Variación pragmática, traducción audiovisual y estrategias conversacionales para el doblaje: léxico coloquial y palabras tabús

Leticia Rebollo-Couto; Albert Rilliard

doi:10.5007/2175-7968.2024.e99158

Authors

Leticia Rebollo-Couto Federal University of Rio de Janeiro https://orcid.org/0000-0003-2469-5639
Albert Rilliard University of Paris-Saclay https://orcid.org/0000-0001-6490-2386

DOI:

https://doi.org/10.5007/2175-7968.2024.e99158

Keywords:

pragmatics variation, colloquial language, taboo language, audiovisual translation, dubbing

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.

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