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Journal articles on the topic 'Humour in translation'
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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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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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Attardo, Salvatore. "Translation and Humour." Translator 8, no. 2 (November 2002): 173–94. http://dx.doi.org/10.1080/13556509.2002.10799131.
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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.
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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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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.
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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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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.
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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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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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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.
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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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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.
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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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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.
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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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Korostenskienė, Julija, and Miglė Pakrosnytė. "Analysis of Humour in Tv Series Friends and Its Translation Into Lithuanian." Sustainable Multilingualism 11, no. 1 (November 27, 2017): 155–78. http://dx.doi.org/10.1515/sm-2017-0017.
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Summary The present study examines humour in the tenth season of the TV sitcom Friends and its translation from English into Lithuanian. With humour often believed to be culture-specific, humour translation presents a notorious issue in translation practice, as jocular content in the target language is often criticised for being poor and vague. Grounded in Raskin’s (1985) theory of verbal humour and adopting Schjoldager’s (2008) inventory of translation microstrategies, the article examines the components and mechanisms of humour in the source language and analyses the strategies applied to humour translation, focusing on whether the intended humorous effect is preserved in the target language. The article also seeks to establish to what extent humour as used in Friends is culturedependent. The study was conducted at two levels. First, we briefly presented the essence of Raskin’s model of humour, which centres around the notions of script and incongruity, and later applied it to the selected series to identify and analyse the data in the source language. We then supplemented the findings with the identification of jokes in the target language and assessment of translation microstrategies employed in rendering humorous instances in Lithuanian. The findings of the study are believed to further the theoretical and practical domains of translation from English into Lithuanian in particular and, more broadly, contribute to the discussion on the culture-specific worldview.
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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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Heydon, Georgina, and Sajjad Kianbakht. "Applying Cultural Linguistics to Translation Studies: A New Model for Humour Translation." International Journal of Comparative Literature and Translation Studies 8, no. 3 (July 31, 2020): 1. http://dx.doi.org/10.7575/aiac.ijclts.v.8n.3p.1.
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The present research intends to illustrate the contributions, the newly developed multidisciplinary field of research known as Cultural Linguistics can make to the Translation Studies and the translation of humour as a culturally constructed element. The study starts with explaining the aims and objectives of the research and the key concepts that constitute our model of analysis. Then, as the main objective of this study, we propose a new model for the translation of humour encompassing a typology of conceptual structures for the analysis of humour translation, a large step in Translation Studies, that contributes to the on-going research in translation theory and practice. Later on, we describe how the proposed model and its typology of conceptual structures can be applied to the analysis of examples extracted from novels in translation between English and Persian in comparative studies.
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Mendoza García, Inmaculada, and Nuria Ponce-Márquez. "Hacia un nuevo estímulo lingüístico-pragmático acerca de la traducción de fenómenos humorísticos." Hikma 19, no. 2 (December 22, 2020): 135–61. http://dx.doi.org/10.21071/hikma.v19i2.12514.
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Resumen:
Este artículo es el fruto de varios años de investigación en torno al concepto de humor y (in)traducibilidad. Partiendo de numerosas investigaciones sobre el humor y su traducción (Attardo y Raskin, 1991; Attardo, 1994, 2002; Hickey, 1998, n.d. ; Fuentes, 2000 o Santana, 2006), en este artículo se pretende presentar un nuevo enfoque lingüístico-pragmático sobre los fenónemos humorísticos basado en el concepto de impulso perlocutivo, así como desarrollar un marco teórico-práctico que permita a los traductores fomentar su capacidad creativa y conseguir el nivel máximo de naturalidad en el texto traducido. Entendiendo el encargo de traducción como un elemento pro-activo en el marco de una tendencia funcionalista basada en el concepto de «recreación», en este artículo se presenta un enfoque teórico-práctico basado en el concepto de estímulo ICRETRA. Tras revisar el concepto básico de «competencia traductora», en estas líneas se aboga por la adición de una sub-competencia creativa al modelo tradicional de sub-competencias. Con esta revisión de conceptos tradicionales y una aplicación teórico-práctica concreta se pretende evitar el excesivo apego que los traductores en ciernes presentan al TO cuando se trata de la traducción de textos especializados. El humor, por tanto, demuestra ser el mejor vehículo para fomentar la naturalidad y creatividad de los traductores, independientemente del tipo de texto con el que se trabaje.
