Translation of interjections in drama

Translation of interjections and subtitling: a study based on the BETA corpus of TV series and film subtitles

“…The results of this study show that Iranian translators have most frequently resorted to literal translation to render English interjections in Persian. Similarly, Farhoudi (2012), another study on the translation of English interjections in a parallel English-Persian corpus of drama, found that the commonest translation solution was literal translation, followed by omission. Drzazga (2019), in turn, is centred on a particular play, Shakespeare's Hamlet, and analyses the translation of interjections in three Polish versions of the Shakespearian drama.…”

“…1 Dictionaries such as The Oxford English Dictionary, The Merrian-Webster Dictionary, The Collins English Dictionary, and grammars such as Randolph Quirk, Sidney Greenbaum, Geoffrey Leech and Jan Svartvik (1985) classify onomatopoeias as interjections. modalities of audiovisual translation: dubbing (Cuenca, 2002(Cuenca, , 2006Matamala, 2007Matamala, , 2009 and subtitling (Thawabteh, 2010;Xian, 2015;Jing & White, 2016), whereas a second group is centred on drama translation (Farhoudi, 2012;Shahraki, Karimnia & Mashhaddy, 2012;Drzazga, 2019). Cuenca (2002) and Cuenca (2006) analyse interjections in the film Four Weddings and a Funeral and their translation into both Spanish and Catalan for their dubbed versions.…”

“…There is a group of studies focusing on the translation of interjections in drama, such as Alireza Shahraki, Amin Karimnia and Habibollah Mashhaddy (2012), Mona Farhoudi (2012) or 156 Anna Drzazga (2019). Thus, Shahraki, Karimnia and Mashhaddy (2012) focus on the translation of interjections from English into Persian in ten theatre plays from the perspective of Skopos theory.…”

The Applicability of House’s (2015) Translation Quality Assessment Model on Fiction: Evidence from Mahfouz’s Midaq Alley

“…This feature, the inclusion of fictional dialogue, has attracted the attention of scholars'. Among others, they have examined the translation of specific orality features of literary translation, such as interjections, from English into Arabic (Farhoudi, 2012), requests from English into Thai (Deepadung, 2009), and swear words from Italian into English (Maher, 2012), within the context of conversation between characters. Such features have been identified as problematic in translation by these scholars because fictional dialogues do not produce real conversation (the conversation between the author and the reader), but rather a natural imitation of conversation compared to other spoken genres such as political speeches (Valdeón, 2017).…”