RESEARCH WORK (With Cover and Index)

INSTITUTO PAGO DE LOS ARROYOS
Culture:
Lost in Translation?
Irina Lifszyc
Seminario de Investigacin
Prof. Gustavo Gimenez
Ao 2013
INDEX
Abstract
p. 2
1
Introduction
p. 3
Method
p. 12
Results
p. 15
Discussion/conclusion
p. 20
Appendixes
p. 22
Irina Lifszyc Seminario de Investigacin 4 T.N.
2
ABSTRACT
Over the past few decades, audiovisual materials have become more popular and so
has audiovisual translation (AVT). The more popular AVT methods are lip-synchronized
dubbing and subtitling, the latter being cheap and, thus, the preferred method for
exporting TV show and movies. This study examines the different techniques for
translating subtitled dialogues with cultural elements and the effect each technique has
on the audiences comprehension of the dialogue. Ten participants were provided with
TV show episodes, which were translated using the different techniques available so as
to assess to what extent the translation method influences their understanding of the
dialogue. Results suggest that when using a translation method that allows the
translator to eliminate the cultural reference, the dialogue can be understood by a large
number people, whereas when the cultural reference is maintained, it can only be
understood by those who are acquainted with the culture to which said reference
belongs.
3
INTRODUCTION
Over the past few decades, audiovisual materials have gained a primary role in
global communication, causing audiovisual translation (AVT) to become one of the
most dynamically emerging areas within Translation Studies. According to the
Routledge Encyclopedia of Translation Studies, audiovisual translation is the branch of
translation studies concerned with the transfer of multimodal and multimedial texts into
another language and/or culture (p. 13). It refers to the translation of texts which
contain not only words but also images and sounds. These texts are regarded as
multimodal because their production and interpretation depend on the combination of
several semiotic resources, or modes, which are language, images and sounds,
(Baldry and Thibault 2006) and they are considered multimedial because the display of
such semiotic modes is delivered to the audience through various media (audio and
visual) in a synchronized manner (Negroponte 1991). Therefore, the combination of
verbal and non-verbal information is essential in AVT.
There are several methods for performing this type of translation The most
popular methods are lip-synchronized dubbing and subtitling.
Lip-synchronized dubbing
Within the field of AVT, dubbing implies re-recording the movies voice-track in
the target language using actors to dub the original actors voices. The dubbed
dialogue intends to recreate the original dialogue, mainly focusing on the speaking
pace and lip movement (Luyken et al. 1991).
The translator's involvement in the dubbing process is restricted to its earliest
stage, which involves translating the original dialogue into the target language. After the
translator's work is done, a "dubbing writer" takes over to detect those sounds in closeup shots that will require maximum synchrony from dubbing actors. Once the text is
adapted, the movie is dubbed, and this process is supervised by a dubbing director and
a sound engineer. The involvement of so many professionals explains why this AVT
method is almost fifteen times more expensive than subtitling (Luyken et al. 1991). In
fact, the cost of the actual translation of the text and its adaptation represent only 10
percent of the overall cost (Dries 1995).
The main advantage of dubbing a movie is that viewers are allowed to watch
the film or TV program only paying attention to the images on the screen and the audio
(Goris 1993). This reduces the amount of effort required from the audience to process
the information, which dubbing the most effective method for translating those films or
4
TV programs addressed to children. Since dubbing is a spoken translation of a
dialogue, that is, of an oral text, it is possible to reproduce the dynamics of the original
dialogue, such as interruptions, overlapping speeches, etc.
Among the disadvantages of dubbing, the most important drawback is its
extremely high cost and the fact that dubbing actors are not as many as movie/TV
actors, which is why some voices may sound familiar to viewers as years go by, thus
making the film less authentic. Regarding the translation process itself, dubbed movies
are usually translated in a neutral or universal version of the target language (Pavesi
2005). This is known as cultural neutralization and it means that the text is hardly ever
translated using local varieties of the target language because the movie or TV
program that is being dubbed is meant to be seen in more than one country where the
target language is spoken (i.e.: if the target language is Spanish, the movie is expected
to be seen throughout Latin America, not only in one specific country). As a result, the
movie or the TV program cannot portray the sociolinguistic variations expressed in the
original dialogue.
Subtitling
Subtitling involves creating extracts of written text (subtitles, or captions in
American English) which will be overlaid on audiovisual footage. Subtitling is
considered an intermodal form of AVT because it involves a shift from a spoken
medium to a written medium (Gottlieb 1997).
The main advantages of subtitling are the low cost (compared to the high cost
of dubbing) and the fact that subtitles can be made rapidly (Dries 1995). Also, when the
movie is subtitled, the actors voices can be heard, which makes a subtitled movie
more authentic than a dubbed movie. However, there are some disadvantages:
subtitling is often considered an intrusion on the image, and its processing requires
extra effort from the viewers, because they have to pay attention to the image, the
audio and the subtitles. Subtitlers, too, need to perform the previously mentioned
cultural neutralization method, since subtitles are universal for the target language
community. The fact that the movie or TV show cannot portray local varieties of the
language constitutes an important disadvantage. (Fawcett 2003 Daz Cintas 2005).
Even though subtitling a movie involves certain disadvantages, it has been the
preferred method by movie distributors ever since subtitles were created, in the
beginning of the 20th century. The first subtitles appeared during the silent film era.
5
Since early films were silent, the need to convey the dialogue of the characters
appeared. At first, this was done through intertitles: texts placed between the
sequences of the film. The first time intertitles appeared in a move was in 1903, in
Uncle Tom's Cabin, by Edwin S. Porter.
In 1909, M. N. Topp patented a device for showing titles rapidly for moving
pictures, apart from the intertitles. Therefore, the projectionist showed the titles on the
screen below the intertitles using a type of slide projector. After 1909, these titles were
called sub-titles, since they were used as subtitles in, for example, newspapers.
Translation was easier when movies had intertitles. First, the original intertitles
were removed. Then, they were translated and finally re-inserted in the movie. The
problem of translating became more complex with the invention of sound film in 1927.
Since the audience could hear the actors, the intertitles disappeared. Now that there
were no written words to translate, producers had to find another way to make the
movie available for audiences in foreign countries (Gottlieb 2002). The movie could
either be made in more than one language or post-synchronized in another language
(dubbed). Both techniques were complicated and expensive, since they implied either
making the movie more than once (hiring actors that spoke more than one language or
hiring a different group of actors for each different language) or dubbing the film.
Producers then resorted to a previously used technique: inserting the intertitles
in the moving image (Brant 1984). Therefore, intertitles became what are now called
subtitles. Subtitling became the preferred method for selling movies to other countries,
since this technique is cheaper than dubbing and its process is not as complex as the
dubbing process.
The subtitling process is less complicated than the dubbing process. The
subtitler only works with a dialogue list, that is, a transcription of the dialogues, and,
sometimes, a time-coded copy of the movie (Daz Cintas 2001). If the dialogue list is
not time-coded, the text is subjected to a spotting process. During this process, the
dialogue is divided into individually time-coded segments which are translated. This
way, the subtitler obtains an electronic list of spotted subtitles, which is returned to the
commissioner of the translation.
Each of the spotted subtitles must be delivered on screen while the speech
fragment they represent is being played. Since peoples speaking pace is faster than
their reading pace, subtitling involves limitations when conveying the message
(OConnell 1998). Subtitles must meet accepted parameters: they can contain a
6
maximum of two lines of text, each accommodating up to 35-40 characters
(Karamitrouglou 1998). In fact, the number of characters that can be used in each
subtitle depends on the duration of the corresponding speech unit. If the speech unit is
short, the subtitle will have to be short as well, for it has to disappear when the next
speech unit starts (Titford 1982) because that is when the following subtitle appears.
A norm has been established to standardize the time subtitles can be on
screen. One-line subtitles, which contain up to 35-40 characters, can remain on the
screen 3-5 seconds, and two-line subtitles, which contain up to 80 characters, can
remain 4-6 seconds. Another factor that helps determine how long subtitles can remain
on screen, as stated above, is the length of the dialogue they are representing:
subtitles can only remain on the screen for as long as the dialogue they are
representing is heard. If a subtitle remains too long on screen, it may overlap with the
following dialogue, causing the subtitle corresponding to the following dialogue to
appear later than it should.
In order to abide by these rules, translators must compress dialogues so as to
create subtitles whose characters do not surpass the maximum number of characters
settled. For this purpose, they must prioritize the overall intention of the message rather
than the individual meaning of each sentence constituent (Gottlieb 1998). This process
is known as abridgement, which means reducing the length of a written text by
condensing it or rewriting it. Since omitting is less intrusive than paraphrasing,
subtitlers usually omit parts of the text.
Condensing dialogues implies selecting what to translate and what to omit,
which are the most difficult processes when translating subtitles. The subtitler will make
this selection according to what they consider to be the essential content that must be
conveyed to the audience. Expressions which are not meaningful to communication,
such as repetitions and tautologies, are usually omitted:
He is, among other things,
Original text that must be reduced to

