SLANG & IDIOMS

in TV sitcoms & films

Materia:Traduccin 1 Profesora: Aida Gryn Alumnas: Arakaki, Harumi Fernndez, Marcela Vorobioff, Carolina Ao: 2007

INTRODUCTION
Basically, translation is when one text is written in a different language. At first sight this may seem a simple job to carry out. However, much more than words has to be taken into account. We should consider the sender, the receiver, the context, the co-text and, of course, the message itself. These may involve a great deal of difficulty, nevertheless, the most challenging aspect is still missing: culture. It is the cultural background the one that prevents understanding and makes the successful transmission of an accurate and appropriate message difficult. Therefore, every time a translation is provided considerable amount of attention should be paid to this major issue. One of the areas of language that is greatly affected by culture is colloquialism. This is the appropriation of language made by each user in order to communicate themselves in an informal and relaxed atmosphere. Within colloquialism, slang and idiomatic expressions play a fundamental role. In this work we will concentrate on these aspects of language, the difficulties that arise when translating them and some possible solutions to overcome the problems.

WHAT IS SLANG?
Slang is the use of highly informal words and expressions that are not considered standard in the speaker's dialect or language. Slang is very often colloquial and should not be confused with dialect, which tends to be specific to a particular territory. Slang terms are frequently particular to a certain subculture, such as musicians, and members of a minority. All the same, slang expressions can spread outside their original arena and become commonly understood; recent examples include "cool". While some such words eventually lose their status as slang, others continue to be considered as such by most speakers. In spite of this, their original users tend to replace this spread term by other, less well-recognized expression. Slang is to be distinguished from jargon, the technical vocabulary of a particular profession, as the association of informality is not present. Moreover, jargon may not be intended to exclude nongroup members from the conversation, but rather deals with technical peculiarities of a given field which require a specialized vocabulary. There is not just one slang, but very many varieties or dialects of it. Different social groups in different times have developed their own slang. The importance of encryption and identity, of 2

having a secret code or language, varies between these instances. For slang to maintain its power as a means of encryption, it must constantly be renewed. Many slang words are replaced, as speakers get bored of them or they are co-opted by those outside the group. For this reason, the existence of slang dictionaries reduces the perceived usefulness of certain slang words to those who use them. Numerous slang terms pass into informal mainstream speech, and thence sometimes into formal mainstream formal speech, though this may involve a change in meaning or usage. Slang very often involves the creation of novel meanings for existing words. It is very common for such novel meanings to diverge significantly from the standard meaning. Thus, "cool" and "hot" can both mean "very good or impressive." In fact, one common process is for a slang word to take on exactly the opposite meaning of the standard definition. This process has given rise to the positive meaning of the word "bad," as in I love you badly, for example. Slang could also be said to comprehend idiomatic expressions, or idioms. Idioms are a colourful and fascinating aspect of English. They are commonly used in all types of language, informal and formal, spoken and written. One of the main problems with idioms is that it is often impossible to guess the meaning of an idiom from the words it contains. In addition, idioms often have a stronger meaning than non-idiomatic phrases. For example, look daggers at someone has more emphasis than look angrily at someone, but they mean the same thing. Idioms may also suggest a particular attitude of the person using them, for example disapproval, humour, exasperation or admiration, so they must be used carefully.

DIFFICULTIES
As it can be assumed, translating slang and idioms may bring about certain difficulties mainly associated with cultural differences, lack of expressions in the target language and appropriateness. On of the most important aspects that should be taken into account is the cultural difference since different cultures have different codes and values. Therefore, when translating it is very important to have a cultural awareness of both cultures in order to be able to transmit the correct meaning intended in the source language. It may well happen that although the real meaning is understood, there is no equivalent expression in the target language. It is at this very moment that the skills of the translator are put into practice. Even if an equivalent expression is found, it is very important to achieve a good degree of appropriateness in terms of the context, the speakers and the register of the original statement.

