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2; 2022

Applying Vinay and Darbelnet's Translational Procedures in Dubbing

Animation from English into Arabic
May Mokarram Abdul Aziz
Correspondence: May Mokarram Abdul Aziz, Department of English language, University of Mosul-College of basic
education, Iraq.

Received: August 29, 2022 Accepted: October 10, 2022 Online Published: October 23, 2022
doi:10.5430/elr.v11n2p22 URL: https://doi.org/10.5430/elr.v11n2p22

Abstract
The main purpose of the present study is to focus on dubbing as a term employed in recording and synchronizing the
original production soundtrack with another language to create the finished soundtrack such as in TV series and
animation. This study aims at investigating translational procedures used in dubbing and sheds light on the difficulties
that the translator may face while dubbing animation. The study hypothesizes that adopting Vinay and Darbelnet’s
translational procedures (1995) may help to achieving a good match in dubbing English animation into Arabic. One of
the significant conclusions is that no matter how good the dubber is skilful, especially in applying a suitable
translational procedure and strategy, it is hard to come up with complete harmony with Source text due to some
difficulties that face the dubber, especially in terms of finding the right expression that must match and synchronize
with lip movements of characters, and the different articulating system of each language.
Keywords: Darblent’s, Dubbing, translational procedures, translation, strategies, synchronization, Vinay
1. Introduction
The translation is recognized as being one of the most fabulous and interesting human beings which is now acting a
vital part in the recognition of different works in different fields. This study tackles the interrelated issues of both topics
of translation and dubbing to show how much they are related and interwoven. Both of them are associated with each
other and overlapped but it has to make it clear that they are not identical. The Translation is known as the process of
substituting the Textual Material (SL) by an equivalent Textual Material (TL) (Catford, 1965). It is used through the
dubbing process by changing the soundtrack the translated material, then dubbing it orally while hiding the original
spoken text. After that, it is delivered by the dubber in a way that makes the audience and the viewers feel that they do
watch the original copy of the movies (Szarkowska, 2005). Dubbing which started in the 1930s to translate films can
be defined as a free interpretation of the SL in the TL in which it reflects the way of interchanging vocabularies from
SL text to TL text (Karamitroglou, 2000).
It can be said that the dubber can be a translator while the translator may not be a dubber since dubbing requires along
experience to be a master in interpreting and acting by using his/ her voice. The process of translating is not an easy
task, and it needs several of procedures to be easy to translate from one language to another. This study aims at showing
and investigating translation procedures and strategies employed in dubbing as well as identifying the difficulties that
the dubber may face in dubbing animation. It hypothesizes that adopting Vinay and Darbelnet's translational procedures
(1995) can help in fulfilling a good match in the dubbing animation from English into Arabic to answer the research
questions. The Research questions: The first, are Vinay and Darbelnet's Translational Procedures applied during the
translation process of Dubbing Animation from English into Arabic? the second, can adopting Vinay and Darbelnet's
translational procedures (1995) help in fulfilling a good match in the dubbing animation from English into Arabic?
2. Literature Review
Cintaz, D. (003) referred to the fact that Dubbing involves substituting source soundtrack that implies actors’ dialogue
with a recording original message within the Target Language (TL), where the target language sounds and the actors’
lip movements are matched together with synchronization. Balsam (2020) stated that dubbing shows how the change
of the word order could be employed to be reflected as an example of phonological synchronism during the study of
the translator, adapter, and screenwriter as in the case of the scene taken from the King Arthur's film (2005.).
Dubbing is a well-known process that started in the1930s of the last century where its quality and method were not

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adopted as nowadays (Mujagic, 2013). Diaz Cintas (2002) states that dubbing is an expensive process compared to
other types of audio-visual translation, yet it is recognized as an important and convincing process to illiterate people.
