Translation and Analysis of 'The Big Bang Theory'

MASARYK UNIVERSITY FACULTY OF EDUCATION Department of English Language and Literature

Translation and Analysis of ‘The Big Bang Theory’ Transcripts with a Special Focus on Translating Idiolects of Main Characters

Bachelor’s Thesis

Brno 2021

Supervisor Author doc. Mgr. Martin Adam, Ph.D. Pavlína Malíková

Bibliographic record

MALÍKOVÁ, Pavlína. Translation and Analysis of ‘The Big Bang Theory’ Transcripts with a Special Focus on Translating Idiolects of Main Characters. Brno: Masaryk University, Faculty of Education, Department of English Language and Literature, 2021. 75 p. Advisor: doc. Mgr. Martin Adam, Ph.D.

Annotation The purpose of this thesis is an English-Czech translation of transcripts of two selected episodes of "The Big Bang Theory" series and the consequent analysis of the translation with a special focus on translating idiolects of the main characters. The thesis includes a practical, theoretical and analytical part. The practical part is devoted to the English-Czech translation. Theoretical part defines the idiolect, describes the features of informal spoken discourse in English and Czech and compares the differences between them. Analytical part deals with the analysis of translation from the point of view of the individual idiolects of the main characters and from the selected language levels.

Keywords translation, translation analysis, idiolect, informality, informal spoken discourse, The Big Bang Theory

Anotace Tato práce si klade za cíl anglicko-český překlad scénářů dvou vybraných epizod seriálu „Teorie velkého třesku“ a následný rozbor překladu se zaměřením na překlad idiolektů hlavních postav. Práce obsahuje praktickou, teoretickou a analytickou část. Praktická část se věnuje anglicko-českému překladu. Teoretická část definuje idiolekt, popisuje znaky neformálního mluveného jazyka v anglickém a českém jazyce a porovnává rozdíly mezi nimi. Analytická část se zabývá analýzou překladu z pohledu idiolektů hlavních postav a z pohledu vybraných jazykových rovin.

Klíčová slova překlad, analýza překladu, idiolekt, hovorovost, neformální mluvený jazyk, Teorie velkého třesku

Declaration

I hereby declare that this bachelor thesis was done independently, using only the information provided by the sources cited in the text and included in the list of references in accordance with the Disciplinary regulations for the students of the Faculty of Education of the Masaryk University.

Prohlášení

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

……………………………. In Brno, 2021 Pavlína Malíková

Acknowledgments

I would like to express my sincere gratitude to my supervisor doc. Mgr. Martin Adam, Ph.D., for his encouraging words, thoughtful comments and dedicated support. I also wish to thank my family and friends who have a been a great source of support.

Table of Contents

INTRODUCTION ...... 7 PRACTICAL PART - TRANSLATION ...... 8 THEORETICAL PART ...... 32 1 ABOUT TRANSLATION ...... 32 1.1 The Definition of Translation ...... 32 1.1.1 Selected Translation Methods ...... 33

2 IDIOLECT AND INFORMAL SPOKEN DISCOURSE ...... 34 2.1 Idiolect ...... 34 2.2 Definition of Informal Language ...... 35 2.1.1 Difference Between Formal and Informal Language ...... 36 2.3 Informal Spoken Discourse in English (on phonetic, lexical, syntactic, and morphological level) ...... 37 2.4 Informal Spoken Discourse in Czech (on morphologically-phonological, lexical and syntactic level) ...... 39 2.5 Different Signals of Informality in English and in Czech ...... 42 2.6 Translating Idiolect with a Focus on Informality ...... 44

