Quentin Tarantino in italiano. Analisi comparata delle scelte linguistiche e culturali nelle sceneggiature

[Machine translation] This essay aims to analyze some screenplays written by Quentin Tarantino and their respective versions dubbed in Italian. First of all, the study identified some recurring linguistic characteristics in some excerpts taken from three screenplays, which make it possible to unite the three texts and to describe the language used in the same terms at the diamesical, diaphasic and diastratic levels. The language of the three tracks taken from the original screenplays can be described as typical of the oral linguistic production of low-level or low-level sociocultural classes in informal situational contexts. The linguistic devices through which the author significantly characterizes language on these three levels are non-standard language, slang and obscene language. After carrying out a comparative analysis between the original tracks and their versions translated into Italian, comparing the transposition of these linguistic elements in the dubbed versions, some conclusions were drawn. At the quantitative level, there were fewer occurrences compared to the original versions. However, the diamesian, diaphasic and diastratic connotations of the language of the translated tracks are generally maintained. Consequently, even the language of the dubbed versions of the tracks can be described in terms of oral linguistic production typical of low-level sociocultural classes in informal situational contexts. Nevertheless, there have been some losses in the characterization of the language of the tracks dubbed on other levels. These losses are due in most cases to the basic differences that exist between the two languages; however, in some cases the losses in characterization are caused by the inadequate translation, or rather, by the lack of translation of the elements, so that the dubbed versions are in some ways less marked and less expressive than the original versions. Regarding the transposition into the dubbed versions of the cultural or extralinguistic references present in the original versions, the solutions adopted are different depending on the case. In some cases, the translation choices adequately solve the problems related to the references present in the original text to extralinguistic realities unfamiliar to the Italian public. In other cases, however, the inadequate translation choices compromise the rendering of some significant elements in terms of characterizing the extralinguistic context of the passage. It is not possible to make general considerations regarding cultural transpositions in translated passages, as it is not possible to outline a common line of conduct when choosing the solutions adopted.