Dubbing is used by the viewers to pay attention to the audio rather than the image of the screen (Chaume, 2004). It is
also used to reflect the ideal form of the translation of films based on achieving the factor of "faithfulness", assuming
that the linguistic awareness would not determine the complete value regarding rendition, but achieving faithfulness
depends also on the phonological synchronization (Szarkowska, 2005).
The laryngeal, pharyngeal, oral, and nasal cavities can all be used to produce ‘tones of voice’ which alter the meaning
of what is said. These effects are sometimes referred to as effects of ‘timbre’ or ‘voice quality’ and studied under the
heading of vocal paralanguage (Crystal, 1997). (Mera, 1998) points out that in dubbing no reading subtitles can be
focused on in which viewers concentrate on images, besides no original dialogue is noticed.
2.1 Dubbing Restrictions
Samovar, (2003) refer to cultural elements as dubbing restrictions that have a great effect on the process of dubbing
that is why the translator should not be bilingual alone but bicultural. Another restriction can be regarded as a big
challenge that is a humorous element where the translator should master the sense of humor of each culture to come
out with an accepted performance (Sahin, 2012), besides being aware of linguistic restrictions in the dubbing process
such as grammatical, stylistic and figurative...etc. (Ibid. Sometimes sentences that have more than one meaning may
lead to ambiguity and thus difficulty in choosing the intended meaning, for instance, "she hits the girl with the cane."
which has two meanings and can be rendered to “‫ ”ضربت الفتاة ذات العصا‬or “‫( ”ضربت الفتاة بالعصا‬Ilyas, 1989).
Another important restriction comes out by (O’Connell 2003,77) that relates to phonetic synchrony, character
synchrony content synchrony, lip synchrony, and content synchrony. He(ibid) asserts that translators should pay more
attention to these matters and be accurate in taking them into account during the dubbing movies. Chaume (2012)
affirms that synchronicity is one of the basic elements of dubbing to achieve the accuracy of the ST, and he
distinguishes three kinds of it which are: lip synchrony, kinetic, and isochrony, he mentions that since the character in
animation movies moves in an extreme way to interest the viewers, therefore, kinetic synchrony is more important
than lip synchrony. The problem that may appear is with both lip synchrony and isochrony (the latter concerns with
the utterances length of the character) in dubbing when the movement of the lips does not match the speech, i.e., the
lips move without the presence of speech, or vice versa (Chaume (2012)
2.2 Dubbing Animation
Animation films and cartoon series are considered important in every individual's childhood. Nowadays, cartoons play
a great role in the child's educational background (Espasa, 2008). Translation of cartoons is not an easy task for the
translator because whoever translates cartoons should base his/her translation on taking the children's personality and
mentality into account through the process of translation (Lathey, 2009). Dubbing requires also knowing how to deal
with a source language culture and change it to a target language culture because each culture has its factors, habits,
traditions...etc. (Siyanda, 2014). Some points must be taken seriously into account in translating cartoons as follows:
1. The fitness of the dubbing voice for the age of the cartoon character.
2. Children's way of thinking and contemplating.
3. The translator has to come out with a new copy of the translation that is close to the original one.
4. Conveying the spoken message to the audience of the target language.
5. Dubbing performance informs the audiences to be aware of the educational rules as in the case of
performing the role of educating viewers that good lasts longer than ''malignancy'' (Song, 2012).
2.3 Vinay and Darblent’s Translation Procedures
Vinay and Darblent’s model (1995) described seven strategies of translation within two main procedures of translation:
Direct translation which comprises borrowing, calque and literal translation, the second procedure is oblique translation
which includes transposition, modulation, equivalence and adaptation.
