Para citar (APA 7): Villanueva-Jordán, I. (2021, 30 de junio). Línea del tiempo sobre traducción audiovisual y estudios LGBTQ+. https://trujamancia.com/linea-del-tiempo/
Ellen Morgan (personaje interpretado por E. Degeneres) sale del clóset el 30 de abril de 1997.
Referencia completa: Mazdon, L. (2000). Translating Stereotypes in the Cinematic Remake. In M. Salama-Carr (Ed.), On Translating French Literature and Film II (pp. 171–182). Rodopi.
Referencia completa: Boellstorff, T. (2003). Dubbing culture: Indonesian gay and lesbi subjectivities and ethnography in an already globalized world. American Ethnologist, 30(2), 225–242. https://doi.org/10.1525/ae.2003.30.2.225
Referencia completa: Toto, P. A. (2009). “Less about sex, more about shopping”: Will & Grace e il linguaggio gay. In S. Petrilli & D. Buchbinder (Eds.), Masculinities. Identità maschili e appartenenze culturali (pp. 153–158). Mimesis.
Referencia completa: Valdeón, R. A. (2010). Dynamic versus Static Discourse: Will & Grace and its Spanish Dubbed Version. In D. Chiaro (Ed.), Translation, Humour and the Media: Translation and Humour Volume 2 (pp. 238–249). Continuum.
Ryan Murphy se ha convertido en un reconocido productor de televisión por sus producciones relacionadas con las diversidades sexuales y de género, de gran éxito. The New Normal (Murphy, 2012) refleja un momento de inflexión en la calidad de las representaciones; la comedia, que contó con una sola serie, intentó problematizar sin mucha claridad el prejuicio, los estereotipos y lo políticamente correcto frente a las identidades gais.
Referencia completa: Valdeón, R. A. (2010). Schemata, scripts and the gay issue in contemporary dubbed sitcoms. Target, 22(1), 71–93. https://doi.org/10.1075/target.22.1.05val
Referencia completa: Bowman, P. (2010). Sick man of transl-Asia: Bruce Lee and rey chow’s queer cultural translation. Social Semiotics, 20(4), 393–409. https://doi.org/10.1080/10350330.2010.494393
Referencia completa: Lewis, E. S. (2010). “This is My Girlfriend, Linda” Translating Queer Relationships in Film: A Case Study of the Subtitles for Gia and a Proposal for Developing the Field of Queer Translation Studies. In Other Words: The Journal for Literary Translators, 3, 3–22.
Referencia completa: Bucaria, C. (2010). Laughing to Death: Dubbed and Subtitled Humour in Six Feet Under. In D. Chiaro (Ed.), Translation, Humour and the Media: Translation and Humour Volume 2 (pp. 222–237). Continuum.
Referencia completa: Ranzato, I. (2012). Gayspeak and Gay Subjects in Audiovisual Translation: Strategies in Italian Dubbing. Meta: Journal Des Traducteurs, 57(2), 369–384. https://doi.org/10.7202/1013951ar
Referencia completa: Asimakoulas, D. (2012). Dude (Looks like a Lady). Hijacking Transsexual Identity in the Subtitled Version of Strella by Panos Koutras. The Translator, 18(1), 47–75.
Referencia completa: Turek, S. (2012). Gay Characters in the Margins: Gender-Based Stereotypes in Subtitled French Film. The Journal of Popular Culture, 45(5), 1020–1040. https://doi.org/10.1111/j.1540-5931.2012.00971.x
Referencia completa: Ranzato, I. (2015). “God Forbid, a Man!”: Homosexuality in a Case of Quality TV. Between, 5(9), 1–24. https://doi.org/10.13125/2039-6597/1397
Referencia completa: Martínez Pleguezuelos, A. J. (2016). Representación de la homosexualidad, identidad saliente y traducción: estudio del doblaje de Will & Grace en español. In R. Martín Ruano & M. C. A. Vidal Claramonte (Eds.), Traducción, medios de comunicación, opinión pública (pp. 209–226). Comares.
Referencia completa: De Marco, A. (2013). Translating Gender on Screen across Languages: The Case of Transamerica. In E. Federici & V. Leonardi (Eds.), Bridging the Gap between Theory and Practice in Translation and Gender Studies (pp. 122–132). Cambridge Scholars Publishing.
Sandrelli, A. (2016). The dubbing of gay-themed TV series in Italy: Corpus-based evidence of manipulation and censorship. Altre Modernita, 15, 124–143.
Referencia completa: Leung, H. H.-S. (2016). Always in Translation. TSQ: Transgender Studies Quarterly, 3(3–4), 433–447. https://doi.org/10.1215/23289252-3545143
Referencia completa: Bassi, S. (2017). Displacing LGBT. Global Englishes, Activism and Translated Sexualities. In O. Castro & E. Ergun (Eds.), Feminist Translation Studies. Local and Transnational Perspectives (pp. 235–248). Routledge.