These are the main difficulties that a translator has to face when he/she is dealing with slang or idioms. If we consider that we are concentrating on a TV show, to these we should add those problems or issues that should be faced when translating subtitles. There are a number of technical requirements that must be obeyed and then, there are specific difficulties that come with subtitlia, the language of subtitling. A few basic principles to subtitling or screen translation: Do not translate literally. The art of subtitling is to understand the plot and what is being said in the original content and translate it as faithfully and accurately as possible. However, this accuracy should not be respecting the letter of the text, but the sense of the content. Summarize. The translator should give the most concise and accurate translation and interpretation (adaptation) of the original text into the target language in the fewest number of words possible. Consider line division. The basic principle to line division is to keep idea units and semantic units together; it will insure easier and faster reading and comprehension by the viewer Difficulties associated with the art of subtitling could be avoided by developing a good technique that takes into account all the methodological procedures. However, dealing with slang and idioms is a more complex matter.

SOLUTIONS?
As a golden rule it could be established that it is always sensible to play safe and support all the difficult decisions with a suitable theoretical background. There are three techniques that might be useful: equivalence, adaptation and modulation. When one and the same situation can be rendered by two texts using completely different stylistic and structural methods, it can be said to be a case of a production of equivalent texts. When applying this to translation it means that the two texts, one if the target language (TL) and the other in the source language (SL) have the exact meaning, although their structures are different and the lexis is not directly translated. Most equivalences are fixed, and belong to a phraseological repertoire of idioms, clichs, proverbs, nominal or adjectival phrases, etc. As mentioned earlier, the other procedure that can be used is adaptation. This method reaches the extreme limit of translation: it is used in those cases where the type of situation being referred to by 4

the SL massage is unknown in the TL culture. In such cases translators have to create a new situation that can be considered as being equivalent. Adaptation can, therefore, be described as a special kind of equivalence, a situational equivalence. The refusal to make an adaptation is invariably detected within a translation because it affects not only the syntactic structure, but also the development of ideas and how they are represented within the paragraph. Even though translators may produce a perfectly correct text without adaptation, the absence of adaptation may still be noticeable by an indefinable tone, something that does not sound quite right. Translations cannot be produced simply by creating structural or metalinguistic calques, even less, the translation of slang and idiomatic expressions. Finally, a further procedure that can be used is modulation, which is a variation in the form of the message obtained by a change in the point of view. This change can be justified when, although a literal, or even transposed, translation results in a grammatically correct utterance, it is considered unsuitable, unidiomatic or awkward in the TL. Basically, it consists in producing a change so that the resulting expression is a preferred expression in the TL. When it happens that none of these three methods can be applied or there is not enough knowledge of both the SL and the TL, then, it is the job of the translator to be creative, find something similar into the TL that will render the original sense and contribute to understanding the message and the plot.

TRYING
In order to show what is meant by the complexity of translating slang and idiomatic expressions, we have picked up some examples from films and TV sit-coms and we attempted at providing a translation by resorting to the methods and creativity.1 1) Movie: Anger Management, Conversation between the doctor and the patient. Dr. Rydell: I said over easy! (Dr. Rydell throws his eggs.)...Now why did I do that? Dave: Because I refused to spoon with you last night? Dr. Rydell: I said I wanted my eggs fried on both sides! (Dr. Rydell throws his eggs.)...Now why did I do that? Dave: Because I didn't want to sleep close to you last night, as if we were two spoons? Dr. Rydell: Te dije que los quera pasados por agua! (Dr Rydell le tira los huevos duros) Me pregunto.por qu hice eso? (ADAPTATION AND MODULATION) Dave: Ser porque anoche no quise hacer cucharita con vos? (EQUIVALENCE)
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Green: Original text Black: Explanation Red: Our translation

2) Movie: Austin Powers The spy who shagged me. Scott: If you've got a time machine, why don't you just go back and kill Austin Powers when he's sitting on the crapper or something. Dr. Evil: No, no, no. Scott: If you've got a time machine, why don't you just go back and kill Austin Powers when he's sitting on the toilet or something Dr. Evil: No, no, no. Scott: Si tens una maquina del tiempo, por qu no volvs al pasado y mats a Austin Powers mientras est sentado en el trono? (EQUIVALENCE AND MODULATION) Dr. Evil: No, no, no. 3) Movie: Dumb & Dumber Harry: Nice set of hooters you got there! Mary: I beg your pardon? Harry: The owls! They're beautiful! Harry: You have a nice pair of hooters*! Mary: I beg your pardon? Harry: The owls! They're beautiful!
*double meaning: hooters can mean both owls (from the "hoot" sound they make) and breasts.

Harry: Lindo par de pechugas! Mary: Perdn? Harry: Las gallinas! Son hermosas! (EQUIVALENCE AND MODULATION) Lloyd: The first time I set eyes on Mary Swanson, I just got that old fashioned romantic feeling where I'd do anything to bone her. Lloyd: The first time I saw Mary Swanson, I got that old fashioned romantic feeling where I'd do anything to have sex with her. Lloyd: La primera vez que la vi a Mary Swanson, tuve ese sentimiento romntico anticuado de que hara cualquier cosa por atracrmela. (EQUIVALENCE AND MODULATION) 4) Movie: Oceans Eleven Danny: Thirteen million and you drive this piece of shit cross country to pick me up? Rusty: Blew it all on the suit.

Danny: You have thirteen million dollars and you drove this terrible car across the country to pick me up? Rusty: I wasted all the money on my suit. Danny: Trece millones y manejas esta porquera a travs del pas para buscarme? Rusty: Me la tir toda encima (EQUIVALENCE AND MODULATION) 5) Movie: Shrek Magic Mirror (about Snow White): She lives with seven men, but she's not easy. Magic Mirror (about Snow White): She lives with seven men, but she doesn't have casual sex with a lot of men. Espejo Mgico: (hablando sobre Blancanieves): Vive con siete hombres, pero no es fcil. (EQUIVALENCE) Princess Fiona (to Shrek as he runs away): Where are you going? Shrek: I have to save my ass. Princess Fiona (to Shrek as he runs away): Where are you going? Shrek: I have to save myself/my donkey.
"Ass" usually means butt, but here it has two other meanings. Donkey is one you can find in the Standard dictionary.

Princesa Fiona (a Shrek mientras el se escapa): A dnde vas? Shrek: Tengo que salvar a mi asno! (EQUIVALENCE, BUT THE HUMOROUS EFFECT IS LOST BECAUSE OF THE LACK OF THE DOUBLE MEANING) 6) Movie: What a Girl wants Daphne: You're designer, I'm vintage, you've got a mansion and I have a five floor walk up, you're snotty little miss cranky pants and I go with the flow, so why would you think that I'd ever have the same taste in guys. Daphne: If we were clothing, you would be an expensive designer dress and I would be a secondhand dress from the 1950s or 60s. You've got a mansion and I live on the fifth floor of a building with no elevator. You are a badly behaved girl who is always annoyed and I am relaxed and don't let things bother me. So why would you think that I would be interested in dating the same boys as you? Daphne: Si furamos ropa, vos seras un vestido de alta moda y yo uno de los aos 50 o 60. Vos tens una mansin y yo vivo en un quinto piso de un edificio de escalera. Sos una malcriada malhumorada y yo me dejo llevar por la corriente, entonces por qu penss que nos gustaran los mismos tipos. (EQUIVALENCE AND MODULATION) 7) Movie: Chicago Roxie Hart: You know, I was there. I was there that night you plugged your husband. Velma Kelly: So was half of Chicago. Roxie Hart: You know, I was there. I was there that night you shot your husband. Velma Kelly: So was half of Chicago. 7

Roxie Hart: Sabsyo estaba ah. Estaba la noche que llenaste de plomo a tu marido. Velma Nelly: Vos y la mitad de la poblacin de Chicago. (EQUIVALENCE AND MODULATION)

8) Movie: Hairspray Penny Pingleton: I wish I was at a hootenanny in Harlem! Penny Pingleton: I wish I were at a party in Harlem*!
* predominantly black neighborhood in New York City.

