Publication: Traducir para el formato audiolibro: una aproximación empírica
Authors
Esquinas López, Rosana
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Escuela Internacional de Doctorado
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Rojo López, Ana María ; Meseguer Cutillas, Purificación
Publisher
Universidad de Murcia
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DOI
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info:eu-repo/semantics/doctoralThesis
Description
Abstract
La presente tesis doctoral analiza el audiolibro como manifestación contemporánea de la oralidad, cuya recepción auditiva implica procesos cognitivos, emocionales y sensoriales distintos de los de la lectura tradicional. Partimos de la hipótesis de que traducir para el formato audiolibro plantea retos específicos diferentes a los de la traducción literaria o audiovisual, dado que el traductor trabaja con un texto escrito destinado a la recepción oral. Este estudio aborda el audiolibro como un producto oral en el que convergen tradición cultural y tecnología digital, evaluando su impacto en la práctica traductora desde una perspectiva interdisciplinar. El marco teórico incluye estudios sobre oralidad (Ong, 1982; Logan, 2010), multimodalidad y traducción, junto con aportes de psicología y neurociencia, presentando el audiolibro como un objeto cultural complejo que redefine la relación entre texto, voz y receptor.
Los primeros capítulos trazan una genealogía de la oralidad para situar el audiolibro en la oralidad terciaria o digital, abordan la traducción desde una perspectiva multimodal -destacando la oralidad prefabricada y la paratraducción-, examinan la creatividad como dimensión central del proceso y del producto traductor, y exploran los aspectos afectivos subjetivos, como transporte narrativo y afectividad, desde estudios cognitivos de Traducción e Interpretación.
La sección empírica incluye dos estudios. El primero fue una encuesta a traductores profesionales en España, que reveló que la traducción de audiolibros se percibe como un híbrido entre traducción narrativa, teatral y audiovisual, para la cual se necesitan conocimientos concretos sobre oralidad, estilo y elementos paratextuales. Además, evidenció la falta de formación y directrices editoriales, reforzando la necesidad de reconocer la traducción de audiolibros como especialidad independiente. El segundo estudio, de carácter experimental, evaluó cómo un encargo específico influye en la calidad de la traducción y en el estado afectivo del traductor. En dicho estudio participaron estudiantes universitarios del tercer y cuarto curso del grado en Traducción e Interpretación así como traductores profesionales, los sujetos tradujeron un fragmento de Misery, de Stephen King, con y sin acceso al audio original. La evaluación combinó rúbricas adaptadas del proyecto TRANSCREA (Rojo López, 2019) y herramientas psicométricas como el test PANAS y la escala de transportación narrativa (Green & Brock, 2000; Watson et al., 1998).
Los resultados muestran que un encargo concreto, especialmente con acceso al audio original, mejora la precisión, fomenta la creatividad, refuerza la oralidad natural y potencia la visualización narrativa y la implicación emocional.Las conclusiones subrayan que la traducción de audiolibros no debe considerarse una mera adaptación de un texto escrito al formato auditivo, sino una práctica autónoma con problemáticas propias. Académicamente, la tesis consolida el estudio del audiolibro como línea de investigación independiente en estudios de traducción, vinculada a multimodalidad y afectividad. A nivel profesional, aboga por su reconocimiento como especialidad con encargos y competencias específicas, y por fomentar la colaboración entre traductores, narradores y editoriales. Desde la perspectiva pedagógica, los resultados sugieren incluir en la formación traductora actividades que estimulen visualización e implicación emocional al traducir textos destinados al formato auditivo al poner de manifiesto que el audiolibro transforma tanto la lectura como la traducción, abriendo nuevas posibilidades de investigación y práctica en la intersección de voz, emoción y palabra traducida.
