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Humor for Intellectuals: Can it Be Exported and Translated?
... As far as the translation of the dialogues is concerned where the cause of failure is because of cultural differences. Cultural differences are one of the major causes of false translation assessed by many researchers such as Zughoul, & Abdul-Fattah, 2003;Aldahesh, 2008;Badawi, 2008;Alousque 2009;Diot, 1989;Del Corral, 1988;Tymoczko, 1987;and Laurian, 1989 in the field of translation study. The failure in translation does not only occur at the level of the words but at also the level of meaning since meaning is conventional hence different societies have attributed different meanings to words that might not be present in the target language which resulted in deviations. ...
... Nevertheless, in the 1995 film Heat (Mann, English), in which for the first time, Pacino's dialogue was dubbed by another re-voicing artist by replacing Amendola to which the Italian responses were negative and did not feel comfortable as they did not expect it. Diot (1989) estimated that for translators the challenging aspect of language translation is 'Humor'. It is sometimes seen as a model instance of "untranslatability". ...
The present research study deals with the Audiovisual transcreation of English film into the Hindi language since it is not possible to translate any two languages through word-for-word translation. In fact, each society has its own language which is associated with a set of conventions, rituals, and beliefs attached to it. Consequently, translation from one culture to another is only conceivable via transcreation. For dubbing the English film Dumb Dumber 2, the translator has purposely chosen transcreation with the intended audience in mind. In word-for-word translation, the focus is given to the form which would not work here, thus the translator has advisedly chosen transcreation owing to linguistic and cross-cultural variances. Transcreation is an effective strategy for evading misunderstanding, and distortions of the source language. Furthermore, as we all know the twenty-first century is a techno-electronic age in which everything has become creative; similarly, translation has also become creative where 'sense to sense' translation is taken into account. Hence, the present research study assists the translators in focusing on the thematic, content, and sense-to-sense translation for which transcreation is an appropriate strategy to employ. However, due to cultural disparities word-to-word translation is not a viable strategy since it would not transmit the social meaning but rather that would lead the audience to chaos. To make the translation meaningful for the audience it needs to be reshaped in accordance with the social-cultural standards of the audience. The current research study is qualitative in nature, with data gathered from the film Dumb and Dumber 2. The English and Hindi dubbed versions of the movie are compared and evaluated to find the divergence that contributes to the act of modifying the form of the conversation in the target language. 1. Introduction Today, living in the twenty-first century intercultural communication is the basic necessity of every second individual; hence, it is inevitable to escape from the diverse lingua-cultural backgrounds due to globalization, which is influenced by a variety of reasons. Thus, we need to think of the situation, language, and culture for intercultural communication. One way out of it is the translation which can lead us to intercultural communication. And it is now important to adopt fresh perspectives and paradigms to evaluate and characterize the phenomenon of translation. In doing so the intercultural communicative competence of the translator capable him to cognate, identify, grasp, and interpret his own and another person's vision of the world in their interaction to assure the excellent translation of the source text into the target language text (Tareva, 1476). Offered the expansion of translation and interpreting degrees throughout Europe and the increase in the number of audiovisual translation courses within these degrees (particularly in Spain), the need for a model of analysis for audiovisual texts from a translation studies perspective is becoming even more pressing. When the translators are adopting any method for the translation it must have objective concentration and a systematic approach. Moreover, if a model can show the strategies and techniques through which the translators would be able to meet their assignments and further diminish the need for improvisation rather than innovation (Chaume,2012). The main objectives of this research study are to investigate the elements behind the act of changing the original English film dialogues into the Hindi language. Secondly, to find out the role of transcreation in the dubbing of English dialogues into the Hindi language which are two different languages having different cultural aspects. The current research study analyzed cultural and comic aspects of the determined languages, which pose a hurdle for the translator during the dubbing of films. As a result, the translator has to change the entire dialogue to make it understandable for the target audience. As we know that each language has its norms, traditions, and values attached to it therefore language is merely a reflection of culture and culture is untranslatable. The translation is the process of analysis, interpretation, and creation which enables the readers to replace one set of linguistic resources with another. In the process, part of the original meaning is lost but an identifiable core is kept. It so happens that no two languages happen to have exact equivalents whether on phonological, morphological, syntactic, or any other level. It is not possible to reproduce a text perfectly in another language especially when the languages concerned are as distant as the Asian languages and English language. The translator, thus, takes the role of a 'translator', and a 'creator' translation when done well turns out to be transcreation writing. Frenz (1961) pointed out that a translator creates something that is not something creative or imitative but stands between the two pools which in other terms is known as transcreation. In the process of transcreation, the ingredients are taken from the source language and integrated into the target culture. In the same line of reasoning, Steiner (2016) specified that at its best the peculiar synthesis of conflict and collaboration creates the impression of a third language, or a medium of communicative energy which somehow reconciles both languages in a deeper more comprehensive way than either.
