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Journal articles on the topic 'Humor translation'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Rębkowska, Agata. "Humor w badaniach nad przekładem." Romanica Wratislaviensia 63 (October 11, 2016): 157–74. http://dx.doi.org/10.19195/0557-2665/63.12.

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HUMOUR IN TRANSLATION STUDIES Humour, manifesting itself at different semiotic levels of a text, is considered to be one of the most common translation challenges. However, previous studies dealing with translation of humour mainly consist of various aspects of translating humorous phenomena expressed themselves especially at the linguistic level. The aim of the article is to present the most important linguistic theories of humor structural isotopy, semantic theory of scripts, the general theory of verbal humor, humor seen as a violation of the conversational maxims or as the game with implicatures, as well as some observations in the field of translation studies, and subsequently to develop describing tools for the translation of humorous phenomena in audiovisual texts.

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2

Asscher, Omri. "A model for Hebrew translation of British humor." Target. International Journal of Translation Studies 22, no. 2 (December 31, 2010): 237–63. http://dx.doi.org/10.1075/target.22.2.04ass.

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The influence of translational norms on the translation of humor manifested in prose fiction has not been a focus of much research. This paper will try to establish the existence of an institutionalized strategy of amplification, presumably born out of a wish to bridge the cultural gap reflected in two different national traditions of literary humor. The effect of amplification, as it is implemented in the various Hebrew translations of Charles Dickens’s The Pickwick Papers and Jerome K. Jerome’s Three Men in a Boat, is analyzed on the basis of Attardo’s General Theory of Verbal Humor (Attardo 2001, 2002). The use of amplification as a model for the translation of humor from the beginning of the 20th century, and its diminishing currency from the 1980s onwards are also discussed.

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3

Istiqomah, Lilik. "Students’ Translating Humor of Mind Your Language British Comedy in The Indonesian Subtitle." Pustabiblia: Journal of Library and Information Science 1, no. 2 (December 26, 2017): 185. http://dx.doi.org/10.18326/pustabiblia.v1i2.185-208.

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Subtitling becomes the most prominent growth in translation studies with its many advantages. It is cheaper than dubbing, take a short time, has the original soundtrack, better for hard-of-hearing and has a role in language learning. Subtitling can not be separated from the text. This text will be influenced by the context of a situation and also a context of culture. Having Cross Cultural Understanding better will show the ideology of the text. This study observes the translation technique of translating humor in Indonesian subtitle in the first episode of Mind Your Language British comedy series. This subtitle is done by the sixth-semester Indonesian students of English Education Program of Diamond Institute. This is a qualitative descriptive research presenting a translation unit tangible form in lingual (word, phrase, clause, and sentence) as the data. The object of the research is film dialogue in English and Indonesian subtitles also. The analysis of this study represents that there are 5 techniques in translating humor, namely Translating humor in wordplay with a literal translation, Translating humor in Source Text Pun with Target Text Pun, Translating humor in wordplay with wordplay, Translating humor in wordplay with zero wordplays (non-wordplay) and Translating humor with allusion. The use of literal translation technique is dominant while the ideal translation technique in translating humor is wordplay with wordplay.Subtitling mengalami pertumbuhan yang sangat pesat dalam studi penerjemahan dengan banyak kelebihannya. Subtitling lebih murah dari dubbing ditinjau dari segi biaya, proses pembuatannya tidak memerlukan waktu lama, mempunyai soundtract asli, dan lebih baik bagi para penderita tuna rungu dan sulit mendengar. Subtitling tidak bisa dipisahkan dari teks. Teks ini yang akan diperngaruhi oleh konteks situasi dan juga konteks budaya. Memiliki pandangan yang baik tentang Cross Cultural Understanding / perbedaan budaya akan bisa memahami ideologi teks tersebut. Penelitian ini mengkaji teknik penerjemahan humor dalam bahasa Indonesia dalam serial komedi Inggris yang berjudul “ Mind Your Language” episode pertama. Subtitle film komedi ini dikerjakan oleh mahasiswa semester enam jurusan Pendidikan Bahasa Inggris. Penelitian ini adalah penelitian deskriptif kualitatif yang mengetengahkan unit penerjemahan bentuk lingual (kata, frasa, klausa, dan kalimat). Objek penelitian ini adalah dialog film dalam bahasa Inggris dan bahasa Indonesi. Analisis dalam penelitian ini menunjukkan bahawa ada 5 teknik dalam menerjemahkan humor, yaitu merjemahkan humor dalam wordplay dengan perjemahan literal, menerjemahkan humor dalam permainan kata kata (pun) bahasa sumber ke dalam pun bahasa sasaran, menerjemahkan wordplay dengan wordplay, menerjemahkan wordplay dengan cara tanpa menerjemahkannya (dibiarkan apa adanya) dan menerjemahkan humor dengan allusion (kiasan). Penggunaan teknik penerjemahan literal sangat dominan sedangkan teknik terjemahan yang ideal dalam menerjemahkan humor adalah wordplay dengan wordplay.

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Woods, Michelle. "Framing translation." Translation and Interpreting Studies 7, no. 1 (May 21, 2012): 1–18. http://dx.doi.org/10.1075/tis.7.1.01woo.

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Adolf Hoffmeister (1902–1973), a Czech translator, writer, painter, journalist and caricaturist was one of the Czech translators of James Joyce’s Anna Livia Plurabelle and the illustrator of Czech translations of George Bernard Shaw’s plays. His paratextual work for translated modernist literature — prefaces, caricatures, comic strips, travelogues and interviews — engaged with modernist practice in producing an abusive mimesis in his re-presentation of authors and their writing. This included a verbal and visual insertion of the translator and re-presenter that makes him visible and also fallible, unreliable and humorous. Hoffmeister’s use of humor and demystification made the complex modernist translations more accessible to a wider readership while also bringing into question the practices and mechanics of translation and cultural domestication. Analyzing non-English language modernist translation practices might provide a model for inventive translation paratexts in the modern English-language context.

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5

Hossieni, Rezvan Barzegar, Mohsen Mobaraki, and Maryam Rabani Nia. "A Comparative Study of Transference of Humor in Translations of “The Adventures of Huckleberry Finn” by Mark Twain." International Journal of Applied Linguistics and English Literature 6, no. 6 (September 1, 2017): 1. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.6p.1.

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Translation is a difficult and complex task. Some elements such as linguistic and socio-cultural differences in two languages make it difficult to choose an appropriate equivalent; the equivalent which has the same effect in the target language. In the present study, one of the richest sources of the humor and satire is investigated. Humor is completely obvious in “The Adventures of Huckleberry Finn” by Mark Twain. He tried to laugh at social and cultural problems of his time by this novel. Two translations of this book by Hushang Pirnazar and Najaf Daryabandari are investigated. The author tries to investigate on transference of humor from the source language to the target language by a syntactic strategy of Chesterman. By investigating the text, it will be found out that which translator is more successful in recreation of humor by using the strategies.

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Hirsch, Galia. "Explicitations and other types of shifts in the translation of irony and humor." Target. International Journal of Translation Studies 23, no. 2 (December 21, 2011): 178–205. http://dx.doi.org/10.1075/target.23.2.03hir.

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The goal of this article is to examine the differences in the use of explicitation strategies when translating irony and humor, based on a comparative model that distinguishes between cues for the two phenomena. The study suggests that translations of irony manifest more explicitations, whereas translations of humor yield more non-explicitating shifts. This finding can be interpreted as indicating that while the explicitation of humor may override its function altogether, the explicitation of irony does not necessarily do so, since the implied criticism is not eliminated. This finding further strengthens the claim that irony is inherently critical, whereas humor is not.

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7

Okyayuz, A. Sirin. "Translating Humor: A Case of Censorship vs. Social Translation." European Scientific Journal, ESJ 12, no. 8 (March 30, 2016): 204. http://dx.doi.org/10.19044/esj.2016.v12n8p204.

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In Turkey, as in the case of other countries, due to developments in technology and the rise of the ‘social translation’ sector, audiences have the opportunity to watch TV shows, including sitcoms, with Turkish subtitles on a multitude of platforms. Although some of these platforms are TV channels, there are also alternatives presented by Internet sites. By virtue of the fact that there are different subtitlers of the same show, it becomes beneficial to study the work of professional translators vs. social translators, to understand their constraints and realities, as well as the differences between them. This study provides a comparative analysis of the two, within the context of the American sitcom Two and a Half Men.

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Velychenko, Olena, and Liudmyla Fonar. "LINGUOSTYLISTIC FEATURES OF ENGLISH HUMOROUS FANTASY NOVELS AND THEIR UKRAINIAN TRANSLATION." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2020, no. 30 (March 2020): 39–57. http://dx.doi.org/10.24195/2616-5317-2020-30-3.

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The relevance of an article is based on the need for a thorough study of means of linguostylistic actualization of English humor in modern fantasy literature and features of its rendering in Ukrainian translations, taking into account pragmatic and cross-cultural components. This is due to the popularity of the fantasy genre among a readership, and therefore requires the study of the features and problems of adequate translation of foreign fantasy novels by Ukrainian specialists, who often have difficulties translating author neologisms (occasionalisms) and proper names of fantasy creatures and characters. Increased interest in translation studies in many aspects of fantasy issues is evidenced by the recent emergence of a large number of works that reveal different aspects of humor. However, despite the interest in the subject, there is a small amount of exploration that addresses the issues of rendering humor and comic occasionalisms as units of linguostylistics in fantasy books in the English-Ukrainian translation. The purpose of this work is to analyze the linguostylistic specificity of translation of the humorous fantasy “Fantastic Beasts and Where to Find Them” from English into Ukrainian. The paper presents an analysis of the research material for the purpose of establishing the linguostylistic essence of J. K. Rolling’s occasionalisms, as well as the specifics of their interpretation, taking into account difficulties and cases of incompatibility of translation of the original due to various types and causes of complete and partial loss of sense of the original source. The basis for a comprehensive study of linguistic problems of author’s word-formation and translation analysis of tactics and operations involved in implementing a strategy of communicative-equal translation and adequate rendering of humorous fantasy in a pair of typologically different languages English-Ukrainian has been improved.

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9

Mendoza García, Inmaculada, and Nuria Ponce-Márquez. "Hacia un nuevo estímulo lingüístico-pragmático acerca de la traducción de fenómenos humorísticos." Hikma 19, no. 2 (December 22, 2020): 135–61. http://dx.doi.org/10.21071/hikma.v19i2.12514.

