Masaryk University

MASARYK UNIVERSITY

FACULTY OF EDUCATION

Department of English Language and Literature

BBC TV series Miranda: Analysis of the Czech Subtitles

Bachelor Thesis

Brno 2018

Supervisor: Author:

Mgr. Martin Němec, Ph.D. Markéta Kršková

Abstract

The thesis analyses selected episodes of the BBC television series Miranda and their Czech subtitles. In the first, more theoretically based part of the thesis, the author summarises the theory of translation focusing primarily on English to Czech translation and the translation strategies suggested for translations of the popular culture references, puns, regional dialects and fragments of colloquial English. In the next chapter, the attention is devoted to the subtitles and subtitling in general and in the Czech Republic. The primary aim of the analytical part is to contrast and compare selected parts of the Czech subtitles and the translation strategies used in the translation process. Two different sources created for the British TV series Miranda – the official subtitles by Alžběta Šáchová created for the Czech television and unprofessional subtitles by three amateur translators retrieved from titulky.com – are used for the purpose. The thesis shows the difficulties connected with the translation of the issues above while considering the rules of creating subtitles and maintaining the original meaning or impact on the audience.

Keywords subtitles, subtitling, puns, popular culture, colloquial English translation, translation

Anotace

Tato práce analyzuje vybrané epizody britského televizního seriálu Miranda a jeho české titulky. První část práce je věnována teorii překladu, především anglicko- českého a postupům při překladu odkazů na populární kulturu, slovních hříček neboli „puns“, regionálních dialektů a z části také kolokviální či hovorové angličtiny. Další kapitola se pak zabývá titulky, jejich postupy a překladem jak ve světě, tak v České republice. Hlavní náplní práce je analýza a porovnání vybraných částí českých titulků a také překladatelských postupů, kterých překladatelé ve své práci využívají. Autorka porovnává titulky ze dvou různých zdrojů vytvořené pro britský televizní seriál Miranda. Pro analýzu jsou použity oficiální titulky Alžběty Šáchové vytvořené pro Českou televizi a neprofesionální titulky tří amatérských překladatelů ze serveru titulky.com. Práce poukazuje na strasti spojené s překladem kulturně specifických referencí, slovních hříček, regionálních dialektů a hovorového jazyka s ohledem na pravidla pro tvoření titulků a zachování původního smyslu či efektu na diváky.

Klíčová slova titulky, titulkování, slovní hříčky, populární kultura, překlad kolokviální angličtiny, překlad

Prohlášení

„Prohlašuji, že jsem závěrečnou práci (bakalářskou, diplomovou, rigorózní, závěrečnou práci CŽV) vypracoval/vypracovala samostatně, s využitím pouze citovaných pramenů, dalších informací a zdrojů v souladu s Disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů.“

Declaration

I declare, I have written the Bachelor thesis independently using only the sources stated in the References and other information and sources consistent with the Disciplinární řád pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů.

Brno, 30th March 2018 ……………………………..

Markéta Kršková

Acknowledgements

I would like to thank the supervisor for my thesis Mgr. Martin Němec, Ph.D. for his patient guidance and valuable suggestions which helped me finish this work.

Table of Contents Introduction ...... 8

1. Translation Theory and Approaches ...... 10

1. 1. About Translation ...... 10

1. 1. 1. A brief history of translation approaches ...... 13

1. 2. Translation from English to Czech ...... 15

1. 3. Specific Issues of the English-Czech Translation ...... 16

1. 3. 1. Translation of popular culture...... 18

1. 3. 2. Translation of puns...... 19

1. 3. 3. Translation of dialects and colloquial language...... 21

2. Translation of the Subtitles ...... 23

2. 1. Audio-visual translation ...... 23

2. 2. Subtitles and subtitling ...... 24

2. 2. 1. Subtitles in the Czech Republic ...... 27

3. Subtitles Analysis ...... 28

3. 1. About the Series ...... 29

3. 2. Methodology ...... 30

3. 3. Translations of the Puns ...... 31

3. 3. 1. Homophonic puns...... 31

3. 3. 2. Homonymic puns...... 33

3. 3. 6. Paronymy puns...... 35

3. 4. Translations of Popular Culture References ...... 35

3. 4. 1. Song lyrics...... 35

3. 4. 2. Broadcasting...... 36

3. 4. 3. Literature...... 38

3. 4. 4. Famous people and characters...... 38

3. 5. Translations of Dialects and Informal Language ...... 39

3. 5. 1. Regional dialects...... 40

3. 5. 2. Tilly’s idiolect...... 41

Conclusion ...... 43

References ...... 44

Attachment – Translation Analysis Corpus – BBC series Miranda ...... 50

Introduction

In our spare time, we all want to have fun and relax. While some may choose a walk in a park or more adventurous pastime most of us will probably opt for a good film or series as the way how to spend our evening. Finding the best option for your taste can take some time but we are willing to undergo this distress to fulfil our idea of relaxation. How disappointing it is when you purchase the DVD and ready to watch find out that the Czech subtitles are just poor. The event may seem as obsolete nowadays as DVDs are not the only way how to watch films. The Internet offers many other options, though not all of them are legal, how to obtain the entertainment. If your English, however, is not strong enough you may find it distressing to find the good quality subtitles.

The reputation of subtitles in the Czech Republic is currently not excellent. Partially it is the problem of the predominance of dubbing and the audience faithful to the tradition of the Czech dubbing. With the upcoming dual broadcasting of the Czech television law which passed in the parliament in May 2017, it is supposed to change. The need for the subtitles created by professionals is bound to increase.

Watching a series now with amateur subtitles or even the professional ones may often arise more questions than answers. The rendering is not of a good quality and the intended jokes and references often lose their charm. While watching the BBC series Miranda I have been naturally interested in how the subtitles in the Czech would look like as the series is based, apart from the visual side, on the dialogues full of language specifics such as puns, slang, dialects, idiolects and cultural references. I have found the amateur subtitles on the Internet and shortly after the Czech television broadcasted the series with the professional subtitles. There were some differences between the quality of the subtitles, nevertheless, I had been more interested in the translation of the culture specifics, puns and dialect. I have created a parallel corpus of their translations from the first season of the series and I aim to analyse some of them in this thesis.

The thesis consists of three parts where the first two are mainly outlining the theoretical background for the translation issues which are to be observed and analysed in the analytical part. The first chapter provides the insight into the field of translation. To begin with, it offers the definitions of translation and apprises about the theory of

8 translation approaches. Subsequently, the translation from English to Czech is given attention and the history, as well as specific issues of the translation, are discussed. The second chapter is devoted to the topic of subtitling and subtitles. The audio-visual translation is elucidated ahead of the description and of the subtitling. The situation of the subtitling in the Czech Republic is also mentioned in this chapter. The third chapter contains the analysis of the subtitles with regard to the translation of puns, popular culture and colloquial language, more specifically the dialect and idiolect.

1. Translation Theory and Approaches

Preceding the analysis of the subtitles, it is crucial to understand the theory of the translation itself. The authors in the field are discussed, and their findings are reflected in the following chapter to define the issue of the translation. As the topic of the thesis is to analyse the problematic parts of the translation from English into Czech, it is advisable to focus on this specific translation process and the authors connected with it. The first part of the chapter observes translation in general while the second part consults mainly Czech authors in the field taking into account the essential works of the global value. In the third part of the chapter, the primary attention is devoted to the specific issues of the translator’s work and the approaches which may be applicable.

1. 1. About Translation If we attempt to define the translation, we often find that authors do not completely agree on a definition of the term “translation” or what exactly is a job of a translator. In English dictionaries, translation is described as either the process of “a rendering from one language into another” or “also: the product of such a rendering“, therefore the text in the target language ("Translation", n. d.). The source language (SL) is the label used for the language of the original text while target language (TL) is the language to which the text is rendered.

For the translators and later also for the theorists in the field, there was a need for more specific definitions of the concept of translation. Thus, we can learn more about their views of the translation aims, aspirations but also what to avoid from their formulations. In the Dictionary of Translation Studies, the term is given lengthy, up to date specification, where we can already notice the audio-visual translation which is covered in this thesis, in the opening paragraph they clarify (Shuttleworth & Cowie, 1997):

Translation An incredibly broad notion which can be understood in many different ways. For example, one may talk of translation as a process or a product, and identify such sub-types as literary translation, technical translation, subtitling and machine translation; moreover, while more typically it just refers to the transfer of written texts, the term sometimes also includes interpreting (Page 181).

Translation, as can be seen from the definition above, is not merely literal text but as a product can be categorised in several ways depending on the type of the text translated, approaches, strategies used, the target audience and as Jakobson suggests, from a linguistic point of view, based on the types of written translation. In his On Linguistic Aspect of Translation, he uses terms intralingual translation or rewording – for the translation within one language which may include paraphrase; interlingual translation or translation proper – for the translation between two different languages; intersemiotic translation or transmutation – for the translation of language into nonverbal signs such as pictures, gestures and others (Jakobson, 2000). In this thesis, we are mainly concerned with the interlingual translation which Jakobson above marks as “translation proper”.

Translator’s pursuit and aims had been widely described by the scholars from different points of view. According to Levý, these descriptions all covered similar standards before the advent of translation theory. Translator’s work had been defined mainly by the three general rules, though often hidden in different formulae by the scholars and translators. In Umění překladu (2012), Levý phrases them as follows, here translated:

The translator must know:

• the source language, • the target language, • the message of the source text (i.e. background cultural studies, author’s particularities, or the field of study in case of specialised literature) (Page 21).

These rules can be even nowadays seen as the essential base of the translation process although, after the further development in the field and the era of translation theory we already know more aspects of the translation must be taken into account – register, genre, culture, the function of the text, and others. Levý acknowledges the more complex requirements and enriches these rules to create insight into translator’s work process when he talks about: understanding the original, interpretation of the original and rewording of the original in greater detail (2012, Pages 50-77).

Translator’s work was seen more critically by Venuti. In The Translator's Invisibility: A History of Translation we learn about his concerns related to the 11 perception of the role of the translator. He comments, for instance, on the fact that authors of the translations are often missing on the covers of the books (similar situation as with the subtitles translations in 2.2.1.). Among others, he also criticises the “invisibility” of the translator’s work or “domestication” of the translation where the nature of the SL or text is suppressed by the use of elements typical of the TL to ensure fluency or understandability of the text (Venuti, 1995/2008).

The name of the main inter-discipline concerned with translation – Translation Studies – was coined by James Holmes in 1972, his work The Name and Nature of Translation Studies published later in 1988. Holmes attempts to define the primary concern of the translation as a field of study and prove it is not detached from the other areas of study (1988). Disciplines such as philosophy, linguistics, literary studies, cultural studies or language engineering are also reflected in the approaches to both translation theory and practice. For instance, philosophical views caused a stir in the translation theory as philosopher Quine in Word and Object contemplated on the various aspects of "radical translation" and on whether the translation is even able to maintain the original meaning, suggesting that translation between languages is not possible (1960/2013). Translation theorists strongly disagreed with his work as it would disintegrate the whole field of the translation studies.

Translation strategies as a part of the process of translation are a complicated procedure involving a great deal of decision making. As the translation strategies focused on rendering specific translation features are covered later in this chapter here we will observe the main principles of the translation process and its focus. As Jakobson claims “all cognitive experience and its classification is conveyable in any existing language” (Jakobson, 2000). The primary question of the translation is the rendering of the “form” of the SL text and the “content” of the SL text. Sense/content is possible to translate while the form is often connected with the untranslatability into TL. Even though they date as far as at the very beginnings of the translation (Cicero and St Jerome see in 1.1.1.), the decisions between strategies of “literal” – word-to- word translation and “free” translation are still discussed part of the translation process. Terms of comprehensibility and translatability are closely connected notions reflect the difference between faithful translation and the differences between the languages – message of the SL can be translated in the terms of grammar, syntax or have an equivalent expression in another language yet its meaning may differ and

12 therefore be incomprehensible for the reader of TL. It’s translator’s responsibility to reduce such cases as mentioned above and decide which strategies to use (Hatim & Munday, 2004).

1. 1. 1. A brief history of translation approaches The field of translation has undergone a number of changes of views and approaches over the years. Until the 1960s, however, there is a lack of complex theoretical background for the field of translation, and the emphasis is placed on the aesthetic aspects and the practice of translation. Together with the theory of translation appears the linguistic approach to translation which is later replaced or rather supplemented by the pragmatic approach.

Literal “word-for-word” translations are put into contrast with the free “sense- for-sense” translations since Cicero (106 BCE-45 BCE) and St Jerome, at the turn of 3rd century AD, and lay the base for the modern theories of translation (Munday, 2008, Page 19). Newmark calls this era “pre-linguistic period of translation” (1981). A widely discussed issue in the translation studies of the 1960s and 1970s, equivalency, is present even in the works preceding the beginnings of the translation theory, nevertheless, it is only after this period when the findings on the matter are greatly valued for their complexity. Equivalency in the field of translation is understood as the similarity between the words in the source language (SL) and the target language (TL). The rendering of the entire message from the SL into the TL, despite the differences in grammar structures of those languages, is also subject to the dispute.

In the second half of the 20th century, we notice a change in the field of translation as a new approach to the translation – linguistic approach – gains on popularity. One of the pioneers of this new approach is Catford who, in his A Linguistic Theory of Translation, defines the new term “translation shifts” as the deviations from the generally accepted precise translations. He divides translation shifts into two categories where the first are the “level shifts” which occur when there exists an equivalent in the SL though not on the same linguistic level. The second “category shifts” are further divided into structure-shifts, unit-shifts, class-shifts, intra-system shifts and these occur when there is no equivalent in the TL, but the structure is similar (Catford, 1965/1978).

Another term which is known today as “functional equivalence”, is a newer version of Nida’s original one – “dynamic equivalence”. They both mark the translation with the emphasis to the meaning and thoughts, which does not tightly follow the literal meaning of the text in SL, and aims to receive the same reaction of the target audience. The “functional equivalence” functions in contrast with the “formal equivalence” or “formal correspondence” which attempts to translate both the message and the form of the SL text into TL as accurately as possible, albeit, as Nida explains this may cause a different reaction of the target reader (1964/2003, Page 159) (Nida & Taber, 1969/2003).

Nida, despite his contribution to the field of translation and derivation from the more traditional word-to-word view of translation, is criticised by some scholars (Gentzler, 2001) for his attempts to create a more scientific-like view of the translation and based on Chomsky’s syntactic structure (1965) offers systematic rules to translation (Nida & Taber, 1969/2003).

In the late 1970s, a new approach to translation appears in Germany – “skopos theory” (Vermeer, 1978). This approach means a shift from the, so far generally accepted, linguistic approach and focus on equivalency. The nature of the skopos theory lies in the functional and sociocultural translation as it aims to include cultural aspects and the designated function of the target text. It is requisite to add that the skopos theory deviates from the standard translation and leans more towards the “adaptation” of the source text to the purpose of the target text (Schäffner, 1998). Translation is at this time not seen as a set of rules to obey but as a human process of making decisions.

The new orientation of the translation appears in the 1980s when a pragmatic aspect of equivalence is given the major role. Snell-Hornby introduces an “integrated approach” which aims to diminish the differences between the linguistic and literary approach to translation (1988). She criticises the equivalence, and mainly Catford’s (1965/1978) feeble justification of his findings of the translational equivalence. According to Snell-Hornby, it is necessary to translate culture as well as other aspects of the language into the TL. Prior to translation, it is important to identify the key cultural aspects; considering the target audience translator then decides which aspects to preserve. Translation of these aspect means a partial loss of some parts of the text

14 which and inevitable due to the differences between SL and TL, nevertheless, the translator should try to diminish them (Snell-Hornby, 1988). The importance of the culture as a part of the translation is one her key ideas and she coins a new term “culture turn” in Translation Studies (Snell-Hornby, 1990).

1. 2. Translation from English to Czech Translation from foreign languages into Czech was present in the lands our country was part of for decades and possibly whole centuries. As the political structure of the country was frequently changing in the past centuries, the importance of the interpretation of other languages cannot be denied. As far as translation from English to Czech is concerned, there is no evidence about when precisely the first translations of this kind appeared. The Bibliography by Tichý suggests that one of the first translations appeared as early as in the 16th century ("Bibliografie A. Tichého", 1988). Nevertheless, as there was no further evidence found by his successors, this entry in The Bibliography may be regarded merely as speculation.

The period which indicates the beginnings of the English-Czech translation is the end of the 18th and beginning of the 19th century, although the current situation of the Czech, language of the minority in the Habsburg monarchy (later Austro- Hungarian Empire) at that time, did not enable translation to flourish until the Czech National Revival. It is only after this period when scholars register increase in the translations of English works to Czech. The most prominent works were those of drama, as for plays there was the most suitable time, according to Levý, as they were based on the colloquial language (1996, Pages 89-90).

The approaches to the translation were, until the second half of the 20th century, mostly empirical in our country as the only theoretical fragments could be found in the essays or in the translators’ prefaces to their own translations of books. The beginnings of the theory of translation in Czechoslovakia are closely connected with the names of Levý and Popovič. They created a base of the translation theory and in a way to a translation analysis. Levý introduced translation as a “decision-making process” (1967). What is often highlighted is Levý’s vision of translation as a set of rules in the game of chess, where there is a definite number of steps or moves to a successful translation and it is on translator which alternatives he/her follows (1967). At the end

15 of his, work Levý coins a term “minimax strategy” for the translator’s attempt to achieve maximum impact with a minimal effort (1967).

