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Dubbing has been the dominant modality for conveying foreign media productions in Turkey for several decades. In the chain of dubbing translation, by the time the process is completed, there is a varied group of people from translators to voice actors, editors, and dubbing specialists that play a role in the many-sided process of dubbing. With the aim of reaching an impeccable outcome, the steps of dubbing (script and timing, casting, recording, editing) must be completed in a harmonious way. Some studies have been conducted on dubbing in Turkey in terms of translation quality (Sayman), censorship (Okyayuz), and translation strategies (Tekin); however, non-translation issues such as the performance of voice actors have not been explored. This paper offers further insight into the process of dubbing by distributing a survey to ten voice actors to evaluate the impact of translation on their end during the voicing process, their attitudes toward translators, and the translation along with their expectations from translators. Upon compiling the responses from the professional voice actors, the data is analyzed and discussed togain a better understanding of the process. The results indicated that the voicing process is mainly affected by the quality of translation and that there are challenges that arise from it. Therefore, to some extent, voice actors also intervene in the translated dialogues while recording. Overall, the end product, which is the translated dialogues, represents not only the work of the translator but also the voice actors.

The issue of neutral Spanish in literary translation has given rise to numerous statements and representations on its implications and its status within the Spanish language and the Spanish-speaking publishing market. This paper reviews the current state of knowledge with a double purpose: 1) to describe the previous studies on neutral Spanish, with a particular emphasis on the characteristics of neutral Spanish in literary translation, as well as on its methodology and the results obtained to this date, in order to systematize the research efforts on the subject of study; and 2) to connect said results (primary sources) with the representations on the artificiality and language impoverishment associated with neutral Spanish (secondary sources) in order to observe to what extent the former support the latter

We start from the observation that language pairs like Polish and English display an intriguing asymmetry: Polish has the structural resources to express grammatical gender in nouns while English predominantly leaves these under-determined. Therefore, a speaker of English can conventionally say “I am a nurse” irrespective of the speaker’s gender, while in Polish male/female/non-binary speakers would likely use variable forms. This asymmetry leads to nuanced translation choices which this paper aims to explore. Based on a newly compiled corpus of English-to-Polish Netflix subtitles – amounting to 3.5 million words – we examine how 113 different occupation-related feminatives are deployed by translators. We address three main research questions (RQ1-RQ3). RQ1 is about the frequency of the relevant feminatives in our corpus. RQ2 deals with how the feminatives are distributed across the 284 productions analysed in the dataset. Finally, RQ3 addresses the relationship between the frequency of feminatives in Netflix subtitles and the acceptability of these feminatives, as judged by speakers.

At the end of the 19th century, translations of French Parnassian, Decadentist and Symbolist poetry introduced the models for literary change into the Hispanic world. The first poems translated in Spain from Maurice Rollinat's Les Névroses (1883), published in the magazine La Diana, directed by the poet Manuel Reina, are to be found in this context. This paper examines these translations, carried out jointly by Aniceto Valdivia and Manuel Reina, and analyses which elements of the new French poetics are rewritten to establish the role of these translations in the fin-de-siècle literary renewal.

Furio Ceriol’s El concejo y consejeros del príncipe is one of the most widespread dissertations about the theory of the state in Europe during 17th century. In the Polish-Lithuanian Commonwealth this exposition had three translations and five editions between 1595 and 1646. All of them are located in the Catholic sphere and their authors were favorable to the reinforcement of royal power. The translators modified and commented on the text to adjust it to their political intentions, or they presented it accompanied by other works that completed its meaning. This paper aims to highlight the translation and editing strategies used in the various interpretations of this treatise.