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Resumen: Este artículo es el fruto de varios años de investigación en torno al concepto de humor y (in)traducibilidad. Partiendo de numerosas investigaciones sobre el humor y su traducción (Attardo y Raskin, 1991; Attardo, 1994, 2002; Hickey, 1998, n.d. ; Fuentes, 2000 o Santana, 2006), en este artículo se pretende presentar un nuevo enfoque lingüístico-pragmático sobre los fenónemos humorísticos basado en el concepto de impulso perlocutivo, así como desarrollar un marco teórico-práctico que permita a los traductores fomentar su capacidad creativa y conseguir el nivel máximo de naturalidad en el texto traducido. Entendiendo el encargo de traducción como un elemento pro-activo en el marco de una tendencia funcionalista basada en el concepto de «recreación», en este artículo se presenta un enfoque teórico-práctico basado en el concepto de estímulo ICRETRA. Tras revisar el concepto básico de «competencia traductora», en estas líneas se aboga por la adición de una sub-competencia creativa al modelo tradicional de sub-competencias. Con esta revisión de conceptos tradicionales y una aplicación teórico-práctica concreta se pretende evitar el excesivo apego que los traductores en ciernes presentan al TO cuando se trata de la traducción de textos especializados. El humor, por tanto, demuestra ser el mejor vehículo para fomentar la naturalidad y creatividad de los traductores, independientemente del tipo de texto con el que se trabaje. Palabras clave: funcionalismo recreativo, sub-competencia creativa, encargo de traducción pro-activo, estímulo ICRETRA Abstract: This article is the result of a long-lasting research on the concept of humour and its (un)translatability. On the basis of a large number of previous research studies conducted into humour and translation (Raskin and Attardo, 1991; Attardo 1994, 2002; Hickey, 1998, n.d.; Fuentes, 2000 or Santana, 2006), this article aims to put forward a new linguistic and pragmatic approach to humourous phenomena based on the concept of perlocutionary impulse, as well as to present a theoretical and practical framework that allows translators to improve their creative competence and to produce the most natural translations possible. By considering translation assignments as pro-active elements in the framework of a functionalist approach to the concept of recreation, we present a theoretical and practical analysis constructed on the concept of ICRETRA stimulus. Thus, after reviewing the basic notion of translation competence, we support the addition of a creative sub-competence to the traditional scheme of translation sub-competences. With all this in mind, we aim to avoid the sometimes excessive subjugation of trainee translators to the source text when translating specialized texts. Humour is therefore regarded as the best vehicle to increase naturalness and creativity of translators, regardless of the text typology they deal with. Key-words: recreative functionalism, creative sub-competence, pro-active translation assignment, ICRETRA stimulus

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10

Shutova, Nella Maksimovna, and Natalia Stanislavovna Semenova. "HUMOUR IN AUDIOVISUAL TEXTS: TRANSLATION ISSUES (BASED ON THE AMERICAN COMEDY “SIXTEEN CANDLES”)." Russian Journal of Multilingualism and Education 13 (December 28, 2021): 116–25. http://dx.doi.org/10.35634/2500-0748-2021-13-116-125.

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The article considers the problems of conveying verbal means of expressing humour in translation taking the American comedy “Sixteen Candles” by John Hughes as an example. The comparison of the original and its three translations (two voice-over translations and subtitles) made it possible to analyse in detail the verbal and non-verbal means of creating a humorous effect in the film and assess their interpretation in Russian in specific comic situations. Furthermore, in some cases we offer our own translation solutions. The problem of conveying humor is still one of the most difficult problems in audiovisual translation; it is often related to specific cultural peculiarities reflected in the speech of the source language speakers and the speakers of the target language. The relevance of the paper lies in the need for further research on the means of creating humour and the problems of its preservation in translation. The goal of the paper was to study the verbal and non-verbal means of creating humour in a particular comedy film, as well as to analyse and assess the effectiveness of their transfer in Russian translations. The following methods of analysing the data were employed: comparative-contrastive analysis, linguistic analysis, lexicographic analysis, situational analysis and functional-stylistic analysis. The study revealed some losses in translation usually caused by unjustified lexical replacements (mainly generalization), a change in the word‟s register (for instance, using a neutral literary word for a slang word) and resorting to outdated vocabulary. Besides that, translators often ignore non-verbal, situational means of creating humour and their influence the verbal description of the situation.

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Stoianova, Tetiana, and Ksenia Chernenko. "PECULIARITIES OF TRANSLATION OF ENGLISH HUMOR IN UKRAINIAN." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2020, no. 31 (December 2020): 401–18. http://dx.doi.org/10.24195/2616-5317-2020-31-26.

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The article is devoted to the study of the features of reproducing English humor in the Ukrainian language. The relevance of the work is due to the urgent need for a comprehensive study of English-language humor as a text-discursive education and the features of its translation. The aim of the study is to analyze the specifics of reproducing English-language humor. As a result of the study, the author comes to the conclusion that the reproduction of English humorous discourse should take into account the national characteristics of the people, culture and traditions. Translation of humorous discourse requires the use of various transformations: lexical, grammatical (including syntactic and morphological), semantic, and stylistic. Often these types of transformations appear in a mixed form. The most effective transformations are: lexical, grammatical, and complex lexical and grammatical ones. The subject of research of this work is humor — the most common modern type of comic. The concept of humor is defined as a comprehensive phenomenon, a way of seeing, a way of life. The nature of humor depends on the linguistic and cultural characteristics of the country to which it belongs, which means that this phenomenon reproduces the national picture of the world. According to this, the translator should take into account the peculiarities of ethnic worldview in order to reproduce the content of discursive humorous education adequately. It is also necessary to be able to know at least something about the cultures involved in the translation in order to understand the original and be able to reproduce it. During the analysis, we determined that it is necessary to take into account the national nature of humor, because in different societies the same thing can cause different reactions, which leads to inadequate units of reproduction of the source language to the target language. Based on the fact that it is not always possible to fully reproduce the content and expressive-emotional coloring, compensation is considered the best lexical and semantic means of transmitting humor in the source language in the translation language. A necessary condition for translation is the selection of appropriate phonetic, lexical and phraseological means for transmitting not only the semantics of the humorous formation of the original language, but also their expressive and functional features

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Proczkowska, Kwiryna. "Denotacja – humor – tabu." Między Oryginałem a Przekładem 25, no. 43 (March 31, 2019): 67–83. http://dx.doi.org/10.12797/moap.25.2019.43.04.

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Denotation – Humour – TabooThis analysis takes as its subject jokes about Poles that appeared in two US-American sitcoms: The Big Bang Theory (Teoria wielkiego podrywu) and 2 Broke Girls (Dwie spłukane dziewczyny), as well as their official Polish TV translations made for Comedy Central Polska channel. The selected examples refer to Polish traditions, history, and stereotypes about Polish people. They were divided into three categories according to their subject: a joke based on a stereotype, jokes making Poles look exotic, and jokes referring to Polish-Jewish relations, and the history of World War II. The aim here is accordingly: to characterize the original jokes, to analyze their official Polish voice-over translation, and to consider the potential differences in the reception of given fragments by the sourceculture and target-culture viewers. This paper refers to the characteristics of sitcom as a text genre and Eugene A. Nida and Charlesa R. Taber’s theory of functional equivalence.

