INTRODUCTION
Background
Audiovisual translation, also known as screen translation, is a specialized field that addresses the challenges of transferring audiovisual texts across languages, integrating both acoustic and visual elements (Chaume, 2013) The two main methods of audiovisual translation are subtitling, which displays translated audio as on-screen text, and re-voicing, where original audio is voiced by dubbing actors According to Gambier and Gottlieb (2001), translating audiovisual products, especially re-voicing, involves complex processes beyond simple verbal translation Dubbing and voiceover are the most common subtypes of re-voicing; however, as Sánchez (2004) notes, translators have limited control over the final product due to the intricate processes involved, including proofreading, adjustments by the dubbing director, and modifications during synchronization Chaume (2013) emphasizes that in post-synchronization, it is crucial for the audio to align with lip movements, body movements, and the timing of utterances.
In Vietnam, various modes of audiovisual translation, including subtitling, dubbing, and voice-over, are utilized in the media, with the choice of method influenced by factors such as broadcasters, target audiences, political context, and budget Vietnam Television (VTV), the national broadcaster, predominantly employs re-voicing to cater to a diverse audience across different demographics Vietnamese viewers now enjoy access to a wide array of multimedia entertainment, both local and international, as public and private broadcasters import films from countries like China, Korea, India, and Anglophone nations The strong demand for translated content is evident in the film market, particularly with the increasing popularity of American culture, which has led to the import of iconic TV series such as "Charmed," "Sabrina the Teenage Witch," and "Desperate Housewives," leaving a lasting impression on audiences.
VTV's recent acquisition of the popular sitcom "How I Met Your Mother," which aired on CBS from 2005 to 2014, is a strategic move that guarantees a solid audience due to the show's established fame Created by Craig Thomas and Carter Bays, the series features a talented cast including Josh Radnor, Jason Segel, Cobie Smulders, Neil Patrick Harris, and Alyson Hannigan The narrative follows five young adults in their early 20s, primarily told through Ted's perspective as he recounts to his future children how he met their mother Beyond this premise, the show explores broader themes of love, friendship, and self-discovery in young adulthood "How I Met Your Mother" has received critical acclaim, boasting 25 wins and 90 nominations, as noted on IMDb.
The sitcom airs on VTV2 at 10:40 p.m on weekdays, targeting adult audiences, and features translations by Kim Oanh and Thu Trang, with re-voicing by Ace Media's dubbing actors Tien Dat, Quang Tuyen, and Ngoc Tuyen, under the direction of Tien Dat While the original series enjoys widespread popularity, the re-voicing presents challenges, as a large fan community is already familiar with the subtitled version provided by non-profit groups like Kites.vn and phimmoi.net The rise of fan-subbing and fan-dubbing, fueled by technological advancements, has allowed audiences to access translated media long before official broadcasts.
Statement of research problem and questions
Sitcoms serve as a prime example for examining humor, showcasing sources like incongruity and superiority, as noted by Daniela (1999) Humor is often culture-specific and can be challenging to translate, requiring strategies such as omission, literal translation, generalization, and explication (Pettit, 2009, as cited in Leshkovich, 2016) Translators face significant obstacles, as even accurate linguistic and cultural translations may not resonate with audiences who lack the necessary context or find the humor unappealing (Gambier and Gottlieb, 2001) While there has been research on humor translation in literature, a gap exists in the study of humor translation in audiovisual contexts, particularly regarding English-Vietnamese translations amidst a growing demand for translated content The cultural disparities between Anglophone countries, particularly the U.S., and Vietnam complicate the translation of humorous elements, especially culture-specific jokes in the sitcom "How I Met Your Mother."
According to Chiaro (2010), translators typically employ one of four strategies for conveying verbal humor: maintaining the original humor, substituting it with new humor, using idiomatic expressions, or omitting the wordplay entirely The selection of a translation strategy is influenced by several factors, including the degree of source or target orientation permissible, the intended audience, the mode of audiovisual translation, and the broadcasting channel.
Cintas (2004) established a theoretical framework for audiovisual translation by reviewing existing approaches and their limitations While Holmes' (1972) descriptive translation studies have been successful in research, they are primarily focused on literature Cintas emphasized the benefits of Even-Zohar's (1978) Polysystem theory, which considers linguistic, socio-cultural, and professional aspects of translation This theory assesses translation based on equivalence rather than correctness, making it a suitable approach for this research.
This study explores the dubbing translation of humor in the series "How I Met Your Mother," aiming to identify the strategies employed in audiovisual translation and the patterns associated with various humor elements Additionally, it seeks to assess audience reactions to the translated content to gauge their satisfaction with the humor presented.
This study investigates the strategies used in translating humorous texts from English to Vietnamese in the re-voiced version of "How I Met Your Mother" and assesses audience reception of the translation The findings aim to enhance the existing research on audiovisual translation, providing valuable insights for translators and researchers in the field Ultimately, it seeks to improve humor translation in this sitcom and similar genres in the future.
This study aims to explore the categories of humor found in ten selected episodes of the series "How I Met Your Mother," examine the translation strategies employed to adapt these humorous elements into Vietnamese as outlined by Díaz-Cintas and Remael (2007), and assess the reception of the translated product among third-year students at the Faculty of English Language Teaching Education at the University of Languages and International Studies.
