O ódio que você não traduz: uma análise da tradução do AAVE na obra O ódio que você semeia, de Angie Thomas, a partir da abordagem da sociolinguística variacionista

Abstract

This work is devoted to an analysis of the translations of the African American Vernacular English or AAVE that were produced for the cinematographic work The Hate U Give, by Angie Thomas, integrating the modalities of audiovisual translation of subtitles and dubbing. Drawing on Variationist Sociolinguistics (Labov, 2006 [1966], 1972), we sought to discuss the social nature of AAVE, illustrating how important this approach is for the Translation Studies, especially when regarding the translation of a sociolect. Furthermore, according to the master’s dissertation of Carvalho (2005), we established points of convergence between audiovisual translation and the Polysystem Theory (Even-Zohar, 2000 [1972]), connecting literature with the audiovisual means. Therefore, this work has the following goals: (i) discussing the social nature of the sociolect’s traits, which are presented by Iwassa (2007) and Rickford (1999) in their works; (ii) analysing the translations, in order to categorize them in light of the concepts of domestication and foreignization, by Venuti (2008 [1995], 2002 [1998]); (iii) conceptualizing the respective analysed translations according to the concepts of the translator’s visibility and invisibility, by Venuti (2008 [1995], 2002 [1998]); and (iv) performing a comparative analysis of the translations, seeking to verify which translator and which modality, subtitles or dubbing, was able to encompass the social traits of the AAVE in the expected manner. Aiming to fulfill the proposed goals, we followed the mixed method (Johnson; Onwuegbuzie; Turner, 2007), seeking to encompass, through an interpretative and percentage approach, the concepts presented by Venuti (2008 [1995], 2002 [1998]). Accordingly, drawing on the analysis that was performed, we concluded that dubbing was the modality of audiovisual translation that most respected the social traits of the Black English, presenting translations that were mostly foreignizing, which points that they sought to connect more with the original context of the use of the sociolect in the movie scenes.