Academic literature on the topic 'Humor translation'
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Journal articles on the topic "Humor translation"
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Rębkowska, Agata. "Humor w badaniach nad przekładem." Romanica Wratislaviensia 63 (October 11, 2016): 157–74. http://dx.doi.org/10.19195/0557-2665/63.12.
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HUMOUR IN TRANSLATION STUDIES Humour, manifesting itself at different semiotic levels of a text, is considered to be one of the most common translation challenges. However, previous studies dealing with translation of humour mainly consist of various aspects of translating humorous phenomena expressed themselves especially at the linguistic level. The aim of the article is to present the most important linguistic theories of humor structural isotopy, semantic theory of scripts, the general theory of verbal humor, humor seen as a violation of the conversational maxims or as the game with implicatures, as well as some observations in the field of translation studies, and subsequently to develop describing tools for the translation of humorous phenomena in audiovisual texts.
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Asscher, Omri. "A model for Hebrew translation of British humor." Target. International Journal of Translation Studies 22, no. 2 (December 31, 2010): 237–63. http://dx.doi.org/10.1075/target.22.2.04ass.
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The influence of translational norms on the translation of humor manifested in prose fiction has not been a focus of much research. This paper will try to establish the existence of an institutionalized strategy of amplification, presumably born out of a wish to bridge the cultural gap reflected in two different national traditions of literary humor. The effect of amplification, as it is implemented in the various Hebrew translations of Charles Dickens’s The Pickwick Papers and Jerome K. Jerome’s Three Men in a Boat, is analyzed on the basis of Attardo’s General Theory of Verbal Humor (Attardo 2001, 2002). The use of amplification as a model for the translation of humor from the beginning of the 20th century, and its diminishing currency from the 1980s onwards are also discussed.
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Istiqomah, Lilik. "Students’ Translating Humor of Mind Your Language British Comedy in The Indonesian Subtitle." Pustabiblia: Journal of Library and Information Science 1, no. 2 (December 26, 2017): 185. http://dx.doi.org/10.18326/pustabiblia.v1i2.185-208.
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Subtitling becomes the most prominent growth in translation studies with its many advantages. It is cheaper than dubbing, take a short time, has the original soundtrack, better for hard-of-hearing and has a role in language learning. Subtitling can not be separated from the text. This text will be influenced by the context of a situation and also a context of culture. Having Cross Cultural Understanding better will show the ideology of the text. This study observes the translation technique of translating humor in Indonesian subtitle in the first episode of Mind Your Language British comedy series. This subtitle is done by the sixth-semester Indonesian students of English Education Program of Diamond Institute. This is a qualitative descriptive research presenting a translation unit tangible form in lingual (word, phrase, clause, and sentence) as the data. The object of the research is film dialogue in English and Indonesian subtitles also. The analysis of this study represents that there are 5 techniques in translating humor, namely Translating humor in wordplay with a literal translation, Translating humor in Source Text Pun with Target Text Pun, Translating humor in wordplay with wordplay, Translating humor in wordplay with zero wordplays (non-wordplay) and Translating humor with allusion. The use of literal translation technique is dominant while the ideal translation technique in translating humor is wordplay with wordplay.Subtitling mengalami pertumbuhan yang sangat pesat dalam studi penerjemahan dengan banyak kelebihannya. Subtitling lebih murah dari dubbing ditinjau dari segi biaya, proses pembuatannya tidak memerlukan waktu lama, mempunyai soundtract asli, dan lebih baik bagi para penderita tuna rungu dan sulit mendengar. Subtitling tidak bisa dipisahkan dari teks. Teks ini yang akan diperngaruhi oleh konteks situasi dan juga konteks budaya. Memiliki pandangan yang baik tentang Cross Cultural Understanding / perbedaan budaya akan bisa memahami ideologi teks tersebut. Penelitian ini mengkaji teknik penerjemahan humor dalam bahasa Indonesia dalam serial komedi Inggris yang berjudul “ Mind Your Language” episode pertama. Subtitle film komedi ini dikerjakan oleh mahasiswa semester enam jurusan Pendidikan Bahasa Inggris. Penelitian ini adalah penelitian deskriptif kualitatif yang mengetengahkan unit penerjemahan bentuk lingual (kata, frasa, klausa, dan kalimat). Objek penelitian ini adalah dialog film dalam bahasa Inggris dan bahasa Indonesi. Analisis dalam penelitian ini menunjukkan bahawa ada 5 teknik dalam menerjemahkan humor, yaitu merjemahkan humor dalam wordplay dengan perjemahan literal, menerjemahkan humor dalam permainan kata kata (pun) bahasa sumber ke dalam pun bahasa sasaran, menerjemahkan wordplay dengan wordplay, menerjemahkan wordplay dengan cara tanpa menerjemahkannya (dibiarkan apa adanya) dan menerjemahkan humor dengan allusion (kiasan). Penggunaan teknik penerjemahan literal sangat dominan sedangkan teknik terjemahan yang ideal dalam menerjemahkan humor adalah wordplay dengan wordplay.
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Woods, Michelle. "Framing translation." Translation and Interpreting Studies 7, no. 1 (May 21, 2012): 1–18. http://dx.doi.org/10.1075/tis.7.1.01woo.
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Adolf Hoffmeister (1902–1973), a Czech translator, writer, painter, journalist and caricaturist was one of the Czech translators of James Joyce’s Anna Livia Plurabelle and the illustrator of Czech translations of George Bernard Shaw’s plays. His paratextual work for translated modernist literature — prefaces, caricatures, comic strips, travelogues and interviews — engaged with modernist practice in producing an abusive mimesis in his re-presentation of authors and their writing. This included a verbal and visual insertion of the translator and re-presenter that makes him visible and also fallible, unreliable and humorous. Hoffmeister’s use of humor and demystification made the complex modernist translations more accessible to a wider readership while also bringing into question the practices and mechanics of translation and cultural domestication. Analyzing non-English language modernist translation practices might provide a model for inventive translation paratexts in the modern English-language context.
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Hossieni, Rezvan Barzegar, Mohsen Mobaraki, and Maryam Rabani Nia. "A Comparative Study of Transference of Humor in Translations of “The Adventures of Huckleberry Finn” by Mark Twain." International Journal of Applied Linguistics and English Literature 6, no. 6 (September 1, 2017): 1. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.6p.1.
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Translation is a difficult and complex task. Some elements such as linguistic and socio-cultural differences in two languages make it difficult to choose an appropriate equivalent; the equivalent which has the same effect in the target language. In the present study, one of the richest sources of the humor and satire is investigated. Humor is completely obvious in “The Adventures of Huckleberry Finn” by Mark Twain. He tried to laugh at social and cultural problems of his time by this novel. Two translations of this book by Hushang Pirnazar and Najaf Daryabandari are investigated. The author tries to investigate on transference of humor from the source language to the target language by a syntactic strategy of Chesterman. By investigating the text, it will be found out that which translator is more successful in recreation of humor by using the strategies.
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Hirsch, Galia. "Explicitations and other types of shifts in the translation of irony and humor." Target. International Journal of Translation Studies 23, no. 2 (December 21, 2011): 178–205. http://dx.doi.org/10.1075/target.23.2.03hir.
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The goal of this article is to examine the differences in the use of explicitation strategies when translating irony and humor, based on a comparative model that distinguishes between cues for the two phenomena. The study suggests that translations of irony manifest more explicitations, whereas translations of humor yield more non-explicitating shifts. This finding can be interpreted as indicating that while the explicitation of humor may override its function altogether, the explicitation of irony does not necessarily do so, since the implied criticism is not eliminated. This finding further strengthens the claim that irony is inherently critical, whereas humor is not.
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Okyayuz, A. Sirin. "Translating Humor: A Case of Censorship vs. Social Translation." European Scientific Journal, ESJ 12, no. 8 (March 30, 2016): 204. http://dx.doi.org/10.19044/esj.2016.v12n8p204.
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In Turkey, as in the case of other countries, due to developments in technology and the rise of the ‘social translation’ sector, audiences have the opportunity to watch TV shows, including sitcoms, with Turkish subtitles on a multitude of platforms. Although some of these platforms are TV channels, there are also alternatives presented by Internet sites. By virtue of the fact that there are different subtitlers of the same show, it becomes beneficial to study the work of professional translators vs. social translators, to understand their constraints and realities, as well as the differences between them. This study provides a comparative analysis of the two, within the context of the American sitcom Two and a Half Men.
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Velychenko, Olena, and Liudmyla Fonar. "LINGUOSTYLISTIC FEATURES OF ENGLISH HUMOROUS FANTASY NOVELS AND THEIR UKRAINIAN TRANSLATION." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2020, no. 30 (March 2020): 39–57. http://dx.doi.org/10.24195/2616-5317-2020-30-3.
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The relevance of an article is based on the need for a thorough study of means of linguostylistic actualization of English humor in modern fantasy literature and features of its rendering in Ukrainian translations, taking into account pragmatic and cross-cultural components. This is due to the popularity of the fantasy genre among a readership, and therefore requires the study of the features and problems of adequate translation of foreign fantasy novels by Ukrainian specialists, who often have difficulties translating author neologisms (occasionalisms) and proper names of fantasy creatures and characters. Increased interest in translation studies in many aspects of fantasy issues is evidenced by the recent emergence of a large number of works that reveal different aspects of humor. However, despite the interest in the subject, there is a small amount of exploration that addresses the issues of rendering humor and comic occasionalisms as units of linguostylistics in fantasy books in the English-Ukrainian translation. The purpose of this work is to analyze the linguostylistic specificity of translation of the humorous fantasy “Fantastic Beasts and Where to Find Them” from English into Ukrainian. The paper presents an analysis of the research material for the purpose of establishing the linguostylistic essence of J. K. Rolling’s occasionalisms, as well as the specifics of their interpretation, taking into account difficulties and cases of incompatibility of translation of the original due to various types and causes of complete and partial loss of sense of the original source. The basis for a comprehensive study of linguistic problems of author’s word-formation and translation analysis of tactics and operations involved in implementing a strategy of communicative-equal translation and adequate rendering of humorous fantasy in a pair of typologically different languages English-Ukrainian has been improved.
