Translation of Humor in the Dubbed Version of the Sitcom “How I Met Your Mother” in Vietnamese

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VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF ENGLISH LANGUAGE TEACHER EDUCATION

GRADUATION PAPER

TRANSLATION OF HUMOR IN THE DUBBED VERSION OF THE SITCOM “HOW I MET YOUR MOTHER” IN VIETNAMESE

Supervisor : Nguyễn Thị Diệu Thúy, MA Student : Nguyễn Thị Hòa Course : QH2014.F1.E20

HÀ NỘI – 2018

ĐẠI HỌC QUỐC GIA HÀ NỘI TRƯỜNG ĐẠI HỌC NGOẠI NGỮ KHOA SƯ PHẠM TIẾNG ANH

KHÓA LUẬN TỐT NGHIỆP

CÁCH DỊCH YẾU TỐ HÀI HƯỚC TRONG BẢN LỒNG TIẾNG PHIM HÀI TÌNH HUỐNG “KHI BỐ GẶP MẸ”

Giáo viên hướng dẫn : Th.S Nguyễn Thị Diệu Thúy Sinh viên : Nguyễn Thị Hòa Khóa : QH2014.F1.E20

HÀ NỘI – 2018

ACCEPTANCE PAGE

I hereby state that I: Nguyễn Thị Hòa (QH14.F1.E20), being a candidate for the degree of Bachelor of Arts (English Language) accept the requirements of the College relating to the retention and use of Bachelor’s Graduation Paper deposited in the library.

In terms of these conditions, I agree that the origin of my paper deposited in the library should be accessible for the purposes of study and research, in accordance with the normal conditions established by the librarian for the care, loan or reproduction of the paper.

Signature

Date

May 4th, 2018

ACKNOWLEDGEMENTS

First and foremost, I feel grateful beyond measure for the patient guidance that my supervisor, Ms. Nguyễn Thị Diệu Thúy has shown me over the past few months. Without her critical comments and timely support, this paper would not be finished. In addition, I would like to express my sincere thanks to 80 students from class 15E12, 15E13, 15E14 and 15E16 at the University of Languages and International Studies who eagerly participated in the research. Their kindness helped me to overcome some difficult times and restored my faith in the ability to complete this paper on time. Last but not least, my thanks go to my friends and family who stood by me all this time, cheered me on and inspired to never give up. This paper is dedicated to all these wonderful people who in some way gave me the support during the process of conducting this research.

ABSTRACT

Translation of humor in general and in audiovisual contexts in particular is challenging to even experienced translators, yet it has not attracted enough attention in the research field. In addition, translation of audiovisual products have unique characteristics requiring the collaboration between the audio and visual channel and undergoing a complicated editing process before being aired. This paper aims at discovering the translation of humor in a well-known sitcom named “How I met your mother” which has been dubbed by Vietnam Television network and the audience’s reception of that translation to enrich the materials in the field of screen humor translation. In order to collect the data on the types of humor available in the sitcom and the strategies used to translate the humor, the researcher used the method of observation of documents. Regarding audience’s reception, 80 students were asked to complete the questionnaire in which they showed their reaction to humorous excerpts from the dubbed version. After that, data was processed using numerical analyzation. The results presented that among eleven types of humor present in the chosen episodes of the sitcoms, irony, wordplay and teasing were the primary source of humor. Meanwhile, literal translation and explicitation were the dominating strategies used by the translators to render almost every type of humor present in the corpus. The reaction of 80 participants from FELTE, ULIS towards excerpts showed that most of them had a preference for literal translation over explicitation although students who watched sitcoms frequently had a more positive opinion towards explicitation than those who rarely did.

TABLE OF CONTENTS

ACKNOWLEDGEMENTS ...... i ABSTRACT ...... ii LIST OF TABLES ...... v LIST OF FIGURES ...... vi LIST OF ABBREVIATIONS ...... vii CHAPTER 1: INTRODUCTION ...... 1 1.1 Background ...... 1 1.2 Statement of research problem and questions ...... 3 1.2.1 Research problem ...... 3 1.2.2 Research questions ...... 4 1.3. Scope of research ...... 5 1. 4. Significance ...... 5 1.5. Organization ...... 6 CHAPTER 2: LITERATURE REVIEW ...... 7 2.1 Humor ...... 7 2.1.1 Definition ...... 7 2.1.2 Humor theories ...... 8 2.1.3 Classification of humor ...... 11 2.2 Translation of humor ...... 13 2.2.1 Constraints ...... 13 2.2.2 Translation strategies ...... 14 2.3. Audiovisual translation ...... 19 2.3.1 Definition ...... 19 2.3.2 Modes of AVT ...... 19 2.3.3 Dubbing and constraints ...... 20 CHAPTER 3: METHODOLOGY ...... 21 3.1. Sampling ...... 21 3.2. Data collection ...... 22 3.2.1 Observation of documents ...... 22

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3.2.2 Questionnaire ...... 23 3.3 Data analysis ...... 25 CHAPTER 4: FINDINGS AND DISCUSSIONS ...... 27 4.1 Categories of humor present in 10 selected episodes of the series “How I met your mother” ...... 27 4.2 Strategies according to Díaz-Cintas and Remael (2007) used to translate these humorous elements into Vietnamese in the dubbed series ...... 29 4.2.1 The use of translation strategy in general ...... 29 4.2.2. The use of translation strategies by categories of humorous elements .... 34 4.3. Audience’s reception of the translation ...... 37 4.3.1 Irony ...... 37 4.3.2 Wordplay ...... 38 4.3.3 Teasing ...... 38 4.3.4 Jokes ...... 39 4.3.5 Catchphrases ...... 39 4.3.6 The relationship between the frequency of watching sitcoms and reception of the translated products ...... 40 CHAPTER 5. CONCLUSION ...... 42 5.1. Summary of main findings and implications ...... 42 5.2. Limitations ...... 43 5.3. Suggestion for further research ...... 44 REFERENCES ...... 45 APPENDIX 1: CATEGORIES OF HUMOR AND TRANSLATION STRATEGIES APPLIED ...... 48 APPENDIX 2: QUESTIONNAIRE ...... 73

LIST OF TABLES

Table 4.1. Student’s response to the translation of irony ...... 37 Table 4.2. Student’s response to the translation of wordplay ...... 38 Table 4.3. The proportion of rating of translation by two group of students (A: students who never watch or watch less than once a month; B: those who watch from once a month and more) ...... 40

LIST OF FIGURES

Figure 4.1. Available categories of humor in the selected episodes ...... 27 Figure 4.2. Translation strategies applied in rendering humor in selected episodes ...... 29 Figure 4.3. Translation strategies applied by categories of humor and their frequency ...... 34 Figure 4.4. Translation strategies used in translating wordplay ...... 36 Figure 4.5. Students’s general reception of translated humor ...... 37 Figure 4.6. Student’s response to the translation of teasing ...... 38 Figure 4.7. Student’s response to the translation of jokes ...... 39 Figure 4.8. Student’s response to the translation of catchphrases ...... 40

LIST OF ABBREVIATIONS

VTV : Vietnam Television FELTE : Falcuty of English Language and Teacher Education ULIS : University of Languages and International Studies

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CHAPTER 1: INTRODUCTION

In this chapter, the recurring issues prompting the need to conduct a research in the field will be presented, along with rationalization, scope and significance of the research. 1.1 Background Audiovisual translation or screen translation is a branch of translation studies which focuses on the transfer of audiovisual texts within or among languages. It poses certain challenges for translators because the subject of translation, audiovisual texts, is the constant combination of acoustic and visual channels (Chaume, 2013). The two primary modes of audiovisual translation available are subtitling in which audio is translated and presented as texts on screen and re-voicing in which the original audio is transferred and voiced by dubbing actors. According to Gambier and Gottlieb (2001), the translation of audiovisual products in general and re-voicing in particular entails complex processes besides the mere transfer of language or verbal translation. Re- voicing covers several subtypes, among which dubbing and voiceover are most commonly used in translating multimedia products. The constraint of dubbing, as suggested by Sánchez, D (2004) is that the translators have little control over the final products because the translation undergoes a complex process before it can be published. After the translator submits the translated script, it will be proof-read, then adjusted by the dubbing director and finally modified during synchronization. In post-synchronization, Chaume (2013) proposed that the audio must be synced in terms of lip movement, body movement and timing of utterances. In Vietnam, all popular modes of audiovisual translation such as subtitling, dubbing and voice-over are present in the media. However, the predominant mode varies depending on different factors: broadcasters, targeted audiences, political influence and budget to name a few. Vietnam Television or VTV in short is the national broadcaster of Vietnam whose majority of products are re-voiced possibly because it offers service to a wide range of

audience of different classes, ages, genders, education backgrounds et cetera. Vietnamese audience now have the chance to get access to a world of multimedia entertainment products, either domestically or internationally made. Both public and private broadcasters import films from a variety of countries such as China, Korea, India and notably Anglophone countries. The audience’s enormous demand for the translated products remains conspicuous to broadcasters in the film market. Over the years, the popularity of American culture has led to the import of numerable TV series which have left significant memory in audience’s mind such as “Charmed”, “Sabrina the teenage witch” and “Desperate housewives” et cetera. VTV’s recent copyrights purchase of the highly popular sitcom “How I met your mother”, which was originally aired on CBS for ten years from 2005 to 2014 is an intelligent move of the agency because the fame of the comedy ensures a certain amount of audience. “How I met your mother” was created by Craig Thomas and Carter Bays, starring Josh Radnor, Jason Segel, Cobie Smulders, Neil Patrick Harris and Alyson Hannigan. The series surrounds the life of five young people since their early 20s, narrated by Ted, one of the five main characters in the form of future Ted recounting to his future children. While he claims to tell the children of how he met their mother, the underlying theme is much broader, featuring the struggle to find love, maintain friendship and establish themselves in the society of young people. The series is highly acclaimed by both critics and the general public with 25 wins and 90 nominations of rewards in total, according to the IMDb website. The sitcom is shown on VTV2 at 10:40 p.m during weekdays aiming at the segment of adult audiences, translated by Kim Oanh and Thu Trang and re- voiced by Ace Media’s dubbing actors Tien Dat, Quang Tuyen and Ngoc Tuyen under dubbing director Tien Dat. Despite the popularity of the original series, the re-voicing poses several risks at the same time because the large fan community has already been acquainted with the subtitled version of this series by non-profit subtitle groups such as Kites.vn and phimmoi.net. The burgeoning popularity of fan-subbing and fan-dubbing due to the development

of technology has brought the translated media products to the audience long before the official broadcasters do. 1.2 Statement of research problem and questions 1.2.1 Research problem A sitcom is a typical example of humor to be examined because different sources of humor such as incongruity and superiority are displayed, as Daniela (1999) proposed. Humor in many cases is culture-specific, which is claimed to be untranslatable to some extent thereby tackled by such strategies as omission, literal translation, generalization, and explication. (Pettit, 2009 as cited in Leshkovich, 2016). Moreover, humor translation encounters hard-to- surmount challenges because even if linguistic and culture-specific elements are rendered correctly, there are chances that recipients do not have sufficient knowledge related to understand or they simply find it not funny (Gambier and Gottlieb, 2001). This is, therefore, a hard puzzle for translators. Although research has been done on translation of humor in literature, there remains a gap to be filled in the study of humor translation in audiovisual contexts, particularly English-Vietnamese transfer in the context of increasing demand for translated products. Such a substantial difference between Anglophone countries (in this case, America) and Vietnam’ culture is that the translation of humorous elements, especially culture-specific ones in the sitcom “How I met your mother” is no easy feat. Chiaro (2010) suggested that translators usually adopt one among four strategies to transfer verbal humor, including keeping the verbal humor unchanged, replacing the verbal humor with a new stance of verbal humor, replacing it with idiomatic expressions and finally ignoring the wordplay. The choice of translation strategies depends on various factors, one of which is how source-oriented or target-oriented the works allowed to be, who the targeted audience is, which mode of audiovisual translation being used and which channel the work is aired on. In order to establish a theoretical framework for audiovisual translation, Cintas (2004) reviewed available approaches as well as pointed out their

limitations. Descriptive translation studies proposed by Holmes (1972) though are successful in research field, somehow restricted to literature. After that, Cintas (2004) highlighted the advantages of the Polysystem theory by Even- Zohar (1078) which takes into consideration not only linguistic aspect but also socio-cultural and professional aspects. According to this theory, the translation is not judged correct or incorrect but assessed according to equivalence instead. This is also the approach I deem appropriate in this research. The study of dubbing translation of humor in the series “How I met your mother”, therefore attempts to figure out which strategies used in this mode of audiovisual translation and whether there are patterns of using certain strategies for different types of humor elements. In addition, the objective of surveying audience’s response towards the translated product is to confirm their satisfaction of the humor rendered. The study aims at identifying the strategies applied in translating humorous texts from English to Vietnamese of the re-voiced version of the series “How I met your mother” and evaluating audience’s reception of the translation. As a result, the study to some extent can contribute to the research pool of audiovisual translation, serving as future reference for translators and other concerned researchers. It is expected to be of help to the improvement of humor translation in this sitcom as well as the products of the same genre in the near future. 1.2.2 Research questions The study is intended to address these following research questions: a. What are categories of humor present in 10 selected episodes of the series “How I met your mother”? b. What are the strategies according to Díaz-Cintas and Remael (2007) used to translate these humorous elements into Vietnamese in the dubbed series? c. How does the third year students of the Faculty of English Language Teaching Education at the University of Languages and International Studies receive this translated product?

1.3. Scope of research The study will look at the translation of verbally expressed humor in ten episodes of the series “How I met your mother”. Specifically, only the humor elements which are followed by canned laughter to signal the intended humorous effects are examined. The ten chosen episodes are top ten highest- rated episodes given over 9 on a scale of 10 of the series as shown by the website IMDb; therefore, I believe it is guaranteed of the humorous aspect for the study. To answer the question of how third year students at ULIS receive the translated products, 80 students have been asked to complete the questionnaire featuring some short quotes from the translated script. The number of students surveyed are equivalent to that of 4 classes, which is quite a sizeable amount even though overgeneralization will be avoided because they cannot represent the whole audience of the series. However, the results can serve as the reference to how a segment of intended audience reacts to the translation of the series. 1. 4. Significance Once completed, the research can provide a pattern if possible of strategies in dubbing translation of humor elements of the sitcom, from which translators can make improvements and adjustments in future products with similar characteristics. In addition, the reception from audiences surveyed can bear evidence to the effectiveness of those strategies to a certain extent. Although the practice of re-voicing television shows is not new to the audience, that practice in a situation comedy is relatively scarce due to the challenging nature of this genre, which is to provoke laughter. The re-voicing for the series by the national television network is undoubtedly a step further towards bringing audience closer to the culture of the country which exports this product. This is the official version conducted by a professional crew, undergoing a long process of editing and censoring, therefore the final product will be definitely affected by this. This research is expected to be of help to the improvement of humor translation in this sitcom as well as the products of the same genre in the near future once completed by serving as a source of reference.

1.5. Organization The research is organized into five parts as follows. Chapter 1: Introduction The primary purpose of this chapter is to provide logical justification for conducting a research in this topic, besides offering the specific angles from which the research deals with the issue, as well as the extent and significance of the research. Chapter 2: Literature review This chapter presents the key concepts pertaining to the subject matter including humor, audiovisual translation, dubbing. In addition, a thorough review of the findings of research conducted in the translation of humor in audiovisual contexts, in particular regarding typology of humor and translation strategies of humor is provided. Chapter 3: Research methodology In this chapter, the procedure to undertake the research is mapped out concerning sampling, data collection and data analysis. Indeed, how the subjects and participants are chosen and how to collect the data through questionnaires and analyze the results are subsequently demonstrated. Chapter 4: Findings and discussion This chapter will deliver the answers to research questions proposed in the first chapter, including the classification of humor present in the selected episodes and the strategies applied in the process of translating these elements in the dubbed product and the audience’s reception towards the selected scripts. Besides, the potential reasons for these results will be discussed. Chapter 5: Conclusion This final chapter offers the possible implications from this research along with admitted limitations, from which further study can improve and develop.

CHAPTER 2: LITERATURE REVIEW

In this chapter, I will review the currently available materials on humor, translation of humor and audiovisual translation to gain a thorough overview of what has been done in this field, setting the theoretical framework for the analysis of translation of “How I met your mother” in the dubbed version in the next chapter. 2.1 Humor 2.1.1 Definition Humor is an indispensable part of human life, a recurrent theme in everyday conversations and entertainment products. As Raskin (1985) eloquently put it, humor is a “universal human trait”. This phenomenon has been a topic of interest for academic researchers since the days of Plato and Aristotle and never ceased to intrigue scholars to investigate it from different angles such as psychology, sociology, linguistics et cetera. People laugh every day because of various reasons. What seems to be witty and amusing to an individual may be considered as tedious or bizarre by others. Understanding humor and its mechanism will give way to applying appropriate strategies and techniques to the translation of those elements. During the evolution of humor research, countless definitions of humor have been provided; yet, there seems to be an absence of consensus among those researchers on what is denoted by humor. Vandaele (2013) defined humor in a simple and straightforward way as a stimulus that arouses amusement, smile and laughter. According to Oxford dictionary, humor is “the quality in something that makes it funny or amusing or the ability to laugh at things that are amusing”. When discussing the relation between humor and communication, Davis (2013) offered a psychological perspective on humor and claimed this as sudden sense of joy or exhilaration in response to comical catalysts. It is clear that these researchers investigate humor under different lights, which view humor as stimuli or outcomes of stimuli. This research will adopt the definition of Vandaele (2013) since it corresponds with the objectives to analyze mechanism of what causes people to find things amusing.