The 1970s and 1980s are connected mainly with the ideological issues Czechoslovakia. The translation of foreign literature is, nevertheless, needed and we can notice that the financial support of the state translation brings, apart from the ideological literature, also some valuable titles of the world literature. The translation at this time is prevailingly literal with less attention to non-literary translation. Raise of all kinds of translation, including the field of non-literary translation, may be seen after 1989 when there was a need to fill the gap in the country’s perspective and economy (Kufnerová & Osers, 1998, Pages 376-382).

Currently, the translation studies and related studies are taught at universities in Prague (UK), Brno (MU), Olomouc (UPOL) and Ostrava (OSU) ("Vysoké školy", c1998-2018).

1. 3. Specific Issues of the English-Czech Translation In previous parts, we had summarised or rather reflected on the translation and its aspects from different points of view. From the purely theoretical part of the thesis, we will now move to more specific area. As can be seen from the theory and approaches above, translation is a complicated process including many various aspects. In this subchapter, we are focusing on the translation process and the difficulties the translator must deal with to create a successful translation between English and Czech.

One of the first issues for the English-Czech translator is the nature of the two languages. Knittlová exclaims that when looking for the equivalents between English and Czech, there is only a narrow selection of the full or absolute equivalents. This absence of equivalents is caused not only by the different nature of the languages (Czech as an inflective synthetic language and English as an analytical language) but also by the different cultural, historical, geographical and social backgrounds of the two languages. Further, the languages have distinctive traditions, usage, collocations and phraseology. The most represented equivalents are the partial ones, which share similarity to some extent. Further, there are also zero equivalents where there is no similarity at all and the word is not possible to render this way – translation shift is inevitable (Knittlová, Grygová & Zehnalová, 2010, Page 41).

The absence of an equivalent in TL may be resolved several ways. In general, we can say that basic procedures – shifts – used for this purpose are more or less based on the seminal Vinay and Darbelneta’s taxonomy published in French in 1958 here in the revised English translation (1995):

Direct (literal) translation:

1. borrowing – i.e. use of the original SL word adapted to the use of TL (marketing – marketing), 2. calque – i.e. literal translation of the expression, which does not exist in TL (computer mouse – počítačová myš), 3. literal translation – i.e. word-for-word translation, most effective with the languages with similar structure and culture

Oblique (free) translation:

4. transposition – i.e. change of grammar structure due to the different language system, no change of meaning (His name is… - Jmenuje se…) 5. modulation – i.e. change of the viewpoint, when the literal translation would sound “unidiomatic” or awkward (rubber band – gumička instead of gumová páska) 6. equivalence – i.e. stylistic and structural change used for idioms, proverbs, not equivalence as such (Break a leg! – Zlom vaz!) 7. adaptation – i.e. substitution or change of the cultural references (NHS – zdravotní pojišťovna?) (Vinay & Darbelnet, Sager, Hamel, 1995)

Later these terms were updated by scholars and enriched by some new expressions. These are not the only strategies used by translators, nevertheless, they propose the basis for later studies. The strategies we are to see in next subchapters (i.e. 1.3.1., 1.3.2 and 1.3.3.) share some aspects of the above-mentioned translation shift strategies, yet they are usually adapted for the translation of the specific issue.

There are many problems Czech translators must struggle with when translating into English. The structure of the language and lexis we have already mentioned, apart from these there are requirements for style and genre which may differ for each of the languages, and the idea of the final translation as a product.

The thesis will now focus on the specific issues – translation of culture, puns and specific linguistic feature dialect – and their translation strategies. The use of the strategies will be monitored in the analysis part so as to map their use and difference in selection of a professional and amateur translator.

1. 3. 1. Translation of popular culture. The phrase “popular culture” is described in Collins English Dictionary as "the general culture of a society, including ideas, music, books, and the mass media, as opposed to high culture" ("Popular culture", 2018). Importance of translating culture together with linguistic and semantic proprieties of the text had been already discussed. Though the technology and the Internet grow and enable some kind of expansion of interculturalism, the issue of the translation of the culture and more specifically popular culture still prevails. The fact that the term culture itself is perceived differently in English and in Czech highlights the problem itself.

The key aspect of the translation of culture is translator’s ability to understand its essence and nuances. The translator, therefore, must be thoroughly familiar with the culture of the SL to spot the culture specifics and then render or alter the information for the TL recipient. As Snell-Hornby states, some aspects of the culture- specific information (i.e. connotation, dialect) will be missing in the TL as it is not possible to render the whole cultural message (1988). The translator should, nevertheless, select an item of culture appropriate for the TL text and render it based on the needs of the target audience. The important term here is a pragmatic equivalence.

Translation strategies of culture specifics can be of more kinds. Knittlová mentions more of them (2010). The broader theme of “foreinification” and “domestication” was introduced in The translator's invisibility by Venuti (1995/2008). Venuti regards “domestication” (i.e. adjustment of the SL text for the TL recipient) as unsolicited and prefers “foreignization” (i.e. preservation of all the aspects of the SL to the detriment of the fluency and readability of the TL text) (1995/2008).

Hervey and Higgins emphasize the importance of translation of the culture of the SL, albeit, their approach is not as intrusive as that of Venuti. They admit a certain degree of non-correspondence between SL and TL and call the translation shifts “cultural transposition” (1992). In Thinking translation they offer five strategies of

18 shifts from the literal translation of culture (Hervey & Higgins, 1992), examples in parentheses from the corpus in the Attachment:

1. exoticism – i.e. use of the SL word without change or with minor changes indicating the pronunciation (to Henley Regatta – na Henley Regattu) 2. cultural transplantation – i.e. substitution of an expression in the SL with an expression of similar connotation in the TL (Fiona Bruce – Marcela Augustová) These first two strategies are the extreme ones and they place these in between: 3. cultural borrowing – i.e. the word of the term from SL just as it is (aerobic) 4. calque – i.e. literate translation of the expression non-existing in TL (not in corpus – skyscraper – mrakodrap) 5. communicative translation – i.e. accepting the different use of language (News just in. – Přináším čestvé zprávy.)

In the analysis, these will focus on the use of these where the equivalent in the Czech is missing.

1. 3. 2. Translation of puns. Word “pun” is often used interchangeably with the word “wordplay”, for instance, Delabastita uses the terms as synonyms (1996). In Collins English Dictionary pun is defined as “the use of words or phrases to exploit ambiguities and innuendoes in their meaning, usually for humorous effect; a play on words“ ("Pun", 2018). Puns may be used for humorous effect, yet they are not limited to this one meaning. Opinions on puns are very different while some regard them, as Freud in Jokes and Their Relation to the Unconscious: ”the lowest form of a verbal joke, probably because they are the cheapest” (1960) others admire them as the highest form of amusement ("Alfred Hitchcock", 1972). Puns are also associated with famous writers such as William Shakespeare who is known for his use of puns as a literary device.

Use of the puns is not limited to literature, they are used in television and in the real life too. Some puns have an undeniable comic effect and intend to amuse while others may function as a rhetorical device. At the date, this thesis is written pun is quite a popular judging from the articles written on its justification. In Britain, the form of

19 jokes is slightly different, and the pun is some form is used, depending on the audience, quite often.

Puns can be classified based on various aspects. Delabastita lists puns according to the way in which they can be similar, or which may cause their ambiguity. Based on the level of sound and spelling he offers four types, examples in the parentheses are retrieved from the corpus for the subsequent analysis (Attachment):

a) Homophony – identical pronunciation, different spelling (i.e. they arrrrrr – they are) b) Homography – identical spelling, different pronunciation (not in corpus, i.e. bow /baʊ/ - bending one's head and bow /bəʊ/ - weapon) c) Homonymy – identical spelling and pronunciation (i.e. cockup – cock up) d) Paronymy – slightly different spelling and pronunciation (i.e. elegant – elephant) (Page 128)

In Delabastita’s publication puns are further divided into vertical or horizontal. Horizontal pun uses repetition of the ambiguous word or phrase to hint the recipient there is a second meaning (i.e. cockup in Entry 1 in the Attachment) on the other hand vertical pun is more demanding on understanding as the effect is usually triggered by the context (i.e. they arrrrr in Entry 31 in the Attachment) (Delabastita, 1996). For the purpose of our analysis, we will work only with the four essential groups of puns as stated above.

Puns are often connected with the term “untranslatability”. This is caused mainly by their nature, but also by the syntactic structure. As for the translation of the pun, Delabastita consider wordplays (puns) not possible to translate – at least in terms of equivalence – and suggests their substitution with another pun in the TL instead: "the only way to be faithful to the original text (i.e. to its verbal playfulness) is paradoxically to be unfaithful to it (i.e. to its vocabulary)" (1996, Page 135). For the translation of puns Delabastita offers eight “translation techniques”:

1. PUN > PUN: some aspects of the SL pun are conveyed in the TL pun i.e. formal structure, semantic structure, or lexical function;

2. PUN > NON-PUN: in this type, translator either chooses to render both meanings of the pun or selects one of the meanings to translate with a non- punning phrase; there is also a third option when both meanings are translated "beyond recognition"; 3. PUN > RELATED RHETORICAL DEVICE (RRD or punoid): the pun is not preserved; alternatively, a rhetorical device is used in place of it, (repetition, alliteration, rhyme, referential vagueness, irony, paradox, etc.); 4. PUN ST = PUN TT: translation of the pun as it is without adding or omitting any part of the SL text; 5. PUN > ZERO: pun is completely omitted; 6. NON-PUN > PUN: to compensate for a pun lost somewhere in the text, preceding or following the part, the translator may decide to use pun where there is no pun in the SL; 7. ZERO > PUN: pun created in the TL without any apparent reason or evidence in the SL text; 8. EDITORIAL TECHNIQUES: translator's additional technique to explain or comment on the translation (1996, Page 134).

Delabastita also mentions these strategies are not mutually exclusive, hence it is possible to combine two or more strategies where necessary (1996). In the analysis, we are going to determine which of these strategies were used by the professional translator and which ones by the amateur translators when rendering the four types of puns mentioned above.

1. 3. 3. Translation of dialects and colloquial language. Literary genres that include dialects are, according to Newmark, one of those which suffer the greatest loss in the translation (1988). As dialects are specific to a geographical area and may differ in lexis, grammar or pronunciation the question of their translatability is irrelevant. Newmark suggests that translator must decide what is the function of the dialect in the source text before any attempts to translate it (1988).

The specific type of dialect is “idiolect” defined as “the variety or form of a language used by an individual“ ("Idiolect", 2018). In case of the series Miranda, this is the instance of Tilly and her specific way of using speech and her selection of lexis.

In this case, the idiolect is an important part of the TV series and is referred to constantly by the characters – the translation is therefore desirable.

In some instances, the use of the dialect is merely to give an example of language in which case the translator renders the word naturally – without hints of dialect – and explains why it is specific, this is a multilingual appearance. When dialects occur in drama (or in our case film) they most often show or stress: slang, social class contrast or local cultural features (Newmark, 1988).

The question of "untranslatability" is connected with the rendering of dialects into other languages as the pragmatic aspect can never be fully achieved in the TL. Newmark warns that translator should only use dialect he/she is familiar with to avoid any awkwardness (1988). Knittlová calls dialects, slang and jargon “substandard” and suggest their translation with caution (2010). She agrees with Newmark that translation SL dialect with TL dialect may evoke negative connotation. Instead, she draws two principles for the translation (Knittlová, Grygová & Zehnalová, 2010) plus one from Jäger (1975):

1. principal – partial reproduction of the pragmatic aspect and full semantic translation. Slang and dialect of the SL are replaced by colloquial word/s of the TL with identical semantical information. Although, in the case of colloquial language, reduction of the pragmatic aspect would denote the rendering by the neutral words which would lead to failing to reproduce the pragmatic aspect and preserving the semantic one exclusively.

2. principal – detachment of the semantical and pragmatic aspect. In case the dialect functions as the implication of the character’s social class, mood or surroundings. The translator here can use specific words elsewhere in the text of the TL, the translation of the pragmatic aspect will not be fulfilled completely yet will indicate the intentions of the author.

3. As the third kind of strategy, Knittlová mentions Jäger’s “compensation” where the pragmatically neutral word in the SL is substituted by the pragmatically marked equivalent in TL and vice versa. Pragmatic aspect is therefore preserved though in another word (Pages 106-107).

In the analysis, these three suggested strategies will be observed and detected.

2. Translation of the Subtitles

The following chapter aims to define the audio-visual translation (AVT), under which subtitles can be classified, and the topic of subtitling. The rules of the subtitling and the way how they limit translators of the subtitles are mentioned. As there are not many Czech authors concerned explicitly with the subtitling so far, it is vital to apply the findings of the subtitles translation from other works. Authors in the field such as Gottlieb (1994), Diaz Cintas (2010), Ivarsson & Carroll (1998), Luyken et al. (1991) and some others are consulted to clarify the matter of subtitling and hereby create a base for the analysis. In the Czech Republic, a rare publication covering the topic of subtitling, Titulkujeme, profesionálně by Pošta (2012), serves at the end of the chapter as an insight into the Czech subtitling situation in the 2010s.

2. 1. Audio-visual translation Audio-visual translation, also AVT, is one of the newer forms of translation studies that is prominent only since the 1990s. Some signs of the modes of AVT can be found earlier at the beginning of the century focussing on the intertitles in silent films. Later, in the 1920s, the rising popularity of “talking movies” commence this new form of translation; various modes are tested to ascertain the most suitable modes for translation of the films into foreign languages subtitling and dubbing (Remael, 2010). As the AVT is associated with the technology, its central growth binds to the expansion of the computers and film industry, DVD technology and the Internet.

Audio-visual translation relates to the films, plays, opera, video games or hypertexts and other products which are intended to be heard and seen at the same time ("Audiovisual translation", 2009). Subtitling and dubbing are nowadays considered the primary AVT modes together with a slightly different mode of AVT – voiceover – preferred in some countries. Choosing between the modes of AVT is mainly connected with the country's preferences (often tradition), economic and other ideological or pragmatic aspects (Remael, 2010).

Dubbing is a type of AVT which uses the audial channel for the translation while subtitles use text and visual form, the third form of voice-over is less common but works on the audial channel similar as dubbing. In dubbing the original sound track of the programme is substituted by a new track with dialogues translated into TL, the aim of dubbing is to function as the original sound and lip synchronization is a crucial

23 part of its success. With subtitling the original audio track as well as the visual image remains intact and the written text of the dialogues and sounds complements them. In case of voice-over, the original track is still audible, yet it is suppressed by one person’s narration in the TL (Chiaro, 2009). All types of AVT are constrained to some extent as they must correspond with the visual image of the original plus translate:

1. highly culture-specific references (e.g. place names, references to sports and festivities, famous people, monetary systems, institutions, etc.); 2. language-specific features (terms of address, taboo language, etc.); 3. areas of overlap between language and culture (songs, rhymes, jokes, etc.).

There are advantages and disadvantages for each of the AVT types. Dubbing is more complex and time-consuming and therefore more expensive than subtitling, on the other hand, the audience is not disturbed by other elements as in case of subtitles and they can immerse in the plot. There are countries where dubbing is the prevailing type of the AVT such as France, Italy, Germany and Spain (Chiaro, 2009). Nevertheless, Chiaro implies that dubbing was or still is considered less prestige than subtitles, as an example, he adds that beginnings of dubbing in Italy related, besides others, to the high illiteracy of its people (2009).

For comparison here are some features of subtitling. Subtitles are cheaper to produce as they are less time consuming than dubbing. Subtitling is often linked with the learning of languages and the most beneficial part of subtitles is considered the fact that the original programme with the sound remains intact. On the other hand, the audience might find the subtitling distracting in action scenes. Subtitles, even though they are formally written text, often subdue the actual rules and benefits of the written text in order to meet other requirements (Chiaro, 2009).

In the field of AVT, it is not possible to determinate which option is the correct one as this is mainly a question of taste. Also, we cannot claim that either or subtitles are less important as both types require skilful realization and timing in order to function properly. Dubbing and subtitles have its customers and audience and it is presumable they will both keep it even in the future.

2. 2. Subtitles and subtitling Subtitling is, similarly as dubbing and voiceover, kind of AVT and can be obtained either from written or spoken text. The audio-visual translation with its modes 24 and principles are described above; here we concentrate on the technical and linguistic dimensions of the subtitles, their types and strategies including also their translation. In the subchapter 3. 2. 1. the current situation of subtitling in the Czech Republic is observed and described.

The most prominent feature of the subtitles is that they are merely accompanying the original programme and therefore, on the contrary of dubbing, maintain to keep the sound of the original as it is without any changes for the target audience. Every subtitled programme consists of three parts – the original word in sound or writing, the original image, and the subtitles (Díaz Cintas, 2010). The process of subtitling can be defined as Díaz Cintas (2010) suggests:

subtitling consists in rendering in writing the translation into a TL of the original dialogue exchanges uttered by the different speakers, as well as of all other verbal information that is transmitted visually (letters, banners, inserts) or aurally (lyrics, voices off). (Page 344)

The product of subtitling – subtitles – are a form of written text and Díaz Cintas summarises that: “subtitles do not contain more than two lines, are displayed horizontally – usually at the bottom of the screen […] and appear in synchrony with the image and dialogue” (2010). Standard time for a viewer to read the two full lines of 35 characters was estimated to be 6 second, nevertheless, with the new generation of viewers the reading speed appeared to be too slow and it is not uncommon now to leave the “two-liner” on screen for maximum of 5 seconds (Díaz Cintas, 2010)

Subtitles can be categorised from several perspectives. From the technical point of view, there are either open or closed subtitles. In the first type, subtitles are a part of the image and therefore cannot be turned off such as in the cinema; the second type are the subtitles on DVDs where the viewer can opt whether to have the subtitles turned on or off (Ivarsson & Carroll, 1998, Pages 12-19). Depending on the way they appear on the screen there can be distinguished pop-on subtitles – they appear as a block and off, horizontally scroll or roll-up subtitles. From the linguistic perspective, subtitles are either “intralingual” or “interlingual”. Intralingual subtitles share the language with the original programme, and they can be adapted for an audience with a hearing impairment. The interlingual subtitles include translation from the SL programme audio or text into the TL subtitles (Díaz Cintas, 2010, Page 347).

