Natalisa Krisnawati 10202241060 Article 1 Translating Humor for Subtitling Humor is essential in everyday communication.

It is also important in many literary works and films. Humor is related strongly to the source language culture. When trying to translate humor, cultural elements and language-specific devices are expected to make the translator's work difficult, while some elements in the end cannot be transferred at all. Linguists have often accepted broader definitions, arguing that whatever evokes laughter or is felt to be funny is humor, e.g. that humor can be deduced from its effect. Kerbrat-Orecchioni's (1981) pragmatic definition of humor as a text whose perlocutionary, e.g. intended, effect is laughter, to be a more fruitful approach. More specifically, humor is whatever is intended to be funny, even if it might not always be perceived or interpreted as such. It is found to be problematic to define humor. Vandaele (2002:150) states that, the appreciation of humor may vary individually and so does the appreciation of a well or poorly translated text or subtitle. Raphaelson-West (1989:130) divided jokes into three main categories: linguistic jokes (e.g. puns), cultural jokes (e.g. the ethnic jokes), and, universal jokes (the unexpected). By following the study, we can conclude that humor is separated into isolated categories, namely wordplay (puns), allusions, and verbal irony, it can be examined more constructively and analyzed more efficiently. Wordplay or punning, is defined by Delabastita (1993) as follows: "Wordplay is the general name for the various textual phenomena in which structural features of the language(s) are used are exploited in order to bring about

a communicatively significant confrontation of two (or more) linguistic structures with more or less similar forms and more or less different meanings". According to Delabastita (1993:192-226) pun can be translated through the following ways:

Natalisa Krisnawati 10202241060 Pun rendered as pun. The ST pun is translated by a TL pun. Pun rendered as non-pun. A non-punning phrase which may retain all the initial senses (non-selective non-pun), or a non-punning phrase which renders only one of the pertinent senses (selective non-pun), or diffuse paraphrase or a combination of the above. Pun rendered with another rhetorical device, or punoid (repetition, alliteration, rhyme, referential vagueness, irony, paradox etc), which aims to recapture the effect of the ST pun. Pun rendered with zero pun. Here, the pun is simply omitted. ST pun copied as TT pun, without being translated. A new pun introduced. A compensatory pun is inserted, where there was none in the ST, possibly making up for ST puns lost elsewhere. Addition of a new pun. Totally new textual material is added, containing a wordplay as a compensatory device. Explanatory footnotes or endnotes, comments in translator's forewords, 'anthological' presentation of different, complementary solutions etc. Another kind of humor is allusions. Allusions are culture-bound, the degree to which they are intelligible across cultural and language barriers varies to a great extent. The sources of allusions, such as: history, literature, cinema and television, to name the most important ones, are only relatively rarely familiar beyond their cultures of origin, since popular culture seems to travel more widely than high culture. American television serials and films may be an exception to this phenomenon, but they will serve to emphasize the fact that cultural products seems to be crossing borders in one direction only. Irony can be defined as saying one thing and meaning something else, but this definition does not seem to be accurate. What distinguishes irony from sarcasm is the sense of some contradiction between the two stages of interpretation; the fact that irony "mal-codes," that is, "it misrepresents the real content of the message so that the contradiction must be assumed as normal, whereas a sarcastic statement is

Natalisa Krisnawati 10202241060 ostensibly sincere and provokes no feeling of contradiction at all". Irony can be translated through following ways: ST irony becomes TT irony with literal translation. ST irony becomes TT irony with 'equivalent effect' translation. ST irony becomes TT irony by means of different effects from those used in ST (including the replacement of paralinguistic elements by other ironic cues). ST irony is enhanced in TT with some word / expression. ST ironic innuendo becomes more restricted and explicit in TT. ST irony becomes TT sarcasm (i.e. more overt criticism). The hidden meaning of ST irony comes to the surface in TT (no irony in TT). ST ironic ambiguity has only one of the two meanings translated in TT (there is no double-entendre or ambiguity in TT therefore). ST irony is replaced by a 'synonym' in TT with no two possible interpretations. ST irony is explained in footnote in TT. ST irony has literal translation with no irony in TT. Ironic ST is completely deleted in TT. No irony in ST becomes irony in TT.

