Tesina The Presence of Domestication in Dubbed Animated Series

UNIVERSIDAD VERACRUZANA
Facultad de Idiomas
Licenciatura en Lengua Inglesa
Tesina
The Presence of Domestication
in Dubbed Animated Series
Que para obtener el grado de:
LICENCIADA EN LENGUA INGLESA
PRESENTA:
María Monserrath Pérez Carballo
Director:
Mtro. Miguel Ángel Vallejo Vizcarra
Lectoras:
Dr. Barbara Scholes Gillings
Mtra. Lorena Amelia Mercado Lara
Xalapa Enríquez, Ver. Septiembre 2015
Abstract
The present paper is an analysis of the traductology involved in the voice dubbing
process in an animated series though a comparison of twenty examples taken from ten
animated series. The principal purpose of this work is to show the high presence of
domestication by means of an exhaustive comparison between the source language and
the Spanish dubbed version. An animated series was chosen as it is dedicated to a wide
general public. The analysis of this dubbing suggests that the contents of the series are
adapted depending on the specific target audience and its particular cultural
characteristics.
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Agradecimientos
Dedicado a mis padres. Gracias por apoyarme incondicionalmente, gracias por sus
palabras de aliento, su sacrificio y cariño. Gracias por estar siempre a mi lado, este
triunfo es para ustedes, este triunfo se lo debo a ustedes.
A mis hermanos, porque siempre me demostraron que sí se puede. Gracias por su
compañía, sus risas y sus burlas.
A Oscar, por estar siempre apoyándome pese a todo, incluso en los momentos más
difíciles.
A mi familia y amigos, que siempre estuvieron conmigo y me apoyaron aún en las
situaciones más desesperadas, porque siempre estuvieron para mí.
Dr. Barbara, gracias por ser una luz a lo largo de este proyecto, una luz que me guío y
me alentó a cada paso, y me ayudó a seguir adelante.
A mi director y lectores, sin ustedes no lo habría logrado.
Muchas gracias.
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Contents
Abstract ............................................................................................................................................... 1
Agradecimientos ................................................................................................................................. 2
Contents .............................................................................................................................................. 3
Introduction......................................................................................................................................... 4
Rationale ......................................................................................................................................... 5
Objectives ........................................................................................................................................ 6
Methodology ..................................................................................................................................... 17
1.
Research design..................................................................................................................... 17
2.
Audio visual material ............................................................................................................. 18
3.
Research methods ................................................................................................................. 18
4.
Data Analysis ......................................................................................................................... 19
Theoretical Framework ....................................................................................................................... 7
1.
Audiovisual Translation ........................................................................................................... 8
2.
Dubbing ................................................................................................................................... 9
3. Considerations in Dubbing ........................................................................................................ 10
3.1 Culture and Dubbing ........................................................................................................... 11
3.2 Dubbing and Domestication ................................................................................................ 14
Analysis .............................................................................................................................................. 22
1.
Intertextuality as Cultural References ................................................................................... 22
1.1 Intertextuality as Songs into the Target Culture ................................................................. 30
2.
Register and Its Representations .......................................................................................... 33
2.1
3.
Colloquialism as a Whole .............................................................................................. 39
The Presence of Dialects: Idiolect ......................................................................................... 46
Conclusion ......................................................................................................................................... 51
Limitations ..................................................................................................................................... 51
Further Research ........................................................................................................................... 52
Personal Reflection........................................................................................................................ 52
References ......................................................................................................................................... 54
Appendix I.......................................................................................................................................... 59
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Introduction
Humanity has always looked for ways to convey ideas or concepts, either within their
own culture or by going beyond the limits of the imagination across different languages.
Owing to this necessity, the media has always played an important role for humanity as
a communication tool (Bell & Garrett, 1988). A part of this media in the form of material,
are audiovisual products. This material includes everything designed to be transmitted
or distributed electronically; such as film, television or radio (Mayoral, 2001). Most
audiovisual products are distributed through the television, because it has become
perhaps the most influential mass media product because it has more coverage.
Therefore, most of the programs that are distributed via TV will target a diverse
audience. Thus the translation of these audiovisual products is more and more
necessary.
Several theorists have defined that translation is a process that requires transferring the
meaning of an original message to the target language (Nida & Taber, 1982). Therefore,
it is possible to understand that translation is an important step in media, because
‘media’ and ‘translation’ are related terms, they are both associated in multimedia
translation (Di Giovanni, 2008). In particular,
Audiovisual translation (AVT) is the term used to refer to the transfer
from one language to another of the verbal components contained in
audiovisual works and products
(Chairo, 2013: 1)
By means of this kind of translation, media can reach every home in the world.
According to Mayoral (2001), it can be affirmed that the translation of audiovisual
products includes more than only products, but also video film and television.
There are different types of audiovisual translation, according to Chaume, (2013)
audiovisual translation can be classified as dubbing, subtitled, voice-over, narration,
interpretation, free commentary, audio description, among others. Dubbing is an
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advanced process which involves more than translation, because later the voices are
recorded by the actors. The final product may then contain cultural elements or common
phrases from the region or country to which the translation is addressed. Venuti, (1995)
argues that the real challenge of a translator is to transform and bring back a foreign
culture into something more common or familiar this process is known as domestication.
The main purpose of dubbing translation is to spread around the world media products,
adapting them to each society and context. Dubbing an animated series derives from
the need to adapt the dialogues to the target culture. They are not exclusively aimed at
young people or adults, but also to children. Thus the series are affected by the
domestication process, trying to familiarize a foreign culture to a particular sphere and/or
a large family. Based on this, it is believed that the dubbed version is more accessible to
a broader population, and thus it is more popular. In order to understand what dubbing
translation involves, this analysis reports on the use of domestication, in particular
during the dubbed translation version of an animated series.
Rationale
I have always considered the work of the translator as that of a pillar to convey the same
message from and amongst other languages. However, I realize that the translator’s
work is not perceived usually in a dubbed animated series. Most of the animated series
are targeted to a general audience so it is common that these kinds of audiovisual aids
are seen by people of all ages regardless of culture or social status. Having had the
opportunity to watch different series in both the source language and the target
language, I suddenly noticed the features of the adaptation of certain phrases in
situations found in our environment or culture. The series that I chose for this research,
in alphabetic order, are: Adventure Time, Case Closed, Count Duckula, Digimon
Tamers, Inuyasha, Pokemon, Ranma ½, Rorouni Kenshin, Teenage Mutant Ninja
Turtles and Uncle Grandpa. The main motive for choosing these particular series is
because of the contents in specific situations that are completely foreign to the Mexican
culture, but that bring a perspective that is not at all distinct to our vision of the world.
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Despite the great accomplishment of audiovisual translation, nowadays there is still little
theory dedicated to the analysis of voice dubbed translation. Hence, the primary
objective of this research is to help fill the gap in this lack of theory by means of
exemplification. Furthermore, I hope that by carrying out this work, I will offer a different
perspective of this topic to other students in the field of audiovisual translation,
specifically in the process of voice dubbing. In addition, this paper tries to provide all
future translators the opportunity to become acquainted with some of the problems that
translators face in reality. In sum, this report is for all current or graduated students who
are interested in learning about the process of voice dubbing translation in an animated
series and the domestication process that is used. I also hope that this work will inspire
or guide all those who are passionate or curious about the subject.
Objectives
First of all, this Trabajo Recepcional particularly seeks to contribute in the understanding
of the process involved in the domestication of audiovisual products, especially focusing
on the dubbed version of an animated series. Secondly, to demonstrate that
domestication is presented in animated audiovisual products through the description and
comparison of twenty particular examples. Thirdly, to determine how some phrases are
adapted in a new cultural context, and to see if these phrases preserve the original
message or if it is totally lost. Finally, to show through an extensive series of examples
that cultural variations affect the translation used for dubbing and that they entail
different solutions intimately related to domestication in the translation used in voice
dubbing.
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Theoretical Framework
The word ‘translation’ has several meanings. On the one hand, translation is considered
as the transmission of a message from one language to a target language, either the
product of the act of transferring a text or the process itself (Munday, 2011). On the
other hand, Bettetini (1986: 83) defines the act of translation as a process which tries to
“formar el sentido de un enunciado y después reproducirlo en otro enunciado, por la
forma significante distinta respecto a la del primero”. Thus, it is believed that the aim in
translation is to create equivalence between an original message and its version in a
target language, in order to communicate the same idea. Venuti (1995: 7) expresses the
view that
On the one hand, translation is defined as a second-order
representation: only the foreign text can be original, an authentic copy,
true to the author’s personality or intention, whereas the translation is
derivative, fake, potentially a false copy. On the other hand, translation
is required to efface its second-order status with transparent discourse,
producing the illusion of authorial presence whereby the translated text
can be taken as the original.
Throughout history, translation has played a crucial role in communication among
humans, in order to provide a cultural interchange between ideas, customs or even texts
(Munday, 2001). It is believed that the act of translation itself exists since the invention
of writing starting from the creation of the alphabet (Delisle & Woodsworth, 2005).
However, due to the emergence of writing, the necessity to transfer the different texts
into other cultures, as well as other languages has increased. According to Paz (1971:
3), the activity of translation is necessary therefore, given that languages may separate
people, because they originate from different perceptions of reality
...por una parte la traducción suprime las diferencias entre una lengua y
otra; por la otra, las revela más plenamente: gracias a la traducción nos
enteramos de que nuestros vecinos hablan y piensan de un modo
distinto al nuestro.
However, these messages are not only limited to the written or spoken, because “the
globalization and digitalization of multimedia texts have significantly boosted the
production and distribution of audiovisual production” Cho (2013: 380). Since translation
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studies did not fit within the various modalities of translation in mass media, the following
new term was developed.
1. Audiovisual Translation
Currently, audiovisual translation plays an important role in the general area of mass
media (Bartrina & Espasa, 2005). The major objective of the media is to inform, to sell,
to entertain and even to be used as an educative tool. Owing to this increase in the
mass media, the need has grown to disseminate the different audiovisual products at all
possible levels, ‘international, national, regional and local’ (Díaz & Anderman, 2009: 1).
Therefore, it was necessary to discover a way that could translate audiovisual media
and all its products. This search to identify a field specializing in the translation of media
resulted in the emergence of “Audiovisual Translation” (Orero, 2004).
According to Bartrina and Espasa (2005), audiovisual translation can be defined as a
modality of translation which uses a specific method that makes possible the linguistic
transfer of an audiovisual text, in which “the specificity of audiovisual translation consists
in its mode of transmission, rather than in the topics it covers” (p. 85). Audiovisual
translation is believed to be an act of intercultural communication, which includes the
‘texto fílmico’ (Martínez, 2001: 165). Audiovisual translation is the translation of ‘special
texts’ that contain several codes of meaning. These texts can be used in different
communication channels, which result in a more complex text. Therefore, the coherence
of this ‘texto multidimensional’ depends directly of ‘mecanismos de cohesión’
established between a ‘narración verbal’ and ‘narración visual’ (Chaume 2001: 67).
Thus, the audiovisual text works as an interaction between a text and a visual image;
both of them must have cohesion and coherence within all its components. According to
Bettetini (1986), the functions of an audiovisual narrative serve as a base of the
translation of the narrative text, because all the audiovisual languages can be
transmitted through any communication system, either verbal or nonverbal. Agost (1999)
holds the view that an audiovisual text is characterized by
…el tipo de participantes en el acto comunicativo, por las situaciones de
comunicación y por la intención comunicativa; desde una perspectiva de
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la situación comunicativa, por la variedades de uso y de usuario; y
desde un punto de vista semiótico, por el género
(p. 24)
Referring to the various models of audiovisual translation methods and their respective
techniques, Luyken (1990: 138-139) proposes that the main types of audiovisual
translation are “first, dubbing, or more precisely, lip-synch dubbing; secondly, subtitling;
thirdly, voice-over and narration techniques”. Subtitling and dubbing are the most
common methods of translating audiovisual products. In the case of the cartoons or
animated series, they are customary dubbed because they are addressed to an
audience of all ages who may or may not be able to read.
2. Dubbing
Nowadays, dubbing is one of the most practiced forms of audiovisual translation around
the world, thus it is necessary to provide a definition. According to Ávila (1997: 18)
dubbing is:
…la grabación de una voz en sincronía con los labios de un actor de
imagen o una referencia determinada, que imite lo más fielmente
posible la interpretación de una voz original. La función del doblaje
consiste únicamente en realizar sobre la obra audiovisual un cambio de
idioma que facilite la comprensión del público al que va dirigida.
Dubbing is the method in which "the foreign dialogue is adjusted to the mouth and
movements of the actor in the film" (Dries 1995, cited in Shuttleworth & Cowie 1997:45).
Meanwhile, Chaume (2013) states that dubbing is an art that represents the invisibility of
the translator, since the original dialogue is deleted and replaced with a recording track
in the target language. Furthermore, Gubern (2001) suggests that dubbing is the ability
of making an attached 'infidelity' in the translation something tolerable to the audience.
Consequently, in the process of translation it is necessary that all the expressions are
closely related to the original version. Dubbing is a favored activity because it allows that
audiovisual products can reach a wider audience. However, the dubbing process is
more complex than it appears.
According to Chiaro (2013: 3) dubbing follows a particular process. For example, the
text submitted by the translator is not definitive; it is a draft text that will serve as a
9
starting point for a long and complex process. The resulting text will have little or no
resemblance to the original translation in order to sound natural in the target language.
Given this situation, Zabalbeascoa (2001) observes that the role of the translator in the
dubbing process is limited to be only a first draft proposal. Owing to the characteristics
of the animated series and its behaviour as an audiovisual product, its dubbing process
is exactly the same as any other type of audiovisual translation, because
…la narratividad puede ser considerada como un sistema semiótico
independiente de la materialización de los significantes…ya se trate de
una realidad objetivamente verificada en el mundo <<verdadero>> de lo
cotidiano o de una realidad de ficción…
(Bettetini, 1986: 68)
In addition to this ‘narratividad’, all audiovisual texts are regulated by the same rules and
models concerning both reality and fiction, which allow them to be translated through the
same translation models.
3. Considerations in Dubbing
It is important to consider some aspects in the process of dubbing. Castro (2001) argues
that a translator must consider the audience to whom the translation is aimed, in order to
include potential idioms, regionalisms or common vocabulary in the target language.
Another major feature in dubbing is that there are two categories that distinguish its
main aspects: Non-Lip sync dubbing and Lip sync. The former does not need to take
into consideration the proper duration of the mouth movement in the dialogues. The
latter needs to ensure that the duration of the mouth movement matches the maximum
movement with the target language phrase (Gilabert et al., 2001). It is thought that
animated series lack the synchronization factor; however the duration of the mouth
movement is equally complex as the facial motion of an actor. Therefore, in the
particular case of dubbing animated series, synchronization is one of the key factors
(Chaume, 2004). The translator must take into account some aspects; for example, the
verbal elements and the concordance with the image. These elements are important
because they have to adapt and be synchronized so that there is consistency between
the dialogues and the images. Moreover, dubbing includes the participation of a team
working together, because
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…en el proceso de doblaje, la traducción es el primer paso, y nunca el
definitivo. Aparte del traductor y del lingüista-corrector, interviene…el
ajustador, es decir, el encargado…de hacer coincidir las frases con el
espacio de tiempo disponible y con los movimientos de boca de los
protagonistas
(Fontcuberta, 2001: 302)
Furthermore, it is necessary to consider that “la dimensión verbal no es la única que
comunica contenidos e intenciones” (Zabalbeascoa, 2001: 253). Owing to cultural
considerations, audiovisual translations have acquired specific techniques that are used
in animated dubbing. Meanwhile, Chaume (2005) states in his book “Los estándares de
calidad y la recepción de la traducción audiovisual” (page 6) the necessary parameters
in the dubbing process. First it is important to respect essential elements as the facial,
body movements and duration of the dialogue, to establish a coherent relationship
between images and audiovisual content. This synchronicity is known as lip sync, this
process also needs to make the oral register credible in order to maintain the same
message in the target language. Chaume (2005) proposes these parameters in order to
serve as a primary regulation model for the correct way of dubbing. Moreover, the
greatest challenge in dubbing is to ensure that it matches the lips. All of these aspects
must be taken into consideration in the process of dubbing an animated series. In
addition there are other qualities and specialties in audiovisual texts that must be
considered, such as the cultural references.