Palabras clave: funcionalismo recreativo, sub-competencia creativa, encargo de traducción pro-activo, estímulo ICRETRA
Abstract:
This article is the result of a long-lasting research on the concept of humour and its (un)translatability. On the basis of a large number of previous research studies conducted into humour and translation (Raskin and Attardo, 1991; Attardo 1994, 2002; Hickey, 1998, n.d.; Fuentes, 2000 or Santana, 2006), this article aims to put forward a new linguistic and pragmatic approach to humourous phenomena based on the concept of perlocutionary impulse, as well as to present a theoretical and practical framework that allows translators to improve their creative competence and to produce the most natural translations possible. By considering translation assignments as pro-active elements in the framework of a functionalist approach to the concept of recreation, we present a theoretical and practical analysis constructed on the concept of ICRETRA stimulus. Thus, after reviewing the basic notion of translation competence, we support the addition of a creative sub-competence to the traditional scheme of translation sub-competences. With all this in mind, we aim to avoid the sometimes excessive subjugation of trainee translators to the source text when translating specialized texts. Humour is therefore regarded as the best vehicle to increase naturalness and creativity of translators, regardless of the text typology they deal with.
Key-words: recreative functionalism, creative sub-competence, pro-active translation assignment, ICRETRA stimulus
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Yuliasri, Issy Yuliasri. "TRANSLATORS’ CENSORSHIP IN ENGLISH-INDONESIAN TRANSLATION OF DONALD DUCK COMICS." Indonesian Journal of Applied Linguistics 7, no. 1 (May 31, 2017): 105. http://dx.doi.org/10.17509/ijal.v7i1.6863.
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Not all aspects of Western culture, reflected in the language used in Walt Disney’s Donald Duck comics, are acceptable in Indonesia. So, in translating the comics, the translators have to manipulate the text for it to be acceptable by the target readers and parents. This research aims at finding out censorship through the translation techniques used by the translators in translating the English humorous texts in the Walt Disney’s Donald Duck comics into Indonesian and the reasons underlying the translators’ choice of the translation techniques. It also aims at analysing whether or not the choice of the translation techniques affects the rendering of meaning, maintenance of humour, and acceptability of the translation. For these purposes a qualitative method was employed with content analysis technique and reader response analysis. Content analysis was used in comparing the source text (ST) and target text (TT) to find out the translation techniques used as a means of censorship and to find out the translators’ reasons for choosing the techniques. Reader-response analysis was done to find out the readers’ response to the rendering of meaning and maintenance of humour in the translation. The research findings discovered that the translators performed censorship through the dominant use of reduction and generalisation techniques so as to reduce sarcasm and insults. The interview with the publisher’s Senior Editor also revealed that “decency” was the first priority in the translation decision making, followed by clarity of meaning and maintenance of humour. Further research to investigate other elements censored, and compared with other translated comics is recommended.
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Kochman, Sidney. "Translating Referential Humour: Lysistrata 1093–4." Translation and Literature 28, no. 1 (March 2019): 28–43. http://dx.doi.org/10.3366/tal.2019.0368.
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What strategies do translators use when they are attempting to translate a joke that depends on understanding a specific cultural reference? This study takes an example from Aristophanes and works with three categories of translation. ‘Didactic’ translations require the most reader effort: to understand what is going on in the text, the reader must examine a footnote. ‘Hybrid’ translations do not make that demand, but the lemmas they include force readers to make a decision about whether they are going to read the explanatory note. Third, purely entertaining translations do not make any such demands; they are written so that the reader with no background knowledge can enjoy a passage without having to think about the fact that it comes from an alien context.
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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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Tee, Yee Han, Mansour Amini, Ching Sin Siau, and Amin Amirdabbaghian. "English to Chinese fansub translation of humour in The Marvellous Mrs. Maisel." Texto Livre 15 (February 23, 2022): e37677. http://dx.doi.org/10.35699/1983-3652.2022.37677.
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Humour is bounded by culture or language, and it involves shared knowledge and history between the sender and the receiver, which could make humour subtitling even more complicated. This study aimed at exploring the subtitling strategies used in fansub in the television series The Marvelous Mrs. Maisel, as well as the humour elements of source and target text in each humour, and the translation errors made in English to Chinese fansub. Humour instances were identified and analysed, and the subtitling strategies used by fans were explained. The findings showed the inconsistent quality of fansub could be due to linguistic and technical constraints, insufficient cultural knowledge of the source and target cultures, and deviations from translation norms, resulting in linguistic, pragmatic, cultural and text-specific translation errors. The study could have some theoretical and practical implications for translators, subtitlers, and trainers.
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Asimakoulas, Dimitris. "Towards a Model of Describing Humour Translation." Meta 49, no. 4 (January 13, 2005): 822–42. http://dx.doi.org/10.7202/009784ar.
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Abstract Being rooted in a specific cultural and linguistic context, humour can pose significant problems to translation. This paper will discuss data collected from films in the light of a suggested framework based on script theory of humour initially proposed by Attardo and specifically adapted here for subtitling. The data include such categories as wordplay, where a more ‘semiotic’ approach is employed, comparisons, parody, disparagement and register humour. These data were culled from two films translated into Greek: Airplane! (1980), directed by David Zucker and Jim Abrahams and The Naked Gun: From the Files of the Police Squad (1988), directed by David Zucker, which exhibit a great concentration of verbal humorous sequences and inventive puns. It will be suggested that there was leeway to creatively solve linguistically/culturally based translation problems, although inconsistencies were to be observed.