35-40 characters
Mrs. McCready, a drug dealer, yes.

Pretranslation
l es, entre otras cosas,
Natural translation without space

limitations.
sra. McCready, un traficante de drogas, s.

Characters used: 69
l es, entre otras cosas,

sra. McCready, un traficante de drogas.
First condensation
Omission of onomatopoeic expressions
and irrelevant interjections.
Characters used: 65
Second condensation
Es, entre otras cosas,

un traficante de drogas.
Omission of initial subject (it is not

necessary in Spanish) omission of the
characters name (known by the
viewer).
Characters used 46
Third condensation
Entre otras cosas, trafica drogas.
Simplification of the syntax of the
utterance to reduce the subtitle.
Characters used: 34
Another aspect that translators must take into account when condensing
dialogues is their choice of syntactic structures and vocabulary. Usually, simple
syntactic structures are shorter than complex structures, and the difference between
them, most of the times, is insignificant. Also, subtitlers must bear in mind that it is
easier for viewers to understand information if it is simple to read (readability). So as to
make such information readable and easy to absorb, translators should also focus on
their choice of words.
In order for dialogues to be interpreted semantically, that is that viewers can
grasp the meaning of what is occurring, they must be able to interpret the text
culturally. That means that the subtitler must deeply consider the cultural background
against which the dialogues are going to be interpreted so as to choose the accurate
words for conveying the meaning intended in the original text.
The translation of cultural elements is probably the most difficult part of any
translation project, especially if what is being translated is a work of art, such as a
narration (either a short story or a full-length novel), a play or a movie. The purpose
behind any artwork is to stimulate feelings in its viewers, and such feelings cannot arise
unless the person watching and/or reading the work is fully aware of its meaning. That
Irina Lifszyc
Seminario
de Investigacin
4 T.N. Films.
Dialogue
taken
from Gone Baby
Gone 2007
Miramax
8
is the reason why being accurate when translating the cultural elements present in any
artwork is essential.
One option when translating cultural elements in subtitles is adaptation. The
Longman Dictionary of Contemporary English defines adaptation as the process of
changing something so as to make it suitable for a new situation (LDOCE New Edition
2009, p. 19). This method is not widely used, because it implies the localization of the
dialogues and movies or TV shows are meant to be seen in more than one country. For
example:
And as crazy as it might seem, I choose not to be a Park Avenue princess on
my birthday or any other day, whatever my address might be. ( Dialogue taken from Gossip
Girl 2007 Warner Bros. Television)
In this case, the cultural element present in the statement is Park Avenue, one
of the most famous avenues in Manhattan, New York. If the preferred method for
translating such element were adaptation, and if the TV show were to be broadcasted
only in Argentina, Park Avenue could be translated as Av. 9 de Julio, which is one the
best-known avenues in Argentina.
The risk translators run when adapting cultural references of a movie or TV
show that is meant to be broadcasted in more than one country, as stated above, is the
localization of the text. When a text is localized, people from other countries that speak
the same language might not understand its meaning.
There is another method which does not imply localization and has proven to be
more effective when translating cultural elements in texts. Such technique, known as
neutralization, will be illustrated through the following examples:
I saw it in a Snickers commercial.
Snickers is a brand name candy bar. It consists of nougat topped with caramel
and peanuts, enrobed in milk chocolate. If an English-speaking person heard this, they
would understand it immediately. When the sentence is translated into Spanish
maintaining the brand name (Snickers), two results can arise: 1) if the translation is
read by a Spanish-speaking person who is somewhat aware of some aspects of the
culture from which the dialogue comes from, they will possibly understand what the
sentence means or 2) if the translation is read by a Spanish-speaking person who is
not acquainted with any aspect of the culture in which the dialogue is taking place,
there is a high probability that they will not understand the reference.
9
They were following orders from 10 Downing Street.
10 Downing Street is the address where the British Prime Minister resides.
Here, once again, if the sentence is literally translated into Spanish, that is maintaining
the address as it is in the original text, there are two possible outcomes: 1) if the
translation is read by a Spanish-speaking person who is rather aware of some aspects
of the British culture or if that person is acquainted with British history or politics, they
will probably understand that the address is making reference to the British
government or 2) if the translation is read by a Spanish-speaking person who is not
acquainted with any aspect of the British culture, there is a high possibility that they will
not understand the reference.
In both cases, there are two possible translations: the sentences can be
translated maintaining the original reference or both references can be neutralized. If
the reference is maintained, the translator automatically relies on the audiences
background information to grasp the intertextuality and thus build the meaning intended
originally. The problem is that the subtitler is never aware of who the audience will be
and, therefore, they cannot rely on their background information.
So as to enable viewers to understand the dialogue rapidly since subtitles are
on screen for only a small amount of seconds and to avoid misinterpretations,
neutralizing the reference is usually the best option. Neutralizing a reference implies
translating such reference into something that is most likely to be familiar to a majority
of Spanish speakers, still keeping the essence of the original reference so as to avoid
altering the message intended in the original text.
Consequently, to translate these cultural elements using the method known as
neutralization, equivalents in the target language must be found. So as to find such
counterparts, both cultures (the source language culture and the target language
culture) must be compared, and two cultures can only be compared if the person
comparing them has a deep and accurate understanding of each culture (Lado 1963).
In the first example the translator must know that Snickers refers to a candy bar
so as to find a neutralized option for translating it. Once the translator knows what a
Snickers bar is, I saw it in a Snickers commercial could be translated as Lo v en un
anuncio de chocolates, since the goal of the original sentence was to state that
something had been seen by someone in a candy TV commercial. The brand name of
the candy is not vital to get the message across.
10
In the second example the subtitler may have to do research to find out that the
address 10 Downing Street is making reference to the government. Once they know
that, they can start translating the sentence. Hence, They were following orders from
10 Downing Street could be translated as Seguan rdenes del gobierno, since orders
from that address were most likely given by someone working for the government.
The third option for translating cultural elements (apart from adaptation and
neutralization) is maintaining the reference in the original language. In the first
example, for instance, Snickers would be borrowed from the English version into the
Spanish translation. The main disadvantage when using this translation method is the
fact that not all viewers know what a Snickers bar is, and that would restrict the amount
of people who can understand the message conveyed.