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Mendoza García, Inmaculada, and Nuria Ponce-Márquez. "Hacia un nuevo estímulo lingüístico-pragmático acerca de la traducción de fenómenos humorísticos." Hikma 19, no. 2 (December 22, 2020): 135–61. http://dx.doi.org/10.21071/hikma.v19i2.12514.
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Resumen:
Este artículo es el fruto de varios años de investigación en torno al concepto de humor y (in)traducibilidad. Partiendo de numerosas investigaciones sobre el humor y su traducción (Attardo y Raskin, 1991; Attardo, 1994, 2002; Hickey, 1998, n.d. ; Fuentes, 2000 o Santana, 2006), en este artículo se pretende presentar un nuevo enfoque lingüístico-pragmático sobre los fenónemos humorísticos basado en el concepto de impulso perlocutivo, así como desarrollar un marco teórico-práctico que permita a los traductores fomentar su capacidad creativa y conseguir el nivel máximo de naturalidad en el texto traducido. Entendiendo el encargo de traducción como un elemento pro-activo en el marco de una tendencia funcionalista basada en el concepto de «recreación», en este artículo se presenta un enfoque teórico-práctico basado en el concepto de estímulo ICRETRA. Tras revisar el concepto básico de «competencia traductora», en estas líneas se aboga por la adición de una sub-competencia creativa al modelo tradicional de sub-competencias. Con esta revisión de conceptos tradicionales y una aplicación teórico-práctica concreta se pretende evitar el excesivo apego que los traductores en ciernes presentan al TO cuando se trata de la traducción de textos especializados. El humor, por tanto, demuestra ser el mejor vehículo para fomentar la naturalidad y creatividad de los traductores, independientemente del tipo de texto con el que se trabaje.
Palabras clave: funcionalismo recreativo, sub-competencia creativa, encargo de traducción pro-activo, estímulo ICRETRA
Abstract:
This article is the result of a long-lasting research on the concept of humour and its (un)translatability. On the basis of a large number of previous research studies conducted into humour and translation (Raskin and Attardo, 1991; Attardo 1994, 2002; Hickey, 1998, n.d.; Fuentes, 2000 or Santana, 2006), this article aims to put forward a new linguistic and pragmatic approach to humourous phenomena based on the concept of perlocutionary impulse, as well as to present a theoretical and practical framework that allows translators to improve their creative competence and to produce the most natural translations possible. By considering translation assignments as pro-active elements in the framework of a functionalist approach to the concept of recreation, we present a theoretical and practical analysis constructed on the concept of ICRETRA stimulus. Thus, after reviewing the basic notion of translation competence, we support the addition of a creative sub-competence to the traditional scheme of translation sub-competences. With all this in mind, we aim to avoid the sometimes excessive subjugation of trainee translators to the source text when translating specialized texts. Humour is therefore regarded as the best vehicle to increase naturalness and creativity of translators, regardless of the text typology they deal with.
Key-words: recreative functionalism, creative sub-competence, pro-active translation assignment, ICRETRA stimulus
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Shutova, Nella Maksimovna, and Natalia Stanislavovna Semenova. "HUMOUR IN AUDIOVISUAL TEXTS: TRANSLATION ISSUES (BASED ON THE AMERICAN COMEDY “SIXTEEN CANDLES”)." Russian Journal of Multilingualism and Education 13 (December 28, 2021): 116–25. http://dx.doi.org/10.35634/2500-0748-2021-13-116-125.
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The article considers the problems of conveying verbal means of expressing humour in translation taking the American comedy “Sixteen Candles” by John Hughes as an example. The comparison of the original and its three translations (two voice-over translations and subtitles) made it possible to analyse in detail the verbal and non-verbal means of creating a humorous effect in the film and assess their interpretation in Russian in specific comic situations. Furthermore, in some cases we offer our own translation solutions. The problem of conveying humor is still one of the most difficult problems in audiovisual translation; it is often related to specific cultural peculiarities reflected in the speech of the source language speakers and the speakers of the target language. The relevance of the paper lies in the need for further research on the means of creating humour and the problems of its preservation in translation. The goal of the paper was to study the verbal and non-verbal means of creating humour in a particular comedy film, as well as to analyse and assess the effectiveness of their transfer in Russian translations. The following methods of analysing the data were employed: comparative-contrastive analysis, linguistic analysis, lexicographic analysis, situational analysis and functional-stylistic analysis. The study revealed some losses in translation usually caused by unjustified lexical replacements (mainly generalization), a change in the word‟s register (for instance, using a neutral literary word for a slang word) and resorting to outdated vocabulary. Besides that, translators often ignore non-verbal, situational means of creating humour and their influence the verbal description of the situation.
