Offensive Language

This bachelor's thesis analyses the techniques used to translate fuck and derivatives into European Spanish subtitles in a corpus with 24,955 samples extracted from 122 films. The generated corpus covers a very wide range of genres, years of production and English varieties. The uses of fuck have been classified according to the taxonomy by J. Lachlan Mackenzie based on Functional Discourse Grammar (FDG), while Catarina Xavier's three-layered typology has been used for the classification of the translation strategies. The results of the analysis of the corpus have been compared to those of a survey where over 100 users commented on their perception of subtitling, in general, and swearing in particular. Finally, the thesis also describes the stifling DRM restrictions used to protect copyrighted contents in digital versions of films that, in practice, prevent the legal extraction of subtitles from owned media or active subscriptions to streaming platforms.

Yelling, Not Telling: An Antitherapeutic Approach Promoting Conflict Luis Muñiz Arguelles* [RJeligious practice does not create a separate region where the Government is barred from enforcing the laws. Otherwise, under the cloak of religious immunity and with the unrestricted ...

We present a cleansed version of the Modern Greek branch of the multilingual lexicon HURTLEX. 1 The new version contains 737 offensive words. We worked bottom-up in two annotation rounds and developed detailed diagnostics of "offensiveness" by cross-classifying words on three dimensions: context, reference, and thematic domain. Our work reveals a wider spectrum of thematic domains concerning the study of offensive language than those identified in the Greek lexicographic literature as well as social and cultural aspects that are not included in the original HURTLEX categories.

Sex can be considered a vulgar, forbidden or unwelcome topic in many contexts and this fact can add a challenge to subtitlers of audiovisual products depending on the cultures and languages involved (Ávila-Cabrera, 2024). Although some authors claim that sexual references tend to be altered, mitigated or omitted when dubbing (Ferrari, 2010; Scandura, 2021) and subtitling (Fuentes-Luque, 2020) from English into neutral Spanish, other researchers such as Villanueva-Jordán (2023) have demonstrated through a case study that neutral Spanish for the Latin American audience does retain sexual references in dubbing. This paper examines the subtitling of the four seasons of the TV series Succession (Armstrong, 2018-2023) from US English into Spanish (from Spain), as broadcast on Max (formerly HBO España). The primary objectives of the study are as follows: (1) to explore the extent to which sexual references from the source text are transferred to the target text. To achieve this, we will analyse the transfer through the lens of Descriptive Translation Studies (Toury, 2012). (2) To determine how sexual references are treated in the translated text, whether they are rendered using explicit sexual language or replaced with other taboo or offensive phrases. For this, we employ Ávila-Cabrera's (2023b) taxonomy of translation techniques to examine the handling of these references and assess whether the taboo load is preserved in the subtitles. (3) To identify the most recurrent translation techniques used. Among the expected findings, we aim to test our initial hypothesis that considers that sexual phrases tend to be transferred as closely as possible in the subtitles in this TV series. In summary, our intention is to contribute to the literature of the treatment of sexual language in interlingual subtitling through this paper.

Audiovisual translation (AVT) is a well-established field of study in academia and is ripe with research opportunities for scholars (Pérez-González 2020; García-Escribano 2025). A dynamic and multifaceted area of study within AVT is the translation of taboo and offensive language, which has been of rising interest in the last two decades. The vitality and richness of this research area are evident in a burgeoning body of research on the topic (see Valdeón 2024). In this context, the book The Challenge of Subtitling Offensive and Taboo Language into Spanish: A Theoretical and Practical Guide makes a valuable contribution to current scholarship and offers a reliable reference for subtitling training and research. The present literature on the translation of taboo and offensive language is grounded on two main strands of research: how AVT translators handle taboo and offensive language (i.e., translation strategies) and how the socio-cultural environment of the receiving culture governs translators’ renderings. Given that the translation of taboo and offensive items is highly culture-dependent, it has been studied in various European (Guillot 2023; Ávila-Cabrera 2016; Xavier 2022), Asian (Khoshsaligheh, Ameri, and Mehdizadkhani 2018; Al-Zgoul and Al-Salman 2022; Jin and Ye 2023) and Latin American countries (Cândido Moura and Iost Vinhas 2023). Recent studies have ignited a burst of new investigations in the field by incorporating audience and reception studies (Pavesi and Zamora 2022; Chen 2022; Moura 2024), cross-cultural studies (Guillot 2023) and English-language AVT (Barrera-Rioja 2023), among other things.

