Song translation over time: a digital analysis of Italian-dubbed animated musical comedies 1959-2019

随时间推移的歌曲翻译：1959-2019 年意大利配音动画音乐喜剧的数字分析

• 批准号: 2420883
• 金额: --
• 依托单位: University of Birmingham
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2020
• 资助国家: 英国
• 起止时间: 2020 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2420883
• 关键词: Song; translation; over; time; digital

This project develops a synchronic screenshot, building on Bassnett (1998), to provide the first sustained empirical investigation into translation strategies used in Italian dubbed Animated Musical Comedies (1960-present). It examines 25 songs selected from 16 animated musical comedies, which have (a) made an emblematic contribution to the Italian creative industries and/or (b) recently spurred major remakes: Mary Poppins (1964), The Aristocats (1970), Robin Hood (1973), Beauty and the Beast (1991/2017), Aladdin (1992/2019), The Nightmare before Christmas (1993), The Swan Princess (1994), The Lion King (1994/2019), Anastasia (1997), Hercules (1997), The Prince of Egypt (1998), Shrek 2 (2004), Frozen (2013). Given the current resurgence of remakes, often exploiting star talent, understanding how translations/performances create in tune cultures makes this research relevant and timely. I will establish a new interdisciplinary approach to analyse Italian translators' activity as adapters, and the effect of performance (including casting) on the dubbing process, specifically in terms of voice analysis (including word stress, repetition patterns). What are the implications of Renzo Montagnani's voice replacing Phil Harris' in the character of Romeo/O'Malley in Gli Aristogatti? Do listeners perceive the change of actor for spoken/sung voices in the Italian dubbed version of the Aladdin remake? The originality of this research has implications for voice performance/interpretation, and audience response to mass/pop culture texts in an increasingly English-speaking society dominated by social networks.My interest in live/recorded voice within translation practices stems from my Master's research. In my MA dissertation, I discussed translation's role in theatre adaptation and stage performance. My thesis included my own Italian translation of the playtext used for the National Theatre adaptation of Frankenstein by Danny Boyle, and a critical commentary using key translation and adaptation theory (Bassnett, 1998; Hutcheon, 2006) pertinent to my PhD project. This expertise is supported by musical training in pop singing and classical music: I hold certificates in music theory, piano, and viola from Cosenza Conservatoire and Viterbo Music School. Building on this skillset, I intend to develop the proposed PhD project in order to extend my MA research and question the complex interrelations connecting the mechanisms of translation/adaptation and performance, specifically in song translation and audio-visual dubbing, and the cultural implications of the unequal power relationship between Anglophone and Italian cultural contexts. The expertise of my supervisors (Prof. Abbott, Dr Mével, DrTyler) in word-music relations, audio-visual translation, and digital media, will provide the ideal support framework for my project.

该项目开发了Bassnett（1998）Brading Brade的同步屏幕截图，为意大利语配音动画音乐喜剧（1960年至今）中使用的翻译策略提供了首次持续的经验投资。它考察了从16场动画音乐喜剧中选出的25首歌曲，这些歌曲（a）对意大利创意产业和/或（b）最近的象征性贡献，最近刺激了重大翻拍：玛丽·波普斯（Mary Poppins）（1964），阿里斯托卡特（1970），罗宾·胡德（Robin Hood），罗宾·胡德（Robin Hood）（1973年），《美女与野兽》（Beauty and the Beast and the Beast and the Beast（1991/2017），Aladdindindin（1993年）（1993年）（1993年）公主（1994），《狮子王》（1994/2019），阿纳斯塔西娅（1997），大力神（1997），埃及亲王（1998），史莱克2（2004），《冷冻》（2013年）。鉴于当前的翻拍复兴，通常会利用《星际人才》，了解翻译/表演如何在调整文化中创造的如何使这项研究具有及时的相关性。我将建立一种新的跨学科方法，以分析意大利翻译人员作为适配器的活动，以及绩效（包括铸造）对配音过程的影响，特别是在语音分析（包括单词压力，重复模式）方面。 Renzo Montagnani的声音在Gli Aristogatti中以罗密欧/O'Malley的性格取代Phil Harris的声音有什么意义？听众会在意大利语配音的Aladdin翻拍版本中感知演员的口头/演唱声音的变化吗？这项研究的独创性对语音性能/解释具有影响，以及受众对越来越多的英语社会的群众/流行文化文本的反应，以社交网络为主。我对硕士学位研究的翻译实践中的实时/记录语音兴趣。在我的文化论文中，我讨论了翻译在剧院适应和舞台表演中的作用。我的论文包括我自己的意大利语翻译，用于丹尼·博伊尔（Danny Boyle）的《弗兰肯斯坦国家剧院改编》的剧本，以及使用与我的博士学位项目有关的关键翻译和适应理论的批判性评论（Bassnett，1998; Hutcheon，2006）。这种专业知识得到了流行歌唱和古典音乐的音乐训练的支持：我拥有Cosenza Conserctoire和Viterbo Music Sc​​hool的音乐理论，钢琴和中提琴证书。在此技能基础的基础上，我打算开发拟议的博士学位项目，以扩展我的MA研究，并质疑连接翻译/适应性和表现机制的复杂相互关系，特别是在歌曲翻译和视听式配音中，以及英语和意见的文化背景之间不平等的力量关系的文化含义。我的主管（Abbott教授，Mével博士，Drtyler教授）在文字音乐关系，视听翻译和数字媒体方面的专业知识将为我的项目提供理想的支持框架。