RESEARCH WORK (With Cover and Index)

8/9/2019 RESEARCH WORK (With Cover and Index)

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INSTITUTO PAGO DE LOS ARROYOS

Culture:Lost in Translation?

Irina Lifszyc

Seminario de Investigación

Prof. Gustavo Gimenez

Año 2013

INDEX

Abstract p. 2


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Introduction p. 3

Method p. 12

Results p. 15

Discussion/conclusion p. 20

Appendixes p. 22

Irina Li !"#$ % Se&inario 'e In(e!ti)a$i*n % +, T-N-


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ABSTRACT

Over the past e! decades" audiovisual #aterials have beco#e #ore popular and sohas audiovisual translation $A%&'. &he #ore popular A%& #ethods arelip-synchronized dubbing and subtitling " the latter bein( cheap and" thus" the pre erred #ethod or exportin( &% sho! and #ovies. &his stud) exa#ines the di erent techni*ues or translatin( subtitled dialo(ues !ith cultural ele#ents and the e ect each techni*ue hason the audience+s co#prehension o the dialo(ue. &en participants !ere provided !ith&% sho! episodes" !hich !ere translated usin( the di erent techni*ues available so asto assess to !hat extent the translation #ethod in luences their understandin( o thedialo(ue. Results su((est that !hen usin( a translation #ethod that allo!s thetranslator to eli#inate the cultural re erence" the dialo(ue can be understood b) a lar(e

nu#ber people" !hereas !hen the cultural re erence is #aintained" it can onl) beunderstood b) those !ho are ac*uainted !ith the culture to !hich said re erencebelon(s.



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INTRODUCTION

Over the past e! decades" audiovisual #aterials have (ained a pri#ar) role in(lobal co##unication" causin( audiovisual translation $A%&' to beco#e one o the

#ost d)na#icall) e#er(in( areas !ithin &ranslation ,tudies. Accordin( to theRoutled(e -nc)clopedia o &ranslation ,tudies" audiovisual translation is the branch of translation studies concerned with the transfer of multimodal and multimedial texts into

another language and/or culture $p. 13'. It re ers to the translation o texts !hichcontain not onl) !ords but also i#a(es and sounds. &hese texts are re(arded asmultimodal because their production and interpretation depend on the co#bination o several se#iotic resources" or #odes" !hich are lan(ua(e" i#a(es and sounds"$ aldr) and &hibault 200 ' and the) are considered multimedial because the displa) o

such se#iotic #odes is delivered to the audience throu(h various #edia $audio andvisual' in a s)nchroni ed #anner $ e(roponte 1441'. &here ore" the co#bination o verbal and non verbal in or#ation is essential in A%&.

&here are several #ethods or per or#in( this t)pe o translation &he #ostpopular #ethods are lip-synchronized dubbing and subtitling .

Lip-synchronized dubbing

6ithin the ield o A%&" dubbin( i#plies re recordin( the #ovie+s voice trac7 inthe tar(et lan(ua(e usin( actors to dub the ori(inal actors+ voices. &he dubbeddialo(ue intends to recreate the ori(inal dialo(ue" #ainl) ocusin( on the spea7in(pace and lip #ove#ent $8u)7en et al. 1441'.

&he translator9s involve#ent in the dubbin( process is restricted to its earlieststa(e" !hich involves translatin( the ori(inal dialo(ue into the tar(et lan(ua(e. A ter thetranslator9s !or7 is done" a :dubbin( !riter: ta7es over to detect those sounds in closeup shots that !ill re*uire #axi#u# s)nchron) ro# dubbin( actors. Once the text isadapted" the #ovie is dubbed" and this process is supervised b) a dubbin( director anda sound en(ineer. &he involve#ent o so #an) pro essionals explains !h) this A%&#ethod is al#ost i teen ti#es #ore expensive than subtitlin( $8u)7en et al. 1441'. In

act" the cost o the actual translation o the text and its adaptation represent onl) 10percent o the overall cost $Dries 1445'.

&he #ain advanta(e o dubbin( a #ovie is that vie!ers are allo!ed to !atchthe il# or &% pro(ra# onl) pa)in( attention to the i#a(es on the screen and the audio

$;oris 1443'. &his reduces the a#ount o e ort re*uired ro# the audience to processthe in or#ation" !hich dubbin( the #ost e ective #ethod or translatin( those il#s or



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&% pro(ra#s addressed to children. ,ince dubbin( is a spo7en translation o adialo(ue" that is" o an oral text" it is possible to reproduce the d)na#ics o the ori(inaldialo(ue" such as interruptions" overlappin( speeches" etc.