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Frenţiu, Luminiţa. "Translating Euphemisms in an Audio-Visual Medium. The Case of Stand-Up Comedy." Romanian Journal of English Studies 17, no. 1 (December 1, 2020): 63–73. http://dx.doi.org/10.1515/rjes-2020-0008.
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Abstract The present paper investigates the difficulties in preserving humour in translating euphemisms in a specific, popular comedy genre: stand-up comedy. The investigation goes beyond the lexical level and focuses on the constraints of the audio-visual translation as well.
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Kianbakht, Sajjad. "Audiovisual Translation of Persian Humour on Social Media." International Journal of Linguistics and Translation Studies 2, no. 1 (January 24, 2021): 1–16. http://dx.doi.org/10.36892/ijlts.v2i1.106.
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Using a blend of methods including existing subtitling models in Audiovisual Translation (AVT), Functionalism in Translation Studies, the General Theory of Verbal Humour, Cultural Linguistics (CuL) and careful analysis of numerous examples of Persian humour on social media, i.e. Instagram, the present research aims to demonstrate that there is a compelling argument to be made for updating traditional approaches to translation, subtitling in particular (cf. Zabalbeascoa, 2019). The findings of this study show that in today’s globalised world, in which social media and new technologies are influencing the translation process, the core model of translation, subtitling in particular, in all its actuality, seems to be incomplete, as cultural conceptualisations underlying lexical items are lost in translation. Cultural conceptualisations that are, however, central to meaning construction and humour perception in the target culture. Cultural conceptualisations that are, thus, crucial for translators’ daily task. The study suggests that in order to meet the concerns of the translation profession today, in this globalised world with its new ways of communication, and for successful intercultural communication, cultural conceptualisations underlying lexical items be incorporated into Audiovisual Translation (AVT), subtitling models (cf. Zabalbeascoa, 2019).
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Rojo, Ana. "Frame Semantics and the Translation of Humour." Babel. Revue internationale de la traduction / International Journal of Translation 48, no. 1 (September 26, 2002): 34–77. http://dx.doi.org/10.1075/babel.48.1.03lop.
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Nikonova, Vira, Yana Boiko, and Yuliia Savina. "Incongruity-specific British and American Humour from the Perspective of Translation Studies." Studies About Languages, no. 35 (December 5, 2019): 89–103. http://dx.doi.org/10.5755/j01.sal.0.35.22962.
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The aim of this study is to reveal the interrelation between the national character of the comic, its cognitive mechanisms and the choice of the strategy while representing the comic in Ukrainian translations of J. K. Jerome’s and O. Henry’s flash fiction. First, using the methodological principles of Linguoculturology, we determine how sociocultural context influenced the British and American authors’ consciousness which determined the cultural aspect of their individual worldview and the specifics of their sense of humour. Then we identified the comically marked contexts in J. K. Jerome’s and O. Henry’s flash fiction using the methodology of linguopoetic research, and revealed the features of incongruity as the cognitive mechanisms of the comic in their works applying the methods of cognitive linguistics. At the final stage, we performed the translation analysis of the distinguished comically marked contexts evaluating the strategies used for representing the comic in Ukrainian translation.
The analysis of the research material elucidates the following conclusions. The cultural background of the British or American writer determines the specifics of incongruity (logical, notional, valorative and ontological) as the cognitive mechanisms of the comic embodied in their flash fiction which, in its turn, strongly influences the choice of the translation strategy. The comic in J. K. Jerome’s fiction is represented in Ukrainian translations mostly by using the strategies of preservation and localization, while O. Henry’s humour is rendered by using localization and addition. Hence, the strategies of representing the comic in Ukrainian translation highly depend on the comic pictures of the world of the author and the target reader.
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Ajtony, Zsuzsanna. "Verbal Humour in Screen Translation: Officer Crabtree’s Case with the Fronch and Hungarian Longwodge." Acta Universitatis Sapientiae, Philologica 12, no. 2 (November 1, 2020): 25–50. http://dx.doi.org/10.2478/ausp-2020-0011.
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AbstractThe present study aims to gain insight into the translation of audiovisual humour displayed in the verbal manifestations of Officer Crabtree, the fictional character in the BBC sitcom ‘Allo ‘Allo! (1982–1992), especially focusing on its Hungarian dubbed version of the series. Being a research domain with insights from audiovisual translation (AVT), humour studies, and discourse analysis, the article introduces the reader to AVT, more particularly, to dubbing, to research carried out in the domain of audiovisual humour, and to humour studies, especially focusing on incongruity and superiority theory. These theoretical elements are applied in the analysis of the corpus comprising the English voice track as source text (ST) and its Hungarian counterpart as target text (TT), highlighting the humorous effects achieved in both of them and especially pointing at the creative solutions translators resorted to in rendering the idiosyncratically mangled English texts into Hungarian. The analysis aims to provide counterexamples to the frequent claim that verbal humour is untranslatable.