... En cuanto a los estudios respecto a la oportunidad que ofrece el cómic para la introducción de políticas sociales, estos son escasos en el campo de los estudios de traducción e interpretación (González-Montesino y Moreno-Rodriguez 2021), pero no fuera de este (por ejemplo, Dittmer 2007). Dentro de los intereses traductológicos por el cómic, son más frecuentes otros aspectos ideológicos, como la censura o la domesticación en sentido venutiano (Bosco Tierno 2015; de la Iglesia 2015; Brienza 2016), así como los aspectos lúdicos (Diot 1989;Kaindl 2008;Asimakoulas 2019). Esa vinculación entre lo gráfico y lo lúdico se ha explorado ampliamente en el ámbito de la educación (Tilley y Weiner 2016) y es la que hace de este un género especialmente interesante para el presente estudio. ...
Gender-inclusive language, both binary and non-binary, advocates for wider visibility of non-dominant genders. However, in the Spanish context, this language, especially the binary variant, has been received with much opposition led by the institution establishing linguistic norms. This paper addresses the possibility of using gender-inclusive language as a political practice in translation and explores how entertainment genres, particularly comics, and information on the social goals of heterodox linguistic practices may be conducive to relaxing the adherence to dominant doxas. By priming responses based on two gender-inclusive (one binary and one non-binary) translations of the comic Morgane by Kansara and Fert, differences between four focus groups were analyzed. Two of them received a briefing session detailing the social agenda of gender-inclusive language, and two were offered no such sessions before reading and discussing the translations. Results showed how the briefing sessions relaxed adherence to the dominant doxa even though the social purpose of gender-inclusive language was widely questioned. Further, results evinced that binary translation was more strongly opposed than the non-binary variant. It is argued that translation can be used as a tool for political and social change and become instrumental in advocating for equal opportunities for all genders.
... Principalmente durante la década de los 80 del siglo pasado, cuando la investigación en Traductología empezaba a experimentar un primer apogeo real, es el momento en que se ubica un primer debate sobre la traducibilidad del humor. En esos años, investigadores como Santoyo (1989), Diot (1989) o Van Crugten (1989), por una parte, defendían la imposibilidad de traducir fenómenos humorísticos (FH, en la investigación de Ponce-Márquez). Por otra parte, sin embargo, las investigaciones de otros traductólogos como ...
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
... Principalmente durante la década de los 80 del siglo pasado, cuando la investigación en Traductología empezaba a experimentar un primer apogeo real, es el momento en que se ubica un primer debate sobre la traducibilidad del humor. En esos años, investigadores como Santoyo (1989), Diot (1989) o Van Crugten (1989), por una parte, defendían la imposibilidad de traducir fenómenos humorísticos (FH, en la investigación de Ponce-Márquez). Por otra parte, sin embargo, las investigaciones de otros traductólogos como ...
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.
... Regardless of whether the translation of the verbal content is considered more or less successful (in whatever way this may be measured), humour in comics relies to a large extent on understanding and being part of a culture. According to Diot (1989), for instance, Trudeau's strip was less popular outside of the USA, including Britain and other English-speaking countries, because its humour is very culture-speci c and it implies a level of participation and a ritual of puri cation which is often lacking in non-US citizens. Diot argues that this humorous dimension is lost to someone outside that culture. ...
