Análisis del doblaje de Alicia en el País de las Maravillas

Mostra el registre complet Registre parcial de l'ítem

• dc.audience.educationlevel Estudis de grauca
• dc.contributor.author Salvador Aranda, Carolinaca
• dc.date.accessioned 2013-10-01T15:36:52Z
• dc.date.available 2013-10-01T15:36:52Z
• dc.date.issued 2012-06
• dc.description.abstract Resum: En estas páginas se recogen y analizan los fragmentos más interesantes del /n/ndoblaje al castellano de Alicia en el País de las Maravillas desde una perspectiva teórica /n/ny descriptiva. Se descubren así la domesticación y adaptación como principales técnicas /n/nde traducción y la ausencia de un único método de traducción.ca
• dc.description.abstract Despite its popularity and impact in dubbing style and techniques, Disney’s animated /n/nadaptation Alice in Wonderland is an almost ignored film in Translation Studies and /n/nDidactics. In Spain, dubbing is also the main modality of Audiovisual Translation and it /n/nrequires special skills from the translator, since two channels (acoustic and visual) carry /n/nthe semantic information. The purpose of this paper is to describe these special skills /n/nand specifically to find out the main techniques that translators of 1951 Alice in /n/nWonderland employed to solve translation problems related to the genre, audience and /n/nlanguage of the film and target culture. A more general objective is to determine /n/nwhether a specific and regular method of translation was carried out. In order to cover /n/nthese points, two procedures are taken: a theoretical one, which provides the basis of /n/ndubbing, and an analytical and descriptive one. The body of the paper presents a /n/ndescriptive analysis of the most conflictive fragments from the dubbed version in /n/ncomparison with the original one. Cultural factors, wordplays, intertitles, songs and /n/nneutral Spanish are the five translation problems analyzed. Results show that, due to the /n/nage of the target audience, adaptation, domestication and explication were the main /n/ntechniques employed by the translators. Even though there is not a regular translation /n/nmethod or technique neither in this film nor in the Disney Classics, the main objective is /n/nto produce a similar effect in the target audience. That is why fidelity to the original text /n/nis usually sacrificed. Further implications of this paper have to do with the canonization /n/nof this dubbing, which, despite technological and economic restrictions, had and still /n/nhas recognition in the whole Spanish-speaking area.en
• dc.format.mimetype application/pdfca
• dc.identifier.uri http://hdl.handle.net/10230/21140
• dc.language.iso catca
• dc.rights Aquest document està subjecte a una llicència Creative Commons
• dc.rights.accessRights info:eu-repo/semantics/openAccessca
• dc.rights.uri http://creativecommons.org/licenses/by-nc-nd/3.0/es/
• dc.subject Audiovisuals -- Traduccióca
• dc.subject Doblatgeca
• dc.title Análisis del doblaje de Alicia en el País de las Maravillasca
• dc.type info:eu-repo/semantics/bachelorThesisca