Relevant bibliographies by topics / Humour in translation

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Humour in translation'

Author: Grafiati
Published: 24 April 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Humour in translation.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
3

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Giczela-Pastwa, Justyna, and Paula Gorszczyńska. "Humour Translation Studies as a New Research Discipline: Approaches to Translating Humorous Texts." Tekstualia 4, no. 59 (December 20, 2019): 117–34. http://dx.doi.org/10.5604/01.3001.0013.6439.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
5

Bendi, Merouan. "Hybrid humour as cultural translation: The example of Beur humour." European Journal of Humour Research 7, no. 2 (July 28, 2019): 87. http://dx.doi.org/10.7592/ejhr2019.7.2.bendi.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
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 (January 1, 1997): 106–25. http://dx.doi.org/10.1075/babel.43.2.03ant.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Dore, Margherita. "Editorial: Multilingual Humour in Translation." European Journal of Humour Research 7, no. 1 (May 21, 2019): 1. http://dx.doi.org/10.7592/ejhr2019.7.1.dore1.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
9

Marqués Cobeta, Noelia. "Multilingual humour in audiovisual translation." European Journal of Humour Research 9, no. 4 (December 30, 2021): 209–20. http://dx.doi.org/10.7592/ejhr2021.9.4.570.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
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 (May 21, 2019): 91. http://dx.doi.org/10.7592/ejhr2019.7.1.frank.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Humour in translation"

1

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.

Full text
Abstract:
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]
APA, Harvard, Vancouver, ISO, and other styles
2

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

Find full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
3

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/.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
4

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/.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
5

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
6

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.

Full text
Abstract:
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
APA, Harvard, Vancouver, ISO, and other styles
7

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/.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
8

Forsberg, Rose-Marie. "To Be True to Audience or Author - A Brief Literature Review and Comparison of Linguistic Humour in Two Translations of Dario Fo’s Accidental Death of an Anarchist." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-17797.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
9

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
10

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Humour in translation"

1

Translation, humour and literature. London: Continuum, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Translation, humour and the media. London: Continuum, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Dore, Margherita, ed. Humour Translation in the Age of Multimedia. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429316081.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Yakin, Orhun. Translation of humour with special reference to the cartoons in 'Leman' and other popular weekly humour magazines of Turkey. [s.l.]: typescript, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Humor in Early Islam. Leiden: BRILL, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Martínez-Bartolomé, Marta Mateo. La Traducción del humor: Las comedias inglesas en español. [Oviedo]: Universidad de Oviedo, Servicio de Publicaciones, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Proverbes gouro: Saillies, humour et sagesse en Côte d'Ivoire. Paris: L'Harmattan, 2014.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Humor y traducción: Los Simpson cruzan la frontera. Castellón de la Plana: Universitat Jaume I, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Sierra, Juan José Martínez. Humor y traducción: Los Simpson cruzan la frontera. Castellón de la Plana: Universitat Jaume I, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Levanon, Yitsḥaḳ. Koh amar--: 2,747 penine ḥokhmah ṿe-humor mi-raḥave ha-ʻolam. Tel-Aviv: Yaron Golan, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Humour in translation"

1

Sierra, Juan José Martínez. "Audio describing humour." In Humour Translation in the Age of Multimedia, 177–95. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429316081-10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Zabalbeascoa, Patrick. "Multilingual humour in audiovisual translation." In Humour Translation in the Age of Multimedia, 116–35. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429316081-7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Asimakoulas, Dimitris. "Poetics of Humour and Translation." In Rewriting Humour in Comic Books, 77–124. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19527-4_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Massidda, Serenella. "Censorship and Humour in Californication." In Audiovisual Translation in the Digital Age, 96–112. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137470379_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Chiaro, Delia. "Humour translation in the digital age." In Humour Translation in the Age of Multimedia, 10–30. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429316081-2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Dore, Margherita. "Humour translation in the age of multimedia." In Humour Translation in the Age of Multimedia, 1–9. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429316081-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Chiaro, Delia. "The effect of translation on humour response." In Doubts and Directions in Translation Studies, 137–52. Amsterdam: John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/btl.72.16chi.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Kaindl, Klaus. "Multimodality in the Translation of Humour in Comics." In Perspectives on Multimodality, 173–92. Amsterdam: John Benjamins Publishing Company, 2004. http://dx.doi.org/10.1075/ddcs.6.12kai.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Ermakova, Liana, Tristan Miller, Orlane Puchalski, Fabio Regattin, Élise Mathurin, Sílvia Araújo, Anne-Gwenn Bosser, et al. "CLEF Workshop JOKER: Automatic Wordplay and Humour Translation." In Lecture Notes in Computer Science, 355–63. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-99739-7_45.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Laineste, Liisi, and Piret Voolaid. "Two cases of doping, two instances of humour." In Humour Translation in the Age of Multimedia, 31–54. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429316081-3.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Humour in translation"

1

Tuzzikriah, Raihana, and Havid Ardi. "Students’ Perception on the Problem in Translating Humor Text." In Eighth International Conference on English Language and Teaching (ICOELT-8 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210914.061.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Zhuhai, V. V. "Verbal realisation of humor and its features in the German-speaking stand-up comedy genre." In PHILOLOGICAL SCIENCES, INTERCULTURAL COMMUNICATION AND TRANSLATION STUDIES: AN EXPERIENCE AND CHALLENGES. Baltija Publishing, 2021. http://dx.doi.org/10.30525/978-9934-26-073-5-1-52.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Astuti, Eka. "Wordplay with Phonological Element Contributions in Indonesian Stand-Up Comedy Humor Discourse." In Proceedings of the 2nd International Seminar on Translation Studies, Applied Linguistics, Literature and Cultural Studies, STRUKTURAL 2020, 30 December 2020, Semarang, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.30-12-2020.2311246.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Humour in translation' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography