rel="nofollow" href="#litres_trial_promo">8.1.1. Feature description and research methodology
8.1.2. Occurrence in the ST and their translation in the TT
8.2.1. Theoretical and methodological framework for the analysis of lexical exploitation
8.2.2. Adapting corpus pattern analysis for the study of TV dialogue and subtitling
8.2.3. Lexical exploitation and conventionalised ‘pseudocreativity’
8.2.4. Lexical exploitation in the CoPP
9.1. Fictive orality in TV dialogue and subtitling: Main findings
9.2. The perception of subtitles as exhibiting neutral register
9.3. A genre-oriented approach
9.5. Limitations and future research
Teamwork is vital in the series explored in this book: neither criminals nor the police tend to act individually. In the same way, this book would not have been possible without the help of a number of people.
First and foremost, thank you, Jorge Díaz Cintas, for your confidence in the work behind this book, as well as for your precious comments to make it better. Thank you also to the editors at Peter Lang, especially Laurel Plapp and Simon Phillimore.
Thank you to each of the scholars who have given me invaluable feedback in so many ways: Sergi Torner and Jenny Brumme, who guided this research, as well as Paz Battaner, Núria Bel, Elisenda Bernal, Gloria Corpas, Pilar Estelrich, Patrick Hanks, Sheila Queralt, Irene Renau, Britta Thörle, and Patrick Zabalbeascoa.
I am grateful to the Institute for Applied Linguistics at the Universitat Pompeu Fabra (UPF-IULA) for the funding provided for this publication.
Finally, thank you, Joan, friends and family, for having my back all the way, as Debra Morgan, Teresa Lisbon or Kate Beckett would say. You are simply indispensable.
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Chart 1. Distribution of crime-related and non-crime-related dialogue sequences in the first episode of each series
Chart 2. Lexical word categories distribution in the CoPP (relative frequencies)
Chart 3. Linear discriminant analysis results for PoS distribution (ST)
Chart 4. Distribution of types of clauses in the ST and the TT of the CoPP (relative frequencies)
Chart 5. Results of semi-automatic analysis of sentence coordination in the CoPP (relative frequencies)
Chart 6. Results of manual analysis of coordination occurrence in the subcorpus (relative frequencies)
Chart 7. Distribution of finite and non-finite subordinated clauses in the CoPP (relative frequencies)
Chart 8. Results of manual analysis of subordination occurrence in the subcorpus (relative frequencies)
Chart 9. One-verb clauses in the CoPP (relative frequencies)
Chart 10. Two-verb clauses in the CoPP (relative frequencies)
Chart 11. Three-verb clauses in the CoPP (relative frequencies)
Chart 12. Nominal clauses in the CoPP (relative frequencies)
Chart 13. Distribution of syntactic features of fictive orality in the ST subcorpus (relative frequencies per episode, shown in percentages)
Chart 14. Percentage compliance of segmentation guidelines for two-liners in the subcorpus
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Chart 15. Percentage compliance of segmentation guidelines for split sentences across subtitles
Chart 16. Terminological density scores in the subcorpus (relative frequencies, shown in percentages)
Chart 17. Rude and offensive lexicon in the subcorpus (relative frequencies, shown in percentages)
Chart 18. Terms of endearment in the subcorpus (relative frequencies, shown in percentages)
Chart 19. Distribution of exploitations in the ST subcorpus (relative frequencies per episode, shown in percentages)
Chart 20. Percentage occurence of types of translation solutions [T]; for each type of exploitation
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Figure 1. The hybrid nature of subtitling, holding features of translation, summarisation and medium conversion
Figure 2. Main phases in the CoPP’s ST and TT creation process
Figure 3. Treetagger example output (from M01)
Figure 4. Output of Stanford Parser showing treatment of unfinished sentence
Figure 5. Output of Stanford Parser showing treatment of fronting
Figure 6. Output of Stanford Parser showing treatment of ellipsis and repetition
Figure 7. Extract from specificities sheet provided by a multinational entertainment company to a subtitling company
Figure 8. The interplay between metaphors and intertextuality
Figure 9. TV dialogue and subtitling in the continuum from spoken to written language
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Screenshot 1. Visual context for Example 72 [D02, 01:22:28:12]
Screenshot 2. Illustration of the use of to dump the garbage in Dexter: the protagonist collects the victim’s body parts [D01, 00:37:08:16]
Screenshot 3. Illustration of the use of to have the upper hand in Dexter: the protagonist threatens his victim [D02, 01:43:56:09]
Screenshot 4. Visual context for Example 87 [C01, 01:02:13:17]
Screenshot 5. Visual context for Example 88 [D01 00:44:32:15]