An Analysis of Puns Translated for the Polish Voiced-Over Version of the American TV Series Modern Family

Home , Airport 2010, Benched (Modern Family), Chirp (Modern Family), Coal Digger, Dance Dance Revelation, Friend Like That

University of Amsterdam Graduate School of Humanities MA program in Linguistic: Translation

An analysis of puns translated for the Polish voiced-over version of the American TV series Modern Family.

Aleksandra Slawuta Student number: 11107448 Supervisor: dhr. dr. Eric Metz

Amsterdam 2017

Abstract This paper covers the subject of translatability of humor in audiovisual translation. Humor is always difficult to translate not only because of the possible cultural differences between the speakers of a source and target languages but also because everyone has different taste and is laughing at different jokes. This corpus-based thesis is analyzing the specific kind of jokes: puns. They are very language-specific, therefore difficult to translate. Nonetheless, there are certain strategies used to convey the humorous effect to other language. In this paper I am analyzing 80 puns found in the first and second season of the American TV series Modern Family and their Polish equivalents from the voiced-over translation. Basing on the theories coined by Hausmann, Delabastita, Newmark and Nash I am aiming to determine whether translation strategies used to translate puns manage to deliver funny rendering in the target language (Polish). Moreover, I am investing the possible reasons why, in many cases, the translation did not deliver a funny rendering.

Table of contents

List of figures ...... 5 1. Introduction ...... 6 1.1. Aim of the paper ...... 6 1.2. Methodology and material ...... 7 1.3. Research questions and hypothesis ...... 10 2. Audiovisual translation ...... 11 2.1. Audiovisual translation – definitions ...... 11 2.2. Types of audiovisual translation ...... 14 2.2.1. Subtitles ...... 15 2.2.2. Dubbing ...... 16 2.2.3. Voice-over ...... 17 2.3. The audiovisual landscape in Poland ...... 18 2.4. Constraints and criticism of voice-over ...... 20 3. Pun in translation ...... 21 3.1. Definition of pun ...... 21 3.2.(Un)translatability of puns ...... 22 3.3. Constraints in translating puns ...... 24 3.4. Types of puns according to Hausmann and Nash...... 25 3.5. Delabastita`s translation strategies for puns...... 28 3.5.1. S.T.Pun > T.T.Pun ...... 28 3.5.2. Pun > Non-Pun...... 29 3.5.3. Pun > Punoid ...... 29 3.5.4. Pun > Zero ...... 29 3.5.5. Direct copy: Pun S.T. = Pun T.T...... 29 3.5.6. Transference: Pun S.T. = Pun T.T...... 30 3.5.7. Addition: Non Pun > Pun ...... 30 3.5.8. Addition (New textual material): Zero > Pun ...... 30 3.5.9. Editorial Techniques ...... 30 3.6. Puns in movies and TV series...... 31 3.7. Successful and unsuccessful translation of puns ...... 31 3.8. About the TV series Modern Family ...... 32 4. Analysis ...... 33 4.1. Puns in the corpus ...... 34 4.1.1. Homonymic puns...... 35

4.1.2. Paronymic puns ...... 39 4.1.3. Homophonic puns ...... 42 4.1.4. Portmanteaux ...... 44 4.2. Successful and unsuccessful renderings...... 46 4.3. Horizontal and vertical puns ...... 47 4.4. Compensation strategies in the corpus ...... 49 5. Conclusions and perspective for future investigation ...... 49 5.1. Conclusions ...... 49 5.2. Further investigation ...... 51 6. Bibliography ...... 52 6.1. Primary bibliography ...... 52 6.2. Secondary bibliography ...... 52 6.3. Dictionaries ...... 54 6.4. Internet sources ...... 55 7. Appendix ...... 55

List of figures

Figure 1: Luyken`s table of the two main methods of Language Transfer currently in use ...... 15 Figure 2: Categories of puns ...... 28 Figure 3: Types of the English puns ...... 35 Figure 4: Translation strategies used per type ...... 35 Figure 5: Strategies used ...... 46 Figure 6: Renderings ...... 47 Figure 7: Successful renderings per category ...... 47 Figure 8: Unsuccessful renderings per category ...... 48 Figure 9: Horizontal vs vertical puns ...... 48 Figure 10: Horizontal/vertical puns - strategies ...... 49

1. Introduction 1.1 Aim of the paper Modern Family is an American comedy series about life of three ‘modern’ families. They are a big, close family which goes together through happiness, sadness, disappointments and all the things which all of us experience in life. The jokes in this series are rather mild as the series is being watched also by younger viewers. Each episode lasts approximately 20 minutes and premiered on September 23, 2009 and right now season 8 is aired on ABC channel. The series has received great revives and won many awards (see more in chapter 3). In this paper I will focus on a specific kind of jokes: puns. The series contains many language-specific jokes which may cause more difficulties to translate them into another language. There is no laughter in the background, therefore sometimes it might be a little bit difficult to spot a pun. The series was aired in Poland in the public television on channels TVP1 and TVP2 and also on HBO Comedy channel. The public television channels aired a voiced-over version of the TV series and HBO gave the viewers the choice between the voiced-over and subtitled version. What is more, HBO channels has aired all the seasons of Modern Family and all the episodes are still available to watch on the HBO GO channel. The public television channels have aired in total 5 seasons and (out of 8), between 2010-2014. I was wandering which TV channel would deliver better translation. After analyzing episodes aired by TVP channels and HBO channels I came to the conclusion that the translation is exactly the same. Unfortunately, I was not able to determine who performed the translation or what company has delivered the translation. One might wonder why did I decide to analyze a voice-over translation. As it will be mentioned in chapter 2, voice-over translation for TV series and movies does not even exist in western culture. Poland is one of a few countries which still use voice-over translation in television. Also, voice-over is still very popular in Polish television and it does not seem like it will disappear soon in the future. There is very little research made on voice-over translation technique for movies and TV series or on the quality of this translation. Voice-over translation in general has a bad reputation in other countries and it surprises and puzzles all foreigners, who come to Poland and watch TV. Even I myself am not a fan of this technique and every time I visit Poland and watch TV I have to get used to listening to voice-over, because it always irritates me at the beginning. However, after a while I just get used to it and I even stop hearing the original sound in the background. Moreover, if I think of it, some movies which I remember from my childhood, I really enjoyed and laughed while watching

6 them. Therefore, I decided to investigate how humor travels in voice-over. If so many Polish people still watch comedy movies and TV series and are able to enjoy it, it should mean that even such a ‘bad’ (as the critics say, see subchapter 2.4) technique as voice-over is able to deliver a funny rendering of jokes. However, how much of this humor are Polish viewers loosing? Even if they enjoy a move and it seems funny, they are not aware what is behind and how much of humor was actually lost in translation. Therefore, the aim of this paper is to examine whether the voice-over translation is able to render funniness of the language- specific jokes such as puns. This thesis will present an analysis of the puns from the original Modern Family series and its Polish translation from the voiced-over version. In order to conduct such an analysis I will need a theoretical background. Therefore, first of all I will describe the audiovisual translation techniques and its flaws and merits, and the audiovisual landscape in Poland. Then, in chapter 3, I will present the definition of pun and deal with the question of its translatability. Also, I will name the constraints which might appear when translating a pun. Next, I will describe 5 pun categories distinguished by Hausmann (1974) and Nash (1985): homonymy, paronymy, homophony, homography and portmanteaux and 8 translation strategies distinguished by Delabastita (1993). I will determine which of the strategies have yielded successful and which yielded unsuccessful renderings of puns. Afterwards, I will include some information about the TV series itself: the plot, the characters and the viewers` reception. Chapter 4 will consist of a presentation and analysis of my results. Then, in chapter 5 I will present conclusions and possibilities for further research.

1.2 Methodology and material I will use puns from 27 episodes from 2 seasons of the Modern Family TV series. My goal is to have 80 English puns in my corpus and their 80 Polish equivalents from the voice-over translation. Below I present the list of the episodes used in my analysis.

The list of analyzed episodes Episode English Title Polish Title Season 1 episode 1 ‘Pilot’ ‘Współczesna Rodzina’ Season 1 episode 3 ‘Come Fly with Me’ ‘Poleć ze mną’ Season 1 episode 4 ‘The Incydent’ ‘Incydent’ Season 1 episode 5 ‘Coal Digger’ ‘Naciągaczka czy nie...’

Season 1 episode 6 ‘Run for your Wife’ ‘Nie zadzieraj z żoną’ Season 1 episode 8 ‘Great Expectations’ ‘Wielkie nadzieje’ Season 1 episode 10 ‘Undeck the halls’ ‘Święta odwołane’ Season 1 episode 11 ‘Up All Night’ ‘Bezsenna noc’ Season 1 episode 12 ‘Not in My House’ ‘Tylko nie w moim domu’ Season 1 episode 13 ‘Fifteen Percent’ ‘Piętnaście procent’ Season 1 episode 14 ‘Moon Landing’ ‘Lądowanie na księżycu’ Season 1 episode 15 ‘My Funky Valentine’ ‘Wystrzałowe walentynki’ Season 1 episode 16 ‘Fears’ ‘Obawy’ Season 1 episode 17 ‘Truth be Told’ ‘Prawdę powiedziawszy...’ Season 1 episode 18 ‘Starry Night’ ‘Gwieździsta noc’ Season 1 episode 19 ‘Game Changer’ ‘Przełom’ Season 1 episode 20 ‘Benched’ ‘Grzanie ławy’ Season 1 episode 21 ‘Travels with Scout’ ‘Był sobie pies’ Season 1 episode 22 ‘Airport 2010’ ‘Port lotniczy 2010’ Season 1 episode 24 ‘Family Portrait’ ‘Portret rodzinny’ Season 2 episode 2 ‘The Kiss’ ‘Pocałunek’ Season 2 episode 3 ‘Earthquake’ ‘Trzęsienie ziemi’ Season 2 episode 4 ‘Strangers on a Tredmill’ ‘Nieznajomi na ruchomej bieżni’ Season 2 episode 6 ‘Halloween’ ‘Haloween’ Season 2 episode 7 ‘Chirp’ ‘Cykanie’ Season 2 episode 8 ‘Manny Get Your Gun’ ‘Urodziny Manny`ego’ Season 2 episode 10 ‘Dance Dance Revelation’ ‘Taneczna rewelacja’

First of all, I will use the pun`s division created by Hausmann (1974) and described by Delabastita (1993) and divide all 80 puns into the four types he distinguished:

1. Homonymic puns 2. Homophonic puns 3. Paronymic puns 4. Homographic puns

As a few of the selected puns belong to a different category, I will also be using an extra type of pun distinguished by Nash (1985):

 Portmanteaux

Therefore there will be 5 different pun categories. Moreover, a pun can be either horizontal or vertical depending on its components. Thus I will determine to whether a pun is horizontal or vertical. Then, I will assign Polish translations of puns to the 9 translation strategies created by Delabastita (1993):

1. Pun > Pun 2. Pun > Non-Pun 3. Pun > Punoid 4. Pun > Zero 5. Direct copy: Pun S.T. = Pun T.T. (SA.) 6. Transference: Pun S.T. = Pun T.T. (SE.) 7. Addition: Non-Pun > Pun 8. Addition (new textual material): Zero > Pun 9. Editorial techniques, e.g. footnotes

In chapter 3 I will describe and justify which translation strategies will be counted as successful renderings and which as unsuccessful renderings. All of the theory mentioned above will be described in the third chapter of this paper. The puns found in the corpus will be transcribed in English and Polish and classified (which strategy was used for which type of pun). Both, English and Polish puns can be found in the appendix of this paper. After establishing to which category a pun belongs, whether it is horizontal or vertical and determining which translation strategy was used, I will first count which categories of puns appeared the most and which strategy was used most frequently per each pun category. This should show which pun category had the most successful renderings. Then I will check how many successful and unsuccessful renderings there were in general. At the end, I will take a look at the frequency of horizontal and vertical puns and which one of them had more successful renderings. As my research is a quantitative and qualitative study I will also include a detailed description of some of the most interesting examples of puns and its

9 translations. and I will present all the qualitative data in figures and describe the results which will be followed by the conclusions and possibility of further research.

1.3 Research questions and hypothesis Taking into consideration the plan of the paper described above, I have formulated the following research questions: 1. Which category of pun will have the most successful1 renderings? 2. Which category of pun will have the most unsuccessful renderings? 3. Which translation strategy was used the most? 4. How many successful renderings are there in a corpus? 5. Which pun, horizontal or vertical, will be more likely to ‘survive’ translation?

And my two main research questions are:

1. Can voice-over translation deliver a successful translation of puns? 2. How much humor is lost in voice-over translation?

To sum up, while analyzing each pun, I would pay attention to the following aspects: 1) What is the type of pun form the ST? 2) Which strategy was used to translate a pun? 3) Why was this strategy used? 4) What is the type of the translated pun? Was it changed? 5) Is the funniness of the pun maintained? 6) Was the translation of the pun successful? Or could it have been translated in a better way? 7) Does the voice-over translation technique influence the funniness of the translated pun?

Hypotheses 1. Homonymic and paronymic puns will be easier to translate than other types of puns. Delabastita (1996: 135) wrote that ‘since polysemy is somehow rooted in extralingual reality, wordplay based on it can occasionally be reduplicated with little loss even between historically unrelated languages’. Therefore, it can be inferred that homonymic and paronymic puns have more chances of ‘surviving’ translation than other types of puns even though Polish and English are two completely unrelated languages. 2. There would be no or very little homographic puns.

1 In this paper as a successful rendering I will consider puns which were manage to deliver a pun in the target text. The argumentation and sources are all described in subchapter 3.6. 10

Homographic puns are more likely to appear in a written text (Delabastita, 1993: 79). Since my corpus is an audiovisual text, which depends mostly on hearing, I am expecting to find only a few, if any, homographic puns. 3. Most of the homophonic puns will be lost in translation. As homophonic puns depend on the same pronunciation of two differently spelled words and thus are very language-dependent, it is highly unlikely to find similarly sounding words in two as different languages as Polish and English. If we follow Gottlieb, we can expect there to be most loss when translating homophonic and homographic puns (Gottlieb, 1997: 217). 4. Portmanteaux will have mostly successful renderings (Pun in T.T.). This kind of pun is based on author`s creativity. It is a word made of two already existing words which is creating a humorous effect. Its translation is completely dependable on the translator`s ingenuity, there are no linguistic limitations. Therefore, I am hoping to see many successful translations of portmanteaux. 5. There would be more horizontal than vertical puns. Because my corpus is a family comedy series which is watched also by younger, less experienced viewers, I assume that there would be more horizontal puns, where both of the components of a pun are present which make the pun easier to spot. Vertical puns are usually difficult to spot and require some outside knowledge to understand them. Taking into consideration the presence of a younger audience, there should be more horizontal puns. 6. Many puns will be lost in translation. Taking into consideration all the constraints of the audiovisual environment and the voice- over technique (see chapter 2), some of the humor is bound to be lost. It does not necessarily have to be the translator`s fault, but rather the technical issues connected to audiovisual translation itself such us time and space constraints. Therefore, I assume that many of the puns will be lost in translation.