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Lukes, Alexandra. "Crypto-Back-Translation in Van Rooten's Homophonic Nursery Rhymes." Translation and Literature 29, no. 3 (November 2020): 427–47. http://dx.doi.org/10.3366/tal.2020.0440.
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This article explores the covert practice of literary back-translation, here called ‘crypto-back-translation’, through an analysis of Luis D'Antin van Rooten's Mots d'Heures: Gousses, Rames. The book contains homophonic translations of Mother Goose's Rhymes, but is presented as a collection of original French poems, edited by van Rooten with explanatory notes and translations. The article argues that crypto-back-translation takes two forms: on the one hand, it constitutes a hermeneutic strategy used by van Rooten to amuse and confound his readers, by producing new versions of known English nursery rhymes under the guise of erudite notes; on the other, it forms part of the reading process, by evoking preverbal memories of sound association, connected to language acquisition in the context of the nursery. More generally, the article discusses the role of humour and deception in translation practice, translation methodology, and the emotional, psychological, and physical effects of literary back-translation.
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Zhang, Qunxing. "Creation for Fidelity – Zhao Yuanren’s Translation of Lexical Nonsense in Alice’s Adventures in Wonderland." International Journal of Comparative Literature and Translation Studies 5, no. 1 (January 31, 2017): 71. http://dx.doi.org/10.7575/aiac.ijclts.v.5n.1p.71.
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Carroll’s Alice’s Adventures in Wonderland is one of the best examples of the literary nonsense genre. The paper mainly regards nonsense as a rhetoric device for humour and amusement and seeks to examine Carroll’s nonsense creation devices mainly at the lexical level, and at the same time explore the strategies the Chinese translator Zhao Yuanren adopts in his translation. The paper finds out that there is a direct correlation between Carroll’s devices of nonsense creation and Zhao’s strategies in translating them. The strategies Zhao adopts show his creativity and experimentation in dealing with the seemingly untranslatable elements of humorous nonsense to achieve fidelity to the essence of the original work. In reconstructing Carroll’s nonsense, Zhao adheres as closely as he could to reproduce the comic effect of the original by different means of creation. In this sense, his translation is creative fidelity.
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Mavrigiannaki, Chrysi. "Im/politeness, gender and power distance in Lady Windermere’s Fan." Translation and Translanguaging in Multilingual Contexts 6, no. 1 (February 17, 2020): 79–91. http://dx.doi.org/10.1075/ttmc.00045.mav.
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Abstract Im/politeness has attracted considerable attention over the past decades (starting with Lakoff 1973; Brown and Levinson 1978; Leech 1983) and has kept expanding rapidly with the discursive turn (Eelen 2001; Mills 2003; Watts 2003; Bousfield 2008; Locher 2008). There is a growing interest in examining im/politeness from a number of perspectives, e.g. society, gender, cross-cultural etc., and multiple definitions have been proposed, however, impoliteness as such has not had a distinct theoretical framework yet. This study investigates impoliteness through drama translation data. It focuses on manipulation of im/politeness in target versions of a playtext, in terms of gender, and examines how humour may be facilitated through such shifts. The aim is to confirm that impoliteness does interact with gender (Mills 2003), and that humour creation draws on reversed gender stereotypes. It also shows that power (ensuing from reversed gender stereotypes) interacts with impoliteness strategies, to manifest humour in the target versions. The study uses Bousfield’s (2008) model to account for im/politeness shifts, between the two versions. Oscar Wilde’s Lady Windermere’s Fan (1892) is a comedy and a satire targeting the aristocratic society of the time. The two Greek translations of the play (2006 by Karhadakis and 2010 by Belies) are a most suitable context for examining how impoliteness interacts with power distance and gender to create humour, because of its humorous aspects and cross-gender talk. The paper also intends to show impoliteness scholarship that translation has a rich potential for deciphering or confirming pragmatic aspects of the phenomenon, which are elsewhere pursued through monolingual research.
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Condren, Conal. "Mapping the contours of humour: reflections on recent introductory studies." European Journal of Humour Research 9, no. 3 (November 1, 2021): 151–61. http://dx.doi.org/10.7592/ejhr.2021.9.3.664.
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Introductions to fields of studies are almost a sub-genre in their own right, but are often resistant to direct comparison. The essay discusses four recent introductions to humour published by university presses, and what more broadly they may signify about disciplinary advertisement and consolidation. It emphasises a range of difficulties endemic to the study of humour arising from its interdisciplinarity, recent establishment, the variable range of humour and its putative universality; in which context it pays attention to Austinian performatives, puns and their translation, and to the shared propensity in these introductions to mythologise the history of humour theory. Most critical attention is paid to the studies that form almost polar opposites: Nilsen & Nilsen, The Language of Humour and Attardo, The Linguistics of Humour.
