Resumen Nuestra propuesta para el análisis de la variación pragmática en traducción audiovisual está centrada en la descripción de seis categorías de elementos léxicos conversacionales: (a) las formas nominales de tratamiento; (b) los marcadores discursivos; (c) la intensificación y (d) la atenuación de actos directivos y expresivos; (e) los diminutivos y (f) el léxico coloquial, que comprende las palabras tabús. Proponemos un modelo de análisis de seis estrategias conversacionales claves para la variación pragmática, que son problemas de traducción audiovisual en diálogos. El foco de este trabajo está en el léxico coloquial y en las palabras tabús, y en cómo revelan especificidades culturales. La propuesta se estructura a partir del análisis de seis versiones dobladas de la animación Inside Out (2015), realizadas en tres lenguas (portugués, español y francés) más la versión fuente en inglés americano. Debido a la especificidad de la película, fuertemente basada en la teoría de las emociones de Ekman, los protagonistas asumen comportamientos prototípicos relacionados a las categorías de las llamadas emociones de base. Este encuadre teórico conlleva a que pocos personajes (Anger y Disgust) produzcan la mayoría de las palabras tabús (o sus formas eufemísticas) observables en este producto audiovisual que además está dirigido para una clasificación de audiencia libre. Las producciones de palabras tabús son más frecuentes en deportes, en los que el comportamiento agresivo se puede ver como positivo. Además, observamos referencias en metalenguaje a formas insultantes. A partir de los ejemplos en paralelo de estas siete versiones de doblaje para la misma película, demostramos cómo estos elementos léxicos conversacionales pueden revelar especificidades pragmáticas y culturales. (a tratamiento b (b discursivos c (c d (d expresivos e (e f (f diálogos culturales 2015, 2015 , (2015) portugués, portugués (portugués francés americano película Ekman base Anger Disgust o eufemísticas libre deportes positivo Además insultantes 201 (2015 20 (201 2 (20 (2 (

Abstract 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. elements (a address b (b markers c (c intensifiers d (d acts e (e diminutives f (f language dialogues specificities 2015, 2015 , (2015) Portuguese, Portuguese (Portuguese Spanish French, French French) source films s theme Ekmans Ekman emotions socalled so called Anger Disgust or forms product classification restrictions sports positive addition 201 (2015 20 (201 2 (20 (2 (

Abstract The paper analyzes the occurrences of taboo words in Fatih Akin’s German comedy Soul Kitchen (2009). The film is particularly rich in taboo and swear words which are mainly used by certain characters and seem to play a specific role. According to a classification of taboo words in central semantic groups and along with the definition of aggressive speech act by Havrlyiv (2017, 2018, 2022) and of insults by Alfonzetti (2017), the paper initially identifies the most recurrent speech acts in the context of their occurrence, investigating the pragmatic functions of taboo words in the original German dialogues of the comedy also in relation to the humorous aims pursued. Next, according to Díaz Cintas and Remael’s (2007) subtitling classification the paper analyzes the Italian subtitles, investigating the translation strategies selected and the solutions adopted. Special attention is paid to the strategies chosen for the translation of cultural-bound elements. The translation of scatological taboo words holds a particular relevance. Akins Akin s 2009. 2009 . (2009) role 2017, 2017 (2017 2018 2022 , (2017) occurrence pursued Next Remaels Remael 2007 (2007 subtitles adopted culturalbound cultural bound elements relevance 200 (2009 201 (201 202 (200 20 (20 2 (2 (

Resumen En el presente artículo se analiza la traducción del homoerotismo mediante el doblaje. El estudio parte del supuesto de que la teleficción contemporánea integra distintas dimensiones de la sexualidad como parte de la narrativa y la construcción de los personajes. El caso de estudio es Looking, una serie de drama y comedia producida por HBO y transmitida originalmente entre 2014 y 2016. Esta serie de televisión es un caso relevante para identificar cómo la interacción entre recursos semióticos visuales y lingüísticos son fundamentales para sostener el relato. El objetivo del estudio es doble: identificar las interacciones semióticas entre los modos visuales y el código lingüístico en escenas que involucran conversaciones sexuales o intimidad entre personajes masculinos en Looking; y contrastar cómo las traducciones para el doblaje al español neutro (para América Latina) y al español peninsular contribuyeron o transformaron la representación del deseo entre hombres. Los hallazgos se analizan en el contexto de los estudios de traducción cuir y de género, así como en la teoría de los afectos. Un argumento general derivado del estudio es que la neutralidad y el tabú conllevan componentes prescriptivos que deben cuestionarse para comprender cómo circulan actualmente los imaginarios sexuales mediante los medios y la traducción. Looking 201 2016 relato doble Latina hombres género afectos 20 2