2.1.2 Humor theories Numerous theories of humor have been proposed in an attempt to analyze and decipher what makes people laugh, among which socio- psychological and linguistic approach are the most widely recognized. Regarding the former approach, incongruity, superiority and relief theories are three prominent classes of humor theories. 2.1.2.1 Incongruity theory Ruch (2008) claimed that incongruity is a necessary but not sufficient condition for humor. "The cause of laughter in every case is simply the sudden perception of the incongruity between a concept and the real objects which have been thought through it in some relation, and the laugh itself is just the expression of this incongruity" (Kant 1819a, 76 as quoted in Raskin 1985). In his article on humor and translation, Vandaele (2013) commented on incongruity theory as a cognitive approach in which the hearers of humor experience two stages in getting the humor. The first stage is that they have to notice the incongruity or discrepancy between the expectations set up beforehand in their head versus the reality turns out. The second stage, serving a more important role is that there is a logical and understandable analysis underlying that seemingly incongruity or else the humor fails and hearers are puzzled. The incongruity has to be resolved for humor to be perceived. Indeed, the incongruity theory dissects humor into contiguous steps in cognitive processing of human brains. However, it explains unsatisfactorily the simple forms of humor such as slapstick and clownish humor. 2.1.2.2 Relief theory Freud’s relief theory of humor stated that humor is the manifestation of unconscious mind’s repressed desires, a way to emancipate humans from restraints (Attardo, 1994). According to this theory, when people encounter situations in which negative feelings are usually anticipated, they joke to vent these psychic effects into laughter. However, this theory was criticized by Morreall (2011) as “no use in building a theory of humor” because the idea of saving of psychic energy to repress thoughts and feelings is unverifiable.

2.1.2.3 Superiority theory Superiority theory has been used to explain humor dating back as early as Plato. Plato adopted a very negative view of comedy, or rather humor, which is that laughter arises when a person derives joy from others’ misery and enjoys the feeling of superiority to the subject of humor (Shelly, 2003). These borrowed words from Hobbes (1651), one of the pioneers putting forth this theory, are epitome of this theory. “Laughter is nothing else but sudden glory arising from some sudden conception of some eminency in ourselves, by comparison with the infirmity of others, or with our own formerly.” This theory is also known as aggression, hostility or disparagement theory. Proponents of this theory support the view that there exists a victim in humor, the butt of the joke, someone to be laughed at and ridiculed so that the receivers of humor feel better about themselves. Vandaele (2013) elaborated that the superiority theory touches on the social angle of humor in that it breeds a sense of in-group (among people who understand humor) and out-group (people who fail to get that humor). The superiority theory emphasizes the victim, also called the butt of the jokes as an indispensable part to construct humor. This view is supported in the variety of jokes that makes fun of a certain group of people. As in the case of “How I met your mother”, the character Robin Scherbatsky comes from Canada, which becomes a recurrent source of humor for her group of American friends. 2.1.2.4 Script-based semantic theory of humor In addition to looking from social and psychological aspects, researchers have attempted to analyze humor from linguistic angles with two prominent hypotheses that are script-based semantic theory of humor proposed by Raskin in 1985 and general theory of verbal humor proposed by Attardo and Raskin in 1991. These theories complements each other to offer a multifaceted understanding of mechanism of humor. In his book “The semantic mechanisms of humor”, Raskin (1985) provided a very comprehensive study on the semantic approach of humor studies. He suggested that the necessary and sufficient conditions for a text to

be considered funny is that the text must contain two overlapping and opposite scripts. He classified oppositions into three categories: real/unreal, normal/abnormal and possible/impossible. While the title entails the broad concept of humor, the content of the book, including the hypothesis and examples only employ jokes when referring to humor in general without further analysis. What is noticeable from this theory is that it shares quite similarities with incongruity theory despite being construed under different perspectives. In fact, the overlapping and opposition of the texts satisfy the condition of incongruity and resolution for them to be humorous. In addition, the taxonomy of opposition is not perspicuous when there are many borderline cases which can simultaneously fall into different categories, admitted by the author himself. By offering another way to classify script opposition including sexual, ethnic and political, Raskin (1985) made the subject more comprehensible, yet complicating the audience once more. This taxonomy is relatable to the relief theory (sexual script opposition) and superiority theory (ethnic script opposition). 2.1.2.5 General theory of verbal humor The general theory of verbal humor was revised from the script-based semantic theory of humor and learned from aforementioned theories of humor with the introduction of six knowledge resources: script opposition, logical mechanism, situation, target, narrative strategy and language (Attardo, 1994). This theory is deemed the most comprehensive because it covers the components existing in other theories. While script opposition is included in script-based semantic theory of humor, logical mechanism is equivalent to the resolution stage of incongruity theory; target is the victim of humor to some extent, an inevitable factor of superiority theory so on and so forth. The analysis of humorous texts in these six knowledge resources will help the translators understand the joke beyond the linguistic levels, thereby producing a more successful translation. For example, this is a joke by character Barney Stinson: “There are only two reasons to date a girl you’ve already dated: breast

implants.” This jokes can be interpreted under the general theory of humor as follow: (1) script opposition: Barney listed one reason mistakenly versus Barney intentionally listed fully two reasons already; (2) logical mechanism: breasts have two parts, which answers the question of two reasons; (3) situation: advising friends not to look up ex-girlfriends; (4) target: women; (5) narrative strategy: one-liner; (6) language: manipulating the word “two” to arise humor in listeners. 2.1.3 Classification of humor While humor is a broad concept, there is a tendency that it is used interchangeably with other terms such as jokes, puns, funniness, wit. The categorization of humor by scholars relies on the humor techniques employed. Cicero’s taxonomy of humor includes referential and verbal humor, which is later coined linguistic humor by Raskin (1985) (Attardo, 1994). The former is considered more universal while the latter is very language-specific and culture-specific, therefore the question of feasibility of translation is raised. Verbal humor is the prime subject of humor translation despite all these barriers because the difficulties press researchers into finding the way to render correctly this type of humor. Humor can also be categorized into three sub-classes, which are linguistic, universal and cultural (Raphaelson-West 1989 as cited in Jabbari & Ravizi, 2012). This way of classifying is similar to that of Cicero in the way it distinguishes between the linguistic (verbal) one and other types of humor. In an attempt to provide a taxonomy of humor in audiovisual context, Buijzen and Valkenburg (2004) has conducted an inclusive research and introduced seven categories of humor as follows, ranking hierarchically according to ascending complexity: slapstick, clownish humor, surprise, misunderstanding, irony, satire, and parody. The first four types entail visual and physical stimuli which require no verbal explanation, leaving no room for translation while the rest require certain knowledge to proceed the funniness. Zabalbeascoa (1996) shared a similar interest in the classification of humor on screen; however, his taxonomy was from a translator’s point of view

assessing the viability of translation of these types of humor. According to his model, there are six sub-groups of jokes present in audiovisual products, which are international/binational, national-culture-and-institutions, national-sense-of- humor, language-dependent, visual and complex jokes. This taxonomy bears striking resemblance to that of Raphaelson-West (1989), in which the universal humor is similar to international/binational or cultural is related to national- sense-of-humor. It is obvious that there is no clear distinction among several of these groups; for instance, humor can fall into national-culture-and-institutions and binational at the same time, not to mention it is difficult to distinguish universal humor from national one. This research, however, will adopt Alharthi (2016)’s classification of humor based on forms because it is claimed to be most commonly used in sitcoms, the subject of this research. Alharthi proposed thirteen types of humor falling under this umbrella term: jokes, wordplay (pun), irony, parody, satire, sarcasm, spoonerism, self-denigrating humor, retort, teasing, banter, register clash and catchphrases. The analysis of humor in “How I met your mother” will rely on selective types from the mentioned taxonomy based on their frequency in the show. Jokes, according to Oxford dictionary, are things that people tell to evoke amusement, laughter and not to be taken seriously, especially ending with a punchline. Ritchie (2004) defined jokes more broadly as short texts whose primary purpose is to create humorous effect on listeners over a wide range of situations. Jokes have two components, which are the build-up and punch line, resolving the opposition to cause amusement (Dynel, 2009). Delabastita (1996) suggested that wordplay appears where linguistic expressions with similar forms and different meanings are intentionally used to place certain effects on the audience. Wordplay covers a wide range of subtypes such as puns, rhyme et cetera. Irony happens when the meaning is contrary to the word (verbal irony) or the situation (situational irony). Gibbs & Colston (2014) defined irony as the disparity between expectations and reality.

While it is easy to mistake irony for sarcasm, one major different of these two are people who use sarcasm intentionally mean the opposite of what they say with a view to ridiculing the other speaker (Haiman, 1998). Parody is an act of imitating the original work to make fun and create comical effect. This phenomenon requires the audience’s knowledge of the original work to perceive the funniness. Self-denigrating humor is considered as the act of making the speaker at the center of verbal playing. The purpose of this type of humor is to bridge the gap between speakers and listeners and make them more intimate and approachable. (Boxer, 2002). While retort is simply the response to accusation and remarks with amusing purpose, teasing and banter share similar characteristics because while teasing is the act of a speaker towards the other, banter is the exchange of these witty remarks between the two or more interlocutors. According to Attardo (2001), register clash happens when a register which is specific to one type of text and subject matter is used to describe a totally different register, causing a clash for example apply philosophical register to represent sexual intercourse. Catchphrase is a very common type of humor in sitcoms where most main characters have some catchphrases which are their signature. In “How I met your mother”, Barney Stinson is the character with the largest number of catchphrases which appear frequently such as “legend - wait for it – dary”. 2.2 Translation of humor 2.2.1 Constraints The translation of humor is regarded as a conundrum encountered by translators because it involves two highly controversial aspects of translation studies: equivalence and translatability (Chiaro, 2008). Chiaro went on to compare the insurmountable challenge facing translators of humor to that of poetry. Since the differences between the two language systems are obvious, it is impossible to render exactly the formal equivalence from source text to target text. In this case, as long as equivalence or the effect provoked on

recipients or pragmatic function remains, deviations from the original are acceptable. While a film is a poly-semiotic entity, the only aspect that translators can exert influence on is the dialogue, leaving other components unchanged such as music, actor’s movements, facial expressions, background settings et cetera. This puts an enormous pressure on translators to create the laughter – the desirable effect of humor when it relies on all of these factors to generate funniness. Vandaele (2013) cited Diot (1989)’s opinion about the unfeasibility of translating humor, likening it to the translation of poetry as Chiaro (2008) and attributed this dilemma to linguistic and cultural reasons. Vandaele (2013) suggested that humor is “a social play” therefore possessing in-group and culture-specific characteristics. As a result, it is an arduous task to retain humor in target language because the audience of the target language may be unfamiliar with this type of humor and do not find it funny, leading to the failure of the translation. For example, the “knock knock” joke is very common in American culture but strange to Vietnamese readers. As for the linguistic cause, denotation and connotation raise problems when the item denoted is specific to a certain language or has different values from its equivalent in the target language. This triggers the pessimistic tendency of assuming that humor is “untranslatable”. 2.2.2 Translation strategies According to Venuti (1998), translation strategy involves "the basic tasks of choosing the foreign text to be translated and developing a method to translate it." However, the translation strategy Venuti refers to deals only with domestication and foreignization, and translation problems on the text level. Although this research includes a wider range of strategies and focuses on the translation of humor, the aforementioned definition is not to be ignored entirely because it mentions the act of choosing on the translators’ part. By and large, this research adopts the definition of Krings (1986) which agreed that translation strategy is "translator's potentially conscious plans for solving concrete translation problems in the framework of a concrete translation task".

This definition lays emphasis on the both translator’s choice and the nature of the translation problem which in this case is to humor into Vietnamese. Added to that, according to this definition, a strategy is the pattern-based and recurrent way in which the translator handles a particular translation problem. With that in mind, it is easier to draw a line between translation strategy and translation procedure. A translation procedure deals with the translation on word level while we refer to a translation strategy when a translation procedure is applied in a conscious and recurrent way to deal with a particular problem. Given that the research deals with translating cinematic products, Gottlieb’s translation strategies in subtitling could as well be a compatible reference point. Gottlieb (2000) came up with 10 translation approaches to subtitling, that is, expansion, paraphrase, transfer, imitation, transcription, dislocation, condensation, decimation, deletion and resignation. However, these proposed typologies involve a relatively large scope, that is to say, they are suggestions for solving translation problems in general. Therefore, the research requires a more condensed typology with especially focus on translating humorous elements. Delabastita (1996) dealt with the translation of wordplay and pun with seven distinctive strategies: (1) pun to pun, which replaces the original wordplay with target language wordplay; (2) pun to non-pun in which the wordplay is displaced by non-pun phrase; (3) pun to related rhetorical device which uses irony, sacarsm, rhyme to reproduce the desirable effect anticipated by the pun; (4) pun to zero, which omits completely the text containing pun; (5) non-pun to pun, which introduces pun where is absent in the original as a way to compensate for the loss of pun in other section; (6) zero to pun which pun is added to non-pun position and (7) editorial techniques such as footnotes, endnotes, comments. It is apparent that this model is originally applied to the translation of wordplay in literary context since such a strategy as editorial techniques are impractical in audiovisual contexts due to time and space constraints. However, the rest of the strategies are undoubtedly applicable in screen translation.

Leshkovich (2016) employed Pettit (2009)’s strategies in rendering culture-specific words to transferring humor, which include omission, literal translation, generalization, and explication. Although Pettit’s subject of interest is culture-specific words in general, it is undeniable that humor, largely, is culture-specific. Therefore, this application is understandable. However, it should be highlighted that there are universal or international humor (Zabalbeascoa, 1996) which can come across in different cultures. As a result, these strategies fail to fully cover the diversity of humor types. Díaz-Cintas and Remael (2007) provided a quite comprehensive taxonomy of strategies of screen translation, including nine categories: (1) loan (2) literal translation (3) explicitation (4) substitution (5) transposition (6) lexical recreation (7) compensation (8) omission (9) addition. This way of classifying is very comprehensible when the authors include the “omission” strategy. Despite controversy whether omission should be considered a translation strategy or not, it is applied by translators continuously, therefore it is justifiable to add it to the list of strategies. These strategies proposed by Díaz-Cintas and Remael (2007) are applied various topics, humor included. In this research, I will adopt this taxonomy of Diaz- Cintas and Remael due to its variety, thoroughness and compatibility with audiovisual translation. Loan is a strategy which involves the transference of a word or phrase from source language to target language, remaining the “foreignness”. The purpose of this strategy is to preserve the unique cultural environment of source text, therefore bringing viewers closer to the original culture. This would be the case when the target audience of media product are well-exposed to this culture.