This doctoral dissertation analyses the audiobook as a contemporary manifestation of orality whose auditory reception involves distinctive cognitive, emotional, and sensory processes compared to traditional reading. It departs from the hypothesis that translating for audiobooks poses challenges different from literary or audiovisual translation, since the translator works with a written text designed for listening. To demonstrate this, the audiobook is examined as an oral product where cultural tradition and digital technology converge, and its implications for translation practice are explored from an interdisciplinary perspective.The theoretical framework integrates studies on orality (Ong, 1982; Logan, 2010), multimodality, and translation, complemented by insights from psychology and neuroscience. This combination allows us to present the audiobook as a complex communicative object that reshapes the relationship between text, voice, and receiver. The first four chapters build this framework. The opening chapter traces a genealogy of orality to situate the audiobook within the sphere of tertiary or digital orality. The second chapter addresses audiobook translation from a multimodal standpoint, emphasizing the translation of prefabricated orality and the concept of paratranslation. The third examines creativity as both a process and a product in translation. The fourth focuses on cognitive and affective dimensions-such as narrative transportation and emotional engagement-linking them to translation and interpreting studies.The empirical section, presented in the fifth chapter, includes two complementary studies. The first is a survey of professional translators in Spain, designed to assess their perception of audiobook translation. Findings reveal that this practice is perceived as a hybrid between literary, theatrical, and audiovisual translation, requiring specific competences related to orality, style, and paratextual management. Respondents also highlighted the lack of formal training and editorial guidelines in this area, underlining the need to recognize audiobook translation as an independent specialty within the publishing industry.The second study adopts an experimental approach to analyze how a specific translation commission influences the quality of the final audiobook translation and affects the translator's emotional state. Both professional and trainee translators participated, translating a passage from Misery by Stephen King under two conditions: with and without access to the original audio. Evaluation was conducted using a rubric adapted from the TRANSCREA project (Rojo López, 2019), measuring accuracy, creativity, and orality. In parallel, psychometric instruments such as Green and Brock's (2000) Narrative Transportation Scale and Watson et al.'s (1998) PANAS test were applied. Results show that having a clear audiobook-specific commission-particularly when translators can access the original recording-enhances translation quality by increasing accuracy, fostering creativity, and achieving greater naturalness in orality. Participants also reported higher levels of narrative visualization and emotional involvement, confirming a strong correlation between affective engagement, immersion, and translation performance.The conclusions demonstrate that audiobook translation cannot be treated as a mere adaptation of texts intended for silent reading, but as a distinct practice with its own challenges and methodologies. Academically, this dissertation establishes the study of audiobooks as a specific research field within translation studies, linked to multimodality and the affective turn. Professionally, it advocates for recognizing audiobook translation as a specialized modality requiring targeted training, specific commissions, and collaboration between translators, narrators, and publishers. Pedagogically, the findings support incorporating activities in translator education that enhance visualization, creativity, and emotional engagement when working with texts for oral delivery. Overall, this research confirms that audiobooks not only transform the way we read but also the way we translate. By bridging voice, emotion, and the translated word, they open new avenues for interdisciplinary inquiry and creative practice within contemporary translation studies.
This doctoral dissertation analyses the audiobook as a contemporary manifestation of orality whose auditory reception involves distinctive cognitive, emotional, and sensory processes compared to traditional reading. It departs from the hypothesis that translating for audiobooks poses challenges different from literary or audiovisual translation, since the translator works with a written text designed for listening. To demonstrate this, the audiobook is examined as an oral product where cultural tradition and digital technology converge, and its implications for translation practice are explored from an interdisciplinary perspective.The theoretical framework integrates studies on orality (Ong, 1982; Logan, 2010), multimodality, and translation, complemented by insights from psychology and neuroscience. This combination allows us to present the audiobook as a complex communicative object that reshapes the relationship between text, voice, and receiver. The first four chapters build this framework. The opening chapter traces a genealogy of orality to situate the audiobook within the sphere of tertiary or digital orality. The second chapter addresses audiobook translation from a multimodal standpoint, emphasizing the translation of prefabricated orality and the concept of paratranslation. The third examines creativity as both a process and a product in translation. The fourth focuses on cognitive and affective dimensions-such as narrative transportation and emotional engagement-linking them to translation and interpreting studies.The empirical section, presented in the fifth chapter, includes two complementary studies. The first is a survey of professional translators in Spain, designed to assess their perception of audiobook translation. Findings reveal that this practice is perceived as a hybrid between literary, theatrical, and audiovisual translation, requiring specific competences related to orality, style, and paratextual management. Respondents also highlighted the lack of formal training and editorial guidelines in this area, underlining the need to recognize audiobook translation as an independent specialty within the publishing industry.The second study adopts an experimental approach to analyze how a specific translation commission influences the quality of the final audiobook translation and affects the translator's emotional state. Both professional and trainee translators participated, translating a passage from Misery by Stephen King under two conditions: with and without access to the original audio. Evaluation was conducted using a rubric adapted from the TRANSCREA project (Rojo López, 2019), measuring accuracy, creativity, and orality. In parallel, psychometric instruments such as Green and Brock's (2000) Narrative Transportation Scale and Watson et al.'s (1998) PANAS test were applied. Results show that having a clear audiobook-specific commission-particularly when translators can access the original recording-enhances translation quality by increasing accuracy, fostering creativity, and achieving greater naturalness in orality. Participants also reported higher levels of narrative visualization and emotional involvement, confirming a strong correlation between affective engagement, immersion, and translation performance.The conclusions demonstrate that audiobook translation cannot be treated as a mere adaptation of texts intended for silent reading, but as a distinct practice with its own challenges and methodologies. Academically, this dissertation establishes the study of audiobooks as a specific research field within translation studies, linked to multimodality and the affective turn. Professionally, it advocates for recognizing audiobook translation as a specialized modality requiring targeted training, specific commissions, and collaboration between translators, narrators, and publishers. Pedagogically, the findings support incorporating activities in translator education that enhance visualization, creativity, and emotional engagement when working with texts for oral delivery. Overall, this research confirms that audiobooks not only transform the way we read but also the way we translate. By bridging voice, emotion, and the translated word, they open new avenues for interdisciplinary inquiry and creative practice within contemporary translation studies.
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12-feb-2027
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