Journal articles: 'Wordplays in translation'

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Silva, Nilson Roberto Barros da. "A tradução de jogos de palavras em um corpus literário: uma revisão do modelo de Delabastita com auxílio da linguística de corpus." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 2 (May 31, 2019): 347–78. http://dx.doi.org/10.5007/2175-8026.2019v72n2p347.

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This paper analyzes the translation of wordplay from a literary corpus, the novel “O Xangô de Baker Street” (SOARES, 1995), translated into English by Clifford Landers in 1997, and does so based on the framework of Delabastita (1996) for wordplay’s translation. The study uses the theoretical-methodological approach of Corpus Linguistics and is characterized as “corpus driven” (TOGNINI-BONELLI, 2001). The analysis of the translations showed that Delabastita's framework can cope with only part of the procedures observed in the translation of the wordplay investigated, and as a result, the study proposes to expand the mentioned framework, by means of the addition of four new strategies for wordplays' translation.

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

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

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Herawati, Agnes. "Systemic Functional Linguistics as a Basic Theory in Translating English Wordplays." Humaniora 1, no. 2 (October 31, 2010): 372. http://dx.doi.org/10.21512/humaniora.v1i2.2879.

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Wordplay are exploited in order to bring a communicatively significant confrontation of two or more linguistic structures. Translating wordplays in English text into Indonesian is difficult; on the one hand, translator has to recognize the use of wordplays in rendering a defined effect and the characteristics of translated text. This paper is designed to explore the importance of systemic functional linguistics (SFL) related to translating English wordplay into Indonesian, particularly the strategies of dealing with those wordplays and its application in solving problems effectively.SFL is most appropriately applicable to text analysis especially wordplay analysis because it is constructed for the sake of text analysis.

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ALLEN, LESLIE C. "Psalm 73: Pilgrimage from Doubt to Faith." Bulletin for Biblical Research 7, no. 1 (January 1, 1997): 1–9. http://dx.doi.org/10.5325/bullbiblrese.7.1.0001.

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Abstract A fresh translation of Psalm 73 with textual notes is provided. In form the psalm has elements of a thanksgiving song composed from a wisdom perspective. It celebrates the end of physical suffering and accompanying religious doubt. The poem is dominated by wordplays which describe first the psalmist's earlier view of himself as a loser over against the wicked and then his conviction that eventually they would fail, as surely as the wicked generation in the wilderness. God's moral providence would prevail.

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Klitgård, Ida. "Taking the pun by the horns." Target. International Journal of Translation Studies 17, no. 1 (December 31, 2005): 71–92. http://dx.doi.org/10.1075/target.17.1.05kli.

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Taking my starting-point in Maria Tymoczko’s claim (1999) that syntagmatic elements in texts present the greatest challenges to translators and readers of translations, I want to argue that literary translators and translation scholars need to pay greater attention to clusters of wordplay rather than distinguishing puns as individual, separate brain-teasers. Hence, more is at stake in the translation of wordplay than just trying to transfer the source text complexities into the target language. Historical, social and other contextual and intertextual factors must also be taken into consideration. My case in point is an examination of the transfer of highly challenging networks of puns in James Joyce’s Ulysses (1922) into Danish and German. The theoretical frame of reference is a discussion of puns in the critical works of Dirk Delabastita, Jonathan Culler, Derek Attridge and Patricia Parker followed by a critique of translator and critic Frank Heibert’s methods of evaluating the German translations.

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SAFINA, ZAREMA M., and OLEG S. TERENTYEV. "PROPERTIES OF A COMPLEX DYNAMIC SYSTEM IN THE STRUCTURE OF WORDPLAY AND ITS TRANSLATION." Theoretical and Applied Linguistics, no. 2 (2021): 104–14. http://dx.doi.org/10.22250/2410-7190_2021_7_2_104_114.

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The article studies structural characteristics of wordplay and ways of its translation from English into Russian. The research is a case study of wordplay translation in the lyrics of еру American rap artist Eminem. We argue that the theory of complex dynamic systems helps reveal the many aspects of wordplay. The vertical and horizontal axes of wordplay, the peculiarities of their use in the artist’s verses, as well as the difficulties of translating wordplay were considered. Any difficulties and differences that result from the translation process may be overcome if the language is viewed as a complex fractal system. It is concluded that the modern system approach provides a completely different conceptual framework for the linguist. The properties of a language as a dynamic system should be taken into account in wordplay investigation and wordplay translation to ensure adequate interpretation of the ideas meant by the author.

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Tobias, Shani. "Translation as Defamiliarization: Translating Tawada Yōko’s Wordplay." Japanese Language and Literature 54, no. 2 (September 25, 2020): 199–216. http://dx.doi.org/10.5195/jll.2020.119.