Penny Pingleton: Deseara estar en una festichola en Fuerte Apache! (EQUIVALENCE, ADAPTATION AND MODULATION) Although in translating subtitles you must follow the rules of writing 40 characters per line with a maximum of 2 lines together every a set time, we considered that for our report we would only take into consideration the slang words that appeared in the dialogues and treat them as a written conversation. This is due to the fact that it would take a long time to check and that it is now very common to use computer programmes which allow you to do it quickly and to check it while viewing the episode or film. FRIENDS: THE ONE WITH FRANK JUNIOR. Season 3 episode 5 1) Chandler finds Joey building something using wood and a power saw. CHANDLER: You're building a post office? NT(NUESTRA TRADUCCIN): Ests construyendo una oficina de correos? O(original dvd translation): Y construir la oficina? JOEY:No, an entertainment unit, with a built-in mail cubby. It's a one-day job, max. NT: No, una unidad de entretenimiento, con un huequito para el correo. Como mximo es un da de trabajo. (EQUIVALENTE AND MODULATION) O: No, un estante con un cajn de correo includo. Es trabajo de un da mximo. CHANDLER: My word, those are snug! NT: Dios mo, esos s que estn ajustados! (EQUIVALENCE) O: Esos son muy cmodos! JOEY: These are my old work pants. Sergio valente. NT: Son mis pantalones de trabajo viejos. Sergio Valente. O: S. Son mis pantalones de trabajo. Sergio Valente. 2) Pheebs talks to Rachel about her brother who is coming to visit her for the first time. RACHEL: Hey, Pheebs. Any sign of your brother? NT: Pheebs, alguna seal de tu hermano? O: Pheebs, hay seales de tu hermano? PHEEBS: No, but he's always late. NT: No, pero l siempre llega tarde. O: No, siempre llega tarde. RACHEL: I thought you only met him once. NT: Pens que slo lo habas visto una vez. 8

O: Pero slo lo viste una vez. PHEEBS: I did. I think it sounds big sister-y,"Frank's always late. " NT: As es. Creo que suena mejor. Frank siempre llega tarde. (MODULATION) O: S. Sueno como la hermana mayor. Siempre llega tarde. RACHEL: Well, relax. He'll be here. NT: Bueno, tranquilizate. Llegar pronto. O: Clmate. Ya vendr. PHEEBS: I know. I' m just nervous. It's just, Mom's dead, don't talk to my sister... Grandma's been sleeping a lot lately. It's just the "Iast-desperate-chance-to-have-a-family" kind of thing. NT: Lo s. Estoy nerviosa. La muerte de mam, no hablo con mi hermana... mi abuela ha estado durmiendo mucho ltimamente... Es mi ltima oportunidad de tener algo parecido a una familia. (EQUIVALENCE AND MODULATION) O: Lo s. Estoy nerviosa. Es que muri mam... no hablo con mi hermana... La abuela ha estado durmiendo mucho...Es la ltima oportunidad de tener una familia. 3) Monica, Ross, Rachel and Chandler are talking inside the coffee shop. CHANDLER: Does anyone else think David Copperfield's cute? NT: Alguin ms piensa que David Copperfield est bueno? (EQUIVALENTE AND MODULATION) O: Piensan que Copperfield es guapo? MONICA: No. But he told me he thinks you' re a fox. NT: No. Pero l me dijo que piensa que vos sos sexy. (EQUIVALENCE AND MODULATION) O: No, pero me dijo que cree que eres espectacular. CHANDLER: All right. Janice likes him. In fact, she likes him so much, she put him on her "freebie" Iist. NT: De acuerdo. A Janice le gusta. De hecho, le gusta tanto que lo puso en su lista de permitidos. ( EQUIVALENCE AND MODULATION) O: A Janice le gusta. Le gusta tanto que lo pone en su lista. JOEY: Her what? NT: Su qu? O: Su qu? CHANDLER: We have a deal where we each pick five celebrities we could sleep with. and the other one can't get mad. NT: Tenemos un pacto en el que cada uno puede elegir 5 celebridades con las que puede acostarse y el otro no puede enojarse. O: Tenemos un trato. Cada uno elige 5 celebridades con las que dormira y el otro no se enoja. ROSS: The heart of every healthy relationship Honesty, respect and sex with celebrities. NT: Las bases para cualquier relacin sana. Honestidad, respeto, y sexo con celebridades. O. La base de una relacin sana: Honestidad, respeto, y sexo con celebridades. MONICA: So Chandler, who's on your list? NT: As que, quin est en tu lista? O: Cul es tu lista? CHANDLER: Kim Basinger, Cindy Crawford, Halle Berry,Yasmine Bleeth. and Jessica Rabbit. NT: Kim Basinger, Cindy Crawford, Halle Berry,Yasmine Bleeth y Jessica Rabbit. O: Kim Basinger, Cindy Crawford, Halle Berry,Yasmine Bleeth y Jessica Rabbit. RACHEL: You do realize that she is a cartoon, and way out of your league? NT: Te das cuenta de que ella es una caricatura y de que est fuera de tu alcance, no? (EQUIVALENCE AND MODULATION) O: Sabes que es una caricatura y no ests a su altura? 4) Now Rachel Asks Ross. RACHEL: What about you, honey? Who'd be on your list? 9

