Hikma 9. Artículo 7

ISSN: 1579-9794
La traduccin de los referentes culturales e intertextuales

en el subtitulado: el caso de FRIENDS1
(The translation of cultural and intertextual referents in subtitling:

the case of FRIENDS)
ELENA R. MURPHY
(Universidad de Salamanca)
Fecha de recepcin: 25 de febrero de 2010

Fecha de aceptacin: 30 de abril de 2010
Resumen: El inters que suscita el estudio de los textos audiovisuales traducidos y

su proceso de traduccin ha crecido exponencialmente a lo largo de los ltimos
aos. De entre las mltiples lneas de investigacin dentro del mbito de la
traduccin audiovisual, en este artculo se analiza la manera en que se traducen los
referentes culturales e intertextuales a travs de una de las modalidades de la TAV,
el subtitulado, teniendo en cuenta los significativos avances producidos en los
estudios de traduccin a lo largo de los ltimos aos. Se ofrece un estudio de las
soluciones adoptadas por el subtitulador ante la traduccin de las referencias
culturales e intertextuales presentes en los dilogos de la famosa serie Friends,
tomando en consideracin los aspectos que influyen en la decisin final y la
creciente interconexin entre los diferentes lenguajes y culturas de las sociedades
de la globalizacin.
Palabras clave: traduccin audiovisual, subtitulado, referentes culturales e
intertextuales, interconexin, globalizacin.
Abstract
Interest in the study of audiovisual translation and its production process has rapidly
been gaining ground during the last few years. Within the different lines of research
in this area, this paper focuses on the ways in which cultural and intertextual
elements are rendered through one of the many forms of audiovisual translation:
subtitling. A detailed analysis of the decisions made by the subtitler in regard to the
different cultural and intertextual elements present in the dialogs of the famous TV
series Friends is offered, taking into consideration the significant developments that
have occurred within the field of Translation Studies as a whole and the ever-growing
1
Este artculo se incluye dentro del proyecto Traduccin y discursos polticos: conflictos ticos
e ideolgicos en la era de la inmigracin y la globalizacin, FFI2009-10697, financiado por el
Ministerio de Ciencia y Tecnologa.
Hikma 9 (2010), 161-195

162 Elena R. Murphy
interconnexion between languages and cultures in the globalised societies of our

time.
Key words: audiovisual translation, subtitling, cultural and intertextual elements,
interconnexion, globalization.
1. ENTRE CULTURAS: LA TRADUCCIN AUDIOVISUAL TRAS EL GIRO CULTURAL

Las transformaciones acaecidas en los estudios de traduccin
durante los ltimos aos han sido espectaculares. Desde una visin
prescriptivista y cientifista en la que el traductor era una figura secundaria,
un mero puente entre autor original y lector, la visin contempornea de la
traduccin entiende que sta es un proceso muy complejo que va mucho
ms all de la tradicional equivalencia absoluta. Autores como Susan
Bassnett (1980), Theo Hermans (1985), Mary Snell-Hornby (1988) o Andr
Lefevere (1992) dieron un vuelco a nuestra disciplina con la incorporacin
de conceptos como los de reescritura, ideologa, poder o mecenazgo, que
fueron fundamentales para el posterior desarrollo de la disciplina. Hemos
pasado de centrar nuestros esfuerzos en consideraciones lingsticas y
textuales a entender la cultura como unidad principal de traduccin. Es
decir, dejamos atrs los anlisis normativos y prescriptivos para dar lugar a
los acercamientos descriptivos.
Desde los aos ochenta, los estudios de traduccin se han
diversificado y se han enriquecido considerablemente de nuevos enfoques.
Uno los mbitos de estudio que ha proliferado en los ltimos aos dentro de
2
la disciplina traductolgica ha sido el de la traduccin audiovisual . Como
sealan Zabalbeascoa, Santamara y Chaume (2005: IX),
Esta actividad profesional mereca ms atencin [...] El nmero de

consumidores de estos productos, que se incrementa cada da en todo
el mundo, el volumen econmico que tal actividad representa, la
popularidad de los medios audiovisuales, el deseo de tantos
estudiantes de dedicarse a los medios de comunicacin, el uso de los
medios por parte de los diferentes poderes y estamentos sociales,
obligaba a los crculos universitarios a prestar la atencin que
merecen los textos audiovisuales traducidos y su proceso de
traduccin.
2
Es preciso sealar que, como indica Diaz Cintas (2001:23), debido a la gran cantidad de
condicionamientos tcnicos que influyen en la transmisin lingstica dentro del mbito
audiovisual, algunos tericos prefieren catalogar este tipo de trasferencias como ejemplos de
adaptacin ms que de traduccin.
Hikma 9 (2010), 161-195

La traduccin de los referentes culturales e intertextuales en el subtitulado... 163
La traduccin audiovisual no tena cabida en el mbito traductolgico

de los aos sesenta. Esto se puede observar en enfoques como el de
Jackobson que, en su frecuentemente citado artculo On Linguistic Aspects
of Translation (1959), establece tres tipos de traduccin: intralingstica o
rewording (la interpretacin de signos verbales por medio de otros signos de
la misma lengua); interlingstica o proper translation (la interpretacin de
signos verbales por medio de signos de otras lenguas); e intersemitica o
transmutation (la interpretacin de signos verbales por medio de signos de
sistemas no verbales). Sin embargo, esta situacin ha cambiado,
[t]ranslation carried out in the audiovisual field currently accounts for an
increasingly large proportion of translation activity (Daz Cintas 2003: 193).
Teniendo en cuenta este crecimiento y la enorme cantidad de productos
audiovisual que se importan para Europa, y en especial para Espaa, no
resulta complicado entender el importante aumento de la investigacin
dentro de este campo epistemolgico. De entre las mltiples lneas de
investigacin dentro del mbito de la traduccin audiovisual, en este artculo
pretendemos analizar la manera en que se traducen los referentes
3
culturales e intertextuales a travs de una de las modalidades de la TAV, el
subtitulado, teniendo en cuenta los significativos avances producidos en los
estudios de traduccin a lo largo de los ltimos aos.
Hoy en da, la actividad traductora ya no se considera circunscrita
exclusivamente a la produccin literaria. Tras el giro cultural, la rama
descriptiva de los estudios de traduccin evidenci un cambio significativo.
Frente a los primeros acercamientos descriptivistas, ms enfocados hacia
temas literarios, comenzaron a proliferar las publicaciones que ponan de
relieve cuestiones de ideologa y poder relacionadas con la prctica
traductora en las que se vislumbraban fundamentos postestructuralistas.
Diferentes autores se centraron en la figura del traductor como agente
manipulador y resaltaron la trascendencia de la prctica traductora en
diversos mbitos disciplinares. A partir de los aos ochenta, cobraron gran
importancia los aspectos ideolgicos y polticos dentro del campo de la
traduccin. Esta actividad se empieza a entender como punto de encuentro
entre diferentes discursos, un espacio en el que se negocian las relaciones
de poder en un momento y un lugar determinados:
translation is not a by-product, nor simply a consequence, of social and

political developments, nor is it a by-product of the physical movement
of texts and people. It is part and parcel of the very process that makes
3
Segn Rosa Agost (1999: 103), se puede entender la intertextualidad como la aparicin, en
un texto, de referencias a otros textos.
Hikma 9 (2010), 161-195

164 Elena R. Murphy
these developments and movements possible in the first place (Baker

2006: 6).
Por tanto, el traductor no se considera como un intermediario neutro,

sino que participa activamente en el proceso translatorio. En este sentido,
retomamos aquellas ideas de manipulacin y reescritura, que Andr
Lefevere introdujo en su artculo Why Waste Our Time on Rewrites? en
1985 y que, posteriormente, desarroll en 1992 en su obra Translation,
Rewriting and the Manipulation of Literary Fame. En dicho libro, Lefevere
establece que toda reescritura implica inevitablemente manipulacin. Segn
Lefevere, de entre las distintas posibilidades, la traduccin es the most
obviously recognizable type of rewriting (Lefevere 1992: 9). Las reescrituras
o traducciones se producen siempre en funcin de una determinada
ideologa the world view-of a certain society at a certain moment (Lefevere
1985: 226), que puede ser propia del traductor/reescritor o, por el contrario,
serle impuesta por el mecenazgo the powers (persons, institutions) which
help or hinder the writing, reading and rewriting of literature (ibid: 227).
Adems, en el sistema literario tambin influyen otras restricciones
(constraints) como la potica del momento what literature should (be
allowed to) be (ibid: 226) y el universo del discurso the knowledge, the
learning, but also the objects and the customs of a certain time, to which
writers are free to allude in their work (ibid: 232-233). Segn Lefevere, el
mecenazgo, ms preocupado por la ideologa de la literatura que por la
potica, est formado por tres elementos: el componente ideolgico, el
componente econmico y el estatus. Sin duda, la ideologa impuesta por el
o los mecenas ordena las acciones y decisiones del reescritor. Asimismo, el
factor econmico tiene gran importancia en la realizacin de la reescritura y
en el resultado final, [e]s la influencia del oro en la letra (Moya 2004: 156).
Los conceptos de ideologa, mecenazgo, constraints o restricciones y
universo del discurso, definidos anteriormente en el mbito de la traduccin
literaria, me parecen extrapolables a la traduccin audiovisual. Como
cualquier traductor, ya sea literario, audiovisual, cientfico o jurdico, el
subtitulador no traduce desde la neutralidad, sino entre culturas, con una
ideologa especfica y en un momento determinado. Adems, responde a un
4
mecenas y debe atenerse a unas restricciones (o constraints) de espacio,
sincrona, velocidad de lectura... De esta manera, el texto final ser el
resultado de una serie de decisiones traductolgicas, guiadas por diferentes
restricciones y consideraciones culturales.
4
En este sentido, Titford (1982) se ha referido a la labor de subtitulacin como traduccin
subordinada o constrained translation, teniendo en cuenta las restricciones impuestas por el
medio a la hora de subtitular.
Hikma 9 (2010), 161-195