Over the past decade, there has been a growing interest in dual character concepts (DCCs). These concepts are defined by their internal structures, which consist of two distinct dimensions: a descriptive and an independent normative dimension. However, a more in-depth exploration of their internal structures is still needed. This article examines the internal structure of one DCC that has garnered significant attention in the literature, scientist. First,
I analyze the components of the different dimensions of this concept. Second, I explore the interaction between these two dimensions. To do so, I investigate scientist in the enTenTen20 corpus using Sketch Engine, focusing on the expressions “good scientist” and “true scientist”, as the literature suggests they interact more directly with the descriptive and normative dimensions, respectively. The findings from this investigation offer valuable insights for studying other DCCs, as the results suggest, among others, the following key points: first, that the complexity of the two dimensions of scientist is greater than previously recognized; and second, contrary to what is agreed, both the descriptive and the normative dimension interact with “good” and “true,” which implies that both expressions can be used to make the two types of normative evaluation proper of DCCs.

It is concerning that the growing popularity of social networks is encouraging violence or inciting offense toward other people. An attempt has been made in the past several years to detect offensive language in social media posts. Nonetheless, the majority of studies focus on recognizing offensive language in English. Moreover, dataset labeling emerges as a crucial and fundamental step for training high-quality models, considering the increasing use of artificial intelligence and machine learning tools. Utilizing crowdsourcing platforms is an efficient and optimal method that can be used for data labeling. This approach uses human resources who are sufficiently knowledgeable about the topic to label the data. In this paper, we introduce PerGOLD, a new Persian General Offensive Language Dataset, in which we use an event-based data collection methodology to detect offensive language in Persian Twitter. To access labeled training data, we build a crowdsourcing platform to benefit from human input. We labeled 13,716 tweets, and according to the obtained results, 34% of them were labeled as offensive language. Finally, we evaluated the efficiency of these data by applying some classic machine learning models (LR, SVM) and transformer-based language models (RoBERTa, ParsBERT). The obtained F1-score of the best model (ParsBERT) was 85.4%.

The controversy about using inappropriate language in children’s literature  is  constantly  debated  and  repeatedly  attracts  the  attention  of  the  public. In Slovenia, this happened when the novel Na zeleno vejo by Andrej Predin was assigned as the text for the Cankar competition, a Slovenian language competition. Several reading mentors and other readers, specifically adults, were bothered by its use of profanity and vulgar phrases. However, no literature is immune from the use of profanity and cursing, not even children’s literature. As seen in various picture books and short illustrated stories, there are instances of adults, children, and even animals using profanity. Through the analysis, synthesis, and comparative method of mostly modern literary Slovenian texts, suitable for the  first  six  years  of  Slovenia’s  nine-year  primary  school,  it  was  found  that  profanity  and  expletives  are  stylistically  and  semantically  diverse,  and their pragmatic nature must be considered. It was established that, in most cases,  profanity  and  insults  are  justifiably  placed  in  Slovenian  literary works for children. Most often, they appear as a motif; less often, they  are  used  as  the  central  theme  (or  motif )  in  the  text.  A  significant  role is played by the reading mentor, who must alert the readers to the function of profanity in the text.

Swearing words are in actuality merely a part and a factual situation of daily life. They concern everybody. They are employed by us, the makers of the social reality. They come to our attention via eavesdropping. They may even choose us as their own targets, mostly in absentia and sometimes within our very presence!

Cursing is one of the characteristic linguistic behaviors of spoken language and is often regarded as a "non-normative" phenomenon. In this article, we focus on exploring the structural characteristics of cursing language behavior in Nguyễn Huy Thiệp's short stories, with the aim of understanding and explaining the use of this linguistic behavior in the characters' language. Through this, we can see the diverse manifestations as well as the role of this behavior in reflecting the unique artistic style of the author.

The way taboos are translated can be controversial as it can depend on the characteristics of the communicative act related to the speakers' context, culture, age and idiolect. However, we could generalise that some taboos can cause a strong reaction to the audience in the context of audiovisual translation (AVT), and some of them are particularly delicate to address, as is the case of religious references. Subtitlers are responsible for transferring the source text (ST) into a target text (TT) in the form of subtitles. In the case of Spain, whether or not the resulting subtitles are more or less faithful to the original cannot be said to be the result of censorship nowadays. However, phrases such as "Jesus fucking Christ" can pose a challenge to the professional, who must consider the best option to render the full impact of its contextual load. The result, for example, can vary from abiding by the rules of what can be considered politically correct, not being fully faithful to the ST or, by contrast, transferring some offensive or taboo load to the TT in the form of a (non-)religious phrase. On streaming platforms in Spain, these expressions tend to be compensated by other offensive phrases which avoid the direct insult to "God" or "Jesus Christ" (Ávila-Cabrera 2020), thereby resorting to ideological manipulation (Díaz Cintas 2012). The present study analyses the series Succession (Jesse Armstrong 2018-2023), season 3, and its subtitled version into Spanish, broadcast by HBO España (Spain). Based on a Descriptive Translation Studies approach (Toury 2012) and following Ávila-Cabrera's (2023b) taxonomy of translation techniques, our initial hypothesis is that religious references are usually subtitled in a neutralised or offensive way, the latter excluding the direct reference to the religious figure. This paper aims to show the way that religious references in this TV series have been subtitled into Spanish for the Spanish audience from a linguistic approach, contributing to enriching the literature on AVT and religious phrases as taboo elements.