Once the translation method is chosen, another problem arises: subtitles can
only contain a limited amount of characters, including spaces and symbols. Not only do
translators have to find an adequate translation method for translating the cultural
elements but also they have to ensure that the subtitle meets the standards set. This
matter gains more relevance when working with an English-Spanish translation, since
Spanish usually needs more words than English to convey the same idea.
The increasing number of movies and TV programs from the US or Great
Britain reaching Spanish-speaking countries over the past decades has created a
greater need for subtitles so as to allow the audiences in these countries to access
such movies or TV shows. Choosing the most accurate translation method for
translating subtitles is crucial for ensuring that the viewers will grasp the reference used
in dialogues and, therefore, they will understand the meaning that is intended.
After having analyzed the theoretical framework related to the topic, the
purpose of this work is to assess in what way the audiences comprehension of TV
shows or movie dialogues is affected by the translation method chosen for translating
the different cultural elements present in such dialogues. Taking into account the theory
presented and the two examples previously evaluated, it can be said that audiences
understanding of the message conveyed on screen will be determined by the
translation method chosen by the subtitler when translating cultural elements present in
dialogues.
This work merits investigation because, as stated above, there has been a great
increase in the quantity of entertainment exported from the US or England in the form
of TV shows or movies into Latin-America. Nowadays, the entire programing of some
11
Latin-American TV channels is made up of American TV shows, and most of the
movies premiering each week in Latin-American cinemas are English-spoken.
In the presence of such phenomenon, it is vital to translate cultural elements
correctly in order to make sure that the translation can be understood by most viewers
and that the intention of the original message is conveyed. As TV shows and movies
are one of peoples main ways of entertainment, if the translation of dialogues are not
accurate, viewers may not fully comprehend the meaning intended originally and,
therefore, the main function of such ways of entertainment cannot be fulfilled.
12
METHOD
The following section illustrates the procedures carried out in the field work in
order to fulfill the investigation needed to demonstrate the correctness or wrongness of
the hypothesis.
Ten female participants were chosen, not randomly, to form two different
groups. So as to assign participants to the groups, they were asked if they had worked
for an American company. The first group included the five participants who have
worked for an American company, and the second group comprised the five
participants who have not worked for an American company. It is more likely that those
participants who have worked for American companies have a deeper insight into the
American culture, as they have been in touch with American citizens, and, therefore,
they are more likely to understand cultural references.
Short segments from 10 different TV show episodes were selected to be shown
to the participants: three episodes of 30 Rock (season 2, episode 7 season 3,
episodes 11 and 12), three episodes of Gilmore Girls (season 7, episodes 8, 18 and
19) and four episodes of Gossip Girl (season 5, episodes 5 and 14 season 6, episodes
3 and 8). These short segments were chosen because they contained dialogues with
cultural references, which was the item to be assessed. The procedure of analyzing
only the short fragments, and not the entire episode, simplified the translation process,
as the entire episode was not translated but only the short dialogue that was going to
be analyzed.
Once the short videos with the dialogues to be evaluated were cut from the
episodes, the subtitles corresponding to each dialogue had to be cut from the subtitles
of each episode. The original subtitles were obtained in a text format, which facilitated
the process of time-coding the dialogues. Even though the original subtitles already
contained the time-code marks corresponding to each speech unit, dialogues had to be
time-coded again so as to match the new short videos, since the time-code marks in
these videos were different from those in the original episodes (see appendixes 1 and 2).
After verifying that the subtitles matched the audio in the videos (by playing the
short videos and confirming that each line was shown together with the speech unit
they represented), each of the subtitles was translated into Spanish using, at least, two
different translation methods: maintaining the reference (in the original language or in
13
Spanish, if possible) and neutralizing the reference, that is, deleting all cultural
references (See appendixes 3 12).
All participants were summoned in my residence, at a day and time of their
convenience. They were tested alone in a quiet room with no distractions. Before they
were requested to analyze the videos, they were presented with personal questions so
as to gather useful information for analyzing future results.
Once these questions were asked, all videos with the different options of
Spanish subtitles were presented to the participants. Each participant watched all
videos alone. They did it in different times and days, due to their different time
schedules. They had to watch 26 videos: 16 videos in which dialogues contained
cultural references (the original references and the translations, whenever possible),
and 10 videos which did not include any cultural reference, that is, the reference was
neutralized. They were instructed to watch the videos with cultural references and state
if they fully understood the dialogues. In case they did not understand at least one of
them, they were asked to specify the reason (which was supposed to be the cultural
reference). This way, participants showed their level of understanding of cultural
references. The same method was applied to videos without cultural references.
After all participants had watch all videos and filled in the forms in which they
stated whether or not they understood all dialogues, the information gathered was
analyzed, taking into account the percentage of understanding of both groups,
separately and jointly. For a more comprehensive analysis, references were divided
into four groups: TV/movies references in English, TV/movies references in Spanish,
TV/movies references with no translation into Spanish, and other references with no
established translation into Spanish (see appendix 13). Videos without cultural
references were analyzed separately, as they did not comprise any cultural aspect of
which participants could be unaware. Furthermore, participants comprehension of
these videos was later compared to the results obtained from their understanding of all
videos with references as one single unit (see Table 10, page 5, Results section).
The first step taken to analyze the results of each group was to determine how
many participants had understood the dialogue and what percentage each participant
represented within the group.
Since each group had 5 participants, each of them represented 20% of the
group. Hereafter, results were easily calculated. For instance:
14
Reference: An Inconvenient Truth
No. of Group 1 participants who understood the reference: 3
Percentage of understanding of An Inconvenient Truth within Group 1: 60%
This method was applied to both groups and for all references. The following
step was to calculate each group percentage of understanding of each reference group
for further comparison (see Tables 1 8, Results section). After these numbers were
calculated,
each
group
overall
percentage
of
understanding
was
obtained.
Consequently, both percentages were compared so as to demonstrate which of both