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Wieczorkiewicz, Aleksandra. "Wiersze dla niegrzecznych dzieci. Danuta Wawiłow i angielskie nursery rhymes (przekłady, inspiracje)." Poznańskie Studia Polonistyczne. Seria Literacka, no. 32 (October 2, 2018): 345–75. http://dx.doi.org/10.14746/pspsl.2018.32.18.
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Among numerous books of poetry for children written by Danuta Wawiłow – famous XXth century Polish poet and writer – one book is special: Poems for Naughty Children [Wiersze dla niegrzecznych dzieci] published in 1987. The book is unique not only because of the poetical qualities it represents – rhythmicity, melodiousness, catchiness, melancholy and lyricism equally with pure nonsense, absurdity, grotesque, (black) humour and numerous equivoques and puns, which are characteristic for Wawiłow’s poetical works; above all else Poems for Naughty Children is a collection of translations of the traditional English nursery rhymes, made by Danuta Wawiłow, who claimed more than once that she was a translator long before she had become a writer. The article aims to explore Wawiłow’s translation work which (up to now) remains almost unknown and un-described in Polish theoretical discourse. Moreover, the author presents the outcome of her research conducted to find “missing originals” of translated nursery rhymes, offers the classification of them and undertakes critical reflection over translation strategy adopted by Danuta Wawiłow.
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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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Żochowska, Magdalena. "Translating irony. Translation strategies and techniques used by Polish translators of Pride and Prejudice." Crossroads. A Journal of English Studies, no. 33(2) (2021): 86–104. http://dx.doi.org/10.15290/cr.2021.33.2.05.
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This article presents the results of a comparative analysis of two Polish translations of Pride and Prejudice by Jane Austen. The authors of the translations are Anna Przedpełska-Trzeciakowska and Magdalena Gawlik-Małkowska. Attention is given to rendering irony, which is the novel’s characteristic feature. The analysed excerpts illustrate the main translation strategies and techniques used in the Polish translations. A comparative analysis shows that techniques applicable to rendering humour and culture-bound elements can be used to translate irony as well. The Polish translations convey irony, but there are differences caused by the translators’ interpretations and by their choice of s trategies and techniques. Przedpełska-Trzeciakowska often uses the strategy of foreignization, but she tries to guide the reader so that they can perceive the implicature. Gawlik-Małkowska’s translation is more literal and more modern, and its irony is more covert.
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Maclean, Ken. "Humour of gene names lost in translation to patients." Nature 439, no. 7074 (January 2006): 266. http://dx.doi.org/10.1038/439266d.
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Ku, Kelly Y. L., Sammy Ho, Edmund Chan, Maria Chik, and Dennis Chan. "Chinese translation and psychometric testing of the Humour Styles Questionnaire Children Version (C-HSQC) among Hong Kong Chinese primary-school students." European Journal of Humour Research 4, no. 3 (October 15, 2016): 61. http://dx.doi.org/10.7592/ejhr2016.4.3.ku.
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In the current study, the Humour Styles Questionnaire Children Version (HSQC) was translated into Chinese. The psychometric properties of the Chinese version of the Humour Styles Questionnaire Children version (C-HSQC) were examined. The C-HSQC and psychological measures on humour, self-esteem, depression, and coping behaviors were administered to a sample of 361 primary-five and -six students in Hong Kong. Confirmatory factor analyses, concurrent, convergent, and discriminant validity were assessed to examine the construct validity of the questionnaire. The results indicated a moderately strong fit of the model of the hypothesized four-factor structure of two adaptive (i.e., affiliative and self-enhancing) and two maladaptive (i.e., aggressive and self-defeating) humour styles. Results provided good support for the use of the C-HSQC in measuring humour of Hong Kong children.
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Aleksandra Stodolna. "Traduire dans des conditions difficiles." Między Oryginałem a Przekładem 25, no. 46 (December 5, 2019): 79–92. http://dx.doi.org/10.12797/moap.25.2019.46.05.
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Translating in Difficult Conditions. The Text–Picture Relations in Audiovisual Translation: The Case of Subtitling
As an audio-visual translator, I often encounter situations where the image visible on the screen (stage, prop, actor’s face, etc.) forces me to make a specific translation decision. There are also cases where the combination of image, sound and dialogue makes the text almost untranslatable, as its relation (which in addition can be culture-bound and include humour, idioms, metaphors, or wordplay) with other elements of the piece is so close that one faces a difficult choice – either to generalise (remove the problematic elements) or exotise the text so much that will become incomprehensible to the viewer. This article presents selected problems faced by audiovisual translators and which are associated with complex text-image relations; it shall also discuss strategies that translators can use to solve these problems. Examples illustrating these strategies have been drawn from American and French films and series.
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McCabe, Darren, and Stephanie Russell. "‘The costumes don’t do it for me’: Obstacles to the translation of ‘new’ management ideas." Management Learning 48, no. 5 (June 24, 2017): 566–81. http://dx.doi.org/10.1177/1350507617714534.
