Abstract This article examines the translation of Kazakh cultural objects in literary works, which holds significant importance for Kazakh language and culture. The article analyzes the significance of national hair ornaments and belts in the works of Kazakh writers and their translation into Russian and English. Kazakh people believe that the hair ornament sholpy protects a girl or a young woman from evil forces. This type of hair ornament has both material and spiritual significance in Kazakh culture. In Kazakh literary works, the value of the analyzed jewelry is connected with its affiliation to a person and social status. It is presented as a symbol of female beauty. The belt is a valuable piece of nomadic clothing and a highly valued sacred object in Kazakh culture. Specific functional and semantic meanings as well as translation in literary works have been considered. The importance of translation as a “golden bridge” between different cultures is on the rise. As in other spheres, the requirements for translation are updated depending on the purpose and stage. The anthropocentric trend in modern linguistics raises the question of the relationship between language, man and culture, and poses the task of being able to convey the world view of one nation in the language of another, preserving all cultural and spiritual characteristics, taking into account deep information about people’s background knowledge. The article also analyzes the problem of background knowledge and the peculiarities of translating Kazakh culture-specific elements with spiritual significance for the people. These elements should be taken into account when translating literary works.

Resumen La terminología económica ha sido objeto de numerosos estudios de investigación desde diversas perspectivas comparativas y descriptivas, reconociendo su importancia en la calidad de las traducciones. Sin embargo, es preocupante que muchos de estos valiosos estudios no lleguen a manos de quienes podrían beneficiarse directamente de ellos: los traductores y traductoras. A menudo, estos recursos quedan descuidados cuando podrían ser de gran interés e impacto si se incorporaran en bases de datos terminológicas accesibles y herramientas específicas para traductores y traductoras. Esto es especialmente relevante en un contexto donde la evolución de la traducción automática subraya la importancia de que los traductores y traductoras desarrollen conocimientos altamente especializados. Ante este panorama, el presente estudio persigue un doble objetivo: en primer lugar, llevar a cabo un análisis bibliométrico y de contenido de la literatura existente en terminología económica; en segundo lugar, evaluar, a partir de este análisis, las contribuciones existentes considerando diferentes criterios y reflexionar sobre su utilidad práctica para la profesión de la traducción en el ámbito económico.

Abstract Economic terminology has been the subject of numerous research studies from comparative and descriptive perspectives, acknowledging its importance in the quality of translations. However, it is concerning that many of these valuable studies do not reach the hands of those who could directly benefit from them: translators. Often, these resources are neglected when they could be of great interest and impact if incorporated into accessible terminological databases and specific tools for translators and translation specialists. This is especially relevant in a context where the evolution of machine translation underscores the importance of translators developing highly specialized knowledge. Against this backdrop, the present study pursues a twofold objective: firstly, to carry out a bibliometric and content analysis of the existing literature on economic terminology; and secondly, to evaluate, based on this analysis, the existing contributions considering different criteria and reflect on their practical utility for the translation profession in the economic field.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Abstract Media interpreting is becoming increasingly important due to the rise of international relations, with sport media interviews interpreted consecutively gaining more attention. As these interviews are aimed at ordinary audiences, it is crucial to understand the audience’s needs and expectations of optimal consecutive interpreting (CI). However, there has been limited research on interpreting recipients in Iran. The present study aimed to investigate the reception of English-Persian sport media interpreting in consecutive mode among ordinary audiences and trainee interpreters as professional viewers. It focused on three main questions: the first and second ones investigated the expectancy norms of optimal consecutive sport interpreting among ordinary audiences and trainee interpreters, and the third question compared these norms between the two groups. To this aim, a mixed-methods approach and triangulated research design that favored a participant-oriented study was employed. A researcher-made questionnaire and three focus group meetings were held in order to gather the required data. Drawing upon both the descriptive statistics of the gathered data and insights from existing literature, six distinct components have been identified. The results in both groups, demonstrated high scores on expectations related to the ‘fluency of delivery’; however, the dimensions of ‘pleasant voice’ and ‘sense consistency with the original message’ obtained the lowest scores, respectively. Considering the dimension ‘required skills’, there was a significant difference between the two groups. The findings shed light on the audiences’ expectations and needs of CI in the context of Iran.