Bradbury-Rance, C. (2017). The translation of desire: Queering visibility in Nathalie… and Chloe. In B. J. Epstein & R. Gillett (Eds.), Queer in Translation. Routledge. https://doi.org/10.4324/9781315603216
Referencia completa: Martínez Pleguezuelos, A. J. (2017). Representación y traducción del camp talk en el cine de Almodóvar: los casos de “La mala educación” y “Los amantes pasajeros.” TRANS. Revista de Traductología, 21, 235–249. https://doi.org/10.24310/TRANS.2017.v0i21.3655
Referencia completa: Dore, M., & Zarrelli, I. (2018). Transfeminine Identity and HIV/AIDS in Audiovisual Translation. Dallas Buyers Club and Its Italian Subtitled Versions. In J. T. Williams Camus, C. Gómez Castro, A. Assis Rosa, & C. Camus Camus (Eds.), Translation and Gender: Discourse Strategies to Shape Gender (pp. 59–78). Cantabria University Press.
Referencia completa: Bernabo, L. E. (2017). Glee-talia: adapting Glee for an Italian audience, Critical Studies. Critical Studies in Media Communication, 1–9. https://doi.org/http://dx.doi.org/10.1080/15295036.2017.1292040
Referencia completa: Bassi, S. (2018). The Future Is a Foreign Country. Translation and Temporal Critique in the Italian It Gets Better Project. In B. Baer & K. Kaindl (Eds.), Queering Translation, Translating the Queer (1st ed., pp. 58–71). Routledge. https://doi.org/10.4324/9781315505978-5
Díaz Pérez, F. J. (2018). Language and identity representation in the English subtitles of Almodóvar’s films. Cultus: The Journal of Intercultural Mediation and Communication, 11, 96–121.
Referencia completa: Martínez Pleguezuelos, A. J. (2018). Traducción e identidad sexual. Reescrituras audiovisuales desde la Teoría Queer (1st ed.). Editorial Comares.
Referencia completa: Martínez Pleguezuelos, A. J., & González-Iglesias, J. D. (2019). Identidades presas: representación, estereotipo e interseccionalidad en la traducción de la mujer latina en Orange Is The New Black. Monografias de Traduccion e Interpretacion (MonTI), 2019(SpecialIssue4), 173–198. https://doi.org/10.6035/MonTI.2019.ne4.6
Referencia completa: Villanueva-Jordán, I. (2019). Dragqueenismo y traducción: el papel del RuPaul’s Drag Race en la circulación del habla camp en español. In J. F. Carrero Martín, B. Cerezo Merchán, J. J. Martínez Sierra, & G. Zaragoza Ninet (Eds.), La traducción audiovisual. Aproximaciones desde la academia y la industria2 (pp. 45–64). Comares.
Referencia completa: Villanueva Jordán, I. (2019). «You better werk». Rasgos del camp talk en la subtitulación al español de Rupaul’s Drag Race. Cadernos de Tradução, 39(2), 156–188. https://doi.org/http://dx.doi.org/10.5007/2175-7968.2019v39n3p156
Referencia completa: Jiang, M. (2020). Retranslation in popular culture: a multimodal extension of taboo love. The Translator, 26(1), 91–108. https://doi.org/10.1080/13556509.2019.1707385
Referencia completa: Guo, T., & Evans, J. (2020). Translational and transnational queer fandom in China: the fansubbing of Carol. Feminist Media Studies, 20(4), 515–529. https://doi.org/10.1080/14680777.2020.1754630
Barra, L., Brembilla, P., Rossato, L., & Spaziante, L. (2020). “Lip-Sync for Your Life” (Abroad). The Distribution, Adaptation and Circulation of RuPaul’s Drag Race in Italy. View, 9(17), 119–133. https://doi.org/http://doi.org/10.18146/view.210
Referencia completa: Misiek, S. (2020). Misgendered in Translation?: Genderqueerness in Polish Translations of English-language Television Series. Anglica. An International Journal of English Studies, 29(2), 165–185. https://doi.org/10.7311/0860-5734.29.2.09
Referencia completa: Lucas Tavares, L., & de Oliveira Branco, S. (2021). A tradução da linguagem drag em RuPaul’s Drag Race: um estudo sobre representação através de legendas. Revista Letras Raras, 10(1), 210–235. https://doi.org/http://dx.doi.org/10.35572/rlr.v1i1.1890
Referencia completa: Cândido Moura, W. H. (2020). ¡Ay, maricón! Analisando a tradução de tabus linguísticos na legendagem de La Mala Educación para o Português Brasileiro. Diacrítica, 34(3). https://doi.org/10.21814/diacritica.464
Referencia completa: Filmer, D. (2021). Linguistic Representations of Homosexual Identity in Bohemian Rhapsody and Rocketman across English and Italian Linguacultures. Textus, (1), 203–227. https://doi.org/10.7370/100402
Referencia completa: Passa, D. (2021). “We Work Hard, We Play Hard!”—Fictional Gayspeak in the Italian Dubbing of “The Simpsons”: A Queer Audiovisual Translation Study. Iperstoria, (17), 265–280. https://doi.org/10.13136/2281-4582/2021.i17.731
Referencia completa: Qiu, J. (2021). Marked and unmarked: queerness in film translation in China. Asia Pacific Translation and Intercultural Studies, 1–16. https://doi.org/10.1080/23306343.2021.1930948
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