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Maria José Alves Veiga O Humor Na Tradução Para Legendagem: Inglês/Português

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Maria José Alves Veiga O Humor Na Tradução Para Legendagem: Inglês/Português Universidade de Aveiro Departamento de Línguas e Culturas 2006 Maria José Alves Veiga O Humor na Tradução para Legendagem: Inglês/Português Universidade de Aveiro Departamento de Línguas e Culturas 2006 Maria José Alves Veiga O Humor na Tradução para Legendagem: Inglês/Português dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Tradução, realizada sob a orientação científica da Professora Doutora Maria Teresa Costa Gomes Roberto, Professora Auxiliar do Departamento de Línguas e Culturas da Universidade de Aveiro Ao Zé Maria e à Helena Luísa. o júri presidente Prof. Dr.ª Celeste de Oliveira Coelho (Professora Catedrática da Universidade de Aveiro) Prof. Dr.ª Maria Teresa Costa Gomes Roberto (Professora Auxiliar da Universidade de Aveiro) Prof. Dr.ª Rosa Lídia Torres do Couto Coimbra e Silva (Professora Auxiliar da Universidade de Aveiro) Prof. Dr.ª Maria Teresa Murcho Alegre (Professora Auxiliar da Universidade de Aveiro) Prof. Dr.ª Isabel Cristina Costa Alves Ermida (Professora Auxiliar da Universidade do Minho) Prof. Dr.ª Josélia Maria Santos José Neves (Equiparada a Professora Adjunta do Instituto Politécnico de Leiria) Dr. Jorge Díaz Cintas (Principal Lecturer in Translation, da School of Arts – Roehampton University - London) agradecimentos Deixo expresso todo o meu apreço à minha orientadora, Professora Maria Teresa Roberto, pela confiança que depositou em mim, pelo constante estímulo científico, pelo inesgotável interesse e pela cuidada leitura, e subsequentes discussões, ao longo da realização deste trabalho. Estou grata não só à minha orientadora, como também ao Professor Doutor João Torrão por, através do Centro de Investigação do DLC, terem proporcionado a minha frequência em cursos de formação e a minha presença em encontros científicos que me permitiram crescer academicamente. Pelo exemplo de partilha e de generosidade científicas agradeço aos Professores Isabel Ermida, Josélia Neves, Rosa Lídia Coimbra, Jorge Díaz Cintas e à Mestre Ana Cravo. Fica ainda uma palavra de agradecimento a todos os inquiridos que preencheram questionários: os alunos dos vários graus de ensino; profissionais de tradução para legendagem, especialmente à Drª Maria Auta de Barros. Agradeço a todos os autores/realizadores, cuja obra serviu de exemplo e de inspiração para me incentivarem a reflectir, de modo a aprofundar o conhecimento sobre a comunicação humorística através da prática tradutológica audiovisual. Registo a genuína amizade, em todos os momentos, da Sónia, da Ana Maria, da Sophie, da Ana Margarida, do Paulo Pereira, da Isabel Cristina, da Maggie, do Rui Luís, da Josélia e do António Manuel. Resta-me poder vir a estar à altura de saber retribuir à minha família, especialmente ao Zé Maria... Palavras-chave Tradução Audiovisual (TAV), Legendagem, Humor. resumo Os estudos sobre a tradução e sobre o humor têm oferecido imprescindíveis vias de análise sob o ponto de vista epistemológico. Contudo, a perspectiva tradutológica da interacção verbal do humor nos meios audiovisuais surgiu como uma área carente de investigação, não só no cenário internacional, como também no panorama português. Tendo em conta que o incremento dos produtos audiovisuais proporciona actualmente, e à escala planetária, uma fonte de contacto imediato com outras línguas e culturas e que, em Portugal, estas são disseminadas, na sua grande maioria, através da tradução e da legendagem, considerou-se muito relevante a premência de uma reflexão sobre a praxis da tradução audiovisual (TAV). Procurou estudar-se o policódigo semiótico verbal (linguístico) e paraverbal (técnico) subjacente ao texto audiovisual, privilegiando as suas dimensões textual e semântico-pragmática. Para tal, examinaram-se, numa óptica primordialmente descritiva, cenas humorísticas de dois filmes (Forrest Gump e Bridget Jones’s Diary), com vista a detectar os mecanismos linguísticos e técnicos que o profissional da tradução/legendagem – munido da competência de tradução do humor audiovisual – deve accionar aquando do processo de transmissão linguístico-cultural. Audiovisual Translation (AVT), Subtitling, Humour. Keywords abstract Translation studies and humour studies have been the object of analysis under the broader scope of several epistemological areas. Nevertheless, the translational perspective of humorous verbal interaction accessed through audiovisual media has emerged as a recent study field of major interest, both within the international and the Portuguese scenarios of academic investigation. Given that, on a global scale, the volume of audiovisual products, and therefore that of foreign languages and cultures, is increasingly, and almost