3.1 Culture and Dubbing
For this section, it is necessary to establish an appropriate and simple definition of
culture. Martínez (2001: 150) defines ‘culture’ as “todo lo que el hombre hace con lo
dado por la naturaleza”. According to Malinowski (1922) culture is understood as a set
of procedures, techniques, ideas, habits and values that a society has created. This also
includes the language, because it is a set of oral and cultural habits. In addition to this
classification, the process of translation means transferring meanings and signifiers from
one culture to another. Therefore, translation can be perceived as a cultural product and
not as a process, which is derived from the source culture and the target culture. In
Mayoral’s (2001) opinion, both messages from the source culture and the target culture
consider other elements such as music, noise and image as belonging to the source
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text, so it is the duty of the translator to manipulate other media in the original text for its
transmission in the target text.
The role of audiovisual translation in culture involves complex processes which are
mostly focused on the target culture, because it is an
…interlingual communication in general in determining the interaction
between cultures and the media, although often neglected, is essential,
manifold and ever-changing
(Di Giovanni, 2008: 126)
Chaume (2005) argues that dubbing serves essentially to cover customers’ demands.
This is achieved through the conventions of culture and its proper synchronization to the
target culture. These conventions are a simple attempt to imitate the original audiovisual
product. In the case of dubbing, it contains a large amount of cultural aspects in an effort
to integrate the dialogues as naturally as possible. This dubbing method is known as
naturalization. Accordingo to Ballester (2001: 221)
La naturalización consiste en conformar la versión original de una obra
a la cultura meta con el fin de esconder su origen extranjero y así hacer
que parezca una versión original. En el doblaje, la naturalización actúa
fundamentalmente sobre la sincronización escondiendo la traducción y
creando la ilusión de que la versión doblada es la única versión original.
Therefore, translation is perceived as a cultural process that involves characteristics of
the target language as dubbing must satisfy the target culture in order to be perceived
as natural. This depends on the presence of linguistic variation, specifically in the case
of the audiovisual text, because “por lo general y para dar mayor fuerza expresiva
suelen convivir varios registros y varios dialectos con la lengua considerada estándar”
(Lomeña, 2009: 275). As a result of the search for naturalization in dubbing, the
audiovisual products are subjected to a process of domestication.
3.1.1 Language Variation by Means of culture
According to Malinowski (1922) 'Context of Situation' is the direct relation between a text
and its context, both verbally and nonverbally. However, according to the opinion of
Hatim and Mason (1995: 54) culture must be perceived in terms of ‘function’ and
‘context’ because language can be classified into varieties. Based on this conception of
12
culture, language varieties can be divided into two dimensions. The first dimension is
defined as accents or Dialects, which involve a correlation on a phonetic level. The
second dimension takes place in the discourse through socio-semiotic value and it is
distinguished as Register.
On the one hand, dialectal linguistic variation could be divided into categories.
Geographical Dialect is essentially marked difference in policy, culture and most notably
a difference in accent. Another variation corresponds to the Temporal Dialect, which is
characterized as a linguistic change caused by time. Social Dialect is a consequence of
social stratification, because it includes geographical and temporary variation that
results as a social separation. Furthermore, the last variation is known as Idiolect, which
is a more complex process. This variation is closely related to the user preferences in
language. Therefore, idiolect variations have to do with the uniqueness of the speech of
a determinate person or individual.
On the other hand, Register is strongly related to the use of grammar, lexis, etc. All the
differences in the use of register vary according to the target culture. Subsequently,
lexical significance can be found denotative or connotative (Piñero, 2008). First,
denotative meaning is the official use of a lexeme, while its connotative meaning is
subjective. This subjective use is determined according to the context. In addition,
register contains three basic aspects defined by Hatim and Mason (1995: 67-70): the
field of discourse, the tenor of discourse and the mode of discourse.
First of all, the field of discourse is described which has a social function and this term
can be related with regionalism, that is, specific geographical characteristics of the
language. Secondly, the tenor of discourse is understood as the relation between the
speaker-listener in function of being formal or colloquial. Tenor of discourse then may be
classified as formal speech but the colloquial aspect can be included, that is, according
to the Merriam Webster dictionary definition "used when people are speaking in an
informal way". Finally, the mode of discourse refers to the way in which linguistic
communication is produced, and it can be manifested in written or spoken language.
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3.1.2 Cultural References: Intertextuality
Intertextuality is a term related to a cultural allusion contained in another text. In order to
extend this concept, Genette (1989) defines intertextuality as the relationship between a
given text, called hypertext and a determinate hypotext. He stablished that the hypertext
is inserted directly into the hypotext without being mentioned, though quotation, calque,
plagiarism, translation, pastiche or parody. Thus, Genette (1989) determines the act of
translating as ‘transposition’, because a translation establishes a direct relationship
between a source text and a target text. Moreover, ‘transposition’ means to transpose
the source language and its meaning into another. Translation texts are considered
polyphonic, thus they can establish an intertextual relationship in which they have two
voices: the original author’s voice and the translator’s voice.
For Hatim and Mason (1995) the process of intertextuality in translation is understood as
something normal that serves to acquire information from different sources. Therefore, a
hypertext could be assumed as a whole of arrangements inserted in another text that
can be recognized through certain cultural connotations. Seeing intertextuality from this
approach, the relation established between different speeches’ functions are a set of
structures, which are known as ‘quotation or cultural reference’. These quotations or
references are defined as the relation between a determinate significant system that
requires social knowledge to be effective (Hatim & Mason, 1995: 158-170).
3.2 Dubbing and Domestication
The concept of domestication was coined by Lawrence Venuti (1995). This term refers
to
…bring back a cultural other as the same, recognizable, even the
familiar … Translation can be considered the communication of a
foreign text, but it is always a communication limited by its address to a
specific reading audience
(p. 18)
Domestication allows the translator to pass unnoticed, as Venuti (1995) has defined as
‘The Translator Invisibility’, in order to bring or recreate in the target culture the cultural
and situational aspects contained in the source text and adapt them as required.
Therefore, domestication is focused on a translation into the target culture. As Duro
14
(2001) states, domestication is a process that must satisfy the target culture, so it
imitates the culture of the audience. However, in Mayoral’s (2001: 28) point of view, film
products are currently addressed to very different groups of spectators, in order to
please as much as possible that particular target. However, this domestication in
dubbing increases the number of translations.
In Zaro’s (2001) opinion the domestication method in translation is only focused on the
target culture. Dubbing can be considered as a form of domestication, because it
involves “translating in a transparent, fluent, ‘invisible’ style in order to minimize the
foreignness of the target text” (Munday, 2001: 146). It is possible to affirm that dubbing
is a form of domestication because some elements contained in the original language
are assimilated into the target culture, eliminating conflictive cultural characteristics.
Nevertheless, there are other aspects to consider in the case of adapting or
domesticating the linguistic variations that can be present in any dubbing modality.
According to Lomeña (2009), a 'variación diamésica' is presented in dubbing which is
the speaker’s relationship to the oral and written communication channels. There is also
a ‘variación diafásica' where the pertinent register can be differentiated as formal and
informal. The register and the linguistic variations must be taken into account in the
dubbing process, because the main objective in dubbing is to insert an audiovisual
product to a specific culture.
3.2.1 Domestication in the translation of names
One of the main functions of dubbing resides in the possibility of achieving a specific
cultural identity for a region or social group. This domestication process in the dubbing
of animated series is common. Venuti (1995) establishes that translation can preserve
the original cultural references (foreignization) or it can adapt them into the target
culture, in order to eliminate the foreign references and transform them into something
familiar for the target culture (domestication). These terms can be applied in proper
names, because sometimes translators decide to keep them (foreignisation) while
others decide to adapt them into the target culture (domestication) (Hurtado de
Mendoza, 2009). Nowadays, proper names are not usually adapted or translated, but a
translator can correct, adapt or replace a proper name when s/he considers it
15
appropriate (Moya, 1993). However, Rodríguez’s (2001) study shows that the translation
of proper names is regulated by the performance of the translator.
In Mendoza’s (2009) opinion, dubbing translators have a limited amount of translation
strategies, and this is particularly due to the characteristics of audiovisual text. Similarly,
Rodríguez (2001) establishes a classification according to the respective function of the
proper name, based on the study by Theo Hermans (1988) in which “conventional
names” are referred to as all the names that lack semantic loading, while the “loaded
names” are those names which are full of meaning, i.e., they express something.
Therefore, the decisions to select, adapt or preserve the foreign name depends largely
on the translator and the techniques applied for dubbing.
In this modality, the names of people and places are particularly difficult, because it is a
visual and audio content, which may lead to a visual incoherence if it is not in
concordance with the other elements. Moya (1993: 235) argues that “Así que lo que
debe hacer un traductor ante un nombre propio es dejarlo como está, si no existe en
español otra forma ya reconocida”. This is because there are certain names that have
been naturalized over the years, such as the names of countries, rivers or the names of
kings and queens. However, in the dubbing of certain animated series, mainly derived
from Japan, translators have opted for the solution to domesticate the names. This
decision is taken by the translator and the team of dubbing, who should take into
account the cultural tolerance of the target language audience (Chaume, 2005).
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Methodology
In this chapter the procedure and also the main characteristics of this research are
explained. This includes the methodology used in an attempt to show the main
characteristics of domestication in an animated series, in order to understand the
different variables of this inquiry such as the process of material selection, data
collection and other issues. It is important to notice that in order to carry out research,
methodology is the major aspect. As a student, I consider this step the most complex,
and one of the most enriching for the formation of a professional. I now realize how to
carry out research and it has helped me to broaden my mind in the field of audiovisual
translation research.
1. Research design
In order to carry out research, it is necessary to first select the specific methods to be
used according to the research needs. This was an empirical and comparative research,
because it was carried out to identify a particular aspect of reality. According to Williams
and Chesterman (2002: 60)
…empirical science has two major objectives: to describe particular
phenomena in the world of experience and to establish general
principles by means of which they can be explained and predicted.
Therefore, scientific research is developed by using one of two paradigms: quantitative
and qualitative or a mixed method approach (Medrano, N.Y.). In the field of translation
Chaume (2004: 12) emphasizes that “The methodology used in audiovisual translation
research should involve a multidisciplinary approach allowing for a rigorous analysis of
the object under study”. Qualitative studies and some of their methods can be used in
mass media, as well as in the translation practice of audiovisual content, because
…media can become sources of evidence. In addition to being means of
representation, media are physical objects and constituents of other
social interaction
(Jensen, 2012: 275)
For this reason, this study fits in the process of a qualitative research because it involves
understanding:
17
…the relationship between the elements that make up the object of
their study, and the key textual and contextual issues that need
examining when transferring elements to another language and culture
(Chaume, 2004: 13)
Following this research methodology, this paper uses a collection of empirical material.
The different qualitative research approaches permit the collection of material due to
“Qualitative
research
is
endlessly
creative
and
interpretive.
(…)
Qualitative
interpretations are constructed” (Denzin & Lincoln, 2003: 37). Data collection was
performed to provide relevant information for this study since it sought to verify a wide
range of resources in order to prove the level of domestication present in an animated
series. In the case of audiovisual media, data collection can be found rather than made,
because media are physical objects that are in constant interaction with society (Jensen,
2012).
2. Audio visual material
First, I chose the animated series according to their popularity, in addition to their broad
dissemination in different mass media. I have focused mainly on those series that have
been broadcast on local television and that present solid cases of domestication.
Furthermore, the episodes were selected according to the diversity of content and the
specific audience they target. The ten specific animated series were: Adventure Time,
Case Closed, Count Duckula, Digimon Tamers, Inuyasha, Pokemon, Ranma ½, Rorouni
Kenshin, Teenage Mutant Ninja Turtles and Uncle Grandpa. Then, I watched the
episodes and carried out a comparative study of the English Version (Source Language)
with the dubbed Latin Spanish Version (Target Language) of each episode.
3. Research methods
To identify and classify the domesticated phrases, I reviewed the translatological
theoretical proposals; however I found that there is not a consensus on how the
information should be collected. Therefore, I designed and developed technical proposal
cards, in order to recollect all the information. These included the name of each
animated series, as well as the title of the episode that was analyzed. I filled in the
necessary information of the episode and I wrote the transcription of the most suitable
examples, which were selected for their high content of domestication in the Latin
18
Spanish Version; for example phrases or dialogues that involve a total change to fit the
target culture.
Card number:
Source Language
Target Language
Minute:
Title:
Episode:
Minute:
Finish:
Title:
Duration:
Episode:
Finish:
Duration:
Comment
(Example of technical proposal card)
4. Data Analysis
The data collected was analyzed using a comparative model. According to Williams and
Chesterman (2002: 49), “The earliest theoretical model of translation was a simply
comparative one.” In general, William and Chesterman (2002) explain that this type of
model is based on contrastive approaches, which are focused on making comparisons
between the elements from the source language with the components resulting in the
translation. Hence, all the comparisons in this paper were established between the
determinate variables obtained from twenty examples, in order to locate the differences
that involved the change in the dubbed version which is addressed to the target
language. Later, these were analyzed.
It is also important to mention that the comparative study of the differences found in the
dubbing version regarding culture, language and some particular references were
modified from the source language, because
…translation is a multifaceted process. In other words, translation
involves other problems than language bound ones (which themselves
are relatively concrete and provable), including terms of context,
19
readership, topics, etc. which are more extended and not at the disposal
of the translators.
(Mobaraki & Aminzadeh, 2012: 64)
To achieve this analysis, it was important to consider that translation is a process that
involves various aspects, such as those related to social or cultural elements that had to
do with the final changes chosen for a dubbed version. Moreover, in translation studies
there are several research paradigms that are used in order to analyze the process of
translation. On the one hand, ‘translation’ is considered as the act of transferring a
verbal message from one language to another. On the other hand, ‘translation’ is seen
as a synonym of interpretation to any significant group within the same linguistic
community (Ricoeur, N.Y.: 11). Due to these aspects, I established the general
audiovisual characteristics of the collected data. However, there are several theoretical
approaches in the field of translation. For this reason, Pym (2011) has compiled and
classified them according to their principal functions as Equivalence Theories and
Indeterminate Theories. Hence, this research is based on the Equivalence Theories
because
…la equivalencia presupone que un texto de origen y un texto de
llegada pueden tener el mismo valor a cierto nivel y respecto a ciertos
fragmentos, y que este valor se puede expresar de más de un modo.
(p. 21)
The theory formulated by Lawrence Venuti (1995) in his work The Translator’s Invisibility
is located in the Equivalence Theories classification. Venuti (1995) defines that
translation is either a foreignization or a domestication process. This process occurs
when a translator is able to pass unnoticed or ‘invisible’ then the translation reaches a
level of familiarity, according to Venuti (1995: 1) a translation presents this ‘invisibility’ or
‘Domestication’
…when it reads fluently, when the absence of any linguistic or stylistic
peculiarities makes it seem transparent, giving the appearance that it
reflects the foreign writer’s personality or intention or the essential meaning
of the foreign text—the appearance, in other words, that the translation is
not in fact a translation, but the “original.”
20
In order to prove the presence of domestication in animated series, the concept of
Domestication was used for the analysis of the emergent data.
21
Analysis
This section contains an analysis of twenty fragments found in ten different animated
series. I have included the most relevant fragments of the dialogues from the original
source language and the Latin American Spanish dubbed version. In the present
analysis there is a comparison of each version. In particular, this study shows that the
data results clearly describe a process of domestication of certain elements in the
audiovisual dubbing. All the results provided relevant information that proves the
existence of the process of domestication in the dubbed version of animated series.
1. Intertextuality as Cultural References
In the analysis of different examples taken from ten animated series, several cultural
references were identified clearly, specifically those that can be classified as cases of
intertextuality. In such examples there is evidence of popular character references as
well as popular songs directed to the target culture.
Case 1 Teenage Mutant Ninja Turtles, It Came From Beneath the Sewers
Scene Description: In a previous scene appears Shredder and a scientist, both are
experimenting with a plant, and they agree to use it in order to destroy the Turtles. Next,
is seen the Teenage Mutant Ninja Turtles’ base with their friend April. They were
discussing about an unknown item, when Shredder’s plant attacks them.
Source Language
Michelangelo: I saw this on the late show once. The invasion of the mean, green, giant killer
beanstalk. Didn't think I could say it, did ya?
Leonardo: Stand back, April. This is no mother's day plant.
April: Oh! It's got me! Phew. What kind of hideous plant was that?
Michelangelo: I don't know, man, but it was mondo bizarro.