groups understood more references. After being compared, they were averaged out so
as to obtain the overall percentage of understanding of all videos with cultural
references (see Table 9, page 5, Results section). Finally, this number was compared to
the overall percentage of understanding of those dialogues without cultural references
in order to evidence which translation method provides a more comprehensible
rendering (see Table 10, page 5, Results section).
15
RESULTS
Results were arranged in different tables, which show each group percentages
of understanding regarding each reference and the average percentages of
understanding of references.
Tables 1 and 2 show the percentage of understanding that each group had of
the references gathered under the category TV/movies English:
TABLE 1
Group 1
Reference
Type
Back to the Future

TV/movies - English
Batmobile
TV/movies - English
The Hangover
TV/movies - English
An Inconvenient Truth
TV/movies - English
The Change-Up
TV/movies - English
Average understanding
Percentage of
understanding
100%
100%
100%
80%
20%
80%
TABLE 2
Group 2
Reference
Type
Back to the Future

TV/movies - English
Batmobile
TV/movies - English
The Hangover
TV/movies - English
The Change-Up
TV/movies - English
TV/movies - English
Percentage of
understanding
40%
60%
20%
0%
20%
28%
16
the references gathered under the category TV/movies Spanish:
TABLE 3
Group 1
Reference
Type
Volver al Futuro
TV/movies - Spanish
Batimvil
TV/movies - Spanish
Que Pas Ayer?
TV/movies - Spanish
Una Verdad Incmoda
TV/movies - Spanish
Si Fueras Yo
TV/movies - Spanish
Percentage of
understanding
100%
100%
100%
80%
20%
80%
TABLE 4
Group 2
Reference
Type
Volver al Futuro
TV/movies - Spanish
Batimvil
TV/movies - Spanish
Que Pas Ayer?
TV/movies - Spanish
Una Verdad Incmoda
TV/movies - Spanish
Si Fueras Yo
TV/movies - Spanish
Percentage of
understanding
80%
100%
60%
40%
40%
64%
17
the references gathered under the category TV/movies no translation:
TABLE 5
Group 1
Reference
Type
James Bond
TV/movies - no translation
Friends
Don Corleone
Ms. Magoo
Jason Bateman
Percentage of
understanding
100%
100%
80%
60%
40%
76%
TABLE 6
Group 2
Reference
Type
James Bond
Friends
Don Corleone
Ms. Magoo
Jason Bateman
Percentage of
understanding
100%
80%
60%
60%
20%
64%
18
the references gathered under the category Other - no translation:
TABLE 7
Group 1
Reference
Type
Vanity Fair
Other - no translation
Nicki Minaj
JFK
WikiLeaks
Abercrombie and Fitch
Percentage of
understanding
100%
100%
100%
100%
80%
96%
TABLE 8
Group 2
Reference
Type
Vanity Fair
Nicki Minaj
JFK
WikiLeaks
Percentage of
understanding
60%
60%
80%
40%
0%
48%
19
Table 9 shows the complete list of references, group 1 and group 2 percentage
of understanding of each reference, the average percentage of understanding of each
reference, group 1 and group 2 average percentage of understanding of each group
and the total average percentage of understanding.
TABLE 9
Percentage of
Understanding
Group 1 Group 2 Average
Back to the Future
100%
40%
70%
Batmobile
100%
60%
80%
The Hangover
100%
20%
60%
80%
20%
50%
The Change-Up
20%
0%
10%
Volver al Futuro
100%
80%
90%
Batimvil
100%
100%
100%
Que Pas Ayer?
100%
60%
80%
Una Verdad
Incmoda
80%
40%
60%
Si Fueras Yo
20%
40%
30%
Friends
100%
80%
90%
James Bond
100%
100%
100%
Don Corleone
80%
60%
70%
Ms. Magoo
60%
60%
60%
Jason Bateman
40%
20%
30%
Vanity Fair
100%
60%
80%
Nicki Minaj
100%
60%
80%
JFK
100%
80%
90%
WikiLeaks
100%
40%
70%
Abercrombie and
Fitch
80%
0%
40%
Average
83%
51%
67%
References
Table 10 shows group 1 and 2 average percentage of understanding of