3 THE BIG BANG THEORY SERIES...... 46 3.1 The Sitcom ...... 46 3.2 Introduction of The Big Bang Theory Series ...... 47

ANALYTICAL PART ...... 49 4 ANALYSIS OF TRANSLATING INFORMALITY IN THE BIG BANG THEORY SERIES ...... 49 4.1 Idiolect Analysis of The Big Bang Theory Characters ...... 49 4.1.1 Sheldon Cooper’s Idiolect ...... 49 4.1.2 Leonard Hofstadter’s Idiolect ...... 52 4.1.3 Penny Hofstadter’s Idiolect ...... 55 4.1.4 Howard Wolowitz’s Idiolect ...... 58 4.1.5 Rajesh Koothrappali’s Idiolect ...... 61 4.2 Translation of Informality on Selected Language Levels...... 63 4.2.1 Morphologically-phonological Level ...... 64 4.2.2 Lexical Level ...... 65 4.2.3 Syntactic Level ...... 68

CONCLUSION ...... 71 BIBLIOGRAPHY ...... 73

Introduction

The aim of this thesis is an English-Czech translation of two selected episodes of ‘The Big Bang Theory’ series and the consequent analysis of the translation with a special focus on translating idiolects of the main characters. "The Big Bang Theory" belongs to one of the most popular series in the whole world. Thus, throughout the twelve broadcasted series, people have created an emotional connection with the characters. Some catchphrases of the main characters, such as "Bazinga!", became highly popular in people’s everyday conversations. Because of the popularity of the series, many amateurs started to translate the subtitles without a deeper analysis of the aspects standing behind the speech and language of the main characters. This leads me to creating my own translation with a focus on idiolects of the five main protagonists, whose lines and humorous utterances have often deeper and cultural-based meaning. As Levý (1998, p. 56) claims, a good translator should "understand the characters, their relationships and the environment in which they are living". This is the reason for my decision to analyse the idiolects in this translation in order to provide the reader with a translation based on knowledge of the individual features influencing the language of the main protagonists.

As suggested before, this thesis deals with idiolect analysis of the five main protagonists of the series. The main differences between their idiolects lie in different levels of formality in their languages, which is also the main source of humour in the series. For this reason, their idiolects are aimed to be analysed with a special focus on various levels of mainly informal language. Therefore, the thesis is divided into three parts. The first part deals with the translation of two selected episodes. One episode is taken from the first season and the second episode is from the last, 12th season in order to show the dynamism and development of the character’s idiolects. The second, theoretical part deals with the theory of idiolect and describes the features of the informal spoken discourse in English and Czech in order to introduce the reader to the terminology occurring in the analytical part. Further, it shortly introduces the series and deals with the translator’s approach towards translation of idiolects with a special focus on informality. The third part is the analysis itself which is divided into detailed analysis of the idiolects and analysis of the informality on selected language levels. The idiolects and informality closely intertwine throughout the whole thesis.