Donatello: My guess is, it's not from this planet.
Rafael: I could almost hear it say ouch.
Michelangelo: I think that was me.
Leonardo: Well, whatever it was, we seemed to have frightened it off.
22
Dubbed Version
Miguel Ángel: ¡Vaya! ¡Vi esto en un programa de televisión! La invasión de la espeluznante
planta asesina gigante contra el Santo. Pensaron que no lo iba a decir ¿verdad?
Leonardo: Atrás Abril, parece que esto no es jugo de tomate.
Abril: ¡Ah me atrapó! ¿Qué clase de planta es esa?
Miguel Ángel: No lo sé pero a mí me pareció bastante grande para ser bonsái.
Donatello: Planta de los pies tampoco es.
Rafael: Yo no sé pero la oí quejarse
Miguel Ángel: No, ese quejido fue mío.
Leonardo: ¡Qué les parece! Y eso que dicen que el verde es vida.
Analysis
In this case different aspects of domestication are found. Firstly, it is possible to notice a
cultural reference, because the title ‘The Invasion of the Mean, Green, Giant Killer
Beanstalk’ refers to a famous movie in US, but in Spanish the title includes ‘contra el
Santo’ who is an important Mexican wrestler. Secondly, a cultural reference is found in
Leonardo’s dialogue ‘Stand back, April. This is no mother's day plant’ because in US
there are some traditions for Mother’s day, which include things like breakfast in bed,
giving flowers, cards or gifts and also buying flowerpots. However, in the dubbed version
the cultural reference was domesticated and includes the phrase ‘parece que esto no es
jugo de tomate’ which is a direct reference to a popular commercial of that time. Another
important aspect is an intentional rhyme only developed in the dubbed version of
Donatello’s dialogue. Finally, in Leonardo’s phrase ‘Y eso que dicen que el verde es
vida’ there is domestication as there is a change in the meaning of the sentence. This
phrase is commonly use in Spanish in order to refer to natural things, and also to
emphasize that those characters are green.
23
Case 2 Adventure Time, The Reign of Gunters
Scene Description: In this scene appears Ice King looking for the Magic Item’s Shop,
however he cannot understand the symbol and he asks if is he in the correct place.
Source Language
Ice King: I know that, I know! Why can't they write it on the sign, though? Why's it all gotta be
secret? Let's just put it all out there, huh? Equal distribution of magic to the people! No more
symbols! No more initiations! Ya feelin' me, Huntress Wizard?
Huntress Wizard: You tryin' to get killed, Ice King?
Ice King: Uh-uh, I was just steppin' to ya, girl, with my intellectual wizard politics. No, don't go.
Well, "Swing at every ball," that's what Jay T. Doggzone says.
Dubbed Version
Rey Helado: Eso ya lo sé, ya lo sé. Pero ¿por qué no lo escriben en el anuncio? ¿Por qué tiene
que ser secreto? Solo pónganlo ahí ¿no? Distribución igual de magia para la gente, no más
símbolos, no más iniciaciones ¿si comprendes güerita?
Cazadora hechicera: ¿Quieres que te maten rey helado?
Rey Helado: No, solo te molestaba niña, son mis políticas intelectuales de mago. No…no te
vayas…bueno cada quien hace su luchita pero ni hablar mujer, traes puñal.
Analysis
In the dubbed version the original phrase "si comprendes güerita" is replacing the name
mentioned in the Source Language. The word "güerita" is a Mexican regionalism, which
refers to fair-skinned people, particularly used for women. In the second part of Ice
King’s dialogue is shown evidence of a direct reference thorough the use of the popular
expression from an original song by Pedro Infante ‘ni hablar mujer’ which appeared for
the first time in the film ‘Nosotros los pobres’. Then, the phrase was changed in the
sequel of the film as ‘ni hablar mujer, traes puñal’ said by the actress Evita Muñoz.
Subsequently, the phrase became an icon not only in the Mexican cinema, but as a
direct cultural reference. As in cases of intertextuality it is important to note that if the
original reference is unknown then some misunderstanding could be presented.
24
In the source dialogue ‘Ice King’ mentions a book written within the universe of the
cartoon, however in the dubbed version this was changed into a more popular
expression in order to redirect the message to the target culture. This translation shows
evidence of transposition, because it replaces the original message in order to transform
it into a direct cultural reference.
Case 3 Case Closed, Prescription for Murder
Scene I Description: The scene takes place when Conan and Rachel are diving in the
sea and they discover a body in the depths. They call the police immediately and the
body is recovered.
Source Language
Richard Moore: Chief Takai, please allow me to introduce myself. My name is Richard Moore.
I’m a private detective.
Police: Wait! Detective Moore. Hey! You are that famous guy aren’t you? The Sleeping Sleuth.
Richard: That’s right! I wasn’t sure if you’d heard of me all away out here in such a remote town.
This keeps up I’ll be more popular than football.
Conan: He brags and he hits kids, what a role model.
Woman: Annie!! No!! No!!
Detective: Excuse me miss, you obviously knew the victim? Can you tell me her name?
Woman: Annie…Annie Evans…I known her for years, she is my best friend, or at least she was
until now.
Dubbed Version
Carlos Guzmán: Permítame presentarme, mi nombre es Carlos Guzmán y soy detective, no sé
si de casualidad haya oído hablar de mí.
Policía: Dijo, ¿Guzmán? No me diga que es el famoso y reconocido detective.
Carlos Guzmán: Yo soy. Así que mi nombre también es reconocido en ciudades remotas como
esta. ¡Vaya, vaya! me siento sumamente alagado.
Conan: Claro hace caravana con sombrero ajeno.
Mujer: ¡Sandra! ¡Sandra!
Policía: Discúlpeme, no quiero interrumpir su llanto pero veo que conoce a la víctima.
25
Mujer: Así es, ella era mi mejor amiga, no puedo creer lo que le pasó. Su nombre era Sandra
Martínez.
Analysis
In this scene, it is possible to notice some important aspects. First of all, an obvious
domestication example can be identified because the expression ‘hacer caravana con
sombrero ajeno’ is a well-known Mexican colloquialism that refers to show off other’s
people achievement. This popular expression is a complete sentence which replaced
the original sentence but retaining its meaning, i.e. the translation of the sense. Thus
‘sense’ is defined as the content that matches the connotative and denotative value into
their equivalent phrase (Piñero, 2008). Also, there are several examples of name
domestication. First the detective introduced himself as ‘Richard Moore’, but in the
dubbed version he is ‘Carlos Guzman’. A woman appears screaming ‘Annie’ which is
the victim’s name in the original version, however in the dubbed version the victim’s
name is ‘Sanda Martínez’.
Scene II Description: In this second part, detective Moore is discussing the possible
evidence of a murder. However, the Doctor is related to the victim.
Source Language
Richard Moore: I can imagine what it would be like inducting a postmortem on someone I have
gone staring with, it must be extremely difficult for you doctor.
Doctor: Yes, it was awful.
Richard Moore: Well I have to say, you took it rather well, I didn’t see in the body you at all. And
I know that in the surface the evidence suggested that it was a suicide, but don’t you think it’s
unusual that she didn’t leave a note.
Dubbed Version
Carlos Guzmán: Solo pienso que no estuvo bien que una persona relacionada con la víctima la
haya examinado antes de que se decidiera si fue suicidio o un caso de asesinato.
Doctor: ¡Quizás fue suicidio!
Carlos Guzmán: Aunque no existen heridas visibles tampoco se han encontrado rastros de que
fuera suicidio. Yo como digo una cosa digo otra, porque hay cosas que ni qué. Tengo o no
tengo razón doctor González. Puede ser un asesinato.
26
Analysis
In the second part of the dialogue, the meaning in the dubbed version has been totally
changed. All the sense in the Latin American version turns around the suicide aspect in
order to clarify the situation. The dialogue refers to how horrible the Doctor’s suffering
must be because of his lady’s death. However, the doctor is only trying to defend the
view that it is an evident suicide. In the second part, in the Latin American version a
traditional cultural reference is presented. Intertextuality is shown through the
expression ‘Yo como digo una cosa digo otra, porque hay cosas que ni qué. Tengo o no
tengo razón…’ which is a characteristic speech of ‘La Chimoltrufia’ a very famous
Mexican character. This aspect proves the translator’s invisibility, because it is difficult to
notice when we are watching a foreign animated series.
Case 4 Count Duckula, Vampire Vacation
Scene Description: The Count Duckula wants to go out, however there is a storm.
Source Language
Count Duckula: Oh, forty days of rain. Huh. Will it ever stop? Phew! At least it's warmer today.
What does the forecast say? Looks like rain. Enter!
Igor: Good morning, sir.
Count Duckula: And what's good about it, lgor?
Igor: Oh, it's so ghoulishly gloomy, sir. Everything's so dismal and dreary. Even the manacles in
the dungeon are rusting nicely, milord.
Count Duckula: Ah, carrot juice. Oh, hey, just the thing. That's not carrot juice!
Igor: No Sir, it’s a 963 Yugoslavian RH Negative.
Count Duckula: Oh, well, that's…
Dubbed Version
Conde Pátula: ¡Ay cuarenta días de lluvia, esto parece maldición! Hm y además moja. Veamos
cuál es el pronóstico para hoy. ¡Parece que va llover! Adelante.
Igor: Buenos y remojados días amo.
Conde: ¿Y qué tienen de buenos Igor?
27
Igor: ¡Oh, son tan macabros y tenebrosos! Todo luce deprimente y triste, incluso los grilletes en
el sótano se enmohecen con gracia.
Conde: ¡Ah mi jugo de tomate! Gracias Igor. ¡Esto no sabe a jugo de tomate Igor!
Igor: No amo, es un RH negativo Yugoslavo, reserva 83.
Conde: ¡Ay mi estomaguito!
Analysis
In Count Duckula’s dialogue, culture is addressed particularly through the phrase
‘parece que va a llover' which has been taken from the actor Pedro Infante. In this case,
the translator interacts on a deeper level with the culture of the target language,
inserting a popular Mexican referent for the society. Lip-sync in cartoons allows greater
freedom to express phrases, because there are minimal special movement adjustments.
So, this occurs in the case of 'Buenos y remojados días amo' that clearly shows how the
content of the sentence can be extended thanks to the oral flexibility of the cartoons. In
the next part of the dialogue a direct reference is presented: ‘esto no sabe a jugo de
tomate’ taken from a popular commercial in that time.
Finally, it can be appreciated that dubbing animated series can also establish a
correlation between oral translation and image. In this part the sense of the oral speech
tries to transmit a new message in the dubbed version, because it relates that Duckula
is touching his stomach. This aspect was modified in order to transmit a new idea that
the drinking is what caused him some pain or discomfort through the expression 'Ay mi
estomaguito'.
Case 5 Pokémon, Manectric Charge!
Scene Description: In this scene appears Brock playing in a soccer goal game, in
which he has to obtain points in order to get a prize.
Source Language
Brock: The fans are claimed, wondering will Brock end it again. With precision he made a
powerful punch. Yes, all side is a perfect ten. This guy is amazing, a true champ how’s that for
fancy good work. This can’t be beat.
28
Dubbed Version
Brock: Aficionados que viven la intensidad del fútbol. Brock se dispone a dar un zambombaze.
Sí, donde las arañas tejen su nido. Él es Brock Maradona del Sosa. Qué les parece mi perra
brava, ni Cardoso me puede ganar.
Analysis
In this extract from the Pokémon series, a very particular cultural reference case can be
seen. In the source language there was a normal narration about football. However, in
the dubbed version, all the speech was transformed into a direct reference of ‘el Perro
Bermudez’ a Mexican sports announcer. For this, all his most colloquial and usual
phrases were used.
Case 6 Pokémon, Here’s Lookin’ at You Elekid!
Scene Description: The scene takes place when the Team Rocket saw a trader, who
wants to interchange a Pokémon. The Team Rocket agreed to use James’ Pokémon to
close a deal with that man.
Source Language
James: Wait! Victreebel! My Victreebel! Victreebel, I miss you so!
Meow: Back off, Jim!
Jessy: Anyway, let’s check out our Weepinbell.
James: Come out Weepinbell!
Meow: Check out those peepers.
James: Those eyes are so much like Victreebel once were. Cheapers! Where did you get those
eyes? Now time to make my move. Wheezen helped me to catch that Weepinbell and then got
to the breeding center. In three shakes of a lamb’s tail Weepinbell had evolved into Victreebel
and we two were inseparable. Night Day and good times and bad, feast or farming, we were a
team. Eat your own food. But now those glorious days are long gone.
Dubbed Version
James: Torito, se lleva a mi torito. Victreebel, cómeme pero no me dejes.
Jessy: Ay ya, basta, tienes que dejar ese horrible pasado tras de ti.
Meow: Ya bájale.
29
James: Sal, Weepinbell
Meow: ¡Ay, miren esos ojitos!
James: estos ojitos bizcos se parecen mucho a los de mi Victreebel.
James: Qué cosas, de dónde sacaste esos ojitos. Ahora, es tiempo de que se haga machito.
Wheezen me ayudó a atrapar a ese whepinbell y luego salí del centro de crianza. En solo unos
instantes Weepinbell había evolucionado en Victreebel y los dos juimos inseparables. Día y
noche, en las buenas y en las malas, la abundancia, el hambre, éramos un equipo. ¡No te
manches manta! Pero esos gloriosos días se han terminado.
Analysis
This case is particularly full of cultural references. First of all, the expression ‘torito’ was
used by Pedro Infante and it is a popular Mexican phrase. In addition, the phrase
‘cómeme pero no me dejes’ is a direct reference to a popular expression, which was
originally used to talk about domestic violence. This extract also contains several
popular phrases that are cultural references to specific characters in Mexican TV.
Another common expression is ‘no te manches manita’ which is a reference to
Nacaranda, a famous character in a Mexican TV show. There is also use of
colloquialism, principally terms such as ‘machito’. Finally, this episode shows evidence
of idiolect because of the way in which the general speech is pronounced, it
demonstrate that is adapting the source language and addressing it to a specific culture,
i.e. James is a character with a British accent, however in Spanish he is given a
classical Mexican dialect. Nevertheless, this idiolect translation lost the source
pronunciation, and modifies the social stratification, because it reduces the level of
register, which was changed from a semi-formal style to become a fully colloquial
speech. In conclusion, this dubbing version can hardly be understood by other countries
except Mexico.
1.1 Intertextuality as Songs in the Target Culture
Songs also play an intertextual function. Whether they can be guided by a direct
equivalent, or can be adapted according to the fashion of some particular culture. The
translation of songs can also be literal in order to not lose sense, but for this section it
cases were selected where the cultural references played a leading role.
30
Case 7 Inuyasha, The Last Banquet of Miroku’s Master
Scene Description: In this scene Inuyasha and his team are trying to obtain a special
item, because Miroku’s master is dying and everything points that it can help. However,
they fall into a trap and inhale a mist which is toxic.
Source Language
Kagome: Hi! I’m Kagome and I’d like to sing for you!
Inuyasha: What now!
Kagome: La la la, this is me!
Kagome 2 and 3: This Kagome would like to dance for you! And the third Kagome would like to
laugh like an idiot ha ha ha.
Kagome: I don’t understand what’s going on around here. All the sounds it’s look like there
three of me, oh well, time to sing. I’m so happy, like a bee…
Miroku: Everybody, listen to me. Don’t annihilate the mist this the work of the demon I don’t
know what this mist is exactly but it makes you intoxicated, so do not inhale it, no matter what.
Inuyasha: Thank you the later Miroku, they’re already three sheets to the wind.
Miroku: Well, I was referring to the rest of us of course.
All Kagome: Alright, high right to the tone
Sango: Ha ha ha ha...
Dubbed Version
Ahome: ¡Quién más aplauda le mando le mando le mando a Ahome! Sa sa sa yakuza yakuza.
Ahome 2 y 3: ¡Y la número dos bailará sa sa sa! Ahome Higurashi número tres reirá para
ustedes ji ji ji ja ja ji ji ja ja.
Ahome: ¿Pero qué fue lo que sucedió? ¿Por qué somos tres, de dónde salieron esas dos?
Bueno no importa, ahora voy a cantar. La la la la
Monje: Muchachos, no aspiren la niebla. No entiendo bien qué es lo que quiere, pero su
principal objetivo es embriagar a las personas. Así que tengan cuidado, no la aspiren.
Inuyasha: ¡Ya cállate Miroku! ¡Tú también estás bien borrachote!