Abstract In this article, I explore the translation of male homoeroticism through dubbing, starting from the premise that contemporary telefiction incorporates various dimensions of sexuality into its narratives and character development. The study case is Looking, a dramady series produced by HBO and broadcast initially from 2014 to 2016. HBO's Looking serves as a key example to explore how the interplay between visual and linguistic semiotic resources is crucial for televisual storytelling. The aim of the study is twofold: to identify the semiotic interactions between visual modes and the linguistic code in scenes involving sex talk or intimacy between male characters in Looking; and to contrast how the translations for dubbing into neutral Spanish (for Latin America) and Peninsular Spanish contributed to or transformed the representation of intermale desire. The findings are analyzed within the context of gender and queer translation studies, as well as affect theory. A general argument derived from the study is that neutrality and taboo carry prescriptive components that need to be challenged to understand how sexual imaginaries are currently circulating through media and translation. article development 201 2016 HBOs s storytelling twofold America desire studies theory 20 2

Abstract Taboo language, as a field of research, was for a long time a neglected area, and it was only from the 1960s onwards that an ever greater interest was observed and produced in a series of publications. In terms of audiovisual translation of taboo words, it is important to note that only recently have new translation strategies been introduced in dubbing and subtitling, moving beyond omission or euphemisms (primarily on streaming platforms). Furthermore, audiovisual translation of cursing has become a subject of scientific studies and research that consider the translation process and how the target audience receives it. In this regard, this article aims to analyse the forms of taboo language recorded in the filmic speech of Portuguese and Brazilian series and in intralingual subtitles (EP and BP), and their translation in Italian and English subtitles, through sociolinguistic translation strategies of adequacy that can oscillate between the poles of manipulation and maintenance. area s publications words subtitling primarily platforms. platforms . platforms) Furthermore regard EP BP, BP , BP) maintenance

Resumo A linguagem tabu, como campo de pesquisa, foi por muito tempo uma área negligenciada, e foi somente a partir da década de 1960 que se observou um interesse sempre maior que se produziu em uma série de publicações. No que diz respeito à tradução audiovisual das palavras tabu, temos que ressaltar que só recentemente registramos, tanto na dublagem quanto na legendagem, estratégias tradutórias que vão além da omissão ou do emprego de eufemismos (principalmente nas plataformas de streaming) e começa a ser objeto de estudos e pesquisas científicas tendo em conta o processo tradutório e a recepção do público-alvo. A tal propósito, este artigo pretende analisar as formas de linguagem tabu registradas na fala fílmica de seriados portugueses e brasileiros e nas legendas intralinguísticas (PE e PB) e sua tradução nas legendas em italiano e inglês por meio de estratégias de tradução de adequação sociolinguística que podem oscilar entre os polos da manipulação e da manutenção. pesquisa negligenciada 196 publicações registramos legendagem principalmente streaming públicoalvo. públicoalvo público alvo. alvo público-alvo propósito PE PB manutenção 19 1