While Lunkyen et al. (1991) talks about “audiovisual language transfer” in connection with the film translation, and indirectly subtitling, Gottlieb (1994) perceives interlingual subtitles as a kind of “diagonal translation”. What he implies with this term is that there occurs a kind of double translation – from the speech of the SL into the text of TL (as opposed to “horizontal translation” – where speech is interpreted to speech or written text rendered into written text). Based on this observation Gottlieb regards subtitling as a form of Jakobson’s “intrasemiotic” translation (mentioned in subchapter 1.1.) (1994).

The technical side of the subtitles is nowadays connected mainly with subtitling programs as they can ease the subtitler’s “synchronisation process” known as spotting, cueing, timing or originating. The problem of restriction to a specific number of characters per one line (35, 39, 43) is partly diminished by the subtitling programs as they work with pixels instead of characters and distinguish the proportions of individual letters for viewers comfortable reading (Díaz Cintas, 2010).

Technical requirements of subtitling are what makes subtitling so different from other types of translations, yet the linguistic dimension is also affected. While for the translator of the literary or technical text there is a space to render all necessary parts of the SL without space restrictions, subtitlers are limited by various constraints. Díaz Cintas and Remael comment on the variety of subtitling styles which depend on the customer and genre yet in general “[g]rammar and lexical items tend to be simplified” (Díaz-Cintas & Remael, 2007). This is however merely one feature of subtitles as there are constraints in many other levels.

As a summary of such constraints might be seen in the Code of Good Subtitling Practice by Ivarsson and Carroll (1998). To name some of their “rules”, they mostly emphasize the importance of a quality of translation with “due consideration of all idiomatic and cultural nuances”, “the language register [corresponding] with the spoken word” or coherence of dialogues where compression is inevitable. And probably the most importantly: “There must be a close correlation between film dialogue and subtitle content; source language and target language should be synchronised as far as possible.” (Ivarsson & Carroll, 1998) In Subtitling Norms for Television Jan Pedersen offers updated insights into subtitling norms for the era of mobile technology (2011).

There were some disputes whether subtitling should be considered translation, as the technical side is so dominant that the translation itself loses on credibility, also it is of multimodal and semiotic nature (Remael, 2010). Subtitles, even though they are written text, do not follow the same pattern and consequently, in translation lose the benefits of the written text.

There is certainly a difference between professional and amateur subtitles. While the professional subtitlers usually have many years of practice and are trained in the matter, an amateur creator of the subtitles can be anyone interested in the field with a certain language knowledge. Fansubbing or amateur subtitling cause a stir in the field as they often ignore formal subtitling conventions and “push[…] the boundaries of creativity” (Díaz Cintas, 2010).

As Díaz Cintas stresses, the amateur subtitling or fansubbing, spreads also due to the technology development (2010). The creation of the subtitles is considerably eased by the software specifically intended for subtitling. Programmes for creating subtitles are either paid or free depending on their quality and functions (Díaz Cintas, 2010). The most basic functions provided by free subtitling programmes include tools for timing, an indication of the number of characters on the line, switching between languages, change of the format and encoding, online translation dictionaries or spellcheck.

2. 2. 1. Subtitles in the Czech Republic

Subtitles in the Czech AVT has yet to come to the attention. The Czech Republic prevails to be mostly dubbing-oriented as can be seen from the studies and thesis on the topic. Ultimately, even an independent observation of the Czech television broadcast indicates supremacy of the dubbed versions of the foreign production and scarcity of the dual broadcasting (as for instance HBO). Majority of the TV channels in the Czech Republic opt for dubbing even despite the higher costs. So far, the only publication concerned explicitly with the subtitles and the process of their translation into Czech is Titulkujeme profesionálně by Miroslav Pošta (2012) which is the primary, literary source to help us assess the situation of subtitling in the Czech Republic in this subchapter.

In the introduction, Pošta comments on the shortage of literature in the field of subtitling in the Czech Republic and its correlation with the low quality of the Czech

27 subtitles. He criticises the unconcern of the professional translators and what is more the production companies who devote little attention to the quality of the Czech subtitles, primarily those on DVDs. As Pošta claims the low quality of subtitles does not relate to those produced by Czech Television or those used in cinema projections which are usually of good quality (2012).

What may surprise is Pošta's view of "fansubbing," i.e. unofficial subtitles created for a film or series often connected with its illegal copies accessible on the Internet. He assesses such subtitles created by amateurs in our country are in many cases more technically developed than those "professional" created available on DVDs (Pošta, 2012). The occurrence of such subtitles may suggest some people prefer the original sound with subtitles to the dubbed version.

The Czech Republic is not an exception and even here subtitling is often connotated with the knowledge of languages. In 2017 subtitling was widely discussed in the Czech mass media as the new law passed through the parliament stating Czech television must provide dual broadcasting. In the upcoming years, 2018 – 2020, Czech television plans to start the trial version. It is believed that enabling Czech viewers to choose between the original with subtitles or the dubbed version will help to motivate language learning in the Czech Republic (Macková, 2017). This new turn in the Czech Republic could possibly increase the interest in the field of subtitling.

3. Subtitles Analysis

Previous chapters are not at all exhaustive at the central topics as they are merely outlining the issues for the reader before the following analysis. The analysis focuses on the translation of the popular culture references, puns (also wordplays) and dialects as a part of the colloquial language (all discussed in detail above) in the subtitles to the BBC TV series Miranda depicted below. Original subtitles provided by the BBC are compared with its two Czech translations – first by Alžběta Šáchová created for the Czech Television and the second retrieved from the Czech subtitle website titulky.com – and translation processes are identified. The amateur subtitles from titulky.com for the first season of the show were created by the users with nicknames NeroF (2011a; 2011b; 2011c), Vera.Luna (2011) and Sidi07 (2012a; 2012b). The author of the subtitles’ version is specified for each example in the text.

3. 1. About the Series The TV series Miranda written by a British comedian Miranda Hart was produced between years 2009 and 2015 by the BBC. The sitcom casts Miranda Hart herself in a partly autobiographical story about a clumsy tall woman in her thirties who is often called “Sir” by random people. The main character speaks to the audience imitating a stand-up comedy show format and narrates her own story. The social class plays its role in the story and even though the exact town is not revealed it is mentioned throughout the series that it is set in Surrey, England. ("Miranda (TV Series 2009– 2015) - IMDb", n.d.)

The story begins with Miranda buying a joke shop and hiring her childhood friend Stevie, portrayed by Sarah Hadland, to manage it. Miranda’s mother Penny, played by Patricia Hodge, is disappointed by her daughter’s life decisions and pursuits to find her a husband and proper job the whole series. Miranda’s old love from the university, Gary Preston played by Tom Ellis, returns from his travels in the first episode to work as a chef in the nearby restaurant owned by Clive (James Holmes). ("Miranda (TV Series 2009–2015) - IMDb", n.d.)

The BBC Two and BBC One aired 20 episodes of the TV series altogether in 3 seasons, 2 Christmas specials and two episodes of the Finale specials between 9th November 2009 and 1st January 2015. In the first season and first six episodes of the sitcom, examples from which are to be analysed, the main character Miranda finds herself in awkward situations as she attempts to get closer to Gary. Miranda despite her upper-class family background and accent fails to behave properly in formal situations and tends to lie, sing or make inappropriate jokes when least desirable. “The girls” how Miranda calls her old friends from the boarding school Tilly, played by Sally Philips, and Fanny, played by Katy Wix, come as well as Miranda from upper- class families and they make her life even more complicated reminding her of all her flaws and misbehaviours. ("Miranda - BBC1 Sitcom - British Comedy Guide", n.d.)

The humour of the sitcom lies, apart from its visual appeal to the audience, in the language and its usage. Characters embrace jokes, wordplays, puns, dialects, popular culture references, obvious or even bizarre lies to maintain the wit and humorous tone of the show. The live audience laugh accompanies these and therefore pre-indicates for the TV audience. One of the characters, Miranda’s boarding school

29 classmate Tilly, adopts her personalised kind of language to reflect her social position. She creates neologisms, blends, sobriquets, popular culture references using apart from English also other languages such as French, Italian or Spanish. The other characters in the show repeatedly disparage Tilly's language.

The series Miranda received positive reactions from critics and was nominated for 26 awards in between years 2010 and 2016 out of which it gained eight award’s wins; most of them for Miranda Hart for the Best Comedy Performance. ("Miranda (TV Series 2009–2015) - IMDb", n.d.) The success of the series in the UK was what inspired Czech Television to include it in their programme in 2015. As Czech Television informs on its pages, they offer the audience all episodes at once with the “congenial” subtitles by Alžběta Šáchová. ("Miranda — Česká televize", 2015) From this additional comment, it is apparent, that the Czech Television took a great interest in the quality of the subtitles for the series.

3. 2. Methodology The analytical part of the thesis is a corpus-based analysis and uses a parallel corpus of the original and its two translations. The parallel corpus is created from subtitles translation examples relevant to the topic of the thesis. The aim of the analysis to describe, contrast and compare the approaches to rendering from English to Czech of the professional and amateur translators as well as the style and overall tone of their work based on the representative examples extracted from the corpus. Part of the analysis uses aforementioned strategies for each of the categories and attempts to map their usage by professional and amateur translators. Due to a high number of instances, the author opts for a qualitative approach to the analysis in place of quantitative one and focuses on chosen representative examples for each category.

The full version of the corpus is to be found in the attachment, and it consists of 107 instances of puns, popular culture references, dialects and informal language specifics from all six episodes of the first season of the TV series Miranda produced by BBC. Even though the corpus was meant to be exhaustive and capture all the relevant utterances in selected episodes, the disputability of some of them might cause its deviation. Nevertheless, it indeed can serve to us as an overview before the selection of the representative examples. Each line represents one line of the subtitles. All entries of the corpus are numbered and the season with the number of the episode is indicated

30 together with the time of the appearance and the character speaking. The original version of the subtitles provided by the BBC is followed by the translation for CT by Alžběta Šáchová and by the translations of the users with nicknames NeroF, Vera.Luna and Sidi07 for website titulky.com. The area of the focus is marked in bold in the original as well as in both translations. The last column of the corpus marks the category in which the translation example in bold is to be analysed – pun, popular culture reference (PCR) or colloquial language (CL). Each entry is explained in the line below it. In the text of the thesis, the layout is different for the clarity reasons and condensed into a smaller table for each entry.

It is divided into several parts according to the phenomena of its focus. In the first part types of puns (defined in the chapter 1.3.2.) are analysed and their dual translation compared with attention to the translation approach. The second part analyses the translations of the popular culture references (specified in the chapter 1.3.1.) and is divided into subcategories according to the type of reference. The last part aims to evaluate the dialect and idiolect (mentioned in the chapter 1.3.3.) translations.

3. 3. Translations of the Puns As mentioned in previous chapters, puns (also wordplays) can be challenging to translate, and there are several ways how they are rendered from one language to another. In this part of the analysis, the types of puns and the ways they are translated into Czech by the two translators – one professional and one amateur are to be discussed based on the strategies suggested by Delabastita (1996) mentioned in chapter 1.3.2.

3. 3. 1. Homophonic puns. Example 1. Entry 31 - S01/E03 Time (0:01:49 – 0:01:54) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com) Why are pirates Proč se na piráty Proč se pirátům called pirates? nikdy nečeká? říká piráti? Miranda Because they Protože jsou tak Protože arrrrrr! hrrr. jsoooouuuuuu! Explanation: Miranda's shop receives new pirate stock. While Miranda is excited and wants to play with the toys, Stevie is stern and tells her not to. Miranda opposes

with "Oh, Stevie, you know you love it." and a homophonic pun joke about pirates where onomatopoeic “arrrrrr” sounds like the verb “are”.

In example 1, Šáchová renders the homophonic pun using the strategy of PUN > punoid. Pun is not preserved as a pun, but as a simple joke with different meaning. The onomatopoeic word is preserved in the TL and correlates with the audio-visual image of the scene.

The author of the other subtitles, NeroF, uses method PUN ST = PUN TT and renders the pun “without translating”. The message of the SL utterance is transferred into TL. In this case, there is no compensation for the pun. While in the SL the “arrrrr” is the sound associated with pirates in the the TL this meaning fails. Translator here relies on the image on the screen.

Example 2. Entry 32 - S01/E03 Time (0:02:47 – 0:02:51) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com) But I need to buy... -Ale počkejte, milá Ale já potřebuju Customer Bye-bye pa… koupit... Dveře is what you need to -Papa, přesně tak. to je to, co Miranda do. Bye-bye! Papa. potřebujete. Nashle! Explanation: Miranda tries to show her point to Stevie and asks a customer how old she thinks Miranda is. When Miranda is not pleased with the answer, she asks the customer to leave. The customer wants to buy something, but Miranda quickly reacts with a homophonic pun "Bye-bye!" while pushing the customer out of the door.

In example 2, Šáchová applies the method of PUN > PUN and substitutes the SL pun with the TL pun. She alters the dialogue so as to fit the second part of the pun. As this is the scene the visual aspect is important this translation fits it correctly. The message of the first part changes yet the entertaining part remains with the same meaning and effect.

NeroF opts for PUN > NON-PUN and preserves the first half of the pun while substituting the second one for a joke corresponding with the visual aspect of the scene. The humorous aspect is therefore fulfilled in this case.

3. 3. 2. Homonymic puns. Example 3. Entry 1 - S01/E01 Time (0:00:57 – 0:01:02) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com) Jenže když ho vidím, But I always make I když se před ním tak se vždycky chovám mi vždycky stane a cockup if I see him. jako vocas. průser. Miranda Well, there's never Hele upřímně řečeno No nemyslím to any cockup vocas doslova, involved, if you see jako takový s tím jestli víte, co tím chci what I mean. nemá nikdy nic. říct. Explanation: Miranda talks to the audience about her love from university Gary and how she always misbehaves in his presence. In the second sentence, she repeats the informal phrase "cockup" - meaning something poorly done to create a homophonic pun where the second meaning is insinuating sexual intercourse.

In this example, Šáchová selects the method of PUN > NON-PUN and chooses the second meaning of the SL word to create double meaning with a sexual connotation in the TL. The meaning is therefore translated in a similar humorous aspect.

NeroF in the translation applies the method of PUN>NON-PUN and chooses the first meaning of the pun to render. The author works with the word of the same meaning as the original, the sexual connotation is not rendered; instead a new meaning inappropriate in another aspect is used.

Example 4. Entry 46 – S01/E03 Time (0:11:54 – 0:12:02) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com) Penny Please take her! -Prosím, příjměte ji. -Prosím vemte ji! Interviewer No. -Ne. -Ne. She's got excellent Má vynikající Ona to tam ustojí. sea legs. námořnické nohy. Penny Show him your sea -Ukaž mu své -Ukaž mu nohy. legs. námořnické nohy. -Ne. Miranda No. -Ne. I really don't need to -Nepotřebuju vidět Opravdu nepotřebuji Interviewer see her legs. její nohy. vidět její nohy.

Come on, show No tak, ukaž je. Dej Jen mu je ukaž. them. Put your svý námořnický Penny sea legs on the Polož nohy na nohy na kapitánův Captain's table! kapitánský stolek. stůl! Explanation: Miranda is with her mother on a job interview for the Royal Navy. Miranda's mother tries to convince the interviewer to hire Miranda stating she has "excellent sea legs" and asks Miranda to show them. The pun she creates plays on the double meaning of the phrase "sea legs" which means in informal British English "to be resistant to seasickness" and actual legs as Penny puts Miranda's leg on the table.

Šáchová decides here to sacrifice the pun and renders Example 4 as PUN > ZERO. The adjective with legs is also left out leaving more space for the subtitles and for the visual aspect of the scene. The hint of the original meaning can be seen in the “Ona to tam ustojí” indicating the quality of her legs.

NeroF translates the pun as PUN ST = PUN TT, translating the whole phrase from SL to TL. As in Czech there is not such a thing as “námořnické nohy” this could be regarded as a calque. In the current context the phrase may seem intentional as Miranda attempts to join the navy where such legs might have been desirable.

Example 5.

Entry 90 - S01/E06 Time (0:03:06 – 0:03:21) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com) Yeah. Oh, feeling -Jo. Připadáš si Jo. Připadáš si Miranda small? malinká? malá? Explanation: Stevie hints Miranda is not attractive enough and it is highly improbable that the customer left the wallet in the shop for her to find. Miranda finds this offensive and clarifies to Stevie. Stevie is standing up opposite to Miranda when Miranda says "Oh, feeling small?" It is necessary to notice the height difference between Miranda and Stevie as one of the meanings and the other "to make somebody look or feel small" meaning make them “feel ashamed or humiliated” which Stevie undoubtedly was after the dialogue. As a reaction Stevie takes a low stool and stands on it is adding another layer to the pun.