En las pginas siguientes trataremos de analizar las soluciones

ofrecidas por el subtitulador a la traduccin de las referencias culturales e
intertextuales, teniendo en cuenta los aspectos que influyen en la decisin
final y la creciente interconexin entre los diferentes lenguajes y culturas de
las sociedades de la globalizacin. Para ello, nos centramos en los dos
primeros episodios de la serie estadounidense Friends, que se ha importado
a Espaa doblada, como otras muchas, pero de la que existen versiones en
VO subtituladas.
Partimos de la base de que, en la actualidad, la mayor parte de las
culturas ya no resultan entes cerrados, sino organismos abiertos e
interrelacionados entre s. Hoy ms que nunca, el traductor se ha convertido
en un mediador intercultural y, por ello, debe conocer tanto las lenguas
como las culturas entre las que traduce. En este contexto, cobran gran
importancia los referentes culturales que, en palabras de Agost (1999: 99),
se pueden definir como todos los elementos que hacen que una sociedad
se diferencie de otra, que cada cultura tenga su idiosincrasia. Segn esta
misma autora,
Los elementos culturales que presentan problemas a la hora de
traducir suelen ser: lugares especficos de alguna ciudad o de algn
pas; aspectos relacionados con la historia, con el arte y con las
costumbres de una sociedad y de una poca determinada (canciones,
literatura, conceptos estticos); personajes muy conocidos, la
mitologa; la gastronoma, las instituciones, las unidades monetarias,
de peso y medida; etc. (id)
Ante la especificidad de estos elementos, el subtitulador/traductor
podr seguir diferentes estrategias dependiendo de diversos factores como
la mayor o menor cercana entre los grupos culturales, el encargo al que
responde o las caractersticas de los receptores potenciales. Jan Pedersen
(2005) ha clasificado dichas estrategias segn su grado de extranjerizacin
5
o domesticacin, atendiendo a las ideas de Venuti :
5
Este autor retoma aqulla doble va de actuacin propuesta por Schleiermacher y considera
que, ante un texto, el traductor tiene dos posibilidades: optar por favorecer la aceptabilidad del
mismo en el contexto receptor o su adecuacin a la cultura de origen. Venuti aade ciertos
matices a las ideas de Schleiermacher con el fin de describir la situacin traductora en el
mbito anglosajn. De esta manera, establece dos nuevos conceptos, extranjerizacin y
domesticacin, que han adquirido gran relevancia en el campo traductolgico occidental a lo
largo de los ltimos aos.
Hikma 9 (2010), 161-195

166 Elena R. Murphy
Esquema de Pedersen (2005: 116)
Por su parte, Agost (1999:100-101) plantea cuatro estrategias que se

pueden adoptar ante la traduccin de los referentes culturales:
a) la adaptacin cultural, que consiste en la sustitucin de los
referentes culturales
de la cultura de partida por otros equivalentes de la cultura de
llegada.
b) la traduccin explicativa, en la que el traductor explicita una
determinada
referencia con el fin de facilitar la comprensin por parte del
espectador.
c) la supresin de los elementos que resultan incomprensibles para la
cultura meta y su sustitucin o no por otros.
d) la no-traduccin, siendo esta estrategia la que la autora
considera menos recomendable.
Teniendo en cuenta las estrategias propuestas por estos autores,
trataremos de analizar los elementos culturales e intertextuales que vayan
surgiendo a lo largo de los episodios mencionados. En el caso que nos
ocupa, es decir, el subtitulado de una serie estadounidense para una
audiencia espaola, es importante tener en cuenta la gran cantidad de
referentes culturales de aquella cultura que ya existen. Como sealbamos
anteriormente, el dinamismo inherente a las culturas y el alto porcentaje de
Hikma 9 (2010), 161-195

material audiovisual, procedente de los Estados Unidos, importado por

Espaa a lo largo de los aos, han desembocado en una situacin como la
que, segn Amando de Miguel (21/07/06), describe Joaqun Sempere,
Desde que las insignias se llaman pins, los maricones gays, las
comidas fras lunchs, y los repartos de cine castings, este pas no es
el mismo: ahora es mucho, muchsimo ms moderno. Antao los nios
lean tebeos en vez de comics, los estudiantes pegaban psters
creyendo que eran carteles, los empresarios hacan negocios en vez
de business, y los obreros, tan ordinarios ellos, sacaban la fiambrera
al medioda en vez del tupper-ware [...] Evidentemente, no es lo
mismo decir bacon que panceta, aunque tengan la misma grasa; ni
vestbulo que hall, ni inconveniente que handicap [...]
Al igual que, como indica Sempere, estos prstamos han ido
ganando terreno, hay diferentes referentes culturales e intertextuales de la
cultura anglosajona que ya conoce gran parte de la audiencia espaola. El
dominio cultural de los productos estadounidenses y britnicos sobre las
dems culturas resulta evidente ya que, como seala Agost (1999: 100),
muchos europeos no saben el nombre que recibe la moneda marroqu, qu
es la fideu [...] o quin es Fof. Pero todo el mundo sabe qu es un dlar,
6
una hamburguesa, un MacDonalds o quin es Humphrey Bogart . Por
tanto, veremos elementos culturales e intertextuales que compartirn ambas
culturas y otros que no coincidirn. Por ello, el subtitulador habr de ser
buen conocedor de las lenguas y culturas con las que trabaja. Ser el
traductor/subtitulador quien tome la decisin de si la alusin a un referente
cultural es relevante o no para la interpretacin del texto. En este sentido,
cobra transcendencia la figura del traductor como mediador intercultural.
Por otro lado, como ya se ha dicho, el traductor/subtitulador debe
hacer frente as mismo a otro tipo de consideraciones como la velocidad de
lectura, el sincronismo, el nmero de caracteres por lnea, etc. Adems, el
mecenas y los factores econmicos tambin influirn en el resultado final.
En el caso de la serie objeto de este trabajo, es importante destacar lo que
asegura Kaplan: An episode of Friends shown tonight in the United States
is seen in 50 other countries as a subtitled or dubbed version, so time is of
the essence (Shadbolt 2003: 38). En efecto, en la mayor parte de los
encargos de traduccin el tiempo es oro.
6
Snell-Hornby (2006: 129) hace referencia a esta hegemona cuando describe el fenmeno del
McWorld. Este trmino comenz a utilizarse a partir de la publicacin del artculo de Benjamin
Barber, "Jihad vs. McWorld", publicado en en marzo de 1992 por la revista The Atlantic
Monthly. En dicho artculo, Barber describe la comercializacin internacional y el
fundamentalismo como dos de las grandes fuerzas caractersticas del siglo XXI.
Hikma 9 (2010), 161-195

168 Elena R. Murphy
2. ANLISIS TRADUCTOLGICO
Teniendo en cuenta todo lo expuesto, procedemos a comentar los
elementos culturales e intertextuales observados durante el visionado de los
episodios de Friends mencionados. (Las referencias se pueden encontrar
en los Anexos I y II, con sus nmeros correspondientes)
2.1.Comidas y bebidas
1. Cookie? ===> Una galleta?
Segn el OED cookie: a sweet biscuit.
Adaptacin a la lengua meta mediante la generalizacin, uso de un
hipernimo.
7. Sweet 'n Low? ===> Sacarina?
Sweet'n Low (trademarked as Sweet'N Low) is a brand of artificial
sweetener from granulated Saccharin, dextrose and cream of tartar. It was
invented and first introduced in 1957 by Benjamin Eisenstadt and his son,
Marvin Eisenstadt. The elder Eisenstadt had earlier invented the sugar
packet, but neglected to patent it, and artificial sweetener packets were an
outgrowth of that business. The two were the first to market and distribute
the sugar substitute in powdered form. Their distribution company,
Cumberland Packing Corporation, still controls the product. The name
"Sweet'n Low" itself derives from an 1863 song by Sir Joseph Barnby, which
took both its title and lyrics from an Alfred Lord Tennyson poem, entitled The
Princess: Sweet and Low. (Wikipedia).
Adaptacin, generalizacin, hipernimo
11. Ice-cream flavours
11.1 Rocky Road flavour ice-cream ===> de trufa
Rocky road ice cream is a chocolate flavor, recently ranked tenth in
popularity in the United States. Though there are variations on the flavor, it is
traditionally composed of chocolate ice cream, nuts and marshmallows. The
flavor was created in March 1929 by William Dreyer in Oakland, California
when he cut up walnuts and marshmallows with his wife's sewing scissors
and added them to his chocolate ice cream in a manner that reflected his
partner Joseph Edy's chocolate candy creation incorporating walnuts and
marshmallow pieces. Later, the walnuts would be replaced by pieces of
toasted almond. After the Wall Street Crash of 1929, the company gave the
flavor its current name "to give folks something to smile about in the midst of
the Great Depression." Alternately, Fentons Creamery in Oakland, claims
that William Dreyer based his recipe on a Rocky Road-style ice cream flavor
invented by his friend, Fentons' George Farren, who blended his own Rocky
Road-style candy bar into ice cream; however Dreyer substituted almonds
for walnuts.
Hikma 9 (2010), 161-195

Rocky Road in popular culture

Weird Al Yankovic makes a tribute to Rocky Road with his song "I
Love Rocky Road", a parody of the Joan Jett song "I Love Rock and Roll".
(Wikipedia).
11.2 Cookie Dough ===> almendrado
Cookie dough refers to a blend of cookie ingredients which has been
mixed into a solid yet malleable form but has not yet been hardened by heat.
The dough is often then separated and the portions baked to individual
cookies, or eaten as is. Cookie dough often contains chocolate chips.
(Wikipedia).
11.3 Cherry Vanilla ===> de cereza y vainilla
Este sabor de helado es tan conocido en los Estados Unidos que
incluso una compositora y cantante estadounidense se puso este nombre.
En los tres casos, se ha tratado de simplificar los referentes al
mximo mediante la adaptacin a sabores de helados conocidos en la
cultura meta.
12. Jimmies
Jimmies: tiny rod-shaped bits of usually chocolate-flavoured candy
often sprinkled on ice- cream. (Merriam Webster Dictionary Online)
Omisin del referente
13. spell it out with noodles ===> deletrearlo con los fideos
A noodle is food made from unleavened dough that is cooked in a
boiling liquid. Depending upon the type, noodles may be dried or refrigerated
before cooking. The word noodle derives from the German Nudel (noodle)
and may be related to the Latin word nodus (knot). In American English,
noodle is a generic term for unleavened dough made from many different
types of ingredients. Noodles exist in an abundance of shapes. (Wikipedia).
Adaptacin a la cultura meta
15. Western omelet ===>tortilla
A Denver omelette, also known as a Western omelette, is an omelette
filled with diced ham, onions, and green bell peppers, though there are many
variations on fillings. Often served in the midwestern United States and
sometimes has a topping of cheese and a sidedish of hashbrowns or fried
potatoes. (Wikipedia).
Generalizacin
26. Curry ===> Curry
Lasagne ===> Lasaa
Spaghetti ===> Espaguetis
Referentes culturales gastronmicos compartidos por ambas culturas.
Hikma 9 (2010), 161-195