Scope of research
This study investigates the translation of humor in ten highly-rated episodes of "How I Met Your Mother," specifically focusing on humor elements accompanied by canned laughter The selected episodes, each rated over 9 on IMDb, ensure a strong comedic foundation for analysis To gauge the reception of these translations among third-year students at ULIS, 80 students participated in a questionnaire featuring excerpts from the translated script This sample size, representing four classes, provides valuable insights into audience reactions, though it is acknowledged that the findings may not reflect the views of all viewers Overall, the results will offer a reference point for understanding how a segment of the intended audience perceives the series' translations.
The research aims to identify effective strategies for dubbing humor in sitcoms, enabling translators to enhance their future projects with similar traits Additionally, audience feedback gathered during the study will serve as evidence of the effectiveness of these strategies.
Re-voicing television shows, particularly in the realm of situation comedies, is a complex endeavor due to the genre's inherent goal of eliciting laughter The national television network's re-voicing initiative represents a significant effort to connect audiences with the cultural nuances of the original content This professional adaptation involves extensive editing and censorship, which inevitably influences the final output Ultimately, this research aims to enhance humor translation in sitcoms, providing a valuable reference for future projects within the same genre.
Organization
The research is organized into five parts as follows
This chapter aims to logically justify the need for research on this topic, highlighting the specific perspectives from which the issue will be examined, as well as the research's scope and significance.
This chapter explores essential concepts related to humor, audiovisual translation, and dubbing It also offers a comprehensive review of research findings on translating humor in audiovisual contexts, focusing on humor typology and effective translation strategies.
This chapter outlines the research methodology, detailing the processes of sampling, data collection, and data analysis It specifically explains the criteria for selecting subjects and participants, as well as the methods for gathering data through questionnaires and analyzing the resulting data.
This chapter addresses the research questions outlined in the first chapter, focusing on the classification of humor in the selected episodes, the translation strategies used for these humorous elements in the dubbed versions, and the audience's reception of the scripts Additionally, it will explore the underlying reasons for the observed outcomes.
This final chapter offers the possible implications from this research along with admitted limitations, from which further study can improve and develop.
LITERATURE REVIEW
Humor
Humor is an essential aspect of human life, permeating daily conversations and entertainment, and is recognized as a "universal human trait" (Raskin, 1985) Scholars have explored humor since the times of Plato and Aristotle, examining it through various lenses, including psychology, sociology, and linguistics People laugh for diverse reasons, and what one person finds funny may not resonate with another A comprehensive understanding of humor's mechanisms can enhance translation strategies for humorous content Despite numerous definitions, researchers lack consensus on humor's meaning; Vandaele (2013) describes it as a stimulus that elicits amusement, smiles, and laughter The Oxford Dictionary defines humor as the quality that makes something funny or the ability to appreciate amusing situations Davis (2013) offers a psychological perspective, viewing humor as a sudden joy in response to comedic triggers This research will adopt Vandaele's definition to analyze the mechanisms behind what people find amusing.
Numerous theories of humor, particularly socio-psychological and linguistic approaches, seek to explain what elicits laughter Among these, the incongruity, superiority, and relief theories stand out as key frameworks in understanding the mechanics of humor.
Ruch (2008) posits that while incongruity is essential for humor, it alone does not suffice Laughter arises from the sudden recognition of incongruity between expectations and reality, as noted by Kant (1819a) and referenced by Raskin (1985) Vandaele (2013) elaborates on incongruity theory as a cognitive process, highlighting two critical stages for humor comprehension: first, the recognition of the discrepancy between preconceived notions and actual outcomes; second, the need for a logical analysis to resolve the incongruity, without which humor fails and leaves the audience confused This theory provides a structured approach to understanding humor but inadequately addresses simpler forms, such as slapstick and clownish humor.
Freud's relief theory of humor suggests that humor arises from the unconscious mind's repressed desires, allowing individuals to break free from emotional constraints (Attardo, 1994) This theory posits that people use humor as a coping mechanism to transform negative feelings into laughter However, Morreall (2011) criticized this perspective, arguing that it lacks validity in developing a comprehensive theory of humor, as the concept of conserving psychic energy to suppress thoughts and emotions is unprovable.
Superiority theory, which dates back to Plato, suggests that humor stems from a sense of joy derived from others' misfortunes, leading to feelings of superiority Plato held a negative view of comedy, positing that laughter occurs when individuals compare themselves favorably to those who are less fortunate This perspective is encapsulated in Hobbes' assertion that "laughter is nothing else but sudden glory arising from some sudden conception of some eminency in ourselves, by comparison with the infirmity of others, or with our own formerly."
The superiority theory, also known as aggression or disparagement theory, posits that humor often relies on a victim—the butt of the joke—who is ridiculed to elevate the self-esteem of the audience Vandaele (2013) highlights the social dynamics of this theory, suggesting it fosters a sense of in-group camaraderie among those who understand the humor, while creating an out-group of those who do not This theory underscores the importance of the victim in humor, as seen in various jokes targeting specific groups A notable example is the character Robin Scherbatsky from "How I Met Your Mother," whose Canadian background serves as a recurring source of humor among her American friends.
