Audiovisual translation of puns in animated films

Strategies and procedures

Bibliographic Data

ID13079346
AuthorsElena Aleksandrova (0000-0002-4114-6896, The Russian Presidential Academy of National Economy and Public Administration, corresponding author)
Year2020
Volume7
Issue4
Pages86-105
Publication date2020-01-14
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueEuropean Journal of Humour Research (JOURNAL)
Journal identifiersISSN: 2307-700X • E-ISSN: 2307-700X
PublisherCracow Tertium Society for the Promotion of Language Studies (PUBLISHER • PL)
DOI10.7592/ejhr2019.7.4.aleksandrova
OpenAlexW2998785826
LanguageEN
Citations received5
References cited16

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

Interpreter · Linguistics · Pun · Realia · Semiotics · Comics and Graphic Narratives · Computer Science · Language, Metaphor, and Cognition · Translation Studies and Practices

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