dialogues with cultural references and videos without cultural references:
TABLE 10
Groups 1 and 2
Type of dialogue
Dialogues with cultural references
Dialogues without cultural
references
Percentage of
understandin
g
67%
100%
20
DISCUSSION/CONCLUSION
The results show that a clear difference exists between people who have
worked for American companies or who have lived in the United States and those who
neither worked for American companies nor lived in the United States.
Tables 5 and 6 present us with the smaller difference between each group
percentage of understanding. Group 1 achieved 76% and Group 2 achieved 64%, the
difference being only 12%. This outcome may result from the fact that in this category
we can find proper names, of actors or TV/movie characters, which cannot be
translated into Spanish (e.g.: Don Corleone, Jason Bateman), so they are referred to
by their original name.
Tables 3 and 4 also present us with a relatively small difference (yet greater
than the one stated above) between the two groups. In this case, Group 1 achieved
80% and Group 2 achieved 64%, the difference being 26%. What is worth commenting
on is that Group 2 understanding of the movie Si Fueras Yo was 40%, whereas Group
1 only scored 20%. It might happen, though it is not very common, that some people,
usually those acquainted with the American culture, know the name of a movie in
English and they do not know the Spanish translation.
The largest difference between the two groups can be seen in Tables 1 and 2,
as Group 1 average understanding reaches 80% and that of Group 2 reaches an
insignificant 28%. This result is, probably, due to the fact that those who have not
worked with American customers, or have not lived in the United States, probably do
not speak English, at least not as proficiently as those who worked for American
companies or lived in the United States. Also, those who are acquainted with the
American culture usually prefer to know the original name of the movie rather than its
Spanish translation, since the original title may contain instances of intertextuality (or
some other rhetorical devices that allude to cultural elements) that are not always
present in its Spanish counterpart and might be relevant to the plot of the movie.
Another large difference between the two groups is shown in tables 7 and 8,
which show the understanding of those references that fully allude to the American
culture (e.g.: Vanity Fair -magazine-, Abercrombie and Fitch -clothing store-). In this
category, Group 1 scored 96% whereas Group 2 only obtained 48%, and hence the
difference reaches 48%. It is practically impossible for a person who is not acquainted
with the American culture to understand what these items make reference to. The most
21
remarkable difference within this group of references is portrayed in the understanding
each group had of the clothing store Abercrombie and Fitch. Four out of five
participants in Group 1 understood the reference, as they knew the name of the brand
and the type of clothes they make. In group 2, on the other hand, no participant
understood the reference.
Finally, the last comparison included the average understanding of all
references, which reached 67%, opposed to the average understanding of videos with
no references at all, that is to say, those videos whose dialogues were translated by
neutralizing the cultural reference. The latter ascends to 100%, which means all
participants, in both groups, understood all dialogues.
Analyzing the results obtained, it can be concluded that the hypothesis
proposed in the introduction has proven to be true, as the translation method chosen
for translating the dialogues in the videos indeed affected the understanding of
participants. The results confirm that the most suitable method for translating TV shows
or movies is neutralizing the cultural references. Like so, dialogues will be understood
by a larger number of people and, therefore, the meaning of the messages will be
conveyed, thus completing the communication process. However, this technique has
many disadvantages, such as the loss of meaningful jokes or comments that are
related to the plot of the story.
As this research work did not encompass participants from other countries, it
can be alleged that its scope was rather narrow. Consequently, I suggest that further
studies be carried out, if possible with inhabitants from other Latin American countries,
with the purpose of increasing the validity of this study.
All messages conveyed via any media, as it has been stated throughout the
research work, contain cultural elements, for culture is inherent to language, since the
latter is a social phenomenon and culture is an inseparable part of society. It is our duty
as translators to help those who do not know English to understand the messages
conveyed in such language and, therefore, bridge two different cultures. Like English
writer Anthony Burgess said: Translation is not a matter of words only: it is a matter of
making intelligible a whole culture.
22
APPENDIXES
Appendix 1
Subtitle sample with original time-codes (30 Rock season 2, episode 07)
[...]
187
00:07:16,320 --> 00:07:17,660
Oh, go for it, Liz.
188
00:07:17,670 --> 00:07:20,470
I always roll with it
when hot guys think I'm 22.
189
00:07:20,480 --> 00:07:21,410
What can we do?
190
00:07:21,420 --> 00:07:22,510
We're cougars.
191
00:07:22,520 --> 00:07:24,210
- We're what?
- Cougars.
192
00:07:24,500 --> 00:07:27,580
Hot older ladies pouncing
on their young prey.
193
00:07:29,460 --> 00:07:31,670
There was a whole article
about it in Vanity Fair.
194
00:07:31,680 --> 00:07:33,860
The one with the Crisis In Africa cover.
195
00:07:33,870 --> 00:07:37,490
God, it makes me so sad that more
people don't know about cougars.
23
196
00:07:37,500 --> 00:07:39,740
Why am I looking for
something to wear in wardrobe?
197
00:07:39,750 --> 00:07:41,850
Abercrombie and Fitch?
198
00:07:41,860 --> 00:07:43,460
Oh, no. It's too loud in there.
199
00:07:43,470 --> 00:07:44,580
No, don't say that.
200
00:07:44,590 --> 00:07:46,280
Cougars have to act young.
[...]
24
Appendix 2
Subtitle sample with time-codes adapted to the video cut off from the episode (30 Rock
season 2, episode 07)
1
00:00:00,400 --> 00:00:02,004
What can we do?
We're cougars.
2
00:00:02,204 --> 00:00:02,774
We're what?
3
00:00:03,294 --> 00:00:04,000
Cougars.
4
00:00:04,550 --> 00:00:07,000
5
00:00:07,500 --> 00:00:08,030
Ugh.
6
00:00:09,250 --> 00:00:11,300
about it in "Vanity Fair. "
7
00:00:11,600 --> 00:00:13,380
The one with
the "Crisis in Africa" cover.
8
00:00:14,000 --> 00:00:15,380
God, it makes me so sad
9
00:00:15,500 --> 00:00:17,230
that more people don't know
about cougars.
10
00:00:17,570 --> 00:00:19,480
Why am I looking for something
to wear in wardrobe?
25
11
00:00:19,820 --> 00:00:21,500
Why don't you go
to Abercrombie & Fitch?
26
Appendix 3
30 Rock season 2, episode 07
Translation Process:
1
What can we do? We're cougars.
(30 characters)
Qu podemos hacer? Somos tigresas.
(35 characters)
2
We're what?
Qu somos?
3
Cougars.
Tigresas.
4
(25 characters)
(20 characters)
Mujeres maduras y atractivas
(28 characters)
que atrapan presas jvenes
(26 characters)
5
Ugh.
Qu asco.
6
(25 characters)
about it in "Vanity Fair."
(26 characters) CULTURAL REFERENCE!*
27
*Vanity Fair is a magazine of pop culture, fashion, and current affairs published by
Cond Nast. The present Vanity Fair has been published since 1983 and there have
been editions for four European countries as well as the U.S. edition. If members of the
audience dont know that Vanity Fair is a pop culture magazine, they might not
understand the use of the reference.
Translation method 1 maintaining the reference in the original language
Hay un artculo sobre eso
(25 characters)
en Vanity Fair.
(17 characters)
Translation method 2 neutralizing the reference

Since the name of the magazine is the same throughout the world, there is no Spanish
translation obtainable. Also, there is no pop-culture magazine massively known in Latin
America that can be used so as to maintain the format intended in the original dialogue
(the cultural reference in the sentence). Therefore, the only translation option available
is neutralizing the reference so that everyone can understand the dialogue:
Hay un artculo sobre eso
(25 characters)
en una revista.
(15 characters)
7
The one with the
(16 characters)
"Crisis in Africa" cover.
(26 characters)
Using translation method 1:

En el nmero que contiene
(25 characters)
el artculo Crisis en frica.
(31 characters)
Using translation method 2:

La misma que public
(20 characters)
el artculo Crisis en frica.
(31 characters)
28
8
God, it makes me so sad
(23 characters)
Dios, me entristece tanto
(25 characters)
9
that more people
(16 characters)
don't know about cougars.
(25 characters)
que tanta gente
(15 characters)
no conozca la palabra.
(22 characters)
10
Why am I looking for something
(30 characters)
to wear in wardrobe?
(20 characters)
Por qu busco qu ponerme
(26 characters)
en el vestuario del show?
(25 characters)
11
Why don't you go
(16 characters)
to Abercrombie & Fitch?
(23 characters) CULTURAL REFERENCE!*
*Abercrombie & Fitch, also known as A&F, is an American retailer that focuses on
casual wear for consumers aged 18 to 22. If members of the audience dont know that
this is a clothing brand specially designed for young people, they will most likely not
understand the use of such reference.
Por qu no vas a
(17 characters)
Abercrombie & Fitch?
(20 characters)

There is no clothing brand massively known in Latin America that can be used so as to
maintain the format intended in the original dialogue (the cultural reference in the
29
sentence). Therefore, the only translation option available is neutralizing the reference
so that everyone can understand the dialogue:
Por qu no vas a una tienda
(28 characters)
para adolescentes?
(18 characters)
30
Appendix 4
1
NBC? Blah, blah, blah. Thank you.
(33 characters)
NBC. Bla, bla, bla. Gracias.
(28 characters)
2
Ken, you need to snap out of it
(31 characters)
and ask out that sexy Ms. Magoo.
(32
characters)
CULTURAL
REFERENCE!*
* Mr. Magoo (Quincy Magoo) is a cartoon character, created at the UPA animation
studio in 1949, who gets into a series of comical situations as a result of his
nearsightedness. In this scene, the characters are talking about a new intern working
with them who is blind. If members of the audience dont know that Mr. Magoo is blind,
they will most likely not grasp the use of the Ms. Magoo reference.
Ken, necesitas actuar rpido y
(28 characters)
pedirle a Ms. Magoo que salga contigo.
(38 characters)

Since the name of the character is the same throughout the world, there is no Spanish
translation available. Also, there is no blind cartoon character massively known in Latin
America that can be used so as to maintain the format intended in the original dialogue
(the cultural reference in the sentence). Therefore, the only translation option available
is neutralizing the reference so that everyone can understand the dialogue:
Ken, necesitas actuar rpido y
(28 characters)
pedirle a la nueva que salga contigo.
(15 characters)
3
I have no idea what you're talking about.
(41 characters)
No s de qu ests hablando.
(28 characters)
31
32
Appendix 5
1
Elisa?
Elisa?
2
I was about to do the whole run-to-the-airport (47 characters)
thing like Ross did on Friends
(30
characters)
CULTURAL
REFERENCE!*
*Friends is an NBC sitcom that aired from 1994 to 2004. In Friends finale, Ross, one
of the characters, chases Rachel, another character and Ross love interest, to the
airport to stop her from going to Paris. If members of the audience dont know the
characters of the sitcom and havent seen the show, or if they dont know what
happens in the last episode, they will not understand the use of this reference.
Estaba por ir al aeropuerto
(27 characters)
como hizo Ross en Friends
(25 characters)

Since the name of the sitcom is the same throughout the world, there is no Spanish
translation available. Also, there is no other sitcom or movie massively known in Latin
America (in which the same event takes place) that can be used so as to maintain the
format intended in the original dialogue (the cultural reference in the sentence).
Therefore, the only translation option available is neutralizing the reference so that
everyone can understand the dialogue:
Estaba por ir al aeropuerto
(27 characters)
como hacen en las pelculas
(28 characters)
3
and Liz Lemon did in real life.
(34
REFERENCE!*
characters)
CULTURAL
33
What are you doing here?
(24 characters)
*Liz Lemon, performed by Tina Fey, is one of the main characters in 30 Rock. In
season 2 of the TV show, Liz runs to the airport to say one last goodbye to her exboyfriend, who was leaving for Cleveland. Since the scene in this example belongs to
the same TV show, it can be assumed that the people watching this episode know who
Liz Lemon is. So, even though they might not know what happened in previous
episodes, they know who is being mentioned as a reference and, therefore, it is not
necessary to adapt this reference. Needless to say, real life refers to the real life of
the characters in the show.
y Liz Lemon en la vida real.
(28 characters)
Qu ests haciendo aqu?
(25 characters)
4
The taxis want 500 bucks to go to JFK
(37
characters)
CULTURAL
REFERENCE!*
and the buses are worse.
(24 characters)
*JFK, or John F. Kennedy International Airport, is the name of New Yorks major
international airport. In everyday life, people simply refer to it as JFK. If members of the
audience dont know that JFK is the name of the airport, they might not understand the
use of the reference or, worse, they might think the dialogue is mentioning Americas
former president, John F. Kennedy.
Un taxi a JFK cuesta 500 dlares
(32 characters)
y los autobuses son horribles.
(30 characters)

Since the airport is named after a person, there is no Spanish translation available.
Therefore, the only translation option available is neutralizing the reference so that
everyone can understand the dialogue:
Un taxi al aeropuerto cuesta 500 dlares
(40 characters)
y los autobuses son horribles.
(30 characters)
34
Appendix 6
Gilmore Girls season 7, episode 08
1
So, you're getting ready
(24 characters)
for the party, huh?
(19 characters)
Ests preparndote
(19 characters)
para la fiesta?
(15 characters)
2
Yep.
S.
3
I can get you some
(18 characters)
real wrapping paper.
(20 characters)
Puedo conseguirte
(17 characters)
papel de regalo real.
(20 characters) not natural
No quieres papel de regalo real?
(33 characters)
4
Did you not see
(15 characters)
"An Inconvenient Truth"?
(24
characters)
CULTURAL
REFERENCE!*
*An Inconvenient Truth is a 2006 documentary film directed by Davis Guggenheim

about former United States Vice President Al Gore's campaign to educate citizens
about global warming via a comprehensive slide show. If members of the audience
havent seen the film, or even heard about it, they will not understand the use of this
reference.
35
No has visto
(13 characters)
"An Inconvenient Truth"?
(24 characters)
Translation method 2 translating the reference into Spanish