Cartoons and comics are often closely associated with humour. However, while most cartoons are certainly humorous, humour is not a dee ning feature of comics at large. The word 'comics' can in fact be considered a misnomer (Eisner 2004: 16) since as Heer and Worcester (2009: XIII) argue, '[t]he term suggests a humorous intent that is inconsistent with the actual content of many, perhaps most, comic strips, comic books and graphic novels.' So, while many comics genres exist which are not humorous at all (Zanettin 2008a), humour cuts across formats and genres in comics as in written texts and cinema. In what follows, I will make a distinction between the translation of humour in cartoons and the translation of humour in comic strips and comic books, highlighting differences and similarities.
The aim of this study is to examine practices in translating adult-oriented linguistic humour in children’s animated movies. The research presents a corpus-based mixed study which draws insights from humour translation, translation of children’s literature (specifically the address problem) and audiovisual translation. The corpus-data were collected from forty randomly chosen Hollywood-made animated movies released between 2010-2019. In order to distinguish a humorous instance as adult-oriented, Akers’ (2013) adult humour categories were applied. The translation strategies applied to the target movies were categorised in accordance with their functions as retainment, replacement and omission. The classification of translation strategies used in this study was developed relying on the available translation strategies of Delabastita (1996) for puns, Leppihalme (1997) for allusions and Mateo (1995) for irony. Further, the data were interpreted both qualitatively, according to Asimakoulas’ (2004) theoretical model for the translation of humour, and quantitatively. The analysis revealed that to preserve adult-oriented humour, the most successful translation strategies belong to the Replacement Set while the least successful set is the Omission Set. According to the overall results, the general tendency is towards the elimination of adult-oriented humour.
Karikatürler geçmişten günümüze kadar toplumların kültürlerinde önemli yere sahiptirler. Bir iletişim aracı olarak sevilerek okunan karikatürlerde yaşamın içinden çok farklı konular ele alınmaktadır. Yazılı çevirinin bir alanı olarak karikatür çevirisi yapmak isteyen çevirmenlerin kaynak ve hedef dile hakim oldukları kadar, kaynak ve hedef kültüre de hakim olması beklenmektedir. Karikatür çevirilerinin çeşitli sorunlar içermesi bu yüzden şaşırtıcı değildir. Bu sebeple bu çalışmanın amacı, mizah-kültür ilişkisini açıklayarak çeviri eğitimindeki çeviri ve alt edinçlerinin önemini vurgulamaktır. Çeviri eğitiminde çeviri edincini oluşturan tüm alt edinçleri: dil edinci, metin edinci, kültür edinci, aktarım edinci, araştırma edinci, uzmanlık edinci, iletişim edinci, teknoloji edinci kazandırmak amaçlanır. Çeviri öğrencilerinin bu alt edinçleri edinerek, çeviri edincine sahip bir şekilde mezun olmaları beklenmektedir. Bu çalışmada, çeviri alt edinçlerden dil edinci, kültür metin ve aktarım edinçlerine odaklanılmıştır. Karikatür çevirisindeki değinilen sorunlar için çevirmenlerin bunlarla kültürel, teknik ve dilsel bağlamda nasıl yüzleştiği gösterilmiş ayrıca çeviri edinçleri arasındaki ilişki irdelenmiştir. Karikatür çevirisine çevirmen, sadece dil bilgisi ile çeviri yapamayacağı aynı zamanda çeviri, kültür ve diğer alt edinçlere de ihtiyacı olduğu açıktır. Çalışmada bu bağlamda çeviride çevirmenlerin rolü, çeviri eğitimi ve çeviri edinçlerinin önemi ve dikkat edilmesi gereken noktalara dikkat çekilmiştir. Uygulama bölümü için Trakya Üniversitesi Edebiyat Fakültesi Almanca Mütercim-Tercümanlık bölümünde 3. Sınıf seçmeli dersi olarak verilen “Karikatür ve Çizgi Roman Çevirisi” dersi öğrencilerinin sınav kağıtlarındaki çevirileri değerlendirilmiştir.