Miroku: Lo sé, solo quería avisar.
Sango: ¡Malditos hombres!
31
Analysis
First it is important to notice the song. In the source language there is no cultural
reference, however, in the Latin American dubbed version a very popular song was
used. Another important aspect is the main character’s name ‘Kagome’. In the dubbed
version it was changed to Ahome, because in the target language, especially in Mexico,
it could be interpreted in different ways. In addition, some additional expressions were
added. One case of this is Miroku’s expression. While in the source language he said
that he only wanted to help, in the dubbed version he speaks as a drunk and Inuyasha
uses a colloquialism to refer him as a ‘borrachote’. Another aspect is Sango’s dialogue.
In the source language, Sango only laughs, but in the dubbed version the phrase
‘malditos hombres’ was added in order to highlight the fact that all of them are drunks.
This also extends the versatility of dubbing, especially since this scene uses a voice off
technique, that is,only the narrator’s voice is heard.
Case 8 Ranma 1/2, Wretched Rice Cakes of Love
Scene Description: In this scene Akane prepared some rice cakes that included a
strange magical power which can show the idea, coupled by a mark on the face of those
who taste the cakes.
Source Language
Happosai: Oh A cup, B cup, give me a C cup…cherry blossom rice cakes!
Tendo: Akane just finished making them herself master.
Happosai: Oh! Forget this. I’ll take a…
Tendo: No so fast! Are you forgetting something master?
Happosai: I see you haven’t tried one yet.
Happosai: Looks like cherry blossom rice cake is wrecked in my head man.
Tendo: Sure, whatever, but how does it taste master?
Happosai: Awful.
Dubbed Version
32
Happosai: Y andábanos cortando rábanos y unos chiflábanos y otros cantábanos y
andábanos.... ¡Hola como están!
Tendo: Akane nos preparó estas deliciosas tartas de arroz.
Happosai: Yo me voy. Y andábamos…
Tendo: ¡Espere! No puede irse sin probar aunque sea una.
Happosai: ¿Acaso quieres matarme o qué?
Happosai: Siento algo dentro de mi cabeza, estoy mareado.
Tendo: Pero no ha dicho que opina del sabor maestro.
Happosai: Fue horrible.
Analysis
This particular example shows how the song was changed in the source language for a
specific cultural reference in the target language. The song presented in the source
language is a typical phrase commonly used by the character; however in Spanish it
was not translated literally, instead an old Mexican song was used in order to create a
more familiar introduction. All the changes included in the dialogue correspond to a very
colloquial structure, using informal structures in oral speech, for example the use of
‘aunque sea una’. In the same dialogue another change was found, this is the main
structure and meaning. In the source language Happosai said that Tendo had not tried a
rice cake, but in Spanish the dialogue means that Tendo is trying to kill Happosai.
Finally, the term ‘awful’ was replaced by an intertextual reference taken from a popular
expression of a Mexican actor. The phrase ‘fue horrible’ replaced the original word
‘awful’, however the real meaning in the translation was maintained.
2. Register and Its Representations
Register can vary according to different aspects. This may be presented in cultural,
geographical or social aspects. The appearance of colloquialism then is completely
common in all its different representations. It can vary from a single word or phrase to
the adaptation of a saying or proverb that results in a more familiar phrase for the target
culture. Subsequently, this section presents all the cases found in different animated
series.
33
Case 1 Count Duckula, One Stormy Night
Scene Description: In this scene, Dr. Von Goosewing accidentally falls in the Castle’s
basement. He is looking for some fuses, because the place is too dark, suddenly he
comes across the Count’s copy. The Count offers to help him, however this is a trap.
Source Language
Count: Come here, my friend. There are fuses over here, dozens, dozens of them.
Count: This way. This way and hurry.
Dr. Von Goosewing: OK, OK, I'm going as fast as I can...without seeing where I coming from
am.
Count: Yeah, yeah, the fuse is there--in the basket.
Dr. Von Goosewing: In here? I can't say I can see anything.
Count: Hee hee hee hee hee! Just a little closer. That's it, that's it. Ha ha ha! Ah, blood, blood. I
love it.
Dubbed Version
Conde: Je je por aquí muchacho, por aquí, ja ja ja por aquí hay muchos fusibles.
Conde: Je je date prisa.
Von Patoven: Entiendo, entiendo. Solo que ando viendo a ver que veo porque no veo por
donde voy.
Conde 2: Je je mira, mira. Los fusibles están ahí, en la canasta.
Von Patove: ¿Aquí? Aquí dice…no, no. No podría decirle lo que estoy viendo.
Conde 2: Je je je busca bien, busca bien, es todo. ¡Je je je! hay muchos fusibles ¡Ja ja Ja ja ja!
Quiero sangre.
Analysis
This example contains several words that present domestication. In the first part of the
dialogue, 'friend' is changed for 'muchacho' which is a common and everyday word in
Spanish. Moreover, in the Spanish version a complete phrase was modified in order to
express some of the musicality included in the original version, however it was
necessary to change the meaning of ‘fast’ in the source language to the incapacity to
see therefore the character uses ‘no veo’. Furthermore, the expression ‘little closer’ has
been replaced by ‘busca bien’ that is a more natural and familiar phrase. This
34
expression fits not only in the synchronization of time, but also manages to pass
unnoticed in the target language.
Case 2 Ranma ½, Tendo Family Goes to the Amusement Park!
Scene Description: In this scene the Tendo Family wins free tickets to the amusement
park. However, Happosai slipped into the bag of victuals and ate everything. The family
hear about a go kart competition in which the winner is going to get a free full meal, so
they participate.
Source Language
Happosai: Wait up girls! Cause your big daddy is coming at home!
Rioga: Oh no, I can’t see Akane anywhere!
Woman: Hey buddy!
Man: You’re sitting in the pits.
Happosai: Look out ladies! Cause I’m right behind you. Yahoo! It’s about time I step on it, get
back in this race. Banzai!
Happosai: Midway! Could you join me for a lovely full course dinner for two?
Dubbed Version
Happosai: Mis reinas, ya llegó su Luis Miguel.
Happosai: ¡Esperen!
Rioga: Cielos, no veo a Akane por ningún lugar.
Mujer: Oye ¿qué te pasa?
Hombre: La pista de carreras está allá.
Happosai: Muchachas, muchachas. ¡Qué cocha! Esto se está poniendo interesante, a ganar.
Happosai: Adiós. Voy a ganar una cena completa con unas muchachonas.
Analysis
Here there are several cases and examples. First, it can be noticed that the expression
‘Wait up girls!’ was replaced by ‘Mis reinas’, which is a colloquial Mexican way to say
beautiful. Then the term ‘daddy’ was changed for a cultural reference, ‘Luis Miguel’ who
35
is a popular singer. However, the meaning of the sentence is maintained. Second, it can
be noticed that the meaning of the dialogue was changed, because a character was in
the ‘pits’ which is the place where cars change the tires, but in the dubbed version
people said that the ‘pista’ is on the other side. Moreover, some examples of
domestication are found in words, such as ‘muchachas’ and its variation ‘muchachonas’
which are common ways to call women, particularly in Mexican colloquial speech.
Case 3 Digimon Tamers, The Imperfect Storm
Scene Description: In this scene Rika and Kyubimon return with the missing Calumon.
Then the group discusses about how to get out of Digimon world.
Source Language
Henry: I’m tryin’ to send an e-mail to Yamaki. I thought he could help us find a way outta here
but this thing doesn’t seem to work unless there’s a storm.
Kazu: Hey dude, why don’t we just ask Ryo? We knows how to get outta here.
Kenta: Yeah, he rocks.
Rika: Please, he doesn’t know.
Kyubimon: Rika, why do you get so bent out of shape when you hear Ryo’s name?
Rika: Ugh, I’d like to bend him out of shape.
Beelzemon: Time for a little payback.
Takato: Hey at least our final moments here are peaceful ones.
Guilmon: I’d rather they be fun ones, can I wake up Calumon now?
All: No! Whoa!
Leomon: Who are you?
Beelzemon: This is gonna be fun. Hm, hm, hm, hm, hm, hm.
Terriermon: Well at least he’s got a sense of humor. But there’s something oddly familiar about
him.
Dubbed Version
Henry: Imposible, no puedo hacer la conexión. Pensé que podía comunicarme con el señor
Yamatiu usando este mugroso aparato.
Kazu: No hay nada mejor que preguntarle a Ryo, él debe saberlo.
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Kenta: Tienes razón.
Rika: ¡Ese gaznápiro!
Kyubimon: Rika, por qué cuando hablan de ese niño te comportas tan obstinadamente.
Rika: No, eso no es verdad.
Beelzemon: Por fin los encontré. ¿Quién es el que anda ahí? Je je je no es cri-cri.
Terriemon: Ah es ese digimon de la motocicleta, no sé pero no me agrada en lo más mínimo.
Analysis
In this case there are several uses of colloquialism. The English expression ‘to bend out
of shape’ is used by two characters in the first part of the dialogue. This expression is
used in order to indicate ‘bother’, however it was replaced in the target language by a
simple phrase, which indicates the phrase was adjusted at the level of register so that
could be understood. Nevertheless, this situation altered the original meaning. In the
source language version, there is a part of the dialogue (underlined) which is voice-off,
but in Spanish it was completely omitted and deleted. Also, a clear example of a cultural
reference was found. The character Beelzemon uses a popular and unmistakable
phrase by ‘cri-cri’. Furthermore, the excessive use of colloquialism and the facilities
found in the dubbed animated series allow the addition of a whole phrase that is not
present in the original version.
Case 4 Inuyasha, Shippo’s New Technique!
Scene Description: In this scene Shippo is angry with his team so he decided to work
on his own. When he was walking in the forest, five demon foxes start to follow Shippo
as their leader.
Source Language
Fox 1: Hey buddy! You know just who’s you’re dealing with here.
Fox 2: This is the fox famous through the fox demon world, the one in only: Mister Shippo.
Fox 3: You’re the one who should get out of his way!
Foxes 4 and 5: You know it!
Shippo: Could you let go my tail please?
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Lizard Demon: Well well, I guess I’ve got a fight him then…
Foxes: Ok, go get’ him Master. Get’ him! Get’ him! Get’ him! Meow!
Shippo: Looks that I’ve got no choice…
Lizard Demon: Come on; let’s see what you’ve got!
Shippo: Try this oversize! Bumper! …Run away!
Lizard Demon: You, little squats, are you trying to make a fool of me? Little twerps!
Dubbed Version
Zorrito 1: Sin vergüenza no sabes con quien te estás metiendo.
Zorrito 2: Trata con respeto al jefecin Shippo, el líder de todo el clan de zorritos mágicos.
Zorritos: Te atacará con su técnica. Con su técnica.
Zorrito 1: Si fuera tú me disculparía.
Zorrito 2: ¿O acaso estás preparado para desafiarlo?
Zorritos: Te sorprenderás con los ataques del jefecin. Del jefecin. Del jefecin. Del jefecin.
Shippo: ¿Por qué sujetas mi colita?
Monstruo: Acepto un desafío con tu jefecito.
Zorrito 1: Jefecito es todo suyo. Todo suyo. Suyo. Suyo.
Shippo: Está bien.
Monstruo: ¿Qué esperas? ¡Estoy listo!
Shippo: Técnica mágica, hongos llorones. ¡Córranle!
Monstruo: ¡Enanos! ¡Pensaban engañarme! Eh, chaparros traviesos.
Analysis
In this example, there are several changes in the register: the source dialogue was
modified using some colloquialisms. First, in the original version the characters refer to
Shippo as ‘Mister’ and also they use the word ‘Master’ in a very respectful way. However
the Latin American dubbed version used the term ‘jefe’ in different ways, as ‘jefazo’ and
also ‘jefecin’. This shows a change in the register of the vocabulary. Therefore, the
content was redirected in order to address the dubbing version to the Mexican culture
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It can be noticed in the second part of the dialogue that the expression ‘Could you let go
my tail please?’ was changed to say in a polite way ‘let me go’. Nevertheless this does
not occur in the dubbed version, because the expression ‘¿Por qué sujetas mi colita?’ is
a direct question, which demonstrates a change in the intention of the dialogue. Finally
all the dialogue includes common words and expressions, for example ‘córranle’ and
also the term ‘little twerps’ was replaced for ‘chaparros traviesos’ which demonstrate
that register is specifically addressed for the Mexican culture.
2.1 Colloquialism as a whole
The presence of colloquialism may occur as a linguistic variation of language, in either a
word or a complex unit. These units, as it was noted in the literature review chapter can
be understood as simple words, sayings or phrases, and even puns.
Case 5 Case Closed, Richard’s Deadly Date
Scene Description: Detective Moore was sitting down in the street, he was drunk.
Suddenly, he saw Sonya, an old friend.
Source Language
Richard Moore: Hey! Are you Sonya Shadowly! What a surprise! It’s Richard Moore,
remember? You know, we went dutch at the coffee shop below my office.
Sonya Shadowly: Oh! How could I forget? You’re the detective, right?
Richard Moore: Eh…I’m only the best detective ever. You live around here, don’t you? Eh…that
the time, oops, I must’ve forgot my watch.
Sonya Shadowly: Hey Richard! Is that ok if I call you Richard? Would you like to join me in a
little ride I know a wonderful spot for start gazing, you come with me, won’t you?
Richard Moore: Sounds great! Let’s go!
Dubbed Version
Carlos Guzmán: ¡Ah! ¡Hola señorita Helena! ¡Usted cada vez está más buena! Soy el detective
Carlos Guzmán, la he visto varias veces en el café que abajo de mi oficina.
Helena: ¡Ah! Usted es el renombrado detective Carlos Guzmán.
Carlos Guzmán: Así es. Ahora que lo recuerdo usted vive por aquí, yo tengo muy buena
memoria. ¡Uy las ocho! Pero se me olvidó mi reloj.
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Helena: A propósito señor Guzmán ¿le gustaría dar un paseo? Hay un lugar en donde la vista
nocturna es hermosa pero a mí me da mucha vergüenza ir sola, ¿me haría el favor de
acompañarme?
Carlos Guzmán: ¡Ni lo mande, Dios quiera!
Analysis
In this case, the process of domestication is used with proper names, because in the
dubbed version the foreign element is eliminated in order to provide a closer equivalent
to the target culture. The objective of this lies primarily in integrating the character into
the target language so that h/she could be perceived as belonging to the society and the
addressed culture. In addition, internalization of proper names was taken advantage of
to develop a popular Mexican compliment: ‘Estás como santa Helena, cada día más
buena’. However, this decision has significantly affected the meaning of the original
dialogue. In the next part of the dialogue, the translator chose a more formal convention,
because Sonya refers to Richard as "detective Guzmán” which provides certain
formality. Finally, there is a substitution of the whole phrase ‘Sounds great! Let’s go!’
that is replaced by ‘¡Ni lo mande, Dios quiera!’ a common saying in the target culture.
Therefore, the translator opted for the full domestication of the phrase, which has hidden
its foreign origin (Goris 1991).
Case 6 Teenage Mutant Ninja Turtles, Attack of the 50-Foot Irma
Scene I Description: Irma gave up her diet, and then accidentally ate a pill that turned
her into a giant. The Turtles try to help her by hiding her in a shed.
Source Language
Michelangelo: Red alert, gang. She's about to crank out a whole bunch of "zs."
All: Look out! Run!
Rafael: Sounds like the all clear.
Dubbed Version
Miguel: Alerta roja amigos está roncando cada vez con más fuerza.
Rafa: ¿Ya dejó de rugir el león?
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Analysis
In this case, the onomatopoeia created by ‘Zs’ was replaced by a full colloquial phrase.
This change was made in order to enhance understanding in the target culture by using
‘¿Ya dejó de rugir el león?’ which tries to represent the same idea of ‘all clear’ in the
dubbed version. Also the underlined phrase was replaced in Spanish by random
screaming. This takes advantage of the fact that it is a voice off dialogue.
Scene II Description: This scene takes place when Irma runs away into the city. Then,
the Turtles discovered how to help Irma by using a special pill.
Source Language
Irma: What do I do with this?
Donatello: Swallow it!
Michelangelo: Yeah! Then like call us in the morning.
Leonardo: Oh, but, Irma, you're a big girl now.
Rafael: Real big.
Donatello: And we've got big problems.
Dubbed Version
Miguel Ángel: Y si persisten las molestias, consulte a su médico.
Leonardo: Ah pero Irma, ya eres una chica grande.