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13

Tsai, Claire. "Reframing humor in TV news translation." Perspectives 23, no. 4 (July 24, 2015): 615–33. http://dx.doi.org/10.1080/0907676x.2015.1043923.

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Ellington, John. "Wit and Humor in Bible Translation." Bible Translator 42, no. 3 (July 1991): 301–13. http://dx.doi.org/10.1177/026009359104200301.

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Konkulovskyy, V. V. Konkulovskyy, V. V. Panchenko, and V. V. Savchyshyn. "HUMOR IN «BROOKLYN 9-9» SERIES. TRANSLATION ASPECT." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 184–91. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-184-191.

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The article outlines the peculiarities of humor of the original cinematic texts in «Brooklyn 9-9» series and their translation, as well as analyzes the most typical errors and causes of their occurrence. The «Brooklyn 9-9» series is full of jokes that can be classified as dark or so-called black humor. In the cinematic discourse films filled with such kind of humor are called black comedies. The latter is well-deservedly considered to be one of the most difficult genres of cinema. It is iconic for black comedies to incorporate jokes about different sacred things, such as race, human nature, diseases, funerals, disabilities, death, values and desires whilst this kind of humor is usually forbidden in a more formal setting. When working with cinematic text containing elements of black humor, a translator faces a serious number of problems and tasks. To render a source text into a target language adequately, it is important to identify the genre-stylistic dominant of the cinematic text, and to reproduce story-forming speech acts in different contexts. For black comedy cinematic texts chronotopic, characterological, compositional and lexical-semantic contexts will be relevant. According to these, the examples of black humor and puns in «Brooklyn 9-9» series were analyzed.

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Nufus, Dede Zahrotun. "The Acceptability Humor Translation of English to Indonesian in The Movie Penguins of Madagascar: Discover Their Untold Story Thanksgiving." Buletin Al-Turas 20, no. 1 (January 29, 2020): 99–116. http://dx.doi.org/10.15408/bat.v20i1.3749.

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Abtraks Penelitian ini membahas tentang keberterimaan penerjemahan humor. Penelitian ini bertujuan untuk mengidentifikasi jenis penerjemahan humor dan keberterimaan bahasanya. Penelitian ini menggunakan metode deskriptif kualitatif untuk mendapatkan penelitian yang objektif. Adapun instrumen yang digunakan untuk memeroleh data adalah dengan menggunakan intrumen peneliti sendiri sebagai alat pengumpul datanya. Misalnya dengan menonton film yang memiliki subtitle bahasa Inggris dan film yang bersubtitle bahasa Indonesia. Kemudian mengklasifikasi jenis-jenis humor yang sudah ditandai. Selanjutnya peneliti menjelaskannya berdasarkan konsep keberterimaan yang diajukan oleh Nababan, parameter penilaian keberterimaan suatu terjemahan. Temuan dari penelitian ini menunjukkan bahwa ada tiga jenis humor, seperti humor budaya, humor universal, dan humor linguistik. Dari ketiga jenis humor tersebut, jenis humor budaya lebih sering ditemukan atau muncul dalam penerjemahan subtitle film tersebut.---Abstract The research discusses about the acceptability of humor translation. The analysis is aimed to identify the types of humor translation and its acceptability in target language. The researcher uses qualitative descriptive method to get the objective of the research. In order to get the valid data the researcher employs herself to collect the data; by watching the movie both in English and Indonesian version, understanding and marking the humor that appear in the movie, classifying the types of humor and describing the acceptability of humor which is translated from source language into target language base on Nababan’s parameter of acceptability rates assessment theory. Findings of the research show that: first, three types of humor are found in the movie Penguins of Madagascar linguistic humor, cultural humor, and universal humor; second, the most frequently types found is cultural humor; third, based on the result of translation version is acceptable.

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Williamson, Lee, and Raquel De Pedro Ricoy. "The translation of wordplay in interlingual subtitling." Babel. Revue internationale de la traduction / International Journal of Translation 60, no. 2 (December 31, 2014): 164–92. http://dx.doi.org/10.1075/babel.60.2.03wil.

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It is frequently said that humor does not travel well, and wordplay, which is inseparably connected to humor, poses particular problems for the translator as it is intrinsically linked to the source language and culture, and consequently is often described as untranslatable. The translator’s task is further complicated when instances of wordplay are encountered in audiovisual texts due to the constrained and semiotic nature of the medium. The aim of this paper is to examine the translation strategies applied to wordplay in the English subtitles of the French film Bienvenue chez les Ch’tis [Boon 2008]. To do this, instances of wordplay in the source text and the target text were classified according to the typology of wordplay as proposed by Delabastita (1996), and subsequently analyzed using the General Theory of Verbal Humor (GTVH) (Attardo and Raskin 1991) in order to contrast the differences between source text and target text instances of wordplay. The findings show the trends in the application of translation strategies and demonstrate that GTVH, albeit with some modifications, is a useful analytical tool in the context of audiovisual translation in that it could show how the puns evolved in translation and therefore give a better understanding of wordplay to aid the choice of translation strategy. As long as a narrow view of equivalence is avoided, this study demonstrates that the translation of wordplay is possible even within the polysemiotic structures of audiovisual texts.

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Zoha Alam, Qaiser. "Humor and Translation: Evidence from Indian English." Meta: Journal des traducteurs 34, no. 1 (1989): 72. http://dx.doi.org/10.7202/004646ar.

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KURAVSKA, Nataliia, and Tetiana KOBUTA. "Peculiarities of translation of English black humor." Humanities science current issues 2, no. 40 (2021): 112–16. http://dx.doi.org/10.24919/2308-4863/40-2-18.

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MEDVEDIEVA, Anna. "Functions of black humor in film translation." Humanities science current issues 2, no. 47 (2022): 144–50. http://dx.doi.org/10.24919/2308-4863/47-2-23.