The present paper aims to unveil various types of humor utilized in Toy Story (1995), define the linguistic and cultural limitations in translating humor, and finally to assess the quality of two translated versions in Arabic, in Modern Standard Arabic (MSA) and Egyptian dialect translation. The data was plausibly sorted into two main relevant categories, language-based humor, and culture-based humor. House's (1997) model of translation quality assessment is applied to a wide range of the extracted data, documenting an outline of all humorous instances between the individual case study in the source text (ST) and both target text (TT) versions. The MSA translation shows to predominantly favor opting for an overt translation whereby maintaining the form of the text is instinctively prioritized over conveying the function, i.e., the humorous effect. The colloquial version is in awe of covert translation, in which transmitting the humorous function of the text is clearly prioritized over the form. The dialect-based translation does not restrict itself to the form (i.e., form-restricted translation), and ensuing free version comes to the fore; it facilitates familiarizing the text to the linguistic and cultural standards of the target audience, makes the TT translation easier to associate with, and gives rise to better results in the conveyance of the communicative function as well as the humorous function.
Çeviri edebiyat eserleri, çocuklar için dışarıya açılan bir penceredir. Çeviri sayesinde çocuklar yabancı dünyayı ve başka kültürleri tanıyarak öğrendikleri yeni kültürle kendi dünyasını karşılaştırma fırsatı bulur. Mizah içeren edebî eserler, öğrenme işini en iyi eğlenerek ve gülerek yapan çocukların zihinsel ve ruhsal gelişimleri açısından da büyük önem arz etmektedir. Çocuklar kendi dünyaları dışında yabancı olan toplumların mizahlarını çeviri yoluyla öğrenmektedirler. Kültürel ve dilsel ögeler içermesi sebebiyle çocuk edebiyatında mizahın başka bir dile ve kültüre aktarılması son derece zordur. Çocuk edebiyatında mizahın aynı zamanda çocuğa göreliğin düşünülerek aktarılması gerekmektedir. Bu bağlamda çalışmada çocuk edebiyatındaki mizah unsurlarının çevirisi ele alınmıştır. Yusuf Asal’ın kaleme aldığı Bizim Matrak Sınıf adlı kitap serisinin Arapçaya çevirisinin incelendiği çalışmada kaynak metinlerde yer alan mizah unsurları Johnson (2010) tarafından geliştirilen resimli çocuk kitaplarındaki mizahi unsurları inceleme formuna göre belirlenmiştir. Ayrıca mizah unsurlarını aktarırken hangi çeviri stratejilerinin kullanıldığı incelenmiş ve çeviriler Newmark’ın (1988) eşdeğerlik yaklaşımı bağlamında değerlendirilmiştir. Çalışmada elde edilen bulgular doğrultusunda, mizah unsurlarının çok fazla dilsel ve kültürel referanslar içerdiği gözlemlenmiş, buna bağlı olarak çevirmenin pek çok yerde kültürel ve betimleyici eşdeğerliğe başvurmak durumunda kaldığı görünmüştür. Bu bağlamda mizah unsurlarının aktarımı sırasında sorunlar yaşandığı ve bunun kültürel mizah kayıplarına sebep olduğu saptanmıştır.
Adapting advertisements across distant languages and cultures poses challenges due to their heavy cultural context. Complicating matters, some ads mix various text types and genres. This study explores strategies for translating a humor-laden, hybrid-text ad into Arabic through dubbing. It investigates the effectiveness of different Arabic variants. The case study is an audiovisual ad by standup2cancer.org, featuring a cartoon Homer from The Simpsons, created to raise colon cancer awareness. Animation often escapes criticism due to its surreal nature, unlike real depictions that might be distasteful. Using Skopos Theory, the translations were analyzed, focusing on the decision-making process in creating functionally suitable versions for Arab audiences. A Think Aloud Protocol gathered data on participants’ decision agency during translation, validating choices. Most translators (80%) preferred Arabic vernacular, employing domestication (adaptation) as a macro-strategy and cultural substitution as a micro-strategy. Humor transfer succeeded best in Arabic vernacular, reinforcing its suitability for various text types and genres.