Abstract Traditional networks and TV channels, such as RTP [Rádio e Televisão de Portugal] and SIC [Sociedade Independente de Comunicação] in Portugal, and Globosat and HBO [Home Box Office] in Brazil, have a more conservative approach in their general subtitling guidelines regarding the standard language norm (Ramos Pinto, 2010) and the use of profanity and vulgar language (HBO, 2001). Among the general guidelines for subtitle translators are, for example, toning down offensive language and respecting the educated norm of the Portuguese language. With the arrival of Netflix in the subtitling market, a relaxation of these rules has been observed. The streaming service allows the use of profanity without any form of censorship and the creation of more idiomatic and colloquial subtitles (Netflix, 2023). This article aims at identifying the explicit or implicit guidelines that justify this change of approach in the production of subtitles for the Portuguese language on the streaming service. To do so, we conducted an analysis of the general subtitling guidelines from two audiovisual content providers: HBO Latin America (2001) and Netflix (2023), utilizing the concept of translation norms (Toury, 1978) to identify three distinct sets of norms that currently coexist within the Portuguese audiovisual translation system. The article also discusses whether amateur translations, which often disregard the industry's professional guidelines, require a higher cognitive effort from the viewer. As a conclusion, we suggest three explanations for the non-normative behavior on the part of Netflix translators: (1) unfamiliarity with the restrictive norms of other subtitling industry agents, as the advent of Netflix brought a new generation of translators into the market; (2) the fact that streaming service subscribers have an active voice in the production and post-production of the programs they consume; (3) the less normative language guidelines of Netflix have indeed allowed for a greater degree of freedom in translation solutions. channels Rádio Portugal Sociedade Comunicação Home Office Brazil Ramos Pinto 2010 HBO, (HBO 2001. 2001 . 2001) are example market observed Netflix, (Netflix 2023. 2023 2023) so providers (2001 2023, , (2023) Toury, Toury (Toury 1978 system translations industrys s viewer conclusion nonnormative non 1 (1 agents 2 (2 postproduction post consume 3 (3 solutions 201 200 202 (200 (2023 197 ( 20 (20 (202 19

Resumo Redes e canais de TV tradicionais, como RTP [Rádio e Televisão de Portugal] e SIC [Sociedade Independente de Comunicação] em Portugal e Globosat e HBO [Home Box Office] no Brasil, têm uma abordagem mais conservadora em suas diretrizes gerais de legendagem no que diz respeito à norma padrão da língua (Ramos Pinto, 2010) e ao uso de palavrões e turpilóquios (HBO, 2001). Entre as orientações gerais para os tradutores de legendas estão, por exemplo, amenizar a linguagem de baixo calão e respeitar a norma culta do português. Com a chegada da Netflix ao mercado de legendagem, notou-se um afrouxamento dessas regras. O serviço de streaming permite o uso de palavrões sem qualquer tipo de censura e a redação de legendas mais idiomáticas e coloquiais (Netflix, 2023). O presente artigo pretende identificar orientações explícitas ou implícitas que justifiquem essa mudança de abordagem na confecção das legendas do serviço de streaming para o português. Para isso, procedemos ao levantamento e à análise das diretrizes gerais de legendagem de dois provedores de conteúdo audiovisual: HBO Latin America (2001) e Netflix (2023), lançando mão do conceito de normas de tradução (Toury, 1978) para detectar três conjuntos distintos de normas que atualmente coexistem no sistema de tradução audiovisual do português. O artigo discute ainda se as traduções amadoras, que costumam ignorar os parâmetros profissionais da indústria, exigem do espectador um esforço cognitivo maior. Como conclusão, sugerimos três explicações para o comportamento não normativo por parte dos tradutores da Netflix: (1) o desconhecimento das normas restritivas de outros agentes da indústria de legendagem, pois, com o advento da Netflix, uma nova geração de tradutores entrou no mercado; (2) o fato de os assinantes do serviço de streaming terem voz ativa na produção e na pós-produção dos programas que consomem; (3) as diretrizes linguísticas menos normativas da Netflix de fato deram espaço a um maior grau de liberdade às soluções tradutórias. tradicionais Rádio Sociedade Comunicação Home Office Brasil Ramos Pinto 2010 HBO, (HBO 2001. 2001 . 2001) estão exemplo português notouse notou regras (Netflix 2023. 2023 2023) isso (2001 2023, , (2023) Toury, Toury (Toury 1978 amadoras conclusão 1 (1 pois 2 (2 pósprodução pós consomem 3 (3 tradutórias 201 200 202 (200 (2023 197 ( 20 (20 (202 19