7 PRACTICAL PART – TRANSLATION Season 1 Episode 16, The Peanut Reaction 1. série, 16. epizoda, Oříšková reakce HOWARD: Take him down! HOWARD: Sejmi ho! LEONARD: He's got you, Sheldon. LEONARD: Už tě má, Sheldone. RAJ: Look at this move! RAJ: Koukejte! LEONARD: He's completely schooling you. LEONARD: Ten ti dává, co proto. PENNY: Hey, guys, some of the other PENNY: Čau, kluci, ostatní servírky mě waitresses wanted me to ask you something. požádaly, abych se vás na něco zeptala. LEONARD: It's called Tresling. LEONARD: Jmenuje se to Tresling. HOWARD: It combines the physical strength HOWARD: Je to kombinace fyzické síly páky of arm wrestling with the mental agility of s mentální hbitostí tetrisu do dokonalýho Tetris into the ultimate sport. sportu! PENNY: Yeah, that's terrific, but they wanted PENNY: Jo, to je skvělý, ale ony mě prosily, me to ask you to cut it the hell out. Great. ať to sakra vypnete. Super. Pojďte, lidi, jdeme. Come here, guys. Come on. (Singing while (Zpívají a jdou směrem k jinému stolu.) Hodně approaching another table) Happy birthday to štěstí zdraví! you! SHELDON: We might as well stop. It's SHELDON: Už bychom měli přestat. Je to a stalemate. You're beating me in Tetris, but pat. Porážíš mě v tetrisu, ale v rukách máš sílu you've got the upper body strength of jako trpaslík. a Keebler elf. RAJ: Keebler elf? I've got your Keebler elf RAJ: Trpaslík? Já ti ukážu trpaslíka! right here! (Strains to push Sheldon’s arm (Ze všech sil se snaží položit na stůl down. Tries using both hands, still with no Sheldonovu paži. Zkouší použít obě ruce, ale effect.) Okay, it's a stalemate. stále bez úspěchu.) Dobře, je to pat. PENNY: So, Leonard, will we be seeing you PENNY: Tak co, Leonarde, přijdeš on Saturday for your free birthday si v sobotu pro svůj narozeninový tvarohový cheesecake? dort zdarma? SHELDON: He can't eat cheesecake. He's SHELDON: Nemůže tvarohový dort. Má lactose intolerant. alergii na laktózu. PENNY: Okay. He can have carrot cake. PENNY: Dobře, tak si dá mrkvovej. SHELDON: What about the cream cheese SHELDON: A co ta tvarohová poleva? frosting? PENNY: He can scrape it off. PENNY: Může ji seškrábat. LEONARD: Forget about the cake. How do LEONARD: Kašlete na dort. Jak víš, že mám you know my birthday's Saturday? v sobotu narozeniny? PENNY: I did your horoscope, remember? PENNY: Dělala jsem ti horoskop, pamatuješ? I was gonna do everybody's, until Sheldon Udělala bych ho vám všem, kdyby Sheldon went on one of his typical psychotic rants. neměl jednu z těch svejch psychotickejch přednášek. SHELDON: For the record, "that psychotic SHELDON: Jen pro pořádek, ta „psychotická rant" was a concise summation of the research přednáška“ byla stručný výtah z výzkumu of Bertram Forer, who, in 1948, proved Bertrama Forera, který v roce 1948 pomocí conclusively through meticulously designed velmi důsledných experimentů nezvratně experiments that astrology is nothing but prokázal, že astrologie není nic jiného než pseudo-scientific hokum. pseudovědecký žvást. PENNY: Blah, blah, blah. Typical Taurus. PENNY: Bla, bla, bla. Typický býk. Teď Seriously, are we gonna see you Saturday? vážně, ukážeš se tu v sobotu? LEONARD: I don't think so. LEONARD: Asi ne. PENNY: Why not? PENNY: Proč ne? 8

