Search results

Filters

  • Journals
  • Authors
  • Keywords
  • Date
  • Type

Search results

Number of results: 3
items per page: 25 50 75
Sort by:
Download PDF Download RIS Download Bibtex

Abstract

In this article, first, we analyse the opposition of two linguistic models in dubbing in Spanish language – Latin American Spanish vs. Castilian Spanish – and consider the issue of Spanish lexical variation related to audiovisual translation. Next, we carry out a comparative analysis of the lexical characteristics of the two dubbing versions in Spanish language of the film Beauty and the Beast (1992). The analysis focuses on lexical density, marked and standard lexicon and the differential lexicon of both versions.
Go to article

Authors and Affiliations

Antonio María López González
1
ORCID: ORCID

  1. Uniwersytet Łódzki
Download PDF Download RIS Download Bibtex

Abstract

The main focus of the article is to point out and analyse translation strategies as determinants of translators’ intercultural competence in the dubbed animated films: Shrek the Third, Shrek Forever, Kung Fu Panda 1, and Kung Fu Panda 2. The research problem is an attempt to answer the questions: which components of the source culture are submitted for domestication and foreignization as well? What kind of language equivalences can we observe in the Polish and Russian dubbed animated films? Is there a parallelism between Russian and Polish strategies in translation? Are we able to observe differences between Polish and Russian translation strategies in parallel places? The research material consists of 120 pages of film dialogue transcript in Polish, written by Bartosz Wierzbięta, and in Russian, written by Pavel Silenchuk. Qualitative and quantitative research into the Polish and Russian language versions of the dubbed animated films was conducted. The analysis shows that the translators predominantly tend to use domestication in parallel places for the Polish and Russian dialogues: according to the names of people, realities, and quotes. There is one crucial difference between the approaches of the Russian and Polish translators: Pavel Silenchuk makes reference to high culture (literature, poems, and films) but Bartosz Wierzbięta makes references to low culture. What’s more, both translators tend towards a third culture that doesn’t exist in the original version. As with Pavel Silenchuk, Bartosz Wierzbięta tends to foreignization as well. The functional analogues mentioned in this research, show that creativity is a factor that determines the high intercultural competence of a translator of animated films with dubbing.
Go to article

Authors and Affiliations

Karolina Wakulik
1
ORCID: ORCID

  1. Katolicki Uniwersytet Lubelski Jana Pawła II w Lublinie
Download PDF Download RIS Download Bibtex

Abstract

The paper aims to discuss phraseological units as the object of audiovisual translation in the Polish dubbing of Disney’s The Little Mermaid, to discuss the role of phraseological translation techniques, and to present possible translation inconsistencies. A theoretical introduction presents definitions for crucial terms. It is followed by the analysis of the corpus of phraseological units in Disney’s The Little Mermaid and their Polish translational equivalents.
Go to article