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Keijirō Suga coins the term “translational poetics” to describe the essential similarities between literary translation and creative writing, since both perform a linguistic revolution or transformation. Japanese-German writer, Yoko Tawada, exhibits a literary style that exemplifies this transformative and interactive potential of language, deriving from her self-described existence in the “poetic ravine” or border zone between languages and identities. Many of the characters in her works are also travelers and lack a sense of national identity or most-comfortable language. Tawada forces her readers to question their belief in the naturalness of their native language through a defamiliarizing style that often involves wordplay, such as humorously drawing attention to the literal meaning behind commonly-used idioms and proverbs. This paper focusses on an excerpt from Yoko Tawada’s 2002 work Yōgisha no yakōressha, “To Zagreb”, and its English translation by Margaret Mitsutani, considering how the defamiliarizing effects of Tawada’s wordplay can be conveyed to an English audience. While double meanings and puns are inevitably achieved differently in the two languages, various translation strategies may create similar effects, such as making Japanese and English creatively interact, or exploiting the inherent possibilities of wordplay in English.

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Tashpulatova, Visola Ismatullaevna. "Approaches And Ways Of Conveying Wordplay: Pun In Children’s Fantasy." American Journal of Social Science and Education Innovations 2, no. 08 (August 10, 2020): 37–42. http://dx.doi.org/10.37547/tajssei/volume02issue08-06.

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The main task of the translator is to remember all the difficulties of translation and try to express the author's thought as accurately as possible, while not forgetting to convey various author's artistic techniques. One of the types of language game of the analyzed work is a pun. The analysis of the translations revealed a number of techniques for conveying puns of a fantasy work, such as: when conveying a pun, vocabulary should not denote concepts that are outside the reality of the child, the stylistic coloring of the pun should correspond to the peculiarities of the language of the children's work. A pun should naturally be included in the entire system of stylistic and figurative means of translation, obey the main goal of the entire work and not distort the ideological and artistic character of the original, it is created only in a typical situation for it.

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

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

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Marco, Josep. "The translation of wordplay in literary texts." Target. International Journal of Translation Studies 22, no. 2 (December 31, 2010): 264–97. http://dx.doi.org/10.1075/target.22.2.05mar.

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The present study aims to analyse wordplay translation on the basis of the three aspects mentioned in the title—wordplay typology, translation techniques and relevant factors. The theoretical framework is eclectic but draws particularly on Delabastita (1996, 1997) and Lladó (2002). Empirical analysis is based on three English source texts and six Catalan translations, and focuses on two main issues: the frequency distribution of pairs of ST + TT segments across translation techniques, and the possible correlation(s) between translation techniques and factors influencing decision-making. It is observed that translators tend to use techniques implying a negative punning balance, i.e. resulting in some degree of loss of punning activity. Moreover, some factors identified in the literature are seen to correlate with the use of particular translation techniques. Finally, in the last section an attempt is made to go beyond description and explanation and to assess wordplay translation techniques in terms of their suitability as translation solutions.

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최송하 and YOUNGEUNYOON. "Wordplay Translation Revisited." Korean Journal of English Language and Linguistics 16, no. 2 (June 2016): 331–57. http://dx.doi.org/10.15738/kjell.16.2.201606.331.

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Delabastita, Dirk, and Jacqueline Henry. "Wordplay and Translation." Translator 2, no. 2 (November 1996): 347–53. http://dx.doi.org/10.1080/13556509.1996.10798983.

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Setyaningsih, Retno Wulandari, and Zullian Rezza Kurniawan. "Wordplay “Loss” in Translation:." J-Lalite: Journal of English Studies 2, no. 2 (December 30, 2021): 1. http://dx.doi.org/10.20884/1.jes.2021.2.2.4091.

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Wordplay can be described as the way of making or using words to create additional meaning for some purposes. Using a qualitative approach, this study discusses the wordplay translation in literary work especially in dystopian fiction using Delabastita’s translation techniques of wordplay. The data derived from a novel entitled The Handmaid’s Tale by Margaret Atwood as the source text and its subsequent translation in Bahasa Indonesia entitled The Handmaid’s Tale – Kisah Sang Handmaid as the target text. From 50 data retrieved, the result shows that the most frequently applied technique in wordplay translation is Wordplay to Non-Wordplay that appears 25 times or 50%. The result of this study illustrates that the translation of wordplay in this literary work tends not to preserve the author’s style of writing but one of the author’s intended meanings.

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Orgeira Crespo, Raquel. "Problems in the Translation of Paul Austers The New York Trilogy." Babel. Revue internationale de la traduction / International Journal of Translation 46, no. 3 (December 31, 2000): 227–44. http://dx.doi.org/10.1075/babel.46.3.04org.

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In this paper I examine an original text, The New York Trilogy by Paul Auster, and its translation into Spanish. The source text chosen displays a wealth of instances of symbolic names, rhymes, wordplay, idioms, cultural references, colloquialisms and other stylistic features which are hard to transfer to Spanish without a significant loss of information. I attempt to identify those phenomena and discuss how the translator confronted them. I am particularly concerned with the lexical level. The conclusion of my paper is that the assessment of the translation problems posed by this literary work reveals the possibility of achieving an acceptable version at the readership’s level. This kind of studies are useful for the subsequent systematisation of strategies for the translational problems found in any literary text.

