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Masterarb Masterarbeit MASTERARBEIT Titel der Masterarbeit „Der Einfluss von Synchronfassungen auf die Charakterisierung und die Auswirkung auf die Rezeption“ Verfasserin Judith Kurzmann , BA angestrebter akademischer Grad Master of Arts (MA) Wien, Dezember 2013 Studienkennzahl lt. Studienblatt: A 060 342 348 Studienrichtung lt. Studienblatt: Masterstudium Übersetzen UG2002 Betreuerin: ao. Univ.-Prof. Dr. Michèle Cooke , M.A Inhalt Abbildungsverzeichnis ............................................................................................................... v Danksagung .............................................................................................................................. vii Einleitung ................................................................................................................................... 1 1 The Big Bang Theory – Die Serie ............................................................................................ 3 1.1 Die Personen ..................................................................................................................... 3 1.2 Inhalt ................................................................................................................................. 4 1.3 Die Produktion .................................................................................................................. 4 2 Funktionale Ansätze in der Translationswissenschaft ............................................................ 5 2.1 Skopostheorie ................................................................................................................... 5 2.1.1 Der Skopos ................................................................................................................. 5 2.1.2 Translator_innen als Übermittler_innen von Informationen ..................................... 6 2.1.3 Kultur in der Skopostheorie ....................................................................................... 7 2.1.4 Äquivalenz und Adäquatheit ...................................................................................... 8 2.1.5 Kritik an der Skopostheorie ..................................................................................... 10 2.2 Translatorisches Handeln ............................................................................................... 11 2.2.1 Translation als Handlungsgefüge ............................................................................. 11 2.2.2 Rollen im Handlungsgefüge .................................................................................... 12 2.2.3 Der Text als Botschaftsträger ................................................................................... 13 2.3 Das Loyalitätsprinzip nach Christiane Nord .................................................................. 14 2.4 Funktion einer Serie ........................................................................................................ 14 3 Das Genre Sitcom .................................................................................................................. 16 3.1 Die Serie ......................................................................................................................... 16 3.1.1 Ursprung .................................................................................................................. 16 3.1.2 Serie ist nicht gleich Serie ........................................................................................ 17 3.1.3 Der Aufbau von Sitcoms .......................................................................................... 19 4 Synchronisation ..................................................................................................................... 25 4.1 Die audiovisuelle Translation – ein Forschungsüberblick ............................................. 25 4.2 Arten von Synchronität ................................................................................................... 28 4.2.1 Lippensynchronität .................................................................................................. 28 4.2.2 Gestensynchronität ................................................................................................... 30 4.2.3 Inhaltliche Synchronität ........................................................................................... 31 i 4.2.4 Asynchronien ........................................................................................................... 32 4.3 Der Synchronisationsprozess .......................................................................................... 32 4.3.1 Die Rohübersetzung ................................................................................................. 32 4.3.2 Die Synchronfassung ............................................................................................... 33 4.3.3 Schwierigkeiten beim Erstellen einer Synchronfassung .......................................... 33 4.3.4 Sprache von Synchrontexten .................................................................................... 34 4.4 Die Synchronisation von TBBT ...................................................................................... 35 5 Charaktersynchronität ........................................................................................................... 36 5.1. Was macht einen Charakter aus? ................................................................................... 36 5.1.1 Die Stimme .............................................................................................................. 37 5.1.2 Sprachvarietäten ....................................................................................................... 38 5.1.3 Sprechtempo – Sprechrhythmus – Lautstärke ......................................................... 40 5.1.4 Kultureller Hintergrund............................................................................................ 41 5.2 Wozu Charaktersynchronität? ........................................................................................ 42 5.3 Charaktere in Sitcoms ..................................................................................................... 42 5.4 Charaktere in TBBT ........................................................................................................ 43 5.4.1 Der Charakter der Serie selbst ................................................................................. 44 5.4.2 Leonard Hofstadter, Ph.D. ....................................................................................... 44 5.4.3 Sheldon Cooper, M.A., Ph.D. .................................................................................. 47 5.4.4 Penny ........................................................................................................................ 51 5.4.5 Howard Wolowitz, M.Eng. ...................................................................................... 53 5.4.6 Rajesh Koothrappali, Ph.D. ..................................................................................... 55 5.4.7 Bernadette Rostenkowski-Wolowitz, Ph.D. ............................................................ 58 5.4.8 Amy Farrah Fowler, Ph.D. ....................................................................................... 60 5.4.9 Barry Kripke ............................................................................................................ 61 5.4.10 Mary Cooper .......................................................................................................... 63 6 Rezeption von Sitcoms .......................................................................................................... 65 6.1 Das Zielpublikum ........................................................................................................... 65 6.1.1 Das Publikum von Sitcoms ...................................................................................... 65 6.1.2 Das Zielpublikum von TBBT ................................................................................... 67 6.2 Rezeptionsbedingungen von Sitcoms ............................................................................. 67 6.2.1 Identität und Identifikation ...................................................................................... 67 6.2.2 Story - Unterhaltung ................................................................................................ 69 6.2.3 Der kulturelle Aspekt bezüglich Rezeption ............................................................. 69 ii 6.3 Rezeption von TBBT in den unterschiedlichen Ländern ................................................ 70 6.3.1 Englischsprachiger Raum ........................................................................................ 70 6.3.2 Deutschsprachiger Raum ......................................................................................... 71 6.3.3 Italien ....................................................................................................................... 71 6.3.4 Auswirkungen von TBBT auf die Gesellschaft ........................................................ 74 7 Zusammenfassung und Schlussfolgerung ............................................................................. 75 8 Bibliographie ......................................................................................................................... 83 8.1 Print ...............................................................................................................................
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