Dissertations / Theses on the topic "Humor translation"
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Muñoz, Basols Javier Francisco. "The Sound of Humor: Translation, Culture and Phonological Jokes." Doctoral thesis, Universitat Pompeu Fabra, 2012. http://hdl.handle.net/10803/80041.
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This thesis examines the relationship between sound, meaning, humor and culture through the lens of translation. It illustrates the relevance of sound to determining the meaning of words by analyzing textual examples in a variety of media—oral, written and visual—where the phonological aspect of words constitutes a deliberate component of the message. Sound is also presented as a cultural and linguistic factor present in the configuration of certain types of humor. Phonological jokes, or jokes that use words of one’s own language to parody the way another language sounds, are selected out of a variety of possible texts as heuristic tools for analyzing the interrelationship between sound and meaning within a humorous context. A primary classification of this type of joke is presented together with an original corpus of examples from over 30 languages. Such multilingual perspective enables us to examine the role of sound as a culturally-bound component of language, while demonstrating that sound-based humor exists in multiple cultures and is a widespread phenomenon.Aquesta tesi analitza la relació entre el so, el significat, l'humor i la cultura a través de la traducció. Il·lustra la importància del so per determinar el significat de les paraules mitjançant l'anàlisi d'exemples textuals en una varietat de mitjans de comunicació—oral, escrit i visual—destacant com l'aspecte fonològic de les paraules constitueix un component intencional del missatge. El so es presenta a més com un factor cultural i lingüístic present en la configuració de certs tipus d'humor. Per demostrar aquest aspecte, d’una varietat de possibles textos humorístics s’han seleccionat acudits de caràcter fonològic, o acudits que es fan servir paraules de la llengua pròpia amb el propòsit de parodiar la manera com sona un altre idioma. Aquests acudits serveixen com a eines heurístiques per a l'anàlisi de la interrelació entre el so i el significat en un context humorístic. Una classificació primària d'aquest tipus d’acudits es presenta juntament amb un corpus original i multilingüe d’exemples en més de 30 idiomes. Aquesta perspectiva d’anàlisi multilingüe ens permet examinar el paper del so com un component cultural arrelat en la llengua, alhora que demostra que l'humor basat en el so existeix en diverses cultures i és un fenomen generalitzat.
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Lepre, O. "The translation of humor in video games : a case study." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/1468872/.
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Over the last thirty years, the practice of game localization has become more and more widespread and has started to attract a growing academic interest. However, the translation of humor in games has received little scholarly attention, despite the fact that humor is a fundamental component of games and can be a difficult area to translate. In this view, the thesis is aimed at identifying and classifying the main types of humor in games and the way in which their translation from English into Italian has been tackled, highlighting how the interactive nature of games may affect translation. As the audiovisual features of games are incredibly varied and cannot always be assimilated to the established categories of audiovisual translation, the thesis also discusses how the various audiovisual modalities of games can have an impact on localization. Then, it examines three popular games that are particularly suitable for this analysis, as they feature plenty of humorous dialogues and situations: The Secret of Monkey Island (1990), Day of the Tentacle (1993) and Discworld (1995). The thesis pays particular attention to instances of humor based on cultural elements, as they are especially likely to cause disruptions in a translated text. The research looks at how often humor is intrinsically based on culture-specific references and analyses how translators deal with them. This issue appears particularly relevant in the case of games, as unfamiliar references can most easily damage the user’s experience. The final part of the thesis discusses the retranslation of games. By comparing the old and new translations of two games in the corpus, the thesis aims at seeing if and how translation choices have changed across time. As one of the retranslations was made by fans of the game, the thesis also aims at giving insight into the phenomenon of fan translation.
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Adams, Edith J. "No Pongas Palabras en Mi Boca: Un Analisis de la Traduccion del Humor en los Subtitulos." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/461.
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Since the early days of cinema, the translation techniques used to create subtitles have gone largely unchanged. Although these cinematic translations are characterized by both corruption and textual deformation, audiovisual translators have historically justified such textual violence by citing the temporal and spatial constraints necessitated by the subtitling apparatus. This thesis takes the corruption of contemporary film translation techniques, particularly those used to translate humor, as a point of departure in order to question the ethics of these subtitles from both a practical and theoretical standpoint. The study also includes an English to Spanish translation of the film Iron Man 3 (2013) in order to root larger theoretical questions regarding the translation of humor and slang in specific examples.
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Teixeira, Walkiria França Vieira e. [UNESP]. "Elementos constitutivos do humor em sitcoms: uma análise à luz dos estudos da tradução baseados em corpus." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/136270.