Introduction: translation of swearwords has unceasingly gained traction in audiovisual translation. In subtitling, swearing does not only warrant linguistic consideration but other multimodal elements, such as intonation and body movement. Apart from subtitling technicalities, the difficulties of swearword translation are also impeded by their explicit and implicit forms, as well as the linguistic-cultural differences in sourcetarget texts. This study aims to deliberate on the Malay translation of English swearwords of 'fuck' and 'shit' in two episodes of Netflix TV series The History of Swearwords. Method: to this end, it employs a comparative and descriptive analysis by developing a parallel corpus by utilising AntConc and AntPConc software. The selection of Netflix posits no local law or policy restrictions and censorship. Results: the comparative analysis found a linkup between creative and formal subtitling of the swearwords, which signals a prevalent pragmatic and cultural foundation in the translation, especially vis-à-vis the deletion and neutralisation procedures. The study also raises other notable concerns, such as the identification and semantic comprehension of swearwords by the series subtitlers. Conclusions: overall, the study posits that the socio-pragmatic factors, among others are still central for the English-Malay translation strategies of the swearwords in maintaining both linguistic accuracy and cultural appropriateness for target audience.

is a Leverhulme Interdisciplinary Network on Cybersecurity and Society (LINCS) postgraduate research student at the Centre for Secure Information Technologies (CSIT) at Queen's University Belfast (2016-2019). His research explores the interface between the social sciences and electronic engineering and computer science focussing primarily on the criminal use of social media. In his project, he is looking at ways of detecting and preventing inappropriate and criminal behaviour in social media, with particular emphasis on the definition, classification and mitigation of offensive online expressions.

This study is aimed to investigate the perception t hat Iranian EFL male and female learners have of taboo words. Therefore, 100 Irania ns EFL learners were invited to participate in the study to see whether there is any statistica lly significant difference between Iranian EFL male and female learners regarding the perception o f taboo words in terms of gender differences. Participants’ homogeneity was measure d through Oxford Quick Placement Test. The project used a researcher-made questionnaire to licit data from participants. The results suggest that there is a statistically significant d ifference with the effect size of 0.3 between Iranian EFL female and male learners in the percept ion of English taboo words. i.e., Iranian EFL female learners took taboo words more severely. Finally, based on the findings of this study, gender difference plays a key role in offens ive ess or inoffensiveness of English taboo words.

A Pro-life event held by Student for Life turned chaotic. This phenomenon can be attributed to the occurrence of negative impoliteness strategies, which attack one's negative face-wants. This research is aimed to analyze the strategies and the functions of negative impoliteness in the event. This research is descriptivequalitative, using observational and non-participatory techniques for the data collection. The collected data were analyzed according to the theory of Culpeper (1996, 2011) for the strategies of negative impoliteness and their functions. The results showed that there were negative impoliteness strategies done by the prochoice audience to frighten, condescend, ridicule, scorn, invade, explicitly associate with negative aspects, and hinder the pro-life speakers and members, which were functioning as coercive and affective impoliteness, consequently turned the event chaotic. They knew and were able to act polite, but decided not to. Arguments aside, both parties should have engaged in a professional and mature attitude.

Read the following ST included in each of the examples and then try to subtitle them on the basis of the formal appearance of subtitles (Section 2.2.3) and text reduction (Section 2.2.4, Roales Ruiz, 2017). Although you do not know the reading speed, the duration of every subtitle and the number of characters allowed, try to use a one-liner or two-liner in accordance with the length of the script. These exercises follow a linguistic approach because in order to be able to be able to subtitle them properly, we would need a subtitling program to be able to reduce the text on a technical basis. However, you can pay attention to segmentation and try to make the line break maintaining a semantic and syntactic balance. Exercise 2.6 Pulp Fiction-DVD version Context: Vincent is in his dealer's house to buy some heroin. ST: And some dickless piece of shit fucked with it.

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All praises and thanks to Allah S.W.T who always gives me his blessing and his best opportunities so that I can finish this thesis entitled "The Linguistic and Cultural Variations of Arabic Swearword Subtitle Translation on American Movies". My sholawat and salam always be given to our prophet Muhammad S.A.W from whom I can learn Islam as my right choice. I would like to thank to some talented people who always give knowledges, advices, guidance, and also critiques to finish my undergraduate study. My first gratitude I gave to my advisor, Mrs. Habiba Al Umami, M. Hum. For her critical advices and her broad knowledge to read, revise, and guide me during the writing of my thesis that are invaluable in both academic and personal needs. Besides, my deepest gratitude is to all lectures at English Letters Department who taught me all the courses which have a great valuable role to support me in finishing my under graduate thesis. Then, I am lucky to have my second family, girls as sisters by heart member of 7 th Khadijah Al-Kubra dormitory. Also, I am glad to have my dearest squad of Popo. I also proud and thanks that I finish my under graduate apprenticeship at Balai Bahasa Jawa Timur where I learn on how to be a great inspiring researcher to Mr. Yani, Mrs. Dalwi, Mrs. Lelli, and specially Mrs. Yuyun. Also, my apprenticeship group (Raqyat BBJT) who survive together dealing with research thingy. Afterwards, I thanks to Bagus Putra adhyaksa and Bagas Adhi Wicaksana who become my best supporters and motivators along the process of completing my thesis. The last, I do not forget to say thank you very much to Drs.