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Panchenko, Olena. "WORDPLAY IN DICKENS’S NOVELS AND WAYS OF THEIR TRANSLATION." English and American Studies 1, no. 17 (December 22, 2020): 92–96. http://dx.doi.org/10.15421/382016.

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The article deals with the general problem of wordplay and its translation. The relevance of the problem is accounted for by the powerful role of wordplay or puns in creating in special artistic atmosphere of any belle-letter sample and difficulties in its translating. The novels by Ch. Dickens have drawn attention of hundreds, if not thousands, researchers. A greater part of them pays attention to the literary side; the papers dealing with his language are quite versatile as well. But we have not yet met the comprehensive description and classification of Dickens’s puns. The aim of our paper is to classify cases of wordplay in the novels by Ch. Dickens and some possible ways of their translation. To achieve this aim we solved the following tasks: a) to choose a reliable definition of wordplay, or pun; b) to create a set of examples taken from Dickens’ novels and their translation into Russian and Ukrainian which are available at the site Gutenberg Project (https://www.gutenberg.org); c) to classify the puns; d) to analyze ways of their translation. The translation of puns is a really great problem and there exist different ways of solving it. Having analyzed Dickens’ puns and wordplay we can summarize that these ones can be subdivided into personal and common; alphabetical, morphemic and word; homonymic, patronymic and polysemantic. The correlation between puns in the original and translation can be described as their direct relation (pun – pun), asymmetric relation (pun – no pun; no pun – pun) and extralinguistic additions. The prospects of our investigation are connected with the study of Dickens’ art of creating individual manner of speech.

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Veisbergs, Andrejs. "PARATEXTS IN TRANSLATIONS OF CANONICAL TEXTS (THE CASE OF THE BIBLE IN LATVIAN)." Vertimo studijos 6, no. 6 (April 6, 2017): 75. http://dx.doi.org/10.15388/vertstud.2013.6.10546.

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The paper discusses paratexts, their use and prevalence in translations of the Bible in Latvian, with a particular focus on the last translation that was published in 2012. Paratexts are used to improve the perception of the main text and may include introductions, prefaces, postfaces, footnotes, side notes (marginalia), endnotes, glossaries, indexes and appendixes. Though the translation of the Bible, being a canonical text, is subject to various limitations, there is an increasing tendency to use more footnotes to explain various phenomena: information about the original texts, different variants of the Bible manuscripts, the existence or nonexistence of some verses; cultural words and facts – explanations about units of measurement, old objects, concepts, geographical and historical information; linguistic information: explanations of polysemy, decoding of words, etymologies of place names, semantics, wordplay; and alternative translations offered by the translator. The author suggests a glossary that could inform the reader of the Biblical characters, place names and the new transcription of many proper names. Footnotes could then dwell on linguistic issues.

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von Flotow, Luise. "The (Globalized) Three Amigos: Translating and Disseminating HIV/AIDS Prevention Discourse." TTR : traduction, terminologie, rédaction 18, no. 2 (May 17, 2007): 193–207. http://dx.doi.org/10.7202/015770ar.

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The effects of a translated text are notoriously hard to trace and establish. However, in the case of The Three Amigos, a series of short public service announcements on HIV/AIDS prevention that feature three comic figures (animated condoms) and accompany them through numerous adventures in 50 languages, the effects have been hugely successful–measurable in numbers of condoms sold! This article studies some of the translation problems posed by this Canadian production, and examines aspects of the Anglo-American source culture that are now hampering the distribution of this highly successful work. It thus positions translation dissemination as an issue related to source culture policies and politics that may play a bigger role in translation “effects” than a felicitous translation. Keywords: translating HIV/AIDS discourse, translating animation, translating wordplay and jokes, translation and source culture politics.

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Chow, Yean Fun, Haslina Haroon, and Hasuria Che Omar. "Reaching out to the readers: The translation of Japanese manga in Malaysia." Indonesian Journal of Applied Linguistics 10, no. 2 (October 18, 2020): 538–50. http://dx.doi.org/10.17509/ijal.v10i2.28605.

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One of the most recognisable aspects of Japanese pop culture which has invaded Malaysia is the Japanese comic or manga. It appears in translation in both Malay and English in Malaysia. Taking into account its foreign origin and the fact that translated manga is targeted at a local readership, translators often resort to the use of notes in the translations in order to assist the readers. This study, thus, intends to examine the type of notes used in the Malay and English translations of Japanese manga, and to determine items in the Japanese manga which required clarification and for which notes are provided. To analyse the use of notes by the translator in the translated manga, this study adopts a qualitative content analysis approach. The analysis involves six Japanese manga and their corresponding translations in Malay and English. The findings show that the translators employ the use of three different types of notes in the translation: notes on the image, notes in the gutter and notes at the end of the text. The analysis also shows that the elements in the Japanese manga which require clarification in translation are giongo/gitaigo, inscriptions, culture-specific elements, wordplay, technical terms and honorifics. There is also a minor difference between the Malay and English translations where the use of notes is concerned. Based on the findings, it is concluded that notes are important in translated versions of the manga in Malaysia in that they provide assistance to readers in understanding certain aspects of the manga.