2.1.2.4 Script-based semantic theory of humor
Researchers have explored humor not only through social and psychological lenses but also from linguistic perspectives Two key hypotheses in this field are Raskin's script-based semantic theory of humor, introduced in 1985, and the general theory of verbal humor developed by Attardo and Raskin.
1991 These theories complements each other to offer a multifaceted understanding of mechanism of humor
In "The Semantic Mechanisms of Humor," Raskin (1985) offers an in-depth exploration of humor through a semantic lens, proposing that a text is deemed funny when it features two overlapping yet opposing scripts He categorizes these oppositions into three distinct types: real versus unreal, normal versus abnormal, and possible versus impossible Despite the title suggesting a wide-ranging examination of humor, the book primarily focuses on jokes, utilizing them as the main reference point for humor without delving into a more extensive analysis.
The theory in question exhibits notable similarities to incongruity theory, despite differing perspectives The overlapping and opposing elements within the texts fulfill the criteria for humor through incongruity and resolution However, the classification of opposition lacks clarity, with numerous borderline cases that fit into multiple categories, as acknowledged by the author Raskin (1985) introduced an alternative classification for script opposition, encompassing sexual, ethnic, and political dimensions, which enhances understanding but also adds complexity for the audience This classification aligns with relief theory in the context of sexual script opposition and superiority theory concerning ethnic script opposition.
2.1.2.5 General theory of verbal humor
The general theory of verbal humor, developed from the script-based semantic theory, introduces six key knowledge resources: script opposition, logical mechanism, situation, target, narrative strategy, and language (Attardo, 1994) This comprehensive theory encompasses elements from various humor theories, such as script opposition from the script-based semantic theory and logical mechanism from the incongruity theory's resolution stage Understanding these resources allows translators to grasp the nuances of humor beyond linguistic levels, leading to more effective translations For instance, Barney Stinson's joke, “There are only two reasons to date a girl you’ve already dated: breast implants,” can be analyzed through these resources: (1) script opposition highlights a mistaken versus intentional listing of reasons; (2) logical mechanism connects the concept of two parts of breasts to the two reasons; (3) the situation advises against reconnecting with ex-girlfriends; (4) the target is women; (5) the narrative strategy employs a one-liner; and (6) language plays on the word “two” to evoke humor.
Humor is often confused with terms like jokes, puns, and wit, yet its categorization by scholars hinges on the techniques used Cicero classified humor into referential and verbal types, with the latter being termed linguistic humor by Raskin in 1985 Referential humor is more universal, while verbal humor is heavily influenced by language and culture, raising challenges for translation Despite these obstacles, verbal humor remains the primary focus in humor translation, driving researchers to explore effective methods for accurate rendering.
Humor can be divided into three main subcategories: linguistic, universal, and cultural, as noted by Raphaelson-West (1989) and referenced in Jabbari & Ravizi (2012) This classification aligns with Cicero's approach, which differentiates between verbal humor and other forms.
Buijzen and Valkenburg (2004) developed a taxonomy of humor in audiovisual contexts, identifying seven categories ranked by complexity: slapstick, clownish humor, surprise, misunderstanding, irony, satire, and parody The first four categories rely on visual and physical stimuli that do not require verbal explanation or translation, while the latter three necessitate a certain level of knowledge to appreciate their humor.
Zabalbeascoa (1996) explored the classification of humor in audiovisual media from a translator's perspective, identifying six sub-groups: international/binational, national-culture-and-institutions, national-sense-of-humor, language-dependent, visual, and complex jokes His taxonomy closely aligns with Raphaelson-West's (1989) model, where universal humor corresponds to international/binational humor, and cultural humor relates to national-sense-of-humor However, distinguishing between these categories can be challenging, as humor may simultaneously fit into multiple groups, complicating the differentiation between universal and national humor.
This research will utilize Alharthi's (2016) classification of humor, which is particularly relevant to sitcoms like "How I Met Your Mother." Alharthi identifies thirteen humor types, including jokes, wordplay, irony, parody, satire, sarcasm, spoonerism, self-denigrating humor, retort, teasing, banter, register clash, and catchphrases The analysis will focus on specific humor types from this taxonomy, chosen based on their frequency within the show.
Translation of humor
Translating humor presents a significant challenge for translators due to the complex interplay of equivalence and translatability (Chiaro, 2008) Chiaro likens this challenge to that of translating poetry, as the inherent differences between language systems make it difficult to achieve formal equivalence Consequently, deviations from the original text are permissible as long as the intended effect or pragmatic function is preserved In film, where dialogue is just one component of a poly-semiotic entity, translators can only influence the spoken words, while other elements like music, actor movements, and facial expressions remain unchanged This limitation places immense pressure on translators to evoke laughter, the ultimate goal of humor, which relies on a combination of these various factors to achieve its comedic impact.
