Repositorio Institucional de Documentos
Abstract
El presente estudio surge de la comparación del corpus, la comedia de situación –o sitcom– Modern Family, en su versión original con los dos modos de traducción audiovisual más populares en España, el doblaje y el subtitulado. El estudio se centra en el análisis de aspectos humorísticos que definen a este tipo de género y en los posibles cambios a los que se debe someter el texto para ajustarse a las convenciones impuestas, de modo que pueda ser aceptado por los espectadores meta del mismo modo que por los espectadores de origen.<br /> La elección del corpus no fue una decisión arbitraria, sino que viene respaldada por la gran aceptación que ha tenido tanto en Estados Unidos como en España y por su fantástico índice de audiencia en ambos países. De este modo, su análisis destaca las características que lo definen y que lo hacen tan atractivo. <br /> El número cada vez mayor de productos audiovisuales crea la necesidad de investigar y formar a los profesionales de la traducción para poder cubrir esta realidad. La investigación en esta área relativamente joven puede ser muy beneficiosa y rentable para todos, desde las productoras hasta los propios espectadores. <br /> El estudio ofrece una investigación de la literatura existente que versa sobre la traducción audiovisual, así como sobre el concepto del humor y sus implicaciones en la traducción de textos audiovisuales. También se investiga sobre el humor lingüístico y la definición del concepto de estereotipo, entendiéndolo como fuente de humor. Posteriormente, se procede a la identificación de los elementos humorísticos en el texto origen y su comparación con sus versiones doblada y subtitulada y se presentan los resultados obtenidos de dicho análisis, así como la tendencia traductora en cada caso.<br /> A lo largo de la disertación, se seleccionan aquellas escenas que basan su humor en diferentes estereotipos, así como en recursos y estrategias empleadas para su creación. Los elementos lingüísticos, como estrategia para la consecución de dicho propósito, son especialmente interesantes como fuente de información acerca del trabajo del traductor y de las soluciones adoptadas en cada versión. Aparte del análisis de estereotipos, se contempla el lenguaje como otra fuente humorística, categoría que también aporta información valiosa para el estudio.<br /> El trabajo se ha desarrollado mediante la comparación de las tres versiones (origen, doblada y subtitulada) y los elementos humorísticos incluidos en cada caso, con el objetivo de observar qué tendencias o soluciones son preferibles a otras según el contexto en el que se enmarcan.<br /> Una vez finalizadas las transcripciones, tanto de la versión original como de las versiones doblada y subtitulada, se ha elaborado un análisis pormenorizado de cada clip seleccionado, asociando dicho análisis a los elementos destacados en la sección teórica. Para su realización se han tomado como referencia a autores como Martínez Sierra (2004, 2008, 2009), Nash (1985), Delabastita (1996), Hurtado (2001) y Gonzalez-Vera (2012), quienes describen y clasifican los diferentes tipos de humor y definen el concepto de estereotipo. <br /> El estudio realizado pretende ser un análisis de los textos del corpus, en sus tres versiones, en el que se destacan los elementos humorísticos característicos en cada una de ellas y se clasifican de acuerdo con las propuestas de los anteriores autores. De este modo, es posible comparar las estrategias empleadas en cada una de sus versiones. Este análisis permite discernir cuáles han sido los procedimientos más recurrentes adoptados por el traductor en cada uno de los casos y dependiendo del contexto de cada uno de los clips.<br /> Los resultados obtenidos han permitido demostrar que la carga humorística incluida en el texto en versión original se mantiene en gran medida –69,84 % (44 de los 63 ejemplos analizados)–. Estos datos demuestran que el corpus, en todas sus versiones, cumple con los requisitos del género, cuyo principio fundamental es el humor. Además, en la mayoría de dichos ejemplos (el 41,27 %, es decir, en 26 de los 63 analizados) se han utilizado los mismos elementos y estrategias en las tres versiones. Entre los elementos más recurrentes a la hora de la creación de contenido humorístico se encuentran los lingüísticos, seguidos de los relativos a la comunidad e instituciones. En cuanto a los estereotipos más recurrentes se encuentran el nacional, homosexual, de género, de edad, de Barbie y pueblerino. Aparte de esta clasificación, se ha establecido otra que incorpora aquellos ejemplos con contenido humorístico, basado en el propio lenguaje, que no han podido incluirse en la categorización anterior, pero que en sí mismos constituyen una categoría individual dada la gran cantidad de ejemplos detectados (42 casos).<br /> La presente investigación ha permitido constatar que el gran éxito del corpus radica en la temática de la serie, la presentación de una típica familia estadounidense en formato de falso documental que la ha hecho atractiva al público de ambos países, dato que se ha demostrado gracias a su gran cuota de audiencia. El amplio porcentaje de contenido humorístico incluido en el texto origen que se ha transmitido a los textos meta, tanto en sus versiones doblada como subtitulada, justifica su popularidad, que podría haberse resentido o incluso podría haberse cuestionado si no se hubiera conseguido trasvasar el humor. <br /> <br /> Marqués Cobeta, Noelia; Hornero Corisco, Ana María ; González Vera, María Pilar
Full text
2021
108
Noelia Ma qués Cobe a
The ansla ion o humou
in he ame ican si com
mode n amily
Di ec o /es
Ho ne o Co isco, Ana Ma ía
González Ve a, Ma ía Pila
© Uni e sidad de Za agoza
Se icio de Publicaciones
ISSN 2254-7606
Noelia Ma qués Cobe a
THE TRANSLATION OF HUMOUR IN THE
AMERICAN SITCOM MODERN FAMILY
Di ec o /es
Ho ne o Co isco, Ana Ma ía
González Ve a, Ma ía Pila
Tesis Doc o al
Au o
2021
UNIVERSIDAD DE ZARAGOZA
Escuela de Doc o ado
P og ama de Doc o ado en Es udios Ingleses
Reposi o io de la Uni e sidad de Za agoza – Zaguan h p://zaguan.uniza .es
The ansla ion o Humou
in he Ame ican si com
Mode n Family
PhD Thesis
Noelia Ma qués Cobe a
Supe iso s:
D Ana Ma ía Ho ne o Co isco
D Pila González Ve a
The ansla ion o Humou
in he Ame ican si com
Mode n Family
A PhD hesis by
Noelia Ma qués Cobe a
supe ised by
Ana Ma ía Ho ne o Co isco
Pila González Ve a
FACULTY OF ARTS
2020
i
Acknowledgmen s
Fi s ly, I would like o exp ess my since e g a i ude o my supe iso s D
Ana Ma ía Ho ne o Co isco and D Pila González Ve a o hei
con inuous suppo o my PhD s udy and ela ed esea ch, as well as o
hei pa ience, encou agemen , and immense knowledge. Thei guidance
has helped me h oughou all he ime de o ed o he esea ch and w i ing
his hesis. I could no ha e imagined ha ing be e ad iso s and men o s
o my PhD s udy.
My since e hanks also go o B anwen Val o he suppo .
Las bu no he leas , I would like o hank my amily: my a he
and my sis e , o suppo ing me spi i ually du ing he w i ing o his hesis
and in my li e, in gene al. In pa icula , I am g a e ul o my husband and
pa ne in li e o his backing o e all hese yea s.
ii
CONTENTS
Acknowledgmen s i
Lis o ac onyms
Lis o symbols i
Lis o ables i
Lis o igu es ii
1. INTRODUCTION 1
2. AUDIOVISUAL TRANSLATION 12
2.1 De ini ion 12
2.2 The audio isual ma ke in he Uni ed S a es and Spain 25
2.3 Dubbing 28
2.3.1 P io i ies and es ic ions in he dubbing
p ocess 32
2.3.2 Synch ony 34
2.4 Sub i ling 38
2.4.1 P io i ies and es ic ions in he sub i ling
p ocess 43
2.4.2 Synch ony 46
3. HUMOUR 52
3.1 Types o humou 60
iii
3.2 Humou and ansla ion 73
3.2.1 Fac o s in ansla ing si coms 73
3.2.1.1 P io i ies and es ic ions in he
ansla ing p ocess 76
3.2.2 T ansla ing humou 81
3.2.3 Di icul ies in ansla ing humou 87
3.2.3.1 T ansla ing jokes 97
4. METHODOLOGY AND CORPUS 101
4.1 Objec i es 101
4.2 Me hodology 102
4.3 Co pus 106
4.3.1 Si coms, an impo an gen e in he Uni ed
S a es and in Spain 106
4.3.2 Mode n Family 108
5. ANALYSIS 125
5.1 S e eo ypes 128
5.1.1 Na ional s e eo ype 129
5.1.1.1 Glo ia Delgado-P i che 130
5.1.1.2 Lily Tucke -P i che 158
5.1.1.3 Conclusions 161
5.1.2 Homosexual s e eo ype 164
5.1.2.1 Mi chell P i che 165
5.1.2.2 Came on Tucke 167
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e en bene icial o consume s o any kind o audio isual p oduc s. Indeed,
he mo e speci ic he s udies in his ield o knowledge, he mo e p ecise
he ansla ed ex s will be, as ansla o s will be be e p epa ed and ained
o de elop hei jobs.
Aims o he s udy
The main aims o his s udy can be summa ised in a ew poin s:
Resea ch and e iew exis ing li e a u e on audio isual
ansla ion, as well as he concep o humou and i s
implica ions in he ansla ion o audio isual ex s.
S udy he speci ic a ea o linguis ic humou , he co ne s one
on which he esea ch will be based.
De ine he concep o s e eo ype and conside i as a sou ce
o humou .
Iden i y he di e en humo ous elemen s in ol ed in he
examples aken om he co pus, and compa e hem wi h he
ones used in he dubbed and sub i led e sions.
P esen he esul s o he p e ious analysis and obse e he
ansla ion endency in each case.
Th oughou he s udy, only speci ic scenes ha base hei humou on
di e en ypes o s e eo ypes a e selec ed, in addi ion o he esou ces and
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s a egies used o achie e his humou . The linguis ic elemen , as one o he
s a egies used o c ea e humou , is especially in e es ing as i will p o ide
he necessa y in o ma ion o analyse he ansla o 's job and compa e he
solu ions gi en in each speci ic e sion. Apa om analysing s e eo ypes,
language is also conside ed he sou ce o humo ous scenes, and p o ides
aluable in o ma ion o he s udy.
F om he beginning, i was decided o base he s udy on a
compa ison o he h ee e sions (sou ce, dubbed and sub i led), in addi ion
o he humo ous elemen s in ol ed in each case, wi h he aim o obse ing
possible endencies ha a e p e e able o o he s. The in en ion, he e o e,
was no o desc ibe he di e en ansla ion heo ies in dep h, o o y o
ex end exis ing li e a u e on his issue. Howe e , i was essen ial o e iew
he heo y on audio isual ansla ion ha could be o in e es o he
speci ic pu pose o he s udy, in o de o es ablish a amewo k on which
o g ound he s udy and i s subsequen analysis.
Mo eo e , and al hough i migh be an in e es ing app oach, his
s udy does no ocus on humou ecep ion. This idea could be conside ed
as a u u e p ojec ha would comple e he p esen s udy bu , in his case,
i was deemed p e e able o ocus on he inal ex s and he solu ions gi en
in each case.
5
Hypo hesis
As s a ed abo e, he aim o his s udy is o deal mainly wi h humou , and
he di e en epe cussions his has on a ex , due o i s in insic cul u al
oo s. Discussing whe he he ansla ion o humou is a easible ask is
a oided, since his is unde s ood o ha e been p o en, hanks o he
popula i y o humo ous audio isual p oduc s impo ed in o ou coun y,
which, indeed, is a ac and a eali y in ou daily media consump ion.
I is no s ange ha , nowadays, due o he as mo ing wo ld we
li e in, se ies, unde s ood as a se o egula p og ammes ha ell a s o y
abou ce ain cha ac e s and ha las o a ela i ely sho pe iod o ime,
ha e eached a high le el o popula i y. Besides, people usually wan o be
en e ained and enjoy hei ee ime. Fo his eason, si ua ion comedies –
se ies whose main ea u e is humou – ha e become an impo an op ion
when i comes o choosing an en e ainmen op ion.
A e jus i ying he ield o s udy and i s in e es , he p ocedu e
chosen was o analyse he humo ous scenes o he selec ed co pus in o de
o compa e he endencies ha he dubbed e sion (DV) and he sub i led
e sion (SV) ollow in he a ge language (TL), and how simila o
di e en hey a e o he sou ce ex (ST), as i was o iginally concei ed.
A a mo e speci ic le el, he eclec ic na u e o he di e en
cha ac e s ha appea in he co pus enables us o s udy humou om
ano he pe spec i e. We base ou esea ch on he idea ha humou can be
c ea ed h ough s e eo ypes, which a e inex icably linked o he cul u e o
6
a coun y, bu also sha e ce ain uni e sal common ai s.
In his sense, he gene al poin s aised in his s udy a e, i :
The ansla ion o humou h ough di e se s e eo ypes is
ela ed o each o he cha ac e s o he co pus. Each
cha ac e has pa icula ai s which make hem special and
en ich he ex . These di e en cha ac e is ics enable us o
s udy humou om se e al pe spec i es.
The s e eo ypes analysed ollow a common endency
ega ding he use o humo ous elemen s in each e sion, o
i hey only depend on he con ex and he si ua ion whe e
hey a e de eloped.
The humo ous elemen s ha a e used in he ST a e he same
as he ones ha appea bo h in he DV and SV, in o de o
main ain he humou load. The analysis will cla i y i i is
possible o use he same elemen s o , on he con a y, i i is
necessa y o adap hem o he ansla ed ex s in o de o i
in wi h he cul u al eali y, and he espec i e dubbing and
sub i ling es ic ions.
The humou load is ans e ed o he a ge ex s (TTs), i i
is los du ing he ansla ion p ocess, o i he e is any case
in which he ansla o chooses o c ea e humo ous con en
in ei he o bo h o he TTs o compensa e o possible losses
ha may ake place.
7
In ag eemen wi h he p e ious poin , he elemen s a e mo e
liable o be ansmi ed, o be los , o o be c ea ed.
The e a e some ansla ion endencies in audio isual ex s
and, speci ically, in his co pus.
This has been an a duous ask, al hough i is only a s a ing poin o he
de elopmen o u he s udies on he ansla ion o humou .
S uc u e
This s udy has been di ided in o six chap e s. Fi s , i was necessa y o
e iew some o he heo y on which he s udy was going o be g ounded.
Thus, we we e able o es ablish a amewo k in which o include i , and a
s a ing poin om whe e o con i m, a e he analysis, whe he he
ansla o ’s decisions ollow he di e en p ecep s men ioned by schola s
who ha e s udied he a ea o specialisa ion o audio isual ansla ion, and
his speci ic gen e, o whe he , on he con a y, s/he has made his/he own
decisions, and has ied o ind o he solu ions ha ma ch he TT be e , and
mee he a ge con en ions.
The s udy includes he ollowing sec ions:
Chap e 1, In oduc ion: he easons ha ha e mo i a ed he
s udy o his doc o al hesis a e explained. In o ma ion
abou he esul s expec ed o be ob ained, a e inishing he
8
esea ch, is included, and he hypo heses a e p esen ed. The
s uc u e o he disse a ion is also discussed, as well as he
me hodology ollowed in o de o de elop he s udy, b ie ly
in oducing he co pus ha will be analysed.
Chap e 2, Audio isual ansla ion: he li e a u e in his ield
o knowledge is e iewed, and se e al poin s o iews o
di e en schola s on his heme a e conside ed. In o ma ion
abou he audio isual ma ke , compa ing he wo coun ies
in ques ion – he Uni ed S a es and Spain– is included. This
chap e ends wi h an explana ion o he mos common
modes o audio isual ansla ion, dubbing and sub i ling.
The p io i ies and es ic ions in e ms o he ansla ion
p ocess a e speci ied, and one o he main cha ac e is ics o
hese modes, synch ony, is s udied in dep h.
Chap e 3, Humou : he main poin o he s udy is
de eloped. The concep and he di e en ypes o humou
a e de ined, and he ela ionship be ween humou and i s
implica ion in he ansla ion p ocess is discussed, also
highligh ing he di icul ies en ailed.
Chap e 4, Me hodology and Co pus: i explains he way in
which he main pa o ou s udy – he analysis o he co pus–
is de eloped. The h ee e sions –o iginal e sion (OV), DV
and SV– a e included in a able whe e he dialogues can be
compa ed and he humo ous elemen s can be iden i ied and
9
discussed. I concludes wi h an in oduc ion o he gen e o
he ex , ending wi h a summa y o he co pus and he
p esen a ion o i s cha ac e s.
Chap e 5, Analysis: his is he main sec ion in he hesis. By
analysing he co pus, i is possible o disce n he di e en
s e eo ypes included, and h ough which humou is c ea ed.
The elemen s used in each example a e commen ed on, i.e.,
i hey a e ansmi ed, omi ed o added, as well as any
possible modi ica ions he ansla o makes in o de o
main ain he humou load in he DV and SV. This
in o ma ion is also suppo ed by he pe cen ages ha
co obo a e hese da a.
Chap e 6, Final conclusions: i includes he pe cen ages
associa ed wi h he in o ma ion p esen ed in he p e ious
chap e and ha show he p ocedu es adop ed by he
ansla o in each speci ic case. I is he e whe e he
heo e ical in o ma ion, explained in he i s chap e s, is
ela ed o he esul s ob ained om he analysis o he
co pus.
The Bibliog aphy sec ion lis s, in alphabe ical o de , he a icles, chap e s,
books, doc o al heses and, in sho , any publica ions conside ed in e es ing
and ele an o he s udy and ha we e consul ed du ing he esea ch
p ocess.
10
An Appendix p o ides a link o a ile in Google D i e whe e he
examples analysed in Chap e 5 can be ound. Addi ionally, u he
examples de ec ed du ing he iewing p ocess a e included in his sec ion,
al hough hey do no con ain as much ele an humou load as he ones in
Chap e 5. These scenes also show he h ee e sions discussed in his s udy
– he English OV, and he Spanish DV and SV–.
Me hodology and co pus
The s eps ollowed o conduc he p esen s udy go om a global app oach
o a speci ic analysis o he co pus:
1. Reading he ele an publica ions ha discuss he
app op ia e issues o ou s udy.
2. Selec ion o he episodes o be analysed and jus i ica ion o
his decision. A e his, hese episodes we e iewed in he
OV, as well as in he DV and he SV.
3. Compa ison o he h ee ex s in o de o see he di e en
humo ous elemen s used in each case, oge he wi h an
explana ion o hose op ions.
4. Analysis and s udy o he esul s ha a ise om he p e ious
compa ison, conside ing whe he he elemen s o he
solu ions gi en by he ansla o a e di e en o no om he
ST and, i hey a e di e en , he way in which hey a e
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modi ied.
5. Conclusions ha summa ise he analysis, gi ing some
explana ions o jus i y he indings o he s udy.
As s a ed abo e, he co pus analysed in his s udy is he si ua ion comedy,
Mode n Family, chosen due o i s popula i y bo h in he Uni ed S a es and
in Spain. Al hough his se ies is b oadcas ing i s 11 h and inal season, my
decision was o analyse he i s seasons, as i is in hese i s momen s o
he se ies whe e he cha ac e s a e p esen ed and whe e hey de elop all
hei ai s. The aim was also o obse e he e olu ion o hese cha ac e s,
and i he s e eo ypes associa ed wi h each one e ol e in he same way as
he cha ac e s do. This is he eason why seasons 1 and 2 –whe e he
audience mee he cha ac e s–, a e analysed, as well as seasons 5 and 6, in
o de o see any change in hei beha iou o in he way o he cha ac e s
see hem.
The se ies po ays he e e yday li e o an eclec ic amily
comp ised o a nuclea , a s ep- and a same-sex amily. The di e se o igins
and backg ounds o he di e en membe s o he amily, which de ine
hem, en ich he se ies and p o ide many ea u es ha a e in e es ing o
he p esen s udy. Fu he mo e, he idea o po aying he se ies as a
mockumen a y –a mock documen a y–, whe e he cha ac e s exp ess hei
eelings and p oblems di ec ly o he came a, bes ows o iginali y.
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2. AUDIOVISUAL TRANSLATION
2.1 De ini ion
In ecen yea s, audio isual ansla ion has unde gone conside able g ow h
due o he inc ease in audio isual p oduc s, especially in he cases o
cinema and ele ision. Conside ing ha his endency has con inued o
g ow, mo e and mo e li e a u e ha s udies his a ea o specialisa ion can
be ound, since di e en schola s ha e become awa e o he impo ance o
esea ching and specialising in his speci ic ield wi hin T ansla ion
S udies.
Schola s a e now mo e in e es ed in his ield o s udy, and bo h
audio isual ansla ion and ansla o s a e be e ecognised, due o he
g ea impac ha audio isual ex s ha e on ou socie y, and he g owing
numbe o impo ed p oduc s ha a e b oadcas bo h in he cinema and on
ele ision. This sec o has, he e o e, become an impo an and compe i i e
discipline ha is wo h s udying.
T ansla ion S udies is he a ea ha ocuses on he di e en ypes o
ansla ions, including audio isual ansla ion, which is he ield de eloped
in his s udy. Acco ding o Ma ínez Sie a (2004:13), he e a e some
schola s who ecognise i as an au onomous and independen discipline
wi h i s own iden i y.
As s a ed abo e, he cu en audio isual consump ion end makes
i necessa y o s udy and de ine his discipline in dep h, as well as o
19
communica ion. This way, concep s such as synch ony a e o
g ea impo ance.
2. The second peculia i y ema ks ha :
la aducción no es ealizada an solo po el aduc o sino ambién po
oda una se ie de p o agonis as, como son los ac o es, di ec o de
doblaje, di ec o de sub i ulado, ajus ado es, e c., ninguno de los cuales
iene po qué conoce ni bien ni mal la lengua o iginal y muchos de los
cuales ni siquie a han is o la ob a comple a an es de abo da su
aducción. (ibid.: 35-36)
Many people ha e access o he o iginal o inal ex in o de o
pe o m adjus men s o ul il he equi emen s o he a ge
language and cul u e.
3. The hi d peculia i y e e s o how he audience simul aneously
ecei es he audio isual p oduc h ough wo channels, he same
channel (acous ic channel in he case o oice-o e , hal -dubbing
and simul aneous ansla ion), o di e en channels (acous ic
and isual channels in he case o sub i ling).
4. The ou h peculia i y deals wi h he con en ions ha ansla ed
p oduc s ha e o ul il in o de o be accep ed by he audience as
an o iginal p oduc .
The e is a di e ence be ween he de ini ion p oposed by Agos and
Mayo al. Whe eas Agos (1999:15) de ines audio isual ansla ion as “una
aducción especializada que se ocupa de los ex os des inados al sec o del
cine, la ele isión, el ídeo y los p oduc os mul imedia”, Mayo al
20
(2001b:34) s a es ha “cuando hablemos de aducción audio isual hay que
habla de lo que es especí ico de es e ipo de aducción”. The key
di e ence is he adjec i e used by hem, “specialised”, in he case o Agos ,
and “speci ic”, in he case o Mayo al. We conside audio isual ansla ion
o be a “speci ic” ype o ansla ion, since we hink ha no all ex s a e
“specialised”. I will depend on he subjec ha needs o be ansla ed o
de e mine whe he a ex is specialised o no .
We would like o add he de ini ion p oposed by Ma ínez Sie a
(2004:22) abou he concep “audio isual ansla ion”:
una modalidad gene al de aducción que se ocupa de los ex os audio isuales,
los cuales se ca ac e izan po que se ansmi en a a és de dos canales
simul áneos y complemen a ios (el acús ico y el isual) y po p esen a una
combinación, ambién simul ánea y complemen a ia, de a ios códigos de
signi icación (lingüís ico, pa alingüís ico, isual, e c.) cuyos signos in e ac úan y
cons uyen el en amado semán ico del ex o audio isual. Se a a de una a iedad
de aducción que p esen a una se ie de ca ac e ís icas p opias que la de inen
en e a la aducción esc i a y a la in e p e ación, y que ienen que e
p incipalmen e con los condicionan es (in e nos y ex e nos) que dicha modalidad
p esen a y las es a egias que equie e.
We ag ee wi h his de ini ion o audio isual ansla ion, since i explains all
he cha ac e is ics ha ha e al eady been poin ed ou :
1. I is a gene al ype o ansla ion, in con as o he e m
“specialised”, coined by Agos ; we conside he e m
“speci ic” o be mo e app op ia e in his case.
2. I ansla es audio isual ex s, which a e cha ac e ised by
21
being simul aneously ansmi ed h ough wo di e en
channels, he acous ic and he isual.
3. I con ains di e en codes, which in e ac and o m he
audio isual ex s.
4. I has i s own cha ac e is ics, which de ine and dis inguish
i om o he ypes o ansla ions.
5. I is necessa y o s udy all i s ea u es in o de o de elop
s a egies ha ul il he needs o he gen e.
6. I is p e e able o he heo y o be based on empi ical cases
in o de o see how he hypo hesis is applied o eal ex s.
Zabalbeascoa (2001b:114) goes u he and, wi h he help o a g aphic,
desc ibes he cha ac e is ics o audio isual ex s, which makes i easy o
unde s and how hese ex s can be classi ied, and explains he channels and
codes in ol ed in he communica ion.
e bal
audio isual
no e bal
Figu e 1
22
Acco ding o Zabalbeascoa (2001b:114), e e y audio isual ex s ands in a
di e en posi ion along he axes, depending on he pe cen age o each
elemen included in he ex . In his sense:
En la in e sección cen al de es os dos ejes ( ig. 1) se encon a ía un ex o
audio isual en el que los elemen os del audio y del isual ienen exac amen e la
misma impo ancia comunica i a y en el que los signos e bales y no e bales
es án epa idos en un 50% an o cuali a i a como cuan i a i amen e.
Howe e , his schola adds ha audio isual ex s do no include hese
elemen s in he same pe cen age. These ex s will be simila in e ms o he
elemen s ha comp ise hem, bu di e en in e ms o he p opo ion o
hese elemen s wi hin he ex . In o he wo ds, ansla o s ha e o bea in
mind he di e en channels, codes and signs ha a e pa o he audio isual
ex and ha de ine i , in o de o ca y ou hei wo k in he bes possible
way.
No only a e he abo emen ioned elemen s impo an when an
audio isual ex is ansla ed, bu also o he possible isual and w i en
pa alinguis ic elemen s, which also o m pa o hese ypes o ex s and
ul il a pa icula pu pose o communica i e unc ion. In o de o isually
de ine and classi y hese elemen s, Zabalbeascoa (2001b:119) c ea es a
able ha summa ises hem in a simple way:
23
Elemen os pa alingüís icos o ales y esc i os
Elemen os pa alingüís icos:
o ales - esc i os
• En onación, i mo • Tipo(s) de le a
• Velocidad de habla • Tamaño(s) de le a
• Tipo de oz • Colo (es) de le a y
• Volumen de oz ondo
• Pausas, anacolu os… • Va iedad de o mas
• Dicción • Disposición del
ex o
• Pun uación
Table 1
Al hough hese a e impo an elemen s, we will discuss and analyse his
la e when he di e en cha ac e is ics o dubbing and sub i ling a e
s udied.
Zabalbeascoa (2001b:120) also includes a new concep , which is
he idea o “sepa abilidad”, and he de ines i as
la obse ación de que los dis in os ipos de signo ( e bal y no e bal) den o de
un ex o audio isual ienen o mas muy di e sas de combinación e in e elación.
Admi imos que el ex o audio isual p o o ípico es el que emplea odos sus signos
de al mane a que o man un en amado que es el que da cohe encia al ex o, y se
hace imposible, desde es e pun o de is a, analiza ningún elemen o sepa ado de
los demás componen es ex uales. Po eso decimos, po ejemplo, que es una
eme idad aduci una película (su componen e e bal) sin ene acceso a una
copia en ídeo.
24
This schola (2001b:121) explains he exis ing in e ela ions be ween he
signs o di e en channels and codes, and ha de e mine how dependen
he di e en elemen s a e wi hin he ex : 1) complemen a i y, he elemen s,
as hey complemen each o he , a e di icul o sepa a e, since one needs
he o he o comple e he idea hey a e ansmi ing; 2) edundancy, ex a
in o ma ion ha suppo s he main and same idea; 3) con adic ion, used o
c ea e a comical e ec ; i appea s when wo elemen s ansmi di e en
ideas a he same ime; 4) incohe ence, he main di e ence wi h he
p e ious poin is ha incohe ence is used o alk abou un o una e esul s
in he ST o in he ansla ed one; and 5) sepa abili y, which explains he
possibili y, o no , o sepa a ing wo elemen s, and analysing whe he hese
may unc ion on hei own.
The ansla ion o audio isual ex s mus be a p ocess in which he
ansla o , in con as o o he ypes o ansla ions, has o conside no only
he wo ds wi hin he ex , bu also all he isual, acous ic, and pa alinguis ic
elemen s. These o he elemen s, apa om he wo ds, a e c ucial when
ackling he ansla ion o an audio isual ex . In his sense, isual elemen s
may be mo e impo an han wo ds hemsel es, so i will be he ansla o 's
decision o de e mine whe he o ca y ou a mo e o less ai h ul ansla ion
o he o iginal. Acco ding o his idea, Zabalbeascoa (2001b:122) s a es ha
Es o nos lle a a pensa que, a eces, la aducción audio isual puede llega a se
más sa is ac o ia en algunos casos si el aduc o / la aduc o a se «apa a» del
componen e e bal o iginal e in en a c ea elemen os e bales en la lengua de
llegada complemen a ios con las imágenes o iginales; en cualquie caso, el
esul an e siemp e se á un nue o ex o po mucho que se man engan inamo ibles
los elemen os isuales del ex o de pa ida.
25
In some cases, he ansla o does no ha e any o he possibili y han o op
o a ansla ion ha is no so ai h ul o he o iginal ex , in o de o ansmi
he main idea, a he han ansla ing he exac wo ds om he ST. I is also
possible o compensa e some elemen s o ma ch he ex o he images.
The e a e many cases and di e en ways o compensa ion, bu
Zabalbeascoa (2001b:123-124) e e s o i e o hem: e bal (wo ds) by
non- e bal (pa alinguis ic o non-linguis ic) o e en by omission o
edundan e bal elemen s; non- e bal (pa alinguis ic o non-linguis ic) by
e bal (wo ds), when he isual con en allows i ; isual by acous ic, when
a oice-o e eads wha i is w i en; acous ic by isual, in o de o help he
audience o unde s and he acous ic ex , o example including he ly ics
o a song; and non- e bal by non- e bal o he same le el, which can be a
acous ic o isual le el, subs i u ing a piece o music wi h ano he ha he
audience may be mo e amilia wi h, o manipula ing he images o adap
o he TL, i his we e possible, which is some hing ha is happening in
some o he mo e ecen ilms.
2.2 The audio isual ma ke in he Uni ed S a es and Spain
The numbe o impo ed audio isual ex s om he Uni ed S a es has isen
eno mously in ecen yea s. The access and use o new audio isual
pla o ms ha e c ea ed a new way o consuming hese p oduc s. Acco ding
o he la es epo Se ies TV de EEUU, published by Ba lo en o
26
Comunicación (2017), which e ie es da a om Kan a Media, 72% o he
se ies b oadcas on Spanish ele ision come om he Uni ed S a es o
Ame ica. This igu e is e en mo e no ewo hy when we conside he se ies
b oadcas on pay-pe - iew TV, as his pe cen age ises o 86%. I is
in e es ing o men ion Ma ínez Sie a (2004:58), who jus i ies he
impo ance o he audio isual ex s wi hin he audio isual indus y:
De hecho, nos pa ece que el medio ele isi o es incluso más pode oso que el
mundo del cine po el mayo g ado de exposición de su público a los dis in os
p og amas (incluidas las películas) de p ocedencia ex anje a que se emi en a
dia io po es e medio.
Al hough some yea s ago hese audio isual ex s we e only b oadcas on
TV, he de elopmen o new echnologies has c ea ed new pla o ms, such
as desk op compu e s, lap ops, able s, sma phones – he la e being he
mos popula among eenage s– o enjoy hem. Acco ding o he igu es
o e ed by he Comisión Nacional de los Me cados y la Compe encia
(CNMC) in i s 2017 epo , he consump ion o audio isual con en s di e s
depending on he age ange. This epo shows ha TV con inues o be he
audio isual pla o m pa excellence, as i is chosen by almos e e y age
g oup. Howe e , his endency changes when conside ing he age ange
om 16 o 24, ha is, eenage s and young adul s, as hey p e e o consume
audio isual ma e ials on hei sma phones –37%–, a he han on TV
–29%–.
Di e en companies ha e ealised ha he endency is o wa ch
e e y hing on he go, on he bus, on he ain, in he ca ; hus, hey a e
27
adap ing o his end o widen hei a ge audience, pa icula ly among
eenage s and young adul s, who a e becoming mo e and mo e impo an
a ge spec a o s. Ano he in e es ing piece o in o ma ion o conside is he
use o TV on demand o pay-pe - iew TV se ices, as hese a e he
p e e ed op ions o wa ch se ies episodes –49%– and mo ies –47%–,
acco ding o he abo emen ioned CNMC epo . These se ices and he
change in he way he audience consumes audio isual con en s a e leading
o an inc ease in he audio isual ex s o e ed o hei consume s, and
he e o e, he impo ance o audio isual ansla ion is also inc easing in he
same way. T ansla ing has become a c ucial ool, especially o hose who
consume audio isual ex s, no in hei OV, bu in hei dubbed o sub i led
e sions (An onioni and Chia o, 2009). Nida (1964:177) also explains he
impo ance o his p ocess and i s impac on ou socie ies:
Some pe sons ega d ansla ing o he cinema as pe iphe al and no oo
impo an . Howe e [...] in in e lingual communica ion, ilm ansla ing p obably
su passes book ansla ion in o al impac . Success ul mo ion pic u e ansla ing
is inc easingly i al o he cinema indus y [...].
A e ha ing explained wha cha ac e ises audio isual ansla ion, i s
de ini ion and consume ends, ou nex s ep is o ocus on he wo mos
common modes o ansla ion, which will be he ocus o his esea ch
wo k: dubbing and sub i ling.
28
2.3 Dubbing
Dubbing is he mos common mode o audio isual ansla ion in Spain. In
his coun y, e e y impo ed se ies o ilm which is b oadcas on TV, has
been dubbed. The se ies we ha e chosen o his s udy ollows his
endency, hence he impo ance o explaining his ansla ion mode, since
a la ge pe cen age o he audio isual ex s consumed in Spain a e impo ed
p oduc s –mos o hem om he Uni ed S a es–, which a e b oadcas a e
being dubbed.
