Doublage et duplicité : traduire l’humour verbal au cinéma

Brisset, Frédérique

doi:10.4000/traduire.688

Cited by 2 publications

(1 citation statement)

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“…The work of the translator depends on the modality (dubbing or subtitling). This problem attracts the attention of many scholars who reveal different implications of humour dubbing (see, e.g., Zabalbeascoa 1996;Dore 2009Dore , 2010Chiaro 2010;Bucaria 2007Bucaria , 2017Brisset 2015) and subtitling (see, e.g., Gottlieb 1997aGottlieb , 1997bHurtado & Molina 2002;Spanakaki 2007;Pedersen 2011;Bolaños García-Escribano 2017). Scholars report different verbal humour strategies for dubbing (see Chiaro 2010: 6-7), subtitling (see Gottlieb 1997: 210;Hurtado & Molina 2002), dubbing/subtitling (Bassnett 1980: 22;Fuentes 2010;Díaz Pérez 2017).…”

Section: The Particularities Of the Genrementioning

confidence: 99%

Audiovisual translation of puns in animated films: strategies and procedures

Александрова¹

2020

EJHR

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The translation of the pun is one of the most challenging issues for translators and interpreters. Sometimes puns, especially those containing realia, are considered to be untranslatable. Most translation strategies and procedures offered in previous findings for the translation of realia-based puns are not appropriate for audiovisual translations of animated films, for either dubbing or subtitling. It is caused by the specificity of the target audience, and the genre. The problem of choosing the most relevant strategy and procedures for realia-based puns is underexplored. To narrow the gap, the metamodern and semiotic approaches are applied to the translation of puns. In accordance with the semiotic approach, a pun is considered as a type of language game, based on the use of the asymmetry of the form, and the content of the sign. The “Quasi-translation” strategy offered in this paper reflects the attitude to the game in metamodernism, where the “game change” is one of the basic postulates. “Quasi-translation” involves three types of translation procedures: quasi-localisation, quasi-globalisation, and quasi-glocalisation. The term, “quasi-glocalisation”, is also used to denote the general strategy for the translation of audiovisual works containing realia-based puns, which involves: 1) oscillation between the need to adapt the translation to the target culture, and the need to preserve the culturally-marked components of the original; and 2) the reproduction of “atmosphere” (the common reality of the perceiver and the perceived). This insight can be used by audiovisual translator-practitioners, and university teachers in the course of translation theory and practice.

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