Rafael: Por fin, chica o grande.
Donatello: Estamos en grandes problemas.
Analysis
In this particular case, the dubbed version modifies a popular phrase from the source
culture into the most common equivalent in the target language. In this scene, the
equivalent of ‘call us in the morning’ which is a popular expression used by doctors, was
replaced in the target language by ‘…si persisten las molestias, consulte a su médico’.
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This change has coherence, because despite being a completely different phrase, the
meaning is the same, it keeps its denotative value.
Case 7 Rurouni Kenshin, Prelude to the Impending Fight: The Shadow of the Wolf
Draws Near
Scene Description: This scene takes place in a hotel. It is a conversation between
three man about business.
Source Language
Man 1: Now, now. That’s enough talk about business. So why don’t we celebrate the rest of the
night and enjoy ourselves.
Saito: I’m sorry. Normally I’ll be happy too, but I must be going. If I don’t get back to my other
job soon, people might become suspicious. Well then, I guess I’ll excuse myself now gentlemen.
Man 1: The former leader of the third Shinsengumi squad one mister Hajime Saito has changed
his name to Goro Fujita and he’s now an assistant of inspector in the police force. Some people
even said that he was a better sword than Soshio Okita the greatest of the Shinsengumi. Jinei
couldn’t defeat the legendary Battousai the Manslayer but perhaps this man can.
Man 2: I really don’t like that guy; he’s just a sorry pug like the working for the police.
Man 1: Just as long as you don’t let him to interfere with our work Akamatsu. He is replacing
Jinei. So try to accept him. To think a member of the Shinsengumi would work for me is almost
funny that someone like him can even be in the same room with someone like me. The world
really is a different place now. The Shinsengumi was once known as the wolves of Mibu but
know there about as dangerous as a housebroken dog with no teeth.
Dubbed Version
Hombre 1: Bien lo mejor será que dejemos de hablar de trabajo. Ahora pensemos en
divertirnos está noche.
Saito: Gracias por su oferta, pero el deber me llama. Si no lo hago, hay gente que me puede
delatar, será mejor que me marche.
Hombre 1: Ese hombre es Hajime Saito, cabecilla de la tropa número tres del grupo Shinsen.
Desde la restauración se hace llamar Goro Fujira y en la actualidad ocupa el cargo de
comandante de la policía. Se dice que es mejor que Okita quien fuera alguna vez el mejor del
grupo Shinsen. Ni el mismo Jinei derrotaría a Battousai pero este hombre si lo haría.
Hombre 2: Me disgusta ese sujeto, te tiene absolutamente dominado.
Hombre 1: No se trata de eso Akamatsu. Él hará parte de nuestro grupo en reemplazo de Jinei.
Vaya no puedo creer que tendré bajo mis órdenes a un antiguo miembro del grupo Shinsen que
además fue realista, cómo han cambiado los tiempos. Antiguamente el grupo Shinsen era
42
conocido por sus temibles Miburo, pero ahora los feroces perros no son más que unos mansos
corderitos.
Analysis
The main objective in this sample was to neutralize the most foreign terms. This occurs
when the source language ‘I’m sorry. Normally I’ll be happy too, but I must be going’ is
replaced by ‘Gracias por su oferta, pero el deber me llama’, thus changing it to
something more common in every-day speech while using a full phrase that contains
meaning. The reduction of the word ‘shinsengumi’ to a less complex unit as ‘grupo
shinsen’ is also used. The dialogue of Man 2 presents an excess of domestication,
because the original intention is lost. In the source language the comment means that
Saito is a dog, however, in Spanish, it refers to the fact that the former speaker is
dominated by Saito. In the last part of the dialogue, the peculiarity of translating a whole
sentence by its closest equivalent is evident. It is based on maintaining the denotative
meaning of the sentence, and seeks the most popular expression in the target language.
The source dialogue contains ‘the wolves of Mibu but know they’re about as dangerous
as a housebroken dog with no teeth.’ which shows that the Shinsengumi are no longer
dangerous through a comparison between wolves and dogs without teeth. However in
Spanish, the translator compares dogs with meek lambs. This is directed to a peculiarity
in speaking, because lambs are related with obedience.
Case 8 Adventure Time, Dungeon Train
Scene Description: In this scene, Finn and Jake are walking in the forest because they
are looking for a mysterious cave.
Source Language
Jake: Yeah, well, sounds like you're sad. Listen, Finn, girls is like horses. When you fall down,
it's important that you get right back on again—on a different horse. And there's a lot of fish in
the sea. A lot of fish. A penny saved is a penny earned.
Finn: Yeah, I-I guess. Or maybe dating girls is like riding a bicycle.
Jake: Yeah, man, yeah!
Finn: Or, like, if you mess up, you could get really hurt forever, or hurt someone you really care
about.
43
Jake: Eh, well, I suppose. Anyway, I hope this mystery cave we're looking for is as weird as
Flambo's brother says it is. Maybe that'll snap you out of the—Whoa! What?!
Jake: What's this train all about? No one said nothing about no train in the way!
Finn: Relax, buddy. We'll just cross after it passes. No big thing, really.
Jake: Oh, yeah. It's two hours later now. What the stunk? Oh, okay.
Dubbed Version
Jake: Bueno, pues para mí que sí estás triste. Pero mira, las mujeres son como caballos. Si te
caes, te levantas y vuelves a montar, y luego otra vez, y luego volvemos a empezar. Como dijo
el sabio, a caballo dado no se le mira el diente.
Finn: Sí, eh eso creo…o quizá salir con chicas es como andar en bicicleta.
Jake: Exacto mi hermano.
Finn: Porque ya sea que alguien pedalee la tuya, o tu pedalees la de alguien más.
Jake: Pues…son los riesgos. Bueno como sea, espero que la cueva misteriosa que buscamos
sea tan rara como el hermano de Flambo dijo, quizá eso te haga olvidar. ¡Ay, mamachita! ¿Y
este tren de dónde salió? A mí nadie me aviso que había un tren en el camino.
Finn: Relax amigo, lo cruzaremos cuando pase, no es la gran cosa.
Jake: Muy bien. Ya pasaron dos horas. ¿Qué pasho? Ay ya, ¡bajan!
Analysis
This dialogue is presented as a good example of domestication, since it contains
sayings, popular phrases and references to Mexican culture. First of all, Jake says in the
English version, ' it's important that you get right back on again—on a different horse '
this means that when a person has ended a relationship with a lady, he should not go
back with her. However, in the dubbed version it implies that he should keep trying with
the same girl. In addition, the dubbed version adds the phrase ‘volvemos a empezar’
which is a referent of a nursery song ‘un barquito chiquito’. The dubbed phrase is
replaces the whole sentence ‘…and there's a lot of fish in the sea. A lot of fish. A penny
saved is a penny earned’ was replaced by a popular refrain that maintains concordance
with the previous idea because it talks about horses ‘a caballo dado no se le mira el
diente’ which represents phraseology change. In the next part of the dialogue, Finn
mentions that girls are like bicycles. In the source language, it is understood that if
anybody does not know how to ride a bike, then s/he can hurt him/herself or even hurt
44
other people. However, in the dubbed version the phrase presents a register addressed
principally to Mexican culture, however, it changes the whole meaning. The expression
used to replace ‘like riding a bike’ was the popular Mexican regionalism 'pedalearle la
bicicleta a otro' which refers to going out with someone else’s partner, and it changes
the original meaning. Following Jake’s dialogues, in this part of the conversation, there
are strong adaptations into domesticated phrases as well as cultural references. First is
found 'Ay mamachita' that was used in order to replace 'Whoa! What?!' in the original
version. 'Ay mamachita' is a popular Mexican phrase by Adalberto Martinez Resortes.
Then, the phrase was included '¿Qué pasho?' which is a reference to the character of
Don Ramon in ‘el chavo del 8’. Moreover, the dialogue concludes with 'bajan' which is a
typical Mexican phrase. ‘Bajan’ is often used in public transport to ask the driver to stop.
Case 9 Rurouni Kenshin, Not Out of Luck!
Scene Description: In this scene Shishio and Aoshi are fighting.
Source Language
Yumi: Oh! He’s behind Lord Shishio.
Shishio: What’s wrong? You’ve corner your opponent. You’ve got me turn around and wide
open, what are you standing around for? This is the perfect opportunity. Are you able to attack?
Or it’s that just you don’t want to attack.
Yumi: That attack!
Aoshi: Oniwaban style double kodachi, Kaiten Kenbu Rokuren!
Shishio: Too slow Aoshi! The Kaiten Kenbu Rokuren is six slashes in one moment but it only
works if I am on one side. As I thought, the strength of your attack is nothing after being hit with
the Amakakeru Ryu No Hirameki and now I understand that the only thing you’re being doing for
the very beginning is buying some time by stooling me! This is pathetic. You were once a true
warrior and a verge of madness and now you’re barely in irritation worth my time and attention,
your efforts are meaningless. The Battousai is endeavor going to stand again.
Yumi: So he was trying to buy some time. Why? Why would Aoshi Shinomori do that for him?
Dubbed Version
Yumi: Ah no, está a su espalda.
Shishio: ¿Qué sucede? No solo acorralas a tu oponente sino que lo atacas por la espalda.
¿Qué haces ahí parado? Es tu mejor oportunidad. No puedes atacar o no quieres hacerlo.
Habla.
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Yumi: ¡Esa técnica!
Aoshi: Estilo Nito Kotachi, Kaiten Kenbo Rukuren.
Shishio: En el Kaiten Ken Borrukuren deben hacerse seis rotaciones hacia ambos lados de
izquierda a derecha, y como lo pensé, después de haber recibido el Amakakeru Ryu No
Hirameki tu ataque ya no existe. Lo único que puedes hacer es prolongar tu agonía. ¡Qué
tragedia! Una vez estuviste a punto de lograrlo, pero ahora solo puedes prolongar la batalla. Y
no importa todo el empeño que pongas en conseguirlo, será inútil si Battousai sigue sin sentido.
Repito, lo que haces es prolongar tu miserable agonía. Jugaré contigo como el gato con el
ratón. Aquí voy.
Yumi: ¿Prolongar para Battousai? ¡Pero prolongar qué prolongar qué, de qué habla!
Analysis
This particular example presents a complete change in the meaning and the intention of
the source language, the dialogue in the target language uses more popular phrases. In
this example, there is not a relation between the meanings in the source language and
the target language. In the second part of the dialogue Shishio refers to Aoshi only
buying time, however the dubbed version says that he is extending his own suffering.
Thus, the original intention of the source language is changed, because Shishio’s
discourse talks about Aoshi’s life and his honor, while in the dubbed version maintains
the idea of suffering. This is followed by a popular reference of the game, cat and
mouse. However, there is nothing in the source language that refers to this. Finally
Yumi’s dialogue was changed in meaning. In the source language, she is wondering
why Aoshi would buy some time for Battousai; in contrast the dubbed version shows that
Ayumi has no idea what is going on. Therefore, by means of this example, it is noticed
that an excess of domestication can completely change the original intention in the
source language and produce a new variation in meaning.
3. The Presence of Dialects: Idiolect
Idiolects are characterized by transferring the equivalent of a particular way of speaking
from a region or a specific social group into its direct equivalent in the target language.
There are several examples of these cases, however, for the purpose of this analysis
the most representative were included.
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Case 1 Uncle Grandpa, More Uncle Grandpa Shorts
Scene Description: This scene takes place in Uncle Grandpa’s recreational vehicle,
which is his home.
Source Language
Uncle Grandpa: Yo, yo, yo, yo, yo, yo what’s up? It’s your boy uncle Grandpa. Welcome to my
crib and my ride! My lifestyle is crazy-far awesome Yo, belly bag, ready to help me make people
watching at home jealous about what we live?
Belly Bag: Yeah boy!
Uncle Granpa: Yo yo alright, let’s go inside. So this right here is the livin’ room! The livin’ room
is where I live it up! Yo! Just look at the stuff I have that you don’t have.
Dubbed Version
Tío Grandpa: ¡Qué onda, qué onda, qué onda! ¿Cómo están? Es su amigo, Tío Granpa.
Bienvenidos a mi casa y mi nave. Mi estilo de vida es más que increíble. Oye Bolso Belly ¿listo
para ayudarme a que todos lo que nos ven en casa sientan celos de cómo vivimos?
Bolso Belly: Simón narizón.
Tío Grandpa: Pásenle a lo barrido y vean mi cantón querido. Y les presento esta es la sala. La
sala es donde vivo a lo grande. Sí, miren las cosas que tengo y que ustedes no tienen.
Analysis
The typical dialect in the source language was changed into an equivalent. This
equivalent is an example of using an idiolect, which considers all the elements in a
specific linguistic variation. This dialectical usage comes particularly from the rapper
speech. The result is the normal and colloquial Mexican speech and equivalent
expressions. At a first glance, the use of ‘Qué onda’ is noticed which replaces the ‘yo yo’
greeting. Another important aspect occurs when the source language was translated
and then adapted into a typical Mexican colloquialism, which uses expressions such as
‘mi nave’ or ‘pásenle a lo barrido’. It can be noticed that in the dubbed version Belly Bag
changes the original ‘yeah boy’ for ‘simón narizón’, this is a common colloquial Mexican
expression, however it means something similar to the source language.
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Case 2 Digimon Tamers, Goliath
Scene Description: This scene takes place in Digimon world, with Ryo appearing.
Source Language
Takato: Uh! Wow! I can’t believe it’s really you. Huh? Don’t tell me that’s your partner.
Ryo: Yeah, that is Cyberdramon.
Takato: Awesome! Huh, nice to meet cha fella.
Takato: Oh man...hey I don’t think he likes me very much.
Ryo: Don’t take it personally, he’s not the socializing kind. He’s really just a puppy on the inside,
once you get to know ‘em.
Ryo: Play nice, boy.
Terriermon: Puppy, huh? I’ll believe it when I see it. Who’s Ryo?
Dubbed Version
Takato: Oye, tú eres el mismísimo Ryo Akijama, entonces ¿quién está allá?
Ryo: Es mi Digimon camarada, Cyberdramon.
Takato: Nunca pensé verlo tan cerca.
Takato: ¿Qué se enojó o comió gallo?
Ryo: No, él sólo come zopilote mojado y está buscando un rival que le dé el ancho. ¿Ves?
Tampoco está aquí.
Terriermon: ¿Quién es?
Analysis
This dialogue presents lot of Mexican colloquialism, which means that it is addressed to
a particular region. Furthermore, there are some popular references, for example,
‘comió gallo’ is a Mexican phrase used in order to say that somebody is angry. The
expression ‘zopilote mojado’ is a cultural reference found in the famous TV show ‘El
Chapulín Colorado’. However, the meaning of the full dialogue was changed because
the excessive use of colloquialism and common Mexican expressions. Idiolect aspects
locate this particular example in Mexican slang. Nevertheless, the translation into a
specific slang has presented an abuse of domestication, because the source language
does not present a particular way of speaking. In the dubbed version, all the expressions
48
require a comprehension of the specific speech, for example register or colloquialism,
which limits the understanding of this dialogue to a portion of the population. Finally, it is
evident that all the meaning in the dialogue was changed due to the excessive
colloquialisms and Mexican cultural references included in the dubbed version. In
conclusion, this allows the researcher to notice that excess in domestication can change
the meaning and the original intent contained in the source language.
Case 3 Uncle Grandpa, Pizza Steve’s Diary
Scene Description: This scene starts with two women that apparently have a problem.
Source Language
Stacy: Hey Lisa, my mom like packed two sodas. Do you like want one?
Lisa: Like OK.
Stacy: Two sodas, like coming right or whatever. Here.
Lisa: Thanks. Like, how we’re just to drink soda when is, like, trapped inside this weird glass
thing is.
Stacy: I don’t know, but this is like, totally all the government’s fault, probably. Oh! I am so upset
right now.
Lisa: I know me too. Life is so hard sometimes Stacy.
Uncle Grandpa: Well, maybe I can help.
Lisa and Stacy: Uncle Grandpa!
Uncle Grandpa: Yeah it’s me. And must not forget my associates. Big bell Belly Bag, Mr. Gus,
Giant Realistic Flying Tigger and Pizza Steve.
Pizza Steve: Uncle G, did you mind? I kind have a big boss on my hands here.
Dubbed Version
Stacy: Oye Lisa, tipo y así mi mamá nos dio unas bebidas ¿quieres una?
Lisa: O sea, porfi.
