Pragmatic variation, audiovisual translation & conversational strategies for dubbing: colloquial language and taboo words
Our proposal for the analysis of pragmatic variation in audiovisual translation focuses on the description of six categories of conversational lexical elements: (a) nominal terms of address; (b) discourse markers; (c) intensifiers; (d) mitigators of directive and expressive acts; (e) diminutives; an...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2024 |
| País: | Brasil |
| Institución: | Universidade Federal de Santa Catarina (UFSC) |
| Repositorio: | Cadernos de Tradução (Florianópolis. Online) |
| Idioma: | español |
| OAI Identifier: | oai:periodicos.ufsc.br:article/99158 |
| Acceso en línea: | https://periodicos.ufsc.br/index.php/traducao/article/view/99158 |
| Access Level: | acceso abierto |
| Palabra clave: | pragmatics variation colloquial language taboo language audiovisual translation dubbing variación pragmática léxico coloquial lenguaje tabú traducción audiovisual doblaje |
| Sumario: | Our proposal for the analysis of pragmatic variation in audiovisual translation focuses on the description of six categories of conversational lexical elements: (a) nominal terms of address; (b) discourse markers; (c) intensifiers; (d) mitigators of directive and expressive acts; (e) diminutives; and (f) colloquial language, which includes taboo words. We propose an analysis model based on these six conversational strategies that cue for pragmatic variation and constitute problems for the audiovisual translation of dialogues. This work deals specifically with colloquial lexicon and taboo words and how they reveal cultural specificities. The proposal is based on analyzing six dubbed versions of the animation Inside Out (2015), produced in three languages (Portuguese, Spanish, and French), plus the American English source. Due to the film's theme, based on Ekman's theory of emotions, the protagonists assume prototypical behaviors related to the categories of so-called base emotions. This theoretical foundation means that a few characters (Anger and Disgust) produce most of the taboo words (or their euphemistic forms) observable in this audiovisual product. The film also targets a general audience classification, leading to further restrictions. Productions of taboo words are more frequent in sports, where aggressive behavior may be seen as positive. In addition, metalinguistics formulae referred to derogatory language. Using parallel examples of these seven dubbed versions for the same film, we demonstrate how these conversational lexical items can reveal pragmatic and cultural specificities. |
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