The purpose of the present thesis is to analyse the translation for dubbing of humour based on taboo topics – such as, for example, references to sex, sexuality, obesity, alcohol and drug addiction – present in four American sitcoms, namely Friends, Will & Grace, How I Met Your Mother and 2 Broke Girls. Moving from the theory of rewriting introduced by Lefevere (1992), the present research aims to identify cases of manipulation and censorship in the Italian translation of the above-mentioned audiovisual texts. Following a descriptive translational approach, the English dialogues have been compared to their Italian translation. Results show that censorship and manipulation exist in the translation for dubbing even though it is not always possible to distinguish between the two. Indeed, not only the several specialists involved in the dubbing process, such as translators, dubbing directors, dubbing actors, adaptors, but also the powers linked to patronage (Lefevere 1992) can influence in several ways the translation process. However, a diachronic comparison of the analysed sitcoms demonstrates that censorial and manipulative phenomena in the translation of taboo humour are decreasing compared to the past, and this is probably due to a change in the receiving culture ideology.
La presente tesi ha come scopo l’analisi della traduzione per il doppiaggio dell’umorismo costruito su argomenti tabù (quali ad esempio riferimenti al sesso, alla sessualità, all’obesità, al consumo di alcol e droghe) presente in quattro sitcom americane, nello specifico Friends, Will & Grace, How I Met Your Mother e 2 Broke Girls. In particolare, partendo dalla teoria della riscrittura proposta da Lefevere (1992,) la ricerca mira ad identificare casi di censura e manipolazione presenti nella traduzione in italiano dei suddetti testi audiovisivi. Con un approccio traduttivo descrittivo, i dialoghi trascritti dall’inglese sono stati confrontati con la loro traduzione in lingua italiana e i risultati dimostrano che censura e manipolazione all’interno della traduzione per il doppiaggio sono due fenomeni esistenti pur non essendo sempre possibile distinguere tra i due dal momento che non solo i vari specialisti coinvolti nel doppiaggio, quali traduttori, direttori del doppiaggio, doppiatori, adattatori, ma anche gli organi afferenti al patronato (Lefevere 1992) possono in qualche modo influire sull’atto traduttivo stesso. Un confronto diacronico tra le sitcom prese in esame dimostra tuttavia come fenomeni censori e manipolatori nella traduzione dell’umorismo tabù siano oggi in diminuzione rispetto al passato, probabile segno di una mutata ideologia nella cultura di arrivo.
ANELLI, LAURA @(doctoralthesis) dc.title@, ULRYCH, MARGHERITA, Università Cattolica del Sacro Cuore Milano):Ciclo XXIX [https://hdl.handle.net/10807/285932]
UMORISMO E DOPPIAGGIO: CENSURA E MANIPOLAZIONE NELLA RISCRITTURA DELLE SITCOM AMERICANE
Anelli, Laura
2017
Abstract
The purpose of the present thesis is to analyse the translation for dubbing of humour based on taboo topics – such as, for example, references to sex, sexuality, obesity, alcohol and drug addiction – present in four American sitcoms, namely Friends, Will & Grace, How I Met Your Mother and 2 Broke Girls. Moving from the theory of rewriting introduced by Lefevere (1992), the present research aims to identify cases of manipulation and censorship in the Italian translation of the above-mentioned audiovisual texts. Following a descriptive translational approach, the English dialogues have been compared to their Italian translation. Results show that censorship and manipulation exist in the translation for dubbing even though it is not always possible to distinguish between the two. Indeed, not only the several specialists involved in the dubbing process, such as translators, dubbing directors, dubbing actors, adaptors, but also the powers linked to patronage (Lefevere 1992) can influence in several ways the translation process. However, a diachronic comparison of the analysed sitcoms demonstrates that censorial and manipulative phenomena in the translation of taboo humour are decreasing compared to the past, and this is probably due to a change in the receiving culture ideology.File | Dimensione | Formato | |
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