Vandaele (2013) references Diot (1989) to highlight the challenges of translating humor, comparing it to the complexities of translating poetry, as noted by Chiaro (2008) This difficulty stems from linguistic and cultural factors, as humor is described as “a social play” with unique in-group characteristics Consequently, retaining humor in translation is challenging, as the target audience may not relate to or appreciate the humor, which can lead to translation failures For instance, while "knock knock" jokes are prevalent in American culture, they may seem unfamiliar to Vietnamese readers Linguistic issues, such as differences in denotation and connotation, further complicate the translation process, especially when specific items are tied to a particular language or culture This situation fosters a belief that humor is largely "untranslatable."
Translation strategy, as defined by Venuti (1998), encompasses the selection of the foreign text for translation and the development of a corresponding translation method, primarily focusing on domestication and foreignization, along with text-level translation issues While this research expands on Venuti's definition by exploring a broader range of strategies, particularly in translating humor, it acknowledges the importance of the translator's choice in the process Ultimately, this study aligns with Krings' (1986) definition, which describes translation strategy as the translator's conscious plans for addressing specific translation challenges within a given task.
This definition lays emphasis on the both translator’s choice and the nature of the translation problem which in this case is to humor into Vietnamese
A translation strategy is defined as a consistent and patterned approach that a translator employs to address specific translation challenges This distinction clarifies the difference between translation strategy and translation procedure; the latter focuses on the word level, while the former involves the deliberate and repeated application of procedures to solve particular translation issues.
This research focuses on the translation of cinematic products, highlighting Gottlieb’s subtitling strategies as a relevant reference In 2000, Gottlieb identified ten translation approaches for subtitling: expansion, paraphrase, transfer, imitation, transcription, dislocation, condensation, decimation, deletion, and resignation While these strategies offer a broad framework for addressing translation challenges, the study seeks a more streamlined typology specifically tailored to the translation of humorous elements.
Delabastita (1996) identified seven strategies for translating wordplay and puns: (1) pun to pun, which substitutes the original wordplay with equivalent wordplay in the target language; (2) pun to non-pun, where the pun is replaced by a non-punning phrase; (3) pun to related rhetorical device, using irony, sarcasm, or rhyme to evoke a similar effect; (4) pun to zero, which completely omits the pun; (5) non-pun to pun, introducing a pun where none existed to compensate for lost humor; (6) zero to pun, adding a pun in a non-punning context; and (7) editorial techniques like footnotes or comments While this model is primarily intended for literary translation, the majority of these strategies can effectively be applied in screen translation, despite the impracticality of editorial techniques in audiovisual formats due to time and space limitations.
Leshkovich (2016) utilized Pettit’s (2009) strategies for translating culture-specific words to convey humor, including omission, literal translation, generalization, and explication While Pettit’s focus is on culture-specific terminology, it is important to recognize that humor is predominantly culture-specific as well Nonetheless, there exists universal humor (Zabalbeascoa, 1996) that transcends cultural boundaries Consequently, these strategies may not adequately address the full spectrum of humor types.
Díaz-Cintas and Remael (2007) provided a quite comprehensive taxonomy of strategies of screen translation, including nine categories:
The classification of translation strategies, particularly the inclusion of the "omission" strategy, is widely understood, despite ongoing debates about its status as a legitimate translation approach Translators frequently employ omission, making it reasonable to incorporate it into established strategies The strategies outlined by Díaz-Cintas and Remael (2007) are applicable across various subjects, including humor This research will utilize Díaz-Cintas and Remael's taxonomy due to its comprehensive nature, diversity, and relevance to audiovisual translation.
Loan translation is a strategy that involves transferring words or phrases from the source language to the target language while maintaining their "foreignness." This approach aims to preserve the unique cultural context of the original text, allowing audiences to connect more deeply with the source culture It is particularly effective when the target audience is already familiar with this cultural backdrop.
Lily: We're Marshmallow and
Tụi em là Marshamalow và Lilypad đấy nhé.
In case of literal translation, translators attempt to render the meaning of target text as closely to source text as possible without keeping the word order and sentence structure
Lily: You can't miss the day after the wedding That's when we sit around all hungover, drinking mimosas and talking smack about who looked fat That's my Christmas
Sau đám cưới, khoảnh khắc không thể bỏ lỡ là khi chúng ta ngồi bên nhau, mệt mỏi nhưng vui vẻ, thưởng thức trà thảo dược và trêu chọc nhau về cân nặng Đó chính là Giáng sinh của em.
In Vietnam, the term "giáng sinh" serves as a calque for Christmas, reflecting its presence in popular culture despite Christianity not being a dominant religion in the country However, this translation may create confusion for audiences, particularly regarding the character Lily's reference to the day after her wedding as Christmas.
Explicitation is a translation strategy that aids audience comprehension by utilizing superordinate terms, making complex concepts more accessible This approach is particularly favored in audiovisual translation, as hypernyms are often self-explanatory, effectively conserving both time and space in subtitles and voice-overs.
Oh, we'll fear for our lives, all right When we watch Al Gore's An
Inconvenient Truth! Đúng vậy, chúng ta sẽ lo cho mạng sống của mình khi xem phim tài liệu về biến đổi khí hậu
Replacing unfamiliar movie titles with general genre names helps target audiences grasp the concept and humor more effectively.