Šáchová renders PUN > NON-PUN; the pragmatic aspect here is preserved and the use of the word “malinká” may in this context have an offensive meaning enhanced by the visual part of the screen.

NeroF chooses PUN > ZERO as the literal translation in this case means loss of any additional meaning.

3. 3. 6. Paronymy puns. Example 6. Entry 6 - S01/E01 Time (0:04:47 – 0:04:52) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com) It's what us elegant Je to to, co mi Tak už to u nás, girls elegantní holky Miranda salonních děvčat z about town do. z města děláme. města, chodí. Don't you mean Nemělas na mysli Stevie Sloních děvčat? elephant girls? elefantí holky? Explanation: Miranda is leaving for her lunch with “the girls”. On the way out, she emphasises with "us elegant girls" that no matter what her size is she can be elegant. Stevie reacts promptly with the rhyme pun "elephant girls" pointing out Miranda's size.

In the example, Šáchová opts for the PUN ST = PUN TT in this case both meanings of the paronymy pun are preserved in the TL and the humorous aspect is obvious as well as the original.

NeroF here uses even more precise way of rendering PUN ST = PUN TT and translates the pun with the equivalent in the Czech which is not often used.

3. 4. Translations of Popular Culture References This second part of the analysis searches for the popular culture references and how they are translated in the two versions of the Czech subtitles. Popular culture references are divided into four groups according to the culture-specific phenomena they are referring to and in order of appearance.

3. 4. 1. Song lyrics. Example 7. Entry 27 – S01/E02 Time (0:21:49 – 0:22:10) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com) Tomorrow night, I'm Zítra večer, ti dám Gary Něco mě napadlo. going pořádnou...

to give you a Zítra večer ti dám proper... pořádnou… Miranda Take me! Jen mi to nandej. Vezmi si mě! Cooking lesson. … lekci vaření. Gary Lekci vaření. Cože? What? Cože? Tak mi to teda # Take...me...on. nandej… #Vezmi...mě...na. Nandej, bejby. # Take on me # Vem na mě Miranda # I'll be there, # Já tu budu, Na talííííř. # Ooh, ooh-ooh, # Ooh, ooh-ooh, oooh! # oooh! # Trošku těch Just some A-ha. Jen trochu A-ha. Wanastovek. Explanation: Miranda and Gary argue about food when Miranda admits she prefers kebab to Gary's food. Gary storms out of Miranda's flat, and his angriness arouses Miranda. When he suddenly comes back, Miranda is expecting that he is experiencing similar feelings as her and excitedly shouts "Take me!". When she finds out Gary came back to offer her a cooking lesson she tries to mask her intentions by singing a song "Take me on" by Norwegian band A-ha.

Šáchová opts here for the cultural transplantation and renders lyrics of the SL pop music song as the lyrics known to the TL. The pragmatic aspect is preserved as the connotation of the pop music bands is similar in both cultures. As the A-ha is an international band known in the Czech Republic as well the translation was not necessary.

NeroF choses literal translation of the lyrics to translates the lyrics as they are without acknowledging the rules of the TL. Therefore, any adaptation of the culture is missing.

3. 4. 2. Broadcasting. Example 8. Entry 19 S01/E01 Time (0:14:27) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com)

I'll Trinny and Sama sobě Udělám ze sebe Miranda Susannah myself. "Drsným stylistou". Trinny a Susanu. Explanation: Miranda is preparing for her date with Gary, and she is planning what to do next. She uses "Trinny and Susannah" as verb meaning makeover. It is referring to the two British fashion advisors most known for their television show "What not to wear" and makeover reality show "Trinny and Susannah undress...".

Šáchová, familiar with the content of the TV show in the SL choses cultural transplantation and renders the name of the broadcast with similar connotation in the SL. The connotation is possibly not completely identical as the show used in Czech translation is less controversial. The sentence is translated with the use of communicative translation and the expression “Trinny and Susannah” is not used as a verb as it is in English.

NeroF translates the line using exoticism. For the Czech audience this translation may be empty as the names sound unfamiliar. Here the structure of the original sentence is not preserved either. The pragmatic context is missing here.

Example 9 Entry 20 S01/E01 Time (0:16:25 – 0:16:27) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com) "Heather, Heather Já? Heather "Heather, Heather Small, you were Smallová, Small, byla Miranda excellent on Strictly ve StarDance jsi jsi skvělá v Come Dancing." byla za hvězdu. Stardance." Explanation: Stevie shows Miranda image of Heather Small - English soul singer - and encourages her to talk to the image. Miranda acquiesces and comments on Heather Small's performance in the "Strictly Come Dancing" - British television dance contest.

In this example, Šáchová uses cultural transplantation or possibly borrowing as the name of the TV show is in English yet known to the audience better as

StarDance. Šáchová additionally renders “excellent” as “za hvězdu” which has even stronger meaning in TL.

NeroF uses cultural transplantation, the same strategy as Šachová, the rest of the sentence is rendered traditionally.

3. 4. 3. Literature. Example 10. Entry 104 S01/E06 Time (0:19:07) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com) She is Tarzan of the Je jako Tarzan mezi Je Tarzan dortů. Cakes pečivem Tilly and she's quite proud A co víc, je na to a ještě je na to hrdá. of it as well. hrdá. Explanation: Fanny and Tilly meet Gary in front of the park gate where Miranda is stuck. Unable to see her behind Gary the girls make jokes about Miranda. In one of them, Tilly claims Miranda is "Tarzan of the Cakes" making a pun and referring to the novel Tarzan of the Apes by American writer Edgar Rice Burroughs.

Šáchová uses communicative translation here. As the cultural reference is known to the TL audience there is no need for any further translation.

Sidi07 uses communicative translation similarly as Šáchová, the expression is though slightly broadened in the TL with the use of “pečivem” which indicates all pastries.

3. 4. 4. Famous people and characters. Example 11. Entry 3 – S01/E01 Time (0:04:09 – 0:04:12) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com) Takže čerstvé Přináším čerstvé So, news just in. zprávy jsou zde. zprávy. Říkejte mi Penny Call me Fiona Říkejte mi Fiono Marcelo Bruce. Bruceová (TV Augustová. novinářka). Miranda & BOTH: Fiona OBĚ: Fiono - Stevie Bruce. Bruceová.

Explanation: Miranda's mother Penny announces her news and uses the phrase "Call me Fiona Bruce" referring to a British television journalist. Miranda and Stevie react immediately when they both call Penny "Fiona Bruce".

Šáchová chooses communicative translation and cultural transplantation. The name of the SL news reporter is translated with the name of the TL news reported. The pragmatic aspect is preserved.

NeroF opts for exoticism which he complements with the comment in parentheses and elongates the line of the subtitles. The comment acts here a part of the rendering strategy even though the not translated.

Example 12. Entry 72 – S01/E05 Time (0:04:25) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com) I tell you what it is. I Už jsem ti to říkala. am baking a Dobře tak pravdu. Peču ježka hedgehog Miranda Peču ježka for Tony Benn's k výročí politika Paroubkovi k anniversary. Tonyho Benna. narozeninám. Explanation: Miranda is running out of excuses to convince her mother she does not need to throw a party to set up Miranda with a man. When no believable excuse works Miranda resorts to a lie. She tells her mother she bakes a hedgehog for a British politician Tony Benn's anniversary.

Šáchová here opts for a cultural transplantation and translates the name of the SL politician with a name of TL politician. Denotation remains same, yet the connotation aspect may be different. Also, the connotation of “baking hedgehog” will not be same in the TL.

Sidi07 translates the name as exoticism and adds subtle explanation who the person is. No further explanation of the “baking hedgehog” is not visible here either.

3. 5. Translations of Dialects and Informal Language The last part of the analysis focuses mainly on the translation of the dialects and Tilly’s idiolect.

3. 5. 1. Regional dialects. Example 13. Entry 24 – S01/E02 Time (0:10:09) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com) Je suis...on me way Je suis...na me sesta Je suis na odchodú. Miranda oot! pryč! Sounded Scottish?! To znělo skotsky. Zním skotsky?! Explanation: Miranda joins Stevie for a French lesson. When she finds out it is led by her boarding school French teacher she feels embarrassed and attempts to leave the room. The teacher notices her standing and asks in French what is happening. Miranda, who struggles with French, attempts to imitate the accent while speaking English. However, her sentence "Je sui... on me way oot!" sounds more Scottish than French.

Šáchová here uses a nonspecific dialect of the TL indicated by the ending. The explanation why it is Scottish in missing.

NeroF choses language more similar to French accent in Czech therefore for the viewer it is not clear how this sound Scottish.

Example 14. Entry 65 – S01/E04 Time (0:19:30 – 0:19:49) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com) How was the trip -Jaká byla cesta z -Jaká byla cesta z Colin from Yorkshire? Yorkshire? Yorkshiru? YORKSHIRE

ACCENT: Ja ták. Tuž fujna. Áno, bola skvelá. Oh, aye, t'were Miranda great. Colin Já myslel, že jste tam - Myslel jsem, že jste I thought you were tam byla jen z just there on business. byla jen obchodně. pracovních důvodů. No, turns out I'm Ne, nakonec su prý -Ne, ve skutečnosti from...thu-u-ur. z tama. jsem od... tiaľ. The minute I hear Jak uslyšim Když slyším Miranda Yorkshire, the Yorkshire, Yorkshire, accent just comes hned sa mi ten ten prízvuk sa mi flooding back. přízvuk vracá. hneď vracia späť.

Explanation: While staying in the hotel Miranda, by coincidence, joins a group of people in business suits. They mistook her for their leader and wanted to know how her trip from Yorkshire was. Miranda, instead of admitting the truth immediately, plays her role and imitates Yorkshire dialect.

Šáchová choses to translate the Yorkshire accent not specific for any region of the Czech Republic, however here should signify social class and probably different geographical location. The location is not specific yet is indicated.

Vera.Luna opts for the use of foreign language – Slovak – which has no specific reason. The connotation is here different.

3. 5. 2. Tilly’s idiolect. Example 15. Entry 12 – S01/E01 Time (0:09:25 – 0:09:36) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com) TEXT MESSAGE

ALERT Oh, hang on. Bear Moment. Strpčo. Oh, počkejte. Strpení. with. Bear with. Strpčo. Strpení. Tilly Bear with. Strpčo. Strpení. Back. Už. Už. Explanation: Tilly receives a message on her phone. She expects everyone to stop talking and wait for her while she reads it. Tilly's phrase "Bear with."- be patient - appears in the series repeatedly and is often mocked by the other characters in the sitcom.

Šáchová translates Tilly’s idiolect with connotative and colloquial words which she maintains thorough the whole series.

NeroF uses neutral speech here which does not show Tilly’s specific way of talking and therefore loses the pragmatic aspect.

Example 16. Entry 56 – S01/E03 Time (0:24:41) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com)

Cheeky Pinot? My Cvrnkni mi Cheeky Pinot? Moje Tilly shouticles? rulandíno. Cvajmal. shouticles? Explanation: Tilly meets Miranda in the restaurant and suggests "Cheeky Pinot?" - "cheeky" is a British adjective here in the informal meaning "something pleasurable consumed unplanned" and "Pinot" is a type of grape/wine. The phrase "my shouticles" is Tilly's version of the phrase "my shout" which in informal British English means one's turn to buy drinks - Tilly offers to buy Miranda a drink.

Šáchová here renderers the Tilly’s idiolect into TL with specific language.

NeroF here decided not to translate of anyhow compensate for the language.

Example 17. Entry 75 – S01/E05 Time (0:10:54 – 0:10:57) English version Czech version 1 Czech version 2

(BBC) (CT) (titulky.com) He's literally just come Právě se vrátil z La -Právě se vrátil z "La back from La Grande Grand Pomme, Grande Pomme", Pomme, kde, entre nous, Tilly where he's entre nous kde mimo jiné uváděl rozmašíroval made a shed of na hadry Jendu v hale Johnnyho Johnny Cashingtons. Prašulíka. Cashingtona. Huh? Explanation: Tilly talks about the man she wants to introduce to Miranda. She tells Miranda that he "just come back from La Grande Pomme" – French expression for The Big Apple - nickname for New York City). "Entre nous" (both English and French for secret) "made a shed of Johnny Cashingtons" - Tilly's way of saying that he earned a significant amount of money.

Šáchová decides for maintain as much as possible of the original as possible the connotation stay same. The denotation in case of “rozmašíroval” is however different.

Sidi07 renders the first line identically with Šáchová, from the second part they differ. The denotation as well as connotation are completely different here.

Conclusion

The aim of the thesis was to analyse the Czech subtitles to the TV series Miranda and to examine the translation strategies used to render the puns, culture references and colloquial language, more specifically dialects and idiolects. The first two chapters of the thesis focused of the theoretical background for the analysis and outlined the translation theory with its approach and the issue of subtitles and subtitling. In the analytical part of the thesis the differences between professional and amateur subtitles – fan subs – were closely studied and judged.

From the analyses we have learned that puns by the professional translator used five different strategies while the amateur translator used only three strategies. The most uses strategy by the professional translator was the PUN>NON-PUN which she used twice. The amateur translator often opted for PUN ST = PUN TT where the pun was translated literally.

The results of translation of the culture references are surprising as the strategies used by professional and by amateur translators differed largely. Professional translator used cultural transplantation in five out of six cases, while amateur translator has used three exoticisms, once literal translation, once cultural transplantation and once communicative translation.

Dialects and idiolects are not easy to render and the rules for their rendering were not clear enough. However, we have learned that professional translator uses rather unspecific dialects while amateur translator chosen specific dialects and foreign languages.

The analysis pointed out that the topic of translation puns, cultural reference and colloquial language with focus on dialects and idiolects is an unduly broad topic. Each of the phenomena would deserve its own detailed research. There is also possibility to extend the parallel corpus in the Attachment and create an extensive empirical study of the given issues.

The analysis certainly enriched my view of translation and motivated me to study the topic more in depth.

References

Corpus:

Evans, N. (Producer), Hart, M. (Writer), & May, J. (Director). (2009). Miranda (series 1) [Television series]. UK: BBC.

Evans, N. (Producer), Hart, M. (Writer), & May, J. (Director). (2015). Miranda (I.řada) [Television series] (A. Šáchová, Trans.). UK: BBC. Original broadcasted 2009.

NeroF. (2011a). Miranda S01E01 (2009). Titulky.com: Titulky k filmům. Brno: Martevax s.r.o. Retrieved 2018-03-30, from https://www.titulky.com/Miranda-S01E01-172645.htm

NeroF. (2011b). Miranda S01E02 (2009). Titulky.com: Titulky k filmům. Brno: Martevax s.r.o. Retrieved 2018-03-30, from https://www.titulky.com/Miranda-S01E02-175041.htm

NeroF. (2011c). Miranda S01E03 (2009). Titulky.com: Titulky k filmům. Brno: Martevax s.r.o. Retrieved 2018-03-30, from https://www.titulky.com/Miranda-S01E03-179069.htm

Sidi07. (2012a). Miranda S01E05 (2009). Titulky.com: Titulky k filmům. Brno: Martevax s.r.o. Retrieved 2018-03-30, from https://www.titulky.com/Miranda-S01E05-191482.htm

Sidi07. (2012b). Miranda S01E06 (2009). Titulky.com: Titulky k filmům. Brno: Martevax s.r.o. Retrieved 2018-03-30, from https://www.titulky.com/Miranda-S01E06-191484.htm

Vera.Luna. (2011). Miranda S01E04 (2009). Titulky.com: Titulky k filmům. Brno: Martevax s.r.o. Retrieved 2018-03-30, from https://www.titulky.com/Miranda-S01E04-179324.htm

Works cited:

Alfred Hitchcock: "Puns are the highest form of literature" [Online]. (1972). YouTube. Retrieved from https://www.youtube.com/watch?v=gu5g86nhWK4

Audiovisual translation. (2009). In J. Munday, The Routledge companion to translation studies (Rev.pp. 169 - 170). New York: Routledge.

Bibliografie A. Tichého [Online]. (1988). Retrieved 2018-03-12, from http://www.phil.muni.cz/angl/bib/lide.php

Catford, J. (1965/1978). A linguistic theory of translation: an essay in applied linguistics. Aylesbury: Bucks.

Delabastita, D. (1996). Introduction. The Translator, 2(2), 127-139. https://doi.org/10.1080/13556509.1996.10798970

Díaz Cintas, J. (2010). Subtitling. In Y. Gambier & L. van Doorslaer, Handbook of translation studies (pp. 344 - 349). Philadelphia: John Benjamins Pub. Co.

Díaz-Cintas, J. & Remael, A. (2007). Audiovisual translation: subtitling. Kinderhook, NY: St. Jerome Pub.

Freud, S. (1960). Jokes and their relation to the unconscious. London: Penguin.

Gentzler, E. (2001). Contemporary translation theories. Clevedon: Multilingual Matters.

Gottlieb, H. (1994). Subtitling: Diagonal translation: Diagonal translation. Perspectives, 2(1), 101-121. https://doi.org/10.1080/0907676X.1994.9961227

Hatim, B. & Munday, J. (2004). Translation: an advanced resource book. New York: Routledge.

Hervey, S. & Higgins, I. (1992). Thinking translation: a course in translation method, French-English. New York: Routledge.

Holmes, J. (1988). The Name and Nature of Translation Studies. In J. Holmes, Translated! Papers on Literary Translation and Translation Studies (pp. 66-80). Amsterdam: Rodopi.

Chiaro, D. (2009). Issues in Audiovisual Translation. In J. Munday, The Routledge companion to translation studies (1st, rev.pp. 141-165). London: Routledge.