A#on( the disadvanta(es o dubbin(" the #ost i#portant dra!bac7 is itsextre#el) hi(h cost and the act that dubbin( actors are not as #an) as #ovie/&%actors" !hich is !h) so#e voices #a) sound a#iliar to vie!ers as )ears (o b)" thus#a7in( the il# less authentic. Re(ardin( the translation process itsel " dubbed #oviesare usuall) translated in a neutral or universal version o the tar(et lan(ua(e $


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,ince earl) il#s !ere silent" the need to conve) the dialo(ue o the charactersappeared. At irst" this !as done throu(h intertitles= texts placed bet!een these*uences o the il#. &he irst ti#e intertitles appeared in a #ove !as in 1403" inUncle Tom's Cabin " b) -d!in ,.


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#axi#u# o t!o lines o text" each acco##odatin( up to 35 F0 characters$Gara#itrou(lou 144E'. In act" the nu#ber o characters that can be used in eachsubtitle depends on the duration o the correspondin( speech unit. I the speech unit isshort" the subtitle !ill have to be short as !ell" or it has to disappear !hen the next

speech unit starts $&it ord 14E2' because that is !hen the ollo!in( subtitle appears.

A nor# has been established to standardi e the ti#e subtitles can be onscreen. One line subtitles" !hich contain up to 35 F0 characters" can re#ain on thescreen 3 5 seconds" and t!o line subtitles" !hich contain up to E0 characters" canre#ain F seconds. Another actor that helps deter#ine ho! lon( subtitles can re#ainon screen" as stated above" is the len(th o the dialo(ue the) are representin(=subtitles can onl) re#ain on the screen or as lon( as the dialo(ue the) are

representin( is heard. I a subtitle re#ains too lon( on screen" it #a) overlap !ith theollo!in( dialo(ue" causin( the subtitle correspondin( to the ollo!in( dialo(ue to

appear later than it should.

In order to abide b) these rules" translators #ust co#press dialo(ues so as tocreate subtitles !hose characters do not surpass the #axi#u# nu#ber o characterssettled. @or this purpose" the) #ust prioriti e the overall intention o the #essa(e rather than the individual #eanin( o each sentence constituent $;ottlieb 144E'. &his processis 7no!n as abrid(e#ent" !hich #eans reducin( the len(th o a !ritten text b)condensin( it or re!ritin( it. ,ince o#ittin( is less intrusive than paraphrasin("subtitlers usuall) o#it parts o the text.

Condensin( dialo(ues i#plies selectin( !hat to translate and !hat to o#it"!hich are the #ost di icult processes !hen translatin( subtitles. &he subtitler !ill #a7ethis selection accordin( to !hat the) consider to be the essential content that #ust beconve)ed to the audience. -xpressions !hich are not #eanin( ul to co##unication"such as repetitions and tautolo(ies" are usuall) o#itted=

?e is" a#on( other thin(s"

Mrs. McCread)" a dru( dealer" )es.

Ori(inal text that #ust be reduced to35 F0 characters

Hl es" entre otras cosas"

sra. McCread)" un tra icante de dro(as" sB.


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Hl es" entre otras cosas"

sra. McCread)" un tra icante de dro(as.

@irst condensation

O#ission o ono#atopoeic expressionsand irrelevant inter ections.

Characters used= 5

-s" entre otras cosas"

un tra icante de dro(as.

,econd condensation

O#ission o initial sub ect $it is notnecessar) in ,panish' o#ission o thecharacter+s na#e $7no!n b) thevie!er'.

Characters used F

-ntre otras cosas" tra ica dro(as.&hird condensation

,i#pli ication o the s)ntax o theutterance to reduce the subtitle.

Characters used= 3F

Another aspect that translators #ust ta7e into account !hen condensin(

dialo(ues is their choice o s)ntactic structures and vocabular). suall)" si#ples)ntactic structures are shorter than co#plex structures" and the di erence bet!eenthe#" #ost o the ti#es" is insi(ni icant. Also" subtitlers #ust bear in #ind that it iseasier or vie!ers to understand in or#ation i it is si#ple to read $readabilit)'. ,o as to#a7e such in or#ation readable and eas) to absorb" translators should also ocus ontheir choice o !ords.

In order or dialo(ues to be interpreted se#anticall)" that is that vie!ers can(rasp the #eanin( o !hat is occurrin(" the) #ust be able to interpret the textculturall). &hat #eans that the subtitler #ust deepl) consider the cultural bac7(rounda(ainst !hich the dialo(ues are (oin( to be interpreted so as to choose the accurate!ords or conve)in( the #eanin( intended in the ori(inal text.

&he translation o cultural ele#ents is probabl) the #ost di icult part o an)translation pro ect" especiall) i !hat is bein( translated is a !or7 o art" such as anarration $either a short stor) or a ull len(th novel'" a pla) or a #ovie. &he purposebehind an) art!or7 is to sti#ulate eelin(s in its vie!ers" and such eelin(s cannot ariseunless the person !atchin( and/or readin( the !or7 is ull) a!are o its #eanin(. &hat

Irina Li !"#$ % Se&inario 'e In(e!ti)a$i*n % +, T-N-Dialo)ue ta en ro& Gone Baby Gone © 2007 ira&a 4il&!-


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is the reason !h) bein( accurate !hen translatin( the cultural ele#ents present in an)art!or7 is essential.