NT: Y vos mi amor? A quin pondras en tu lista? O: Quin estara en tu lista? ROSS: That kind of thing requires some serious thought. First, I'd divide my prospective candidates into categories. NT: Eso requiere de un anlisis profundo. Primero dividira a mis posibles candidatas en distintas categoras. O: Eso requiere un anlisis serio. Primero divido las candidatas en categoras. CHANDLER: What a geek! NT: Qu olfa! (MODULATION AND ADAPTATION) O: Qu tonto! 5) Phoebes brother, Frank, arrives. RACHEL: Do you guys have big plans? NT: Tienen algo ya planeado? O: Tienen grandes planes? PHEEBS: Oh, yeah. We' re gonna connect and bond and everything. NT: S. Vamos a conectarnos, a crear vnculos y todas esas cosas. (EQUIVALENCE AND MODULATION) O: S. Nos vamos a conocer y todas esas cosas. FRANK: I thought we could go down to Times Square and pick up some ninja stars. NT: Pens que podramos ir a Times Square y conseguir algunas estrellitas ninja. O: Pens que podamos ir a Times Square y levantar unas estrellas ninjas. My friend, Larry, he wants me to take a picture of a hooker. NT: Mi amigo Larry, quiere que le lleve una foto de una prostituta. (EQUIVALENCE AND MODULATION) O: Mi amigo Larry quiere una foto de una prostituta. 6) PHEEBS: Good night, "bro." NT: Buenas noches, hermano. (EQUIVALENCE AND MODULATION) O: Buenas noches, hermano. FRANK: Good night. NT: Buenas noches. O: Buenas noches. 7) MONICA AND PHEEBS TALK ABOUT HOW THINGS ARE GOING WITH HER HALF BROTHER FRANK. PHEEBS: I don't know, I just thought he'd feel more like a brother. Like you and Ross. Close and connected and. . . . NT: No s... Pens que lo sentira ms como a un hermano. Como vos y Ross. Cercanos y conectados y... O: No lo s. Cre que sera ms como un hermano. Como t y Ross unidos y... MONICA: We' re close now. You wouldn't believe the years of noogies, and wedgies, and flying wedgies, and atomic wedgies and. That's when the waistband goes over your head. NT: Ahora nos llevamos bien, pero no creeras los aos de fosforitos, de entangadas, entangadas voladoras y atmicas. Eso es cuando el elstico del calzn te llega a la cabeza. (EQUIVALENCE, MODULATION AND ADAPTATION) O: Ahora lo somos no creeras los aos de calzones tragados, calzones voladores y calzones atmicos. Es subir la pretina hasta la cabeza. MONICA We drove each other crazy playing the shadow game. Nos volvamos locos jugando al juego de la pipa. (EQUIVALENTE AND ADAPTATION) O: Enloquecamos jugando la sombra. PHEEBS: How do you play the shadow game? 10

