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Dubbing, Quebec, Audiovisual translation, France

Huet, Justine

Supervisor and department: Rao, Sathya Modern Languages and Cultural Studies Malena, Anne Modern Languages and Cultural Studies

Examining committee member and department: Stewart, Selina History and Classics White, Jerry English, Dalhousie University Von Flotow, Luise School of Translation and Interpretation, University of Ottawa

Department: Department of Modern Languages and Cultural Studies

Specialization: Translation Studies

Date accepted: 2013-05-29T15:12:37Z

Graduation date: 2013-11

Degree: Doctor of Philosophy

Degree level: Doctoral

Abstract: The present dissertation conducts a comparative study of the dubbing oftwo American animated TV series, The Flintstones and The Simpsons, in twofrancophone regions-countries, Québec and France. Since audiovisual productsare complex blends of semiotic signs, in which the interplay between the visualsand the verbal is crucial to the understanding of the product, and since theyconvey their own cultural world, the study is led along three axes: theverbal-nonverbal dynamics, the languages used in the dubbing and culturalreferences. While most theories rely on either a linguistic or a cultural approach tothe dubbing process and product, the present research throws a bridge betweenboth and offers an interdisciplinary analysis.The dubbed shows are conceived as processes and products of the -contactzones- understood as -… social spaces where cultures meet, clash, and grapplewith each other, often in contexts of highly asymmetrical relations of power

.-Pratt 1991: 34. These contact zones create points of tensions inscribed within apower play at the industrial, linguistic and cultural levels. The dubbing industry isconceived as a space of negotiations or a contact zone between the local and theglobal characterized by power relations. The dubbing process becomes asubversive -Third Space- Bhabha 1994: 36 in both versions, a space in betweenthe verbal-visual dynamics, languages and cultures that generates a semiinvisible translation.Ultimately, both versions become rhizomatic Deleuze and Guattari 1987entities connecting heterogeneous elements within the dubbing process that blursthe TV series’ fixed identities. The translation becomes literally political in TheFlintstones through multiple references to Québec’s language policies andfiguratively in The Simpsons by featuring a meta-commentary on the state of thedubbing industry as an invisible art. The French version incarnates a limbo placeor a Third Space in The Flintstones matching its artificial Third language and, inThe Simpsons, evolves towards a more concrete patchwork matching a more‘authentic’ language.

Language: English

DOI: doi:10.7939-R3862BJ5W

Rights: Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission.





Autor: Huet, Justine

Fuente: https://era.library.ualberta.ca/



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