Abstract Anglophone cultures have had extensive contact with other ethnic groups over the last 200 years and almost always from a position of dominance (Filmer, 2012). In English there are racial slurs for practically every race or ethnic group and swear words are commonly used in English TV dialogues. Translating swear words in movie subtitles pose a translation challenge, which has been studied by scholars such as Soler Pardo (2015), Ávila-Cabrera (2016), Beseghi (2016) and Díaz-Pérez (2020). This paper analyses the translation from English into Italian of wop, eyetie and goombah, three racist epithets used to refer to Italians or people of Italian origin. The data analyzed are taken from the English-Italian parallel corpus of OpenSubtitles (Lison & Tiedemann, 2016), a collection of parallel corpora made up of translated movie subtitles. English subtitles from a variety of movies including these racist epithets are retrieved, together with the corresponding Italian translations, using parallel concordance. The renditions are analyzed with the aim of identifying general trends in the use and in the translation of these racial slurs. In addition, renditions are divided according to moderating variables such as the languages spoken in the film, the film release date, the countries the film was shot in and the genres of the film, to test whether these variables have a significant impact on translation choices. 20 Filmer, Filmer (Filmer 2012. 2012 . 2012) dialogues challenge 2015, 2015 , (2015) ÁvilaCabrera Ávila Cabrera 2016, 2016 (2016 DíazPérez Díaz Pérez 2020. 2020 (2020) wop goombah origin EnglishItalian Lison Tiedemann 2016) retrieved translations concordance addition date choices 2 201 (2015 (201 202 (2020 (20 (202 (2 (

Abstract Many studies have focused on the translation of taboo words within Audiovisual Translation, either in subtitling, dubbing, fansubbing, or more recently within Media Accessibility studies. However, most of this research has been restricted to textual analysis, and less on the human agents behind the process of translation. Relatedly, this study aims to assess the attitudes of audiovisual translators regarding the subtitling of taboo words on Portuguese FTA (free-to-air, open-signal) television. An online questionnaire was distributed to respondents matching the profile. Results show a high level of agreement towards maintaining the taboo, as well as the high relevance of different aspects relating to the role taboo plays in film narratives. Nonetheless, these attitudes differ from the most common strategy for the subtitling of taboo found within the Portuguese context – omission, which could mean a new paradigm is emerging. Translation dubbing fansubbing However analysis Relatedly freetoair, freetoair free air, air (free-to-air opensignal open signal open-signal television profile narratives Nonetheless omission emerging

Resumo No âmbito dos Estudos da Tradução Audiovisual, vários estudos têm sido dedicados à investigação da tradução da linguagem tabu, na área da dobragem, da legendagem, o fansubbing, e mais recentemente até na área da Acessibilidade. Contudo, esta investigação tem se visto restrita à análise de textos, sendo mais escassa à investigação do agente humano no processo da tradução. Neste enquadramento, este estudo empírico tem por objetivo investigar as atitudes de tradutores audiovisuais relativamente à tradução para legendagem na televisão de sinal aberto em Portugal. Aplicou-se, com esse fim, um questionário a tradutores. Os resultados demostraram um alto nível de concordância com a manutenção do tabu, tal como a relevância de diferentes aspectos relacionados com o papel que o tabu assume nas narrativas fílmicas. Não obstante, estas atitudes diferem da estratégia mais comum na tradução e legendagem de tabu no contexto português, a omissão, o que pode indiciar um novo paradigma na tradução de linguagem tabu. Audiovisual dobragem fansubbing Acessibilidade Contudo textos enquadramento Portugal Aplicouse, Aplicouse Aplicou se, Aplicou-se fim fílmicas obstante português omissão

Resumen El artículo analiza un corpus de dos cortometrajes contemporáneos de autor en lengua española: Diez minutosde Alberto Ruiz Rojo, que sale en España en 2004 y Dime que yo, firmado por Mateo Gil, que se estrena cuatro años más tarde. Ambos pertenecientes a un género dramático con algunos tintes románticos, los textos fílmicos muestran, a pesar de la trama distinta, un lenguaje coloquial juvenil muy reconocible que comprende un uso masivo de expresiones vulgares y de habla soez. No disponiendo de una traducción oficial al italiano, sino solo de una subtitulación en inglés, realizaremos los subtítulos en lengua italiana de las secuencias donde predomina este tipo de lenguaje, intentando compensar algunas pérdidas lingüísticas y culturales. El trabajo tiene el objetivo de no atenuar los tacos y las formas malsonantes, ni a causa de la reducción del número de caracteres, vínculo que requiere el subtitulado interlingüístico, ni por meras cuestiones de marketing. española Rojo 200 yo Gil tarde románticos muestran distinta soez italiano inglés culturales malsonantes caracteres interlingüístico marketing 20 2