Keywords:
transcreation; hybrid text; dubbing; strategies; Arabic diglossia
En este artículo presentamos una investigación sobre la traducibilidad de los fraseologismos humorísticos en un género multimodal como es la comedia de situación. Uno de los fenómenos más difíciles de traducir es el humor. Asimismo, las unidades fraseológicas también son unas de las unidades lingüísticas más complicadas de trasladar a otra lengua. Si unimos ambos conceptos, fraseología humorística, se transforma en una de las tareas más arduas en la que se involucra un traductor. Según Zuluaga (2001) en el proceso traductológico de la fraseología se debe identificar, analizar y buscar la mejor equivalencia en la lengua meta. Partiendo de esta premisa, llevaremos a cabo el proceso contrario, es decir, seleccionaremos las secuencias humorísticas de la versión doblada en las que el humor se genere a través de una unidad fraseológica y comprobaremos qué recurso humorístico se hallaba en la versión original para que el traductor optase por la utilización de un fraseologismo. Como conclusión, se puede afirmar que, en la mayoría de los casos, el traductor ha optado por una equivalencia del fraseologismo tanto formal como de sentido.
Translating a humorous language is difficult for translators since even when the intended meaning is translated, the humorous effect may be missed due to the different translation strategies used in translating the text. This study intends to reveal the methods used in translating the language that contributed to the humorous effect in the Diary of a Wimpy Kid graphic series. Hopefully, this study will contribute to the literature on translating Humour into Arabic and determine whether translating Humour into Arabic effectively conveys its intended meaning beyond the language barrier. Random but funny chunks from various volumes were picked as the data source. Leppihalme’s (1997) humour translation model was used to analyse the data. A reading experiment was conducted with 17 teenagers to rate some chosen translated and non-translated sections to assess whether the methods succeeded. Then the obtained data were also subjected to a comparative mixed analysis. According to the analysis, there appears to be a repeating approach used to translate the text into Arabic, and this method is also used to translate potentially funny parts regardless of what context and co-text could contribute to the sense of humour effect. According to the findings, 37 individuals in both monolingual and bilingual groups thought the given Arabic-translated parts were not funny at all. In contrast, only 12 thought the same chunks in their English origin were not funny at all.
Pun and wordplay-both are rhetorical devices that take action on words and are inseparably linked to sense of humor. Due to the diversity of language, rendering puns and wordplay seems to be a big struggle for translators, as it may disappear in the target language or unable to maintain three translation criteria which are faithfulness, smoothness and elegance. We can assume that puns and wordplay are insurmountable difficulties for translator since some puns and wordplay appear as untranslatable cases into some languages in a specific manner, but it is also true that it can be perfectly transfer into other languages or in different manner. The research with title A case study on puns and wordplay in the novel “Lolita” by Vladimir Nabokov will focus on analyzing the chosen wordplay cases on its structures and linguistic features as well as how they were rendered from the source text to Vietnamese text. Other translated versions on languages such as Russian or Poland are also might be drawn into the analysis section in order to specify and compare the strategies that the translators applied to deal with puns and wordplay in the original novel.
The chapter considers verbal humour used in advertising as a rhetorical device. To understand humour, one needs to make inferences by resorting to background knowledge (the domain of pragmatics), and to knowledge of the linguistic code (the domain of semantics). This endeavour examines a series of successful marketing campaigns for ROM, a Romanian chocolate bar brand, and tries to analyse the humorous elements they feature from a pragmatic and semantic perspective. Dwelling on ingrained prejudices and stereotypes, the advertisements for the Romanian chocolate bar have managed to attract attention by humorously exaggerating and sometimes by shocking the audience, compelling them to take action and share their opinions on the advertised matters on various websites. This strategy, which employs humour extensively, has turned out to be successful and, as a consequence, the brand's sales have dramatically increased.