2. Audiovisual Translation 2.1. Audiovisual Translation – definitions. Audiovisual translation is a young discipline which was quite neglected in the academic world at the beginning of its existence. However, it started to develop quickly since the beginning of 1990 when audiovisual texts began to appear everywhere (Szarkowska, 2008: 8). At the beginning, this new discipline was obviously missing a clear, homogenous name. There were

11 a lot of English names for this discipline, among others: film translation, language transfer, multimedia translation, constrained translation, media translation or versioning (Szarkowska, 2008: 9). The term which is used most frequently is audiovisual translation (AVT) and I am going to use this name in my paper. According to Díaz Cintas (2004: 50) audiovisual translation is one of the most important kinds of translations nowadays for three reasons. First of all, AVT has an enormous reach, mostly via television. Second of all, AVT includes a large number of products which go over from one culture to another, e.g. documentaries, films, news, debates, concerts, television series, etc. Last but not least, it spreads very quickly: throughout television, cinema and DVD (ibid.). As Tyruk (2009: 27) wrote in Przekładaniec2, even though the mass media started to develop in the second half of the XX century, audiovisual translation seems to be present since the beginning of the history of cinema. Throughout many years many definitions and categorizations of the audiovisual translation appeared. In this paper I am going to focus on its modern definitions and categorizations as my paper is investigating the translation of modern media. According to Tyruk (2009: 26) it is not clear how audiovisual translation should be classified and how it should be investigated because there are no explicit rules which would separate audiovisual translation from other types of translation. The way in which an audiovisual text is translated is greatly influenced by the media in which it appears. There can be a movie translation, translation for television, audiovisual translation or a screen translation – and each of them would be different. Nowadays, also other media influence the way of translation. Now people watch movies on their computers, laptops, smartphones, on the small TV`s built in the passengers’ seats, e.g. in a plane, they listen to audiovisual aid accessible for the visitors of the museums – each one of this media requires a different translation approach (Tryuk, 2009: 29). Therefore, defining audiovisual translation is such a difficult task. Whereas the high number of definitions of audiovisual translation are logical and they coincide when classification is difficult. Tyruk (2009: 27) defines audiovisual translation as ‘all kind of translation in media and for media’. Another Polish researcher, Tomaszkiewicz, considers audiovisual translation as ‘the translation for the needs of the mass media’ (Tomaszkiewicz, 2006: 97). Then she adds that audiovisual translation (screen translation) is a particular type of translation which consists of some elements of the classic interlingua translation and intersemiotic translation, called by

2 Przekładaniec is a Polish scholarly journal dedicated to translation ‘as a literary genre, craft and a form of intercultural communication’. More information can be found on the publisher’s website: http://www.wuj.pl/page,art,artid,88.html 12

Jakobson transmutation (Tomaszkiewicz, 2006: 100). Pérez González defines audiovisual translation as a part of the translation practice which transfers multimodal and multimedial texts into another language and culture. Moreover, in audiovisual translation, not only a text bears a meaning but also image, music, color and perspective. The multimedial nature of the audiovisual texts is manifested by delivering the semiotic modes to the viewers by different media in synchronized manner (Pérez González, 2011: 13). Thus, as Gottlieb (1997: 210) wrote, ‘television is an instance of polysemiotic communication, i.e. communication which simultaneously employs two or more channels of discourse. In television, four such channels share the communicative tasks involved: picture, written text, dialogue, and music/sound effect’. In AVT a text is a part of an integral semiotic compound which consists of spoken language, written forms, images, sounds and music. Thus, while translating, a translator must take into consideration all of these aspects, to make sure they create a comprehensible, integral translation (Tomaszkiewicz, 2006: 102). The technique used while translating an audiovisual text determines the translation strategies which must be used, i.e. dubbing, subtitling or a voice-over translation impose an appropriate translation procedure such as omission, definition, amplifications, condensations, adaptations, etc. (Tomaszkiewicz, 2006: 103). Luyken notices that audiovisual translation differs in many ways from the literary translation. Audiovisual translation does not translate the whole opus of a film or a series which is image, acting, sound and language. Revoicing does not affect the image or the music. When it comes to subtitles, here also the translation does not interfere with the original image or sound. Only the language element is changed. Hence, AVT does not translate the whole message of a movie or a program but only one of its components – language (Luyken, 1991: 154). Usually movies and TV programs are made for a certain audience and its specific culture. Therefore, as in literary translation, many adaptations must be made to make a comprehensible text for the target audience. However, certain measures which are used in literary translation are not available in AVT. There are no not explanatory footnote, asterisks or asides (ibid.). Therefore, the translator is using a ‘deletion’ as a measure to fit the translated text to the whole opus of a movie or a TV program. Because of all the reasons mentioned above, AVT adds some information to the target text and sometimes it leaves some information out. AVT ‘can never attempt to transfer every bit of information from one language into the other. It is at one and the same time both more and less than conventional translation. Less, because it does not translate everything. More, because the audiovisual translator/writer has to make editorial decisions all the tome about omissions or condensation

13 of the original text, and about new information that has to be inserted into it’ (Luyken, 1991: 155). In order to determine which translation technique should be used in audiovisual translation, it is important to know what type of audiovisual text we are dealing with. Snell-Hornby (2006: 85) categorizes audiovisual texts in four types: 1. Multimedial (films, TV series) 2. Multimodal texts (opera or theater) 3. Multisemiotic texts (comics books, commercials) 4. Audiomedial texts (speeches, academic papers) Translation of each text requires a different translation strategy and technique: for example a translation of a movie will be different in the television than in the cinema, and a translation of a comic book would require different techniques than a translation of a libretto from the opera (Tyruk, 2009: 28). In this paper I will be analyzing an audiovisual text which derives from a TV series (multimedial text).

According to Tyruk (2009: 36), audiovisual translation is a third type of translation, right next to written translation and interpreting. Its features are the following: - source text and/or target text appear on media display device - in AVT a spoken text is transferred to another spoken or written text and when it comes to subtitles – transcription of dialogues. In AVT the translator is transferring one language to another, he decides which translation technique to use (compensation, condensation, etc.), he uses various technical devices to prepare the version appropriate for the media (e.g. placement of subtitles on the screen and the pace with which they appear). He is synchronizing verbal and non-verbal aspects with image in dubbing and voice-over (Tyruk, 2009: 36). Last but not least, the translator has to make sure that cultural diversity is retained in translation. Indeed, there is a risk that all the time and space limitations, which are an inseparable part of AVT, may influence the artistic side of an audiovisual creation (ibid.)

2.2 Types of audiovisual translation According to Tomaszkiewicz (2006: 101) there are three main types of audiovisual translation: 1. Subtitling – the translated text appears on the bottom of the screen.

2. Dubbing – the whole voice track of an original movie or a television program is substituted with a new voice track in a target language. 3. Voice-over – the voice of a lector reading the translated text is played along with the original sound in the background. Voice-over has some variants: comment, narration and simultaneous translation. She also distinguishes a particular variant of audiovisual translation which are the subtitles used in the language transfer of operas and other musical productions and also subtitles in the same language for the deaf people (intralingua translation) (Tomaszkiewicz, 2006: 101). Luyken (1991: 39) distinguishes basically the same types of audiovisual translation, but he divides it into two categories: 1. Re-voicing: lip-sync dubbing, voice-overs and narration 2. Subtitling

Figure 1: Luyken`s table of the two main methods of Language Transfer currently in use

Subtitling Revoicing

Traditional Subtitling Lip –sync Dubbing

- in full sentences - reduced } where - bilingual } appropriate Voice-over/Narration *

Simultaneous subtitling * Free Commentary *

*It is possible to carry out these methods of language conversion ‘live’, shortly before, or during transmission (Luyken, 1991: 40).

2.2.1 Subtitles Subtitles are ‘condensed translations of original dialogue (or on-screen text) which appear as lines of text usually positioned towards the foot of the screen. The subtitles appear and disappear in time with the corresponding portion of original dialogue or text’ (Luyken, 1991: 39). There are two kind of subtitles: traditional (in full sentences) and reduced (only key phrases). Subtitles deliver the translation of the audiovisual text while it is projected. They

15 usually consist of two lines of 35-37 characters placed in the bottom of the screen. In this kind of translation three factors must be toned in together: pace of actors’/narrator`s speech, pace of image and viewers` pace of reading subtitles (Tyruk, 2009: 32). In this kind of translation, the translator interferes significantly with the source text. It is mostly condensation of a source text – 30% of the dialogue is not translated at all (ibid.). Subtitles must deliver the written translation from the audio of the video which is currently playing and they must be concurrent with it. This is quite difficult to do, taking into consideration that subtitles can deliver 43 per cent less text than the spoken dialogue which they derive from (Pérez González, 2011: 13). Moreover, there are many constraints connected to subtitling, such as: shortage of the screen space, lack of time for displaying the whole translation of the spoken text and the fact that people speak much faster than they read (ibid.). Therefore, subtitles are bound to convey ‘the overall communicative intention of an utterance over the semantics of its individual lexical constituents’ (Gottlieb, 1998 [in:] Pérez González, 2011: 13) and as a result subtitlers must use strategies like ‘deleting, condensing and adapting the source speech’ (ibid.). All of these strategies used may influence the quality of translation. Moreover, the viewers have access to the source speech, thus, if they understand the source language, they can easily verify the translator`s work and criticize it.

2.2.2 Dubbing Usually, in AVT the visual aspect of a movie or a program remains the same as the original. However, some alternations may be introduced when it comes to dubbing. The program might be edited to provide optimum lip-synchronization with the translated text (Luyken, 1991: 39). It is the most popular and the most expensive form of audiovisual translation. Dubbing is a voice track with the translated version of the original speech. It should reproduce the timing, phrasing and lip movements of the original version of a movie or a program. There is a possibility that a sound expert may add some new sound effects to the dubbed version. The on-screen characters are speaking the target language (translation of the source language) and original music and effects should be retained as they appeared in the original version (Luyken, 1991: 73). The production of voice track for dubbing is very intricate and consists of 11 steps (Tomaszkiewicz, 2006). Only in two of those eleven steps the translator is actually translating a text. In this process one of the most important aspects is the lip-synchronization. The basic parameter here is phonetics. There are two most important elements: 1) duration of the opening and closing of mouth and 2) type of the mouth opening i.e. shape of the lips while pronouncing sounds, e.g. round, extended, etc. (Tomaszkiewicz, 2006: 107). The translator

16 has to make sure that the translated text fits the character`s lip movement. What is also important here is the duration of the sentence. The translated speech has to last as long as the original speech so the voice track suits the image. However, synchronization is not only about synchronizing the lip movement. Another important factor here are the mimics and gestures of characters from the screen which have to fit to their speeches (Tomaszkiewicz, 2006: 108).

2.2.3 Voice-over Even though many of the types of audiovisual translation have been analyzed and described, there are some areas which still need to be reliably explored. One of them is undoubtedly voice-over (in Polish also ‘lector`s translation’ or szeptanka ‘whispering’), a translation technique which is so far poorly described and examined (Woźniak, 2011: 381). Many Western researchers do not even pay attention to the voice-over translation, because outside the Eastern and Central European countries it is used only for documentary movies. They consider using voice-over for television and movies as an exotic peculiarity and treat it with a little bit of sympathy (Woźniak, 2009: 51). Most of the studies in AVT focus on dubbing and subtitling as these are the two main techniques used for film translation. It seems like AVT researchers have overlooked the fact that in Poland, the Baltic States and Russia voice-over is commonly used to translate fiction films (Orero, 2009: 131). Voice-over is a technique where the translated text is read by a lector and pre-recorded. The translated version appears a few seconds after the original sound. The volume of the original sound is lowered, however it is still audible (Pérez González, 2011: 16). The voice-over translator has to predict how his translation is going to be read by a lector and whether this lector is going to adjust it correctly to the image and sound of a program (Garcarz, 2006: 114). The lector is ‘a key ‘component’ of voice-over, he is a liaison between the translator and the viewer’ (ibid.). Hendrykowski called the lector`s part ‘lector`s screen mediation’ (Hendrykowski, 1984: 248). ‘Voice-over is characterized by the faithful translation of the source text and synchronous delivery’ (Luyken, 1996: 80). The fact that the original speech is audible makes this kind of translation credible and allows the viewers to follow the original speech (ibid.). According to Woźniak (2009: 75) voice-over technique is something between dubbing and subtitles because it shares with each of them some characteristic features. It is connected to dubbing because it also uses audio as a communicative channel. Subtitles and voice-over both allow viewers to hear, at least partly, the original sound. Moreover, voice- over translation does not come under certain limitations which appear in dubbing and

17 subtitles. In voice-over there is no text displayed on screen which is disturbing the image as in subtitles and transferring spoken dialogue into written text. While watching a voiced-over movie viewers do not need to switch constantly between reading and watching. When compared to dubbing, voice-over is free from qualitative and quantitative synchronization of dialogues which may prevent translation from many modifications (ibid.). However, all of the arguments mentioned above do not prove that voice-over is a good translation technique. It has indeed many flaws which will be described in subchapter 2.4. Voice-over is usually used for interviews, documentaries, educational programs and programs which do not require lip synchronization (Pérez González, 2011: 16). In this kind of programs or movies, artistic interpretation i.e. tone of the voice, expressing emotions, suspension of the voice is not required, therefore voice-over is a good solution for this kind of translation. However, in Eastern and Central Europe voice-over is used also to translate narrative movies but it not only translates the spoken dialogue. The lector`s voice is also translating orally written texts which may appear on screen. For example, the lector would read a letter which is written in a source language and was supposed to be read by the viewers. He also reads titles of newspapers or articles, street names, announcements, etc. Moreover, at the end of a movie or a program, the lector is reading information regarding this production: title, director`s name, actors` names, etc. (Tomaszkiewicz, 2006: 120).

2.3 The audiovisual landscape in Poland The most frequently used name for AVT in Polish is basically the same as in English – Przekład audiowizualny (‘Audiovisual Translation’). Dubbing in Poland is mostly used for animated movies (e.g. Shrek), movies for children (e.g. Harry Potter) and fairy tales. Narrative movies are nowadays almost never dubbed. However, the number of dubbed movies in Poland is much bigger than it used to be (Szarkowska, 2008: 14). When it comes to subtitles, in Poland they are mainly used in narrative movies in cinemas. They may also appear in television but only in two cases: as subtitles for deaf people or English subtitles at the TV Polonia channel (Szarkowska, 2008: 16). They are also used in the DVD industry. Gottlieb (1998, [in:] Szarkowska, 2008: 12) divided countries according to the dominant kind of audiovisual translation:  Source-language countries – mainly English speaking countries, where foreign productions do not appear frequently

 Dubbing countries – French, Italian, Spanish and German speaking countries  Voice-over countries – Russia and Poland, and also smaller countries which are not able to afford to use dubbing  Subtitling countries – small countries

Not only Gottlieb considered Poland as a ‘voice-over country’. A research conducted for European Institute for the Media in 1995 has shown that the most popular television translation in Eastern European countries is voice-over (Dries, 1995: 6 [in:] Szarkowska: 2008: 15). Also Garcarz indicates that voice-over translation is the most frequently used technique in the Polish television (Garcarz, 2006: 114). Voice-over translation is usually treated by Western researchers casually and they tend to assign it to all the Eastern and Central European countries. Meanwhile, there are significant differences between voice-over used for example in Poland, Russia and Ukraine (Woźniak, 2009: 51). In Poland all dialogues in a movie are read by one lector, while in Russia and Ukraine there is a technique called a Russian dubbing where all the men`s parts are read by a male lector and all the women’s parts are read by a female lector (ibid.). Moreover, they tend to interpret dialogues and act while in Polish voice-over it does not occur. According to Dries (1995: 6) even though voice-over translation costs a bit more than subtitles, the viewers from Eastern European countries seem to prefer this translation method. Poland is a perfect example of this. Polish people are used to watching movies with lector`s voice since many years. Research carried out in 2002 by SMG KRC3 for Canal Plus4 showed that 50,2% of the Polish viewers prefer voice-over translation, only 8,1% prefers subtitles and 43,3% prefers dubbing (Bogucki, 2004: 69). A huge percentage of interviewees - 72,1% - considers subtitles as the worst form of translation. Other research carried out by TNS OBOP5 for TVP S.A.6 shows similar results: 45% of the interviewees prefers voice-over, 45% likes to watch dubbed movies and only 4% likes Polish subtitles (Garcarz, 2007: 131 [in:] Szarkowska, 2008: 16). As shown above, Poland belongs to the group of countries where the voice-over translation is used the most and where the viewers actually prefer this kind of translation. However, this is only partly true. In Poland voice-over translation definitely prevails in television, where most foreign movies and programs are translated with voice-over, however, movies in cinemas are mostly subtitled and

3 SMG KRC is a Polish institute which carries out researches regarding society in Poland and in Eastern Europe (https://panel.smgkrc.com.pl/panel/informacje/). 4 Canal plus is a Polish television channel. 5 Polish custom research company (http://www.tnsglobal.pl/). 6 TVP is a public Polish television channel (https://www.tvp.pl/). 19 movies for children are dubbed (Szarkowska, 2008: 13). Therefore voice-over translation appears frequently in Poland but only in television, it does not appear in cinemas.