One option !hen translatin( cultural ele#ents in subtitles is adaptation . &he

8on(#an Dictionar) o Conte#porar) -n(lish de ines adaptation as the process of changing something so as to ma e it suitable for a new situation $8DOC- e! -dition2004" p. 14'. &his #ethod is not !idel) used" because it i#plies the locali ation o thedialo(ues and #ovies or &% sho!s are #eant to be seen in #ore than one countr). @or exa#ple=

!nd as crazy as it might seem" # choose not to be a $ar !venue princess on

my birthday or any other day" whatever my address might be% & Dialo(ue ta7en ro# ossip

irl © ())* +arner ,ros% Television

In this case" the cultural ele#ent present in the state#ent is


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They were following orders from 1) 2owning 0treet%

1) 2owning 0treet is the address !here the ritish


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In the second exa#ple the subtitler #a) have to do research to ind out that theaddress 1) 2owning 0treet is #a7in( re erence to the (overn#ent. Once the) 7no!that" the) can start translatin( the sentence. ?ence" They were following orders from1) 2owning 0treet could be translated as 0egu4an 5rdenes del gobierno " since orders

ro# that address !ere #ost li7el) (iven b) so#eone !or7in( or the (overn#ent.

&he third option or translatin( cultural ele#ents $apart ro#adaptation andneutralization ' is maintaining the reference in the original language . In the irstexa#ple" or instance"0nic ers !ould be borro!ed ro# the -n(lish version into the,panish translation. &he #ain disadvanta(e !hen usin( this translation #ethod is the

act that not all vie!ers 7no! !hat a 0nic ers bar is" and that !ould restrict the a#ounto people !ho can understand the #essa(e conve)ed.

Once the translation #ethod is chosen" another proble# arises= subtitles canonl) contain a li#ited a#ount o characters" includin( spaces and s)#bols. ot onl) dotranslators have to ind an ade*uate translation #ethod or translatin( the culturalele#ents but also the) have to ensure that the subtitle #eets the standards set. &his#atter (ains #ore relevance !hen !or7in( !ith an -n(lish ,panish translation" since,panish usuall) needs #ore !ords than -n(lish to conve) the sa#e idea.

&he increasin( nu#ber o #ovies and &% pro(ra#s ro# the , or ;reat

ritain reachin( ,panish spea7in( countries over the past decades has created a(reater need or subtitles so as to allo! the audiences in these countries to accesssuch #ovies or &% sho!s. Choosin( the #ost accurate translation #ethod or translatin( subtitles is crucial or ensurin( that the vie!ers !ill (rasp the re erence usedin dialo(ues and" there ore" the) !ill understand the #eanin( that is intended.

A ter havin( anal) ed the theoretical ra#e!or7 related to the topic" thepurpose o this !or7 is to assess in !hat !a) the audience+s co#prehension o &%

sho!s or #ovie dialo(ues is a ected b) the translation #ethod chosen or translatin(the di erent cultural ele#ents present in such dialo(ues. &a7in( into account the theor)presented and the t!o exa#ples previousl) evaluated" it can be said that audience+sunderstandin( o the #essa(e conve)ed on screen !ill be deter#ined b) thetranslation #ethod chosen b) the subtitler !hen translatin( cultural ele#ents present indialo(ues.

&his !or7 #erits investi(ation because" as stated above" there has been a (reatincrease in the *uantit) o entertain#ent exported ro# the , or -n(land in the or#o &% sho!s or #ovies into 8atin A#erica. o!ada)s" the entire pro(ra#in( o so#e



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8atin A#erican &% channels is #ade up o A#erican &% sho!s" and #ost o the#ovies pre#ierin( each !ee7 in 8atin A#erican cine#as are -n(lish spo7en.

In the presence o such pheno#enon" it is vital to translate cultural ele#ents

correctl) in order to #a7e sure that the translation can be understood b) #ost vie!ersand that the intention o the ori(inal #essa(e is conve)ed. As &% sho!s and #oviesare one o people+s #ain !a)s o entertain#ent" i the translation o dialo(ues are notaccurate" vie!ers #a) not ull) co#prehend the #eanin( intended ori(inall) and"there ore" the #ain unction o such !a)s o entertain#ent cannot be ul illed.



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"ET#OD

&he ollo!in( section illustrates the procedures carried out in the ield !or7 inorder to ul ill the investi(ation needed to de#onstrate the correctness or !ron(ness o the h)pothesis.

