Research Article
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Year 2025, Volume: 8 Issue: 1, 25 - 40, 30.06.2025
https://doi.org/10.29228/transLogos.74

Abstract

References

  • Astrauskienė, Jurgita, and Danguolė Satkauskaitė. 2022. “Kultūrinių realijų pavadinimų vertimas dubliažui: analizės modelis.” [The translation of culture-bound references for dubbing: A model for the analysis.] Respectus Philologicus 41 (46): 193–206. doi:10.15388/RESPECTUS.2022.41.46.119.
  • Bosseaux, Charlotte. 2018. “Investigating Dubbing: Learning from the Past, Looking to the Future.” In The Routledge Handbook of Audiovisual Translation, edited by Luis Pérez-González, 48–63. London: Routledge.
  • Bruti, Silvia, and Gianmarco Vignozzi. 2016. “Voices from the Anglo-Saxon World: Accents and Dialects across Film Genres.” In “North and South: British Dialects in Fictional Dialogue,” edited by Irene Ranzato. Special Issue, Status Quaestionis, no. 11, 42–74. doi:10.13133/2239-1983/13832.
  • Chaume, Frederic. 2004. “Synchronization in Dubbing: A Translational Approach.” In Topics in Audiovisual Translation, edited by Pilar Orero, 35–52. Amsterdam: John Benjamins.
  • Chaume, Frederic. 2014. Audiovisual Translation: Dubbing. Abingdon, Oxon: Routledge.
  • Chaume, Frederic. 2020. “Dubbing.” In The Palgrave Handbook of Audiovisual Translation and Media Accessibility, edited by Łukasz Bogucki and Mikołaj Deckert, 103–132. Cham: Palgrave Macmillan.
  • Chiaro, Delia. 2008. “Where Have All the Varieties Gone? The Vicious Circle of the Disappearance Act in Screen Translations.” In Dialect for all Seasons: Cultural Diversity as Tool and Directive for Dialect Researchers and Translators, edited by Irmeli Helin, 9–25. Münster: Nodus Publikationen.
  • Di Giovanni, Elena. 2010. “Shifts in Audiovisual Translation for Children: Reviving Linguistic‑driven Analyses.” In Ècrire et traduire pour les enfants. Voix, images et mots, edited by Elena Di Giovanni, Chiara Elefante, and Roberta Pederzoli, 301–318. Bern: Peter Lang.
  • Fodor, István. 1976. Film Dubbing: Phonetic, Semiotic, Esthetic and Psychological Aspects. Hamburg: Buske.
  • Garfield: A Tail of Two Kitties. 2006. Directed by Tim Hill. Twentieth Century Fox, Davis Entertainment, Dune Entertainment, Major Studio Partners, Ingenious Film Partners.
  • Heiss, Christine. 2004. “Dubbing Multilingual Films: A New Challenge?” Meta 49 (1): 208–220. doi:10.7202/009035ar.
  • Koverienė, Indrė, and Danguolė Satkauskaitė. 2018. “Lithuanian Viewers’ Attitude Towards Dubbed Animated Films.” In Readings in Numanities, edited by Oana Andreica and Alin Olteanu, 67–84. Cham: Springer.
  • Minutella, Vincenza. 2021. (Re)Creating Language Identities in Animated Films: Dubbing Linguistic Variation. Cham: Palgrave Macmillan.
  • Minutella, Vincenza. 2025. “Dubbing Animated Films for Children.” In The Routledge Handbook of Translation and Young Audiences, edited by Michał Borodo and Jorge Díaz-Cintas, 201–213. New York: Routledge.
  • Parra López, Guillermo, and Eduard Bartoll Teixidor. 2019. “Gollum’s Linguistic Precious. The Use of Idiolect in the Depiction of the Identity of Fictional Characters and Its Translation for Dubbing.” In “Multilingualism and Representation of Identities in Audiovisual Texts,” edited by María Pérez L. de Heredia and Irene de Higes Andino. Special Issue, MonTI, 343–370. doi:10.6035/MonTI.2019.ne4.12.
  • Pérez González, Luis. 2014. Audiovisual Translation: Theories, Methods and Issues. London: Routledge.
  • Ranzato, Irene 2018. “The British Upper Classes: Phonological Fact and Screen Fiction.” In Linguistic and Cultural Representation in Audiovisual Translation, edited by Irene Ranzato and Serenella Zanotti, 203–227. London: Routledge.
  • Ranzato, Irene, and Luca Valleriani. 2024. “Sociolects on the Small Screen: The Case of the British Upper Class.” In The Palgrave Handbook of Multilingualism and Language Varieties on Screen, edited by Irene Ranzato and Patrick Zabalbeascoa, 97–121. Cham: Springer.
  • Satkauskaitė, Danguolė, and Alina Kuzmickienė. 2022. Frenchness in Dubbed Animation: An Interdisciplinary Approach. Vilnius: Vilnius University Publishing.
  • Stöckl, Hartmut. 2004. “In Between Modes: Language and Image in Printed Media.” In Perspectives on Multimodality, edited by Eija Ventola, Cassily Charles, and Martin Kaltenbacher, 9–30. Amsterdam: John Benjamins.
  • Szarkowska, Agnieszka, and Anna Jankowska. 2025. Introducing Audiovisual Translation. Abingdon: Routledge.
  • Valleriani, Luca. 2021. Upper-class English in Natural and Audiovisual Dialogue. Berlin: Peter Lang.
  • Whitman-Linsen, Candace. 1992. Through the Dubbing Glass: The Synchronization of American Motion Pictures into German, French and Spanish. Bern: Peter Lang.
  • Yau, Wai-Ping. 2018. “Sociolinguistics and Linguistic Variation in Audiovisual Translation.” In The Routledge Handbook of Audiovisual Translation, edited by Luis Pérez-González, 281–295. London: Routledge.
  • Zabalbeascoa, Patrick. 2025. Audiovisual Translation. Abingdon: Routledge.