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It has been argued that management support is important to successfully translate new management ideas into practice. Through focusing on the obstacles to the translation of a management guru text in a manufacturing organisation, we point towards a far more uncertain situation. First, we explore the paradoxical situation of engaged managers undermining the implementation of new ideas. Second, we consider how attempts to use humour to aid translation may generate a variety of unintended employee translations. Third, we examine how the objects that management enlist to support translation can thwart change. It has been argued that ‘technological’ and ‘textual’ objects exercise agency through making humans act in intended ways. Into this mix, we add ‘cultural’ objects (in our case costumes) and argue that while they exercise agency, the outcomes they produce may hinder managerial designs.
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Von Paschen, Renée. "Harold Pinter’s The Dumb Waiter in German: What’s Missing in Translation?" ELOPE: English Language Overseas Perspectives and Enquiries 9, no. 1 (June 1, 2012): 77–86. http://dx.doi.org/10.4312/elope.9.1.77-86.
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Several of Harold Pinter’s works have been adapted as screenplays and filmed. This paper investigates director Robert Altman’s TV movie The Dumb Waiter in comparison with the German dubbed version, Der stumme Diener, as well as the reception of Pinter’s play in German. The translation of Pinter’s dialogue into German involves stylistic aspects, such as Pinter’s dry, concise style, as well as the subliminal wit, sarcasm and irony. Humour is particularly difficult to translate, often involving compensation or transfer from one (cultural) context to another. As one of the “comedies of menace”, The Dumb Waiter employs black humour and ironic wit to create threat and dramatic tension. The unknown threat is counterbalanced by “black comic relief”. The lack of a classical German tradition of black comedy problematizes the translation of Pinter’s dialogue, while the limits of audiovisual translation add additional hurdles.
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Tsvetkova, Marina V. "Russian Pratchett (Based on Tranlations of the Novel “Mosntrous Regiment”)." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 80, no. 5 (2021): 71. http://dx.doi.org/10.31857/s241377150017129-4.
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The article examines two Russian translations of Terry Pratchettʼs novel “Monstrous Regiment”. Unlike works that deal with the adequacy of translation, this study proposes the approach to translation from the point of view of reception: the transformations occurring during the translation of the novel from English into Russian and the differences between Russian Pratchett and the original. The comparative analysis focuses on cases of transcoding of intertextual inclusions, which are an integral part of all the works of the British writer. This comparative analysis of the translations shows that everything irrelevant for the host culture leaves the translation: the mocking tone that permeates the entire text of the original and the very concentration of the comic element, which is an expression of the English sense of humour; precedent texts unknown for the host culture. These “losses” lead in translations to the disappearance of the additional dimensions of Pratchettʼs novel, which, like any postmodern text, is simultaneously focused on all layers – from the intellectual to the general reader. At the same time, the translation retains an important aspect for Pratchettʼs prose, associated with parodying traditional characters and hackneyed plots of fantasy literature. It is the aspect, coupled with the non-trivial development of the plot and the constant play with readers’ expectations, that has brought the writer popularity among Russian fans of the fantasy genre.
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Dore, Margherita. "Multilingual humour in audiovisual translation. Modern Family dubbed in Italian." European Journal of Humour Research 7, no. 1 (May 21, 2019): 52. http://dx.doi.org/10.7592/ejhr2019.7.1.dore2.
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Audiovisual productions are increasingly featuring multi-ethnic communities which also reflect today’s globalised world. Characters in both films and TV series are often depicted as having a bilingual background and heavily relying on code-switching to express their bicultural identity (Monti 2016: 69). As such, this phenomenon poses important challenges for its translation, especially when dubbing is involved. Using this audiovisual translation (AVT) mode involves a necessary technical manipulation(Díaz-Cintas 2012: 284-285). As for Italian dubbing, multilingualism has often undergone a process of neutralization (Pavesi 2005: 56) or local standardization (Ulrych 2000: 410), although recent dubbed films have proved to be geared towards a more faithful rendering of this important feature of the source text (Monti 2016: 90).It should be borne in mind that contextual factors, such as genres, may play a fundamental role in deciding whether to retain or neutralise multilingualism in AVT, especially when it is used for humorous purposes. In those cases, the perlocutionary function of the ST should be considered (Hickey 1998; cf. also Zabalbeascoa 2012: 322). Comedy can make use of multilingualism to entertain and the American mockumentary (or docucomedy) Modern Family(Christopher Lloyd and Steven Levitan, 2009-2019), is a striking example in this sense. It follows the lives of Jay Pritchett and his family in suburban Los Angeles. Linguistically speaking, the most interesting character is Jay’s second wife Gloria Delgado, a young and beautiful Colombian woman who often code-switches or code-mixes English and Spanish (with a marked Colombian accent), thus creating moments of pure comedy. Hence, this study investigates how Gloria’s humorous and multilingual persona has been transferred into Italian. The analysis confirms the current tendency of Italian dubbing to render otherness in the TT (Monti 2016: 89). This may be justified by the genre and scope of the programme, that allow for a more innovative transfer of vernacular matching via what I propose to call functional manipulation.