Direct Translational Procedure
Direct translation is like word -for - word translation. Vinay and Darblent (1995) mention that direct translation
includes three strategies that can be employed in the case of the possibility of converting the structural and conceptual
elements of the original language into the target language (Bosco, www.interpronic.com).The translation strategies
according to Vinay and Darblent are as follows:

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Borrowing
This strategy implicates applying and borrowing the S.T. linguistic expression into the T.T (Nago, 2018). For instance,
borrowing the Arabic word “‫ ”الكحول‬which became normal in English language as “Alcohol”, another example is
English word “computer” to “‫ ”كومبيوتر‬in Arabic. The reason behind using this strategy is the entering of modern
technical words in the present days which have no equivalence in the T.T, as well as adding a special stylistic effect
into T.T. (Vinay & Darblent, 1995; 2000).
Calque
Calque is a special type of the previous strategy where the S.T. is transferred as it is by borrowing the S.T. expression
or translating it literally into the T.T. For instance, "red line as "‫"الخط االحمر‬. Calques tend to either adopt the syntax of
the T.L while rendering each word literally or neglect the T.L syntax and maintain the syntax of the S.L. Calque is
considered as a confusing grammatical structure in the T.T (Nago 2018)
Literal Translation
Literal translation or translating word for word without affecting the meaning. This procedure sticks to the linguistic
rules of the T.L. i.e., replacing S. L. grammar and the order of the word (Newmark1988,47). For instance, the literal
translation of “It’s raining cats and dogs” is “‫”انها تمطر قططا وكالبا‬.
Oblique Translational Procedure
Vinay and Darblent (1995) say that oblique translation is employed to make up for some shortages in the T.L. by
providing an equivalent meaning which should be proper for both languages. It includes four translation strategies
which are as follows:
Transposition
It has been pointed out to this method as changing the class work in the S.T. without changing of the T.T. meaning
(Vinay & Darblent, 1995). For instance, “a beautiful girl” as “‫”فتاة جميلة‬, in this example the adj. (beautiful) has been
changed depending on the T.L. grammar to the noun(‫( )جميلة‬Zakhir, 2008). This indicates that the translators sometimes
change the type of words without thinking such as changing nouns to verbs. This method is regarded as either
obligatory or optional and the term S.T is replaced by base expression and T.T by transposed expression according to
this method (Nago, 2020).
Modulation
This is about changing the text form by making a semantic change or perspective. In other words, changing the
semantic point of view of the S.L. For instance, the English sentence “I’ll give another opportunity to get the correct
answer"(Jasim & Kadim, 2018), can be translated as “‫”سأعطي فرصة اخرى للحصول على االجابة الصحيحة‬, here, will is
employed to say something about what someone is wanted to do.
Equivalence
This procedure is used to transfer the same effect of the message or the same reality by conveying the same idea while
having different styles, structures, and/or wording. For example, a person who speaks English and gets hit will say:
“ouch”, while someone who speaks Arabic will say: “‫( ”اي‬Alqunaibet, 2018).
Adaptation
This procedure is employed to achieve cultural equivalents. Adaptation is used to replace the S.T expression with one
that goes with the T.L culture. For instance, “once there was a little pig” can be translated into Arabic as “ ‫كان هناك ارنب‬
‫ ”صغير‬since Muslims believe that pig is an undesirable animal, so the word “pig” is replaced with other animal in
Arabic which is “‫( ”ارنب‬Khazrouni, 2017).
2.4 Previous Studies
Several scholars concern with dubbing and translating films each according to his vision. Muhammad, S. (2014) tried
to tackle the translating of names of cartoons and the reason behind keeping or varying them in these movies. She
refers that most of the renderings of animation from English into Arabic especially those that are colloquial are confined
to some Arabic cultures without taking into consideration various Arabic cultures, one of her study conclusions is that
using standard Arabic in dubbing cartoons is the best way to use it. The study of Balsam (2020) was concerned with
compering subtitling vs. dubbing involved in translating various examples of films and refers to the various factors
that control the selection of the best way of translation i.e., whether to subtitle or to dub a certain film in a certain
community. Song (2012) wrote a paper that interest in translating cartons from English into Mandarin Chinese. Others

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like Szarkouska (2005) and Chaume (2004) pay attention to subtitling movies in general, yet none of these studies
worked on the application of a certain translation model especially in dubbing animation. The current study tries to
apply Vinay and Darblent’s model which I believe it can help to fulfill a good match in dubbing animation from English
into Arabic.