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Woo, Kyongjo. "Analysis of Translation Strategies Applied in Advertising Translation Using Humor Appeal." Journal of Humanities and Social sciences 21 11, no. 6 (December 30, 2020): 923–38. http://dx.doi.org/10.22143/hss21.11.6.65.

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Shmakova, Anastasiia Valerievna. "Transparency and mirroring of literary translations of fairy tales by the English writers." Litera, no. 11 (November 2021): 1–8. http://dx.doi.org/10.25136/2409-8698.2021.11.36631.

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The subject of this research is the English-Russian translation of fairy tales from the perspective of transparency and mirroring. The goal of this research is to determine the strategy for literary translation of the English fairy tales. Linguostylistic and comparative analysis is conducted on B. Zakhoder's translations of such fairy tales as “Alice in Wonderland” by L. Carroll, “Winnie the Pooh and All, All, All” by A. Milne, and “Mary Poppins” by P. Travers. The modern theory of translation largely focuses on the various aspects of equivalence and adequacy of the original and translated texts; describes the requirements for the quality of translation, including literary translation. Russian and foreign researchers show heightened attention to the concepts of transparency and mirroring in translation, namely literary translation of children's literature substantiated by the specificity of the target audience. The scientific novelty consists in application of the modern postulates of the theory of translation to children's literature, which broadens knowledge in this scientific field. The main conclusion lies in following the theory of translation transparency for the child reader in translation of children's literature. As a result of the analysis of B. Zakhoder’s translations of fairy tales by L. Carroll, A. Milne, and P. Travers into the Russian language, it is noted that they reflect the general patterns of translation children's fiction, take into account psychological characteristics of the audience, text is adapted to be comprehensible for children, considerable attention is given to the emotional component, expressiveness, and humor. Although B. Zakhoder’s translations are not the full interpretation, he follows the theory of transparency. Imaginative interpretation of the text demonstrates the specificity of translator’s individual style.

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Zhu, Pinfan. "Nabokov’s Art of Translation: Effective Means to Attract a Wide Readership." International Journal of Linguistics, Literature and Translation 3, no. 12 (December 30, 2020): 172–80. http://dx.doi.org/10.32996/ijllt.2020.3.12.21.

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Vladimir Vladimirovich Nabokov was a great writer who could write in both English and Russian. His novel Lolita shocked the world but still received many praises by critics because of its humor and literary style. However, this article will not discuss his writing talent; instead, it will discuss his art of translation, for Nabokov was also a great translator. Specifically, the article will discuss Nabokov’s translation doctrine, translation approaches, and translation tactics (specific ways of tackling translation problems); and how he used them to increase readership. The article focuses on how he increased readership by targeting the audience needs, aiming at conveying complete and accurate meanings, and communicating aesthetic values of the original works.

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Ali Mohammed, Siddig Ahmed. "Translating Humorous Expressions into Arabic with Reference to Loss, Gain, and Compensation." International Journal of Applied Linguistics and English Literature 8, no. 6 (November 30, 2019): 16. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.6p.16.

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This study is concerned with translating humorous expressions from English into the Arabic Language with reference to Loss, Gain, and Compensation. The idea of the research developed from an observation by the researcher that when the target audience watches a drama of funny episodes, it is hard to interact, laugh or even smile, although the drama may be accompanied by subtitles in Arabic language. The study aims to illustrate the causes of untanslatability and loss, gain, and compensation in humor translation. To achieve the aims of the study, the researcher selected a sample of 10 humorous quotes and jokes from different hilarious resources, including episodes, movies, and sitcoms and other plays. The study was conducted qualitatively and descriptively by meticulously analyzing the translated quotes to probe the causes of loss in humor translation. The study results showed that humorous expressions encounter loss, gain and compensation which require a deep understanding of context and require a sense of humor from the audience and translators besides SL culture involvement. Moreover, the overall findings showed that many humorous expressions have no counterparts in Arabic Language, therefore, loss and gain and compensations are inevitable. Based on the findings, the study concluded that humorous expressions are more frequent and with multi-version and lack the equivalence in Arabic language. It also concluded that the types of humor are an essential element in reducing the sharp difference between the SL quote and its equivalent in the TL and the loss of humor in many cases is inevitable. Finally, the study explicated the main causes and the necessary strategies of loss, gain and compensation to transfer humor into Arabic Language.

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Ford, Thomas E., Tracey Platt, Kyle Richardson, and Raymond Tucker. "The psychology of humor: Basic research and translation." Translational Issues in Psychological Science 2, no. 1 (March 2016): 1–3. http://dx.doi.org/10.1037/tps0000066.

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Thorson, James A., Ingrid Brdar, and F. C. Powell. "Factor-Analytic Study of Sense of Humor in Croatia and the USA." Psychological Reports 81, no. 3 (December 1997): 971–77. http://dx.doi.org/10.2466/pr0.1997.81.3.971.

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A total of 401 Croatian university students completed a translation of the Multidimensional Sense of Humor Scale. Scores were compared with those of a sample similar in age and sex composition from Omaha, Nebraska (N = 242). The American respondents scored significantly higher on the element of self-described humor creativity. Factor analyses of intercorrelations from the two samples indicated differences in constructions of sense of humor.

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Cooper, Jennifer Sarah. "Pornodyssey." Revista Odisseia 5, no. 2 (August 31, 2020): 81–101. http://dx.doi.org/10.21680/1983-2435.2020v5n2id21318.