&en e#ale participants !ere chosen" not rando#l)" to or# t!o di erent(roups. ,o as to assi(n participants to the (roups" the) !ere as7ed i the) had !or7ed

or an A#erican co#pan). &he irst (roup included the ive participants !ho have!or7ed or an A#erican co#pan)" and the second (roup co#prised the iveparticipants !ho have not !or7ed or an A#erican co#pan). It is #ore li7el) that thoseparticipants !ho have !or7ed or A#erican co#panies have a deeper insi(ht into the A#erican culture" as the) have been in touch !ith A#erican citi ens" and" there ore"

the) are #ore li7el) to understand cultural re erences.

,hort se(#ents ro# 10 di erent &% sho! episodes !ere selected to be sho!nto the participants= three episodes o 6) 7oc $season 2" episode > season 3"episodes 11 and 12'" three episodes o ilmore irls $season >" episodes E" 1E and14' and our episodes o ossip irl $season 5" episodes 5 and 1F season " episodes3 and E'. &hese short se(#ents !ere chosen because the) contained dialo(ues !ithcultural re erences" !hich !as the ite# to be assessed. &he procedure o anal) in(

onl) the short ra(#ents" and not the entire episode" si#pli ied the translation process"as the entire episode !as not translated but onl) the short dialo(ue that !as (oin( tobe anal) ed.

Once the short videos !ith the dialo(ues to be evaluated !ere cut ro# theepisodes" the subtitles correspondin( to each dialo(ue had to be cut ro# the subtitleso each episode. &he ori(inal subtitles !ere obtained in a text or#at" !hich acilitatedthe process o ti#e codin( the dialo(ues. -ven thou(h the ori(inal subtitles alread)

contained the ti#e code #ar7s correspondin( to each speech unit" dialo(ues had to be

ti#e coded a(ain so as to #atch the ne! short videos" since the ti#e code #ar7s inthese videos !ere di erent ro# those in the ori(inal episodes $see appendixes 1 and 2 '.

A ter veri )in( that the subtitles #atched the audio in the videos $b) pla)in( theshort videos and con ir#in( that each line !as sho!n to(ether !ith the speech unitthe) represented'" each o the subtitles !as translated into ,panish usin(" at least" t!o

di erent translation #ethods= #aintainin( the re erence $in the ori(inal lan(ua(e or in



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,panish" i possible' and neutrali in( the re erence" that is" deletin( all culturalre erences$,ee appendixes 3 K 12' .

All participants !ere su##oned in #) residence" at a da) and ti#e o their

convenience. &he) !ere tested alone in a *uiet roo# !ith no distractions. e ore the)!ere re*uested to anal) e the videos" the) !ere presented !ith personal *uestions soas to (ather use ul in or#ation or anal) in( uture results.

Once these *uestions !ere as7ed" all videos !ith the di erent options o ,panish subtitles !ere presented to the participants. -ach participant !atched allvideos alone. &he) did it in di erent ti#es and da)s" due to their di erent ti#eschedules. &he) had to !atch 2 videos= 1 videos in !hich dialo(ues containedcultural re erences $the ori(inal re erences and the translations" !henever possible'"and 10 videos !hich did not include an) cultural re erence" that is" the re erence !asneutrali ed. &he) !ere instructed to !atch the videos !ith cultural re erences and statei the) ull) understood the dialo(ues. In case the) did not understand at least one o the#" the) !ere as7ed to speci ) the reason $!hich !as supposed to be the culturalre erence'. &his !a)" participants sho!ed their level o understandin( o culturalre erences. &he sa#e #ethod !as applied to videos !ithout cultural re erences.

A ter all participants had !atch all videos and illed in the or#s in !hich the)stated !hether or not the) understood all dialo(ues" the in or#ation (athered !asanal) ed" ta7in( into account the percenta(e o understandin( o both (roups"separatel) and ointl). @or a #ore co#prehensive anal)sis" re erences !ere dividedinto our (roups= &%/#ovies re erences in -n(lish" &%/#ovies re erences in ,panish"&%/#ovies re erences !ith no translation into ,panish" and other re erences !ith noestablished translation into ,panish $ see appendix 13 '. %ideos !ithout culturalre erences !ere anal) ed separatel)" as the) did not co#prise an) cultural aspect o

!hich participants could be una!are. @urther#ore" participants+ co#prehension o these videos !as later co#pared to the results obtained ro# their understandin( o allvideos !ith re erences as one sin(le unit $ see &able 10" pa(e 5" 7esults section'.

&he irst step ta7en to anal) e the results o each (roup !as to deter#ine ho!#an) participants had understood the dialo(ue and !hat percenta(e each participantrepresented !ithin the (roup.