Resumen La audiodescripción (AD) del humor constituye un objeto de estudio poco explorado hasta la fecha, si bien es una práctica que se lleva a cabo desde que empezaron a describirse las obras audiovisuales para el público con discapacidad visual en sus diferentes géneros, incluida la comedia. Una de las sagas que más ha marcado la comedia cinematográfica española es Torrente, cuya primera entrega (Torrente, el brazo tonto de la ley, Santiago Segura, 1998) analizamos en la presente contribución debido a que la AD que se hizo para esta película se elaboró previamente a la publicación de la norma UNE 153020 (AENOR, 2005), que tiene por objeto regular la elaboración y locución de guiones audiodescritos. Nuestro objetivo es analizar en qué medida la AD de dicha comedia transgrede las recomendaciones que se deben seguir en la actualidad y reflexionar sobre cómo la AD no convencional podría influir sobre el efecto que la obra busca conseguir en la audiencia. Los resultados del presente estudio muestran que la AD de la primera entrega de Torrente transgrede en gran medida la normativa actual y contribuye de forma intencionada al carácter humorístico del texto.

Abstract The audiodescription (AD) of humour has been overlooked as a subject of study until recently, although it is a practice that has been carried out since audiovisual works began to be audio described for blind and visually impaired audiences in different genres, including comedy. One of the most remarkable works in Spanish film comedy is the Torrente saga by Santiago Segura. This contribution examines the AD of the first film of the saga, Torrente, el brazo tonto de la ley (Torrente, the Dumb Arm of the Law) (Santiago Segura, 1998), which was produced prior to the publication of the Spanish standard UNE 153020 (AENOR, 2005) on the elaboration and delivery of audio-written scripts. Our aim is to analyse to what extent the AD of this comedy film transgresses current Spanish recommendations and to reflect on how non-conventional AD may enhance the intended impact on the audiences. The results of this paper show that the AD in the first film of the Torrente saga largely transgresses the current regulations and intentionally contributes to the humorous nature of the text.

Resumen Este trabajo de investigación compara dos versiones completas de la traducción del chino al español de Las Analectas, una perteneciente a Chang Shiru, un académico chino, y la otra, a Joaquín Pérez Arroyo, un traductor español. A partir de un corpus de construcción propia se han elegido varios parámetros a nivel léxico, oracional y discursivo para desarrollar un estudio comparativo. Además, como estudio de caso, se han seleccionado el pronombre “yo”, la palabra clave “superior” y la partícula “que”. Según los resultados, en términos generales, Chang utiliza un inventario de vocabulario más rico y oraciones más simples en comparación con Pérez Arroyo, quien, a su vez, emplea un inventario menos variado y oraciones más complejas, y tiende a ser más explícito en su traducción. Sin embargo, la preferencia de los traductores hacia las técnicas de explicitación y simplificación varía según el público destinatario. Factores como las diferencias lingüísticas y culturales chino-español, las preferencias de los traductores, el propósito de la traducción y los antecedentes personales del traductor contribuyen posiblemente a configurar el estilo único de un traductor.

Abstract This study examines and contrasts two complete translations of The Analects, a Chinese philosophical book translated into Spanish. One version is by Chang Shiru, a Chinese scholar, while the other is by Joaquín Pérez Arroyo, a Spanish translator. A comparative analysis using various lexical, sentence, and discursive parameters based on a self-constructed corpus has been conducted. Furthermore, for the sake of a detailed analysis, the pronoun “yo”, the keyword “superior”, and the particle “que” have been chosen as a case study. Based on the findings, Chang demonstrates a more broad lexicon and employs less complicated sentence structures than Pérez Arroyo. On the other hand, Pérez Arroyo employs a less diverse vocabulary and constructs more sophisticated sentences. Furthermore, Pérez Arroyo tends to provide more explicit translations. Nevertheless, the preference of translators towards explicitness and simplification strategies varies depending on the intended readership. Various factors, including language and cultural differences between Chinese and Spanish, translators’ individual habits, the intended aim of the translation, and the translator's personal background, could impact the construction of a translator’s unique style.

