Dissertations / Theses: '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.

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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.

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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/.

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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.

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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.

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FREITAS, Luana Ferreira de. "Tradução comentada de A sentimental Journey de Laurence Sterne." Universidade Federal de Santa Catarina, 2007. http://www.repositorio.ufc.br/handle/riufc/17993.

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FREITAS, Luana Ferreira de.Tradução comentada de A sentimental Journey, de Laurence Sterne, 2007. 141f. – Tese (Doutorado) – Universidade Federal de Santa Catarina, Curso de Pós-Graduação em Literatura, Florianópolis (SC), 2007.
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This study will look at the translation of Laurence Sterne’s A Sentimental Journey and examine certain translational issues arising from the narrative. These include the oscillation between sentimental and humorous elements and the fine line that separates them throughout the novel, use of irony, parody, and also translational strategies adopted by the author, and by others in previous translations of the work in Brazil.
Este trabalho parte da tradução de A Sentimental Journey, de Laurence Sterne, para fazer um exame de questões ligadas à narrativa quando confrontadas com a necessidade da tradução. Para tal, serão consideradas a oscilação entre o sentimental e o humor e a fronteira sutil que os separa ao longo do romance, a ironia, a paródia, bem como as estratégias adotadas na tradução proposta e em outras já publicadas no Brasil.

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Gianfranceschi, Fernando. "La qualità nella traduzione audiovisiva all'epoca delle piattaforme VOD - due sitcom a confronto." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23280/.

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In the last decade, streaming platforms for the distribution of multimedial contents have gained an increasing market share over traditional and satellite TV broadcasters. But what is the average quality level of the dubbings and subtitlings which these new players perform? Do the differences between the two mediums have any influence on the planning and/or execution of these processes? This dissertation was born from the desire to answer these two questions with regard to a particular type of audiovisual serial products: situation comedies. After the first three theoretical chapters, where the main concepts concerning audiovisual translation (chapter I), cultural aspects (chapter II) and humour in translation (chapter III) are introduced, the fourth chapter presents a comparative analysis between the dubbed text and the subtitled text of two series, namely a) The Office (USA) and b) #blackAF, the former available in Prime Video's Italian catalogue and the latter included in Netflix's catalogue. The analysis of The Office allowed a comparison - albeit limited in scope - between dubbing for television (The Office) and dubbing for streaming platforms (#blackAF). The results of the analysis indicate a significantly better quality of the dubbed and subtitled text and a generally greater attention to detail in the case of the Netflix series. The comparison between the adaptations of The Office did not show significant improvements in the subtitles both in terms of translating solutions or the formal aspect, as demonstrated by the significant presence of mistakes. While taking into account the limitations of the analysis carried out, the emerging results may constitute a basis on which to develop new researches, which will hopefully contribute to shed light on the new trends and current popular practices in the varied and constantly evolving field of audiovisual translation.

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Soriano, Deborah. "Humorous culture and cultural humor: a theoretical investigation of the translation of cultural and humorous elements in audiovisual products." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23986/.

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The purpose of my thesis is to offer a theoretical analysis of the translation problems that arise in AVT. Specifically, my investigation will focus on the issues related to cultural references and humorous elements in audiovisual products.

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Dutra, Paula Queiroz. "Temporadas de risos : o humor nas legendas de Sex and the City no Brasil." Programa de Pós-Graduação em Letras e Linguística da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/11028.

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Este estudo examina a tradução de humor nas legendas sob uma perspectiva descritiva. Através da análise das duas traduções brasileiras de 15 episódios do seriado norte americano Sex and the City, a do canal Multishow da TV por assinatura, realizada por Daniela P.B. Dias, e a dos DVDs da série vendidos no Brasil, cujo tradutor permanece desconhecido, procurou-se descrever e comparar as estratégias tradutórias utilizadas para a reconstrução do humor verbal e visual dos episódios em português. No seriado, observamos dois tipos principais de humor: o humor universal, pela temática de relacionamentos, e o humor local, baseado em referências à cultura americana. Os gatilhos de humor mais comumente encontrados nos exemplos selecionados foram jogos de palavras e comentários espirituosos e irônicos, com muitas ocorrências desses referentes culturais como elemento principal para acionar o humor. Considerando as especificidades desse tipo peculiar de tradução audiovisual que é a legendagem e o desafio que a tradução de humor sempre representou, este estudo apresenta reflexões sobre a prática de legendagem associada à tradução de humor na TV e no DVD, uma lacuna nos estudos realizados até o momento no Brasil. A pesquisa demonstrou que há uma maior formalização do estilo nas legendas do DVD, por meio de omissões e minimizações de palavrões e referências sexuais, do uso de pronomes oblíquos e de estruturas sintáticas mais formais, o que até certo ponto compromete a recriação do humor e a representação do coloquialismo dos diálogos de partida. Na TV também há minimizações, mas em menor grau do que no DVD, enquanto que os empréstimos ocorrem em um maior grau. Observamos também a tendência das legendas do DVD serem mais longas do que as da TV, o que deve ser levado em conta na análise comparativa entre as duas versões, já que o número de caracteres pode limitar a possibilidade de recriação do tradutor. De um modo geral, a versão televisiva revela uma maior liberdade do tradutor, com um maior número de adaptações e, por isso, legendas mais criativas em termos de humor.
Salvador

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Suarez, Silva Luciana, and Olaechea Diego Ignacio Schultz. "“Get those hot buns in here, girl” Estudio de recepción de la traducción del doble sentido en el doblaje de Hora de aventura." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/652353.

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La traducción del humor es uno de los más grandes desafíos para el traductor en el campo de la traducción audiovisual. Además, la diversidad de receptores hace que el trabajo del traductor sea aún más desafiante, ya que el traductor debe intentar en lo posible que no se pierda el sentido original del segmento a traducir, y que el producto en algunos casos sea apto tanto para niños como para adultos. La presente investigación se centrará en analizar la recepción del humor en el doblaje de la serie animada Hora de aventura en niños de 7 a 11 años y jóvenes adultos de 18 a 22 años del Perú, teniendo en cuenta que existen factores como las técnicas empleadas en la traducción del producto cultural que podrían afectar la percepción del mismo; en particular, la comprensión del doble sentido, ya que el empleo de ciertas técnicas de traducción pueden conllevar un acercamiento o alejamiento del producto al receptor. Mediante encuestas a 4 grupos de 25 estudiantes (2 grupos conformados por niños y 2 por adultos) se indagará en la comprensión que tuvieron sobre las bromas de doble sentido en el doblaje de la serie.
Translating humor is one of the greatest challenges for a translator when it comes to Audiovisual Translation (AVT). This, along with the diversity of receptors, makes the translator's job even more complex, as the translator must find a way to preserve the original meaning of the segment to be translated, and in some cases make sure that the product is suitable for both children and adults. For this reason, the research main focus is to analyze the reception of children, from 7 to 11 years old, and young adults, from 18 to 22 years old, of the dubbed version of the animated series Adventure Time, taking into account that there are factors, such as the techniques used in the translation of the cultural product, that could affect its perception; in particular, the understanding of the double meaning, since the use of certain translation techniques may help the text be easier for receptors to understand the message, or conversely, make it difficult to understand. By conducting surveys of 4 groups of 25 students (2 groups made up of children and 2 other groups made up of adults), we will investigate their understanding of the double meaning jokes in the dubbed version of the series.
Trabajo de investigación

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Abreu, Roberto de. "Traduzir Les fleurs bleues, de Raymond Queneau: o jogo do significante e o humor." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-28082012-094457/.

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A proposta deste trabalho é a tradução para o português do romance Les Fleurs bleues, de Raymond Queneau. Trata-se de um romance que oferece resistência à tradução em função do trabalho do autor sobre a língua francesa. Para chegar ao objetivo proposto procedemos a uma historicização da obra de Queneau, de modo a compreendermos seu projeto de inclusão da língua falada na literatura e em todos os campos do conhecimento. A escrita de Queneau é caracterizada por seu estilo impregnado de humor e repleto de elementos de oralidade, em que o significante ganha autonomia: jogos de palavras, trocadilhos, provérbios, rimas, aliterações, o autor lança mão de todos os recursos para sublinhar, com humor, a crise do signo. Procuramos analisar os procedimentos adotados por Queneau e o modo como se manifesta sua escrita em Les Fleurs bleues visando ao estabelecimento de parâmetros que possibilitassem oferecer ao leitor brasileiro uma tradução que lhe permitisse, apesar dos diferentes contextos linguísticos e culturais, uma leitura prazerosa em que ele tenha acesso ao texto de Queneau e acompanhar a narrativa, conservando o jogo de significantes e o humor. Levantamos marcas de oralidade presentes nos sistemas linguísticos francês e português, para chegarmos, finalmente à realização do trabalho tradutório, do qual comentamos as manifestações de oralidade no original e as soluções adotadas para sua restituição em português.
The purpose of this work is the Portuguese translation of the novel Les Fleurs bleues, by Raymond Queneau. It is a novel that offers resistance to translation as a function of author\'s work on the French language. To reach the proposed goal, we proceeded to a historicizing of Queneau\'s production, in order to understand his project for inclusion of the spoken language in literature and in all fields of knowledge. Queneau\'s writing is characterized by his style imbued with humor and filled with elements of orality, where significant gains autonomy: wordplay, puns, proverbs, rhymes, alliterations, the author uses all resources to emphasize with humor, the \"crisis of the sign.\" We have analyzed the procedures adopted by Queneau and how his writing manifests in Les Fleurs bleues in order to establish parameters that offers to Brazilian readers a translation that would enables him, despite the different linguistic and cultural contexts, to have an enjoyable read and to access the text of Queneau and follow the narrative, keeping the work of signifiers and the humor. We studied the marks of orality present in French and Portuguese language systems, to arrive finally to perform the work of translation, which we commented on the manifestations of orality in the original and the adopted solutions for restitution in Portuguese.