,ince each (roup had 5 participants" each o the# represented 20L o the

(roup. ?erea ter" results !ere easil) calculated. @or instance=



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Re erence= !n #nconvenient Trutho. o ;roup 1 participants !ho understood the re erence= 3


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RESULTS

Results !ere arran(ed in di erent tables" !hich sho! each (roup percenta(eso understandin( re(ardin( each re erence and the avera(e percenta(es o

understandin( o re erences.&ables 1 and 2 sho! the percenta(e o understandin( that each (roup had o

the re erences (athered under the cate(or) &%/#ovies K -n(lish =

TABLE $

%roup $

Re&erence Type 'ercen (ge o& unders (nding

ac7 to the @uture &%/#ovies -n(lish 100Lat#obile &%/#ovies -n(lish 100L&he ?an(over &%/#ovies -n(lish 100L

An Inconvenient &ruth &%/#ovies -n(lish E0L&he Chan(e p &%/#ovies -n(lish 20L

A)er(ge unders (nding *+,

TABLE

%roup


ac7 to the @uture &%/#ovies -n(lish F0Lat#obile &%/#ovies -n(lish 0L

&he ?an(over &%/#ovies -n(lish 20L&he Chan(e p &%/#ovies -n(lish 0L

An Inconvenient &ruth &%/#ovies -n(lish 20LA)er(ge unders (nding *,



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&ables 3 and F sho! the percenta(e o understandin( that each (roup had o the re erences (athered under the cate(or) &%/#ovies K ,panish =

TABLE .

%roup $


%olver al @uturo &%/#ovies ,panish 100Lati# vil &%/#ovies ,panish 100L

Nue


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&ables 5 and sho! the percenta(e o understandin( that each (roup had o the re erences (athered under the cate(or) &%/#ovies K no translation =

TABLE 1

%roup $


Pa#es ond &%/#ovies no translation 100L@riends &%/#ovies no translation 100LDon Corleone &%/#ovies no translation E0LMs. Ma(oo &%/#ovies no translation 0LPason ate#an &%/#ovies no translation F0L

A)er(ge unders (nding 20,

TABLE 0

%roup


Pa#es ond &%/#ovies no translation 100L@riends &%/#ovies no translation E0LDon Corleone &%/#ovies no translation 0LMs. Ma(oo &%/#ovies no translation 0L

Pason ate#an &%/#ovies no translation 20LA)er(ge unders (nding 0/,



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&ables > and E sho! the percenta(e o understandin( that each (roup had o the re erences (athered under the cate(or) Other no translation =

TABLE 2

%roup $


%anit) @air Other no translation 100Lic7i Mina Other no translation 100L

P@G Other no translation 100L6i7i8ea7s Other no translation 100L

Abercro#bie and @itch Other no translation E0LA)er(ge unders (nding 30,

TABLE *

%roup


%anit) @air Other no translation 0Lic7i Mina Other no translation 0L

P@G Other no translation E0L

6i7i8ea7s Other no translation F0L Abercro#bie and @itch Other no translation 0LA)er(ge unders (nding /*,



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&able 4 sho!s the co#plete list o re erences" (roup 1 and (roup 2 percenta(eo understandin( o each re erence" the avera(e percenta(e o understandin( o eachre erence" (roup 1 and (roup 2 avera(e percenta(e o understandin( o each (roupand the total avera(e percenta(e o understandin(.

TABLE 3

Re&erences'ercen (ge o& Unders (nding

%roup $ %roup A)er(geac7 to the @uture 100L F0L >0Lat#obile 100L 0L E0L

&he ?an(over 100L 20L 0L An Inconvenient &ruth E0L 20L 50L&he Chan(e p 20L 0L 10L%olver al @uturo 100L E0L 40L

ati# vil 100L 100L 100LNue 0LMs. Ma(oo 0L 0L 0LPason ate#an F0L 20L 30L%anit) @air 100L 0L E0L

ic7i Mina 100L 0L E0LP@G 100L E0L 40L6i7i8ea7s 100L F0L >0L Abercro#bie and@itch E0L 0L F0L

A)er(ge *., 1$, 02,

&able 10 sho!s (roup 1 and 2 avera(e percenta(e o understandin( odialo(ues !ith cultural re erences and videos !ithout cultural re erences=

TABLE $+

%roups $ (nd

Type o& di(!ogue'ercen (ge o& unders (ndin

gDialo(ues !ith cultural re erences >LDialo(ues !ithout culturalre erences 100L



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DISCUSSION4CONCLUSION

&he results sho! that a clear di erence exists bet!een people !ho have!or7ed or A#erican co#panies or !ho have lived in the nited ,tates and those !honeither !or7ed or A#erican co#panies nor lived in the nited ,tates.

&ables 5 and present us !ith the s#aller di erence bet!een each (rouppercenta(e o understandin(. ;roup 1 achieved > L and ;roup 2 achieved FL" thedi erence bein( onl) 12L. &his outco#e #a) result ro# the act that in this cate(or)!e can ind proper na#es" o actors or &%/#ovie characters" !hich cannot betranslated into ,panish $e.(.= Don Corleone" Pason ate#an'" so the) are re erred to

b) their ori(inal na#e.