170 Elena R. Murphy
2.2. Personajes conocidos

4. Lincoln High survivor ===> superviviente de mi instituto
th
Lincoln, Abraham (1809-65). American Republican statesman, 16
President of the US (1861-5). OED.
Omisin del referente.
8. Mr. Potato Head ===> Sr. Patata
Este juguete, como otros muchos productos, se ha importado a
Espaa. Sin embargo, la denominacin que se suele emplear es el Sr.
Potato.
http://www.toysrus.es/SiteFrontend/catalogue/ProductListBusqueda.a
spx
Referente existente en la cultura espaola.
16. Pinocchio ===> Pinocho
Pinocho (en italiano Pinocchio) es la marioneta de madera
protagonista del libro La aventura de Pinocho escrito por Carlo Collodi y
publicado en Italia en un peridico desde 1882 hasta 1883, con los ttulos
"Storia di un burattino" (Historia de un ttere) y "Le aventure di Pinocchio"
(La aventura de Pinocho), ilustradas por Enrico Mazzanti. Este personaje
tuvo una enorme difusin. La primera versin en espaol, que corri a cargo
de Rafael Calleja, hijo del fundador de la Editorial Calleja e ilustrado por
Salvador Bartolozzi en una adaptacin ms castiza de la novela.
Se ha convertido en un clsico de la literatura infantil y se han
realizado ms de veinte pelculas, entre las que se incluyen la realizacin de
dibujos animados de Disney del ao 1940, la pelcula de Luigi Comencini de
1972 y el film del ao 2002 dirigido y protagonizado por Roberto Benigni. La
pelcula animada de Disney, aunque es una adaptacin libre de la historia
de Collodi, es considerada una pieza maestra dentro de la animacin y ha
sido designada como "culturalmente importante" por la biblioteca del
Congreso de los Estados Unidos, y fue seleccionada para su preservacin
en el Registro de Pelculas del mencionado pas.
En este caso se trata de un referente cultural compartido por ambas
culturas.
20. Liza Minelli ===> Liza Minelli
Cantante y actriz estadounidense.
Se ha mantenido el referente, pero quizs no todos los espectadores
conocern a Lizza Minelli.
21. Pink Floyd ===> Pink Floyd
Pink Floyd fue un grupo de rock britnico que cosech gran
popularidad gracias a su msica psicodlica, la cual, con el paso del tiempo,
fue evolucionando hacia el rock progresivo y el rock sinfnico. Es conocido
por sus canciones de contenido filosfico, la experimentacin snica, las
innovadoras portadas de sus discos y sus elaborados espectculos en vivo.
Hikma 9 (2010), 161-195

Es una de las bandas ms importantes de la escena del rock con ms de

200 millones de lbumes vendidos en todo del mundo, 74,5 millones de ellos
slo en los Estados Unidos. (Wikipedia)
En este caso, tambin se ha mantenido el referente y, si bien es
cierto que, por lo general, los espectadores espaoles no tendrn
dificultades para entender la relacin, depender del grupo de edad.
Este referente vuelve a aparecer de manera indirecta unas lneas
ms abajo
that album ===> ese albm
29. Minnie Mouse ===> Minnie Mouse
Minnie Mouse es un personaje de dibujos animados de los Estudios
Disney.
Referente cultural compartido.
2.3. Alusiones a canciones conocidas

9. Raindrops on roses ===> Gotas de lluvia en las rosas
and rabbits and kittens, Bigotes en los gatos
bluebells and sleighbells Timbres y cascabeles y no s que
en and- something with mittens... los platos
La la la la...something La, La, La no s qu
with string... Y fideos con cuerdas
Son...
Raindrops on roses and whiskers on kittens

Bright copper kettles And warm woolen mittens
Brown paper packages Tied up with strings
These are a few of my favorite things (My Favourite Things en la
pelcula The Sound of Music)
Se trata de un fragmento de una de las canciones de la pelcula The
Sound of Music (1965), interpretada por Julie Andrews. Como podemos ver,
Phoebe cambia diferentes partes de la cancin y resulta muy gracioso. Sin
embargo, en la versin castellana tanto la subtitulada como la doblada
produce ms bien extraeza.
14. Do the words 'Billy, don't be a hero' ===> Os suena la frase
mean anything to you? No te hagas el hroe?
"Billy Don't Be a Hero" is a 1974 anti-war pop song by Paper Lace and
was also recorded by Bo Donaldson and the Heywoods. It was written by
Mitch Murray and Peter Callander.
Because the song was released in 1974, it is often associated with the
Vietnam War, though it may also refer to the American Civil War as
evidenced by the "soldier blues" (the Union Forces) in the lyrics. A young
Hikma 9 (2010), 161-195

172 Elena R. Murphy
woman is distraught that her fianc chooses to leave the area with an Army
contingent passing through the town and go with them to fight. She laments,
"Billy, don't be a hero! Don't be a fool with your life!
"Billy, don't be a hero! Come back and make me your wife!
"And as he started to go, she said, 'Billy, keep your head low!'
"Billy, don't be a hero! Come back to me!"
The song goes on to describe how Billy is killed in action in a pitched
battle after volunteering to ride out and seek reinforcements. In the end, the
woman throws away the regret letter notifying her of Billy's "heroic" death.
(Wikipedia)
Se ha hecho una traduccin del referente, pero al espectador le falta
el bagaje informativo necesario para entender el toque humorstico.
25. I was in the kitchen with...
Dinah? ===> Dinah?
I've been working on the railroad Dinah, won't you blow your horn?
All the live-long day. Someone's in the kitchen with Dinah
I've been working on the railroad Someone's in the kitchen I know
Just to pass the time away. Someone's in the kitchen with Dinah
Don't you hear the whistle blowing, Strummin' on the old banjo!
Rise up so early in the morn; Singin' fi, fie, fiddly-i-o
Don't you hear the captain shouting, Fi, fie, fiddly-i-o-o-o-o
"Dinah, blow your horn!" Fi, fie, fiddly-i-o
Dinah, won't you blow, Strummin' on the old banjo.
Dinah, won't you blow, Someone's makin' love to Dinah
Dinah, won't you blow your horn? Someone's making love I know.
Dinah, won't you blow, Someone's making love to Dinah
Dinah, won't you blow, Cause I can't hear the old banjo
"I've Been Working on the Railroad" is an American folk song. The

first published version appeared as "Levee Song" in Carmina Princetonia, a
[1]
book of Princeton University songs published in 1894. The earliest known
[
recording is by the Sandhills Sixteen, released by Victor Records in 1927.
The "Someone's in the kitchen with Dinah" section is actually an older
song that has been absorbed by "I've Been Working on the Railroad". It was
published as "Old Joe, or Somebody in the House with Dinah" in London in
[9]
the 1830s or '40s, with music credited to J.H. Cave. "Dinah" was a generic
[10]
name for an enslaved African woman. The melody for this section of the
song may have been adapted from "Good Night Ladies", written (as
"Farewell Ladies") in 1847 by E. P. Christy. (Wikipedia)
Hikma 9 (2010), 161-195

Se ha mantenido el referente, pero si no se conoce la informacin que

sustenta el toque humorstico, el espectador tendr la sensacin de que se
ha perdido algo.
2.4. Lugares
6. this really gorgeous Limoges gravy boat ===> una salsera
realmente preciosa
Limoges: a city in west central France, the principal city of Limousin.
Famous in the late Middle Ages for enamel work, it has been noted since the
th
18 century for the production of porcelain. OED
Basta hacer una bsqueda en Google para ver que en la cultura
americana ese tipo de porcelana es muy conocida.
10. Aruba ===> Aruba
Aruba: an island in the Caribbean Sea, close to the Venezuelan coast.
(OED)
En Estados Unidos se trata de un conocido destino de luna de miel,
pero quizs aqu no se haga esa conexin de manera automtica.
Se mantiene el referente
17. Florida ===> Florida
Referente cultural compartido (ver punto 3)
19. Las Vegas ===> Las Vegas
Referente compartido (ver punto 3).
2.5. Alusiones a programas de tv, anuncios, marcas y pelculas conocidas

5. are we waiting for four wet bridesmaids? ===>esperamos a tus
damas de honor?
Referencia a la pelcula britnica Four Weddings and a Funeral
dirigida por Mike Newell en 1994.
18. John and David boots ===> estas botas
JOHN DAVID SHOES
Established 1989
This specialized shoe store caters to a wide age range with customers
and friends from seventeen to ninety-four years of age. John's lifelong love
for the shoe business combined with John David Shoes' extensive selection
of stylish and quality products has created success and longevity.
John David Shoes has found it's niche, that being fashion footwear for
women of all ages. John Ingram (owner) and Jill Hackett (manager)
combined bring over forty-five years of experience to the footwear industry to
create a unique shopping experience at John David.
<http://www.johndavidshoes.ca/>
Hikma 9 (2010), 161-195

174 Elena R. Murphy
Omisin del referente.

22. Threes Company ===> Apartamento para tres
Three's Company is an American sitcom that aired from 1977 to
1984 on ABC. It is a remake of the British sitcom Man About the House. The
story revolves around three roommates, Janet Wood, Chrissy Snow (later
Cindy Snow and Terri Alden), and Jack Tripper who share Apartment 201 in
a Santa Monica apartment building owned by Mr. and Mrs. Roper (later
owned by Bart Furley but managed by his brother, Ralph Furley). The show
chronicles the escapades of the trio's constant misunderstandings, social
lives, and struggle to keep up with rent. (Wikipedia)
Como en otros muchos casos, la hegemona de la industria
audiovisual estadounidense queda patente en la existencia de este tipo de
referentes en otras culturas.
23. Thighmaster ===> hace gimnasia
The Thighmaster is an exercise product designed to shape one's
thighs. The device is basically two pieces of metal tube bent in a loop and
connected with a hinge. The intended use is to put the Thighmaster between
the knees and squeeze them together. This exercises the hip adductors.
Even if the marketing was targeted towards women (assuming men rarely
want to shape their legs), the simple mechanism allows exercising any
suitable muscle where a small angle can be created to press it, for example
the biceps (elbow flexion) or the hamstrings (knee flexion). (Wikipedia)
Omisin del referente por medio de una parfrasis.
2.6. Expresiones
2. Strip joint! ===> Ir a un striptease!
Strip joint: noun (slang)- a nightclub or other establishment featuring
striptease performances. (Dictionary.com).
Se ha adaptado el trmino mediante una parfrasis y el empleo de un
anglicismo (en cursiva) asentado en la lengua castellana.
24. Doy ===> jolines
Kind of means "Wasn't that obvious, huh?", similar to duh
Another way of saying "no kidding"
Pointing out that something said by another was painfully obvious
http://www.urbandictionary.com/define.php?term=doy
Se ha sustituido por una expresin con connotaciones similares en
castellano.
2.7. Unidades monetarias

3. a million dollars ===> un milln de dlares
Uso de la traduccin oficial, no hace falta ningn tipo de explicacin
ya que, como hemos visto con Agost (1999: 100), muchos europeos no
Hikma 9 (2010), 161-195

saben el nombre que recibe la moneda marroqu, qu es la fideu [...] o

quin es Fof. Pero todo el mundo sabe qu es un dlar, una hamburguesa,
un MacDonalds o quin es Humphrey Bogart.
28. Forty thousand dolars ===> $ 40.000 (ver punto 3)
2.8. Otros referentes