Díaz-Cintas and Remael (2007) argue that compensation in translation can effectively mirror the impact of the source text in the target text by utilizing alternative methods to address the loss of specific features For instance, when translating the pun in “shellfish,” a colloquial expression is used as a substitute, as recreating the pun is particularly challenging This approach is likely to maintain the humorous effect of the original text.
If you plan to bring food to class, please ensure you have enough to share with everyone, as it is important to foster a sense of community and avoid situations where one person enjoys a meal, like lobster, without sharing with the group.
Because that… would be shellfish.
Audiovisual translation
Audiovisual translation, also known as screen or multimedia translation, refers to the interlingual conversion of complex entities like films, which involve multiple semiotic elements This distinctive translation method simultaneously incorporates visual components, such as actors' movements and facial expressions, along with audio elements like voice intonation and music As a result, audiovisual translation differs significantly from traditional literary translation, which primarily concentrates on textual content.
Re-voicing and captioning are essential modes of screen translation that enhance accessibility for diverse language audiences (Chaume, 2013) The re-voicing category includes techniques such as dubbing and voice-over, which are the most frequently used methods for language transfer in audiovisual content Conversely, the captioning category comprises subtitling, surtitling, and re-speaking, with subtitling being the most widely utilized approach for conveying dialogue and information to viewers.
The choice between dubbing and subtitling in audiovisual translation is heavily influenced by national traditions, with countries like Italy, Spain, and France favoring dubbing, while Portugal and the UK typically prefer subtitling However, this landscape is evolving as the growing availability of diverse audiovisual translation options continues to shape preferences (Diaz Cintas and Anderman, 2009).
Despite being one of the most popular mode of audiovisual translation, dubbing poses many constraints, notably lack of authenticity, credibility (Tveit,
In 2009, Tveit argued that a character's voice is a fundamental aspect of their identity, and altering it diminishes essential traits linked to their personality, body language, and gestures While voice-over maintains the original soundtrack at a lower volume to preserve authenticity in translation, dubbing replaces it entirely, creating a disconnect between lip movements and the new audio This discrepancy can lead to viewer skepticism regarding the accuracy of the adaptation.
Dubbing is generally less cost-effective and time-efficient compared to subtitling, as it involves hiring dubbing directors and actors, along with a complex lip-synchronization process that demands advanced technology This can be a significant hurdle in today's fast-paced market, where timely film releases are crucial to avoid losing competitive advantage.
Canned laughter presents a dual challenge for translators, highlighting the necessity to convey humor effectively While it can enhance comedic moments, it may also backfire if the audience fails to find the situation amusing, leading to frustration This disconnect can result in criticism of the translator for perceived mistranslations, as viewers are left confused by the laughter that does not resonate with them (Daniela, 1999).
METHODOLOGY
Sampling
This research employs a purposive sampling strategy to select highly acclaimed episodes rich in humor for analysis Dhivyadeepa (2015) argues that while this subjective or judgmental sampling relies on the researcher's discretion, it effectively targets specific features of the population for in-depth study The study focuses on the top 10 rated episodes from the series, as determined by IMDb, including episodes 5x08, 5x12, 7x10, 7x12, 8x12, 8x22, 8x24, 9x11, 9x16, and 9x22 Due to the inaccessibility of episodes from the first four seasons, these were substituted with closely rated alternatives This approach allows for a concentrated exploration of the humorous elements that define this comedy series.
The survey participants consist of 80 third-year students from the Faculty of English Language Teacher Education at the University of Languages and International Studies, specifically from classes 15E12, 15E13, 15E14, and 15E16 Convenience sampling was utilized due to the accessibility and willingness of undergraduates to engage with the questionnaires, allowing for quicker data collection through personal connections This research targets young adults, primarily aged 21 and above, who are navigating societal challenges and seeking meaningful relationships, mirroring the experiences of the main characters in a popular nine-season series The study aims to assess the reactions of this demographic to the translated script of the comedy, ensuring an unbiased inclusion of both male and female participants.
Data collection
The data collection instruments employed are observation of documents, specifically film script of the source text and target text and questionnaires concerning audience’s reception
To gather data for this study, English film scripts can be sourced from free subtitle-sharing sites like subscene.com and verified by listening to the original videos In contrast, the Vietnamese scripts require manual transcription, as they are exclusively available on VTV's website, vtvgo.vn, due to copyright restrictions.
After viewing the Vietnamese adaptation of the series, I will catalog all the humorous elements accompanied by canned laughter for later analysis Additionally, I will document the English versions of these comedic elements for comparison, as the editing process in the Vietnamese version results in differences from the original.
Regarding the document analysis method, data is collected in 4 steps:
Step 1: Pick out humorous texts appeared in the Vietnamese version of
10 episodes of “How I met your mother” available on VTV website
Step 2: Categorize these texts into groups
Step 3: Identify the appropriate equivalents of those elements in English version
Step 4: Categorize humorous elements and analyze the translation strategies applied in each category of humorous texts
This study categorizes and identifies translation strategies based on established frameworks from previous research To analyze the types of humor in the selected videos, it employs Alharthi's (2016) model for differentiation Additionally, the research will utilize the translation strategies model proposed by Díaz-Cintas and Remael (2007) for effective identification.