2.4 Constraints and criticism of voice-over Dries (1995: 6) notices that many professional translators consider voice-over translation as the worst translation method of all. According to him it is too ‘simple’ and it does not fully convey the contents of the original movie. It delivers a translated dialogue which is simply read by a lector, usually with no intonation or any emotions in the lector’s voice. The text is being read tediously, fast, which deprives characters of their identity (ibid.). Moreover, when the dialogue is between several people, the lector is not only unable to translate each line appropriately, but also the same voice reading the lines of all the characters may confuse the viewers which line was uttered by which character. However, Szarkowska (2009: 186) comments that Dries` criticism is not quite justified. The lector is actually not supposed to act out a dialogue because it could create a ridiculous effect. It is quite the contrary – the lector is expected to ‘whisper’ translated text to deliver to the viewers the translated text with a possibility to hear the original sound at the same time (ibid.). She cites Gajewski, a Polish voice talent who said that ‘to do it well, you must not interfere with the program. You mustn’t become like an actor on the screen; you must do your job as unobtrusively as possible: read in Polish so the viewers will understand’ (Gajewski (1991) [in:] Szarkowska, 2009: 187). As it was mentioned earlier, voice-over enables viewers to hear the original sound in the background which makes it less ‘radical’ than dubbing (Woźniak, 2009: 76). However, this may actually be a flaw as this background sound may obscure and hamper the viewer`s experience with a movie (ibid.). As the lector`s voice is the loudest one, it disturbs actors’ voices so that viewers are not able to hear their interpretation. According to Tyruk (2009: 32), voice-over`s viewers do not experience a movie or a program as they actually should. They lose a lot of aspects of artistic and informational nature. As an example of such a loss, she reminds of an advertisement issued in the past in the Polish television. In this advertisement a German and a Frenchman were having a conversation about the advertised product (a Czech car) in their native languages. A voiced-over version of this advertisement loses completely the humorous factor of this bilingual conversation. Another disadvantage of the voice-over ‘is the mismatch between the gender (and also the age of the original actors and the voice-over reader). Regardless of the gender of the screen character, the dialogue in fiction films in Poland will always be read out by a man. This

20 invariably raises eyebrows among foreigners, unaccustomed to this modality’ (Szarkowska, 2009: 189). It may seem that the dialogues read by the lector do not need to be abridged as they are in subtitles or in dubbing. However, as Tomaszkiewicz (2006: 118) notices, in each language accent, rhythm of the sentences and pauses appear in different spots. Therefore, the translated text may not suit the image and the equivalent sentence may be pronounced longer than the original (ibid.). She also indicates that dialogues in voice-over also undergo such translation strategies as abridgement and condensation and she lists the elements which are usually omitted in voice-over (ibid.): - expressions used when referring to a person using proper names, personal pronouns - expressions or words which are borrowings from another language, e.g. OK, or words which sound similar in both languages, e.g. mama ‘mom’ - expressions which are connected to the language culture, which appear regularly in a conversation, e.g. greetings, goodbyes, identification during a phone call - unfinished sentences usually connected to adequate mimics and gestures - all types of repetitions with expressive features, e.g. Oh! Ah! - other copulas within sentences - taboo words, mainly offensive words and swear words

3. Pun in Translation Translating a joke into another language is a great challenge for a translator. The problem is not only translating a joke from one language to another but translating a joke to an audience from a completely different, foreign culture who may not find funny what the other culture does. As Chiaro (1992: 77) wrote ‘no matter how well the translator knows the target language, cultural references and polysemous items may well involve them in longwinded explanations, after which the recipient rarely reacts with a laugh. Similarly, when a joke in a foreign language is translated into English, results tend to be equally disastrous. Jokes, it would seem, travel badly’. In this chapter I will present a definition of pun, the obstacles which the translator has to overcome when translating puns and Delabastita`s strategies for translating puns.

3.1 Definition of Pun Delabastita (1996: 128) delivers a clear definition of wordplay:

‘Wordplay is the general name for the various textual phenomena in which structural features of the language(s) used are exploited in order to bring about a communicatively significant confrontation of two (or more) linguistic structures with more or less similar forms and more or less different meanings’. Delabastita in his papers uses terms ‘wordplay’ and ‘pun’ interchangeably, however in this paper I will not be doing the same. It is because, when Delabastita describes one of the translation strategies of puns, Pun > Punoid (see chapter 3.5.3), he explains himself that sometimes a pun can be replaced with other wordplay-related rhetorical devices like e.g. repetition, alliteration, rhyme, etc. (Delabastita, 1996: 134). Therefore, it might be inferred that according to Delabastita himself, a wordplay and a pun are two different things (and that pun is a type of wordplay). Thus, in this paper I will be using the term ‘pun’ when referring to language-specific jokes, i.e. the jokes which I am analyzing in this paper.

According to Chiaro (1992), most people associate the term ‘wordplay’ with jokes and puns. She defines wordplay as ‘slips of the tongue’ which may be either accidental or deliberate (Chiaro, 1992: 21). Just as Delabastita, Chiaro also highlights that the main property of the pun is its ambiguity and that its features such as sounds, words, parts of words and syntactic structures can be double-edged. Above the regular hierarchy of the language system like graphology, phonology, morphology, lexis and syntax there is pragmatics which can also be an ambiguous, discrete item (Chiaro, 1992: 43). When choices and restrictions are seen in relation to form, they can become two-faced as well (ibid.).

3.2 (Un)translatability of puns Translating a pun is a difficult task, therefore a translator needs time and some special skills to come up with a decent solution (Zabalbeascoa, 1996: 238). The common rule applied in translation of humor for many years was summed up by Zabalbeascoa as ‘translate the words and/or the contents then keep your fingers crossed and hope that the humor will somehow come across with the rest’ (Zabalbeascoa, 2005: 188). However, this method fails frequently, therefore many experts jumped to the hasty conclusion that humor is untranslatable (ibid.) According to Delabastita (1996: 134), people who consider puns untranslatable, really mean that they were not able to find a satisfactory equivalent, using the methods he proposes (see 3.5) or that perhaps these methods did not ‘meet their requirements of translation equivalents’ (ibid.). He also claims that the term ‘untranslatability’ when referred to puns, means actually that certain types of them are more resistant to certain kinds of translation (Delabastita, 1997:

10). In his opinion there is always a way to translate wordplay but the translators must accept the fact that this translation is not going to be the ‘literal translation’ but rather an adaptation: ‘(…) the uncomfortable choice being between giving the wordplay up in its original textual position and somehow providing a more or less free adaptation. In other words, the only way to be faithful to the original text (i.e. to its verbal playfulness) is paradoxically to be unfaithful to it (i.e. to its vocabulary and grammar’ (Delabastita, 1996: 135).

Also Low (2011: 59) thinks that puns can always be translated. According to him the view that jokes in general are untranslatable is coming from two sources: from the translators` incompetence and secondly from a narrow notion of translation. People should not see translating as a purely verbal process which uses only proven tools like transpositions or synonyms. Neither should the translated joke be nearly identical or equally funny. It is because ‘funniness is hard to measure, and humour varies with cultures, not to mention individuals. What we should and can do is translate humour well enough for it to be recognizable as humour and to have some chance of amusing people’ (ibid.). As Grassegger wrote ‘utterances using wordplay are seen as form-based text, where the recreation of formal and stylistic features is more important than rendering their content in case of conflicts in translation’ (Grassegger, 1985: 43 [in:] Gottlieb, 1997: 209) and in this point of view the words involved in a wordplay are no longer serving the function of communication, but also they become the object of communication (Gottlieb, 1997: 209). Therefore, it is more important to deliver a funny pun in the TL than to be completely faithful to the original text.

Another researcher who considers puns completely translatable is Gottlieb who comments on the pun translation in the polysemiotic environment (e.g. television) that ‘even in a genre as semantically and semiotically complex as the mix of stand-up comedy and punning commercials, nearly all items of wordplay are translatable, although some TV translators may for whatever reason not manage very well in this genre’ (Gottlieb, 1997: 226).

Puns, which belong to linguistic jokes, are the most difficult ones to translate not only because of the nature of the joke but also because of the relationship of the languages in question (Raphaelson-West, 1989: 131). Raphaelson-West shares the opinion that translation of pun is possible, but the translator must remember that the translated pun may not always be equally humorous as the pun from the source text (Raphaelson-West, 1989: 140). The translator must be aware of the cultural context and try to locate the humorous aspects of the source text and

23 explain or duplicate them in the target text (ibid.) In her paper she also proposes some methods which helps translating jokes, including puns (e.g. using semantic trees).

Some jokes are considered too culture-specific to be understood outside their country of origin. The same occurs with language-specific jokes. However, both of them are possible to translate. The most difficult jokes to translate are the ones which contain sociocultural references and a language play (Chiaro, 1992: 87). However, as shown above, puns are mostly translatable. It requires special skills and hard work, but is, by all means, possible.

3.3 Constraints in translating puns Culture factor Many has wondered if anything is funny for all people, intra-culturally. There are some jokes which may be funny for example in all western countries if they have a common linguistic code. However, a common linguistic code is definitely not enough to allow people to appreciate pun in all cultures and languages (Chiaro, 1992:77). There were plenty of American comedy TV series which were not well received in Britain and vice versa, even though these two countries share the same linguistic code (ibid.). ‘Language and culture seem to be indivisible and, without shared sociocultural knowledge between sender and recipient, a common linguistic code will be of little help’ (Chiaro, 1992: 77). The theory of Sapir and Whorf says that each language is different on the level of sounds, words and syntax therefore no two languages are similar enough to be considered to represent the same social reality. Therefore, translation is not about substituting words from the source text with words from the target text. The translator has to convey the whole ‘meaning’ of one culture in a way which will be understandable for another (target) culture (ibid.) Zabalbeascoa (2005: 204) distinguishes three cultural aspects which make it difficult to translate humor:  background knowledge of the two audiences  moral and cultural values, habits and traditions  traditional joke-themes and types

The cultural constraints are always present in translation in general, not only in translation of jokes. However, when translating puns for television, it becomes much difficult because of time and space constraints connected to the types of audiovisual translation (dubbing, subtitling or voice-over) (see chapter 2). 24

Human factor According to Zabalbeascoa (1996: 248), a translator may be ‘not only a key agent in the production of translations, but also an extra restriction in that same process’. Translations of puns might be unsuccessful because of the incompetency of the translator. If the translator has received a poor training and lacks experience and perhaps intelligence, the translation might be a complete disaster (Zabalbeascoa, 1996: 236). Also, translator`s personal taste and his professional ambition may influence his translation, as Delabastita notices: ‘Also, personal taste and a greater than usual willingness to accommodate target-audience expectations will be permitted to intrude for a moment on the translator`s basic commitment to the exact reproduction of the source text, precisely insofar as this commitment confronts the translator with the awkward or even impossible dilemma between ‘loss’ and ‘adaptation’ of the pun’ (Delabastita, 1996: 135). However, sometimes it is not the translator`s fault that a pun is not rendered in a target language. In many cases translators do not have the last word on their work (Zabalbeascoa, 1996: 249). Often the solution they found is then judged by his employer, client, editor, etc. and may not be published and has to be changed as the supervisor wishes.

Time factor The other factor which influences the quality of the translation is time. Translators often have to work under a lot of time pressure. They are bound to (often unrealistic) deadlines, forced by their employers, therefore they work fast (usually working on a few translations at the same time), which is influencing the quality of their translations (Zabalbeascoa, 1996: 249). In the voice-over translation a translator has usually a little time to do his job because the translation has to be read by a lector and then adapted to the original video. Because of this lack of time, the translator has no time to look for a perfect solution to translate a pun, therefore he is usually agreeing to the first satisfactory idea that comes to his mind (Delabastita, 1996: 135).

3.4 Types of puns according to Hausmann and Nash In order to classify selected puns I have decided to use the division created by Hausmann (1974) and described by Delabastita (1993). Delabastita explains that ‘the pun contrasts linguistic structures with different meanings on the basis of their formal similarity’

(Delabastita, 1996: 128) and this relation of formal identity can be specified in the following division (Delabastita, 1993: 79-81):

1. Homonymic puns – words or groups of words are identical in spelling and in writing, e.g. play (noun) – play (verb), bear (an animal) – bear ( to carry). 2. Homophonic puns – words or group of words are identical in sound but different in writing , e.g. fair – fare, right – write, bare – bear. 3. Paronymic puns – words or groups of words which are almost but not completely identical in spelling and pronunciation, e.g. purse – person 4. Homographic puns – words or groups of words which are identical in writing but different in pronunciation, e.g. transfer (verb) – transfer (noun), lead (to guide) – lead (metal), use (verb) – use (noun).

In my corpus I found some puns which may be assigned to a different category than the ones mentioned above. Therefore I decided to distinguish an extra pun category described by Nash (1985: 142):

1. Portmanteaux – is ‘a coinage that packs two meanings into one word’ (Nash, 1985: 143). An example (from my corpus) ‘Let`s all ‘chillax’ (Modern Family, Season 1, episode 1). ‘Chillax’ is the combination of two words: chill + relax.

Moreover, depending on how the components of the pun`s text are arranged, a pun can be either horizontal or vertical. This is connected to the definition of confrontation of the forms of the pun mentioned by Delabastita: ‘The pun establishes a (near)simultaneous confrontation of at least two linguistic structures with more or less dissimilar meanings (signifieds) and more or less similar forms (signifiers)’ (Delabastita, 1993: 78). A pun is vertical when its confronting components ‘are represented simultaneously within one and the same portion of text, i.e. in a paradigmatic manner’ (Delabastita, 1993: 79). Therefore, even if only one confronting component of a pun is materially present, the other one ‘appears’ because of the employment of contextual setting (Delabastita 1996:129). I present an example of a vertical pun from my corpus: The Nerdy way (Season 1 episode 18; 2:12). This paronymic pun is vertical because both confronting components are shown simultaneously in the same text fragment. Obviously, the original name is ‘the Milky Way’, yet here the word ‘milky’ was substituted with a word ‘nerd’ creating a vertical pun.

In a horizontal pun, its confronting components are both ‘visible’ and materially present which is just enough to trigger the semantic confrontation. Moreover, in many puns there are other devices used to highlight the puns, e.g., grammar (Delabastita, 1996: 129). An example of a horizontal pun is shown below (from my corpus):

- He's a logger. - Uh, like a lumberjack? - No, he logs blood samples into a cholesterol study. (Season 1, episode 4; 11:16)

The first component of the pun suggests that he is working as a lumberjack, but then the second component reveals that actually he is just a person who logs blood samples in a study. The two components occur one after another, therefore this pun is horizontal.

To better understand Hausmann`s division I present the table below, created by Delabastita (1993: 81). In the table below I have substituted Delabastita`s examples with the examples from my corpus (except from the examples of homographic puns).