Example 3.1 Lily: We're Marshmallow and Tụi em là Marshamalow và Lilypad, bitch → Lilypad đấy nhé. In case of literal translation, translators attempt to render the meaning of target text as closely to source text as possible without keeping the word order and sentence structure. Example 3.2 Lily: You can't miss the day Cái gì, anh không thể bỏ lỡ after the wedding. That's when we sit ngày sau đám cưới được. Đó là lúc around all hungover, drinking chúng ta ngồi cùng nhau, bơ phờ uống mimosas and talking smack about who trà thảo dược và chế nhạo xem ai béo. looked fat. That's my Christmas. Giáng sinh của em đấy. In the above example, “giáng sinh” is the calque of Christmas and is widely familiar in popular culture of Vietnam even though Christianity is not even a major religion here. However, the translation lacks transparency as the audience may wonder why the character Lily calls the day after the wedding Christmas. Explicitation is employed by translators to help the audience to approach the concept more easily, usually by using superordinate terms. This strategy is popular in audiovisual translation because hypernyms tend to self-explanatory, therefore saving time and space for subtitles and voice-overs. Example 3.3 Oh, we'll fear for our lives, all Đúng vậy, chúng ta sẽ lo cho right. When we watch Al Gore's An mạng sống của mình khi xem phim Inconvenient Truth! tài liệu về biến đổi khí hậu. It is apparent that by replacing the name of a particular movie which is not familiar to target language’s audience by the general genre, viewers get the idea and humor more quickly. As for compensation, Díaz-Cintas and Remael (2007) claimed that it brings upon a similar effect on the target text compared to source text, making up for the loss of certain features by different means. Considering the following

example, the wordplay in “shellfish” is replaced by a colloquial expression because pun is extremely difficult to recreate. The humorous effect is likely to be preserved by this move. Example 3.4 And so, if you must bring food Nếu có người định mang thức to this class, please bring enough for ăn vào lớp, nhớ mang đủ cho cả lớp everyone. I don't want to see someone luôn nhá. Tôi không muốn ai đó ăn ví eating, say, lobster, in the front row dụ như là tôm hùm ở hàng ghế đầu mà without sharing with the rest of of us. không chia sẻ với những người còn lại Because that… would be shellfish. bởi vì như vậy là ích kỷ như đồ con khỉ Addition as a translation strategy is the act of adding the effect which is absent in source language. Example 3.5 Don't drink too much. Or do. Đừng uống quá nhiều hoặc thích thì chiều Meanwhile, omission is the translation strategy which refers to the process of opting out the feature available in the original version. Despite controversy concerning whether it should be considered a strategy or not, omission is still being applied by translators where they see fit as in the following example due to the inability to replicate the same effect. Example 3.6 Oh, my God, Robin, look at Nhìn này Robin, nhìn mà xem this.O Cana-dorable! dễ thương quá nhỉ Transposition is the translation strategy in which grammatical changes are involved when a word class is substituted by another word class while the meaning is unchanged. Substitution is deemed typical in subtitling due to the time and space constraints. Translators for dubbing also face these challenges although instead of space, lip synchronization is what troubles them. This strategy is applied when there is an equivalent to the term in target language; however, it cannot

be used due to these constraints. For example, hamburger is sometimes translated as “bánh kẹp” in movies although it can be understood right away when keeping the word in Vietnamese. Lexical recreation is usually the choice translators make when it comes to transferring neologism from source language into target language. For example, rubber can be translated as ba con soi, whose literal meaning is three wolves but in fact refers to condom (the termed is coined by the young taking advantage of initialism between ba con soi and bao cao su, which means condom). Substitution, lexical recreation are strategies proposed by Díaz-Cintas and Remael (2007) but the corpus used in this research lacks these. 2.3. Audiovisual translation 2.3.1 Definition Audiovisual translation, screen translation or multimedia translation are the terms denoting the interlingual transposition of poly-semiotic entity such as films. In this unique form of translation, multiple aspects are utilized simultaneously including visual (actors’ movements, facial expressions, surrounding) and audio (actors’ voices, intonation, and music). Due to this attribute, audiovisual translation stands out from traditional translation of literature, which mostly focuses on texts. 2.3.2 Modes of AVT Re-voicing and captioning are the two broad modes of screen translation in which either text or soundtrack is inserted to the original production to accompany audience of different languages (Chaume, 2013). The first group includes dubbing, voice-over, simultaneous interpreting, free commentary, fandub, audio-description, among which dubbing and voice-over are two most commonly used to transfer language on screen. The second group encompasses subtitling, surtitling, re-speaking, fansubbing and subtitling for the deaf and hard of hearing, among which subtitling is employed at highest frequency. The preference for modes of audiovisual translation depends largely on tradition of the country, for example Italy, Spain, France are well-known home

ground for dubbing while Portugal, the UK tend to favor subtitling. This is constantly changing due to the ever-increasing availability of choices among audiovisual modes of translation (Diaz Cintas and Anderman, 2009). 2.3.3 Dubbing and constraints Despite being one of the most popular mode of audiovisual translation, dubbing poses many constraints, notably lack of authenticity, credibility (Tveit, 2009) and cost-ineffectiveness. Tveit claimed that voice is a unique trait of a character, therefore by stripping that attribute of him and replacing it with someone else’, part of character’s traits is lost. It is inherent in personality and inextricably linked to body language and gestures. Added to that, while voice- over is accompanied with the original soundtrack of reduced volume, enhancing the reliability of the translation, dubbing removes that sound and replaces it with a completely new one, triggering a sense of suspicion due to the mismatch between the lip movement and the sounds pronounced. It is easily recognized that dubbing is not as cost-effective and timesaving as subtitling. Dubbing requires the presence of dubbing directors, dubbing actors as well as undergoing a lengthy process of lip-synchronization, which is very expensive because it requires up-to-date technology. This is without doubt an obstacle in this day and age when time is gold and releasing the film after rivals do is not a desirable result because it can lead to loss of market. Canned laughter serves as both a friend and a foe of translators because while its sheer existence reminds translators of need to transfer humorous elements, laughter can be counterproductive when the audience, recipients of the humor, notices nothing funny about the situation and becomes frustrated. In this case, translators are prone to criticism of mistranslation because the audience is puzzled at the laughter when humor travels badly (Daniela, 1999).

CHAPTER 3: METHODOLOGY

In this chapter, sampling method as well as data collection and data analysis procedure will be justified. The tools that help to generate the data to answer the research questions for this research will be presented in detail under critical light. 3.1. Sampling The research adopts purposive sampling strategy to select episodes with high acclamation, thereby rich in humorous elements for further analysis. Dhivyadeepa (2015) insisted that although this sampling technique is known as subjective or judgmental sampling because the selected units are dependent on the researcher’s judgment, this is not deemed a disadvantage. Instead, it will best facilitate the conduct of the research to answer the proposed questions by shifting the focus to the certain features of the population that need analysis. This research selects 10 highest rated episodes of the series as judged by the film review website Imdb.com and available for access on the website of VTV including 5x08, 5x12, 7x10, 7x12, 8x12, 8x22, 8x24, 9x11, 9x16, 9x22 episode. The episodes belong to the first four seasons are inaccessible, thereby replaced by episodes whose ratings closely follow. The characteristic of the subject that this research focuses on is the humorous elements in this comedy; therefore, the use of purposive sampling enables the exploration of this feature in particular. The participants in the survey are chosen by convenience sampling. They are 80 3rd year students in the Faculty of English Language Teacher Education of University of Languages and International Studies, belonging to the classes of 15E12, 15E13, 15E14 and 15E16. Convenience sampling is employed because undergraduates are easy to approach and willing to participate in the questionnaires. Due to personal connection, questionnaires will be delivered and data will be collected faster. More importantly, the series target young adults who are trying to establish themselves in society and find love of their life, just like the main characters throughout nine seasons. As a

matter of fact, 3rd year students mostly age 21 and above, belonging to the main segment of the target audience. Therefore, the participants of the questionnaire satisfy the requirement of falling into the age group of the target audience. The research attempts to discover how the young audience of the series, represented by 80 3rd year students will react at the translated script of the comedy. Both males and females will be included in the survey without bias. 3.2. Data collection The data collection instruments employed are observation of documents, specifically film script of the source text and target text and questionnaires concerning audience’s reception. 3.2.1 Observation of documents Regarding the first instrument of gathering data, English film script can be retrieved from the free subtitle-sharing site such as subscene.com and re- confirmed by listening to the original videos; however, the Vietnamese script must be listened and transcribed manually because the source is only available on the website of VTV, vtvgo.vn due to copy rights issue. After watching the Vietnamese version of the series, all the humorous elements accompanied by canned laughter will be noted down for categorizing later. Then the English counterparts of those humorous elements will also be noted down for comparison since the Vietnamese version is subject to editing process, which causes the difference from the original version. Regarding the document analysis method, data is collected in 4 steps: Step 1: Pick out humorous texts appeared in the Vietnamese version of 10 episodes of “How I met your mother” available on VTV website. Step 2: Categorize these texts into groups Step 3: Identify the appropriate equivalents of those elements in English version. Step 4: Categorize humorous elements and analyze the translation strategies applied in each category of humorous texts. The process of categorizing and identifying translation strategies are based on the framework of previous studies which are proposed in prior

chapters. Concerning the typology of humor used in the selected videos, the model of Alharthi (2016) will be used to differentiate various types of humor present. Moving on to the identification translation strategies, this research will utilize the model offered by Díaz-Cintas and Remael (2007). 3.2.2 Questionnaire The main advantages of questionnaires are that they can save time and money for researchers because a large amount of data can be gathered at once and generate greater honesty among participants without fear that their information will be leaked thanks to anonymity compared to interview, according to Cohen, Manion & Morrison (2000). However, due to the large number of participants, some might not return the questionnaire to the researcher. This issue can be resolved by close administration of questionnaires to bring about high response rate to enhance accuracy and reliability for the results of the research. Regarding the questionnaire, data collection procedure consists of three steps: Step 1: Design the questionnaire The purpose of questionnaire in this paper is to measure the reception of 80 3rd year students at FELTE, ULIS towards the selected translated humorous elements by two primary strategies to find out whether they prefer a translation strategy of humorous elements to the other in the selected episodes. The questionnaire is divided into three parts, the first of which inquires participants’ demographic information including name and gender. Before answering the third part with questions related to translation strategies in “How I met your mother”, participants are asked about their exposure to American comedies in general and subbed American comedies in particular in the second part. The primary part of the questionnaire includes 15 selected examples from different episodes and belong to five most heavily used types of humor, namely irony, wordplay, teasing, jokes and catchphrase. For each category of humor, three examples are chosen whose translation strategy are the two most prevalent strategy including literal translation (two examples) and explicitation (one example). The reason for the selection of more texts employing literal

translation than explicitation is that the former strategy is overwhelmingly used; therefore, its higher number in the questionnaire is representative of this to some extent to ensure higher accuracy. These two strategies are used more than any other strategy in the dubbed version of the comedy, which is why they are selected. Although there are up to 11 sub-types of humor and 7 strategies used in total, their low level of appearance is not the epitome of the film to be included all in the questionnaire. The small number of examples (15) allows participants to focus on completing the questionnaire without getting sidetracked due to lengthiness during process. In addition, the preface questions regarding participants’ prior experience with humor in American comedies aim at establishing the relationship between their preference of strategy and their exposure to this type of media product if there is any. These questions also help to prepare them for the questions concerning humor in the case of the series “How I met your mother” in particular. For each segment of humor, two examples exploiting literal translation are presented first, followed by the example using explicitation. However, participants are not told of which example uses which strategy to avoid possible bias; therefore enhancing quality of the results. Step 2: Invite participants to do questionnaires and deliver questionnaires Considering the second source of data, surveys to audiences will be delivered face-to-face to ensure higher response rate. After checking the timetable to know which class will study at which classroom, I will contact the class presidents of those classes to make sure that their class will be present at school for me to deliver the questionnaires to save time and effort. Before delivering the questionnaire, I will introduce myself and the purpose of the study to the lecturer teaching the class that day first to be granted permission to come in class and deliver questionnaires. After that, the students should be explained clearly to be aware of the purpose of the research to achieve highest cooperation. The brief content of the questionnaire and the purpose will be provided to the participants orally, besides the promise to use information only

for research purpose amid fear of personal data leak, which seems to be gain significance among the young today. After students are given the questionnaire, I will ask to make sure that every student has questionnaire in their hands to avoid missing. Gifts of small values such as candies are distributed to encourage student’s attitude to complete the questionnaire. The questionnaire aims at gathering data on how students react to the translation of humor and whether they have a preference of certain strategies. The chosen humorous elements are verbally expressed; as a result, it is viable to add them to the questionnaire with proper background without sacrificing their effects. Step 3: Collect the completed questionnaires One of the advantages of face-to-face administration is that participants can raise questions to the researcher to help him understand, thereby avoiding any misunderstanding. When participants have finished answering all the questions, I will begin to collect the questionnaires. After receiving all the questionnaire which have been delivered, I will thank all the students and teacher for their cooperation and support and excuse myself for the class so that the lesson can continue. 3.3 Data analysis In order to gain a holistic view of the situation, both qualitative and quantitative analysis will be exploited. Qualitative analysis will be applied to categorize groups of jokes and their according dubbed counterpart, which have been listed before in the collection phase. Comparative and contrastive approach will be used for analyzing the original and the translated texts to decide the translation strategy in each case. The classification of the humorous elements recorded in English in the corpus will help to answer the first research question while the identification of translation strategies and conversion into numerical data serve as the basis to answer the second research question. As regards the survey, responses recorded will be analyzed by statistical analysis. The data collected from the questionnaires will be recorded numerically and then by descriptive method, the aim to decipher the phenomena and establish trends is made. Thanks to this, a large amount of data

from 80 participants are quantified and treated at one, revealing their reaction towards the translation of humor of the selected example in the dubbed series “How I met your mother”.

CHAPTER 4: FINDINGS AND DISCUSSIONS

This chapter will present the research findings and discussions of those findings in turn. Information will be delivered in three respective parts to answer three according research questions so that the consistency and coherence of information can be ensured. The discussion follows the findings to offer in-depth remarks. This chapter aims at offering the thorough view of the results while providing them under a critical light. 4.1 Categories of humor present in 10 selected episodes of the series “How I met your mother” The following chart illustrates the frequency of categories of humor present in 10 selected episodes of “How I met your mother”.

Figure 4.1. Available categories of humor in the selected episodes As can be seen from the above chart, irony is the most commonly used type of humor, followed by wordplay and teasing, which in total account for more than 60 percent of the total recorded data. The distribution of types of humor is hugely uneven when there is a large gap among the most and least popular. In particular, irony, the leading means of triggering laughter from audience is used up to 55 times across ten episodes of different seasons of the comedy, which is equivalent to around 34 percent of the corpus. Wordplay is second only to irony with the frequency of use standing at 36 times while

teasing occupies the third position as recorded being employed 20 times out of the total number of 164 times humorous elements used. Jokes, catchphrase and self-denigrating humor’s density is around half of that of teasing with 11, 10 and 9 times respectively. However, the remaining types includes sarcasm, retort, banter, register clash, and parody appear comparatively scarce, encompassing roughly 13 percent all combined. Irony is the most dominant form of humor in the corpus because it requires no complex conditions to trigger amusement while the intended effect can still be attained. The primary characteristic of situation comedies in general and “How I met your mother” in particular is that the characters are built with exaggerated personal traits to bring about comical effects. Therefore, when they act bizarrely against rational logic but those actions are consistent with their personality, laughter is evoked. There is constant conflict between the character’s words and actions, which is why irony is so prevalent in this sitcom. The play with words is known as one of the main devices to produce humor in comedies and in this case, it is no exception. While puns are the most widely recognized type of wordplay, the characters variously apply other forms such as rhyme and neologism when they try to be funny. Understandably, teasing is used multiple times by the characters because the main characters are a group of friends whose expression of in-group intimacy is making fun of each other continuously. This will not be the case if the film focuses on serious themes and characters are described as distant. Meanwhile, jokes are present at a quite significant frequency. This derives from the fact that one of the main character’s typical characteristics is to make inappropriate jokes to amuse his friends. Besides, each character has several signature catchphrases that remind the audience of him or her. While the catchphrase itself is sometimes not funny, it is the person who articulates that catchphrase that makes it so amusing. In addition, self-denigrating humor is a popular technique by the comedy writers to generate laughter; thus, this is exercised to exert humorous impact quite often.

On the other hand, sarcasm, retort, banter, register clash and parody are less common compared to other forms of humor. Contrary to teasing, sarcasm’s mechanism of inducing amusement is maliciously ridiculing the victim without that person’s awareness, which is probably why it is only used in several occasions. Retort and banter rank next in the list because they require the cooperation of at least two people, which is harder in nature considering other types of humor. In addition, both parody and register clash require the audience’s knowledge of certain field to perceive the funniness, leading to the undesirable choice of the writers of the series. 4.2 Strategies according to Díaz-Cintas and Remael (2007) used to translate these humorous elements into Vietnamese in the dubbed series 4.2.1 The use of translation strategy in general The following graph shows the number of translation strategies used in dubbing the humor under the model of Díaz-Cintas and Remael (2007).

Figure 4.2. Translation strategies applied in rendering humor in selected episodes The graph witnesses a grossly disproportionate distribution of translation strategies among 164 cases of humor recorded in the selected episodes. It is clearly illustrated that literal translation is applied in every category of humor available in the corpus, concurrently serving as the leading choice for translators in rendering these types of humor with the frequency of

121 times, which is equivalent to 74 percent of all cases. Explicitation and omission follow but are far from close to the figure of the most dominating strategy (20 and 8 times respectively compared to 121 times). These strategies are followed by compensation (8 times), loan (4 times), addition (twice) and transposition (once) which are used at an extremely low frequency. In general, it is clear that source-oriented strategies including literal translation, loan and omission are more prevalent than their target-oriented counterparts are. The complete classification of humorous elements present in the chosen episodes is shown in Appendix 1, using the aforementioned model of Díaz- Cintas and Remael (2007). 4.2.1.1 Literal translation The striking number of 121 pieces of humor translated for dubbing by this strategy proves that translators passionately prefer it to other strategies. Source-language humor is rendered faithfully in Vietnamese with changes in word order to sound more natural. Other than that, no further modification is added to the translated texts. The prevalent use of literal translation indicates the fact that translators resort to this strategy as much as possible because the majority of humor except wordplay mainly exploits the bizarre and embarrassing situations themselves, along with the visual factors such as actors’ actions, expressions, tone of voices. It is also important to notice that this strategy can be proceeded at ease and proves to be less complicated than other strategies, which is a definite advantage considering the need to keep texts as concise as possible for dubbing actors to be compatible with the original actor’s sound track duration. The benefit of being economical in terms of time and money presses translators into applying this strategy to all types of humor. Example: Marshal: Now that we're out the door, I actually don't feel anxious. (phone rings) Whoa, oh, my God, it's your dad! Oh, something horrible happened-- aah! Oh, it's Ted, relax. (season 8, episode 12) => Marshal: Ta đứng ngoài cửa rồi mà anh chẳng thấy lo gì cả. (Chuông điện thoại reo). Ối trời là bố em, có chuyện lớn rồi. À là Ted bình tĩnh đi.