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Martínez Sierra, Juan José. "Humour as a symptom of research trends in translation studies." MonTi: Monografías de Traducción e Interpretación, no. 9 (2017): 9–48. http://dx.doi.org/10.6035/monti.2017.9.1.
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Sirakova, Veneta. "Preserving the Humour in Puns in Audio-visual translation from Spanish. Practical Solutions." Yearbook of the Department of Foreign Languages and Cultures 2 (June 16, 2020): 117–30. http://dx.doi.org/10.33919/flcy.19.2.7.
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The article reveals specific features of the translation from Spanish to Bulgarian of some comic word games/ puns in the American television series Silvana sin lana, especially those based on polysemy and paronymy, neologisms and certain proper names. Based on the requirements presented in the audio-visual translation, several translation proposals are analysed, including different options for translation compensations aimed at generating the same comic impact on the Bulgarian public as the original version exerts on Spanish-speaking viewers. The results show that this objective, however complicated it may seem, in many cases is achievable, although with certain inevitable losses. Nevertheless, on other occasions the word games have practically disappeared from the target text both for purely linguistic reasons, and because of the limitations of audio-visual translation caused by the interpenetration of several codes of different kinds.
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Skrzypecki, Maciej. "Spark and Sparkle – „Iskra i gra”. O tłumaczeniu poezji absurdalnej na przykładzie wiersza Ogdena Nasha." Poznańskie Studia Polonistyczne. Seria Literacka, no. 36 (June 15, 2019): 213–26. http://dx.doi.org/10.14746/pspsl.2019.36.13.
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The article is a short presentation of a translation concept created by an American cognitivist and physicist Douglas Hofstadter included in his book Le Ton beau de Marot. The principles of the concept are presented by means of a metaphor. Translation is a game of, only partially conscious, participation in an infinite loop: words evoke images and images – words. The contact with the original text creates images in the translator’s mind that he or she translates by means of language structures into sentences/verses of the target language. This cognitive intuition is paired with a structural category of Stanisław Barańczak’s semantic dominant. This methodological, structural-cognitive pair is a starting point for the analysis of Barańczak’s translation of Ogden Nash’s The Dog. The stylistic and formal solutions (especially rhymes) used by the translator are analysed, but the main goal of the text is to capture the elusive, i.e. the analysis of the interlinguistic and‘inter-mental’ translation of the absurd sense of humour.
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Wozniak, Monika. "Lost in Warsaw: the subversion of multilingual humour in the Italian subtitles to the Polish war comedy Giuseppe in Warsaw (1964)." European Journal of Humour Research 7, no. 1 (May 21, 2019): 24. http://dx.doi.org/10.7592/ejhr2019.7.1.wozniak.
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In 1964, many decades before multilingual movies have become fashionable, a Polish director, Stanisław Lenartowicz, made a war comedy called “Giuseppe in Warsaw”. It narrates the adventures of an Italian soldier who on his way home from the Russian front during World War II is stranded in Poland. Pseudo-language, translation, mistranslation, and mock translation figure conspicuously in the movie, which shows a series of clashes between Polish, German and Italian languages in the most improbable combinations. The original film used no subtitles, because the linguistic chaos was pivotal to showing the absurdity of the war through the deforming lenses of the comedy. This paper analyses various mechanisms of the multilingual humour in the original film and in its subtitled version in Italian, in order to see how the dynamics of humour change in the case of L3TT which becomes L2 in translation (Italian), especially when the point of the view of the audience is subverted and the viewers identify with the protagonist rather than the Polish characters in the movie.
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Maina, Macharia Daniel. "A Linguistic Analysis of Translation Errors on Selected Public Notices in Kenya." Editon Consortium Journal of Literature and Linguistic Studies 1, no. 1 (February 1, 2020): 1–12. http://dx.doi.org/10.51317/ecjlls.v1i1.54.
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This paper purposes to analyse translation errors in selected Kenyan public notices. Specifically, it examines how translation faults possess unique linguistic resources. There is an extensive existence of this genre countrywide albeit without proper academic scrutiny to further interrogate fundamental linguistic concepts therein. It involves the application of the Computer-Mediated Discourse Analysis (CMDA) which is unique to the analysis of this genre. Specifically, this research involves collecting data from the social media of the relevant public notices in Kenya. Generally, twelve signage were analysed. The sampling procedure was done purposively to include the diversity of Kenya. To qualify, the data collected had to reflect translation blunders. Then, the data was analysed for linguistic resources. The data was presented using a table showing the relationship between the components sought. Consequently, the study enriched translational linguistics, evaluated textual analysis and critiqued the linguistic concepts of performance and competence. Additionally, it provided useful insights into the cognitive mechanisms used during humour production and understanding.
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Dore, M. "Delia Chiaro (ed.): Translation, Humour and Literature, Volume I. Continuum, 2010." Applied Linguistics 33, no. 4 (September 1, 2012): 459–62. http://dx.doi.org/10.1093/applin/ams036.