Homonymic Homophonic Paronymic Homographic = sound = sound ≠ sound ≠ sound = spelling ≠ spelling ≠ spelling = spelling

Horizontal Jay, taking out a - Don't forget about Horizontal - He's a logger. figurine of a baby the team mascots. lumberjack? - What the hell is this? - No. Mascots. With (Delabastita, 1993: - No, he logs blood - I told you, Jay. I an "M." 81) samples into a called your secretary (Season 1 episode 5; cholesterol study. and told her to order 6:45) (Season 1, episode 4; you a box of baby 11:16.) cheeses. (Season 2 episode 6;

08:44) Vertical Vertical Vertical Vertical -Whatever. - Here's your note for The Nerdy Way Honestly, I wish that Miss Passwater. (Season 1 episode (Delabastita, 1993: tart would go back to (Season 1 episode 5; 18; 2:12). 81) Columbia and take 04:50) her weird little Brown friend with her. (Season 1 episode 18; 3:49) Figure 2 - Categories of Puns

When it comes to portmanteaux, the examples are the following:  Portmanteaux – horizontal pun - Act like a parent, talk like a peer. I call it "peerenting." (peer + parenting). (Season 1 episode 4; 8:51).  Portmanteaux – vertical pun - Okay, people. Let's all "chillax." (chill + relax). (Season 1 episode 1; 19:37).

3.5 Delabastita`s translation strategies for puns Delabastita has developed nine translation techniques regarding puns. He indicates himself that his model is open to further refinement. He created his model based on the wordplay but it can also apply to other genres, e.g. audiovisual translation. In many cases it is possible to combine two or more techniques (Delabastita, 1993: 191). The translation techniques developed by Delabastita are the following:

3.5.1. S.T. Pun > T.T. Pun This is definitely the perfect solution when translating puns, however it is not easy to achieve. It means that the pun from the source text is replaced with a pun in a target text. However, it does not mean that these puns are exactly the same. The shifts may occur on different levels. When it comes to linguistic mechanisms a S.T. pun might be based on lexical, grammatical or phonological features and a translator can find a solution for a pun in T.T. in any of those features (Delabastita, 1993: 192). Alternations occur in formal structures too. That is, a S.T. pun may be based on a homonym and a T.T. pun can be transformed into a homophonic pun.

A vertical S.T. pun might become a horizontal one in T.T. and vice versa. Last but not least there might be changes in the semantic structure. S.T. pun confronts two different meanings, s1 and s2. The S.T. pun and T.T. pun can share either s1 or s2 (parallel translation), only one of them (semi-parallel translation) or neither of them (non-parallel translation) (Delabastita, 1993: 195). To sum up, both source and target text contain a pun, but there can be shifts in formal or/and semantic structure.

3.5.2. Pun > Non-Pun In this translation strategy a T.T. pun does not contain any wordplay. The S.T. pun is replaced in T.T. with a non-pun phrase, where there are no signs of the specific kind of confrontation of different linguistic forms which would characterize a wordplay. This non-pun phrase which replaces a pun in T.T. may be non-selective when it represents two or more meanings of the S.T. pun, selective when it represents only one meaning and omits completely the other one. When a non-pun phrase contains no meaning at all it is called diffuse paraphrase.

3.5.3. Pun > Punoid In this case, a translator is substituting a S.T. pun with a wordplay-related rhetorical device in T.T. to render the same humorous effect. Examples of these rhetorical devices are: repetition, rhyme, alliteration, allusion and so on. This strategy is handy when it is not possible to find an appropriate pun in T.T. The translator, in order to retain the humorous effect, is not omitting the pun but he is replacing it with another funny translation.

3.5.4. Pun > Zero The pun from a S.T. is completely omitted in a T.T. without even the deletion being signaled. The translator is simply deleting a piece of text which contains a pun. There can be omission of a phrase or sentence, of a single speech, of a piece of a dialogue or even omission of a scene or act. Delabastita explains that omission of a pun ‘can never be entirely explained as a strategy for the rendering of the wordplay only’(Delabastita, 1993: 209) and that sometimes Pun > Zero technique is an inadvertent side-effect of a hierarchically more important decision to alter the matrix of a text and it can have nothing to do with the wordplay as such (Delabastita, 1993: 209).

3.5.5. Direct copy: Pun S.T. = Pun T.T.

In this strategy, a S.T. pun is copied directly to T.T. without any ‘translation’. Delabastita (1993: 211) calls it also non-translation or direct transfer technique. In many cases it is followed by a footnote which explains the pun. This strategy has become very popular in the modern mass media, e.g. international advertising (Delabastita, 1993: 211). However, in voice-over translation it is impossible to use a footnote as a device to explain a pun to viewers. The public would be left out with a pun which they do not understand. Thus, I do not expect to find a lot of examples of this strategy in my corpus.

3.5.6. Transference7: Pun S.T. = Pun T.T. Each SL has its own ‘values’ and contextual meanings which cannot be find in the TL. There is no possibility to translate them as they do not exist in the TL. However, it is possible to simply ‘transfer’ the SL words and explain them within the TL culture (Catford [in:] Delabastita (1993: 211)).

3.5.7. Addition: Non-Pun > Pun In this strategy a pun is added to a T.T. while it does not appear in the corresponding S.T. In many cases, such a strategy is used to compensate for the loss of S.T. puns which he did not manage to render sufficiently into T.T. No new material is added but the original text is transformed into a pun. This strategy is acknowledged by many critics and scholars of translation, however, it is still very controversial (Delabastita, 1993: 216).

3.5.8. Addition (New textual material): Zero > Pun This strategy is similar to the one mentioned above, but with the difference that the translator is adding completely new material to his translation and creates a wordplay out of it. In many cases such a strategy is motivated by the translator`s willingness to compensate for the losses of puns in other cases. This strategy is widely criticized as too liberal and brave (Delabastita, 1993: 217).

3.5.9. Editorial Techniques In this strategy, Delabastita refers to editorial techniques which are very often used by translators to help them translate a pun. He mentions such techniques as footnotes, introduction, arrangement and presentation of the texts, etc. (Delabastita, 1993: 217). When it

7 Transference is a strategy where an SL word is transferred to the TL text with no modifications or with the small ones (e.g. transliteration) (Newmark, 1988: 81). 30 comes to audiovisual translation, such measures are not available for a translator, therefore this translation strategy will not be included in my analysis.

In this paper I will not be taking into consideration the following strategies: Transference: Pun S.T. = Pun T.T. and Editorial techniques. It is because, the material that I am using for this research is an audiovisual text, in which such a translation strategies do not occur.

3.6 Puns in movies and TV series In situational comedies viewers are in ‘contexts that are carefully contrived for maximum effect’ and the jokes are ‘clearly signaled’ by canned laughter (Delabastita, 1994: 228 [in:] Zabalbeascoa, 1996: 242). Therefore, if a translation of pun does not bring a humorous effect, the viewers are confused and disappointed, because they know they have missed a joke and struggle to find out what was funny about that scene. According to Zabalbeascoa (1996: 244), when translating jokes it is important to have priorities, i.e. translator has to be able to access the level of importance of a joke in a given text. For example if a translator is dealing with a speech of a politician which contains some jokes, it is obvious that the translation of these jokes is not his top priority (ibid.) However, in situational comedies, jokes and puns are the most important, therefore they should be of the highest priority to the translator. Therefore, Zabalbeascoa thinks that the quality of a dubbed version should be assessed ‘on how funny the result is, rather than on how faithful it is on any other level’ (Zabalbeascoa, 1996: 245). My corpus (comedy TV series, Modern Family) is polysemiotic, i.e. the message is transmitted through more than one channel. TV series usually consists of four semiotic channels (Gottlieb, 1997: 210): 1. The non-verbal visual channel: the picture and image composition 2. The verbal visual channel: written text 3. The verbal acoustic channel: dialogues of the characters, voices in the background 4. The non-verbal acoustic channel: music/sound effects Thus puns can be produced by only a verbal channel, or by the combination of two or more channels, e.g. an interplay of verbal and visual elements.

3.7 Successful and unsuccessful translation of puns As Zabalbeascoa (1996: 236) comments, many translations are considered bad because viewers expect too much of them and because everybody expects something different,

31 therefore, there will always be someone who is not satisfied with the translation. On the other hand, it is possible that the viewers expect too little, therefore there is no demand for ‘high quality’ translations. And, when there is no demand, there is little or no production at all. This lack of demand may discourage the producers to pay for valuable, good quality translations (Zabalbeascoa, 1996: 236). In this paper I am analyzing puns from the comedy series where, as I have mentioned earlier, they are of the most importance. Thus, they should not be omitted and they should render funniness, as this is their purpose – to entertain the viewers: ‘to translate a joke in a way that cannot elicit a smile is a betrayal, no matter how semantically accurate it may seem’ (Low, 2011: 69). Therefore renderings such as Pun > Non-Pun and Pun > Zero will be considered as unsuccessful translations. I decided that also the strategy Direct copy: Pun S.T. = Pun T.T. will not be counted as a successful translation. It is because, in voice-over it is impossible to include an explanatory footnote and without it a direct translation would not be understood by the Polish viewers. And as Polish and English are two completely different languages, it is hardly possible that they would share the same language puns. To understand a pun translated with this strategy, the viewers would have to know English on a high level, but perhaps even this would be of little help, as in the voice-over translation, the original sound is not perfectly audible. As mentioned before, the translation of puns does not mean that the ST pun and the TL pun have to be identical or equally funny (see 3.2). The most important is to deliver the joke, and to entertain the viewers. Therefore, the strategies S.T. Pun > T.T. Pun and Pun > Punoid will count as successful translations. When it comes to the two compensation strategies Non-Pun > Pun and Zero > Pun, they would be counted as successful renderings as what counts the most is the humorous effect. However, the possibility of compensation strategies occurring is low, as they are really unlikely to appear in the voice-over translation.

3.8 About the TV series Modern Family As I mentioned above, my corpus is the American TV series Modern Family. I have chosen 80 language puns from 27 episodes coming from the first and second season of the show. I chose this specific TV series because it is a situational comedy which contains a lot of language puns, which are quite difficult to be translated into another language, especially that different form each other like English and Polish.

Modern Family is an American sitcom, described also as a mockumentary8. The first season premiered in 2009 on ABC channel and it is being shot until now. So far the series has eight seasons. It has been received very positively not only by viewers but also by critics (https://en.wikipedia.org/wiki/Modern_Family). The show won many television awards, among others, 22 Emmy awards for an ‘Outstanding comedy series’ and the Golden Globe award for The Best Television Series – Musical or Comedy (http://www.imdb.com/title/tt1442437/awards). In Poland the show is aired on a public television channel TVP2, and on a cable channels such as HBO Comedy, HBO 2 and Fox and it is translated to Polish with voice-over. The plot of Modern Family revolves around a family of Pritchetts. One of the main characters is Jay (starred by the famous Ed O`Neil), the senior of the family, who has recently divorced his wife of 30 years (DeDe, who also appears sometimes in the show) and got married to a much younger, Colombian woman Gloria. She brought to her new family his son from her previous marriage, Manny. The main characters are also Claire (daughter of Jay), her husband Phil and their three children: Haley, Alex and Luke. Jay has also a gay son, Mitchell, who is married to Cameron. They have a daughter, adopted from Vietnam – Lily. Since the 7th episode, Jay and Gloria have a baby together, Joe, who also joined the main cast of the show (https://en.wikipedia.org/wiki/Modern_Family). As shown above, the family from the show is quite modern and each of its members provides its own, specific features to the group. Throughout the show the family encounters many ups and downs and try to live their lives as a big, happy family, which is not always that easy, because of the variety of cultures, traditions and characters contained in this family.

4. Analysis In this chapter, firstly, I will analyze English puns and divide them according to their type which might be: homonymy, homophony, paronymy, homography or it can belong to the extra type which is portmanteaux. At the same time I will establish whether a pun is vertical or horizontal. Secondly, I will analyze the corresponding Polish translations of the English puns according to the seven translation strategies distinguished by Delabastita which are: S.T. Pun > T.T. Pun, Pun > Non-Pun, Pun > Punoid, Pun > Zero, Direct copy: Pun S.T. = Pun T.T., Addiction: Non-Pun > Pun and Addition (New textual material): Zero > Pun. Thirdly, I will determine whether the Polish translations managed to deliver funny renderings of the

8 Mockumentary is a film or a television show where a fictional events are showed in documentary style in order to ‘mock’ and create a parody (https://en.wikipedia.org/wiki/Mockumentary). 33

English puns. As established before as successful renderings I will be counting the following strategies: S.T. Pun > T.T. Pun and Pun > Punoid and also the strategies of compensation Non-Pun > Pun, and Zero > Pun. As unsuccessful strategies I consider Pun > Non-Pun, Pun > Zero, Direct copy: Pun S.T. = Pun T.T.. Then I will try to establish, which types of English puns where translated successfully and which were not. Perhaps, certain types of puns will tend to be translated more successfully than the other types. As my study is quantitative and qualitative, I will include a detailed description of the most interesting cases from my corpus. All the quantitative data will be presented in figures.

4.1 Puns in the corpus All the puns and their Polish translation can be found in the appendix. As mentioned before, the English puns have been divided according to the classification made by Delabastita (1993: 79-81): homonymy, homophony, paronymy, homography and portmanteaux. Figure 3 presents the percentages of all the types of puns which appeared in the corpus. The most common puns are by far the homonymic puns which appear in the corpus 41 times, which is 51% of all the analyzed puns. Next most frequent type of pun is paronymy which represents 32% of all the puns (26 puns). Homophony appeared only 7 times which is 9% of all the puns. Portmanteaux form 8% of all the puns (6 puns). Unfortunately, homographs are much less common in spoken language (like in TV series), therefore homographic puns did not appear in the corpus at all. Figure 4 shows which translation strategies were used for each type of puns. I will start the description from the type which appeared the most in the corpus, i.e. homonymy.

Figure 3 – Types of the English puns

Figure 4 – Translation strategies used per type

4.1.1 Homonymic puns Homonymic puns represent more than half of the puns from corpus. As figure 4 shows, 22 out of 41 homonymic puns (54%) were translated as Pun S.T. > Pun T.T.. This is a very good result, as this strategy is considered to deliver successful translations of puns. As homonymy

35 is based on words which are identical in spelling and in writing but can have different meanings, the translator had to be very resourceful and ingenious to come up with a funny rendering in the Polish voice-over. As the results show, he managed to convey funniness in more than half of the homonymic puns. However, 9 puns (22%) were translated as a non-pun, which are unsuccessful renderings. Then, 7 puns (17%) were translated as zero pun and 3 puns (7%) were copied directly. Together, it gives 19 puns (46%) which were translated unsuccessfully. Below I present a few of the more interesting examples of each translation strategy used for translating homonyms.

S.T. Pun > T.T. Pun 10. Season 1 episode 4; 13:00 - That's very revealing. - That's my parenting style. - No, I meant your blouse. (Homonymy; Horizontal)9

This is an example of a homonymic pun. The adjective ‘revealing’ has two meanings. Firstly, it describes something significant or important (Collins English Dictionary). The second meaning applies to clothes which are revealing when they show more body than they should (ibid.). Certainly, it is not easy to find a funny Polish equivalent to this English pun. However, the translator managed to find a Polish adjective which can be assigned to both things, parenting style and clothes:

- Śmiałe. - Tak wychowuję dzieci. - Mówiłam o dekolcie. (- That’s bold. - This is how I raise my children. - I was talking about your cleavage)

The adjective ‘śmiały’ means ‘bold, without fear, brave’ (Uniwersalny słownik języka polskiego) and can refer to both things and people. Therefore, it fits perfectly to the context of this conversation. It can mean that her parenting style is ‘bold’ and ‘innovative’ but it can also refer to her ‘bold’ cleavage. I think it is a perfect example of the strategy S.T. Pun > T.T. Pun.

9 This pun might be also considered as an example of polysemy. However, in this paper I am not making the distinction between polysemy and homonymy, as this is one of just a few examples of polysemy from my corpus. 36

Not only the translator managed to deliver a funny rendering but he also applied to the rules of time and space which are very important in the voice-over translation. Another example of a brilliant translation can be found in the following pun:

59. Season 2 episode 4; 00:10 - Dad just wrote another classic one. Tell her. - I don't know about classic, but... here we go. If you're looking for a two-story house, I'm your man. I'll tell you one story before you buy it... and then another story after. (Homonymy; Horizontal)

This homonymic pun contains the word ‘story’ which, as showed above, can mean either a story which one person is telling to another or a story (floor) in a house (Collins English Dictionary). Even though the Polish translation has nothing to do with a ‘story’, it is still very witty, funny and remains a pun:

- Tata napisał kolejny klasyk. - Nie wiem czy to klasyk. Jeśli szukasz domu ze schodami, dobrze trafiłeś. Najpierw kupisz dom, potem zaczną się schody. (- Dad wrote another classic. - I don`t know if it`s a classic. If you look for a house with stairs, you`re in the right place. First, you buy a house then the ‘stairs will start’.)