The amusing effect of this example lies in the situation where Marshal’s words contradict with his action. Humor, in this case, does not heavily depend on the use of words; therefore, as long as the content is delivered fully, humor will not be lost in translation. 4.2.1.2 Explicitation Explicitation ranks second in the list of translation strategies applied to transfer humor into Vietnamese in all recorded episodes, accounting for 12 percent. Due to the use of culture-specific expressions to trigger humor, it is an uphill battle for translators in rendering humor because of the difference in the culture of the two country. Without further explanation, the audience cannot comprehend why the dialogue accompanied by the canned laughter is funny. Explicitation makes use of superordinate terms to help the audience understand the witticism in less words, reducing what the dubbing actors have to say. Moreover, when the expression is deemed inappropriate in the target culture, explicitation can be used to avoid the possible offensive impact on the audience. Since this dubbed sitcom is aired on the national television network, the requirement for the use of language is arguable more formal. That is why translators turn to explicitation as the solution. Example: Lily: You son of a bitch! (season 5, episode 8) => Lily: Tên khốn này! In this example, the use of a more neutral term ensures that the audience understands the tension between the two friends and one character is insulting the other without using the harsher swearword such as “thằng chó đẻ”. Although the target audience is young adults, there is a certain stigma of using swearwords; therefor it is wise to use explicitation because the audience will be able to find it funny without the extreme offensive language. 4.2.1.3 Omission It comes as no surprise to discover that omission is employed as a translation strategy to deal with humor in the dubbed product. As discussed from the previous chapter, humor is deemed untranslatable; therefore, it will sometimes be omitted during translation when it is insurmountable to find the

possible equivalent. In addition, that may be the case when the type of humor is unfamiliar to Vietnamese audience. However, it is confusing to the audience because the laugh track still accompanies the conversation while the humor is already cut out. Example: "Marshal: Vow dare you! (season 9, episode 22) Lily: Just stop. Marshal: I can't. It's invowluntary. => "Marshal: Sao cậu dám! Lily: Anh thôi đi. Marshal: Anh không thể, đắng lòng quá" This is amusing in the way that Marshal intentionally changes the pronunciation of how to vow to suit the situation of making fun of Barney’s vow but his wife disregards his action. The Vietnamese expression omits the wordplay factor, thus vaporizing the humorous element. 4.2.1.4 Compensation In an attempt to recreate the humorous effect in Vietnamese, translators exercise the use of compensation to make up for the compromise of certain factors during the translation process. This strategy requires translators’ creativity to generate a new approach to bring out the same intended effect on the audience, which is quite a nerve-wrecking task. As a result, compensation is understandably used only 8 times over the course of 164 pieces of humorous texts. Example: Marshal: Oh, no, what a bummer! What craptastic luck! Without Marvin's rhyme book, this ride's gonna suck! (season 9, episode 11) => Marshal: "Chết thật số quá xui. Không có sách cho Marvin chuyến đi sẽ phiền rùi" The rhyme is exploited to stir laughter from the audience in the English version. Regarding Vietnamese counterpart, translators’ enormous effort to recreate the rhyme can be easily recognized although the rhyme is relocated to the words other than the original ones. 4.2.1.5 Loan Loan is one of the less frequently used strategies when dealing with humor, probably resulting from the fact that in most cases, keeping the original

expression baffles the audience and they cannot comprehend the humor. However, in rare cases where it is applied as in the series, the loan word has no restraint on the audience concerning the understanding of the amusement. Example: "For those of you keeping score, "The Ted Mosby" works." (season 5, episode 8) => T: Cho những ai vẫn còn quan tâm, chiêu Ted Mosby có hiệu quả. The trick to con girls into sleeping with boys is named after the Ted Mosby character, which is hilarious because Ted Mosby himself is notorious for inability to attract girls. The audience has no difficulty understanding this because they all know who Ted Mosby is and requires no further explanation in the translation. 4.2.1.6 Addition Featured next on the list of translation strategies used to transfer humor is addition, whose appearance is meager compared to other strategies. Translators resort to this device when in the original episode the character’s words are inaudible or they want to enhance the impact on the audience. The act of adding effect where it is absent in the original version requires more mental work and occupies more duration makes the strategy uneconomical; therefore, explaining why it is so rarely used. Since the voice track of the dubbing actor cannot continue playing when the lip movement of the actor has already ended, it forces the dubbing actor to say it much faster when the strategy is employed. Example: Sandy: Don't drink too much. Or do. (season 7, episode 10) => Sandy: Đừng uống quá nhiều hoặc thích thì chiều. The addition of rhyme and colloquial expression make it sound funnier in Vietnamese. However, it comes at the expense of lip synchronization since there is obviously a mismatch between the number of words of source text and target text. 4.2.1.7 Transposition Transposition is applied to render humor when the expression is easy to understand without further need for explanation but sounds unnatural in target

language. The meaning is unchanged while one word class replaces another. This strategy is by far the least popular among the recorded strategies because translators attach importance to maintaining the content with little regard to forms. Example: Barney: Challenge accepted. (season 8, episode 24) => Barney: Chấp nhận thách thức The active form is more commonly used in Vietnamese than the passive form; thus, changing the word class is an effective way to deliver a more natural version to the audience. 4.2.2. The use of translation strategies by categories of humorous elements

Figure 4.3. Translation strategies applied by categories of humor and their frequency In a closer look at translation strategies by categories, what stands out from the figures is that except for literal translation and explicitation, the rest of the translation strategies are distributed restrictedly to one, two or three types of humor. In particular, translators employ compensation and transposition uniquely to wordplay but not any other category of humor. On the other hand, the former strategies though scattering unevenly, are present across a wide range of types of humor. 4.2.2.1 Irony, joke and parody While joke and parody are intentionally used by characters to evoke laughter, irony on the other hand is simply there, reflecting the opposition

between what the characters say and their actions with no intention of trying to be funny. These types of humor have the trends of applying translation strategies in common, which cover literal translation, explicitation, omission and addition. 53 out of 55 cases of irony resort to literal translation while the figure of jokes is less drastic, 8 out of 11. The choice of translators can be justified as irony and jokes can be transferred successfully by literal translation, saving time and effort because these classes of humor demand less requirements for the target audience to get the humor. On the other hand, parody requires the translators’ knowledge of the origin of what has been parodied in order to reproduce in target language. The hardship of rendering humor induces translators to use explicitation and omission. For example, the phrase “Milswancas” (Mothers I'd Like to Sleep With and Never Call Again), coined as a parody of a slang “MILF” (mother I’d like to fuck) is translated only as “các bà mẹ” and omits all that follows. 4.2.2.2 Teasing, retort, banter and catchphrase Although teasing and catchphrase surpass retort and banter regarding frequency, they all share the same pattern of translation strategy with the combination of the two leading strategy only, literal translation and explicitation. While teasing and catchphrase both employ literal translation as their primary strategy, explicitation is also used in an effort to preserve the funniness with the figures up to 30 and 20 percent respectively. More surprisingly, explicitation accounts for 40 and 50 percent of strategies used to translate banter and retort in turn. The single turn of witty remarks or the exchange of these remarks among a group of friends are the nature of the types of humor mentioned above, prompting the need to make the in-group expressions clearer to the audience by explicitation. 4.2.2.3 Register clash, sarcasm and self-denigrating humor With the exception of resorting to loan for once, self-denigrating humor is dealt with by literal translation for the most part. Unsurprisingly, translators choose literal translation as the sole means to transfer sarcasm and register clash. In general, this choice can be justified as sarcasm, register clash and self- denigrating humor derive humorous effect from meaning rather than form.

4.2.2.4 Wordplay

Figure 4.4. Translation strategies used in translating wordplay Wordplay deserves to be addressed singly because it is the category that uses the most diverse translation strategies with up to five strategies. This phenomenon could be attributed to the fact that the humorous effect relies heavily on the play of words. Without further explanation or other means of recreating the effect, the expressions cannot be fully rendered, resulting in the lack of funniness. The most noticeable feature is that although literal translation is still the dominant translation strategy, others constitute no smaller proportion. Omission and compensation each are used five times, while the number of times loan and explicitation exploited are three times. The majority of cases where compensation is used are the rhymes between words in the source script transferred into the target script, keeping the melodic impact. This proves the translators’ effort to replicate the impact that source texts intend to bring upon the audience. However, it is undeniable that omission could create awkward moments for audience when the canned laughter is played in the background while there obviously is nothing amusing. For example, in the original scene, Ted, the main character attempts to cheer his friend Robin up by trying to be funny to use the word O-Cana-dorable to describe a piece of clothing with a maple leaf, a symbol of Canada, on it but the wordplay is left out in the Vietnamese version while the laugh track is unchanged.

4.3. Audience’s reception of the translation In the questionnaire, students are asked to rate the level of funniness on a scale from 1 to 5 on 15 translated short scripts belonging to five major types of humor present in the ten chosen episodes. The following chart shows the response to all the questions combined.

Figure 4.5. Students’s general reception of translated humor As illustrated in the chart, 420 out 1200 responses (15 questions multiple 80 participants equal 1200 turns of responses), which is equivalent to 35 percent, belong to the central number on a scale of five. The responses are widely dispersed with the concentration on three options 2, 3 and 4, accounting for roughly 80 percent of all total response. It is clear that on the spectrum of funniness participants have a tendency to rate the examples as not funny more than funny, which is proven by the gap of 44 responses between the sums of option 1 and 2 compared to option 4 and 5. The reaction of 80 3rd year students towards the five specific categories of humor will be presented in accordance to the order they appear in the questionnaire, namely irony, wordplay, teasing, jokes and catchphrase. 4.3.1 Irony Table 4.1. Student’s response to the translation of irony Level of funniness 1 2 3 4 5 Q1 16 14 31 12 7 Q2 21 21 24 10 4 Q3 12 19 26 19 4

The two examples of the first two questions use literal translation while the last employs explicitation to transfer irony. The table shows that all three questions share the overall trend of having number three as the peak choice, surpassing 30 percent of responses. However, it can be seen that while the translation by both strategies receives more low ratings of 1 and 2 than high rating of 4 and 5, participants are inclined to be more generous with their ratings concerning expliciation. It seems that the audience shows slight preference towards this strategy over literal translation in these examples. 4.3.2 Wordplay Table 4.2. Student’s response to the translation of wordplay Level of funniness 1 2 3 4 5 Q4 11 14 28 25 2 Q5 5 21 32 17 5 Q6 11 18 26 22 3 Participants’ reaction to the translation of wordplay is more positive than that of irony with a reduction in the ratings of 1 and an increase in the scores of 3, 4 and 5. However, a preference for literal translation over explicitation is observed from the table when the two former translation of wordplay are less prone to be assessed as being not funny. This trend is reversed to that of irony. 4.3.3 Teasing

Figure 4.6. Student’s response to the translation of teasing

Following next on the questionnaire are three examples of translation of teasing by the two strategies. Unexpectedly, all of them are positively embraced by the participants with an overwhelming number of students (69, 56 and 62 respectively for question 7, 8 and 9 out of 80 students) regarding the translated humor as funny by choosing from 3 onward. This is the only category of humor surveyed, which records such a large number voting very funny for the translation. A conclusion can be drawn from the graph that participants tend to favor literal translation over explicitation, which concurs with the tendency of wordplay. 4.3.4 Jokes

Figure 4.7. Student’s response to the translation of jokes Following the trend set by teasing and wordplay, the reception of students towards jokes witnesses a gap between literal translation as employed by examples in question 10 and 11 and explicitation as used in question 12. 32 and 25 students rated the translated jokes in the former question as funny and very funny while only 17 students had the same idea for the translation in the latter question. However, the transference of jokes over all is not as warmly welcomed as that of teasing when the amount of ratings at 1 and 2 still quite high. 4.3.5 Catchphrases Participants’ general reaction to the translation of catchphrases resemble that of irony to a great extent. Around half of 80 students questioned chose to

regard the translation as not funny at all and not very funny, equal to the rating of 1 and 2. However, unlike irony, the more preferable translation strategy assessed by students is literal translation, as illustrated in question 13 and 14. It is an interesting observation that catchphrases share the general responses with irony while the favorable choice of translation strategy is the same as jokes, teasing and wordplay.

Figure 4.8. Student’s response to the translation of catchphrases 4.3.6 The relationship between the frequency of watching sitcoms and reception of the translated products Table 4.3. The proportion of rating of translation by two group of students (A: students who never watch or watch less than once a month; B: those who watch from once a month and more) Level of funniness 1 2 3 4 5 A B A B A B A B A B

Q1+2 25 22 24 21 38 31 10 16 3 10 Q3 15 15 24 24 32 33 26 22 3 6 Q4+5 9 11 17 25 40 36 31 23 3 5 Q6 12 15 23 22 44 24 18 35 3 4 Q7+8 6 5 18 15 31 34 32 37 13 9 Q9 9 9 12 15 23 26 35 28 21 22 Q10+11 7 5 28 11 29 48 24 25 12 11 Q12 9 11 44 17 29 48 12 17 6 7 Q13+14 12 10 38 24 31 41 15 17 4 8 Q15 32 17 29 26 27 37 12 7 0 13

Out of 80 students who completed the questionnaire, 34 students claimed they either never watched American situation comedies or watched less than once a month regardless being original or subtitled and dubbed. Concerning this group of students, they preferred literal translation to explicitation of the majority of humor surveyed except irony. However, the situation is different for 46 students who stated their frequency of watching American situation comedies was from once a month and above. This group of students chose explicitation over literal translation as the means of translation of both irony and wordplay. However, students as a whole preferred literal translation to the other strategy exemplified in the questionnaire. The participants of the questionnaire are third year students who major in English; therefore, although their preference of literal translation strategy is surprising, it is understandable at the same time. Due to the exposure to the English language and American culture during their study, students find the humor rendered by literal translation easy to understand. The unnaturalness of expressions can be accepted by students due to their frequent interaction with the source language. Interestingly, the students who watched American situation comedies frequently opted out for explicitation in more categories of humor than their peers who never or rarely watched them although both of these groups of students still preferred literal translation in general. It might derive from the fact that among these active fans of situation comedies, a sizable number of them accessed translated products, either official or unofficial like fan subtitling and dubbing. That is why their requirements for the translation is higher than their friends. In conclusion, participants preferred literal translation to explicitation, although their frequency of watching American sitcoms did affect their favorable choice of translation strategy, leading to the differences among students.

CHAPTER 5. CONCLUSION

5.1. Summary of main findings and implications This research has been conducted on the translation of humor in the dubbed series “How I met your mother” on the Vietnam Television network. After watching ten most highly acclaimed episodes of the series, the researcher recorded 164 excerpts of humor that were accompanied by laughter track. These humorous elements were then categorized under Alharthi (2016)’s suggested typology of humor in situation comedies. After that, the English expressions of humor were paired with parallel Vietnamese counterpart and analyzed to identify the translation strategies applied using the classification of translation strategies in audiovisual context as proposed by Díaz-Cintas and Remael (2007). The researcher selected 15 pieces if humor from the corpus to include in the questionnaire to record the reaction of 80 third year students at FELTE, ULIS towards the translated product. Key findings can be summarized as follows. First of all, recorded humorous elements are distributed dispersedly across eleven types of humor. Irony, wordplay and teasing occupy the majority of the humor available with up to 111 of a total of 164 bits, which is equal to more than 60 percent. Followed by jokes, catchphrases and self-denigrating humor, these techniques of creating humor account for roughly 18 percent of the corpus, leaving a modest 11 percent allocated to the rest five types of humor including sarcasm, retort, banter, register clash and parody. Secondly, the vast majority of humor present in the series is rendered by literal translation and explicitation with an overwhelming proportion of 74 percent and 12 percent in turn. These two strategies are employed in the translation of almost every type of humor while loan, compensation, omission, addition and transposition account for a meager percentage and appear scarcely. The most outstanding type of humor is wordplay because of the wide variety of translation strategies applied to render humor.