Questionnaires offer significant advantages for researchers, including time and cost savings by allowing the collection of large amounts of data simultaneously They also promote greater honesty among participants due to the anonymity they provide, reducing the fear of information leaks compared to interviews (Cohen, Manion & Morrison, 2000) However, a challenge arises when some participants do not return the completed questionnaires This issue can be addressed through careful administration of the questionnaires, which can lead to higher response rates and ultimately improve the accuracy and reliability of the research results.
Regarding the questionnaire, data collection procedure consists of three steps:
The purpose of questionnaire in this paper is to measure the reception of
A study involving 80 third-year students from FELTE, ULIS aimed to explore their preferences for translation strategies of humorous elements in selected episodes of "How I Met Your Mother." The research utilized a questionnaire divided into three sections: the first gathered demographic information such as name and gender, while the second assessed participants' exposure to American comedies, particularly those with subtitles The final section focused on their opinions regarding different translation strategies employed in the show.
The questionnaire comprises 15 examples from various episodes, focusing on the five most commonly used humor types: irony, wordplay, teasing, jokes, and catchphrases For each humor category, three examples are selected, utilizing the two predominant translation strategies: literal translation (two examples) and explicitation (one example) This selection emphasizes the prevalence of literal translation, which is significantly more common and thus enhances the accuracy of the questionnaire Although there are 11 sub-types of humor and seven strategies in total, their limited occurrence in the film justifies the exclusion of less representative examples from the questionnaire.
The concise questionnaire, featuring only 15 examples, enables participants to engage fully without distraction from excessive length Preface questions assess participants' prior exposure to humor in American comedies, establishing a link between their preferences and media experience This groundwork prepares them for targeted inquiries about humor in "How I Met Your Mother." Each humor segment presents two examples utilizing literal translation, followed by one using explicitation, without revealing which strategy corresponds to each example, thereby minimizing bias and enhancing the quality of the results.
Step 2: Invite participants to do questionnaires and deliver questionnaires
To enhance response rates, surveys will be administered face-to-face After reviewing the class schedule, I will coordinate with class presidents to ensure their classes are present for the questionnaire distribution Prior to delivering the questionnaires, I will seek permission from the lecturer to enter the classroom It is essential to clearly explain the study's purpose to the students to foster cooperation Participants will receive an oral overview of the questionnaire's content and the research objectives, along with assurances that their data will be used solely for research purposes, addressing concerns about personal data privacy that are increasingly important to young individuals today.
To ensure every student participates, I will distribute questionnaires to all attendees, accompanied by small incentives like candies to encourage completion The purpose of the questionnaire is to collect data on students' reactions to the translation of humor and their preferred strategies By verbally expressing selected humorous elements, we can effectively incorporate them into the questionnaire while maintaining their intended impact.
Step 3: Collect the completed questionnaires
One key benefit of face-to-face administration is that it allows participants to ask questions, helping the researcher to clarify any potential misunderstandings Once participants have completed the questionnaires, I will collect them and express my gratitude to both the students and the teacher for their cooperation I will then excuse myself from the class to allow the lesson to proceed.
Data analysis
To achieve a comprehensive understanding of the situation, both qualitative and quantitative analyses will be utilized Qualitative analysis will categorize groups of jokes alongside their translated counterparts identified during the collection phase A comparative and contrastive approach will be employed to analyze the original and translated texts, guiding the translation strategy for each instance The classification of humorous elements in the English corpus will address the first research question, while the identification of translation strategies, converted into numerical data, will form the foundation for answering the second research question.
The survey responses will undergo statistical analysis, with data from the questionnaires recorded numerically and analyzed descriptively This approach aims to interpret the phenomena and identify trends based on the reactions of 80 participants regarding the translation of humor in the selected dubbed series.
FINDINGS AND DISCUSSIONS
Categories of humor present in 10 selected episodes of the series “How I
The following chart illustrates the frequency of categories of humor present in 10 selected episodes of “How I met your mother”
Figure 4.1 Available categories of humor in the selected episodes
The analysis of humor types reveals that irony is the most prevalent, comprising 34% of the total humor used across ten episodes, with 55 instances recorded Following irony, wordplay ranks second with 36 occurrences, while teasing is third with 20 instances, collectively accounting for over 60% of the humor Other humor forms, such as jokes, catchphrases, and self-deprecating humor, have significantly lower frequencies at 11, 10, and 9 times, respectively Additionally, sarcasm, retorts, banter, register clashes, and parody are less common, making up about 13% of the total humor utilized.
Irony stands out as the predominant form of humor in "How I Met Your Mother," as it requires minimal conditions to elicit laughter while still achieving its intended effect The show's characters are crafted with exaggerated traits, leading to humorous situations when their illogical actions align with their established personalities This constant clash between their words and actions amplifies the irony throughout the sitcom Additionally, clever wordplay, including puns, rhymes, and neologisms, serves as a key comedic device, while teasing among the close-knit group of friends highlights their in-group intimacy In contrast, a focus on serious themes would diminish this dynamic, as it would create distance between characters.