All praises and thanks to Allah S.W.T who always gives me his blessing and his best opportunities so that I can finish this thesis entitled "The Linguistic and Cultural Variations of Arabic Swearword Subtitle Translation on American Movies". My sholawat and salam always be given to our prophet Muhammad S.A.W from whom I can learn Islam as my right choice. I would like to thank to some talented people who always give knowledges, advices, guidance, and also critiques to finish my undergraduate study. My first gratitude I gave to my advisor, Mrs. Habiba Al Umami, M. Hum. For her critical advices and her broad knowledge to read, revise, and guide me during the writing of my thesis that are invaluable in both academic and personal needs. Besides, my deepest gratitude is to all lectures at English Letters Department who taught me all the courses which have a great valuable role to support me in finishing my under graduate thesis. Then, I am lucky to have my second family, girls as sisters by heart member of 7 th Khadijah Al-Kubra dormitory. Also, I am glad to have my dearest squad of Popo. I also proud and thanks that I finish my under graduate apprenticeship at Balai Bahasa Jawa Timur where I learn on how to be a great inspiring researcher to Mr. Yani, Mrs. Dalwi, Mrs. Lelli, and specially Mrs. Yuyun. Also, my apprenticeship group (Raqyat BBJT) who survive together dealing with research thingy. Afterwards, I thanks to Bagus Putra adhyaksa and Bagas Adhi Wicaksana who become my best supporters and motivators along the process of completing my thesis. The last, I do not forget to say thank you very much to Drs.

Reception studies in audiovisual translation seek to explore how translation choices affect the audience’s comprehension, emotional engagement, enjoyment, and overall viewing experience of audiovisual materials. This study focuses on the subtitling product and analyzes the acceptability of swear words translated through different stimuli: subtitles with softened, maintained, and intensified swearing, along with standard Netflix subtitles (control). Employing a multi-method approach, the study collected data through a survey, using questionnaires with a Likert scale and interviews, following the user-centered translation model to understand how participants receive and perceive swear words in subtitling. The results indicate that the control group had the highest acceptability of the participants, while the group with softened swear words presented the lowest acceptability rate. The analysis shows that participants across all groups reported that discomfort does not arise from reading the swear word in the subtitle but from perceiving a deliberate change in its offensive load—usually softened. The findings demonstrate that this change can lead to a breach of the contract of illusion in subtitling, as participants are exposed to the original dialogue and the translated subtitle simultaneously. In conclusion, when perceived, the change in the offensive load can redirect the viewer’s focus from the video to the subtitles, negatively affecting the enjoyment of the audiovisual experience.

In an analysis of words denoting sexual intercourse, Robert Baker (1981: 174-80) shows that the traditional view has always ways been of an active man and a passive woman: Dick fucked Jane and Jane was fucked by Dick (but not Jane fucked Dick). 1 For Baker this implies that the passive female is being harmed or taken advantage of, a claim which is based on the metaphorical use of fucked to mean "deceived, hurt or taken advantage of" and the use of prick as a term for "a person who hurts (and takes advantage of) others." Baker's conclusion may appear justified on the basis of his own American English usage. 2 However, by using evidence from another variety of English, and by carefully distinguishing dirty words used literally and dirty words used as maledictions, rather different conclusions can be drawn. The linguistic evidence in this article comes from my native dialect of County Tyrone, Northern Ireland (Ulster). Dirty words are usually referred to in Ulster as bad words, and their use is known as dirty chat or cursing (the verb swear is used only in the strict sense of asseverating on oath). These words denote things which are not talked about openly in our society, coming from the usual tabooed spheres of sex and excretion. Most of Ulster's dirty words are known and used throughout the English-speaking world, and therefore need no explanation in the following list. Synonyms are given in parentheses:

Taboo and offensive language are main features of AV productions; they are used in movies, sitcoms, and TV shows. The creation of taboos and offensive elements reflects the cultural, moral, and social values of the intended receivers who can comprehend and appreciate these elements. However, when taboo and bad language are transferred to another language and culture, the task of a translator becomes complicated, especially when working across very different languages and cultures, and within some spatio-temporal restrictions of subtitling.