Last but not least, the results of questionnaires show that most of the third year students who participated prefer literal translation to explicitation regarding the examples of wordplay, teasing, jokes and catchphrases with the only exception being irony. Despite the examples belonging to various types of humor, students do not show particular tendency to assess the translation as funny. The difference between students who never or rarely watch American situation comedies and those who frequently watch lies in the fact that the latter are more open to explicitation. According to the research’s findings, students’ general reactions prove that they are not too keen on the translation of these types of humor despite showing their preference. These students have frequent exposure to the culture of the source language; yet they find some of the humor hardly amusing, which may predict the foreseeable scenario for the audience of general public. It indicates that there should be more efforts invested in translation to please this segment of audience as well as boosting the quality of translation to make it more local. The balance between economy and quality should be set to bring the best product to the customers so that the audience will be able to at least laugh when watching sitcoms. 5.2. Limitations Although I have tried my best to complete the research, there are admittedly several limitations which prevent the research from achieving optimum efficiency. The lack of research focusing solely on the translation of humor in audiovisual contexts makes it hard for the researcher to accumulate a more profound and solidly established framework. In addition, the breadth of the research is restricted to only 10 episodes of the dubbed series due to restricted time. Moreover, concerning the questionnaire, the number of items present is still quite modest and the number of participants can be increased for more accuracy and generalization. Participants might make a more informed decision if they were shown the video clips of the humor because it is audiovisual after all; however, it is time-consuming and hard to administer to a large amount of participants. If this can be realized, the level of reliability will be greatly enhanced.

5.3. Suggestion for further research Based on the aforementioned shortcomings, it is recommended that the scope of the research can be broadened to generate more conclusive outcomes. A research into the reception of audience of various backgrounds including age, sex, occupation is a plausible option, which can yield diverse results compared to the subject of this study. Translators can conduct a research before translating for the broadcasters to measure the audience’s reaction to make adjustments to best suit their needs. Additionally, researchers can make the comparison between the official version provided by the Vietnam Television and an unofficial version subtitled or dubbed by the fan community. Finally, a research into the factors influencing translators’ choice when translating sitcoms for televisions would be an intriguing study since such process as censoring and editing to name a few can have tremendous impacts on translation.

REFERENCES

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APPENDIX 1: CATEGORIES OF HUMOR AND TRANSLATION STRATEGIES APPLIED Ep English Vietnamese Categor translati no. y on strategy 5x8 Kids, the secret to dating is Các con, bí quyết hẹn hò irony literal very simple. Be confident, rất đơn giản: tự tin, thoải translati be comfortable in your skin, mái và biết mình là ai. on be assured of who you are. Chú Barney là chuyên gia Uncle Barney was really ở bí quyết cuối, mặc dù good at that last one, even rất nhiều lần chú trở though a lot of the time who thành một người khác. he was was someone else 5x8 You thinking of going and Cô có định ra đó nói irony literal talking to him? chuyện với anh ta không translati Noo. Không on Good. He's seriously the Tốt. Anh ta là kẻ đểu biggest jerk on the face of cáng nhất trên đời the Earth. Sao cô biết anh ta? How do you know him? Anh ta là bạn thân của tôi He's one of my best friends. 5x8 There's two basic Có hai triết lí cơ bản về wordpla literal philosophies of how to cách kiểm soát bản thân y translati handle yourself after a sau khi thất tình. Vài on breakup. người vùi đầu vào Some people throw "sự nghiệp, với em bây themselves into - My career. giờ sự nghiệp là trên hết. That's my number one focus Từ bây giờ không hẹn hò right now. nữa, tất cả chỉ là công From now on, no more dating. việc." It's all about work. Có người lại vùi đầu vào OLDER TED: While others "mọi phụ nữ ở New York. throw themselves into Every Đúng thế, Barney Stinson woman in New York City. đã trở lại thị trường. Các That's right, Barney Stinson bà mẹ hãy nhốt các cô is back on the market. con gái lại. Các cô con Mothers, lock up your gái hãy nhốt các bà mẹ daughters. lại." Daughters, lock up your Milswancas. 5x8 "Milswancas"? - Wait, I can Các bà mẹ? Cái này tôi parody omissio get this. biết. (of n "Mothers I'd Like to Sleep Các bà mẹ cậu thích MILF) With and Never Call Again. chinh phục và không bao giờ gọi lại

5x8 Lily, since I started dating Lily, từ khi anh hẹn họ joke literal Robin, there's a certain thing Robbin có một thứ anh translati I haven't used as much as I không sử dụng nhiều như on would like to. anh muốn. Nó khá to, It's kind of big, surprisingly nặng đến bất ngờ, bằng heavy, kind of leathery, - da và màu đen. and it's black. Hả? Huh? 5x8 The playbook Cẩm nang cưa cẩm Catchph literal rase translati on 5x8 The Playbook contains every Cuốn cẩm nang cưa cẩm wordpla literal scam, con, hustle, hoodwink, chứa tất cả mưu đồ, bịp y translati gambit, flimflam, stratagem bợm, gã gẫm, lừa đảo, on and bamboozle I've ever xảo trá, mưu mẹo, chiêu used, or ever hoped to use, lừa mà tôi đã dùng và hi to pick up chicks and give vọng sẽ sử dụng để tán them the business. các em và làm việc cùng các em 5x8 Wow. Cậu viết một cuốn nữa sacarsm literal You wrote another book? It's hả, bọn mình đã có translati We got a Stephen King over Stephen King ở kia rồi. on here. 5x8 Wow! I can't picture a way Tôi dám chắc chiêu đó sẽ sacarsm literal that wouldn't work. rất hiệu quả (bà stinsfire translati trong cuốn playbook) on 5x8 "The Lorenzo Von Lorenzo Von Matterhorn joke literal Matterhorn" will be my sẽ đánh dấu sự trở lại translati grand return to the stage. ngoạn mục của tôi trên on Or, you know, the bed. sân khấu, Actually, my bed is kind of à trên giường, on a stage. thực ra giường của tôi I put a platform underneath, chính là sân khấu, tôi sắp I got some lights going. xếp bục diễn và lắp cả It's a real production. đèn. Barney exits! Chuyên nghiệp đấy, Barney đi đây. 5x8 Six months later Sáu tháng sau: kết hôn irony literal (chữ kết hôn hiện trên translati màn hình) on 5x8 Oh, I'm gonna die single and Tôi sẽ chết trong cô độc. irony literal alone. Tôi sẽ chỉ tập trung vào translati I might as well just focus on thuế năm nay. on this year's taxes." 6 tháng sau, cặp đôi đồng Six months later? PACS and tính chuẩn bị kết hôn plans to marry pending the trong khi chờ thượng viện

enactment of the Act mỹ thông qua. currently in the Senate from New York! 5x8 T: It's a law of nature. M: T: Đó là qui luật tự nhiên. wordpla literal Lawyered, of nature M: Luật, của tự nhiên y translati on 5x8 Believe me, I'd love to have Anh cũng muốn được thờ irony literal no interest in a relationship. ơ với việc yêu đương, translati There's no way I'd be single nhưng nếu anh muốn được on right now if I wanted to be độc thân thì anh đã chẳng single. độc thân như bây giờ 5x8 Marshal: Come on, buddy! M: cố lên anh bạn, thêm 1 irony literal One more chicken finger cái nữa là cậu giành được translati and the crown is yours! vương miện on L: Mmm. L: Mình không thấy anh I don't see him anywhere. ấy đâu cả, chắc ra ngoài He must be out doing charity làm từ thiện rồi, đi quán work. khác chứ? So, different bar? 5x8 (Muffle) Cô gái đi cùng Lily dễ irony addition thương quá 5x8 You son of a bitch L: Tên khốn này retort explicit ation 5x8 Dude, Ted was not missing Ted không mất cơ hội sacarsm literal out. She's brainy and đâu. Cô ta đầy chữ và translati annoying, kind of boring in phiền phức, khá nhàm on the sack. I guess she chán. Cô ta đúng là hoàn would've been perfect for hảo cho Ted, wopps Ted. 5x8 Once again, I'm Lorenzo Một lần nữa, anh là wordpla loan Von Matterhorn. Lorenzo Von Matterhorn, y Spelled like it sounds, two nghe sao viết vậy, hai chữ "T's". T. Lorenzo Von Matterhorn. 5x8 Snasa Snasa wordpla loan y 5x8 Wow, you're an astronaut? A: Anh là phi hành gia? wordpla literal (SHUSHING) I'm actually B: Suỵt, thực ra anh làm y translati in a top-secret government trong chương trình không on space program called gian tuyệt mật của chính "Secret NASA" or "SNASA. phủ, gọi là siêu bí mật Do you go to the moon and nasa, hay là snasa. A: stuff? - Well, not the moon Anh lên mặt trăng à? B: you're familiar with. Không phải mặt trăng Though, I have been to the thường nhắc tới mà là "smoon. siêu trăng

5x8 Cheap tricks? Not one of Không có mánh nào là rẻ wordpla literal these is a cheap trick. tiền, kể cả "trò rẻ tiền" y translati Except for "The Cheap cũng cần nối tóc đắt tiền on Trick." And even that one involves expensive hair extensions. 5x8 So, we get up to my place, Bọn tôi về chỗ tôi, tôi irony literal and I go into my room to set chuẩn bị máy quay (thấy translati up the camera To light the Lily lườm), thắp nến, tôi on candles. đi ra, cô ấy đã biến mất And when I come out, she's cùng cẩm nang cưa cẩm. gone, and so is The Playbook. 5x8 I think we all know who is B: Tôi nghĩ chúng ta đều retort explicit responsible for this. biết ai là người chịu trách ation - Yeah, we do. nhiệm. - Yeah. Đúng thế Al-Qaeda. Là Al-quaeda No, you idiot! It was me. L: Đồ ngốc, là em You son of a bitch! B: Đồ tồi tệ 5x8 Wow, you stole The Cô ăn cắp cuốn cẩm nang teasing literal Playbook? - So the girl on cưa cẩm, vậy cô gái ở tòa translati the Empire State Building? - nhà empire state L: Bạn on A friend of mine, an actress. của tôi, một diễn viên An actress, of course! That B: Một diễn viên? Tất explains her impeccable nhiên rồi, thảo nào diễn diction and her sluttiness. xuất hoàn hảo, còn lẳng lơ nữa 5x8 Tizzarget acquizzired. Mục tiêu xác định wordpla literal y translati on 5x8 So, why is he wearing scuba Sao anh ấy lại mặc bộ đồ retort literal gear? We don't know and it's lặn? M: Bọn tôi không translati killing us, Claire. biết, và nó đang giết bọn on It's killing us. tôi đây Claire, nó đang Well, let's go ask him. giết bọn tôi C: ra hỏi anh ấy thôi 5x8 It's okay. It's been tough on R: Không sao đâu, điều teasing literal me, too. đó cũng khó khăn với em translati I mean, look at me. I've nhưng nhìn em này, em on sworn off relationships. thề tránh xa chuyện yêu She's so about to get đương married. M: Cô ấy sắp cưới đấy I gotta work on my toast. T: Tôi phải chuẩn bị bài I gotta make sure my tux phát biểu thôi fits. M: Chắc bộ complet vẫn

I will bang your heads vừa together like coconuts. R: em sẽ cụng đầu hai anh với nhau như sọ dừa 5x8 You son of a bitch! Tên khốn retort explicit ation 5x8 For those of you keeping T: Cho những ai vẫn còn self- loan score, "The Ted Mosby" quan tâm, chiêu Ted denigrat works. Mosby có hiệu quả ing humor 5x8 Right, right, right. 'Cause it's T: đúng đúng, bởi vì sẽ là sacarsm literal gonna be that guy. anh chàng này translati I don't know, the blue blazer R: em không biết, áo on is just, like, not doing it for khoác màu xanh không me hợp với em lắm 5x8 Damn it, Marshall. Chết tiệt Marshal retort literal translati on 5x12 5x12 I'm good, boomer. Tôi ổn Boomer. teasing literal My name's not boomer. Tên tôi không phai là translati Oh, in my head, it is. Boomer. on Tôi lại nghĩ thế đấy. 5x12 Gentlemen, I'm a faculty Tôi là giảng viên, các cô teasing explicit member, and you're cậu là sinh viên nên ation underage, So it's my duty to nhiệm vụ của tôi là tịch confiscate this and this and- thu cái này, cái này và, Hard lemonade? You know nước chanh hả, Boomber what, boomer? You can cậu có thể giữ nó keep that. 5x12 I swear, Every week I get Em thề tuần nào cũng có irony literal asked by some frat guy to a bạn nam mời em đến tiệc translati kegger, and I say, "i'm a phd bia, và em nói tôi là on candidate writing a nghiên cứu sinh tiến sĩ dissertation entitled 'foreign đang viết luận về đầu tư direct investment And trực tiếp nước ngoài và intergenerational linkages in mối quan hệ liên thế hệ consumption behavior.'" T: trong hành vi tiêu dùng. And what does frat guy say T: Thế cậu ta nói gì G: to that? : "that's hot." Hấp dẫn thật 5x12 I thought you were a Em nghĩ anh thật là ngốc, teasing literal complete idiot. But a very nhưng là một anh ngốc translati cute idiot. đáng yêu on 5x12 So, um, do you ever date Em từng hẹn hò với anh self- literal cute idiots? Almost ngốc đáng yêu nào chưa? denigrat translati exclusively. Hầu như là luôn luôn ing on humor

5x12 She's a phd candidate, She T: Cô ấy là nghiên cứu teasing literal reads philosophy for fun,She sinh, cô ấy đọc triết học translati does the Sunday crossword cho vui, chủ nhật hàng on every week and finishes it. tuần cô ấy giải ô chữ, và B: Wow, - Ted, I am so giái hết ô chữ mới thôi B: happy for you- sorry, Not ted, tôi rất mừng cho cậu, for you, happy I'm not you. xin lỗi không phải, mừng vì tôi không phải là cậu 5x12 Oh, baby, you're so sweet, L: Anh yêu, anh thật ngọt self- literal but compared to that ngào, nhưng so với cô ta denigrat translati woman, I am a big bag of em là một túi rác to ba ing on three-day-old garbage. ngày chưa đổ humor 5x12 Oh, my god, you are so Chúa ơi anh hài hước irony literal funny. That'll be $6.75. quá. Hết 6 đô 75. translati Here's a 50, keep the Đây là 50 đô, giữ tiền on change. thừa nhé 5x12 Amateurs. B: Còn non lắm irony literal translati on 5x12 What do you want? Cô phục vụ: Anh muốn banter literal Drop the act, baby doll- uống gì? translati Wait, what? B: Bỏ đi búp bê nhỏ, đợi on Are you gonna order A drink đã... or are you just gonna stand Phục vụ: Anh định gọi đồ there looking stupid? uống hay chỉ đứng đó và Um… trông thật ngốc I don't know how to make an B: ờ um. Is that equal parts vodka P: Tôi không biết làm and get-the-hell-out-of-my món ờ. Có phải 1 phần face? vodka và biến đi cho khuất mắt tôi không? 5x12 T: What's she like? T: Cô ấy như thế nào teasing explicit C: She's a whore. I think C: Cô ấy lẳng lơ. Em nghĩ ation she's a dominatrix. cô ấy là gái bao 5x12 Okay, I'm sorry, none of that C: Em xin lỗi, không phải irony literal is true. I have a bit Of a thật như vậy đâu. Em có translati roommate complex. Why? chút rắc rối với bạn cùng on Guys are always falling in phòng, tụi con trai cứ chết love with her. mê cô ấy. Hey, hey, look at me. I T: Nhìn anh này, anh hứa promise you I am not going sẽ không yêu cô ấy. to fall in love with your Future ted: Whoops roommate. Oops. 5x12 Okay, now that you've had a L: Giờ anh đã nhìn gần banter literal closer look, admit it: That hơn, thừa nhận đi, cô ta là translati bartender is the hottest người phụ nữ nóng bỏng on

woman in this bar. Second nhất quán rượu này. hottest. R: Nóng bỏng thứ hai I repeat… Eh. M: Anh nhắc lại, é Baby, how could you not L: Sao anh có thể không want to hit that? I want to hit muốn cô ta, em muốn cô that. If you don't want to hit ta. Nếu anh không muốn, that, I'm sorry, but you em xin lỗi, có thể anh might be gay. đồng tính đáy. Hell, yeah, I'm gay. Gay for M: Ừ, anh đồng tính, you. đồng tính vì em 5x12 But for those- I mean, for Nhưng vì cặp đó, ý anh là Catchph literal that-I mean, for her...I will cái đó, ý là cô ấy, anh sẽ rase translati stop wearing-Wait for it… thôi không mặc, chờ chút on We know you're going to R: Biết anh định nói com say "suits." ...Suits. lê rồi B: com lê L& M: Huhh 5x12 Suits and insecure women- I Com lê và phụ nữ dễ dãi, irony literal hate them anh ghét bọn họ translati on 5x12 No. Out of the way! Stay Không. Tránh ra. Ở lại register literal with me.It's not your time. If với tôi. Chưa đến lúc đâu. clash translati anyone could fix something (Ted): Nếu ai có thể sửa on like this It was barney's những thứ như thế thì là personal tailor, tim gunn. thợ may riêng của I'm sorry, barney.I couldn't Barney, Tim Gun. make it work. Tôi rất tiếc Barney, tôi So young. There's nothing không thể làm được. B: else you could do? No, but Còn trẻ quá (khóc). Ông there is another suit That can không thể làm gì sao. Thợ use the buttons from your may: không, nhưng có 1 suit. bộ com lê khác có thể That can... Like an organ dùng khuy từ bộ của cậu donor? B: Thế có thể giống hiến Your suit's death could mean nội tạng hả. Thợ may: Cái another suit's life. Do it. chết của bộ com lê này có You're doing the right thing. thể để lại sự sống cho một bộ khác B: Làm đi Thợ may: Cậu đang làm điều đúng đắn. 5x12 We cremated the remains. Bọn tôi hỏa táng phần register literal His buttons saved the life Of còn lại. Khuy của nó giữ clash translati a sick little jacket on the mạng sống cho 1 cái áo on upper east side. khoác nhỏ ốm yếu khu thượng đông 5x12 Tell me about him. Phục vụ: Kể em nghe về irony literal he was italian.Classy, người bạn của anh translati

