CREATIVITY AND TRANSLATOR TRAINING: INVESTIGATING WORDPLAYS IN AMERICAN SITCOM 2 BROKE GIRLS SUBTITLED INTO BRAZILIAN PORTUGUESE

Adauri Brezolin, Tatiane de Paula Bóvis Spinetti

Abstract


Translating wordplays has been considered a challenging task and an appropriate exercise for building (meta)linguistic awareness in translation students. By comparing wordplays from American sitcom 2 Broke Girls translated from American English into Brazilian Portuguese, we discuss, in this article, the main mechanisms used to generate and translate wordplays. For solutions considered ineffective in the target language, suggestions are offered emphasizing the creative and pragmatic aspects surrounding this linguistic event. Our results show that it is possible to encourage creativity among translation students if suitable techniques, such as free association, are adopted in the classroom. Our discussion can be a useful didactic tool for reflecting on theoretical and practical aspects related to wordplays, (meta)linguistic awareness and creativity.

Article visualizations:

Hit counter


Keywords


wordplays, translation, subtitling, creativity, translator training

Full Text:

PDF

References


Al-Ababneh M, 2020. The concept of creativity: definitions and theories. International Journal of Tourism & Hotel Business Management, 2(1): 245-24

Arnaud P J L, Maniez F, Renner V, 2015. Non-Canonical Proverbial Occurrences and Wordplay: A Corpus Investigation and an Enquiry into Readers’ Perception of Humour and Cleverness, Berlin/Boston: De Gruyter, pp 135-159

Ballard M, 1996. Wordplay and the Didactics of Translation. The Translator 2:2: 333-346

Brezolin A, Da Silva Medeiros F, 2021. Bad words in The Good Place: analyzing the euphemistic function of wordplays in subtitling and dubbing – a case of English and Portuguese language pair. European Journal of Literature, Language and Linguistics Studies 5(1): 14-31

Brezolin A, 2020. Corpus Lift? The use of wordplays in translator training classes. Skopos. Revista Internacional de Traducción e Interpretación 11: 211-236

Delabastita D, 1996 Introduction, Wordplay and Translation: Special Issue of ‘The Translator’, Manchester, UK, pp 127-139

Diaz Cintas J, 2010. Subtitling, Amsterdam/Philadelphia: John Benjamins Publishing Company, pp 344-349

Giordadze M, 2014. Linguistic features of pun, its typology and classification. European Scientific Journal (Special Edition) 2: 271-275

Gottlieb H, 1997. You Got the Picture? On the Polysemiotics of Subtitling Wordplay, Manchester: St. Jerome Publishing, pp 207-232

Juntunen K A, 2019. I Look Like a North Pole – Dancer. Translation of Wordplay in the Television Series 2 Broke Girls. Master’s Thesis. University of Eastern Finland, Finland

Kussmaul P, 1991. Creativity in the Translation Process: Empirical Approaches. Amsterdam: Rodopi, pp 91-101

MacArthur T, 1992. The Oxford Companion to the English Language. Oxford: Oxford University Press

Moon R, 1998. Fixed Expressions and Idioms in English. Corpus Lexicography. Oxford: Clarendon Press

O'Sullivan C, 2013. Creativity. Amsterdam/Philadelphia: John Benjamins, pp 42-46

Remael A, 2010. Audiovisual Translation. Amsterdam/Philadelphia: John Benjamins Publishing Company, pp 12-17

Renner V, 2015. Lexical Blending as Wordplay, Berlin/Boston: De Gruyter, pp 119-133

Silva N R B, 2019. A tradução de jogos de palavras em um corpus literário: uma revisão do modelo de Delabastita com o auxílio da linguística de corpus. Ilha do Desterro 72(2): 347-378

Spinetti T de P B, 2020. Análise dos jogos de palavras e de sua tradução para o português brasileiro nas legendas da primeira temporada da série 2 Broke Girls. Bachelor’s Thesis. Universidade Metodista de São Paulo, Brazil

Tagnin S E O, 2005. O humor como quebra da convencionalidade. Revista Brasileira de Linguística Aplicada 5(1): 247-257

Tagnin S E O, 2013. O jeito que a gente diz: combinações consagradas em inglês e português. São Paulo: Disal

Broke Girls [Series]. (Season 1). Directed by Thomas Kail. Produced by Michael Patrick King, Whitney Cummings, Michelle Nader, and Liz Astrof. Brazil: Warner Home Video, 2012. 3 DVD (513 min.), color

Veisbergs A, 1997. The contextual use of idioms, wordplay, and translation, Manchester: St. Jerome Publishing, pp 155-176

Zirker A, Winter-Froemel E, 2015. Wordplay and Its Interfaces in Speaker-Hearer Interaction: An Introduction, Berlin/Boston: De Gruyter, pp 1-22




DOI: http://dx.doi.org/10.46827/ejlll.v5i2.272

Refbacks

  • There are currently no refbacks.


Copyright (c) 2021 Adauri Brezolin, Tatiane de Paula Bóvis Spinetti

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.

The research works published in this journal are free to be accessed. They can be shared (copied and redistributed in any medium or format) and\or adapted (remixed, transformed, and built upon the material for any purpose, commercially and\or not commercially) under the following terms: attribution (appropriate credit must be given indicating original authors, research work name and publication name mentioning if changes were made) and without adding additional restrictions (without restricting others from doing anything the actual license permits). Authors retain the full copyright of their published research works and cannot revoke these freedoms as long as the license terms are followed.

Copyright © 2017-2023. European Journal of Literature, Language and Linguistics Studies (ISSN 2559 - 7914 / ISSN-L 2559 - 7914). All rights reserved.

This journal is a serial publication uniquely identified by an International Standard Serial Number (ISSN) serial number certificate issued by Romanian National Library. All the research works are uniquely identified by a CrossRef DOI digital object identifier supplied by indexing and repository platforms. All the research works published on this journal are meeting the Open Access Publishing requirements and standards formulated by Budapest Open Access Initiative (2002), the Bethesda Statement on Open Access Publishing (2003) and  Berlin Declaration on Open Access to Knowledge in the Sciences and Humanities (2003) and can be freely accessed, shared, modified, distributed and used in educational, commercial and non-commercial purposes under a Creative Commons Attribution 4.0 International License. Copyrights of the published research works are retained by authors.