In the Polish pun appears the noun ‘schody’ which means ‘stairs’. The idiomatic expression which contains this word is ‘zaczynają się schody’ which translated literally means ‘the stairs are starting’. The meaning of this expression is that some troubles start to appear, the situation starts to be difficult (Uniwersalny słownik języka polskiego). This is a very good pun in Polish, and it also manages to fit in the time and space restrictions.

Pun > Non-pun 45. Season 1 episode 21; 18;43 - I know something is going on with you. What's up? - Something up? Well, my boxers are, uh, riding a little high. - I'm not in the mood for jokes right now, although you nailed that. (Homonymy, Horizontal)

In this homonymic pun a wordplay appears in the phrase ‘what`s up?’. Obviously, the character meant to ask ‘what is going on?’ but it was understood by the second character literally, therefore he answered that his boxers are ‘up’. The Polish translation is the following:

- Wiem, że coś się z tobą dzieje. Co jest? - Co? Bokserki mi podjeżdżają - Nie mam nastroju na żarty, choć ten był dobry. (- I know something is going on with you. What is it? - What? My boxers are riding up. - I`m not in the mood for jokes, although this one was good.)

The Polish translation does not contain any wordplay. This translation misses an explanation (for example a footnote) which would explain to the viewers why the phrase mentioned above was a joke. Otherwise this translation is not only losing its funniness but also meaning at all. As the joke is not clear in Polish, why would the character say that the joke was good? What joke? That would be the questions which the Polish viewers probably would ask themselves hearing this translation.

Pun > Zero 44. Season 1 episode 21; 11:44 - Geez, someone's panties are in a bunch. - I thought I was showing concern and- - No. Right there. (Points at panties lying on the floor) (Homonymy, Horizontal)

This pun starts with an idiomatic expression ‘get one`s panties in a bunch’. It means that someone is reacting very strongly and emotionally over something trivial and not that important (Green`s Dictionary of Slang). This pun is also connected to the image, as after saying, that Phil is pointing at the actual panties which are lying on the floor in a bunch. Unfortunately, the Polish translation did not deliver a successful rendering:

- O, majtki.

- Martwię się. - Leżą tam. (- Oh, panties. - I am worried. - They are lying there.)

Polish translation not only does not contain a pun, but it deletes most of the dialogue. The S.T pun is completely deleted and omitted in the target text. Moreover, not only is the pun lost but also the whole dialogue makes no sense. The Polish viewers would be more than confused, wondering what panties have to do with worrying about something.

Pun > Direct Copy 14. Season 1 episode 5; 6:54 - Am I straight? (Asking about his makeup) - I'm not sure what you are right now (referring to his sexuality) (Homonymy, Horizontal)

The funniness of this pun lies in the ambiguity of the word ‘straight’ which means ‘even’ and it is also a slang word for ‘heterosexual person’ (Collins English Dictionary). The Polish translation was the following:

- Równo? - Nie wiem kim teraz jesteś. (- Is that even? - I don`t know who you are right now.)

The pun is completely lost in the target language. The pun was copied directly, nothing was added or omitted. The result is poor as the Polish viewers will be only confused and trying to understand what this conversation is about. Therefore, the translations such as Direct copy: Pun S.T. = Pun T.T. are not considered to be successful in this paper.

4.1.2 Paronymic puns The next most numerous types of puns were paronymy. They represent 32% (26) of all the puns. As the figure 4 shows, the staggering 65% (17) of the puns were translated as T.T. Pun. Strategies direct copy and non-pun were used both 4 times (15%). Zero strategy appeared

39 only once, which represents 4% of the paronymic puns. Thus, 65% of the paronymic puns were translated successfully and 35% did not deliver a funny rendering.

S.T. Pun > T.T. Pun 24. Season 1 episode 13; 4:29 - I had to actually come out to my dad three times... before he finally acknowledged it. I'm not sure if maybe he was hoping he heard it wrong, like I had said, "Dad, I'm gray." (Paronymy, Horizontal)

This pun is based on the similarity of two words, ‘gay’ and ‘gray’. The Polish translation is the following:

- Przestałem się ukrywać po dwudziestce, tacie mówiłem o tym trzy razy zanim załapał. Myślał chyba, że się przesłyszał. Jakbym mówił ‘tato, jestem klejem.’ ( - I stopped hiding in my twenties, I told my dad about it three times. I guess he thought he misheard me. Like I was saying ‘Dad, I`m a glue’.)

The Polish pun is also a paronymy. Here we have two similarly sounding words ‘gej’ and ‘klej’ (‘gay’ and ‘glue’). The pun from the source text was replaced with a pun in the target text.

Pun > Non-Pun 35. Season 1 episode 17; 21:18 - You tried to give me this 20 years ago when my pet snake died. - I did? - Yes. Zsa Zsa Gaboa? - Oh, that's adorable. (Paronymy, Vertical)

Here the pun appears in the blending of the name of an actress, Zsa Zsa Gabor, with the snake type ‘boa’, ‘Gaboa’. The Polish version did not deliver a successful translation:

Dawałeś mi go dwadzieścia lat temu po śmierci mojego węża. Zsa Zsa Gabor. ( - You were giving it to me twenty years ago after the death of my snake. Zsa Zsa Gabor.)

The Polish translation does not contain the funny blending ‘Gaboa’. It is not clear why the translator decided to replace it with a real actress` name as in Polish both the actress and the boa snake are familiar to the Polish viewers and they would understand this pun in its original form. However, in this case the Polish viewers are left with a non-pun phrase.

Pun > Zero 17. Season 1 episode 6; 3:50 - The last thing Manny needs on his first day of school... is you "undermelting" his confidence. - Undermining. - Now you're doing it to me too. (Paronymy, Horizontal)

This is another example of the similarity of two words. Unfortunately, the Polish voice-over did not manage to deliver the pun at all:

- Nie odbieraj Manniemu pewności siebie. - Co? - Znowu. ( - Don`t take Manny`s confidence away. - What? - Again.)

The pun is completely omitted. The Polish translation does not contain any words from the original wordplay. Moreover, the dialogue is not only deprived of the funniness but it also does not have any sense. This translation would only cause confusion among Polish viewers.

Pun > Direct Copy 15. Season 1 episode 5; 8:52 -Looks like I gotta watch the game with Dick Butkus. - Dad! Dad, come on. That's offensive. - Mitchell, he's one of the greatest linebackers to ever play at Illinois... and one of my personal heroes. - And his name is "Butt-kiss"? (Paronymy, Horizontal)

In this pun the name ‘Butkus’ is pronounced similarly as the word ‘but-kiss’ which is a description of someone who is stroking somebody in order to get something (Green`s Dictionary of Slang). The Polish version consists of a direct copy of this pun:

- Nadchodzi Dick Butkus. - Tato przestań! - To jeden z lepszych liniowych w dziejach i mój bohater. - Nazywa się Butkus? ( - Here comes the Dick Butkus. - Dad stop! - He is one of the best liners ever and my hero. - His name is Dick Butkus?)

The name of the player is copied and so is the rest of the dialogue. There is no pun at all. The direct copy is depriving the viewers of the joke.

4.1.3 Homophonic puns There were only 7 (9%) homophonic puns found in the corpus. 3 (43%) of them were translated as non-puns. Then, both strategies S.T.>T.T. Pun and Pun>Zero were used twice. None of the homophonic jokes were copied directly.

S.T. Pun > T.T. Pun 66. Season 2 episode 6; 08:25 - Well, it's not "blessings in the skies." It's "blessings in disguise." (Homophony, Horizontal)

In this example the pun lies in two expressions which are pronounced the same. The actual phrase is ‘blessing in disguise’ and it means that there was an unexpected benefit or consolation from an unpleasant situation (Allen`s Dictionary of English Phrases). In Polish there is a similar idiomatic expression to ‘blessings in the skies’:

- Nie mówimy ‘szczęście nie w części’ tylko ‘szczęście w nieszczęściu’. ( - We don`t say ‘‘szczęście nie w części’ but ‘szczęście w nieszczęściu’.)

The Polish saying is ‘szczęście w nieszczęściu’, which literally means ‘happiness/good fortune in a misfortune’ (Słownik frazeologiczny PWN z Bralczykiem) and its English equivalent is ‘blessings in disguise’. To make a pun in Polish the translator has found a similar sounding phrase ‘szczęście nie w części’ which literally means ‘happiness not in piece’. Both of them sound similar therefore the pun has been rendered in the target text.

Pun > Non-Pun 69. Season 2 episode 6; 15:29 Healy, showing a head to children: - Okay, but beware of the fog, for you might not be able to see ahead. (Homophony, Vertical)

In this pun also the image is important. Healy is a part of a Halloween play and she is lifting the lid from a plate on which lies a head. At the same time the fog appears and it is difficult to see. Therefore, it is not sure whether she is saying ‘you might not be able to see ahead’ (forward) or ‘a head’. The Polish translation delivers non-pun:

Strzeżcie się mgły bo możecie czegoś nie dostrzec. (- Beware of the fog because you might not see something.)

Instead of a ‘head’ pun, there is just a simple phrase that ‘you might not see something’. Perhaps, this translation fits the image, as when Healy is lifting the lid the fog makes it difficult to see anything. However, there is no language pun in the translation, therefore this rendering is counted as unsuccessful.

Pun > Zero 12. Season 1 episode 5; 04:50 - Here's your note for Miss Passwater. (Phil laughs) (Homophony, Vertical)

In this pun Luke`s teacher has a name which is pronounced the same as the phrase ‘pass water’. The Polish translation is the following:

- Usprawiedliwienie.

(- Here is your justification)

The actual pun was completely deleted, without even signaling it. Not only is this rendering unsuccessful but also it does not fit the image. When a principal says ‘here`s your note for Miss Passwater’ Phil starts to laugh and his wife tells him to stop. With this translation his behavior is completely unintelligible for the Polish viewers.

4.1.4 Portmanteaux Portmanteaux is the smallest group of all the puns. It represents only 8% (6) of them. All three translation strategies which appear in this group were used the same number of times, i.e.: there are 2 (33.3%) examples of S.T. Pun>T.T. Pun translation, 2 examples of Pun>Non-Pun translation and 2 examples of Pun>Zero translation. None of the puns were copied directly.

S.T. Pun > T.T. Pun 77. Season 2 episode 8; 01:49 - Somebody's still a little touchy... about losing last year's color war. She was on Team Blue... or as I like to refer to them, as Team blueser. (Portmanteaux, Horizontal)

This portmanteau is made of the two words ‘blue’ and ‘looser’: ‘blueser’. I find the Polish translation quite resourceful:

- Nadal ma żal, że przegrała wojnę kolorów. Była w drużynie chabrowych czyli ‘chałowych’ (- She is still angry about losing the war of colors. She was in a chabrowych team meaning chałowych team.

The word used above ‘chabrowy’ is a type of a blue color called ‘cornflower blue’ (Uniwersalny Słownik Języka Polskiego). The second element of the pun is the word ‘chałowy’ which is an adjective from a word ‘chała’. ‘Chała’ is something useless, valueless, not successful (Uniwersalnt Słownik Języka Polskiego). For the Polish viewer it is clear that Phil is implying that their team was a team of losers. This translation is definitely successful, it delivers a funny pun and the translator even managed to make a reference to blue color. This example proves that the translation does not to be exactly the same to be considered

44 successful. As shown here, the original pun is a portmanteau and the target text pun is a paronymic pun, but the most important thing is that both of them are funny.

Pun > Non-Pun Season 1 episode 1; 19:37 - Okay, people. Let's all "chillax." (Portmanteaux, Vertical)

This pun is a blending of the two words ‘to chill’ and ‘to relax’, ‘chillax’. Even though this portmanteau was much easier to translate into Polish than the one mentioned above, as two of these words do function in the Polish language (‘relaks’ as ‘relax’ and the word ‘chill’ is a word copied form English and appears in the Polish informal language), the translator still did not manage to deliver a successful translation:

- Ludzie wyluzujmy! ( People, let`s relax!)

In the Polish version there is no pun at all. The translator might have decided to transfer this portmanteaux to Polish, as many viewers from the young generation would understand it. However, it could still not be intelligible to many people who do not use slang in their everyday language. I guess that is why he decided to replace it with a non-pun phrase ‘wyluzujmy’ ‘let`s relax’ which may not consist a pun but at least it is understandable to everybody.

Pun > Zero Season 1 episode 4; 8:51 - Act like a parent, talk like a peer. I call it "peerenting." (Portmanteaux, Horizontal)

This portmanteau is a blending of the two words ‘peer’ and ‘parenting’, ‘peerenting’. The Polish translation is the following:

- Zachowuj się jak rodzic, mów jak kumpel. (Act like a parent, talk like a buddy).

Here the translator has only translated the introduction to the pun. The actual pun was completely deleted. The deletion of this pun did not interfere with the image nor was it ruining the dialogue. However, the viewers will not be able to enjoy any funny rendering.

As predicted before, no examples of homographic puns were found in the corpus.

4.2. Successful and unsuccessful renderings When it comes to the translation strategies used in the corpus, figure 5 presents the percentage data. The strategy which was used most frequently was S.T. Pun > T.T. Pun, with 44 puns (55%) being translated this way. 18 puns (22%) were translated as non-puns. After that comes the Pun>Zero strategy with 12 puns (15%). Direct copy was used 6 times (8%).

Figure 5 – Strategies used

Hence, taking into consideration the strategies used in the translation of puns, I could determine which renderings were successful and which were not (following the system established before, that the only strategy which is considered to deliver a successful rendering is the S.T. Pun> T.T. Pun). As figure 6 shows, there were 44 (55%) successful translations and 36 (45%) unsuccessful translations. To make this data more clear, there are two more figures (7, 8) which show the successful and unsuccessful renderings per pun`s category (in percentage). As figure 7 shows, paronymy seem to be the easiest puns to translate and homophony and portmanteaux were difficult to render in the target text. Figure 8 shows that

46 the pun categories which had the highest number of unsuccessful renderings are homophony (71%) and portmanteaux (67%).

Figure 6 - Renderings

Figure 7 – Successful renderings per category

Figure 8 – Unsuccessful renderings per category

4.3. Horizontal and Vertical puns As mentioned in chapter 3, puns can be horizontal or vertical depending on how their components are arranged. Figure 9 shows that horizontal puns represent 72% (58) of all the puns and vertical puns represent only 28% (22). Looking at the translation strategies used with horizontal puns it can be noticed in figure 10 that 34 (59%) out of 58 puns were translated successfully and 24 (41%) did not ‘survive’ translation. When it comes to vertical puns 10 of them (45%) were translated successfully and 12 of them (55%) were lost in translation. Thus vertical pun seem to be more difficult to be translated to another language.

Figure 9 – Horizontal vs Vertical puns

Figure 10 – Horizontal/vertical puns - strategies

4.4. Compensation strategies in the corpus As predicted, the compensation strategies Non-Pun > Pun and Zero > Pun did not appear in the corpus. As mentioned earlier, the corpus is a voiced-over TV series, therefore there is no place for such measures as compensation. The translator would have to sacrifice some of the original material (and perhaps lose some information important for the plot) in order to fit a compensative pun into the video. Thus, in this case, it was more important to deliver successful renderings of as many puns as possible instead of focusing on compensation strategies.