elegant. And boy, did he B: Cậu ấy là người ý, rất on have a way with the ladies. tinh tế lịch lãm, cậu ấy rất They just couldn't say no. biết cách với các nàng, họ How old was he? không thể khước từ cậu ấy Seven. I miss him so much! Phục vụ: Anh ấy bao nhiêu tuổi B: 7. Anh rất nhớ cậu ấy (khóc) 5x12 Come on, marshall. Just L: Thôi nào Marshal, banter explicit admit that she's hotter than thừa nhận đi cô ta nóng ation me. bỏng hơn em. Can't do it. You're hotter. M: Không làm được, em Oh, she's a goddess!Her skin nóng bỏng hơn glows. Her legs go for miles. L: Cô ấy là nữ thần, da And that ass? I would wear sáng, chân dài miên man, that thing for a hat. Last cặp mông thì sao, em sẵn night in bed, I'll admit it, sàng đội nó lên đầu. Em She popped into my head a thừa nhận, tối qua trên couple of times. giường, cô ấy hiện ra Like, you think she's hotter trong đầu em vài lần than me? M: Em nói em nghĩ cô ấy I never said that. nóng bỏng hơn anh Oh, my god! You do. It's L: Em chưa bao giờ nói thế. apples and oranges. She's M: Chúa ơi có mà. L: Hai younger than you. I'm just người hoàn toàn khác saying, like, Me in my prime nhau mà. Cô ấy trẻ hơn versus her in her prime. anh M: ANh và cô ta trong thời kì tỏa sắc nhất của từng người thì sao 5x12 Look, cindy, I know The T: Cindy, anh biết nội qui self- literal university rulebook says we trường nói ta không thể denigrat translati can't date. But it also says, hẹn hò, nhưng nó cũng ing on "don't teach drunk,"And I do nói không dạy kẻ say, humor that all the time. The point nhưng anh làm điều đó is, I like you. I do. You're suốt. Vấn đề là anh thích sweet, you're funny. You're em, thật đấy, em ngọt writing a dissertation ngào hài hước, em đang Entitled, Foreign direct viết luận chủ đề đầu tư investment And trực tiếp nước ngoài và intergenerational linkages mối quan hệ liên thế hệ and consumption behavior. I trong hành vi tiêu dùng, mean, that is hot. thật hấp dẫn 5x12 I feel like we should give B: Anh nghĩ ta nên dành irony literal him a moment of silence. 1 phút mặc niệm cậu ấy, translati Followed by, like, 20 sau đó là 20 phút rên rỉ on minutes of grunting.

5x12 I know what you’re thinking Tôi biết bạn đang nghĩ gì, wordpla literal What’s Barney been Barney say rồi sao? y translati drinking? Cô gái đó cực kì nóng on That girl was smoking hot bỏng. Yes I coulda nailed her Lẽ ra tôi đã lên giường But no it’s not a failure với cô ấy, ‘Cuz there’s one thing she is nhưng không, not bởi cô ấy không phải là To score a ten would be just bộ com lê. fine Gái đẹp cũng tốt, But I’d rather be dressed to nhưng tôi thà mặc đẹp the nines còn hơn. It’s a truth you can’t refute Đó là sự thật không thể Nothing suits me like a suit bác bỏ. Không gì hợp với tôi hơn com lê. 7x10 How could you even suggest Sao cậu có thể đề xuất irony literal such a thing, chuyện này chứ Ted? (trả translati Ted?!whispers): I better get lại 60 đô cho tôi) on my 60 bucks back. 7x10 Okay, quick before Lily gets Nhanh lên, trước khi Lily irony explicit here, let's fire this up đến chén đi thôi ation No way. I promised Lily that Không được, tôi hứa với I would be responsible Lily rồi. You're not getting your 60 Cậu không lấy lại 60 đô bucks back. được đâu. Give me that. Đưa đây. 7x10 Don't worry. Just follow my Đừng lo, làm theo anh và irony literal lead and keep cool. giữ bình tĩnh. translati (whispers):They know! (hít sâu, họ biết rồi) on 7x10 Oh, no.I think that sandwich M: ÔI không, tôi nghĩ là irony literal was laced with other bánh kẹp bị trộn với translati stuff.Like, hard meats. những thứ khác, thịt cứng on What do you mean? chẳng hạn. Well, usually after a Ted: ý cậu là sao? sandwich, I feel paranoid. M: Thường thì sau khi ăn But I'm not. Why am I not bánh kẹp, tôi hay bị feeling paranoid?! hoang tưởng. Sao tôi lại không bị hoang tưởng nhỉ (gào lên) 7x10 You're right, she won't find M: Cậu nói phải, cô ấy irony literal out. không biết đâu. translati Hey, guy Lily: Chào hai anh on (whispers): She knows! M: Cô ấy biết rồi 7x10 A special welcome our four Xin hãy chào mừng irony literal new interns: Erika... and so những thực tập sinh của translati

on. chúng ta, Erika và đám on kia 7x10 Don't drink too much. Or do. Đừng uống quá nhiều joke addition hoặc thích thì chiều 7x10 Beautiful night, huh, gang? R: Đêm nay đẹp nhỉ wordpla compen Yeah, Robin and I were just B: Đúng thế, Robin và tôi y sation cheating--chatting about vừa ngoại tình, à không and how warm it is. I'm breaking ngoại cảnh, nói chuyện về omissio a trust-- sweat in here. And I ngoại cảnh, tôi đang vã n thought we'd be cuckold. mồ hôi ra đây này nóng I know why you're so quá nervous, Barney. K: Tôi biết tại sao cậu lo You do? lắng rồi You're meeting Nora's B: Cậu biết parents tomorrow night, K: Vì mai cậu gặp bố mẹ right? Nora That's it! That's it! B: Đúng rồi Let's dance! R: Nhảy thôi 7x10 (whispers):Lily has no idea M: Lily không biết tôi irony literal I'm high. đang phê translati You're high? L: Anh đang phê sao on I'm sorry. M: Xin lỗi (whispers):Lily has no idea Lily không biết tôi đng I'm high. phê 7x10 To this day, Robin and Tới bây giờ Robin và wordpla literal Barney swear this is the Barney vẫn thề rằng đây y translati song they danced to that là bài hát của tối hôm đó. on night. "Hai người đã lừa dối You fooled around on your người yêu của mình. Giờ baby Now the least you thì hãy dũng cảm thú could do is to tell her the nhận tất cả. Là anh đấy truth Yes, you in the suit Or chàng trai mặc vest. Nếu that secret will eat up your không thì bí mật sẽ cắn soul Girl, the guilt's gonna dứt lương tâm. Cô gái kia drive you crazy Crazy You đừng để tội lỗi dày vò. Ai can't live with this lie, có thể sống cùng dối trá? Kevin's such a nice guy Kevin là người tốt nhất Gotta tell him tonight Tell trên đời. Phải nói cho anh them right here on this boat ấy biết. Thú thât ngay You're like scum round the trên chiếc thuyền này. edge of a toilet bowl Flush Hai người là những kẻ tồi What the hell is in the place tệ xấu xa. Hai người còn where you should have a có tâm hồn không vậy? soul?Slut You did these two Hai người làm sai, lỗi ở wrong Don't wt too long In cả hai. Đừng mãi chần fact, you know what? Tell chờ, hãy nói ngay hôm

them right during this song nay. Ngay trong bài hát này 7x10 Marshall and I were still in Marshal và bố đang xếp self- literal line to get Lily's nachos. hàng mua khoai tây chiên denigrat translati Dude, we've been waiting cho cô Lily. ing on forever. Ted: Ôi trời, không biết humor Even worse, this is the line phải xếp hàng đến bao for the ladies room. giờ. M: Tệ hơn nữa ấy, nãy giờ chúng ta đang xếp hàng ở nhà vệ sinh nữ. 7x10 About me bending your hard Em có thích chúng ta teasing explicit little body over the railing of cùng nhau vui vẻ trên con ation this boat and copulating thuyền này, tiện thể furiously while I admire the chiễm ngưỡng bầu trời New York City skyline. Or, New York về đêm, hay if you're feeling dirty, we nếu em muốn đổi gió thì can always face Jersey. có thể chúng ta quay sang hướng New Jersey cũng được 7x10 Ted, Ted, Ted. The nacho M: Ted, hóa ra chỗ bán irony literal line was right here all along. khoai tây ở ngay đây (lại translati xếp hàng ở nhà vệ sinh on nữ) 7x10 Thank you. T: Cảm ơn ông wordpla compen It's a sign, bro. Người qua đường: Đó là y sation It is.It's a sign I should go biển hiệu đấy find Marshall! T: Đó là dấu hiệu, dấu hiệu bảo tôi nên đi tìm Marshal 7x10 Hey! Oh, Lily, I'm so sorry M: Lily, anh xin lỗi vì đã irony literal that we ruined our night. làm hỏng buổi tối hôm translati Yeah. nay. on What are you guys talking L: hai anh đang nói gì about?You've been gone less vậy, hai anh đi chưa được than two minutes. hai phút mà 7x10 Do you guys know where L: các anh biết toa let nữ irony literal the ladies' room is? ở đâu không? translati No idea. M: Không on Haven't seen it. T: Chưa thấy bao giờ 7x10 It feels good to be sober T: Cảm giác tỉnh táo thích irony literal again. Man, how long have thật, nhưng này, mình translati we been sitting here, right? ngồi đây bao lâu rồi? on 12 seconds and you're in the K: 12 giây, và cậu ngồi wrong booth. nhầm bàn rồi 7x12 I'm pregnant. R: Em có thai rồi teasing literal

Are you sure you're not just B: Em có chắc là mình translati getting fat? không chỉ mập lên chứ on (Robin đấm) 7x12 So, um, you're pregnant. B: Vậy là em có thai teasing explicit Yeah. R: Vâng ation Looks like nobody told your B: Sao ngực vẫn phẳng lì boobs. thế kia (ăn đấm) 7x12 Hey, mister. Chào chú, chú đang lắp wordpla omissio Are you putting up all these đèn giáng sinh à? y n Christmas lights? Khi chú xong, ngôi nhà Oh, kid, by the time I'm này có thể dược nhìn thấy done, you're gonna be able từ vũ trụ đấy to see this son of a bitch from outer space. 7x12 You need comfort food. "Em cần ăn cho bớt irony literal Fried chicken, mac and buồn, gà này, nui xào, translati cheese, mashed potatoes. khoai tây nghiền, thoải on Open your present, 'll work mái đi anh sẽ bóp vai cho. on these shoulders. Okay, Được rồi, hít thở đi, thư just breathe, relax, eat your giãn, ăn gà đi, ăn, thở, mở chicken.Come on,eat, ra, ăn. Robin sao em căng breathe,open it, breathe, thẳng thế hả." open it, eat.Robin, why are you so tense?!. 7x12 Can we get some fried T: Cho vài đĩa gà chiên ra joke explicit chicken over here, staff! đây xem nào ation I am such a bad friend! L: Mình thật là tồi tệ Three slutty nuns show up at B: Ba bà xơ hấp dẫn bước St. Peter's--Wait, wait, vào nhà thờ, đợi đã, họ they're not slutty. không hấp dẫn 7x12 Do you, do you mind if I M: Cháu có phiền không teasing literal call you "son"? nếu chú gọi cháu là con translati You can call me whatever trai on you want...jackass. Ông muốn gọi tôi là gì cũng được, đồ ngốc 7x12 And then you'll have to Và rồi chú sẽ phải giải banter explicit explain why there's a picture thích tại sao lại có hình ation of my ding-dong on your cậu nhỏ của cháu trong phone. điện thoại chú There is no picture of Làm gì có chứ your… Giờ thì có rồi (click) There is now. 7x12 Are you okay? L: Cậu ổn chứ register literal Yeah, yeah, um, I guess this, R: ừ chỉ là chuyện nhảy clash translati um, this pole-vaulting thing sào này thực sự làm mình on is finally hitting me. rất buồn

I don't get it, Robin. Did you L: Mình không hiểu lắm really want to be a pole- Robin, cậu muốn nhảy vaulter? sào đến vậy sao No, no, I was, uh, I was R: Không mình luôn phản always adamantly against đối chuyện nhảy sào nào, having a… uh, a pole- cho dù đó là điều mà hầu vaulting career, even though hết mọi phụ nữ đều mong it's what most women want. muốn. Most women want to be a L: Mọi phụ nữ đều muốn pole-vaulter? nhảy sào à? In Canada-- it's very big up R: Ở Canada là thế. Rất there. You know, it's, it's quan trọng. Cậu biết đấy, meet a nice guy, get married, gặp người tử tế, kết hôn, vault some poles,but nhảy vài cái sào nhưng I...never wanted that. Of mình chưa bao giờ muốn course, it's one thing not to thế. Tất nhiên không want something. It's another muốn là một chuyện, to be told you can't have it. I nhưng được bảo rằng guess it's, it's just nice mình không thể làm được knowing that you could lại là một chuyện khác. someday do it if you Mình nghĩ vẫn hay hơn changed your mind.But now, nếu biết là mình có thể all of a sudden, that door is nhảy sào nếu có một ngày closed. mình đổi ý. Nhưng đùng What about the one where một cái không còn được you ski and shoot at the nữa same time? That seems like L: Thế còn cái trò gì vừa something you'd be good at. trượt tuyết vừa bắn súng ấy, cậu có vẻ giỏi trò đó 7x12 Oh, my God, Robin, look at T: Nhìn này Robin, nhìn wordpla omissio this.O Cana-dorable! mà xem dễ thương quá y n nhỉ (áo trẻ em in hình lá phong) 8x12 Nervous? R: Anh hồi hộp không self- literal Everything comes out of my T: Mồ hôi vã ra như tắm denigrat translati body in liquid form now. M: Lờ điều đó đi các quý ing on Ignore that, ladies. cô humor Plus, I, I keep having this T: Hơn nữa,, tôi cứ có ác nightmare where King Kong mộng là King Kong xuất shows up to the opening but hiện ở buổi khánh thành refuses to climb my building nhưng từ chối leo lên tòa because, in his words, "It's a nhà vì theo lời nó tòa nhà bit derivative." như là hàng nhái 8x12 24 hours straight without M: 24 tiếng liên tục retort literal that little bastard. không có thằng quy con translati đó on

8x12 2:12 p.m.-- guilt Ted into L: 2h12' chiều làm ted banter literal saying it's okay if we leave thấy có lỗi và nói tối nay translati early tonight. bọn mình rời đi sớm cũng on It's okay if you leave early không sao tonight. T: Tối nay hai người về sớm cũng không sao 8x12 Well, we're your real friends L: Bọn em là bạn thật sự irony literal and we wouldn't miss it for của anh, dù thế nào cũng translati the world. không bỏ lỡ tối nay on That is why we will see you M: Thế nên tối nay từ tonight from 7:03 to 7:14. 7h3' đến 7h14' bọn mình sẽ gặp cậu 8x12 Come on, relax. I know this Bình tĩnh, bố biết cậu irony literal little guy like the back of my nhóc này như lòng bàn translati hand. Dear Lord, what is tay mình. (Nhìn bàn tay) on that? Oh, jam, okay.Just Chúa lòng lành cái gì đây, jam. à không sao chỉ là mứt thôi 8x12 Now that we're out the door, M: Ta đứng ngoài cửa rồi irony literal I actually don't feel anxious. mà anh chẳng thấy lo gì translati (phone rings)Whoa, oh, my cả. (Chuông điện thoại on God, it's your dad! Oh, reo). Ối trời là bố em, có something horrible chuyện lớn rồi. À là Ted happened-- aah! Oh, it's Ted, bình tĩnh đi. relax. 8x12 it's... it's selfish. T: Như thế là ích kỉ teasing literal So be selfish. M: Vậy thì ích kỉ đi translati I can't do that. T: Tôi không làm được on Tell that to the onion rings M: Nói với cái bánh ta we just "split." chia nhau vừa nãy ấy (air quote) 8x12 Ranjit out. Ranjit đi đây catchph literal rase translati on 8x12 He asked me to keep it a T: Cậu ấy nhờ anh giữ bí irony literal secret, but I thought you mật, nhưng anh nghĩ em translati deserved to know...in case xứng đáng được biết, on you wanted to do something phòng khi em muốn làm about it. Do you? gì đó. Em có muốn Do you, Robin? không? Ranjit, a little privacy, Ranjit: Có muốn không please? Robin Sorry, not listening. T: Ranjit để chúng tôi riêng tư được không R: Xin lỗi không nghe gì cả