By using the suggested strategies for the analysis, which may be seen as a practice potentially pointing to the appropriate translation solutions, the subtitler can identify which translation methods to employ more effectively. In other words, by breaking humor down into components, certain problematic utterances or phrases potentially causing a confusion of various possible translation strategies when rendering an ST/ SL in TT / TL can be less confusing and puzzling for the subtitler, when following the logical mechanism of the proposed framework. Needless to say that, choosing a translation strategy involves a decision-making process where various factors mentioned throughout the study come into play and, therefore, translating humor in a contextually bound medium such as subtitling, does not necessarily work in the TL environment.

Natalisa Krisnawati 10202241060 The choice of a translation strategy is manipulated by more or less absolute rules to mere idiosyncrasies and knowledge. As Dollerup (1974:198) states: "Long and careful study of both languages is required and, more particularly, of the literature, history, and culture of the country concerned." Subtitling as a mode of linguistic transfer has a number of synchronization constraints. According to Mailhac (2000:129-131), the constraints are the following: a) the medium changes from oral to written, that is "video and television subtitling normally require larger fonts and therefore allow fewer characters (ibid:129), b) the linguistic transfer is constrained by the length and structure of utterances, c) link to visuals, d) frame changes "since they can divert the attention of the viewer away from the subtitles" (ibid.), and e) the viewers' reading speed, which varies according to their degree of literacy and according to whether it is a cinema audience or a television/video one, which carries implications in terms of the age range. When it comes on translating humor in subtitling, the subtitler needs to use the limited space and time in an optimal way, in order to virtually retain the meaning effect in the subtitle translation. But the constraints themselves clearly cannot predict whether the meaning effect tends to be preserved or lost in subtitles.In the case of subtitling, the use of a footnote or a translator's note is simply out of the question. That is also a fact that makes the translator's task even harder, in terms of conveying the appropriate meaning in TL, when there is not a direct equivalent term and the translator is also forced to follow the 'rules' and make things work in the TL environment. Effective subtitling requires recognition of these constraints and understanding of the limitations, as viewers simultaneously have to read one or two lines of text at the bottom of the screen in the allotted time, which is generally shorter than for the original dialog. Subtitled films thus require a greater effort to harmonize a variety of cognitive activities and grasp the underlying idea. Source:

Natalisa Krisnawati 10202241060 Spanakaki, K. (2007). Translating Humor for Subtitling. Translation Journal and the Author. Available at http://translationjournal.net/journal/40humor.htm Article 2 Translating Humor in Dubbing and Subtitling It is often said that humor does not travel well. This approach seems to have led many scholars in doing research on the (un)translability of humor. Nevertheless, it is enough to turn on the TV or to go to the cinema to realize that, regardless of any possible travel inconveniences or even a possible motion sickness, humor does travel across linguistic and cultural barriers. Having assumed that humor travels, the objective of the study was to establish how it travels across different languages, cultures, and translation methods. The movie being analysed in the research is Shrek, an animated American film, which was successfully broadcast worldwide. The results obtained from the global and the detailed analysis allows us to draw several conclusions regarding the translation of humor in dubbing and subtitling. First of all, it should be pointed out that regardless of the language or the method of translation, the target texts tend to contain less humorous elements that the source texts. The quantitative loss of the humorous load in the translated texts in general is 10%. It is also clear that compared to dubbing, the subtitled versions preserve less of the original humorous load (the percentage of humorous elements preserved without changing the source elements' type is significantly lower in subtitling) and contain less humorous elements in general. This conclusion is valid for subtitling in general, irrespective of the language of the target text. In other words, it means that dubbing in general is closer to the source text as far as the quantity and the quality of the humorous elements is concerned. The closeness of quality of the humorous load in dubbing is the expression of the domesticating tendencies of this translation method. Thank to the latter, dubbed versions of humorous films might appear more amusing to the target audiences.