LEONARD: I don't celebrate my birthday. LEONARD: Neslavím narozeniny. PENNY: Shut up. Yeah, you do. PENNY: Ale nekecej, určitě slavíš. LEONARD: It's no big deal, it's just the way LEONARD: Vždyť o nic nejde, takhle jsem to I was raised. My parents focused on měl odmala. Mí rodiče se vždycky zaměřovali celebrating achievements, and being expelled na oslavu úspěchů a to, že mě matka vypudila from a birth canal was not considered one of skrz porodní cesty se mezi to neřadilo. them. PENNY: That's so silly. PENNY: To je fakt hloupý. SHELDON: It's actually based on very sound SHELDON: Ve skutečnosti je to založeno na theories. His mother published a paper on it. velmi solidních teoriích. Jeho matka o tom napsala případovou studii. PENNY: What was it called? "I Hate My Son PENNY: Jak se to jmenovalo? „Nesnáším and That's Why He Can't Have Cake"? svého syna, a proto nedostane dort“? SHELDON: It was obviously effective. SHELDON: Očividně to bylo efektivní. Leonard grew up to be an experimental Z Leonarda vyrostl experimentální fyzik. physicist. Perhaps if she'd also denied him Možná, kdyby mu nedopřála Vánoce, byl by o Christmas, he'd be a little better at it. trochu lepší. LEONARD: Thank you. LEONARD: Díky. HOWARD: Well, I love birthdays. Waking up HOWARD: Já mám narozeniny rád. Po to Mom's special French toast breakfast, probuzení mi máma k snídaní udělá wearing the birthday king crown, playing francouzský toast, nosím narozeninovou laser tag with all my friends... čepičku, hraju laser game s kamarády… PENNY: Yeah, see? That's what kids should PENNY: Vidíte? Takhle by děti měly trávit have. narozeniny. HOWARD: Actually, that was last year. HOWARD: No, vlastně tohle bylo loni. PENNY: So you really never had a birthday PENNY: Takže tys fakt nikdy neměl party? narozeninovou oslavu? LEONARD: No, but it was okay. When I was LEONARD: Ne, ale nikdy mi to nevadilo. little, I'd think maybe my parents would Teda, když jsem byl malý, doufal jsem, že si change their mind and surprise me with a to rodiče rozmyslí a překvapí mě. Jako party. Like this one birthday I came home jednou, když jsem měl narozeniny, jsem přišel from my cello lesson and I saw a lot of strange domů z hodiny violoncella a před domem cars parkedout front. When I got to the door, I stála spousta cizích aut. Když jsem přišel ke could hear people whispering and I could dveřím slyšel jsem šeptání a ucítil jsem smell German chocolate cake, which is my čokoládový dort s ořechy, můj oblíbený… favorite. PENNY: And? PENNY: A? LEONARD: It turns out my grandfather had LEONARD: Ukázalo se, že mi umřel děda. died. PENNY: Oh, my God. That's terrible. PENNY: Proboha, to je hrozný. LEONARD: Well, it was kind of like LEONARD: Vlastně to bylo jako a birthday party. I got to see all my cousins, narozeninová oslava. Viděl jsem všechny and there was cake, so... svoje bratrance a sestřenice a byl dort, takže… PENNY: To je ta nejsmutnější věc, co jsem PENNY: It's the saddest thing I've ever heard. kdy slyšela. HOWARD: You think? Go ahead, tell her HOWARD: Myslíš? No tak jí řekni ještě about your senior prom. o svým maturitním večírku. Scene: Leonard is exiting the apartment. Scéna: Leonard odchází z bytu. HOWARD (voice from inside): Make sure HOWARD (křičí zevnitř): Nezapomeň, ať they remember, no peanuts! tam nedávají arašídy!

LEONARD: Howard, every Thai restaurant in LEONARD: Howarde, každá thajská town knows you can't eat peanuts. When they restaurace ve městě ví, že nemůžeš arašídy. see me coming, they go, "Ah, no-peanut boy!" Když mě vidí, tak volají „Á, burák je tady!“ Scene: Leonard exits down stairs. A moment Scéna: Leonard odchází po schodech dolů. Za later, Penny peeks out of her apartment, chvíli se Penny vyplíží ze svého bytu, checks the coast is clear, and crosses the hall zkontroluje, jestli je čistý vzduch a jde směrem to the guys apartment. Knocks. k bytu kluků. Zaklepe.