Stacy: Sí, como sea. Salen dos bebidas de dieta. Disfruta.
Lisa: Gracias. Ash o sea ¿cómo se supone que tomemos la bebida si está dentro de esta rara
botella de cristal?
Stacy: Ay no tengo idea, pero obvi, seguro es culpa del gobierno, tipo y así. Te juro que creo
que ya hasta me deprimí.
49
Lisa: Ay ya sé, yo igual, la vida puede ser tan difícil a veces Stacy.
Tío Grandpa: Bueno talvez yo pueda ayudar.
Lisa y Stacy: ¡Tío Grandpa!
Tío Grandpa: Si soy yo, y por favor no olviden a mis socios: el valiente Bolso Belly, el Señor
Gus, la Tigresa voladora gigante realista y el fabuloso Pizza Steve.
Pizza Steve: Tío G ¿te importaría? Estoy muy ocupado jugando un grandioso videojuego.
Analysis
This is another example of idiolect. In this case the perfect equivalent of a linguistic
variety is found. The adaptation of this example is not limited to words or short phrases,
but also to the girl’s intonation. This highlights an idiolect focused on social class and its
form of expression. This case demonstrates a high level of domestication to the cultural
context of the target language. An equivalence of the term 'like' was translated by the
closest word in the Spanish language: 'Ósea'. Another important aspect found in this
example refers to the change in meaning. The former part of the source dialogue says ‘I
kind have a big boss on my hands here’ while the dubbed version tries to maintain a
concordance between the image and the idea, because it replaces the original meaning
in order to specify that he is playing a videogame.
Another important aspect that stands out in this episode is the partial translation of
proper names. On the one hand, there are some names that preserve half of their
original version, for example ‘Uncle Grandpa’, ‘Mr. Gus’ and ‘Belly Bag’. On the other
hand, some names were maintained in the original version, for example ‘Pizza Steve’,
‘Stacy’ and ‘Lisa. Moreover, some names were completely translated, for example ‘Giant
Realistic Flying Tigger’ because there is not an equivalent and it could be complicated to
repeat the original name in the target language.
50
Conclusion
The main objective of this work was to prove the presence of domestication in the
dubbing of animated series. This final chapter presents the conclusions of the analysis
through the comparison and identification of twenty examples which prove the presence
of domestication in different audiovisual materials.
In all the analyzed cases, it is possible to notice that domestication involves the
adaptation of terms or cultural situations, as well as the transformation of certain
structures in order to translate the entire contents into the target language. In other
words, this constant search for familiarity in dubbing coincides with the ‘invisibility’ term,
in which Venuti (1995) proposes the translator’s attempts to pass undetected in order to
remove any linguistic barrier. Translators must take into account also all the elements
involved in dubbing, such as images or lip sync. Although lip sync does not play a
crucial role in the dubbing process of animated series, this can become one element in
favor.
All these requirements inform about the cultural particularity of translation in dubbing,
that is, the presence of cultural references; such as songs, proverbs etc., and
registration, which can be presented as a dialectal variation. Therefore, the translator’s
needs for the similar or equivalent element in the target culture could result as a partial
or total loss of the original message. This loss of meaning due to drastic changes in the
dubbing was demonstrated mainly in the presence of distant cultural elements,
manipulating names or complete changes in situations and thus loss of sense.
Therefore domestication in some cases may be harmful. On the one hand, it can mean
the total loss of meaning of the original message, on the other hand, it can mean the
loss of cultural aspects in the source language, as these are replaced by equivalents
which impede the learning of new terms or foreign traditions.
Limitations
During the development of this study, there was only an important limitation; this is the
lack of both source language and target language scripts. Thus, it is impossible to
51
determine why the translator made certain decisions, and all the changes and
adjustments made during the recording.
Further Research
This study was based on the search for domestication in the dubbing of animated series,
thus it is only a small sample of a huge universe and it is important to notice that it could
differ from different points of view. For future research purposes, I suggest two options.
First, an extensive analysis of the real impact on people, as well as the cultural level of
translation in dubbing, its implications for learning, and children’s behavior. This could
provide an in depth study of animated series, and how they are perceived by the society
in the target language. Second, the condition of the “neutral language”. Currently,
neutralization seeks to reach a standard in all the dubbing versions of the animated
series. This research could be carried out through a comparison between domestication
and neutralization, focusing on the cultural aspect of translation.
Personal Reflection
In my opinion, translators’ decisions have an influence in the recording of dubbing
versions, but this process should be seen as a joint activity, where the role of the
translator is a small grain of sand. Thanks to the study of audiovisual translation, we
asked about what happened to the cultural content in the original version, and how it is
transferred to certain places or countries, where those traditions are completely
unknown. This situation caught my attention, particularly in the case of animated series,
because although they are aimed at a general audience, children are the most
influenced by the dubbed versions.
Finally, I realized that the term invisibility may be an elusive concept, because it may be
difficult to identify or trace the origin of certain cultural references, such as sayings or
specific phrases by some celebrities. Moreover, I firmly believe that the translator’s work
requires creativity, because sometimes in dubbing it is necessary to adapt puns or to
find some musicality that needs to sound natural in the target dialogue. In the case of
animated series, this creativity should be focused on the resolution of the best terms in
the target culture which are capable of transmitting the original message. However, the
52
reality of the world of translation, especially in dubbing, does not always allow the
transmission of the entire message into the target culture. Taking in account all the
implications in dubbing, from the translator’s work to the dubbing studio, I think this can
enable future translators to reflect about the possibilities implied in a single translation,
and how the final product in dubbing could be the result of different paths taken in all the
process.
53
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58
Appendix I
This Appendix includes the cards and all the information documented for the purpose of
this Trabajo Recepcional.
Card number: 1
Title: Adventure Time
Source Language
Minute: 03:45
Episode: The Reign of the Gunters
Finish: 04:15
Duration: 30 seconds
Ice King. I know that, I know! Why can't they write it on the sign, though? Why's it all gotta be
secret? Let's just put it all out there, huh? Equal distribution of magic to the people! No more
symbols! No more initiations! Ya feelin' me, Huntress Wizard?
Huntress Wizard. You tryin' to get killed, Ice King?
Ice King. Uh-uh, I was just steppin' to ya, girl, with my intellectual wizard politics. No, don't go. Well,
"Swing at every ball," that's what Jay T. Doggzone says. Hello?
Target Language
Minute: 03:43
Title: Hora de aventura
Episode: El reinado de los Gunters
Finish: 04:15
Duration: 30 seconds
Rey Helado. Eso ya lo sé, ya lo sé. Pero ¿por qué no lo escriben en el anuncio? ¿Por qué tiene
que ser secreto? Solo pónganlo ahí ¿no? Distribución igual de magia para la gente, no más
símbolos, no más iniciaciones ¿si comprendes güerita?
Hechicera. ¿Quieres que te maten rey helado?
Rey Helado. Nah solo te molestaba niña, son mis políticas intelectuales de mago, no…no te
vayas…bueno cada quien hace su luchita pero ni hablar mujer, traes puñal. ¿Hola?
Comment
 The phrase "si comprendes güerita".
 "Güerita" is a Mexican regionalism, which refers to fair-skinned people.
 In the second part: a reference of Pedro Infante "ni hablar mujer".
59
Card Number: 2
Title: Adventure Time
Episode: Dungeon Train
Source Language
Minute: 00:57
Duration: 56 seconds
Finish: 01:53
Jake: Yeah, well, sounds like you're sad. Listen, Finn, girls is like horses. When you fall down, it's
important that you get right back on again—on a different horse. And there's a lot of fish in the
sea. A lot of fish. A penny saved is a penny earned.
Finn: Yeah, I-I guess. Or maybe dating girls is like riding a bicycle.
Jake: Yeah, man, yeah!
Finn: Or, like, if you mess up, you could get really hurt forever, or hurt someone you really care
about.
Jake: Eh, well, I suppose. Anyway, I hope this mystery cave we're looking for is as weird as
Flambo's brother says it is. Maybe that'll snap you out of the—Whoa! What?!
Jake: What's this train all about? No one said nothing about no train in the way!
Finn: Relax, buddy. We'll just cross after it passes. No big thing, really.
Jake: Oh, yeah.
Jake: It's two hours later now. What the stunk? Oh, okay.
Target Language
Title: Hora de aventura
Minute: 00:59
Finish: 01:55
Episode: Tren calabozo
Duration: 56 seconds
Jake: Bueno, pues para mí que sí estás triste. Pero mira, las mujeres son como caballos. Si te
caes, te levantas y vuelves a montar, y luego otra vez, y luego volvemos a empezar. Como dijo el
sabio, a caballo dado no se le mira el diente.
Finn: Sí, eh eso creo…o quizá salir con chicas es como andar en bicicleta.
Jake: Exacto mi hermano.
Finn: Porque ya sea que alguien pedalee la tuya, o tu pedalees la de alguien más.
Jake: Pues…son los riesgos. Bueno como sea, espero que la cueva misteriosa que buscamos
sea tan rara como el hermano de Flambo dijo, quizá eso te haga olvidar. ¡Ay, mamachita! ¿Y
este tren de dónde salió? A mí nadie me aviso que había un tren en el camino.
Finn: Relax amigo, lo cruzaremos cuando pase, no es la gran cosa.
Jake: Muy bien. Ya pasaron dos horas. ¿Qué pasho? Ay ya, ¡bajan!
Comment
 The apparition of a saying: in the English version, ' it's important that you get right back on
again—on a different horse ' used in the dubbed version in different way.
 The phrase ‘volvemos a empezar’ which is a referent of a nursery song ‘un barquito
60
chiquito’.
 In the dub phrase is replaced the whole sentence ‘and there's a lot of fish in the sea. A lot
of fish.
 In the next part of the dialogue, Finn refers that girls are like bicycles.
 Jake: 'Ay mamachita', '¿Qué pasho', 'bajan'.
Card Number: 3
Source Language
Episode: Richard’s Deadly Date
Title: Case Closed
Minute: 04:14
Finish: 04:57
Duration: 48 seconds
Richard Moore: Hey! Are you Sonya Shadowly! What a surprise! It’s Richard Moore, remember?
You know, we went dutch at the coffee shop below my office.
Sonya Shadowly: Oh! How could I forget? You’re the detective, right?
Richard Moore: Eh…I’m only the best detective ever. You live around here, don’t you? Eh…that
the time, oops, I must’ve forgot my watch.
Sonya Shadowly: Hey Richard! Is that ok if I call you Richard? Would you like to join me in a little
ride I know a wonderful spot for start gazing, you come with me, won’t you?
Richard Moore: Sounds great! Let’s go!
Sonya Shadowly: I pull the car up.
Target Language
Title: Detective Conan
Minute: 04:16
Finish: 05:00
Cita con la muerte
Duration: 48 seconds
Carlos Guzmán: ¡Ah! ¡Hola señorita Helena! ¡Usted cada vez está más buena! Soy el detective
Carlos Guzmán, la he visto varias veces en el café que abajo de mi oficina.
Helena: ¡Ah! Usted es el renombrado detective Carlos Guzmán.
Carlos Guzmán: Así es. Ahora que lo recuerdo usted vive por aquí, yo tengo muy buena
memoria. ¡Uy las ocho! Pero se me olvidó mi reloj.
Helena: A propósito señor Guzmán ¿le gustaría dar un paseo? Hay un lugar en donde la vista
nocturna es hermosa pero a mí me da mucha vergüenza ir sola, ¿me haría el favor de
acompañarme?
Carlos Guzmán: ¡Ni lo mande, Dios quiera!
Helena: Déjeme sacar el auto.
Comment
61
 Domestication of proper names
 It has been development a usual Mexican compliment, which says ‘Estás como santa
Helena, cada día más buena’.
 Register change.
Card Number: 4
Title: Case Closed
Source Language
Episode: Prescription for Murder
Minute: 11:08
Finish: 11:30
Duration: 22 seconds
Richard Moore: Chief Takai, please allow me to introduce myself. My name is Richard Moore. I’m
a private detective.
Police: Wait! Detective Moore. Hey! You are that famous guy aren’t you? The Sleeping Sleuth.
Richard: That’s right! I wasn’t sure if you’d heard of me all away out here in such a remote town.
This keeps up I’ll be more popular than football.
Conan: He brags and he hits kids, what a role model.
Woman: Annie!! No!! No!!
Conan: Annie?
Detective: Excuse me miss, you obviously knew the victim? Can you tell me her name?
Woman: Annie…Annie Evans…I known her for years, she is my best friend, or at least she was
until now.
Richard Moore: I can imagine what it would be like inducting a postmortem on someone I have
gone staring with, it must be extremely difficult for you doctor.
Doctor: Yes, it was awful.
Richard Moore: Well I have to say, you took it rather well, I didn’t see in the body you at all. And I
know that in the surface the evidence suggested that it was a suicide, but don’t you think it’s
unusual that she didn’t leave a note.
Target Language
Minute: 11:09
Title: Detective Conan
Finish: 11:30
Episode: Asesinato en la playa
Duration: 21 seconds
Carlos Guzmán: Permítame presentarme, mi nombre es Carlos Guzmán y soy detective, no sé si
de casualidad haya oído hablar de mí.
Policía: Dijo, ¿Guzmán? No me diga que es el famoso y reconocido detective.
62
Carlos Guzmán: Yo soy. Así que mi nombre también es reconocido en ciudades remotas como
esta. ¡Vaya, vaya! me siento sumamente alagado.
Conan: Claro hace caravana con sombrero ajeno.
Mujer: ¡Sandra! ¡Sandra!
Conan: ¿Sandra?
Policía: Discúlpeme, no quiero interrumpir su llanto pero veo que conoce a la víctima.
Mujer: Así es, era ella era mi mejor amiga, no puedo creer lo que le pasó. Su nombre era Sandra
Martínez.
Carlos Guzmán: Solo pienso que no estuvo bien que una persona relacionada con la víctima la
haya examinado antes de que se decidiera si fue suicidio o un caso de asesinato.
Doctor: ¡Quizás fue suicidio!
Carlos Guzmán: Aunque no existen heridas visibles tampoco se han encontrado rastros de que
fuera suicidio. Yo como digo una cosa digo otra, porque hay cosas que ni qué. Tengo o no tengo
razón doctor González. Puede ser un asesinato.
Comment
 The expression ‘hace caravan con sombrero ajeno’.
 Meaning change.
 The phrase ‘Yo como digo una cosa digo otra, porque hay cosas que ni qué. Tengo o no
tengo razón…’.
Card Number: 5
Title: Count Duckula
Source Language
Minute: 01:52
Episode: Vampire Vacation
Finish: 02:41
Duration: 49 seconds
Count Duckula: Oh, fory days of rain. Huh. Will it ever stop? Phew! At least it's warmer today.
What does the forecast say? Looks like rain. Enter!
Igor: Good morning, sir.
Count Duckula: And what's good about it, lgor?
Igor: Oh, it's so ghoulishly gloomy, sir. Everything's so dismal and dreary. Even the manacles in
the dungeon are rusting nicely, milord.
Count Duckula: Ah, carrot juice. Oh, hey, just the thing. That's not carrot juice!
63
Igor: No Sir, it’s a 963 Yugoslavian Arena.
Count Duckula: Oh, well, that's…
Target Language
Title: Conde Pátula
Episode: Ole por mi primo
Minute: 01:52
Finish: 02:41
Duration: 49 seconds
Conde Pátula: ¡Ay cuarenta días de lluvia, esto parece maldición! Hm y además moja. Veamos
cuál es el pronóstico para hoy. ¡Parece que va llover! Adelante.
Igor: Buenos y remojados días amo.
Conde: ¿Y qué tienen de buenos Igor?
Igor: ¡Oh, son tan macabros y tenebrosos! Todo luce deprimente y triste, incluso los grilletes en
el sótano se enmohecen con gracia.
Conde: ¡Ah mi jugo de tomate! Gracias Igor. ¡Esto no sabe a jugo de tomate Igor!
Igor: No amo, es un RH negativo Yugoslavo, reserva 83.
Conde: ¡Ay mi estomaguito!
Comment
 The phrase 'parece que va a llover’ taken from the actor Pedro Infante.
 Lip-sync in cartoons allows greater freedom to express phrases, because there are
minimal special movement adjustments
 V8 add: ‘parece jugo de tomate’.
 In the dubbed version: ‘Ay mi estomaguito’.