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Vierrether, Tanja. "Cultural and Linguistic Issues of Sitcom Dubbing: An Analysis of "Friends"." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1494865832944617.

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Lindqwister, Robin. "I fablernas nät : En översättningsvetenskaplig uppsats om att undertexta nederländsk satir till svenska." Thesis, Stockholms universitet, Tolk- och översättarinstitutet, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194786.

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Denna kandidatuppsats består av en längre översättning i form av en undertextning från nederländska till svenska, samt en kommentar till översättningen. Källtexten utgörs av inslaget De online fabeltjesfuik (ordagrant ’fabelryssjan’) ur det nederländska satiriska nyhetsprogrammet Zondag met Lubach. I kommentarsdelen beskrivs den teoretiska bakgrunden bakom den översättningsprincip och rangordning av översättningsprioriteringar som styrt undertextningsarbetet. Därefter behandlas ett urval av översättningsproblem samt strategierna för att lösa dem, med ett särskilt fokus på kulturella referenser och humor. Det största problemet utgörs dock i slutändan av översättningsformens egna begränsningar när det kommer till tid och utrymme, vilka styr alla andra översättningsval.
This bachelor’s essay consists of a longer translation in the form of Dutch-to-Swedish subtitles, including a section commenting on the translation. The source text is made up of the segment De online fabeltjesfuik (literally ‘the fable fyke’) from the Dutch satirical news show Zondag met Lubach. The comment section describes the theoretical background behind the translation principle and the translation priorities which have guided the subtitling. Then a sample of translation problems along with the strategies used to solve them are presented, focusing on cultural references and humour. The largest issue remains the inherent limitations of subtitling as pertains to time and space, which influence all other translation choices made.

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Bartkuvienė, Vilija. "Humoro vertimas H. Fielding romanuose "Bridžitos Džouns dienoraštis" ir "Bridžitos Džouns dienoraštis:ties proto riba"." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2005. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20051014_140642-35429.

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The paper consists of a Content, Introduction, three chapters (two of them are theoretical, and the last chapter is a practical one), then follows Conclusions, References, Summary and Appendix containing the remnant examples and a piece of information about the author of the novels. In the first chapter the definitions of humour itself and its cultural and linguistic aspects are being discussed. Since humour is rather elusive as a theoretical concept we are going to mention only the definitions or theories that are related to the research. As humour is often culturally specific it nearly always contains some piece of sociocultural information shared between the sender and the recipient. Unless the recipient is aware of it, the joke fails to perform its function. The relevance of E. Nida’s theory of dynamic equivalence to the translation of humour and other translation problems such as cultural and linguistic ones are being analyzed in the second chapter. The problem of this type of translation is that of recasting the humorous effect. Eugene Nida’s theory of dynamic equivalence requires analysing the source language text and then restructuring it before transferring it to the target language in such a way that will make a perfect sense in the target language. The third chapter is a practical one and it deals with the achievements and failures of translating humour in the above-mentioned novels, i.e. Bridget Jones’s Diary and Bridget Jones’s Diary: the Edge of Reason by Helen... [to full text]

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Sio, In San. "Translating Chinese humor in movie subtitles : a case study." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2525504.

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Mazzotti, Elisa. "The translation of humour in the sitcom The Big Bang Theory." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019.

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This paper sets out to analyse one of the greatest difficulties encountered when dubbing audiovisual products, namely the rendition of humour, with specific reference to the popular television show The Big Bang Theory and its Italian translation. Starting from a more general look into the field of audiovisual translation, as well as a short historical outline, particular attention will be paid to the process of dubbing, with an overview on the various stages of the process and the main difficulties involved. The second chapter will focus on the translation of culture and cultural references as well as the rendition of different types of humour, with particular mention to the issues related to cultural humour and wordplay. The third and last chapter will consist of a case study on The Big Bang Theory, focusing on some of the key aspects related to humour and how it was dubbed into Italian. Attention will be paid to the highly debated translations of instances of universal humour in the first season, followed by a closer look at how humour is translated when based on cultural identities, and lastly by examples of successful and unsuccessful translation of wordplay throughout the show.

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FERREIRA, MAIRA PORTO. "TRANSLATING HUMOR FOR SUBTITLING: THE CASE OF WOODY ALLEN IN DECONSTRUCTING HARRY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=16669@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Este estudo possui um duplo objetivo: investigar a construção lingüística de algumas situações de humor do filme Deconstructing Harry (EUA, 1997, Woody Allen), traduzido, no Brasil, como Desconstruindo Harry; e analisar as estratégias lingüísticas adotadas nessas situações de humor em duas traduções do filme, no formato de legendas: uma para o cinema e outra para VHS. A análise se fundamentou nos Estudos Descritivos da Tradução, em especial nos pressupostos de Gideon Toury (1995); na teoria do humor de Victor Raskin (1985), complementada pelas ideias de Sigmund Freud (1905) e Henri Bergson (1900) sobre o tema; e em alguns estudos realizados na área da tradução audiovisual. Aplicando a metodologia descritiva a um corpus selecionado, o trabalho busca associar teoria e prática no campo dos Estudos da Tradução. O estudo levou às seguintes constatações: (i) o humor que prevalece no filme é situacional e sexual, e os recursos linguísticos mais freqüentemente empregados são termos de duplo sentido, palavrões e referentes culturais específicos; (ii) a estratégia tradutória mais utilizada, em ambas as traduções, foi a manutenção dos scripts semânticos do original, seguida pela estratégia de neutralização de um dos scripts; e (iii) a maioria dos referentes culturais específicos mencionados no filme foi mantida como no original, denotando a preferência por uma estratégia tradutória mais estrangeirizadora.
This study has a dual objective: firstly, to investigate the linguistic construction of some humorous situations in the movie Deconstructing Harry (USA, 1997, Woody Allen), translated in Brazil as Desconstruindo Harry, and, secondly, to review the linguistic strategies adopted in these humorous situations in two different translations for subtitles of the movie; one for the cinema and the other for video. The analysis is informed by Descriptive Translation Studies, particularly on Gideon Toury’s premises (1995) and Victor Raskin’s theory of humour (1985), complemented by the ideas of Sigmund Freud (1905) and Henri Bergson (1900) on the topic; and on some studies conducted in the field of audiovisual translation. Applying descriptive methodology to a selected corpus, the work attempts to associate theory and practice in the field of Translation Studies. The study resulted in the following findings: (i) the predominant humor in the movie is situational and sexual and the most commonly used linguistic resources are double entendres, swear words and specific cultural references; (ii) the most favored translation strategy in both versions was to maintain the original semantic scripts, followed by the strategy of neutralizing one of the scripts; and (iii) most of the specific cultural references cited in the movie were left as in the original, indicating the preference for a more foreignizing translation strategy.

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Bucaria, Chiara <1978&gt. "Dark humour as a culture specific phenomenon: a study in screen translation." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/946/.

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The present study aims at analyzing how dark humour as a cinematic genre travels cross-culturally through a specific mode of audiovisual translation, i.e. dubbing. In particular, it takes into consideration the processes involved in dubbing humour from English into Italian as observed in the English- and Italian-language versions of ten British and American dark comedies from the 1940s to the 2000s. In an attempt to identify some of the main mechanisms of the dark humour genre, the humorous content of the films was analyzed in terms of the elements on which specific scenes are based, mainly the non-verbal and verbal components. In the cases in which verbal elements were involved, i.e. the examples of verbally expressed humour, the analysis was concerned with whether they were adapted into Italian and to what effect. Quantification of the different kinds of dark humour revealed that in the sample of dark comedies verbal dark humour had a higher frequency (85.3%) than non-verbal dark humour (14.7%), which partially disconfirmed the first part of the research hypothesis. However, the significance of contextual elements in the conveying of dark humour, both in the form of Nsp VEH (54.31%) and V-V (V+VE) (21.68%), provided support for the hypothesis that, even when expressed verbally, dark humour is more closely linked to context-based rather than purely linguistic humour (4.9%). The second part of the analysis was concerned with an investigation of the strategies adopted for the translation of verbal dark humour elements from the SL (English) into the TL (Italian) through the filter of dubbing. Four translational strategies were identified as far as the rendering of verbal dark humour is concerned: i) complete omission; ii) weakening; iii) close rendering; and iv) increased effect. Complete omission was found to be the most common among these strategies, with 80.9% of dark humour examples being transposed in a way that kept the ST’s function substantially intact. Weakening of darkly humorous lines was applied in 12% of cases, whereas increased effect accounted for 4.6% and complete omission for 2.5%. The fact that for most examples of Nsp VEH (84.9%) and V-AC (V+VE) (91.4%) a close rendering effect was observed and that 12 out of 21 examples of V-AC (PL) (a combined 57%) were either omitted or weakened seemed to confirm, on the one hand, the complexity of the translation process required by cases of V-AC (PL) and V-AC (CS). On the other hand, as suggested in the second part of the research hypothesis, the data might be interpreted as indicating that lesser effort on the translator/adaptor’s part is involved in the adaptation of V-AC (Nsp VEH) and V-V (V+VE). The issue of the possible censorial intervention undergone by examples of verbal dark humour in the sample still remains unclear.

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Yakin, Orhun. "Translation of humour with special reference to the cartoons in 'Leman' and other popular weekly humour magazines of Turkey." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/4367/.

