Salvador Aranda, Carolina2013-10-012013-10-012012-06http://hdl.handle.net/10230/21140Resum: 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.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.application/pdfcatAquest document està subjecte a una llicència Creative CommonsAudiovisuals -- TraduccióDoblatgeinfo:eu-repo/semantics/bachelorThesisinfo:eu-repo/semantics/openAccess