The aim o he dubbing p ocess is no only o ob ain a inal p oduc
ha is b oadcas in ano he coun y, in ano he language and ha is
consumed by a di e en audience, bu o ob ain a ex ha is conside ed an
o iginal by he a ge consume s, ul illing he cul u al and linguis ic
demands o he a ge communi y, oo.
Al hough, du ing his p ocess, he ex s go h ough many phases:
“la aducción, el ajus e o adap ación, la p oducción, la di ección e
in e p e ación o las mezclas, sin ol ida o as e apas en las que pa icipan
agen es como las dis ibuido as, las emp esas y cadenas de ele isión, los
aseso es lingüís icos, e c.” (Ma ínez Sie a, 2004:69). In his s udy, he
analysis ocuses on he ansla ing phase, compa ing he inal ex b oadcas
in he Uni ed S a es wi h he inal ex b oadcas on Spanish ele ision.
Acco ding o Agos (1999:58), “[l]a écnica del doblaje consis e en
sus i ui la banda sono a de un ex o audio isual po o a banda sono a”.
Howe e , we only conside i as dubbing when he sou ce language (SL) o
35
Rec ea ing a sc ip in a o eign language demands ha each isible sign o speech
ac i i y mus be accoun ed o , bodily ges u es mus be jus i ied in conjunc ion
wi h meaning and emphasis o ex , p agma ic app op ia eness o con ex mus be
e ained, conno a ions mus be ansposed and d ama ic equi emen s mus be
espec ed.
In o he wo ds, an audio isual ex is conside ed o be accu a e when all
he elemen s in ol ed in he communica ion –wo ds, pic u es and sounds–
i oge he and c ea e a inal p oduc ha ul ils he ea u es and
equi emen s o his ype o ex s.
Agos (1999:58) explains he di icul y o dubbing due o he
abo emen ioned wo ds-pic u es pai , bu also because he ansla ion has
o ansmi he con en o he ST, which makes he ansla o 's job mo e
di icul . In ou speci ic case, he ansla o has o ansla e he humo ous
elemen s, as well. This schola (1999:58-59) men ions and dis inguishes
h ee ypes o synch ony, which include all he elemen s in ol ed in an
audio isual ex :
1. Synch ony o con en . I ocuses on he in o ma ion he
ansla o has o ansmi om he ST o he TT, which should
be he same, no in o m bu in meaning.
2. Visual synch ony. This is he ype o synch ony we i s hink
o when we deal wi h his issue. I consis s in ma ching he
ac o s' mo emen s wi h he wo ds hey a e p onouncing. I is a
di icul ask, since he mo emen s o he di e en ac o s, hei
speech and he momen when hey say i should i oge he . In
36
o de o achie e his, he adap e will ha e o make any
necessa y changes o he speech, in o de o make i mo e
na u al, and o i o be accep ed by he a ge audience
(ibid.:65). In ano he s udy, Agos , Chaume e al. (1999:184)
include h ee ypes o isual synch ony o be kep in mind when
dubbing an audio isual ex :
Phone ic synch ony. The speech i s oge he wi h
he lip mo emen o he pe son who is alking. The
mo e accu a e he adap e 's job is, he mo e na u al
and accep ed he ex will be by he a ge audience.
I also depends on he scene, as in a close-up he
adjus men mus be mo e p ecise han in o he scenes
whe e he ac o s a e no ha close. The e is,
u he mo e, a di e ence be ween he cinema and
he TV, as in he la e case phone ic synch ony is no
as p ecise as in ex s ha a e aken o he cinema, due
o he size o he sc een. The smalle he sc een is,
he easie i is o de ails o go unno iced.
Kine ic synch ony. The ac o s' speech is adjus ed o
hei mo emen s. “[E]l signi icado de sus ges os y su
compo amien o no e bal han de se cohe en es con
la p opues a de aducción, que, po an o, se á
subsidia ia a la in encionalidad de esos ges os”
37
(ibid.:184). I is impo an o he ansla o o know
he body language used in each coun y, in case he e
a e di e ences ha should be aken in o accoun in
o de no o cause a sense o s angeness among he
audience.
Isoch ony. “Adecua , en mayo o meno medida, la
aducción a la du ación empo al de cada enunciado
del ac o de pan alla” (ibid.:184). This is he eason
why some ansla ions ha e o be adap ed o adjus
hem o he sen ences, pauses, e c. made by he
ac o s on sc een. No all languages use he same
numbe o wo ds o exp ess he same idea, hus his
ac o is ele an o he quali y o he dubbed ex .
3. Acous ic synch ony. The dubbing ac o 's speech i s wi h he
ac o 's mo emen s and ges u es. Wi hin his ca ego y, Whi man
(1992:39-53) es ablishes h ee di e en ypes o acous ic
synch ony: idiosync a ic ocal ype, ha is, ha he oice he
audience hea s and he physical appea ance o beha iou i
oge he ; pa alinguis ic and p osodic elemen s, he di e en
sounds and oice ea u es an ac o is able o ansmi ; cul u al
a ia ions, accen s and dialec s, hese aspec s should be aken
in o accoun when ansla ing and dubbing he ex as hey gi e
some ex a in o ma ion abou he ilm. Whi man also ema ks
38
ha dialec s a e he mos di icul elemen s o dub.
The impo ance o synch ony in he dubbing p ocess and o he inal ex
o be accep ed is unques ionable, which is why isual synch ony is
conside ed he mos ele an ype. Howe e , Cha es (2000:142) explains
ha each coun y has i s own p e e ences as a as synch ony is conce ned.
2.4 Sub i ling
Al hough we ha e al eady explained ha dubbing is he mos common and
consumed mode o audio isual ansla ion in Spain, sub i ling is ano he
op ion ha is gaining popula i y among spec a o s. Thanks o he new
echnological de ices and audio isual pla o ms, he audience has he
powe o choose how hey wan o consume audio isual p oduc s.
Some yea s ago, sub i ling was a ansla ion mode ha was
elega ed o a ew and speci ic cinemas showing au eu ilms. I was also
used a ce ain imes when i was necessa y o include he in o ma ion o
some messages ha appea ed in he OV, o he ly ics o a song ha could
be hea d. This endency has changed o e he yea s hanks o he
comme cialisa ion o DVDs and, yea s la e , wi h he di e en pla o ms
whe e he audience can choose he way in which hey see he ex –o iginal
e sion, dubbed e sion, o iginal e sion wi h mul i-language sub i les,
among o he op ions–.
39
Mayo al (1993:50) de ines sub i ling as “la sob eimp esión o
sob ep oyección en la película de un ex o esc i o que aduce lo que se oye
en la pan alla en la lengua o iginal. La du ación de los sub í ulos se hace
coincidi con la de sus co espondien es palab as p onunciadas”. In o he
wo ds, he audience, who chooses o wa ch an audio isual ex wi h
sub i les, lis ens o he o iginal sound ack –wo ds, noise and music– and
eads wha he ac o s say – his can be in he o iginal language o in any
ansla ed language– a he bo om o he sc een.
This ac aises he con on a ion be ween de ende s and de ac o s
o dubbing and sub i ling. The e a e some c i ical oices ha de end
sub i ling o e dubbing and hey jus i y his op ion:
The o iginal sound ack is no co e ed, so he o iginal and
eal oices and pe o mances o ac o s and ac esses can be
enjoyed.
De ende s o sub i ling claim ha he op ion o sub i ling
keeps he essence wi h which he ex was concei ed.
Spec a o s can imp o e, p ac ice o e en lea n he language
in which he audio isual ex has been ilmed.
On he o he hand, o he people hink ha he ex , which appea s on sc een,
is annoying, as hey ha e o ead o be able o unde s and wha is happening
and i he e o e dis ac s he audience om he o he pic u es and om he
pe o mance o ac o s and ac esses. These oices claim ha when hey
40
wa ch an audio isual p oduc , hey expec o be en e ained and ha e a
elaxing ime, which is no he case i hey ha e o ead along.
In his s udy, we a e no discussing which op ion is p e e able o
mo e con enien o he audience, as we unde s and ha his will depend
on he spec a o s and hei audio isual p e e ences. We ag ee wi h some
au ho s who s a e ha , “no hay azones sólidas pa a p e e i una u o a
mani es ación” (Chaume, 2000a:56), since i depends on many a iables.
Ma ínez Sie a (2009a:180-181) also adds ha , “[e]s más, podemos
en ende las como dos p ác icas que pueden pe ec amen e con i i y
a ende a me cados dis in os de modo complemen a io”. We ag ee wi h his
s a emen , since each ansla ion mode can co e a speci ic ma ke and
sa is y he necessi ies and p e e ences o a wide ange o audiences a each
pa icula momen .
The schola Ma leau (1982:273) desc ibes his mode o linguis ic
ansposi ion as:
Le mo “sous- i age” désigne dans un ilm pa lan é ange p esen é en e sion
o iginale, la aduc ion condensée du dialogue p oje ée au bas des images. [...] La
aduc ion s'e ec ue au moyen d'une b è e appa i ion à l'éc an d'une insc ip ion
lumineuse édigée dans la langue écep ice.
O he schola s like Gambie and Soumela (1994) s a e ha sub i ling is a
linguis ic and cul u al ans e ha akes place a wo le els a he same
ime: on he one hand, he e is a change om he o al o he w i en code;
and on he o he hand, he e is a change in he language which appea s on
sc een, om a SL o a TL. These wo le els a e aspec s any audio isual
41
ansla o has o bea in mind, oge he wi h he p io i ies and es ic ions
inhe en o his audio isual ansla ion mode.
When we hink o an audio isual ex , he e a e se e al codes
in ol ed in communica ion ha should be kep in mind. We assume ha
mos o his in o ma ion is ansmi ed h ough he images –wha he
audience sees on sc een–, and oge he wi h he music, noise, e c., his
could be enough in o ma ion o ansmi a message. The e o e, wo ds
should ein o ce he images and no impede he communica ion. This is an
impo an ea u e he ansla o has o espec , since he e may be some
scenes whe e isual elemen s a e mo e impo an han e bal elemen s and
ice e sa. Howe e , images a e no always uni e sal since he e a e some
sou ce cul u al elemen s o non- e bal communica ion ha a e no sha ed
wi h he a ge coun y o communi y consuming he audio isual p oduc s.
The ansla o should hen a oid his p oblem and o e a solu ion ha i s
bes in each speci ic case.
Ál a ez and Rod íguez (1998:708), who s udy he di icul ies o
sub i ling, s a e ha :
La unción es é ica se á la más delicada; el aduc o debe á, en la medida de lo
posible, a a és de sus sub í ulos, e leja la es é ica impe an e en la p oducción
o iginal. Así los dis in os egis os, las ca ac e ís icas p opias de un pe sonaje o
g upo, el habla egional o a ec ada, los e ec os en la p onunciación, los
sob een endidos, e c. debe án e se e lejados en el esul ado de la aducción;
odo ello sin acili a demasiado la a ea al público y alejándose si es posible de
ópicos y ipismos.
42
They ema k he aes he ic aspec wi hin he ex . The sub i led ex should
le he audience enjoy he images, he oices, he sounds, he music, as well
as he sub i les. The aim o sub i led ex s is o spec a o s o be able o
ocus hei a en ion on he same poin s he di ec o wan ed hem o ocus
on when s/he c ea ed he o iginal ex .
Al hough he e a e many aspec s he ansla o has o bea in mind
when ackling he sub i ling p ocess, s/he also has o conside he
di e ences ha appea when he o al and he w i en p oduc ions a e
compa ed. I is clea ha ou eading speed is no as as as ou lis ening
speed, we a e able o unde s and mo e in o ma ion i i is said a he han
i is w i en; hus, sub i ling is cha ac e ised by echniques such as
explici ness, compensa ion o linguis ic condensa ion (Ál a ez and
Rod íguez, 1998:708). In o he wo ds, he ansla o should be able o
exp ess he same in o ma ion he di e en ac o s say bu summa ising i in
abou 35 cha ac e s pe line –depending on he pla o m whe e he ex is
b oadcas , he numbe o cha ac e s pe line may di e – wi h a maximum
o wo lines, wi h he added di icul y o ansmi ing o he elemen s
in ol ed in he audio isual discou se as well. Howe e , i is no possible o
include e e y o al esou ce used in he ST; hence he ex should
complemen he images he audience is seeing, a oiding unnecessa y
duplica ions.
43
2.4.1 P io i ies and es ic ions in he sub i ling p ocess
As s a ed be o e, images ansmi mo e in o ma ion han wo ds, especially
in Ame ican ex s, whe e wha we see has e en mo e ele ance han wha
he cha ac e s say, since hey end o include mo e ac ion han o he kinds
o ex s. This is he eason why wo ds should comple e he in o ma ion o
he images, and ne e disag ee wi h he la e . Thus he ansla o has o use
a unc ional language, ansmi ing only wha is impo an wi hou
including unnecessa y and edundan in o ma ion. S/he mus also use a
s anda d and neu al language, in o de o a oid ejec ion among he
audience.
Due o i s special na u e, sub i ling mus ollow some s anda dised
ules in o de o ul il he equi emen s o his ype o ansla ions and
sa is y he language needs o he audience. The e is some gene al ad ice o
ackle he ansla ion o an audio isual ex , which could be summa ised as
ollows:
a) T ansla e he con en o he ex , i s essence, no he exac wo ds.
b) Make he audience hink hey unde s and he scenes wi hou
eading he sub i les.
Recommenda ions abou how o p esen sub i les acco ding o di e en
schola s, such as Ma leau (1982), Agos (1996), Go lieb (1997), Gambie
(2007, 2009), o Geo gakopoulou (2009), among o he s:
44
1. Fi he space limi . Sub i les should include a ound 35
cha ac e s, al hough i depends on he mul imedia pla o m
whe e he ex is displayed. On he o he hand, he eading
speed is ano he aspec o bea in mind, since he audience can
ead and assimila e a maximum o in o ma ion in a sho pe iod
o ime. The age o he in ended audience will be de e minan
in o de o adap sub i les o a speci ic eading speed.
2. A oid including mo e han wo lines pe sub i le. This is
impo an as he audience needs o ha e enough ime o ead all
he in o ma ion. I hey canno ead e e y hing, hey may ha e
he eeling ha hey a e missing some hing.
3. A oid including many punc ua ion ma ks i hey do no add
ele an in o ma ion. The aim o he sub i le is o ansmi he
con en and no he way he cha ac e s say i –as he audience
can lis en o he cha ac e s’ speech om he sound ack–. These
punc ua ion ma ks could slow down he eading pace and
complica e he unde s anding and enjoymen o he audience.
4. I a sen ence is no inished, because o he space limi , he end
o he sub i le and he beginning o he ollowing one should
include ellipsis. This punc ua ion ma k shows ha he sen ence
he audience is eading is un inished. Al hough his was he
adi ional endency, nowadays his esou ce ends o be used
only when he cha ac e wan s o lea e his/he speech
51
pe ec os, han de ap ende p ime o el du o o icio de se impe ec os.
52
3. HUMOUR
Be o e es ablishing he possible ca ego ies and discussing he di e en
implica ions o humou wi hin he ield o audio isual ansla ion, he e is
a need o add ess he concep o humou as a s a ing poin om which o
de elop his s udy. Humou , in his case, s ands as he co ne s one on which
he ollowing esea ch is based.
Acco ding o he de ini ion gi en by he online e sion o Ox o d
Dic iona y (accessed in Ma ch 2018), he noun 'humou ' can be de ined as:
humou (US humo )
NOUN
mass noun
1 The quali y o being amusing o comic, especially as exp essed in
li e a u e o speech.
‘his ales a e ull o humou ’
1.1 The abili y o exp ess humou o amuse o he people.
‘ hei inimi able b and o humou ’
2 A mood o s a e o mind.
‘he good humou anished’
‘ he clash hadn' imp o ed his humou ’
2.1 (a chaic coun noun) An inclina ion o whim.
‘and ha e you eally bu n all you plays o please a humou ?’
3 (his o ical coun noun) Each o he ou chie luids o he body (blood,
53
phlegm, yellow bile (chole ), and black bile (melancholy) ha we e hough
o de e mine a pe son's physical and men al quali ies by he ela i e
p opo ions in which hey we e p esen .
Al hough humou can be conside ed, and in ac is, a uni e sal
human quali y, people do no pe cei e, p ocess, unde s and o eac o
humou in he same way. Al hough we all o m pa o he ca ego y o
human beings, “humou is a ma e o pe sonal as e” (Ross, 1998:xii).
Each o us has ou own pe sonal pe cep ion o he concep o humou .
Howe e , he numbe o di e en poin s o iew inc eases when coun ies,
cul u es, communi ies, sex, age, e c. a e also aken in o accoun , since ou
pe sonali ies, as es, and e en he pe cep ion o he wo ld a ound us a e
also de e mined by ou backg ounds.
Many schola s ha e o e ed hei in e p e a ions o humou in o de
o es ablish a uni e sal de ini ion ha migh be accep ed wo ldwide,
al hough he e a e di e en and he e ogeneous a iables ha migh
con ex ualise humou and he way i is pe cei ed. Some esea che s
dis inguish humou om o he concep s such as un, wi , o laugh e
(Fuen es, 2000). This is he case o Chia o (2010), who goes a bi u he
and ela es he e m humou o he concep o unniness, de ining unniness
as “a posi i e humou esponse in e ms o smiling and laugh e , as a
eac ion o some kind o s imulus” (ibid.:2). Howe e , she obse es ha
people do no eac in he same way when hey wa ch and lis en o a unny
p og amme. Thus, she di e en ia es he concep s “posi i e humou
54
esponse”, which only encompasses he pe cep ion o wha is unny om a
humo ous s imulus, om “exhila a ion”, which includes physical eac ions
(laughing and smiling) as a esponse o wha i is being seen. In his sense,
“ he e m comedy has come a long way om he o iginal meaning o he
G eek wo d komos, which in ol es he no ion o mis o une ollowed by a
happy ending” (Chia o, 2010:2). All hese app oaches, conside ing humou
in i s b oades sense, a e included in his esea ch. All he possible a iables
o humou a e bo ne in mind, in o de o analyse and classi y i s ypology
and he way i is ansmi ed o he TL.
As Zabalbeascoa (2001c:255) s a es, humou is unde s ood as “ odo
aquello que pe enece a la comunicación humana con la in ención de
p oduci una eacción de isa o son isa (de se g acioso) en los des ina a ios
del ex o”, and al hough laugh e is a uni e sal physiological eac ion, he
pe cep ion o humou will depend on each cul u e, pe son, si ua ion o
mood. I is in e es ing how schola s such as Be gson, Nash o Zabalbeascoa
de ine humou as a ypically human ea u e. Acco ding o his, hey
es ablish ha humou and laugh e a e cha ac e is ics ha a e only sha ed
and unde s ood among wha Fuen es (2000:9) e e s o as “homo ludens”
o “homo humo is”.
I he sou ce o humou is conside ed as a benchma k, he e a e
some oices, like C i chley's (2002:1), who s a e ha “humou is p oduced
by a disjunc ion be ween he way hings a e and he way hey a e
ep esen ed in he joke, be ween expec a ion and ac uali y”. In o he wo ds,
incong ui y is an impo an ea u e when wha he audience expec s is no
55
wha happens. Acco ding o Ross (1998: x), “ his is he essence o humou :
su p ise, inno a ion and ule-b eaking”. The e o e, he humo ous e ec
will appea when we manage o sha e he (logical) expec a ions om a
de e mined si ua ion, wi h an exp essed pu pose (Fuen es, 2000:11, my
own ansla ion), namely, he b each o hese co e ideas leads o a humo ous
e ec , as he e is a con as be ween he con en (wha is said) and wha is
de i ed om he si ua ion. The esou ce o incong ui y is easonably used
in si ua ion comedies o c ea e humou , so i will be aken in o accoun o
ou analysis in o de o ecognise i bo h in he ST and TT. Once he sou ce
o humou is de ec ed, i s use and how i is c ea ed will be explained.
O he schola s, like Fuen es (2000:9), claim ha humou is a
esponse o an audi o y o isual s imulus. E en hough his con ibu ion is
o g ea impo ance o ou s udy, since he includes he wo possible
channels ha a e in ol ed in audio isual ex s, we ag ee wi h he
cla i ica ion made by Ma ínez Sie a (2004:174), who s a es ha he
s imulus may be audi o y, isual, o bo h oge he . We ind i necessa y o
include his explana ion, as we base ou esea ch on audio isual ex s,
whe e mos o he humo ous s imulus comes om bo h channels a he
same ime. I is necessa y o bea his cha ac e is ic in mind, as in he
analysis, he sou ce o humou is classi ied. Thus, in o he wo ds, i is
necessa y o cla i y i he humou comes om he isual con en , on he
one hand, om he audi o y con en , on he o he hand, o i i comes om
bo h o hem a he same ime.
56
Al hough he ac o humou , and esponse o i , is a simple and
na u al human eac ion, i s s udy is a complex and se ious issue. Nash
(1985:1) makes an impo an con ibu ion o he de ini ion o he ac o
humou , making a dis inc ion be ween humou , as a human and na u al
quali y, and he ac o humou , which may be de ined as a delibe a e ac
c ea ed in o de o ob ain a speci ic eac ion. This is an in e es ing and
use ul concep o he s udy, since he humou which appea s in audio isual
ex s is delibe a ely c ea ed o amuse and o ob ain a ce ain eac ion in he
audience. This concep is di ided in o h ee main ideas:
a) A ‘genus,’ o de i a ion, in cul u e, ins i u ions, a i udes,
belie s, ypical p ac ices, cha ac e is ic a e ac s, e c.
b) A cha ac e is ic design, p esen a ion, o e bal packaging, by
i ue o which he humo ous in en ion is indica ed and
ecognised.
c) A locus in language, some wo d o ph ase ha is indispensable
o he joke. (ibid.:9)
Thanks o his con ibu ion, he h ee ca ego ies, which will uphold his
esea ch and he o hcoming analysis o he di e en ypes o humou , can
be es ablished. This classi ica ion will enable us o ecognise he piece o
humou om he OV, and o analyse how i is ans e ed o he TL, making
i possible o compa e he changes o adap a ions he inal ex migh ha e
unde gone. In his sense, his de ini ion encompasses: (a) he o igin o
57
humou , he na u e o he piece o humou , and he eason why i is w i en;
(b) i s in en ion o pu pose, wha he au ho wan s o achie e by including
ha speci ic piece o humou a ha p ecise momen ; and (c) he con en ,
o he key idea a ound which he whole speci ic piece o humou e ol es.
The la e ac o will indica e he ype o humou o he ca ego y ha he
humou belongs o, so i is he mos impo an ac o o he s udy. Al hough
we ag ee wi h Nash abou he idea ha knowing he o igin and pu pose o
he humo ous elemen is c ucial in o de o w i e a humo ous sc ip which
i s in wi h si ua ion comedy pa ame e s, his is an ac i i y ha in ol es
many people and many s ages, which modi y he sou ce ex . The e o e,
he inal ex ha is b oadcas –bo h in he Uni ed S a es and Spain– will be
he one conside ed in he esea ch. I will be analysed and classi ied in o de
o es ablish he ypes o humou used in he ST and in he TT, and whe he
he e a e any di e ences in he o m, con en o momen when he
humo ous elemen s appea .
Apa om he p e ious conside a ions, Zabalbeascoa makes his
con ibu ion by adding ano he ac o o he de ini ion o humou ha he
calls “di ec ion o humou ” (1994a:95), and which desc ibes he pu pose
o humou acco ding o he con ex in which i appea s. This is an impo an
concep because, al hough he images seen on he sc een canno be
changed, he con ex and pe cep ion o he si ua ion could di e depending
on he coun y whe e he ex is b oadcas , since humou is no pe cei ed
in he same way. This is an impo an concep o bea in mind when
58
analysing he ex s, as a way o jus i y o explain he solu ions sugges ed
by he ansla o .
In acco dance wi h he p e ious concep , Zabalbeascoa es ablishes
i e di e en ypes o humou : “'ligh en e ainmen ' o 'mo bid' o 'caus ic'
(cynical, bi e , e c.), 'ha mless', o e en 'pedagogical'” (ibid.:95). The use
o hese ypes o humou will be de e mined by he gen e o he ex and
he au ho ’s in en ion. In his speci ic case, he ype o humou desc ibed
by he ex is “ligh en e ainmen ”, since he co pus selec ed –classi ied as
ele ision comedy– s ands ou mainly as a sou ce o amusemen , wi h he
aim o en e aining he audience and making hem ha e a good and elaxing
ime while wa ching i .
Besides classi ying he humou acco ding o he con ex , i is also
in e es ing o men ion ano he ac o , which classi ies he ele ance o he
humo ous con en depending on he gen e o he ex analysed.
Zabalbeascoa (1994a:95) de ines his ac o as he “ ole o humou ” and
di ides i in o ou poin s acco ding o how impo an he humou is wi hin
he ex . I is ema kably impo an o men ion how ele an his
classi ica ion is, as he ole o humou in si ua ion comedies is c ucial when
i comes o de ining his kind o ele ision p oduc . Thus, hese ou
ca ego ies a e:
1. Top: like in TV comedy, a joke-s o y, one-line s, e c. As s a ed
be o e, his is he poin ha is conside ed in he esea ch, since
humou is he main ea u e ha de ines si ua ion comedies and
59
i is hei aison d'ê e. Si coms a e cha ac e ised by hei high
humo ous con en which, in he wo ds o Zabalbeascoa, will be
one o he main p io i ies he ansla o will ha e o ake in o
accoun when ackling he ansla ion o hese ex s.
2. Middle: like in happy-ending lo e/ad en u e s o ies, TV quiz
shows. In hese audio isual ex s, humou may appea o be
pa o hem, al hough i is no hei main o hei dis inc i e
ea u e.
3. Ma ginal: like a pedagogical de ice, Shakespea e's agedies.
In hese kinds o ex s, humou has minimum impo ance, o i
is e en ad isable no o include i .
4. To be a oided: like in ce ain momen s o d ama, agedy,
ho o ex s; o in o he inapp op ia e si ua ions. In his ype o
gen es, i is necessa y o a oid humou in all i s o ms, since
including i could o end o hu people's eelings in some way.
A e analysing he concep o humou and i s a iables, he main ideas a e:
i s ly, humou and he esponse o i a e ypical human ea u es; secondly,
humou ha appea s in audio isual ex s, and speci ically in si ua ion
comedies, is a ea u e ha is delibe a ely c ea ed o amuse and en e ain he
audience, and i s ands ou as he main and mos impo an ea u e o he
ex ; and inally, he esea ch is based on he s udy o he humo ous con en ,
ecei ed by he isual o he audi o y channels, o bo h oge he . This
con en is de ec ed, classi ied, analysed and discussed in o de o elucida e
60
whe he he e a e di e ences o simila i ies when compa ing he same ex s
in he SL and in he TL. In o de o de elop his s udy, i is necessa y o
cla i y he ypes o humou ha can be ound in his ele ision gen e, as
well as how hey can be ansla ed. Once he heo e ical amewo k is
es ablished, he analysis o he co pus will be ca ied ou .
3.1 Types o humou
An impo an pa o he esea ch is based on he analysis, ca ego isa ion
and subsequen commen s on he di e en humo ous elemen s ound in he
co pus. I is o his eason ha i is wo h classi ying hem in o de o c ea e
a heo e ical amewo k on which o base he s udy. Many schola s ha e
con ibu ed o he classi ica ion o humou wi h hei own poin s o iew.
Fuen es (2000:17) p o ides a basic lis o ypes o humou ha can
be ound in any ex . He men ions isual humou , e bal humou ,
audio isual humou , and g aphic humou . This au ho poin s ou ha , wi h
he excep ion o silen humou , which is pu ely isual, he o he ypes o
humou ely on language as he means o ansmi he in ended humo ous
e ec . This schola and his p oposal o he classi ica ion o humou mus
be men ioned as he includes audio isual humou as an independen ype o
humou . This is he eason why i is a poin o g ea ele ance o he
esea ch. Al hough p e ious schola s only bea in mind he humou
ansmi ed h ough one single channel – isual o audi o y–, Fuen es goes
a s ep u he and conside s he possibili y o ansmi ing humou h ough
67
ecei e he name o people o whom hey a e a ibu ed, and include:
a) Spoone ism: comes om William A chibald Spoone , a p ies
in Ox o d. I is de ined as “a mis ake made by a speake in
which he i s sounds o wo wo ds a e changed o e , o en
wi h a humo ous esul ”. An example could be saying “w ong
load” ins ead o “long oad”5.
b) Malap opism: c ea ed by he cha ac e M s Malap op in
She idan's play The Ri als (1775), who misused wo ds. I is
“ he unin en ional misuse o a wo d by con usion wi h one o
simila sound, especially when c ea ing a idiculous e ec ”, as
in “I am no unde he a luence o alcohol”6.
c) Goldwynism: c ea ed by he ilm p oduce Samuel Goldwyn.
Exp essions as “include me ou ” and “im-possible” (Fuen es,
2000:22) a e c ea ions o his schola .
Ano he esou ce ha was de eloped by Nash (1985) is i ony. He s a es ha
i is “indispu ably a majo s ylis ic eso in humou ” (ibid.:152), al hough
he a i ms ha i is di icul o ind a de ini ion which desc ibes his
he o ical elemen , emphasising ha “dic iona ies and books o e e ence
a e a li le uneasy abou i s na owe impo , as deno ing a ype o linguis ic
5 De ini ion ex ac ed om Collins online dic iona y
(h ps://www.collinsdic iona y.com/es/dicciona io/ingles/spoone ism), accessed on
14 h No embe 2018.
6 De ini ion ex ac ed om Collins online dic iona y
(h ps://www.collinsdic iona y.com/es/dicciona io/ingles/malap opism), accessed on
14 h No embe 2018.
68
usage” (ibid.: 152). In spi e o his conside a ion, Nash p oposes his own
e sion o wha he hinks is a mo e p ecise de ini ion o i ony, compa ing
i , oo, wi h ano he simila he o ical elemen , sa casm.
The i onis insince ely s a es some hing he does no mean, bu h ough he
manne o his s a emen –whe he h ough i s o mula ion, o i s deli e y, o bo h–
is able o encode a coun e -p oposi ion, his ' eal meaning', which may be
in e p e ed by he a en i e lis ene o eade . I ony is gene ally said o di e om
sa casm in his pa icula , ha he sa cas ic s a emen is os ensibly since e, hough
i , oo, is coded wi h some ma k o peculia emphasis. (ibid.:152)
He cla i ies his de ini ion and compa ison wi h an example ha “encode[s]
sa cas ic and i onic exp essions o he p oposi ion Tommy is lazy.
Sa cas ically, i migh be said ha Tommy doesn' s ain himsel ; i onically,
ha Tommy is enowned o his labou s” (ibid.:152). Wi h his example, he
di e ence be ween hese wo e ms, which could be di icul o dis inguish,
can be unde s ood. He inishes his explana ion poin ing ou ha coding is
essen ial o di e en ia e he wo concep s, and he uses e ms like p o-code,
coun e -code, and i ony mal-code o de ine hem.
Sa casm uses a p o-code, ha is, a o m o wo ds os ensibly equi alen in
deno a ion o he pa en p oposi ion. [...] The p o-code mus in ol e a pejo a i e
coun e -code, exp essing he speake 's unsympa he ic o hos ile a i ude. [...]
I ony mal-codes, designedly choosing o ms o wo ds ha mis ep esen he
con en o he message. [...] [T]he i onic coun e -coding is no , like ha o
sa casm, a means o emphasizing an a i ude, bu a he , a ma e o e e sing
signi icances. (ibid.:152-153)
69
I is hen necessa y o explain hese concep s, as hey a e s ylis ic esou ces
used in he co pus. They can be classi ied ollowing a new ca ego y
p oposed by Chia o, “ e bal humou ”, whe e she includes and de ines he
e m wo dplay as “e e y concei able way in which language is used wi h
he in en o amuse” (1992:2) and con inues cla i ying ha “ he e m
wo dplay conju es up an a ay o concei s anging om puns and
spoone isms o wisec acks and unny s o ies” (1992:4). Besides images,
humou is also ansmi ed h ough he wo ds said by he di e en
cha ac e s o audio isual ex s. This is he eason why his ca ego y
p oposed by Chia o is impo an o he s udy, as i is a humo ous ypology
equen ly used in he ex s analysed.
A ew yea s la e , Delabas i a (1996:128) also con ibu es o
de ining he speci ic concep o wo dplay, a e m he uses in e changeably
wi h pun, as
[ ]he gene al name o he a ious ex ual phenomenon in which s uc u al
ea u es o he language(s) used a e exploi ed in o de o b ing abou a
communica i ely signi ican con on a ion o wo (o mo e) linguis ic
s uc u es wi h mo e o less simila o ms and mo e o less di e en meanings.
This schola con inues his de ini ion, adding ha his humo ous elemen is
c ea ed by “con as ing linguis ic s uc u es, wi h di e en meanings on he
basis o hei o mal simila i y” (ibid.:128). Delabas i a (ibid.:128)
classi ies puns in ou ca ego ies:
70
1. Homonymy (iden ical sounds and spelling): like he wo d le ,
which can be, i) he pas ense o he e b o lea e; and ii) he
opposi e o igh ;
2. Homophony (iden ical sounds bu di e en spellings): like in
he wo ds igh and w i e;
3. Homog aphy (di e en sounds and meanings bu iden ical
spelling): like he wo d sow, which i) as a e b means o plan
seed and is p onounced /sʊ/; and ii) as a noun means emale
pig and is p onounced /saʊ/;
4. Pa onymy ( he e a e sligh di e ences in bo h spelling and
sound): as in he wo ds a ec and e ec .
Go lieb (1997b:213) p oposes h ee subca ego ies o homonymy, which
a e added o Delabas i a's classi ica ion:
1. Lexical homonymy (single-wo d ambigui y): as he wo d seal,
which can mean i) a sea animal; and ii) a design p in ed on
pape by means o a s amp7;
2. Colloca ional homonymy (ambigui y o he wo d in con ex ):
as in “bea child en” (Roge s, 2016:131). As he wo d bea is
a homonym, depending on he con ex whe e i appea s, i may
gi e ise o con usion.
3. Ph asal homonymy (ambigui y wi hin he clause): as in “Once
7 Example ex ac ed om he websi e (h ps://s ud ile.ne /p e iew/4536648/), accessed on
14 h No embe 2018.
71
you' e seen one shopping cen e you' e seen a mall” (Zysko,
2017:90). This ambigui y is c ea ed as he common exp ession
could be “Once you' e seen one shopping cen e you' e seen
hem all”.
A a do (2001) c ea es six “knowledge esou ces” in o de o explain a
“Gene al Theo y o Ve bal Humo ”. I includes sc ip opposi ion (SO);
logical mechanism (LO); si ua ion (SI); a ge ; na a i e s a egy; and
language. O hese six esou ces, he las ou a e he ones ha may be
in e es ing o ou s udy, since hey ocus on he language and na a i e
s a egies – hey belong o he audi o y channel–, and on he objec s o o he
pa alinguis ic elemen s (si ua ion) used o ansmi humou – hey belong o
he isual channel–. I is also impo an o know o whom he humou is
c ea ed o who is he objec o he joke.
Ano he p oposal o he classi ica ion o humou is ound in
Elwood’s (2007:4) essay, which ocuses on he speci ic kind o humou ha
appea s in ele ision and magazine ad e isemen s. This is an in e es ing
ca ego isa ion o he s udy, since he co pus mee s he ypical
cha ac e is ics o his gen e –as i is a si ua ion comedy– and he e o e,
humou is i s main ea u e. The ex was also c ea ed o be b oadcas on
ele ision, so he co pus ul ils he wo main cha ac e is ics o he p oposal.
This schola classi ies he ypes o humou ha appea in hese ex s:
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1. Compa ison: when wo incohe en , biza e, o con adic o y
elemen s appea oge he . As men ioned abo e, C i chley
(2002:1) s a es ha humou appea s when he e is “a
disjunc ion [...] be ween expec a ion and ac uali y”.
2. Pe soni ica ion: a ibu ion o human cha ac e is ics o non-
human elemen s. This is a esou ce which is no expec ed by
he audience.
3. Exagge a ion: in ensi ying elemen s, such as olume o
emphasis o he oice.
4. Pun: using he language o c ea e humo ous elemen s, as
al eady explained.
5. Sa casm: commen s ha mean he opposi e o wha is said.
This ca ego y was de eloped by Nash and has al eady been
desc ibed.
6. Silliness: unny, oolish, o idiculous si ua ions. This kind o
humou is ypical o isual humou .
7. Su p ise: unexpec ed si ua ions.
As seen h oughou his chap e , he e a e many schola s who de elop
di e en heo ies in o de o desc ibe humou , and many o he axonomies
which y o de ine and classi y i . By means o he esea ch unde aken, i
is clea ha each schola gi es his/he own poin o iew on his issue.
Howe e , o ou speci ic s udy, we will use hose classi ica ions ha
desc ibe and de ine audio isual humou , and whose humo ous elemen s a e
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ansmi ed h ough isual o audi o y channels, o bo h oge he .
In he ollowing chap e s, we will esea ch and analyse he
p oposals made by schola s abou he speci ic humou appea ing in
si ua ion comedies and how hose humo ous elemen s can be ansla ed and
i in wi h he TT.
3.2 Humou and ansla ion
3.2.1 Fac o s in ansla ing si coms
As poin ed ou in p e ious chap e s, si coms o si ua ion comedies belong
o he ca ego y o humo ous ele ision p og ammes. When hese ypes o
se ies a e impo ed om o he coun ies, hese ex s need o be ansla ed
in o de o be unde s ood in he a ge coun y and by he a ge audience.
Be o e s a ing o enume a e he di e en ac o s in ol ed in he ansla ion
o his kind o ex s, i is impo an o es ablish he heo e ical amewo k
in o de o unde s and he ansla ion p ocess. Acco ding o Zabalbeascoa
(1994a:89), he e a e wo app oaches ha explain “wha ansla ion is and
wha i in ol es”:
1. A p esc ip i e heo y o ansla ion: his includes he di e en
heo ies and s a egies p oposed by schola s, which he
ansla o should know in o de o de elop his o he ac i i y in
he bes possible way.
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2. A desc ip i e heo y o ansla ion: his is wha ansla o s do
and i desc ibes he decisions aken in each case.
Howe e , he ansla ing ac i i y is no such an isola ed ac as i may seem,
since he ansla o ecei es ins uc ions o equi emen s om employe s
o di ec ly om he inal clien s, who play an impo an ole wi hin he
ansla ion p ocess
The clien 's ole is so impo an because he ac ual ansla ion should be made o
sui his o he ins uc ions, and hose e y ins uc ions can be de e mining in
hemsel es i hey a e speci ic o es ic i e enough. The TI [T ansla ion Ini ia o ]
can be a help o an obs acle. (Zabalbeascoa, 1992:41)
This ac o has been de eloped in-dep h in chap e 3.2.1.1, P io i ies and
es ic ions in he ansla ing p ocess.
Fu he mo e, he ansla ion mus ollow some c i e ia and
con en ions in o de o be accep ed. Thus, “ ansla ions mus be e alua ed
acco ding o hei success in achie ing p ede ined goals agains he
ope a i e cons ain s o each occasion: ha is, hei success as a
communica ion ac ” (Zabalbeascoa, 1994a:90). This de ini ion es ablishes
he pu pose and aim o he ansla ion wi hin a speci ic con ex and
audience.
As s a ed be o e, he ansla ing p ocess is no an isola ed ac i i y,
as i depends on se e al aspec s ha cons ain i . Zabalbeascoa (1994a:90)
p oposes h ee di e en con ex s: he o iginal con ex – ela ed o he
di e en ea u es ha de ine he ST–, he con ex o he TT – ea u es ha
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de ine he TT and ha may be he same as he ST o no – and he ansla o
and he con ex in which he ansla ing p ocess akes place – his ocuses
on he ansla o 's capaci y and condi ions o de elop his o he ac i i y–.
Zabalbeascoa (1994a:91-92) summa ises he di e en cons ain s
ha may a ise when dubbing o sub i ling ele ision comedy ex s,
dis inguishing h ee ac o s in ol ed in ansla ing ele ision comedy:
Fi s o all, he e is he common g ound o all ansla ing p ocesses and gene al
ques ions and aspec s ela ed o he na u e o ansla ing. Then we ha e o ake
in o conside a ion he cu en dubbing [and sub i ling] echniques, means,
con en ions and echnologies. Thi dly, he ac o s in ol ed in ele ision
p oduc ion. Fou hly, he p o essional con ex ; he deg ee o eamwo k (how
much is equi ed and how much he e ac ually is). Finally, i is also impo an o
ha e a good g asp o he na u e and de ices o humou and, in pa icula , o
comedy: i s language, how i wo ks, and i s a ie ies.
F om hese wo ds, he ansla o 's knowledge abou di e se aspec s o he
ansla ing p ocess, ele ision p oduc ions and humou can be ema ked.
The ansla o 's cul u al backg ound mus co e he knowledge o he wo
languages and o he wo cul u es, as s/he should be capable o de ec ing
all he nuances om he ST and ansmi ing hem o he TT, always bea ing
in mind he speci ic ac o s ha cha ac e ised bo h o hem.
As seen in his chap e , many aspec s de e mine he inal esul o
he ele ision comedy. Howe e , we conside aining as he main aspec
ha de e mines he quali y o he ansla ion and i s accep ance by he
audience. Zabalbeascoa (1994a:96) s a es ha “cou ses designed o
aining ansla o s o audio isual ex s need o show u u e p o essionals
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wha kinds o echniques a e e ec i e, app op ia e o inapp op ia e and in
wha ypes o ex s and con ex s”. This speci ic and specialised aining will
lead o a be e knowledge o he esou ces he ansla o has a his o he
disposal, and he di e en echniques s/he may use.
3.2.1.1 P io i ies and es ic ions in he ansla ing p ocess
In line wi h he ac o s ha a e associa ed wi h he ansla ion o si coms o
ele ision comedy p og ammes, he mul iple p io i ies and es ic ions
in ol ed in he ansla ion p ocess ha e o be discussed. Zabalbeascoa is
one o he schola s who has u he de eloped he classi ica ion o he
p io i ies and es ic ions appea ing in he ansla ion o ele ision comedy.
In o de o explain and c i icise he p oduc ion o any ansla ion, i
is impo an o conside wha Zabalbeascoa (1996a:352) es ablishes as “a
se o p io i ies” and “a se o es ic ions”. These a e a iable ac o s he
ansla o will ha e o bea in mind o p oduce “a cohe en , ai h ul
ansla ion” (ibid.:352).
Be o e enume a ing he a o esaid, i is necessa y o cla i y he kind
o ex s he ansla o has o wo k wi h. Zabalbeascoa (1996a:352-353)
es ablishes h ee conside a ions, which a e he s a ing poin s o he
discussion o he ea u es ha cha ac e ise his ype o ex s: hey a e
audio isual ex s, so he ansla o has o bea in mind sounds –spoken
wo ds and o he sounds– as well as images; hey a e amed wi hin he
ca ego y o ele ision comedy, so hey a e b oadcas on ele ision and hey
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The in e ac ion o he wo elemen s, which a e pa o any
audio isual ex – he isual and he audi o y–, is no always ecei ed in he
same way by he sou ce audience as by he a ge audience, gi en ha o he
ea u es such as cul u al elemen s come in o play. Hence, he TT migh be
al e ed o i he images and o make he en i e ex mo e comp ehensible
o he a ge iewe s. In he same ein, he way he spec a o s in e p e he
images and he message ansmi ed may be di e en ; he e o e, ansla o s
should be able o ans e no only he in o ma ion wi hin he ex , bu also
i s meaning (Chaume, 2001a).
Conside ing all hese ac o s, namely, isual and acous ic channels,
humo ous ea u es and cul u al elemen s associa ed wi h humou , he
audience may eac o humou in a di e en way e en in he same language
and cul u e, making he ansla o ’s wo k e en mo e di icul . The solu ions
a ailable o he ansla o can ange om di ec ansla ion, omission
–losing he humo ous elemen –, compensa ion –losing he humo ous
elemen a ha p ecise momen bu adding a new one a e wa ds–, o he
c ea ion o a new humo ous elemen .
T ansla ing audio isual ex s is a challenging ask, made e en
ha de when humou is one o he ea u es o he ex o be ansla ed. Some
ansla o s ind i di icul o ind unny solu ions o he ST, so his could,
acco ding o Chia o (1992:85), be one o he p oblems he ansla o will
ha e o ace:
I i we e no o he canned laugh e many jokes and humo ous quips occu ing
in o eign e sions o impo ed Ame ican comedies could easily pass by
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unno iced. Despi e signals which indica e ha someone has jus said some hing
unny, i is no always he case ha he audience is going o be amused by he
ansla ed quip.
When judging he ansla ion o si ua ion comedies, “i would seem logical
o judge he me i o a dubbed e sion on how unny he esul is, a he
han on how ai h ul i is on any o he le el” (Zabalbeascoa, 1996a:245).
Howe e , he ansla o 's wo k can be es ic ed by o he elemen s, such as
isual cons ain s, which may make him o he conside o he al e na i es
in o de o ansmi humou (Zabalbeascoa, 1996a:245).
The es ic ions, which ansla o s o si ua ion comedies ha e o
ace, somehow jus i y he inal decisions hey make. Zabalbeascoa
(1996a:248) men ions ha some ecu en es ic ions
may include di e ences in backg ound knowledge o he o iginal and p ospec i e
audiences; di e ences in cul u al and mo al alues, cus oms and adi ions;
di e ences in con en ional hemes and echniques o joke- elling; he ansla o 's
p o essional con ex ; iming and lip-synch oniza ion, e bal humou depending
s ic ly on ea u es o he sou ce language and/o he isual con ex which de ies
manipula ion, and so on.
Apa om all hese es ic ions, Zabalbeascoa (1996a:248) adds ano he
one: he ansla o himsel as ano he a iable in he p ocess o ansla ing
he ST. Howe e , in many cases, i is no he ansla o alone ha makes he
inal decisions, some imes s/he is cons ained o make a speci ic choice by
a highe au ho i y, e en i i is no he solu ion o s a egy s/he would ha e
made o used. In his ega d, Chia o (1992:85) s a es:
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I would appea ha ansla o s a e o en a aid o mo ing away om he ex and
eplacing an un ansla able joke wi h ano he one which would wo k in he a ge
language, e en i i is comple ely di e en om he o iginal.
I could be concluded, om his s a emen , ha he sole esponsibili y
de ol es upon he ansla o , whe eas, in ac , he ansla o is jus one o
he many s eps he ex has o pass h ough. Mo eo e , he ansla o is
some imes cons ained by some o he es ic ions ha a e imposed by
highe au ho i ies, as well as by a sho deadline o inish he ansla ion.
All hese condi ions, apa om his o he p e ious expe ience and
knowledge, migh lead he ansla o o choose he as es o a li e al
ansla ion op ion, a he han a mo e con enien one. Ne e heless, in
o de o ansla e humou in audio isual ex s, he ansla o mus ha e a
as linguis ic, cul u al and p agma ic compe ence, as well as a g ea deal
o c ea i i y when ans e ing any humo ous elemen om he ST o he
TL (Díaz Cin as, 2003:254), always bea ing in mind he inal ecep o s o
his o he ansla ion. Thus, he decisions aken should be a ge -audience-
o ien ed choices.
In he classi ica ion o he di e en ypes o humou , no only wha
is hea d has o be conside ed, bu also wha is seen. This is he eason why
ansla ing audio isual ex s, and especially humou in audio isual ex s, is
one o he mos di icul asks a ansla o has o deal wi h. Chaume
(2004:186) a gues ha :
Los ex os audio isuales cons i uyen un géne o pa adigmá ico en el cual la
in o mación no e bal desempeña un papel sumamen e ele an e. P ecisamen e
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aquello que nos pe mi e ag upa es os ex os en un géne o pa adigmá ico, o
géne o de géne os, es que en casi odos ellos el signi icado emana de la
in e acción en e in o mación e bal e in o mación no e bal.
This s a emen shows ha wha he cha ac e says is as impo an as wha
s/he does no say, in o he wo ds, his o he ges u al pe o mance (Díaz
Cin as, 2003:253). Some ypes o humou can be c ea ed om he
in e ac ion o he con on a ion o he e bal and he isual o non e bal
message, when wha is said does no co espond o wha he audience sees.
Thus, his incong ui y migh c ea e a humo ous scene.
All hese s a egies need o be bo ne in mind, as Chia o (2000:28)
s a es ha when wo ds a e in ol ed in he p oduc ion o humou ,
ansla ion p oblems a ise. Mos o he imes, humou is based on linguis ic
elemen s which may c ea e di e en syn ac ic, mo phological, phone ic
and lexical p oblems when ansla ing ex s om he English o he Spanish
language. The eason o hese di icul ies is ha Spanish discou se needs
o use mo e wo ds o explain he same ideas, whe eas he English language
is mo e concise. This leads o some synch ony and iming obs acles he
ansla o will ha e o sol e, among o he ypes o es ic ions such as
isual, acous ic, o o he non e bal cons ain s. Chia o (2000:32) explains
ha “puns on sc een a e o ally dependen on, and a he same ime
es ic ed by, he isual code”.
In he speci ic case o si ua ion comedies, Chaume (2004b:850)
s a es ha his audio isual gen e is iden i ied by “a p e ab ica ed use o o al
language”; and G ego y (1967:192) s a es ha i is a ex “w i en o be
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spoken as i no w i en”, a cha ac e is ic sha ed wi h o he audio isual
p oduc s. As seen in a p e ious chap e , ano he impo an conside a ion
when ansla ing a humo ous audio isual ex is wha Zabalbeascoa calls
he “ ole o humou ” (1994a:95), in o he wo ds, how impo an humou is
wi hin a ce ain ex , and how necessa y i is o be kep in he TL. Rega ding
si coms, and acco ding o Zabalbeascoa's anking, he impo ance o
humou is “ op” (1994a:95) in his case.
3.2.3 Di icul ies in ansla ing humou
I is well-known ha e e y coun y, apa om ha ing i s own language,
has a di e en cul u e, which is i s dis inguishing ea u e. Cul u e iden i ies
cus oms, adi ions, li es yle, among o he s; and ega ding humou , e e y
coun y eac s o di e en si ua ions in a di e en way. E e y coun y,
e e y communi y and e en e e y pe son has hei own idea o wha is
unny.
The p oblem o linguis ic ans e is ha he sou ce audience does
no always necessa ily sha e he same concep s as he a ge one, making
he ansla ion p ocess an a duous ask. The ansla o no only has o cope
wi h he change in he linguis ic code, bu also wi h wha could be called
an adap a ion o he meaning o he ex ha is ans e ed, so ha he a ge
audience can accep i as an o iginal.
Being awa e o he di icul ies o ansla ing, i is clea ha
ansla ing audio isual ex s may equi e an ex a e o by he ansla o ,
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as s/he has o keep in mind wha is said, as well as he way in which i is
said, aking in o accoun bo h he isual and acous ic elemen s in ol ed in
he scenes. I is clea , hen, how a duous he p ocess o ans e ing
in o ma ion om one language/cul u e o ano he is, al hough his can be
mo e o less di icul depending on he pai s o languages in ol ed.
The e a e coun ies and languages ha ha e mo e ea u es in
common han o he s. In he case deal wi h he e, English and Spanish
languages, and Ame ican and Spanish coun ies/cul u es a e in ol ed. As
a as he linguis ic code is conce ned, i is well-known ha he English and
Spanish languages ha e li le in common, as bo h ha e di e en oo s and
e olu ion. I is o his eason ha i could be hough ha he ans e o
in o ma ion be ween hese wo coun ies/cul u es –o communi ies– could
be p oblema ic. No hing could be u he om he u h; he main eason
why Ame ican humou has been so widesp ead o e he yea s is he g ea
amoun o audio- isual ma e ial expo ed. This leads o he ac ha ,
nowadays, Ame ican cul u e, cus oms and adi ions a e conside ed
common in Spain. Today, he in o ma ion impo ed om he Uni ed S a es
is accep ed in ou coun y wi h no big su p ise, o ejec ion (c ., e.g.,
Rossa o & Chia o, 2010:122).
Al hough his ac could make us hink ha he in o ma ion, and
mo e speci ically he humo ous elemen s, could be easily ans e ed, some
changes ha e o be ca ied ou in o de o ob ain a ex ha can be b oadcas
in Spain. The Spanish audience does no necessa ily ind he same elemen s
unny as Ame ican people do, so a numbe o adap a ions ha e o be ca ied
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ou o he audio isual ex o be accep ed in he same way as he sou ce
audience did.
In o de o unde ake all he necessa y changes o he ST, he e
a e many esea che s who p o ide a wide ange o possible s a egies.
Acco ding o he equi emen s o he audio isual ex s, he ansla o will
ha e o choose he mos sui able op ions o ob ain bo h a cul u ally accep ed
ex and a solu ion ha mee he gen e's equi emen s. In his case, as he
co pus selec ed is a si com, he majo p io i y o be conside ed is he
ans e o humou . Mos o he sugges ed s a egies need a g ea deal o
c ea i i y, on behal o he ansla o , in o de o ind he bes and mos
sui able solu ion o he di e en ypes o humou nuances ha appea in he
ex . Many au ho s ha e sugges ed s a egies ha a e closely ela ed o
c ea i i y. We also ind schola s like Venu i (1995), who es ablishes
concep s like domes ica ion –when o eign concep s a e adap ed o he
a ge cul u e– and o eignisa ion –when he sou ce concep is ans e ed
wi hou adap ing i o he a ge audience–. Fawce (1997) lis s eigh
s a egies:
1. Bo owing: when he TL akes a o m om he SL o ill an
exis ing gap, like he wo d CD;
2. Calque: when he TL adop s a meaning om a SL o an
exis ing wo d, like he wo d “high esolu ion” which in
Spanish is “al a esolución”;
3. Li e al ansla ion: “This is he a e bu always welcome
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case when a ex can go om one language in o ano he wi h
no changes o he han hose equi ed by he a ge language
g amma ” (ibid.:36), like in “ he gi l ea s a pizza” and “la
chica come una pizza”;
4. T ansposi ion: when he usual o de o he wo ds in a
sen ence is al e ed (RAE, accessed in Decembe 2017), in
he speci ic case o ansla ion because he SL s uc u e does
no exis in he TL, like in “wo king wi h...” and i s
ansla ion “ abaja ...” o “el abajo...”;
5. Modula ion: “ he signi ie changes while he signi ied
emains he same, and his is achie ed by a ious o ms o
me apho , me onymy and synecdoche” (Kelly, 1979:133),
like in “i is easy o unde s and” and “i is no complica ed
o unde s and”;
6. Equi alence: he explains his e m wi h he ansla ion o an
idiom, when he ansla o has o decide whe he ansla ing
he meaning o keeping “ he la ou o he o iginal”
(ibid.:38), like in “i 's aining ca s and dogs” and “es á
llo iendo a cán a os”;
7. Adap a ion: i appea s when a “kind o subs i u ion is
supposed o ake place when he ecei ing cul u e has li le
o no hing in i s expe ience ha would allow i o unde s and
a close ansla ion” (ibid:39), o example, changing he
name o a b and appea ing in he ST o a mo e ecognisable
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one by he a ge audience;
8. Compensa ion: his s a egy is used when a humo ous
elemen canno be ansla ed om he SL o he TL, so he
ansla o chooses o c ea e a new elemen in he TT, which
does no exis in he o iginal. This s a egy is used so as no
o lose he humo ous componen s o he ex .
Rega ding he echniques a ansla o can use du ing he ansla ing
p ocess, he e a e 18 op ions, p oposed by Hu ado (2001), which y o
co e he di e en casuis ies he ansla o may ace:
1. Adap ación (Adap a ion): he e e en ha appea s in he ST
is eplaced by ano he one ecognised in he a ge cul u e.
2. Ampliación lingüís ica (Linguis ic ampli ica ion): se e al
linguis ic elemen s a e added o he TT o make i mo e
na u al.
3. Ampli icación (Cla i ica ion): some explana ions a e
included in he TT o cla i y o clea up a concep .
4. Calco (Calque): a wo d o exp ession is ansla ed wo d o
wo d.
5. Compensación (Compensa ion): di e en explana ions o
o he linguis ic elemen s, which do no appea in he ST, a e
included wi hin he TT in an a emp o compensa e o he s
ha ha e o be elimina ed du ing he ansla ing p ocess.
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6. Comp esión lingüís ica (Linguis ic comp ession): he
di e en linguis ic elemen s a e syn hesised.
7. C eación discu si a (Discu si e c ea ion): he ansla o
c ea es new in o ma ion, di e en o he ST, o adap he TT
o he a ge audience o cul u e.
8. Desc ipción (Desc ip ion): a desc ip ion o a e e en which
subs i u es ha e m o exp ession.
9. Elisión (Elission): some in o ma ion included in he ST is
elimina ed in he TT.
10. Equi alen e acuñado (Coined equi alen ): a common
exp ession in he SL is eplaced by ano he common
exp ession in he TL.
11. Gene alización (Gene alisa ion): a mo e gene al e m o
exp ession is used.
12. Modulación (Modula ion): he e is a change in he poin o
iew o ca ego y in he o mula ion o he ST.
13. Pa icula ización (Pa icula isa ion): a mo e p ecise e m is
used in he TT.
14. P és amo (Loan): a wo d o exp ession om he SL is
in eg a ed in o he TT.
15. Sus i ución (Subs i u ion): a linguis ic elemen is eplaced
by a pa alinguis ic elemen o ice e sa.
16. T aducción li e al (Li e al ansla ion): he ST is ansla ed
wo d o wo d.
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easie i is o ansla e he joke.
The isual joke: humou lies only on wha we see on sc een,
so i is pu ely isual and he e is no ansla ion in ol ed, o
on a combina ion o wha we see and wha we hea , he
isual elemen being he main ea u e.
The complex joke: a combina ion o wo o mo e o he
abo emen ioned joke- ypes.
In he same ein as he classi ica ion p oposed by Zabalbeascoa, we ind
he con ibu ion o Ma ínez Sie a. He p oposes a simila ca ego isa ion.
Howe e , he in oduces he concep “communi y” ins ead o “na ion”, used
by Zabalbeascoa. In addi ion o he p e ious classi ica ion, Ma ínez Sie a
(2008:143-150) adds: g aphic elemen s, e e ing o any message ha
appea s on sc een, and gi es addi ional and humo ous in o ma ion;
pa alinguis ic elemen s, any kind o pa alinguis ic ea u e ha c ea es
humou ; sound elemen s, any acous ic elemen , apa om wo ds, which
p oduces humou ; and non-ma ked elemen s, miscellaneous elemen s ha
do no i in o he abo emen ioned g oups, and canno be easily
ca ego ised.
Al hough audio isual ex s use he isual and acous ic channels,
mos o he impo an in o ma ion is o ally ansmi ed. This is why
Chia o's esea ch ocuses speci ically on e bal humou , since, acco ding
o his schola (2000:28), when wo ds a e in ol ed in he p oduc ion o
humou , ansla ion p oblems a ise. Howe e , Chia o (2000:32) also
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explains ha “puns on sc een a e o ally dependen on, and a he same ime
es ic ed by, he isual code”. All his leads o some synch ony and iming
obs acles he ansla o has o sol e, among o he es ic ions such as isual,
acous ic o o he non e bal cons ain s. Chia o (2006:200-203) sugges s
h ee di e en s a egies o ansla e e bally exp essed humou (VEH): o
subs i u e he sou ce VEH in he TL; o eplace he sou ce VEH wi h an
idioma ic exp ession in he TL; and o compensa e he sou ce VEH a
ano he momen wi hin he TT.
This is an impo an app oach o he s udy and o hcoming
analysis, since, a e iden i ying he humo ous elemen s appea ing in he
ST, he p oposals he ansla o gi es when ansla ing hem in o he TL a e
ca ego ised acco ding o Ma ínez Sie a’s classi ica ion. We hink his is a
ho ough ca ego isa ion, which pe ec ly adap s o ou necessi ies and o
he cha ac e is ics o he ex . Hence, we will be able o see whe he he
humo ous e ec has been main ained, changed, o elimina ed in each case.
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4. METHODOLOGY AND CORPUS
The lines o esea ch in o de o pe o m he analysis, as well as he
objec i es and he me hodology used o classi y and jus i y he ypes o
humou ound in he co pus, a e es ablished in his chap e . In he
subchap e , Co pus, he easons why he si com Mode n Family has been
chosen a e p esen ed, and a b ie desc ip ion o i s cha ac e s is included o
in oduce hem be o e pe o ming he analysis.
4.1 Objec i es
As p e iously s a ed, he ansla o does no jus wo k a a linguis ic le el
bu a a cul u al le el, oo. I is hen necessa y o adop a p agma ic
app oach in o de o classi y and analyse he di e en humo ous examples
ound in he co pus. The e o e, a desc ip i e me hodology, which pe mi s
con as ing he humou ha appea s in he OV wi h i s ansla ion in he
DV and he SV, needs o be adop ed. A e compa ing all hese h ee
e sions, he possible ansla ion endencies o his audio isual ex will be
iden i ied.
Ano he objec i e is o classi y he di e en ypes o humou ,
basing his ca ego isa ion on Ma ínez Sie a’s p oposal (2004, 2008). Once
he humo ous elemen s ha appea in he h ee e sions ha e been
iden i ied, he decisions he ansla o makes in each e sion will be
compa ed, and he easons leading him/he o use each s a egy, conside ing
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he audience and he cul u e whe e he ex is b oadcas , will be explained.
4.2 Me hodology
In o de o ha e ep esen a i e ma e ial and examples ha could jus i y he
analysis and objec i es, seasons 1, 2, 5 and 6, om he Ame ican si com
Mode n Family, ha e been chosen. Al hough his se ies will end in 2020
wi h i s 11 h season, i is mo e in e es ing o ocus he s udy on he i s
seasons, since i is hen ha he cha ac e s a e in oduced o he audience
and whe e mo e pe sonal ea u es, which depic each cha ac e , may be
ound.
A e deciding o choose he i s seasons om his un inished se ies
–seasons 1, 2, 5 and 6– o unde ake he analysis, he humo ous elemen s
which appea when he cha ac e s a e in oduced will be compa ed. The e
is, u he mo e, a need o de e mine he cha ac e s’ oles wi hin he se ies.
I can also be in e es ing o p o e i he e a e any changes in he humo ous
elemen s ha a e used o e he seasons, and ha a e ela ed o each
cha ac e .
The o ma chosen o wa ch he episodes was DVD, as his pe mi s
access o he comme cialised o iginal e sion, in English, and o he DV
and he SV, in Peninsula Spanish.
The s eps ollowed du ing he analysis ha e e ol ed h ough
di e en s ages. The i s s age en ailed iewing he 96 episodes o he ou
selec ed seasons, wi h 24 episodes each. Du ing his i s s ep, he
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humo ous elemen s which could be in e es ing o he s udy we e de ec ed
and hei scenes ansc ibed. The same s eps we e ollowed wi h he DV
and he SV. A e iden i ying and ansc ibing he humo ous scenes, a able
was designed in o de o include all hese da a in a clea and o ganised way.
Fu he mo e, he humo ous elemen s iden i ied, acco ding o Ma ínez
Sie a’s p oposal (2004, 2008), a e also included. Apa om his, he
co esponding no es o commen s, which explain he elemen s ound in he
h ee e sions and he s a egies used by he ansla o , appea below hese
ables.
A e comple ing he ables and classi ying he elemen s, he
changes and adap a ions he ansla o unde akes o ans e he humou
load om he OV o he Spanish DV and SV a e s udied. In o de o do his,
a mac o ca ego y, based on he di e en s e eo ypes ha appea in he
episodes and seasons selec ed, is es ablished. F om his s a ing poin , he
s a egies adop ed by he ansla o and he elemen s used o ansmi
humou a e analysed. Ano he app oach is o s udy i he humou load has
su e ed any changes, i i has been compensa ed o e en i i has been
elimina ed. In his way, he ansla ion endency acco ding o he ype o
s e eo ype analysed can be con i med.
In he s udy, he humo ous scenes in which language is he mos
impo an cha ac e is ic o c ea e humou a e analysed. In he analysis,
a en ion is ocused on he ansla ing decisions and solu ions p oposed by
he ansla o in he Spanish DV and SV and, he e o e, he mos in e es ing
aspec s a e hose linguis ic elemen s in ol ed in he ansmission o
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humou om he sou ce o he a ge language and cul u e. We a e awa e
ha he e a e many mo e elemen s used o he same pu pose; howe e , he
bulk o he esea ch will ocus mainly on his speci ic elemen . Apa om
analysing e bal humou , he possible s e eo ypes used in he se ies o
c ea e humou a e also aken in o conside a ion. The in e es o his
esea ch lies in he ac ha he di e en backg ounds o he cha ac e s
make hem ace li e in a di e en way in a sha ed communi y.
Be o e in oducing and classi ying he di e en s e eo ypes ound
in he co pus, i is necessa y o explain wha a s e eo ype is and why his is
a ecu ing esou ce in his se ies. As de ined in he Me iam-Webs e
Dic iona y (accessed in No embe 2019), a s e eo ype is “a s anda dized
men al pic u e ha is held in common by membe s o a g oup and ha
ep esen s an o e simpli ied opinion, p ejudiced a i ude, o unc i ical
judgmen ”. Gonzalez-Ve a (2012:105) adds o his de ini ion ha
“[s] e eo ypes can be he esul o igno ance, dis o ed images, acism,
cul u al ac o s and gene alisa ions based on exagge a ions o
o e simpli ica ions [and hey] usually make e e ence o cul u al aspec s
such as pa e ns o beha iou and a i udes a ibu ed o di e en g oups o
people”. This cla i ica ion is key o he s udy, since mos o he humou
load which appea s in he co pus is based on some exagge a ions o
simpli ica ions made o he di e en social g oups po ayed in he se ies.
A e iewing and analysing he co pus, a classi ica ion o he
s e eo ypes ound has been elabo a ed in o de o highligh and jus i y he
mos impo an and ecu ing s e eo ypes de ec ed.
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Na ional s e eo ype: he di e ences be ween coun ies, o
e en be ween some s a es o he Uni ed S a es, a e
highligh ed, and cus oms and adi ions a e s e eo yped and
idiculed in some way.
Age s e eo ype: he di e ences which a ise om di e en
gene a ions a e ema ked.
Homosexual s e eo ype: hose ea u es which de ine his
g oup a e s essed.
Gende s e eo ype: he di e ences and peculia i ies which
exis be ween men and women a e highligh ed.
Bimbo s e eo ype: some physical ea u es o he cha ac e s
a e po ayed, and he s e eo yped idea ha beau i ul women
canno be sma is de eloped.
Bumpkin s e eo ype: he di e ences which exis be ween
people who li e in he ci ies and people who li e in he
coun yside a e shown.
Ano he impo an cha ac e is ic om his ca ego isa ion is ha he
s e eo ypes analysed do no only show how he espec i e social g oups see
hemsel es, bu also how o he people see hose social g oups, gi ing hei
own poin s o iew, oo.
Apa om he analysis o he di e en s e eo ypes ha appea in he
si com, hose scenes ha base hei humou load on language, and ha
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canno be included in any o he p e ious s e eo ypes, since hei sou ce o
humou is mo e gene al, a e also analysed.
4.3 Co pus
4.3.1 Si coms, an impo an gen e in he Uni ed S a es and in Spain
The Camb idge Dic iona y (accessed in Ma ch 2018) de ines si com o
si ua ion comedy as “a unny ele ision o adio show in which he same
cha ac e s appea in each p og amme in a di e en s o y”. The
Encyclopaedia B i annica (accessed in Ma ch 2018) ex ends his
in o ma ion s a ing ha i is a:
adio o ele ision comedy se ies ha in ol es a con inuing cas o cha ac e s in
a succession o episodes. O en he cha ac e s a e ma kedly di e en ypes
h own oge he by ci cums ance and occupying a sha ed en i onmen such as an
apa men building o wo kplace. Si coms a e ypically hal an hou in leng h;
hey a e ei he aped in on o a s udio audience o employ canned applause, and
hey a e ma ked by e bal spa ing and apidly esol ed con lic s.
In e es ingly, he adjec i es unny and comedy ha e a e y impo an ole
in he de ini ion, and ha is because humou is he undamen al componen
ha de ines his ype o audio isual ex s. Chia o (2010:2) goes a bi u he
and desc ibes he e m humou ela ing i o he concep o unniness,
de ining i as “a posi i e humou esponse in e ms o smiling and laugh e ,
as a eac ion o some kind o s imulus”. Howe e , she inds ha people do
no eac in he same way when hey wa ch and lis en o a unny
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p og amme. Thus, she dis inguishes he concep s posi i e humou
esponse, which encompasses only he pe cep ion o wha is unny om a
humo ous s imulus, and exhila a ion, which includes physical eac ions
(laughing and smiling) as a esponse o wha is wa ched. In his sense, “ he
e m comedy has come a long way om he o iginal meaning o he G eek
wo d komos, which in ol ed he no ion o mis o une ollowed by a happy
ending” (Chia o, 2010:2).
Th ough all he unny and humo ous elemen s ha o m pa o
si coms, i is no su p ising ha his kind o ex s enjoy g ea popula i y, as
52% o U.S. adul s ypically wa ch humo ous shows in hei ee ime,
acco ding o he Sca bo ough USA+ S udy epo o 2012. Mo eo e , as
s a ed in he CNMC epo , 9 ou o e e y 10 Spania ds wa ch TV o pu e
leisu e and en e ainmen .
The o igin o si coms da es back o 1930s, o he days o
en e aining adio p og ammes, which pe o med, as he Encyclopaedia
B i annica (accessed in Ma ch 2018) calls hem, “gang shows”. They could
be conside ed he i s app oaches o wha oday a e known as comedy
se ies
in which a cas o pe o me s emaining he same om week o week would make
use o a se ies o humo ous si ua ions o ca chph ases, g adually building up a
amilia backg ound agains which he incong ui ies o he sc ip could exploi
humou o he ull. (Encyclopaedia B i annica, accessed in Ma ch 2018)
F om he s a , ele ision gained popula i y a he expense o he adio,
which led o he bi h o si ua ion comedies, sho p og ammes ha showed
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daily li e si ua ions pe o med in a humo ous and ca chy way. The s o ies
old in hese audio isual ex s, apa om being e y en e aining, a ac ed
he audience, as hey could iden i y hemsel es wi h he ac o s and
ac esses.
4.3.2 Mode n Family
When analysing he ypes o humo ous elemen s and he s a egies used in
he si com Mode n Family, i is ema kable ha he e a e di e en ypes o
humou depending on i s cha ac e s. This is a e y eclec ic se ies, whe e
e e y cha ac e has i s own pe sonali y. In he o hcoming analysis, he
mos ecu ing elemen s used by each membe o he cas , and he solu ions
gi en by he ansla o o each one, a e de ec ed.
This si com ells he s o y o a la ge and uncon en ional amily. I
is p esen ed as a mockumen a y o “mock documen a y, which is a pa ody
p esen ed as a documen a y eco ding eal li e” (Wikipedia, accessed in
Ma ch 2018). This ea u e con e s on he se ies o iginali y and a new
pe spec i e when compa ed o o he TV p og ammes.
I e ol es a ound h ee di e en ypes o amily (nuclea , s ep- and
same-sex), whe e Jay P i che appea s as he head o he uni . He has
ma ied his second young wi e, Glo ia, a Colombian immig an . He is he
a he o one boy, Joe, bo n du ing his second ma iage, he s ep a he o
Manny, he son om Glo ia's p e ious ma iage, and a he o wo g own
child en, Clai e and Mi chell, bo n du ing his i s ma iage. The es o he
115
Fulgencio Joseph, “Joe” P i che
He is he son o Jay and Glo ia and is Manny's hal -b o he . Al hough his
name is Fulgencio, like his ma e nal g and a he , Jay decides o call him by
his middle name. He is Manny's b o he , om his mo he 's side; Clai e's
and Mi chell's b o he , om his a he 's side; Phil's and Cam's b o he -in-
law; and Haley's, Alex's, Luke's and Lily's uncle.
As Joe is jus a baby in he seasons analysed –he was bo n in he
ou h season– we canno know his pe sonali y. Howe e , he can c ea e
some humou due o he way he beha es.
Dunphy amily:
Philip Humph ey, “Phil” Dunphy
He is Clai e Dunphy’s husband and a he o hei h ee child en: Haley,
Alex, and Luke. He is a eal es a e agen in Cali o nia. He is in good shape,
as he li es a heal hy li e and p ac ices di e en spo s, such as powe
walking o igh ope walking.
Family is e y impo an o him, and he always ies o spend ime
and sha e hobbies wi h hem, especially wi h his son Luke, wi h whom he
es ablishes a igh bond. He desc ibes himsel as a “cool dad” and ies o
become a iend o all his child en, so he ac s mo e like a child a he han
like a a he , a eason why he some imes emba asses his own daugh e s.
116
As his child en g ow up, his cha ac e also e ol es o adap himsel o hei
new p e e ences, so we could say ha he ma u es a he same pace as his
child en.
He is po ayed as a good and since e pe son, who ies o sol e all
he p oblems h ough dialogue, a oiding e e y kind o con lic . He also
appea s as a unny, un-lo ing, childish, and op imis ic pe son, who has a
posi i e a i ude owa ds p oblems, a ai ha con as s wi h his wi e's, who
has a mo e se ious and ma u e cha ac e .
He is also ond o echnology, ying o be up- o-da e and o ha e
he la es gadge s. He also likes science- ic ion, ole-playing and obo s. He
is po ayed as a d eame , op imis ic, easy-going, and happy-go-lucky
pe son, who aces p oblems om a posi i e poin o iew. Howe e ,
al hough he shows a ca e ee pe sonali y, he can also be se ious when a
membe o he amily is in ol ed in any impo an issue, pa icula ly his
child en.
The humo ous scenes ound in ela ion o his cha ac e a e ela ed
o his childlike and clumsy pe sonali y. He is also in ol ed in acciden al
double en end es which lead o unny momen s.
Clai e Melinda Dunphy
She is he daugh e o Jay P i che , Mi chell's olde sis e and Phil's wi e.
She is wo yea s olde han he b o he , wi h whom she has always had a
good ela ionship, and used o sha e some ac i i ies, such as igu e-ska ing.
117
Howe e , she does no ha e a good ela ionship wi h he mo he , who was
always c i icising he , and made he eel she was no doing any hing igh .
All his, oge he wi h he ac ha she was a daddy's gi l, did no help in
imp o ing his ela ionship.
When she was younge , she was a wild gi l who usually go in o
ouble. As she does no wan hei child en o be like he , she hides he
pas o hem and she po ays he sel as a pe ec woman, since she does
no wan hem o make he same mis akes she made in he pas . One o hem
was ge ing p egnan wi h he i s child when she was jus da ing Phil. This
is he eason why hey go ma ied ou mon hs la e .
She appea s as a pe ec ionis and con olling pe son, she always
needs o ha e e e y hing scheduled and unde con ol, ai s which lead he
o be s essed and be conside ed as a bossy o a ogan pe son when she
wan s o so e e y hing ou . Since she is a s ay-a -home mo he , she is in
cha ge o he whole amily, aking an ac i e pa in he child en's school
ac i i ies o o ganising e en s. Howe e , she is a us wo hy pe son and
he es o he amily usually go o he o ad ice.
She is also po ayed as a compe i i e woman, a ai inhe i ed om
he a he , who ea ed he like he son he would ha e liked o ha e, since
Mi chell was gay and did no wan o beha e like a man. She is an a ac i e
and ac i e woman who enjoys keeping i and doing physical exe cise,
al hough she some imes has masculine manne isms o wea s manly ou i s.
I is no un il he i h season ha she goes back o wo k. She jus i ies his
decision by saying ha he child en a e old enough, so she s a s wo king
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o he a he , i s , and la e , when Jay e i es, she akes o e he whole
company as i s CEO.
Clai e embodies he mo he s e eo ype because o he way she ac s,
sha ing he ypical ai s associa ed wi h his membe o he amily. She
also has he own opinions abou immig a ion and homosexuali y, simila o
he a he ’s, which is cu ious since he b o he is a homosexual and he
a he 's wi e is an immig an .
Haley Gwendolyn Dunphy
She is he eldes child o Clai e and Phil, and he sis e o Luke and Alex.
She was concei ed ou side ma iage, and she was he eason why he
pa en s go ma ied. She was desc ibed as a swee , lo ely, and a ec iona e
child un il she hi adolescence.
She appea s as a young and p e y gi l who de elops a ebellious
pe sonali y, jus like he mo he a he age. She is conside ed he p e y gi l
in he amily, and he in e es s and hobbies a e ela ed o beau y and
ashion. Be o e becoming an adul , she de eloped a liking o d inking
alcohol and o pa ies, jus like he mo he . She is po ayed as a slow-
lea ning and o ge ul gi l who needs ime o unde s and jokes o he i ony
hey con ain. This lack o in elligence is a cons an and ecu ing sou ce o
mocke y, especially om he sis e . On he o he hand, she appea s as a
s e eo ypical Ame ican een, since she is e y popula a high school,
al hough she is no a e y good s uden . Howe e , she g adually ma u es as
119
he se ies p og esses, inding a job and ying o beha e mo e like an adul .
He in e es s conce n he appea ance and shopping. This is he
eason why she ies o ind, and does ind, a job wi hin he ashion wo ld,
wo king as an assis an o a ashion designe . In he i h season, he
in e es in pho og aphy is e ealed, and she is e en chosen o display he
amily pho og aphs in an a galle y.
The s e eo ypes, associa ed wi h his cha ac e , a e ela ed o
physical appea ance and he belie ha beau i ul gi ls canno be in elligen .
In his case, his cha ac e ul ils his s e eo ype and he pe sonali y leads
o se e al humo ous scenes.
Alexand a Anas asia, “Alex” Dunphy
She is he middle child o Clai e and Phil and is po ayed as he cle e es
and mos in elligen o he h ee siblings. As she is an o e achie e , she
usually uses sa casm and condescension when she alks o o he people,
especially o he own amily, al hough mos o he ime nobody unde s ands
he sense o humou . She also akes ad an age o he in elligence and ools
he siblings, making hem belie e un ealis ic hings. Howe e , she lo es
hem and she is always willing o suppo hem, oo.
She is used o being he bes in e e y hing she does, so she de elops
a compe i i e pe sonali y, like he mo he . She is e y independen , as he
pa en s pay mo e a en ion o he o he siblings, and in many cases she
seems o ha e mo e common sense han any o hem, including he pa en s.
120
In con as o he olde sis e , she is no conce ned abou appea ance
and ashion, al hough as she ge s olde , she asks he sis e o some ashion
ad ice. Ano he di e ence wi h espec o he sis e is ha Alex is no a
popula gi l a school, and inds i di icul o make iends. Howe e , she
is an ou s anding and ha d-wo king s uden . She plays he cello and she
belongs o he F ench and deba e clubs, ac i i ies she does in o de o en e
a good uni e si y when she ge s olde .
The s e eo ypes associa ed wi h his cha ac e a e ela ed o sma
people who make un o o he s who a e no as in elligen as hem. She also
ul ils he s e eo ype o sma people who a e no p e y and who do no
ca e abou he way hey d ess. This cha ac e makes use o i ony o c ea e
humou , being e en unnie when o he cha ac e s do no ealise ha she is
mocking hem.
Lucas Philip, “Luke” Dunphy
He is he hi d and younges child o Clai e and Phil, and he younge
b o he o Haley and Alex. He is po ayed as a play ul, mischie ous, and
ambunc ious boy. He is conside ed o ha e low in elligence bu his ai
gi es him some innocence ha his mo he lo es abou him. He is also seen
as a mindless pe son due o some biza e ac ions, and because he equen ly
ge s dis ac ed by o he hings when he is doing some hing impo an . As
he is an innocen and swee boy, Clai e calls him he baby and she does no
wan him o ge olde .
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The s e eo ypes associa ed wi h his cha ac e a e ela ed o he idea
ha he is no an in elligen boy and he is qui e innocen , so he belie es
e e y hing he is old. He also uses he isual elemen o ansmi humou ,
due o he ac i i ies o hobbies he has, some o which a e sha ed wi h his
a he .
Tucke -P i che amily:
Mi chell Vincen P i che
He is Jay's son and Clai e's younge b o he . He is also Came on's husband
and bo h a e he adop i e pa en s o Lily, a Vie namese gi l. He is a shy and
sma man who wo ks as a lawye o a law i m in Cali o nia. E en i he
seems a bi o a snob, his aim in li e is o help o he s and he en i onmen .
Due o his pe sonali y, he is close o his mo he , whe eas Clai e is close
o his a he . Al hough he siblings ha e opposi e cha ac e s, hey lo e each
o he and hey show i om he e y beginning, when hey we e bo h
igu e-ska ing pa ne s du ing hei you h. Clai e was also e y suppo i e
when he decided o say he was homosexual, since his a he was eluc an
o hea his news. Be o e coming ou o he close , he da ed some gi ls and
la e some o he boys, un il he me Came on.
Despi e hei di e ences, Mi chell and Clai e sha e a sense o
esponsibili y, and bo h a e po ayed as pe ec ionis people, since hey
wan o ha e e e y hing unde con ol. These ai s a e comple ely di e en
122
o Came on's, since he la e de elops an uninhibi ed pe sonali y; howe e ,
one coun e balances he o he and hey a e p esen ed as a s ong couple.
Due o his peace ul pe sonali y, Mi chell always a oids con on a ions and
ies o sol e e e y p oblem h ough dialogue, bo h wi h membe s o his
amily o wi h s ange s, ying no o disappoin anyone. He has also
de eloped a p oblem wi h public displays o a ec ion, blaming his a he
o his. Howe e , o e he seasons, he ies o change his ai o his
pe sonali y.
The s e eo ypes associa ed wi h his cha ac e a e ela ed o his job,
as a lawye . I is hough ha lawye s beha e in a ce ain way and he sha es
some o hose speci ic ai s. He also embodies he s e eo ype o a
homosexual pe son bu , as he is so shy o show his emo ions, eelings, o
sexual o ien a ion, he some imes ies o hide i , a endency which changes
o e he seasons.
Came on Sco , “Cam” Tucke
He is Mi chell's husband and he adop i e a he o Lily. He g ew up in a
a m in Missou i, o which he has good memo ies and ne e misses he
oppo uni y o alk abou i . He s ands ou in many ields, such as music,
spo s, and a . He lo es playing and coaching oo ball, as he says his spo
has gi en him he con idence and espec among people a ound him,
especially when he came ou .
He is po ayed as a compassiona e, empa he ic, and kind pe son.
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He canno s op helping o he people, especially he mos disad an aged,
some hing which annoys Mi chell when he spends mo e ime helping
o he s a he expense o his amily. He also lo es being he cen e o
a en ion, in con as o Mi chell, who p e e s o be in he backg ound.
These pe sonali y di e ences lead o hila ious and unny scenes in he
se ies. Al hough Came on seems o be a s ong pe son, he does no handle
c i icism, especially conce ning his body –he is o e weigh – and his alen s
–as he s ands ou in many ields–. He also has many hobbies, such as lowe
a angemen , pho og aphing Lily o shoo ing home ilms.
Apa om he abo emen ioned hobbies, i is necessa y o ema k
his in e es in clowns, since he makes up his own clown al e ego called
Fizbo. Fizbo is an Augus e Clown, and al hough some membe s o he
amily, such as Mi chell, Phil –who is a aid o clowns– o e en Lily, do
no like i , Came on is e y p oud o his c ea ion.
The s e eo ypes associa ed wi h his cha ac e a e ela ed o his
appea ance and mo e speci ically o his body, since he is e y insecu e
abou i . Ano he s e eo ype ha ep esen s his cha ac e is homosexuali y.
He ul ils he image people ha e abou homosexuals and embodies he
main ai s associa ed wi h his g oup.
Lillian Elizabe h, “Lily” Tucke -P i che
She is he adop ed Vie namese daugh e o Mi chell and Came on. As Lily
is adop ed as a baby, she does no ha e an impo an ole du ing he i s
124
seasons. Howe e , o e he yea s, she de elops a hila ious, en e aining,
and cha ming pe sonali y, al hough he pa en s claim ha she has no
demons a ed any sense o empa hy. In some episodes, he audience can see
ha she wo ies abou he pa en 's wel a e o she sha es he oys wi h Joe.
He unnies momen s wi hin he se ies appea when she shows some o he
ai s ha a e ela ed o child en s e eo ypes.
A e ha ing in oduced and lea ned mo e abou he di e en pe sonali ies
de eloped by he main cha ac e s ha appea in his Ame ican si com, he
di e en ypes o humou , which a e analysed in he o hcoming chap e
and which a e cha ac e is ic o each membe o he amily, can be amed
and unde s ood as a whole.
This s udy ocuses on he i s hal o he si com ( i s , second, i h
and six h season). A comp ehensi e and ep esen a i e sample o episodes
has been selec ed (96 episodes in o al, 24 episodes in each season), which
will allow us o analyse he humou ha iden i ies each cha ac e , and he
way in which i changes o e he yea s. The adap a ions, modi ica ions o
al e a ions ha ha e been made o he Spanish DV and SV, o he ex o
be b oadcas in Spain and accep ed by he a ge audience, will also be
s udied.
131
Jay: Unde mining.
Glo ia: And now you’ e doing i o me, oo.
Humo ous elemen s:
L
DV:
Glo ia: Lo úl imo que necesi a
Manny en su p ime día de clase es
que ú le manes la con ianza.
Jay: Mines.
Glo ia: Y aho a me lo haces a mí.
SV:
Glo ia: Lo único que le al a a
Manny/ en su p ime día de
clase// -es que le mimes la
con ianza.//
Jay: - Mines.//
Glo ia: Y aho a me lo haces a mí
ambién.///
Humo ous elemen s:
L
Humo ous elemen s:
L
Cogni i e backg ound:
Con ex ual case (CC):
1. Glo ia explains ha i is impo an o pa en s o suppo
hei
child en.
Commen s:
The humou load is based on he na ional s e eo ype wi h he use o e bal
humou , whe e language is he elemen ha c ea es he humo ous scene. I
is assumed ha o eigne s, since hey a e no using hei mo he language,
may make some mis akes when hey speak in hei second language, in his
case, English. Humou a ises by means o he use o a pseudomo ph,
acco ding o he classi ica ion p oposed by Nash (1985:143). This esou ce
c ea es a new wo d wi h humo ous pu poses. Ins ead o using he e b “ o
unde mine”, Glo ia uses an in en ed e b, “ o unde mel ”, which makes no
132
sense and does no exis in English.
In he DV, he ansla o keeps he L elemen . Howe e , he s a egy
used in his e sion is di e en o he OV, since he ansla o chooses
pa onymy, acco ding o he ou comes o he ansla ed pun p oposed by
Delabas i a (1996:134), o main ain he humou load. The e b “mana ” ( o
low) is mis akenly used, in subs i u ion o he co ec e b “mina ” ( o
unde mine). The e b is conjuga ed in he second pe son singula o he
subjunc i e “manes”, ins ead o he co ec one, which would be “mines”.
This is an app op ia e solu ion o ansmi he cha ac e ’s low le el o
English, and i also eminds he audience o he name o he child “Manny”,
which could also be conside ed as he sou ce o he mis ake when she
con uses he e b she has o use wi h he name o he child.
In he SV, he L elemen is also kep and, like in he DV, he pun
used is pa onymy. Ins ead o using he e b “mina ”, he cha ac e uses he
e b “mima ” ( o pampe ), which has a e y simila p onuncia ion, since
he only di e ence appea s wi h he sounds /m/ and /n/. This could be
unde s ood as an accep able mis ake, bea ing in mind ha he cha ac e is
alking in he second language, since bo h sounds belong o he ca ego y o
nasal phoneme, al hough /m/ is a bilabial phoneme and /n/ is an al eola
phoneme. This way, he mis ake when she mixes bo h e bs –which,
howe e , ha e di e en and opposi e meanings– can be jus i ied. The
op ion in he SV is also app op ia e o he con ex , since du ing he i s
episodes he cha ac e ends o o e p o ec he child, which makes he
choice o he e b “mima ” be conside ed seman ically ela ed o he
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con ex .
As a as synch ony is conce ned, he solu ions o e ed in he SV
wi h he use o he e bs “mimes” and “mines” i he space es ic ions
ela ed o his modali y o audio isual ansla ion. Howe e , he di e ence
in he numbe o syllables ha appea in he OV is wo h men ioning, ou
in he case o “unde mel ing” and “unde mining”, and only wo in he DV,
wi h he use o “manes” and “mines”. Ne e heless, analysing Glo ia’s
speech as a whole, he e is a g ea e numbe o syllables in he Spanish
e sion han in he English e sion, so he chosen op ion is in eg a ed and
compensa ed wi hin he whole sen ence.
Example 2
Season 1, Fi een pe cen
07:08-07:16
Glo ia: In my coun y he e’s a saying ha means, “Lo e is jus a ound
he co ne ”. I come om a neighbou hood wi h a lo o p os i u es.
Humo ous elemen s:
L / CI
DV:
Glo ia: En mi país hay un dicho que
dice, “El amo es á a la uel a de la
esquina”. Vengo de un ba io con
muchas p os i u as.
SV:
Glo ia: En mi país hay un dicho
que dice:/ “El amo es á a la
uel a de la esquina”.// En mi
ba io había/ un mon ón de
p os i u as.///
Humo ous elemen s:
L / CI
Humo ous elemen s:
L / CI
134
Cogni i e backg ound:
Con ex ual case (CC):
1. Manny has a da e, bu she
u ns ou o be olde han expec ed. She
is eally emba assed abou con using Manny wi h a man and
hinks she will always be alone.
2. Glo ia ies o console he .
Commen s:
The humou load is based on an exp ession Glo ia says, so i is based on a
L elemen , since he double meaning o some wo ds is used in o de o
c ea e a humo ous scene. Acco ding o he classi ica ion p oposed by Nash
(1985:146), his sen ence is ca ego ised as a pun-me apho , since, om an
appa en ly innocen saying, a hidden meaning a ises and c ea es a
humo ous e ec . This e ec is c ea ed by means o he use o he
exp ession “jus a ound he co ne ”, which can ha e a double meaning. On
he one hand, i can be unde s ood as “lo e can be ound whe e leas
expec ed”, and on he o he hand, and wi h he use o he CI elemen , as he
place whe e people can ind p os i u es, since i is he place whe e hey
usually wai o clien s. In his sense, i is unde s ood ha people ind lo e
because hey pay o i . Wha c ea es he humo ous scene is he con as
be ween wha he audience expec s o hea and wha he cha ac e inally
says.
In he Spanish DV and SV, he pun-me apho is used in he same
way as in he OV, since he same e e en is sha ed in bo h languages. The
s a egy applied is li e al ansla ion in Fawce ’s e minology (1997:36),
since he ex can go om he SL o he TL wi hou any changes, apa om
135
he ones equi ed by he TL g amma . The e o e, acco ding o he
classi ica ion p oposed by Delabas i a (1996:134), he ou come o he
ansla ed pun is PUN ST = PUN TT, since he ansla o uses he same pun
and con ex as in he OV in bo h Spanish e sions.
Example 3
Season 2, The old wagon
02:48-02:58
Glo ia: In my cul u e, mo he s a e e y clingy o hei sons. In ac , he
leading cause o dea h among Colombian women is when hei sons ge
ma ied. Bu I’m no like ha . I jus wan my Manny o be happy.
Humo ous elemen s:
CI / L
DV:
Glo ia: En mi cul u a las mad es son
muy posesi as con sus hijos. De
hecho, la p incipal causa de mue e
en e muje es colombianas es
cuando sus hijos se casan. Pe o yo
no soy así. Yo solo quie o que mi
Manny sea eliz.
SV:
Glo ia: En mi cul u a las mad es/
son muy p o ec o as.// La
p incipal causa de mue e/ de las
mad es colombianas...// es la
boda de sus hijos.// Pe o yo no
soy así./ Solo quie o que Manny
sea eliz.///
Humo ous elemen s:
CI / L
Humo ous elemen s:
CI
Cogni i e backg ound:
Con ex ual case (CC):
1. Glo ia is jealous when a p e y gi l iend o Manny’s a i es.
2. She supposes ha he is in lo e wi h he and ha he is pu ing
he
aside.
3. Howe e , she does no desc ibe he sel like
o he Colombian
women.
136
Commen s:
The humou load is based on he CI and L elemen s. The CI elemen appea s
when he cha ac e uses he esou ce o exagge a ion, acco ding o
Elwood’s classi ica ion (2007:4), o desc ibe mo he s’ eelings when hei
sons ge ma ied. The audience may know mo e abou he Colombian
cul u e bu i is a dis o ed desc ip ion o he eali y o he coun y. Humou
a ises om he con as ha appea s be ween eali y, ha is, Colombian
women eel a deep so ow when hei sons ge ma ied, and he eali y
desc ibed by he cha ac e , when she a i ms ha women in he coun y die
when hei sons ge ma ied. This in o ma ion gi es he audience he idea
ha Colombian women a e e y possessi e. The same esou ce is used in
bo h he DV and SV, since he ansla o uses he same s a egy o
exagge a ing he main idea in o de o c ea e he humo ous e ec .
In his scene, humou esul s om a combina ion o CI and L
elemen s. While he s a egy o exagge a ion is applied in he CI elemen
ha e ol es a ound he idea ha Colombian women a e e y possessi e
owa ds hei child en, and especially hei sons, he L elemen con ibu es
o he exagge a ion by using he possessi e adjec i e “my”, which
ein o ces ha eeling o belonging, as he cha ac e ega ds he son as one
o he possessions, and shows ha she uly i s ha s e eo ype o
Colombian women. The same elemen is used in he DV, “mi Manny”,
using he possessi e adjec i e “mi” when i is no necessa y as he audience
al eady knows ha Manny is Glo ia’s son. Howe e , in he SV his concep
is neu alised and only he p ope name “Manny” is used, wi hou any
137
possessi e adjec i e, so he L elemen disappea s, and i emains unclea
whe he Glo ia is elling he u h o no .
Example 4
Season 2, S ange s on a eadmill
02:21-02:26
Glo ia: Tha ’s wha you ell you sel so you can s ay abo e hem. You
jus h ow hem an Obama S eak and un o he gol cou se.
Humo ous elemen s:
CI / L
DV:
Glo ia: Eso es lo que dices ú pa a
pone e po encima de ellos. Les
i as un chule ón de Obama y e as
a juga al gol .
SV:
Glo ia: Es lo que ú e dices pa a
segui / po encima de ellos.// Les
i as un ile e de Obama/ y e as
al campo de gol .///
Humo ous elemen s:
---
Humo ous elemen s:
---
Cogni i e backg ound:
Con ex ual case (CC):
1. Jay does no wan o a end an employee’s daugh e ’s
pa y. He
jus i ies himsel by saying ha , since he is he boss, nobody would
like o see him he e.
2. As he is no going, he will send an Omaha S eak as a p esen .
Commen s:
The humou load is based on wo di e en elemen s: CI and L. The L
elemen is ound when Glo ia con uses he Omaha S eak, which is an
impo an mea company in he Uni ed S a es, wi h he name o he
Ame ican p esiden a he ime when his episode was b oadcas , Ba ack
138
Obama. This linguis ic pun esul s om he pa onymy ha exis s be ween
he pai o wo ds Omaha-Obama. The pun made by he cha ac e can be
classi ied as a malap opism, since i is an unin en ional misuse o one wo d
ha is con used wi h ano he wo d due o hei simila i y, esul ing in a
idiculous and unny e ec . Howe e , he L elemen is no ansmi ed o
he DV o he SV since he audience does no unde s and he malap opism
be ween he eal e e en and he cha ac e ’s mis ake when e e ing o i .
Rega ding he ansla ion o his cul u al e e ence, and acco ding
o he classi ica ion p oposed by Venu i (1995), a o eigniza ion app oach
has been adop ed in his scene, since he ex has ha dly been al e ed and
he e e en has no been explained o adap ed o he a ge audience. The
CI elemen appea s in he ST, so i is necessa y o be amilia wi h he
Ame ican company o be able o unde s and his e e en . This is he eason
why humou disappea s in he Spanish e sions since he Spanish audience
does no ecognise he pun. They only know ha he e is no “Obama s eak”,
bu hey do no associa e i wi h he Omaha S eak company, so bo h he CI
and L elemen s a e los in he DV and he SV.
In his speci ic case, he ansla ion s a egy is li e al ansla ion,
ansmi ing he ST wi hou any cul u al change, apa om hose equi ed
by he TL g amma . This is he eason why he wo elemen s ha appea in
he OV a e no included in he DV o he SV. We can hen a i m ha in his
case, acco ding o he classi ica ion p oposed by Delabas i a (1996:134),
he ou come o he ansla ed pun is PUN > ZERO, so he humo ous e ec
is los .
139
Example 5
Season 2, Halloween
02:40-03:17
Glo ia: Hola, Jay.
Jay: Whe e a e you?
Glo ia: I ha e Manny in he ca pool, and we’ e going o he d opou .
Jay: D opou . You mean ha Eddie kid? Yeah, he’s a mo on.
Glo ia: No, he d opou , whe e you d op he kids in he school.
Manny: She means “d op-o ”.
Glo ia: Tha ’s wha I said.
Jay: Lis en. Did you e e do any hing abou cos umes o Clai e’s hing
onigh ?
Glo ia: I’m going o pick hem up his a e noon. You’ e going o be a
ga gle and I’m going o be an e il illage b uja.
Jay: I know less now han I did be o e I asked.
Glo ia: Hmm. A b uja is a wi ch, and a ga gle is a ga gle.
Manny: She means “ga goyle”.
Glo ia: Tha ’s wha I said.
Humo ous elemen s:
L
DV:
Glo ia: Hola, Jay.
Jay: ¿Dónde es ás?
Glo ia: Lle o en el coche a Manny y
amos al pun o limpio.
Jay: ¿El pun o limpio? ¿Lo dices po
Eddie? Sí, es un poco gua o.
Glo ia: No, el pun o limpio, donde
dejas a los niños en el cole.
Manny: Quie e deci pun o de
SV:
[--]
Jay: ¿Dónde es ás?//
Glo ia: Lle o a Manny en el
coche/ y amos a deja el cole.//
Jay: ¿A deja lo? ¿Es po Eddie?/
Sí, es un idio a.
Glo ia: No, a que los niños dejen
en el cole.//
Manny: - Quie e deci deja nos
140
ecogida.
Glo ia: Eso he dicho.
Jay: Oye, ¿hicis e algo con esos
dis aces pa a la ies a de Clai e?
Glo ia: Voy a ecoge los es a a de.
Tú as a i de gá ga a y yo oy de
b uja supe mal ada.
Jay: C eo que no me he en e ado de
nada.
Glo ia: Mmm, que yo oy de b uja y
ú as de gá ga a.
Manny: Quie e deci “gá gola”.
Glo ia: Eso he dicho.
en el cole./
Glo ia: - Eso he dicho.//
Jay: Oye. ¿Has pensado en los
dis aces/ pa a lo de Clai e de es a
noche?//
Glo ia: Los ecojo es a a de.// Tú
i ás de “gá ga a”...// y yo, de
b uja supe mal ada.//
Jay: Es oy peo que an es de
p egun a .//
Glo ia: Una b uja es una a pía,/ y
una “gá ga a”, una “gá ga a”.//
Manny: - Quie e deci “gá gola”./
Glo ia: - Eso he dicho.///
Humo ous elemen s:
L
Humo ous elemen s:
L
Cogni i e backg ound:
Con ex ual case (CC):
1.
Glo ia is d i ing Manny and ano he iend o hei school while
she
phones Jay and explains wha hey a e wea ing o Halloween
his yea .
2. Glo ia, being
a Colombian immig an , has some p oblems wi h
he English language.
Commen s:
The humou in his scene is based on he L elemen , due o he language
mis akes made by one o he cha ac e s. In he OV, Glo ia con uses he
ph asal e b, d op-o , wi h ano he ph asal e b, d op-ou . This is a e y
equen p oblem in o eigne s, since changing he p eposi ion can
ep esen a comple e change in meaning o he e b, leading o con usion.
243
wo ds is di e en , hey sha e he same p onuncia ion, since he le e s <ph>
a e p onounced as he ica i e < >, / /. In he DV, he same elemen is
ansmi ed wi hou any change, due o he s a egy o li e al ansla ion.
Howe e , in his e sion an explana ion is equi ed o he Spanish
audience, so he ansla o chooses o in oduce he in o ma ion explaining
ha “peces” is he meaning o “Phish- ish”. In he SV, he mnemonic
echnique changes, so he ansla ion s a egy is adap a ion (Fawce , 1997).
In his case, he ansla o chooses o main ain he inal pun a he expense
o o he puns ha appea be o e he la e .
A he end o his discou se, he cha ac e uses wo pa onymous
wo ds (Delabas i a, 1996:128) in o de o c ea e a pun. These wo ds a e he
ma ine deposi “co al” /ˈkᴅ l/ and he p ope name “Ca l” /kɑːl/, which
ha e sligh di e ences in bo h spelling and sound. In he DV, he s a egy
o li e al ansla ion has been adop ed and he same noun, “co al”, is used
o emembe he p ope name, “Ca l”. This op ion is possible in his a ge
e sion since he Spanish language also sha es he same simila i ies, so he
pun is based on he pa onymy o hese wo wo ds. Acco ding o he
classi ica ion p oposed by Delabas i a (1996:134), he ou come o he
ansla ed pun is PUN ST = PUN TT, since he same esou ce is used in
bo h e sions. In he SV, he ansla o uses he same s a egy, bu changing
he name he cha ac e needs o emembe , o Paul /pɔːl/ ins ead o Ca l. In
o de o main ain his humo ous L elemen , i is necessa y o change he
inal wo d, which is simila o Paul. The ansla o manages o ind one
wi h he use o he p ope name o he ca “Polo”. This is he eason why
244
he s/he chooses o elimina e he p e ious humo ous e ec in o de o
main ain i he e. In his case, he ansla ion s a egy is adap a ion (Fawce ,
1997), since he ansla o inds ano he way o ansmi ing he humo ous
con en .
Ano he elemen can be ound in he OV, which is he CI elemen .
The cha ac e men ions wo Ame ican g oups, “G a e ul Dead” and
“Phish”, which a e known among he sou ce audience. Howe e , he
Spanish audience may no iden i y hese names as co esponding o music
bands. In he DV, hese e e ences a e main ained, so he e is a loss in he
humou load, since he audience does no unde s and wha Phil is e e ing
o. In con as , his CI elemen is ansmi ed o he SV because ano he
example is used. Phil men ions a well-known ca make, Volkswagen, and a
ecognisable model, Polo, o illus a e his mnemonic. I is also impo an o
poin ou ha , al hough he sub i les ansmi he main idea om he OV,
hey a e sho e han he ac o ’s in e en ion, so he solu ion gi en i s in
wi h he space and ime limi , and ul ils he sub i ling cons ain s.
Example 39
Season 2, S ange s on a eadmill
00:39-00:49
Phil: Now, o he las i e yea s Gil Tho pe has hos ed bu , as luck
would ha e i he’s ha ing a ske chy-looking polyp emo ed so hey’ e
asked me o ill in.
Humo ous elemen s:
L
245
DV:
Phil: Los úl imos cinco años lo ha
p esen ado Gil Tho pe, pe o po
o una le es án es i pando un pólipo
muy sospechoso, así que me ha
pedido a mí que le “ ilis uya”.
SV:
Phil: Los úl imos cinco años,/ la
ha p esen ado Gil Tho pe...//
pe o, cosas del des ino...// le an
a qui a un pólipo muy eo...// y
me han pedido que hable/ an e los
“ iliados”.///
Humo ous elemen s:
L
Humo ous elemen s:
L
Cogni i e backg ound:
Con ex ual case (CC):
1.
Phil is hos ing a mee ing and he is subs i u ing he pe son who
usually does i , because he has o unde go su ge y.
Commen s:
In his scene he humou load is based on a L elemen . In he OV, he pun
is based on he same p onuncia ion o he pai o wo ds Phil- ill. Humou
is achie ed h ough he wo homophonous wo ds (Nash, 1985:138), he
cha ac e ’s own name “Phil” / ɪl/ and he e b “ o ill /ˈ ɪl/”.
In he case o he DV, he ansla o uses a non-exis en wo d ha
mixes he sound o he name Phil, / ɪl/, wi h he wo d “sus i uya”
(subs i u e), ob aining he wo d “ ilis uya”. This esul ing wo d sha es
some simila i ies o he Spanish wo d “ ís ula” ( is ula), so his can also be
a sou ce o humou , due o he meaning o his wo d –abno mal connec ion
be ween wo body pa s (MedlinePlus, accessed in Feb ua y 2020)– and
knowing ha he ela ionship be ween he cha ac e and he men ioned Gil
Tho pe is no good; so we could compa e i wi h his medical concep . This
246
pun is he e o e a po man eau (Nash, 1985), since a new wo d is ob ained
due o he blending o wo dis inc o ms. The ansla ion s a egy is
adap a ion (Fawce , 1997), since he ansla o chooses ano he way o
ansmi ing he humo ous e ec o he DV. Acco ding o he classi ica ion
p oposed by Delabas i a (1996:134), he ou come o he ansla ed pun is
PUN > PUN, since, al hough he humou load is ans e ed, he OV pun is
di e en om he DV one.
In he case o he SV, he ansla o inds an exis ing wo d, which
con ains he sound o he name “Phil” –as in he DV– and which i s in wi h
he con ex . This is he eason why he wo d “ iliado” (someone who
belongs o a socie y o speci ic g oup) is used. I can be conside ed a kind
o a homophone (Nash, 1985:138), since hey a e p onounced simila ly.
The ansla ion s a egy o adap a ion (Fawce , 1997) is adop ed in his
e sion, since he ansla o chooses o ind an exis ing wo d ha i s in he
wi h con ex and he discou se. The e o e, acco ding o he classi ica ion
p oposed by Delabas i a (1996:134), he ou come o he ansla ed pun is
PUN > PUN, whe e he humo ous e ec is ans e ed, al hough he
s a egies a e di e en om he OV.
Example 40
Season 2, S ange s on a eadmill
04:05-04:09
Mi chell: So oga is eadmill yoga.
Humo ous elemen s:
L
247
DV:
Mi chell: El oga es el yoga en la
cin a de co e .
SV:
Mi chell: Yin a es yoga en
cin a.///
Humo ous elemen s:
---
Humo ous elemen s:
L
Cogni i e backg ound:
Con ex ual case (CC):
1. While Clai e is
unning on a eadmill, Mi chell is doing unny
mo emen s while walking on ano he eadmill.
Commen s:
The humou load in his scene is based on a L elemen . In he OV, he
cha ac e uses a new wo d, “ oga”, which is o med by he wo ds
“ eadmill” and “yoga”. This pun is classi ied as a po man eau, acco ding
o he classi ica ion p oposed by Nash (1985), whe e a new wo d is c ea ed
due o he blending o wo o he wo ds. This c ea ion is jus i ied since he
audience sees ha he cha ac e is doing s ange mo emen s while he is
walking on a eadmill, ins ead o using his de ice as i is no mally used.
In he case o he DV, he cha ac e uses he same wo d, “ oga”, o
de ine he new spo . Howe e , he L elemen disappea s in his e sion,
since he e m is explained in o de o unde s and i . When his e m is
explained, we see he e is no co ela ion be ween he wo d “ oga” and he
o he wo ds ha a e supposed o o m i , as hey a e: “yoga” and “cin a de
co e ” ( eadmill). In his sense and, acco ding o Hu ado (2001), his
ansla ion echnique is de ined as desc ipción (desc ip ion). The e is,
howe e , a possible p oblem, since his spo “ oga” does exis in he
248
Spanish cul u e, i mixes he TRX spo –a o m o suspension aining–
wi h he ac i i y o yoga. The Spanish audience who a e amilia wi h his
spo could be con used when hey see Mi chell walking on a eadmill, as
i is no ela ed o he spo “ oga”.
In he SV, he L elemen is ansmi ed, bu a new wo d is c ea ed
–“yin a”–, which mixes he wo ds “yoga” and “cin a” ( eadmill). In his
case, ano he po man eau is used in o de o ansmi he humo ous e ec .
The ansla ion s a egy is o adap he humo ous e e en o he con ex ,
al hough his means c ea ing a new wo d ha does no exis in he TL.
Acco ding o he classi ica ion p oposed by Delabas i a (1996:134), he
ou come o he ansla ed pun is PUN > PUN, whe e he mos impo an
hing is o main ain he humo ous elemen , al hough i is ansmi ed
h ough he use o ano he elemen .
Example 41
Season 2, Manny ge you gun
01:37-01:44
Phil: Somebody’s s ill a li le ouchy abou losing las yea ’s colou wa .
Clai e: No .
Phil: She was on Team Blue o as I like o e e o hem, as Team Blue-
se .
Humo ous elemen s:
L
DV:
Phil: Alguien es á muy picajosa po
habe pe dido la gue a de colo es
del año pasado.
SV:
Phil: Alguien sigue dolida po
pe de / la gue a de colo es el año
pasado.//
249
Clai e: No.
Phil: Ella iba en el equipo azul o
como a mí me gus a llama le, el
equipo azus ado.
Clai e: - No./
Phil: - Ella es aba en el equipo
azul...// o como me gus a
llama lo,/ el equipo lamen -azul-
able.///
Humo ous elemen s:
L
Humo ous elemen s:
L
Cogni i e backg ound:
Con ex ual case (CC):
1. Phil is explaining how much un hey had a he
amily camp las
yea because he won and Clai e los .
Commen s:
The humou load is based on he L elemen . In he OV, he pun is c ea ed
by means o a po man eau, acco ding o he classi ica ion p oposed by
Nash (1985), which blends he wo ds “blue” /bluː/ and “lose ” /ˈluːz/,
ob aining he wo d “blue-se ”. This pun may be app op ia e acco ding o
he con ex since he new wo d “bluese ” and “lose ” can also be conside ed
pa onymous (Delabas i a, 1996:128).
In he DV, ano he po man eau is used o ansmi he humo ous
e ec om he OV. In his case, he blending is achie ed h ough he use
o he wo ds “azul” (blue) – he eam colou – and “asus ado” (sca ed). The
wo d ob ained, “azus ado”, sha es a simila p onuncia ion wi h “asus ado”,
so he ansla o ge s he same esul , pa onymy. The ansla ion s a egy is
o adap he ST by using he same esou ce as in he OV, bu adap ing i o
he TL and con ex . The e o e, acco ding o he classi ica ion p oposed by
Delabas i a (1996:134), he ou come o he ansla ed pun is PUN ST =
250
PUN TT, since he humo ous e ec is ans e ed by using he same pun
and he same con ex .
In he SV, he ansla o uses ano he po man eau in o de o c ea e
a simila humo ous e ec as in he OV. In his case, he blending is achie ed
h ough he wo ds “lamen able” (pa he ic) and “azul” (blue). Howe e , he
main di e ence wi h he OV and DV po man eaux is ha , in his SV, he
wo d “azul” is inse ed in he middle o he wo d “lamen able”, so he esul
is “lamen azulable”. The ansla ion s a egy chosen by he ansla o is o
adap he humo ous elemen in o de o keep he humo ous e ec in his
e sion. Acco ding o he classi ica ion p oposed by Delabas i a
(1996:134), he ou come o he ansla ed pun is PUN > PUN, since he
humou load is ansmi ed om he OV, al hough he pun used is di e en ,
in o de o i in wi h he TL and con ex . I is wo h emphasising ha in he
SV and, con a ening he sub i ling cons ain s, he esul ing wo d
“lamen azulable” –six syllables– is longe han he wo d used in he OV
–“bluese ” ( wo syllables)– o in he DV –“azus ado” ( ou syllables)–.
This is no a common solu ion since he key p inciple in sub i ling is he
use o concise exp essions. The e o e, in his speci ic case, his main ule
is no ollowed and can be conside ed an excep ion.
Example 42
Season 2, Dance dance e ela ion
07:17-07:20
Mi chell: All igh , i she s a s bi ing he playda es, she’s gonna be a
pa iah.
251
Came on: T y “pi anha.”
Humo ous elemen s:
L
DV:
Mi chell: Si empieza a mo de a sus
amigos, se con e i á en una pa ia.
Came on: Di ás pi aña.
SV:
Mi chell: Si mue de a sus amigos
del pa que,/ la ma gina án.//
Came on: - Se pond án ajos.///
Humo ous elemen s:
L
Humo ous elemen s:
---
Cogni i e backg ound:
Con ex ual case (CC):
1. Lily has bi en
ano he child in he pa k and hei pa en s a e
wo ied abou he beha iou .
Commen s:
The humou load in his scene is based on a L elemen . In he OV, he
humou e ec is c ea ed by means o wo pa onymous wo ds (Nash, 1985),
“pa iah” /pˈ aɪ/ and “pi anha” /pˈ ɑːn/, because, al hough hey a e
di e en wo ds, hey a e p onounced simila ly. Fu he mo e, as Lily has
bi en ano he child, he e m “pi anha” is qui e app op ia e in his case,
since hese animals a e known o hei ha m ul bi es.
In he DV, he ansla o achie es he ansmission o he humo ous
e ec by using he same pa onymy as in he OV. In his e sion, he same
pai o wo ds a e used, “pa ia - pi aña”, ob aining he same esul . The
ansla ion s a egy in his case is li e al ansla ion, since he same elemen
and s a egy a e used. This is a possible solu ion since bo h languages,
English and Spanish, sha e he same e e en s, and hey a e w i en and
252
p onounced simila ly. The e o e, acco ding o he classi ica ion p oposed
by Delabas i a (1996:134), he ou come o he ansla ed pun is PUN ST =
PUN TT, since he same pun and con ex a e used in bo h he OV and he
DV.
Howe e , in he SV he L elemen is u e ly elimina ed. Since Lily
has bi en ano he child, hey a e compa ing he wi h a ampi e, which is
why hey choose o use he exp ession ha s a es ha , i she con inues
bi ing, he iends will wea ga lic, wi h he idea o sca ing he away, using
he same p ocedu e as wi h ampi es. In his case, he SV ex adop s wha
Hu ado (2001) calls c eación discu si a (discu si e c ea ion), since he
ansla o does no ollow he same s a egies as in he OV o c ea e he
humo ous con en . On he con a y, s/he ans o ms he ex in o de o
ob ain ano he humo ous e ec . The e o e, acco ding o he classi ica ion
p oposed by Delabas i a (1996:134), he ou come o he ansla ed pun is
PUN > RELATED RHETORICAL DEVICE, whe e he inal aim is o keep
he humo ous e ec om he ST in he TT, al hough o he me hods a e used
o achie e i .
Example 43
Season 2, Bixby’s back
09:52-09:55
Phil: P e y and sma . O should I say “p e y sma ”?
Humo ous elemen s:
L
259
he scene. In he DV, he ansla ion s a egy is adap a ion (Fawce , 1997),
since he ansla o inds an exis ing and pa onymous wo d ha i s in wi h
he con ex and ha pe mi s ans e ing he humo ous e ec o he TL.
Acco ding o he classi ica ion p oposed by Delabas i a, he ou come o he
ansla ed pun is PUN ST = PUN TT, since he ansla o uses he same
elemen in bo h e sions.
Howe e , in he SV, he L elemen disappea s since we conside ha
he solu ion gi en does no lead o any con usion o misunde s anding and,
hence, i does no c ea e o ansmi he humo ous e ec as i does in he
OV. In his e sion, he ansla o ’s decision is o use a hype nym, a
ecu en s a egy in sub i ling, acco ding o Díaz Cin as and Remael
(2007:203):
[ ]he use o hype nyms, o en dic a ed by he need o anspa ency, con ibu es
o he loss o speci ici y ha is ypical o sub i ling and shows ha sub i le s
canno always op o he sho es wo d a ailable, since cla i y may ha e o come
i s .
The pai o wo ds used in his case is “a e es” –wi h he meaning o
pendien es (ea ings)– and he non-exis en wo d “a e es de pelo”.
Al hough hey sha e he same wo d (a e es), i is di icul o he audience
o hink ha he cha ac e unde s ood h ee di e en wo ds when he o he
cha ac e only says one. The e o e, acco ding o he classi ica ion p oposed
by Delabas i a (1996:134), he ou come o he ansla ed pun in his scene
is PUN > ZERO, since he humo ous e ec is los .
260
Example 46
Season 5, Suddenly, las summe
01:43-01:46
Came on: Oh, ha ’s igh . He lea es oday. You mus be a w eck.
Jay: She’s no a w eck. She’s a ock.
Humo ous elemen s:
L
DV:
Came on: Uy, es e dad, se a hoy.
Es a ás des ozada.
Jay: De eso nada, es una oca.
SV:
Came on: Ah, cla o, se a
hoy./ Debes de es a
deshecha.//
Jay: Es du a como una oca.///
Humo ous elemen s:
---
Humo ous elemen s:
---
Cogni i e backg ound:
Con ex ual case (CC):
1.
Manny is going o Colombia and Came on hinks Glo ia is upse
because he is lea ing.
Commen s:
The humou load is based on a L elemen . In he OV, he humo ous load is
based on he pa onymy o wo di e en bu simila wo ds, “w eck” / ek/
and “ ock” / ᴅk/. These nouns a e used o desc ibe he cha ac e ’s eelings
and hey show opposi e moods.
Howe e , his L elemen disappea s bo h in he DV and he SV,
since he e is no simila i y be ween he pai o wo ds used, “des ozada”
and ” oca” in he DV, and “deshecha” and “ oca” in he SV. The eason o
261
he elimina ion o he L elemen in hese wo cases is ha he ansla o
chooses he s a egy o li e al ansla ion, subs i u ing each noun wi h he
espec i e wo d in Spanish. Thus, in Delabas i a’s e ms (1996:134), he
ou come o he ansla ed pun in hese cases is PUN > ZERO, since he
humo ous e ec is los in bo h Spanish e sions.
Example 47
Season 5, La y’s wi e
00:33-00:38
Phil: Diane, you’ e no gonna be alone, you’ e gonna ge a loan.
Humo ous elemen s:
L
DV:
Phil: Diane, no as a es a sola. Vas a
es a hipo ecada.
SV:
Phil: Diane, no as a es a sola.//
Vas a consegui una hipo eca.///
Humo ous elemen s:
---
Humo ous elemen s:
---
Cogni i e backg ound:
Con ex ual case (CC):
1.
Phil is helping di o ced women ind a house, so he mee s hem a
open houses, ying o con ince hem o buy hem.
Commen s:
The humou load is based on a L elemen . In he OV, he humo ous load is
achie ed h ough he use o a homophonic ph ase, acco ding o he
classi ica ion p oposed by Nash (1985). The wo ds ha a e used in his pun
a e he adjec i e “alone” /ˈlʊn/ and he inde ini e a icle oge he wi h a
noun “a loan” / lʊn/, which a e p onounced jus he same bu whose
262
meaning is di e en .
In bo h he DV and he SV, howe e , his L elemen disappea s. In
hese cases, “sola” and “hipo ecada / hipo eca” a e he wo ds chosen,
which do no ha e any hing in common wi h each o he . The eason why
he L elemen is no ansmi ed in he wo Spanish e sions is ha he
ansla o chooses he s a egy o li e al ansla ion, so s/he ansla es he
ex wo d o wo d, wi hou bea ing in mind he humo ous componen ha
is included in he OV. The e o e, in Delabas i a’s e ms (1996:134), he
ou come o he ansla ed pun in hese cases is PUN > ZERO, since he
humo ous e ec is comple ely los .
Example 48
Season 5, The big game
00:39-00:46
Phil: Because he e is no “done” in “Dunphy”. I’ll see you guys a he
game.
Child en: Umph!
Phil: Hey, he e is no “umph” in “Dunphy”. Di e en spelling.
Humo ous elemen s:
L
DV:
Phil: Po que un Dunphy nunca se
acaba. Nos emos en el pa ido.
Hijos: ¡Ah!
Phil: Eh, no hay ningún “an ” en
Dunph. Se esc ibe dis in o.
SV:
Phil: Po que un Dunphy/ nunca
i a la oalla.// - Nos emos en el
pa ido./
Hijos: - ¡U !//
Phil: Oye, un Dunphy nunca dice
“u ”./ Ni siquie a es una
palab a.///
263
Humo ous elemen s:
L
Humo ous elemen s:
---
Cogni i e backg ound:
Con ex ual case (CC):
1. Phil is saying o his child en ha hey should no qui ac i i ies.
Commen s:
The humou load is based on some L elemen s. In he OV, he cha ac e
uses wo homophonous wo ds (Nash, 1985) in o de o c ea e humou in
his scene. The wo ds used sha e he same sound bu ha e di e en
meanings, and hey appea wi hin he same sen ence: “ he e is no “done”
/dʌn/ in “Dunphy” /ˈdʌn ɪ/”. In his case, humou is also achie ed h ough
he i ony ha appea s be ween wha he cha ac e says and eali y, which
a e comple ely di e en , al hough he p onuncia ion o “done” is indeed
included in his su name. The same case appea s when his child en use he
onoma opoeic wo d “umph” /ʌn / o exp ess inc eduli y, and he cha ac e
s a es ha “ he e is no “umph” in ‘Dunphy’”, when, again, his sound is
also included in his su name, so he pun is based on homophony. Finally,
he cha ac e ealises and jus i ies himsel by saying ha he spelling is no
he same.
The i s homophony ha appea s in he OV is neu alised and
disappea s in he DV. Fu he mo e, he exp ession used in Spanish is a bi
o ced: “un Dunphy nunca se acaba” (a Dunphy is ne e inished), since i
does no sound na u al in Spanish o say ha a pe son can be inished.
Rega ding he las homophony ha appea s in he OV, he solu ion in he
DV is also a bi o ced, since he cha ac e eplaces he onoma opoeia his
264
child en say, “ah”, by “an ” o i he p onuncia ion o his su name
“Dunphy”; al hough he onoma opoeia Phil uses in Spanish is no e en
ecognisable in his language. Due o his change in he onoma opoeia, he
solu ion gi en: “no hay ningún “an ” en Dunph” main ains he
homophony, as in he OV. This ansla ion s a egy o li e al ansla ion
allows he ans e ence, in some way, o he humo ous e ec o he Spanish
e sion. The e o e, he ou come o he ansla ed pun ha Delabas i a
(1996:134) desc ibes could be PUN ST = PUN TT, since he ansla o uses
he same pun and he same con ex as in he OV.
Howe e , in he SV, he humo ous con en is elimina ed. In his
case, he ansla o does no ind a sui able op ion o i in wi h he con ex
and main ain he humou o he OV. The ansla ion echnique o elisión
–elision– (Hu ado, 2001), which en ails he elimina ion o he elemen s
included in he ST, leads o he ou come o he ansla ed pun PUN >
ZERO, so he humo ous e ec is los in he sub i ling.
Example 49
Season 5, And one o g ow on
18:36-18:39
Phil: Bu you we e p eg- ically engaged o me by hen.
Humo ous elemen s:
L
DV:
Phil: Pe o es abas emba aza-
p ác icamen e comp ome ida
conmigo.
SV:
Phil: Pe o es abas emb-as an e
ce ca de casa e conmigo.
265
Humo ous elemen s:
---
Humo ous elemen s:
L
Cogni i e backg ound:
Con ex ual case (CC):
1. The whole amily is alking abou how long i
ook hem o all in
lo e wi h
hei pa ne s. When Phil asks Clai e, she says six
mon hs a e mee ing him, al hough she was al eady p egnan .
2. Phil ies o a oid saying his
, because hei child en do no know
ha hey go p egnan be o e hey go ma ied.
Commen s:
The humou load is based on a L elemen . In he OV, he humo ous e ec
is achie ed h ough a po man eau, in Nash’s e ms (1985), be ween he
wo ds “p egnan ” and “p ac ically”, esul ing in he in en ed wo d
“p eg ically”. The esul ing wo d mixes he p e ious wo, so, ins ead o
saying /ˈp æk ɪkli/, he cha ac e ends up saying /ˈp eg ɪkli/, which has a
e y simila p onuncia ion o he exis ing wo d; he e o e, hey can be
conside ed pa onymous wo ds (Delabas i a, 1996:128).
In he DV he pun disappea s, so, acco ding o he classi ica ion
p oposed by Delabas i a (1996:134), he ou come o he ansla ed pun in
his e sion is PUN > ZERO, since he humo ous e ec is los . In his case,
he e is only one syllable “-da” ha is no p onounced om he wo d
“emba azada” and i is subs i u ed by “p ác icamen e”, a wo d ha does
no sha e any ea u e wi h he p e ious one, and is no blended wi h any
o he wo d, ei he . He e, he ansla o has chosen he s a egy o li e al
ansla ion in o de o ansmi he in o ma ion. Howe e , his ansla ion
s a egy does no pe mi ans e ing he humo ous e ec o he Spanish
266
ex .
In he SV, howe e , he same pun as in he OV is used o main ain
he humou load. In his case, ano he po man eau appea s o keep he
humo ous e ec . The ansla o mixes “emba azada” (p egnan ) wi h
“bas an e” (qui e), esul ing in “embas an e”. I is a e y c ea i e and
app op ia e solu ion, since he humo ous elemen is ansmi ed om he
OV o his e sion, and he audience can app ecia e he cha ac e ’s sel -
co ec ion wi h he play on he wo wo ds ha a e easily iden i ied.
The e o e, he ou come o he ansla ed pun is PUN ST = PUN TT, since
he same pun and he same con ex a e sha ed in he ST and in he TT.
Example 50
Season 5, O he people’s child en
10:18-10:24
Phil: Why am I so in en on helping Andy? I lo e ilmmaking, and I
lo e lo e. I guess you could say I enjoy making lo e on ilm and now I
don’ ha e o do i by mysel .
Humo ous elemen s:
L
DV:
Phil: ¿Po qué es oy an empeñado
en ayuda a Andy? Me encan a hace
películas y me encan a el amo .
Pod ía deci se que me gus a hace el
amo en películas, así no engo que
hace lo yo solo.
SV:
Phil: ¿Po qué me uelco en
ayuda a Andy?// Me encan a
hace cine/ y me encan a el
amo .// Pod ía deci se que me
gus a/ hace el amo en las
pelis…// y ya no engo que
hace lo solo.///
267
Humo ous elemen s:
L
Humo ous elemen s:
L
Cogni i e backg ound:
Con ex ual case (CC):
1.
Andy wan s o send a oman ic ideo o his gi l iend and Phil is
helping him, since he likes shoo ing home ideos.
Commen s:
The humou load is based on a L elemen . The cha ac e wan s o say ha
he is oman ic and ha he can sha e some ideas wi h Andy o imp ess
women. The wo ds and exp essions he uses c ea e a humo ous scene
because o hei double meaning, al hough he does no ealise his.
In he OV, he humo ous e ec is achie ed h ough he use o a
homonymic ph ase, acco ding o he classi ica ion p oposed by Go lieb
(1997b:213). The cha ac e men ions wo hings he lo es, ilmmaking and
lo e. Howe e , when he combines he wo ideas in a single sen ence:
“making lo e on ilms”, his leads o an exp ession wi h a sexual double
meaning. Al hough he cha ac e means “making lo e ilms”, wha he ends
up saying is ha he lo es o be ilmed while he is ha ing sex, as unde s ood
by he audience. He inishes his un o una e speech saying ha he used o
do i on his own, bu now he has Andy o do i wi h, in o ma ion ha
suppo s ha idea e en mo e.
In he DV and he SV, he solu ion gi en by he ansla o is e y
simila in bo h cases and i copies he same pun as in he OV, using a
homonymic ph ase. In he DV, i says, “hace películas” ( o ilm) and “el
amo ” (lo e), and he inal exp ession is “hace el amo en películas” ( o
268
make lo e in ilms). In his case, he exp ession “hace películas” is a bi
o ced since “hace ” is no he bes e b o use wi h he noun “películas”.
A mo e app op ia e e b could be “ ilma ”, “g aba ”, “ oda ”, bu we
unde s and he ansla o ’s choice, since i is necessa y o use he e b
“hace ”, as i is he same e b ha is used a e wa ds in he inal exp ession:
“hace el amo en películas”. Al hough in his case he ansla ion s a egy
is li e al ansla ion (Fawce , 1997), he humo ous con en is ansmi ed
o his e sion. The e o e, acco ding o he classi ica ion p oposed by
Delabas i a (1996:134), he ou come o he ansla ed pun is PUN ST =
PUN TT, since he same pun and he same con ex a e used in bo h ex s in
o de o main ain he humo ous e ec .
In he SV, he s a egy chosen is simila o he one in he OV, he
use o a homonymic ph ase. The cha ac e says “hace cine” ( o ilm) and
“el amo ” and he inishes saying “hace el amo en las pelis”. Al hough we
acknowledge ha he exp ession “hace cine” is mo e sui able and co ec
han he exp ession used in he DV, “hace películas”, we unde s and he
inal exp ession is clea e in he DV han in he SV, as in his SV, he noun
om he i s exp ession “cine” changes o “pelis” in he inal one. Despi e
“cine” and “pelis” belonging o he same seman ic ield, he homonymic
ph ase could be clea e , and he humo ous pu pose would be mo e di ec i
he same wo ds we e main ained. In his case, he ou come o he ansla ed
pun is PUN ST = PUN TT, since he same elemen and con ex a e used in
bo h he OV and he SV ex s.
275
Humo ous elemen s:
---
Humo ous elemen s:
---
Cogni i e backg ound:
Con ex ual case (CC):
1. Came on makes Mi chell eel bad, blaming him o hem
losing
he ma ch. Finally, hey win and Came on phones Mi chell o say
so y.
Commen s:
The humou load in his scene is based on a L elemen . In he OV, he
humo ous e ec is based on a homonymic ph ase, in Nash’s e ms (1985),
whe e some wo ds ha e he same spelling and sound, bu di e en
meaning. In his case, he ph ase “I’m on he ence” can be unde s ood in
wo di e en ways. On he one hand, he meaning Came on unde s ands
–Mi chell canno decide whe he o s ay and wa ch he ma ch, o lea e he
oo ball ield– and, on he o he hand, he li e al meaning o he exp ession
–as he audience sees i , Mi chell is li e ally s uck “on he ence”–. I can
also be men ioned ha he exp ession used, “ he ence” /ð en s/,
consis ing o he de ini e a icle “ he” and he noun “ ence”, ecalls he
noun, “de ence” /diˈ en s/ –wi h he meaning o he s a egy ollowed in a
law case– and can be associa ed wi h Mi chell’s job, as he is a lawye .
This L elemen disappea s in he DV and he SV, since he e is no
pun in ol ed in ei he . In he DV, he e is no co ela ion be ween “es oy en
la alla” (I am on he ence) and he answe “no e culpo” (I don’ blame
you), o he op ion gi en in he SV “no sé qué hace ” (I don’ know wha
o do) and he same answe as in he DV, oge he wi h he image o
276
Mi chell on a ence. Apa om his linguis ic misunde s anding, he
audience sees ha Mi chell is s uck on a ence and ha he e is no image-
speech co ela ion. In hese cases, he s a egy o li e al ansla ion
(Fawce , 1997) causes he humo ous e ec o disappea in bo h Spanish
e sions, so he ou come o he ansla ed pun is PUN > ZERO, in
Delabas i a’s e ms (1996:134).
Example 55
Season 6, Won’ you be ou neighbo
13:11-13:15
Phil: Le ’s o ha op, Lisa. Le ’s- Le ’s op ha o , Lisa.
Humo ous elemen s:
L
DV:
Phil: Vamos a qui a e la opa, Lisa.
Uy, amos a llena e la copa, Lisa.
SV:
Phil: Vamos a qui a e la opa,
Lisa.// Digo, amos a llena e la
copa, Lisa.///
Humo ous elemen s:
L
Humo ous elemen s:
L
Cogni i e backg ound:
Con ex ual case (CC):
1. Phil and Clai e in i e he couple who a e
in e es ed in buying he
house nex doo o con ince hem o do i . Howe e , hey a e no
conscious o he way hey a e ea ing hem.
Commen s:
The humou load is based on a L elemen . In he OV, he humo ous e ec
is achie ed h ough he use o a mime ic ph ase, acco ding o he
277
classi ica ion p oposed by Nash (1985), when he cha ac e says, “Le ’s o
ha op” –wi h he meaning o aking o he op–, ins ead o he ph ase
ha he cha ac e means o say, “Le ’s op ha o ” – alking abou e illing
he glass o wine hey a e d inking–. The humo ous con en o hese wo
ph ases depends on hei simila i y, since he same wo ds a e used in bo h
o hem, al hough in a di e en o de . This in e sion in he o de o he
wo ds leads o a comple ely di e en meaning.
In he DV and he SV, he solu ion he ansla o p oposes is exac ly
he same in bo h e sions. The humo ous e ec is also based on a mime ic
ph ase, “ amos a qui a e la opa”, ins ead o “ amos a llena e la copa”.
The di e ence wi h he OV is ha he mime ic ph ase is no based on he
o de o he wo ds in he sen ences –which a e he same–, bu on he simila
p onuncia ion o he wo ds ha a e included in each one. The i s
pa onymy, in Delabas i a’s e ms (1996:128), is ound wi h he pai o e bs
“qui a e” and “llena e”, which sha e he same endings (-a e). The second
pa onymy a ises om he nouns “ opa” and “copa”, since he only
di e ence be ween hese wo wo ds is hei i s le e . A e analysing he
puns used in he OV, and in he DV and he SV, he ansla ion s a egy ha
he ansla o chooses is o adap (Fawce , 1997) he ST o he Spanish
language, and o he con ex and images he audience is seeing. Howe e ,
he ansla o succeeds in ansmi ing he humo ous e ec o he DV and
he SV, so he ou come o he ansla ed pun is PUN > PUN, acco ding o
Delabas i a’s classi ica ion (1996:134).
278
Example 56
Season 6, Quee eyes, ull hea s
02:05-02:11
Jay: S ayed in ac i e du y 84 yea s. No enemy managed o boa d he .
Glo ia: Ten seconds, she’s al eady bo ed me.
Humo ous elemen s:
L
DV:
Jay: Es u o en ac i o 84 años y
ningún enemigo log ó abo da lo.
Glo ia: Pues en 10 segundos ya me
ha abu ido a mí.
SV:
Jay: Es u o en ac i o 84 años.//
Ningún enemigo log ó
abo da lo.//
Glo ia: En 10 segundos,/ ha
log ado abu i me.///
Humo ous elemen s:
---
Humo ous elemen s:
---
Cogni i e backg ound:
Con ex ual case (CC):
1. Jay is alking abou a ship, he USS
Cons i u ion and how
imp essi e i was.
Commen s:
The humou load is based on a L elemen . In he OV, he humo ous e ec
is achie ed h ough he use o wo homophones, “boa d” /ˈbɔːd/ and
“bo ed” /ˈbɔː d/. The main cha ac e is ic o homophony, acco ding o he
classi ica ion p oposed by Nash (1985), is ha wo wo ds, which a e
w i en in a di e en way –di e en spelling–, ha e iden ical sounds, as in
his case.
Howe e , he L elemen disappea s in bo h he DV and he SV. The
279
ansla o chooses o use he s a egy o li e al ansla ion, ansla ing he
ex wo d o wo d, so he humo ous e ec is u e ly los in hese wo
Spanish e sions. Acco ding o he classi ica ion p oposed by Delabas i a
(1996:134), he ou come o he ansla ed pun is PUN > ZERO, since he e
is no pun in he pai o e bs used, “abo da ” and “abu i ”, as hey a e no
e en simila .
Example 57
Season 6, Th ee u keys
06:07-06:10
Clai e: Con-ga age-ula ions.
Humo ous elemen s:
L
DV:
Clai e: En-ga aje-buena.
SV:
Clai e: Enho abuena mo ena.
Humo ous elemen s:
L
Humo ous elemen s:
---
Cogni i e backg ound:
Con ex ual case (CC):
1.
Clai e and Alex a e jealous because Phil and Luke a e always
ha ing un while hey mus be esponsible o he
es o he
amily. Since Phil and Luke a e p epa ing Thanksgi ing dinne ,
hey decide o ha e some un oge he .
Commen s:
The humou load is based on a L elemen . In he OV, he pun ha c ea es
he humo ous e ec is a po man eau, acco ding o he classi ica ion
p oposed by Nash (1985), esul ing om he blending o wo dis inc
280
wo ds, “cong a ula ions” /knɡ æ ʃuˈleɪʃnz/ and “ga age” /ˈgæ ɑːʒ/, gi ing
ise o “conga ageula ions” /kngæ ɑːʒuleɪʃnz/. I is a e y inno a i e and
app op ia e solu ion o inse a wo d in he middle o ano he . Besides, he
esul ing wo d mixes bo h he name o he loca ion whe e he scene is
aking place and ano he ela ed o he con e sa ion he cha ac e s a e
ha ing. Fu he mo e, he esul ing wo d “conga ageula ions” has a simila
p onuncia ion o he o iginal one “cong a ula ions”, so hey could also be
conside ed pa onymous, in Delabas i a’s e ms (1996:128).
