| 總結: | This paper seeks to study how the dubbing of proper names challenges the paradigm of their untranslatability and their character of rigid designators, and consequently puts into perspective their lexicological status. The semantic transfer of these PNs towards allophone audiences has to be achieved, for cinema is an art received according to a mimetic regime; therefore, onomastics is a key element to providing authenticity to scripts. Translation for dubbing reveals implicit properties of PNs, as shown by a case study drawing on a corpus of some of Woody Allen’s films translated from American English into French. The comparative approach highlights the contradiction between the search for more or less synonymous substitutes in a foreign language and the designator of the unique paradigm commonly applied to PNs.
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