Cultural products, particularly films, are considered tools for exporting and diffusing the culture of one society to another. Films selected for international festivals are a case in point. However, subtitling such films for an audience of other languages is a demanding task. This challenge may negatively impact the films' qualification, although they may technically and aesthetically be evaluated and ranked on top. The attraction of the films screened depends largely on how successfully certain features of the films, such as cultural references, including the lexical gaps, are treated in English subtitling. The present study aimed to study the lexical gaps in several Iranian films screened at international festivals. To identify lexical gaps between Persian and English, as the international and common language of subtitling for international film festivals, Darwish’s (2010) taxonomy of lexical gaps is used, and to explore how they were handled in the English subtitles, Pederso...

English language; these refer to parts of the body, bodily functions, human waste, and sex, to cite a few examples. Of all these categories, the one which involves sex is the most obscene of all, and among this group, the most vulgar is fuck (Montagu, 1967; Allan and Burridge, 2006). This paper aims, firstly, to examine a paradigmatic sample of the f-word as it appears in Jackie Brown, a neo noir film directed by Quentin Tarantino; secondly, to carry out research on the categorization of fuck based on the work of McEnery and Xiao (2004); thirdly, to analyse the translation for dubbing of this controversial word into Spanish; and finally, to establish if the presence of fuck in the Spanish version of Jackie Brown has decreased or increased after having carried out the transfer of words.

This paper describes the IRlab@IIT-BHU system for the OffensEval 2020. We take the SVM with TF-IDF features to identify and categorize hate speech and offensive language in social media for two languages. In subtask A, we used a linear SVM classifier to detect abusive content in tweets, achieving a macro F 1 score of 0.779 and 0.718 for Arabic and Greek, respectively.

Translation is the transfer of ideas written in a text from one language to another. The act of translation is in our current society highly useful since it is the bridge which allows communication of people from distinct cultures to be possible. Another important aspect to mention is that in order to transmit ideas from one language to another, a translator must be fluent in both languages. In addition to that, the translator must be able to find the words or equivalents to convey the same sense in the target language, task which is highly complex since no language or culture is alike; therefore, knowledge of cultural issues is also greatly required. Globalization and immigration have demanded a great need of translation, thus, the study of languages has become more appealing to people over the years. On the other hand, a translator must be capable of understanding language, its structure and how it works. In order for he/she to do so a good knowledge of linguistics and its branches like Syntax, Pragmatics, Semantics, etc. is undoubtedly required. Translation has also been present in the film industry. Hollywood being the most productive business in terms of movies and media has a great need of translation since the material is not only commercialized in the United States but all over the world. Movies and TV programs have been being translated into lots of different languages leading to a massive production and employment for translators. Having mentioned this, the present study is of significance to the development and competence of those whose interest is in the study of languages.

We present a cleansed version of the Modern Greek branch of the multilingual lexicon HURTLEX. 1 The new version contains 737 offensive words. We worked bottom-up in two annotation rounds and developed detailed diagnostics of "offensiveness" by cross-classifying words on three dimensions: context, reference, and thematic domain. Our work reveals a wider spectrum of thematic domains concerning the study of offensive language than those identified in the Greek lexicographic literature as well as social and cultural aspects that are not included in the original HURTLEX categories.

This paper is a small part of my thesis aiming to investigate the translation strategies applied by a translator in translating the taboo word "sh*t". Taboo words are one of the language features requiring a careful analysis as their message is generally different from their literal meaning. This is a descriptive translation study (DTS) using a book entitled "The Subtle Art of Not Giving a F*ck" (2016) as ST and its Indonesia translation as TT. The data selected were the taboo word "sh*t" and its derivation (shit/shitty/bullshit/bullshitty/shithead/shitheap/ batshit/shit-ton). The data were analyzed qualitatively by grouping them based on their functions. Then, ST and TT were compared to examine the translation strategies applied by the translator. The theory used was McEnery (2006) to explore the taboo word functions and that of Newmark (1988), Baker (2011) and Davoodi (2009) to examine the translation strategies. The results show that the word "sh*t" functions as a predicative negative adjective, emphatic intensifier, idioms, literal, imagery, and pronominal form. The strategies mostly applied in a predicative negative adjective, emphatic intensifier, idioms, imagery, and pronominal functions is the paraphrase strategy. Meanwhile, the strategies applied in the literal function are omission and taboo to taboo. This research reveals that the translator attempted to avoid the occurrence of the taboo word "sh*t" and its derivation in his translation by mostly applying the paraphrase strategy. Future research is suggested to explore the translator's motives behind the strategy selection.