27. club ===> club
Sociedad fundada por un grupo de personas con intereses comunes y
dedicada a actividades de distinta especie, principalmente recreativas,
deportivas o culturales. (RAE)
Referente asentado en la lengua castellana
30. the Enterprise ===> el Enterprise
Two ships of the Continental Navy were named Enterprise:
USS Enterprise (1775) armed sloop (May 18 1775 July 7 1777), the
first American ship to bear the name, she served on Lake Champlain
Enterprise (1776) schooner (December 20 1776 February 1777), the
second American ship to bear this name, she served on Chesapeake Bay
Six ships of the United States Navy have been named Enterprise
(Wikipedia).
Se ha mantenido el referente y, para un espectador espaol, puede
resultar extrao.
CONCLUSIONES
Como se puede observar en los diferentes ejemplos analizados,
parece que las estrategias ms empleadas, aunque no en todos los casos,
son la generalizacin y la omisin de los referentes culturales e
intertextuales desconocidos. De est manera, se ofrece una traduccin
7
aceptable , en trminos de Toury, mediante la simplificacin de los
elementos especficos, desconocidos, propios de la cultura fuente.
Podramos preguntarnos si realmente merece la pena mantener ciertos
nombres propios, eventos o instituciones que no resultan conocidos para la
audiencia meta, ya que, sin el bagaje informativo necesario, no es posible
lograr una comprensin de la situacin por parte del espectador. Qu es
peor, dejar una referencia inalterada o sustituirla por elementos, ya sea
personas, lugares o cosas, propias de la cultura meta? En mi opinin, en
una serie como Friends, ambientada en Nueva York y cuyos captulos se
desarrollan en el Central Perk (cerca de Central Park) por dnde pasan taxis
7
Toury hace una distincin entre traducciones aceptables y adecuadas. Las primeras se rigen
por las normas de la cultura trmino, mientras que las segundas se adaptan a las normas de la
cultura origen.
Hikma 9 (2010), 161-195

176 Elena R. Murphy
amarillos, una referencia al helado de turrn (punto 11) o a Norma Duval

(punto 20) quedara fuera de lugar.
Dicho esto, es necesario tener en cuenta que varios de los referentes
que aparecen en los captulos como dlar, Las Vegas, Pink Floyd o
Apartamento para tres se han mantenido en los subttulos en castellano y,
dado que estn asentados en la cultura espaola, no dificultan en absoluto
la comprensin por parte del espectador. La hegemona de Estados Unidos
en la industria audiovisual queda patente en la cantidad de elementos
culturales especficos de la cultura estadounidense que han pasado a
formar parte de otras culturas, entre ellas la espaola.
En cuanto a las soluciones de subtitulado ofrecidas para casos como
la cancin (punto 9) y la expresin Billy dont be a hero (punto 14) o Dinah
(punto 25), no resultan convincentes para los espectadores espaoles a los
que he consultado ya que realmente no les hace gracia, simplemente
provoca extraeza. El humor es, sin duda, uno de los elementos que ms
dificultades engloba para el traductor debido a su naturaleza cultural. Tanto
en la produccin como en la consiguiente interpretacin del mismo es
indispensable un conocimiento cultural compartido; de lo contrario, la
traduccin del humor en gran parte de las ocasiones implicar la prdida de
la carga humorstica. En este sentido, apunta Leppihalme (1997: 104-105)
que:
The translator has not recognised that many allusions are not
superfluous elements in the text but interwoven in its texture to such an
extent that their loss , through undertranslation, may be a severe one
[...] The problem with minimum change translations- sometimes
avoidable, sometimes not- is not just that they do not always do justice
to the ST authors skill [...] The true problem, from my point of view, is
that minimum change does not always enable the TT reader to
participate in the creative process, picking up associations and
interpreting in his/her own way what was only half-said in the text at
hand.
Dependiendo del enfoque traductolgico que se adopte, se puede
hablar del subtitulado como traduccin o como adaptacin. Es decir, desde
un enfoque prescriptivista no se considera traduccin ya que las estrategias
de omisin, la neutralizacin, la naturalizacin, y otra clase de
modificaciones que hemos visto, impiden la reproduccin exacta del texto
fuente. No favorecen la transmisin literal y fiel del original. Por otro lado, los
modelos descriptivistas incluyen esta modalidad como un tipo de traduccin
si responde a los criterios de aceptabilidad del contexto meta. En este
sentido, para lograr esa aceptabilidad de la audiencia receptora ser
necesario llevar a cabo una serie de estrategias traductolgicas para
favorecer la transmisin del contenido.
Hikma 9 (2010), 161-195

Como veamos anteriormente, la serie Friends se prepara

simultneamente para varios mercados y culturas diferentes. Y, si
consideramos que one of the defining characteristics of subtitling as
compared with other types of translation is the limitation in space, which
comes from the medium, and time imposed by the nature of the audiovisual
content (OHagan 2007:158), podemos entender la naturaleza de las
omisiones y generalizaciones que abundan en los subttulos. En este
sentido, en el que, por razones comerciales, se tiende a simplificar el
producto y a adaptarlo a la audiencia receptora parece que el apartado de
OHagan (id) titulado From Screen Translation to Localization es aplicable.
Segn Montalt (2003: 322), la localizacin confirma el mayor extremo de la
teora del Skopos: todo, absolutamente todo, est en funcin del receptor
meta [...] no est concebida para salvaguardar la diversidad lingstica y
cultural.
Michael Cronin (2003: 17), por su parte, nos hace reflexionar sobre
las consideraciones culturales en el mercado actual en el que la
globalizacin y los plazos restringidos forman parte del da a da del
traductor, [H]ow does the increased anesthetization of goods, informational
or otherwise, tally with the globalization of their distribution and do
translators have to sacrifice cultural nuance to customer deadlines?. En el
caso que nos ocupa, parecera que los referentes que se han mantenido no
son bice para la comprensin del receptor espaol, salvo casos
8
excepcionales. Los que podran suponer un obstculo (cultural bump ) se
han generalizado o, simplemente, se han eliminado y los elementos
humorsticos se han traducido tal cual, sin tener en cuenta la necesidad de
un bagaje cultural preciso para su interpretacin. Como resultado,
podramos decir que se consigue un texto que puede ayudar a seguir el
argumento de la serie sin problemas para una audiencia que no domina la
lengua inglesa o servir de apoyo didctico en el aprendizaje de idiomas. Sin
embargo, para una audiencia interesada en las consideraciones culturales,
el texto resulta demasiado neutro. Sin duda, el espectador debe ser
consciente de las limitaciones que rodean a este tipo de traduccin.
En el mbito de la subtitulacin de estos productos resulta
complicado defender que la solucin a todos los referentes culturales y
humorsticos no puede o debe reducirse siempre a la simple omisin y
neutralizacin. Como afirma Leppihalme (1997: 103), [A] translator will not
be motivated to consider different strategies if s/he is content to leave
obscurities in the text [...] Lack of time and/or financial incentive could
perhaps also sometimes be a factor. A pesar de las consideraciones
postcoloniales a este respecto, el mercado audiovisual se caracteriza por la
8
Leppihalme 1997
Hikma 9 (2010), 161-195

178 Elena R. Murphy
inmediatez y los plazos restringidos. De esta manera, parecera que, en

muchos casos, ni la extranjerizacin ni la domesticacin reciben especial
atencin mientras el contenido llegue medio bien y, sobre todo, a tiempo. En
palabras de Barber (1992: 55),
If the automobile was, as George Ball once said [...] an ideology on
four wheels, then electronic telecommunication and information
systems are an ideology at 186,000 miles per secondwhich makes
for a very small planet in a very big hurry. Individual cultures speak
particular languages; commerce and science increasingly speak
English; the whole world speaks logarithms and binary mathematics.
REFERENCIAS BIBLIOGRFICAS
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(Barcelona: Ariel).
BAKER, Mona (2001) (ed.) Routledge Encyclopedia of Translation Studies
(London and New York: Routledge).
_____ (2006) Translation and Conflict (London and New York: Routledge).
BARBER, Benjamin R. (1992) Jihad vs. Mc World, The Atlantic Monthly, Vol.
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http://www.theatlantic.com/doc/199203/barber (consultado
1/04/2009)
BASSNETT, Susan (2002 [1980]) Translation Studies (London and New York:
Routledge).
_____ y Andr LEFEVERE, (1990) (eds.) Translation, History and Culture
(London and New York: Printer Publishers).
BASSNETT, Susan y Andr LEFEVERE (1998) (eds.) Constructing Cultures.
Essays on Literary Translation (Clevedon: Multilingual Matters).
CRONIN, Michael (2003) Translation and Globalization, (London and New
York: Routledge).
DE MIGUEL, Amando (2006) El lenguaje como presentacin, Libertad
Digital (21/07/2006). Disponible en
http://www.libertaddigital.com/opinion/amando-de-miguel/el-lenguaje-
como-presentacion-32464/ (Consultado 18/04/2009)
DAZ CINTAS, Jorge (2001) La traduccin audiovisual: el subtitulado
(Salamanca: Ediciones Almar).
_____ (2003) Audiovisual Translation in the Third Millennium, en Gunilla
Anderman y Margaret Rogers (eds.), Translation Today. Trends and
Perspectives (Clevedon: Multilingual Matters Ltd).
GENTZLER, Edwin (2001) Contemporary Translation Theories (Clevedon:
Multilingual Matters Ltd).
HATIM, Basil e Ian MASON (1997) The Translator as Communicator
(Manchester: St. Jerome Publishing).
Hikma 9 (2010), 161-195

HERMANS, Theo (1985) (ed.) The Manipulation of Literature: Studies in

Literary Translation (London: Routledge).
_____ (1999) Translation in Systems. Descriptive and System-oriented
Approaches Explained (Manchester: St. Jerome Publishing).
_____ (2007) The Conference on the Tongues (Manchester/Kinderhook: St.
Jerome Publishing).
HOLMES, James S. (1972) The Name and Nature of Translation Studies, en
James S. HOLMES (1994) (ed.), 67-80.
_____ (1978) The Future of Translation Theory: A Handful of Theses, en
Holmes, James S. (1994) (ed.), 99-102.
_____ (1994) (ed.) Translated! Papers on Literary Translation and
Translation Studies (Amsterdam: Rodopi).
JAKOBSON, Roman (1959) On Linguistic Aspects of Translation, en Venuti
2006 [2000] (ed.), 138-143.
LEFEVERE, Andr (1985) Why Waste Our Time on Rewrites? The Trouble
with Interpretation and the Role of Rewriting in an Alternative
Paradigm, en Hermans (ed) (1985), 215-243.
_____ (1992) Translation, Rewriting and the Manipulation of Literary Fame
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LEPPIHALME, Ritva (1997) Culture Bumps. An Empirical Approach to the
Translation of Allusions (Clevedon: Multilingual Matters Ltd).
MONTALT, Vicent (2003) "La traduccin de gneros electrnicos: el caso de
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ARJONILLA (coords.) Panorama actual de la investigacin en
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SHADBOLT, David (2003) Localizing Movies and Broadcasting, Multilingual

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DVD
Friends. Temporada1 - Disco1 - Episodios 1 a 6. Warner Bros.
Entertainment Inc. 2003. Distribuida en Espaa por Warner Home Video
Espaola, S.A
Hikma 9 (2010), 161-195