It’s Good to Be King: Accents and Idiolects in Garfield: A Tail of Two Kitties and Their Lithuanian Dubbing

Year 2025, Volume: 8 Issue: 1, 25 - 40, 30.06.2025
https://doi.org/10.29228/transLogos.74

Abstract

Filmmakers utilize linguistic varieties, such as regional accents and idiolects, to convey key aspects of a character’s identity and background, which is particularly significant in children’s and family films for storytelling and comedic purposes. This paper integrates sociolinguistic and audiovisual translation frameworks to analyze accents and idiolects of the 2006 film Garfield: A Tail of Two Kitties, directed by Tim Hill, and its Lithuanian-dubbed version Garfildas 2. The study focuses on the two main characters, Garfield and Prince, who look identical. Therefore, their linguistic and paralinguistic features are crucial for differentiation. A key aspect of the Lithuanian dubbing is the creative performance of the well-known voice actor who dubbed Garfield, significantly contributing to the film’s popularity in Lithuania, greatly surpassing the original. The analysis reveals that accents were not always translated or localized to convey the characters’ national differences. The Lithuanian version shows Garfield to be more confident and even more sarcastic than in the original, with his frequent use of colloquial phrases and additional witty remarks. Prince’s idiolect was preserved and faithful to the original version. This study highlights how linguistic choices in dubbing can reshape character perception, emphasizing the impact of voice actors and translation strategies on audience reception.

