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li206 li206 li Linguistic Insights 206 Studies in Language and Communication The purpose of this volume is to investigate the languages of dubbing. The plural evokes the g complex interplay of different codes as well as n bi the numerous levels of analysis involved. The b u volume focuses on the languages of Anglo- D phone films and television series and their dub- of bing into Italian while broadening the perspec- s e tive to the general debate on audiovisual trans- g a lation. Dubbing offers itself as a privileged gu place where languages interact in simulating, an creating and recreating fictive orality and e L where influential linguistic and pragmatic con- h T ventions are generated and developed. The • chapters cover a rich range of topics including s) d syntactic, lexical and sociolinguistic features of e audiovisual dialogue, cross-linguistic con- hia ( trasts, and the translation of culture specific G references and multilingualism on screen. The sa volume provides an updated picture of research Eli & on Italian dubbed language, a key area of in- quiry with reference to the investigation of tele- elli t cinematic discourse, Audiovisual Translation n e and Corpus-based Translation Studies. m Maria Pavesi, Maicol Formentelli r o F & Elisa Ghia (eds) ol c ai M Maria Pavesi, Ph.D., is Professor of English Lan- si, The Languages e guage and Linguistics at the University of Pavia. av P She has coordinated several national and interna- a of Dubbing tional research projects and has published widely ri a on language learning, audiovisual translation and M the features of spoken language in film dubbing, including personal and spatial deixis. Mainstream Audiovisual Maicol Formentelli, Ph.D., is researcher in English Translation in Italy Language and Linguistics at the University of East- ern Piedmont. His main research interests are na- tive and non-native varieties of English with a more recent focus on the sociolinguistics and pragmatics of film dialogue. Elisa Ghia, Ph.D., is contracted lecturer of English Language and Translation at the University for For- ISBN 978-3-0343-1646-0 eigners at Siena and the University of Pavia. Her g research interests include second language acquisi- n a tion, audiovisual translation, corpus linguistics and L the study of spoken English. r e t e www.peterlang.com P li206 li206 li Linguistic Insights 206 Studies in Language and Communication The purpose of this volume is to investigate the languages of dubbing. The plural evokes the g complex interplay of different codes as well as n bi the numerous levels of analysis involved. The b u volume focuses on the languages of Anglo- D phone films and television series and their dub- of bing into Italian while broadening the perspec- s e tive to the general debate on audiovisual trans- g a lation. Dubbing offers itself as a privileged u g place where languages interact in simulating, n a creating and recreating fictive orality and e L where influential linguistic and pragmatic con- h T ventions are generated and developed. The • chapters cover a rich range of topics including s) d syntactic, lexical and sociolinguistic features of e audiovisual dialogue, cross-linguistic con- hia ( trasts, and the translation of culture specific G references and multilingualism on screen. The sa volume provides an updated picture of research Eli & on Italian dubbed language, a key area of in- quiry with reference to the investigation of tele- elli t cinematic discourse, Audiovisual Translation n e and Corpus-based Translation Studies. m Maria Pavesi, Maicol Formentelli r o F & Elisa Ghia (eds) ol c ai M Maria Pavesi, Ph.D., is Professor of English Lan- si, The Languages e guage and Linguistics at the University of Pavia. av P She has coordinated several national and interna- a of Dubbing tional research projects and has published widely ri a on language learning, audiovisual translation and M the features of spoken language in film dubbing, including personal and spatial deixis. Mainstream Audiovisual Maicol Formentelli, Ph.D., is researcher in English Translation in Italy Language and Linguistics at the University of East- ern Piedmont. His main research interests are na- tive and non-native varieties of English with a more recent focus on the sociolinguistics and pragmatics of film dialogue. Elisa Ghia, Ph.D., is contracted lecturer of English Language and Translation at the University for For- eigners at Siena and the University of Pavia. Her g research interests include second language acquisi- n a tion, audiovisual translation, corpus linguistics and L the study of spoken English. r e t e P The Languages of Dubbing Linguistic Insights Studies in Language and Communication Edited by Maurizio Gotti, University of Bergamo Volume 206 ADVISORY BOARD Vijay Bhatia (Hong Kong) Christopher Candlin (Sydney) David Crystal (Bangor) Konrad Ehlich (Berlin / München) Jan Engberg (Aarhus) Norman Fairclough (Lancaster) John Flowerdew (Hong Kong) Ken Hyland (Hong Kong) Roger Lass (Cape Town) Matti Rissanen (Helsinki) Françoise Salager-Meyer (Mérida, Venezuela) Srikant Sarangi (Cardiff) Susan Šarcˇevi´c (Rijeka) Lawrence Solan (New York) PETER LANG Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Oxford • Wien Maria Pavesi, Maicol Formentelli & Elisa Ghia (eds) The Languages of Dubbing Mainstream Audiovisual Translation in Italy PETER LANG Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Oxford • Wien Bibliographic information published by die Deutsche Nationalbibliothek Die Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data is available on the Internet at ‹http://dnb.d-nb.de›. British Library Cataloguing-in-Publication Data: A catalogue record for this book is available from The British Library, Great Britain Library of Congress Control Number: 2015933223 The volume concludes the two-year international project English and Italian audiovisual language: Translation and language learning funded by the Alma Mater Ticinensis Foundation (2010-2012) and was published with a grant from the University of Pavia, Department of Humanities. ISSN 1424-8689 pb. ISSN 2235-6371 eBook ISBN 978-3-0343-1646-0 pb. ISBN 978-3-0351-0809-5 eBook This publication has been peer reviewed. © Peter Lang AG, International Academic Publishers, Bern 2014 Hochfeldstrasse 32, CH-3012 Bern, Switzerland [email protected], www.peterlang.com All rights reserved. All parts of this publication are protected by copyright. Any utilisation outside the strict limits of the copyright law, without the permission of the publisher, is forbidden and liable to prosecution. This applies in particular to reproductions, translations, microfilming, and storage and processing in electronic retrieval systems. Printed in Switzerland Contents MARIA PAVESI, MAICOL FORMENTELLI, ELISA GHIA, The languages of dubbing and thereabouts: an introduction .............. 