Jokes play a significant role in the narrative, primarily due to one character's tendency to make inappropriate jokes for the amusement of his friends Each character is also known for their unique catchphrases, which, while not inherently funny, become amusing through the character's delivery Additionally, self-deprecating humor is frequently employed by comedy writers to enhance the comedic effect, contributing to the overall laughter in the storyline.
Sarcasm, retort, banter, register clash, and parody are less frequently used forms of humor compared to teasing Sarcasm, in particular, involves maliciously ridiculing someone without their awareness, which limits its use Retort and banter are also less common as they necessitate the involvement of at least two people, making them more challenging to execute Furthermore, both parody and register clash depend on the audience's familiarity with specific topics to appreciate the humor, often resulting in less favorable outcomes for writers.
Strategies according to Díaz-Cintas and Remael (2007) used to translate
4.2.1 The use of translation strategy in general
The following graph shows the number of translation strategies used in dubbing the humor under the model of Díaz-Cintas and Remael (2007)
Figure 4.2 Translation strategies applied in rendering humor in selected episodes
The analysis of 164 humor cases from the selected episodes reveals a significant imbalance in the use of translation strategies Notably, literal translation emerges as the predominant method employed by translators across all humor categories in the corpus, highlighting its frequent application in effectively conveying various types of humor.
In the analysis of translation strategies, it was found that the most dominant approach is literal translation, occurring 121 times, which represents 74 percent of all cases Following this, explicitation and omission are used significantly less frequently, with 20 and 8 instances respectively Other strategies such as compensation (8 times), loan (4 times), addition (twice), and transposition (once) are employed even more rarely Overall, source-oriented strategies, including literal translation, loan, and omission, are more commonly utilized than target-oriented strategies.
The complete classification of humorous elements present in the chosen episodes is shown in Appendix 1, using the aforementioned model of Díaz- Cintas and Remael (2007)
The impressive count of 121 humor pieces translated for dubbing highlights translators' strong preference for this strategy over others In the Vietnamese translations, source-language humor is faithfully preserved, with adjustments in word order to enhance naturalness, while minimal modifications are made to the original texts.
Translators often rely on literal translation due to its simplicity and effectiveness, especially when conveying humor that stems from bizarre or embarrassing situations, as well as visual elements like actors' expressions and tone This strategy is advantageous for maintaining conciseness, which is crucial for dubbing actors to match the original soundtrack's duration Additionally, the time and cost efficiency of literal translation encourages its use across various types of humor.
In a moment of relief, Marshal expresses that he no longer feels anxious after leaving, but is suddenly startled by a phone call, initially fearing the worst However, he quickly realizes it's just Ted on the line, prompting a sense of calm.
Marshal đứng ngoài cửa nhưng không hề lo lắng Đột nhiên, điện thoại reo, và khi nhìn thấy số gọi, anh nhận ra đó là bố của em, có chuyện lớn xảy ra Ted, hãy bình tĩnh nào!
The humor in this example arises from the contradiction between Marshal's words and actions This type of comedy relies less on verbal expression, meaning that as long as the essence of the content is preserved, the humor remains intact even in translation.
Explicitation is the second most utilized translation strategy for conveying humor in Vietnamese, comprising 12 percent of all recorded episodes Translators face challenges due to culture-specific expressions that trigger humor, making it difficult to convey the intended meaning across different cultural contexts Without additional clarification, audiences may struggle to grasp the humor behind dialogue that is accompanied by canned laughter By employing superordinate terms, explicitation aids in conveying witticisms more succinctly, thereby minimizing the dialogue required from dubbing actors.
To prevent potential offense in the target culture, translators often employ explicitation when expressions are considered inappropriate Given that this dubbed sitcom is broadcast on a national television network, the language used must be more formal Consequently, translators rely on explicitation as an effective solution to meet these standards.
Example: Lily: You son of a bitch! (season 5, episode 8)
In this example, employing a neutral term effectively conveys the tension between the two friends, allowing one character to insult the other without resorting to harsh swear words like "thằng chó đẻ." Although the target audience is young adults, there is a stigma attached to using explicit language; thus, opting for a more subtle approach enables the audience to appreciate the humor without the need for extreme offensiveness.
Omission is a common translation strategy used to address humor in dubbed content, as humor is often considered untranslatable When an equivalent cannot be found, it may be omitted, especially if the humor is unfamiliar to the Vietnamese audience This can lead to confusion, as the laugh track may still play during conversations where the humor has been removed.
Example: "Marshal: Vow dare you! (season 9, episode 22)
Marshal: Anh không thể, đắng lòng quá"
Marshal humorously alters the pronunciation of his vow to mock Barney's commitment, yet his wife overlooks this playful twist In contrast, the Vietnamese version loses the wordplay aspect, diminishing the humor inherent in the original expression.
Translators often employ compensation strategies to replicate the humorous effect in Vietnamese, addressing the challenges that arise during the translation process This creative approach aims to evoke the same intended response from the audience, making it a demanding task Consequently, compensation is utilized sparingly, appearing only 8 times in a study of 164 humorous texts.