SHELDON (answering): Hello, Penny. SHELDON (otevře dveře): Ahoj, Penny. Leonard just left. Leonard zrovna odešel. PENNY: I know. I want to talk to you. PENNY: Já vím. Chci mluvit s tebou. SHELDON: What would we talk about? We SHELDON: O čem bychom si povídali? have no overlapping areas of interest I'm Nemáme žádné společné zájmy, o kterých aware of. As you know, I don't care for bych věděl. A víš, že si nerad povídám. chitchat. PENNY: Can you just let me in? PENNY: Můžeš mě prostě pustit dovnitř? SHELDON: All right, but I don't see this as SHELDON: Jistě, ale myslím, že je to marná a promising endeavor. snaha. PENNY: Here's the deal. We're gonna throw PENNY: Jde o tohle. V sobotu uděláme Leonard a kick-ass surprise party for his Leonardovi nadupanou narozeninovou birthday on Saturday. oslavu. SHELDON: I hardly think so. Leonard made SHELDON: To pochybuji. Leonard se jasně it very clear he doesn't want a party. vyjádřil, že žádnou oslavu nechce. HOWARD: Did someone say... "party"? HOWARD: Řekl tady někdo „oslava“? PENNY: He just doesn't know he wants one PENNY: On neví, že by chtěl oslavu, protože 'cause he's never had one. nikdy žádnou neměl. HOWARD: I suppose that's possible, but for HOWARD: To je možné, ale na druhou the record, I've never had a threesome and yet stranu, já nikdy nezkusil trojku, a i tak vím, že I still know I want one. bych ji určitě chtěl. PENNY: Howard, here's the difference...The PENNY: Howarde, rozdíl je v tom, že possibility exists that Leonard could have pravděpodobnost, že se Leonard dočká své a birthday party before hell freezes over. narozeninové oslavy, než naprší a uschne, vážně existuje. HOWARD: Fine. If I do have a threesome, HOWARD: Dobře. Ale jestli někdy půjdu do you can't be part of it. I'm just kidding. Yes, trojky, tak se toho účastnit nebudeš. Dělám si you can. Can you bring a friend? srandu. Jasně, že můžeš. Mohla bys pozvat kamarádku? SHELDON: I think a birthday party's SHELDON: Já myslím, že narozeninová a terrible idea. I envy Leonard for growing up oslava je hrozný nápad. Závidím Leonardovi, without that anguish. že vyrůstal bez toho utrpení. PENNY: Anguish?! PENNY: Utrpení?! SHELDON: Year after year, I had to endure SHELDON: Rok co rok jsem musel nosit wearing conical hats while being forced into kuželovité kloboučky, zatímco mě násilím the crowded, sweaty hell of bouncy castles. cpali do nechutně propocených skákacích Not to mention being blindfolded and spun hradů. A to nezmiňuji, že mě se zavázanýma toward a grotesque tailless donkey as the oth- očima roztočili proti grotesknímu bezocasé- er children mocked my disorientation. mu oslu, zatímco se ostatní děti vysmívali mé PENNY: Okay, sweetie, I understand you dezorientovanosti. have scars that no nonprofessional can heal, PENNY: Dobře, zlato, chápu, že máš jizvy, co but, nevertheless, we're going to throw žádnej laik nezahojí, ale i tak Leonardovi Leonard a birthday party. oslavu uděláme. 10

SHELDON: Have I pointed out that I'm SHELDON: Už jsem zmiňoval, že je mi extremely uncomfortable with dancing, loud tanec, hlasitá hudba a většina dalších music and most other forms of alcohol- lehkovážností zahrnujících alkohol extrémně induced frivolity? nepříjemná? PENNY: Nevertheless... PENNY: I tak… SHELDON: In addition, I really don’t think SHELDON: Kromě toho si opravdu myslím, that Leonard wants… že by Leonard nechtěl… PENNY: Here's the deal. You either help me PENNY: Dohodneme se takhle. Buď mi throw a birthday party or, help me God, I will pomůžeš s tou oslavou, nebo bych nedejbože, go into your bedroom and unbag all of your musela jít do tvýho pokoje a rozbalila bych most valuable mint-condition comic books. všechny tvoje nejcennější zbrusu nový And on one of them, you won't know which, komiksy a do jednoho z nich, a ty nebudeš I'll draw a tiny happy face in ink. vědět do kterýho, bych nakreslila inkoustem malinkatýho smajlíka. SHELDON: You can't do that. If you make SHELDON: To nemůžeš udělat. Pokud něco a mark in a mint comic, it's no longer mint. nakreslíš do zbrusu nového komiksu, už není nový. PENNY: Sheldon, do you understand the PENNY: Sheldone, chápeš princip vydírání? concept of blackmail? SHELDON: Well, of course, I, oh... I have an SHELDON: No, jistěže, já… Mám nápad. idea. Let's throw Leonard a kick-ass birthday Uděláme Leonardovi nadupanou party. narozeninovou oslavu. Scene: Howard and Raj sneak up the stairwell Scéna: Howard a Raj se plíží nahoru po carrying presents. Howard knocks on Penny’s schodech a nesou dárky. Howard zaklepe na door, a combination of two knocks, two dveře Penny kombinací dva poklepy, dva knocks, one knock. Nothing happens. He tries poklepy, jeden poklep. Nic se nestane. Zkusí to again. Sheldon opens the door. znovu. Sheldon otevře dveře.