NT: Cmo jugs al juego de la pipa? O: Como la juegas? MONICA: How do you play the shadow game? NT: Cmo jugs al juego de la pipa? O: Como la juegas? PHEEBS:I just asked you. NT: Te acabo de preguntar eso. O: Yo pregunt. MONICA: I just asked you. NT: Te acabo de preguntar eso. O: Yo pregunt. PHEEBS: I don't have time for this. NT: No tengo tiempo para sto. O: No tengo tiempo para eso. MONICA: -That is what the game is. NT: Ese es el juego. O: As es el juego. PHEEBS: You just gave up really quickly. NT: Te rendiste muy rpidamente. O: Te rendiste muy rpido. 8) Chandler finds out that joey is retiling Monicas floor before finishing his entertainment unit. CHANDLER: -What's going on? NT: Qu ocurre? O: Qu pasa? MONICA: He's retiling my floor. NT: Est rehaciendo mi piso. O: Cambia la baldosa de mi bao. CHANDLER: Spackle2 boy! Get up![ NT: Chico del enduido! Arriba! (EQUIVALENCE AND MODULATION) O: Albail. Levntate! MONICA: You started this, you'll finish it! NT: Vos lo empezaste y lo vas a terminar. O: Termina lo que comenzaste. CHANDLER: He started mine first! NT: Empez lo mo primero. O: Comenz lo mo primero. PHEEBS: Build the unit, Cinderellie. Lay the tile, Cinderellie NT: Construye la unidad Cenicientita. Pon el mozaico Cenicientita. (EQUIVALENCE AND MODULATION) O: Construye el estante. Pon la baldosa. 9) Frank talks to Phoebe. He is appologising for thinking she was a prostitute and touching her friend. FRANK: I can't believe I screwed it up so bad. NT: No puedo creer que lo haya arruinado todo as. (EQUIVALENTE AND MODULATION) O: No puedo creer que lo echara a perder. ...
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SPACKLE: A trademark used for a powder to be mixed with water or a ready-to-use plastic paste designed to fill cracks and holes in plaster before painting or papering. This trademark often occurs in lowercase and as a verb in print: "Two young men quietly spackled and whitewashed the walls . . . for an exhibition" (New York Times).

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FRANK: And then I go feel your friend up and make you mad at me. NT: Y voy y toqueteo a tu amiga y te hago enojar. (EQUIVALENCE AND MODULATION) O: Y luego acaricio a tu amiga y te hago enojar. PHEEBS: Well, I wasn't hopping mad, you know? NT: Bueno, no me sala humo de las orejas. (EQUIVALENCE, TRANSPOSITION AND MODULATON) O: Bueno, tampoco estaba tan enojada. FRANK: You hopped a little bit. NT: Un poco de humo, s. O: Un poquito. 10) Rachel delivers coffee to a man. RACHEL: So this is a half-caf, double-tall, easy hazelnut, .nonfat, no foam, with whip, extra-hot latte, right? NT: Entonces, un caf con leche semi-descafeinado, doble, con un toque de crema de avellanas, descremado, sin espuma, batido y extra caliente. (EQUIVALENCE AND MODULATION) O: Es semi-descafeinado doble, de avellana, sin grasa, sin espuma, con crema, extra caliente, verdad? RACHEL.Okay. Great. NT: S. Perfecto. O: Fabuloso. RACHEL.You freak. NT: Qu bicho raro! (EQUIVALENCE ) O: Idiota. 11) Isabella Rosselini arrives at the coffee shop. Rachel talks to Monica. RACHEL: He's about to go hit on lsabella Rossellini. I' m just sorry we don't got popcorn. NT: Est por intentar seducir a Isabella Rossellini. (EQUIVALENCE) Lo nico que lamento es no tener poror. O: Va a hablarle a Isabella Rossellini. Lstima no tener palomitas. 12) Chandler traps Joey in the Entertainment Unit. JOEY: You know what? Bet you I could fit in there. NT: Sabs qu? Te apuesto a que quepo all. O: Sabs qu? Te apuesto a que cabra ah. CHANDLER: I got five bucks says you can't. NT: Tengo 5 mangos que dicen que no. (ADAPTATION) O: Apuesto 5 dlares a que no. JOEY: Get out your checkbook, mister. NT: Seor saque su chequera. O: Ve por tu chequera. CHANDLER: Oh, I think I have the cash. NT: Creo que tengo el dinero. O: Tengo efectivo. JOEY: You are dog, man! I totally fit! NT: Fuiste! Entro perfecto! O: Perdiste! Quepo completamente! CHANDLER: Yeah. You got me. NT: S. Me ganaste. O: S. Me ganaste. I' m out five big ones. 12