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Fithri, Ayyuhatsanail. "ENGLISH WORDPLAY TRANSLATION INTO INDONESIAN IN THE SUBTITLE OF AMERICAN TELEVISION SERIES." Journal of Language and Literature 7, no. 1 (2019): 1–10. http://dx.doi.org/10.35760/jll.2019.v7i1.1995.

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One of the humorous aspects in the field of language is wordplay. Wordplay tends to create linguistic problems of translability due to the the diversity of languages and different linguistic typology. However, recently a number of movies and series from overseas which the genre is comedy must contain wordplay in the subtitles. Whilst, the subtitles in one of the scope of audiovisual translation, it requires several techniques to translate as subtitling adds space, time, and presentation. This paper is to investigate types of wordplay found in the subtitles of Hannah Montana and strategies applied to translate English wordplay into Indonesian. The data of this study was collected from an American series entitled Hannah Montana from season one to three. Hence, the most appropriate method employed is qualitative. The sampling technique applied is purposive sampling. The total four types of wordplay found in the series, namely: phonological and graphological structure (consists of homonymy, paronymy, and homophony), lexical structure (polysemy), morphological structure, and syntactic structure. Most of the translator whom sub movies or series used is wordplay to non-wordplay strategy. This strategy has a significant effect in rendering the meaning to the target text that affects the audience when they watch the film whether to laugh or not to laugh.

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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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Rudenko, Elena S., and Rupija I. Bachieva. "WORDPLAY AS A TRANSLATION PROBLEM." Bulletin of the Moscow State Regional University (Linguistics), no. 2 (2020): 78–85. http://dx.doi.org/10.18384/2310-712x-2020-2-78-85.

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Alpuente Civera, Miguel. "Malapropisms in the Spanish Translations of Joseph Andrews." Meta 57, no. 3 (July 8, 2013): 605–25. http://dx.doi.org/10.7202/1017083ar.

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Malapropisms have received little specific attention in studies concerning the translation of humorous phenomena, as researchers have usually addressed the broader category of wordplay. Malapropisms, however, while a subtype of wordplay, also represent a phenomenon in their own right, and their longstanding use as a humorous device in literature, as well as the particular translation problems they pose, largely justify a separate analysis. Additionally, more often than not, the translation of malapropisms has been addressed from a prescriptive point of view. Therefore, in addressing the translation of malapropisms in the Spanish versions of Joseph Andrews, this paper has a double aim. Firstly, it seeks to highlight the need for a comprehensive framework of analysis capable of singling out the particular features of malapropisms within a given text, paying attention most notably to their function in the text as a whole, their typological range, and the translation techniques employed to deal with them, as well as some extratextual factors that may help explain certain decisions taken by translators and their degree of acceptance within the target literary system. Secondly, it draws attention to descriptive analysis, showing how, by improving knowledge of the phenomena involved, it can prove useful for further translations.

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Camilli, Lana Pierrina. "A Case Study of the Audiovisual Translation of Wordplay." Journal of Audiovisual Translation 2, no. 1 (November 30, 2019): 75–103. http://dx.doi.org/10.47476/jat.v2i1.24.

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This paper examines the dubbing of the British comedy series A Touch of Cloth into French. Building on existing descriptive theory regarding wordplay translation – particularly the model of translation techniques laid out by Delabastita (1993) – translation patterns are identified. A corpus of instances of wordplay is established, correlations are identified between particular types of wordplay and particular translation results, and a case-by-case examination is undertaken to determine how different factors impacted these results. A wide range of factors are found to contribute to the way wordplay is translated, notably: the languages at hand, the nature of the joke, and the audiovisual features the joke brings into play. Conclusions are then drawn regarding the technique likely to be employed on a given occasion and why, as well as how closely the translation can be expected to reflect the original segment.

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Vrinceanu, Alexandra-Maria. "The ‘Handmaid’ and the ‘Chambermaid’: A Comparative Analysis of Atwood’s Seminal Novel from a Feminist Perspective." Linguaculture 12, no. 2 (December 31, 2021): 145–61. http://dx.doi.org/10.47743/lincu-2021-2-0210.

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This article is an analysis from a feminist perspective of the two Romanian translations of Margaret Atwood’s The Handmaid’s Tale. By adopting Antoine Berman’s three pronged model of translation criticism, I attempt to identify several differences between the translations. Therefore, it will prove pertinent to see whether the translators adhere to the author’s style, are faithful to the tone, imagery, wordplay and ludic nature of the text, if they prefer to steer clear of more adventurous translation strategies and opt for a source-oriented translation, keeping to the initial structure and employing mostly syntactic strategies. Another important element that surfaces and plays a paramount role is that of the translator’s visibility, more precisely those instances wherein she makes her voice known, be it through an explanatory footnote or, perhaps, a translator’s gloss at the end of the translated text. The translators’ own backgrounds are relevant in the case at hand as well, as their experience and formation influence their preferences for a certain style and translation strategies

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So Young Yoon. "A Study on Translation Strategies for Wordplay: Comparing Two Korean Translations of Alice." Journal of Translation Studies 8, no. 2 (December 2007): 259–80. http://dx.doi.org/10.15749/jts.2007.8.2.011.