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The celebrated novel Pornopopéia, by Reinaldo Moraes, represents a type of joycean Ulysses of the city of São Paulo’s underground in the excesses of the 1980s extended to the beginning of the 21st century. Despite its importance in contemporary Brazilian literature and perhaps because of its literary and linguistic complexity in producing its distinct humor, it has never before been translated into English. This article reports some results of a post-doctoral research in which we carried out a literary, commented translation of this epic novel. The theoretical framework of the research was based in general on a model of language from the perspective of the Theory of Genre and Register (TGR) (MARTIN; ROSE, 2008) and on Berman’s concept of ‘tradutology’ (2012), while the translation practice was informed by adaptations of Rothenberg’s concept of ‘total translation’ (2010), Frota’s Jazz Theory (1989), Toury’s ‘norms’ (1995), Milton’s (1998) discussion of metaphors for the practice of translation. Some results point to the following features as contributing to humor and presenting distinct challenges in the process of translating them: code-mixing and switching, punning haiku, rapid changes in registers from erudite to street, sonority (hard rhymes), neologisms, blends, and other linguistic, semantic and generic transgressions, along with those of a social nature. Ultimately, with this research we hope to offer the anglophone reader the pleasure of this text by Reinaldo Moraes, simultaneously disseminating Brazilian literature and culture to a broad anglophone speech community through the translation, and ultimately contributing to reflections on the practice of translation in translation studies.

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Heinrich, Carola. "Humor and Memory." East Central Europe 43, no. 3 (December 3, 2016): 257–77. http://dx.doi.org/10.1163/18763308-04303001.

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With the Revolution in December 1989, Romania not only rejected the communist system but also Soviet authority and orientated itself towards the West. This paper explores what is remembered of Russia and the Soviet Union after 1989 and how Romanian dramas and films represent these memories. The paper studies three examples of staging “the Russian”: the radio theatre presentation of Petru by Vlad Zografi, the theatre piece Istoria comunismului povestită pentru bolnavii mintal by Matei Vişniec, and the movie Nunta mută by Horaţiu Mălăele. Memory is understood here as a process of cultural translation and the analysis aims to track the particularities of these representations that contribute to the negotiation of collective memory. The analyzed works seem to reinforce prevalent stereotypes, but these are inverted through comic devices. Humor is therefore identified as one of the main strategies for dealing with a violent past.

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Whissell, Cynthia. "Emotion and the Humors: Scoring and Classifying Major Characters from Shakespeare's Comedies on the Basis of Their Language." Psychological Reports 106, no. 3 (June 2010): 813–31. http://dx.doi.org/10.2466/pr0.106.3.813-831.

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The theory of humors, which was the prevalent theory of affect in Shakespeare's day, was used to explain both states (moods, emotions) and traits (personalities). This article reports humoral scores appropriate to the major characters of Shakespeare's comedies. The Dictionary of Affect in Language was used to score all words ( N = 180,243) spoken by 105 major characters in 13 comedies in terms of their emotional undertones. These were translated into humoral scores. Translation was possible because emotional undertones, humor, and personality (e.g., Eysenck's model) are defined by various axes in the same two-dimensional space. Humoral scores differed for different types of characters, e.g., Shakespeare's lovers used more Sanguine language and his clowns more Melancholy language than other characters. A study of Kate and Petruchio from The Taming of the Shrew demonstrated state-like changes in humor for characters as the play unfolded.

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Le, Thuy Hien. "Translating humorous literature from Vietnamese into Italian language: an empirical study of humour reception." European Journal of Humour Research 10, no. 1 (April 14, 2022): 199–217. http://dx.doi.org/10.7592/ejhr2022.10.1.615.

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The empirical study presented in this article aims to determine some of the linguistic and cultural elements that can influence the production process and the reception of humour and to verify the applicability of the General Theory of Verbal Humor (GTVH) to humorous literary translation. 60 Vietnamese and 60 Italian participants had to read and rate the level of humorousness of excerpts taken from the Vietnamese novel Số Đỏ (Vũ Trọng Phụng, 1936) and its correspondent Italian translation (Il gioco indiscreto di Xuan, 2012). By comparing their feedback, it was possible to observe that one is more likely to appreciate humour when one is not part of the categories subject to ridicule/irony/satire; and that a direct contact with the original language and culture constitutes an important role in humour understanding and appreciating. Also, a comparison between the rating that the Italian participants assigned to the official Italian translation and an alternative version allowed us to analyze the role of Language Knowledge Resource (GTVH). According to the Italian participants, although the two versions of the translation, which share the first five levels of Knowledge Resources, were remarkably similar (as predicted by the GTVH), they were dissimilar in terms of humour and in readers' preferences. I therefore argue that, although the GTVH is a useful tool for analyzing and verifying the similarity between the source and target text, it has proved to be impractical and not always reliable if we want to use it as a parameter of the translation of literary humorous texts.

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Martínez Sierra, Juan José. "La traducción del humor en textos audiovisuales." Babel. Revue internationale de la traduction / International Journal of Translation 62, no. 4 (December 31, 2016): 573–601. http://dx.doi.org/10.1075/babel.62.4.03mar.

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The study of the translation of humour in audiovisual texts remains an issue that demands further reflection and empirical findings. Progress in recent years has been remarkable, although the intrinsic complexity of this matter, so rooted in tangled dimensions such as the cultural one, makes it necessary to restate what has already been presented, and even to adopt additional perspectives. This article is based on that premise, and is an attempt to take a further step towards understanding the mechanisms which have the potential to activate humour not only within the community in which it was created, but also in the one to which it has been transferred through a translation process. The central idea of this contribution is the consideration, based on the audiovisual field, of jokes as prototypes; that is, as entities in most cases composed of different types of potentially humorous elements that combine together and feed back in order to produce the effect that their author intended: humour. As will be seen, it is a comprehensive approach, capable of responding to the functioning of humour in the different modes of audiovisual translation. Moreover, its potential and applicability can be transferred to other types of texts, such as oral and written. The discussion will be illustrated with some examples from the popular television series The Simpsons.

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Kadarisman, A. Effendi. "Verbal Humor: a Salient Case in Translation and Translatability." Jurnal Pendidikan Humaniora 5, no. 4 (December 29, 2017): 153–58. http://dx.doi.org/10.17977/um030v5i42017p158.

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Hashemian, Mahmood, and Maryam Farhang-Ju. "Analysis of Translation of Audiovisual Humor in Iranian Series." International Journal of Research in English Education 6, no. 1 (March 1, 2021): 64–76. http://dx.doi.org/10.52547/ijree.6.1.64.