In he DV, he esou ce used is he same as in he OV. The ansla o
chooses o use he s a egy o li e al ansla ion and he same pun, a
po man eau, o ansmi he humo ous e ec as in he OV. The esul ing
wo d “en-ga aje-buena” is a blending om “enho abuena” and “ga aje”
– he same wo ds as in he ST–. Thus, acco ding o he classi ica ion
p oposed by Delabas i a (1996:134), he DV’s ou come o he ansla ed
pun is PUN ST = PUN TT, since he same elemen and con ex a e used in
bo h e sions. Howe e , we obse e a small di e ence in he OV solu ion,
whe e he esul ing and he o iginal wo ds do no sha e as many simila i ies
as he wo ds used in he OV and, consequen ly, hey canno be conside ed
pa onymous.
In he SV, his L elemen disappea s in “enho abuena mo ena”. The
only eason o his op ion is ha bo h wo ds ha e he same ending (-ena),
so hey hyme. In his case, he ou come o he ansla ed pun is PUN >
ZERO, as he humo ous e ec is los .
281
Example 58
Season 6, Haley’s 21
s
bi hday
04:27-04:30
Manny: Yes. The s o k b ings hem.
Lily: This do k?
Manny: Good s u .
Humo ous elemen s:
L
DV:
Manny: Sí, los ae la cigüeña.
Lily: ¿Es a cigüeña?
Manny: Muy bueno.
SV:
Manny: Sí. Los ae la cigüeña.//
Lily: - ¿Y es e se le cayó?/
Manny: - Muy bien.///
Humo ous elemen s:
---
Humo ous elemen s:
H
Cogni i e backg ound:
Con ex ual case (CC):
1. Lily asks Manny and Luke whe e child en come om.
Commen s:
The humou load in he OV is based on a L elemen . In he OV, he
humo ous e ec is achie ed h ough he use o wo homophonic ph ases,
acco ding o he classi ica ion p oposed by Nash (1985), whose meanings
a e di e en . The pai o ph ases used in his scene a e o med by he
s uc u e “de ini e a icle + noun” –“ he s o k” /ð ˈs ɔːk/– and he s uc u e
“demons a i e + noun” –“ his do k” /ðɪs ˈdɔːk/–; hey bo h ha e a e y
simila p onuncia ion, al hough hei meanings a e comple ely di e en .
Howe e , in he DV, he humo ous elemen is omi ed and he only
e e ence made is when he cha ac e compa es Luke wi h a s o k. In his
282
case, he ou come o he ansla ed pun, in Delabas i a’s e ms (1996:134),
is PUN > ZERO, as he humo ous e ec is los . This is due o he ac ha
he ansla o chooses o adap (Fawce , 1997) he ST o he TL and decides
o associa e he name o his ype o bi d wi h he adjec i e ool o idio .
In he SV, he L elemen disappea s and is eplaced wi h a H
elemen . In he se ies, Luke is po ayed as a dumb boy, so when hey alk
abou whe e child en come om, hey jus i y why Luke is no sma ,
because he s o k d opped him. In his case, he SV makes e e ence o he
same idea ha is p esen ed in he OV, i.e., he cha ac e is a do k. Howe e ,
ins ead o using a L exp ession o elemen o po ay he cha ac e , he
ques ion “¿Y es e se le cayó?” means he same as he adjec i e used in he
OV, “do k”. The ansla ion echnique is wha Hu ado (2001) calls
c eación discu si a (discu si e c ea ion), since he ansla o c ea es a new
sen ence in o de o main ain he essence o he ST and, he e o e, he
humo ous e ec . Acco ding o Delabas i a’s classi ica ion, his ou come o
he ansla ed pun is classi ied as PUN > RELATED RHETORICAL
DEVICE, since his me hod eplaces he ST pun wi h ano he he o ical
de ice. Hence, he exac pun is no ansmi ed, al hough he inal aim,
which is o keep he humo ous e ec om he ST, is achie ed.
Example 59
Season 6, Haley’s 21
s
bi hday
05:00-05:18
Mi chell: The e is a lo o p essu e when one is a gay uncle.
Came on: O “guncle.”
283
Mi chell: Gi ing a gi o a niece as hip and chic as Haley.
Came on: In he 10 yea s ha we’ e been oge he , we’ e only missed
he ma k one ime.
Mi chell: Yeah, when Clai e old us wha o buy. Bu we lea ned ou
lesson, igno e Clai e and us ou gay ins inc s.
Came on: O gins inc s.
Mi chell: Too much.
Humo ous elemen s:
L
DV:
Mi chell: Hay mucha p esión cuando
e es un ío gay.
Came on: O “ igay”.
Mi chell: Y das un egalo a una
sob ina an mode na y chic como
Haley.
Came on: En los 10 años que
lle amos jun os, solo hemos allado
una ez.
Mi chell: Sí, cuando Clai e nos dijo
qué comp a . Pe o hemos ap endido
la lección. Igno a a Clai e y ia nos
de nues o ins in o gay.
Came on: O “insgay”.
Mi chell: Te has pasado.
SV:
Mi chell: - Hay mucha p esión si
e es un ío gay--/
Came on: - O “ igay”.//
Mi chell: Y le haces un egalo/ a
una sob ina an mode na.//
Came on: Lle amos 10 años
jun os/ y solo allamos una ez.//
Mi chell: Cuando Clai e nos dijo
qué comp a ./ Lección ap endida-
-// pasa de Clai e/ y segui
nues o ins in o gay.//
Came on: - O “ins igay”./
Mi chell: - Demasiado.///
Humo ous elemen s:
L
Humo ous elemen s:
L
Cogni i e backg ound:
Con ex ual case (CC):
1. Mi chell and Came on in en some wo ds ha
include he noun
gay.
284
Commen s:
The humou load is based on he L elemen . In he OV, he humo ous e ec
is achie ed h ough he use o wo po man eaux, acco ding o he
classi ica ion p oposed by Nash (1985). The i s one is “guncle”, an
in en ed wo d ha blends he adjec i e “gay” wi h he noun “uncle”, as
explained p e iously by Mi chell. The second po man eau in his scene is
“gins inc s”, a blending om he wo ds “gay” and “ins inc s”, which is also
p e iously explained by Mi chell du ing he scene.
In he DV, he ansla o chooses he s a egy o li e al ansla ion in
o de o ansmi he humo ous e ec o his Spanish e sion. In his case,
he same puns, wo po man eaux, a e used o c ea e humou . The i s one
blends he noun “ ío” (uncle) wi h he adjec i e “gay” o o m he wo d
“ igay”. The second po man eau is a blending o he noun “ins in o”
(ins inc ) and he adjec i e “gay”, esul ing in “insgay”. In hese wo cases
he ou come o he ansla ed pun is PUN ST = PUN TT, in Delabas i a’s
e ms (1996:134), since he ansla o uses he same pun and he same
con ex in bo h he ST and he TT.
In he SV, he ansla o also chooses he s a egy o li e al
ansla ion o main ain he humo ous e ec o he OV, so ano he wo
po man eaux a e used o his aim. The i s one is a blending o he noun
“ ío” and he adjec i e “gay” esul ing in “ igay”, which is he same
solu ion as in he DV. The second po man eau blends he noun “ins in o”
wi h he adjec i e “gay”, ob aining he wo d “ins igay”. In his case, he
la e po man eau di e s om he one used in he DV only in he numbe
291
(1996:134), since he humo ous e ec is los in his e sion.
In he SV, al hough he humo ous con en also disappea s, he
esou ce used di e s om he DV. In his case, ins ead o using he “noun
+ adjec i e” s uc u e, he ansla o chooses o eplace he e e ence o he
cha ac e ’s mood wi h a nickname. Hence, he ansla ion o “g umpy
g andpa” is “el g uñón”, whe eas he ansla ion o “ unny g andpa” is “el
di e ido”. The ansla o chooses he s a egy o adap a ion (Fawce ,
1997) in o de o ansmi he ex o he SV, and his implies ha s/he does
no manage o ansmi he humo ous e ec o his Spanish ex . Thus, he
ou come o he ansla ed pun is PUN > ZERO.
Example 63
Season 6, Knock ‘em down
10:13-10:16
Mi chell: Oh. Wha comes be o e pa “B”? Pa ay!
Humo ous elemen s:
L
DV:
Mi chell: Oye, ¿qué iene después
del calen amien o? ¡Fies a!
SV:
Mi chell: ¿Es a noche hay una
qué?// ¡Fies a!///
Humo ous elemen s:
---
Humo ous elemen s:
---
Cogni i e backg ound:
Con ex ual case (CC):
1.
Mi chell, Glo ia and Haley a e d inking a Mi chell’s be o e going
ou o a club.
292
Commen s:
The humou load is based on a L elemen . In he OV, he humo ous e ec
is achie ed h ough he use o pa onymy, acco ding o he classi ica ion
p oposed by Delabas i a (1996:128). This pun a ises om he simila i y
be ween he noun “pa y” /ˈpɑː i/ and he s uc u e “pa a” /ˈpɑː eɪ/. This
pa onymy is p esen ed like a iddle since he cha ac e asks wha comes
be o e “pa b”, which is “pa a”. Fu he mo e, he noun “pa ay” can also
be de ined as a slang wo d used among young people o e e o a wild o
ou ageous pa y ha may in ol e alcohol, d ugs, e c. Howe e , aking in o
accoun ha he cha ac e s in ol ed in he scene do no belong o he
ca ego y o young people, we assume ha he cha ac e uses he echnique
o a iddle as a pun.
In he DV, he L elemen disappea s and he humo ous e ec is los .
In his case, he ansla o chooses he echnique o c eación discu si a
–discu si e c ea ion– (Hu ado, 2001). Howe e , his ansla ion does no
include any ace o humou , since he concep o “calen amien o” (wa m-
up), and asking abou wha comes a e i , leads he audience o hink o
some kind o physical exe cise o spo , bu no o going ou and celeb a ing
a “ ies a” (pa y). The e o e, he ou come o he ansla ed pun is PUN >
ZERO, in Delabas i a’s e ms (1996:134).
In he SV, he ansla o also chooses o use he echnique o
c eación discu si a –discu si e c ea ion– (Hu ado, 2001), since he
sub i led ex is comple ely di e en om he ST, and ansmi s new
in o ma ion ha does no appea in he OV. In his case, he cha ac e only
293
asks a he o ical ques ion, whose answe is “ ies a” (pa y), as e ealed by
he isual in o ma ion on sc een. The e o e, he ou come o he ansla ed
pun in his e sion is PUN > ZERO (Delabas i a 1996:134), since he
humo ous e ec is los , as in he DV.
5.2.1 Conclusions o “Language” examples
In he p e ious 42 examples, hose cases in which humou is mainly
achie ed h ough he use o he language a e analysed, so hey include
“ e bal humou ”, as Chia o (1992) de ines i . These examples p o e ha
humou is he mos impo an elemen a ound all he decisions aken, in
o de o main ain and ansmi i om he OV o he DV and he SV.
Humou plays an impo an ole in he OV and, he e o e, i should be he
same in he DV and he SV o ul il he main equi emen s o his ype o
ex s. I all he examples a e conside ed as a whole, we e i y ha he
Spanish ex s mee he same equi emen s as he ST. The ansla o ’s ole
was o ansmi as much humou load as possible o he TTs. P oo o his
a i ma ion is ha o he 42 examples analysed, in 29 –which ep esen
69.05%–, humou is ans e ed o one o he TTs o o bo h o hem (DV
and SV). Howe e , he ansla o was no able o ans e humou om he
OV in only 12 o he cases. This means ha in hose examples, humou
disappea s and he humo ous con en is los in bo h he DV and he SV.
These 12 examples ep esen 28.57%, a ac ha e idences ha he
ansla ion p ocess ul ils he cha ac e is ics ha de ine his ype o ex s.
294
Apa om he p e ious da a, he e is one case –which ep esen s 2.38%–
in which humou is c ea ed in he SV, al hough i does no appea in he DV
o he OV, in an a emp o compensa e o he losses du ing he ansla ing
p ocess.
Rega ding he examples ha ans e humou o he TTs, hey can
be classi ied in o di e en g oups depending on he cases ha ansmi
humou o bo h he DV and he SV, o only o ei he he DV o he SV. In
he examples analysed, o he 29 cases in which humou is main ained in
bo h o ei he o he TTs, 16 keep he humou load in he DV and he SV
–which ep esen s 38.10%–. In eigh o he abo emen ioned 29 examples,
he humou load is only ansmi ed o he DV and is los in he SV – his
ac ep esen s 19.05%–; and in i e cases, he humou load is ansmi ed
o he SV and is los in he DV –which ep esen s 11.91%–.
F om all hese da a, i can be concluded ha he main aim o his
kind o ex s, which is o amuse and en e ain he audience h ough he use
o humou , is main ained. Howe e , he ollowing s ep should be o s udy
whe he he elemen s and puns used in he OV a e he same in he DV and
he SV o no , and, in his la e case, wha o he s a egies a e applied. On
he o he hand, in ela ion o he humou losses, he elemen s, puns and
s a egies, which we e impossible o ansmi , a e de ec ed, and he easons
o his, explained.
The s udy s a s wi h hose examples ha main ain humou in bo h
he DV and he SV. As s a ed be o e, he e a e 16 examples ha belong o
his ca ego y, al hough he elemen s and puns a e no he same as he ones
295
used in he OV in all o hem. The e a e some examples (24, 26, 27, 28, 30,
32, 33, 39, 41, 50, 55, 59 and 60) ha keep exac ly he same elemen s and
puns as in he OV. Wi h he excep ion o examples 30 and 33, in he es o
he cases, he elemen hey all ha e in common is he L elemen . Howe e ,
in hese speci ic examples, 30 and 33, he elemen s in ol ed in he c ea ion
o humou a e L and V, since wha is said is based on wha he audience
sees and, due o hese wo elemen s, he humo ous scene is comple ed.
In examples 22, 23 and 38, howe e , he e a e some changes in he
elemen s used, i we compa e hem o hose in he OV. These changes a e
di e en depending on he example, and do no in ol e modi ica ions in all
e sions. In examples 22 and 23, he L elemen is los in he DV and SV
(Example 22) and only in he DV (Example 23). Howe e , in Example 38,
he CI is los in he DV, since he ansla o could no ind o he e e en s
ha could be unde s ood and ecognised by he audience, as in he SV.
Rega ding hose eigh examples in which humou is only
main ained in he DV, and los in he SV (Examples 29, 42, 43, 44, 45, 48,
51 and 57), a classi ica ion is made, di iding he examples up in o hose
ha do no modi y he puns wi h espec o he OV, and hose ha change
he puns in he DV, since he elemen used in all hese eigh examples is L.
In hese examples, howe e , he ansla o could no ind an app op ia e
solu ion o main ain humou in he SV. Examples 42, 45 and 57 use he
same puns as in he OV, in hei espec i e DV ex s. Howe e , in Examples
29, 43, 44, 48 and 51, he s a egy used o main ain he humou load in he
DV is di e en o he OV, and he e o e, he puns used a e di e en in each
296
e sion.
The e a e ano he i e examples in which he humou load is
ansmi ed, bu only o he SV, wi h i s subsequen loss in he DV
(Examples 35, 36, 40, 49 and 58). F om hese cases, he elemen and
s a egy used in he SV only di e om he OV in Example 58. In his
example, he L elemen o he OV, wi h he use o wo homophonic ph ases,
is eplaced in he SV by a H elemen wi h he use o he discu si e c ea ion
echnique.
Al hough he TTs main ain mos o he humo ous con en om he
OV, as explained be o e –29 examples (69.05%)–, he e a e some cases
whe e i was no possible o ansmi any o he humo ous elemen s and
puns o ei he o he a ge e sions –12 examples (28.57%)–. These
examples a e numbe s 25, 31, 34, 46, 47, 52, 53, 54, 56, 61, 62 and 63. In
all hese examples, he elemen used is L, wi h he excep ion o Examples
54 and 61 whe e he V and CI elemen s also appea s, espec i ely, in
addi ion o he L elemen . This is done h ough a cul u al e e en which is
e y common in he Uni ed S a es, bu no so much in Spain.
Rega ding he puns ha ha e been los in he abo emen ioned
examples, we ind lexical homonymy –los in h ee examples (25, 52 and
61)–, pa onymy –los in ano he h ee examples (46, 53 and 63)–,
homophony –los in h ee examples (47, 54 and 56)–, po man eau –los in
wo examples (34 and 62)–, and mime –los in one example (31)–. All his
demons a es he di icul ies ha he ansla o has o ace du ing he
ansla ing p ocess and, speci ically, when s/he ansla es e bal humou .
297
This ype o humou en ails some speci ic complica ions ha may cause,
as occu s in hose cases, a loss o he humo ous con en .
In o de o compensa e o ha loss, he ansla o inds o he
esou ces ha may educe he pe cen age o hose cases. This is called
compensación (compensa ion) and is de ined by Hu ado (2001:634) as he
s a egy which “consis e en in oduci en o o luga del ex o un elemen o
de in o mación o un e ec o es ilís ico que no ha podido e leja se en el
mismo si io en que es á si uado en el ex o o iginal”. This is he case o
Example 37, in which humou is only c ea ed in he SV. In his example,
he elemen s used a e L and CI.
298
6. FINAL CONCLUSIONS
The las chap e o his doc o al hesis akes a look back a he analysis o
he co pus in o de o commen on he esul s ob ained h oughou he s udy.
The main objec i e was o de ec he humo ous elemen s included in he
h ee e sions analysed, compa e hem, and discuss he di e en changes,
i any, made by he ansla o in he Spanish DV and SV. Thanks o he good
accep ance o his Ame ican si com in Spain, i was assumed ha he main
ea u es o he gen e, which de ine hese kinds o ex s, would be
ansmi ed o he ansla ed e sions, since i was also classi ied as a si com
in he a ge coun y. The e o e, i ul ils he key p inciples o any si ua ion
comedy, ha is, o en e ain he audience h ough he use o humou .
On his basis, he aim o he s udy was o ecognise, selec and
commen on any changes o modi ica ions made o he humo ous s a egies
used in he OV when acing he ask o ansla ing he ex in o he Spanish
e sions. Apa om he adap a ions, which a e necessa y o comply wi h
he equi emen s o he a ge cul u e, he ansla o also had o bea in mind
he speci ic es ic ions associa ed wi h he dubbing and sub i ling
p ocesses, which gi e shape o he inal ex . Despi e he possible
di icul ies he ansla o may ha e ound, he inal ex s p ese e a high
pe cen age o he humou load om he sou ce e sion (69.84%
– ep esen ing 44 ou o he 63 examples analysed–). This igu e indica es
he excellen job ca ied ou by he ansla o o ob ain a inal ex ha
main ains a simila dialogue, wi h a simila humou load, and ha could be
299
accep ed by he a ge audience as an OV. The ansla o , in his case, no
only has o know he SL and he TL, bu mus also ha e a good knowledge
o he sou ce and a ge cul u es; in o he wo ds, he ansla o shows bo h
bilingual and bicul u al knowledge.
O he da a ex ac ed a e he analysis e e o he pe cen age o
humou load los du ing he ansla ing p ocess –26.98%, ep esen ing 17
ou o he o al o 63 examples–. Mo eo e , he e is one case o
compensa ion in which he ansla o c ea es humo ous con en in he SV
ha does no exis in he OV –1.59%–. This s a egy is an a emp o educe
he o al loss o humou .
Valida ion o hypo hesis and analysis o esul s
By means o he da a compiled du ing he esea ch and he subsequen
analysis o he examples selec ed om he co pus, some o he concep s
ha de ine audio isual ansla ion can be indica ed.
Audio isual ansla ion has o be conside ed and s udied
independen ly o o he ypes o ansla ion s udies. I mus be bo ne in mind
ha audio isual ex s comp ise bo h isual and audi o y componen s, so
he audience ecei es he in o ma ion h ough wo di e en channels a he
same ime. This ea u e makes he ansla ion p ocess an e en mo e a duous
ask, since du ing his p ocess, synch ony is a key ac o ha de e mines
he decisions aken.
As he ocus o he s udy was o analyse he s a egies and solu ions
300
o e ed by he ansla o , he di e en elemen s in ol ed in each example
had o be ca ego ised. In o de o do so, he classi ica ion p oposed by
Ma ínez Sie a (2004, 2008) has been used. Thus, i is possible o con as
he modi ica ions made in bo h he DV and he SV, compa ing hem wi h
he ST.
This compa a i e p ocess has helped o disco e he mos common
p oblems he ansla o had o ace, no jus in e ms o linguis ic ba ie s
ha could appea , bu also in e ms o o he cul u al obs acles ha migh
exis be ween he pai o cul u es conside ed in his s udy. As men ioned
ea lie , he cul u al ba ie ha exis s wi h he Ame ican cul u e could be
blu ed due o he globalisa ion p ocess ha has sp ead o e he las
decades, wi h he impo o a la ge quan i y o audio isual p oduc s ha
has a ou ed c oss-cul u al in e change.
The co pus selec ed o de elop he s udy, Mode n Family, is
iden i ied by he a ie y o cha ac e s who a e pa o he cas and who o m
an eclec ic g oup. This is he eason ha led o he ex ac ion o humo ous
examples ela ed o he di e en s e eo ypes ha appea in he seasons
selec ed o he analysis, as each cha ac e o he co pus de elops his/he
own pe sonali y, as in eal li e, wi h hei own belie s, d eams, u u e
expec a ions, ea s, good and bad momen s, e c. The s udy is, he e o e,
based on hose good and hila ious momen s, apping in o he di e si y in
age, sex, ace and cul u e, o examine he di e en opinions ha hese social
g oups ha e o o he s and o hemsel es, using s e eo ypes ha ha e
al eady been ecognised and accep ed by socie y in gene al. I mus also be
307
ha has sp ead o e he las decades, p e en ing he need o change o adap
e e y impo ed e e en .
The e a e eigh cases in which he Visual (V) elemen sha es he
humou load wi h o he s, mainly he L elemen (Examples 13, 15, 18, 22,
30, 33, 36 and 54). I does no en ail any di icul y o he ansla o , as
images a e immu able, and i is he ex ha has o be adap ed o i in wi h
wha he audience is seeing. Mo eo e , eali y shows ha p ac ically all he
non- e bal communica ions a e unde s ood in he same way by bo h
audiences p o ided hey sha e a simila cul u al backg ound. Apa om
hese da a, in ou o he eigh examples, he V elemen is main ained in
bo h he DV and he SV (Examples 15, 22, 30 and 33), in h ee examples i
is los in he DV and he SV (Examples 13, 18 and 54), and in one example,
i is los only in he DV (Example 36).
The Sound (S) elemen only appea s in one example (Example 36)
and suppo s o he s such as he L and V elemen s. As p e iously s a ed, he
s udy ocuses on e bal humou , so his elemen does no o e much
in o ma ion o ou esea ch.
As wi h he p e ious elemen , he Communi y Sense o Humou
(CSH) elemen only appea s in one example (Example 23). Al hough i is
associa ed wi h a speci ic social g oup, i is ansmi ed o bo h he DV and
he SV. This e e en is also ecognised and accep ed in he a ge cul u e,
so i can be pe ec ly unde s ood.
Apa om he abo e elemen s sugges ed by Ma ínez Sie a (2004,
2008), i was necessa y o c ea e and inco po a e ano he one, Ho chpo ch
308
(H), in o de o classi y hose examples ha do no i in wi h he o he
ca ego ies, and ha need o be included in a mo e gene al, o no so speci ic,
classi ica ion. The e is only one example ha sa is ies hese equi emen s
(Example 58), and ha is because he ansla o could no ansmi he
homophonic ph ases, op ing o use he “discu si e c ea ion” s a egy in he
SV in o de o main ain he humou load.
Al hough he pe cen age o elemen s ansmi ed om he ST o he
TTs is high, he e a e also some humou losses (26.98%, accoun ing o 17
ou o he 63 examples analysed), which ake place du ing he ansla ion
p ocess. Conside ing hese da a, hese 17 examples indica e ha he
humo ous con en is no ansmi ed in any way o ei he he DV o he SV.
This p o es ha ansla ing humou is possible in all he e sions analysed,
and ha he co pus does no lose much o i s humo ous con en . Despi e he
excellen job ca ied ou by he ansla o , we unde s and ha he e a e
some cases in which he ansmission o humou is no possible due o he
speci ic es ic ions ela ed o he dubbing and sub i ling p ocesses.
Howe e , in an a emp o o se hese losses in some way, he
ansla o c ea es new humo ous con en in he sub i led e sion when i did
no exis in he ST. This humo ous addi ion can be ound in only one
example (Example 37) and, speci ically, in he sub i led e sion. In his
case, i is a combina ion o he CI and he L elemen s ha c ea es he
humo ous scene, which was no o iginally concei ed in he ST. This p o es
ha he ansla ion p ocess does no end wi h he ansla ion o he ST, bu
ha i also implies an impo an c ea i e p ocess, which leads o decision-
309
making ha will en ail he accep ance o no o he inal ex .
Rega ding he puns used o c ea e humou , i is in e es ing o ema k
ha in he majo i y o he cases he same puns ound in he OV a e adop ed
in bo h he DV and he SV, a ac ha pe mi s ans e ing and main aining
he humou load in he a ge e sions. Howe e , he e a e o he cases in
which he humo ous con en is los . I is he e o e impo an o analyse
hem in o de o ind he common denomina o ha explains when he
ansla o was unable o ind a solu ion o hose cases. Besides, he e a e
some puns ha a e mo e liable o be emo ed, as well as some s e eo ypes
ha expe ience a highe loss o humo ous con en .
The esou ces in puns which a e mos signi ican in he loss o
humou a e he ollowing:
The esou ce ha is mo e likely o be elimina ed is homonymy
–5 cases ou o 17 (29.41%)–. This occu s in Examples 13, 18,
25, 52 and 61.
Homophony is ano he esou ce ha is elimina ed in he DV and
he SV –4 cases ou o 17 (23.53%)–. We ind i in Examples 14,
47, 54 and 56.
The hi d esou ce wi h a highe numbe o losses is pa onymy
–3 cases ou o 17 (17.65%)–. We de ec his in Examples 46, 53
and 63.
The ollowing esou ce in his lis is po man eau –2 cases ou o
17 analysed (11.76%)–. This occu s in Examples 34 and 62.
310
The ollowing h ee ypes o esou ces a e ound in h ee
examples ha include one pun each. These a e: malap opism
(Example 4), blend (Example 7), and mime (Example 31), which
ep esen 5.88%, espec i ely.
These examples show he di icul ies he ansla o aces when ansla ing
a ex , and how a duous his ask can be. As s a ed abo e, e bal humou
also con ibu es o his ac , homonymy being he mos equen esou ce
p esen in puns, and ha ep esen s mo e di icul ies o he ansla o in
his mode o audio isual ansla ion.
When a en ion is ocused on he s e eo ypes ha a e mo e likely o
lose hei humo ous con en , he mos ecu en s e eo ypes a e na ional and
homosexual –wi h wo examples each–, al hough one o he examples
included in he gende s e eo ype also loses i s humou load.
The abo e in o ma ion indica es he endency ha has been s essed
h oughou his esea ch – he di icul y o ansla ing ins ances o e bal
humou – and how impo an he igu e o ansla o s and hei job is in he
expansion o knowledge in o he languages and o o he coun ies.
Final ema ks
This s udy, in gene al, and he analysis o he co pus, in pa icula , has
p o ided an insigh in o he ansla ing endency o his kind o gen e. The
esul s ob ained indica e ha he endency in his co pus, whose key
311
p inciple is humou , is o ansmi he highes possible pe cen age o
humo ous con en o he TL. In gene al e ms, one o he undamen al
p inciples is o a oid losing humou load du ing he ansla ion p ocess
om he ST o he TTs. This is he eason ha can explain he low
pe cen age o humo ous losses de ec ed in ou esea ch, only 26.98% (17
ou o 63 examples), as s a ed abo e.
Al hough a la ge majo i y o Spanish people choose dubbing as hei
p e e ed mode o iewing audio isual ex s, i is in e es ing o obse e he
in en ion o ansmi he humou load o he sub i led e sion as well. This
is e idenced by igu es ob ained a e he analysis, which s a e ha he SV
loses he humou load in nine examples, whe eas he DV loses he humou
load in i e examples. Despi e he L elemen being he mos ecu en , as i
is dis inguished by i s close ela ionship wi h cul u e, en ailing, he e o e,
g ea e di icul ies o he ansla o , he a ge e sions ansmi his
elemen in mos o he cases. This ac can be explained because, nowadays,
he Ame ican cul u e is qui e amilia o he Spanish audience, so he la e
can, in he majo i y o he cases, pe ec ly unde s and he e e en ha has
been men ioned in he ST, acili a ing he ansla ion p ocess. Ano he
eason ound ha migh explain he high pe cen age o humou load
ans e ed o he TTs is ha he s udy is based on s e eo ypes ha c ea e
humo ous scenes. Due o he uni e sali y o hese concep s, i is easie o
unde s and he e e en ha is men ioned in he ST, and he humou hey
c ea e.
As con i med h oughou he s udy, he co pus analysed is ex emely
312
popula in bo h he sou ce and a ge coun ies. The audience sha e in bo h
coun ies con i ms ha he se ies eaches he audience, and his could be
due o he ac ha he co pus deals wi h common and ecognisable amily
p oblems. The idea o wa ching a se ies wi h which he audience can
iden i y could be a eason o i s success. Ano he eason could be ha he
concep o a si ua ion comedy is appealing and en e aining, and enables
he audience o elax by wa ching a se ies ha de aches hem om hei
own eali y, as an e asion om hei own ou ines, and enjoy o he people's
p oblems.
This esea ch could be conside ed a s a ing poin o con inue
s udying audio isual ansla ion o , mo e speci ically, si ua ion comedies.
I could be in e es ing o p o e i he si com has been as popula in o he
coun ies, and i he high pe cen age o humou load, which was ans e ed
o he Spanish e sions, has also been ans e ed o o he languages. Apa
om he humou load, i could be in e es ing o know wha elemen s and
s a egies a e used o ans e humou , and i hey a e di e en o he ones
analysed in his s udy.
This esea ch ocuses on he analysis o he numbe o humo ous
elemen s ha appea in he ST, and he s a egies ha ha e been used in
o de o ansmi his con en o he TT. I could also be in e es ing o know
he way he audience ecei es he humo ous con en ; howe e , his
in o ma ion could only be d awn om a ecep ion s udy, which could
comple e he p esen esea ch and con i m he success o he co pus and i s
ansla ion.
313
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Pin e .
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In e cul u al Communica ion ( ol. 2, pp. 127-139). Manches e : S .
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ílmica den o del ma co eó ico de los Es udios sob e T aducción
(Mis e ioso asesina o en Manha an, Woody Allen, 1993). PhD hesis.
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València.
--- (2003). Teo ía y p ác ica de la sub i ulación. Inglés-Español.
Ba celona: A iel.
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--- (1993). De eloping T ansla ion S udies o Be e Accoun o
Audio isual Tex s and O he New Fo ms o Tex P oduc ion. PhD hesis.
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--- (1994a). Fac o s in dubbing ele ision comedy. Pe spec i es. S udies in
T ansla ology, 1, 89-100.
--- (1996a). T ansla ing Jokes o Dubbed Tele ision Si ua ion Comedies.
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325
APPENDIX
The ollowing link di ec s o a Google D i e page whe e o ind he
examples analysed in chap e 5:
h ps://d i e.google.com/open?id=1UdxH_TXiJY D nK5dL0GKqogYSZ
IJ1 V.
This chap e also includes o he examples ha , al hough hey
con ain some humou load, do no o e so much in o ma ion o hey a e
no as ele an o ou s udy as he examples included in Chap e 5.
Howe e , we hink hey a e also impo an o unde s and and jus i y he
g ea success his se ies, Mode n Family, has had bo h in he sou ce and in
he a ge coun ies.
Example 64
Season 1, Pilo
00:52-01:04
Clai e: I jus don' wan my kids o make he same bad mis akes I made.
I Haley ne e wakes up on a beach in Flo ida hal -naked, I' e done my
job.
Phil: Ou job.
Clai e: Righ . I' e done ou job.
Humo ous elemen s:
L
DV:
Clai e: Y no quie o que mis hijos
come an los mismos e o es que yo.
Po que... con que Haley nunca se
despie e en una playa de Flo ida
medio desnuda, hab é cumplido.
Phil: Hab emos cumplido.
Clai e: Eso.
Hab é cumplido.
SV:
Clai e: No quie o que mis hijos
come an/ los mismos e o es que
yo.// Con que Haley nunca se
despie e en/ la playa medio
desnuda, hab é cumplido.///
Phil: Hab emos cumplido./
Clai e: Eso.
Hab é cumplido.///
Humo ous elemen s:
---
Humo ous elemen s:
---
326
Example 65
Season 1, Pilo
01:30-01:40
Glo ia: I come om a small illage, e y poo , bu e y, e y beau i ul. I
is he numbe one illage in all Colombia o all he... Wha 's he wo d?
Jay: Mu de s.
Glo ia: Yes, he mu de s.
Humo ous elemen s:
H /
CI
DV:
Glo ia: Yo engo de un pueblo
pequeñi o, muy pob e, pe o muy
muy boni o. Es el pueblo núme o
uno en odo Colombia en... ¿Cómo
se dice?
Jay: Homicidios.
Glo ia: Eso, homicidios.
SV:
Glo ia: Yo engo de un pueblo
pequeño,/ muy pob e pe o muy,
muy boni o.// Es el pueblo núme o
uno de Colombia en...// - ¿Cómo se
dice?/
Jay: - Homicidios.//
Glo ia: Eso, homicidios.///
Humo ous elemen s:
H / CI
Humo ous elemen s:
H / CI
Example 66
Season 1, Pilo
02:17-02:27
Man: And his mus be you dad.
Jay: He dad?
Man: Yeah.
Jay: No, no, ha 's unny. Ac ually, no, I'm he husband. Don' be ooled
by he...
[T ying o ge up]
Gi e me a second he e.
Humo ous elemen s:
CI / V
/ H
DV:
Homb e: Y us ed debe de se el
abuelo.
Jay: ¿El abuelo?
Homb e: Sí.
Jay: No, no, iene g acia, pe o solo
soy su ma ido. No e dejes engaña
po la... Espe a un segundo.