ANEXO I
Nota: estos son los dilogos del Chandler: Then I look down, and I
DVD Temporada 1, Disco 1 realize there's a phone... there.
Episodios 1-6, de Warner Bross Joey: Instead of...?
Chandler: That's right.
Entertainment Inc. Distribuido en Joey: Never had that dream.
Espaa por Warner Home Video Phoebe: No.
Espaola. Existen otras versiones Chandler: All of a sudden, the
de este mismo captulo. phone starts to ring. Now I don't
know what to do, everybody starts
The One Where Monica Gets a New looking at me.
Roommate a.k.a. The One Where It Monica: And they weren't looking
All Began (The Pilot-The Uncut at you before?!
Version) Chandler: Finally, I figure I'd better
--------------------------------------------------- answer it, and it turns out it's my
--Written by: Marta Kauffman & David mother, which is very-very weird,
Crane because- she never calls me!
Transcribed by: guineapig [Time Lapse, Ross has entered.]
Additional transcribing by: Eric Aasen Ross: (mortified) Hi.
---------------------------------------------------
--[Scene: Central Perk, Chandler, Joey: This guy says hello, I wanna
Joey, Phoebe, and Monica are there.] kill myself.
Monica: There's nothing to tell! It's just Monica: Are you okay, sweetie?
some guy I work with! Ross: I just feel like someone
Joey: C'mon, you're going out with the reached down my throat, grabbed
guy! There's gotta be something my small intestine, pulled it out of
wrong with him! my mouth and tied it around my
Chandler: So does he have a hump? neck...
A hump and a hairpiece? Chandler: Cookie?
Phoebe: Wait, does he eat chalk? Monica: (explaining to the others)
(They all stare, bemused.) Carol moved her stuff out today.
Phoebe: Just, 'cause, I don't want her Joey: Ohh.
to go through what I went through with Monica: (to Ross) Let me get you
Carl- oh! some coffee.
Monica: Okay, everybody relax. This is Ross: Thanks.
not even a date. It's just two people Phoebe: Ooh! Oh! (She starts to
going out to dinner and- not having pluck at the air just in front of
sex. Ross.)
Chandler: Sounds like a date to me. Ross: No, no don't! Stop cleansing
[Time Lapse] my aura! No, just leave my aura
Chandler: Alright, so I'm back in high alone, okay?
school, I'm standing in the middle of Phoebe: Fine! Be murky!
the cafeteria, and I realize I am totally Ross: I'll be fine, alright? Really,
naked. everyone. I hope she'll be very
All: Oh, yeah. Had that dream. happy.
Monica: No you don't.
Hikma 9 (2010), 161-195

182 Elena R. Murphy
Ross: No I don't, to hell with her, she Monica: So you wanna tell us now,
left me! or are we waiting for four wet
5
Joey: And you never knew she was a bridesmaids ?
lesbian... Rachel: Oh God... well, it started
Ross: No!! Okay?! Why does everyone about a half hour before the
keep fixating on that? She didn't know, wedding. I was in the room where
how should I know? we were keeping all the presents,
Chandler: Sometimes I wish I was a and I was looking at this gravy
lesbian... (They all stare at him.) Did I boat. This really gorgeous
6
say that out loud? Limoges gravy boat . When all of
Joey: Alright Ross, look. You're feeling a sudden- (to the waitress that
a lot of pain right now. You're angry. brought her coffee) Sweet 'n
7
You're hurting. Can I tell you what the Low ?- I realized that I was more
answer is? turned on by this gravy boat than
(Ross gestures his consent.) by Barry! And then I got really
Joey: Strip joint! C'mon, you're single! freaked out, and that's when it hit
Have some hormones! me: how much Barry looks like
8
Ross: I don't want to be single, okay? I Mr. Potato Head . Y'know, I
just... I just- I just wanna be married mean, I always knew looked
again! familiar, but... Anyway, I just had
(Rachel enters in a wet wedding dress to get out of there, and I started
and starts to search the room.) wondering 'Why am I doing this,
Chandler: And I just wanna a million and who am I doing this for?'. (to
dollars! (He extends his hand Monica) So anyway I just didn't
hopefully.) know where to go, and I know
Monica: Rachel?! that you and I have kinda drifted
Rachel: Oh God Monica hi! Thank apart, but you're the only person I
God! I just went to your building and knew who lived here in the city.
you weren't there and then this guy Monica: Who wasn't invited to the
with a big hammer said you might be wedding.
here and you are, you are! Rachel: Ooh, I was kinda hoping
Waitress: Can I get you some coffee? that wouldn't be an issue... [Scene:
Monica: (pointing at Rachel) De-caff. Monica's Apartment, everyone is
(to All) Okay, everybody, this is there and watching a Spanish
Rachel, another Lincoln High Soap on TV and are trying to figure
4
survivor . (to Rachel) This is out what is going on.]
everybody, this is Chandler, and Monica: Now I'm guessing that he
Phoebe, and Joey, and- you bought her the big pipe organ, and
remember my brother Ross? she's really not happy about it.
Rachel: Hi, sure! Rachel: (on phone) Daddy, I just...
Ross: Hi. I can't marry him! I'm sorry. I just
(They go to hug but Ross's umbrella don't love him. Well, it matters to
opens. He sits back down defeated me!
again. A moment of silence follows as Chandler: (re TV) Ooh, she should
Rachel sits and the others expect her not be wearing those pants.
to explain.) Joey: I say push her down the
stairs.
Hikma 9 (2010), 161-195

La traduccin de los referentes culturales e intertextuales en el subtitulado:
183
el caso de FRIENDS
Phoebe, Ross, Chandler, and Joey: Joey: (comforting her) And hey,
Push her down the stairs! Push her you need anything, you can always
down the stairs! Push her down the come to Joey. Me and Chandler
stairs! live across the hall. And he's away
(She is pushed down the stairs and a lot.
everyone cheers.) Monica: Joey, stop hitting on her!
Rachel: C'mon Daddy, listen to me! It's It's her wedding day!
like, it's like, all of my life, everyone Joey: What, like there's a rule or
has always told me, 'You're a shoe! something?
You're a shoe, you're a shoe, you're a (The door buzzer sounds and
shoe!'. And today I just stopped and I Chandler gets it.)
said, 'What if I don't wanna be a shoe? Chandler: Please don't do that
What if I wanna be a- a purse, y'know? again, it's a horrible sound.
Or a- or a hat! No, I'm not saying I Paul: (over the intercom) Uh it's,
want you to buy me a hat, I'm saying I uh, it's Paul.
am a ha- It's a metaphor, Daddy! Monica: Buzz him in!
Ross: You can see where he'd have Joey: Who's Paul?
trouble. Ross: Paul the Wine Guy, Paul?
Rachel: Look Daddy, it's my life. Well Monica: Maybe.
maybe I'll just stay here with Monica. Joey: Wait a minute. Your 'not a
Monica: Well, I guess we've real date' tonight is with Paul the
established who's staying here with Wine Guy?
Monica... Ross: He finally asked you out?
Rachel: Well, maybe that's my Monica: Yes!
decision. Well, maybe I don't need Chandler: Ooh, this is a Dear Diary
your money. Wait!! Wait, I said moment.
maybe!! Monica: Rach, wait, I can cancel...
[Time Lapse, Rachel is breathing into Rachel: Please, no, go, Ill be fine!
a paper bag.] Monica: (to Ross) Are, are you
Monica: Just breathe, breathe.. that's okay? I mean, do you want me to
it. Just try to think of nice calm things... stay?
Phoebe: (sings) Raindrops on roses Ross: (choked voice) That'd be
and rabbits and kittens, (Rachel and good...
Monica turn to look at her.) bluebells Monica: (horrified) Really?
and sleighbells and- something with Ross: (normal voice) No, go on! It's
mittens... La la la la...something with Paul the Wine Guy!
9
string... (There's a knock on the door and
Rachel: I'm all better now. it's Paul.)
Phoebe: (grins and walks to the Monica: Hi, come in! Paul, this is..
kitchen and says to Chandler and (They are all lined up next to the
Joey.) I helped! door.)... everybody, everybody, this
Monica: Okay, look, this is probably for is Paul.
the best, y'know? Independence. All: Hey! Paul! Hi! The Wine Guy!
Taking control of your life. Hey!
Hikma 9 (2010), 181-195

184 Elena R. Murphy
Chandler: I'm sorry, I didn't catch your Ross: (clutching a beer can and
name. Paul, was it? sniffing) This was Carol's favorite
Monica: Sit down. (Shows Paul in) beer. She always drank it out of
Two seconds. the can, I should have known.
Phoebe: Ooh, I just pulled out four Joey: Ross, let me ask you a
eyelashes. That can't be good. question. She got the furniture, the
(Monica goes to change.) stereo, the good TV- what did you
Ross: So Rachel, what're you, uh... get?
what're you up to tonight? Ross: You guys.
Rachel: Well, I was kinda supposed to Chandler: Oh, God.
10
be headed for Aruba on my Joey: You got screwed.
honeymoon, so nothing! Chandler: Oh my God!
Ross: Right, you're not even getting [Scene: A Restaurant, Monica and
your honeymoon, God.. No, no, Paul are eating.]
although, Aruba, this time of year... Monica: Oh my God!
talk about your- (thinks) -big lizards... Paul: I know, I know, I'm such an
Anyway, if you don't feel like being idiot. I guess I should have caught
alone tonight, Joey and Chandler are on when she started going to the
coming over to help me put together dentist four and five times a week.
my new furniture. I mean, how clean can teeth get?
Chandler: (deadpan) Yes, and we're Monica: My brother's going through
very excited about it. that right now, he's such a mess.
Rachel: Well actually thanks, but I How did you get through it?
think I'm just gonna hang out here Paul: Well, you might try
tonight. It's been a long day. accidentally breaking something
Ross: Oh, sure. Okay, sure. valuable of hers, say her-
Joey: Hey Pheebs, you wanna help? Monica: -leg?
Phoebe: Oh, I wish I could, but I don't Paul: (laughing) That's one way!
want to. Me, I- I went for the watch.
[Scene: Ross's Apartment, the guys Monica: You actually broke her
are there assembling furniture.] watch? [Scene: Monica's
Ross: (squatting and reading the Apartment, Rachel is talking on the
instructions) I'm supposed to attach a phone and pacing.]
brackety thing to the side things, using Rachel: Barry, I'm sorry... I am so
a bunch of these little worm guys. I sorry... I know you probably think
have no brackety thing, I see no whim that this is all about what I said the
guys whatsoever and- I cannot feel my other day about you making love
legs. with your socks on, but it isn't... it
(Joey and Chandler are finishing isn't, it's about me, and I ju- (She
assembling the bookcase.) stops talking and dials the phone.)
Joey: (picking up a leftover part) Hi, machine cut me off again...
What's this? anyway... [Scene: Ross's
Chandler: I have no idea. Apartment; Ross is pacing while
(Joey checks that Ross is not looking Joey and Chandler are working on
and dumps it in a plant.) some more furniture.]
Joey: Done with the bookcase! Ross: You know what the scariest
Chandler: All finished! part is? What if there's only one
Hikma 9 (2010), 161-195