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In this dissertation, the various strategies of humour translation have been analysed by taking various cartoons with speech bubbles from the popular Turkish humour weekly magazine Leman and other similar publications. Generally considered as an extremely problematic, sometimes next to impossible, task within the translation studies, humour translation requires and deserves special attention since, as it was explained in the related sections, it may unite or separate people within the context of one single joke. As we also have stated elsewhere in the text, the description of both humour and translation, as two separate concepts, are not available in certain and decisive terms. This is especially true for the concept of humour which also covers the areas of laughter, jokes, wit, satire, irony and many others which are all interchangeable with each other. This fact makes an all-round definition very difficult. We also tried to show that, the visual humour or the visual aspect of humour could be a valuable asset for a foreign recipient who genuinely wishing to understand humour products from a different and remote culture. We wanted to show, and to some extent share, that the cartoons, provided they are not strictly political or crammed with regional issues and accents, could be fathomed by an outsider with the help of a decent translation and an adequate amount of contextual and cultural background information. We have assumed, from the very beginning of this project, that the contemporary Turkish humour, particularly cartoons that are represented in Leman and other similar publications, was interesting enough to become a dissertation subject, particularly those with stock types or characters since they have the potential of becoming snapshots of a country which is still considered as alien (or other) by the West. As far as this writer concerned, the main points of interest concerning Turkey by the British public could roughly be summarised in two points: a bargain trip to the seaside during the summer season and some occasional football matches Manchester United plays against Turkish teams in Istanbul. Especially the latter always attracts heavy press coverage during and after a match. We wanted to show that there are other cultural aspects exist in Turkey as well and such aspects could be transferred to other cultures by ways of translation. The material we have chosen is both visual and prose at the same time and although they function as a unity, they also complement each other. It is proposed that, although a perfect translation is always a desirable concept in almost every field, the translation of humour is possible within certain frameworks. The visual side of cartoons, as in situation comedies, contributes immensely to the comprehension of the message, which should be considered as the most important feature of the joke. To this end, a variety of cartoons are selected from both Lenicyn and other similar humour weeklies and translated with an adequate amount of background and contextual information that provided beforehand. This background information also includes, as far as the material in question permits, a close analysis of the language and the subject matter. To provide a better insight for the reader, a summary of Turkish humour and humour magazines are added alongside a section on the issue of humour itself.

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Noël, Camille. "Adaptation des spectacles d'humour québecois en Europe : entre nécessité et altération ?" Thesis, Valenciennes, Université Polytechnique Hauts-de-France, 2021. http://www.theses.fr/2021UPHF0017.

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Notre étude de cas porte sur l’adaptation des spectacles d’humour québécois en Europe et sur ses potentiels effets sur l’authenticité de l’œuvre originale. Nous avons étudié des spectacles francophones et anglophones de trois humoristes québécois, Stéphane Rousseau, Louis-José Houde et Sugar Sammy. Ils ont la particularité d’être très populaires dans leur pays d’origine et d’avoir tenté d’exporter leur travail en Europe, surtout en France, mais n’y ont pas connu le même succès. Le travail de Stéphane Rousseau se caractérise par une adaptation très poussée de son spectacle qui va jusqu’à l’effacement partiel de son accent. Louis-José Houde a préféré n’apporter que très peu de modifications à ces textes, mais a choisi des thèmes universels. Enfin, Sugar Sammy a opté pour une réécriture quasi totale en fonction de son nouveau public cible et a accordé une grande place à l’improvisation. Nous avons consacré notre chapitre théorique à la situation sociolinguistique du Québec, à la définition de l’humour et à sa traduction (voire tradaptation) en stand-up, théâtre et dans le domaine audiovisuel. Nous avons choisi des outils d’analyse tels que la classification des blagues selon les problèmes qu’elles posent en traduction audiovisuelle (Zabalbeascoa, 2001), les figures humoristiques enseignées à l’École nationale de l’humour de Montréal (Ouellette & Vien, 2017a) et les théories philosophiques de l’humour, plus particulièrement la théorie de l’incongruité, théorie de la supériorité et théorie de la soupape (Carroll, 2014). Nous avons entrepris de comparer le spectacle de Stéphane Rousseau, intitulé Rousseau au Québec, et sa version adaptée en France par Franck Dubosc, Stéphane Rousseau : One-man-show afin de mesurer l’étendue des modifications introduites. L’étude des versions québécoises de deux sketchs joués à Paris par LouisJosé Houde, Goglu et La Guadeloupe, avait pour objectif de relever les éléments culturels qui auraient pu expliquer l’intraduisibilité de certaines blagues. Enfin, l’étude de moments d’improvisation de Sugar Sammy en français et anglais joués en France, au Canada et aux États-Unis permettait de montrer les marques d’adaptation dans une réécriture. Nous avons pu confirmer une partie de notre hypothèse en vérifiant que l’adaptation d’un spectacle d’humour québécois est nécessaire pour le rendre compréhensible chez le nouveau public cible, mais, contrairement à ce que nous avions également supposé, celle-ci n’entraîne pas toujours une perte de sens et d’originalité de l’œuvre, peut même créer un sentiment privilégié chez le nouveau public cible et ne semble pas gâcher l’expérience des spectateurs québécois. Enfin, nous avons pu partiellement vérifier que le manque ou l’absence d’adaptation pouvait nuire à la transmission du message humoristique initial et à l’établissement d’une connivence avec le public cible
Our case study analyses the adaptation of Québec comedy shows in Europe and its potential effects on the authenticity of the original work. We studied various shows in both French and English created by three comedians from Québec: Stéphane Rousseau, Louis-José Houde and Sugar Sammy. The three of them are famous in their home country and they all tried to export their work to Europe, especially to France, but did not enjoy the same level of success. Stéphane Rousseau’s work is characterised by a thorough adaptation of his show with a subtle erasure of his accent. LouisJosé Houde chose to modify his texts very slightly but adopted universal topics. Finally, Sugar Sammy opted for a nearly complete rewriting depending on his new target audience and gave a large space to improvisation. We dedicated our theoretical chapter to the sociolinguistic situation in Québec, the definition of humour and its translation (even transadaptation) in the fields of stand-up, drama and audiovisual productions. We chose analysis tools such as the classification of jokes based on the issues they create in audiovisual translation (Zabalbeascoa, 2001), humoristic devices taught in the École nationale de l’humour de Montréal (Ouellette & Vien, 2017a) and philosophical theories of humour, such as the incongruity theory, the superiority theory and the relief theory (Carroll, 2014). We proceeded to compare Stephane Rousseau’s show, named Rousseau in Québec, to its French adaptation written by Franck Dubosc, Stéphane Rousseau: One-man-show to measure the extent of the modifications made. The study of Québec versions of two skits performed by Louis-José Houde in Paris, Goglu and La Guadeloupe, aimed at showing cultural elements that could explain the untranslatability of some jokes. Finally, the ‘improvisations’ performed by Sugar Sammy in French and English in France, Canada and the USA showed signs of adaptation in a rewriting. We have been able to confirm a part of our hypothesis verifying that the adaptation of a Québec comedy show is necessary to make it understandable to the new target audience, but contrary to what we stated, it does not always imply a loss of meaning and originality of the text and can even create a privileged feeling and does not hinder the experience of Québec viewers. Finally, we have partially been able to confirm that a lack of adaptation could damage the transmission of the comedic message and the creation of complicity with the target audience

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Pociūtė, Laura. "Translation of humour in Jerome K. Jerome's novel "Three Men on a Bummel"." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120831_102854-40842.

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The problems of translating English humour into Lithuanian have not been thoroughly studied, therefore it has been chosen as a subject of this article. This research focuses on the analysis of examples of different sorts of humour in J. K. Jerome's novel "Three Men on a Bummel" and compares the source text with the target text. The present paper is assigned to provide a theoretical framework of humour phenomenon, its classification and translation peculiarities as well as to reveal the complexity of humour phenomenon which exists in every part of the world, nevertheless, travels badly from one language to another. The aim of the research is to identify and perceive the main challenges in translating humour that contains culture-specific items and instances of untranslatibility.
Angliško humoro vertimo į lietuvių kalbą problematika nėra pakankamai tyrinėta. Šis straipsnis skirtas įvairių humoro rūšių J. K. Jerome romane ”Trise dviračiais” vertimui. Straipsnyje pateikiamos teorinės įžvalgos, humoro, kaip fenomeno, klasifikacijos bei vertimo ypatumų klausimais. Humoras egzistuoja visame pasaulyje, bet jo perteikimas vertimo procese tampa tikru iššūkiu vertėjams. Tai atsitinka dėl keleto priežasčių: skirtingo mentaliteto, kultūrinių realijų gausumo, kurios, deja, dažniausiai yra neišverčiamos.

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Chang, Nam Fung. "Yes prime manipulator : a descriptive study of a Chinese translation of British political humour." Thesis, University of Warwick, 1997. http://wrap.warwick.ac.uk/4219/.