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O objetivo deste estudo foi analisar a manutenção do humor no texto midiático, a partir da compilação e análise de três corpora paralelos das legendas em inglês e de suas respectivas traduções para o português dos episódios de três temporadas de cada uma das sitcoms Seinfeld, Friends e The Simpsons. Buscamos analisar elementos que pudessem contribuir para desencadear o humor nas sitcoms, e levantar se as ocorrências de humor seriam recorrentes aos diferentes tipos de sitcoms. Abordamos os estudos sobre humor desenvolvidos por Raskin (1979, 1985), Attardo e Raskin (1991), Attardo (1994, 2002, 2008) e Vandaele (1999b, 2010); os estudos sobre a Tradução do Humor Audiovisual feitos por Gottlieb (1992, 1998, 2005), Martinez-Sierra (2003, 2004), Carvalho (2005), Díaz-Cintas e Sánchez (2006), Díaz-Cintas e Remael (2007) e Veiga (2006, 2009). Apoiamo-nos na abordagem interdisciplinar adotada por Camargo (2007, 2008), a qual se fundamenta no arcabouço teórico-metodológico dos Estudos da Tradução Baseados em Corpus lançados por Baker (1993, 1995, 1996, 2000, 2004), para a investigação de ocorrências dos vocábulos, além da metodologia da Linguística de Corpus adotada por Berber-Sardinha (2004). Contamos com o auxílio dos programas computacionais WordSmith Tools e Align Assist para auxiliar no levantamento dos dados. Os resultados apontaram que a frequência de Advérvios de Negação, Intensificadores e Interjeições presentes nas legendas das sitcoms podem se caracterizar como elementos constitutivos do humor.
The objective of this study was to analyze the maintenance of humor in the media text, starting from the compilation and analysis of a parallel corpus of English subtitles and their translations into Portuguese, from the episodes of three seasons of each sitcoms: Seinfeld, Friends and The Simpsons. We analyze the elements that could contribute to trigger the humor in the sitcoms, searching if the occurrences of humor would be recurring to the different types of sitcoms. We based our research in the studies of humor developed by Raskin (1979, 1985), Attardo and Raskin (1991), Attardo (1994, 2002, 2008) and Vandaele (1999b, 2010); the studies of Audiovisual Humour Translation made by Gottlieb (1992, 2001, 2005), Martinez-Sierra (2003, 2004), Carvalho (2005), Díaz-Cintas and Sánchez (2006), Díaz-Cintas and Remael (2007) and Veiga (2006, 2009). We rely on the interdisciplinary approach adopted by Camargo (2007, 2008), which is based on the theoretical and methodological framework of Corpus-Based Translation Studies proposed by Baker (1993, 1995, 1996, 2000, 2004), as well as the Corpus Linguistics methodology adopted by Berber-Sardinha (2004), in order to investigate vocabulary occurrences. We rely on the assistance of computer softwares WordSmith Tools and Align Assist to help with data collection. The results pointed that the frequency of Denial Adverbs, Intensifiers and Interjections present in the sitcoms subtitles’ can be characterized as humor elements’ constituents.
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Campos, Jucimara Sobreira de. "Diferenças culturais na tradução de A Turma da Mônica." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-18062013-102220/.
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A tarefa de traduzir envolve diversos fatores a serem levados em consideração no momento da elaboração do escopo que servirá de orientação na busca, pelo tradutor, em atingir os objetivos pretendidos com o texto que ele produzirá. Com o objetivo de apontar os elementos mais relevantes presentes nas histórias em quadrinhos infantis com efeitos humorísticos, selecionamos um corpus com as histórias de A Turma da Mônica para servir de base para nossa análise. As histórias foram estudadas em dois idiomas, português e inglês, com o objetivo de identificar os fatores linguísticos e as marcas culturais presentes na obra original, compará-los com a tradução, observando as estratégias usadas pelos tradutores na tentativa de solucionar os possíveis desafios que esses fatores representaram para a obtenção de um resultado satisfatório. Ao final, os resultados fornecidos por meio da análise detalhada do processo de recuperação das situações de humor, das marcas culturais e dos fatores linguísticos contidos nos textos de partida apontaram o grau de dificuldade que cada um dos fatores apresentou para os tradutores.The translation task involves several factors to be taken into consideration when drafting the scope that will guide the search, by the translator, to achieve the desired goals with the text he will produce. Aiming to pinpoint the most relevant elements present in children\'s stories in the form of comics, with humorous effects, we selected a corpus of Monicas Gang stories to support our analysis. The stories were studied in two languages, Portuguese and English, aiming to identify the linguistic factors and the cultural markers present in the original work, compare them with the translation, observing the strategies used by the translators in an attempt to resolve the possible challenges that these factors posed so as to obtain a satisfactory result. The results provided through detailed analysis of the recovery process of the humor situations, the cultural markers and the linguistic factors contained in the source texts will determine the degree of difficulty that each of the factors presented to the translator.
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Mesquita, Luís Filipe Pernão. "Análise da tradução de guiões da série de humor britânica: "Monty python´s flying circus"." Master's thesis, Universidade de Évora, 2017. http://hdl.handle.net/10174/21788.
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Neste Trabalho de Projeto final de mestrado abordam-se vários aspetos relacionados com a tradução na legendagem da série “Monty Python’s Flying Circus”, recorrendo a exemplos retirados de seis episódios da série. Ao longo deste trabalho identificam-se também algumas ocorrências problemáticas na tradução, comparando as legendas na LC (Língua de Chegada) com o guião original na LP (Língua de Partida).