Abstract The essay analyses a corpus of two contemporary Spanish-language auteur short films: Diez minutos by Alberto Ruiz Rojo, released in Spain in 2004, and Dime que yo by Mateo Gil, shown four years later. Both belonging to a dramatic genre with some romantic nuances, the two filmic texts show - despite the different plots - a very recognizable colloquial juvenile language that includes a massive use of vulgar expressions and coarse speech. Since we do not have an official Italian translation, but only an English subtitling, we will subtitle in Italian the sequences in which this kind of language predominates, trying to compensate some linguistic and cultural losses. The aim of this work is not to reduce or to neutralize the use of swear words and vulgar forms, neither because of the reduction in the number of characters required for the practice of interlingual subtitling, nor for mere marketing reasons. Spanishlanguage Spanish films Rojo 2004 Gil later nuances speech translation subtitling predominates losses forms reasons 200 20 2

Abstract This paper explores the representation and translation of swearwords in a corpus of English Netflixseries dubbed into Italian. The TV series selected for this study encompass the most popular genres on the platform, including teen, dramedy, action, and mystery, making them representative of widely consumed content. The analysis begins with a comprehensive examination of the occurrence, extent, and function of swearwords in the original soundtracks, by considering variations across genres and semantic domains. The second part of the analysis offers a detailed exploration of the translation strategies employed to convey swearwords in the Italian dubbing of Netflix series, emphasizing genre-specific differences and the influence of language pair and cultural context on strategy selection. The results distinctly reveal that Italian dubbed dialogues often mitigate the offensiveness of swearwords, in contrast to the vulgarization tendency detected in previous studies for dialogues dubbed in Spanish. This divergence may be attributed to cultural factors and lower tolerance among Italian audiences. platform teen dramedy action mystery content occurrence extent soundtracks domains genrespecific genre specific selection Spanish audiences

Resumen En este artículo se presenta un análisis contrastivo entre la versión original y las versiones subtituladas en español peninsular y en italiano de la serie británica Sex Education (Netflix 2019). El corpus está compuesto por una selección de escenas tomadas de las primeras tres temporadas de la serie, en las que los diálogos se centran en temas relacionados con el sexo. A fin de clasificar las soluciones traductoras empleadas en las dos versiones subtituladas, se han seguido las taxonomías propuestas por Ávila-Cabrera (2023) y Molina & Hurtado Albir (2002), adaptándolas para la finalidad de nuestro estudio. El objetivo es comprobar si la representación del lenguaje de los protagonistas en los subtítulos en las lenguas comparadas consigue respetar el intento normalizador e inclusivo de la versión original inglesa, pese a los problemas de aceptabilidad planteados por la subtitulación del lenguaje tabú (Díaz Cintas & Remael, 2021) y a las restricciones propias de la modalidad traductora analizada. Netflix 2019. 2019 . 2019) sexo ÁvilaCabrera Ávila Cabrera 2023 (2023 2002, 2002 , (2002) estudio inglesa Díaz Remael 2021 analizada 201 202 (202 200 (2002 20 (20 (200 2 (2 (

Abstract This paper presents a contrastive analysis of the original dialogues from the British series Sex Education (Netflix 2019) and their subtitled versions in European Spanish and Italian. In the selected corpus of dialogues, from the three seasons of the series, younger speakers deal with sexual matters. In order to classify and compare the different techniques used to translate sexual slang in the two subtitled versions, Ávila-Cabrera (2023) and Molina & Hurtado Albir’s (2002) taxonomies of translation techniques have been adopted and remodelled in the light of the purpose of our study. Our research aims to determine whether the language used in the subtitles manages to normalize sexuality as well as to foster inclusion, as the original dialogues do. The discussion of results will also take into consideration the challenges posed by subtitling taboo language (Díaz Cintas & Remael, 2021), along with the technical constraints of the modality of audiovisual translation at issue. Netflix 2019 Italian matters ÁvilaCabrera Ávila Cabrera 2023 (2023 Albirs Albir s 2002 (2002 study inclusion do Díaz Remael 2021, 2021 , 2021) issue 201 202 (202 200 (200 20 (20 2 (2 (