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This is a descriptive study of Chang Nam Fung's Chinese translation of Jonathan Lynn and Antony Jay's Yes Prime Minister, a text characterized by British political humour. Adopting a target-oriented approach, it aims primarily to uncover the regularities which mark the relationships between function, process and product of the translated text, thus adding to the limited inventory of case studies in the field. Targeted mainly towards readers in mainland China, the translation was done at a time (1987-1992) when the political scene in the People's Republic went through cycles of repression and relaxation in the face of a democratic movement, while the translation tradition remained one that upheld the primacy of the original -- a poetics that is determined by the ideological concept of loyalty. Working under the constraints of the ideological and poetological norms dominant in China, the translator nevertheless wished to produce a text with artistic value and a potential to function as a political satire in the Chinese context, posing a challenge to those norms. This skopos has determined the use of manipulative strategies in the translation process, The translation product is thus found to have been overdetermined by the interplay of a large number of factors besides the source text: socio-political conditions, literary and translation traditions, and the translator's poetics and ideology. Finally, the findings are brought to bear on a number of translation theories, especially Polysystem theory and other cultural theories of translation in whose frameworks the study has been carried out. An augmented version of the polysystem hypothesis is proposed, the gist of which is that the political and the ideological polysystems, each consisting of competing systems, normally assume central positions in the macro-polysystem of culture, issuing norms that influence norms originating from other polysystems, and that translation activities are governed by norms originating from various polysystems. It is hoped that this tentative 'macro-polysystem hypothesis, after refinement by theorists and test by researchers, can better accommodate investigations into the role of the translator together with other socio-cultural factors involved in translation, especially the power relations.

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Kaross, Luciana. "The amateur translation of song lyrics : a study of Morrissey in Brazilian media (1985-2012)." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/the-amateur-translation-of-song-lyrics-a-study-of-morrissey-in-brazilian-media-19852012(146f03bd-3f57-4fa2-bd9a-37ef8376feda).html.

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This thesis investigates the field of amateur translation in Brazil, with particular emphasis on the translation of Morrissey’s lyrics for understanding purposes in four different sources: magazines, fansites, virtual communities and general websites. It examines whether existing theories on the translation of popular songs (Kelly 1987, and Low, 2003, 2005, 2008) find some resonance in the practice of amateur translators. The collective construction of meaning, and the social acceptance of the Target Text are essential parts of the process. The analysis follows Toury’s (1995) descriptive model in order to systematise how these translators operate. The Brazilian amateur translators’ regularity in the use of particular techniques to render meaning to lyrics for understanding purposes enables the description of their practice as a genre its own. Following the theoretical framework, chapters four, five and six focus on the translation of the main challenges amateur translators of Morrissey’s lyrics face. The translation of cultural aspects proved to be an exercise of creativity in which the translators had to provide equivalents to culture-specific items (Aixelá, 1996) that find no mirror in the target culture. Ambiguous lyrics tended to present translations as varied as the translators’ personal agendas, understanding of the lyrics or target language’s limitations, such as lack of neutral personal pronoun. The different humour and irony styles in source and target culture resulted in every group of translators finding their own strategies to render meaning. As the first project aiming to rationalise amateur translators of lyrics in Brazil, this study represents an attempt to enrich and broaden the discussion on the translation of pop songs, with special attention to the practices of translation for this type of texts in a country where the audience is high dependent on translations in order to understand the lyrics are in great demand.

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Mayadağ, Deniz. "Humour as a Political Tool: Translating Stories from Sherman Alexie's Ten Little Indians into Turkish." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/35652.

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Sherman Alexie's work revolves around Native Americans—Native Americans who deal with problems such as poverty, alcoholism, transgenerational trauma, modern life, ethnic stereotyping, and institutionalized racism. His voice is thought-provoking, poignant, destabilizing, and also, absolutely funny. His unique approach to heavy political matters offers us a different way of resistance in which people laugh through their tears and maybe change how they react to the issues surrounding themselves. In this thesis, I offer an analysis of who Sherman Alexie is as an author in the United States. I also look into his importance for Turkey in terms of our issues of racism and our understanding of political humour, in hopes of influencing other destabilizing works through his translations. Later, I discuss how he is portrayed in the Turkish literary system by examining two of his translated books, The Lone Ranger and Tonto Fistfight in Heaven (Çılgın Atı Düşlemek) and Reservation Blues (Kızılderiliye Yer Yok), through Lawrence Venuti's views on the foreignization and domestication methods in The Translator’s Invisibility: A History of Translation. Subsequently, I present my translation of "Lawyer's League", "Can I Get a Witness?", "Do Not Go Gentle" and "Flight Patterns" from Ten Little Indians as an alternative translation method. Finally, I analyse the foreignization method in relation to translating Sherman Alexie, before explaining my translation choices.

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Dore, Magherita. "The audiovisual translation of Humour : Dubbing the first series of the TV comedy programme Friends into Italian." Thesis, Lancaster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525323.

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Firmino, Marylin Lima Guimarães 1983. "De Deaf Sentence a Surdo Mundo : diálogos entre teorias e práticas da tradução." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269518.

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Orientador: Maria Viviane do Amaral Veras
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: David Lodge aborda a temática da surdez de forma bastante inusitada no romance Deaf Sentence (2008). O protagonista é Desmond Bates, um professor de Linguística Aplicada aposentado, que está ficando surdo e passa por mal-entendidos decorrentes de suas dificuldades em distinguir sons de palavras similares, o que confere ao romance tons humorísticos e irônicos. Por meio da escrita de um diário, o personagem relata sua rotina, abalada pela jovem Alex, e introduz o leitor a uma visão especializada sobre questões de linguagem e literatura, além de expressar com lucidez suas impressões sobre a surdez, dando voz, de forma singular, a essa questão, ainda invisível para muitas pessoas. Os desafios de tradução se apresentam de pronto pelo título (um trocadilho entre deaf e death e polissemia da palavra sentence) e perpassam a narrativa, revelando uma forte ligação entre alguns aspectos paratextuais do romance e a história em si. Deaf Sentence coloca o tradutor diante de trocadilhos e articulações intertextuais que tornam o romance aparentemente intraduzível, ao mesmo tempo, convoca a transposição de fronteiras de forma obrigatória, como exige a tradução do humor. Nesse sentido, as soluções adequadas para os diversos desafios de tradução do romance estão intimamente ligadas às estratégias e recursos utilizados pelo tradutor. A partir do conceito de paratexto cunhado por Genette (2009), são apresentadas análises do título, dedicatória, epígrafe e agradecimentos, presentes no texto original, com o objetivo de expor seus possíveis efeitos sobre leitores e tradutores e, consequentemente, o recente conceito de paratradução (Yuste Frías, 2010) é abordado com o intuito de endossar a importância da tradução de paratextos para a recepção de obras literárias. As análises de capas de algumas traduções permitem o estabelecimento de relações entre imagens do original e de diferentes versões do romance, além de revelarem (ou não) relações com o seu conteúdo. A tradução brasileira Surdo Mundo, de Guilherme da Silva Braga (2010), foco das análises, divide o palco com as traduções A vida em surdina, de Tânia Ganho (Portugal, 2011), La vida en sordina, de Jaime Zulaika (Espanha, 2010), e La vie en sourdine, de Maurice e Yvonne Couturier (França, 2008). É possível estabelecer diálogos entre essas traduções, e a utilização ou não de notas mostrou-se um elemento evidente da singularidade das decisões tomadas pelos tradutores diante dos desafios. A partir das discussões em torno da (in) traduzibilidade de textos humorísticos feitas por Brezolin (1997), Schmitz (1996, 1998) e Possenti (1991), abordam-se possibilidades de tradução criativa desses gêneros discursivos. Levando-se em conta as especificidades de Deaf Sentence, é proposto um diálogo entre algumas vertentes teóricas aplicáveis à tradução do humor: Rosas (2002), Campos (1970) e Reiss e Vermeer (1996). O cotejo entre trechos selecionados de Deaf Sentence e de Surdo Mundo revela que a tradução criativa, processo de negociação amplo entre texto original e tradutor, parece justificar tranquilamente a ausência de notas, enquanto a sua presença nas demais traduções analisadas, em alguns casos, parece advir da aceitação da intraduzibilidade de determinados desafios
Abstract: David Lodge approaches the topic of deafness in a very unusual manner in the novel Deaf Sentence (2008). The protagonist is Desmond Bates, a retired professor of Applied Linguistics who is going deaf and is subject to some misunderstandings arising from his difficulties in distinguishing sounds of similar words, granting the novel ironic and humoristic riffs. By writing a journal, the character reports his routine, shaken by Alex, a young woman, introducing the reader to a specialized view on issues of language and literature, as well as lucidly expressing his impressions regarding deafness, giving voice, in a singular manner, to this issue, still invisible to many. The challenges of translation are immediately presented in the title (a pun regarding deaf and death and the polysemy of the word sentence), and continue throughout the narrative, revealing a strong connection between some paratextual aspects of the novel and the story itself. Deaf Sentence presents the translator with puns and intertextual articulations, which make the novel seemingly untranslatable, while at the same time mandatorily summoning the transposition of frontiers, as is required in the translation of humour. To this end, the adequate solutions for the several challenges in translating the novel are intimately linked to the strategies and resources used by the translator. Based on the paratext concept coined by Genette (2009), this thesis analyses the title, dedication, epigraph, and acknowledgements in the original. The objective is to show their possible effects on readers and translators, and consequently the recent concept of paratranslation (Yuste Frías, 2010) is used in order to stress how important the translation of paratexts is for the reception of literary works. This thesis also analyses the book covers chosen for different translations, establishing relations between images of the original and the different versions of the novel, besides revealing (or not) relations with its content. The Brazilian translation, entitled Surdo Mundo, by Guilherme da Silva Braga (2010), is the main focus of the analysis, sharing the stage with the translations A vida em surdina, by Tânia Ganho (Portugal, 2011), La vida en sordina, by Jaime Zulaika (Spain, 2010), and La vie en sourdine, by Maurice e Yvonne Couturier (France, 2008). It is possible to establish dialogic relationships among these translations, and, the choice of whether or not to use notes proved to be a clear element of how singular the decisions made by the translators were before the challenges. Based on the discussions around the (un)translatability of humoristic texts made by Brezolin (1997), Schmitz (1996, 1998) and Possenti (1991), this thesis deals with the possibilities of creative translation of these discursive genres. Taking into account the specific aspects of Deaf Sentence, a dialogue is proposed between some theoretical perspectives applicable to the translation of humour: Rosas (2002), Campos (1970) and Reiss and Vermeer (1996). The comparison between selected passages of Deaf Sentence and Surdo Mundo reveals that the creative translation - the ample negotiation process between the original text and the translator - seems to easily justify the absence of notes, while their presence in the other translations analyzed, in some cases, seems to be generated by the acceptance that certain challenges were untranslatable
Mestrado
Teoria, Pratica e Ensino da Tradução
Mestra em Linguística Aplicada

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Aikio, J. (Jukka). "“First one to have a platinum album wins, GO.”:challenges that humour present to a translator." Bachelor's thesis, University of Oulu, 2016. http://urn.fi/URN:NBN:fi:oulu-201606302591.