SHELDON: That's not the secret knock. This SHELDON: To není to tajné klepání. Tohle je is the secret knock. (He knocks two, one, two.) tajné klepání. (Zaklepe dvakrát, jednou, dvakrát.) HOWARD: What difference does it make? HOWARD: Jaký je v tom rozdíl? SHELDON: The whole point of a secret SHELDON: Celý princip tajného klepání je knock is to establish a non-verbal signal to vytvořit neverbální signál sloužící k ověření verify the identity of one's co-conspirators. totožnosti spoluspiklence. PENNY: Is that Raj and Howard? PENNY: To je Raj s Howardem? SHELDON: Possibly, but unverified. SHELDON: Pravděpodobně, ale nebylo to ověřeno. HOWARD: Will you just let us in. HOWARD: Prostě nás pusť dovnitř. SHELDON: Luckily for you, this is not SHELDON: Máte štěstí, že tohle není jaderný a nuclear reactor. reaktor. PENNY: So what'd you get the birthday boy? PENNY: Tak co jste přinesli našemu oslavenci? HOWARD: Well, Raj got him an awesome, HOWARD: No, Raj pro něj má parádní model limited edition Dark Knight sculpture based Dark Knighta z limitované edice podle on Alex Ross's definitive Batman. And I got komiksu Alexe Rosse, Definite Batman. A já him this amazing autographed copy of the mu sehnal tuhle skvělou knihu Feynman Lectures on Physics. Feynmanových přednášek o fyzice s autogramem.

PENNY: Nice. I got him a sweater. PENNY: Pěkný. Já mu koupila svetr. HOWARD: Okay, well, he might like that. HOWARD: Dobře, no, to by se mu mohlo I've seen him get chilly. líbit. Už jsem viděl, že mu byla zima. PENNY: Sheldon, I didn't see your present. PENNY: Sheldone, nevidím tvůj dárek. SHELDON: That's because I didn't bring one. SHELDON: To proto, že jsem žádný PENNY: Why not? nepřinesl. HOWARD: Don't ask. PENNY: Proč? SHELDON: The entire institution of gift- HOWARD: Neptej se. giving makes no sense. SHELDON: Celý systém dávání dárků HOWARD: Too late. nedává žádný smysl. HOWARD: Pozdě. SHELDON: Let's say I go out and I spend $50 SHELDON: Řekněme, že půjdu a utratím za on you. It's a laborious activity because I have tebe 50 dolarů. Je to pracná aktivita, protože to imagine what you need, whereas you know musím vymyslet, co bys asi potřebovala, what you need. Now, I could simplify i když ty sama to víš lépe. Můžu to things...just give you the $50 directly, and zjednodušit a dát ti rovnou 50 dolarů a ty mi then you could give me $50 on my birthday, pak dáš 50 dolarů na moje narozeniny a tak and so on, until one of us dies, leaving the dále, až jeden z nás umře a ten druhý bude other one old and $50 richer. And I ask you, is o 50 dolarů bohatší. A já se ptám, stojí to za it worth it? to? HOWARD: Told you not to ask. HOWARD: Říkal jsem, ať se neptáš. PENNY: Sheldon, you're his friend. Friends PENNY: Sheldone, jsi jeho kamarád. give each other presents. Kamarádi si dávají dárky. SHELDON: I accept your premise; I reject SHELDON: Přijímám tvoji premisu, odmítám your conclusion. tvé závěry. HOWARD: Try telling him it's a non-optional HOWARD: Zkus mu říct, že je to povinný social convention. společenský zvyk. PENNY: What? PENNY: Co? HOWARD: Just do it. HOWARD: Prostě to řekni. PENNY: It's a non-optional... social PENNY: Je to povinný… společenský zvyk. convention. SHELDON: Oh. Fair enough. SHELDON: Aha. Tak dobře. HOWARD: He came with a manual. HOWARD: Je k němu návod. SHELDON: Question. How am I going to get SHELDON: Otázka. Jak seženu Leonardovi Leonard a present before the party? I don't dárek, než začne oslava? Neřídím drive and the only things available within a v docházkové vzdálenosti je pouze thajská walking distance are a Thai restaurant and a restaurace a čerpací stanice. Mohl bych gas station. I suppose I could wrap up an order zabalit porci smažených nudlí a pár stíracích of mee krob and a couple of lottery scratchers. losů. PENNY: Okay let's do this...I will drive PENNY: Dobře, uděláme to takhle… Já Sheldon to get a present. Howard, you need to odvezu Sheldona pro dárek. Howarde, ty get rid of Leonard for about 2 hours. musíš Leonarda tak na 2 hodiny zabavit. HOWARD: No problem. HOWARD: Bez problému. PENNY: And then, Raj, you bring the stuff PENNY: A ty, Raji, odnes věci naproti a začni across the hall and start setting up. to chystat. HOWARD (after Raj whispers in his ear): HOWARD (potom, co mu Raj pošeptá): Co What if guests show up? když přijdou hosté? PENNY: Entertain them. PENNY: Zabavíš je. RAJ (whispering to Howard): What if they're RAJ (šeptá Howardovi): Co když to budou women? ženy?