Abstract This article aims at analysing conflicting movie (acting) lines embedded in the third season of Lupin, an acclaimed TV series among French and Italian audience and currently available on the famous streaming service Netflix. In particular, we will focus on the terms and phrases ascribable to taboo language from a contrastive perspective, in order to assess the accuracy (of the French-) Italian dubbing. In this respect, taking into consideration impoliteness categorizations available in literature about swear words and conflicting language, and considering the artificiality of movie conversation, we intend to systematise high frequently used terms in French colloquial speech presented on the screen such as putain, merde or foutre, in all its variants, without overlooking on insults, whose perlocutionary effect has surely less strength although they are often found in authentic daily interactions. In conclusion, we will briefly reflect on the concept of verbal violence strictly connected to cultural identity. acting (acting Lupin Netflix particular perspective French- dubbing respect conversation putain foutre variants insults interactions conclusion identity

Riassunto L’articolo si pone come obiettivo l’analisi delle battute filmiche di carattere conflittuale contenute nella terza stagione di Lupin, serie televisiva di successo tanto in Francia quanto in Italia e attualmente disponibile sulla piattaforma Netflix. In particolare, nelle pagine che seguono, ci concentreremo sulle espressioni proprie del linguaggio tabù, in un’ottica contrastiva francese-italiano, tenendo conto di quanto viene restituito nel doppiaggio dalla lingua d’origine a quella d’arrivo. In questo senso, riprendendo le categorizzazioni proposte nella letteratura sull’impoliteness, sul turpiloquio e sul linguaggio conflittuale, e consapevoli dell’artificiosità della conversazione cinematografica, intendiamo sistematizzare termini ad alta frequenza d’uso nella lingua francese colloquiale e riproposti allo schermo, come putain, merde et foutre, senza tralasciare insulti meno forti dal punto di vista perlocutorio, ma che si ritrovano spesso all’interno di interazioni quotidiane autentiche. Concluderà il contributo una breve riflessione sul concetto di tolleranza della violenza verbale, da leggersi in stretta connessione con la cultura d’appartenenza. Larticolo L articolo lanalisi l analisi Lupin Netflix particolare seguono tabù unottica un ottica franceseitaliano, franceseitaliano italiano, italiano francese-italiano dorigine d origine darrivo. darrivo arrivo. arrivo d’arrivo senso sullimpoliteness, sullimpoliteness sull impoliteness, impoliteness sull’impoliteness dellartificiosità dell artificiosità cinematografica duso uso schermo putain foutre perlocutorio allinterno all interno autentiche verbale dappartenenza. dappartenenza appartenenza. appartenenza d’appartenenza

Abstract Based on the assumption that elements external to translation shape the translation process (Even-Zohar, 1978, 1979), this paper addresses audiovisual translation (AVT) and focus on translation for subtitling by comparing the translation of the film Cobra(1986) released on DVD (remastered copy of 2005) with the translation available on the Amazon Prime streaming platform accessed in 2023. For translation purposes, the subtitles were also compared with the dubbed version, which is the same for both media: DVD and the aforementioned streaming platform. We discuss the functioning of streaming platforms as well as part of the rules currently used by Netflix which is still considered the leader of the streaming market and a legitimatized disseminator of translation rules by means of its style guides. The case study focuses on the analysis of insults present in the source text and translated into Portuguese in both media. We observed levels of “softening” of the tone of the insults in the subtitles of both media, as well as in the dubbed version. EvenZohar, EvenZohar Even Zohar, Zohar (Even-Zohar 1978 1979, 1979 , 1979) AVT (AVT Cobra1986 Cobra 1986 Cobra(1986 remastered 2005 2023 purposes version media guides softening “softening 197 Cobra198 198 Cobra(198 200 202 19 Cobra19 Cobra(19 20 1 Cobra1 Cobra(1 2 Cobra(