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This study examined the challenges that humour presents to a subtitle translator. The goal was to categorise and analyse the different challenges that humour caused. By comparing the formed categories, this paper studied the challenges of each segment and category, and the challenges that the different categories have in common. The data was collected by selecting segments from an episode of South Park, an American cartoon-like comedy series. The most common challenges were caused by cultural references, such as references to specific events or people; technical limitations, namely the lack of time and space that a translator has on the screen, were also common. The paper also introduced some basic strategies for translation to be used when facing translation challenges caused by humour. Substitution and omission were the most widely used strategies across all categories
Opinnäytetyössäni tutkin haasteita, joita huumori aiheuttaa tekstittäjälle. Tavoitteenani oli löytää, kategorisoida ja analysoida erilaisia haasteita, joita huumori aiheutti. Löydettyjä haasteita tutkittiin ja vertailtiin keskenään kategorioittain yhtäläisyyksien ja erilaisuuksien löytämiseksi. Aineistona työssäni käytin jaksoa amerikkalaisesta televisiosarjasta South Park:sta. Kulttuurisidonnaiset käännöshaasteet olivat yleisimpiä, niiden lisäksi käytännön rajoitukset kuten tilan ja ajan puute ruudulla esittivät haasteen kääntäjälle. Työssäni esitin yleisimpiä työkaluja, joita kääntäjä voi käyttää kohdatessaan käännöshaasteita. Näistä työkaluista sanojen korvaus ja jättäminen käännöksestä olivat kaikista käytetyimmät työkalut

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Chierici, Giulia. "Non-professional Subtitling in Italy: the Fansubbing Phenomenon and the Challenges of Translating Humour and Taboo Language." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/14218/.

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Fansubbing is one of the most common forms of non-professional audiovisual translation today, whose popularity is increasing thanks to digital technology advances. This happens especially in countries like Italy, where English is not the official language. The fansubbing phenomenon is at the same time a source of entertainment and knowledge, and it gives the possibility to fans to watch their favourite programme in their language. Despite being an illegal activity, the phenomenon has several benefits both for the programme itself and for the audience. Through the analysis of the amateur translation of the subtitles of an episode of Vicious, this dissertation will attempt to show the main translational differences between mainstream subtitling and fansubbing, focusing on the rendering of humour and taboo language.

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Lu, Ching-Ting. "Analysis of English subtitles produced for the Taiwanese movie Cape No.7." AUT University, 2010. http://hdl.handle.net/10292/870.

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The purpose of this thesis is to explore how the approaches identified for the translation of Taiwanese Mandarin dialogues into English subtitles is different from those described in research studies which examined the translation of English film dialogues into Mandarin subtitles using data gathered from a Taiwanese movie entitled Cape No. 7. Taiwanese Mandarin is significantly influenced by the Tai-yu dialect, and in order to carry out the translation of Taiwanese Mandarin, it is important to deal with the functions of the dialect and related culture-specific items (CSIs). Therefore, the researcher of this thesis has investigated whether the translator of Cape No. 7 successfully applied a variety of translation strategies and prioritized the translation criteria well, to enable the target audience to receive the same message of the film as the source audience, especially when subtitling is constrained by time and space. There are two research areas which have been examined: slang and humour. The data analysis of slang scenes included Tai-yu slang and swearing, while humorous scenes were divided into three areas: puns, irony and metaphor. The research data have been analysed by means of analysis diagrams, which were trialled in a pilot study, described in Chapter Three. The pilot study lead to a new categorization based on previous researchers’ taxonomies (Aixelá, 1996; Davies, 2003; Tveit and Fong 2005, as cited in Yang, 2006), and this was applied to the analysis diagrams. According to the findings from the analysis chapters (Chapter Four & Five), the translator of Cape No. 7 preferred to use mostly the paraphrasing strategy in translating Tai-yu slang and humour, and the synonymy strategy in conveying swearing. In addition, the translator often strengthened swear words rather than toning them down in the English subtitles. However, when subtitling humorous scenes, the translator preferred to incorporate two strategies to deal with the cultural barriers when conveying the humorous effect. The compensation strategy was not used often in slang translation. In regard to the translation criteria, pragmatics and accuracy appeared to have been deemed more important by the translator than other criteria. Surprisingly functional equivalence did not seem to have been the translator’s first priority, as suggested by earlier research. Overall, this research study appeared to show that the translator of Cape No. 7 considered the paraphrase strategy to be the most efficient strategy for maintaining CSIs, and that pragmatics and accuracy were the translator’s most important criteria, which differs from the findings of previous research studies.

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Abisaad-Mohawej, Nidale. "Traduire les éditoriaux du magazine Le Point du français vers l'arabe : du texte d'opinion journalistique à travers l'analyse traductologique de l'information engagée et son expression condensée dans l'intitulation et l'humour." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030075.

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Ce travail examine les aspects particuliers de la traduction journalistique, plus précisément, la traduction de l’éditorial, en fonction de la nature propre de celui-ci ainsi que de l’écriture journalistique et s’efforce d’en déduire quelques observations éclairant la traduction des textes journalistiques d’opinion du français vers l’arabe. L’analyse des stratégies de traduction appliquées dans un corpus d’éditoriaux du magazine français Le Point fait apparaître l’impact important de la composante culturelle dans la traduction de ce type de textes. On a ainsi observé que les titres des éditoriaux étaient très marqués par le genre discursif et par la tradition journalistique dans lesquels ils s’inscrivent. Ces segments courts exigent une construction de sens complexe et rétroactive de la part du traducteur. L’éditorialiste français a tendance à mettre en œuvre différentes stratégies et techniques de persuasion dans son intitulation dont l’humour. L’étude du corpus montre que le traducteur doit tenir compte tout aussi bien des conventions d’écriture (en fonction du genre) que des stratégies de communications utilisées ( jeux de mots et intertextualité) pour rendre une traduction adaptée au contexte culturel du public cible. Notre recherche souligne également le poids de la culture de départ pour orienter la démarche globale des traducteurs face aux éditoriaux à traduire
This study deals with particular problems arising when translating a journalistic text,particularly an editorial, depending on its specific features as well as journalistic prose;its purpose is to bring out a few remarks clarifying the French-Arabic translation of opinion journalistic text. The aim of this research is to study the translation strategies applied in a corpus made up of editorials taken from the French magazine Le Point.The study shows the important impact of culture in translating editorials. Thus, we firstnoticed that editorial headlines are influenced by the discourse genre and the journalistic tradition in which they are produced. The interpretation of these short textual segments requires a complex construction of meaning on the part of the translator. There is atendency of the French editorialist to use various strategies and techniques employed for persuasion in his editorials and headlines including humour. The study shows that the translator should be sensitive not only to conventions applying across genres in Arabicjournalistic culture, but also to humour effects and cultural citations in order for theintended effect to be achieved. Our research highlights as well the important role of thesource culture to determine the global translational behaviour

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ANELLI, LAURA. "UMORISMO E DOPPIAGGIO: CENSURA E MANIPOLAZIONE NELLA RISCRITTURA DELLE SITCOM AMERICANE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/24617.

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La presente tesi ha come scopo l’analisi della traduzione per il doppiaggio dell’umorismo costruito su argomenti tabù (quali ad esempio riferimenti al sesso, alla sessualità, all’obesità, al consumo di alcol e droghe) presente in quattro sitcom americane, nello specifico Friends, Will & Grace, How I Met Your Mother e 2 Broke Girls. In particolare, partendo dalla teoria della riscrittura proposta da Lefevere (1992,) la ricerca mira ad identificare casi di censura e manipolazione presenti nella traduzione in italiano dei suddetti testi audiovisivi. Con un approccio traduttivo descrittivo, i dialoghi trascritti dall’inglese sono stati confrontati con la loro traduzione in lingua italiana e i risultati dimostrano che censura e manipolazione all’interno della traduzione per il doppiaggio sono due fenomeni esistenti pur non essendo sempre possibile distinguere tra i due dal momento che non solo i vari specialisti coinvolti nel doppiaggio, quali traduttori, direttori del doppiaggio, doppiatori, adattatori, ma anche gli organi afferenti al patronato (Lefevere 1992) possono in qualche modo influire sull’atto traduttivo stesso. Un confronto diacronico tra le sitcom prese in esame dimostra tuttavia come fenomeni censori e manipolatori nella traduzione dell’umorismo tabù siano oggi in diminuzione rispetto al passato, probabile segno di una mutata ideologia nella cultura di arrivo.
The purpose of the present thesis is to analyse the translation for dubbing of humour based on taboo topics – such as, for example, references to sex, sexuality, obesity, alcohol and drug addiction – present in four American sitcoms, namely Friends, Will & Grace, How I Met Your Mother and 2 Broke Girls. Moving from the theory of rewriting introduced by Lefevere (1992), the present research aims to identify cases of manipulation and censorship in the Italian translation of the above-mentioned audiovisual texts. Following a descriptive translational approach, the English dialogues have been compared to their Italian translation. Results show that censorship and manipulation exist in the translation for dubbing even though it is not always possible to distinguish between the two. Indeed, not only the several specialists involved in the dubbing process, such as translators, dubbing directors, dubbing actors, adaptors, but also the powers linked to patronage (Lefevere 1992) can influence in several ways the translation process. However, a diachronic comparison of the analysed sitcoms demonstrates that censorial and manipulative phenomena in the translation of taboo humour are decreasing compared to the past, and this is probably due to a change in the receiving culture ideology.