O objetivo deste trabalho é o de efetuar uma análise à tradução existente (legendagem) e verificar as dificuldades na tradução, através da teoria sobre modalidades tradutórias e tendo sempre em conta o contexto cultural da LC, sendo necessária uma adaptação do texto original para a LC. Apontar-se-á também a relação entre língua e cultura; Abstract: Analysing the translation of British Comedy (Britcom) scripts: “Monty Python’s Flying Circus”
In this Masters essay project, it’ll be appointed various aspects associated with the translation in the subtitling of the TV series “Monty Python’s Flying Circus” consulting examples taken from six episodes of the show. During this essay it’ll also be identified some problematic occurrences in the translation, confronting the subtitles in the TL (Target Language) with the original script in the SL (Source Language).
This essay’s goal is to do an analysis on the existent translation (subtitles) and check its translation struggles, talking about the translation procedures and taking in account the TL cultural context, being necessary adapting the original text for the TL. Also in this essay there will be some talk about the relation between language and culture.
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Forsberg, Rose-Marie. "To Be True to Audience or Author - A Brief Literature Review and Comparison of Linguistic Humour in Two Translations of Dario Fo’s Accidental Death of an Anarchist." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-17797.
Full textAbstract:
In this essay, research is conducted on two different translations of the same comic play by Dario Fo: Accidental Death of an Anarchist. (Original title in Italian: Morte accidentale di un anarchico). The first translation is by Gillian Hanna – adapted by Gavin Richards, and the other by Simon Nye. As the original text is both satirical and comedic, one of the things investigated is how these satirical and comical features of the original text are translated. Questions asked include whether these comical and satirical features are sometimes omitted or altered for any linguistic reason, or if the “jester-like” satire of the original text is preserved. In order to answer these questions, the context of the text will first be explored, as this context may present linguistic obstacles for a translator. These possible linguistic obstacles will mainly be established through Fitzpatrick & Sawczak’s Cultural Translation Model. Chapter 2 of this essay consists of an explanation of the methodology of gathering data through primary and secondary literature sources, and, eventually a comparison of the two translations to the original text. In Chapter 3, a review of the relevant theories is presented, and the theoretical literature which may offer explanations about the linguistic properties of humour and the “comedic process”. Further, Dario Fo’s particular style of political satire is presented in Chapter 4, together with an investigation of the particular use of satire in theatre performances, and Commedia dell’arte - as background for his particular comedic style. In Chapter 5, linguistic obstacles for translating humour and satire for stage are investigated. In addition, various adaptation strategies of translation are briefly displayed, as well as a short account for Accidental Death of an Anarchist in adaptation. Finally, in Chapter 6, a comparison between some short segments of the two translations and the original text is conducted, in order to establish whether some satirical and comical features have been preserved or altered in the translations. The research will show that there exists a lack of linguistic humour theories which goes beyond linguistic puns. At the same time, various techniques are available to translate and adapt the humorous source text into the target language and culture. Even if there is no linguistic reason for altering the implications and symbolic approach of the original text, the translator may adapt the stage performance into the cultural realm of the native public. Thus, the translator can either exclude the humorous parts in the original text, or adapt the satire into domestically accepted jokes, or add new humorous events into the play. However, due to linguistic obstacles in translating humour, it is not always a matter of choice for the translator to either be true to audience or author.
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MI, Tian. "Humor y traducción en cuentos humorísticos orientales de Marcela de Juan." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/460837.
Full textAbstract:
Marcela de Juan fue una traductora importante del siglo XX por sus
numerosas publicaciones de traducciones y por sus influencias como
fundadora de la primera asociación de traductores de España; fue también
una intérprete cualificada (de hecho ésta fue su práctica profesional más
importante); y es, asimismo, considerada una mediadora por sus ciclos de
conferencias por toda Europa para difundir la cultura china. Además, Marcela
de Juan nos dejó unas memorias preciosas y múltiples artículos sobre la
cultura china publicados en la prensa española. Destacan, especialmente, sus
publicaciones de traducciones de poesía y cuentos chinos. Entre todas ellas,
hay que destacar sus traducciones de cuentos chinos en Cuentos
humorísticos orientales (1954) que nos ofrecen una nueva perspectiva para la
selección y la traducción de la literatura china.
El vocablo humor es una palabra antigua con significados relativamente
recientes, asimismo, es una palabra que aún no ha obtenido consenso en su
definición exacta. Sin embargo, se trata de un concepto bastante moderno
que se originó en Inglaterra y que se asienta en España como “humor” y como
“You mo (幽默)” en China, desarrollándose en ambos países según sus
diferentes tradiciones del humorismo.
En la historia de la investigación del humor, existen tres escuelas teóricas
principales: la de superioridad, la de alivio y la de la incongruencia. Estas tres
teorías contribuyen a explicar cual es el mecanismo cognitivo del humor, pero
es gracias a las teorías lingüísticas del humor de Raskin y Attardo, que
podemos extraer los mecanismos lingüísticos del humor. Sin embargo, los
mecanismos del humor se representan en cada tradición concreta según las
diferentes características lingüísticas y referencias culturales de cada una de
ellas.