185
el caso de FRIENDS
woman for everybody, y'know? I mean Monica: Wow! I'm-I'm-I'm glad you
what if you get one woman- and that's smashed her watch!
it? Unfortunately in my case, there was Paul: So you still think you, um...
only one woman- for her... might want that fifth date?
Joey: What are you talking about? Monica: (pause)...Yeah. Yeah, I
'One woman'? That's like saying do.
there's only one flavor of ice cream for [Scene: Monica's Apartment,
you. Lemme tell you something, Ross. Rachel is watching Joanne Loves
There's lots of flavors out there. Chaci.]
There's Rocky Road, and Cookie Priest on TV: We are gathered
11
Dough, and Bing! Cherry Vanilla . here today to join Joanne Louise
12
You could get 'em with Jimmies , or Cunningham and Charles, Chachi-
nuts, or whipped cream! This is the Chachi-Chachi, Arcola in the
best thing that ever happened to you! bound of holy matrimony.
You got married, you were, like, what, Rachel: Oh...see... but Joanne
eight? Welcome back to the world! loved Chachi! That's the difference!
Grab a spoon! [Scene: Ross's Apartment, they're
Ross: I honestly don't know if I'm all sitting around and talking.]
hungry or horny. Ross: (scornful) Grab a spoon. Do
Chandler: Stay out of my freezer! you know how long it's been since
[Scene: A Restaurant, Monica and I've grabbed a spoon? Do the
14
Paul are still eating.] words 'Billy, don't be a hero'
Paul: Ever since she walked out on mean anything to you?
me, I, uh... Ross: Y'know, here's the thing.
Monica: What?..... What, you wanna Even if I could get it together
13
spell it out with noodles ? enough to- to ask a woman out,...
Paul: No, it's, it's more of a fifth date who am I gonna ask? (He gazes
kinda revelation. out of the window.)
Monica: Oh, so there is gonna be a [Cut to Rachel staring out of her
fifth date? window.]
Paul: Isn't there?
Monica: Yeah... yeah, I think there is. - [Scene: Monica's Apartment,
What were you gonna say? Rachel is making coffee for Joey
Paul: Well, ever-ev-... ever since she and Chandler.]
left me, um, I haven't been able to, uh, Rachel: Isn't this amazing? I mean,
perform. (Monica takes a sip of her I have never made coffee before in
drink.) ...Sexually. my entire life.
Monica: (spitting out her drink in Chandler: That is amazing.
shock) Oh God, oh God, I am sorry... I Joey: Congratulations, while you're
am so sorry... on a roll, if you feel like you gotta
15
Paul: It's okay... make like a Western omelet or
Monica: I know being spit on is something... (Joey and Chandler
probably not what you need right now. taste the coffee, grimace, and pour
Um... how long? it into a plant pot.) Although
Paul: Two years. actually I'm really not that hungry...
Hikma 9 (2010), 181-195

186 Elena R. Murphy
Monica: (entering) Monica: I know, he's just so, so...

All: Morning. Good morning. Do you remember you and Tony
Paul: (entering from Monica's room) DeMarco?
Morning. Rachel: Oh, yeah.
Joey: Morning, Paul. Monica: Well, it's like that. With
Rachel: Hello, Paul. feelings.
Chandler: Hi, Paul, is it? Rachel: Oh wow. Are you in
(Monica and Paul walk to the door and trouble.
talk in a low voice so the others can't
hear. The others move Monica's table Monica: Okay. Okay. I am just
closer to the door so that they can.) going to get up, go to work and not
Paul: Thank you! Thank you so much! think about him all day. Or else I'm
Monica: We'll talk later. just gonna get up and go to work.
Paul: Yeah. (They kiss) Thank you. Rachel: Oh, look, wish me luck!
(Exits) Monica: What for?
Joey: That wasn't a real date?! What Rachel: I'm gonna go get one of
the hell do you do on a real date? those (Thinks) job things.
Monica: Shut up, and put my table (Monica exits.)
back. [Scene: Iridium, Monica is working
All: Okayyy! (They do so.) as Frannie enters.]
Chandler: All right, kids, I gotta get to Frannie: Hey, Monica!
work. If I don't input those numbers,... Monica: Hey Frannie, welcome
17
it doesn't make much of a difference... back! How was Florida ?
Rachel: So, like, you guys all have Frannie: You had sex, didn't you?
jobs? Monica: How do you do that?
Monica: Yeah, we all have jobs. See, Monica: You know Paul?
that's how we buy stuff. Frannie: Paul the Wine Guy? Oh
Joey: Yeah, I'm an actor. yeah, I know Paul.
Rachel: Wow! Would I have seen you Monica: You mean you know Paul
in anything? like I know Paul?
Joey: I doubt it. Mostly regional work. Frannie: Are you kidding? I take
Monica: Oh wait, wait, unless you credit for Paul. Y'know before me,
happened to catch the Reruns' there was no snap in his turtle for
16
production of Pinocchio . two years.
Chandler: 'Look, Gippetto, I'm a real [Scene: Central Perk, everyone but
live boy.' Rachel is there.]
Joey: I will not take this abuse. (Walks Joey: (sitting on the arm of the
to the door and opens it to leave.) couch)Of course it was a line!
Chandler: You're right, I'm sorry. Monica: Why?! Why? Why, why
(Burst into song and dances out of the would anybody do something like
door.) "Once I was a wooden boy, a that?
little wooden boy..." Ross: I assume we're looking for
Monica: So how you doing today? Did an answer more sophisticated than
you sleep okay? Talk to Barry? I can't 'to get you into bed'.
stop smiling. Monica: Is it me? Is it like I have
Rachel: I can see that. You look like some sort of beacon that only dogs
you slept with a hanger in your mouth.
Hikma 9 (2010), 161-195

187
el caso de FRIENDS
and men with severe emotional herself and my step-dad was back
problems can hear? in prison, and I got here, and I
Phoebe: All right, c'mere, gimme your didn't know anybody. And I ended
feet. (She starts massaging them.) up living with this albino guy who
Monica: I just thought he was nice, was, like, cleaning windshields
y'know? outside port authority, and then he
Joey: (bursts out laughing again) I killed himself, and then I found
can't believe you didn't know it was a aromatherapy. So believe me, I
line! know exactly how you feel.
(Monica pushes him off of the sofa as (Pause)
Rachel enters with a shopping bag.) Ross: The word you're looking for
Rachel: Guess what? is 'Anyway'...
Ross: You got a job? Monica: All right, you ready?
Rachel: Are you kidding? I'm trained Rachel: I don't think so.
for nothing! I was laughed out of (Chandler slowly tries to hide the
twelve interviews today. now dead plant from that morning
Chandler: And yet you're surprisingly when he and Joey poured their
upbeat. coffee into it.)
Rachel: You would be too if you found Ross: C'mon, cut. Cut, cut, cut,...
18
John and David boots on sale, fifty All: Cut, cut, cut, cut, cut, cut, cut...
percent off! (She cuts one of them and they
Chandler: Oh, how well you know cheer.)
me... Monica: Welcome to the real world!
Rachel: They're my new 'I don't need a It sucks. You're gonna love it!
job, I don't need my parents, I've got [Time Lapse, Rachel and Ross are
great boots' boots! watching a TV channel finishing its
Monica: How'd you pay for them? broadcast day by playing the
Rachel: Uh, credit card. national anthem.]
Monica: And who pays for that? Monica: Well, that's it (To Ross)
Rachel: Um... my... father. You gonna crash* on the couch?
[Scene: Monica and Rachel's, Ross: No. No, I gotta* go home
everyone is sitting around the kitchen sometime.
table. Rachel's credit cards are Monica: You be okay?
spread out on the table along with a Ross: Yeah.
pair of scissors.] Rachel: Hey Mon, look what I just
Monica: C'mon, you can't live off your found on the floor. (Monica smiles.)
parents your whole life. What?
Rachel: I know that. That's why I was Monica: That's Paul's watch. You
getting married. just put it back where you found it.
Phoebe: Give her a break, it's hard Oh boy. Alright. Goodnight,
being on your own for the first time. everybody.
Rachel: Thank you. Ross and Rachel: Goodnight.
Phoebe: You're welcome. I remember (Monica stomps on Paul's watch
when I first came to this city. I was and goes into her room.)
fourteen. My mom had just killed
Hikma 9 (2010), 181-195

188 Elena R. Murphy
Ross: Mmm. (They both reach for the Rachel: (walks up with a pot of
last cookie) Oh, no- coffee) Would anybody like more
Rachel: Sorry- coffee?
Ross: No no no, go- Chandler: Did you make it, or are
Rachel: No, you have it, really, I don't you just serving it?
want it- Rachel: I'm just serving it.
Ross: Split it? All: Yeah. Yeah, I'll have a cup of
Rachel: Okay. coffee.
Ross: Okay. (They split it.) You know Chandler: Kids, new dream... I'm in
19
you probably didn't know this, but back Las Vegas . (Rachel sits down to
in high school, I had a, um, major hear Chandler's dream.) I'm Liza
20
crush* on you. Minelli -
Rachel: I knew. End
Ross: You did! Oh.... I always figured* -----------------------------------------------
you just thought I was Monica's geeky* ---------------
older brother.
Rachel: I did.
Ross: Oh. Listen, do you think- and try
not to let my intense vulnerability
become any kind of a factor here- but
do you think it would be okay if I asked
you out? Sometime? Maybe?
Rachel: Yeah, maybe...
Ross: Okay... okay, maybe I will...
Rachel: Goodnight.
Ross: Goodnight.
(Rachel goes into her room and
Monica enters the living room as Ross
is leaving.)
Monica: See ya.... Wait wait, what's
with you?
Ross: I just grabbed a spoon. (Ross
exits and Monica has no idea what
that means.)
[Scene: Central Perk, everyone is

there.]
Joey: I can't believe what I'm hearing
here.
Phoebe: (sings) I can't believe what
I'm hearing here...
Monica: What? I-I said you had a-
Phoebe: (sings) What I said you had...
Monica: (to Phoebe) Would you stop?
Phoebe: Oh, was I doing it again?
All: Yes!
Hikma 9 (2010), 161-195