&ables 3 and F also present us !ith a relativel) s#all di erence $)et (reater than the one stated above' bet!een the t!o (roups. In this case" ;roup 1 achievedE0L and ;roup 2 achieved FL" the di erence bein( 2 L. 6hat is !orth co##entin(on is that ;roup 2 understandin( o the #ovie 0i 8ueras 9o !as F0L" !hereas ;roup1 onl) scored 20L. It #i(ht happen" thou(h it is not ver) co##on" that so#e people"usuall) those ac*uainted !ith the A#erican culture" 7no! the na#e o a #ovie in-n(lish and the) do not 7no! the ,panish translation.

&he lar(est di erence bet!een the t!o (roups can be seen in &ables 1 and 2"as ;roup 1 avera(e understandin( reaches E0L and that o ;roup 2 reaches aninsi(ni icant 2EL. &his result is" probabl)" due to the act that those !ho have not!or7ed !ith A#erican custo#ers" or have not lived in the nited ,tates" probabl) donot spea7 -n(lish" at least not as pro icientl) as those !ho !or7ed or A#ericanco#panies or lived in the nited ,tates. Also" those !ho are ac*uainted !ith the A#erican culture usuall) pre er to 7no! the ori(inal na#e o the #ovie rather than its,panish translation" since the ori(inal title #a) contain instances o intertextualit) $or so#e other rhetorical devices that allude to cultural ele#ents' that are not al!a)spresent in its ,panish counterpart and #i(ht be relevant to the plot o the #ovie.

Another lar(e di erence bet!een the t!o (roups is sho!n in tables > and E"!hich sho! the understandin( o those re erences that ull) allude to the A#ericanculture $e.(.= %anit) @air #a(a ine " Abercro#bie and @itch clothin( store '. In thiscate(or)" ;roup 1 scored 4 L !hereas ;roup 2 onl) obtained FEL" and hence the

di erence reaches FEL. It is practicall) i#possible or a person !ho is not ac*uainted!ith the A#erican culture to understand !hat these ite#s #a7e re erence to. &he #ost



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re#ar7able di erence !ithin this (roup o re erences is portra)ed in the understandin(each (roup had o the clothin( store Abercro#bie and @itch. @our out o iveparticipants in ;roup 1 understood the re erence" as the) 7ne! the na#e o the brandand the t)pe o clothes the) #a7e. In (roup 2" on the other hand" no participant

understood the re erence.

@inall)" the last co#parison included the avera(e understandin( o allre erences" !hich reached >L" opposed to the avera(e understandin( o videos !ithno re erences at all" that is to sa)" those videos !hose dialo(ues !ere translated b)neutrali in( the cultural re erence. &he latter ascends to 100L" !hich #eans allparticipants" in both (roups" understood all dialo(ues.

Anal) in( the results obtained" it can be concluded that the h)pothesisproposed in the introduction has proven to be true" as the translation #ethod chosen

or translatin( the dialo(ues in the videos indeed a ected the understandin( o participants. &he results con ir# that the #ost suitable #ethod or translatin( &% sho!sor #ovies is neutrali in( the cultural re erences. 8i7e so" dialo(ues !ill be understoodb) a lar(er nu#ber o people and" there ore" the #eanin( o the #essa(es !ill beconve)ed" thus co#pletin( the co##unication process. ?o!ever" this techni*ue has#an) disadvanta(es" such as the loss o #eanin( ul o7es or co##ents that arerelated to the plot o the stor).

As this research !or7 did not enco#pass participants ro# other countries" itcan be alle(ed that its scope !as rather narro!. Conse*uentl)" I su((est that urther studies be carried out" i possible !ith inhabitants ro# other 8atin A#erican countries"!ith the purpose o increasin( the validit) o this stud).

All #essa(es conve)ed via an) #edia" as it has been stated throu(hout theresearch !or7" contain cultural ele#ents" or culture is inherent to lan(ua(e" since the

latter is a social pheno#enon and culture is an inseparable part o societ). It is our dut)as translators to help those !ho do not 7no! -n(lish to understand the #essa(esconve)ed in such lan(ua(e and" there ore" brid(e t!o di erent cultures. 8i7e -n(lish!riter Anthon) ur(ess said= Translation is not a matter of words only: it is a matter of ma ing intelligible a whole culture%



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A''ENDIXES

Appendi5 $

,ubtitle sa#ple !ith ori(inal ti#e codes $ 6) 7oc K season 2" episode 0>'

Q...

1E>00=0>=1 "320 S 00=0>=1>" 0Oh" (o or it" 8i .

1EE00=0>=1>" >0 S 00=0>=20"F>0I al!a)s roll !ith it!hen hot (u)s thin7 I9# 22.