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Ivashkiv, Roman. "(Un)translatability revisited: transmetic and intertextual puns in Viktor Pelevin’s Generation “P” and its translations." European Journal of Humour Research 7, no. 1 (May 21, 2019): 109. http://dx.doi.org/10.7592/ejhr2019.7.1.ivashkiv.

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Babylen Tatarsky, the protagonist in Russian writer Viktor Pelevin's novel Generation “P” (translated into English by Andrew Bromfield as Homo Zapiens), works to adapt American advertisements for the Russian market and witnesses how the reality of Russia’s tumultuous 1990s is replaced by a consumer-driven television simulation. Puns in the advertising slogans that Tatarsky translates, interspersed throughout Generation “P”, are central to its plot. Some of these puns exhibit greater sophistication than others: in addition to utilizing homonymy, homophony, homography, paronymy, and polysemy, they involve transmesis, multilingualism, and intertextuality. This article compares how Pelevin’s translators (English, German, Polish, Spanish, and French) approached these difficult puns. The objective of this comparative analysis is to demonstrate how the intertext(s) evoked through wordplay may, on the one hand, impede translation, but, on the other, open avenues for creative solutions, by producing new traces and echoes of meaning that make the act of translation possible. The issues raised by the various translations point to a need to re-examine the roles and tasks of the translator and underscore the importance of keeping the (un)translatability debate open. Ultimately, this article aims to contribute to the ongoing reconceptualization of what literary translation is and, especially, what it does: with texts, readers, literatures, and, above all, with language.

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Norberg, Ulf. "Translating Humorous Elements in Children’s Books – Astrid Lindgren’s Bill Bergson Books in English and German." Linguaculture 9, no. 2 (December 10, 2018): 99–110. http://dx.doi.org/10.47743/lincu-2018-2-0126.

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Research in the translation of humorous elements in children’s books is a complex subject, which cannot be reduced to studies of wordplay and of other highly humorous items. The translation of slightly humorous items can also influence the whole literary work if such elements are used frequently. This article analyses the ways in which such funny instances were dealt with in the English and German translations of the Bill Bergson books (original name: Kalle Blomkvist) by the Swedish author of children’s books Astrid Lindgren (1907-2002). More specifically, it discusses the translation of several funny words and expressions, repetitions and exaggerations.It is shown that the humorous effects in the English translation are sometimes less obvious than in the German translation, even if both translated texts rendered the majority of humorous instances in a very funny way.

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Kovács, Gabriella. "Translating Humour – A Didactic Perspective." Acta Universitatis Sapientiae, Philologica 12, no. 2 (November 1, 2020): 68–83. http://dx.doi.org/10.2478/ausp-2020-0013.

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AbstractHumour has various faces and forms, deriving from double meanings, situations, wordplay, often with hidden or obvious cultural references. It may also be subjective; the same things may seem humorous for some people and not funny at all for others. Probably most translators would agree that translating humour is definitely a very challenging task, especially when it is strictly related to the language itself or to a certain culture or community. However, there are certain forms of humour, especially situational or anecdotal, which focus on universal aspects or elements of human life, and therefore may be understood and considered as funny by people from different cultures. In this study, we discuss some theories, principles, recommended techniques and strategies related to translating jokes, wordplay, and humorous idioms which in our opinion may be included in the translator-training curriculum. We also examine the strategies and techniques used by a group of translator trainees in their second year of studies in translating humour from English into Hungarian, focusing on the difficulties they encountered, in order to assess their needs and include more practice and useful tips in the training process.

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Ballard, Michel. "Wordplay and the Didactics of Translation." Translator 2, no. 2 (November 1996): 333–46. http://dx.doi.org/10.1080/13556509.1996.10798982.

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Yahya, Mohammad, Tanti Juliyanti, and Hazma Hazma. "Applying ‘Soft Tools of Translation’ in Translating Four O Henry Short Stories." Jurnal Bahasa Inggris Terapan 1, no. 1 (October 1, 2015): 54–73. http://dx.doi.org/10.35313/jbit.v1i1.1295.

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This paper was written based on the practice of translating four O. Henry stories into Bahasa Indonesia. The translated stories are “A Harlem Tragedy”, “A Lickpenny Lover”, “The Last Leaf”, and “The Pendulum”. The strategy of translation and the techniques proposed by Molina and Albir were applied, combined with the the application of theories of meaning, grammatical equivalence, and stylistic devices. In this study these aspects are termed as ‘soft tools of translation’. By applying the soft tools, the witticism, clever wordplay, unexpected ‘twist’ ending and epic life moment of ordinary people, as the characteristics of O Henry’s short stories, and foreign culture elements were pursued to preserve in the translation.Key terms: translation, soft tools, short stories, charateristics, culture elements, preserve

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Bradford, Terry J. "Translating Boris Vian's Vercoquin et le plancton: Does it mean a thing if it ain’t got that swing?" French Cultural Studies 33, no. 1 (December 8, 2021): 74–90. http://dx.doi.org/10.1177/09571558211042865.

