Food for Thought: The Translation of Culinary References in Animation
DOI:
https://doi.org/10.17533/udea.ikala.v20n2a07Keywords:
audiovisual translation, culinary references, culture, domestication, foreignizationAbstract
Food has traditionally been a cultural symbol reflecting historical roots in every country. It is precisely those cultural bonds that have made the translation of culinary references so difficult. The translation of food-related terms requires translators to consider, on the one hand, the cultural associations embedded in these terms, their meaning and function in the ST and, on the other hand, the translatability of the terms in the TT. As a socio-cultural phenomenon, food plays a fundamental role in the process of globalization in which we are immersed. We cannot disregard the fact that cultures are merging and that the introduction of new food terminology in our lexicon provides irrefutable evidence of globalization and acculturation.
This paper focuses on the analysis of the role of food and its translation in theprocess of globalization. It analyses the relationship between food and culture in animated films like the Shrek saga, The princess and the frog, or Brave —films where food is not the focal point, but where it serves different purposes, such as acculturation, recreation of cultural identities and stereotypes, or humour. The analysis includes a study of the translation techniques applied in the dubbed versions of these films and their relationship to the process of domestication and foreignization in order to assess the social implications in texts aimed at a young audience.
Downloads
References
Agost, R. (1999). Traducción y doblaje: Palabras, voces e imágenes. Barcelona: Ariel.
Baños–Piñero, R. (2009). Estudio descriptivo–contrastivo del discurso oral prefabricado en un corpus audiovisual comparable en español: oralidad prefabricada de producción propia y de producción ajena. In P. Cantos Gómez & A. Sánchez Pérez (eds.), Panorama de investigaciones basadas en corpus (pp. 399–413). Murcia: Asociación Española de Lingüística del Corpus, University of Murcia.
Calefato, P. (1997). Sociosemiotica. Bari: Garphis.
Castro Paniagua, F. (2000). English–Spanish translation, through a cross–cultural interpretation approach. New York: University Press of America.
Chaume, F. (2001). La pretendida oralidad de los textos audiovisuales. In R. Agost & F. Chaume (eds.), La traducción en los medios audiovisuales (pp. 77–88). Castelló: Publicacions de la Universitat Jaume I.
Chiaro, D. (2004). Translational and marketing communication: A comparison of print and web advertising of Italian agro–food products. The Translator, 10(2), 313–328.
Chiaro, D. (2008). A taste of otherness eating and thinking globally. European Journal of English Studies, 12(2), 195–209.
Cronin, M. (2007). Translation in our time: Local voices, global movements'. Keynote lecture. MultimeDialecTranslation. University of Bologna at Forli, 11–12 May.
Delabastita, D. (1996). Introduction. In D. Delabastita (ed.). The Translator. Studies in Intercultural Communication 2(2), Special issue: Wordplay and translation (pp. 127–139). Manchester: St Jerome.
Di Giovanni, E. (2007). Disney films: reflections of the other and the self. Revista de Estudios Culturales de la Universidad Jaume I, 4, 91–109.
Díaz–Cintas, J. & Remael, A. (2007). Audiovisual translation: Subtitling. Manchester: St Jerome.
Franco Aixelá, J. (1996). Culture–specific items in translation. In R. Alvarez & C. A. Vidal (eds.), Translation/Power/Subversion (pp. 52–78). Clevedon: Multilingual Matters.
Gonzalez–Vera, P. (2010). The translation of recent digital animated movies. The case of DreamWorks' films Antz, Shrek and Shrek 2 and Shark Tale. PhD Thesis defended at the Faculty of Arts in the University of Zaragoza, Zaragoza, Spain.
González–Vera, P. (2012). The translation of linguistic stereotypes in animated films: a case study of DreamWorks' Shrek and Shark Tale. JoSTrans, 17, 104–123.
Igareda, P. (2011). Categorización temática del análisis cultural: una propuesta para la traducción. Ikala 16(27), 11–32.
Kaufman, C. (2009, February). Where does the New Orleans' Mardi Gras beignet come from? Prandial Post. Online newsletter of the International Association of Culinary Professionals (IACP).
Mardi Gras. Definition. Retrieved from http://www.merriam-webster.com/dictionary/mardi%20gras
Martínez Sierra, J. J. (2009). El papel del elemento visual en la traducción del humor en textos audiovisuales: ¿Un problema o una ayuda? Trans 13, 139–148.
Nash, W. (1985). The language of humour: Style and technique in comic discourse. London: Longman.
New Orleans and Mardi Gras History Timeline. Retrieved from http://www.mardigrasdigest.com/html/mardi_gras_history_timeline.htm
Nida, E. (2000). Principles of correspondence. In L. Venuti, The translation studies reader (pp. 126–140). London: Routledge.
Nobles, C. L. (2009). Gumbo. In S. Tucker & F. Starr (eds.). New Orleans cuisine: Fourteen signature dishes and their histories (pp. 98–116). Mississippi: University Press of Mississippi.
Orel, B. (2013). The language of food. M/C Journal, 16(3). Retrieved from http://www.journal.mediaculture.org.au/index.php/mcjournal/article/viewArticle/636
Pedersen, J. (2007). How is culture rendered in subtitles? In H. Gerzymisch–Arbogast & S. Nauert (eds.), MuTra 2005 –Challenges of multidimensional translation: Conference proceedings (pp. 1–18). Saarbrücken: Advanced Translation Research Center (ATRC).
Valero Garcés, C. (2003). El papel de la LIJ en la sociedad actual. In A. I. Labra Cenitagoya, E. Laso y León, & J. S. Fernández Vázquez (eds.), Realismo social y mundos imaginarios: Una convivencia para el siglo XXI (pp. 715–721). Madrid: Universidad Alcalá de Henares.
Vandeweghe, W. (2005). Duotekse. Inleiding tot vertaling en vertaalstudie. Gent: Academia Press.
Venuti, L. (1995). The translator's invisibility. A history of translation. London: Routledge.
Additional Files
Published
How to Cite
Issue
Section
License
Copyright (c) 2015 Íkala
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