Natalisa Krisnawati 10202241060 There is one more observation that we can draw from this study, which concerns Shrek in particular. It is quite probable that the fact that almost half of the humorous elements in this animated film belong to the category of visual and nonmarked is not accidental. Since these elements present less problems in transfer than other humorous elements, we could risk the statement that their use was intentional, with the aim to make the humor of the film internationally available. This leaves us just one step away from saying that part of the translation, understood as facilitating the understanding of a given product, begins at the time of creating the script. Jankowska, A. (2009). Translating Humor in Dubbing and Subtitling. Translation Journal and the Author. Available at http://translationjournal.net/journal/ 48humor.htm Article 3 Grammaticality, Ungrammaticality, and Usage-based Theory in Film Subtitles Film subtitles must replicate the grammar of the original screenplay. Subtitles model the grammar of the original dialogue. No translation is perfect; all must make allowances. Subtitlers know that their work is one of adaptation, negotiation and replication. Yet deliberately delivering a translation that fails to represent the original in its entirety veers dangerously close to blatant alteration. Indeed, the pure grammar argument itself is based on a questionable premisethat entertainment can or even should serve as a classroom. Subtitlers are concerned with what films are for: entertainment. The task assigned by the programs distributor and, tacitly, by the viewers, is one of accuracy in translation, not that of an imposed classroom. This is not to suggest that proper grammar does not have its place. For translators, the changing nature of languages must be understood in the original and reproduced in translation. Grammar is by nature shaky and volatile. Even the most clear cut rules fail in common usage. Linguist Andries W. Coetzee posited two hypothetical claims: (i) even grammatical forms violate some

Natalisa Krisnawati 10202241060 constraints (i.e. grammatical forms do not have to be perfect), and (ii) there are degrees of ungrammaticality (i.e. not all ungrammatical forms are equally bad). A subtitler must know proper English usage before daring to alter it, just as a jazz musician launches into thematic variations from a solid foundation of technical expertise. the translators burden is doubleda subtitler must be proficient in the source and target languages. Only after learning the rules of usage in both may a translator capably communicate grammatical variations in subtitles. Each film has its own unique jargon, particularly police procedurals, historical epics or medical shows. A subtitler needs reference material that matches the dialogue. The original screenwriter did the same thing; and then adapted the jargon to add a sense of verisimilitude to the program. The subtitles are yet another step removed: first the source material; second the screenwriters adaptation; and finally the translation of the screenplay. Good subtitles read as the original dialogue sounds. More to the point, viewers remember the translation as though they heard the actors actually speaking in English. A subtitler is not always faced with everyday usage. But even historical epics have a voice and tone that fits the dialogue patterns of the screenplay. They must be observed, even when they are not grammatical in the accepted perception of the term. There are several points to be noted in subtitling. The first one is that a subtitler must identify the screenwriters interpretation of an historical piece relevant to the original target audience, not the period in which the show takes place. The second one is that linguistic styles are not uniform within any given gender, race or background. Certainly there are similarities, but also vast differences, even among those reared in the same household, who went to the same school and had the same types of friends. With subtitles the translators job is to identify the quirks of dialogue that indicate each characters unique speech pattern. The third point is that formal characters lean toward perfect grammar, as do well-educated individuals.

Natalisa Krisnawati 10202241060 Often well-phrased grammar is seen as a type of verbal politeness. This should be avoided when writing subtitles for a sympathetic or comic character. We have also to be aware that many languages have varying levels of formality. The word you serves as one of the best examples, a form of address that employs different terms for essentially the same meaning. A subtitler must be aware the belief of dictating what is grammatically correct, what should or should not be included. Most viewers do not know the language of the dialogue and rely on the translation as more than a vehicle of communication. They expect and deserve to enjoy the film as close as possible to the way it was enjoyed by its original audience. A subtitler must always search for phrasing appropriate to the script and genre. Source: Bannon, D. (2013). When Correct Grammar is Wrong-ish: Grammaticality, Ungrammaticality, and Usage-based Theory in Film Subtitles. Translation Journal and the Author. Available at http://translationjournal.net/journal/64subtitling.htm