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This article is the result of research and reflection undertaken in the process of translating Vercoquin et le plancton. Focusing on music-related references in Boris Vian's first published novel, this article will discuss different layers of meaning and a variety of techniques that can be discerned in Vian's punning and wordplay. The complexity and compactness of his writing make for an exceptional case study. Whilst much of the wordplay may justifiably be classed as ‘juvenile’, its many facets also reflect life in Occupied France, document the Zazou movement, voice a manifesto for jazz, and stage playfulness that can be viewed as ranging from the very silly to a form of resistance. Such sophistication – largely overlooked, hitherto – justifies re-evaluation of Vian's early work. Analysis of a number of challenges to translation gives rise to discussion of possible solutions, based on different considerations – genre, function and audience – and using different ‘tools’. This article seeks not to justify my own choices in translation. Rather, it should illustrate the point that research is essential, and that interpretation and creativity are necessary if one's strategy in literary translation is to try to provide a new audience with similar opportunities for their own readings as a Francophone audience might have.

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Borisenko, Yu A. "LITERARY NONCE WORDS AS A TRANSLATION PROBLEM (BASED ON ENGLISH LITERARY TALES)." Bulletin of Udmurt University. Series History and Philology 30, no. 5 (October 27, 2020): 774–84. http://dx.doi.org/10.35634/2412-9534-2020-30-5-774-784.

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The article examines specific characteristics of literary nonce words on the example of English literary tales. It attempts to classify them on the basis of the word-building patterns used (highlighting the so-called nursery words and nonce words proper). It also describes their main functions in a literary text. The research objectives also included a comparative analysis of the translations of famous English literary tales. The analysis proved that the main translation strategies while dealing with literary nonce words are the creation of nonce words in the target language, descriptive translation and compensation. The most successful translation decisions take into account the target audience of readers and include the use of wordplay, as well as phonetic expressive means such as rhyme, alliteration and onomatopoeia. In general, the translation of nonce words directly depends on the specifics of word-building patterns that exist in the source and target languages.

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Колосова, Полина Алексеевна. "WORDPLAY IN TV SERIES AS A TRANSLATION DIFFICULTY." Вестник Тверского государственного университета. Серия: Филология, no. 4(67) (November 24, 2020): 180–84. http://dx.doi.org/10.26456/vtfilol/2020.4.180.

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В статье анализируются факторы, затрудняющие передачу игры слов при переводе в киносериалах. Киносериал рассматривается как поликодовый текст, который становится сложным контекстом функционирования игры слов. Так, к примеру, игровые приёмы могут вступать в непосредственное взаимодействие как с видеорядом, так и со звуковым оформлением кинопроизведения. The paper deals with the factors that often make wordplay in TV series virtually untranslatable. TV series being a polycode text consists not only of the verbal component but also visuals and sound. All of these create a complicated context in which wordplay is actualized. The context cannot possibly be changed and this can cause a number of difficulties.

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Ли, Цзин, and Татьяна Николаевна Бурукина. "Peculiarities of translation of words play from Russian into Chinese (on the example of V. Pelevin's novel “Generation “P”)." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 2(277) (October 6, 2021): 64–71. http://dx.doi.org/10.53598/2410-3489-2021-2-277-64-71.

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Исследуются особенности перевода языковой игры русскоязычных произведений на китайский язык. Цель работы заключается в выявлении основных подходов к переводу игры слов в «классическом» современном романе В. Пелевина «Generation “П”» на китайский язык. Анализируемый материал представлен примерами из романа и его перевода, определяющиеся поэтикой различных названий; звучанием слоганов; обращением к текстам знаковых песен; обыгрыванием английской графики, английских выражений в русском культурном контексте; «обращенностью» к классике, ее крылатым выражениям. На основе проведенного анализа было установлено, что особенности передачи игры слов при переводе художественного текста с русского языка на китайский обусловлены целым рядом переводческих приемов и методов (в т.ч. замены, добавления и пр.), позволяющих представить «игровую» постмодернистскую эстетику, построенную по принципам интертекста. Материалы исследования могут служить основой для разработки переводческих соответствий в языковой паре русский-китайский. The article dwells upon the features of the translation of the language game from Russian into Chinese. The purpose of this work is to identify the main approaches to the translation of wordplay in the “classic” postmodern novel by V. Pelevin “Generation “P” into Chinese. Examples from the novel and its translation, determined by the poetics of various names, were used as the analyzed material; sounding slogans; referring to the texts of iconic songs; playing with English graphics, English expressions in the Russian cultural context; “appeal” to the classics, its catchphrases. Based on the analysis, it was found that the peculiarities of the transfer of wordplay when translating a literary text from Russian into Chinese are due to a number of translation techniques and methods (including replacements, additions, etc.) that allow us to present “playful” postmodern aesthetics which are built on the principles of intertext. Research materials can serve as a basis for the development of translation equivalents in the Russian-Chinese language pair.