Notre étude de cas porte sur l’adaptation des spectacles d’humour québécois en Europe et sur ses potentiels effets sur l’authenticité de l’œuvre originale. Nous avons étudié des spectacles francophones et anglophones de trois humoristes québécois, Stéphane Rousseau, Louis-José Houde et Sugar Sammy. Ils ont la particularité d’être très populaires dans leur pays d’origine et d’avoir tenté d’exporter leur travail en Europe, surtout en France, mais n’y ont pas connu le même succès. Le travail de Stéphane Rousseau se caractérise par une adaptation très poussée de son spectacle qui va jusqu’à l’effacement partiel de son accent. Louis-José Houde a préféré n’apporter que très peu de modifications à ces textes, mais a choisi des thèmes universels. Enfin, Sugar Sammy a opté pour une réécriture quasi totale en fonction de son nouveau public cible et a accordé une grande place à l’improvisation. Nous avons consacré notre chapitre théorique à la situation sociolinguistique du Québec, à la définition de l’humour et à sa traduction (voire tradaptation) en stand-up, théâtre et dans le domaine audiovisuel. Nous avons choisi des outils d’analyse tels que la classification des blagues selon les problèmes qu’elles posent en traduction audiovisuelle (Zabalbeascoa, 2001), les figures humoristiques enseignées à l’École nationale de l’humour de Montréal (Ouellette & Vien, 2017a) et les théories philosophiques de l’humour, plus particulièrement la théorie de l’incongruité, théorie de la supériorité et théorie de la soupape (Carroll, 2014). Nous avons entrepris de comparer le spectacle de Stéphane Rousseau, intitulé Rousseau au Québec, et sa version adaptée en France par Franck Dubosc, Stéphane Rousseau : One-man-show afin de mesurer l’étendue des modifications introduites. L’étude des versions québécoises de deux sketchs joués à Paris par LouisJosé Houde, Goglu et La Guadeloupe, avait pour objectif de relever les éléments culturels qui auraient pu expliquer l’intraduisibilité de certaines blagues. Enfin, l’étude de moments d’improvisation de Sugar Sammy en français et anglais joués en France, au Canada et aux États-Unis permettait de montrer les marques d’adaptation dans une réécriture. Nous avons pu confirmer une partie de notre hypothèse en vérifiant que l’adaptation d’un spectacle d’humour québécois est nécessaire pour le rendre compréhensible chez le nouveau public cible, mais, contrairement à ce que nous avions également supposé, celle-ci n’entraîne pas toujours une perte de sens et d’originalité de l’œuvre, peut même créer un sentiment privilégié chez le nouveau public cible et ne semble pas gâcher l’expérience des spectateurs québécois. Enfin, nous avons pu partiellement vérifier que le manque ou l’absence d’adaptation pouvait nuire à la transmission du message humoristique initial et à l’établissement d’une connivence avec le public cible.
The present chapter considers verbal humour used in advertising as a rhetorical device. To understand humour, one needs to make inferences by resorting to background knowledge (the domain of pragmatics), and to knowledge of the linguistic code (the domain of semantics). This endeavour examines a series of successful marketing campaigns for ROM, a Romanian chocolate bar brand, and tries to analyse the humorous elements they feature from a pragmatic and semantic perspective. Dwelling on ingrained prejudices and stereotypes, the advertisements for the Romanian chocolate bar have managed to attract attention by humorously exaggerating and sometimes by shocking the audience, compelling them to take action and share their opinions on the advertised matters on various websites. This strategy, which employs humour extensively, has turned out to be successful and, as a consequence, the brand's sales have dramatically increased.
This study is concerned with translating humorous expressions from English into the Arabic Language with reference to Loss, Gain, and Compensation. The idea of the research developed from an observation by the researcher that when the target audience watches a drama of funny episodes, it is hard to interact, laugh or even smile, although the drama may be accompanied by subtitles in Arabic language. The study aims to illustrate the causes of untanslatability and loss, gain, and compensation in humor translation. To achieve the aims of the study, the researcher selected a sample of 10 humorous quotes and jokes from different hilarious resources, including episodes, movies, and sitcoms and other plays. The study was conducted qualitatively and descriptively by meticulously analyzing the translated quotes to probe the causes of loss in humor translation. The study results showed that humorous expressions encounter loss, gain and compensation which require a deep understanding of context and require a sense of humor from the audience and translators besides SL culture involvement. Moreover, the overall findings showed that many humorous expressions have no counterparts in Arabic Language, therefore, loss and gain and compensations are inevitable. Based on the findings, the study concluded that humorous expressions are more frequent and with multi-version and lack the equivalence in Arabic language. It also concluded that the types of humor are an essential element in reducing the sharp difference between the SL quote and its equivalent in the TL and the loss of humor in many cases is inevitable. Finally, the study explicated the main causes and the necessary strategies of loss, gain and compensation to transfer humor into Arabic Language.