References

  • Astrauskienė, Jurgita, and Danguolė Satkauskaitė. 2022. “Kultūrinių realijų pavadinimų vertimas dubliažui: analizės modelis.” [The translation of culture-bound references for dubbing: A model for the analysis.] Respectus Philologicus 41 (46): 193–206. doi:10.15388/RESPECTUS.2022.41.46.119.
  • Bosseaux, Charlotte. 2018. “Investigating Dubbing: Learning from the Past, Looking to the Future.” In The Routledge Handbook of Audiovisual Translation, edited by Luis Pérez-González, 48–63. London: Routledge.
  • Bruti, Silvia, and Gianmarco Vignozzi. 2016. “Voices from the Anglo-Saxon World: Accents and Dialects across Film Genres.” In “North and South: British Dialects in Fictional Dialogue,” edited by Irene Ranzato. Special Issue, Status Quaestionis, no. 11, 42–74. doi:10.13133/2239-1983/13832.
  • Chaume, Frederic. 2004. “Synchronization in Dubbing: A Translational Approach.” In Topics in Audiovisual Translation, edited by Pilar Orero, 35–52. Amsterdam: John Benjamins.
  • Chaume, Frederic. 2014. Audiovisual Translation: Dubbing. Abingdon, Oxon: Routledge.
  • Chaume, Frederic. 2020. “Dubbing.” In The Palgrave Handbook of Audiovisual Translation and Media Accessibility, edited by Łukasz Bogucki and Mikołaj Deckert, 103–132. Cham: Palgrave Macmillan.
  • Chiaro, Delia. 2008. “Where Have All the Varieties Gone? The Vicious Circle of the Disappearance Act in Screen Translations.” In Dialect for all Seasons: Cultural Diversity as Tool and Directive for Dialect Researchers and Translators, edited by Irmeli Helin, 9–25. Münster: Nodus Publikationen.
  • Di Giovanni, Elena. 2010. “Shifts in Audiovisual Translation for Children: Reviving Linguistic‑driven Analyses.” In Ècrire et traduire pour les enfants. Voix, images et mots, edited by Elena Di Giovanni, Chiara Elefante, and Roberta Pederzoli, 301–318. Bern: Peter Lang.
  • Fodor, István. 1976. Film Dubbing: Phonetic, Semiotic, Esthetic and Psychological Aspects. Hamburg: Buske.
  • Garfield: A Tail of Two Kitties. 2006. Directed by Tim Hill. Twentieth Century Fox, Davis Entertainment, Dune Entertainment, Major Studio Partners, Ingenious Film Partners.
  • Heiss, Christine. 2004. “Dubbing Multilingual Films: A New Challenge?” Meta 49 (1): 208–220. doi:10.7202/009035ar.
  • Koverienė, Indrė, and Danguolė Satkauskaitė. 2018. “Lithuanian Viewers’ Attitude Towards Dubbed Animated Films.” In Readings in Numanities, edited by Oana Andreica and Alin Olteanu, 67–84. Cham: Springer.
  • Minutella, Vincenza. 2021. (Re)Creating Language Identities in Animated Films: Dubbing Linguistic Variation. Cham: Palgrave Macmillan.
  • Minutella, Vincenza. 2025. “Dubbing Animated Films for Children.” In The Routledge Handbook of Translation and Young Audiences, edited by Michał Borodo and Jorge Díaz-Cintas, 201–213. New York: Routledge.
  • Parra López, Guillermo, and Eduard Bartoll Teixidor. 2019. “Gollum’s Linguistic Precious. The Use of Idiolect in the Depiction of the Identity of Fictional Characters and Its Translation for Dubbing.” In “Multilingualism and Representation of Identities in Audiovisual Texts,” edited by María Pérez L. de Heredia and Irene de Higes Andino. Special Issue, MonTI, 343–370. doi:10.6035/MonTI.2019.ne4.12.
  • Pérez González, Luis. 2014. Audiovisual Translation: Theories, Methods and Issues. London: Routledge.
  • Ranzato, Irene 2018. “The British Upper Classes: Phonological Fact and Screen Fiction.” In Linguistic and Cultural Representation in Audiovisual Translation, edited by Irene Ranzato and Serenella Zanotti, 203–227. London: Routledge.
  • Ranzato, Irene, and Luca Valleriani. 2024. “Sociolects on the Small Screen: The Case of the British Upper Class.” In The Palgrave Handbook of Multilingualism and Language Varieties on Screen, edited by Irene Ranzato and Patrick Zabalbeascoa, 97–121. Cham: Springer.
  • Satkauskaitė, Danguolė, and Alina Kuzmickienė. 2022. Frenchness in Dubbed Animation: An Interdisciplinary Approach. Vilnius: Vilnius University Publishing.
  • Stöckl, Hartmut. 2004. “In Between Modes: Language and Image in Printed Media.” In Perspectives on Multimodality, edited by Eija Ventola, Cassily Charles, and Martin Kaltenbacher, 9–30. Amsterdam: John Benjamins.
  • Szarkowska, Agnieszka, and Anna Jankowska. 2025. Introducing Audiovisual Translation. Abingdon: Routledge.
  • Valleriani, Luca. 2021. Upper-class English in Natural and Audiovisual Dialogue. Berlin: Peter Lang.
  • Whitman-Linsen, Candace. 1992. Through the Dubbing Glass: The Synchronization of American Motion Pictures into German, French and Spanish. Bern: Peter Lang.
  • Yau, Wai-Ping. 2018. “Sociolinguistics and Linguistic Variation in Audiovisual Translation.” In The Routledge Handbook of Audiovisual Translation, edited by Luis Pérez-González, 281–295. London: Routledge.
  • Zabalbeascoa, Patrick. 2025. Audiovisual Translation. Abingdon: Routledge.
There are 25 citations in total.