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Díaz-Pérez, Francisco Javier. "The Translation of Wordplay from the Perspective of Relevance Theory: Translating Sexual Puns in two Shakespearian Tragedies into Galician and Spanish." Meta 58, no. 2 (March 31, 2014): 279–302. http://dx.doi.org/10.7202/1024175ar.

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The present paper aims to analyse the translation of puns from a relevance-theory perspective. According to such theoretical framework, the relation between a translation and its source text is considered to be based on interpretive resemblance, rather than on equivalence. The translator would try to seek optimal relevance, in such a way that he or she would use different strategies to try to recreate the cognitive effects intended by the source writer with the lowest possible processing effort on the part of the target addressee. The analysis carried out in this study is based on two tragedies by Shakespeare – namely, Hamlet and Othello – and on five Spanish and two Galician versions of those two plays. The strategies used by the translators of those versions to render sexual puns have been analysed, focusing not only on the product but also on the process. The selection of strategy is determined, among other factors, by the specific context and by the principle of relevance. In those cases in which there is a coincidence in the relation between the levels of signifier and signified across source and target language, translators normally opt to translate literally and reproduce a pun based on the same linguistic phenomenon as the source text pun and semantically equivalent to it. In the rest of the cases, the translator will have to assess what is more relevant, either content or the effect produced by the pun.

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Brezolin, Adauri. "As lost as a pun in a corpus: an investigation into noncanonical phraseological occurrences in large corpora and translation." Tradterm 37, no. 2 (January 29, 2021): 460–87. http://dx.doi.org/10.11606/issn.2317-9511.v37p460-487.

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Although it might appear contradictory to investigate noncanonical phraseological combinations in corpora, corpus linguistics research has revealed that they exceed canonical forms in number (Philip 2008). This paper intends to discuss the idea of fixedness by analyzing variant forms of idioms, and if they qualify as wordplay. The Web, our data source, is employed for collecting such noncanonical occurrences in both English and Portuguese using keywords on the Google Search Engine. Our discussion mainly draws on studies relating to fixed phrases (Kjellmer 1991; Granger & Paquot 2008; Tagnin 2013); phraseological skeletons (Renouf & Sinclair 1991; Philip 2008), and idiom transformations (Veisbergs 1997; Barta 2005). Due attention is also given to search queries of nonstandard forms of fixed expressions in corpora (Philip 2008), and the translation of idiom-based wordplay (Veisbergs 1997; Brezolin 2020)

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Towner, Philip H. "The Good News Bible at 50(ish): Translation, Localization, and Alterity." Bible Translator 69, no. 3 (December 2018): 366–82. http://dx.doi.org/10.1177/2051677018803671.

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This article will explore the Good News Bible (GNB) as an example of a translation designed to “localize” the source text—in this case, by virtue of its strategy to produce a translation in contemporary language. In this approach, designed to enhance the reader’s chance of making meaning, there are gains and losses. On one level, greater accessibility to the text for a wider audience may seem to be achieved, while at another level, access to the otherness/alterity in the source text (intertextuality, wordplay, etc.) is closed off. Several examples will illustrate some of these gains and losses in GNB.

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Demydenko, Olga, and Oleksandra Kozyriatska. "SOME PECULIARITIES OF THE UKRAINIAN TRANSLATION OF THE ENGLISH WORDPLAY IN STICOMS." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 4(72) (December 27, 2018): 82–85. http://dx.doi.org/10.25264/2519-2558-2018-4(72)-82-85.

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Weissbrod, Rachel. "‘Curiouser and Curiouser’: Hebrew Translations of Wordplay inAlice’s Adventures in Wonderland." Translator 2, no. 2 (November 1996): 219–34. http://dx.doi.org/10.1080/13556509.1996.10798975.

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Lalić-Krstin, Gordana. "Translating English Wordplay into Serbian: Evidence from Three Dystopian Novels." Belgrade English Language and Literature Studies 10 (2018): 327–48. http://dx.doi.org/10.18485/bells.2018.10.15.

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Rick, Evelyn Patrick. "CICERO BELTS ARATUS: THE BILINGUAL ACROSTIC AT ARATEA 317–20." Classical Quarterly 69, no. 1 (March 21, 2019): 222–28. http://dx.doi.org/10.1017/s0009838819000235.

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That Cicero as a young didactic poet embraced the traditions of Hellenistic hexameter poetry is well recognized. Those traditions encompass various forms of wordplay, one of which is the acrostic. Cicero's engagement with this tradition, in the form of an unusual Greek-Latin acrostic at Aratea 317–20, prompts inquiry regarding both the use of the acrostic technique as textual commentary and Cicero's lifelong concerns regarding translation.

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Chiaro, Delia. "Delabastita, Dirk, ed. 1996. Wordplay & Translation. Special Issue of The Translator: Studies in Intercultural Communication & Delabastita, Dirk, ed. 1997. Traductio: Essays on Punning and Translation." Target. International Journal of Translation Studies 12, no. 1 (September 12, 2000): 161–66. http://dx.doi.org/10.1075/target.12.1.11chi.