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Zawawi, Moh, and Devi Laila Maghfiroh. "SARCASM AND THE TRANSLATION QUALITY IN THE SUBTLE ART OF NOT GIVING A FUCK BOOK." LiNGUA: Jurnal Ilmu Bahasa dan Sastra 15, no. 2 (December 31, 2020): 253–60. http://dx.doi.org/10.18860/ling.v15i2.8913.

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Sarcasm is a harsher style of satire in hurtful jokes with a specific purpose. Sarcasm is the dominant language style used in Mark Manson's The Subtle Art of Not Giving A Fuck. This study aims to identify sentence forms of sarcasm and analyze the translation quality of sarcastic expressions. This translation study employs a qualitative descriptive design. The research data takes the form of sentences containing sarcasm and its translation. The data is collected through document analysis, interviews, and focus group discussions. The results showed four types of sarcasm in the book The Subtle Art of Not Giving A Fuck, including ridicule, satire, proximity, and humor. Besides, the translation quality of the book The Subtle Art of Not Giving A Fuck has a high level of accuracy, acceptability, and readability, evidenced by the proper use of eleven translation techniques applied by the translator to 145 data. The frequent techniques contributing to the quality of translation are compensation, adaptation, transposition, and modulation techniques.

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Florya, A. V. "“SHESTON” OF S.G. SHESTAKOV AS A VARIETY OF A CENTON." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (May 11, 2021): 353–58. http://dx.doi.org/10.35634/2412-9534-2021-31-2-353-358.

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The subject of this article is the original genre of literary games. Its creator is a translator S.G. Shestakov. This genre is a species of centon and is called a sheston. Unlike the traditional centon, it is combined from literary translations of the same text made by different authors, and the use of two lines from the same translation is not allowed. Sheston requires masterly technique, a sense of stylistic unity and a sense of humor, since this is a game genre. This form is associated with significant technical difficulties, therefore, shestons are best compiled on the basis of texts with sufficient autonomy of its structural elements. The article is written on the basis of three composite versions of Shakespeare’s sonnet 66.

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Abenova, P. "LINGUOCULTURALASPECTSOFTRANSLATION OF MODERNAMERICANGONZO-REPORTING." BULLETIN Series of Philological Sciences 72, no. 2 (June 30, 2020): 641–47. http://dx.doi.org/10.51889/2020-2.1728-7804.103.

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This article discusses linguistic and cultural aspects of translation of modern American gonzo-reporting on the example of the book written by Thompson Hunter, who is father founder of genre “gonzo”. The genre “gonzo” appeared first in the USA within the new branch of journalism, which is called “New Journalism” and it developed there as well. Gonzo-reporting is a type of a text, where author uses subjective 1st person narration. He actively participates in the event that he describes. Gonzo-text has its specific stylistic and linguistic peculiarities, due to the fact that author speaks mind freely, uses humor, sarcasm, irony, jargons, slangs etc. Gonzo-texts contain deep descriptions of many details, explanations to author’s actions in reality. The translator’s main aim in translation of gonzo-reporting is to conduct adequate translation form linguistic and cultural aspects.The article provides a comparative and contrastive analysis of translations and the original; it discusses various approaches and criticism to the translation text.

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Rojo López, Ana. "A cognitive approach to the translation of metonymy-based humor." Across Languages and Cultures 10, no. 1 (June 2009): 63–83. http://dx.doi.org/10.1556/acr.10.2009.1.4.

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Leibold, Anne. "The Translation of Humor; Who Says it Can’t Be Done?" Meta: Journal des traducteurs 34, no. 1 (1989): 109. http://dx.doi.org/10.7202/003459ar.

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Medvedieva, A. A. "IMPLEMENTATION MEANS AND THE TRANSLATION OF BLACK HUMOR IN MOVIES." Тrаnscarpathian Philological Studies 3, no. 13 (2020): 49–55. http://dx.doi.org/10.32782/tps2663-4880/2020.13-3.9.

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García Vizcaíno, María José. "La traducción de anuncios multilingües: un reto para el traductor del siglo XXI." Babel. Revue internationale de la traduction / International Journal of Translation 57, no. 2 (July 21, 2011): 185–203. http://dx.doi.org/10.1075/babel.57.2.04gar.

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This article aims to present multilingual advertising from the point of view of translation. In particular, I will focus on the case of the Spanish airline Vueling whose signature feature is the mixture of languages in its advertising campaigns. The method of analysis used in this study will be the pragmalinguistic model used by Hickey (1999) in the translation of humorous texts since humor is the main function of Vueling advertisements. This model is based upon the individual analysis of each one of the three elements in the speech act (locutionary, illocutionary, and perlocutionary) of the source text in order to render a translation triggering the same effects on the target reader as the ones provoked on the source reader. This method of analysis will be applied to several examples of ads as well as their translations into English. The main conclusions of this study show the importance of stylistic equivalence in this type of translations—sometimes over semantic and pragmatic equivalences—since it is precisely the code-switching feature and the formal contrast that produces on the reader what creates the comical effect so characteristic of these campaigns.

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Tryfonova, Hanna, and Alona Mirko. "Problems of the translation of italian humor in the ukrainian language in the movie «The Taming of the scoundrel»." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, no. 21 (2019): 192–99. http://dx.doi.org/10.34079/2226-3055-2019-12-21-192-199.