Resumo Partindo do pressuposto de que elementos externos à tradução modelam o processo tradutório (Even-Zohar, 1978, 1979), este trabalho aborda a tradução audiovisual (TAV) e tem como foco a tradução para legendagem, comparando a tradução do filme Cobra(1986), divulgada em DVD (cópia remasterizada de 2005), com a tradução disponibilizada na plataforma de streaming Amazon Prime, acessada em 2023. Para efeitos de análise, as legendas foram também comparadas com a versão dublada, a qual é a mesma nas duas mídias: DVD e a referida plataforma de streaming. Discute-se o funcionamento das plataformas de streaming bem como parte das regras correntemente usadas pela plataforma Netflix, ainda considerada a líder de mercado e uma divulgadora legitimada de regras tradutórias a partir de seus guias de estilo. O estudo de caso tem como centro a análise de insultos presentes no texto de partida e traduzidos para o português nas duas mídias. Observam-se níveis de “suavização” do tom dos insultos nas legendas das duas mídias, bem como na versão dublada. EvenZohar, EvenZohar Even Zohar, Zohar (Even-Zohar 1978 1979, 1979 , 1979) TAV (TAV legendagem Cobra1986, Cobra1986 Cobra 1986 Cobra(1986) cópia 2005, 2005 2005) Prime 2023 dublada mídias Discutese Discute se Netflix estilo Observamse Observam suavização “suavização 197 Cobra198 198 Cobra(1986 200 202 19 Cobra19 Cobra(198 20 1 Cobra1 Cobra(19 2 Cobra(1 Cobra(

Abstract The dialogical perspective which approaches literary texts within a web of relationships with other texts and discourses, past and contemporary, may be productive for the analysis, understanding, and translation of Shakespeare’s works. The intertextual connections that every literary text establishes with other discourses determine not only its meaning but also its texture. The purpose of the present essay is to emphasize the importance to identify the dialogical relations of Shakespeare’s plays for a deeper understanding of texts in their contexts, and for avoiding falling into reductionist interpretations or misconceptions. Also, to point out the relevance of taking intertextual phenomena into account in the act of translation, as it facilitates the translator’s mediating task of establishing a dialogue between the languages and cultures involved and making more informed and conscious choices. To showcase the effectiveness of identifying these meaningful relations, the intertextual relations of The Comedy of Errors with other texts and sources, the literary traditions prevailing at the time, and the Elizabethan cultural discourses are analyzed in light of Robert S. Miola’s proposal (2004). contemporary analysis Shakespeares Shakespeare s works texture contexts misconceptions Also translators translator choices sources time S Miolas Miola 2004. 2004 . (2004) 200 (2004 20 (200 2 (20 (2 (

Resumen Desde la década de los 80, los intercambios literarios entre España y China han proliferado, como demuestran los centenares de obras españolas traducidas a la lengua china. Sin embargo, gran parte de estas publicaciones corresponden a obras escritas por hombres, mientras que las traducciones de escritoras y los estudios relacionados continúan en un segundo plano. El presente trabajo tiene como objetivo destacar esta situación mediante un análisis fundamentado en una revisión bibliográfica. Para documentar esta circunstancia de manera más precisa, se han seleccionado diversas fuentes bibliográficas como manuales didácticos, libros traducidos, monografías temáticas, antologías y revistas académicas publicadas en China que se centran en la producción de escritoras españolas. Los datos observados reflejan su subrepresentación en el contexto chino del siglo XXI en comparación con los escritores hombres y las obras canónicas. 80 proliferado china embargo plano bibliográfica precisa didácticos traducidos temáticas canónicas 8

Abstract Since the 1980s, literary exchanges between Spain and China have flourished, as evidenced by the hundreds of Spanish works translated into the Chinese language. However, a significant portion of these publications consists of works authored by men, while translations of women writers and related studies remain in the background. This study aims to highlight this situation through an analysis based on a bibliographic review. To document this circumstance more precisely, various bibliographic sources such as textbooks, translated books, thematic monographs, anthologies, and academic journals published in China focusing on works by Spanish women writers have been selected. The observed data reflect their underrepresentation in the 21st century Chinese context compared to male writers and canonical works. 1980s s flourished language However men background review precisely textbooks books monographs anthologies selected st