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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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Crisafulli, Edoardo. "The adequate translation as a methodological tool." Target. International Journal of Translation Studies 13, no. 1 (November 8, 2001): 1–28. http://dx.doi.org/10.1075/target.13.1.02cri.

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This paper argues that the question of theoretical translatability is crucial both to source-oriented and target-oriented approaches. Reflecting on translatability requires a discussion of Toury’s notion of ‘adequate translation’, which has two senses: the general or ideal approximation to source-text norms, and the tertium comparationis represented by a source-text-oriented translation (i.e. showing how the original ‘can’ be translated). It is argued that both senses have heuristic value in Translation Studies. The explanatory power of target-orientedness is demonstrated by discussing the various strategies pursued by seven Anglo-American translators of Dante who either re-create or avoid rewriting grotesque onomastic wordplay in Inferno. Zero translation policy of Dante’s names is not considered to be evidence of their inherent ‘untranslatability’ since for an empiricist nothing is untranslatable. Evocative names may be translated in a creative way provided the rewriter is willing (or allowed) to be innovative.

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Pablé, Adrian. "The importance of re-naming Ernest?" Target. International Journal of Translation Studies 17, no. 2 (December 31, 2005): 297–326. http://dx.doi.org/10.1075/target.17.2.05pab.

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The present descriptive study considers different translation strategies adopted by Italian translators of Oscar Wilde’s The importance of being Earnest (1895). The focus of attention is on the phenomenon of the pun involving the speaking name Ernest, whose homophony with earnest is exploited in the play’s title. Italian translators of The importance have thus been faced with the bind of having to decide on whether to render the said wordplay, even though only unsatisfactorily, by replacing the transparent name Ernest with a target language ‘equivalent’, or safeguard the cultural-onomastic ‘reality’ of the play, i.e. leave the Victorian given name Ernest in its source text form. It turns out that the latter policy is generally compensated for—as part of the metatextual/metalinguistic discourse—within prefaces, glosses and, more significantly, via intratextual additions. The translators opting for replacing Ernest with an Italian counterpart, in turn, have, as a direct consequence of their basic choice, been able to enrich their versions of The importance with unprecedented puns, which underlines the ‘creative’ dimension involved in producing literary translations. Besides the two core translation policies described above, the translators have also opted for introducing the nativized form Ernesto, thus showing little concern with the questions of ‘cultural purity’ or punning, respectively. The present paper suggests that translators make very different demands on themselves and have very different ideas of what constitutes the ‘optimal’ strategy with regard to punning and the representation of the source cultural world.

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Hniedkova, O. G., and Z. O. Karpenko. "PECULIARITIES OF PUN FORMATION AND TRANSLATION OF PUN AS A TYPE OF WORDPLAY." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 2, no. 1 (2021): 254–61. http://dx.doi.org/10.32838/2710-4656/2021.1-2/44.

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Al-Kharabsheh, Aladdin, and Abeer Barahmeh. "Allusive wordplay in Arabic-to-English translation: Ahmad Hasan as a case study." Asia Pacific Translation and Intercultural Studies 8, no. 3 (September 2, 2021): 236–53. http://dx.doi.org/10.1080/23306343.2021.1996132.

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Javier Díaz Pérez, Francisco. "Wordplay in film titles Translating English puns into Spanish." Babel 54, no. 1 (March 1, 2008): 36–58. http://dx.doi.org/10.1075/babel.54.1.04da.

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., Nurlaila, Mangatur Nababan, Djatmika ., and Riyadi Santosa. "Translation Issues in the Children Comic ‘Donald Duck’." International Journal of Engineering & Technology 7, no. 3.21 (August 8, 2018): 389. http://dx.doi.org/10.14419/ijet.v7i3.21.17198.

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This research is conducted as other researches discussing translation issues focused on identifying techniques implemented to translate a specified translation issue rather than identifying all issues which are possible to be obstacles for translators. However, a research covering as many issues as possible becomes important in order to contribute theories and solutions to ease translator’s job. The aim of this research is to identify translation issues in the English version of Donald Duck Comics. The data are texts contained in the comic panel involving words, phrases, clauses and sentences which are potential to be difficulties for translators. Document analysis is employed to collect the data by reading the comic thoroughly, and noting down them. The validation is conducted by focus group discussion involving one translation expert and three members of doctoral program students majoring in translation. The result of this research shows that there are nineteen (19) translation issues involving abbreviation, cultural terms, dialect, ellipsis, humor, idiomatic expressions, informal expressions, interjections, kinship terms, measurement unit terms, non-standard grammatical structure, onomatopoeia, pronoun, proper name, sarcastic expressions, slang, speaking fluency disorder, swearing and wordplay. The result of this research can be developed into a translation model providing a translation issues mapping along with translation techniques choices which can be used as a translators’ guide.

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Smoleńska, Agnieszka. "Wordplay in selected Polish translations of Alice’s Adventures in Wonderland by Lewis Carroll." Crossroads. A Journal of English Studies, no. 2 (2013): 58–71. http://dx.doi.org/10.15290/cr.2013.02.05.

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Journal articles on the topic 'Wordplays in translation'

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