PENNY: Stare at them and make them feel PENNY: Zírej na ně, aby se cítily nepříjemně. uncomfortable. (Raj is showing thumbs up) (Raj ukazuje palce nahoru) HOWARD (entering): Hey! HOWARD (vchází): Ahoj! LEONARD: Hey. LEONARD: Čau. HOWARD: How's it goin'? HOWARD: Jak to jde? LEONARD: Fine. LEONARD: Dobrý. HOWARD: So listen, the NuArt is showing HOWARD: Poslouchej, v NuArtu dávají the revised, definitive cut of Blade Runner. finální revidovaný sestřih Blade Runnera. LEONARD: Seen it. LEONARD: To jsem viděl. HOWARD: No, you've seen the 25th HOWARD: Ne, viděl jsi finální sestřih k 25. Anniversary Final Cut. This one has eight výročí. V tomhle je osm sekund dosud seconds of previously unseen footage. They nezveřejněných záběrů. Prý to kompletně say it completely changes the tone of the film. mění atmosféru celýho filmu. LEONARD: Pass. LEONARD: Nemám zájem. HOWARD: Come on. Afterwards, there's a Q HOWARD: No tak. Nakonec bude beseda & A with Harrison Ford's body double. s dvojníkem Harrisona Forda. LEONARD: Look, I'm in the Halo battle of LEONARD: Podívej, jsem teď uprostřed Halo my life here. There's this kid in bitvy svého života. Nějaký děcko v Kodani… Copenhagen...he has no immune system, so nemá žádný imunitní systém, takže sedí ve all he does is sit in his bubble and play Halo svý bublině a hraje Halo 24/7. 24-seven. HOWARD: Can't you play him some other HOWARD: Nemůžeš si s ním zahrát jindy? time? LEONARD: Not if you believe his doctors. LEONARD: Podle jeho doktorů ne. HOWARD: Oh, my God, do you smell gas? HOWARD: Proboha, necítíš plyn? LEONARD: No. LEONARD: Ne. HOWARD: Yeah, no. HOWARD: Jasně, že ne. PENNY: They have DVDs over there. PENNY: Támhle mají DVD. SHELDON: Yes, but they have DVD burners SHELDON: Ano, ale tady mají DVD over here. Leonard needs a DVD burner. vypalovačky. Leonard potřebuje DVD PENNY: Sheldon, a gift shouldn't vypalovačku. be something someone needs, it should PENNY: Sheldone, dárek by neměl být něco, be something fun. Something they wouldn't co druhej potřebuje, ale něco zábavnýho. buy for themself. Něco, co by si sám nekoupil. SHELDON: You mean like a sweater? SHELDON: Myslíš něco jako svetr? PENNY: It's a fun sweater. It's got a bold PENNY: Je to vtipnej svetr. Má na sobě velký geometric print. geometrický tvary. SHELDON: Is it the geometry that makes it SHELDON: A ta geometrie je na tom to fun? vtipné? PENNY: The point is one of the ways we PENNY: To, že nám na někom záleží, show we care about people is by putting můžeme ukázat tím, že zapojíme mysl thought and imagination into the gifts we give a fantazii, když pro ně vybíráme dárek. them. SHELDON: Okay, I see. So, not a DVD SHELDON: Dobře, chápu. Takže ne DVD burner. vypalovačku. PENNY: Exactly. PENNY: Přesně. SHELDON: Something he wouldn't buy for SHELDON: Něco, co by si sám nekoupil, himself, something fun, Something like... něco vtipného. Něco jako 802-1 1n wifi An 802-11n wireless router! router.