The name of the movie can be translated as it is known in Latin America, Una Verdad
Incmoda:
No has visto
(13 characters)
"Una Verdad Incmoda"?
(22 characters)

The reference can be neutralized, so that those who didnt see the film can understand
the dialogue anyway:
No has visto
(13 characters)
documentales ltimamente?
(25 characters)
5
Are you okay?
Ests bien?
36
Appendix 7
1
And this hay-bale maze --
(25 characters)
this is all Taylor's idea?
(26 characters)
Y el laberinto de heno
(22 characters)
fue idea de Taylor?
(19 characters)
2
Yep.
S.
3
This is the same Taylor who is
(30 characters)
town selectman and owns two businesses.
(39 characters)
Y Taylor tambin es alcalde
(27 characters)
y dueo de dos tiendas.
(23 characters)
4
Yeah, he's basically the Mayor of Stars Hollow (46 characters)
S, bsicamente es el Alcalde de Stars Hollow
(45 characters) too long
S, es el Alcalde de Stars Hollow
(33 characters)
5
and Don Corleone all wrapped up into one.
(41
characters)
CULTURAL
REFERENCE! *
*Vito Corleone, known as Don Corleone, is the head of the Corleone crime family the
most powerful Mafia family in New York City in the book, and then movie, The
Godfather. He is depicted as an ambitious man who builds a Mafia empire. If
37
members of the audience dont know who Don Corleone is, they will probably not
understand the use of the reference in the dialogue.
y el Don Corleone, todo en uno.
(31 characters)

The reference can be neutralized so that those who havent read or seen The
Godfather can understand the dialogue anyway:
y el dueo del pueblo, todo en uno.
(36 characters)
6
That's fascinating.
Eso es fascinante.
38
Appendix 8
1
Oh. So new car, huh?
(20 characters)
Oh. As que... auto nuevo.
(26 characters)
2
You should get a DeLorean
(25
characters)
CULTURAL
(29
characters)
CULTURAL
REFERENCE! *
like in "Back to the Future."

REFERENCE! *
*Back to the Future is a 1985 American science fiction film, written and directed by
Robert Zemeckis. The film tells the story of Marty McFly, a teenager who is
accidentally sent back in time from 1985 to 1955 by a time machine that Dr. Emmet
Brown had built out of a DeLorean car. For those who didnt see the film, it is practically
impossible to understand the use of these references in the dialogue.
Translation method 1 maintaining the reference in English
Deberas comprar un DeLorean
(28 characters)
como en Back to the Future
(28 characters)

Deberas comprar un DeLorean
(28 characters)
como en Volver al Futuro
(28 characters)
In this case, the brand of the car is not translated, because it is known with that same
name throughout the world.

The reference can be neutralized so that those who havent seen Back to the Future
can understand the dialogue anyway:
Deberas comprar uno que vuele
(30 characters)
como en las pelculas
(21 characters)
39
3
It's on the list right behind the Batmobile.
(44
characters)
CULTURAL
REFERENCE! *
*The Batmobile is the car Batman uses in his crime-fighting activities. If members of
the audience dont know that the Batmobile is a car, they will not understand the use of
the reference in the dialogue.
Translation method 1 maintaining the reference in English
Es el segundo en mi lista,
(26 characters)
despus del Batmobile.
(22 characters)

(26 characters)
despus del Batimvil.
(22 characters)

The reference can be neutralized so that those who dont know Batman can
understand the dialogue anyway:
(26 characters)
despus de uno para el agua.
(28 characters)
4
Although I gotta say I'm enjoying
(33 characters)
the whole biking thing
(22 characters)
Aunque debo decirte
(19 characters)
que disfruto la bicicleta.
(26 characters)
40
Appendix 9
Gossip Girl season 5, episode 05
1
Diana's not happy with me.
(26 characters)
Diana no est contenta conmigo.
(32 characters)
2
If only you could be me for
(27 characters)
a day and I could be you,
(25 characters)
Si tan solo pudieses ser yo
(27 characters)
por un da y yo pudiese ser t
(30 characters) not natural
Si tan solo pudisemos
(22 characters)
intercambiar vidas por un da
(29 characters)
3
- we'd both get what we want.
(29 characters)
- Yeah.
- ambos obtendramos lo que queremos.
(37 characters)
- S.
4
But since we're not in
(22 characters)
a Jason Bateman movie,
(22
characters)
CULTURAL
REFERENCE! *
*Jason Bateman is an American actor who starred in the 2011 Universal comedy The
Change-Up, in which Batemans character, a married man and father of two, changes
41
bodies with Ryan Reynolds character, a single man in the prime of his sexual life. For
the audience to understand what the reference implies they must know what the movie
is about and, most importantly, they must know who stars in the film.

In this case, maintaining this reference can be done in two different ways:
-Maintaining the name of the leading actor as reference:
Pero como no estamos en
(23 characters)
una pelcula de Jason Bateman
(29 characters)
-Using the English name of the film as reference:

Pero como no estamos
(20 characters)
en The Change-Up
(18 characters)

The name of the movie can be translated as it is known in Latin America, Si Fueras
Yo :
(20 characters)
en Si Fueras Yo
(17 characters)

(20 characters)
en una pelcula
(15 characters)
5
we have to think of another plan.
(33 characters)
tenemos que pensar en otra cosa.
(32 characters)
42
Appendix 10
1
I can't find Blair anywhere.
(28 characters)
No puedo encontrar a Blair por ningn lado.
No encuentro a Blair por ningn lado.
(37 characters) too regional
No puedo encontrar a Blair.
(27 characters)
2
I checked every stall in the building.
(38 characters)
Busqu en cada rincn del edificio.
(36 characters)
Or: Busqu por todo el edificio.
(28 characters)
3
Did you check her room upstairs?
(32 characters)
Buscaste en su habitacin arriba?
Buscaste en su habitacin?
(27 characters)
4
Three times.
(12 characters)
I even had security look at the roof.
(37 characters)
Tres veces.
(12 characters)
Hasta hice que seguridad buscase en la azotea.
Seguridad la busc en la azotea.
(32 characters) not clear
Incluso la busqu en la azotea.
(31 characters)
43
5
Why would she be on the roof?
(29 characters)
Por qu estara en la azotea?
(30 characters)
6
I don't know.
No lo s.
7
Maybe I've seen
(15 characters)
"The Hangover" too many times.
(30
characters)
CULTURAL
REFERENCE!*
*The Hangover is a 2009 Warner Bros. film directed by Todd Phillips in which a
bachelor party goes wrong and the groom goes missing. In the end, the groom is found
on the roof of the hotel in which the group of friends was staying. Therefore, to
understand the allusion to the movie, the audience must know what happens in the
movie.