Streaming services, often referred to as Over-the-Top (OTT) platforms, have revolutionized the landscape of media engagement, particularly for younger demographics. This research scrutinizes the pervasive incorporation of expletives in such platforms and assesses their repercussions on the younger population. Utilizing an interdisciplinary framework, this inquiry amalgamates insights from sociolinguistics, geolinguistics, and theories of both Politeness and Impoliteness, addressing two central questions: To what degree do these shifts in language on OTT platforms affect the language of young adults, and is the standardization of foul language on OTT services justified? Data was collated through questionnaires disseminated among emerging adult students nearing graduation to gauge their perceptions, beliefs, and actions in relation to the profanity prevalent in OTT content. Initial findings suggest that the routinization of such language is considerably influenced by sociocultural and context-dependent variables and prompts intricate ramifications on the linguistic practices and societal viewpoints of young individuals. Contributing novel insights into the role and implications of vulgar language in the digital epoch, this investigation enriches the extant corpus of academic work on language dynamics within media ecosystems.
Keyword: vulgar language, OTT platforms, young adults, sociolinguistics, geolinguistics, theories of Politeness and Impoliteness

The study of translation remains an exciting field for language and linguistics experts. Its process involves many factors to consider. For example, the translation process for films' subtitles must consider the broadcasting regulations. Furthermore, the translation process will be more complicated if it involves a cultural-specific concept such as swearing. Theoretically, adaptation is used to translate a cultural-specific concept, and since swearing is one, adaptation should be applied. However, this method might not be ideal for translating swearing in films. This study was descriptive-qualitative research with a recording technique. Twenty data on English-Indonesian swearing were collected from two American films on an online streaming platform in Indonesia. The results show that eight data used a toning down strategy to acceptable words/expressions, seven were adapted, 4 data were omitted, and one used an unrelated word

With technological advances in AVT production, distribution, and consumption, translation activity has expanded to allow many opportunities for user participation such as non-professional subtitling. AVT scholars have thereby asserted that a new framework using a sociological lens is needed to study translators' roles in nonprofessional settings. This paper focuses on the role of Arabic nonprofessional (ANP) subtitlers in their capacity as agents of normative change through intervening in the translation. Namely, this paper tests the hypothesis that one of ANP subtitlers' unproclaimed motivations behind subtitling is to challenge societal and subtitling norms. Translating explicit language is presented as an example of this unproclaimed motivation to challenge censorship and ultimately societal and subtitling norms. To this end, this paper relies on results obtained from a mixed-method survey that elicited sociodemographic data for 40 non-professional subtitlers of Arabic, as well as their motivations behind subtitling. This study has found that ANP subtitlers demonstrate aspects of interventionism by challenging censorship of explicit language. Interventionism is also identified as an unproclaimed motivation behind ANP subtitling. Survey responses and subtitling examples are analysed and discussed followed by concluding remarks and recommendations for future research.

This paper aims to analyse the speeches in six one-act plays by an American woman playwright, Geralyn L. Horton, to examine the gender differences in impolite acts. In the analysis of impoliteness, two classifications are taken as basis: types of strategies are classified according to the conventionalized impoliteness formulae and implicational impoliteness in Culpeper's latest book, Impoliteness: Using Language to Cause Offence; responses to impoliteness are classified within the framework in Bousfield's Impoliteness in Interaction. The findings show that men use more impoliteness than women in their speech, and the frequency rates of the types of strategies deployed by men and women show differences.

tudes manifests itself strongly in gender and sexual stereotypes, particularly in translation, where cultural prejudices filtered through another society's language often undergo changes in intensity, altering their connotative impact. Subtitling, a unique translation form, can significantly alter the message of the original dialogue referencing marginalized groups for a variety of reasons. The original text often contains variants of words even within the source language (hereafter "SL"), and the subtitled text necessarily undergoes shifts in meaning that often render the text inaccessible to the target language (hereafter "TL") audience on certain levels. Words known to have a particular semantic impact in the SL, such as insults, can lose their negative connotation in the TL, either due to a conscious choice on the subtitler's part, the unavailability of a direct equivalent in the TL, or condensation considerations inherent in the subtitling process. 1 Additionally, since subtitling functions intersemiotically, rendering spoken dialogue into written form, dialogic features such as register, intonation, and stress cannot always be conveyed in the subtitles. The two French-language films The Closet (François Veber, 2001) and My Life in Pink (Alain Berliner, 1997) ranked 37th and 70th, respectively, in gross box-office returns among all domestic and foreign gay and lesbian-themed films released in the US from 1980 to the present ("Gay/Lesbian"), indicating a representative sampling of typical viewership for this genre of film. 2 Analysis of the English subtitles in these films shows that naming and, in particular, the

This research discussed about, the use of swear words uttered by PewDiePie's in his Youtube Videos which aimed to show the types of swear word found in the PewDiePie's videos, and to show the dominant types of swear words based on the meaning and meaningless swearing. This research was descriptive qualitative method. The object of the study were five videos from Pewdiepie's Youtube channel which collected based on most viewed videos on his Youtube channel. The researcher used note taking as the instruments in order to get the valid data. The findings showed that there were five types of swear words that used in PewDiePie's videos those were: 14 data of Dysphemistics, 38 data of Idiomatically, 1 data of Abusively, 24 data of Emphatically, 27 data of Carthartically. The researcher conclude that the dominant type of swearing that Pewdiepie used in his videos is SW2 which does not have any intrinsic meaning at all (categorized as Emphatic swearing and Idiomatic swearing) rather it is merely a word that could express the feeling towards other people without offend someone's pride.

