Relevant bibliographies by topics / Humour in translation

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Academic literature on the topic 'Humour in translation'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Humour in translation"

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

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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3

Attardo, Salvatore. "Translation and Humour." Translator 8, no. 2 (2002): 173–94. http://dx.doi.org/10.1080/13556509.2002.10799131.

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4

Giczela-Pastwa, Justyna, and Paula Gorszczyńska. "Humour Translation Studies as a New Research Discipline: Approaches to Translating Humorous Texts." Tekstualia 4, no. 59 (2019): 117–34. http://dx.doi.org/10.5604/01.3001.0013.6439.

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The paper offers an overview of the approaches to translating humour, with the intention of comparing the scope of interests and the selection of methods in a number of research reports (in English and in Polish). The overview focuses on the proposals concerning the translation of verbally expressed humour. The authors attempt to describe the status of humour translation studies as an emerging trend in Polish translation studies.
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5

Bendi, Merouan. "Hybrid humour as cultural translation: The example of Beur humour." European Journal of Humour Research 7, no. 2 (2019): 87. http://dx.doi.org/10.7592/ejhr2019.7.2.bendi.

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Humour is a phenomenon that is pervasive in the human heritage in all its different ethnic and cultural diversity; however, humorous effects might exceed the mere pleasure or laughter to serve as a strategy of survival. Hybrid humour has an important societal role in breaking psychological barriers between people as well as in denouncing dominant discourses, criticizing realities and promoting resistance. This paper investigates hybrid humour as cultural translation, particularly Beur verbal humour in France. The first section of this paper explores the notion of cultural translation. In the second section, in order to conceptualize humour from different angles, I attempt to highlight the main theories in Humour Studies. The third part is devoted to investigate the hybridization of cultures from a postcolonial perspective, and subsequently interpret the notion of hybrid humour as a translational act. Finally, I analyze a set of hybrid jokes made by the Franco-Algerian humourist Fellag.
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6

Antoine, Fabrice. "Les Malheurs de James, ou, l'humour victime du "Traductueur"." Babel. Revue internationale de la traduction / International Journal of Translation 43, no. 2 (1997): 106–25. http://dx.doi.org/10.1075/babel.43.2.03ant.

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Starting from the rare and not very pleasant experience of having his translation of a short-story by the American humorist James Thurber (1894-1961) bought by a publisher and later discovering that another translation was published by the same firm, the author of this article proposes to examine these translations and to see whether there is any reason for opposing commercial translation to academic translation. Though there should be none, this case shows that publishers of texts aimed at young readers do not pay enough attention to the translations they publish and, where humour is concerned, that the commercial translator too often neuters or kills what makes the original text subtly humorous. Though the study of the published translation is voluntarily polemical (it is however abundantly illustrated with examples from the texts, closely analysed and discussed), it is only pleading for more respect for the text one pays homage to by translating it and also for the readers of the translation, who should be offered as humorous and subtle a text as the original.
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7

O’Neill, Patrick. "Translation, Humour, and Literature. Translation and Humour, Volume 1 edited by Delia Chiaro, and: Translation, Humour, and the Media. Translation and Humour, Volume 2 edited by Delia Chiaro." James Joyce Quarterly 50, no. 1-2 (2012): 534–39. http://dx.doi.org/10.1353/jjq.2012.0069.

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8

Dore, Margherita. "Editorial: Multilingual Humour in Translation." European Journal of Humour Research 7, no. 1 (2019): 1. http://dx.doi.org/10.7592/ejhr2019.7.1.dore1.

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This volume seeks to investigate how humour translation has been developing over the last two decades by focusing in particular on new ways of communication. The contributions seek to plot and debate how today’s globalised communication, media and new technologies are influencing and/or shaping humour translation. Furthermore, they seek to map out future directions for research in this field of inquiry and its practice within a variety of contexts.
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9

Marqués Cobeta, Noelia. "Multilingual humour in audiovisual translation." European Journal of Humour Research 9, no. 4 (2021): 209–20. http://dx.doi.org/10.7592/ejhr2021.9.4.570.

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This commentary aims to take up the gauntlet thrown down by Dore (2019) with her article about multilingual humour in the Italian dubbed version of the series Modern Family. She suggested that the scenes included in the article could be analysed in other languages, so it was an interesting proposal to carry out the analysis of the Spanish dubbed version, since the L2 in the source text coincides with the target text language. Thus, this fact makes the translation process an arduous activity in these language combinations. Multilingualism is therefore considered the central element in this study. It is a reflection of the current social movement and the increase of multi-ethnic communities worldwide. This fact leads to citizens who use their knowledge to assert their own identity; as a consequence, audiovisual producers are also aware of this situation and exploit this phenomenon. Modern Family is an example of this reality and introduces characters, like Gloria Delgado-Pritchett, as a role model to show an increasingly common tendency, the use of multilingual and multi-ethnic characters that reflect this new social situation. Thanks to the selected examples, we will see whether the use of multilingualism as a source of humour is also transmitted to the Spanish dubbed version, as it did in the Italian dubbed version studied by the abovementioned scholar.
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10

Frank, Mary Catherine. "One text, two varieties of German: fruitful directions for multilingual humour in “translation”." European Journal of Humour Research 7, no. 1 (2019): 91. http://dx.doi.org/10.7592/ejhr2019.7.1.frank.

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A heterolingual text is characterised by the presence of two or more different languages, or two or more varieties of the same language (Corrius & Zabalbeascoa 2011: 115). This article discusses possible methods of translating into English of a text containing two varieties of German: Ottokar Domma’s Der brave Schüler Ottokar [The Good Schoolboy Ottokar]. In these stories, about a schoolboy growing up in the German Democratic Republic (GDR) in the 1960s, Domma creates a zone of friction between child narrator Ottokar’s everyday German and the language of GDR officialdom (“official discourse”). This article first shows that following a conventional method of translating a literary text into English does not allow this satire to be conveyed to the reader. It then presents two alternative translational methods — “thick” and creative — that demonstrate how it is helpful, indeed in some cases necessary, for the translator to adopt a broad understanding of “translation” in respect of texts that exploit multilingualism for humorous purposes. It is argued that methods of translating in which effect is privileged over form — which here included introducing multimodality — can serve well to open up heterolingual humour for speakers of other languages.
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