3. Methods
In this section, several texts are going to be analyzed by adopting Vinary and Darblen model of translation (1995).
Some of the animation filmstrips are chosen for analysis with their dubbing. As mentioned above, Vinay and
Darbelnet's translational procedures (1995) are adopted to specify the type of translation used in dubbing.
4. Discussion
S.L Text One (Spies): A- let me get this straight. You pulled us away from David because of some silly games.
B- The Olympics does not just game Clover nor are silly. 03:27:00
T.L Text: .‫ تجعلنا نبتعد عن داني من اجل لعبة سخيفة‬,‫ولكن لحظة من فضلك‬-‫ا‬
.‫ االلعاب االولمبية ليست العابا عادية وهذه القصة ليست سخيفة‬-‫ ب‬03:27:00
Interpretation
Name Spies, 2001. This animation has been written by Vincent Chalvon- Demersay and David Michel. This show is
composed of four or five seasons. It involves focusing on three adolescent girls who are Sam, Alex, and Clover who
live in Beverly Hills, California.
In this text, the strategy of Borrowing has been achieved within the direct procedure. It is reflected when the same
word in the S.L text is used in the T.L text, in other words, dubbing performer kept almost the same form of sounds of
this term by rendering “Olympics” to “‫ ”االولمبية‬with the addition of the word “‫ ”االلعاب‬to make this term more
understandable for Arabic listeners and viewers. Yet, the isochrony, phonetic synchrony, and lip synchrony are not
achieved here because Arabic one would be noticeably longer due to adding the word “‫”االلعاب‬. Changing the name
“David” to “Dani” is not justified because it is a familiar name for the Arabic people and replace it may lead to a lack
of contentment. So, it was better to use borrowing by using the same English utterance.
The mistakes committed by the dubber in translating the speech as a whole can be easily noticed and picked out by the
virtue of comparing both texts. The dubber made a grammatical mistake when he/she translated the sentence "you
pulled us'' which is in the simple past tense into the present simple tense “‫”تجعلنا‬. Moreover, there is another grammatical
mistake made by the dubber which is translating the word (games) which is plural into singular word “‫”لعبة‬. Adding
the words “‫ ”عادية‬and “‫ ”قصة‬that are not found in the original text seem un equivalent.
It is noticed that the duration of speaking is identical as recorded next to the two texts. Yet, there is no phonetic
synchrony due to the different sounds of the words in each language as well as the lacking of lip synchrony and
isochrony.
Proposed rendering: .‫ ابعدتنا عن ديفيد بسبب بعض االلعاب السخيفة‬,‫دعني اوضح االمر‬-‫ا‬
.‫االلعاب االولمبية ليست مجرد العاب ياكلوفر والهي سخيفة‬-‫ب‬-
S.L Text two (Spies): Whoop agents never fire on innocent people. 00:08:12
T.L Text: .‫ عمالء الووب ال يعاملون ابدا االبرياء هكذا‬00:06:27
Interpretation
Name Spies, 2001. This is an interesting and full of action cartoon that has been presented on television. This type of
animation has been written by Vincent Chalvon- Demersay and David Michel. This animation has a wide acceptance
by children, teenagers, and adult people. It is composed of four or five seasons. It involves focusing on three adolescent
girls who are Sam, Alex, and Clover who live in Beverly Hills, California.