5. Conclusions and perspective for future investigation 5.1. Conclusions For my analysis I have analyzed 80 puns found in 27 episodes of the first and second season of the Modern Family series. My main goal was to establish whether a voice-over translation is able to deliver funny renderings of original puns. I analyzed all 80 puns and I assigned them to 4 categories created by Hausmann: homonymy, paronymy, homophony, homography and to one additional category created by Nash: portmanteaux. Afterwards, I categorized translated puns to seven translation strategies introduced by Delabastita. The strategies which were counted as successful renderings were S.T. Pun > T.T. Pun, Pun > Punoid and the two compensation strategies: Addition: Non-Pun > Pun and Addition (New textual material): Zero > Pun. However, neither the Pun > Punoid strategy nor any of the compensation strategies have occurred in my corpus. Therefore only the strategy S.T. Pun > T.T. Pun was the

49 successful one. The strategies which deliver unsuccessful renderings of puns were the following: Pun > Non-Pun, Pun > Zero, Pun > Direct Copy. This division was made based on the fact that puns are of the highest importance in a comedy series, therefore delivering a funny rendering is more important than sticking faithfully to the source text. I also established that a successful target text pun does not have to be identical in form to the source text pun. My first research question was which category of pun will have the most successful renderings? The answer to this question is shown in the figure 7 – homonymy and paronymy had the most successful renderings. On the other hand, homophony had the most unsuccessful renderings. When it comes to homonymy, the results spread more or less evenly – a little more than a half of homonymic puns were translated successfully (54%) and 46% did not ‘survive’ translation. This proves that even though many puns were resourcefully translated, the viewers were deprived of almost half of the humor coming from puns. On the other hand, homophony and portmanteaux had only accordingly 29% and 33% of successful renderings, which confirms my first hypothesis that homonymic and paronymic puns are easier to translate than other pun categories because they have more ‘extralingual’ nature. Next question was: which translation strategy was used the most? Figure 5 shows that the strategy which was used the most is S.T. Pun > T.T. Pun (55% of all the puns). This means that more than half of the puns had successful renderings. At the same time, almost half of the renderings was unsuccessful. Hence, again the humor of the show was ‘cut in half’. The next most frequently used strategy was the Pun > Non-Pun strategy (22% of all the puns), which shows that an original pun was substituted with a non-pun phrase. Thus, when it was not possible for the translator to deliver a funny rendering, he was just trying to be faithful to the original text. Figure 9 shows that 72% of all puns were horizontal and 28% were vertical, which confirms the fourth hypothesis which assumed that there would be more horizontal than vertical puns, because the former ones are more likely to be spotted by younger viewers. Figure 10 shows that 58% of all the horizontal puns were translated successfully and 45% of vertical puns delivered funny renderings. Thus, the answer to the question which pun, horizontal or vertical, will be more likely to ‘survive’ translation is simple: the horizontal one. The hypothesis that there would be no or very little homographic puns is confirmed too: there was not even one occurrence of homographic pun in the corpus. Next hypothesis assumed that portmanteaux will have mostly successful renderings. This was not confirmed as only 33% of portmanteaux puns delivered successful translations. When it comes to homophony, the results are as expected: because this pun category is very language-dependent, I assumed that

50 most of them will be lost in translation. That turned out to be true as homophony represented only 29% of successful renderings. My main research questions were: how much humor is lost in voice-over translation and whether voice-over translation can deliver a successful translation of puns. After analyzing all the data it is obvious that almost half of the humor is lost completely. It is visible in all pun categories, except paronymy, that almost a half or more (like in the case of homophonic puns) puns are lost in translation. Thus, is the voice-over translation able to convey humor? It definitely has delivered many brilliant translation solutions, hence it can convey language- based humor. However, as it was assumed in my hypothesis, many original puns have been lost in translation. Therefore, the main conclusion is that puns are indeed very difficult to translate with a funny rendering into another language. There are always a lot of puns missing but this is unfortunately inherent to voiced-over translation technique itself. 5.2. Further investigation As my research contains puns from voice-over translation and shows that almost half of the humor is lost, I think it would be really worth investigating how much humor is lost in the subtitled version of the same series. Then, having two different translation techniques used for the translation of the same source material, I could actually compare which audiovisual translation technique conveys humor better. It could also show, whether a loss of almost half of puns (as this research has showed) is actually a lot. Maybe, when this data would be correlated with data regarding loss of humor in other audiovisual translation techniques (e.g. subtitles or dubbing), perhaps the loss of almost half of humor in voice-over would not seem such a great number. Even a better research idea would be to compare three audiovisual translation techniques: voice-over, subtitles and dubbing using the same source material. Then, it could be checked which translation conveys the most humor. However, such an investigation is not possible when it comes to the Modern Family series because there is no dubbed Polish version. Nonetheless, it would be possible to perform with a movie which was translated within all three translation techniques. Another option for research would be an analysis of Polish puns and their English translation. Perhaps Polish original puns would be more difficult to translate into English than the Polish ones were to English?

6. Bibliography

6.1. Primary Bibliography Modern Family (original English version): Youtube: https://www.youtube.com/channel/UCbCTkFTO46u9mkhWXmTMi0w

Współczesna Rodzina (voice-over version): http://www.kinoman.tv/wspolczesna-rodzina/

6.2. Secondary Bibliography Bogucki, Łukasz (2004). ‘The Constraint of Relevance in Subtitling’. Journal of Specialized Translation 1, 69-85.

Chiaro, Delia (1992). The Language of Jokes. Analyzing Verbal Play. London and New York: Routledge.

Delabastita, Dirk (1993). There`s a Double Tongue. An investigation onto the translation of Shakespeare’s wordplay with special reference to Hamlet. Amsterdam-Atlanta: Rodopi.

Delabastita, Dirk (1996). ‘Introduction. Wordplay and Translation’. The Translator. Intercultural Communication, 2.2., 127-139.

Delabastita, Dirk (1997). ‘Introduction’. Traductio. Essays on punning and translation edited by Dirk Delabastita. Manchester: St. Jerome Publishing, 1-20.

Diaz-Cintas, Jorge (2004). ‘Subtitling: the long journey to academic acknowledgement’. Journal of Specialized Translation 1, 50-68.

Dries, Josephine (1995). ‘Breaking Eastern European Barriers’. Sequentia, t. II, no 4, 6.

Garcarz, Michał (2006). ‘Polskie tłumaczenie filmowe’ [Polish translation of movies]. Journal of Specialized Translation 5, 110-119.

Gottlieb, Henrik (1997). ‘You Got the Picture? On the polysemiotics of Subtitling Wordplay’. Traductio. Essays on punning and translation edited by Dirk Delabastita. Manchester: St. Jerome Publishing, 207-227.

Hendrykowski, Marek (1984). Z problemów przekładu filmowego. Wielojęzyczność literatury a problemy przekładu artystycznego [Problems of film translation. Multilingualism of the literature and problems of the artistic translation] .Wrocław: Ossolineum.

Low, Peter Alan (2011). ‘Translating jokes and puns’. Perspectives: Studies in Translatology vol. 19, No. 1, 59-70.

Luyken, George-Michael (1991). Overcoming Language Barriers in Television: Dubbing and Subtitling for the European Audience. Manchester: The European Institute of the Media.

Nash, Walter (1985). The language of Humour. Style and technique in comic discourse. London and New York: Longman.

Newmark, Peter (1988). Approaches to Translation. Hertfordshire: Prentice Hall.

Orero, Pilar (2009). ‘Voice-Over in Audiovisual Translation’. Audiovisual Translation. Language Transfer on Screen edited by Jorge Díaz Cintas and Gunilla Anderman. Great Britain: CPI Antony Rowe, 130-138.

Pérez González, Luis (2011). ‘Audiovisual Translation’. Routledge Encyclopedia of Translation Studies edited by Mona Baker and Gabriela Saldanha. London and New York: Routledge, 13-20.

Raphaelson-West, Debra (1989). ‘On the Feasibility and Strategies of Translating Humour’. Translators` Journal, vol 34, no 1, 128-141.

Snell-Hornby, Mary (2006). The turns of translation studies. New paradigms or shifting viewpoints?. Amsterdam/Philadelphia: John Benjamins.

Szarkowska, Agnieszka (2008). ‘Przekład Audiowizualny w Polsce – Perspektywy i Wyzwania’ [Audiovisual translation in Poland – perspectives and challenges]. Przekładaniec 20 (2008), 8-25.

Szarkowska, Agnieszka (2009). ‘The Audiovisual Landscape in Poland at the dawn of the 21st century’. Foreign language movies – dubbing vs. subtitling. Hamburg: Kovaĉ, 185-201.

Tomaszkiewicz, Teresa (2006). Przekład audiowizualny [Audiovisual translation]. Warszawa: PWN

Tyruk, Małgorzata (2008). ‘Co to jest tłumaczenie audiowizualne?’ [What is audiovisual translation?]. Przekładaniec 20, 26-39.

Woźniak, Monika (2009). ‘Jak rozmawiać z kosmitami? Kilka uwag o tłumaczeniu lektorskim telewizyjnych filmów fantastyczno-naukowych (na przykładzie Star Trek)’ [How to talk with aliens? A few remarks about voice-over translation of television science-fiction movies (based on Star Trek)]. Przekładaniec 20, 50-88.

Woźniak, Monika (2011). ‘Lektor też Człowiek, czyli o przekładzie voice-over’ [Lector is also a human being, about the voice-over translation]. Przekładaniec 24, 382-386.

Zabalbeascoa, Patrick (2005). ‘Humor in translation – an interdiscipline’. Humor 18-2, 185- 207.

Zabalbeascoa, Patrick (1996). ‘Translating Jokes for Dubbed Television Situation Comedies’. The Translator Volume 2, Number 2, 235-257.

6.3. Dictionaries Allen`s dictionary of English Phrases edited by Robert Allan (2006). London: Penguin.

Collins English Dictionary. Twelfth edition (2014). Glasgow: HarperCollins Publishers

Green`s Dictionary of Slang (2010). Edited by Jonathon Green. London: Chambers.

Longman Dictionary of contemporary English (2003). Edinburgh, Harlow, Essex, England: Pearson Education Limited.

Słownik frazeologiczny PWN z Bralczykiem, opracowanie Elżbieta Sobol (The Dictionary of phrasemes with Bralczyk edited by Elżbieta Sobol) (2008). Warszawa: PWN.

Uniwersalny słownik języka polskiego pod red. Stanisława Dubisza. Tom 4 R-V (The universal Dictionary of the Polish language edited by Stanisław Dubisz. Vol. 4 R-V) (2003). Warszawa: Wydawnictwo Naukowe PWN.

6.4. Internet sources Awards: http://www.imdb.com/title/tt1442437/awards Mocumentary: https://en.wikipedia.org/wiki/Mockumentary Modern Family: https://en.wikipedia.org/wiki/Modern_Family Polish custom research company: http://www.tnsglobal.pl/ Przekładaniec: http://www.wuj.pl/page,art,artid,88.html TVP: https://www.tvp.pl/

7. Appendix Analyzed puns 1. Season 1 episode 1; 1:57 -Trenerze, niech Pan go zdejmie z boiska! - Come on couch, you gotta take that kid out! - Uważaj bo ja ciebie zdejmę! - You wanna take him out? How about I take (- Coach, Sir please take him out of the field! YOU out! - Be careful because I will take you out!)  Homonymy  Pun S.T. > Pun T.T.  Horizontal 2. Season 1 episode 1; 3:32 - Popatrz na to małe z ptysiem. - Look at that baby with those cream puffs. - Gdyby nie my – ptysie – to dziecko - Okay. Excuse me. This baby would have wychowywałoby się w sierocińcu. grown up in a crowded orphanage if it wasn't ( - Look at this ‘small’ (referring to the baby) for us "cream puffs." with the cream puff. Cream puff – a French dessert - If it wasn`t for us – cream puffs – this baby Cream puffs – a weak gay person, offensive. would have been raised in an orphanage).

 Homonymy  Pun S.T. > Pun T.T.  Horizontal

3. Season 1 episode 1; 5:10 - Jestem ojcem na luzie. Nadążam, serfuje po - I'm the cool dad. That's my thing. I'm hip. I internecine, smsuje, jarze, wiem o co kaman. surf the Web. I text. "LOL"- Laugh out loud. (- I am a cool dad. I follow, I surf in the "OMG"- Oh, my God. "WTF"- Why the internet, I text, I ‘glow’ (meaning ‘to face? understand’), I know what is going on.)  Paronymy  Pun S.T. > Pun T.T.  Vertical 4. Season 1 episode 1; 18:33 Phil: Piękna sukienka. Phil: Oh, what a beautiful dress. Gloria: Dziękuję. Gloria: Ay, thank you, Phil. (- Beautiful dress. Phil: Okay. (Phil touches her dress than his - Thank you. wife approaches him) - Don`t touch!)  Homophony  Pun > Zero  Horizontal 5. Season 1 episode 1; 19:37 - Ludzie wyluzjmy! - Okay, people. Let's all "chillax." ( People, let`s relax!)  Portmanteaux: chill + relax  Pun > Non-Pun  Vertical

6. Season 1 episode 1; 20:22 - Dość. - Just turn it off. - Taki jestem. - I can't turn it off. It's who I am! - Mówię o muzyce. - The music. (- Enough. - Oh, yes, the music. - That`s me.  Homonymy - I`m talking about the music.)  Horizontal  Pun > Non-Pun 7. Season 1 episode 3; 1:06 - Widzisz tego gościa? Utknął na drugiej bazie Father and his daughter`s boyfriend are choć ja myślę, że będzie próbował zdobyć watching a baseball game. Father: trzecią. To kiepski pomysł. (Do you see that - Interesting story about him. He's been stuck guy? He is stuck on the second base although I

56 on second base forever, and I'm pretty sure think that he will try to get the third base. It`s a he's gonna try and steal third, which is just a bad idea.) terrible, terrible idea.  Pun S.T. > Pun T.T.  Homonymy  Vertical 8. Season 1 episode 4; 8:51 - Zachowuj się jak rodzic, mów jak kumpel. - Act like a parent, talk like a peer. I call it (Act like a parent, talk like a buddy). "peerenting."  Pun > Zero  Portmanteaux: peer + parenting  Horizontal 9. Season 1 episode 4; 11:16 - Jest pakowaczem. - Co? - He's a logger. - Pakuje próbki krwi do badania poziomu - Uh, like a lumberjack? cholesterolu. (- He is a ‘packer’. - No, he logs blood samples into a cholesterol - What? study. - He packs blood samples for a cholesterol study).  Homonymy  S.T. Pun > T.T. Pun  Horizontal 10. Season 1 episode 4; 13:00 - Śmiałe. - Tak wychowuję dzieci. - That's very revealing. - Mówiłam o dekolcie. - That's my parenting style. (- That’s bold. - This is how I raise my children. - No, I meant your blouse. - I was talking about your cleavage)  Homonymy  S.T. Pun > T.T. Pun  Horizontal 11. Season 1 episode 5; 02:35 - Dopóki nie staliśmy się dziwakami rozdającymi pikle. - We were picklers, Mitchell. ( Until we became the weirdos who handed out  Paronymy pickles).  Pun > Non-Pun  Vertical 12. Season 1 episode 5; 04:50 - Usprawiedliwienie. (- Here is your justification) - Here's your note for Miss Passwater.  Pun > Zero (Phil laughs)  Homophony  Vertical

13. Season 1 episode 5; 6:45 - Do tego maskotki. - Noszą maski? - Don't forget about the team mascots. - Mówiłem o maskotkach. - They wear ascots? ( - And the mascots. - They wear masks? - No. Mascots. With an "M." - I was talking about mascots.)  Paronymy  S.T. Pun > T.T. Pun  Horizontal 14. Season 1 episode 5; 6:54 - Równo? - Nie wiem kim teraz jesteś. - Am I straight? (Asking about his makeup) (- Is that even? - I'm not sure what you are right now - I don`t know who you are right now.)

