Subtitling Tarantino’s offensive and taboo dialogue exchanges into European Spanish: the case of "Pulp Fiction"
The manner offensive and taboo language is subtitled becomes a delicate and controversial practice given that this type of language functions as a lexical vehicle that provides information on the characters’ personality, social class, and setting and can provoke a strong reaction on viewers (Díaz Ci...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2015 |
| País: | España |
| Institución: | Universidad Complutense de Madrid (UCM) |
| Repositorio: | Docta Complutense |
| Idioma: | inglés |
| OAI Identifier: | oai:docta.ucm.es:20.500.14352/34062 |
| Acceso en línea: | https://hdl.handle.net/20.500.14352/34062 |
| Access Level: | acceso abierto |
| Palabra clave: | 811.111'25=134.2 791Pulp Fiction Offensive and taboo language Interlingual subtitling Translation strategies Descriptive Translation Studies (Ideological) manipulation. Lenguaje ofensivo y tabú Subtitulación interlingüística Estrategias traductológicas Estudios Descriptivos de Traducción Manipulación (ideológica). Cine (Ciencias de la Información) Lengua española Traducción e interpretación Filología inglesa 3325.03 Cinematografía 5701.13 Lingüística Aplicada a la Traducción E Interpretación 5505.10 Filología |
| Sumario: | The manner offensive and taboo language is subtitled becomes a delicate and controversial practice given that this type of language functions as a lexical vehicle that provides information on the characters’ personality, social class, and setting and can provoke a strong reaction on viewers (Díaz Cintas, 2001). The omission of offensive/taboo words can therefore be said to entail a loss in their communicative function. From a Descriptive Translation Studies approach, the goals of this paper attempt to shed some light on the way the film "Pulp Fiction" (Quentin Tarantino, 1994) was subtitled into European Spanish by delving into diverse matters such as: (1) the translation strategies utilised by the subtitler; (2) the way offensive/taboo dialogue exchanges were transferred on the screen; and (3) proving whether the cases of neutralisation and omission of the load of these terms might have been justified by the technical constraints of subtitling. |
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