En este artículo se presenta un análisis cuantitativo y cualitativo de los subtítulos en español peninsular y en español latino de la serie Sex Education de Netflix (Nunn et al., 2019). La serie muestra diálogos con abundantes marcas coloquiales y vulgarespropias del lenguaje juvenil, y escenas en las que se abordan temas relacionados con la categoría ideológica del sexo.El corpus está compuesto por una selección de escenas tomadas de los ocho capítulos de la primera temporada que contienen elementos referidos a la categoría del sexo y, concretamente, a las siguientes subcategorías: relaciones sexuales y anatomía sexual. Partiendo de la clasificación propuesta por Ávila-Cabrera (2020; 2023) en su modelo de análisis de la traducción del lenguaje tabú, se ha conseguido arrojar luz sobre las diferentes técnicas empleadas para traducir el argot sexual en las dos versiones comparadas.

Subtitling: Concepts and Practices se enmarca en la didáctica de la traducción y tiene como objetivo proporcionar una serie de conceptos teóricos y prácticos de esta modalidad específica de traducción audiovisual. Para ello, se ofrecen estrategias y técnicas concretas de traducción acompañadas de un gran número de ejemplos en distintos idiomas, y se muestran las tecnologías de traducción más avanzadas y todos los cambios que implican en esta profesión traductora. Resulta muy oportuna también la posibilidad que se ofrece al lector de utilizar las herramientas más innovadoras de traducción que le permiten adquirir experiencia en la práctica del subtitulado.

The present study aims at investigating the translatability of English profanities into Arabic subtitles. The study argues that English profanities pose a translation challenge within the English-Arabic context. The data comprises three American movies, shown on ...

The treatment of insults eunderstood as words within offensive language whose function is hurting the addressee's feelings (Avila-Cabrera, 2016)e in audiovisual translation (AVT) always poses a challenge to audiovisual translators: because of the semantic/pragmatic load these terms have in the source text (ST), the effect caused in the target text (TT) and culture, and because of the difficulty in transferring them in an idiomatic way. Certain formulas do not always maintain the effect that some words have in the ST. In addition, the translation techniques used may not even be faithful to the original dialogue exchanges. This paper aims to analyse all the insults uttered in Once Upon a Time in Hollywood (Tarantino, 2019), and in its dubbed and subtitled versions into European Spanish. In order to do so, I will pay particular attention to the speaker's intention (Grice, 1969), whether the insults found in the ST can be viewed as examples of friendly banter or whether, by contrast, the speaker's intention was offending. Avila-Cabrera's (2023) taxonomy of translation techniques will be used to delve into the manner in which insults were translated to the TT to determine whether or not the semantic/pragmatic load of these terms is transferred (being toned up, maintained or toned down) or not (being neutralised or omitted). The point of departure of this case study resorts to the initial hypothesis that dubbing transfers more insults into European Spanish than subtitling due to the technical features of the former. The aims of the study are: to determine (1) how faithful the dubbed and subtitled version insults were towards the ST, that is, whether or not the load of the insults is transferred to the TT and to what degree; (2) which AVT mode transfers the greatest number of insults to the TT; (3) if the insults transferred had the intention of offending or not; and (4) if the insults tend to foreignisation or domestication. In order to do so, a multidisciplinary methodology will be used based on a descriptive translation studies (DTS) and pragmatics approach.

This article examines swear word translation in Eka Kurniawan's Indonesian novel, Seperti Dendam, and its English version, Vengeance. The study analyzes swearing expressions and translation strategies using a qualitative approach. Data from both novels reveals seventeen swear words across eight themes. Swear words are classified into four function types and a mixed function. The translator employed five main strategies, maintaining function and theme being the most common. The findings show the translator aimed to preserve the original function and theme while adapting to the target text's style. Indonesian swear words share similarities with English counterparts in function and theme.

Swearing is exploited to release strong emotions, attack the interlocutor's face and build interpersonal solidarity, both in spontaneous interactions and in film. In audiovisual translation, it tends to be toned down or omitted, with research mostly explaining neutralisation as censorship-driven and treating the translation of taboo language as an internally-undifferentiated, arbitrary procedure. In the present corpus-based study we move away from the external, socio-cultural motivations for loss to assess whether specific pragmatic, structural-functional and textual dimensions of swearing account for preferred translational strategies and impact the translational outcomes. All occurrences of F-words in a parallel corpus of Anglophone films and their Italian translations are examined in their bilingual concordances at the utterance level and in the wider multimodal context. The quantitative and qualitative analyses outline the interaction between structural-functional patterns and pragmatic functions with reference to the translation strategies of full translation, mitigation, de-swearing and omission. The findings unveil coherence in Italian translators' preferences for pragmatically-motivated cross-linguistically viable language patterns which foreground the heightened emotional charge and the abusive dimensions of taboo words, thus pointing to a principled approach to translational solutions which boost the conflictuality intrinsic to film.