Chomsky, N. (1965). Aspects of the theory of syntax. Cambridge: MIT Press.

Idiolect [Online]. (2018). In Collins Dictionary | Definition, Thesaurus and Translations. Glasgow: HarperCollins Publishers. Retrieved from https://www.collinsdictionary.com/dictionary/english/idiolect

Ivarsson, J. & Carroll, M. (1998). Subtitling. Simrishamn: TransEdit.

Jäger, G. (1975). Translation und Translationslinguistik. Halle: Niemeyer.

Jakobson, R. (2000). On linguistic aspects of translation. In L. Venuti, The Translation Studies Reader (pp. 113 - 118). London and New York: Routledge.

Knittlová, D., Grygová, B. & Zehnalová, J. (2010). Překlad a překládání. Olomouc: Univerzita Palackého v Olomouci, Filozofická fakulta.

Kufnerová, Z. & Osers, E. (1998). Czech tradition. In Routledge encyclopedia of translation studies (pp. 376-382). New York: Routledge.

Levý, J. (1967). Translation as a decision process. To honor Roman Jakobson: Essays on the occasion of his seventieth birthday, (2), 1171-1182.

Levý, J. (2012). Umění překladu. Praha: Apostrof.

Levý, J., Honzík, J. (ed.). (1996). České teorie překladu: vývoj překladatelských teorií a metod v české literatuře. Praha: Ivo Železný.

Luyken, G., Herbst, T., Langham-Brown, J., Reid, H. & Spinhof, H. (1991). Overcoming language barriers in television: dubbing and subtitling for the European audience. Manchester: European Institute for the Media.

Macková, M. (2017). Dvojjazyčné vysílání podpoří jazykové znalosti [Online]. Markéta Adamová – poslankyně Parlamentu. Retrieved from http://www.marketaadamova.cz/dvojjazycne-vysilani-podpori-jazykove-znalosti- 319.html

Miranda - BBC1 Sitcom - British Comedy Guide [Online]. (n.d.). British Comedy Guide. Liphook (United Kingdom): Digital Mark Limited. Retrieved from https://www.comedy.co.uk/tv/miranda/

Miranda — Česká televize [Online]. (2015). Česká televize. Praha: Česká televize. Retrieved from http://www.ceskatelevize.cz/porady/10564006573-miranda/

Miranda (TV Series 2009–2015) - IMDb [Online]. (n.d.). IMDb. Seattle (Washington): IMDb.com, Inc. Retrieved from http://www.imdb.com/title/tt1533435/?ref_=ttawd_awd_tt

Munday, J. (2008). Introducing translation studies: theories and applications. London: Routledge.

NeroF, . (2011a). Miranda S01E01 (2009) [Online]. In Titulky.com: Titulky k filmům. Brno: Martevax s.r.o. Retrieved from https://www.titulky.com/Miranda-S01E01- 172645.htm

NeroF, . (2011b). Miranda S01E02 (2009) [Online]. In Titulky.com: Titulky k filmům. Brno: Martevax s.r.o. Retrieved from https://www.titulky.com/Miranda-S01E02- 175041.htm

NeroF, . (2011c). Miranda S01E03 (2009) [Online]. In Titulky.com: Titulky k filmům. Brno: Martevax s.r.o. Retrieved from https://www.titulky.com/Miranda-S01E03- 179069.htm

Newmark, P. (1981). Approaches to translation. New York: Pergamon Press.

Newmark, P. (1988). A textbook of translations. London: Prentice Hall.

Nida, E. (1964/2003). Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Boston: Brill.

Nida, E. & Taber, C. (1969/2003). The theory and practice of translation. Boston, MA: Brill.

Pedersen, J. (2011). Subtitling norms for television: an exploration focussing on extralinguistic cultural references. Philadelphia: John Benjamins Pub. Co.

Popular culture [Online]. (2018). In Collins Dictionary | Definition, Thesaurus and Translations. Glasgow: HarperCollins Publishers. Retrieved from https://www.collinsdictionary.com/dictionary/english/popular-culture

Pošta, M. (2012). Titulkujeme profesionálně. Praha: Apostrof.

Pun [Online]. (2018). In Collins Dictionary | Definition, Thesaurus and Translations. Glasgow: HarperCollins Publishers. Retrieved from https://www.collinsdictionary.com/dictionary/english/pun

Quine, W. (1960/2013). Word and object. Cambridge, Mass.: MIT Press.

Remael, A. (2010). Audiovisual translation. In Y. Gambier & L. van Doorslaer, Handbook of translation studies (pp. 12 - 17). Philadelphia: John Benjamins Pub. Co.

Shuttleworth, M. & Cowie, M. (1997). Dictionary of translation studies. Manchester, UK: St. Jerome Pub.

Schäffner, C. (1998). Skopos theory. In M. Baker, Routledge encyclopedia of translation studies (pp. 235-238). New York: Routledge.

Sidi07, . (2012a). Miranda S01E05 (2009) [Online]. In Titulky.com: Titulky k filmům. Brno: Martevax s.r.o. Retrieved from https://www.titulky.com/Miranda-S01E05- 191482.htm

Sidi07, . (2012b). Miranda S01E06 (2009) [Online]. In Titulky.com: Titulky k filmům. Brno: Martevax s.r.o. Retrieved from https://www.titulky.com/Miranda-S01E06- 191484.htm

Snell-Hornby, M. (1988). Translation studies: an integrated approach. Amsterdam: J. Benjamins.

Snell-Hornby, M. (1990). Linguistic Transcoding or Cultural Transfer: A Critique of Translation Theory in Germany. In Translation, history and culture (pp. 79-86). London: Pinter Publishers.

Translation [Online]. (n. d.). In Dictionary by Merriam-Webster. Retrieved from https://www.merriam-webster.com/dictionary/translation

Venuti, L. (1995/2008). The translator's invisibility: a history of translation. New York: Routledge.

Vera.Luna, . (2011). Miranda S01E04 (2009) [Online]. In Titulky.com: Titulky k filmům. Brno: Martevax s.r.o. Retrieved from https://www.titulky.com/Miranda- S01E04-179324.htm

Vermeer, H. (1978). Ein Rahmen für eine allgemeine Translationstheorie [Online]. Lebende Sprachen, 23(3), 99-102. https://doi.org/10.1515/les.1978.23.3.99

Vinay, J. & Darbelnet, J., Sager, J., Hamel, M. (1995). Comparative stylistics of French and English: a methodology for translation. Philadelphia: J. Benjamins Pub. Co.

Vysoké školy: VysokéŠkoly.com - veřejné, státní a soukromé vysoké školy [Online]. (c1998-2018). Retrieved 2018-03-29, from http://www.vysokeskoly.com/

Attachment – Translation Analysis Corpus – BBC series Miranda

For attachment, please see next page.

Translation Analysis Corpus - BBC series Miranda

Season Character Czech subtitles 1 Czech subtitles 2 Entry Time English version (BBC) Type /Episode speaking (CT) (titulky.com) But I always make I když se před ním Jenže když ho vidím, tak se 0:00:57 a cockup if I see him. vždycky chovám jako vocas. mi vždycky stane průser. 1 S01/E01 Miranda pun Well, there's never any cockup Hele upřímě řečeno vocas No nemyslím to doslova, 0:00:59 involved, if you see what I mean. jako takový s tím nemá nikdy nic. jestli víte, co tím chci říct. Explanation: Miranda talks to the audience about her love from university Gary and how she always acts inappropriately in his presence. In the second sentence, she repeats the informal word "cockup" - meaning something done badly to create a homophonic pun where the second meaning is insinuating sexual intercourse. Don't get emotional. Nebuď emocionální. Nejsme 2 S01/E01 0:04:05 Penny Nehysterči nejsme ve Španělsku. PCR We're not Spanish. Španělé. Explanation: Miranda's mother Penny reacts to Miranda's attempt to greet her in the morning repeatedly. She uses a reference to the Spanish culture where interpersonal communication in believed to be more affectionate in contrast with the British. So, news just in. Přináším čerstvé zprávy. Takže čerstvé zprávy jsou zde. 0:04:09 Penny Říkejte mi Fiono Bruceová (TV Call me Fiona Bruce. Říkejte mi Marcelo Augustová. 3 S01/E01 novinářka). PCR Miranda 0:04:13 BOTH: Fiona Bruce. - OBĚ: Fiono Bruceová. & Stevie Explanation: Miranda's mother Penny announces her news and uses the phrase "Call me Fiona Bruce " referring to a British television journalist. Miranda and Stevie react immediately when they both call Penny "Fiona Bruce ". Benji has at last split up Benjy se konečně rozešel Benji se rozešel s tou 4 S01/E01 0:04:16 Penny CL from that ghastly fish woman. s tou příšernou fuchtlí. příšernou ženskou. Explanation: Penny comes to Miranda's shop to tell her that her cousin Benji is single again as he "split up from that ghastly fish woman" . "Fish woman" in British informal language means a person with little emotion or intelligence.

Stránka 1 z 26 Translation Analysis Corpus - BBC series Miranda

Tohle je Surrey, Tohle je Surrey. 5 S01/E01 0:04:31 Penny This is Surrey. No-one minds. PCR tady to nikomu nevadí. Nikdo se nestará. Explanation: Penny wants Miranda to marry her cousin as did her aunt and uncle. Miranda refuses this and highlights to her mother that their son is not that happy - indicating he might have some psychological issues as his parents were close relatives. Penny just replies "This is Surrey. No-one minds." Here she is commenting on their social status in the upper-middle class where such marriages were common in the past. It's what us elegant girls Tak už to u nás, Je to to, co mi elegantní holky 0:04:47 Miranda 6 S01/E01 about town do. salonních děvčat z města, chodí. z města děláme. pun 0:04:51 Stevie Don't you mean elephant girls? Sloních děvčat? Nemělas na mysli elefantí holky? Explanation: Miranda is leaving for her lunch with the girls. On the way out, she emphasizes with "us elegant girls" that no matter what her size is she can be elegant. Stevie reacts promptly with the pun "elephant girls" pointing out Miranda's size.

I have to go. Here she is. Hola! Už musím, teď přišla. Hola! Musím končit. Tady je. Ó, podívej. 7 S01/E01 0:08:56 Tilly CL Utmost curiosity! Naprostá suprajda! Vrchol kuriozity! Explanation: Miranda's friend Tilly uses her own style of communication which is challenging to understand. She often combines atypical words. In this instance "utmost curiosity" she stresses her interest to learn about friend she haven't seen for a very long time. 8 S01/E01 0:09:06 Tilly Kissingtons. Pusajdu. Hubičkos. CL Explanation: Another example of Tilly's specific word. She greets Miranda with "kissingtons" . In this case, Tilly plays with the word "kiss" and creates the meaning "tons of kisses". Possibly for a native speaker, this may sound as a reference to the Tissington village in Derbyshire, England. 9 S01/E01 0:09:10 Fanny Queen Kong! Queen Kongu! Queen Kong. PCR Explanation: Miranda's friend Fanny addresses her by her old boarding school nickname "Queen Kong" referring to a female variation of the giant gorilla monster from the American film King Kong released in 1933. 10 S01/E01 0:09:18 Tilly You're the Empress of Kong. Ty seš Císařovna Kong. Jseš vládkyně Kongů. PCR Explanation: Tilly wants flatter Miranda by changing her boarding school nickname "Queen Kong" into "Empress of Kong" playing with the original allusion to the American film King Kong.

Stránka 2 z 26 Translation Analysis Corpus - BBC series Miranda

11 S01/E01 0:09:21 Tilly You're Kongoleezza Rice. Kongoleeza Riceová. Jseš Kongolízza Riceová. PCR Explanation: Tilly recreates Miranda's boarding school nickname to flatter her. She calls her "Kongoleezza Rice" making a blend on the name Condoleezza Rice - American political scientist and diplomat who served as 66th United States Secretary of State. Oh, hang on. Bear with. Bear Moment. Strpčo. Strpčo. Oh, počkejte. Strpení. Strpení. with. 12 S01/E01 0:09:25 Tilly CL Bear with. Strpčo. Strpení. Back. Už. Už. Explanation: Tilly receives a message on her phone. She expects everyone to stop talking and wait for her while she reads it. Tilly's phrase "Bear with." - be patient - appears in the series repeatedly and is often mocked by the other characters in the sitcom. 0:09:48 Fanny Oh, hideola. Ty hrůzo. Ó, šmudlinko. 13 S01/E01 CL 0:08:50 Tilly Poor Kongers. Chudák Kongule. Chudinko Kongová. Explanation: Fanny and Tilly show their sympathy with Miranda as she is the only one from their group who is not engaged yet. Fanny uses a slang word "hideola" - hideous, ugly - while Tilly addresses Miranda as "poor Kongers" - another version of the nickname "Queen Kong". So, Queen Kong, we're Takže Queen Kongu, Tak, Queen Kong, 0:10:09 Fanny arranging this shopping bonanza. chystáme nákupní bonanzu. plánujeme nákupní maraton. 14 S01/E01 0:10:12 Miranda Oh, girls' shopping trip, yay! Holčičí nákupy, jupí! Jéé, holčičí nákupní výlet, jej! CL Will you come with? 0:10:13 Tilly Jdeš taky? Božajda! Takže půjdeš s námi? Úžasňos! Marvellismos! Explanation: Fanny and Tilly are talking about going shopping later and they want Miranda to go with them. Fanny talks about "shopping bonanza" as they plan to buy a large amount of goods. Tilly's word "marvellismos" is a slightly modified word "marvellous". 15 S01/E01 0:10:40 Tilly Brillo pads! Perfajda! Palce hore! PCR Explanation: Tilly uses yet another of her remarks "brillo pads" - a trade name of washing up scourers - instead of "brilliant" to express her enthusiasm.

Stránka 3 z 26 Translation Analysis Corpus - BBC series Miranda

We thought you'd Promiň, myslely jsme, že jsi Mysleli jsme, že jsi vyšel 16 S01/E01 0:12:12 Stevie pun come out of Miranda's box. vyskočil z Mirandiny škatulky. z Mirandiný krabice. Explanation: Stevie and Miranda are tidying up the shop and they are unsuccessful in putting the lid back on a pop-out-of-the-box toy. When Gary opens the door they both scream in shock, as he apologises for scaring them Stevie makes a pun that they though he "come out of Miranda's box". "Miranda's box" can mean the pop-out-of-the-box toy but in slang her genitalia. 0:12:38 Gary A děti? Ó, opravdu? A děti? Oh, really? Kids? Yeah, got two. Jo. Mám dvě. Jeden je Orlando… Jasně, mám dvě. 0:12:40 17 S01/E01 There's Orlando… Jmenují se Orlando… PCR Miranda Orlando a… 0:12:44 Orlando and, er… Orlando a, eh… 0:12:46 Bloom. a Bloom. Bloom. Explanation: Miranda talks to Gary she is in love with. As she is nervous around him she lies that she has children in order not to look desperate. She invents their names as she speaks "There's Orlando... Orlando and, er... Bloom" and creates a reference to the English actor Orlando Bloom. "Put your coat on, you'll catch "Oblečte si kabáty, nebo "Vemte si bundy nebo si uženete 18 S01/E01 0:13:18 Miranda your death!" zmrznete!" smrt!" CL And they did. A oni zmrzli. A oni si uhnaly. Explanation: Miranda lies to Gary she had children, but they froze to death. She invents the whole story about holidays in the Himalayas and how she warned her children with the British informal phrase "You'll catch your death!" - to contract a severe cold which might be deadly yet is highly unlikely to be caught nowadays. 19 S01/E01 0:14:27 Miranda I'll Trinny and Susannah myself. Sama sobě "Drsným stylistou". Udělám ze sebe Trinny a Susanu. PCR Explanation: Miranda is preparing for her date with Gary and she is planning what to do next. She uses "Trinny and Susannah" as verb meaning makeover. It is referring to the two British fashion advisors most known for their television show "What not to wear" and makeover reality show "Trinny and Susannah undress..." . "Heather, Heather Small, you were Já? Heather Smallová, "Heather, Heather Small, byla 20 S01/E01 0:16:25 Miranda excellent on Strictly Come PCR ve StarDance jsi byla za hvězdu. jsi skvělá v Stardance." Dancing." Explanation: Stevie shows Miranda image of Heather Small - English soul singer - and encourages her to talk to the image. Miranda acquiesces and comments on Heather Small's performance in the "Strictly Come Dancing" - British television dance contest.

Stránka 4 z 26 Translation Analysis Corpus - BBC series Miranda

Right, clothes shops. Tak jo, obchody s oblečením. Dobrá, obchody s oblečením.

I've been to Big and Long, nothing. Už jsem byla v Obrsay. Nic. Byla jsem ve Velký a dlouhý a nic.

