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

该项目在Bassnett(1998)的基础上开发了一个同步截图，以提供对意大利配音音乐喜剧(1960-现在)中使用的翻译策略的第一次持续的实证调查。它分析了从16部动漫音乐喜剧中挑选出来的25首歌曲，这些歌曲(A)对意大利创意产业做出了标志性的贡献，和/或(B)最近刺激了重大翻拍：玛丽·波平斯(1964)、Aristocats(1970)、罗宾汉(1973)、美女与野兽(1991/2017)、阿拉丁(1992/2019年)、《圣诞节前的噩梦》(1993)、《天鹅公主》(1994)、《狮子王》(1994/2019年)、Anastasia(1997)、Hercules(1997)、《埃及王子》(1998)、《史莱克2》(2004)、《冰雪奇缘》(2013)。鉴于目前翻拍片的复兴，往往是利用明星的才华，了解翻译/表演如何创造合拍的文化使这项研究具有相关性和及时性。我将建立一种新的跨学科方法来分析意大利语译者作为适应者的活动，以及表演(包括选角)对配音过程的影响，特别是在语音分析(包括单词重音、重复模式)方面。在《格利·阿里斯托加蒂》中罗密欧/奥马利的角色中，伦佐·蒙塔格纳尼的声音取代了菲尔·哈里斯的声音，这意味着什么？在意大利配音版的《阿拉丁》翻拍版中，听众有没有感觉到说/唱的声音换了演员？在以社交网络为主导的英语社会中，这项研究的独创性对语音表演/口译以及观众对大众/流行文化文本的反应都有影响。我对翻译实践中的现场/录音语音的兴趣源于我的硕士的研究。在我的硕士论文中，我讨论了翻译在戏剧改编和舞台表演中的作用。我的论文包括丹尼·博伊尔在国家剧院改编的《科学怪人》中使用的剧本的意大利语翻译，以及与我的博士项目相关的使用关键翻译和改编理论(Bassnett，1998；Hutcheon，2006)的批判性评论。这些专业知识得到了流行歌唱和古典音乐方面的音乐培训的支持：我拥有科森扎音乐学院和维特博音乐学院的音乐理论、钢琴和中提琴证书。在这一技能的基础上，我打算开发拟议的博士项目，以扩大我的硕士研究，并质疑翻译/改编和表演机制之间的复杂相互关系，特别是在歌曲翻译和视听配音方面，以及英语国家和意大利文化背景之间不平等的权力关系所产生的文化影响。我的导师(雅培教授、梅维尔博士、泰勒博士)在文字-音乐关系、视听翻译和数字媒体方面的专业知识将为我的项目提供理想的支持框架。

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