The increasing representation of nonbinary characters in media, particularly on streaming platforms like Netflix, presents unique challenges for audiovisual translation. This study focuses on the difficulties in translating English nonbinary gender expressions into Arabic, a language with rigid grammatical gender rules and a cultural context where non-cisgender identities may not be widely understood or accepted. The globalization of media through subtitling necessitates accurate and culturally sensitive translation, which is particularly crucial when dealing with marginalized identities. The study aims to analyze how Netflix's Arabic subtitles for 'Degrassi: Next Class' and 'One Day at a Time' handle the representation of nonbinary characters, highlighting the linguistic and cultural challenges involved. The central research question is: How are English gender-neutral expressions translated into the gendered Arabic language? The importance of this research lies in its contribution to the understanding of the complexities of translating gender identity and its potential impact on audience perception and representation of nonbinary individuals in the Arab world. Netflix, with its global reach and stated no-censorship policy, provides a unique case study for examining the representation of nonbinary identities in a culturally sensitive context. The study explores the strategies employed by subtitlers, analyzes their effectiveness, and identifies areas needing improvement in the accurate and respectful representation of nonbinary identities in Arabic subtitles.

The literature review explores several key areas. Firstly, it examines the definitions and complexities of transgender and nonbinary identities, drawing on perspectives that distinguish between sex and gender as distinct concepts, and highlighting the spectrum of nonbinary identities. Secondly, it examines the relationship between language and gender, focusing on how grammatical gender in languages like Arabic can reinforce the gender binary and how this contrasts with languages that lack grammatical gender. It reviews existing research on the impact of grammatical gender on perceptions of gender equality and gender nonconformity. Thirdly, it addresses the representation of queerness in Arab cultures, acknowledging the existence of queer Arab communities despite social stigma and the influence of religious and cultural norms on attitudes toward LGBTQIA+ individuals. Finally, it discusses the constraints of subtitling, including temporal and spatial limitations that might influence translation strategies, such as adaptation, modulation, and transposition, and the potential for simplification or omission of source text elements.

The study employed a qualitative approach, analyzing Arabic subtitles provided by Netflix for selected episodes of 'Degrassi: Next Class' and 'One Day at a Time'. The data consisted of English source text and their corresponding Arabic subtitles, extracted and saved as aegisub files for easy alignment. The episodes selected contained significant dialogue related to nonbinary gender identities and the use of gender-neutral pronouns. Netflix was chosen as a platform with a stated no-censorship policy, minimizing external interference in the translation process. The analysis focused on how English gender-neutral expressions were translated into Arabic, examining the strategies used by subtitlers to deal with the linguistic and cultural challenges posed by translating nonbinary identities. This involved a close examination of pronoun usage, grammatical gender agreement, and the translation of labels related to trans and nonbinary identities. The researchers compared the source and target texts to identify any inconsistencies, misgendering, or inappropriate language choices. Alternate translations were suggested for instances of misgendering or inaccurate renditions. The analysis also considered the potential impact of the subtitlers' personal biases and cultural understandings on their translation choices.

The analysis of the Arabic subtitles revealed several key findings. Firstly, there was a significant lack of consistency in pronoun usage, with the subtitlers frequently switching between masculine, feminine, and dual forms, even within the same dialogue sequence referring to the same nonbinary character. This inconsistency often resulted in misgendering. Secondly, even when plural or dual pronouns were used (theoretically gender-neutral), the grammatical agreement of other sentence elements often reverted to gendered forms, undermining the intended neutrality. Thirdly, the translation of terms related to transgender and nonbinary identities often reflected inaccuracies and misunderstandings. For example, the term "trans" was inconsistently gendered, failing to reflect the self-identified gender of the character. The translation of terms like "genderqueer" and "genderfluid" often resorted to literal translations rather than employing established terms used within the Arab LGBTQIA+ community. Fourthly, the use of translation techniques, such as explication and calque, sometimes exacerbated the issues, reinforcing the gender binary or portraying queer identities as foreign concepts. For example, the phrase "I feel in between" was translated to explicitly state "I feel between the two genders," reinforcing the binary. In 'One Day at a Time,' while some attempt was made to adapt neo-pronouns like "ze/zir," consistency was lacking, and grammatical agreement often contradicted the intended gender neutrality. The translation of the term "nonbinary" often resulted in inaccurate and potentially misleading renditions, such as "without a specific gender." In one case, the translation inaccurately implied nonbinary genders as a "third gender" rather than a spectrum of identities.

The findings highlight the significant challenges in translating nonbinary gender expressions into Arabic, arising from both linguistic differences and cultural factors. The inconsistencies and misgendering observed in the subtitles suggest a lack of awareness and sensitivity regarding nonbinary identities. The subtitlers' reliance on biological sex rather than self-identified gender reflects a failure to translate the meaning and intent of the source text. The lack of established gender-neutral terms and grammatical structures in Arabic contributes to the difficulty, but the study reveals that the issue is not solely a linguistic one. The translators' seemingly limited knowledge of the language and terminology used within the Arab LGBTQIA+ community also plays a significant role. The study underscores the importance of cultural sensitivity and linguistic accuracy in translation, especially when dealing with marginalized identities. Further research into linguistic preferences within queer Arab communities is crucial to inform best practices for future translations. The inconsistent application of translation techniques also highlights a lack of awareness or skill. The study demonstrates that appropriate terminology exists within the Arabic language, but it requires specialized knowledge that was clearly lacking among these subtitlers. Future training and resources should focus on these areas.

This study reveals significant challenges in accurately and respectfully translating nonbinary gender expressions into Arabic within the context of Netflix subtitles. Inconsistent pronoun usage, misgendering through grammatical agreement, and inaccurate translations of nonbinary labels are key findings. These issues stem from a combination of linguistic barriers, cultural factors, and a lack of familiarity with the nuances of nonbinary identities and terminology within the Arab LGBTQIA+ community. Further research should focus on identifying and promoting culturally sensitive and linguistically accurate translation practices, considering the linguistic preferences of queer Arab speakers and improving translator training in this area. Future studies could explore similar issues across different platforms and translation modes.

This study focuses on a limited sample of Netflix series, and the findings may not be generalizable to all Arabic subtitles or platforms. The qualitative nature of the analysis limits the ability to quantify the extent of misgendering or inaccuracy. The study relies on publicly available subtitles, and there is no information on the subtitlers' background or training. These limitations warrant further research with a larger sample size and a more detailed investigation of the subtitlers' practices and decision-making processes.