Just because people are Jen proto, že jsme lidé trochu Jen proto, že jsme trochu vyrostly, taller or bigger than average, vyšší nebo větší než ostatní, why do we have to shop in nemusíme nakupovat v krámech 21 S01/E01 0:17:59 Miranda proč musíme hned nakupovat PCR patronisingly named places? s povýšeneckými názvy. v povýšenecky pojmenovaných Kam mě pošlou příště? What's next? Lanky and Sweaty? místech? Do Esprejtu? Co přijde dál? Čahoun a Potil? Swallowers and Amazonians? Do Vorvaňovky? Nenažranec a Amazonky? Huge and Gross? Do Špekenvela? Obrovský a Ohromný? Explanation: Miranda goes shopping for clothes for her date with Gary. She remarks on the difficulties to find clothes in her size and the "patronisingly named clothes shops". To point out their ridiculous names she creates her own examples of shops' names all of which emphasize her size. Shop I think we may have something. Oh, promiňte, jasně, myslím, že 0:26:45 Něco se tu najde. Velikost? assistant Size? najdeme něco pro vás. Velikost? 0:26:49 10. Deset. Deset. 22 S01/E01 0:26:52 Miranda Tenty! Decet Dveset! CL 0:26:55 I'm a size 20. Mám velikost dvacet. Mám dvacítku. Shop Myslím, že máme jedny šaty číslo 0:26:57 I think we have one in a "tenty"! Něco tady v decítce máme. assistant "dveset"! Explanation: Miranda joins Tilly and Fanny for wedding dress shopping. When the shop assistant addresses her as "Sir" Miranda decides to try on some dress. Shop assistant realizes her mistake and apologizes asking Miranda for her size. Miranda is too embarrassed to reveal her actual size and lies she is size 10 correcting herself for size "tenty" - blend of the words "ten" and "twenty".

Stránka 5 z 26 Translation Analysis Corpus - BBC series Miranda

She was his safety wife? Ona byla jeho manželka v záloze? Ona je jeho pojistka? 23 S01/E02 0:02:30 Miranda CL People actually do that? To se fakt děje? Tohle opravdu lidi dělají? Explanation: Gary introduces his friends Chris and Alyson to Miranda. Miranda does not like them, but Gary says they had lovely story behind them as they were just friends at university and promised each other to get married if they are still single in their forties. Miranda asks if she was his "safety wife" - slang phrase for friends who agree to marry each if they are single at certain age. Je suis...on me way oot! Je suis na odchodú. Je suis...na me sesta pryč! 24 S01/E02 0:10:09 Miranda dialect Sounded Scottish?! To znělo skotsky. Zním skotsky?! Explanation: Miranda joins Stevie for a French lesson, yet when she finds out it is led by her boarding school French teacher she feels embarrassed and attempts to leave the room. The teacher notices her and asks her in French what is happening. Miranda, who struggles with French, attempts to imitate the accent while speaking English. However, her sentence "Je sui... on me way oot!" sounds more like Scottish than French. No, no, but German Ne, nebyla, ale němčina Ne, vsadila jsem na němčinu. 25 S01/E02 0:10:20 Miranda has become my bag... se stala mým rezortem... CL Mein...bag. Ich vsadila. Mein...rezort. Explanation: French teacher asks Miranda if she came back for more as he remembers she was never good at French. Miranda is embarrassed and lies that she has studied German instead. She uses phrase "German has become my bag" where "my bag" is slang for personal preference. I'm unashamed to admit that, for Nestydím se přiznat, Nestydím se přiznat, že me, 0:21:10 Miranda že tohle je pro mě dobré jako this is the dog's bollocks. toto jsou pro mě sračky. 26 S01/E02 prase. CL It probably literally is. Pravděpodobně to doslova jsou. 0:21:14 Gary Tohle jí jenom prase. Zahoď to. You should put it in the bin. Měla bys to vyhodit. Explanation: Miranda bought a take away kebab on her way home, but Gary is trying to persuade her it is not a good quality food and she should not to eat it. Miranda opposes she likes it and for her it is "the dog's bollocks" - British slang phrase for something "especially good". Gary answers "It probably literally is" insinuating the kebab is made of the "dog's bollocks" - male dog reproductive organs - and therefore she should throw it out.

Stránka 6 z 26 Translation Analysis Corpus - BBC series Miranda

Tomorrow night, I'm going Něco mě napadlo. Mám nápad. 0:21:49 Gary to give you a proper... Zítra večer ti dám pořádnou… Zítra večer, ti dám pořádnou... 0:21:51 Miranda Take me! Jen mi to nandej. Vezmi si mě! … lekci vaření. 0:21:55 Gary Cooking lesson. What? Lekci vaření. Cože? Cože? 27 S01/E02 PCR # Take...me...on. Tak mi to teda nandej.. #Vezmi...mě...na. # Take on me Nandej bajby. # Vem na mě 0:21:58 Miranda # I'll be there, # Já tu budu, Na talííííř. # Ooh, ooh-ooh, oooh! # # Ooh, ooh-ooh, oooh! # 0:22:09 Just some A-ha. Trošku těch Wanastovek. Jen trochu A-ha. Explanation: Miranda and Gary have an argument about food where Miranda admits she prefers kebab to Gary's food. Gary storms out of Miranda's flat and Miranda is aroused by his angriness. When he suddenly comes back Miranda is expecting he has similar feelings as her and excitedly shouts "Take me!" . When she finds out Gary came back to offer her a cooking lesson she tries to mask her intentions by singing a song "Take me on" by Norwegian band A-ha. You bollocking bastard! Co mě buzeruješ, parchante? Ty debilní hovado! CL Now you going to get Teď si budeš hrát na Ramsayho 28 S01/E02 0:25:20 Miranda Chceš si hrát na Pekelnou ďábelskou kuchyni a nandáš mi PCR all Ramsay on my ass? kuchyni? to? Explanation: Gary gives Miranda a cooking lesson he promised earlier. As Miranda finds Gary attractive when he is angry she does everything to upset him. When Gary encourages her to cut even pieces of the vegetables she addresses him "You bollocking bastard" and expects him to go "all Ramsay on my ass" referring to Gordon Ramsay - British chef known for his temper and use of expressive language. One the Ramsay's reality shows is called Hell's Kitchen.

Stránka 7 z 26 Translation Analysis Corpus - BBC series Miranda Miranda, are you sure Mirando vážně chcete k Mirando, jste si jistá, že chcete 0:00:21 Navy Man you want to be in the Navy? námořníkům? sloužit u námořnictva? Námořníci 29 S01/E03 # In the Navy! # U námořnictva! PCR znají sedmero moří. 0:00:23 Miranda # You can sail the seven seas # Můžete proplout sedm moří Námořníci… In the Navy! # u námořnictva! # Explanation: Miranda is surprised when she finds out during the job interview arranged by her mother that she is signing for the Royal Navy. When the interviewer asks her if she is sure she wants to be in the Navy Miranda starts singing the chorus of the song "In the Navy" by Village People. No, even you would have been No, i na vás by udělala 30 S01/E03 0:01:23 Miranda I vás by ohromilo kotě Poirot. PCR impressed by Poirot Pussy. dojem číča Poirot. Explanation: Miranda has a flashback to her years at the university. When the careers officer asks her, what are her main strengths Miranda answers she can dress pets as famous detectives. As an example, she gives "Poirot Pussy" which alludes to the fictional Belgian detective Hercule Poirot created by English writer Agatha Christie. Why are pirates called pirates? Proč se na piráty nikdy nečeká? Proč se pirátům říká piráti? 31 S01/E03 0:01:49 Miranda pun Because they arrrrrr! Protože jsou tak hrrr. Protože jsoooouuuuuu! Explanation: Miranda's shop receives new pirate stock. Miranda is excited as a child and wants to play with everything. Stevie is serious and tells her not to play with it. Miranda opposes with "Oh, Stevie, you know you love it." and a homophonic pun joke about pirates. Customer But I need to buy… Bye-bye Ale počkejte, milá pa… Ale já potřebuju koupit… Dveře 32 S01/E03 0:02:47 pun Miranda is what you need to do. Bye-bye! Papa, přesně tak. Papa. to je to, co potřebujete. Nashle! Explanation: Miranda tries to show her point to Stevie and asks a customer how old she thinks Miranda is. When Miranda is not pleased with the answer she asks the customer to leave. The customer wants to buy something but Miranda quickly reacts with homophonic pun "Bye-bye!" Look, who cares if Podívej, koho zajímá, Koho zajímá, že Tilly povýšili? Tilly's got a promotion? jestli Tilly povýšili? 33 S01/E03 0:04:39 Miranda She's the idiot with everything Je to blbka, co má plnou hubu Chci říct, že je to kráva s tím jejím CL "fabbifun" and "marvellisimus". fabulóznosti a božolínů. "srandobájo" a "úžasnismus".

Explanation: Penny comes to Miranda's shop to explain Tilly's got a promotion and that she lied to Tilly's mother about Miranda getting a new job. Miranda has a feeling her mother is ashamed of her and tells her she does not care what Tilly thinks while mocking Tilly's way of talking using words "fabbifun" - fabulous and fun and "marvellismus" - marvellous.

Stránka 8 z 26 Translation Analysis Corpus - BBC series Miranda

Yeah! Mummy told me! Jo! Mamča mi říkala. Jóó! Maminka mi to říkala! 34 S01/E03 0:05:00 Tilly CL Congratulasareeny, Queen Kong! Gratulacióne, Queen Kongu. Gratulaceríny, Queen Kong!

Explanation: Tilly meets Miranda and Penny as they are talking about Miranda's pretended new job. Tilly congratulates Miranda with "Congratulasareeny, Queen Kong!" creating more posh sounding word of "congratulation" and addressing Miranda with her old nickname. 35 S01/E03 0:05:09 Tilly It sounds spectaculant. To zní báječínsky. To zní velkolepos. CL Explanation: Tilly speaks about Miranda's invented new job. The word "spectaculant" is here used is the meaning "impressive" and is derived from word "spectacular". 36 S01/E03 0:05:11 Miranda Yes, yes, it's fabbifun. Ano, hotová fabulóznost. Ano, ano, je to srandobájo. CL Explanation: Miranda talks to Tilly and reacts on her comment in the Tilly's language with the word "fabbifun" - fabulous and fun.

And what a surprise, A totál překvápko. A jaký to překvapení, 37 S01/E03 0:05:13 Tilly CL flabbergastamoomoo! Megakulivočko. ohromenojájo! Explanation: Tilly is surprised by Miranda's new job. She expresses her shock with neologism "flabbergastamoomoo" adding words "moo moo" to the word "flabbergasted" meaning "amazed". No offence, I just didn't have Bez urážky, ale nečekala jsem, Bez urážky, jen jsem tě neměla 38 S01/E03 0:05:21 Tilly CL you down as a career bitch. že z tebe bude kariérajda. za kariéristickou děvku. Explanation: Tilly is surprised by Miranda's new job. She says Miranda never looked like "a career bitch" . Here Tilly uses another version of the slang "business bitch" meaning a female who would do anything to succeed in her career. More someone who Za víc než někoho, 39 S01/E03 0:05:23 Tilly Spíš že budeš šaškovat v krámě. CL mucked around in a shop. kdo hnije v krámě. Explanation: Tilly speaks about her expectations of Miranda. She has her for someone who "mucked around" in a shop. "Mucked around" is a British informal phrasal verb explained as "to behave as a child", "waste time", "do not achieve anything".

Stránka 9 z 26 Translation Analysis Corpus - BBC series Miranda Wowzers... A documentary, who Týjovka... Dokument, 0:05:49 Tilly Jezulínku. Dokument. Pro koho? for? pro koho (who for)? CL 0:05:52 Miranda Yes. Ano. Ano. 0:05:53 Tilly What? Co? Cože? 40 S01/E03 Pro koho (Who 4). Who 4. It's a new channel. Pro Koho. To je nový kanál. Je to nový kanál. 0:05:55 Miranda PCR E4, More4 (kanály britského E4, More4, Who4. Jak je Pro7, tak je Pro Koho. Channel 4), Who4. Explanation: Miranda lies about her new job to Tilly. When Tilly asks who she works for Miranda panics and says she works for "Who 4". Miranda plays here with the similarity to the names of British Channel 4 television services "E4" and "More4". Poslouchej, poslouchejte, důvod Listen, listen, the reason I've Hele, přišla jsem, proč jsem přišla je, že mám - pošlete to come is I'm having a - whisper it - protože, šušky, 41 S01/E03 0:06:38 Tilly dál - CL miniscule celebratione of my zítra bude miniaturní oslavníček drobounkou oslavičku mého promotion tomorrow night, you mého povýšení, příjdeš? povýšení zítra večer, přijdeš? come? Explanation: Tilly invites Penny and Miranda to her "whisper it - miniscule celebratione" on her promotion. By "whisper it" Tilly means it is a secret, "miniscule" - tiny, extremely small and "celebratione" is a Latin word for celebration. 42 S01/E03 0:06:50 Tilly And Kongeroo, defo come. Queen Kongálie, určo přijď. A Kongerů, určo příjde. CL Explanation: Tilly invites Miranda to her promotion party. "Kongeroo" is her updated nickname for Miranda derived from the original one "Queen Kong" and "defo come" is British informal exclamation "definitely come". I'm really banging the knob now. Buším do toho jak zběsilá… Teď už do něj opravdu buším. 43 S01/E03 0:07:52 Miranda CL Don't! Nechte si to! Nezkoušejte…! Explanation: Miranda is not able to open the door at the gym with a press knob. She requests help from the receptionist, but he opens the door only when she shouts "I'm really banging the knob now" . Judging from Miranda's facial expression the sentence has double meaning, apart from the rounded door handle the word "knob" can mean a taboo British slang word for "penis" or "to have sexual intercourse".

Stránka 10 z 26 Translation Analysis Corpus - BBC series Miranda You were in the RAF? Ty jsi byl u letectva? 44 S01/E03 0:11:06 Miranda Tys byl v RAF? V uniformě? PCR With the uniform? S uniformou? Ach, Mavericku, ty hřebče, vezmi Oh, Maverick, you stud, take me Mavericku, ty hřebče, vyspi se mě 45 S01/E03 0:11:14 Miranda to bed and lose me forever. do postele a servi ze mě pouta. se mnou a navždy mě odkopni. PCR # Take my breath # Vezmi mi můj Ani nedýchám.. away-ay-ay-ay-ay-ay-ay... # dech-ech-ech-ech-ech-ech... # Explanation: When Gary reveals he was in the RAF for a while after school Miranda begins to daydream. She speaks out loud to "Maverick" which is the nickname of the leading male character in the American romantic military film Top Gun . Miranda sings the song "Take my breath away" by the band Berlin written for this film. Penny Prosím vemte ji! Please take her! -No. Prosím, příjměte ji. -Ne. 0:11:54 Navy Man Ne. She's got excellent sea legs. Ona to tam ustojí. Má vynikající námořnické nohy. Penny Ukaž mu své námořnické nohy. 0:11:58 Show him your sea legs. -No. Ukaž mu nohy. -Ne. Miranda Ne. 46 S01/E03 Opravdu nepotřebuji vidět její pun 0:12:00 Navy Man I really don't need to see her legs. Nepotřebuju vidět její nohy. nohy. No tak, ukaž je. Dej svý Come on, show them. Put your Jen mu je ukaž. námořnický 0:12:02 Penny sea legs on the Captain's table! Polož nohy na kapitánský stolek. nohy na kapitánův stůl!

Explanation: Miranda is with her mother on a job interview for the Royal Navy. Miranda's mother tries to convince the interviewer to hire Miranda stating she has "excellent sea legs" and asks Miranda to show them. The pun she creates plays on the double meaning of the phrase "sea legs" which means in informal British English "to be resistant to sea sickness" and actual legs as Penny puts Miranda's leg on a table. Speak later, dashing off Promluvíme si později. Promluvíme si později, pospíchám 47 S01/E03 0:12:14 Penny Spěchám za Belindou do blend to Cakersize with Belinda. do Dorterobiku s Belindou. Dortobiku. Explanation: Penny leaves restaurant saying she is "dashing off to Cakersize" . "Cakersize" here is a pun blend of "cake" and "exercise" as Penny explains later "cake decorations and aerobics. You have to leave exactly the same weight you came in."

Stránka 11 z 26 Translation Analysis Corpus - BBC series Miranda

Oh! Blimey, how can you Jau! Herdek! Kristepane, jak můžou 48 S01/E03 0:12:32 Miranda CL get so stiff so soon? Jak můžeš tak rychle zatuhnout? stuhnout tak rychle? Explanation: Miranda is shocked how quickly her muscles got stiff after workout at gym. She uses British informal exclamation "blimey" to indicate her surprise. No, but I just love children, Ne, ale zbožňuju děti. Ne, ale jen mám ráda děti, věřím, Vím, že zítřek patří našim 0:16:48 I believe children are our future. že děti jsou naše budoucnost. dětem… Don't sing, don't sing. Nezpívej, nezpívej. Nezpívej, nezpívej. # Teach them well # Vychovávejte je dobře 49 S01/E03 Miranda Tak těm dětem volnou ruku dej. PCR and let them lead the way a nechte je jít v čele # Show them all the beauty Ukaž jim, co krás # Ukažte jim všechno dobré, 0:16:55 they possess inside tam v sobě skrývají… co mají uvnitř # I can't stop Nemůžu přestat! Nemůžu přestat. Give them a sense of pride… Nauč je mít se rád… # Dejte jim pocit hrdosti… Explanation: Miranda is at the job interview. When the interviewer asks her if she has any children, she answers she does not but that she believes that "children are our future" . Here shows her tendency to sing in formal situations when she performs the whole song Children are our future by Whitney Houston. Well, thanks very much for Děkujeme, že jste přišla, Tak, děkuji mnohokrát, že jste 0:18:31 Darren coming in, we'll be in touch. my se vám ozveme. přišla, budeme v kontaktu. Děkuji vám, Sire Alane, 50 S01/E03 PCR Thank you, Sir Alan, Margaret, Margaret, Nicku. 0:18:35 Miranda Děkuji pane Tomio, Dano, Ivane. Nick. (porotci v britské reality show The Apprentice) Explanation: Miranda after a job interview gives goodbye to her job interviewers calling them "Sir Alan, Margaret, Nick" . The names she uses are the names of the interviewers in the British reality game show "The Apprentice" where businesspeople complete business tasks and challenges competing with each other.