Discussion
The context of this filmstrip is that the three spies stopped a prisoner from shooting at the guards and one of them
uttered the above-mentioned sentence to scold him while they were grasping him. This type reflects the direct
procedure through the calque strategy of translation that is used when the translator comes out with a new neologism
in the T.L by adopting the structure of the S.L. Another strategy that can be noticed is the borrowing by keeping the
same sounds of the S.T. term by rendering the English word "Whoop " into “‫ ”الووب‬which is adopting and following
the morph syntactic rules of the T.L. As for the utterance as a whole, we note that the time in the dubbing utterance did

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not coincide with that of the source one, which appears next to each speech, however, the lip synchrony is maintained
because the articulation of both words is alike.
Proposed rendering: ‫ال تستهدف ضربات الوكالء الناس االبرياء مطلقا‬
S.L Text three (Spies): in a word yes. 06:44:00
T.L Text: ‫ بكلمة واحدة نعم‬06:30:00
Interpretation
Name Spies, 2001. This film consists of three girls who are Sam, Clover, and Alex. This animation has been written
by Vincent Chalvon-Demersay and David Michel. It involves focusing on three adolescent girls who are Sam, Alex,
and Clover who live in Beverly Hills, California. This is an interesting cartoon that has been presented on
television until this moment.
Discussion
The above-mentioned dubbing sample is dubbed according to the literal translation in which he/she interpreted the
phrase word by word without making any effort in putting a new touch by transferring the idea in a more appropriate
way than the literal one. In literal translation the translator replaces the structure of S.T with that of the T.T. Yet, every
term in the S.T. should have its equivalent term in the T.T to fulfill dubbing. It is noted that there is no synchronization
as well as that there is no match in the duration of utterance between the S.T and T.T.
Proposed rendering: .‫ نعم‬,‫باختصار‬
S.L Text four (Jungle Book) I am getting sleepy. 00:02:36
T.L Text: ‫ اشعر بالنعاس‬00:07:26
Interpretation
Name The Jungle Book, 2010: This animated series of children are created by Christian Croquet. The name star of the
hero within this film is Mowgli. He is a foundling boy raised by Akela's wolf pack in an Indian jungle among the other
types of wild animals. The adventures go around Mowgli's life who cannot resist assisting animals in danger or coming
out with solutions for other problems.
Discussion
The translational topic, according to this example, involves the transposition strategy within the oblique procedure
which is used when translating the S.L phrase into T.L with making a change in the sequence of the S.L text through
translation especially changing the sequence of the grammatical categories and the parts of speech without affecting
the meaning of the original text. The term "sleepy" is an adjective in the S.L text in which it has been changed to a
noun as “‫ ”النعاس‬in the T.L text. Despite the dubber’s success in preserving the meaning of the ST, he was unable to
provide lip synchrony due to the difference of sounds in both languages. Again, there is a different duration in uttering
the two speeches.
Proposed rendering: .‫بدا يغالبني النعاس‬
S.L Text five (Lion King): See you. 00:03:41
T.L Text: ‫ الى اللقاء‬00:01:55
Interpretation
Name The Lion King animation, 1998. Simba is regarded as the main character of those cartoons. The ones who write
this animation story are Irene Mecchi, Jonathan Roberts, and Linda Woolverton. The cub starts looking for its parents
and it faces many problems and obstacles on its way to achieving its wants but friends try to help the cub out of the
situations that cub confronts.
Discussion
This type of dubbing reflects the achievement of translational strategy within the oblique translational procedure which
is modulation. Modulation is about changing the semantic point of view of the source language through dubbing it
from English to Arabic.
Modulation is not about interpreting literally, but it is coming up with a new touch of interpretation which is opposite
to the original text but refers to the same point of view differently as the case of this example: "I leave it for you."