SV:
Homb e: Y él debe de se u
pad e.//
Jay: ¿Su pad e? /
Homb e: Sí. //
Jay: No, no, iene g acia, pe o soy
su ma ido. / Que no e engañe...//
Espe a un segundo.///
Humo ous elemen s:
CI / V
/ H
Humo ous elemen s:
CI / V
/ H
327
Example 67
Season 1, Pilo
08:08-08:28
Came on: Yes, I' e gained a ew ex a pounds while we we e expec ing
he baby, which has been e y di icul . Bu , appa en ly, you body does a
nes ing, e y ma e nal, p imal hing whe e i e ains nu ien s, some so
o molecula physiology hing. Bu ha 's science. You can' , you can'
igh i . So...
Humo ous elemen s:
H
/ V
DV:
Came on: Sí, he cogido unos kili os
de más mien as espe ábamos al
bebé, lo cual ha sido muy di ícil.
Pe o al pa ece , el cue po hace una
p epa ación ma e nal y p ima ia pa a
e ene nu ien es, es como algo de
isiología molecula , pe o eso es
ciencia y no... no puedes e i a lo.
Así que...
SV:
Came on: Sí, he cogido unos
kili os/ mien as espe ábamos al
bebé,// lo cual ha sido muy di ícil.//
Pe o, al pa ece , el cue po hace/
una p epa ación ma e nal y
p ima ia// pa a e ene nu ien es/
es como algo de isiología
molecula .//
Pe o eso es ciencia. No
puedes e i a lo.// Así que...///
Humo ous elemen s:
H
/ V
Humo ous elemen s:
H
/ V
Example 68
Season 1, Pilo
13:35-13:54
Policeman: Excuse me, si . We ask ha all mall-walke s s ay o he igh .
Jay: Wha ?
Humo ous elemen s:
CI / V
DV:
Policía: Disculpe, los que hacen
eje cicio en el cen o
come cial deben
ci cula po la de echa.
Jay: ¿Qué?
SV:
Policía: Disculpe. Los que hacen
eje cicio/ aquí deben i po la
de echa.//
Jay: ¿Qué?///
Humo ous elemen s:
V
Humo ous elemen s:
V
328
Example 69
Season 1, Pilo
18:16-18:22
Mi chell: We didn' jus go o Vie nam o pleasu e. We kind o ha e
some big news.
Jay: Oh, God. I Cam comes ou he e wi h boobs, I'm lea ing.
Humo ous elemen s:
CI
DV:
Mi chell: No hemos ido a Vie nam
solo po place . Tenemos una g an
no icia.
Jay: Ah, Dios. Como Cam apa ezca
po aquí con e as, yo me oy.
SV:
Mi chell: No hemos ido a Vie nam
solo po place ./ Tenemos una g an
no icia.//
Jay: Adiós. Como Cam apa ezca
po aquí/ con e as, yo me oy.///
Humo ous elemen s:
CI
Humo ous elemen s:
CI
Example 70
Season 1, Pilo
19:55-19:57
Phil:
“Lily”. Isn' ha gonna be ha d o he o say?
Humo ous elemen s:
H
DV:
Phil: Lily. ¿No le a a se di ícil
deci eso?
SV:
Phil: “Lily”. ¿No le a a se di ícil
deci eso?///
Humo ous elemen s:
H
Humo ous elemen s:
H
Example 71
Season 1, Pilo
20:18-20:26
Jay: Anyway, I'm happy o you and you should know ha I'm no he e o
spi in you ace, I'm he e o blow a you
back.
Humo ous elemen s:
C
I
/ L
DV:
Jay: En in, me aleg o po oso os y
debe íais sabe que no es oy aquí
pa a escupi os po delan e sino pa a
SV:
Jay: En in, me aleg o po
oso os// y debe íais sabe que no
es oy aquí/ pa a escupi os po
329
sopla os po de ás. delan e,// sino pa a sopla os po
de ás.///
Humo ous elemen s:
C
I
/ L
Humo ous elemen s:
C
I
/ L
Example 72
Season 1, Run o you wi e
01:27-01:29
Jay: Really? Am I d i ing him o school, o is he gonna ide his bu o?
Humo ous elemen s:
CI / V
DV:
Jay: Sí, ¿ oy a lle a le yo en coche o
a i en bu o?
SV:
Jay: ¿De e dad? ¿Lo lle o al cole
en coche/ o ya a él en bu o?///
Humo ous elemen s:
CI / V
Humo ous elemen s:
CI / V
Example 73
Season 1, Run o you wi e
07:29-07:44
Phil: I lis en wi h my mind, and i you pay a en ion, women will ell you
wha hey wan , by elling you he opposi e o wha hey wan . Like he
o he day, Clai e was like, “You ha e o mo e you ca . The e's no space
in he ga age o bo h o ou ca s.” And wha she's eally saying is ha I
should p obably ge a spo s ca .
Humo ous elemen s:
CSH / H
DV:
Phil: Yo escucho con la men e y si
p es as a ención, las muje es e dicen
lo que quie en diciéndo e lo opues o
a lo que quie en. El o o día, Clai e
decía “Tienes que mo e el coche.
No hay si io en el ga aje pa a los dos
coches”. Y lo que de e dad es aba
diciendo es que debe ía comp a me
un depo i o.
SV:
Phil: Escucho con cabeza// y si
p es as a ención,/ la muje e dice
lo que quie e// diciéndo e jus o lo
con a io.// El o o día mismo,
Clai e me dijo:/ “Qui a u coche,//
“que los dos no caben en el
ga aje”.// Y con eso lo que dice es
que end ía/ que comp a me un
depo i o.///
Humo ous elemen s:
CSH / H
Humo ous elemen s:
CSH / H
330
Example 74
Season 1, Run o you wi e
09:33-09:47
Mi chell: My dad has his pe cep ion ha I was e y lamboyan as a kid,
which is jus ... I 's nonsense, because I kep he whole gay hing e y
unde w aps. You know, I was jus a guy's guy. I was basically a jock. You
know?
Humo ous elemen s:
V
DV:
Mi chell: Mi pad e iene la
pe cepción de que yo e a muy
ex a agan e de pequeño, lo cual es
una on e ía po que yo e a bas an e
ese ado con odo lo del ema gay.
E a un ío ío. E a p ác icamen e un
cachas. ¿Sabes?
SV:
Mi chell: Mi pad e opina/ que yo
e a muy ex a agan e de niño,// lo
cual es... Una on e ía,// pues
disimulaba muy bien lo de se
gay.// E a un ío como Dios manda,
un macho e.// ¿Sabéis?///
Humo ous elemen s:
V
Humo ous elemen s:
V
Example 75
Season 1, Run o you wi e
11:15-11:37
Mi chell: We used o do his hing in school whe e hey would gi e you
an egg, and you couldn' b eak i , and i was supposed o each you how
ha d i was o be a pa en , bu he eal hing, i 's so much ha de .
Came on: We did ha in my school, oo. I didn' u n ou so well. I wen
h ough a dozen eggs.
Mi chell: Yeah, well, he's a ne ous ea e .
Came on: No, I b oke a dozen eggs.
Humo ous elemen s:
H
DV:
Mi chell: Hacíamos una cosa en el
colegio donde e daban un hue o y
no podías ompe lo. Se suponía que
eso e enseñaba lo du o que e a se
pad e, pe o en la ealidad es mucho
más du o.
Came on: Yo ambién hice eso en el
colegio y no salió muy bien.
Necesi é una docena de hue os.
Mi chell: Cuando es á ne ioso
SV:
Mi chell: En el colegio hacíamos
una cosa./ Te daban un hue o// y
no podías ompe lo,// cosa que
se ía pa a enseña / lo di ícil que
es se pad e,// pe o la ealidad es
mucho más complicada.//
Came on: Noso os ambién lo
hacíamos./ No me salió muy bien.//
Me undí una docena de hue os.//
Mi chell:
Ya, es que come
331
come.
Came on: No, que ompí una
docena.
compulsi amen e./
Came on: No, que los ompí.///
Humo ous elemen s:
H
Humo ous elemen s:
H
Example 76
Season 1, The bicycle hie
00:23-00:32
Phil: Well, be hei buddy.
Clai e: Tha 's you answe ?
Phil: And s ay in school.
Clai e: No.
Phil: And don' do d ugs.
Clai e: No.
Phil: Jus gi e me he answe .
Clai e: Oh, God.
Humo ous elemen s:
H
DV:
Phil: Pues se su amigo.
Clai e: ¿Esa es u espues a?
Phil: Y que es udie.
Clai e: No.
Phil: Y que no se d ogue.
Clai e: No.
Phil: Pues dame la espues a.
Clai e: Oh, dios.
SV:
Phil: Bueno, pues se su colega.//
Clai e: - ¿Esa es u espues a?/
Phil: - Que no deje los es udios.//
Clai e: - No./
Phil: - Y que no ome d ogas.//
Clai e: - No./
Phil: - ¿Y cuál es la espues a?//
Cla
i e: Mad e mía.///
Humo ous elemen s:
H
Humo ous elemen s:
H
Example 77
Season 1, The bicycle hie
04:14-04:20
Glo ia: In my cul u e, men ake g ea p ide in doing physical labo .
Jay: I know. Tha 's why I hi e people om you cul u e.
Humo ous elemen s:
CI
DV:
Glo ia: En mi cul u a los homb es se
sien en muy o gullosos de los
abajos ísicos.
SV:
Glo ia: En mi cul u a, los homb es
se sien en/ o gullosos de hace
abajos ísicos.//
332
Jay: Lo sé. Po eso con a o a gen e
de u cul u a.
Jay: Lo sé. Po eso con a o/ a
gen e de u cul u a.///
Humo ous elemen s:
CI
Humo ous elemen s:
CI
Example 78
Season 1, The bicycle hie
05:58-06:06
Jay: Manny hinks his dad is like Supe man. The u h? He's a o al lake.
In ac , he only way he's like Supe man is ha hey bo h landed in his
coun y illegally.
Humo ous elemen s:
CI
DV:
Jay: Manny se c ee que su pad e es
como Supe mán. La e dad, es un
aude o al. Es más, lo único que se
pa ece a Supe mán, es que los dos
en a on de o ma ilegal en el país.
SV:
Jay: Manny c ee/ que su pad e es
como Supe man.// ¿La e dad? Es
un bicho a o.// De hecho, lo único
que iene de Supe man// es que los
dos llega on a es e país/ de o ma
ilegal.///
Humo ous elemen s:
CI
Humo ous elemen s:
CI
Example 79
Season 1, Come ly wi h me
00:01-00:25
[Phil is wa ching he ma ch. A ash bag is nex o him]
Clai e: Honey, I hough you we e gonna ake ou he ga bage.
Phil: I am. [S anding up, bu s opping again wa ching he ma ch]
Clai e: Phil.
Phil: Yes. I'm ge ing i . [Mo ing slowly while wa ching he ma ch. Clai e
akes he ash bag]
Phil: I was... I wa
s gonna ge i .
[
S ill wa ching he ma ch
]
Humo ous elemen s:
CSH / V
DV:
Clai e: Ca iño, ¿no ibas a saca la
basu a?
Phil: Ya oy.
Clai e: Phil.
Phil: Sí, ya oy.
Phil: Iba... iba a coge la.
SV:
Clai e: ¿No ibas a saca la
basu a?//
Phil: Sí.//
Clai e: - Phil./
Phil: - Sí. Ya oy.//
Phil: Iba a coge la.///
339
Humo ous elemen s:
L
Humo ous elemen s:
L
Example 94
Season 1, Game change
07:58-08:02
Jay: So, we e you a big hi ?
Mi chell: Wha do you mean?
Jay: Well, I jus assumed he e was some kind o cos ume pa y. Was Cam
he Indian?
Humo ous elemen s:
CSH
DV:
Jay: ¿Qué, iun as eis?
Mi chell: ¿Qué quie es deci ?
Jay: Di po hecho que e a pa a una
ies a de dis aces. ¿Cam iba de
indio?
SV:
Jay: Qué, ¿causas e imp esión?/
Mi chell: ¿Qué quie es deci ?//
Jay: Supuse que hab ía/ una ies a
de dis aces.// ¿Cam iba de
indio?///
Humo ous elemen s:
CSH
Humo ous elemen s:
CSH
Example 95
Season 1, Benched
00:20-00:32
Glo ia: Ay, Dios mío, ha coach.
Clai e: I ha e ha guy.
Jay: He seems o ha e he kids mo i a ed.
Clai e: Dad, you ha en' seen him. He aun s he kids. He's abusi e.
Glo ia: Lis en, i his was a Colombian socce league, long ime ago one
o he kids w
ould ha e aken ha guy ou and...
Humo ous elemen s:
H / V / CI
DV:
Glo ia: Ay, Dios mío, ese en enado .
Clai e: Yo le odio.
Jay: A los niños los iene mo i ados.
Clai e: Papá, ú no le has is o. Se
me e con los niños. Les insul a.
Glo ia: Mi a, si es u ié amos en
Colombia, hace mucho iempo que
los niños lo hab ían cogido y...
SV:
Glo ia: - Ay, Dios mío, ese
en enado ./
Clai e: - Odio a ese ío.//
Jay: Pa ece ene mo i ados a los
chicos.//
Clai e: Papá, no lo has is o./ Se
bu la de ellos. Es g ose o.//
Glo ia: Mi a, si ue a/ una liga de
ú bol colombiana,// hace iempo
340
que uno de los chicos/ se lo hab ía
lle ado y...///
Humo ous elemen s:
H / V / CI
Humo ous elemen s:
H / V / CI
Example 96
Season 1, T a els wi h Scou
05:34-05:44
Dylan: Well, I o ally would, bu I'm no su e we like he same so s o
music, you know?
Came on: Wha , because I'm gay, I'm jus gonna wan o play show
unes?
Dylan: No. Because you' e old.
Came on: Well, ha hu mo e, Dylan.
Humo ous elemen s:
CSH
DV:
Dylan: Bueno, se ía genial, pe o no
sé si nos gus a el mismo ipo de
música, ¿sabes?
Came on: ¿Qué? ¿Po que soy gay
solo sé oca música cu si?
Dylan: No. Po que e es iejo.
Came on: Eso ha dolido más, Dylan.
SV:
Dylan: Bueno, se ía genial,// pe o
no sé si nos gus a/ el mismo ipo de
música, ¿sabes?//
Came on: ¿Qué? ¿Po que soy gay/
solo sé oca música cu si?//
Dylan: No. Po que e es iejo.//
Came on: Eso ha dolido, Dylan.///
Humo ous elemen s:
CSH
Humo ous elemen s:
CSH
Example 97
Season 1, T a els wi h scou
05:52-06:03
Came on: I used o be a music eache , bu I ga e ha up as soon as Lily
came along.
Mi chell: Yes, we jus el ha i was eally impo an ha one o us
s ayed home o aise he , so...
Came on: And ha 's no a judgmen on o he people's choices. I 's jus
ha we happen o be a e y adi ional amily.
Humo ous elemen s:
H
DV:
Came on: Yo e a p o eso de música,
pe o lo dejé en cuan o llegó Lily.
Mi chell: Nos pa ecía muy
SV:
Came on: E a p o eso de música,//
pe o lo dejé en cuan o llegó Lily.//
Mi chell: Nos pa ecía muy
341
impo an e que uno de los dos se
queda a en casa c ia la, así que...
Came on: Y eso no es una c í ica a
lo que hacen los demás. Es solo que
somos una amilia muy adicional.
impo an e// que uno se queda a en
casa pa a c ia la...///
Came on: Y no es una c í ica/ a lo
que hacen los demás.// Es solo que
somos/ una amilia muy
adic
ional.///
Humo ous elemen s:
H
Humo ous elemen s:
H
Example 98
Season 1, Ai po 2010
17:53-17:58
Policeman: Ma'am, you seem o know an aw ul lo abou sneaking
con aband on o a plane.
Glo ia: Yeah, I'm Colombian.
Humo ous elemen s:
H / CI
DV:
Policía: Seño a, pa ece sabe mucho
sob e cómo me e con abando en un
a ión.
Glo ia: Sí, soy colombiana.
SV:
Policía: Pa ece sabe us ed mucho/
sob e cómo me e cosas en un
a ión.//
Glo ia: Sí, soy colombiana.///
Humo ous elemen s:
H / CI
Humo ous elemen s:
H / CI
Example 99
Season 1, Hawaii
07:35-07:45
Glo ia: I hough ha one o he ad an ages o ma ying an olde guy was
ha I was going o be able o elax. Bu all his swimming and unning
and owing, i 's jus like how some o
my ela i es go in o his coun y.
Humo ous elemen s:
H / CI
DV:
Glo ia: Pensé que una de las en ajas
de casa me con un homb e mayo
e a que iba a pode elaja me. Pe o
con an o nada y co e y ema , es
como si algunos de mis pa ien es
hubiesen enido aquí.
SV:
Glo ia: Pensaba que una de las
en ajas de casa se/ con un homb e
madu o// e a que yo pod ía
elaja me.// Pe o oda esa na ación,
co e y ema ,// así llega on a es e
país/ algunos de mis amilia es.///
342
Humo ous elemen s:
---
Humo ous elemen s:
H / CI
Example 100
Season 1, Family po ai
01:21-01:40
Jay: The new maid keeps mixing up my unde wea wi h Manny's. Pu on
he i s hing I g abbed, i was like a c o ch ou nique . You go a alk o
he .
Glo ia: Why me?
Jay: Hola. You bo h speak he same language.
Glo ia: She's Po uguese. Do you know how o ensi e i is ha you pu
all o us in he same mixing po ?
Jay: I'm so y, please apologize o he when you ell he no o pu my
unde wea ...
Glo ia: I can' alk o he
!
Humo ous elemen s:
H / CI
DV:
Jay: La nue a c iada siemp e mezcla
mis calzoncillos con los de Manny.
Me he pues o el p ime o que he is o
y e a como un o nique e. Tienes que
habla con ella.
Glo ia: ¿Po qué yo?
Jay: Glo ia, las dos enéis el mismo
acen o.
Glo ia: Es po uguesa. ¿Sabes cómo
me o ende que nos me as a odos en
el mismo saco?
Jay: Pe dona, pe o pídele disculpas
cuando le digas que no me a mis
calzoncillos...
Glo ia: ¡Que no me en iende!
SV:
Jay: La nue a si ien a me los
mezcla/ con los de Manny.// Me
puse uno y ue como/ un o nique e
en la en epie na.// - Tienes que
habla con ella./
Glo ia: - ¿Po qué yo?//
Jay: Habláis el mismo idioma.//
Glo ia: Es po uguesa. ¿Sabes lo
o ensi o que es/ me e nos a odos
en el mismo saco?//
Jay: Lo sien o. Discúlpa e de mi
pa e// cuando le digas que no
mezcle mis...//
Glo ia: ¡No puedo habla con
ella!///
Humo ous elemen s:
H / CI
Humo ous elemen s:
H / CI
Example 101
Season 1, Family po ai
16:39-16:57
Phil: I didn' do any hing! She kissed me!
Clai e: Wha ? Who kissed you?
Phil: Glo ia!
343
Jay: Wha ?
Glo ia: I was he Kiss-Cam.
Jay: Why did you kiss Cam?
Glo ia: No, I kissed Phil. He old me I had o.
Phil: No, no, ha 's...
Clai e: Okay, hang on a second. Was his be o e o a e you igno ed he
phone call om you wi e?
Phil: You saw ha , oo?
Humo ous elemen s:
L
DV:
Phil: Yo no he hecho nada. Me ha
besado ella a mí.
Clai e: ¿Qué? ¿Quién e ha besado?
Phil: Glo ia.
Jay: ¿Qué?
Glo ia: E a la cáma a del beso.
Jay: ¿Has besado a una cáma a?
Glo ia: P egún ale a Phil, dijo que
debía hace lo.
Phil: No, no, es que...
Clai e: Vale, espe a un segundo.
¿Eso ue an es o después de igno a
la llamada de u muje ?
Phil: ¿También has is o eso?
SV:
Phil: ¡No hice nada! ¡Ella me
besó!//
Clai e: ¿Qué?// - ¿Quién e besó?/
Phil: - ¡Glo ia!//
Jay: - ¿Qué?/
Glo ia: - E a la “cáma a del beso”,
la Kiss Cam.//
Jay: - ¿Po qué besas e a Cam?/
Glo ia: - No, besé a Phil. Dijo que
lo hicie a.//
Phil: - No, no, es.../
Clai e: - Vale, un segundo.// ¿Eso
ue an es o después/ de igno a la
llamada de u muje ?//
Phil: ¿Eso ambién lo is e?///
Humo ous elemen s:
---
Humo ous elemen s:
L
Example 102
Season 2, The old wagon
07:54-08:02
Mi chell: Look a us. Th ee cons uc ion dudes. Dad, I'm gonna ge you
some wo kman glo es. I ha e blue and camel. Wha 's you p e e ence?
Jay: Su p ise me.
Humo ous elemen s:
C
SH
/ V
DV:
Mi chell: Oh, mí anos. T es súpe
ob e os. Papá, oy a busca e unos
guan es. Tengo azules y beige, ¿cuál
p e ie es?
Jay: So p éndeme.
SV:
Mi chell: Fíja e.// T es mani as.//
Te aigo unos guan es.// ¿P e ie es
azules o ma ones?//
Jay: So p éndeme.///
344
Humo ous elemen s:
C
SH
/ V
Humo ous elemen s:
C
SH
/ V
Example 103
Season 2, The old wagon
12:37-12:47
Jay: I'm jus sayin' he kid's go a lea n o le hings go.
Came on: Well, his is a ouchy subjec o Mi chell. He wan s o eel like
a egula Joe, like you and I. [Jay is pu ing some mus a d on a sandwich]
Pa donnez
-
moi!
I p e e he champagne Dijon
o he s anda d yellow.
Humo ous elemen s:
CI
DV:
Jay: Solo digo que iene que
ap ende a ol ida .
Came on: Bueno, es un ema
delicado pa a Mi chell. Quie e
sen i se un ío no mal, como ú y yo.
Pa donnez-moi, p e ie o la Dijon de
champán a la mos aza no mal.
SV:
Jay: Debe ap ende a da se po
encido.//
Came on: Es impo an e pa a él.//
Quie e se un
ipo no mal,/ como ú
y yo.// Pa donnez-moi!/ P e ie o la
mos aza de Dijon a la no mal.///
Humo ous elemen s:
CI
Humo ous elemen s:
CI
Example 104
Season 2, The old wagon
13:41-13:49
Mi chell: I know ha I'm no he handies guy, bu I'm s ill a man. And I
wan o be able o look ou in o my ya d and say... “The e's a li le bi o
me in ha p incess cas le.”
Humo ous elemen s:
CI / L
DV:
Mi chell: Ya sé que yo no soy muy
mani as, pe o soy un homb e y
quie o pode mi a mi ja dín y deci :
“Hay un poco de mí en ese cas illo
de p incesas”.
SV:
Mi chell: Sé que no soy muy
mani as,/ pe o soy un homb e.// Y
quie o pode mi a hacia mi ja dín/
y deci :// “En ese cas illo hay una
pa e de mí”.///
Humo ous elemen s:
CI / L
Humo ous elemen s:
---
345
Example 105
Season 2, The kiss
00:52-01:00
Phil: He blew his lid when she ied o con ain him.
Humo ous elemen s:
L
DV:
Phil: Él pasó de su apa, cuando ella
quiso apa le.
SV:
Phil: Se oló la apa/ cuando ella
in en ó con ene lo.///
Humo ous elemen s:
---
Humo ous elemen s:
L
Example 106
Season 2, The kiss
06:57-07:06
Haley: So you be e ge on i o else he's gonna hink you' e a lesbian.
Alex: He's no going o hink I'm a lesbian.
Haley: I hough you we e. You o ally ha e he sandals o i .
Humo ous elemen s:
CI
DV:
Haley: Así que pon e las pilas o se
a a pensa que e es lesbiana.
Alex: No se a a pensa que soy
lesbiana.
Haley: Yo c eía que lo e as. Lle as
unas sandalias de lesbiana o al.
SV:
Haley: Va a pensa que e es
lesbiana.//
Alex: - No es e dad./
Haley: - Yo lo c eía.// lle as las
ípicas sandalias.///
Humo ous elemen s:
CI
Humo ous elemen s:
CI
Example 107
Season 2, The kiss
07:15-07:22
Jay: I hough maybe he co dless phone was in e e ing, so I unplugged
i .
Phil: Good idea. Maybe we should un downs ai s and unplug he oas e
while we' e a i .
Humo ous elemen s:
L / CI
346
DV:
Jay: Pensé que se ía una
in e e encia del elé ono, así que lo
he desenchu ado.
Phil: Buena idea, al ez debe íamos
baja co iendo a desenchu a la
os ado a de paso.
SV:
Jay: He desenchu ado el
inalámb ico/ po si in e e ía.//
Phil: Vamos a desenchu a
ambién/ la os ado a.///
Humo ous elemen s:
L
/ CI
Humo ous elemen s:
L
/ CI
Example 108
Season 2, Ea hquake
05:36-05:41
Phil: I 's like hey say, some imes when God closes a doo , he closes i so
ha d ha you wi e
can' ge ou .
Humo ous elemen s:
L / CI
DV:
Phil: Es lo que dicen, cuando Dios
cie a una pue a, a eces la cie a
an ue e que u muje no puede
sali .
SV:
Phil: Dicen que cuando Dios/ cie a
una pue a...// la cie a an ue e/
que u muje no puede sali .///
Humo ous elemen s:
L / CI
Humo ous elemen s:
L / CI
Example 109
Season 2, Ea hquake
08:02-08:14
Glo ia: You' e s ill going gol ing? God sen you a sign, Jay.
Jay: Wha , he ea hquake? You go a be kidding me.
Glo ia: You say you' e ne e going o chu ch again and he g ound shakes
wi h a engeance.
Humo ous elemen s:
CI
/ H
DV:
Glo ia: ¿Vas a i e al gol ? Dios e ha
en iado una señal, Jay.
Jay: ¿Qué, el e emo o? ¿Me omas
el pelo?
Glo ia: Has dicho que jamás
ol e ías a misa y el suelo se ha
engado.
SV:
Glo ia: ¿Te as a juga al gol ?//
Dios e ha en iado una señal.//
Jay: ¿El e emo o? B omeas.//
Glo ia: Has dicho que jamás
ol e ías a misa/ y el suelo embló
con ganas.///
347
Humo ous elemen s:
CI
/ H
Humo ous elemen s:
CI
/ H
Example 110
Season 2, S ange s on a eadmill
11:47-11:51
Clai e: Did he jus un in o he bed oom and c y?
Mi chell: Oh, yes, 'cause ha 's wha all gay men do. We all dissol e in o
--
Humo ous elemen s:
CI / PL
/ V
DV:
Clai e: ¿Se ha ido a su cua o a
llo a ?
Mi chell: Po que eso es lo que
hacemos los gays, i nos a llo a ...
SV:
Clai e: ¿Es á llo ando?//
Mi chell: Como buen gay.// Todos
nos deshacemos en--///
Humo ous elemen s:
CI / PL
/ V
Humo ous elemen s:
CI / PL
/ V
Example 111
Season 2, Unplugged
00:14-00:18
Glo ia: I 's easy o you o igno e because you ha e he old-man hea ing.
Bu Manny and I, we ha e he young ea s.
Humo ous elemen s:
CI / L
DV:
Glo ia: Pa a í es ácil deci lo po que
es ás como una apia. Pe o Manny y
yo enemos buen oído.
SV:
Glo ia: Pa a i es ácil igno a lo/
po que ienes el oído de un iejo.//
Pe o Manny y yo,/ enemos oídos
de jó enes.///
Humo ous elemen s:
CI
Humo ous elemen s:
CI / L
Example 112
Season 2, Unplugged
00:18-00:23
Jay: I don' ge how one dog keeps you awake when you g ew up sleeping
h ough cock igh s and e olu ions.
Humo ous elemen s:
CI
/ H
348
DV:
Jay: No en iendo cómo e despie a
un pe o cuando e c ias e en e
i o eos de a ican es y
e oluciona ios.
SV:
Jay: No en iendo cómo un pe o/
no e deja do mi ...// si c ecis e
en e peleas de gallos/ y
e oluciones.///
Humo ous elemen s:
CI
/ H
Humo ous elemen s:
CI
/ H
Example 113
Season 2, Unplugged
01:17-01:20
Mi chell: This is pe ec . Lea e i o he gays o aise he only
unde achie ing Asian in Ame ica.
Humo ous elemen s:
CI
/ H
DV:
Mi chell: Lo que al aba, solo unos
gays pod ían c ia a la única asiá ica
no empollona del país.
SV:
Mi chell: - Es pe ec o.// Que los
gais c íen a la única asiá ica/ que
a e asada en EE.UU.//
Humo ous elemen s:
CI
/ H
Humo ous elemen s:
CI
/ H
Example 114
Season 2, Unplugged
14:45-14:58
Jay: I wo ked ou his ime, bu don' o ge ha s ealing is agains he
law. Now maybe in Colombia--
Glo ia: He e we go. Because in Colombia, we ip o e goa s and we kill
people in he s ee . Do you know how o ensi e ha is? Like we' e
Pe u ians!
Humo ous elemen s:
CI / H
DV:
Jay: Vale, e ha salido bien es a ez,
pe o no ol ides que oba es á
p ohibido. Puede que en Colombia...
Glo ia: Ya empezamos. Po que en
Colombia c iamos cab as y ma amos
a la gen e en la calle. ¿Sabes cuán o
me o ende eso? ¡Ni que ué amos
pe uanos!
SV:
Jay: Es a ez e ha uncionado,/
pe o oba a con a la ley.// -
Quizás en Colombia--/
Glo ia: - Ya es amos.// Po que en
Colombia a opellamos cab as/ y
ma amos a la gen e en la calle.//
¿Sabes lo o ensi o que es?// ¡Como
si ué amos pe uanos!///
355
DV:
Jay: ¡Es aba bo acho! No pienso
i me de comp as con P iscilla, la
eina del desie o.
SV:
Jay: ¡Es aba bo acho!// No pienso
i de comp as con P iscilla, la eina
del desie o.///
Humo ous elemen s:
CI
Humo ous elemen s:
CI
Example 129
Season 2, The musical man
06:20-06:25
Glo ia: Why a e you bo h so mean? Whe e I come om, b o he s espec
each o he .
Jay:
Tha 's why Colombia's such a peace ul u opia.
Humo ous elemen s:
CI / L
DV:
Glo ia: ¿Po qué os a áis an mal?
En mi país, los he manos se espe an
en e sí.
Jay: Po eso Colombia es una u opía
an pací ica.
SV:
Glo ia: ¿Po qué sois an malos?//
En mi país,/ los he manos se
espe an en e sí.//
Jay: Colombia, balua e de la
paz.///
Humo ous elemen s:
CI / L
Humo ous elemen s:
CI / L
Example 130
Season 2, The musical man
18:03-18:14
Clai e: We lo e he wo d?
Came on: Whe e's he L?
Manny: I 's Luke.
Came on: Lowe he insignia. Lowe he--
[We lo e he F wo d]
Jay: We lo e he
--
. Wha he hell?
Humo ous elemen s:
L / V
DV:
Clai e: ¿Que emos a mundo?
Came on: ¿Y la L?
Manny: Es Luke.
Came on: Baja la insignia, bájala.
Jay: Que emos a--, ¿pe o qué
diablos?
SV:
Clai e: “¿Amamos al mudo?”//
Came on: - ¿Y la N?/
Manny: - Es Luke.//
Came on: Bajad el emblema.//
/AMAMOS EL JUDO///
Jay: Amamos el
--
// Pe o ¿qué
356
na ices?///
Humo ous elemen s:
---
Humo ous elemen s:
L
Example 131
Season 2, Mo he ’s day
04:07-04:11
Mi chell: Is ha he pa y o e he e?
Came on: I don' know. I'm a woman, emembe ? I ha e a e ible sense
o di ec ion.
Humo ous elemen s:
C
SH / H
DV:
Mi chell: ¿Eso de ahí es la ies a?
Came on: No lo sé, soy una muje ,
¿ ecue das? Me o ien o de pena.
SV:
Mi chell: ¿Es esa la ies a?
Came on: No lo sé. Soy una muje ,
¿ ecue das?/ No engo sen ido de la
o ien ación.///
Humo ous elemen s:
C
SH / H
Humo ous elemen s:
C
SH / H
Example 132
Season 2, Mo he ’s day
06:49-06:56
Glo ia: Enough complaining! You can' bi ch all day because you' e no a
he beach all day! Come on!
Humo ous elemen s:
L
DV:
Glo ia: ¡Ya bas a de queja se! No
podéis llo iquea odo el día po que
no es áis haciendo el ago. ¡Vamos!
SV:
Glo ia: ¡Bas a de quejas!// ¡Tan o
explaya os po que no hemos/
pasado el día en la playa!//
¡Vamos!///
Humo ous elemen s:
---
Humo ous elemen s:
L
Example 133
Season 2, Mo he ’s day
08:03-08:08
Phil: “We should s i he bee and sausages o i e minu es.”
Jay: And how much longe do I ha e o lis en o he Julia Child
357
imp ession?
Humo ous elemen s:
PL / CI
DV:
Phil: “Remo e la ca ne y las
salchichas du an e cinco minu os”.
Jay: ¿Y cuán o iempo engo que
sopo a esa ho o osa oz de Julia
Child?
SV:
Phil: “Remo e la ca ne y
salchichas/ du an e cinco
minu os”.//
Jay: ¿Cuán o iempo end é que oí /
esa imi ación de cocine a de la
ele?///
Humo ous elemen s:
PL
Humo ous elemen s:
---
Example 134
Season 2, Mo he ’s day
14:01-04:03
Came on: So y!
Mi chell: Cam... Hands.
Came on: So y!
Humo ous elemen s:
CI / V
DV:
Came on: ¡Lo sien o!
Mi chell: Cam, las manos.
Came on: ¡Pe done!
SV:
Came on: - ¡Pe dón!//
Mi chell: - Cam-- Las manos./
Came on:
-
¡Pe dón!///
Humo ous elemen s:
CI / V
Humo ous elemen s:
CI / V
Example 135
Season 2, Good cop, bad dog
00:26-00:35
Mi chell: We had amazing sea s o Lady Gaga, and he ge s sick. I' e
been looking o wa d o ha conce o mon hs. I 's he one gay cliché I
allow mysel . [He c osses his legs. Then he unc osses hem and ies o
ha e a manly pos u e
]
Humo ous elemen s:
CI / V
DV:
Mi chell: Tenemos unas súpe
en adas pa a Lady Gaga y se pone
en e mo. Lle aba espe ando ese
SV:
Mi chell: Teníamos unas en adas
abulosas/ pa a Lady Gaga y se
p
one malo.// Lle o meses
358
concie o meses. Es el único cliché
gay que me pe mi o ene .
pensando/ en ese concie o.// Es el
único es e eo ipo gay/ que me
pe mi o.///
Humo ous elemen s:
CI / V
Humo ous elemen s:
CI / V
Example 136
Season 5, Suddenly, las summe
00:03-00:11
Jay: Wha 's all his? I said one sui case.