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).

Resumen La demanda actual de traducción especializada, los avances tecnológicos, el uso de herramientas y los plazos de entrega han influido en el producto y el proceso, fomentando los servicios de posedición. La posedición se refiere a los ajustes realizados a los productos arrojados por un traductor automático (Alves et al., 2016). Por consiguiente, ha surgido un interés por estudiar la calidad del producto y cuestiones lingüísticas como aspectos sintácticos, morfosintácticos y semánticos (Popovic et al., 2014; Koponen et al., 2012; Temnikova, 2010), sin investigar los procesos cognitivos implicados en la lectura con fines de posedición. El objetivo de este artículo es describir la comprensión de un texto especializado con fines de posedición. La recolección de la información se realizó mediante seguimiento ocular y protocolo retrospectivo, a tres traductores. Los participantes poseditaron un texto de 227 palabras del ámbito de salud. Los resultados mostraron un involucramiento de la atención y la memoria de trabajo (Cowan, 1999, 2005; Cowan et al., 2021) durante el procesamiento de unidades terminológicas (UTs). Además, factores como el campo de conocimiento, la experiencia y el nivel de escolaridad también podrían afectar el proceso de posedición.

Abstract The current demand for specialized translation, technological advances, use of CAT tools, and delivery times have impacted both product and process, thereby fostering post-editing services. Post-editing refers to the adjustments of raw products by an automatic translator (Alves et al., 2016). Consequently, there has been an interest in studying product quality and various linguistic features including syntactic, morphosyntactic, and semantic aspects (Popovic et al., 2014; Koponen et al., 2012; Temnikova, 2010) without an examination of the cognitive processes involved in reading for post-editing. This paper aims to describe specialized text comprehension for post-editing purposes. Data was collected using an eye-tracker and a retrospective protocol from three translators. Acting as post-editors, participants were assigned to post-edit a 227-word text from the health area. Findings reveal that specialized text comprehension involves attention and working memory (Cowan, 1999, 2005; Cowan et al., 2021) during the processing of terminological units (TUs). Additionally, factors such as the field of knowledge, expertise, experience, and level of education might also influence the post-editing process.

Resumen El uso de proverbios y refranes, tan característico de la lengua del pasado, no ha desaparecido y sigue siendo un rasgo peculiar de los registros más coloquiales, alcanzando a veces también el nivel estándar. Aprender estas piezas lingüísticas en el marco de una lengua extranjera significa enfrentarse a la ardua tarea de asimilar y memorizar enunciados que con frecuencia no encuentran ninguna correspondencia en la propia lengua nativa. Ahora bien, una fuente que puede contribuir a la transmisión de este bagaje lingüístico y cultural es sin duda el diccionario bilingüe, que reúne estas expresiones afianzando la competencia comunicativa del discente. El principal objetivo que nos hemos marcado consiste, pues, en analizar el tratamiento lexicográfico que se les reserva a las paremias en algunos diccionarios bilingües italiano-español usados actualmente. Haremos hincapié en el aspecto traductológico de estos enunciados, puesto que la falta de equivalentes acertados repercute sin duda negativamente en la adquisición por parte de quien consulta el diccionario.

Abstract The use of proverbs and sayings, so characteristic of the language of the past, has not disappeared and continues to be a peculiar feature of the most colloquial registers, sometimes also reaching the standard level. Learning this linguistic and cultural background in the framework of a foreign language means facing the arduous task of assimilating and memorizing statements that often do not find correspondence in one’s own native language. Having said that, a source that can contribute to the transmission of these linguistic combinations is undoubtedly the bilingual dictionary, which brings together these expressions, thus reinforcing the communicative competence of the student. The objective of the present essay is then to analyze the lexicographic treatment reserved for paroemias in some bilingual Italian-Spanish dictionaries currently used. We will emphasize the translation of these expressions, since the lack of accurate equivalents can have a negative impact on the acquisition through the consultation of the dictionaries.