Stránka 12 z 26 Translation Analysis Corpus - BBC series Miranda

Look I'm Nevím, jestli je srdcem Podívejte nejsem si jistý, 0:19:07 Navy Man not sure her heart is in the navy. u námořnictva… že je srdcem u námořnictva. 0:19:09 Miranda # My heart will go on and... Však srdcem jdu dál a dál… # Mé srdce půjde tam a... 51 S01/E03 # Near, far tu, tam, # blíž, dál PCR Miranda # Wherever you are kdekoliv tě mám # Kdekoli ty jsi 0:19:14 and Penny # I believe that my... já věřím, že svým… # Já věřím, že mé... DOOR SLAMS - - Explanation: Miranda's mother Penny is at a job interview with Miranda she tries to persuade her to join the Royal Navy. Miranda is refusing to do so, and the interviewer is likewise not convinced joining the navy is the right choice for Miranda as he clearly states. To relieve the tension Miranda starts to sing the song "My heart will go on" from the American film Titanic released in 1997 and her mother joins her miming the famous scene at the bow of the ship. Miranda's 0:20:56 So what do you do? A co děláš ty? Tak co děláš ty? friend 52 S01/E03 PCR Já jsem... Myleene Klass. 0:20:58 Miranda I'm... Myleene Klass. Já jsem… Simona Krainová. (anglická zpěvačka a modelka) Explanation: Miranda has a flashback to her last School reunion. As her friend flaunts her success Miranda lies to impress her. She chooses evident lie though stating she is Myleene Klass - British singer and model which she obviously is not. Clive, if you are insinuating, that Clive jestli naznačuješ, že myslím Clive, jestli naznačuješ, že I am thinking about An Officer na Důstojníka a džentlmena, myslím na důstojníka a 53 S01/E03 0:23:56 Miranda And PCR A Gentleman, you are sorely tak se hluboce mýlíš. gentlemana, velice se mýlíš. mistaken. Explanation: When Gary mentions his RAF meeting Miranda daydreams about it in the restaurant. Clive, with a disgusted face expression, alerts her she talks her mind out loud. Miranda reacts with the reference to the American romantic film An Officer and a Gentleman about a U. S. Navy Aviation Officer Candidate. Královno Kongo! Královno Královna Kongů, Královna 54 S01/E03 0:24:35 Tilly Queen of the Congo! Ooh-rah! PCR Kongo! Kongů! Hur-rá! Explanation: Tilly enters the restaurant dancing and singing "Queen of the Congo" - her own adaptation of the lyrics of the song "Bongo Bong" by Manu Chao - a French-born musician of the Spanish origin.

Stránka 13 z 26 Translation Analysis Corpus - BBC series Miranda

55 S01/E03 0:24:38 Tilly Kissingtons! Mwah! Hurá, hubaňoura! Hubičkos! Muach! CL Explanation: Tilly greets Miranda with pretended kissing and saying "Kissingtons!" - word specific for Tilly's way of speaking combining "kissing" and "tons" sound of which may indicate "Tissington" - a popular tourist village in Derbyshire, England.

56 S01/E03 0:24:41 Tilly Cheeky Pinot? My shouticles? Cvrnkni mi rulandíno. Cvajmal. Cheeky Pinot? Moje shouticles? CL

Explanation: Tilly meets Miranda in the restaurant and suggests "Cheeky Pinot?" - "cheeky" is a British adjective here in the informal meaning "something pleasurable consumed unplanned" and "Pinot" is a type of grape/wine. The phrase "my shouticles" is Tilly's version of the phrase "my shout" which in informal British English means one's turn to buy drinks - Tilly offers to buy Miranda a drink. 57 S01/E03 0:24:45 Tilly It's my promotion drinkus. Mám tu pártošku k povýšení. Jo, zapíjíme mé povýšení. CL Explanation: Tilly explains to Miranda why she came to the restaurant. She uses phrase "It's my promotion drinkus." The word "drinkus" in this remark suggest drinking alcoholic beverages to celebrate her promotion, etymology of this word is unknown. Yes, I've got a few peeps Ano, přijdou ještě lidičky z 58 S01/E03 0:24:47 Tilly Jo, jen pár kámičů z kanclu. CL coming from the orifice. práce. Explanation: Tilly talks about her colleagues joining her in the restaurant to celebrate her promotion. She refers to her colleagues as "a few peeps coming from the orifice". "Peeps" are sweets made in America here in the meaning of people and "orifice" meaning opening or hole in the meaning of office. 59 S01/E03 0:27:49 Tilly No way! Kecáš. No néé! CL Explanation: Tilly's refuses to believe Miranda works in the forces. When Gary comes in the restaurant wearing his RAF uniform she says only "No way!" - British informal exclamation meaning refusal or denial. This has worked out To dopadlo 60 S01/E03 0:27:53 Miranda Tohle vyšlo marvelózo-musolíni. CL/PCR marvelisamussolini! marvelisamussolini! Explanation: Miranda is happy Gary came in the restaurant in his RAF uniform as Tilly refused to believe her that she works for the forces. Miranda imitates Tilly by saying this worked "marvelisamussolini" attempting to sound Italian by blending words "marvelous" and "mussolini" - name of the Italian politician and journalist leader of the National Fascist Party.

Stránka 14 z 26 Translation Analysis Corpus - BBC series Miranda Customer What are they called? Uh, Cliff… 0:03:28 Gary Cliff. - Richard. Cliff… - Richard. Richard. 61 S01/E04 Miranda PCR 0:03:37 Miranda Cliff and Richard. Cliff a Richard. Cliff a Richard. 0:03:39 Gary We're massive fans. Jsme oddaní fanoušci. Jsme hrozní fandové. Explanation: Gary and Miranda play with new children's toys in Miranda's shop when a customer walks in. They pretend the toys are for their children and when the customer wants to know the names of their children they panic. Gary hesitantly answers "Uh, Cliff..." and Miranda finishes the sentence with "Richard." Gary swiftly adds that they are "massive fans" as Cliff Richard is a famous British pop singer. Customer I'm Mandy. Já jsem Mandy. Já jsem Mandy. Miranda M-M-Mary, and this is... Marie. A tohle je… Marie, a tohle je... 62 S01/E04 0:03:42 PCR Gary Joseph. Josef. Josef. Customer No way! To není možné. Nekecejte! CL Explanation: Gary and Miranda are talking to the customer who walked in the shop while they were playing with children's toys. In this awkward situation they lie about being married with children. The customer introduces herself to Miranda and she replies with a false name "Mary" . Gary hastily introduces himself as "Joseph" . The customer reacts with "No way!" as she cannot believe their names sound as "Joseph and Mary" the couple known in Christianity as earthly parents of Jesus - son of God. Isn't it just Nejsme prostě jenom hrozní Gary Ale pořád jsme oddaní fanoušci? 0:04:14 that we're massive fans? fandové? Miranda That's it, yeah. Ano, jsme. Tak proto, jo. Gary a # We're all going Hurá léto je tu, 0:04:17 # Všichni máme zimní prázdniny Miranda on a summer holiday. # jsou to prázdniny… 63 S01/E04 # Christmas time # Čas vánoc PCR Vánoce, zase po roce… Mistletoe and wine Jmelí a vína 0:04:21 Miranda # Children singing # Děti zpívají Děti těší se na ovoce… Christian rhymes vánoční koledy Gary # Etcetera # A tak dále 0:04:29 A tak dále. Miranda Etcetera. # A tak dále Explanation: Miranda and Gary lie to the customer about their names and they pretend to have children named Cliff and Richard. When they notice customer's surprised look they add they are massive fans and start singing the song "Summer Holiday" by British pop singer Cliff Richard. Miranda cannot help herself and starts another popular song from the singer "Mistletoe and Wine" .

Stránka 15 z 26 Translation Analysis Corpus - BBC series Miranda

"My ovaries work and Fungují mi vaječníky Moje vaječníky fungují, I'm so very excited!" a já jsem z toho hotová!” a to je tak vzrušující! 64 S01/E04 0:05:18 Miranda pun Not very annoying, ovary Nejenže hodně prudí. Plodně Ne výtečné, ale vaječné! annoying! prudí. Explanation: Miranda talks to her friends about the customer who flaunted with her children and her own business when talking to Miranda. Miranda imitates her in a mocking way and creates a pun "ovary annoying" none of her friends finds amusing. "Oh, very" sound similar as "Ovary" - female reproductive organ. 0:19:30 Colin How was the trip from Yorkshire? Jaká byla cesta z Yorkshire? Jaká byla cesta z Yorkshiru? YORKSHIRE ACCENT: 0:19:32 Miranda Ja ták. Tuž fujna. Áno, bola skvelá. Oh, aye, t'were great. I thought you were just there on Já myslel, že jste tam Myslel jsem, že jste tam byla jen z 0:19:36 Colin business. byla jen obchodně. pracovních důvodů. 65 S01/E04 CL No, turns out I'm from...thu-u-ur. Ne, nakonec su prý z tama. Ne, ve skutečnosti jsem od... tiaľ.

0:19:38 Miranda The minute I hear Yorkshire, the Jak uslyšim Yorkshire, Když slyším Yorkshire,

ten prízvuk sa mi hneď vracia accent just comes flooding back. hned sa mi ten přízvuk vracá. späť. Explanation: While staying in the hotel Miranda, by coincidence, joins a group of people in business suits. They mistook her for their leader and want to know how her trip from Yorkshire was. Miranda, instead of admitting the truth immediately, plays her role and imitates Yorkshire dialect. He taught me how to Naučil mě, jak se s tím fotí, Naučil mě, jak fotit, take a photo, 66 S01/E04 0:21:26 Miranda CL but I can't switch ale já ten krám neumím vypnout. ale neumím ten krám vypnout. the bloody thing off. Explanation: Miranda is drunk and takes a picture of her with her new friends to send to Gary. When the picture is sent she has problems with turning the camera off and accidentally takes another picture. Even though she does not swear usually she uses the swear phrase "bloody thing" .

Stránka 16 z 26 Translation Analysis Corpus - BBC series Miranda

A demain. Which I always think A demain. CL Demain. Což podle mě zní tochu 67 S01/E04 0:22:23 Miranda Což mi vždycky zní jako Adam sounds a bit like Adam Ant. jako "jdem ven". PCR Ant. Explanation: Drunk Miranda says goodbye to her new friends after the party in her hotel room. She uses French phrase "A demain" - in English "see you tomorrow" - and points out the phrase always reminded her of Adam Ant - English new wave singer. What would Prince Philip say? Co by řekl princ Philip? Co by na to princ Filip? 68 S01/E04 0:22:59 Miranda PCR Something racist, probably. Asi něco rasistického. Nejspíš něco rasistickýho. Explanation: Miranda is drunk in her hotel room and wants to use the trouser press while still wearing the trousers. Gary alerts her she must take her trouser off before putting them in. Miranda understands this as a sexual offer and pretends she is Queen. She asks Gary "What would Prince Philip say? Something racist, probably." - Prince Philip, Duke of Edinburgh is the husband of Queen Elisabeth II and he is known by the public his gaffes - politically incorrect remarks. What I like to do on a Chci abyste pr… těžké slovo, V den, jako je tenhle, si ráda hov... day like this is poo... 69 S01/E04 0:26:18 Miranda CL pool - that's a tricky word - hovím - to je proradné slovo - prodali své zkušenosti, pool our wisdom. hovím v moudrosti. Explanation: Miranda has a hangover from the previous night but as she is mistaken for the course leader of the business seminar she is forced to present. In one her first sentences she is unable to pronounce the word "pool" which sounds like "poo" - informal word children use for faeces. The whole phrase "pool our wisdom" is used mostly during workshops and seminars where attendants share their own knowledge. Big dreams, big ideas. Velké sny, velké nápady. Velké sny, velké idey. The only time we think small Jinak je nám vzorem V malém přemýšlíme jedině s 70 S01/E04 0:26:57 Stevie is Heather Small. Heather Smallová. Heather Small [malou]. PCR # What have you done today "Co se ti povedlo, # Co jsi dnes udělal, abys na sebe to make you feel proud? # nač hrdá smíš být?" byl hrdý? Explanation: In attempt to save Miranda Stevie replaces her as the presenter at the business seminar. Stevie talks about Miranda's joke shop a uses the reference to Heather Small - English soul singer and her song "Proud".

Stránka 17 z 26 Translation Analysis Corpus - BBC series Miranda

The bride didn't throw her bouquet, Nevěsta neházela kytkou, Nevěsta neházela kytici, jen ji just passed prostě ji předala Mirandě, podala 71 S01/E05 0:03:40 Penny CL it to Miranda while someone zatímco kdosi zařval: Mirandě a někdo vykřikl: "To shouted, "As if!" Tož to su klidný! těžko!" Explanation: Penny is irritated by the wedding she attended previous weekend together with Miranda. She describes what happened there to Stevie. Bride passed her bouquet to Miranda which would mean Miranda is going to get married soon but someone shouted: "As if!" which might be shortened version of a sentence "As if that is going to happen!" meaning it is highly unlikely to happen. I tell you what it is. I am baking a Dobře tak pravdu. Už jsem ti to říkala. Peču ježka hedgehog 72 S01/E05 0:04:25 Miranda PCR Peču ježka Paroubkovi k for Tony Benn's anniversary. k výročí politika Tonyho Benna. narozeninám. Explanation: Miranda is running out of excuses to convince her mother she does not need to throw a party to set up Miranda with a man. When no believable excuse works Miranda resorts to a lie. She tells her mother she bakes a hedgehog for a British politician Tony Benn's anniversary. Miranda but… No Tilly. Sssh. I have found Ne Tilly. - Pssst. Našla jsem ti 73 S01/E05 0:10:36 Ale našla jsem ti božolína. CL Tilly you someone tremendulent. někoho báječňoučkého. Explanation: Tilly wants to set up Miranda with a man she knows. She tries to convince Miranda that he is the right man for her stating he is "tremendulent" - form of tremendous, in the meaning extremely good.

You would not be punching below Rozhodně tvoje váhová kategorie. Neváží míň než ty a je k 74 S01/E05 0:10:48 Tilly CL your weight. He's a total pomilování. Naprostý micicánek. nudulator. Explanation: Tilly describes the man she wants to introduce to Miranda. She stresses out to Miranda by the idiomatic phrase that she "would not be punching below her weight" in this case the actual weight might be considered as the meaning next to the idiomatic meaning - underachieve - which alludes to the sport of boxing. Tilly also mentions he is "total nudulator" which is another of her newly created words here insinuating he is pleasant to look at when nude.

Stránka 18 z 26 Translation Analysis Corpus - BBC series Miranda

He's literally just come back from Právě se vrátil z La Grand Právě se vrátil z "La Grande La Grande Pomme, Pomme, Pomme", 75 S01/E05 0:10:54 Tilly CL where he's entre nous made a shed kde, entre nous, rozmašíroval kde mimo jiné uváděl

of Johnny Cashingtons. Huh? na hadry Jendu Prašulíka. v hale Johnnyho Cashingtona. Explanation: Tilly talks about the man she wants to introduce to Miranda. She tells Miranda he "just come back from La Grande Pomme" ( French expression for The Big Apple - also nickname for New York city) and that he "entre nous" (both English and French for secret) "made a shed of Johnny Cashingtons" (Tilly's way of saying that he earned a large amount of money as she explains immediately after). Oh, that is a major pity - and his 76 S01/E05 0:11:32 Tilly Ale to je mega škody a litr smůly. To je ale škoda a smutňoučký. CL friend, Colonel Shame! Explanation: Miranda refuses to meet Charlie, the man Tilly is trying to set her up with. Tilly expresses her disappointment stating that it is "a major pity and his friend, Colonel Shame!" meaning simply "That is a pity" or "That is shame". 0:11:38 Tilly Čágobélo. Ciao, bella. 77 S01/E05 Ciao, bella. -Emberg! PCR 0:11:39 Stevie Šílenče. Emberg! Explanation: Tilly is leaving Miranda's shop with "Ciao, bella" - Italian for "Hello, beautiful". Stevie takes a chance and answers with a pun referring to Bella Emberg - English comedy actress. So, the Mr Darcy look-alike is Dvojník pana Darcyho klidně Takže, dvojník pana Darcyho happy to arrive přijede přijde 78 S01/E05 0:13:38 Penny PCR dry and we can moisten him suchý, namočit si ho můžeme suchý a můžeme ho namočit sami. ourselves. sami. Explanation: Miranda's mother Penny organises a Pride and Prejudice themed party for Miranda to find her a husband. When Penny comes to Miranda's flat she shares a party update with Miranda saying "Mr Darcy look-alike" - Mr Darcy is one of the central characters in Jane Austen's novel Pride and Prejudice - "is happy to arrive dry and we can moisten him ourselves". To understand the second part of the reference it is necessary for the viewer to be familiar with the "lake scene" from the 1995 TV series Pride and Prejudice starring Jennifer Ehle and Colin Firth. In this scene Colin Firth as Mr. Darcy swims in the lake and afterwards meets Elizabeth Bennet wearing only his wet clothes which results into awkward conversation often find attractive by English women.