Card Number: 6
Title: Count Duckula
Source Language
Minute: 09:00
Episode: One Stromy Night
Finish: 09:38
Duration: 38 seconds
Count: Come here, my friend. There are fuses over here, dozens, dozens of them.
Dr. Von Goosewing: Just one will do. I'm not a greedy Von Goosewink. No.
Count: This way. This way and hurry.
Dr. Von Goosewing: OK, OK, I'm going as fast as I can without seeing where I coming from am.
Count: Yeah, yeah, the fuse is there--in the basket.
Dr. Von Goosewing: In here? I can't say I can see anything.
64
Count: Hee hee hee hee hee! Just a little closer. That's it, that's it. Ha ha ha! Ah, blood, blood. I
love it.
Target Language
Title: Conde Pátula
Minute: 09:02
Episode: Una noche de tormenta
Finish: 09:39
Duration: 37 seconds
Conde 2: Je je por aquí muchacho, por aquí, ja ja ja por aquí hay muchos fusibles.
Von Patoven. Ah solo necesito uno. Patoven no es tan ambicioso.
Conde 2: Je je date prisa.
Von Patoven: Entiendo, entiendo. Solo que ando viendo a ver que veo porque no veo por donde
voy.
Conde 2: Je je mira, mira. Los fusibles están ahí, en la canasta.
Von Patove: ¿Aquí? Aquí dice…no, no. No podría decirle lo que estoy viendo.
Conde 2: Je je je busca bien, busca bien, es todo. Je je je hay muchos fusibles Ja ja Ja ja ja.
Quiero sangre.
Comment
 The change of 'friend' as 'muchacho'.
 The expression ‘little closer’ has been replace by ‘busca bien’.
Card Number: 7
Title: Digimon Tamers
Source Language
Minute: 2:00
Episode: Goliath
Finish: 2:07
Duration: 7 seconds
Takato: Uh! Wow! I can’t believe it’s really you. Huh? Don’t tell me that’s your partner.
Ryo: Yeah, that is Cyberdramon.
Takato: Awesome! Huh, nice to meet cha fella.
Cyberdramon: Grrrrr…
Takato: Oh man...hey I don’t think he likes me very much.
Ryo: Don’t take it personally, he’s not the socializing kind. He’s really just a puppy on the inside,
once you get to know ‘em.
Cyberdramon: Grrrr...
65
Ryo: Play nice, boy.
Terriermon: Puppy, huh? I’ll believe it when I see it. Who’s Ryo?
Target Language
Title: Digimon Tamers
Episode: Goliath
Minute: 1:43
Finish: 2:13
Duration:
Takato: Oye, tú eres el mismísimo Ryo Akijama, entonces ¿quién está allá?
Ryo: Es mi Digimon camarada, Cyberdramon.
Takato: Nunca pensé verlo tan cerca.
Cyberdramon: Grrrr….
Takato: ¿Qué se enojó o comió gallo?
Ryo: No, él sólo come zopilote mojado y está buscando un rival que le dé el ancho. ¿Ves?
Tampoco está aquí.
Terriermon: ¿Quién es?
Comment
 Expressions in dubbed version: ‘comió gallo’, ‘zopilote mojado’.
Card Number: 8
Title: Digimon Tamers
Source Language
Minute: 14:45
Episode: The Imperfect Storm
Finish: 15:34
Duration: 49 seconds
Henry: I’m tryin’ to send an e-mail to Yamaki. I thought he could help us find a way outta here but
this thing doesn’t seem to work unless there’s a storm.
Kazu: Hey dude, why don’t we just ask Ryo? We knows how to get outta here.
Kenta: Yeah, he rocks.
Rika: Please, he doesn’t know.
Kyubimon: Rika, why do you get so bent out of shape when you hear Ryo’s name?
Rika: Ugh, I’d like to bend him out of shape.
Beelzemon: Time for a little payback.
Takato: Hey at least our final moments here are peaceful ones.
Guilmon: I’d rather they be fun ones, can I wake up Calumon now?
66
All: No!
All: Whoa!
Leomon: Who are you?
Beelzemon: This is gonna be fun. Hm, hm, hm, hm, hm, hm.
Terriermon: Well at least he’s got a sense of humor. But there’s something oddly familiar about
him.
Target Language
Title: Digimon Tamers
Episode: Un aviso de emergencia dese el
Digimundo
Minute: 32:56
Finish: 33:32
Duration: 37 seconds
Henry: Imposible, no puedo hacer la conexión. Pensé que podía comunicarme con el señor
Yamatiu usando este mugroso aparato.
Kazu: No hay nada mejor que preguntarle a Ryo, él debe saberlo.
Kenta: Tienes razón.
Rika: ¡Ese gaznápiro!
Kyubimon: Rika, por qué cuando hablan de ese niño te comportas tan obstinadamente.
Rika: No, eso no es verdad
Beelzemon: Por fin los encontré. ¿Quién es el que anda ahí? Jejeje no es cri-cri
Terriemon: Ah es ese digimon de la motocicleta, no sé pero no me agrada en lo más mínimo.
Comment
 There is several use of colloquialism.
 ‘cri-cri’ reference.
Card Number: 9
Source Language
Episode: shippo’s New Technique
Title: Inuyasha
Minute: 12:42
Finish: 14:07
Shippo: Just what it’s these fox demons want?
Lizard Demon: Out of my way little foxes.
Fox 1: Stupid demon! What do you think you’re doing?
67
Duration: 85 seconds
Shippo: This must be the demon that’s terrorizing the village. I have to tell Inuyasha right the way.
Fox 1: Hey buddy! You know just who’s you’re dealing with here
Lizard Demon: Who?
Fox 2: This is the fox famous through the fox demon world, the one in only: Mister Shippo.
Fox 3: You’re the one who should get out of his way!
Foxes 4 and 5: You know it!
Voice off: Be a good demon and apologize / we don’t care your story or for what you here, guy! /
come ‘on / Yeah just leave it / you’re so in trouble/ he wants not any talk / he will fight! Yeah…
Shippo: Could you let go my tail please?
Lizard Demon: well well, I guess I’ve got a fight him then…
Fox 1: Ok, go get’ him Master.
Fox 2: Get’ him!
Fox 3: Get’ him!
Fox 4: Get’ him!
Fox 5: Meow!
Shippo: Looks that I’ve got no choice…
Lizard Demon: Come on; let’s see what you’ve got!
Shippo: Try this oversize! Bumper! …Run away!
Lizard Demon: You, little squats, are you trying to make a fool of me?
Foxes: woah, woah, Master!
Lizard Demon: Little twerps!
Target Language
Minute: 12:42
Title: Inuyasha
Episode: La técnica secreta de Shippo
Finish: 14:06
Duration: 84 seconds
Shippo: Pero qué disparates están diciendo
Monstruo: A un lado déjenme pasar zorros.
Zorrito 1: Oye ¡por qué le hiciste eso!
Shippo: Este debe ser el monstruo que está atacando la aldea, tengo que avisarle a Inuyasha
cuanto antes.
68
Zorrito 1: Sin vergüenza no sabes con quien te estás metiendo.
Monstruo: Eh…
Zorrito 2: Trata con respeto al jefecin Shippo, el líder de todo el clan de zorritos mágicos.
Zorrito 3: Te atacará con su técnica.
Zorrito 4 y 5: Con su técnica.
Zorrito 1: Si fuera tú me disculparía.
Zorrito 2: ¿O acaso estás preparado para desafiarlo?
Zorrito 1: Te sorprenderás con los ataques del jefecin.
Zorrito 2: Del jefecin.
Zorrito 3: Del jefecin.
Zorrito 4 y 5: Del jefecin.
Shippo: ¿Por qué sujetas mi colita?
Monstruo: Acepto un desafío con tu jefecito.
Zorrito 1: Jefecito es todo suyo.
Zorrito 2: Todo suyo.
Zorrito 3: Suyo.
Zorrito 4 y 5: Suyo.
Shippo: Está bien.
Monstruo: ¿Qué esperas? ¡Estoy listo!
Shippo: Técnica mágica, hongos llorones. ¡Córranle!
Monstruo: ¡Enanos! ¡Pensaban engañarme! Eh, chaparros traviesos.
Comment
 The Latin American dub version used the term ‘jefe’ in different ways, as ‘jefazo’ and also
‘jefecin’.

Furthermore, it was changed the expression ‘Could you let go my tail please?’ which is
polite way to say ‘let me go’ for a direct question ‘¿Por qué sujetas mi colita?’
 Common words and expressions, for example ‘corranle’ and also it was replaced the term
‘little twerps’ for ‘chaparros traviesos’.
69
Card Number: 10
Source Language
Title: Inuyasha
Episode: The Last Banquet of Miroku’s Master
Minute: 13:47
Finish: 14:44
Duration: 57 seconds
Kagome: Hi! I’m Kagome and I’d like to sing for you!
Inuyasha: What now!
Kagome: Lalala this is me!
Kagome 2: This Kagome would like to dance for you!
Kagome 3: And the third Kagome would like to laugh like an idiot hahaha.
Kagome: I don’t understand what’s going on around here. All the sounds it’s look like there three of
me, oh well, time to sing. I’m so happy, like a bee…
All Kagome: and Kagome one, two, three!
Inuyasha: Humanly, please kill me now!
Miroku: Everybody, listen to me. Don’t annihilate the mist this the work of the demon I don’t know
what this mist is exactly but it makes you intoxicated, so do not inhale it, no matter what.
Inuyasha: Thank you the later Miroku, they’re already three sheets to the wind.
Miroku: Well, I was referring to the rest of us of course
All Kagome: Alright, high right to the tone
Inuyasha: Hey, give it a rescue you three
Sango: Hahahaha
Target Language
Minute: 13:50
Title: Inuyasha
Episode:El último banquete del maestro Mushin
Finish: 14:41
Duration: 51 seconds
Ahome: ¡Quién más aplauda le mando le mando le mando a Ahome! Sa sa sa yakuza yakuza
Ahome 2: ¡Y la número dos bailará sa sa sa!
Ahome 3: Ahome Higurashi número tres reirá para ustedes jijiji jaja jiji jaja
Ahome: ¿Pero qué fue lo que sucedió? ¿Por qué somos tres, de dónde salieron esas dos? Bueno
no importa, ahora voy a cantar. Lalalala
Todos: Hey hey hey
Inuyasha: ¿Pero qué está pasando aquí?
Monje: Muchachos, no aspiren la niebla. No entiendo bien qué es lo que quiere, pero su principal
70
objetivo es embriagar a las personas. Así que tengan cuidado, no la aspiren.
Inuyasha: ¡Ya cállate Miroku! ¡Tú también estás bien borrachote!
Miroku: Lo sé, solo quería avisar.
Inuyasha: Oigan, contrólense muchachos.
Sango: ¡Malditos hombres!
Comment
 Popular song.
 Name’s domestication: ‘Kagome’ by Ahome.
 The laughter of Sango by a full dialogue.
Card number: 11
Title: Pokémon
Episode: Here’s Lookin’ At You Elekid!
Source Language
Minute: 10:34
Finish: 11:52
Duration: 78 seconds
James: Wait! Victreebel! My Victreebel! Victreebel, I miss you so!
Jessy: Oh! Get it rip! It’s time to put that ugly past behind you.
Meow. Back off, Jim!
Jessy: Anyway, let’s check out our Weepinbell.
James: Come out Weepinbell!
Meow: Check out those peepers.
James: Those eyes are so much like Victreebel once were. Cheapers! Where did you get those
eyes? Now time to make my move. Wheezen helped me to catch that Weepinbell and then got
to the breeding center. In three shakes of a lamb’s tail Weepinbell had evolved into Victreebel
and we two were inseparable. Night Day and good times and bad, feast or farming, we were a
team. Eat your own food. But now those glorious days are long gone.
Target Language
Minute: 00:53
Title: Pokémon
Episode: Te estoy viendo, Elekid
Finish: 1:58
Duration: 65 seconds
James: Torito, se lleva a mi torito. Victreebel, cómeme pero no me dejes.
Jessy: ay ya basta tienes que dejar ese horrible pasado tras de ti
Meow: ya bájale.
71
Jessy: En fin, vamos a ver a nuestro Weepinbell
James: sal, Weepinbell
Meow: Hay miren esos ojitos.
James: estos ojitos bizcos se parecen mucho a los de mi Victreebel.
James Voz en off: Qué cosas, de dónde sacaste esos ojitos. Ahora, es tiempo de que se haga
machito. Wheezen me ayudó a atrapar a ese whepinbell y luego salí del centro de crianza. En
solo unos instantes Weepinbell había evolucionado en Victreebel y los dos juimos inseparables.
Día y noche, en las buenas y en las malas, la abundancia, el hambre, éramos un equipo. ¡No te
manches manta! Pero esos gloriosos días se han terminado.
Comment
 The expression ‘torito’.
 The phrase ‘cómeme pero no me dejes’
 Another common expression: ‘no te manches manita’.

Term ‘machito’.
 Evidence of idiolect.
Card number: 12
Title: Pokémon
Source Language
Minute: 00:56
Episode: Manectric Charge!
Finish: 01:17
Duration: 21 seconds
Brock: The fans are claimed, wondering will Brock end it again. With precision he made a
powerful punch. Yes, all side is a perfect ten. This guy is amazing, a true champ how’s that for
fancy good work. This can’t be beat.
Target Language
Minute: 02:48
Title: Pokémon
Episode: Manectric ataca
Finish: 3:09
Duration: 21 seconds
Brock: Aficionados que viven la intensidad del fútbol. Brock se dispone a dar un zambombaze.
Sí, donde las arañas tejen su nido. Él es Brock Maradona del Sosa. Qué les parece mi perra
brava, ni Cardoso me puede ganar.
Comment
 Direct reference of ‘el Perro Bermudez’.
72
Card number: 13
Title: Ranma 1/2
Episode: Tendo Family Goes to the Amusement
Park!
Source Language
Minute: 13:40
Finish: 14:15
Duration: 55 seconds
Happosai: Wait up girls! Cause your big daddy is coming at home!
Woman 1: Oh! It’s that creep
Woman 2: We better step on it!
Shampoo: I’m coming through! And take those are anyone on shampoo way, because the dinner
is own mine and Ranma
Akane: That’s odd; I wonder why so many cars had retired from the race. That gives me a better
chance to win.
Rioga: Oh no, I can’t see Akane anywhere!
Woman: Hey buddy!
Man: You’re sitting in the pits.
Happosay: Look out ladies! Cause I’m right behind you. Yahoo! It’s about time I step on it, get
back in this race. Banzai!
Woman: That’s what you get for passing me. Now I’ve finished you off!
Happosay: Midway! Could you join me for a lovely full course dinner for two?
Ranma: There’s no way and ever that you’ll win the free!
Target Language
Title: Ranma 1/2
Episode: La familia Tendo se va al
parquet de diversiones
Minute: 15:13-15:47
Finish: 17:32
Duration:
Happosay: Mis reinas, ya llegó su Luis Miguel.
Mujer 1: ¡Ay qué horror!
Mujer 2: ¡No se acerque a nosotras!
Happosay: ¡Esperen!
Shampoo: Jajaja lo siento. Esa comida para dos será nuestra, no dejaré que nadie se
interponga.
Akane: ¿Qué raro, por qué que habrá tantos autos fuera de la carrera? Bueno pero me voy a
recuperar.
73
Rioga: Cielos, no veo a Akane por ningún lugar.
Mujer: Oye ¿qué te pasa?
Hombre: La pista de carreras está allá.
Happosay: Muchachas, muchachas. ¡Qué cocha! Esto se está poniendo interesante, a ganar.
Mujer: Jajaja ¡Vas a lamentar haberme rebasado!
Happosay: Adiós. Voy a ganar una cena completa con unas muchachonas.
Ranma: Maestro, no voy a permitir de ninguna manera que gane.
Comment
 The term ‘daddy’ for a really popular singer ‘Luis Miguel’ however
 In the expression: ‘You’re sitting in the pits’ by ‘La pista de carreras está allá’.
Card number: 14
Title: Ranma 1/2
Source Language
Minute: 02:05
Episode: Wretched Rice Cakes of Love
Finish: 02:52
Duration: 57 seconds
Kazumi: Oh that reminds me! I have to take in the laundry.
Happosai: Oh A cup, B cup, give me a C cup…
cherry blossom rice cakes
Tendo: Akane just finished making them herself master.
Happosai: Oh! Forget this. I’ll take a…
Tendo: No so fast! Are you forgetting something master?