immediately, accessible to a vast public through audiovisual means, this dissertation seeks to contribute to the development of audiovisual translation research, particularly in the specificity of humour. In addition to this, on the one hand, humor is perceived to be one of the most complex elements in verbal interaction, on the other hand, subtitling is considered to be the traditional mode of Audiovisual Translation (AVT) in Portugal, hence substantiating the urgent need for the present study. Thus, one of the main purposes is to investigate Audiovisual Humour Translation, focusing on the semiotic poly-code, within its verbal (linguistic) and non-verbal (technical) dimensions. In order to reflect upon para-textual, textual, pragmatic and semantic mechanisms involved in humor production, scenes from two feature films (Forrest Gump and Bridget Jones’s Diary) have been described and discussed. This allows for a better understanding of the essence of translational choices as far as (linguistic and cultural) humour translation and subtitling are concerned. Mots-clés Traduction Audiovisuel (TAV), Sous-titrage, Humour. résumé Les études sur la traduction et l’humour ont ouvert des pistes d’analyse indispensables d’un point de vue épistémologique. Néanmoins, la perspective de traduction de l’interaction verbale de l’humour dans l’audiovisuel est apparue comme un champ de recherches peu exploité, non seulement sur la scène internationale, mais aussi dans le panorama portugais. En considérant que l’augmentation des produits audiovisuels offre actuellement, et à l’échelle internationale, une source de contact immédiat avec d’autres langues et cultures et que, au Portugal, celles-ci sont diffusées, pour la plupart, via la traduction et les sous- titres, nous avons pensé qu’il était nécessaire de mener une réflexion sur la praxis de la traduction audiovisuelle (TAV). Nous avons cherché à étudier le polycode sémiotique verbal (linguistique) et paraverbal (technique) sous-jacent au texte audiovisuel, en privilégiant ses dimensions textuelle et sémantico-pragmatique. Pour cela, nous avons examiné, dans une optique principalement descriptive, des scènes humoristiques de deux films (Forrest Gump et Bridget Jones’s Diary), dans le but de comprendre les mécanismes linguistiques et techniques que le traducteur professionnel –doté des compétences de traduction de l’humour audiovisuel – doit actionner lors du processus de transmission linguistico- culturelle. Índice Índice de Quadros.................................................................................................................iii Siglário .................................................................................................................................iv Introdução.............................................................................................................................. 1 Capítulo I – A Tradução Audiovisual.................................................................................. 11 I.1 – Considerações preliminares..................................................................................... 11 I.2 – A genealogia da tradução audiovisual (TAV)......................................................... 15 I.2.1 – A TAV – Especificações terminológicas ......................................................... 15 I.2.1.1 Do uso do termo “audiovisual” .................................................................... 16 I.2.1.2 Do uso do termo “tradução”......................................................................... 19 I.3 – Da emergência dos estudos sobre a TAV................................................................ 27 I.3.1 – A TAV no panorama internacional .................................................................. 31 I.3.2 – A TAV no contexto nacional ........................................................................... 36 I.4 – Diferentes modalidades de tradução audiovisual.................................................... 45 I.5 – A especificidade da tradução para legendagem ...................................................... 60 I.5.1 – Da ausência terminológica em língua portuguesa............................................ 60 I.5.2 – A transição dos intertítulos para a legendagem................................................ 65 I.5.3 – Os aspectos técnicos da tradução para legendagem......................................... 69 I.5.3.1 A evolução tecnológica – sustentáculo da legendagem ............................... 69 I.5.3.2 A vertente técnica da (tradução para) legendagem ...................................... 72 I.5.4 Os aspectos linguísticos da legendagem ............................................................. 83 I.6 – Epítome... .............................................................................................................
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