Quentin Tarantino from Reservoir Dogs to Inglourious Basterds
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On the Translation of Swearing into Spanish On the Translation of Swearing into Spanish Quentin Tarantino from Reservoir Dogs to Inglourious Basterds By Betlem Soler Pardo On the Translation of Swearing into Spanish: Quentin Tarantino from Reservoir Dogs to Inglourious Basterds By Betlem Soler Pardo This book first published 2015 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Betlem Soler Pardo All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-7267-9 ISBN (13): 978-1-4438-7267-6 To Rafa and Joan TABLE OF CONTENTS List of Figures............................................................................................. ix List of Abbreviations ................................................................................... x Acknowledgements ................................................................................... xii Preface ...................................................................................................... xiii José Santaemilia Introduction ................................................................................................. 1 Chapter One ................................................................................................. 6 Quentin Tarantino 1.1 The Director’s Life and Cinematographic Background ................... 6 1.2 Film Career .................................................................................... 11 1.3 Violence ......................................................................................... 26 1.4 Homage or Plagiarism? ................................................................. 31 Chapter Two .............................................................................................. 34 Characterisation of Swearwords 2.1 Taboo and Obscenity ..................................................................... 36 2.2 Swearing ........................................................................................ 47 2.3 Political Correctness ...................................................................... 72 2.4 Censorship in the Film Industry ..................................................... 77 Chapter Three ............................................................................................ 98 Analysis and Results 3.1 Methodology and Materials ........................................................... 98 3.2 Hypotheses ..................................................................................... 99 3.3 Analysis of the Insults in Quentin Tarantino: An Initial Typology ........................................................................................ 99 3.4 Case Study: Sex-Related Insults in Quentin Tarantino and their Translation into Spanish ............................................................... 159 viii Table of Contents Conclusions ............................................................................................. 193 References ............................................................................................... 206 Filmography ............................................................................................ 213 Annexes ................................................................................................... 218 LIST OF FIGURES Figure 1. Number of insults by category in the seven films Figure 2. Frequency of insults by category in the seven films Figure 3. Total number and frequency of sex-related insults in the seven films Figure 4. Fuck/fucking as the act of copulation, an emphatic intensifier, a general expletive, or an interjection Figure 5. Total number and frequency of excrement/human waste insults in the seven films Figure 6. Total number and frequency of body part insults in the seven films Figure 7. Total number and frequency of religious insults in the seven films Figure 8. Total number and frequency of incest-related insults in the seven films Figure 9. Total number of insults related to prostitution in the seven films Figure 10. Total number of racist insults in the seven films Figure 11. Total number of cross-categorised insults in the seven films Figure 12. Frequency of insults related to physical and mental disability in the seven films Figure 13. Total number of bodily functions related insults in the seven films Figure 14. Total number of animal related insults in the seven films Figure 15. Total number of homophobic insults in the seven films Figure 16. Classification of fuck/fucking Figure 17. Number of times fuck/fucking act as the verb to copulate, as an intensifier, an expletive or an interjection Figure 18. Number of times fuck/fucking are translated into Spanish LIST OF ABBREVIATIONS ACDVT A Classical Dictionary of the Vulgar Tongue adj. Adjective adv. Adverb BrE British English c.f Compare with/Consult Ca. Circa CCELD Collins Cobuild English Language Dictionary CDEU The Cassell Dictionary of English Usage CODEE The Concise Oxford Dictionary of English Etymology DEL A Dictionary of the English Language Dial. Dialect DJ Dictionary of Jargon DP Death Proof EDD English Dialect Dictionary Esp. Especially FR Four Rooms GMAU Garner’s Modern American Usage IB Inglourious Basterds interj. Interjection JB Jackie Brown KB Kill Bill LDCE Longman Dictionary of Contemporary English ME Middle English n. noun NHDAE Newbury House Dictionary of American English NPDSUE The New Partridge Dictionary of Slang and Unconventional English OD Oxford Dictionary OE Old English OED Oxford English Dictionary OHG Old High German OSEDME Origins: A Short Etymological Dictionary of Modern English PF Pulp Fiction Phv phrasal verb On the Translation of Swearing into Spanish xi RAE Real Academia de la Lengua Española RD Reservoir Dogs RHHDAS Random House Historical Dictionary of American Slang SC Source Culture SL Source Language ST Source Text TC Target Culture TL Target Language TT Target Text UAGGE Usage and Abusage: A Guide to Good English usu. Usually v. verb ACKNOWLEDGMENTS It is a pleasure to thank all those who have made this book possible since it would never have happened without their help and support. First, I would like to express my gratitude to Dr. José Santaemilia Ruiz, who has helped extend my knowledge through his own research, comments and suggestions. Secondly, my biggest thanks go to my parents for encouraging me to work hard and for giving me the most precious gift, education. I am deeply grateful to Dr. Duncan Wheeler, Pilar McGillycuddy and Ray McGillycuddy for their professional support and their unconditional friendship. I am also indebted to the colleagues who have given me their support along the way: Agustín Reyes, Luis S. Villacañas, Gloria Torralba and Eduardo España. I would also like to extend my sincere appreciation to Mary Savage for helping me with the final editing stage of the book. And last but by no means least, I want to express my wholehearted gratitude to Rafa, for his unconditional support, and because his heartfelt encouragement, understanding and love have helped me to complete this book. I am truly grateful to you for teaching me the importance of being positive. PREFACE QUENTIN TARANTINO AND THE F-WORD: TOWARDS THE AUDIOVISUAL TRANSLATION OF SWEARWORDS JOSÉ SANTAEMILIA UNIVERSITAT DE VALÈNCIA In its age of maturity, translation needs new, engaging, multidisciplinary topics. This book, entitled On the Translation of Swearing into Spanish: Quentin Tarantino from Reservoir Dogs to Inglourious Basterds, covers a vast territory ranging from audio-visual translation (AVT) to cinema, and from descriptive translation studies to sex-related language. Under a variety of names—film, screen or multimedia translation— AVT has grown into one of the most active sub-disciplines of translation and interpreting studies; in fact, for Díaz-Cintas (2003: 203) “the translation sub-discipline of this brand new millennium”. And this is so because audiovisual products are everywhere and are closely linked to technology—television, cinema and telephony are expanding their products and diversifying their means of transmission as well as their technological processes. New areas of study can be added to the traditional modalities of dubbing and subtitling, such as accessibility and speech recognition technology. The growing addition of modalities and disciplines is enriching the field of AVT in terms of technical procedures and translating strategies, making it highly challenging in terms of its constraints, popular appeal and ideological implications. New research areas are also surfacing. For five or six decades, since the beginnings of the discipline in the 1950s, AVT scholars have mostly dealt with either linguistic or cultural aspects of AVT texts, or with technical constraints directly related to images, colour, sounds, movement and so on. As the number of publications is growing so rapidly, we run the risk of superfluous, unnecessary repetition of commonalities. We also risk viewing AVT products as a series of translation units that can only be xiv Preface judged as either correct or incorrect, or that involve losses or gains which follow a supposed ideal of accuracy or naturalness. Gambier (2009) mentions a few of the