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Fernández, Quiroz Ariel Marcelo. "Análise da perda de comicidade na tradução de piadas do seriado "El Chavo del 8" em um corpus paralelo da sua dublagem do espanhol do México para o português do Brasil /." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154495.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
O principal problema da maioria das dublagens de produtos audiovisuais humorísticos são os laugh tracks (sons artificiais de um público rindo), já que toda vez que há trilha sonora de risadas, estas devem coincidir com uma piada para não causar estranheza no público-alvo. Neste trabalho analisaremos, por meio de um corpus paralelo, os problemas de tradução presentes na dublagem de um desses produtos: o seriado “El Chavo del 8” (“Chaves” no Brasil) do espanhol do México para o português do Brasil, com base nas teorias de dublagem fundamentadas por Hurtado Albir (1996); de humor, fundamentadas por Raskin (1987), Bergson (1983), Posada (1995) entre outros; e de técnicas de tradução propostas por Hurtado Albir (2001). Apresentamos uma análise realizada em três etapas: na primeira, criamos um quadro com as minutagens das piadas para cada um dos 18 episódios analisados e uma seção “houve/não houve piada”; na segunda, 12 participantes responderam se houve piada ou não em cada trecho selecionado; finalmente, na terceira etapa, criamos quadros para cada piada nas quais os participantes determinaram que não houve piada e explicamos o motivo dessa perda. Com base na definição dos problemas e nas técnicas de tradução, pretende-se apresentar as possíveis soluções que os tradutores audiovisuais teriam para traduzir as piadas em caso de perda de comicidade.
The main problem with dubbing translation in most humorous audiovisual products is the laugh track, since every time there is a laugh track it must match a joke not to cause any strangeness in the target audience. In this research, we will analyze, through a parallel corpus, the translation problems in the dubbing of the series "El Chavo del 8" ("Chaves" in Brazil) from Mexican Spanish to Brazilian Portuguese, based on theories of audiovisual translation by Hurtado Albir (1996), Humor by Raskin (1987), Bergson (1983) and Posada (1995), and translation strategies by Hurtado Albir (2001).We show an analysis performed in three stages: in the first one, we created tables with the minutes of the jokes in 21 episodes and a “yes / no” joke section; in the second one, 14 participants answered whether or not there was a joke in each selected section; finally, in the third one, we created tables for each joke in which participants determined if there was no joke. Based on the definition of the problems and translation strategies, we intended to offer possible solutions for the audiovisual translators when dealing with jokes.
CNPq:190394/2015-3

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Mulliez, Carole. "Les langages de J.K. Rowling." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040042/document.

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Les Harry Potter, depuis le début de leur publication en 1997, n’ont cessé de susciter un engouement international avec leur version originale anglaise tout comme avec leurs traductions. Leur auteur, l’écrivain britannique, J.K.Rowling, se voit depuis lors félicitée pour sa créativité et notamment pour son inventivité langagière. Celle-ci (dans les six premiers volumes) est le sujet de la présente recherche ainsi que sa trad-aptation en langues étrangères et tout particulièrement en français ainsi qu’en néerlandais. Œuvre littéraire pour la jeunesse à l’origine, ces livres ont néanmoins conquis un lectorat plus large pour devenir des cross-over books. Ce développement trouve une justification dans l’expression du récit et non seulement dans la diégèse. Cette recherche tente d’analyser les multiples facettes des langages utilisés et/ ou inventés, d’une part, et démontre qu’il est possible de parler de l’élaboration d’un idiolecte spécifique littéraire - le rowlinguisme - en étudiant les références culturelles intrinsèques au langage dans une première partie, puis la texture sonore et les traits humoristiques dans une deuxième partie (jeux sur les sons et sur les mots, descriptions visuelles et auditives, idiolectes) avant d’aborder l’étude des passages de styles, et donc de formes, différentes. Ces trois axes sont envisagés aussi bien pour le texte d’origine que pour les versions étrangères mentionnées ci-dessus. Or, la traduction est le sujet de la dernière partie plus spécifiquement aussi bien en partant des observations lexicales portant sur le texte de J.K. Rowling que sur les pratiques économiques et professionnelles (traductologie, édition, lectorat, ré-écriture) des traducteurs. D’autre part, il s’agit aussi de tirer une conclusion quant au résultat, à savoir qu’il fut plus aisé pour le traducteur néerlandais (avec une langue germanique) que pour celui français d’œuvrer du fait des ressources linguistiques disponibles
Ever since the Harry Potter books started being published, they have triggered much enthusiasm around the world be it in their original English version or in translation. Their British author, J.K. Rowling has been praised for her creativity, and especially for her linguistic inventiveness. The latter – in the first six volumes – is the subject of the present dissertation and so is its trad-aptation into foreign languages – more precisely into French and Dutch. Originally literary works for young people, these books, however, have reached a wider readership, thus becoming cross-over books. This development can be justified by the way the story is expressed – and not only on account of the diegesis itself. This research tries to analyse the various features of the languages which are used and/or invented, on the one hand, and demonstrates that one can refer to the conception of a specific literary idiolect – rowlinguism – studying the cultural references within the language itself in a first part, then the phonological quality and the humour of the text in a second part (plays on sounds and words, visual and oral descriptions, idiolects) before tackling the analysis of passages with different styles and forms. These three aspects are considered both as far as the original text is concerned as well as the foreign versions mentioned above. Indeed, translation is the very subject of the last part, based on both lexical observations on J.K. Rowling’s text and on economical and professional practices (translating, publishing, reading, re-writing). On the other hand, therefore, a conclusion had to be drawn concerning the result, namely it has been easier to translate into Dutch – a Germanic language - than into French – a Latin language – due to available linguistic resources

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Schröter, Thorsten. "Shun the Pun, Rescue the Rhyme? : The Dubbing and Subtitling of Language Play in Film." Doctoral thesis, Karlstad University, Faculty of Arts and Education, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-704.

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Language-play can briefly be described as the wilful manipulation of the peculiarities of a linguistic system in a way that draws attention to these peculiarities themselves, thereby causing a communicative and cognitive effect that goes beyond the conveyance of propositional meaning. Among the various phenomena answering this description are the different kinds of puns, but also more strictly form-based manipulations such as rhymes and alliteration, in addition to a host of other, sometimes even fuzzier, subcategories.

Due to its unusual nature, and especially its frequently strong dependence on the idiosyncrasies of a particular language, language-play can generally be assumed to constitute a significant challenge in a translation context. Furthermore, given its non-negligible effects, the translator is not free to simply ignore the language-play (provided it has been recognized as such in the first place) without having taken an active stance on its treatment. However, the difficulties in finding a suitable target-language solution are possibly exacerbated if the source text is a complex multimedia product such as a film, the translation of which, normally in the form of dubbing or subtitling, is subject to additional constraints.

In view of these intricacies, it has been the aim of this study to analyze and measure how language-play in film has actually been treated in authentic dubbing and subtitle versions. As a prerequisite, the concept of language-play has been elaborated on, and more than a dozen subcategories have been described, developed, and employed. For the purpose of carrying out a meaningful analysis of the dubbing and subtitling of language-play, a corpus has been compiled, comprising 18 family films and 99 of their various target versions, most on DVD, and yielding nearly 800 source-text instances of language-play and thousands of translation solutions.

The results indicate that especially two sets of factors, among the many that are likely to influence a translation, play a prominent role: the type of the language-play, and the identity and working conditions of the translator. By contrast, the mode of translation (dubbing vs. subtitling), the target language, or the general properties of the films, could not be shown to have a sizeable impact.

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Hsieh, Yi-Chin, and 謝宜瑾. "Translation Methods for Humor in Film Subtitling." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/57754475269168597436.

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碩士
國立高雄第一科技大學
應用英語所
98
Due to economic globalization and internationalization, films, as a kind of commercial product, are required to increase the speed of film circulation and expand the international market. Hence, films are subtitled or dubbed so that they can be accepted by the target audience. In Taiwan, subtitles serve as a primary bridge between foreign films and the viewers, so it is essential to probe into this field. Among all genres of film, comedy is one of the most challenging to subtitle, and it is chosen as the research subject. This research is intended to explore efficient translation methods in translating humor by comparing subtitles of DVD released in Taiwan and China. I adopt Venuti’s concept of domestication and foreignization as the theoretical basis in data analysis and Schmitz’s classification of jokes, namely cultural, universal and linguistic jokes to classify the data. Based on the humorous elements picked out in the three comedy films, I attempt to find out which translation method is used in the two versions of the subtitle and go deeper into what strategies are used in translating humor. Then the effect of humor in subtitle is examined in order to find out which translation method is more efficient in producing humor. There are three findings in this study. First, in simplified-Chinese subtitles, the frequency of using domestication is higher than that of foreignization, which shows that domestication is favored. By contrast, foreingization are used more often in traditional-Chinese subtitles. That is, foreignization is favored in the subtitle of DVD released in Taiwan. Second, in translating cultural and linguistic jokes, domestication is a better translation method, because it is better able to reproduce humor in subtitles. However, both methods can be used to translate universal jokes, because this type of joke is easier to understand. Third, the selection of translation methods may be influenced by the social and cultural background in Taiwan and China.