8x12 Super ugly baby. M: Đứa bé siêu xấu xí, irony literal Great, I just started lactating. xấu kinh dị translati Me, too. Awwww on L: em tiết ra sữa rồi này M: anh cũng vậy 8x12 This kid does not mean that L: Có con không có nghĩa irony literal you're special. It just means là anh chị đặc biệt, nó có translati that you're horny and you're nghĩa anh nổi hứng còn on easy.Now, come on, let me chị dễ dãi. Giờ lại đây smell his head. cho tôi ngửi nó nào (đứa bé) 8x12 Is it harder than we thought M: lily, xa marvin có khó irony literal to be away from Marvin? hơn chúng ta nghĩ không? translati Yes. But are we gonna have Có. Nhưng chúng ta sẽ on fun or are we gonna wallow vui vẻ không ngồi thu lu in the corner like idiots? một góc như lũ ngốc Night, night, little Marvin (ngồi thu lu một góc) Ngủ Stars twinkle for you ngon, ngủ ngon marvin bé nhỏ, ngôi sao nhấp nháy cho con 8x12 I did not freak out. It's just… Em không phát điên, chỉ irony literal a teeny, tiny bit annoying bực mình chút xíu vì hồi translati that I am the one who xưa em là người chỉ cho on showed her that roof in the cô ấy chỗ đó. Chết tiệt first place! Damn it, Patrice! Patrice 8x22 Barney Stinson, you are Barney stinson anh đã bị wordpla literal being kidnapped. For your bắt cóc, đến bữa tiệc độc y translati surprise bachelor party! thân bất ngờ của anh on 8x22 You two? Planning my 2 cậu ư, tổ chức tiệc độc wordpla explicit bachelor party? Look, you thân cho tôi à. Các cậu là y ation seem like nice kids. But this những cậu bé ngoan, is a sacred event, a man's nhưng đây là một sự kiện rite of passage with his bros. trọng đại khi chú rể ăn His... bro mitzvah! mừng cùng các anh em của mình, là bữa tiệc anh em 8x22 We can wear… bro- Chúng ta sẽ đội mũ anh wordpla explicit mulkes...spin the bro- em, chơi con quay anh y ation del...and consult the wisdom em, và tham khảo ý kiến of the Bro-rah Written in... của giáo lí anh em được He-bro. viết bằng ngôn ngữ anh em 8x22 Oh, we'll fear for our lives, Đúng vậy chúng ta sẽ lo teasing explicit all right. When we watch Al cho mạng sống của mình ation Gore's An Inconvenient khi xem phim tài liệu về Truth! biến đổi khí hậu.

Yeah. We're gonna pound a T: chúng ta sẽ nốc bia beer every time we hear the mỗi lần nghe thấy từ word "catastrophic"" thảm họa 8x22 what happens in the T: Có câu là những parody literal sensibly-priced business chuyện xảy ra trong translati hotel outside Atlantic City khách sạn rẻ tiên bên on stays in the sensibly-priced ngoài atlantic city sẽ ở lại business hotel outside phòng khách sạn rẻ tiền Atlantic City. bên ngoài atlantic city 8x22 I'll tell you what. I am going Quinn: Được rồi, tôi cho teasing explicit to strip for everyone here mọi người biết, tôi sẽ ation except Barney. And I'm biểu diễn cho mọi người gonna make it dirty. ở đây, trừ Barney. Và tôi sẽ làm thật hay 8x22 Shut it, Ralph Macchio. Im đi Raph Machio, sao irony literal Why don't you go have a cậu không đi mở tiệc với translati party with Luke Skywalker Luke Skywalker và Harry on and Harry Potter and War potter và tất cả những gã Horse and all the other xấu xa trên phim khác đi movie bad guys and stop và để cho tôi yên ruining mine! 8x22 Do we look like the kind of TRông chúng tôi có giống irony literal dweebs who wouldn't get a lũ ngốc không thể kiếm translati stripper? được vũ công thoát y on không (đội bóng bay trông ngốc) 8x22 "Catastrophic"! Everybody Thảm họa, mọi người nốc wordpla literal pound. nào y translati on 8x22 If this is anything like my Nếu cái này giống với parody explicit bachelor party--strippers, tiệc độc thân của tôi, vũ ation booze, definitely no hand công thoát y chè chén đập stuff--wink-wink--it is phá tanh bành thì sẽ rất gonna be in--wait for it-- tuyệt chờ một chút vời credible. Incredible! 8x22 Bro-mitzvah Lễ trưởng thành anh em wordpla explicit y ation 8x22 You know, Ralph earlier at L: anh biết không raph, irony literal the salon, I waxed on, then lúc ở thẩm mỹ viện tôi đã translati waxed off. Everywhere. bôi sáp lên và cạo sạch on Uh, listen, lady, your mọi chỗ husband is, like… Hey, Nghe này thưa cô, chồng where is your husband? cô đang… Chồng cô đâu rồi 8x22 Hold on. You want me to Q: Chờ chút, cô muốn tôi joke literal pretend my life's gone to giả vờ rằng cuộc đời tôi translati

crap and I'm back to trở nên tồi tệ và tôi quay on stripping just screw with my trở lại làm vũ công để lua ex-fiancé?I love it! vị hôn thê cũ của tôi sao? Tôi thích lắm 8x22 Hold on. You want us to rig Chờ chút, cô muốn chúng joke literal a casino game to trick one of tôi giả mạo một trò đánh translati our former high rollers? bạc để đánh lừa cậu on Um… I love it. khách hàng thân thiết của chúng tôi sao? Tôi thích lắm. 8x22 Hold on. You want me to Chờ chút, cháu muốn bác joke literal help you trick my own son? giúp cháu lừa con trai bác translati I love it. sao? Bác thích lắm on 8x22 He'll probably choose me. Cậu ấy chắc chắn sẽ chọn teasing literal Well, I'd be worth more. tôi, tôi đáng giá hơn, hàm translati Yeah. Perfect teeth. răng hoàn hảo on 8x22 You just decided to-to check B: Em quyết định hoàn irony literal off everything on this list in thành mọi việc trong danh translati the most twisted way sách đó theo cách tồi tệ on imaginable? is awesome! nhất có thể sao? Thật là tuyệt vời 8x22 Everyone, everyone, thank Mọi người, cảm ơn vì tiệc wordpla explicit you for an incredible bro độc thân tuyệt vời y ation mitzvah. 8x24 We've got this big move to L: Chúng con sắp chuyển irony literal Rome coming up, and I, I đến rome và con cứ có translati just can't shake the feeling cảm giác mình đã quên on that I'm forgetting cái gì đó. Con đang phát something, you know. I điên phải không mẹ Judy? know, I know, I'm being Các con sắp chuyển đến crazy, right? Right, Judy? rome sao? You're moving to Rome?! M: mẹ anh à? Đừng nhắc Is that my mom? Don't đến rome mention Rome. 8x24 You were gonna wait and L: Anh định đợi khi ta irony literal tell her after we had already sống ở đó 6 tháng mới nói translati been living there for six sao? Kế hoạch hay đấy. on months? That... was a great plan. 8x24 I requested our favorite B: Anh đã đặt chiếc bàn joke omissio table. yêu thích của chúng ta n The one by the window. R: Bên cạnh cửa sổ Where we were sitting the Cả hai: nơi chúng ta đã night we saw those two ngồi vào cái đêm nhìn bums fighting. Over a thấy hai gã vô công rồi sandwich. We almost called nghề đánh nhau vì một

the cops. And then we cái bánh kẹp realized they weren't fighting at all. They were making love. Over a sandwich. 8x24 Screw celebrating us. You Bỏ qua việc ăn mừng đi, irony literal know what we're gonna do? chúng ta sẽ bắt bọn khốn translati Make those smug, bảnh chọe đáng ghét đó on obnoxious sons of bitches trả giá pay. 8x24 It's cute, you know, she M: Mẹ cứ đùa về việc irony literal keeps joking about how không cho chúng ta đi translati she's not gonna let us leave. Judy: Không đâu mẹ on I'm really not. không đùa đâu haha 8x24 Challenge accepted. Chấp nhận thách thức wordpla transpo y sition 8x24 Hey, do you think it's bad Anh nghĩ có xui xẻo cho joke literal luck for a bride to break up cô dâu không khi chia cắt translati two strangers a week before hai người lạ ngay trước on her wedding? đám cưới một tuần I'd say it's very bad luck... B: Phải nói là cực kì xui for Krirsten. Ow, I hate this xẻo cho, Kristen table so much! hahhahh au anh ghét cái bàn này quá 8x24 Why would you move to L: Sao anh lại chuyển đến self- literal Chicago? Chicago? denigrat translati Because it's the perfect town T: Vì đó là thành phố ing on for me. I-It's like a hoàn hảo cho anh, nó humor Clevelandy New York, and-- giống như New York của don't act like you haven't cleverland và rõ ràng tóc noticed-- my hair excels in anh đẹp hơn trong gió the wind. 8x24 you want to break them up? R: Anh muốn chia cắt họ irony literal I got a plan. It's something I chứ gì, em có một kế translati know has worked in the hoạch. Việc này từng on past, but it-it's, it's risky,so thành công trong quá khứ it's, it's not too late to call it nhưng khá là mạo hiểm off. thế nên chưa quá muộn No way, I'm in. để rút lui đâu Good, 'cause it's too late to B: Anh tham gia call it off. R: Tốt vì quá muộn để rút lui rồi 8x24 You can't miss the day after L: Cái gì, anh không thể irony literal the wedding. That's when bỏ lỡ ngày sau đám cưới translati we sit around all hungover, được. Đó là lúc chúng ta on drinking mimosas and ngồi cùng nhau, bơ phờ

talking smack about who uống trà thảo dược và chế looked fat. That's my nhạo xem ai béo. Giáng Christmas. sinh của em đấy. 8x24 Baby! I am in the middle of L: Anh yêu, đang có teasing literal something super dramatic chuyện quan trọng ở đây, translati here. But real quick: If you nhưng nói nhanh nhé, nếu on let Judy come to Rome with anh để mẹ judy đến rome us, you are going to have to với chúng ta anh sẽ phải find someone else to do your tìm người khác giặt đồ và laundry and massage your mát xa chân cho anh. Ôi feet. Oh, my gosh, she's trời mẹ anh sẽ làm tất cả going to do all that, won't những việc đó đúng she? không 8x24 This is such a big decision. M: đúng là một quyết irony literal I-I'm not good at big định lớn. Tôi không giỏi translati decisions. ra các quyêt định quan on Are you sure you want to be trọng. a judge? Anh có chắc là mình muốn làm thẩm phán không? 8x24 Wow. Now that we've B: Chúng ta vừa phá vỡ 1 irony literal broken up a seven-year mối tình 7 năm chỉ vì họ translati relationship just 'cause they cướp bàn của ta, anh cảm on stole our table, I feel kind thấy khá of.. R: Tuyệt vời Awesome? B: Anh định nói là có I was going to say horny, but hứng nhưng phải, tuyệt yeah, awesome, too. vòi lắm 8x24 And, you know, a week Một tuần nữa chúng ta sẽ wordpla literal from today, we are going to thành huyền thoại chờ y translati be legend...wait for một chút kết hôn, huyền on it...Married. Legend- thoại kết hôn married. 8x24 Did something happen L: Gần đây có chuyện gì catchph explicit recently between you and giữa anh và robin à? rase ation Robin? T: Không No. L: nói thật đi ted Where's the poop, Ted? 8x24 and yet here I am, moving R: Nhưng mình phải wordpla literal off to Japan just to get away chuyển đến nhật bản chỉ y translati from him. And-and I guess để tránh xa anh ấy. Cộng on to see those… those terra- thêm cả việc ngắm đội cotta warriors and the Great quân đất nung với vạn lí Wall. trường thành nữa Well, that's China. L: cái đó của trung quốc What? This? R: không nó chỉ là đĩa

No, it's just a paper plate. giấy thôi (quăng, vỡ) 9x11 There, there, little Marvin. Này này marvin đừng wordpla compen Let no more tears fall. We're khóc nhé, con sẽ gặp lại y sation gonna see Mommy in no mẹ ở nhà trọ be bé time at all. Xin lỗi vì tiếng ồn, cả Hello there. I'm sorry for all ngày hôm nay hai cha con of the noise. It's been a long tôi mệt làm sao day for the Eriksen boys. Tại sao anh lại nói vần Uh... what's with the Mừng vì anh hổi, thật rhyming? không dễ để dỗ con tôi I'm glad that you ask. To get ngủ my son sleeping is no easy task. 9x11 Oh, crap, I left his book in Chết thật tôi để quên sách teasing literal the car! trên xe (marvin khóc) translati That blows. Nhạy nhỉ on 9x11 Oh, no, what a bummer! Chết thật số quá xui wordpla compen What craptastic luck! Không có sách cho y sation Without Marvin's rhyme marvin chuyến đi sẽ book, this ride's gonna suck! phiền rùi 9x11 I'm fairly new to teaching, "Em vừa vào nghề dạy và wordpla compen and I'm looking for advice. đnag tìm lời khuyên, mỗi y sation Every night I practice giving đêm đều cố gắng luyện lectures, sometimes twice. tập để tránh bị luyên But when I teach magnetic thuyên nhưng khi em dạy force, I just see eyeballs lực từ em thấy ai cũng glazing. I asked around, and chơi vơi, em đi hỏi thăm people say your lectures are người ta bảo anh giảng amazing. Which is really tuyệt vời. Sao có thể kiến saying something, because, trúc ư tẻ nhạt lắm." Còn architecture? Yawn. ted thầm nghĩ chắc môn And Ted thought.. Psh, vật lí thì chắc hay" Sao yeah, 'cause physics is so nữa em interesting. Go on. 9x11 And now that night's Đó là đêm không phải wordpla compen remembered not for Robin Robin bị đá, mà là bọn bố y sation getting dumped but as the khiến Robin chơi quá xá night we took her to get her stomach pumped. 9x11 Challenge accepted, il. Thử thách được chấp catchph literal There is no girl too pretty, nhận, Lily ạ vì không ai rase translati for I am Barney Stinson, quá đẹp để anh sa ngã, vì on Player King of New York anh là Barney stinson vua City. chơi bời của thành new york 9x11 True story Là thật đấy catchph literal

rase translati on 9x11 Your little story tickled all Hay đấy, câu chuyện của wordpla compen our ribs. But one mistake cậu có tính giải trí, nhưng y sation you made, sir, was có một điều bỏ sót đó là forgetting to call dibs. cậu quên xí No! Not fair. But I'm the B: Không, không công king. And such a better bằng, tôi là vua mà, và dresser. mặc đẹp hơn 9x16 Okay, this is ridiculous. Chuyện này thật lố bịch, joke literal You've been sitting around cậu đã ngồi đây hai năm translati for two years. It's time to get rồi, đã tới lúc ra ngoài kia on back out there. rồi I have not been sitting Mo: Mình đâu có ngồi around. I have been hard at không, mình làm việc work. I think I'm about to chăm chỉ lắm, mình sắp enter my "Robots Doing bước vào giai đoạn vẽ Track and Field Events" robot chạy đường trường period. It's a very exciting rất là thú vị đấy time. 9x16 I knew that if I really wanted Mo: Mình biết nếu muốn wordpla literal to end poverty, I had to get a thật sự chấm dứt nghèo y translati degree in economics. So… đói, mình phải có bằng on to answer your question, kinh tế cái đã. Vì vậy để that's how I got here. trả lời cho câu hỏi của I meant, how did you get cậu, đó là lí do tại sao here from the subway mình ở đây station? Ý mình là cậu đi từ trạm tàu điện ngầm tới đây như thế nào 9x16 And so, if you must bring Nếu có người định mang wordpla compen food to this class, please thức ăn vào lớp, nhớ y sation bring enough for everyone. I mang đủ cho cả lớp luôn don't want to see someone nhá. Tôi không muốn ai eating, say, lobster, in the đó ăn ví dụ như là tôm front row without sharing hùm ở hàng ghế đầu mà with the rest of of us. không chia sẻ với những Because that… would be người còn lại bởi vì như shellfish. vậy là ích kỷ như đồ con khỉ 9x16 You should've brought him Cậu nên đưa anh ta tới self- literal to my room. Okay? He phòng của mình, anh ta sẽ denigrat translati would've run screaming hét toáng lên khi thấy bộ ing on once he saw my calligraphy đồ thư pháp của mình, bộ humor set, my coin collection, my sưu tập đồng xu, cái yếm chain-mail corset from the mang xích sắt mà mình

