Bibliographic citations
Paredes, J., Sanchez, G. (2024). “Live! Work! Pose!” La representación de la interseccionalidad en la traducción al español latinoamericano de la serie Pose [Tesis, Universidad Peruana de Ciencias Aplicadas (UPC)]. http://hdl.handle.net/10757/683284
Paredes, J., Sanchez, G. “Live! Work! Pose!” La representación de la interseccionalidad en la traducción al español latinoamericano de la serie Pose [Tesis]. PE: Universidad Peruana de Ciencias Aplicadas (UPC); 2024. http://hdl.handle.net/10757/683284
@misc{renati/1300375,
title = "“Live! Work! Pose!” La representación de la interseccionalidad en la traducción al español latinoamericano de la serie Pose",
author = "Sanchez Huaman, Greace Andrea",
publisher = "Universidad Peruana de Ciencias Aplicadas (UPC)",
year = "2024"
}
This article analyzes intersectionality’s representation in Pose’s (2018) first season identifying the enunciation’s place of transgender female characters regarding race, gender, sexuality, social class, HIV status, ballroom culture, and emotional bonds. Also, it seeks to identify which translation techniques (Molina & Hurtado, 2002) were used in Spanish dubbing and subtitling to represent intersectionality. This study evidence that intersectionality is represented by four aspects. First, the overlap between reading and The Dozens, linguistic markers, to critique transgender female characters’ bodies in ballroom culture. Second, the linguistic use of feminine pronouns and appellatives and discrimination towards transgender female characters. Third, the influence of sex work and purchasing power in the construction of a transgender body. Fourth, the recognition of HIV as a "death sentence" and the creation of friendly bonds between HIV-positive characters. To conclude, the use of literal translation, modulation, elision and equivalence techniques allows convey intersectionality’s representation in translated versions.
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