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Università Di Pisa UNIVERSITÀ DI PISA DOTTORATO DI RICERCA IN FILOLOGIA, LETTERATURA E LINGUISTICA COD. L-LIN/12 TESI DI DOTTORATO Translating Morphological Hapax Legomena: A Corpus-Assisted Study of Filmic Teen Speech TUTORI Prof.ssa Silvia Bruti Prof.ssa Belinda Crawford Camiciottoli PRESIDENTE DEL CORSO DI DOTTORATO Prof. Gianni Iotti CANDIDATA Debora Ciampi CICLO XXVIII – A.A. 2015/16 To my students, whose creative conversations were a constant inspiration during the writing of this thesis. Acknowledgements I would like to express my gratitude to Professor Silvia Bruti and Professor Belinda Crawford Camiciottoli, who supervised me during the doctorate and allowed me to grow as a person and as a researcher. I am also greatly indebted to Professor John Denton, who has been a truly dedicated mentor. I thank him wholeheartedly for his constant faith in my research work since my first years at university. Special mention also goes to my labmates, Dr Paolo Bugliani and Dr Angelo Monaco. I have very fond memories of our ‘death-defying’ journeys to pick up our conference guests. Many thanks also to the colleagues met at NTNU in Trondheim, for the stimulating discussions at an important phase of the project. Finally, but by no means least, thanks go to my family for almost unbelieavable support. Table of contents Introduction ........................................................................................................................................ 1 1. Aim of the work and research questions ................................................................................ 1 2. Background studies .................................................................................................................... 2 3. Methodology ............................................................................................................................... 4 4. How the thesis is structured ..................................................................................................... 5 PART I. THE THEORETICAL FRAMEWORK Chapter 1. Hapaxes in spontaneous conversation ........................................................................ 8 1.1. Localizing hapaxes in language creativity ............................................................................ 8 1.2. Terminology for hapaxes ..................................................................................................... 14 1.2.1. Neologisms, nonce-formations, hapaxes ................................................................... 14 1.2.2. Slang ................................................................................................................................ 15 1.3. Formal features of hapaxes: a view from Morphological studies .................................. 17 1.4. Functional features of hapaxes: a view from Pragmatics ................................................ 23 1.5. Hapaxes and creativity in youth language ......................................................................... 25 1.5.1. American English teen talk .......................................................................................... 27 1.5.1. Italian teen talk ............................................................................................................... 30 Chapter 2. Audiovisual Translation ............................................................................................... 33 2.1. Audiovisual Translation Studies: a historical overview ................................................... 33 2.2. The language of dubbing ..................................................................................................... 36 2.2.1. Coherence and synchronization .................................................................................. 36 2.2.2. Artificial and natural elements of conversation ........................................................ 38 2.2.3. Ideology and cultural norms ........................................................................................ 42 2.3. Creativity as a translation issue ........................................................................................... 45 2.3.1. Cognitive stylistics and translation universals ........................................................... 46 2.3.2. Review of translation strategies ................................................................................... 48 2.3.3. Translating creativity in teen movies .......................................................................... 50 2.4. Research methods ................................................................................................................. 52 2.4.1. Corpus-based studies .................................................................................................... 53 2.4.2. Perception studies ......................................................................................................... 58 PART II. CORPUS-ASSISTED ANALYSIS Chapter 3. Corpus construction and methodology of analysis.................................................. 63 3.1. Data collection ...................................................................................................................... 63 3.2. Transcription ......................................................................................................................... 65 3.3. Corpus tools .......................................................................................................................... 68 Chapter 4. Analysis: focus on linguistic strategies ....................................................................... 75 4.1. Results and discussion .......................................................................................................... 75 4.1.1. Forms and functions ..................................................................................................... 75 4.1.2. Translations strategies ................................................................................................... 84 Chapter 5. Analysis: focus on socio-cultural issues ................................................................... 107 5.1. Results and discussion ........................................................................................................ 107 5.1.1. Socio-cultural themes encoded in hapaxes .............................................................. 107 5.1.2. Translation strategies adopted ................................................................................... 109 5.3. Conclusions ......................................................................................................................... 122 PART III. A SURVEY OF VIEWER PERCEPTION Chapter 6. The perception test ..................................................................................................... 125 6.1. Survey design and administration ..................................................................................... 125 6.2. The participants .................................................................................................................. 135 6.3. Results and discussion ........................................................................................................ 137 6.4. Conclusions ......................................................................................................................... 143 Final considerations ....................................................................................................................... 145 Appendix ......................................................................................................................................... 150 References ....................................................................................................................................... 188 Introduction Creativity is intelligence having fun. Albert Einstein To create something, as the Gods knew, requires a certain boldness. To my mind, a true ‘Creative’ should not simply seek to satisfy a pre-existing demand but instead transform our notion of what we want. A work of art forms its own necessary audience, creates its own taste. In this sense, at the heart of creativity lies a refusal. It causes a little friction. Zadie Smith 1. Aim of the work and research questions The aim of this study is to explore the strategies used by professionals to translate language creativity in dubbed movies. Among the creative phenomena that may occur in speech, this study focused on the invention of new words, particularly those formed via morphological processes. This theoretical investigation has the practical aim to provide a source of inspiration to translation practitioners, raising their awareness of the linguistic and socio-cultural dynamics that lie behind different translation choices. The translation of creative words was investigated as a complex phenomenon involving a formal perspective and a socio-cultural perspective. The formal perspective focused on the linguistic strategies used in Italian to reproduce the same creative effects as in the original versions. The socio-cultural perspective focused on sensitive topics encoded in creative words, whose translation can affect the way the target culture is represented (e.g., references to sex, violence and drug consumption). This theoretical analysis was integrated with a viewer perception test, i.e., a survey administered to a sample of viewers to elicit their reactions to the translation solutions used in the movies. Therefore, the analysis
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