NT: Perd 5 de los grandes. O: Perd 5 dlares. There you go. NT: Ac tens. O: Aqu tienes. JOEY: Thank you. Oh, well, hello, Mr. Lincoln! Better luck next time, buddy! And the drinks are on me! NT: Gracias. Bueno. Hola San Martn! Mejor suerte la prxima amigo! Yo invito las cervezas! ( EQUIVALENCE, ADAPTATION AND MODULATION) O: Gracias. Hola Sr. Lincoln! Suerte la prxima! Yo pago los tragos!

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CONCLUSION
It is now more than clear that idiomatic expressions and slang represent a difficulty to translators. In fact, they may become such a pain in the neck that translators may get pissed off with the translation and they just knock off or call it a day even before the job is finished. However, successful translators are the ones who can combine their vast knowledge of both languages, their skilful use of the appropriate methods and a bit of creativity. This a very efficient mix that will overcome any cultural difficulty: translators will be satisfied with their jobs and the readers of the TL will have a sense of naturalness and familiarity that will not make them realise that what they are reading is a translation.

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APPENDIX
ACTIVITIES
FRIENDS: THE ONE WITH FRANK JUNIOR. 3.05 A) Multiple choice. 1. It's a one-day job, max. Es un da de trabajo, mximo. Es un da de trabajo Max. 2. ... he told me he thinks you' re a fox. l me dijo que piensa que sos un zorro. l me dijo que piensa que sos astuto. l me dijo que piensa que sos sexy. 3. You do realize that she is a cartoon, and way out of your league? Te das cuenta de que es slo una caricatura, y de que est fuera de tu liga? Te das cuenta de que es slo una caricatura, y de que est fuera de tu alcance? 4. He's about to go hit on lsabella Rossellini Est por intentar seducir a Isabella Rosellini Est por golpear a Isabella Rossellini. Est por atropellar a Isabella Rossellini B) Ahora en grupo busca la traduccin de esta parte. 1) Monica and Phoebe talk about how things are going with her half brother frank. (00:11:35) PHEEBS: I don't know, I just thought he'd feel more like a brother. Like you and Ross. Close and connected and. . . . MONICA: We' re close now. You wouldn't believe the years of __________________, and __________________, and flying wedgies, and atomic wedgies and. That's when the _____________________ goes over your head. MONICA: We drove each other crazy playing the shadow game. PHEEBS: How do you play the shadow game? MONICA: How do you play the shadow game? PHEEBS:I just asked you. MONICA: I just asked you.

2)Chandler traps Joey in the Entertainment Unit. (00:23:25) JOEY: You know what? Bet you I could fit in there. ________________________________________________________________________________________________

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CHANDLER: I got five bucks says you can't. ________________________________________________________________________________________________ JOEY: Get out your checkbook, mister. ________________________________________________________________________________________________ CHANDLER: Oh, I think I have the cash. ________________________________________________________________________________________________ JOEY: You are dog, man! I totally fit! CHANDLER: Yeah. You got me. I' m out five big ones. There you go. JOEY: Thank you. Oh, well, hello, Mr. Lincoln! ________________________________________________________________________________________________ Better luck next time, buddy! ________________________________________________________________________________________________ And the drinks are on me!

GLOSSARY Fox (noun) 1[C] (often disapproving) a person who is clever and able to get what they want by influencing or tricking other people: Hes a wily old fox. 2 [C] (informal) an attractive young woman

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BIBLIOGRAPHY
Jean-Paul Vinay and Jean Darbelnet. A Methodology for Translation. Paris, 1958. Newmark, Peter. Cambridge International Dictionary of Idioms. Cambridge: Cambridge University Press, 1999. Oxford Spanish Dictionary. Oxford: Oxford University Press, 2003. Oxford English Dictionary. Oxford: Oxford University Press, 2005. Longman Dictionary of Contemporary English. Edimburgh: Pearson Education Limited, 2005. Internet websites

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