Stránka 19 z 26 Translation Analysis Corpus - BBC series Miranda

All right, calm your plimsolls. Fajn, zklidni hormon. Dobře, hoď se do klidu. Why 79 S01/E05 0:16:28 Clive CL Co kdybys mě požádala o don't you ask me for more sauce? Co aby sis řekla o sós navíc? omáčku? Explanation: Miranda is waiting for her date in the restaurant. She is panicking about the man she is meeting as he is friend of Tilly's and might not be her type. Clive tries to calm Miranda down with the "calm your plimsolls" - plimsolls and shoes for sport in this case the meaning is "calm down" and helps her invent a way how she could leave in case her date is fiasco - "Why don't you ask me for more sauce?" - sauce means SOS. 80 S01/E05 0:16:58 Charlie Well, hello, Totty. Nazdárek šťabajzničko. Ahoj, kočko. CL Explanation: Miranda is on a date will Tilly's friend Charlie. When he meets her in the restaurant he greets her with "Well, hello, Totty." "Totty" is a British slang for sexually desirable woman. 81 S01/E05 0:17:56 Charlie Oh, where's the little fellow gone? Kam se zdejchnul ten skrček? Tak kde je ten malý chlapík? CL Explanation: Miranda is on her date with Charlie. When Charlie wants to order he asks where Clive gone calling him "little fellow" . He uses "fellow" to indicate a man or boy which is considered informal in English. What makes the expression even more informal is the fact that Charlie remarks on Clive's height even though he is not higher than him. 82 S01/E05 0:18:00 Charlie Booze. That should do it, eh? Chlast. Ať nám to vodsejpá. Chlast. To by mělo stačit, ne? CL Explanation: Miranda is on a date with Charlie. When the waiter comes to their table asking for their order Charlie requests "booze" - informal expression for alcoholic drink. Listen I know we haven't eaten Hele, vím, že ještě nejsme ani Poslouchej, já vím, že jsme 0:19:04 yet, I'm feeling the chemistry. po jídle, ale už cejtím tu jiskru. ještě nejedli, ale cítím chemii. 83 S01/E05 Charlie Would you be on for coming back CL Zašla bys pak ke mně domů Co kdybychom šli ke mně 0:19:10 to mine for a bit of pumpy de rumpy?! na nějaké to bumtaratatá? a trochu si zaskotačili? Explanation: Miranda is on a date with Charlie who feels the "chemistry" - informal expression for attraction between two people - from the very beginning. Miranda does not share his point of view and thinks he is not the right choice for her. Nevertheless, Charlie asks her, even before ordering the meal, if she feels like coming back to his "for a bit of pumpy de rumpy" - informal and humorous expression for sexual relations.

Stránka 20 z 26 Translation Analysis Corpus - BBC series Miranda

Miranda # I'm coming out Já přiznávám… # Přiznám se Miranda # I want the world to know ...ať celý svět to ví, # Chci, aby to svět věděl 84 S01/E05 0:21:34 & Stevie # Got to let it show že je to hotový… # Musím to ukázat PCR # I'm coming out I want the world Já přiznávám… # Přiznám se, chci aby to svět Customer to know... # ať celý svět to ví… věděl... Explanation: Miranda and Stevie are giving up on finding out new excuses so that Miranda's mother stops trying to find her a husband when one of their customers brings them a new idea. They want to persuade him to marry Miranda, but he is already married to a man. Miranda decides to lie her mother about being gay. They all start to sing the song "I'm Coming Out" by American singer Diana Ross. But who knew your wicket was Ale tys věděla, že do tvé branky Kdo by si byl pomyslel, že tvoje being thoroughly 85 S01/E05 0:22:24 Penny PCR knocked by a bowler with no kuželky porazil kuželkář bez holt nikdo nic nevsítí. balls? koulí. Explanation: Miranda lies to her mother Penny that she is gay as to stop her mother's attempts to find her a husband. When Penny finds out she is delighted and assumes that this was the root of her unsuccess. Penny's remark is an allusion to a game of cricket where "bowler" is the player who throws the ball. And I understand the lure. We've all A chápu, že tě to zlákalo. Chápu je to lákavé. 86 S01/E05 0:22:30 Penny CL been the way of the lily. Každá jsme nějakou prubly. Všichni jsme to prožili. Explanation: Penny comments on Miranda's coming out as a lesbian and shares her experiences from her youth. "Lily" is an old American slang for being homosexual used in 1940's. already got the dress theme - Už mám nové téma… Už jsem vymyslela, že to bude ve 0:23:17 Penny simply "famous lesbians throughout Prostě "Slavné lesbičky v stylu "Letem lesbickým světem". history". dějinách". 87 S01/E05 PCR That's a room full of people dressed Takže to tady bude samá To je místnost plná lidí, oblečených 0:23:23 Clive as either KD Lang or Sandi jako KD Lang nebo Sandi KD Lang a Martina Navrátilová. Toksvig. Toksvig. Explanation: When Penny learns Miranda is gay she decides to continue with her planed party with a changed theme "famous lesbians throughout history" . Clive remarks on this that this would mean "room full of people dressed as either KD Lang or Sandi Toksvig" . KD Lang is a Canadian pop and country singer, Sandi Toksvig is a Danish-British comedian they both came out as lesbians.

Stránka 21 z 26 Translation Analysis Corpus - BBC series Miranda

No, I tell you what. We've got the Ne já vám něco řeknu. Ne když už máme Pýchu a Máme už kostýmy na "Pýchu a 0:23:27 Penny Pride And Prejudice outfits - předsudek, 88 S01/E05 předsudky", PCR let's do Tipping The Velvet. This is pojďme udělat Špičkou jazyka. Uspořádejme "Vrchol něžnosti". 0:23:32 Miranda going really badly. Je to čím dál horší. To nedopadne dobře. Explanation: When Miranda pretends to be lesbian so that her mother would cancel the party to find her a husband, her mother decides to have the party anyway and to change only the theme. She suggests the new topic to be "Tipping the Velvet" book written by Sarah Waters in 1998. The book is set in 1890s and contains lesbian themes. It's not. OK, here's the thing. Nejsme. Jsme pár, máma pořádá Nevyšlo to, poslouchej. We're an item. Mum's hosting us a Jsme pár, matka nám pořádá CL Tipping večírek večírek na téma Špičkou jazyka, The Velvet-themed coming out na téma "Vrchol něžnosti", party, 89 S01/E05 0:24:16 Miranda we're members of the National jsme členkami National Trust Jsme členy Národního Fondu Trust PCR a máme slevu 10 procent a můžeme si zaregistrovat naše and can book our civil partnership registrované partnerství s 10% there at a 10% discount. na registrované partnerství. slevou. Explanation: Miranda explains to Stevie why the party was not cancelled. She tells her they are now "item" - informal expression for two people having a romantic relationship and they are members of "National Trust" - charity organisation functioning in England, Wales and Northern Ireland preserving national heritage and environment. 90 S01/E06 0:03:06 Miranda Yeah. Oh, feeling small? Jo. Připadáš si malinká? Jo. Připadáš si malá? pun Explanation: Stevie hints Miranda is not attractive enough and it is highly improbable that the customer left the wallet in shop for her to find. Miranda finds this offensive. Stevie is standing up opposite to Miranda when Miranda says "Oh, feeling small?" To understand the pun, it is necessary to notice the height difference between Miranda and Stevie as one of the meanings and the other "make somebody look of feel small" meaning of being ashamed or feel humiliated which Stevie surely was after the dialogue. As a reaction Stevie takes a low stool and stands on it.

Stránka 22 z 26 Translation Analysis Corpus - BBC series Miranda Yes, a pretty little plea, oh, ladio Ano, mám takovou 91 S01/E06 0:04:57 Prosbička, Dámiensi. PCR head. malinkatou prosbičičku.

Can we for once, please, at a social Můžeme, prosím, jednou Můžeš projednou, prosím, Tilly 92 S01/E06 0:05:01 CL ve společnosti neodhalovat svoje occasione not reveal our breasts. mezi lidičkama neodhalovat prsa? prsa? 93 S01/E06 0:05:07 "The chesticles." Ty kozojídky? Tvoje "hrudníčátka". CL Explanation: Tilly and Fanny are at lunch with Miranda. Tilly in her own way asks Miranda not to reveal her breasts in public. She calls Miranda "ladio head" creating a pun from words "lady" and the name of the English rock band "Radiohead". In the phrase "social occasione" she uses Italian word "occasione" including its original pronunciation instead of the English "occasion". "The checticles" is an informal blend of the words "chest" and "testicles" and is used in slang humorous way to indicate women breasts.

94 S01/E06 0:05:10 Fanny You are Rafael Nude-al. Ty jsi Rafael Nahál. Jsi jako ten tenista Rafael Nude-al. PCR

Explanation: Tilly and Fanny stress out to Miranda during the lunch that she must be more careful not to show undressed in public referring to her often accidents with clothes. Fanny calls her "Rafael Nude-al" creating a pun on the name of the Spanish professional tennis player Rafael Nadal. It defo can't happen at Henley. V Henley se tomu musíš určo V Henley se nám to nesmí stát, 0:05:22 Fanny Royalty present. Yes. Kong if vyhnout. Bude tam šlechta. královský dárečku. any boom-boom flesh appears, Jestli vytasíš chlemtáky, srazím Ano, Kongu, jestli se zase odhalíš, 95 S01/E06 CL I personally shall push you in the 0:05:26 Tilly osobně tě shodím do řeky. river. tě do řeky. A jo! Jsou v ní štiky. And fact, McFact, there are pike. A fakt, McFact, jsou tam štičky. Explanation: Fanny and Tilly warn Miranda to be careful not to reveal her nude body as this often happens to her in public by accident. Fanny exclaims by "Royalty present" that specific group of noble people is attending this event. "Boom-boom flesh" here in a slang for women's breasts. Yo, give me the crack or I'll blow Hej! Naval crack, Dej mi ten crack, 96 S01/E06 0:09:06 Miranda CL your face in. nebo ti ustřelím ksicht! nebo ti vystřelím mozek. Explanation: Miranda goes with Gary to the self-defence class where she expects to meet the man who left his wallet in her shop. The man does not appear, but Miranda and Gary stay for the lesson. Miranda is picked as a volunteer by the instructor and is asked to approach him from back. Feeling nervous in front of the whole class she jokes and imitates harsh language of street.

Stránka 23 z 26 Translation Analysis Corpus - BBC series Miranda Tilly's mother has just told me you Mluvila jsem s Tillyinou matkou. Tillyina matka mi právě řekla, 97 S01/E06 0:09:54 Penny are going to Henley Regatta? Ty chceš jít na Henley Regattu? že jedete na regatu do Henley. PCR Tell no-one you are my daughter. Nikomu neříkej, že jsi moje dcera. Nikomu neříkej, že jsi moje dcera. Explanation: Penny is surprised when she finds out Miranda is planning to go to "Henley Regatta" - annual rowing event on the river Thames, regarded as a part of the social season and therefore with a strict dress code - as Miranda has issues with behaviour in formal occasions she asks her not to tell anyone that she is her daughter. You haven't been blessed by the Nedostalo se ti požehnání Tebe nepožehnala společenská 0:09:58 Penny goddess of socialising. od bohyně společenského života. bohyně.

98 S01/E06 0:10:02 Miranda There isn't a goddess of socialising. Taková bohyně neexistuje. Žádná neexistuje. PCR

Then how do you explain Nigella A odkud se vzala kuchařka 0:10:05 Penny A co například Nigella Lawson? Lawson? Nigella? Explanation: After discussing Miranda's interest in attending formal event at Henley Regatta, Penny points out that Miranda was not blessed by the "goddess of socialising" and thus she cannot act properly at such events. Miranda argues there is no goddess of socialising. Penny asks her to explain "Nigella Lawson" - English journalist, broadcaster and food writer who is known for her social skills. Now, the laugh. Top tip. Teď smích. Skvělý tip. Založ A nyní smích. Nejlepší tip. Založ svůj smích na písní Barbie Base the laugh on the song Barbie Směj se podle písně "Barbie Girl" Girl. 99 S01/E06 0:11:04 Penny Girl by Aqua. od Aqua. PCR Od skupina Aqua. # I'm a Barbie Girl # Jsem Barbie Girl Já jsem Barbie Girl… # Ha-ha-ha-ha-ha! # # Ha-ha-ha-ha-ha! Explanation: Penny teaches Miranda how to act at a formal occasion as is Henley Regatta. She starts with the conversation topics and explains the "posh mumble" one should when in doubt. One of her top tips concerns the laugh. She advises Miranda to laugh according to the rhythm of the song "Barbie Girl by Aqua" - catchy song disparaging Barbie dolls. Oh, er, well, it's a nice position to Aha. Vidím, že jsem si naběhl Oh, ehm, no, je to milé, 0:13:38 Robert 100 S01/E06 be in, um... na pěkné vidle. být v takové pozici, um... pun 0:13:42 Stevie That would be later, Robert. To až později, Roberte. Možná až se poznáme, Roberte. Explanation: The man who left his wallet in Miranda's shop comes to pick it up. Stevie and Miranda both try to seduce him with their own pick-up lines. When they ask him which one of them he would take for dinner he feels uncomfortable answering "it's a nice position to be in" - meaning it is not a good position to be in. Stevie reacts with pun "That would be later, Robert." insinuating that there might be some sexual relations between them later.

Stránka 24 z 26 Translation Analysis Corpus - BBC series Miranda

"Why don't you step into my "Proč nepřijdete do mého Nebo jen Robe. Jak říkal pavouk 101 S01/E06 0:14:05 Miranda parlour?" salónu?" PCR said the spider to the fly. mouše: Pojď do mého salónku. jak praví pavouk mouše. Explanation: Miranda and Stevie are trying to seduce a man who left his wallet in the Joke shop. One of Miranda's pick-up lines is the first verse of the children poem The Spider and the Fly by English poet Mary Howitt.

You knew you weren't winning that. Vědělas, že nevyhraješ. Ještě jsi nezvítězila.

You knew the allure wasn't A přiznej si, že tvůj šarm working, Vědělas, že půvab nezabral, nefungoval, 102 S01/E06 0:14:58 Miranda he was about to pick me. chystal se pozvat mě. CL

That is why you got your dog out. šel po mně, a tys vybalila čokla. Proto jsi šla se svým psem na trh.

I am very glad that's not a A jsem moc ráda, A to není eufemismus. euphemism. že to není eufemismus. Explanation: Miranda is angry with Stevie as she used her new dog to allure the man who left his wallet in her shop. Miranda thinks Stevie had no chance with him before she "got her dog out" . Miranda is glad this is not a euphemism as in American slang this would mean Stevie got out "dog dung". Boy Páni. Ach bože. 103 S01/E06 0:15:49 Ah, wow. No, it's not Paris Hilton. PCR Miranda Ne, nejsem Paris Hilton. Ne, nejsem Paris Hilton. Explanation: Miranda and Stevie walk their dogs in the park. Miranda holds her Chihuahua Dog when some young boys approach them. Miranda makes a joke that she is not "Paris Hilton" - American business woman and celebrity often captured with her Chihuahua Dogs. She is Tarzan of the Cakes and Je Tarzan dortů. Je jako Tarzan mezi pečivem 104 S01/E06 0:19:07 Tilly PCR she's quite proud of it as well. A co víc, je na to hrdá. a ještě je na to hrdá. Explanation: Fanny and Tilly meet Gary in front of the park gate where Miranda is stuck. Unable to see her behind Gary the girls make jokes about Miranda. In one of them Tilly claims Miranda is "Tarzan of the Cakes" making pun and referring to the novel Tarzan of the Apes by American writer Edgar Rice Burroughs.

Stránka 25 z 26 Translation Analysis Corpus - BBC series Miranda

Miranda Thanks. Yeah, that was close. You Díky. Díky. - Jo to bylo o fous. 105 S01/E06 0:19:24 nearly CL Gary Jo, málem ti ty slepice unikly. Málem jsi přišla o regatu. missed out Henners there. Explanation: Gary covered Miranda while Tilly and Fanny passed by the park gate where she was trapped without her shirt on. When they are gone Gary says that she almost "missed Henners" which is a word from Scottish and means "challenge". In this case, however, it most likely stands for an abbreviation of Henley Reggatta. Oh, slow dance pact? If the music Oh, ploužák. V případech, kdy Ploužáková dohoda? Při ploužáku goes slow I'll hudba bývá invariably be on the outside with no pomalá, zůstávám vždy stranou bez 0:24:25 Miranda budu určitě stát bokem jako Y, partner. partnera. So, please ask the DJ to change the Takže, prosím, požádej DJ 106 S01/E06 řekla bys DJ, ať pustí rychlejší? PCR music. o změnu hudby. It's not a school disco, but yeah, Nebudeme sice na lyžáku, Není to sice škola disco, ale jo, deal. 0:24:31 Stevie dohodnuto. Stačí se držet poblíž Can you just hold this for me? ale jak chceš. Podržíš mi to? mě. Explanation: Miranda pleads Stevie to change the music if the slow music starts to play at Gary's farewell party. Stevie thinks Miranda is acting childish and objects it is not "a school disco" where teenagers struggle with this kind of problems, yet she agrees to do it.

Translators of the Czech versions of the subtitles: Abbreviations Episode Czech Television titulky.com Colloquial Language - CL S01/E01 Alžběta Šáchová, 2015 NeroF, 2011 Popular Culture Refference - PCR S01/E02 Alžběta Šáchová, 2015 NeroF, 2011 S01/E03 Alžběta Šáchová, 2015 NeroF, 2011 S01/E04 Alžběta Šáchová, 2015 Vera.Luna, 2011 S01/E05 Alžběta Šáchová, 2015 Sidi07, 2012 S01/E06 Alžběta Šáchová, 2015 Sidi07, 2012

Stránka 26 z 26