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Translating Humour in Audiovisual Texts

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

Humour found in audiovisual products is, of course, performative in nature. If we consider instances of humour – any droll moment occurring in today’s fare of mixed-genre products as a composite of cognition, emotion, interaction and expression – we see that the verbal code becomes just one component of four equally significant elements. And, as ‘expression’ is not limited to verbal output alone, humour may of course be created in absence of a verbal code. Translating humour for audiovisuals is not too different from translating verbal humour tout court. What makes humour occurring within audiovisual texts more problematic is the fact that it may be visually anchored; in other words a gag or a joke may pivot on verbal content directed at a specific element that is present within the graphic system of the same text. As the term itself suggests, audiovisuals contain two overlying structures: a visual and an auditory channel each of which contain a series of both verbal and non-verbal elements which inextricably cross-cut one another. The contributors in this collection of essays present a series of case studies from films and video-games exemplifying problems and solutions to audiovisual humour in the dubs and subs in a variety of language combinations.
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Humour e giochi di parole in Astérix et Obélix : Mission Cléopâtre. Quali strategie nella traduzione audiovisiva?: Alessandra Rollo



Humour e giochi di parole in Astérix et Obélix : Mission Cléopâtre. Quali strategie nella traduzione audiovisiva?

1. Introduzione

Il testo audiovisivo è un testo sincretico, composito, la cui caratteristica primaria è quella di presentarsi come una combinazione organizzata di numerosi elementi semiotici. Le tre sfere del linguaggio – verbale, non verbale e paraverbale – sono implicate a pari titolo; le informazioni sono percepite simultaneamente e in forma complessa (Petillo, 2008: 14).

La traduzione audiovisiva (d’ora in avanti TAV), dal canto suo, si configura come elaborazione di un prodotto multimediale nelle sue varie componenti, un processo volto ad intessere nella medesima trama gli elementi dell’immagine con gli aspetti inerenti al linguaggio (Heiss, 1996).

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