En la traducción del humor, un traductor debe mantener los mismos
mecanismos del humor cuanto más sea posible y, al mismo tiempo, respectar
las diferentes características lingüísticas y culturales de la lengua de llegada a
fin de transmitir mejor los efectos humorísticos. Introducimos la teoría de
traducción de Gutt que propone que la traducción debe ser
interpretativamente semejante al texto original y que establece dos modos de
traducciones (“intepretation- oriented s-mode” y “i-mode). Aplicamos estos dos
modos de traducciones en los casos concretos de la traducción del humor
chino al español para poder evaluar luego, las traducciones que Marcela de
Juan llevó a cabo del humor chino.Marcela de Juan was one of the most important translators in the 20th century working in Spain thanks to her translations of Chinese literature into Spanish and her work implementing the first translators associations in Spain. She was also a member of the jury at various translation prizes in Spain. Marcela de Juan was a qualified interpreter (her life-long job) working at the translation department of the Spanish government and in a relevant number of international conferences. She was an exceptional mediator between Chinese and Spanish cultures due to her many lectures on Chinese culture all around Europe. She wrote a memoir that provides first hand information about her times and friends and a substantial amount of articles on Chinese culture. She is well known for her translations of Chinese poems and stories, of which, her translation of Chinese humorous stories for Espasa-Calpe has given our research a new perspective in the translation of Chinese humorous literature. Humor is an antique word with a relatively modern meaning. However, there is not yet a universal agreement of its exact definition and the extent of the concept does not have clear boundaries. Humor is a modern concept that can be traced to England in the 17th century; it was adopted later in Spain under the word “humor” and in China with “You mo (幽默)”. The concept is also developed following different literary traditions is these two countries. In the research of humor's history, there are three groups of theories centered in the superiority, the relief and the incongruity. These three groups of theories have all contributed to create our cognitive appraisal of humor. The SSTH and the GTVH of Raskin and Attardo have unified the cognitive mechanism of humor with its linguistic mechanism. However, in spite of those mechanisms, there are still linguistic features and cultural references determined by each culture. In translating the mechanisms of humor and its linguistic features and cultural references to another culture, the translator is facing a constant decision-making situation to which we think appropriate to apply the translation theory of Gutt. To demonstrate this hypothesis, we have employed his interpretive oriented s-mode and i-mode method to analyze some cases of translation of Chinese humor into Spanish and have applied our research results in the evaluation of the translation of Chinese humor by Marcela de Juan.
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Amorino, Chiara. "Tra humor e transcreation: la localizzazione di West of Loathing." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/20446/.
Full textAbstract:
West of Loathing è un gioco di ruolo in cui i personaggi sono figure stilizzate inserite in un ambiente di gioco simile a un Old West americano caricaturato. Nonostante per sua natura condivida caratteristiche con gli altri RPG, West of Loathing si discosta da essi e dal genere grazie alla sua carica umoristica, incalzante e coinvolgente. Disseminato di giochi di parole, modi di dire e battute, West of Loathing è un perfetto oggetto di studio dal punto di vista della transcreation. La sua traduzione supera la nozione di localizzazione in sé e per sé per lasciare spazio alla creatività e alla fantasia, delle quali si analizzeranno vari esempi nel presente lavoro di tesi. La tesi si compone di tre parti principali: dopo una breve introduzione (1) sui videogiochi in generale, la prima parte (contenuta nel capitolo 2) esamina in dettaglio il genere RPG e i motivi per cui West of Loathing vi appartiene, distanziandosi allo stesso tempo grazia alla sua comicità; la seconda parte (capitolo 3) esplora la teoria alla base della localizzazione e della transcreation, e il rapporto di dipendenza reciproca tra umorismo e videogiochi; la terza parte (4) è incentrata sugli estratti più importanti e umoristici della traduzione, la quale si trova in appendice.
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Casanova, Boiani Simone. "Tradurre racconti umoristici: The Last Girlfriend on Earth and Other Love Stories." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020.
Find full textAbstract:
This dissertation focuses on the translation of four humorous short stories from the collection The Last Girlfriend on Earth and Other Love Stories by the American author Simon Rich. Translating humorous texts presupposes some basic notions regarding Humor Studies and their application to the field of translation. The first chapter introduces this particular area of studies and it is aimed at clarifying the theoretical premises and the terminology on which the text analysis and the approach to translation discussed in the following chapters will be based. In Chapter 2 the young American author and his works – mostly unknown in Italy – are introduced. Chapter 3 centers on a comparison between the traditional Italian "racconto umoristico" and the American humorous short story: first of all, the distribution of such textual genre in these two publishing markets is compared. The stylistic differences between the humorous short stories of the Italian tradition and those of the American tradition are also discussed. Following the conclusions drawn from the previous chapters, Chapter 4 deals in more detail with The Last Girlfriend on Earth and Other Love Stories. The structure of the collection is analyzed, and its main themes are discussed and compared with those of Rich's previous works. The translations of the selected short stories are presented in Chapter 5, and the most relevant aspects and difficulties that emerged during the translation process are discussed in Chapter 6. The commentary focuses mainly on the translation of the comic and culture-specific elements. The strategies with which the most problematic syntactic and semantic aspects of the source texts have been translated are presented with a particular emphasis on the importance of the recreation of the pragmatic function of the source text.
