Strategi Penyarikataan Humor Deadpool

Perkembangan pesat sains dan teknologi mencakup pelbagai disiplin, termasuklah penterjemahan audiovisual. Dalam bidang penterjemahan audiovisual ini, penterjemahan humor kerap dinilai bermasalah. Jelas Chiaro (2008), isu kebolehterjemahan humor dikekang oleh permasalahan bahasa dan budaya masyarakat yang berbeza. Memandangkan humor bersifat relatif, penyampaian, kefahaman dan penerimaannya adalah rencam. Dalam konteks audiovisual pula, penyampaian sesuatu mesej (humor) tidak hanya bergantung pada makna semantik dialog semata-mata; sebaliknya pembinaannya dilatari oleh empat mod teras secara serentak, iaitu bunyi, muzik, imej dan bahasa (Pérez-González, 2014a). Keadaan ini ternyata merumitkan tugas penterjemah audiovisual bagi menentukan strategi terjemahan yang bersesuaian. Seiringan dengan itu, kajian ini bertujuan membincangkan fenomena strategi penyarikataan humor secara komprehensif. Bagi tujuan ini, filem Marvel Deadpool yang disari kata ke dalam bahasa Melayu oleh ASTRO GO telah dipilih sebagai korpus kajian. Berdasarkan Taksonomi Humor Martínez-Sierra (2006) dan kaedah analisis Zolczer (2016), analisis perbandingan elemen humor dalam teks sumber dan sasaran telah dijalankan. Hasil analisis mendapati bahawa terdapat tiga strategi terjemahan utama, iaitu Diterjemah, Tidak Diterjemah dan Ditambah. Secara rinci, strategi terjemahan Deadpool dikelaskan kepada lapan perincian, iaitu Diterjemah-Kekal (Berjaya), Diterjemah-Kekal (Gagal), Diterjemah-Berubah (Berjaya), Diterjemah-Berubah (Gagal), Tidak Diterjemah (Memadai), Tidak Diterjemah (Gagal), Ditambah (Berjaya) dan Ditambah (Gagal). Selain pemerian pola strategi, dapatan kajian turut dibandingkan dengan perbahasan konseptual bagi menjelaskan fenomena terjemahan humor secara lebih menyeluruh. Kata kunci : humor; penyarikataan; terjemahan audiovisual; strategi terjemahan; Deadpool ABSTRACT The rapid development of science and technology encompasses various disciplines, including audiovisual translation. Translation of humour in the audio translation discipline is often regarded challenging. According to Chiaro (2008), the issue on the translatability of humour is impeded by linguistic and cultural constraints. Since humour is relative in nature, its presentation, comprehension and acceptance are diverse. In the audiovisual context, the presentation of a message (humour) does not only depend on the semantic meaning of the dialogues, but its construction is set against four core modes simultaneously which include sound, music, image and language (Pérez-González, 2014a). This certainly further complicates the work of audiovisual translators in determining the appropriate translation strategies. Accordingly, this study aims to discuss the humour subtitling strategy phenomenon comprehensively. The Marvel film Deadpool (2016), subtitled in the Malay language by ASTRO GO was chosen as the study corpus. Based on Martínez-Sierra’s (2006) Taxonomy of Humour and Zolczer’s (2016) method of analysis, a comparative analysis of humorous elements between the source and target texts was conducted. The results of the analysis showed that there were three main subtitling strategies: Translated, Untranslated, and Added. To be exact, translation strategies in Deadpool can be broken down into eight classifications: Translated-Retained (Successful), Translated-Retained (Unsuccessful), Translated-Changed (Successful), Translated-Changed (Unsuccessful), Untranslated (Adequate), Untranslated (Unsuccessful), Added (Successful) and Added (Unsuccessful). Apart from describing the patterns of strategies, the findings were also compared to conceptual discussion to explain the humour translation phenomenon in greater detail. Keywords : humour; subtitling; audiovisual translation; translation strategies; Deadpool

Art · Humanities · Language, Metaphor, and Cognition · Linguistic, Cultural, and Literary Studies · Linguistics and Language Analysis