(referring to his sexuality)  Direct copy: Pun S.T. = Pun T.T.  Homonymy  Horizontal 15. Season 1 episode 5; 8:52 - Nadchodzi Dick Butkus. - Tato przestań! -Looks like I gotta watch the game with Dick - To jeden z lepszych liniowych w dziejach i mój Butkus. bohater. - Nazywa się Butkus? - Dad! Dad, come on. That's offensive. ( - Here comes the Dick Butkus. - Mitchell, he's one of the greatest - Dad stop! - He is one of the best liners ever and my hero. linebackers to ever play at Illinois... and one - His name is Dick Butkus?) of my personal heroes.  Direct copy: Pun S.T. = Pun T.T. - And his name is "Butt-kiss"?  Paronymy  Horizontal 16. Season 1 episode 5; 12:01 - Mówił, że jesteś górnikiem. - Dość tego. - He said you were a coal digger. - Kto tak mówił? - Okay. I think we can move on. - Mama. Kopała węgiel? - Chodziło o złoto. - Who said I was a coal digger? ( - He said that you are a miner. - That's what my mom told me. What's a coal - Enough. - Who said that? digger? - Mom. Was she digging coal? - Sweetheart, he heard it wrong. It's "gold - It was about gold.) digger."  Direct copy: Pun S.T. = Pun T.T.  Paronymy  Horizontal

17. Season 1 episode 6; 3:50 - Nie odbieraj Manniemu pewności siebie. - Co? - The last thing Manny needs on his first day - Znowu. of school... is you "undermelting" his ( - Don`t take Manny`s confidence away. - What? confidence. - Again.) - Undermining.  Pun > Zero - Now you're doing it to me too.  Paronymy  Horizontal 18. Season 1 episode 6; 11:58 - Dostawaliśmy w szkole jajko i mieliśmy go nie stłuc. To miało nauczyć nas jak trudno być - We used to do this thing in school... where rodzicem. Ale w rzeczywistości jest o wiele they would give you an egg and you couldn't trudniej. - My też to robiliśmy. Nie poszło najlepiej. break it. And it was supposed to teach you Dwanaście jajek. how hard it was to be a parent. But the real - Je z nerwów. - STŁUKŁEM dwanaście. thing, it's so much harder. - Przepraszam. - We did that in my school too. Didn't turn (- At school we got egg and we were supposed not to break it. It was supposed to teach us how out so well. I went through a dozen eggs. hard it is to be a parent. But in reality it was - Yeah, well, he's a nervous eater. much harder. - We did it too. It didn`t go well. Twelve eggs. - No, I broke a dozen eggs. - He eats when he`s nervous. - Oh. I'm sorry. - I BROKE twelve. - Sorry.)  Homonymy  Pun > Non-Pun  Horizontal 19. Season 1 episode 8; 12:15 - Nie jesteś naszym fanem. Nie poznałeś mnie. Widziałem. - You're not a Fandau. You didn't even know (- You are not our fan. You didn`t recognize who I was at the door. I saw it in your eyes. me. I saw it.)  Pun > Zero  Portmanteaux: fan + Spandau (name of a band)  Vertical 20. Season 1 episode 10; 00:26 - Wesołych świąt! - Niżej, tato. Father and son are talking through Skype. (- Marry Christmas! The father has his camera too high so his son - Lower, Dad.)  S.T. Pun > T.T. Pun can only see a half of his face. - Merry Christmas Eve! - A little lower, Dad.

- (with a lower voice) Merry Christmas Eve!  Homonymy  Horizontal 21. Season 1 episode 11; 00:10 - Nie odszczekuj się Jak mam się odszczekać? - Chodzi o pyskowanie idioto. - Don't talk black to me. ( - Don`t bark back. How do I bark back? - How do you even talk black? End words - It`s ‘pyskowanie’(to talk back, from a noun pysk ‘muzzle, clock’) you idiot.) with "izzle"?  S.T. Pun > T.T. Pun - It's "talk back," you idiot.  Paronymy  Horizontal 22. Season 1 episode 12; 3:56 - On cierpi. Odwróczisz się od przyjaciela? - Jak mu na imię? - He's clearly in pain. How can you just turn - Salazar Cezary. your back on a friend like that? - Chciałeś powiedzieć ‘sałatka Cezara’. (- He`s in pain. You`re going to turn back on a - A friend? Really? Yeah? What's his name? friend? - Caesar Salazar. - What`s his name? - Salazar Cezary. - You made that up. You were gonna say - You wanted to say ‘Caesar salad’.) "Caesar Salad."  S.T. Pun > T.T. Pun  Paronymy  Horizontal 23. Season 1 epsiode 12; 19:41 - Co było na zdjęciu? - Kobieta na traktorze. Bez koszuli. - So what was the picture of? - Było gorąco? - Well, it was a woman on a tractor and she - To szczera rozmowa. Ta kobieta… Lubię okrągłe kształty… Kowbojski kapelusz nie had her shirt off. zaszkodził… Wycięte jeansy… Pytasz o pogodę? - Was it hot? ( - What was on that picture? - A woman on a tractor. Without a shirt. - Okay, we're being honest here. Um, this - Was it hot? particular woman- Well, my tastes do run to - It is an honest conversation. This woman… I like curvy shapes… Cowboy hat didn’t hurt… the curvy, and the cowboy hat did not hurt Cutoff jeans… You ask about the weather?) one bit. Couple that with the cutoff jeans-  S.T. Pun > T.T. Pun And you were asking about the weather, weren't you? - Yeah.  Homonymy  Horizontal

24. Season 1 episode 13; 4:29 - Przestałem się ukrywac po dwudziestce, tacie mówiłem o tym trzy razy zanim załapał. Myślał - I had to actually come out to my dad three chyba, że się przesłyszał. Jakbym mówił ‘tato, times... before he finally acknowledged it. jestem klejem.’ ( - I stopped hiding in my twenties, I told my I'm not sure if maybe he was hoping he heard dad about it three times. I guess he though he it wrong, like I had said, "Dad, I'm gray." misheard me. Like I was saying ‘Dad, I`m a glue’.)  Paronymy  S.T. Pun > T.T. Pun  Vertical 25. Season1 episode 13; 13:13 - Proszę, jest tam. - Nie wiem co się stało. Były takie kiedy - Yes. Come on in. He's over there with the wróciliśmy. flowers. - Ja też płonę. (- Here you go, he` there. - Hello. I don't know what happened. They - I don`t know what happened. They were like just, uh, somehow lost their vigor. They were this when we came back home. - I`m flaming too.) like this when we came home.  Pun > Non-Pun - (flowers turn into flames) Cam. Cam. - (Screaming and running around with the burning flowers) Oh, my God! Oh, my God! Oh, my God! Oh! Oh! Oh, my God! God, God! - Look at that. Two things flaming at once.  Homonymy  Horizontal 26. Season 1 episode 14; 9:19 - Rewanż. - Gramy? Father-in-law and his gay son-in-law went to - Tak. Nie!!! Cholera. play squash together. Earlier in the changing (- Rematch. - We play? room they accidentally bumped into each - Yes. No! Damn it.) other’s butts.  Pun > Non-Pun - We're gonna have a rematch right here, right now. - So you want to go up against me again? (being ambiguous and referring to both the match and the earlier situation in the changing room). - Yes. No! Damn it.

 Homonymy  Horizontal 27. Season 1 episode 14; 21:05 - Co się dzieje? - Znów się pokłóciliśmy. Haley and Dylan had a fight, so Dylan was - oh.. Nic nie mów. standing beneath her widow and holding a - Dzień dobry. - Nie. Nic nie mów. phone which played a music. Just like in the - Nic. movie ‘Say anything’. - Nie. nic nie mów to film. - Film. Father: What's happening? (- What`s happening? Dylan: Well, Haley and I got into another - We are fighting again. - Oh.. Say nothing. fight. - Good morning. Father: Oh- Say Anything. - No. Say Nothing. - Nothing. Dylan: Um, good morning? - No. Say nothing is a movie. Father: No. Say Anything. - A movie.)

Dylan: Newspaper.  S.T. Pun > T.T. Pun Father: No, Dylan. Say Anything. Clutch movie. Dylan: Clutch movie.  Homonymy  Horizontal 28. Season 1 episode 15; 5:54 - Płatki róż? - Are these rose petals? - Symbol naszej miłości. - Yes, to commemorate our love. - Musiałem się zgodzić. - I had to settle. - Tylko twoja matka tak sądzi. - Well, your mom might think so, but a lot of - Mówię o rozprawie. Musiałem zawrzeć ugodę. people think I'm a catch. (- Rose petals? - No. The case. - Symbol of our love.  Homonymy -I had to agree/ accept.  Horizontal - Only your mother thinks so. - I`m talking about the case. I had to settle.)  Direct copy: Pun S.T. = Pun T.T. 29. Season 1 episode 15; 9:24 - Rozmowa idzie ci gładko. - You're a pretty smooth talker, Clive. - Nie tylko w rozmowie jestem gładki. - I'm pretty smooth all over. (- Talking goes pretty smoothly for you.  Homonymy - It`s not the only thing that I`m smooth in.)

 Horizontal  S.T. Pun > T.T. Pun 30. Season 1 episode 16; 4:43 - Jetseśmy jak Ponce de León i jego syn. - We're like Ponce de León and his son, Little - Kto to? Ponce. - Sławni poszukiwacze skarbów. - Who's that? - Miał na imię Ponce? W szkole przezywaliby - Famous treasure hunters. go ‘pląs’. - His name was Ponce? He'd get made fun of - Albo ‘Opąsowy’. at my school. They'd probably call him - Dobre. "Pants." (- We are like Ponce de León and his son. - Or maybe, um, "Fancy Ponce." - Who`s that? - That's a good one. - Famous treasure hunters.  Paronymy - His name was Ponce? At school they would  Horizontal call him ‘pląs’ (kind of dance). - Or ‘opąsowy’ (‘pąsowy’ means ‘brilliant red’) - Good one.  S.T. Pun > T.T. Pun 31. Season 1 episode 17; 00:42 - Jest akwizytorką? Brother and sister (who is a little bit of a - Ty byłabyś ‘akwizidiotką’. nerd) are talking. (- Is she a salesman? Sister: She's like a door-to-door salesman? - You would be ‘akwizidiotką’. Brother: If you were doing it, they'd call it a Akwizytor + idiotka) dork-to-dork salesman.  S.T. Pun > T.T. Pun  Paronymy  Horizontal 32. Season 1 episode 17; 00:58 - Pora na lekcję. - Come on. It's time for your lesson. - Kolejną? Właśnie dostała nauczkę. - You mean her second lesson, because she (- It`s time for your lesson. just got schooled. (Brother talking to a sister - Another one? She has just got a lesson.) after making fun of her)  S.T. Pun > T.T. Pun  Homonymy  Horizontal 33. Season 1 episode 17; 7:47 - Do dziś Mitchell patrzy na mnie i myśli ‘On - I took the heat on the bird. It was a big zabił Flizę Minnelli’.

63 mistake. To this day, Mitchell looks at me, I (- To this day, Mitchell looks at me and thinks see him thinking, "That's the guy who killed ‘He killed Flizę Minnelli’). Fliza Minnelli." (Name of Mitchell`s bird)  Direct copy: Pun S.T. = Pun T.T.  Paronymy  Vertical 34. Season 1 episode 17; 12:56 - Ty tu teraz rządzisz? Mitchell and his boss are talking about - Skoro córka potrafi się postawić, ja też. working on Sunday. Earlier in this scene (- So you rule here now? Mitchell got a picture from his partner on - If my daughter can stand herself, so can I.) which his daughter is standing up for the first  S.T. Pun > T.T. Pun time. Boss: So, you're in charge now, is that it? Mitchell: Well, I just figure if my daughter can stand up, then so can I.  Homonymy  Horizontal 35. Season 1 episode 17; 21:18 - Dawałeś mi go dwadzieścia lat temu po - You tried to give me this 20 years ago when śmierci mojego węża. Zsa Zsa Gabor. my pet snake died. ( - You were giving it to me twenty years ago - I did? after the death of my snake. Zsa Zsa Gabor.) - Yes. Zsa Zsa Gaboa?  Pun > Non-Pun - Oh, that's adorable. (Blending of the name of an actress Zsa Zsa Gabor and ‘boa’).  Paronymy  Vertical 36, 37. Season 1 episode 18; 2:12 - W nocy spadnie deszcz meteorytów z roju - Tonight is the magnificent Lyrid meteor Lirydów. shower. - Planeta Palant minie Drogę Durnia. Co kilka - It's where the planet Geek passes through lat Mitchell z ojcem obserwują razem deszcze the Nerdy Way. Oh, you know I think it's meteorytów. sweet. Every couple years, Mitchell and his (- This night there will be a Lyrid meteor rain. father go out and enjoy one of these showers The Planet Geek will pass the Fool Way. Every

together. (He is being ambiguous and couple years, Mitchell and his father watch suggests that Mitchell and his Dad shower together one of this meteor rains. ) together while the word ‘shower’ here refers to the ‘meteor shower’).  The nerdy way: S.T. Pun > T.T. Pun Two puns:  Shower – Meteor shower: Pun > Non- The Nerdy way Pun  Paronymy  Vertical Shower – Meteor Shower  Homonymy  Horizontal 38, 39. Season 1 episode 18; 3:49 - Zdzira razem z brązowym konusem niech Cameron was discussing something wraca do Kolumbii. regarding Ivy league Universities with Clair (- This bitch with this brown squirt should both and Mitchell. Gloria and her son, who are go back to Colombia.) from Columbia, overheard them. - Whatever. Honestly, I wish that tart would Both puns: go back to Columbia and take her weird  Pun > Zero little Brown friend with her. With ‘Columbia’ he meant the University of Columbia and ‘little Brown friend’ was a reference to a person who was studying at the Brown University. However it sounded like he was talking about Gloria and her son.

Two Puns: Colombia  Homonymy  Vertical Brown  Homonymy  Vertical 40. Season 1 episode 18; 8:16 - Skunks mnie opryskał!

- I got sprayed by a skunk! - Śmierdzisz! - Oh, you stink! - Nie tylko niewiedzą. - And not just at astronomy! (- A skunk sprayed me!  Homonymy - You stink!  Horizontal - And not only of ignorance/ lack of knowledge.)  Direct copy: Pun S.T. = Pun T.T. 41. Season 1 episode 19; 1:11 - Nazywano mnie ‘Strefą Śmiechu’. Miałem 11 - It was called the Fun Zone. I was 11. I hit lat. Ćwiczyłem uderzenia kiedy przyszedł 10 straight fastballs in the batting cage. Then kolega. Trafiłem go prosto w krocze. my best friend Jeff Sweeney stepped in and Krzyknąłem ‘Ale jaja!’. I wszyscy wybuchneli took one in the groin. I yelled out "Ball two!" śmiechem. Everybody laughed. (- I was called ‘Fun Zone’. I was 11. I was  Homonymy practicing hitting when my friend came. I hit  Horizontal him straight in the groin. I yelled ‘Ale jaja’. (literal translation ‘But eggs!’, it means ‘very funny’. ‘Eggs’ is also an informal term for men`s testicles. Just like ‘balls’ in English.) Everybody started to laugh.)  S.T. Pun > T.T. Pun 42. Season 1 episode 20; 9:06 - Straszne dziś fale. Serfujecie? - Pardon the get-up. Killer waves today. You - Tylko w sieci. guys surf? (- Horrible weaves today. Do you surf? - Um, only for bargains on the Web. - Only on the web.)  Homonymy  S.T. Pun > T.T. Pun  Horizontal 43. Season 1 episode 20; 14:41 - Mogliby spróbować jeden na jedngo. - I hear you. Um, one thing that might help- - Wiem co robie. instead of a zone, if you switch to a simple - Tak? Zdobyłeś 4 punkty. Powodzenia. man-to-man. ( - They could try one-on-one. - I got this. - Wiem co robię - Really? 'Cause according to the scoreboard, - Really? You got four points. Good luck.) the only thing you got is four points.  Pun > Non-Pun

 Homonymy  Horizontal 44. Season 1 episode 21; 11:44 - O, majtki. - Geez, someone's panties are in a bunch. - Martwię się. - I thought I was showing concern and- - Leżą tam. - No. Right there. (Points at panties lying on (- Oh, panties. the floor) - I am worried.  Homonymy - They are lying there.)  Horizontal  Pun > Zero 45. Season 1 episode 21; 18;43 - Wiem, że coś się z tobą dzieje. Co jest? - I know something is going on with you. - Co? Bokserki mi podjeżdżają. What's up? - Nie mam nastroju na żarty, choć ten był - Something up? Well, my boxers are, uh, dobry. riding a little high. (- I know something is going on with you. What - I'm not in the mood for jokes right now, is it? although you nailed that. - What? My boxers are riding up.  Homonymy - I`m not in the mood for jokes, although this  Horizontal one was good.)  Pun > Non-Pun 46. Season 1 episode 22; 11:34 - Pokazując domy poznajesz różne sztuczki. - If you show enough houses, you learn all Agent to ninja w marynarce. Przeciętny the tricks. Every Realtor is just a ninja in a włamywacz zostawia ślady. Ale nie ja. Nie blazer. The average burglar breaks in and zostawiam niczego. leaves clues everywhere, but not me. I'm (- Showing houses teaches you a lot of tricks. completely clueless. Realtor is like a ninja in a jacket. The average  Homonymy bulgrar leaves tracks. But not me. I leave  Vertical nothing.  Pun > Non-Pun 47. Season 1 episode 22; 20:13 - Oglądać wieloryby. - It's whale "watching." - Oplątać wieloryby. - Whale washing. - Oglądać. - Watching. - Oplątać. - Washing. - Może być.

