Multilingualism, Music and Gendered Roles in Unorthodox

Through a multidisciplinary approach that combines translation studies and gender studies, this paper analyzes multilingualism in the series Unorthodox (Netflix 2020). We examine the presence and functions of identities and gendered roles in the series. Unorthodox tells the story of Esther Saphiro (...

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Detalles Bibliográficos
Autores: Corrius i Gimbert, Montse, Espasa, Eva
Tipo de recurso: artículo
Fecha de publicación:2022
País:España
Institución:UVic-UCC
Repositorio:RiUVic. Repositori institucional de la UVic-UCC
OAI Identifier:oai:dnet:riuvic______::79c95624dbdb4aebcfe3f25d2fa66571
Acceso en línea:http://hdl.handle.net/10854/180859
https://doi.org/10.12797/MOaP.28.2022.55.02
Access Level:acceso abierto
Palabra clave:Multilingüisme
Traducció audiovisual
Cançons
81
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spelling Multilingualism, Music and Gendered Roles in UnorthodoxCorrius i Gimbert, MontseEspasa, EvaMultilingüismeTraducció audiovisualCançons81Through a multidisciplinary approach that combines translation studies and gender studies, this paper analyzes multilingualism in the series Unorthodox (Netflix 2020). We examine the presence and functions of identities and gendered roles in the series. Unorthodox tells the story of Esther Saphiro (Esty), a young Jewish woman who flees from her country and leaves her ultra-Orthodox community, with very strict rules and traditional gender roles. We explore the connections between the gendered roles of the main characters, their cultural or social contexts, and, especially, the role of third languages in the series (Yiddish, German, Russian, and Hebrew). As it is a German-American production, we consider English as its main language (L1) because the story is directed to mainstream Western audiences. The role of third languages (L3) is very relevant in depicting the intercultural encounters in the series. Yiddish is the most prominent L3 followed by German and a little Russian and Hebrew. The most recurrent functions of L3-instances are signaling otherness and character portrayal, where Yiddish and German are used. Hebrew is used for ceremonies, prayers and songs, and it portrays Jewish characters in their traditional contexts. We pay special attention to songs, as rich L3 instances, where there is interaction of L3 function, gender significance, translation strategies, and narrative roles. The translation of songs shows the relative importance of conveying the word or the music. Finally, the identification of third languages is not marked in the subtitling of either songs or dialogues; therefore, language diversity can be hindered for audiences not discriminating between the various languages.info:eu-repo/semantics/publishedVersionKsiegarnia Akademicka PublishingUniversitat de Vic - Universitat Central de Catalunya. Facultat d'Empresa i ComunicacióUniversitat de Vic - Universitat Central de Catalunya. Facultat d'Educació, Traducció, Esports i Psicologia2026202620222022info:eu-repo/semantics/article23 p.application/pdfhttp://hdl.handle.net/10854/180859https://doi.org/10.12797/MOaP.28.2022.55.02reponame:RiUVic. Repositori institucional de la UVic-UCCinstname:UVic-UCCInglésMiędzy Oryginałem a Przekładem, 28(1/55), 31-53Attribution-NonCommercial-NoDerivatives 4.0 Internationalhttp://creativecommons.org/licenses/by-nc-nd/4.0/info:eu-repo/semantics/openAccessoai:dnet:riuvic______::79c95624dbdb4aebcfe3f25d2fa665712026-06-07T19:15:21Z
dc.title.none.fl_str_mv Multilingualism, Music and Gendered Roles in Unorthodox
title Multilingualism, Music and Gendered Roles in Unorthodox
spellingShingle Multilingualism, Music and Gendered Roles in Unorthodox
Corrius i Gimbert, Montse
Multilingüisme
Traducció audiovisual
Cançons
81
title_short Multilingualism, Music and Gendered Roles in Unorthodox
title_full Multilingualism, Music and Gendered Roles in Unorthodox
title_fullStr Multilingualism, Music and Gendered Roles in Unorthodox
title_full_unstemmed Multilingualism, Music and Gendered Roles in Unorthodox
title_sort Multilingualism, Music and Gendered Roles in Unorthodox
dc.creator.none.fl_str_mv Corrius i Gimbert, Montse
Espasa, Eva
author Corrius i Gimbert, Montse
author_facet Corrius i Gimbert, Montse
Espasa, Eva
author_role author
author2 Espasa, Eva
author2_role author
dc.contributor.none.fl_str_mv Universitat de Vic - Universitat Central de Catalunya. Facultat d'Empresa i Comunicació
Universitat de Vic - Universitat Central de Catalunya. Facultat d'Educació, Traducció, Esports i Psicologia
dc.subject.none.fl_str_mv Multilingüisme
Traducció audiovisual
Cançons
81
topic Multilingüisme
Traducció audiovisual
Cançons
81
description Through a multidisciplinary approach that combines translation studies and gender studies, this paper analyzes multilingualism in the series Unorthodox (Netflix 2020). We examine the presence and functions of identities and gendered roles in the series. Unorthodox tells the story of Esther Saphiro (Esty), a young Jewish woman who flees from her country and leaves her ultra-Orthodox community, with very strict rules and traditional gender roles. We explore the connections between the gendered roles of the main characters, their cultural or social contexts, and, especially, the role of third languages in the series (Yiddish, German, Russian, and Hebrew). As it is a German-American production, we consider English as its main language (L1) because the story is directed to mainstream Western audiences. The role of third languages (L3) is very relevant in depicting the intercultural encounters in the series. Yiddish is the most prominent L3 followed by German and a little Russian and Hebrew. The most recurrent functions of L3-instances are signaling otherness and character portrayal, where Yiddish and German are used. Hebrew is used for ceremonies, prayers and songs, and it portrays Jewish characters in their traditional contexts. We pay special attention to songs, as rich L3 instances, where there is interaction of L3 function, gender significance, translation strategies, and narrative roles. The translation of songs shows the relative importance of conveying the word or the music. Finally, the identification of third languages is not marked in the subtitling of either songs or dialogues; therefore, language diversity can be hindered for audiences not discriminating between the various languages.
publishDate 2022
dc.date.none.fl_str_mv 2022
2022
2026
2026
dc.type.none.fl_str_mv info:eu-repo/semantics/article
format article
dc.identifier.none.fl_str_mv http://hdl.handle.net/10854/180859
https://doi.org/10.12797/MOaP.28.2022.55.02
url http://hdl.handle.net/10854/180859
https://doi.org/10.12797/MOaP.28.2022.55.02
dc.language.none.fl_str_mv Inglés
language_invalid_str_mv Inglés
dc.relation.none.fl_str_mv Między Oryginałem a Przekładem, 28(1/55), 31-53
dc.rights.none.fl_str_mv Attribution-NonCommercial-NoDerivatives 4.0 International
http://creativecommons.org/licenses/by-nc-nd/4.0/
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Attribution-NonCommercial-NoDerivatives 4.0 International
http://creativecommons.org/licenses/by-nc-nd/4.0/
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv 23 p.
application/pdf
dc.publisher.none.fl_str_mv Ksiegarnia Akademicka Publishing
publisher.none.fl_str_mv Ksiegarnia Akademicka Publishing
dc.source.none.fl_str_mv reponame:RiUVic. Repositori institucional de la UVic-UCC
instname:UVic-UCC
instname_str UVic-UCC
reponame_str RiUVic. Repositori institucional de la UVic-UCC
collection RiUVic. Repositori institucional de la UVic-UCC
repository.name.fl_str_mv
repository.mail.fl_str_mv
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