El presente trabajo está dedicado a una forma de variación lingüística que, /nprobablemente debido a su naturaleza variable y transitoria, parece haber /nsido ignorada en los estudios de traducción: el lenguaje alterado. He acuñado /neste término para referirme al lenguaje afectado por múltiples factores, como /nel consumo de drogas o alcohol, la falta de sueño, el estado psicológico del /nhablante, etc., durante un periodo de tiempo limitado. Creo que su estudio /naplicado a la traducción en general ...
El presente trabajo está dedicado a una forma de variación lingüística que, /nprobablemente debido a su naturaleza variable y transitoria, parece haber /nsido ignorada en los estudios de traducción: el lenguaje alterado. He acuñado /neste término para referirme al lenguaje afectado por múltiples factores, como /nel consumo de drogas o alcohol, la falta de sueño, el estado psicológico del /nhablante, etc., durante un periodo de tiempo limitado. Creo que su estudio /naplicado a la traducción en general y al campo audiovisual en particular puede /nser revelador a nivel teórico y útil para los traductores profesionales que se /nenfrenten a textos marcados por la presencia de este tipo de lenguaje. Mi /ninvestigación se centra en el análisis detallado de los diálogos de la película /n“Fear and Loathing in Las Vegas”, basada en la novela homónima de Hunter S. Thompson, y de su traducción para el doblaje y la subtitulación.
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The present work is dedicated to a form of linguistic variation that, perhaps due /nto its variable and transitory nature, seems to have been ignored in translation /nstudies: the altered language. I have coined this term to refer to the language /naffected by multiple factors, like the consumption of substances (e.g., alcohol, /ndrugs, etc.), the lack of sleep, the psychological state of the speaker, etc. I think /nthat its study applied to translation in general and in the audiovisual field in ...
The present work is dedicated to a form of linguistic variation that, perhaps due /nto its variable and transitory nature, seems to have been ignored in translation /nstudies: the altered language. I have coined this term to refer to the language /naffected by multiple factors, like the consumption of substances (e.g., alcohol, /ndrugs, etc.), the lack of sleep, the psychological state of the speaker, etc. I think /nthat its study applied to translation in general and in the audiovisual field in /nparticular can be revealing on a theoretical level and useful for professional /ntranslators who deal with texts marked by the presence of this type of language. /nAs altered language constitutes a very wide and heterogeneous category, far /nfrom trying to characterize all its variants, in this investigation I will focus on /nwhat for me is its most evident manifestation: the language affected by drugs. /nThe aim of the investigation is to prove the applicability and usefulness of the /nconcept by means of the accurate analysis of the dialogues in the feature film /nFear and Loathing in Las Vegas, based on the homonymous novel by the famous /nAmerican writer Hunter S. Thompson, and its translation into Spanish. The /nmethodology followed consisted in identifying the linguistic phenomena used /nin the film to simulate the altered state and comparing them with the resources /nchosen in the dubbed version and the subtitles to recreate altered language, /ntaking also into account the literary script, the original novel and its translation. /nThe results of the study show a partial loss of the effect, which could be avoided /ntranscending the current conventions of the sector and applying the models and /nstrategies proposed. /nLastly, this paper opens the door to future studies about other forms of altered /nlanguage which would provide us with a more comprehensive view of its /nmultiple causes and manifestations and to two new lines of research in relation /nto translation: the recreation of the phenomenon in the target cinematic /ntradition and the actual pathologies of the different kinds of alterations, from a /nclinical point of view, in comparison to their fictional representation.
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