalho (2005), Díaz-Cintas and Sánchez (2006), Díaz-Cintas and Remael (2007) and Veiga (2006, 2009). We rely on the interdisciplinary approach adopted by Camargo (2007, 2008), which is based on the theoretical and methodological framework of Corpus-Based Translation Studies proposed by Baker (1993, 1995, 1996, 2000, 2004), as well as the Corpus Linguistics methodology adopted by Berber-Sardinha (2004), in order to investigate vocabulary occurrences. We rely on the assistance of computer softwares WordSmith Tools and Align Assist to help with data collection. The results pointed that the frequency of Denial Adverbs, Intensifiers and Interjections present in the sitcoms subtitles’ can be characterized as humor elements’ constituents.
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49

Josephy, Daniel Enrique. "Reflections on the Subtitling and Dubbing of Anime: The Translation of Gender in Perfect Blue, a Film by Kon Satoshi." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/36596.

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Perfect Blue is an anime (Japanese animation) film directed by Kon Satoshi released in 1997. The film revolves around a female idol (a pop star) named Mima who quits her career as an idol to become an actress. She gradually loses her mind, as the pressures from her acting career, her managers, fans and a stalker catch up to her. Perfect Blue touches on the blurring line between fiction and reality, the objectification of women (and idols) as mere products, and the role of women in the idol industry. It is also a stark critique of the hegemonic masculinity and the gender roles that are imposed on women in Japanese society. This thesis presents anime as an important pop culture phenomenon with a massive influence worldwide. The thesis examines the gender stereotypes propagated by this phenomenon and proposes a that Kon’s work is different compared to other anime. This work compares how gender roles are portrayed in the different versions: The Japanese original and the US English subtitles and dubbing. Methodologically, the analysis relies on close observation of the use of the Japanese first and second person pronouns and sentence-final particles in the characters’ language, since “the use of these features is known to be highly gender-dependent” (Hiramoto 2013, 55). This study comes to the conclusion that the subtitles and the dubbing provide a relatively close rendering of gender of the Japanese text, even if the linguistic resources of English do not allow for the translation of gendered Japanese pronouns and sentence-final particles. This means that the subtitles and dubbings maintain the feminist message Kon wanted to give in his film. The study concludes by stressing the importance of taking into account the use of specific pronouns and sentence-final particles when translating Japanese, as these particles are gender-loaded. It also emphasises the importance of being critical of anime’s hegemonic masculinity, and argues that Kon goes against hegemony by portraying a strong and independent female character.
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50

Burczynska, Paulina. "Investigating the multimodal construal and reception of irony in film translation : an experimental approach." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/investigating-the-multimodal-construal-and-reception-of-irony-in-film-translationaa-an-experimental-approach(a6c4afa5-02f8-4b74-8895-4c8cc161b5ab).html.

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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.
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