Instead of being translated into “‫ ”تركتها لك‬we may say “‫ ”بإمكانك الحصول عليها‬which fulfills the modulation procedure

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function by having the same intended meaning with a different style of utterance. The example under discussion “see
you” is dubbed as “‫ ”الى اللقاء‬Which presents an appropriate modulation rendering although they are different in literal
meaning of the speech. There is no coincide between uttering both speeches as well as no synchronization exists in
dubbing the utterance. Another suitable rendering can be offered here as follows:
Proposed rendering: .‫اراك الحقا‬
S.L Text six (Jungle Book): much, much, much, my feet are killing me. 00:03:41
T.L Text: .‫ لقد تعبت من التدريب‬,‫ تدريب‬,‫ تدريب‬,‫تدريب‬00:01:55
Interpretation
Name The Jungle Book, 2010: this clip is taken from the same previous cartoon. This animated series of children are
created by Christian Croquet. Mowgli is a foundling boy raised by Akela's wolf pack in an Indian jungle among the
other types of wild animals. The adventures go around Mowgli's life in which he always gets himself into trouble and
cannot resist assisting animals in danger.
Discussion
Here, the equivalence strategy of the oblique procedure is recognized. This type of instance is sometimes hard to be
interpreted because of the metaphorical or idiomatic expressions that need to be understood in the original language to
be well translated.
The topic of this utterance is that a circle of elephants is guided by an old elephant that is the elephant in charge of
their training. The old ordered elephants to keep on training but the youth objected to the old one's order by saying ''
much, much, much...etc." According to equivalence, the dubber tries his/her best to convey the same idea or the main
intended meaning by using different style, structure, or even different wording to come out of this cultural problem. It
is a problem for the dubber if he/she depends on dubbing idioms literally. He/ she should come up with an equivalent
idiom or saying to solve such a problem.
It is noticeable here that the time of uttering both speeches are unlike. There is no synchronization due to the different
sounds of the words in each language.
Proposed rendering: ‫انهكني التدريب كثيرا‬
S.L Text seven (Jungle Book): Barbie parked in the garage. 00:17:50
T.L Text: ‫ توقفت باربي في الكراج؟‬00:17:59
Interpretation
Barbie, 2014. Princess Barbie is a shiny girl. One day she came across a secret door in her kingdom and opened it to
get inside a magic world full of magical creatures. The shiny princess meets a mermaid and fairy who inform her that
a spoiled ruler threatening them.
Discussion
The context of this filmstrip is that the shy princess got inside a realm of fairies and she was asked by the fairies if she
was a princess because of the crown that Barbie was wearing. In this text, the dubber employed borrowing translation
by adopting the same English word “garage” as “‫”كراج‬. Although the dubber succeeded in rendering the above word,
since this word is normal for the Arabic language and this word goes with the English articulatory system, yet, another
way within the oblique procedure can be employed here as adaptation, since there is an equivalent word in Arabic
which is “‫ ”مراب‬as “‫”توقفت باربي في المراب‬. The Dubber made a mistake by converting the affirmative source sentence
into an interrogative one. Again, there is no synchronization and no coincide in the duration of the two utterances.
5. Conclusion
The analysis reveals that Faithfulness is an important characteristic in transferring the meaning and smooth impact into
T.T in dubbing animation without conflict with T.L and its culture. In this study, Vinay and Darbelnet's translational
procedures are proved to be applied in dubbing cartoon movies to show the types of procedures highlighted in dubbing,
for example some English terms have no equivalents in the Arabic language, so borrowing in the direct procedure can
be used. Nevertheless, some difficulties can be shown through this process due to some of the dubbing challenges. The
dubbing process needs to be taken carefully to get rid of the ambiguous rendition and unfaithful work. The Essential
problem that faces the dubbers is the lack of synchrony especially lip synchrony because of the difference in the
articulatory systems of each language. Also lack of isochrony which causes the mismatch of the duration of uttering
the speech for each language

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Subsequently, matter how the dubber is skilful, it is hard to come up with harmony and self-satisfied text to the source-
language text. In other words, dubbing is an accurate process that must be tackled carefully to come out with acceptable
work. Dubbers have to be trained about how to come out with outstanding work by adopting the steps of processing
dubbing to avoid making mistakes.
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