Details

Primary Language English
Subjects Translation and Interpretation Studies
Journal Section Research Articles
Authors

Salvija Dubosaitė 0009-0001-1251-5664

Danguolė Satkauskaitė 0000-0001-9042-4373

Publication Date June 30, 2025
Submission Date April 22, 2025
Acceptance Date June 14, 2025
Published in Issue Year 2025 Volume: 8 Issue: 1

Cite

APA Dubosaitė, S., & Satkauskaitė, D. (2025). It’s Good to Be King: Accents and Idiolects in Garfield: A Tail of Two Kitties and Their Lithuanian Dubbing. TransLogos Translation Studies Journal, 8(1), 25-40. https://doi.org/10.29228/transLogos.74
AMA Dubosaitė S, Satkauskaitė D. It’s Good to Be King: Accents and Idiolects in Garfield: A Tail of Two Kitties and Their Lithuanian Dubbing. transLogos Translation Studies Journal. June 2025;8(1):25-40. doi:10.29228/transLogos.74
Chicago Dubosaitė, Salvija, and Danguolė Satkauskaitė. “It’s Good to Be King: Accents and Idiolects in Garfield: A Tail of Two Kitties and Their Lithuanian Dubbing”. TransLogos Translation Studies Journal 8, no. 1 (June 2025): 25-40. https://doi.org/10.29228/transLogos.74.
EndNote Dubosaitė S, Satkauskaitė D (June 1, 2025) It’s Good to Be King: Accents and Idiolects in Garfield: A Tail of Two Kitties and Their Lithuanian Dubbing. transLogos Translation Studies Journal 8 1 25–40.
IEEE S. Dubosaitė and D. Satkauskaitė, “It’s Good to Be King: Accents and Idiolects in Garfield: A Tail of Two Kitties and Their Lithuanian Dubbing”, transLogos Translation Studies Journal, vol. 8, no. 1, pp. 25–40, 2025, doi: 10.29228/transLogos.74.
ISNAD Dubosaitė, Salvija - Satkauskaitė, Danguolė. “It’s Good to Be King: Accents and Idiolects in Garfield: A Tail of Two Kitties and Their Lithuanian Dubbing”. transLogos Translation Studies Journal 8/1 (June2025), 25-40. https://doi.org/10.29228/transLogos.74.
JAMA Dubosaitė S, Satkauskaitė D. It’s Good to Be King: Accents and Idiolects in Garfield: A Tail of Two Kitties and Their Lithuanian Dubbing. transLogos Translation Studies Journal. 2025;8:25–40.
MLA Dubosaitė, Salvija and Danguolė Satkauskaitė. “It’s Good to Be King: Accents and Idiolects in Garfield: A Tail of Two Kitties and Their Lithuanian Dubbing”. TransLogos Translation Studies Journal, vol. 8, no. 1, 2025, pp. 25-40, doi:10.29228/transLogos.74.
Vancouver Dubosaitė S, Satkauskaitė D. It’s Good to Be King: Accents and Idiolects in Garfield: A Tail of Two Kitties and Their Lithuanian Dubbing. transLogos Translation Studies Journal. 2025;8(1):25-40.