Renaissance Faire. Well, kiếm được ở hội chợ phục that's pretty cool. hưng, nó hơi bị hay đấy 9x16 You need to steal this L: cô hãy lấy trộm cái xe irony literal douche monkey's van. Then của tên khốn đó, sau đó translati run my husband over with it. cho nó cán qua người on Well, that's very tempting. chồng tôi I've never really been he Mo: nghe hấp dẫn đấy, type of person to... nhưng tôi không phải "Must be hotter than the girl kiểu người… we have now, who, in my L: phải quyến rũ hơn cái opinion, is a six at best"? cô mà nhóm tôi đang có, người mà theo ý tôi chỉ đạt 6 điểm là cùng Mo: bóp vỡ cốc 9x22 I have a better tie at home! Tôi có cái cà vạt đẹp hơn irony literal It's cornflower blue. It's ở nhà, màu xanh lơ nhạt, translati cornflower blue! màu xanh lơ nhạt on 9x22 Last year, when you helped R: Năm ngoái, khi anh teasing literal Victoria escape this church, giúp viectoria trốn khỏi translati how hard was it to climb nhà thờ, leo xuống ống on down that drainpipe? thoát nước có khó không Extremely hard. T: cực kì khó Okay, so that means super R: Thế nghĩa là siêu dễ, easy. Thanks. cảm ơn 9x22 I was freaking out a little B: Tôi có hoảng loạn một irony literal earlier, but Lily and chút nhưng Lily và translati Marshall calmed me down. marsahl đã giúp tôi bình on I'm okay. tĩnh trở lại. Bây giờ tôi ổn Good, good. So, Robin's a rồi little nervous. T: tốt, Thực ra thì robin Nervous? Why is she hơi căng thẳng nervous? I'm not nervous! B: căng thẳng, sao cô ấy Who's nervous?! No one lại cnawg thẳng. Không needs to be nervous! ai cần căng thẳng cả. Cà Cornflower blue, Ted. vạt màu xnah lơ nhạt ted Cornflower blue! ạ, cà vạt màu xanh lơ nhạt 9x22 First off, kudos to Marshall T: Trước hết marshal và sacarsm literal and Lily for calming you lily thật giỏi đã giúp cậu translati down. bình tĩnh (B đang hít thở on bằng túi) 9x22 What you writing? M: Này cậu, đang viết gì teasing literal Um, it's my wedding day. vậy translati What do you think I'm B: Hôm nay là ngày cưới on writing? của tôi, cậu nghĩ tôi đang Suicide note? viết gì? Hey-yo! (laughs) M: Thư tuyệt mệnh à

(đập tay với lily) 9x22 Oh, God, is it a suicide note? M: Trời ơi là thư tuyệt teasing literal Oh, my God, how many mệnh thật sao translati pills did you take? L: anh đã uống bao nhiêu on Quick. How do we make viên thuốc, làm sao để him vomit? anh ấy ói ra được Uh, remind him he's getting M: nhắc cậu ta là cậu ta married. Hey-yo! sắp cưới vợ (đập tay lily) 9x22 I'm writing my vows to R: anh đang viết lời thề irony literal Robin, but I want them to be của anh với robin, nhưng translati profound and inspiring, as if anh muốn chúng thật on they were written by the thâm thúy và truyền cảm bard himself, Lionel Richie. hứng như thể chúng do một thi nhân viết ra vậy lionel richie. 9x22 I vow to love you forever (Lily đọc lời thề của irony literal unconditionally, "unless you barney) Anh thề sẽ yêu translati pudge out, in which case I'm em vô điều kiện mãi mãi on a Barney-shaped hole in the trừ khi phát phì trong wall." trường hợp đó thì anh là cái hốc hình barney trên tường 9x22 I vow to start watching M: Tôi thề sẽ bắt đầu xem irony literal hockey with you.." khúc côn cầu với em translati Oh, that one's sweet. I know L: Ôi dễ thương quá, em on how much you hate hockey. biết anh ghét môn đó lắm "...once a month"" M: một lần mỗi tháng But it's still a nice gesture. L: vẫn dễ thương "No. Once a year. No. M: không, một lần một Hockey's dumb. "Not năm, không, trò chơi ngu watching it, and neither are ngốc anh sẽ không xem you, woman. Now make me nó và em cũng vậy, giờ French toast"" thì làm bánh mì kiểu pháp cho anh. 9x22 Yeah. We can show you M: tụi tôi có thể chỉ cho wordpla omissio vow it's done. Say it again. cậu cách thề thế nào, nói y n Vow it's done… lại nhé, thề thế nào We're just not enjoying L: tụi em chẳng thích trò them, honey. đó đâu 9x22 M: Vow dare you M: Sao cậu dám wordpla omissio L: just stop L: anh thôi đi. y n I can't. It's invowluntary. M: anh không thể, đắng lòng quá 9x22 Okay, I-I tracked it down, T: anh tìm thấy và đưa irony literal and I gave it to Barney to cho barney, đo chẳng translati give to you. Honestly, it was phải chuyện gì to tát on

no big deal. R: sao anh tìm được nó How did you find it? T: làm sao ấy à? Ta nghe Psh. How does anybody find nói nó nằm trong hộp bút anything? hình xe đua nhưng không ou hear it might be in your có, thế là ta bay đến nhà race car pencil box. t's not kho của hôn thê cũ ở đầu there. So you swing by your kia đất nước cũng không ex-fiancée's storage locker có, rồi ta biết victoria giữ on the opposite coast. It's not nó ở đức nhưng janet đã there. You learn Victoria has ném nó xuống hồ nước it in Germany, but Jeanette công viên trung tâm, thật intercepts it, throws it in là một ngày đẹp trời để đi Central Park Lake. It's a nice bơi, ta nhảy xuống, mò day for a swim, }so what the tìm nó, đem nó về nhà heck? You dive in, scoop it vưa kịp lúc xem up, make it home in time for gameshow. chuyện nhỏ. Jeopardy! Ease to the pease. chúc mừng đám cưới Happy wedding. 9x22 You're seriously questioning M: cậu nghi ngờ lời thề wordpla loan our wedding vows? Us? Uh, nguyền đám cưới của y we're adorable. chúng tôi? Chúng tôi ấy We're Marshmallow and hả? Chúng tôi là một cặp Lilypad, bitch. đáng yêu mà L: tụi em là marshamalow và lilypad đấy nhé 9x22 You son of a beech. Đồ xấu xa catchph explicit rase ation 9x22 You know what "legendary" R: anh hiểu cụm từ huyền wordpla omissio means? Not real. I mean, the thoại nghĩa là gì không, y n man's initials are "B.S." nghĩa là không có thật. If it helps, I'm pretty sure Có gì của anh ấy là thật Barney Stinson's a fake không name. I'm kidding. T: có khi barney stinson cũng là tên giả không chừng. Anh giỡn đấy 9x22 Remember back when you L: Nhớ hồi anh chưa từng irony literal had never even seen me pee? nhìn thấy em đi tè không translati Yeah. Yeah. M và B: ừ on Oh, sorry. B: xin lỗi 9x22 We were so innocent then. M: lúc đó ta thật trong self- literal So many dreams. sáng denigrat translati Trying to work over here. L: quá nhiều mơ ước ing on Bright, shimmering future B: tôi đang cố làm việc humor ahead. đây Now we're basically a M: tương lai tươi sáng couple of wild animals rạng ngời phía trước

grunting at each other to L: giờ thì tụi mình chỉ throw some toilet paper đơn giản là một cặp thú through the crack in the hoang gầm gừ với nhau bathroom door. mỗi lần ném giấy vệ sinh Baby, let's be honest. At this qua lỗ thủng trên cửa point, that door is wide phòng tắm open. M: cưng à, nói thật nhé, lúc đó cánh cửa đang rộng mở 9x22 And that's how Robin met Và lúc đó , cô robin gặp catchph literal your mother. mẹ các con rase translati on 9x22 I vow to stop shouting stuff M: Lily aldrin, anh thề sẽ joke literal at you when you're dumping thôi hét lên khi em đang translati out. You're the love of my giải quyết, em là tình yêu on life, and you deserve to của đời anh, em xứng make a deuce in peace. đáng được giải quyết I vow to cry less during this trong yên tĩnh Vikings season. M: anh thề sẽ khóc ít hơn khi xem các trận đấu của đội vikings 9x22 It's over. (M tát B) Vậy là xong catchph literal The slap bet is finally... B: hết rồi, vụ cược ăn tát rase translati over? cuối cùng cũng kết thúc on 9x22 You know, this may sound B: nghe có vẻ điên nhưng sacarsm literal crazy, but I'm gonna miss tôi sẽ nhớ vụ cược tát đó translati that slap bet. M: cậu sẽ không nhớ on No, you won't. BL phải, tôi sẽ không nhớ No, you're right. I won't. 9x22 Nobody asked you, Patrice. Không ai hỏi cậu đâu catchph literal patrice rase translati on 9x22 in the interest of honesty, we B: nói thật nhé, chúng ta wordpla literal really do have a ring bear. thật sự có một con gấu y translati What? giữ nhẫn đó on Oh. I love the ring bear. R: cái gì Then you are gonna love the R: em thích gấu giữ nhẫn flower gorilla. B: rồi em sẽ thích cả tinh What? tinh tung hoa nữa Kidding. I'm kidding. R: gì cơ B: anh đùa thôi (nháy mắt ra hiệu ko dẫn tinh tinh vào)

APPENDIX 2: QUESTIONNAIRE Audience's reception of the translation of the dubbed series “How I met your mother” Hello! My name is Hoa and I am from class 14E20 at Faculty of English Language and Teacher Education, University of Languages and International Studies, Vietnam National University. The research “Translation of humor in the voiced-over version of the sitcom “How I met your mother in Vietnamese”” is a requirement for my graduation. This questionnaire aims at gathering information of audience's perception towards the translation of humor in the voiced-over version of "How I met your mother” series. You contribution in completing the survey will be of profound help for my research. I guarantee that all of your information provided in this questionnaire will be kept confidential and served for research purpose only. Thank you so much for your support!

I: Personal information: 1. Full name: 2. Gender: Male ☐ Female ☐

II: Questions regarding humor and translation in general

1. How often do you watch American comedies? 1 2 3 4 5 ☐ ☐ ☐ ☐ ☐ Never Less than From 1 to 3 Once a week More than once a month times a once a week month

2. How often do you watch dubbed American comedies? 1 2 3 4 5 ☐ ☐ ☐ ☐ ☐ Never Less than From 1 to 3 Once a week More than once a month times a once a week month

III: Questions regarding the translation of the series

On a scale of 1 to 5, how do you rate the level of funniness of the translation of the following script? 1. 1 2 3 4 5 Not funny at all ☐ ☐ ☐ ☐ ☐ Very funny

Come on, relax. I know this little guy like Bình tĩnh, bố biết cậu nhóc này như the back of my hand. (Look at his hands) lòng bàn tay mình. (Nhìn bàn tay) Chúa Dear Lord, what is that? Oh, jam, okay.Just lòng lành cái gì đây, à không sao chỉ là jam. mứt thôi. . 1 2 3 4 5 Not funny at all ☐ ☐ ☐ ☐ ☐ Very funny

Marshal: Now that we're out the door, I actually Marshal: Ta đứng ngoài cửa rồi mà don't feel anxious. anh chẳng thấy lo gì cả. (Chuông (phone rings) Whoa, oh, my God, it's your dad! điện thoại reo). Ối trời là bố em, có Oh, something horrible happened-- aah! Oh, it's chuyện lớn rồi. À là Ted bình tĩnh Ted, relax. đi. 3. 1 2 3 4 5 Not funny at all ☐ ☐ ☐ ☐ ☐ Very funny

Ted: Okay, quick before Lily gets here, let's fire Ted: Nhanh lên, trước khi Lily đến this up chén đi thôi Marshal: No way. I promised Lily that I would Marshal: Không được, tôi hứa với be responsible Lily rồi. Ted: You're not getting your 60 bucks back. Ted: Cậu không lấy lại 60 đô được Marshal: Give me that. đâu. Marshal: Đưa đây.

4. 1 2 3 4 5 Not funny at all ☐ ☐ ☐ ☐ ☐ Very funny

Robin: And yet here I am, moving off to Robin: Nhưng mình phải chuyển Japan just to get away from him. And-and I đến Nhật Bản chỉ để tránh xa anh guess to see those… those terra-cotta warriors ấy. Cộng thêm cả việc ngắm đội and the Great Wall. quân đất nung với vạn lí trường Lily: Well, that's China. thành nữa Robin: What? This? Lily: Cái đó của Trung Quốc No, it's just a paper plate (throw the plate Robin: không nó chỉ là đĩa giấy away) thôi (quăng vỡ đĩa) 5. 1 2 3 4 5 Not funny at all ☐ ☐ ☐ ☐ ☐ Very funny

The Playbook contains every scam, con, Cuốn cẩm nang cưa cẩm chứa tất hustle, hoodwink, gambit, flimflam, cả mưu đồ, bịp bợm, gã gẫm, lừa stratagem and bamboozle I've ever used, or đảo, xảo trá, mưu mẹo, chiêu lừa ever hoped to use, to pick up chicks and give mà tôi đã dùng và hi vọng sẽ sử them the business. dụng để tán các em và làm việc cùng các em 6. 1 2 3 4 5 Not funny at all ☐ ☐ ☐ ☐ ☐ Very funny

We can wear… bro-mulkes...spin the Chúng ta sẽ đội mũ anh em, chơi con bro-del...and consult the wisdom of the quay anh em, và tham khảo ý kiến của Bro-rah Written in... He-bro. giáo lí anh em được viết bằng ngôn ngữ anh em

7. 1 2 3 4 5 Not funny at all ☐ ☐ ☐ ☐ ☐ Very funny

Marshal: What you writing? Marshal: Này cậu, đang viết gì vậy Barney: Um, it's my wedding day. What do Barney: Hôm nay là ngày cưới của you think I'm writing? tôi, cậu nghĩ tôi đang viết gì? Marshal: Suicide note? Marshal: Thư tuyệt mệnh à Marshal & Lily: Hey-yo! (laughs) (đập tay với lily) 8. 1 2 3 4 5 Not funny at all ☐ ☐ ☐ ☐ ☐ Very funny

Robin: It's okay. It's been tough on me, Robin: Không sao đâu, điều đó cũng khó too. I mean, look at me. I've sworn off khăn với em nhưng nhìn em này, em thề relationships. tránh xa chuyện yêu đương Marshal: She's so about to get married. Marshal: Cô ấy sắp cưới đấy Ted: I gotta work on my toast. Ted: Tôi phải chuẩn bị bài phát biểu thôi Marshal: I gotta make sure my tux fits. Marshal: Chắc bộ complet vẫn vừa.

9. 1 2 3 4 5 Not funny at all ☐ ☐ ☐ ☐ ☐ Very funny

Barney: So, um, you're pregnant. Barney: Vậy là em có thai Robin: Yeah. Robin: Vâng Barney: Looks like nobody told your boobs. Barney: Sao ngực vẫn phẳng lì thế kia

10. 1 2 3 4 5 Not funny at all ☐ ☐ ☐ ☐ ☐ Very funny

Barney: Lily, since I started dating Robin, Barney: Lily, từ khi anh hẹn họ there's a certain thing I haven't used as Robbin có một thứ anh không sử much as I would like to. dụng nhiều như anh muốn. Nó khá It's kind of big, surprisingly heavy, kind of to, nặng đến bất ngờ, bằng da và màu leathery, - and it's black. đen. Lily: Huh? Lily: Hả? 11. 1 2 3 4 5 Not funny at all ☐ ☐ ☐ ☐ ☐ Very funny

Hold on. You want me to help you trick Chờ chút, cháu muốn bác giúp cháu lừa my own son? I love it. con trai bác sao? Bác thích lắm 12. 1 2 3 4 5 Not funny at all ☐ ☐ ☐ ☐ ☐ Very funny

(The whole gang were trying to cheer Robin up because she was upset) Ted: Can we get some fried chicken over Ted: Cho vài đĩa gà chiên ra đây xem here, staff! nào Lily: I am such a bad friend! Lily: Mình thật là tồi tệ Barney: Three slutty nuns show up at St. Barney: Ba bà xơ hấp dẫn bước vào nhà Peter's--Wait, wait, they're not slutty. thờ, đợi đã, họ không hấp dẫn 13. 1 2 3 4 5 Not funny at all ☐ ☐ ☐ ☐ ☐ Very funny

Challenge accepted, il. There is no girl too Thử thách được chấp nhận, Lily ạ vì pretty, for I am Barney Stinson, Player King không ai quá đẹp để anh sa ngã, vì of New York City. anh là Barney Stinson vua chơi bời của thành New York 14. 1 2 3 4 5 Not funny at all ☐ ☐ ☐ ☐ ☐ Very funny

Barney: But for those- I mean, for that-I Barney: Nhưng vì cặp đó, ý anh là mean, for her...I will stop wearing-Wait for cái đó, ý là cô ấy, anh sẽ thôi không it… mặc, chờ chút Robin: We know you're going to say "suits." Robin: Biết anh định nói com lê rồi Barney: ...Suits. B: com lê 15. 1 2 3 4 5 Not funny at all ☐ ☐ ☐ ☐ ☐ Very funny

Lily: Did something happen recently Lily: Gần đây có chuyện gì giữa anh và between you and Robin? robin à? Ted: No. Ted: Không Lily: Where's the poop, Ted? Lily: Nói thật đi ted

This is the end of the questionnaire. Thank you for your support!