$*3++6+26 +7/*+ --8 ++6+26 $7/$+9h( c(n :e do;

$3+++6+26 $7/ + --8 ++6+26 71$+9e


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$30++6+26.271++ --8 ++6+26.372/+9hy (@ I !oo ing &or so@e hing o :e(r in :(rdrobe;

$32++6+26.3721+ --8 ++6+26/$7*1+Abercro@bie (nd ?i ch;

14E00=0>=F1"E 0 S 00=0>=F3"F 0Oh" no. It9s too loud in there.

14400=0>=F3"F>0 S 00=0>=FF"5E0

o" don9t sa) that.

20000=0>=FF"540 S 00=0>=F "2E0Cou(ars have to act )oun(.

Q...



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Appendi5

,ubtitle sa#ple !ith ti#e codes adapted to the video cut o ro# the episode $6) 7oc K season 2" episode 0>'

100=00=00"F00 S 00=00=02"00F6hat can !e do6e9re cou(ars.

200=00=02"20F S 00=00=02">>F6e9re !hat

300=00=03"24F S 00=00=0F"000Cou(ars.

F00=00=0F"550 S 00=00=0>"000?ot older ladies pouncin(on their )oun( pre).

500=00=0>"500 S 00=00=0E"030

(h.

00=00=04"250 S 00=00=11"300&here !as a !hole articleabout it in :%anit) @air. :

>00=00=11" 00 S 00=00=13"3E0&he one !iththe :Crisis in A rica: cover.

E00=00=1F"000 S 00=00=15"3E0;od" it #a7es #e so sad

400=00=15"500 S 00=00=1>"230that #ore people don9t 7no!about cou(ars.1000=00=1>"5>0 S 00=00=14"FE06h) a# I loo7in( or so#ethin(to !ear in !ardrobe



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1100=00=14"E20 S 00=00=21"5006h) don9t )ou (oto Abercro#bie T @itch



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Appendi5 .

30 Roc7 K season 2" episode 0>

&ranslation


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;ast% The present


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*

%od7 i @( es @e so s(d . ch(r(c ers

Dios" #e entristece tanto $25 characters'

3

h( @ore peop!e $0 ch(r(c ers

don< no: (bou coug(rs= 1 ch(r(c ers

*ue tanta (ente $15 characters'

no cono ca la palabra. $22 characters'

$+

9hy (@ I !oo ing &or so@e hing .+ ch(r(c ers

o :e(r in :(rdrobe; + ch(r(c ers

U


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sentence % Therefore" the only translation option available is neutralizing the referenceso that everyone can understand the dialogue:

U


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Appendi5 /

30 Roc7 K season 3" episode 11

&ranslation


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Appendi5 1

30 Roc7 K season 3" episode 12

&ranslation characters'co#o hi o Ross en @riends $25 characters'

• &ranslation #ethod 2 K neutrali in( the re erence

0ince the name of the sitcom is the same throughout the world" there is no 0panishtranslation available% !lso" there is no other sitcom or movie massively nown in 3atin

!merica &in which the same event ta es place that can be used so as to maintain theformat intended in the original dialogue &the cultural reference in the sentence %Therefore" the only translation option available is neutralizing the reference so that everyone can understand the dialogue:

-staba por ir al aeropuerto $2> characters'

co#o hacen en las pelBculas $2E characters'

.

(nd Liz Le@on did in re(! !i&e= ./ ch(r(c ers$ CULTURAL

RE ERE!CE"#



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9h( (re you doing here; / ch(r(c ers

;3iz 3emon" performed by Tina 8ey" is one of the main characters in F6) 7oc %G #nseason ( of the T< show" 3iz runs to the airport to say one last goodbye to her ex-boyfriend" who was leaving for Cleveland% 0ince the scene in this example belongs to

the same T< show" it can be assumed that the people watching this episode now who3iz 3emon is% 0o" even though they might not now what happened in previousepisodes" they now who is being mentioned as a reference and" therefore" it is not necessary to adapt this reference% >eedless to say" Freal lifeG refers to the real life of the characters in the show%

) 8i 8e#on en la vida real. $2E characters'

UNuV estYs haciendo a*uB $25 characters'

/

The (5is :(n 1++ buc s o go o J? .2 ch(r(c ers $ CULTURALRE ERE!CE"#

(nd he buses (re :orse= / ch(r(c ers

; 8I" or ohn 8% Iennedy #nternational !irport" is the name of >ew 9or As maJor international airport% #n everyday life" people simply refer to it as 8I% #f members of theaudience donAt now that 8I is the name of the airport" they might not understand theuse of the reference or" worse" they might thin the dialogue is mentioning !mericaAsformer president" ohn 8% Iennedy%

• &ranslation #ethod 1 K #aintainin( the re erence in the ori(inal lan(ua(e

n taxi a P@G cuesta 500 d lares $32 characters'

) los autobuses son horribles. $30 characters'