Manny: I need choices, Jay.
Jay: Colombia's no one o you mo e o mal na ions. The guy on hei
money's si ing in a lawn chai .
Humo ous elemen s:
CI
/ H
DV:
Jay: ¿Qué es es o? He dicho una
male a.
Manny: Necesi o opciones, Jay.
Jay: Colombia no es de las naciones
más o males. El ío de los bille es
es á sen ado en una mecedo a.
SV:
Jay: ¿Qué es odo es o?/ Lle a una
sola male a.//
Manny: - Necesi o opciones, Jay./
Jay: - Colombia no es un país muy
o mal.// El ío en los bille es/ es á
sen ado omando el sol.///
Humo ous elemen s:
CI
/ H
Humo ous elemen s:
CI
/ H
Example 137
Season 5, Fi s days
00:31-00:35
Phil: Hey, you can hang you clo hes in me.
[
Wi h he oice o Ch is ophe Walken
]
Humo ous elemen s:
PL
DV:
Phil: Eh, puedes colga u opa en
mí.
[
Wi h he oice o a obo
]
SV:
Phil: Oye, puedes colga la opa en
mí.///
Humo ous elemen s:
PL
Humo ous elemen s:
---
359
Example 138
Season 5, Fi s days
02:06-02:11
Lily: Hey, I' e been d essed o an hou . Come on. I can' be la e. I'll all
behind.
Mi chell: Some imes I o ge o ac o in he Asian.
Humo ous elemen s:
CI
/ H
DV:
Lily: Eh, lle o una ho a es ida.
Venga, que no puedo llega a de, me
baja án la no a.
Mi chell: A eces se me ol ida el
ac o asiá ico.
SV:
Lily: Lle o una ho a es ida.//
Vamos, no puedo llega a de./ I é
e asada.//
Mi chell: A eces se me ol ida que
es asiá ica.///
Humo ous elemen s:
CI
/ H
Humo ous elemen s:
CI
/ H
Example 139
Season 5, Fa m s ong
01:43-01:50
Mi chell: A e hese eally ou op wo choices o colou pale e? Why a e
hey bo h whi e?
Lily:
Tha 's wha my iend Keisha asked abou you and Daddy.
Humo ous elemen s:
L / CI
DV:
Mi chell: ¿De e dad son las dos
mejo es opciones pa a los man eles?
¿Po qué los dos son blancos?
Lily: Eso es lo que mi amiga Keisha
p egun a de oso os dos.
SV:
Mi chell: ¿Son nues as únicas dos
opciones?/ ¿Po qué son blancos
los dos?//
Lily: Eso p egun ó mi amiga
Keisha/ sob e oso os.///
Humo ous elemen s:
L / CI
Humo ous elemen s:
L / CI
Example 140
Season 5, Fa m s ong
13:53-13:58
Pam: I 's my pa en s again. I'm ge ing ma ied soon and hey' e al eady
ac ing like hey ha e emp y nes synd ome.
15:47-15:51
Came on: My sis e he e seems o hink you all ha e o walk on eggshells
360
a ound me.
16:54-17:03
Jay: Hey, I go one! Remembe ha blue o a y phone you ga e me o
Ch is mas?
Came on: Yes.
Jay: I ossed i .
Came on: Okay. May I ask he eason?
Jay: I made me eel like Ann-Ma g e in Bye Bye Bi die.
Phil: Why?
Humo ous elemen s:
L
[
...
]
L
[
...
]
L
DV:
Pam: Mis pad es o a ez. Voy a
casa me p on o y ya es án con el
sínd ome del nido acío.
[...]
Came on: Mi he mana pa ece c ee
que odos enéis que i con pies de
plomo al habla me.
[...]
Jay: Eh, yo engo una. ¿Te acue das
de ese elé ono an iguo que me
egalas e po Na idad?
Came on: Sí.
Jay: Lo i é.
Came on: Vale, ¿puedo p egun a
po qué?
Jay: Me sen ía como Tippi Hed en
en Los pája os.
Phil: ¿Po qué?
SV:
Pam: Son mis pad es o a ez.//
Es oy a pun o de casa me y c een
que el nido se queda acío.///
[...]
Came on: Mi he mana pa ece c ee
que odos/ enéis que anda de
pun illas...///
[...]
Jay: ¡Yo engo una! El elé ono
azul/ que me egalas e po
Na idad.//
Came on: - Sí./
Jay: - Lo i é.//
Came on: ¿Y puedo p egun a e la
azón?//
Jay: Me sen ía como Ann-Ma g e /
en Un beso pa a Bi die//
Phil: ¿Po qué?///
Humo ous elemen s:
L
[
...
]
---
[
...
]
L
Humo ous elemen s:
L
[
...
]
---
[
...
]
---
Example 141
Season 5, The la e show
05:54-05:58
Alex: I don’ know. Boys’ clo hes a en’ eally my hing.
Lily: Really?
Humo ous elemen s:
L
DV:
Alex: No lo sé, la opa de chico no
es mi ue e.
Lily: ¿En se io?
SV:
Alex: No lo sé./ La opa de chicos
no es lo mío.//
Lily: ¿En se io?///
361
Humo ous elemen s:
L
Humo ous elemen s:
L
Example 142
Season 5, The la e show
13:51-13:55
Came on: Yeah, you know. Mi chell pu on some music, and we we e
p imping and dancing a ound and I guess, well, we jus los ack o ime.
Humo ous elemen s:
CI
/ H
DV:
Came on: Sí, ya sabes. Mi chell ha
pues o música y es ábamos
empe i ollándonos y bailando y se
nos ha pasado el iempo.
SV:
Came on: Mi chell ha pues o
música,/ es ábamos a eglándonos
y bailando…// y supongo que
hemos pe dido/ la noción del
iempo.///
Humo ous elemen s:
CI
/ H
Humo ous elemen s:
CI
/ H
Example 143
Season 5, A ai o emembe
04:34-04:43
Jay: You wanna i in. You' e no doing you sel any a ou s wi h his
cake con es .
Manny: I don' know. Che s ge all he gi ls.
Jay: You' e a bake . Bake s a e gi ls.
Humo ous elemen s:
C
SH / H
DV:
Jay: ¿Quie es se uno más? Pues no
e haces ningún a o con es e
concu so de a as.
Manny: Los che s se ligan a odas
las chicas.
Jay: E es pas ele o y los pas ele os
son chicas.
SV:
Jay: ¿Quie es encaja ?// No e
haces ningún a o / con es e
concu so de a as.//
Manny: Los che s ligan mucho.//
Jay: Los pas ele os son chicas.///
Humo ous elemen s:
C
SH / H
Humo ous elemen s:
C
SH / H
362
Example 144
Season 5, The old man & he ee
01:18-01:21
Haley: When I wake up in my own oom omo ow I'm going o be gi ing
hanks o my independence. And isn' ha wha Ch is mas is all abou ?
Humo ous elemen s:
C
SH / CI / H
DV:
Haley: Cuando me despie e mañana
en mi p opio cua o, oy a da las
g acias po mi independencia. ¿No
es esa la esencia de la Na idad?
SV:
Haley: Cuando me despie e en mi
habi ación...// da é g acias po mi
independencia.//
¿No se celeb a eso
en Na idad?
//
Humo ous elemen s:
C
SH / CI / H
Humo ous elemen s:
C
SH / CI / H
Example 145
Season 5, The old man & he ee
10:53-11:04
Manny: This is aking o e e .
Jay: I 's supposed o. Took my dad and I all day o ge a ee. And when
he inally b ough he down he used o celeb a e wi h a ciga . I was jus a
kid, so I'd ha e a ciga e e.
Humo ous elemen s:
CI
/ H
DV:
Manny: Es amos a dando un siglo.
Jay: Como iene que se . Mi pad e y
yo a dábamos odo un día en
consegui un á bol y cuando po in
lo co aba, lo celeb aba con un pu o.
Yo e a un c ío, así que me umaba
un ciga illo.
SV:
Manny: - No acaba emos nunca.//
Jay: Así ha de se . A mi pad e y a
mí/ nos cos aba un día en e o.// Y
cuando po in caía el á bol,/ se
umaba un pu o pa a celeb a lo.//
Yo, un ciga illo. E a un niño.///
Humo ous elemen s:
CI
/ H
Humo ous elemen s:
CI
/ H
Example 146
Season 5, And one o g ow on
00:23-00:28
Luke: Come on. We don' wan o be la e like he guy we' e gonna see on
he able. Am I igh ?
Phil: O co pse you a e.
363
Humo ous elemen s:
L
DV:
Luke: Venga, no quie o más. Ya
amos a e bas an es iamb es,
¿ e dad?
Phil: Llé a e una a e a.
SV:
Luke: Que no sea a de pa a
noso os,/ como pa a el mue o.// -
¿Ve dad?/
Phil:
-
Cla
-
dá e que sí.///
Humo ous elemen s:
---
Humo ous elemen s:
L
Example 147
Season 5, And one o g ow on
07:48-07:56
Came on: F iends igh ing o e a boy, some hing we know a hing o wo
abou .
Mi chell: O cou se, usually i 's gay men, no eenage gi ls, so we will
ha e o adjus ou app oach jus a... No a all.
Humo ous elemen s:
CI
/ L
DV:
Came on: Una pelea po un chico.
Noso os sabemos mucho de esas
cosas.
Mi chell: Pe o en e dos homb es
gays, no en e chicas adolescen es,
así que end emos que cambia
nues o en oque absolu amen e en...
nada.
SV:
Came on: Amigas peleándose po
un chico--/ algo de eso sabemos.//
Mi chell: No malmen e gais,/ no
chicas adolescen es...// así que
hab á que adap a se un po--/
Nada.//
Humo ous elemen s:
CI
/ L
Humo ous elemen s:
CI
/ L
Example 148
Season 5, Ispy
01:25-01:30
Phil: You don' us bad boys, and ye you ma ied one.
[Phil blows he ea he is
d inking]
Humo ous elemen s:
L / V
DV:
Phil: No e ías de los chicos malos
pe o e casas e con uno.
SV:
Phil: No e ías de los chicos
malos,/ pe o e casas e con uno.///
364
Humo ous elemen s:
L / V
Humo ous elemen s:
L / V
Example 149
Season 5, Ispy
02:22-02:29
Glo ia: And, yes, people a e allowed hei p i a e hough s and I shouldn'
be so ang y. Bu I am La in, so I ge o eel wha e e I wan .
Humo ous elemen s:
H / CI
DV:
Glo ia: Y, sí, odos enemos de echo
a soña y no debe ía en ada me
an o. Pe o soy la ina, así que me
en ado si me da la gana.
SV:
Glo ia: La gen e iene de echo/ a
ene ideas p i adas...// y no
debe ía es a en adada.// Pe o soy
la ina,/ así que sien o lo que
quie o.///
Humo ous elemen s:
H / CI
Humo ous elemen s:
H / CI
Example 150
Season 5, Sp ing-a-ding- ling
12:35-12:40
Jay: She's been s ewing in he e o an hou .
Glo ia: I say le 's lock he doo , cu he powe . Le 's show he ha we
mean business.
Humo ous elemen s:
H / CI
DV:
Jay: Lle a una ho a ence ada.
Glo ia: Yo o o po echa el pes illo
y co a la luz. Y que ea que amos
en se io.
SV:
Jay: - Lle a una ho a ahí me ida./
Glo ia: - La ence amos y co amos
la co ien e.// Que sepa que
hablamos en se io.///
Humo ous elemen s:
H / CI
Humo ous elemen s:
H / CI
Example 151
Season 5, O he people’s child en
00:05-00:13
Jay: Now, who’s eady o wa ch some baske ball? Why am I looking a
you?
371
Alex: Okay.
Clai e: Wha we' e wo ied abou is ha we ha e c ea ed an en i onmen
in which you eel i 's necessa y o--
Phil: Embelli--
Clai e: Fan a--
Phil: Exagge --
Alex: Oh, my God. You guys don' hink Alec is eal?
Clai e: Swee hea , I emembe he p essu e he e was o i in in high
school.
Phil: So do I. And whe he you y o i in by saying you ough a baby
bea o by making up a boy iend--
Alex: You guys a e so unbelie able. You eally hink I'm ha pa he ic ha
I'd ha e o c ea e some imagina y boy iend?
Phil: You know wha 's no imagina y? You eelings.
Alex: Okay, don' ! Don' ! FYI, I changed my Facebook s a us o “single”
abou an hou ago, and guess wha . I al eady ha e a da e. [Clai e sees
Alex's lap op] You don' belie e me, do you?
Clai e: Swee hea , you' e had wo boy iends in 30 seconds. Tha 's
p ac ically Haley's eco d.
Alex: Well, he's eal. His name is Teddy.
Clai e: His name is... Teddy? [Showing a Teddy bea ]
Alex: Yeah, uh-huh. Teddy Keys. [Phil ouches Alex's keys]
Clai e: Oh. And wha do we know abou his young man?
Alex: He's new o ou school. He wo ks a some ma ess s o e-- Ma ess
King. [Wi hou no icing, Alex poin s a a Ma in Lu he King's pos e ,
bo h pa en s a e su p ised] And he's a bi o a bad boy. He had a li le
p oblem wi h shopli ing. He spen some ime in ju ie. [Alex akes a
olde and he book “C ime & Punishmen ” appea s] Bu he's no eally
my ype. He's jus a ebound. So I guess i doesn' eally ma e . Why am I
e en alking o you guys? Lea e. [Phil akes some lea es Alex had on he
nigh able]
Ge ou !
Humo ous elemen s:
L /
V
DV:
Clai e: Cielo, ¿es ás sola?
Alex: ¿Ves a alguien más aquí?
Phil: ¿Y ú?
Clai e: Cielo, u pad e y yo e
debemos una disculpa.
Alex: ¿Po qué?
Phil: Es a mañana no hemos pensado
que las osas podían se pa a i y
c eemos que es ás o endida.
Alex: Supongo, un poqui o.
Clai e: Sien o muchísimo que e
sien as mal y es comple amen e
c eíble que engas un admi ado .
SV:
Clai e: Hola, cielo. ¿Es ás sola?//
Alex: ¿Ves a alguien más?//
Phil: ¿Y ú?//
Clai e: Te debemos una disculpa.//
Alex: ¿Po qué?//
Phil: No c eíamos que la osa e a
pa a i/ y e dolió.//
Alex: Un poco.//
Clai e: Pe dona po hace e sen i
mal.// Es c eíble que engas un
admi ado .//
Alex: Vale.//
Clai e: Nos p eocupa habe c eado
372
Alex: Vale.
Clai e: Lo que nos p eocupa es habe
c eado un en o no en el que c eas
que es necesa io--
Phil: Ado n--
Clai e: Fan as--
Phil: Exage --
Alex: ¡Qué ue e! ¿Os c eéis que
Alec no exis e?
Clai e: Cielo, ecue do la p esión
que había po encaja en el ins i u o.
Phil: Y yo ambién. Y es no mal
in en a lo diciendo que luchas e
con a un bebé oso o in en ándo e
un no io.
Alex: Sois inc eíbles. ¿De e dad
c eéis que soy an pa é ica como
pa a c ea me un no io imagina io?
Phil: ¿Sabes qué no es imagina io?
Tus sen imien os.
Alex: Vale. ¡No! ¡No! Que sepáis
que he cambiado mi pe il de
Facebook a sol e a y, ¿sabéis qué?
Ya engo una ci a. No me c ees,
¿ e dad?
Clai e: Cielo, has enido dos no ios
en 30 segundos, ese es casi el éco d
de Haley.
Alex: Pues exis e, y se llama Teddy.
Clai e: Se llama... Teddy.
Alex: Sí, aha. Teddy Lla es.
Clai e: Ah, ¿y qué sabemos de ese
jo enci o?
Alex: Es nue o en el cole, abaja en
una ienda de colchones... Colchones
King. Y es un poco malo e. Tu o
p oblemillas po oba en iendas.
Es u o en un e o ma o io. Pe o no
es mi ipo. Es un en e enimien o, así
que no me impo a mucho. ¿Qué
hago hablando con oso os?
¡Dejadme! ¡Fue a!
un en o no...// en el que e sien es
obligada a--//
Phil: Ado n--/
Clai e: Fan a--//
Phil: Exage --/
Alex: Qué ue e.// ¿C eéis que
Alec no exis e?//
Clai e: Recue do la p esión del
ins i u o/ po cae bien.//
Phil: Ya. Tan o si es/ diciendo que
luchas e con a un oso...// como
in en ándo e un no io--//
Alex: Sois inc eíbles. ¿Tan pa é ica
me eis/ como pa a imagina me un
no io?//
Phil: ¿Sabes qué no e imaginas?/
Tus sen imien os.//
Alex: ¡No! ¡No!// Que sepáis que
he cambiado mi es ado/ a “sol e a”
en Facebook.// Y ya engo no io.
¡No me c eéis!//
Clai e: Dos no ios en 30
segundos,/ es casi el éco d de
Haley.//
Alex: Es de e dad. Se llama
Teddy.//
Clai e: ¿Como el osi o?//
Alex: Sí. Teddy Keyes.//
Clai e: ¿Y qué sabemos de él?//
Alex: Es nue o en el ins i u o.//
T abaja en una ienda, Colchones
King.// Es un chico malo.// Es u o
en un co eccional po oba .// No
es mi ipo. Solo es pa a ol ida ./
Así que da igual.// ¿Qué hago
con ándoos es o? Ma chaos.//
¡Fue a!///
Humo ous elemen s:
L /
V
Humo ous elemen s:
L /
V
373
Example 163
Season 6, S ange s in he nigh
19:56-20:34
Came on: I mean, can you belie e all he s u B enda b ough o one
nigh ?
Mi chell: I know. Look a all his s u o e he e. Supe eplenishing
balm? Uh, po e- educing boos e se um?
Came on: An iaging bu ing beads? I mus be so ha d o be a gi l.
Mi chell: I know. I know. I eally makes you wo y abou he wo ld we' e
sending Lily ou in o.
Came on: The e's so much p essu e on gi ls o be pe ec . You eady?
Mi chell: Yep.The hing is Cam, all we can do is ins ill ou belie s in he
and hope ha she makes good choices. Calming mis e ?
Came on: I does eel nice o alk abou i .
Mi chell: No, his is a calming mis e . I jus bough his.
Came on: Oh, God, yes.
Mi chell: Wan o y?
Humo ous elemen s:
CSH
/ V
DV:
Came on: ¿Te puedes c ee odo lo
que se ha aído B enda solo pa a
una noche?
Mi chell: Mi a odo lo que hay aquí.
Bálsamo súpe egene ado . Se um
an ipo os.
Came on: Boli as an iedad. Qué
du o es es o de se muje .
Mi chell: Lo sé. Lo sé. Le hace
pensa en el mundo que le espe a a
la pob e Lily.
Came on: Las chicas ienen an a
p esión po se pe ec as.
¿P epa ado?
Mi chell: Sí. El caso es que solo
podemos ansmi i le nues as
c eencias y espe a que ome buenas
decisiones. ¿Relajan e?
Came on: Sí que me elaja habla de
eso.
Mi chell: No, es un esp ay elajan e.
Lo he comp ado.
Came on: Uy, Dios.
Mi chell: ¿Quie es p oba lo?
SV:
Came on: Qué can idad de cosas/
se ha aído po una noche.//
Mi chell: Fíja e en odo es o.//
Bálsamo econs i uyen e.// Se um
educ o de po os.//
Came on: Pe las
an ien ejecimien o.// Debe de se
muy du o se muje ./
Mi chell: Ya.// Me p eocupa el
mundo/ en el que i i á Lily.//
Came on: Tan a p esión po se
pe ec a.// ¿Lis o?/
Mi chell: Sí.// Solo podemos
ansmi i le nues os alo es/ y
espe a que ella ome buenas
decisiones.// ¿Calman e?/
Came on: Sí, me sien a bien
habla lo.//
Mi chell: No, que es o es un
calman e./ Lo he comp ado.//
Came on: Ah, ale./
Mi chell: ¿Quie es p oba ?///
Humo ous elemen s:
CSH
/ V
Humo ous elemen s:
CSH
/ V
374
Example 164
Season 6, Haley’s 21
s
bi hday
02:23-02:42
Phil: Tonigh , while Clai e ge s hings s a ed a he ba , Jay is aking me
o pick up Haley's bi hday p esen ... a new ca !
Clai e: Phil shopped a ound, ound some hing e y sa e and low-
main enance wi h lo s o good e iews.
Phil: Till I ma ied he . I'm joking! You' e no low-main enance! I
doubled down.
Clai e:
I hea d you.
Humo ous elemen s:
L
/ CSH
DV:
Phil: Es a noche, mien as Clai e se
lle ó a odos al ba , Jay me lle ó a
comp a el egalo de Haley... ¡un
coche nue o!
Clai e: Phil ha buscado algo muy
segu o, ba a o de man ene y con
muy buena c í ica.
Phil: Y me casé con ella. ¡Es b oma!
No es ba a a de man ene . Doble
b oma.
Clai e:
Te he oído.
SV:
Phil: Es a noche, mien as Clai e/
empieza en el ba …// Jay me
acompaña a ecoge / el egalo de
Haley--// ¡un coche!//
Clai e: Phil buscó y encon ó/ algo
segu o y ba a o…// con buenas
e e encias.//
Phil: Y me casé con ella. ¡Es una
b oma!// ¡No e es ba a a!// - Me la
he judado./
Clai e:
-
Te he oído.///
Humo ous elemen s:
L
/ CSH
Humo ous elemen s:
L
/ CSH
Example 165
Season 6, Haley’s 21
s
bi hday
16:05-16:12
Phil: I was supposed o be such a g ea momen o me as a dad. I was
gonna walk in o ha ba , gi e my daugh e he new ca keys and say,
“Honey, chug ha d ink.
We' e going o a spin.”
Humo ous elemen s:
H
DV:
Phil: Iba a se mi g an momen o
como pad e. Iba a en a en ese ba ,
da le a mi hija las lla es del coche y
deci “Guapa, acába e la copa que
nos amos a da una uel a”.
SV:
Phil: Iba a se un g an momen o/
como pad e.// Iba a en a al ba ,/
da le las lla es del coche…// y
deci : “Ca iño, acaba la copa./
Vamos a da una uel a”.///
375
Humo ous elemen s:
H
Humo ous elemen s:
H
Example 166
Season 6, Haley’s 21
s
bi hday
19:23-20:00
Phil: Now ha Clai e has a a oo I can inally ge one o my own! So I' e
been ying o hink o a ph ase ha sums up he way I li e my li e. I
don' hink small. I don' do hings hal way. I'm no a aid o aking isks.
Then I was ying o hink o he pe ec place o pu i . You know, you
don' wan o pu i on a body pa ha 's gonna w inkle o sag oo much.
And you don' wan i someplace whe e you' e wea ing a sui i would
show.
Clai e: T ue.
Phil: So, on my lowe back I will pu he wo ds “Go deep.” Bam.
Clai e: Think abou i .
Phil: I hea d i .
Clai e: Okay.
Phil: Um. “Do i .” No. “All in.”
Clai e: No, no. Phil.
Phil:
Oh!
Humo ous elemen s:
L
DV:
Phil: Aho a que Clai e iene un
a uaje, ¡po in puedo hace me uno!
Es oy pensando en una ase que
esuma mi ida. No pienso en
pequeño. No hago las cosas a
medias. No me da miedo asumi
iesgos. Y ambién en el si io
pe ec o pa a pone lo. Sabes, no
puedes pone lo en una pa e que se
a ugue o se quede lácida. Y no
con iene en un si io que al pone e
aje se ea.
Clai e: Cie o.
Phil: Así que abajo en la espalda
pond é las palab as “A ope”.
Bumba.
Clai e: Piénsalo.
Phil: Ya he caído.
Clai e: Vale.
Phil: “Hazlo”. No. “A ope”. No.
Clai e:
No, Phil.
SV:
Phil: Aho a que Clai e iene un
a uaje,/ po in puedo hace me
uno.// Es oy pensando en una ase/
que esuma mi ida.// Pienso a lo
g ande./ No me quedo a medias.//
No me da miedo el iesgo.// Y he
pensado un buen si io/ pa a
poné melo.// Un si io que no se
a ugue…// ni cuelgue
demasiado.// Un si io que no se
ea/ si lle o un aje.//
Clai e: Es e dad.//
Phil: En la pa e baja de la
espalda./ Y pond é: “Has a el
ondo”.// Toma.//
Clai e: - Piénsa elo./
Phil: - Me he dado cuen a.// “Hazlo
ya”. No.// - “A po odas”./
Clai e: - No. No, Phil.///
376
Humo ous elemen s:
L
Humo ous elemen s:
L
Example 167
Season 6, The day we almos died
06:18-06:27
Alex: And I need o s op aking sho s a you in elligence.
Haley: You don’ do i ha o en.
Alex: Well, you miss a lo o i . Oh, he e, I did i again.
Haley: Did wha ?
Humo ous elemen s:
H
DV:
Alex: Y engo que deja de me e me
con u in eligencia.
Haley: No lo haces an a menudo.
Alex: Bueno, muchas eces no e
en e as. Ay, lo he uel o a hace .
Haley: ¿El qué?
Alex: No impo a.
SV:
Alex: Tengo que deja de bu la me/
de u in eligencia.//
Haley: No lo haces an o.//
Alex: Muchas eces no e en e as./
Lo he uel o a hace .//
Haley: - ¿El qué?/
Alex:
-
Nada.///
Humo ous elemen s:
H
Humo ous elemen s:
H
Example 168
Season 6, The big guns
03:36-03:56
Jay: The kid's eady. Plus, i I'm being hones , I'm i ed o buying diape s.
Excuse me. Whe e do you keep he diape s?
Shop assis an : Righ o e he e, si .
Jay: You ying o be unny?
Shop assis an : We ha e la ge sizes.
Humo ous elemen s:
H
/ V
DV:
Jay: El cha al es á p epa ado y pa a
se since o es oy ha o de comp a
pañales. Pe dona, ¿dónde enéis los
pañales?
Vendedo : Po aquí, seño .
Jay: ¿Es una b oma?
Vendedo : Tenemos allas más
SV:
Jay: Es á lis o.// Y además es oy
ha o de comp a pañales.// ¿Dónde
es án los pañales?//
Vendedo : Po aquí, seño .//
Jay: ¿Te haces el g acioso?//
Vendedo : Tenemos allas
g andes.///
377
g andes.
Humo ous elemen s:
H
/ V
Humo ous elemen s:
H
/ V
Example 169
Season 6, The big guns
18:42-18:46
Mi chell: Coming up wi h a lie like ha in he momen -- Tha gi l is no
clown. She's gonna be a lawye .
Humo ous elemen s:
CSH
DV:
Mi chell: In en a se una men i a así
en un momen o, esa niña no se á
payasa.
Se á abogada.
SV:
Mi chell: Men i así en ese
momen o--// Esa niña no es una
payasa.//
Va a se abogada.///
Humo ous elemen s:
CSH
Humo ous elemen s:
CSH
Example 170
Season 6, Rash decisions
04:15-04:19
Clai e: Well, hello. How is you i s day back in he close ... business?
Humo ous elemen s:
L
DV:
Clai e: Hola, ¿qué al u p ime día
de uel a al a ma io... de la
emp esa?
SV:
Clai e: Hola. ¿Qué al u p ime
día/ de uel a en el sec o del...
a ma io?///
Humo ous elemen s:
L
Humo ous elemen s:
---
Example 171
Season 6, Valen ine’s day 4: wis ed sis e
00:09-00:13
Clai e: Wha abou he elec ician? Did you gi e him a check?
Phil: He's an elec ician. He'll cha ge us.
Humo ous elemen s:
L
378
DV:
Clai e: ¿Y el elec icis a? ¿Le has
dado el cheque?
Phil: No, que me da calamb e.
SV:
Clai e: - ¿Y el cheque al
elec icis a?//
Phil:
-
No, que da calamb e.///
Humo ous elemen s:
---
Humo ous elemen s:
---
Example 172
Season 6, Figh o ligh
01:02-01:13
Phil: I ha e o admi , I was a li le mi ed ha Clai e g abbed he good
sea especially a e I ga e he such a magical weekend. Bu I was
de e mined o s ay posi i e. And hen i hi me.
Humo ous elemen s:
L / V
DV:
Phil: La e dad es que me as idió
que Clai e se cogie a el si io bueno,
sob e odo después de un in de
semana an mágico. Pe o es aba
decidido a se posi i o. Y en onces
me en ó en la cabeza.
SV:
Phil: Me o endió que Clai e/
cogie a ese asien o...// después del
mágico in de semana.// Pe o me
man u e posi i o./ Y en onces
caí.///
Humo ous elemen s:
L /
V
Humo ous elemen s:
V
Example 173
Season 6, Close ? You’ll lo e i !
05:35-06:34
Manny: Mom, ha pe is ogling you again.
Phil: No! I was eading my ho oscope. “You will bo ow a huge swimsui
oday.” Wha ?
Glo ia: Ay, no! The plane! The plane! I 's always spying on me! Go away
o I'm gonna call he policeman!
Phil: Wow. Don' e en was e you ime, Glo ia. Johnny Law's go no
chance wi h ha baby. You' e looking a a F eeling Cloudgaze wi h
a e ma ke equency sc amble . Un aceable. As you can guess, I'm a
d one mysel .
Glo ia: Yes, you a e d oning igh now. Ay, i 's ge ing close !
Manny: Mom, maybe you should co e up.
Phil: No! Tha 's c azy. We can knock i ou o he sky. Manny, g ab he
hose.
Luke: I'll use his o blind i .
379
Phil: My eyes!
Glo ia: My eyes!
Phil: Oh!
Manny: And jus like ha , i disappea s.
Luke: In his de ense, he wa e 's eally cold.
Humo ous elemen s:
L / V
DV:
Manny: Mamá, ese pe e ido es á
espiándo e o a ez.
Phil: ¡No! Es aba leyendo mi
ho óscopo. “Hoy coge ás p es ado
un bañado eno me”. ¿Qué?
Glo ia: Ay, no, el a ión, el a ión
siemp e es á espiándome! Ve e o
llamo al seño policía.
Phil: Ah, ni e moles es, Glo ia. Los
pob es polis no ienen nada que
hace con a esa ma a illa. Es un
asal anubes con di uc o de
ecuencia. Es imposible de as ea .
Como e ás, me molan mucho los
d ones.
Glo ia: Sí, e molan demasiado. Ay,
¡se ace ca!
Manny: Mamá, es mejo que e
apes.
Phil: ¡No! Eso es idículo. Podemos
de iba lo y ya. Manny, coge la
mangue a.
Luke: Puedo usa es o pa a cega lo.
Phil: ¡Mis ojos!
Glo ia: ¡Mis ojos!
Manny: Y así, sin más, desapa ece.
Luke: En su de ensa, el agua es á
muy ía.
SV:
Manny: Mamá, e es án espiando
o a ez.//
Phil: ¡No! Leía mi ho óscopo.//
“Hoy e deja án un bañado
eno me”./ ¿Qué?//
Glo ia: ¡No! ¡El a ión!// ¡Siemp e
me es á espiando!// ¡Ve e o llamo a
la poli!//
Phil: No pie das el iempo.// No
pueden hace nada.// Es un
F eeling Cloudgaze / con
codi icado de ecuencia.// No
deja as o./ Me encan an los
d ones.//
Glo ia: Déja e de ecnicismos.// ¡Se
ace ca más!//
Manny: - Tápa e, mamá./
Phil: - ¡No!// Podemos apa a lo.//
Coge la mangue a.//
Luke: Yo lo deslumb a é.//
Phil: ¡Mis ojos!//
Glo ia: ¡Mis ojos!//
Manny: Y desapa ece sin más.//
Luke: En su de ensa, el agua es á
ía.///
Humo ous elemen s:
L / V
Humo ous elemen s:
L / V
Example 174
Season 6, Close ? You’ll lo e i !
14:19-14:24
Man: So y, go o un. Maya's eeling a bi e e ish.
Came on: Oh, well, I guess some people can' ake he hea .
380
Humo ous elemen s:
L
DV:
Homb e: Lo sien o. Tenemos que
i nos. Maya iene un pelín de ieb e.
Came on: Bueno, hay pe sonas que
no sopo an la p esión.
SV:
Homb e: Nos amos.// Maya iene
ieb e.//
Came on: Vaya, demasiada
p esión.///
Humo ous elemen s:
---
Humo ous elemen s:
---
Example 175
Season 6, Knock ‘em down
05:55-06:12
Haley: I 's 8:30. The doo s don' e en open o ano he hou .
Mi chell: Well, hen, wha a e you doing he e?
Haley: P egame! Moji os and cosmos, he d inks o you peoples.
Mi chell: All igh . Le 's ge c azy. I'll unco e he cheese.
Haley: So we'll mee my iends ou side he club a , like, 10:30.
Mi chell: 10:30?
Haley: Yeah, he band doesn' go on un il midnigh .
Glo ia: Midnigh ?
Haley: Okay, i you guys can' hea me now, we' e gonna ha e some eal
p oblems a he club.
Humo ous elemen s:
H
DV:
Haley: Son las 8 y media. Fal a una
ho a pa a que ab an.
Mi chell: ¿Y en onces qué haces
aquí?
Haley: El calen amien o. Moji os y
cosmos. Lo que beben los uyos.
Mi chell: ¡Vale! Una noche loca.
Voy des apando el queso.
Haley: He quedado con mis amigas a
las 10 y media.
Mi chell: ¿10 y media?
Haley: Sí, el g upo no oca has a las
12.
Glo ia: ¿Las 12?
Haley: Oye, si no me oís aho a,
amos a ene un buen p oblema en
el club.
SV:
Haley: Ab en den o de una ho a.//
Mi chell: - ¿Y qué haces aquí?/
Haley: - ¡P ecalen a !// Moji os y
cosmos:/ las bebidas de ues a
edad.//
Mi chell: Que empiece la ies a./
Saca é el queso.//
Haley: - Hemos quedado a las
22:30 h./
Mi chell: - ¿Las 22:30?//
Haley: - La banda oca a
medianoche./
Glo ia: - ¿Medianoche?//
Haley: Si no me oís aho a,/ en la
disco eca se á peo .///