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Abaeva, Evgeniya S. "HUMOUR AS A SPEECH CHARACTERISTIC OF A CHARACTER: PROBLEMS OF TRANSLATION." Bulletin of the Moscow State Regional University (Linguistics), no. 4 (2021): 49–57. http://dx.doi.org/10.18384/2310-712x-2021-4-49-57.
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Fang, Xiaolong. "Lost and found in translation: Intermittent Aphasia." Journal of Arts Writing by Students 6, no. 1 (June 1, 2020): 73–86. http://dx.doi.org/10.1386/jaws_00016_1.
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This article explores gaps in communication and mistranslations between languages and cultural identities. My article centres on my artistic research practice, alongside Chinese contemporary artists, Xu Bing and Ai Weiwei, who brought their own culture to bear on the experience of living and making work in the West. When facing the clash of cultural and linguistic environments, the work featured seeks to find a balance between inclusive and exclusive language systems. What seems to be ‘lost’ in translation can be used creatively in art practice, through hybridized forms and often through humour, to ‘find’ new meanings for myself, and hopefully for the audiences of my work.
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Ajtony, Zsuzsanna. "Chuchotage – Intermediary Spaces in (Screen) Translation." Acta Universitatis Sapientiae, Philologica 11, no. 3 (December 1, 2019): 69–84. http://dx.doi.org/10.2478/ausp-2019-0026.
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AbstractThe present paper is devoted to the translation theoretical, linguistic-textual comparison of the Hungarian film dialogues and their English subtitles of the short dramedy entitled Susotázs [Chuchotage, 2018] and directed by Barnabás Tóth, winner of several film festivals and shortlisted for Academy Awards in 2019. Subtitling is considered to be a form of rewriting, requiring text reduction through condensation, reformulation, and omission at word and/or sentence level (Díaz Cintas–Remael 2007). Following the theoretical considerations regarding the linguistic aspects of subtitling and its strategies, the paper discusses several aspects of rendering the Hungarian dialogue in the form of English subtitles, such as forms of address, informal expressions, and culture-specific elements. Finally, the analysis aims to highlight the possibilities of making Hungarian humour available in English.
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Bladh, Elisabeth. "The Reception of the Swedish Retranslation of James Joyce’s Ulysses (2012)." Humanities 8, no. 3 (August 30, 2019): 146. http://dx.doi.org/10.3390/h8030146.
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This article focuses on how the second Swedish translation of James Joyce’s novel Ulysses (2012) was received by Swedish critics. The discussion of the translation is limited to a number of paratextual features that are present in the translation, including a lengthy postscript, and to the translation’s reviews in the daily press. The release of the second Swedish translation was a major literary event and was widely covered in national and local press. Literary critics unanimously welcomed the retranslation; praising the translator’s raw, vulgar and physical language, his humour, and the musicality of his expression. Regarding its layout, title, and style, the new translation is closer to the original than the first translation from 1946 (revised in 1993). The postscript above all emphasizes the humanistic value of Joyce’s novel and its praise of the ordinary. It also addresses postcolonial perspectives and stresses the novel’s treatment of love and pacifism. These aspects were also positively received by the reviewers. For many reviewers, the main merit of the novel is found in its tribute to sensuality and the author’s joyful play with words. Negative comments tended to relate to the novel’s well-known reputation of being difficult to read. One reviewer, however, strongly questioned the current value of the experimental nature of the novel. Opinions also diverged on whether the retranslation replaces or merely supplements the first Swedish translation.
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Bruce, Iris. "Der Proceβ in Yiddish, or The Importance of being Humorous." TTR : traduction, terminologie, rédaction 7, no. 2 (March 13, 2007): 35–62. http://dx.doi.org/10.7202/037180ar.
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Abstract Der Proceß in Yiddish, or the Importance of being Humorous — The article argues for a "humorous" Franz Kafka rather than a kajkaesque one and criticizes the "Kafka myth" which cristallized after WWII and emphasized foremost Kafka's existential anguish. Even before the war Max Brod as well as Walter Benjamin recognized the humorous dimension in Kafka's texts, much of which lies in word plays and gesture; otherwise, the humour in Kafka was largely ignored, especially after WWII. The focus in this article is on English, German and Yiddish cultural contexts and ideologies which have determined different readings/ translations of Kafka's texts. In particular, the article compares the pre-war English translation of Der Proceß by Edwin and Willa Muir, which contributes to the "Kafka myth," with a post-war Yiddish translation by Melech Ravitch, which highlights the novel's humorous qualities. Not only does the Yiddish translation place Kafka's novel within a culturally specific literary genre and suggest an alternate "Jewish" reading of the text; by drawing on both the English translation and the German original, Ravitch also "corrects" the anguish laden "Kafka myth" and constitutes a challenge to the rather humourless genre of the kafkaesque so widespread still in contemporary English and German speaking cultures.
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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.