Books on the topic "Humor translation"
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illustrator, Pinder Andrew, ed. Utterly lost in translation: Even more misadventures in English abroad. London: Metro Publishing, 2015.
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Sandra, Howgate, ed. Still lost in translation: More misadventures in English abroad. London: Random House, 2007.
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Javier, Muñoz-Basols, Fouto Catarina 1982-, Soler González Laura, and Fisher Tyler, eds. The limits of literary translation: Expanding frontiers in Iberian languages. Kassel: Edition Reichenberger, 2012.
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Arbiter, Petronius. Petronius: With an English translation by Michael Heseltine; rev. by E. H. Warmington; and Apocolocyntosis of Seneca; with an English translation by W. H. D. Rouse. Cambridge: Harvard University Press, 1987.
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Gawain on marriage: The textual tradition of the De coniuge non ducenda with critical edition and translation. Toronto, Ont., Canada: Pontifical Institute of Mediaeval Studies, 1986.
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1587-1658, Barth Kaspar von, and Fernández Enrique 1961-, eds. Pornoboscodidascalus Latinus (1624): Kaspar Barth's neo-Latin translation of Celestina. Chapel Hill: North Carolina Studies in the Romance Languages and Literatures, U.N.C. Department of Romance Languages, 2006.
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Lieve, Behiels, and Kish Kathleen V, eds. Celestina: An annotated edition of the first Dutch translation (Antwerp, 1550). Belgium: Leuven University Press, 2005.
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Dore, Margherita, ed. Humour Translation in the Age of Multimedia. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429316081.
Full textBook chapters on the topic "Humor translation"
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Vandaele, Jeroen. "Humor in translation." In Handbook of Translation Studies, 147–52. Amsterdam: John Benjamins Publishing Company, 2010. http://dx.doi.org/10.1075/hts.1.hum1.
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Chiaro, Delia. "Humor and Translation." In The Routledge Handbook of Language and Humor, 414–29. New York, NY : Routledge, [2017] | Series: Routledge handbooks in linguistics: Routledge, 2017. http://dx.doi.org/10.4324/9781315731162-29.
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Niedzielski, Henry Z. "Cultural transfers in the Translating of humor." In Translation, 139. Binghamton: John Benjamins Publishing Company, 1991. http://dx.doi.org/10.1075/ata.v.15nie.
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Bucaria, Chiara. "Audiovisual Translation of Humor." In The Routledge Handbook of Language and Humor, 430–43. New York, NY : Routledge, [2017] | Series: Routledge handbooks in linguistics: Routledge, 2017. http://dx.doi.org/10.4324/9781315731162-30.
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Chiaro, Delia. "Verbally expressed humor and translation." In The Primer of Humor Research, 569–608. Berlin, New York: Mouton de Gruyter, 2008. http://dx.doi.org/10.1515/9783110198492.569.
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Kolb, Waltraud. "Translation as a source of humor: Jonathan Safran Foer’sEverything is Illuminated/Alles ist erleuchtet." In Transfiction, 299–314. Amsterdam: John Benjamins Publishing Company, 2014. http://dx.doi.org/10.1075/btl.110.21kol.
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Valente, Alex. "“A Fumetto, a Comic, and a BD Walk into a Bar…”: The Translation of Humor in Comics." In Cultures of Comics Work, 265–81. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55090-3_18.
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Zabalbeascoa, Patrick. "Multilingual humour in audiovisual translation." In Humour Translation in the Age of Multimedia, 116–35. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429316081-7.
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Asimakoulas, Dimitris. "Poetics of Humour and Translation." In Rewriting Humour in Comic Books, 77–124. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19527-4_4.
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Sierra, Juan José Martínez. "Audio describing humour." In Humour Translation in the Age of Multimedia, 177–95. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429316081-10.
Full textConference papers on the topic "Humor translation"
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Zhuhai, V. V. "Verbal realisation of humor and its features in the German-speaking stand-up comedy genre." In PHILOLOGICAL SCIENCES, INTERCULTURAL COMMUNICATION AND TRANSLATION STUDIES: AN EXPERIENCE AND CHALLENGES. Baltija Publishing, 2021. http://dx.doi.org/10.30525/978-9934-26-073-5-1-52.
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Astuti, Eka. "Wordplay with Phonological Element Contributions in Indonesian Stand-Up Comedy Humor Discourse." In Proceedings of the 2nd International Seminar on Translation Studies, Applied Linguistics, Literature and Cultural Studies, STRUKTURAL 2020, 30 December 2020, Semarang, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.30-12-2020.2311246.
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Tuzzikriah, Raihana, and Havid Ardi. "Students’ Perception on the Problem in Translating Humor Text." In Eighth International Conference on English Language and Teaching (ICOELT-8 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210914.061.
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