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The Prosody of Dubbed Speech: Beyond the Character's Words 1st ed. 2020 Edition Sofía Sánchez-Mompeán full chapter instant download
The Prosody of Dubbed Speech: Beyond the Character's Words 1st ed. 2020 Edition Sofía Sánchez-Mompeán full chapter instant download
The Prosody of Dubbed Speech: Beyond the Character's Words 1st ed. 2020 Edition Sofía Sánchez-Mompeán full chapter instant download
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PALGRAVE STUDIES IN TRANSLATING AND INTERPRETING
SERIES EDITOR: MARGARET ROGERS
The Prosody
of Dubbed
Speech
Beyond the Character’s
Words
Sofía Sánchez-Mompeán
Palgrave Studies in Translating and Interpreting
Series Editor
Margaret Rogers
School of Literature and Languages
University of Surrey
Guildford, UK
This series examines the crucial role which translation and interpret-
ing in their myriad forms play at all levels of communication in today’s
world, from the local to the global. Whilst this role is being increasingly
recognised in some quarters (for example, through European Union leg-
islation), in others it remains controversial for economic, political and
social reasons. The rapidly changing landscape of translation and inter-
preting practice is accompanied by equally challenging developments
in their academic study, often in an interdisciplinary framework and
increasingly reflecting commonalities between what were once consid-
ered to be separate disciplines. The books in this series address specific
issues in both translation and interpreting with the aim not only of
charting but also of shaping the discipline with respect to contemporary
practice and research.
The Prosody
of Dubbed Speech
Beyond the Character’s Words
Sofía Sánchez-Mompeán
Department of Translation
and Interpreting
University of Murcia
Murcia, Spain
This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
To Fran
Acknowledgements
vii
viii Acknowledgements
ix
x Praise for The Prosody of Dubbed Speech
xi
xii Contents
6 Conclusions 225
References 229
Index 235
Abbreviations
xv
List of Figures
Fig. 3.9 Pitch contour of the question tag “You didn’t break
any laws, did you?” and its dubbed version 131
Fig. 3.10 Pitch contour of the exclamation “Oh, boy,
that was a crazy story!” and its dubbed version 132
Fig. 3.11 Pitch contour of the statement “They’re gonna
stop global warming” and its dubbed version 134
Fig. 3.12 Pitch contour of the wh-question “Where the hell
are we?” and its dubbed version 136
Fig. 3.13 Pitch contour of the command “Be sure to invite Stella”
and its dubbed version 138
Fig. 3.14 Pitch contour of the yes/no question “Another
care package?” and its dubbed version 139
Fig. 3.15 Pitch contour of the exclamation “There’s only point
eight miles to go!” and its dubbed version 141
Fig. 3.16 Comparison of loudness in the exclamation “There’s only
point eight miles to go!” and its dubbed version 142
Fig. 3.17 The written-spoken continuum at the prosodic level
(Adapted from Chaume 2012) 145
Fig. 4.1 Comparison of loudness in the exclamation “I can’t
believe this moment is finally here!” and its dubbed
version 175
Fig. 5.1 Processes encouraging the suspension of prosodic
disbelief 194
Fig. 5.2 Example of an extract of a film script marked
by the Spanish dubbing actress Ana Serrano (Some
fragments of the dubbed script have been intentionally
crossed out by the author for copyright reasons) 203
List of Tables
xix
1
Introduction: Unhiding the Art
of end users” (Di Giovanni and Gambier 2018: viii), certainly raise
interesting possibilities and bring real challenges to translation from the
point of view of observation and experimental research.
One of the most widespread and long-standing interlingual modal-
ities within AVT is dubbing, a form of revoicing2 where the original
soundtrack is substituted with a new aural track recorded in the tar-
get language. The source script is firstly translated, then adjusted and
finally voiced in the dubbing studio. The more coherent and cohesive
each one of these tasks is, the more unnoticed the linguistic and cul-
tural switch goes for the target audience. The need to conceal every
trace of the original aural text has led to the conception that “with dub-
bing the art is to hide the art” (Kilborn 1993: 645). Perhaps as a direct
reflection of this account, dubbing has lacked recognition and visibil-
ity from both an academic and professional perspective for many years
now. Even though interest in dubbing develops at a slow pace and “re-
mains stubbornly low” (Díaz Cintas 2015: xiii), especially if compared
with other flourishing AVT modes such as subtitling/captioning, promis-
ing paths have recently been followed in terms of research and practice,
particularly within dubbing countries (Di Giovanni 2018). Consider-
able strides, for instance, have been made in reception-centred research,
where several authors have started to explore how dubbing can shape the
audiences’ viewing experience and their perception to dubbed content
(see Perego et al. 2015, 2016, 2018; Matamala et al. 2017; Ameri and
Khoshsaligheh 2018; Ameri et al. 2018; Di Giovanni 2018). Other dom-
inant dubbing-related topics that seem to have resurged over the past few
years are censorial and ideological works, including taboo language, pol-
itics, race, age, gender, gayspeak and self-censorship (see Ranzato 2012,
2015, 2017; Parini 2014; Mereu 2016a, b; Sandrelli 2016; Zanotti 2016;
Giampieri 2017, 2018; Martínez Sierra 2017; Díaz Cintas 2018). The
dubbing of multilingual versions has also gained ground in academia
(see De Bonis 2014; De Higes-Andino 2014; Díaz Cintas 2014; Heiss
2014; Voellmer and Zabalbeascoa 2014; Zabalbeascoa and Corrius 2014;
Zabalbeascoa and Voellmer 2014; Monti 2016; Dore 2019; Magazzù
2019) and other groundbreaking studies such as non-professional dub-
bing or fandubbing (Chaume 2013; Nord et al. 2015; Baños 2019a),
fundubbing or parodic dubbing (Baños 2019a, b), redubs (Zanotti
1 Introduction: Unhiding the Art 3
CARTA DE TORCATO Á
BELISIA
«Mi mano está temblando,
ánima mía;
mi lengua se enmudece
contemplando
lo mucho que el dolor decir
podría.
Su confusión me tiene
fatigado,
aunque lo que me da mayor
fatiga
es verme estar de ti tan
apartado.
Mi poca libertad es mi
enemiga,
pues quiere que te escriba mis
pasiones
sin estar yo presente que las
diga.
Porque no pasarla en tu
presencia
no es pena, mas es muerte
muy rabiosa,
ó que me da fatiga con tu
ausencia.
Susténtase mi vida
contemplando
cuán bien está empleado mi
tormento,
y por algún favor tuyo
esperando
con que pasarlo pueda más
contento».