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Monteiro, Joana Matos. "Humor na Legendagem." Master's thesis, 2017. http://hdl.handle.net/10316/85575.

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Relatório de Estágio do Mestrado em Tradução apresentado à Faculdade de Letras
O presente relatório descreve a minha experiência com a Tradução Audiovisual no âmbito do estágio curricular realizado na empresa de tradução Wordzilla e pretende analisar algumas das questões e problemas que surgiram durante a tradução e legendagem de vários episódios de duas séries (Malcolm in the Middle e American Dad) e de um filme (October Kiss), principalmente questões relacionadas com o humor.Quando comparada com a área da Tradução em geral, a Tradução Audiovisual é muito recente e tem ainda muitos aspetos por explorar. Um destes aspetos é o humor e a forma como ele pode ser traduzido e transmitido ao espetador quando incorporado num texto polissemiótico, onde é necessário ter em atenção não só o texto, como também a imagem e o som.Este relatório faz uma breve caracterização dos mais importantes tipos de tradução audiovisual e foca-se principalmente na legendagem, considerando os seus parâmetros e limitações. De seguida, expõe várias teorias existentes sobre o humor, utilizando-as para analisar exemplos retirados do trabalho por mim efetuado durante o estágio. Por fim, são abordadas as referências culturais extralinguísticas (ECR) e outros problemas que, apesar de não estarem ligados ao humor, continuam a ter grande relevância no que diz respeito à legendagem. // O presente relatório descreve a minha experiência com a Tradução Audiovisual no âmbito do estágio curricular realizado na empresa de tradução Wordzilla e pretende analisar algumas das questões e problemas que surgiram durante a tradução e legendagem de vários episódios de duas séries (Malcolm in the Middle e American Dad) e de um filme (October Kiss), principalmente questões relacionadas com o humor.Quando comparada com a área da Tradução em geral, a Tradução Audiovisual é muito recente e tem ainda muitos aspetos por explorar. Um destes aspetos é o humor e a forma como ele pode ser traduzido e transmitido ao espetador quando incorporado num texto polissemiótico, onde é necessário ter em atenção não só o texto, como também a imagem e o som.Este relatório faz uma breve caracterização dos mais importantes tipos de tradução audiovisual e foca-se principalmente na legendagem, considerando os seus parâmetros e limitações. De seguida, expõe várias teorias existentes sobre o humor, utilizando-as para analisar exemplos retirados do trabalho por mim efetuado durante o estágio. Por fim, são abordadas as referências culturais extralinguísticas (ECR) e outros problemas que, apesar de não estarem ligados ao humor, continuam a ter grande relevância no que diz respeito à legendagem.
This internship report describes my experience with Audiovisual Translation, with which I was in contact during my internship carried out in the translation company Wordzilla. It also seeks to analyze some of the issues and challenges raised by the translation and subtitling of episodes from two different TV shows (Malcolm in the Middle and American Dad) and one feature film (October Kiss), focusing mainly on issues related to humor.When compared to Translation in general, Audiovisual Translation is still very recent and has still a lot of aspects to explore. One of which is humor and the way it can be translated and conveyed to the viewer when included in a polysemiotic text, where there’s a need to pay attention not only to the text but also to the image and audio that accompany it.This report briefly characterizes the most important types of audiovisual translation, focusing mainly on subtitling, considering its parameters and constraints. It then proceeds to present the various existing theories on humor, using them to analyze examples from the work accomplished during my internship. Finally, the concept of Extralinguistic Cultural References (ECR) is approached, as are some other problems, which despite not being so tightly connected to humor are still relevant to subtitling in general.//This internship report describes my experience with Audiovisual Translation, with which I was in contact during my internship carried out in the translation company Wordzilla. It also seeks to analyze some of the issues and challenges raised by the translation and subtitling of episodes from two different TV shows (Malcolm in the Middle and American Dad) and one feature film (October Kiss), focusing mainly on issues related to humor.When compared to Translation in general, Audiovisual Translation is still very recent and has still a lot of aspects to explore. One of which is humor and the way it can be translated and conveyed to the viewer when included in a polysemiotic text, where there’s a need to pay attention not only to the text but also to the image and audio that accompany it.This report briefly characterizes the most important types of audiovisual translation, focusing mainly on subtitling, considering its parameters and constraints. It then proceeds to present the various existing theories on humor, using them to analyze examples from the work accomplished during my internship. Finally, the concept of Extralinguistic Cultural References (ECR) is approached, as are some other problems, which despite not being so tightly connected to humor are still relevant to subtitling in general.

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Rodrigues, Ana Teresa Bastos. "A tradução do humor na legendagem e a opinião do espectador." Master's thesis, 2022. http://hdl.handle.net/10316/99468.

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Relatório de Estágio do Mestrado em Tradução apresentado à Faculdade de Letras
O estágio curricular foi realizado na Sintagma, empresa especializada de tradução audiovisual, especificamente sobre legendagem. O trabalho realizado no estágio foi de tradução, legendagem e criação de templates. A legendagem é uma forma de tradução audiovisual, mas não a única, uma vez que a dobragem também é bastante utilizada. A legendagem e a dobragem são as formas de tradução audiovisual mais utilizadas em todo o mundo. A tradução do humor na legendagem é especialmente desafiante devido às restrições inerentes à prática da legendagem e às dificuldades culturais, características da tradução. Neste trabalho, foi realizada uma análise à tradução de quatro cenas humorísticas, duas de um filme italiano e duas de uma série norte-americana, segundo a General Theory of Verbal Humour, de Salvador Attardo (2002) e em função dos fatores externos complementares a esta teoria propostos por Trajan Shipley Young (2007). Usando estas quatro cenas, foi realizado um inquérito a 164 pessoas, sobre hábitos de consumo de legendagem e sobre a preferência da legenda para a mesma cena, com a possibilidade de escolha entre uma tradução literal e uma adaptação da piada na língua de chegada, neste caso o português. Os resultados mostram que os espectadores preferem que seja realizada uma adaptação do fragmento humorístico na língua de chegada. No entanto, espectadores com um maior nível de conhecimento da língua de partida preferem uma tradução literal. É também possível concluir que o trabalho do tradutor/legendador é apreciado pelos espectadores inquiridos.
The curricular internship took place in Sintagma, a translation company specializing in audiovisual (AV) translation, in particular subtitling. The work included translation, subtitling, and template creation. Subtitling is just one of the types of AV translation and the most used in Portugal; voice over is also widely used in children’s films and programs. Subtitling and voice over are widely used around the world, over other forms of audiovisual translation. The translation of humour in subtitling is especially challenging due to the time and space restrictions of the format. The purpose of this project is to understand whether the audience is interested and paying attention to the translation of humour. To accomplish this, four humorous scenes from a movie and a TV show are analysed following the General Theory of Verbal Humour, by Salvator Attardo (2002), and the external factors complementary to this theory, proposed by Trajan Shipley Young (2007). Using these same scenes, a questionnaire was applied to 164 people on how audiences interact with subtitles and which subtitle is preferred for the same scene between a literal translation and an adaptation to the target language. The results show that the audience prefers an adaptation into the target language, however when the audience has a better knowledge level of the source language, they prefer a literal translation. In conclusion, the respondents show interest in the work of translators/subtitlers and appreciate an adaptation of humorous content to their target language.

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Lee, Hsin-yi, and 李信儀. "A Probe into Humor Translation and Translation Strategies: A Case Study of The Adventures of Huckleberry Finn." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/45008754160738608920.

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碩士
國立高雄第一科技大學
應用英語系應用語言學與英語教學碩士班
101
As a well-known author and humorist of American Literature in 19th century, Mark Twain expresses his judgments on the hypocritical society of the time through elaborating the adventurous journey of Huck and Jim in his masterpiece, The Adventures of Huckleberry Finn. The present study aims to probe into how the five translators (You-song, Zhang, Yu-han, Li, Lan-fang, Wu, Yi-hong, Wen, Wen-hao, Gu, and Wen-yuan, Gu) in Taiwan deal with the humorous passages of the original. The two research questions discussed in this study are listed as follws: (1) What difficulties may be encountered when translating humorous passage in literary work? (2) What strategies can be employed to reproduce the contextual effect when translating the humorous text? Seven humorous passages retrieved from the novel were categorized based on Patrick Zabalbeascoa’s classification of joke, and were analyzed by using the criteria of literal translation and free translation. The findings indicate that the difficulty the translators have is translating words with implied meaning and expressions that carry some cultural references. If the translators merely translate the original literally, the target-text readers may not be able to grasp the underlying humorous effect of the original text. Therefore, some translators apply free translation strategy to solve this problem. However, if the original text contains cultural or historical background, it is almost impossible for the target-text reader to grasp the funny point only through reading the translation. Therefore, footnotes are given by some translators aside the translation as a compensation strategy. With further background information, the target-text readers are able to get the humorous effect derived from the original text. However, a joke that makes some people laugh may not rouse the interest of others. How to deliver the humor of the original text can be a research focus in the study of humor translation of literary works.

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Jhu, Yu-syuan, and 朱育萱. "Strategies Adopted in Humor Translation of the Chinese Subtitles in Friends: Season Ten." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/34435914607376288882.