The current study represents an integrated model of explicit and implicit offensive language taxonomy. First, it focuses on a definitional revision and enrichment of the explicit offensive language taxonomy by reviewing the collection of available corpora and comparing tagging schemas applied there. The study relies mainly on the categories originally proposed by Zampieri et al. (2019) in terms of offensive language categorization schemata. After the explanation of semantic differences between particular concepts used in the tagging systems and the analysis of theoretical frameworks, a finite set of classes is presented, which cover aspects of offensive language representation along with linguistically sound explanations (Lewandowska-Tomaszczyk et al. 2021). In the analytic procedure, offensive from non-offensive discourse is first distinguished, with the question of offence Target and the following categorization levels and sublevels. Based on the relevant data generated from Sketc...

The kind of swearing which references sexual acts has been construed as the most obscene of all, perhaps because it reminds us of “a time when all sex was unholy, except as necessary for procreative purposes between married couples” (Allan and Burridge, 2006: 144). That is why the translation of sexual terms in film has not always been an easy task since the translator has had to face the predicament of trying to simultaneously please disparate audiences and distributors. In Reservoir Dogs (1992), a young Tarantino used a proliferation of sex-related terms, perhaps as a way of proclaiming and conveying his own style. The purpose of this article is threefold. First, I will introduce the concepts of taboo and obscenity and then move on to a linguistic taboo: swearing. Secondly, I will deal with issues such as verbal violence and (self)censorship with a focus on the sexual language in Reservoir Dogs. Finally, I will show some selective examples of the dubbing of the f-word as it appear...

Swearing is deemed as improper to use in certain settings. However, it can be used to convey positive emotions too, including complimenting something or someone. This research article aims to investigate the linguistic forms, pragmatic meanings, and pragmatic functions of family-theme swearing used in compliments on Twitter. Kreidler (2002), Ramlan (2005), and Ljung (2011)’s opinions were utilized in this research. Observational method was used to collect the data. Distributional and identity method were used to analyze the data. The results of this study demonstrate that: (1) linguistic forms of family-theme swearing are word and phrase, (2) the pragmatic meaning of the family-theme swearing is as utterance meaning, and (3) the pragmatic functions of the family-theme swearing are as Adjectival Intensifier and Anaphoric Use of Epithets. This research is hopefully able to assist EFL (English as a Foreign Language) students to communicate in English better with other English speakers ...

This study adopts a corpus-assisted approach to explore the translation strategies that Netflix subtitlers opted for in rendering 1564 English swear words into Arabic. It uses a 699,229-word English-Arabic parallel corpus consisting of the English transcriptions of forty English movies, drama, action, science fiction (sci-fi), and biography and their Arabic subtitles. Using the wordlist tool in SketchEngine, the researchers identified some frequent swear words, namelyfuck, shit, damn, ass, bitch, bastard, asshole, dick, cunt, andpussy. Moreover, using the parallel concordance tool in SketchEngine revealed that three translation strategies were observed in the corpus, namely, omission, softening, and swear-to-non-swear. The omission strategy accounted for the lion’s share in the investigated data, with 66% for drama, 61% for action, 52% for biography, and 40% for sci-fi. On the other hand, the swear-to-non-swear strategy was the least adopted one, accounting for 21% in sci-fi, 16% in...

This descriptive qualitative research analyzed the swear words utteranced by Speed’s in his YouTube video: lose the game, shave your eyebrows. This research aimed to identify types of swear words based on context and which one the frequenly appears. The data source of the research took video from Live Speed’s YouTube channel who played FIFA game with a kid. This research used observational methode with non-participatory technique for collecting the data. This research used the referential identity method with technique to analyze the data. Based on finding, there were five utterances types of swear words in Live Speed’s video. Those were 1 data of dysphemism, 3 data of idiomatically, 7 data of abusively, 4 data of emphatically, and 13 data of cathartically. The researchers made a conclusion that the cathartically of swearing is the most frequent utteranced by Speed and kid in his video. In other words, all types of swearing were pronounced to express the feeling to gain the attracti...

This paper describes the work that our team bhanodaig did at Indian Institute of Technology (ISM) towards OffensEval i.e. identifying and categorizing offensive language in social media. Out of three sub-tasks, we have participated in sub-task B: automatic categorization of offensive types. We perform the task of categorizing offensive language, whether the tweet is targeted insult or untargeted. We use Linear Support Vector Machine for classification. The official ranking metric is macroaveraged F1. Our system gets the score 0.5282 with accuracy 0.8792. However, as new entrant to the field, our scores are encouraging enough to work for better results in future.

The present study aims at investigating the translatability of English profanities into Arabic subtitles. The study argues that English profanities pose a translation challenge within the English-Arabic context. The data comprises three American movies, shown on ...