- That's close enough. (- To watch whales.  Paronymy - To entangle whales.  Horizontal - To watch. - To entangle. - Good enough).  S.T. Pun > T.T. Pun 48, 49, 50, 51. Season 1 episode 24; 0:07 - Dlaczego szeleścisz? Phil is going to a basketball game and he - Przestrzegam zasad, ale kiedy ktoś zabrania wants to take food with him ‘illegally’. mi przynosić przekąski na mecz, wariuje. To - Oh. Why are you crunching? wolny kraj. Nie lubię kiedy jakiś piernik mówi - Ordinarily, I'm a rule follower, but when mi, że mam wydać połowę pensji na jego hot someone tells me I can't bring my own doga. snacks into their stadium, that's when I get a (- Why are you rustling? little nuts (pointing at nuts in his pocket). It's - I obey the rules, but when someone forbids me a free country, right? Let's just say it ruffles to bring my snacks to the game, I`m going (chips) me... (points at ruffles in his pocket) crazy. It`s a free country. I don`t like when When some goobers (kind of nuts) tell me... some ‘piernik’ (lit. ‘ginger bread’, it is an (points at goobers in his pocket) I have to informal term for an old complainer) tells me spend half my payday (peanut caramel bar) ... that I have to spend half of my pay day for his (points at his pocket) On their hot dogs hot dog.) (points at his pocket). All four puns:

Four puns:  Pun > Zero

Get a little nuts  Homonymy  Horizontal It ruffles me  Homonymy  Horizontal Some Goobers  Homonymy  Horizontal Spend half on my payday  Homonymy

 Horizontal

52. Season 1 episode 24; 4:32 - Ja umieściłbym całą rodiznę w ogromnym - My idea was to have the whole family in a łóżku. giant bed, like in Willy Wonka. - To niedorzeczne. - Yeah, but that's ridiculous. - Niesamowite. - "Ridiculicious." ( - I would put the whole family in a giant bed.  Portmanteaux - It`s ridiculous.  Vertical - It`s amazing.)  Pun > Non-Pun 53. Season 1 episode 24; 14:31 - Muszę pocałować… podreperować stopień. - Oh! I should- I should come by and kiss (- I have to kiss… to fix that step.) that step-fix that step. Phil was afraid of his wife, because he kissed  Pun > Non-Pun with his mother-in-law. That is why instead of saying ‘fix’ he said ‘kiss’.  Paronymy  Horizontal 54. Season 1 episode 24; 17:34 - Pocałunkowa kamera. - It was the kiss cam. - Pocałowałaś Camerona? - Why did you kiss Cam? - Nie, Phila. Kazał mi. - No, I kissed Phil. He told me I had to. (- It was the kiss camera.  Homonymy - You kissed Cameron?  Horizontal - No, Phil. He told me to.)  S.T. Pun > T.T. Pun 55. Season 2 episode 2; 00:06 - Dlaczego pojemniczki i wieczka zawsze się - How come we don't have the same number rozdzielają? of containers and lids? Why would they ever - Narastające urazy, kwestie finansowe, get separated? młodsze wieczka. - Built-up resentment, money issues, met a (- Why containers and lids are always getting younger lid. separated?  Homonymy - build-up resentment, financial issues, younger  Horizontal lids.)

 S.T. Pun > T.T. Pun

56. Season 2 episode 3: 2:45 - Oh opuściliśmy Gorączkę Sobotniej nocy. - Oh, right. Seder Day Night Fever. (- Oh we skipped the Saturday Night Fever.)  Homophony  Pun > Non-Pun  Vertical 57, 58. Season 2 episode 3; 04:46 - Straciliśmy Phila Talking on the phone: - Straciliśmy Phila?! - Hello? Oh, shoot. We lost Phil. - Teraz Gloria - We lost Phil? - Ona też odeszła? - Hello? (- We lost Phil. - Great. Now Gloria's gone. - We lost Phil? - Gloria's gone too? Oh! - Now Gloria. Two puns: - She`s gone too?) We lost Phil Both puns:  Homonymy  S.T. Pun > T.T. Pun  Horizontal Now Gloria's gone  Homonymy  Horizontal 59. Season 2 episode 4; 00:10 - Tata napisał kolejny klasyk. -Dad just wrote another classic one. Tell her. - Nie wiem czy to klasyk. Jeśli szukasz domu ze - I don't know about classic, but... here we go. schodami, dobrze trafiłeś. Najpierw kupisz dom, "If you're looking for a two-story house, I'm potem zaczną się schody. your man. I'll tell you one story before you (-Dad wrote another classic. buy it... and then another story after. - I don`t know if it`s classic. If you look for a  Homonymy house with stairs, you`re in the right place.  Horizontal First, you buy a house then the ‘stairs will start’ (‘Stairs will start’ is an idiomatic expression which means that some troubles are starting to emerge).)  S.T. Pun > T.T. Pun

60. Season 2 episode 4; 00:39 - Przez ostatnie pięć lat prowadził go Gil - Now, for the last five years Gil Thorpe has Thorpe, ale ponieważ ma usuwany polip hosted... but, as luck would have it... he's poprosił mnie żebym ‘przyfilował’. having a sketchy-looking polyp removed... so (- For the last five years it was hosted by Gil they've asked me to fill in. Thorpe but since he is having a polyp removed,  Homophony he asked me to ‘przyfilował’ (it`s a verb coined  Vertical by a translator, it can mean that Phil should do Phil`s thing. See chapter 4 for detailed description).)  S.T. Pun > T.T. Pun 61. Season 2 episode 4; 04:10 - Nie możesz biec jak wszyscy? - Okay, can't you just run like a normal - To troga – chodząca Joga. person? (- Can`t you run like everybody? - What? It's troga – treadmill yoga. - It`s troga – walking Yoga.)  Portmanteaux  S.T. Pun > T.T. Pun  Horizontal 62. Season 2 episode 6; 02:13 - Jestem strasznym, czarnym kotem. - Check it. I'm a scary black cat. The only - Tylko ja się boje. Przebierz się. person that costume scares is me. Go change - W co? it. - W stary kostium. Oszczędzam ci całodziennych - To what? pytań facetów o to czy masz szorstki język. - I don't know. One of your old costumes. (- I`m a scary black cat. Honey, trust me. I am sparing you an entire - I`m the only one who`s scared. Change. day... of guys asking you if you have a rough - To what? tongue. - In your old costume. I`m saving you the whole  Homonymy day of men asking you if you have a rough  Vertical tongue.)  S.T. Pun > T.T. Pun 63. Season 2 episode 6; 02:57 - Wiozę wyrzucić dzieci do szkoły. - I have Manny in the carpool, and we're going - Wyrzutek? Dzieciak Eddiego? to the dropout. - Nie, wyrzucić dzieci do szkoły. - Dropout... You mean that Eddie kid? Yeah, - PODrzucić. he's a moron. ( - I`m driving the kid to wyrzucić them at

- No, the dropout, where you drop the kids in school. the school. - Wyrzutek? The Eddie`s kid? - She means "drop-off." - No, wyrzucić kids at school.  Paronymy - PODrzucić).  Horizontal For explanation see chapter 4.  S.T. Pun > T.T. Pun 64. Season 2 episode 6; 03:22 - Bruja to wiedźma, a gulgot to gulgot. - A ‘bruja’ is a witch, and a gargle is a gargle. - Chodzi o gargulca. - She means "gargoyle." ( - Bruja is a witch and a gulgot is a gulgot.  Paronymy - It`s ‘gargulca’).  Horizontal  S.T. Pun > T.T. Pun 65. Season 2 episode 6; 8:06 - Wczoraj powiedziałaś, że życie jest - Like, for example, last night you said we live ‘pieskowe’. in a "doggy-dog" world. - I co z tego? - So? - życie jest ‘pieskie’. - It's "dog-eat-dog" world. (- Yesterday you said that life is ‘pieskowe’.  Paronymy - So what?  Horizontal - Life is ‘pieskie’10).  S.T. Pun > T.T. Pun 66. Season 2 episode 6; 08:25 - Nie mówimy ‘szczęście nie w części’ tylko - Well, it's not "blessings in the skies." It's ‘szczęście w nieszczęściu’. "blessings in disguise." ( - We don`t say szczęście nie w części but  Homophony ‘szczęście w nieszczęściu’.)  Horizontal For explanation see chapter 4.  S.T. Pun > T.T. Pun 67. Season 2 episode 6; 08:31 - ‘Zespół kanału nadgarstka’ to nie ‘zespół - "Carpal tunnel syndrome" is not "carpool kanału ciastkarza’. tunnel syndrome."’ ( - ‘Zespół kanału nadgarstka’ is not the ‘zespół  Paronymy kanału ciastkarza’).  Horizontal  S.T. Pun > T.T. Pun

10 Pieskie życie – lit. ‘doggy life’ is a phrase which means that your life is bad, causes you many problems and negative feelings (Słownik frazeologiczny PWN z Bralczykiem). 72

68. Season 2 episode 6; 08:44 - Co to jest? Jay, taking out a figurine of a baby Jesus from - Poprosiłam sekretarkę żeby zamówiła a box: malutkie ‘Jeżuszki’. - What the hell is this? ( - What is it? - I told you, Jay. I called your secretary and - I asked your secretary to order the little told her to order you a box of baby cheeses. Jesuses.)  Homophony  Pun > Non-Pun  Horizontal 69. Season 2 episode 6; 15:29 -Strzeżcie się mgły bo możecie czegoś nie Healy, showing a head to children: dostrzec. - Okay, but beware of the fog, for you might (- Beware of the fog because you might not see not be able to see ahead. something.)  Homophony  Pun > Non-Pun  Vertical 70. Season 2 epsiode 6; 17:20 - Tato! Grzmot, piorun, mgła. - And Dad... Dad, it goes lightning, thunder, - To wszystko jest zamglone. fog cue. ( - Dad! Thunder, lightning, fog. - This whole thing is a colossal fog cue. - Everything is foggy.) (Actually having in mind ‘Fuck you’)  S.T. Pun > Non-Pun  Paronymy  Horizontal 71. Season 2 episode 6; 20:56 - Kiedyś powiedziała: Nie zadław się bo będę - Oh, and one time she says, "Don't choke... or musiała ci zrobić manewr Hindenburga. I'll have to give you the Hindenburg ( - Once she said: Don`t choke or I will have to maneuver." make you the Hindenburg maneuver.)  Paronymy  S.T. Pun > T.T. Pun  Vertical 72. Season 2 episode 6; 21:04 - Siedzisz jak trupa. - You look like a deer in head lice. (- You sit like a trupa. The correct noun is trup  Paronymy ‘corpse’).  Vertical  S.T. Pun > T.T. Pun 73. Season 2 episode 7; 12:22 - Poparzyłem paluszki. - Oh, sorry! I burnt my ladyfingers. ( - I burnt my paluszki. It is a diminutive of the

 Homonymy word ‘fingers’. Paluszki are also a kind of salty  Vertical snack).  S.T. Pun > T.T. Pun 74. Season 2 episode 7; 15:09 - Spójrz tam! - Look. Over there. - To Rabat-zilla. - It's Save-zilla. (- Look there!  Paronymy - It`s Rebate-zilla)  Vertical  S.T. Pun > T.T. Pun 75. Season 2 episode 7; 17:08 - A o co? - What is it? - Buziak. - First kiss. - Mów od razu. - No. Just tell me. - Twój pocałunek z mama. - I mean your first kiss with my mom. ( - What then?  Homonymy - Kiss.  Horizontal - Tell me immediately. - Your kiss with my mother.)  S.T. Pun > T.T. Pun 76. Season 2 episode 7; 18:26 - Tato, wiem gdzie mogę sprzedać organy. Luke, holding organ (a musical instrument) in Zawieziesz mnie na czarny rynek? his hands: - Tam sprzedają inne organy. - Hey, Dad, I think I found a place online ( - Dad, I know where I can sell organs. Can where I can sell this organ. Can you drive me you drive me to the black market? to the black market? - They sell a different kind of organs there.) - I think they mean a different kind of organ,  S.T. Pun > T.T. Pun buddy.  Homonymy  Horizontal 77. Season 2 episode 8; 01:49 - Nadal ma żal, że przegrała wojnę kolorów. - Somebody's still a little touchy... about Była w drużynie chabrowych czyli ‘chałowych’ losing last year's color war. She was on Team (- She is still angry about losing the war of Blue... or as I like to refer to them, as Team colors. She was in a chabrowych (type of blue Blue-ser. color) meaning chałowych (chała is something  Portmanteaux: Blue + looser useless, valueless, not successful).

 Horizontal  S.T. Pun > T.T. Pun

78. Season 2 episode 8; 05:01 - Dlaczego się rozstajecie? To tylko różnica - How come you and Dad are breaking up? It zdań. Nie możecie się dogadać? was just a little disagreement. Can't you just - Pomyślałeś, że się rozchodzimy? Nie, między work it out? nami jest dobrze, chodziło o różne samochody. - Oh, sweetie, you thought that when I said (- Why are you splitting up? It`s just a we were splitting up... No. No, your dad and I difference of opinions. Can`t you work it out? are fine, honey. We just were gonna take - You thought that we are splitting up? No, we separate cars to see who could get to the are good, it was just about different cars.) restaurant faster.  Pun > Non-Pun  Homonymy  Horizontal 79. Season 2 episode 10; 04:07 - Dunphy - It's Dunphy. - Wiem, Dumphy. - That's what I said... Dumphy. - Nie DuMphy, DuNphy. - No, not "Dum." Dunphy. - DuMphy. - Dumphy. (-Dunphy.  Paronymy - I know, Dumphy.  Horizontal - Not DuMphy, DuNphy. - DuMphy).  Direct copy: Pun S.T. = Pun T.T. 80. Season 2 episode 10; 07:29 - Lili, dlaczego gryziesz? - Lily, why are you biting? - Ząbkuje. - She's not biting, she's teething. - Jeśli tak dalej pójdzie zostanie pariasem. - On people. All right, she starts biting - Albo piranią. her playdates, she's gonna be a pariah. ( - Lili, why are you biting? - Try piranha. - Teething,  Paronymy - If it goes on like this, she`s going to become a  Horizontal pariah. - Or a piranha.)  S.T. Pun > T.T. Pun