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The article explores the techniques of creating a humorous effect in the Italian film «The Taming of the Scoundrel», taking into account the audiovisual nature of the material under study. Modern approaches to defining the concept of humour in linguistics are examined and the main linguistic means of realization of humour are discussed, including contextual changes of lexical meanings of words, expletive constructions, rhetorical questions, accumulation of homogeneous terms, sentence, use of incompatible concepts, repetitions, contrasting comparisons, metaphors, black humour, hyperbole, grotesque synecdoche, antithesis etc. It was revealed that the humorous effect of the movie «The Taming of the Scoundrel» is based on a combination of two incompatible stereotyped images – residents of the Italian village and the city. The main method of humour creation was a combination of incompatible concepts and depictions of deviations from the norm (disrespect for a sick person, arrogant behaviour with a beautiful woman, rudeness towards a woman, secular nature of religion, when a monk trains the volleyball team, love and understanding towards animals and disrespect towards people). Special attention in the realization of humour is drawn to the visual elements, built on the principle of a combination of the inseparable, the deviation from the norm and hyperbolization. The dialogues show patterns of conversational style and simplicity of vocabulary and syntax, so they do not require the use of a variety of translation transformations. The article describes ways of translating Italian humour into Ukrainian and mechanisms for conservation the humorous effect. The vast majority of sentences are translated by literal translation. In some cases, lexical substitutions are used. For the most part, the humorous effect persists, except the case of translation of wordplay, realities, artistic comparisons. In some cases, the humorous effect could be conserved by choosing other translation strategies. The movie «The Taming of the Scoundrel» gained high popularity because of its simplicity of perception. Although Western humour differs from Eastern humour because of national cultural, socio-psychological differences, the humour in the movie «The Taming of the Scoundrel» is clear and understandable. The humorous effect is lost only in cases of linguistic or cultural identity of the phrases. However, the problem of creating a humorous effect in audiovisual contexts and its conservation in different cultural areas remains always urgent.

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이현경. "A Study on Translation of Newspaper Comic Strips from English into Korean: Focused on Humor Translation." Journal of Translation Studies 19, no. 2 (June 2018): 253–76. http://dx.doi.org/10.15749/jts.2018.19.2.010.

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Mateo, José, and Copelia Mateo-Guillén. "The Translation of English Financial Humor into Spanish: Cognitive, Linguistic and Pragmatic Issues." Studies in English Language Teaching 8, no. 1 (March 3, 2020): p117. http://dx.doi.org/10.22158/selt.v8n1p117.

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This paper addresses the translation of financial humor from English into Spanish. However, from a linguistic and pragmatic angle, both languages appear to be worlds apart in the way they approach this specialist language and discourse. English often resorts to various linguistic and communicative solutions in order to allow non-specialist readers understand the intricacies of abstract professional discourses as is the case with financial language. At the other end, Spanish tends to maintain an academic and professional tone whoever the interlocutors. Consequently, non-specialist Spanish-speaking users find financial terms and procedures intricate and difficult to understand. Humor is commonly and largely used in financial English to ease its conceptual load and favor its conceptual and linguistic understanding. Spanish, at the other extreme, very rarely uses this linguistic solution in professional financial settings.

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Cui, Ying. "Differences in the Transference of Humor and Personification in Advertisement Translation." Journal of Universal Language 11, no. 2 (September 30, 2010): 47–69. http://dx.doi.org/10.22425/jul.2010.11.2.47.

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Zabalbeascoa, Patrick. "Censoring Lolita's sense of humor: when translation affects the audience's perception." Perspectives 24, no. 1 (January 2, 2016): 93–114. http://dx.doi.org/10.1080/0907676x.2015.1087579.

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YETKİN KARAKOÇ, Nihal. "Text Reduction as a Technical Constraint in Subtitling versus Humor Translation." Modern Türklük Araştırmaları Dergisi /Journal of Modern Turkish Studies 10, no. 4 (February 2, 2014): 177–87. http://dx.doi.org/10.1501/mtad.10.2013.4.49.

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Nurmi, Arja, and Janne Skaffari. "Managing Latin: support and intratextual translation as mediation strategies in the history of English." Text & Talk 41, no. 4 (February 8, 2021): 493–513. http://dx.doi.org/10.1515/text-2019-0211.

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Abstract Our study maps the practices of managing Latin in English texts from over a thousand years. Mediation is a communicative activity which involves explaining the content of a conversation or text to another person. In contexts of multilingual writing, this is typically self-mediation, which a writer may perform by complementing code-switches with intratextual translations in the text. The data for the study are drawn from corpora of English historical texts, dictionaries and manuscripts, and mediation is analyzed in terms of support, intratextual translation and flagging. The findings show that while cognitive support helps a reader understand all of the content of the text, intratextual translation may also have relational functions, where the reader is expected to understand both languages used, as when code-switching and translation are a vehicle for humor. Intratextual translation can also be used to add credibility to the writer’s argument or to link it to a broader discussion on the topic. Mediation is also facilitated by flagging code-switching and intratextual translation metalinguistically or visually. Support is needed for Latin as a language which has always been part of relatively few English-speakers’ repertoire, but these strategies are expected to apply to other language pairs as well.

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Kukovynets, Yuliia, Vladyslava Akkurt, and Olena Velychenko. "RENDERING OF THE COMIC EFFECT WHEN TRANSLATING ENGLISH FICTION INTO UKRAINIAN." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2021, no. 32 (2021): 22–34. http://dx.doi.org/10.24195/2616-5317-2021-32-1.

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The article reveals the concept of comic effect, its types, techniques in fiction, as well as their differential features. In order to conduct a deep analysis of humor, the means of its transmission were identified and analyzed, that is, stylistic figures and artistic tropes. The author of the scientific paper revealed the essence of translation transformations, substantiated their role in conveying the comic effect in the literary text for children and adult readers, and also analyzed the features of conveying the comic effect using translation lexical, lexicalsemantic, grammatical, complex lexico-grammatical transformations and translation techniques.

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Zhen, Zheng, Wu Jian, and Zhang Yunfei. "Research on the Translation of the Black Humor in Yu Hua's Brothers." Linguistics 1, no. 1 (2019): 31–43. http://dx.doi.org/10.35534/lin.0101004.

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이현경. "A study on the translation of humor of English-Korean children’s literature." Journal of Translation Studies 15, no. 5 (December 2014): 157–79. http://dx.doi.org/10.15749/jts.2014.15.5.007.

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