Happosai: I see you haven’t tried one yet.
Akane: Oh just forget it! I’ll eat everyone of this rice cakes by myself
Tendo: No you won’t. Master would love to have one.
Happosai: Looks like cherry blossom rice cake is wrecked in my head man.
Tendo: Sure, whatever, but how does it taste master?
Happosai: Awful.
Tendo: Look! What happened to your face?
74
Target Language
Title: Ranma 1/2
Minute: 03:34
Episode: Una tarta de amor
Finish: 04:22
Duration: 48 seconds
Kazumi: ¡Ah! Si me disculpan voy a tender la ropa
Happosai: Y andábanos cortando rábanos y unos chiflábanos y otros cantábanos y
andábanos.... ¡Hola como están!
Tendo: Akane nos preparó estas deliciosas tartas de arroz.
Happosai: Yo me voy. Y andábamos…
Tendo: ¡Espere! No puede irse sin probar aunque sea una.
Happosai: ¿Acaso quieres matarme o qué?
Akane: ¡Basta ya! Si no quieren probarlas yo me las comeré todas.
Tendo: Espera, el maestro quiere probar solo una ¿no es así?
Happosai: Siento algo dentro de mi cabeza, estoy mareado.
Tendo: Pero no ha dicho que opina del sabor maestro.
Happosai: Fue horrible.
Tendo: ¡Ah qué le pasó en el rostro!
Comment
 The song in the source language is a typical pun used by the character; however in
Spanish it was not translated literally, instead of that it was used an old Mexican song.
 Happosai said that Tendo has not try a rice cake, but in Spanish the dialogue means that
Tendo is trying to kill Happosai.
 ‘Awful’ was replaced by ‘fue horrible’.
Card number: 15
Title: Rurouni Kenshin
Episode: Prelude to the Impending Fight: The
Shadow of the Wolf Draws Near
Source Language
Minute: 17:27
Finish: 18:38
Duration: 71 seconds
Man 1: Now, now. That’s enough talk about business. So why don’t we celebrate the rest of the
night and enjoy ourselves.
Saito: I’m sorry. Normally I’ll be happy too, but i must be going. If I don’t get back to my other job
75
soon, people might become suspicious. Well then, I guess I’ll excuse myself now gentlemen.
Man 1: the former leader of the third Shinsengumi squad one mister Hajime Saito has changed
his name to Goro Fujita and he’s now an assistant of inspector in the police force. Some people
even said that he was a better sword than Soshio Okita the greatest of the Shinsengumi. Jinei
couldn’t defeat the legendary Battousai the Manslayer but perhaps this man can.
Man 2: I really don’t like that guy; he’s just a sorry pug like the work for the police.
Man 1: Just takes long as you don’t let him to interfere with our work Akamatsu. He is replacing
Jinei. So try to accept him. To think a member of the Shinsengumi would work for me is almost
funny that someone like him can even be in the same room with someone like me. The world
really is a different place now. The Shinsengumi was once known as the wolves of Mibu but
know there about as dangerous as a housebroken dog with no teeth.
Target Language
Title: Ruroinin Kenshin
Episode: El regreso del lobo, prólogo de una
Guerra sangrienta
Minute: 16:03
Finish: 17:13
Duration: 60 seconds
Hombre 1: Bien lo mejor será que dejemos de hablar de trabajo. Ahora pensemos en divertirnos
está noche.
Saito: Gracias por su oferta, pero el deber me llama. Si no lo hago, hay gente que me puede
delatar, será mejor que me marche.
Hombre 1: Ese hombre es Hajime Saito, cabecilla de la tropa número tres del grupo Shinsen.
Desde la restauración se hace llamar Goro Fujira y en la actualidad ocupa el cargo de
comandante de la policía. Se dice que es mejor que Okita quien fuera alguna vez el mejor del
grupo Shinsen. Ni el mismo Jinei derrotaría a Battousai pero este hombre si lo haría.
Hombre 2: Me disgusta ese sujeto, te tiene absolutamente dominado.
Hombre 1: No se trata de eso Akamatsu. Él hará parte de nuestro grupo en reemplazo de Jinei.
Vaya no puedo creer que tendré bajo mis órdenes a un antiguo miembro del grupo Shinsen que
además fue realista, cómo han cambiado los tiempos. Antiguamente el grupo Shinsen era
conocido por sus temibles Miburo, pero ahora los feroces perros no son más que unos mansos
corderitos.
Comment
 It was reduce the word shinsengumi to a less complex unit.
 ‘Gracias por su oferta, pero el deber me llama’.
Card number: 16
Title: Rurouni Kenshin
Episode: Not Out of Luck!
76
Source Language
Minute: 07:06
Finish: 08:33
Duration: 87 seconds
Yumi: Oh! He’s behind Lord Shishio.
Shishio: What’s wrong? You’ve corner your opponent. You’ve got me turn around and wide
open, what are you standing around for? This is the perfect opportunity. Are you able to attack?
Or it’s that just you don’t want to attack.
Yumi: That attack!
Aoshi: Oniwaban style double kodachi, Kaiten Kenbu Rokuren!
Shishio: Too slow Aoshi! The Kaiten Kenbu Rokuren is six slashes in one moment but it only
works if I am on one side. As I thought, the strength of your attack is nothing after being hit with
the Amakakeru Ryu No Hirameki and now I understand that the only thing you’re being doing for
the very beginning is buying some time by stooling me! This is pathetic. You were once a true
warrior and a verge of madness and now you’re barely in irritation worth my time and attention,
your efforts are meaningless. The Battousai is endeavor going to stand again.
Yumi: So he was trying to buy some time. Why? Why would Aoshi Shinomori do that for him?
Target Language
Title: Rurouni Kenshin
Minute: 05:26
Episode: Resurrección
Finish: 06:53
Duration: 87 seconds
Yumi: Ah no, está a su espalda.
Shishio: ¿Qué sucede? No solo acorralas a tu oponente sino que lo atacas por la espalda. ¿Qué
haces ahí parado? Es tu mejor oportunidad. No puedes atacar o no quieres hacerlo. Habla.
Yumi: ¡Esa técnica!
Aoshi: Estilo Nito Kotachi, Kaiten Kenbo Rukuren.
Shishio: En el Kaiten Ken Borrukuren deben hacerse seis rotaciones hacia ambos lados de
izquierda a derecha, y como lo pensé, después de haber recibido el Amakakeru Ryu No
Hirameki tu ataque ya no existe. Lo único que puedes hacer es prolongar tu agonía. ¡Qué
tragedia! Una vez estuviste a punto de lograrlo, pero ahora solo puedes prolongar la batalla. Y
no importa todo el empeño que pongas en conseguirlo, será inútil si Battousai sigue sin sentido.
Repito, lo que haces es prolongar tu miserable agonía. Jugaré contigo como el gato con el
ratón. Aquí voy.
Yumi: ¿Prolongar para Battousai? ¡Pero prolongar qué prolongar qué, de qué habla!
Comment
 Meaning change.
 The popular reference of play cat and mouse, however there is not any prove in the
77
source language about that sense.
.
Card number: 17
Title: Uncle Grandpa
Source Language
Minute: 00:30
Episode: More Uncle Grandpa Shorts
Finish: 01:04
Duration: 34 seconds
Uncle Grandpa: Yo, yo, yo, yo, yo, yo what’s up? It’s your boy uncle Grandpa. Welcome to my
crib and my ride! My lifestyle is crazy-far awesome Yo, belly bag, ready to help me make people
watching at home jealous about what we live?
Belly Bag: Yeah boy!
Uncle Granpa: Yo yo alright, let’s go inside. So this right here is the livin’ room! The livin’ room is
where I live it up! Yo! Just look at the stuff I have that you don’t have.
Target Language
Title: Tío Granpa
Minute: 00:15
Episode: Más shorts del Tío Granpa
Finish: 00:52
Duration: 37 seconds
Tío Grandpa: ¡Qué onda, qué onda, qué onda! ¿Cómo están? Es su amigo, Tío Granpa.
Bienvenidos a mi casa y mi nave. Mi estilo de vida es más que increíble. Oye Bolso Belly ¿listo
para ayudarme a que todos lo que nos ven en casa sientan celos de cómo vivimos?
Bolso Belly: Simón narizón.
Tío Grandpa: Pásenle a lo barrido y vean mi cantón querido. Y les presento esta es la sala. La
sala es donde vivo a lo grande. Sí, miren las cosas que tengo y que ustedes no tienen.
Comment
 Idiolect and language variation.
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Card number: 18
Title: Uncle Grandpa
Source Language
Minute: 00:25
Episode: Pizza Steve’s Diary
Finish: 02:56
Duration: 1 minute
Stacy: Hey Lisa, my mom like packed two sodas. Do you like want one?
Lisa: Like OK.
Stacy: Two sodas, like coming right or whatever. Here.
Lisa: Thanks. Like, how we’re just to drink soda when is, like, trapped inside this weird glass
thing is.
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Stacy: I don’t know, but this is like, totally all the government’s fault, probably. Oh! I am so upset
right now.
Lisa: I know me too. Life is so hard sometimes Stacy.
Uncle Grandpa: Well, maybe I can help.
Lisa and Stacy: Uncle Grandpa!
Uncle Grandpa: Yeah it’s me. And must not forget my associates. Big bell Belly Bag, Mr. Gus,
Giant Realistic Flying Tigger and Pizza Steve.
Pizza Steve: Uncle G, did you mind? I kind have a big boss on my hands here
Lisa and Stacy: Hi, Pizza Steve!
Pizza Steve: Wait, what? Ay, Chihuawhoa!
Target Language
Title: Tío Grandpa
Minute: 00:05
Episode: El diario de Pizza Steve
Finish: 01:42
Duration:37 seconds
Stacy: Oye Lisa, tipo y así mi mamá nos dio unas bebidas ¿quieres una?
Lisa: O sea, porfi.
Stacy: Sí, como sea. Salen dos bebidas de dieta. Disfruta.
Lisa: Gracias. Ash o sea ¿cómo se supone que tomemos la bebida si está dentro de esta rara
botella de cristal?
Stacy: Ay no tengo idea, pero obvi, seguro es culpa del gobierno, tipo y así. Te juro que creo
que ya hasta me deprimí.
Lisa: Ay ya sé, yo igual, la vida puede ser tan difícil a veces Stacy.
Tío Grandpa: Bueno talvez yo pueda ayudar.
Lisa y Stacy: ¡Tío Grandpa!
Tío Grandpa: Si soy yo, y por favor no olviden a mis socios: el valiente Bolso Belly, el Señor
Gus, la Tigresa voladora gigante realista y el fabuloso Pizza Steve.
Pizza Steve: Tío G ¿te importaría? Estoy muy ocupado jugando un grandioso videojuego.
Lisa y Stacy: Hola Pizza Steve.
Pizza Steve: Esperen, momento ¡ay chihuahua!
Comment
 Idiolect as a form of domestication.
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Card number: 19
Title: Teenage Mutant Ninja
Episode: Attack of the 50-Foot Irma
Turtles
Source Language
Minute: 15:40
Finish: 16:08
Duration: 28 seconds
April: I wish I'd brought more videotape. I'll run out before I get to her knees.
Michelangelo: Red alert, gang. She's about to crank out a whole bunch of "zs."
All: Look out! Run!
Rafael: Sounds like the all clear.
Irma: What do I do with this?
Donatello: Swallow it!
Michelangelo: Yeah! Then like call us in the morning.
Irma: Forget it. I can't swallow pills. When I was little, my mother gave me my medicine in a
spoonful of ice cream.
Leonardo: Oh, but, Irma, you're a big girl now.
Rafael: Real big.
Donatello: And we've got big problems.
April: What do you call that dance?
Donatello: The turtle trot.
Master: Trust me. This is one move I did not teach them.
Michelangelo: Hey, dudes, it's scarfin' time! We got 31 flavors of ice cream pizza, everything
from vanilla meatballs to my personal favorite, anchovy butterscotch!
Irma: Do you have any chocolate fudge with extra garlic?
Michelangelo: Oh, for sure, little lady. One for each delicate hand.
Target Language
Minute: 14:42
Title: Tortugas Ninja
Episode: El ataque de la gigante Irma
Finish: 15:04
Duration: 30 seconds
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Abril: Ojalá hubiera traído más cinta, se me va a acabar antes de llegar a las rodillas.
Miguel: Alerta roja amigos está roncando cada vez con más fuerza.
Rafa: ¿Ya dejó de rugir el león?
Irma: ¿Qué hago con esto?
Donatello: Tómatela. Ya.
Miguel Ángel: Y si persisten las molestias, consulte a su médico.
Irma: Olvídenlo, no puedo tomar píldoras. Cuando era pequeña mi madre me daba las píldoras
en una cuchara llena de helado.
Leonardo: Ah pero Irma, ya eres una chica grande.
Rafael: Por fin, chica o grande.
Donatello: Estamos en grandes problemas.
Abril: ¡Bravo Donatello! ¿Cómo se llama este baile?
Donatello: Moviendo el caparazón.
Maestro: Créeme, ese es un movimiento que yo jamás les enseñé.
Miguel Ángel: Oigan muchachos ¡es hora de comer! Tenemos 35 sabores de pizza de helado.
Todo, desde albóndigas de vainilla, hasta mi platillo favorito, anchoas con chilpachole jarocho.
Irma: ¿No tienes jarabe de chocolate con algo de ajo?
Miguel Ángel: ¡Ah claro pequeña dama! uno para cada delicada mano.
Comment
 Meaning change. ‘All clear’ vs ‘¿Ya dejó de rugir el león?’.
 Doctor’s popular saying.
 There is a direct reference to a typical Mexican dish ‘chilpachole jarocho’.
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Card number: 20
Title: Teenage Mutant
Episode: It Came From Beneath the Sewers
Ninja Turtles
Source Language
Minute: 10:39
Finish: 11:58
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Duration:
April: What's going on?!
Michelangelo: I saw this on the late show once. The invasion of the mean, green, giant killer
beanstalk. Didn't think I could say it, did ya?
Leonardo: Stand back, April. This is no mother's day plant.
Michelangelo: Chill out, bro! I'm green, same as you!
Rafael: Except for your face. That's turning blue.
Leonardo: Stand back, fellas. This one's on me. Hyah! Let's see how tough this thing really is.
Ow!
April: Oh! It's got me!
Donatello: Back off, Buster! She's not plant food!
Rafael: Down, boy! Hyah! Hyah!
April: Phew. What kind of hideous plant was that?
Michelangelo: I don't know, man, but it was mondo bizarro.
Donatello: My guess is, it's not from this planet.
Rafael: I could almost hear it say ouch.
Michelangelo: I think that was me.
Leonardo: Well, whatever it was, we seemed to have frightened it off.
Master: I have a feeling we have not seen the last of that plant creature.
Rafael: Do you think it's somehow connected to the shredder?
Master: It is highly possible.
Target Language
Title: Tortugas Ninja
Minute: 10:38
Episode: La planta extraterrestre
Finish: 11:58
Duration:
Abril: ¿Qué está pasando?
Miguel Ángel: ¡Vaya! ¡Vi esto en un programa de televisión! La invasión de la espeluznante
planta asesina gigante contra el Santo. Pensaron que no lo iba a decir ¿verdad?
Leonardo: Atrás abril, parece que esto no es jugo de tomate.
Miguel Ángel: Ay calma amigo ¿no me reconoces? Soy igual de verde que tú
Rafael: Excepto por tu cara, se está poniendo azul.
Leonardo: Un momento tortugas, déjenmelo a mí. ¡Vaya! Parece que esta cosa es muy fuerte.
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Abril: ¡Ah me atrapó!
Donatello: Hierba del demonio, esto no es alimento para plantas.
Rafael: Buen trabajo.
Abril: ¿Qué clase de planta es esa?
Miguel Ángel: No lo sé pero a mí me pareció bastante grande para ser bonsái.
Donatello: Planta de los pies tampoco es.
Rafael: Yo no sé pero la oí quejarse
Miguel Ángel: No, ese quejido fue mío.
Leonardo: ¡Qué les parece! Y eso que dicen que el verde es vida.
Maestro: Presiento que no será la última vez que veamos esa planta gigante
Rafael: ¿Cree que tenga alguna relación con destructor?
Maestro: Es muy posible.
Comment
 Movie’s name.
 Mother’s Day plant – replaced by V8 add ‘parece que esto no es jugo de tomate’.
 The phrase ‘Y eso que dicen que el verde es vida’.
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