• &ranslation #ethod 2 K neutrali in( the re erence0ince the airport is named after a person" there is no 0panish translation available%Therefore" the only translation option available is neutralizing the reference so that everyone can understand the dialogue:

n taxi al aeropuerto cuesta 500 d lares $F0 characters'

) los autobuses son horribles. $30 characters'



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Appendi5 0

;il#ore ;irls K season >" episode 0E

&ranslation characters'

papel de regalo real . $20 characters' K not natural

U o *uieres papel de re(alo real $33 characters'

/

Did you no see $1 ch(r(c ers

An Incon)enien Tru h ; / ch(r(c ers $ CULTURALRE ERE!CE"#

;!n #nconvenient Truth is a ())K documentary film directed by 2avis uggenheimabout former United 0tates


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U o has visto $13 characters'

:An Inconvenient &ruth: $2F characters'

• &ranslation #ethod 2 K translatin( the re erence into ,panish

The name of the movie can be translated as it is nown in 3atin !merica " Una


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Appendi5 2

;il#ore ;irls K season >" episode 1E

&ranslation characters'

) dueZo de dos tiendas. $23 characters'

/

Ke(h7 he


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members of the audience donAt now who 2on Corleone is" they will probably not understand the use of the reference in the dialogue%


) el Don Corleone" todo en uno. $31 characters'


The reference can be neutralized so that those who havenAt read or seen FTheodfatherG can understand the dialogue anyway:

) el dueZo del pueblo" todo en uno. $3 characters'

0

Th(


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Appendi5 *

;il#ore ;irls K season >" episode 14

&ranslation


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.

I


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Appendi5 3

;ossip ;irl K season 5" episode 05

&ranslation


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bodies with 7yan 7eynoldsA character" a single man in the prime of his sexual life% 8or the audience to understand what the reference implies they must now what the movieis about and" most importantly" they must now who stars in the film%


#n this case" maintaining this reference can be done in two different ways:

- aintaining the name of the leading actor as reference:


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Appendi5 $+

;ossip ;irl K season 5" episode 1F

&ranslation o puedo encontrar a ,lair por ningQn lado% $F3 characters' K too long

>o encuentro a ,lair por ningQn lado% $3> characters' Ktoo regional

o puedo encontrar a lair. $2> characters'

I chec ed e)ery s (!! in he bui!ding= .* ch(r(c ers

us*uV en cada rinc n del edi icio. $3 characters'

Rr: ,usSu= por todo el edificio% &(? characters

.

Did you chec her roo@ ups (irs; . ch(r(c ers

,uscaste en su habitaci5n arriba $3F characters' K too long

U uscaste en su habitaci n $2> characters'

/

Three i@es= $ ch(r(c ers

I e)en h(d securi y !oo ( he roo&= .2 ch(r(c ers

&res veces. $12 characters'

Masta hice Sue seguridad buscase en la azotea . $F characters' Ktoo long

0eguridad la busc5 en la azotea% $32 characters' K not clear

Incluso la bus*uV en la a otea. $31 characters'



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1

9hy :ou!d she be on he roo&; 3 ch(r(c ers

U


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&al ve he visto de#asiadas pelBculas. $31 characters'

*

I us -- i doesn< @( e sense= . ch(r(c ers

-s *ue... no tiene sentido. $2F characters'

3

9hy isn< she d(ncing :i h her d(ds .1 ch(r(c ers

$or Su= no estL bailando con sus padres $F0 characters' K too long

U


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Appendi5 $$

;ossip ;irl K season " episode 03

&ranslation ic i inaJ is an !merican singer whose trademar is wearing outrageous costumesand wigs% #f members of the audience donAt now how she loo s" they will probably not understand the use of this reference%


Incluso ic7i Mina se ve #e or. $32 characters'


The reference can be neutralized so that those who donAt now the singer canunderstand the dialogue anyway:

Incluso los pa)asos se ven #e or $32 characters'



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1

9e :i!! ch(nge i (!!=== / ch(r(c ers

Ca#biare#os todo... $14 characters'



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Appendi5 $

;ossip ;irl K season " episode 0E

&ranslation


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.

Uh-huh=

h huh.

/

This isn< gonn( :or = I h(s o be .1 ch(r(c ers

( !e(s nine ch(r(c ers= 1 ch(r(c ers

o uncionarY. Deben ser $2F characters'

cuanto #enos nueve caracteres. $30 characters'



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Appendi5 $.

Re erence (roups=

Re erence &)peac7 to the @uture &%/#ovies -n(lishat#obile &%/#ovies -n(lish

&he ?an(over &%/#ovies -n(lish&he Chan(e p &%/#ovies -n(lish An Inconvenient &ruth &%/#ovies -n(lish

Re erence &)pe%olver al @uturo &%/#ovies ,panish

ati# vil &%/#ovies ,panishNue

Documents

RESEARCH WORK (With Cover and Index)