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碩士
國立臺灣科技大學
應用外語系
97
With a growing number of foreign films and TV programs being introduced into Taiwan, subtitling, as one of the major forms in audiovisual translation, has gained its prominence in the audiovisual materials and in the transmission of cultural value. The research sample, Friends: Season Ten, is a popular sitcom composed of numerous dialogue related to humor. Actually, humor, especially in western culture, is an everyday element existing in the given community. When it comes to translating humor, there must be plenty of considerations needed to be taken into account; otherwise, the humorous effect may be reduced or, even worse, distorted. This study probes into the challenges and problems posed to audiovisual translators confronting humorous texts in subtitling, including universal humor, intra-linguistic humor and extra-linguistic humor. Based on Nida’s functional equivalence and Peter Newmark’s communicative translation, the researcher has generalized four translation strategies which are literal translation, amplification, adaptation and paraphrase. By examining the research sample carefully, the researcher intends to see how to cope with subtitling in terms of translating humor equivalently and efficiently. The researcher has also singled out some problematic subtitles and provided the readers with her own solutions based on the aforementioned four strategies. With the theories provided as well as the investigations done in this thesis, the researcher intends to point out the problems that translators may encounter as well as the norms that may influence their decision-making while dealing with subtitling. It is sincerely hoped that this thesis can offer a better understanding as well as a new insight into audiovisual translation so that audiovisual translation in Taiwan can be further developed with better quality to serve its function of intercultural communication.

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Lu, Pey-wen, and 盧珮文. "An Investigation of Translating Humor from a Pragmatic Equivalence Perspective:A Case Study in the TV Subtitle E/C Translation of Friends." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/75832354660364381226.

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碩士
輔仁大學
翻譯學研究所在職專班
96
Situation comedies from foreign countries have not only entertained the local viewers in Taiwan but also conveyed their culture in films. The quality of translation has been an important factor in successfully sending the humorous and cultural information. The purpose of translating humor for TV subtitling is to effectively send humorous messages to the target language viewers. It is important for translators to achieve Pragmatic Equivalence effect when translating humor for TV subtitling. When observing the American sitcom Friends, “verbal humor” and “non-verbal humor” (i.e., situational humor) have been found in the episodes. The “verbal humor” is related to the actors who flout the “speech act” maxims, including maxims of “cooperative principle” and “politeness principle.” The actors are also found to use figure of speech to deliver humor. In addition, the interaction among the actors, their facial expressions and tones, the relationships among the characters, background music and scenes could affect the humor in the film. After observing and analyzing the script from the source language and the translation of the target language, the problems associated with humor translating for TV subtitling are as follows: incorrectness, non-colloquialism, incomprehensibility, and inconsistency. These problems lead to that the episodes being translated are not going to be funny. Under the principle of clarity and concision in subtitle translation, this paper places emphasis on how “pragmatic-markedness theory” can help translators achieve the effect of “pragmatic equivalence” in humor translation for TV subtitling.

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Duarte, Andreia Gameiro Neves. "Tradução Audiovisual: tradução e legendagem do episódio "Opposites-A-Frack" de Os Simpsons." Master's thesis, 2018. http://hdl.handle.net/10316/81904.

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Relatório de Estágio do Mestrado em Tradução apresentado à Faculdade de Letras
O presente relatório de estágio foi elaborado no âmbito do estágio curricular proposto nos planos de estudo do Mestrado em Tradução, da Faculdade de Letras, da Universidade de Coimbra. O estágio em questão foi realizado entre outubro e dezembro de 2017, na empresa Wordzilla, sediada em Leiria. O relatório subdivide-se em três capítulos, "1. Estágio Curricular", "2.Tradução Audiovisual" e "3.Análise do episódio ". Tem como principal objetivo a análise na íntegra da tradução e legendagem do episódio número cinco da vigésima sexta temporada da série Os Simpsons, que tem como título “Opposites-A-Frack”. Em primeiro lugar será apresentada a entidade de acolhimento de estágio e software de legendagem utilizado na tarefa de tradução e legendagem. Depois, serão apresentados os trabalhos realizados durante o período de estágio bem. De seguida, far-se-á uma abordagem teórica no âmbito da tradução audiovisual e serão apresentados alguns conceitos deste tipo de tradução, tais como o conceito de tradução e legendagem, spotting, frame, restrições de espaço e de tempo, tempo de leitura, entre outros. Seguidamente, a série televisiva Os Simpsons será apresentada, dando-se a conhecer as personagens principais e uma sinopse do episódio a analisar. Finalmente, serão analisados e exemplificados os tipos de registo presentes recorrendo a uma classificação assim como serão classificados e exemplificados os tipos de humor também presentes no episódio. Serão também mencionadas algumas classificações de estratégias e procedimentos de tradução assim como uma abordagem teórica neste sentido, já que é importante na área da tradução. É ainda objetivo deste relatório analisar e identificar as dificuldades, alternativas e soluções de tradução que foram encontradas durante o processo de tradução e legendagem. Nos anexos é possível observar os parâmetros da empresa e a tradução na íntegra.
This internship report was elaborated within the scope of the internship proposed in the study plans of the Master’s degree in Translation, Faculty of Arts and Humanities, University of Coimbra. The internship was carried out between October and December 2017 at Wordzilla.The report is broken down into three chapters,"1. Internship", "2.Audiovisual translation" and "" "3. Episode anlysis" It's main objective is to fully analyze the subtitling of the episode "Opposites-A-Frack" from the series The Simpsons.Thus, in the extension of this report, Wordzilla and subtitling software will be described.Next, a theoretical approach will be given in the scope of audiovisual translation, presenting some concepts of this type of translation, such as the concept of subtitling, spotting, frame, restrictions of time and space,reading speed, among others.Next, the television series "The Simpsons" will be presented as well as the main characters and a synopsis of the episode.Finally, through a classification, the types of register will be analyzed and exemplified as well as the types of humor. Some classifications of strategies and procedures of translation will be mentioned as well as a theoretical approach about this subject, since it is of importance. It is the aim of this report to analyze and to identify the difficulties, alternatives and solutions found during the translation of this project. On the appendixes it is possible to comtemplate the company's subtitling parameters and the whole translation project.

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Tsung-hua, Tsai, and 蔡宗樺. "Translation Strategies of Culture-specific Words and Linguistic Humor in Subtitling: On the American Sitcom “Friends”." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/94254420845040585724.

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碩士
國立臺灣師範大學
翻譯研究所
96
The thesis discusses the effect of the translation strategies adopted by the translators of sitcom “Friends” when they encounter cultural and linguistic untranslatability. The thesis makes use of Peter Newmark’s theory of “semantic translation” and “communicative translation”, and Hu Kung-Tze’s “concept of communication in translation” to analyze the translation strategies in “Friends”. In subtitling, “communicative translation” and the translation strategies of vocative texts are more effective. The translated text should be target-reader-oriented and use language style familiar to the audience to have them better understand the story. The result of analysis shows that, in terms of culture-specific words, appropriate strategies should be able to explain the symbolic meaning of the terms for the audience to grasp. But simultaneously, the translator should consider the constraints of subtitling and whether the translation is suitable for situations of the program. In terms of linguistic humor, the strategies should be able to preserve the effect of humor. Therefore, it is better to find a substitute in target language with equivalent effect. If not possible, use the explanatory notes. The worst strategy is to merely translate the literal meaning and ignore the humor.

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Machytková, Pavla. "Profesionální a amatérský převod humoru v situační komedii Miranda." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-373725.

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(in English): The thesis looks at the transfer of humour in audiovisual texts in sitcoms. The theoretical part introduces the topic, including types of jokes, strategies relating to the transfer of humour and the factors influencing the choice of a particular strategy. The empirical part is based on the analysis of professional and amateur subtitles of the British sitcom Miranda. This part analyses the humour of the series from the polysemiotic perspective. It focuses on the strategies of the transfer of language-dependent, cultural and complex jokes, the functionality of translation based on whether a humorous effect is produced or not, and the differences between the strategies of professional and amateur translators.

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Chiu, Shu-Yi, and 邱淑怡. "Humor Translation from the Perspective of Skopos Theory- The Case Study of The Adventures of Huckleberry Finn." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/543g7t.

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碩士
國立彰化師範大學
翻譯研究所
106
This thesis investigates the two Chinese translation of humorous texts in The Adventures of Huckleberry Finn based on the skopos theory (Vermeer, 1978, as cited in Nord, 1997) and the loyalty plus function principle (Nord, 1997). Through comparing the two translations, the current study aims to find out how the two translators deal with the unique feature of the source text and made it suitable for the Taiwanese children and young adult readers. The two translations are compared with each other from the retrieved excerpts based on humorous text taxonomy purposed by Hay (1995) which includes: anecdotes, fantasy, insult, irony, jokes, observational, quote, self deprecation, vulgarity, and wordplay. Through data analysis, the study found that the translator Wang, a more recent translator, is faithful to the source text. In sum, the translator for children and young adult literature has the freedom for appropriate adaptation in dealing with humorous texts to preserve the original. As long as the skopos of the target text can be fulfilled, and convey what the source text producer wishes to the target readers. The findings of the research could possibly shed new light on the translation of children’s and young adult’s literature in Taiwan in the future.

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Peyroux, Remy. "Subtitling American Comedy Programs into French." 2011. https://scholarworks.umass.edu/theses/704.

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This paper deals with issues related to the translation of humor specific to the medium of subtitling. It focuses on the ways of preserving the quality of the original material in spite of the limited space and time allotted to subtitles on the screen. The main themes include the translation of culture-specific content, how well or badly certain types of humor travel across languages and cultures, the linguistic challenges inherent to a successful renderingof humor, and humor translation as a creative and artistic process. Concrete examples are drawn from the included corpus of three American television programs of mass media subtitled into French by the author.

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Dissertations / Theses on the topic 'Humor translation'

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