Las secuencias interrogativas-exclamativas italianas con cazzo en el hablado fílmico italiano y su doblaje al español. Técnicas aplicadas y normas de traducción

In the Italian linguistic and cultural system, ad in Italian film speech the trend is to highlight, in either troubled or neutral contexts, a kind of interrogative-exclamatory sequence composed of the emphatic and vulgar modulating word cazzo. The use of this kind of structure in the Spanish linguistic and cultural system, as well as in Spanish film is significantly lower. Its use in Spanish is generally restricted to highly controversial contexts, and the interlocutor usually considers the analogous tabooed intensifier –coño or cojones– more offensive. Also, in Spanish it is less frequently used than in Italian, as is shown in the surveys that have been carried out. In the Italian versions dubbed into Spanish, translators opted for applying the literal translation technique –maintaining the same structure as the Italian statement, usually with the Spanish intensifier coño– and, to a lesser extent, the omission technique, suppressing the modulating word. The repeated use of the literal translation technique has turned this sequence into a mould or translation routine that is almost automatically activated in the process of translation without apparently taking into account the linguistic, social, and cultural factors characterising the use and value of this kind of statement in the Spanish system. As shown by the descriptive approach, the two norms that have ruled the translating behaviour of these Italian sequences in the Spanish dubbed versions are both linguistic fidelity –maintaining the sentence structure– and less frequently, euphemisation –removing the vulgar term. In this study, it seems that lip-sync, kinetic synchrony and isochrony partially defined the decisions adopted in the target language, specifically in extreme close-ups, where linguistic fidelity prevails. However, it has been verified that in the rest of the shots both linguistic fidelity and euphemisation norms have been taken into account on equal terms, and professional dubbers were not conditioned by the restrictions imposed by audiovisual translation.