Bibliography

1. AHMADI, S./ KETABI, S. (2011): “Translation Procedures and Problems of Color Idiomatic Expressions in English and Persian”, Cultural Comparison in Focus. The Journal of International Social Research, 17/4, 9–39.
2. ALONSO LEÓN, P. M. (2019): “The nightmare before dubbing. Analysis of translation of songs intended for dubbing in animation films from Disney factory”, Transletters. International Journal of Translation and Interpreting, 2/1, 75–108.
3. BARTOLOMÉ HERNÁNDEZ, A. I. (2005): “El cine de animación: un caso especial de traducción audiovisual”, Trasvases culturales: literatura, cine, traducción, 4, 211–223.
4. BELCZYK, A. (2007): Tłumaczenie filmów, Wydawnictwo dla Szkoły, Wilkowice.
5. CHAUME VARELA, F. (2004): “Synchronization in dubbing: A translational approach”, in: ORERO, P. (ed.): Topics for Audiovisual Translation, Amsterdam/Philadelphia, 35–52.
6. CHAVES GARCÍA, M. J. (1999): La traducción cinematográfica: el doblaje, Universidad de Huelva, Huelva.
7. CHUNBAI, Z. (2009): “The Translation of Film Dialogues for Dubbing”, in: FONG, G. C. F./ AU, K. K. L. (eds.): Dubbing and Subtitling in a World Context, Chinese University Press, Hong Kong, 149–160.
8. DIAZ‑CINTAS, J. (2009): “Introduction – Audiovisual Translation: An Overview of its Potential”, in: DIAZ‑CINTAS, J. (ed.): New Trends in Audiovisual Translation, Multilingual Matters, Bristol, 1– 20.
9. GAMBIER, Y. (2014): “The Position of Audiovisual Translation Studies”, in: MILLAN, C./ BARTRINA, F. (eds): The Routledge Handbook of Translation Studies, Routledge, London‑New York, 45–59.
10. HEJWOWSKI, K. (2015): Iluzja przekładu, Wydawnictwo Naukowe Śląsk, Katowice.
11. LEBIEDZIŃSKI, H. (1981): Elementy przekładoznawstwa ogólnego, Państwowe Wydawnictwo Naukowe, Warszawa.
12. MORALES LÓPEZ, J. R. (2008): La exotización en la traducción de la literatura infantil y juvenil: el caso particular de las traducciones al español de las novelas infantojuveniles de José Mauro de Vasconcelos. Doctoral dissertation, Universidad de las Palmas de Gran Canaria, Las Palmas de Gran Canaria.
13. O’CONNELL, E. (2010): “Why Kermit and Harry Potter now speak Irish: Translating minority language television for children”, in: DI GIOVANNI, E./ ELEFANTE, C./ PEDERZOLI, R. (eds.): Écrire et traduire pour les enfants. Voix, images et mots. Writing and Translating for Children. Voices, Images and Texts, P.I.E. Peter Lang, Bruxelles, 265–281.
14. PECMAN, M. (2005): “De la phraséologie à la traductologie proactive : essai de synthèse des fondements théoriques sous‑tendant la recherche en phraséologie”, Meta : journal des traducteurs, 50/4.
15. POCIASK, J. (2016): “‘Trudny orzech do zgryzienia’ – kilka uwag o tłumaczeniu stałych związków frazeologicznych”, Rocznik Przekładoznawczy. Studia nad teorią, praktyką i dydaktyką przekładu, 2, 191–199.
16. PRIEGO SANCHEZ, B./ PINTO, D. (2015): “Identification of verbal phraseological units in Mexican news stories”, Computacion y Sistemas, 4, 713–720.
17. RODRÍGUEZ CORRAL, L. (2014): WeTAV. Interview, http://wetav.com/entrevista-a-lucia-rodriguezcorral/, Accessed: 05.12.2020.
18. SCHOLTES, E. (2016): Translating Humour: A Case Study of the Subtitling and Dubbing of Wordplay in Animated Disney Films, Leiden University, Leiden.
19. SUŁKOWSKA, M. (2016): “Phraséodidactique et phraséotraduction: quelques remarques sur les nouvelles disciplines de la phraséologie appliquée”, Yearbook of Phraseology, 7/1, 35–54.
20. SUŁKOWSKA, M. (2017): “Frazeotranslacja oraz jej znaczenie w kształceniu i doskonaleniu tłumaczy”, Rocznik Przekładoznawczy, 12, 341–353.
21. SUŁKOWSKA, M. (2018a): “Frazeodydaktyka i frazeotranslacja jako nowe dyscypliny frazeologii stosowanej”, Applied Linguistics Papers, 25/2, 169–181.
22. SUŁKOWSKA, M. (2018b): “Phraséologie appliquée et ses nouvelles branches: phraséodidactique et phraséotraduction”, Romanica Cracoviensia, 18, 159–170.
23. TARDZENYUY, N. C. (2016): “Revisiting Translation Strategies and Techniques”, International Journal of Comparative Literature & Translation Studies, 4/4, 48–56.
24. TOMASZKIEWICZ, T. (2006): Przekład audiowizualny, Państwowe Wydawnictwo Naukowe, Warszawa.
25. WHITMAN‑LINSEN, C. (1992): Through the Dubbing Glass, Peter Lang, Frankfurt.
26. XATARA, C. M. (2002): “La traduction phraséologique”, Meta: journal des traducteurs, 47/3, 441–444.

Go to article

Authors and Affiliations

Paweł Golda
1 2
Judyta Mężyk
1 3

  1. Uniwersytet Śląski, Katowice
  2. Université Sorbonne Paris Nord, Paryż
  3. Université Paris‑Est Créteil, Paryż

This page uses 'cookies'. Learn more