7 Section 1: Conversational Phenomena and Fictive Orality MARIA PAVESI The Pavia Corpus of Film Dialogue: a means to several ends ......... 29 ELISA GHIA “That is the question”: direct interrogatives in English film dialogue and dubbed Italian ...................................... 57 VERONICA BONSIGNORI, SILVIA BRUTI, How people greet each other in TV series and dubbing ................... 89 SERENELLA ZANOTTI “It feels like bits of me are crumbling or something”: general extenders in original and dubbed television dialogue .......... 113 MAICOL FORMENTELLI Exploring lexical variety and simplification in original and dubbed film dialogue ............................................................... 141 Section 2: Sociolinguistic and Lingua-Cultural Variation MAICOL FORMENTELLI, SILVIA MONTI Translating slanguage in British and American films: a corpus-based analysis ................................................................... 169 JOSEPH BRINCAT Morphological and semantic simplification in dubbing. Translating the dialogue of British films: From Ae Fond Kiss to The Queen ................................................... 197 IRENE RANZATO Period television drama: culture specific and time specific references in translation for dubbing .................. 217 GIUSEPPE DE BONIS Dubbing multilingual films between neutralisation and preservation of lingua-cultural identities: a critical review of the current strategies in Italian dubbing ..................................... 243 Notes on Contributors ..................................................................... 267 Index ................................................................................................ 273 MARIA PAVESI, MAICOL FORMENTELLI, ELISA GHIA The languages of dubbing and thereabouts: an introduction 1. Why study the language of screen dialogue? For a long time relatively few studies investigated the languages of the small and big screens despite the huge share in language reception these media discourses have across geographical borders. While the visual dimension and semiotic complexity of film mostly attracted critics’ attention, the non-spontaneous and pre-fabricated character of audio- visual speech justified linguists’ limited interest in this verbal expression. In the past few years, however, such surprising neglect has given way to a remarkable surge in scholarship, and a number of publications, monographs, articles and specialised papers have appeared on the topic. The need is now felt to move forward from the initial view of audiovisual dialogue as inauthentic orality, a mere and far-removed imitation of spontaneous spoken language, and make the fictional language of the screen a worthwhile object of inquiry in Lin- guistics and Translation Studies alike. As argued by Alvarez-Pereyre (2011: 48), film dialogue can rightfully be examined both as a language artefact deriving from an artistic and social endeavour as well as a specimen of real language use. Fictive orality, simulated spoken lan- guage, parlato-recitato, dialogo riprodotto, oralidad prefabricada (Brumme/Espunya 2012; Pavesi 2008; Nencioni 1976; Rossi 2002; Chaume 2013), just to mention a few of the labels used to refer to this variety of translated and non-translated language, deserve close inspection as stand-alone registers or genres, in which specific language features correlate with specific communicative functions. At the same time, both original and translated audiovisual speech constitutes a source of data that can contribute to our linguistic, sociolinguistic and 8 Maria Pavesi, Maicol Formentelli, Elisa Ghia pragmatic knowledge, an effective indicator of how conversation is per- ceived (Rey 2001: 138; Quaglio 2009: 13) and a legitimate way of capturing oral discourse (Amador-Moreno/McCafferty 2011: 1). Among the various translation modalities, dubbing is the one that most closely reproduces the goals and nature of the original dialogue, replacing the soundtrack of an audiovisual product in the source lan- guage with a soundtrack in the target language, with the aim of repro- ducing a semiotic whole acceptable to the new, receiving audiences. In addition, due to the wide circulation of audiovisual products, dubbing comes to the fore as the screen language viewers most frequently access in those countries where it is still predominant in cinemas and on tele- vision (e.g. Antonini 2008). For these reasons, the purpose of this volume is to thoroughly investigate the language, or better the languages, of dubbing, with a special focus on Italian but broadening the perspective to the general debate on audiovisual language. The plural is intentionally used in the title to evoke the complex interplay of different codes in dubbing as well as the numerous levels of analysis involved. First and foremost, at least two are the languages in contact in the dubbing process, i.e. the source and the target language, which leave their visible marks in the alignment of translation to the target language norms and, perhaps to a lesser extent, in patterns of source language interference (Pavesi 2008). Secondly, several are the social and regional varieties spoken by characters that are dealt with in dubbing (Taylor 2006; Ranzato 2010) along with the growing multilingualism in films (O’Sullivan 2011; Minutella 2012). Finally, the reference to the languages of dubbing effectively captures the rich dimension of stylistic variation and the specificities of different fictional genres across and within television and filmic speech.

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