ANEXO II
Nota: estos son los dilogos del sitting at home, listening to that
DVD Temporada 1, Disco 1 album alone.
Joey: (pause)....Are we still talking
Episodios 1-6, de Warner Bross about sex?
Entertainment Inc. Distribuido en [Scene: Museum of Prehistoric
Espaa por Warner Home Video History, Ross and a co-worker
Espaola. Existen otras versiones. (Marsha) are setting up an exhibit
which includes some mannequins
The One With the Sonogram at the of cave people.]
End Ross: No, it's good, it is good, it's
--------------------------------------------------- just that- mm- doesn't she seem a
-- little angry?
Written by: Marta Kauffman & David Marsha: Well, she has issues.
Crane Ross: Does she.
Transcribed by: guineapig Marsha: He's out banging other
--------------------------------------------------- women over the head with a club,
-- while she sits at home trying to get
[Scene Central Perk, everyone's the mastodon smell out of the
there.] carpet!
Monica: What you guys don't Ross: Marsha, these are cave
understand is, for us, kissing is as people. Okay? They have issues
important as any part of it. like 'Gee, that glacier's getting
Joey: Yeah, right!.......Y'serious? kinda close.' See?
Phoebe: Oh, yeah! Marsha: Speaking of issues, isn't
Rachel: Everything you need to know that your ex-wife?
is in that first kiss. (Carol, Ross's ex-wife, has entered
Monica: Absolutely. behind them and is standing
Chandler: Yeah, I think for us, kissing outstide the exhibit.)
is pretty much like an opening act, Ross: (trying to ignore her) No. No.
y'know? I mean it's like the stand-up Marsha: Yes, it is. Carol! Hi!
comedian you have to sit through Ross: Okay, okay, yes, it is.
21
before Pink Floyd comes out. (waves) How about I'll, uh, catch
Ross: Yeah, and-and it's not that we up with you in the Ice Age.
don't like the comedian, it's that-that... (Marsha exits and Ross waves
that's not why we bought the ticket. Carol into the exhibit.)
Chandler: The problem is, though, Ross:Hi.
after the concert's over, no matter how Carol: So.
great the show was, you girls are
always looking for the comedian again,
y'know? I mean, we're in the car,
we're fighting traffic... basically just Ross: You look great. I, uh... I hate
trying to stay awake. that.
Rachel: Yeah, well, word of advice: Carol: Sorry. You look good too.
Bring back the comedian. Otherwise
next time you're gonna find yourself
Hikma 9 (2010), 161-195

190 Elena R. Murphy
Ross: Ah, well, in here, anyone who... Joey: Yeah, calm down. You don't
stands erect... So what's new? Still, see Ross getting all chaotic and
uh... twirly every time they come.
Carol: A lesbian? Monica: That's because as far as
Ross: Well... you never know. How's, my parents are concerned, Ross
um.. how's the family? can do no wrong. Y'see, he's the
Carol: Marty's still totally paranoid. Prince. Apparently they had some
Oh, and, uh- big ceremony before I was born.
Ross: Why- why are you here, Carol? Chandler: (looking out the window)
Carol: I'm pregnant. Ew, ew, ew, ew ew ew ew ew!
Ross: Pregnant?! Monica: What?
[Scene: Monica and Rachel's, Chandler: Ugly Naked Guy got a
23
Chandler, Joey, Phoebe, and Monica Thighmaster !
are watching Three's Company. ] All: Eeaagh!
Chandler: Oh, I think this is the (Rachel enters from her room.)
22
episode of Three's Company where Rachel: Has anybody seen my
there's some kind of engagement ring?
misunderstanding. Phoebe: Yeah, it's beautiful.
Phoebe:...Then I've already seen this Rachel: Oh God, oh God, oh God
one! (Turns off the TV.) oh God oh God oh God.... (Starts
Monica: (taking a drink from Joey) Are to look under the couch cushions.)
you through with that? Phoebe: No, look, don't touch that!
Joey: Yeah, sorry, the swallowing Rachel: Oh, like I wasn't dreading
slowed me down. tomorrow enough, having to give it
Monica: Whose little ball of paper is back to him... 'Hi Barry! Remember
this?! me? I'm the girl in the veil who
Chandler: Oh, uh, that would be mine. stomped on your heart in front of
See, I wrote a note to myself, and then your entire family!' Oh God and
I realized I didn't need it, so I balled it now I'm gonna have to return the
up and... (sees that Monica is glaring ring, without the ring, which makes
at him) ...now I wish I was dead. it so much harder...
(Monica starts to fluff a pillow.) Monica: Easy Rach, we'll find it.
Phoebe: She's already fluffed that (To all) Won't we!
pillow... Monica, you know, you've Chandler and Joey: Oh! Yeah!
already fluffed that- (Monica glares at Joey: Alright, when'd'ya have it on
her.) -but, it's fine! last?
24
Monica: Look , I'm sorry, guys, I just Phoebe: Doy ! Probably right
don't wanna give them any more before she lost it!
ammunition than they already have. Chandler: You don't get a lot of
Chandler: Yes, and we all know how 'doy' these days...
cruel a parent can be about the Rachel: I know I had it this
flatness of a child's pillow. morning, and I know I had it when I
Phoebe: Monica- Hi! Um, Monica, was in the kitchen with...
25
you're scaring me. I mean, you're like, Chandler: ...Dinah ?
you're like all chaotic and twirly. And Rachel: (looks at the lasagne and
not-not in a good way. realizes something) Ohhhhh, don't
be mad...
Hikma 9 (2010), 161-195

Monica: You didn't. (Joey starts to eat the rest of the

Rachel: Oh, I am sorry... lasagne and everyone turns and
Monica: I gave you one job! (Starts to stares at him.)
26
examine the lasagne through the Joey: .....Well, this is still ruined,
bottom of the glass pan.) right?
Rachel: Oh, but look how straight [Scene, Monica and Rachel's,
those noodles are! Monica and Ross are pouring wine
Chandler: Now, Monica, you know for their parents.]
that's not how you look for an Mrs. Geller: Oh, Martha Ludwin's
engagement ring in a lasagne... daughter is gonna call you. (Tastes
Monica: (puts down the lasagne) I a snack) Mmm! What's that curry
just... can't do it. taste?
Chandler: Boys? We're going in. Monica: Curry.
(Chandler, Joey, and Phoebe start to Mrs. Geller: Mmmm!
pick through the lasagne as there's a Ross: I- I think they're great! I, I
knock on the door which Monica really do.
answers.) Mr. Geller: (To Ross) Do you
Ross: (standing outside the remember the Ludwins? The big
door).....Hi. one had a thing for you, didn't she?
Monica: Wow. That is not a happy hi. Mrs. Geller: They all had a thing for
Ross: Carol's pregnant. him.
Phoebe: (while everyone else is Ross: Aw, Mom...
stunned) Ooh! I found it! Monica: I'm sorry, why is this girl
Monica: W-w-wh-... wha-... w-w-w-... going to call me?
Ross: Yeah. Do that for another two Mrs. Geller: Oh, she just
hours, you might be where I am right graduated, and she wants to be
about now. (He enters.) something in cooking, or food, or....
Chandler: Kinda puts that whole pillow I don't know. Anyway, I told her
thing in perspective, huh, Mon? you had a restaurant-
Rachel: Well now, how-how do you fit Monica: No Mom, I don't have a
into this whole thing? restaurant, I work in a restaurant.
Ross: Well, Carol says she and Susan Mrs. Geller: Well, they don't have
want me to be involved, but if I'm not to know that... (She starts to fluff
comfortable with it, I don't have to be the same pillow Monica fluffed
involved.. basically it's entirely up to multiple times earlier.)
me. Monica: Ross, could you come and
Phoebe: She is so great! I miss her. help me with the spaghetti,
Monica: What does she mean by please?
'involved'? Ross: Yeah. (They go to the
Chandler: I mean presumably, the kitchen.)
biggest part of your job is done. Mrs. Geller: Oh, we're having
Ross: Anyway, they want me to go spaghetti! That's.... easy.
down to this- sonogram thing with Monica: I know this is going to
them tomorrow. sound unbelievably selfish, but,
Rachel: So what are you gonna do? were you planning on bringing up
Ross: I have no idea. No matter what I the whole baby/lesbian thing?
do, though, I'm still gonna be a father.
Hikma 9 (2010), 161-195

192 Elena R. Murphy
Because I think it might take some of Carol's a lesbian. She's living with
the heat off me. a woman named Susan. She's
[Time Lapse, everyone is now eating.] pregnant with my child, and she
Mrs. Geller: What that Rachel did to and Susan are going to raise the
her life.... We ran into her parents at baby.
27
the club , they were not playing very (Stunned silence ensues.)
well. Mrs. Geller: (To Monica) And you
Mr. Geller: I'm not gonna tell you what knew about this?!
they spent on that wedding... but forty Commercial Break
28
thousand dollars is a lot of money! [Scene: Central Park, everyone's
Mrs. Geller: Well, at least she had the there.]
chance to leave a man at the altar... Joey: Your folks are really that
Monica: What's that supposed to bad, huh?
mean? Ross: Well, y'know, these people
Mrs. Geller: Nothing! It's an are pros. They know what they're
expression. doing, they take their time, they get
Monica: No it's not. the job done.
Mr. Geller: Don't listen to your mother. Monica: Boy, I know they say you
You're independent, and you always can't change your parents,... boy, if
have been! Even when you were a you could- (To Ross) -I'd want
kid... and you were chubby, and you yours.
had no friends, you were just fine! And Ross: Must pee. (Goes to pee.)
you would read alone in your room, Phoebe: Y'know, it's even worse
and your puzzles... when you're twins.
[Time Lapse.] Rachel: You're twins?
Mr. Geller: Look, there are people like Phoebe: Yeah. We don't speak.
Ross who need to shoot for the stars, She's like this high-powered,
with his museum, and his papers driven career type.
getting published. Other people are Chandler: What does she do?
satisfied with staying where they are- Phoebe: She's a waitress.
I'm telling you, these are the people Rachel: All right, you guys, I kinda
who never get cancer. gotta clean up now. (They all start
[Time Lapse.] to leave.)
Mr. Geller: ...And I read about these Monica: Chandler, you're an only
women trying to have it all, and I thank child, right? You don't have any of
God 'Our Little Harmonica' doesn't this.
seem to have that problem. Chandler: Well, no, although I did
Monica: (trying desperately to change have an imaginary friend, who...
the subject) So, Ross, what's going on my parents actually preferred.
with you? Any stories? (Digs her elbow Rachel: The lights, please..
into his hand.) No news, no little (Joey turns off the lights, and they
anecdotes to share with the folks? all leave as Rachel starts to clean
Ross: (pulls his hand away) Okay! up. Ross enters from the
Okay. (To his parents) Look, I, uh- I bathroom.)
realize you guys have been wondering Ross: ...How long was I in there?
what exactly happened between Carol Rachel: I'm just cleaning up.
and me, and, so, well, here's the deal.
Hikma 9 (2010), 161-195