Tal vez he visto
(16 characters)
The Hangover muchas veces.
(28 characters)

The name of the movie can be translated as it is known in Latin America, Qu Pas
Ayer? :
Tal vez he visto
(16 characters)
Qu Pas Ayer? muchas veces.
(32 characters)

44
Tal vez he visto demasiadas pelculas.
(31 characters)
8
It just-- it doesn't make sense.
(32 characters)
Es que... no tiene sentido.
(24 characters)
9
Why isn't she dancing with her dads
(35 characters)
Por qu no est bailando con sus padres
Por qu no est bailando
(25 characters)
10
or saying "good nights" with Louis?
(35 characters)
o despidindose de todos con Louis?
(35 characters)
45
Appendix 11
1
Jean Pierre? You are ruining everything.
(40 characters)
Jean Pierre? Ests arruinando todo.
(36 characters)
2
The runway is the wrong color.
(30 characters)
El color de la pasarela est mal.
(33 characters)
3
And who approved those wigs?
(28 characters)
Y quin aprob esas pelucas?
(29 characters)
4
Even Nicki Minaj knows better.
(30
characters)
CULTURAL
REFERENCE! *
*Nicki Minaj is an American singer whose trademark is wearing outrageous costumes

and wigs. If members of the audience dont know how she looks, they will probably not
understand the use of this reference.

Incluso Nicki Minaj se ve mejor.
(32 characters)

The reference can be neutralized so that those who dont know the singer can
Incluso los payasos se ven mejor
(32 characters)
46
5
We will change it all...
(24 characters)
Cambiaremos todo...
(19 characters)
47
Appendix 12
1
Nate, I came up here to make out,
(33 characters)
Nate, vine para estar contigo
(29 characters)
2
not to watch you and Chuck play WikiLeaks.
(42
characters)
CULTURAL
REFERENCE! *
* WikiLeaks is an international, online, non-profit organisation which publishes secret

information, news leaks, and classified media from anonymous sources. For the
audience to grasp the meaning of the dialogue they must know what WikiLeaks is.

no para verlos jugar a WikiLeaks.
(33 characters)

The reference can be neutralized so that those who dont know WikiLeaks can
no para verlos jugar a los espas.
(34 characters)
In this particular case, the reference can be translated using another reference that will
most likely be well-known for anyone:
no para verlos jugar a James Bond.
(34 characters)
It is known by probably the majority of the worlds population (if not by the entire
population) that James Bond is a spy working for MI6, the English Secret Service.
Using this reference we would be faithful to both the meaning conveyed in the original
dialogue and the form in which such meaning is conveyed: alluding to a cultural icon.
48
3
Uh-huh.
Uh-huh.
4
This isn't gonna work. It has to be
(35 characters)
at least nine characters.
(25 characters)
No funcionar. Deben ser
(24 characters)
cuanto menos nueve caracteres.
(30 characters)
49
Appendix 13
Reference groups:
Reference
Back to the Future
Batmobile
The Hangover
The Change-Up
Reference
Type
TV/movies - English
TV/movies - English
TV/movies - English
TV/movies - English
TV/movies - English
Type
Volver al Futuro
Batimvil
Que Pas Ayer?
Una Verdad Incmoda
Si Fueras Yo
TV/movies - Spanish
TV/movies - Spanish
TV/movies - Spanish
TV/movies - Spanish
TV/movies - Spanish
Reference
James Bond
Friends
Don Corleone
Ms. Magoo
Jason Bateman
Type
Reference
Vanity Fair
Nicki Minaj
JFK
WikiLeaks
Type

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INSTITUTO PAGO DE LOS ARROYOS

Irina Lifszyc Seminario de Investigacin 4 T.N.

Irina Lifszyc Seminario de Investigacin 4 T.N.

He is, among other things,

Original text that must be reduced to

Mrs. McCready, a drug dealer, yes.

Natural translation without space

sra. McCready, un traficante de drogas, s.

Irina Lifszyc Seminario de Investigacin 4 T.N.

l es, entre otras cosas,

Es, entre otras cosas,

Omission of initial subject (it is not

Irina Lifszyc Seminario de Investigacin 4 T.N.

Irina Lifszyc Seminario de Investigacin 4 T.N.

Irina Lifszyc Seminario de Investigacin 4 T.N.

Irina Lifszyc Seminario de Investigacin 4 T.N.

Consequently, both percentages were compared so as to demonstrate which of both

Irina Lifszyc Seminario de Investigacin 4 T.N.

Back to the Future

Back to the Future

Irina Lifszyc Seminario de Investigacin 4 T.N.

Irina Lifszyc Seminario de Investigacin 4 T.N.

Irina Lifszyc Seminario de Investigacin 4 T.N.

Irina Lifszyc Seminario de Investigacin 4 T.N.

Table 10 shows group 1 and 2 average percentage of understanding of

Irina Lifszyc Seminario de Investigacin 4 T.N.

Irina Lifszyc Seminario de Investigacin 4 T.N.

Irina Lifszyc Seminario de Investigacin 4 T.N.

Irina Lifszyc Seminario de Investigacin 4 T.N.

Qu podemos hacer? Somos tigresas.

on their young prey.

Mujeres maduras y atractivas

que atrapan presas jvenes

about it in "Vanity Fair."

(26 characters) CULTURAL REFERENCE!*

Irina Lifszyc Seminario de Investigacin 4 T.N.

Translation method 2 neutralizing the reference

"Crisis in Africa" cover.

Using translation method 1:

el artculo Crisis en frica.

Using translation method 2:

el artculo Crisis en frica.

Irina Lifszyc Seminario de Investigacin 4 T.N.

Dios, me entristece tanto

don't know about cougars.

que tanta gente

Por qu busco qu ponerme

en el vestuario del show?

to Abercrombie & Fitch?

(23 characters) CULTURAL REFERENCE!*

Abercrombie & Fitch?

Translation method 2 neutralizing the reference

Irina Lifszyc Seminario de Investigacin 4 T.N.

NBC. Bla, bla, bla. Gracias.

and ask out that sexy Ms. Magoo.

pedirle a Ms. Magoo que salga contigo.

Translation method 2 neutralizing the reference

pedirle a la nueva que salga contigo.

Irina Lifszyc Seminario de Investigacin 4 T.N.

Irina Lifszyc Seminario de Investigacin 4 T.N.

como hizo Ross en Friends

Translation method 2 neutralizing the reference

como hacen en las pelculas

Irina Lifszyc Seminario de Investigacin 4 T.N.