A tradução demúltiplas línguas de partida na legendagem de Viva Belarus!

Abstract

The present doctoral dissertation has as its starting point the master's thesis, defended in 2017 at the Federal University of Bahia (UFBA), Brazil, entitled Cinema in exile: translation and politics in post-Soviet Belarus , where the analysis of the intersemiotic and interlingual translations that permeate the movie Viva Belarus! (2012), and the blog that inspired it, Franak Viačorka’s army diary (2009). Focusing on the translation of the subtitles, in the light of cultural and postcolonial studies, this work, with a bibliographic methodological basis, has as its main objective to reflect on the translation of the multiple source languages present in the film – Belarusian, English, French, Lithuanian, Polish, Russian, Spanish and Trasianka – into the Portuguese language, targeting the Brazilian audience, in addition to investigating ways of displaying these source languages in the target subtitles. With the theoretical contribution of Hall, Lao-Montes, Oyěwùmí, Bandia, Bernardino-Costa and Grosfoguel, in the area of Cultural Studies, as well as Akudovič, Bykaŭ, Arloŭ and Sahanovič, who deal with sociological and historical aspects of the country, which, as postulated, is also inserted in the post-colonial context, this study seeks to carry out a mapping of the conflicting discourses in Belarus shown in the film. Fanon, Foucault and Deleuze join the discussion, with power relations in a global context, dialoguing with Bekus, Fiaduta and Silicki, in local discourses. For the translating study of the corpus, composed of two subtitles, one in the source languages and one in Portuguese, prepared primarily by the author in the SRT format, Barbosa's research in the field of technical translation procedures was applied in subtitling under the guidelines compiled by Ferreira Filho et al. , Naves et al . and Karamitroglou. With this contribution, combined with empirical research on foreign audiovisual productions, a subtitling standard for listening audiences is proposed, displaying the source languages with minimized interference, to be tested in future works. With the argument that source languages play narrative roles throughout the plot, they are studied from multiple perspectives, laying individual profiles in linguistic, historical and political terms. In this context, key roles are played by: the research on Balto-Slavic languages undertaken by Sussex and Cubberley, as well as Akhmetova and Plutser-Sarno, for the analysis of Russian vulgarisms; Miačkoŭskaja, Cychun and Sender, for the study of hybridity in trasianka; and Dini, for a deeper reflection on the Lithuanian language and its relationship with Belarus. These and other sources point to a long and complex history of links between the Belarusian people and its neighbors, a factor explored in the film to explain the problematic of the current dictatorial regime, the role of denunciation of the film and the becoming of a truly free country. It is hoped that this study will contribute to filling the gap on Belarus in Audiovisual Translation studies, especially within identitary issues, in addition to Slavic and post-colonial studies.