Este artigo tem como intuito mostrar ao tradutor as dificuldades em como traduzir o elemento humorístico do texto-fonte para a língua-alvo, uma vez que não se trata apenas de uma questão de transposição de significado, e sim de elementos culturais – como os aspectos sociolinguísticos de um determinado grupo – que estão envolvidos no processo. Além disso, são elencadas algumas teorias pertinentes à linguagem do humor e como o tradutor, enquanto mediador textual, lida com esses aspectos para torna-los cômicos como no texto-fonte.
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The ongoing internationalization of audiovisual media increases the need for new ways of overcoming linguistic barriers. In Germany, where the common technique has always been dubbing, subtitles are however becoming more and more popular. The present article will deal with the application possibilities of subtitles in audiovisual translation with reference to humoristic elements. The article will present two theoretical approaches to the translation of humour which will be then put into practice by using three sketches of the Ecuadorian web series Enchufe.tv as an example. All three sketches are based on wordplays, a manifestation of humour which is extremely difficult to reproduce in other languages. By this means, the article will show the strengths of the methods presented, but also will point out the need for their further adaption to the specific characteristics of audiovisual texts.
Humor is something that invites laugh and it has become the heart of research in some various disciplines due to the fact that the ability to perceive and produce humor belongs to human trait. This ability develops through time and culture. To be able to perceive and produce humor, understanding context and schemata is inevitably needed. Psychology utilizes humor to reveal stress, linguistics investigates humor base on the linguistic units in producing and analyzing humor, and semiotics uses humor to reveal the message carried by signs in humorous texts. This article discusses the basic theories of humor and the application of some linguistic approaches towards humor
La traduction audiovisuelle, si elle est se prête à la glose métaphorique du passage de frontière linguistique comme toute autre forme de traduction, remet pourtant en question le concept de frontière : de l’écrit au parlé, de l’oral spontané à l’oral de performance, de l'entendu au vu, la ligne est imprécise. La frontière est donc plus vecteur de passage dans un continuum que de fermeture, malgré ce processus très contraint qu'est le doublage, dont nous nous attachons ici à définir les modalités, en approfondissant les concepts de traduction et d’adaptation : la littérature scientifique montre qu’ils se refusent à toute délimitation normative et sont l'objet d'un constat débat.
Notre intérêt se porte notamment sur la place de l’adaptateur-dialoguiste comme passeur linguistique et culturel du "texte" filmique, et sur l’importance de l’interprétation et de la phase de réception dans les choix traductifs induits, en particulier pour le doublage interlinguistique. L’image que se fait le traducteur du spectateur final devient alors déterminante pour subvertir avec succès la dichotomie auteur/cinéaste originel-spectateur allophone final. Nous nous appuyons pour cette étude sur la notion d’herméneutique comme exégèse et sur la théorie de la réception de Jauss et les notions afférentes d’Auteur et Spectateur modèles.
Résumé
Cette étude est basée sur un corpus d’environ deux cents annonces publicitaires humoristiques publiées dans divers magazines. Elle vise à étudier les techniques de création et de (re)création utilisées dans les textes sources et dans les textes cibles pour créer des effets humoristiques. Effectuée du point de vue de la rhétorique et de la sémantique interprétative, cette analyse montrera non seulement que l’humour est traduisible, mais que les traductions sont souvent excellentes.
Malgré le succès récent des
Humour Studies
et de la traductologie, la traduction de l’humour ne suscite pas souvent l’intérêt des chercheurs. La plupart des contributions traitent de la soi-disante «þ(in)traduisibilitéþ», qui se situerait aux niveaux «þculturelþ» et «þlangagierþ». Bien qu’en général les pensées soient empiriquement peu fondées et théoriquement déficientes, elles nous procurent une image plus concrète de ces difficultés de traduction culturelles et linguistiques. Pourtant, la «þcartographie culturelleþ» a tout intérêt à prendre l’humour traduit encore plus au sérieux: son absence ou présence et ses modalités se laissent lire comme des signes incontestables de frontières communautaires. La bibliographie élargie qu’offre cet article pourrait servir de point de départ d’une discussion plus articulée qui incorpore les résultats récents aussi bien des
Humour Studies
que de la traductologie.
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