Ross: D'ya.. uh.. d'ya need any help? Carol: Ross, you remember Susan.
Rachel: Uh.. okay, sure! Thanks! (She Ross: How could I forget?
hands him the broom and sits down.) Susan: Ross.
Ross: Anyway.. um.. (Starts to sweep.) Ross: (they shake hands) Hello,
So, you- uh- you nervous about Barry Susan. (To Carol) Good shake.
tomorrow? Good shake. So, uh, we're just
Rachel: Oh.. a little.. waiting for...?
Ross: Mm-hmm.. Carol: Dr. Oberman.
Rachel: A lot. Ross: ..Dr. Oberman. Okay. And is
Ross: Mm. he-
Rachel: So, got any advice? Y'know, Susan: She.
as someone who's recently been- Ross: -she, of course, she- uh-
dumped? familiar with our.. special situation?
Ross: Well, you may wanna steer Carol: Yes, and she's very
clear of the word 'dumped'. Chances supportive.
are he's gonna be this, this broken Ross: Okay, that's great. (Susan
shell of a man, y'know, so you should gives her drink to Carol.) No, I'm-
try not to look too terrific, I know it'll be Oh.
hard. Or, y'know, uh, hey!, I'll go down Carol: Thanks.
there, and I'll give Barry back his ring, Ross: (picks up a surgical
and you can go with Carol and Susan instrument and mimes a duck with
to the OB/GYN... it) Quack, quack..
Rachel: Oh, you've got Carol Carol: Ross? That opens my
tomorrow.. When did it get so cervix. (He drops it in horror.)
complicated? [Scene Barry's office, Barry is
Ross: Got me. working on patient, Robbie, as
Rachel: Remember when we were in Rachel enters.]
high school together? Rachel: Barry?
Ross: Yeah. Barry: C'mon in.
Rachel: I mean, didn't you think you Rachel: (hesitates) Are you sure?
were just gonna meet somone, fall in Barry: Yeah! It's fine, it's fine.
love- and that'd be it? (Ross gazes at Robbie's gonna be here for hours.
her.) ..Ross? Robbie: Huh?!
Ross: Yes, yes! Barry: So, how ya doin?
Rachel: Oh! Man, I never thought I'd Rachel: I'm- uh- I'm okay... You
be here.. (She leans back onto his look great!
hand.) Barry: Yeah, well..
Ross: Me either... (He pulls up a stool Bernice: (over intercom) Dr.
so that he doesn't have to move his Farber, Jason Greenstein's
hand.) gagging.
[Scene: Carol's OB/GYN, Carol is Barry: (answering the intercom) Be
waiting.] right there. (To Robbie and
Ross: (entering) Sorry I'm late, I was Rachel) Be back in a sec.
stuck at work. There was this big (As Barry exits Robbie stares at
dinosaur.. thing.. anyway. Rachel.)
(Susan enters holding a drink.) Rachel: I dumped him.
Susan: Hi. Robbie: Okay.
Hikma 9 (2010), 161-195

194 Elena R. Murphy
[Scene: Carol's OB/GYN, they're Rachel: Oh! Well, um.. (Grabs his
talking about how this is going to forehand) You've got plugs!
work.] Barry: Careful! They haven't quite
Ross: So, um- so how's this, uh, how's taken yet.
this gonna work? Y'know, with us? Rachel: And you've got lenses! But
Y'know, when, like, important you hate sticking your finger in
decisions have to be made? your eye!
Carol: Give me a 'for instance'. Barry: Not for her. Listen, I really
Ross: Well, uh, uh, I don't know, okay, wanted to thank you.
okay, how about with the, uh, with the Rachel: Okay..
baby's name? Barry: See, about a month ago, I
Carol: Marlon- wanted to hurt you. More than I've
Ross: Marlon?! ever wanted to hurt anyone in my
Carol: -if it's a boy, Minnie if it's a girl. life. And I'm an orthodontist.
29
Ross: ...As in Mouse ? Rachel: Wow.
Carol: As in my grandmother. Barry: You know, you were right? I
Ross: Still, you- you say Minnie, you mean, I thought we were happy.
hear Mouse. Um, how about, um.. how We weren't happy. But with Mindy,
about Julia? now I'm happy. Spit.
Carol: Julia.. Rachel: What?
Susan: We agreed on Minnie. Robbie: Me. (Spits.)
Ross: 'S'funny, um, uh, we agreed Rachel: Anyway, um, (Gets the
we'd spend the rest of our lives ring out of her purse.) I guess this
together. Things change, roll with the belongs to you. And thank you for
punches. I believe Julia's on the giving it to me.
table..? Barry: Well, thank you for giving it
[Scene: Barry's office, Rachel is doing back.
her makeup in the mirror on Barry's (Barry and Rachel look at each
lamp as Barry enters.] other.)
Barry: Sorry about that. So. What have Robbie: Hello?!
you been up to? [Scene: Carol's OB/GYN, they're
Rachel: Oh, not much. I-I got a job. still arguing about what to name
Barry: Oh, that's great. the baby.]
Rachel: Why are- why are you so Susan: Oh, please! What's wrong
tanned? with Helen?
Barry: Oh, I, uh- I went to Aruba. Ross: Helen Geller? I don't think
Rachel: Oh no. You went on our so.
honeymoon alone? Carol: Hello? It's not gonna be
Barry: No. I went with, uh.. Now, this Helen Geller.
may hurt. Ross: Thank you!
Robbie: Me?! Carol: No, I mean it's not Geller.
Barry: No! (To Rachel) I went with Ross: What, it's gonna be Helen
Mindy. Willick?
Rachel: Mindy?! My maid of honor, Carol: No, actually, um, we talked
Mindy?! about Helen Willick-Bunch.
Barry: Yeah, well, uh, we're kind of a Ross: Well, wait a minute, wha-
thing now. why is she in the title?
Hikma 9 (2010), 161-195

Susan: It's my baby too. tape of the sonogram. Rachel is

Ross: Oh, 's'funny, really? Um, I don't on the phone.]
remember you making any sperm. Ross: Well? Isn't that amazing?
Susan: Yeah, and we all know what a Joey: What are we supposed to be
challenge that is! seeing here?
Carol: All right, you two, stop it! Chandler: I dunno, but.. I think it's
30
Ross: No no no, she gets a credit, hey, about to attack the Enterprise .
I'm in there too. Phoebe: You know, if you tilt your
Carol: Ross. You're not actually head to the left, and relax your
suggesting Helen Willick-Bunch- eyes, it kinda looks like an old
Geller? 'Cause I think that borders on potato.
child abuse. Ross: Then don't do that, alright?
Ross: Of course not, I'm... suggesting Phoebe: Okay!
Geller-Willick-Bunch. Ross: (walks over to where Monica
Susan: Oh, no, nonononono, you see is standing)Monica. Whaddya
what he's doing? He knows no-one's think?
gonna say all those names, so they'll Monica: (welling up) Mm-hmm.
wind up calling her Geller, then he Ross: Wh- are you welling up?
gets his way! Monica: No.
Ross: My way?! You-you think this is Ross: You are, you're welling up.
my way? Believe me, of all the ways I Monica: Am not!
ever imagined this moment in my life Ross: You're gonna be an aunt.
being, this is not my way- y'know Monica: (pushes him and starts to
what? Uh, um, this is too hard. I'm not, cry) Oh shut up!
I can't do- Rachel: (on phone) Hi, Mindy. Hi,
Dr. Oberman: (entering) Knock it-it's Rachel. Yeah, I'm fine. I-I saw
knock!How are we today? Any Barry today. Oh, yeah, yeah he-he
nausea? told me. No, no, it's okay. I hope
All: Yeah. Yeah. A little. you two are very happy, I really do.
Dr. Oberman: Well, I was just Oh, oh, and Mind, y'know, if-if
wondering about the mother-to-be, everything works out, and you
but.. thanks for sharing. (To Carol) Uh, guys end up getting married and
lie back.. having kids- and everything- I just
Ross: You- uh- y'know what, I'm hope they have his old hairline and
gonna go. I don't- I don't think I can be your old nose. (Slams the phone
involved in this particular thing right down.) (To everyone) Okay, I know
now. it was a cheap shot, but I feel so
(He turns to go, but the sound of the much better now.
sonogram catches his ear. He returns End
and stares at it.) -----------------------------------------------
Ross: Oh my God. ----------------------
Susan: Look at that.
Carol: I know.
Closing Credits
[Scene: Monica and Rachel's
apartment, everyone is watching the
Hikma 9 (2010), 161-195

196 Elena R. Murphy
Hikma 9 (2010), 161-195

Hikma 9. Artículo 7

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ISSN: 1579-9794

La traduccin de los referentes culturales e intertextuales

(The translation of cultural and intertextual referents in subtitling:

Fecha de recepcin: 25 de febrero de 2010

Resumen: El inters que suscita el estudio de los textos audiovisuales traducidos y

Hikma 9 (2010), 161-195

interconnexion between languages and cultures in the globalised societies of our

1. ENTRE CULTURAS: LA TRADUCCIN AUDIOVISUAL TRAS EL GIRO CULTURAL

Esta actividad profesional mereca ms atencin [...] El nmero de

Hikma 9 (2010), 161-195

La traduccin audiovisual no tena cabida en el mbito traductolgico

translation is not a by-product, nor simply a consequence, of social and

Hikma 9 (2010), 161-195

these developments and movements possible in the first place (Baker

Por tanto, el traductor no se considera como un intermediario neutro,

Hikma 9 (2010), 161-195

En las pginas siguientes trataremos de analizar las soluciones

Hikma 9 (2010), 161-195

Esquema de Pedersen (2005: 116)

Por su parte, Agost (1999:100-101) plantea cuatro estrategias que se

Hikma 9 (2010), 161-195

material audiovisual, procedente de los Estados Unidos, importado por

Hikma 9 (2010), 161-195

Hikma 9 (2010), 161-195

Rocky Road in popular culture

Hikma 9 (2010), 161-195

2.2. Personajes conocidos

Hikma 9 (2010), 161-195

Es una de las bandas ms importantes de la escena del rock con ms de

2.3. Alusiones a canciones conocidas

Raindrops on roses and whiskers on kittens

Hikma 9 (2010), 161-195

"I've Been Working on the Railroad" is an American folk song. The

Hikma 9 (2010), 161-195

Se ha mantenido el referente, pero si no se conoce la informacin que

2.5. Alusiones a programas de tv, anuncios, marcas y pelculas conocidas

Hikma 9 (2010), 161-195

Omisin del referente.

2.7. Unidades monetarias

Hikma 9 (2010), 161-195

saben el nombre que recibe la moneda marroqu, qu es la fideu [...] o

2.8. Otros referentes

Hikma 9 (2010), 161-195

amarillos, una referencia al helado de turrn (punto 11) o a Norma Duval

Hikma 9 (2010), 161-195

Como veamos anteriormente, la serie Friends se prepara

Hikma 9 (2010), 161-195

inmediatez y los plazos restringidos. De esta manera, parecera que, en

Hikma 9 (2010), 161-195

HERMANS, Theo (1985) (ed.) The Manipulation of Literature: Studies in

Hikma 9 (2010), 161-195

SHADBOLT, David (2003) Localizing Movies and Broadcasting, Multilingual

Hikma 9 (2010), 161-195

Hikma 9 (2010), 161-195

Hikma 9 (2010), 161-195

Hikma 9 (2010), 181-195

Hikma 9 (2010), 161-195

Hikma 9 (2010), 181-195

Monica: (entering) Monica: I know, he's just so, so...

Hikma 9 (2010), 161-195

Hikma 9 (2010), 181-195

[Scene: Central Perk, everyone is

Hikma 9 (2010), 161-195

Hikma 9 (2010), 161-195