Gian Luigi De Rosa, Francesca Bianchi, Antonella De's Translating Humour in Audiovisual Texts PDF

By Gian Luigi De Rosa, Francesca Bianchi, Antonella De Laurentiis, Elisa Perego

ISBN-10: 3034315554

ISBN-13: 9783034315555

Humour present in audiovisual items is, after all, performative in nature. If we think of circumstances of humour – any droll second happening in today’s fare of mixed-genre items as a composite of cognition, emotion, interplay and expression – we see that the verbal code turns into only one portion of 4 both major parts. And, as ‘expression’ isn't really constrained to verbal output by myself, humour could after all be created in absence of a verbal code. Translating humour for audiovisuals isn't too diverse from translating verbal humour tout courtroom. What makes humour happening inside of audiovisual texts extra complex is the truth that it can be visually anchored; in different phrases a gag or a shaggy dog story may well pivot on verbal content material directed at a selected aspect that's current in the photo process of an analogous textual content. because the time period itself indicates, audiovisuals include overlying constructions: a visible and an auditory channel every one of which comprise a sequence of either verbal and non-verbal parts which inextricably cross-cut each other. The members during this choice of essays current a chain of case reports from motion pictures and video-games exemplifying difficulties and options to audiovisual humour within the dubs and subs in quite a few language combos.

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Charles Crichton, Metro-Goldwyn-Mayer Studios. 1988. Bleichenbacher, L. (2008). Multilingualism in the Movies. Hollywood Characters and Their Language Choices. Tübingen: Francke. Corrius, M. (2008). Translating Multilingual Audiovisual Texts: Priorities and Restrictions, Implications and Aplications. Tesis doctoral, Universitat Autònoma de Barcelona. Burgess, A. (1962). A Clockwork Orange. London: Heinemann. Delabastita, D. (1983). There’s a Double Tongue. An Investigation into the Translation of Shakespeare’s Wordplay.

Casos previsibles incluirían: (i) invisibilidad total de la variación lingüística, o bien mediante la traducción de las palabras de L3TP a L2, o mediante la omisión de los fragmentos en las que hay L3TP; o (ii) el recurso de la técnica de la compensación mediante alguna variante poco frecuente de L2 o por la creación de un idiolecto. Se puede dar el caso de L3TM=L1, que se da cuando se decide cambiar L3TP por la razón que sea. Se podría recurrir a L1 como L3TM precisamente porque es la lengua del texto de partida (como una especie de ironía u otro recurso si es que L3TP coincide casualmente con L2) o simplemente porque la elección concreta de L3 realmente no importa (o hay unos cuantos de dónde escoger) y L1 es un recurso fácil y produce una relación más estrecha con el texto de partida.

Pierde su condición de L3 ya que se daría una coincidencia total entre L2 y L3TM y no se podrían distinguir una de la otra. Cuando se tradujo Fawlty Towers al catalán aparecieron otras combinaciones. Para la versión catalana, si se reproduce (repite) L3-español sin más, no pierde su estatus ni visibilidad, pero ciertas dinámicas en los actos de habla son difíciles de sostener dado que entre el público catalán sería casi imposible encontrar a alguien que no tuviera un conocimiento rudimentario suficiente del castellano para seguir tranquilamente los enunciados españoles de este programa.

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Translating Humour in Audiovisual Texts by Gian Luigi De Rosa, Francesca Bianchi, Antonella De Laurentiis, Elisa Perego


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