Example: Marshal: Oh, no, what a bummer! What craptastic luck!
Without Marvin's rhyme book, this ride's gonna suck! (season 9, episode 11)
=> Marshal: "Chết thật số quá xui Không có sách cho Marvin chuyến đi sẽ phiền rùi"
In the English version, rhyme is skillfully used to evoke laughter from the audience In contrast, the Vietnamese translation showcases the translators' significant efforts to recreate the rhyme, even if it means relocating it to different words than those in the original text.
Using loanwords in humor is a less common strategy, often because retaining the original expression can confuse the audience and obscure the joke However, in certain instances, such as in specific series, loanwords can enhance the humor without hindering audience comprehension.
Example: "For those of you keeping score, "The Ted Mosby" works."
Audience’s reception of the translation
In a questionnaire, students evaluated the humor of 15 translated short scripts from five key types of comedy featured in ten selected episodes, using a rating scale from 1 to 5 The chart below summarizes the overall responses to all questions.
Figure 4.5 Students’s general reception of translated humor
As illustrated in the chart, 420 out 1200 responses (15 questions multiple 80 participants equal 1200 turns of responses), which is equivalent to
In a recent survey, 35 percent of respondents rated their experience with humor as average on a five-point scale The majority of responses were concentrated around the ratings of 2, 3, and 4, which together represented approximately 80 percent of all feedback This indicates a general tendency among participants to perceive the examples as less funny, as evidenced by a notable gap of 44 responses between the combined ratings of options 1 and 2 compared to those of options 4 and 5.
The responses of 80 third-year students will be analyzed based on five specific categories of humor: irony, wordplay, teasing, jokes, and catchphrases, following the sequence outlined in the questionnaire.
Table 4.1 Student’s response to the translation of irony
The analysis reveals that the first two questions utilize literal translation, while the last question employs explicitation to convey irony Notably, all three questions exhibit a common trend, with the third question receiving over 30 percent of responses as the top choice However, both translation strategies tend to attract more low ratings of 1 and 2 compared to high ratings of 4 and 5 In contrast, participants appear to favor explicitation slightly more, indicating a preference for this strategy over literal translation in these examples.
Table 4.2 Student’s response to the translation of wordplay
Participants showed a more favorable response to the translation of wordplay compared to irony, with a notable increase in ratings of 3, 4, and 5, while ratings decreased by 1 The data indicates a preference for literal translation over explicitation, as the former translations of wordplay are less likely to be perceived as unfunny In contrast, this trend shifts when it comes to irony.
Figure 4.6 Student’s response to the translation of teasing
The questionnaire revealed that participants responded positively to translations of teasing using two strategies, with a significant majority of students (69, 56, and 62 out of 80) finding the humor funny in questions 7, 8, and 9 This category of humor uniquely recorded a high number of "very funny" votes for the translations The results indicate a preference for literal translation over explicitation, aligning with the general tendency towards wordplay.
Figure 4.7 Student’s respon se to the translation of jokes
The reception of student humor reveals a significant disparity between literal translations and explicitation in jokes In questions 10 and 11, 32 and 25 students found the translated jokes funny, whereas only 17 students appreciated the translation in question 12 Overall, jokes do not receive the same positive response as teasing, as evidenced by a considerable number of low ratings.
Participants' reactions to the translation of catchphrases largely mirror those of irony, with nearly 50% of the 80 students surveyed rating the translations as not funny at all or only slightly funny Interestingly, despite this similarity in perception, students favored literal translation as the preferred strategy, as indicated in questions 13 and 14 This highlights a unique trend where catchphrases elicit responses akin to irony, yet the favored translation approach aligns more closely with that of jokes, teasing, and wordplay.
Figure 4.8 Student’s respon se to the translation of catchphrases
4.3.6 The relationship between the frequency of watching sitcoms and reception of the translated products
Table 4.3 presents the translation rating proportions from two distinct student groups: Group A, consisting of students who rarely watch (less than once a month), and Group B, comprising those who watch at least once a month This comparison highlights the differing perspectives on translation quality based on viewing frequency.
Among 80 students surveyed, 34 reported watching American sitcoms infrequently or not at all, showing a preference for literal translation over explicitation for most humor types, except irony In contrast, 46 students who watched these comedies at least once a month favored explicitation for translating both irony and wordplay Overall, the majority of students preferred literal translation as their primary translation strategy.
Third-year English major students, despite their surprising preference for literal translation strategies, demonstrate an understandable inclination toward this approach Their immersion in the English language and American culture enhances their ability to grasp the humor conveyed through literal translations Additionally, their regular interaction with the source language allows them to accept the unnaturalness of certain expressions.
Students who frequently watched American sitcoms showed a greater tendency to choose explicitation in various humor categories compared to their peers who rarely engaged with such content Despite both groups generally favoring literal translation, the active fans of sitcoms often accessed both official and unofficial translated materials, such as fan subtitling and dubbing This exposure likely heightened their expectations for translation quality, setting them apart from their less engaged counterparts.
In conclusion, participants preferred literal translation to explicitation, although their frequency of watching American sitcoms did affect their favorable choice of translation strategy, leading to the differences among students.