LEONARD: (playing a videogame) Here you LEONARD: (hraje videohru) Do toho, go, Copenhagen boy. How about a taste of Kodaňáku. Co takhle ochutnat ruční granát Hans Christian hand grenade? (Raj enters Hanse Christiana? carrying party supplies. Howard waves him (Raj vstoupí a nese věci na oslavu. Howard away while in the background Leonard is mává a pošle ho pryč, zatímco slyší Leonarda heard saying "oh, that did not feel good".) říkat „To nevypadá dobře“) LEONARD: Come on, come... Oh, you LEONARD: No tak, no tak… ale, ty clever...Come on. Take that! chytráku…No tak. Vem to! HOWARD (picks up a granola bar from the HOWARD (vezme si tyčinku ze stolu, rozlomí table, breaks off half and puts it in his back ji napůl a polovinu si dá do zadní kapsy): O- pocket.): Oh-oh! (Lauder) Oh-oh! ou! (hlasitěji) O-ou! LEONARD: What's the matter? LEONARD: Co se děje? HOWARD: This granola bar has peanuts in it! HOWARD: V té tyčince jsou arašídy! LEONARD: Oh, my God. Why did you eat it? LEONARD: Proboha. Proč jsi to snědl? HOWARD: I don't know. It was just there! HOWARD: Já nevím. Prostě to tu bylo. LEONARD: If I had a gun there, would you LEONARD: Kdybych tady měl zbraň, tak by have shot yourself? ses zastřelil? HOWARD: Don't yell at me! I've got to go to HOWARD: Nekřič na mě! Musím jet na the emergency room! pohotovost! LEONARD: Now?! LEONARD: Teď?! HOWARD: No, after my tongue has swollen HOWARD: Ne, až můj jazyk nateče do to the size of a brisket! velikosti bůčku! LEONARD: All right, just let me get my keys. LEONARD: Dobře, jen si vezmu klíče. HOWARD: Oh, God, oh, God, oh, God! (into HOWARD: Pane bože, bože, pane bože! phone after Leonard leaves room) The (Mluví do telefonu, jakmile Leonard odejde.) laundry is out of the hamper. (looks Prádlo je venku z koše. (vypadá podrážděně) exasperated) Okay, Sheldon, what was Dobře, Sheldone, tak jak to mělo být? Fajn, it supposed to be? Fine. It's out of the washer! tak je venku z pračky! Zavolám ti, až bude I'll call you when it's in the dryer. v sušičce. LEONARD (running in): All right, let's go. LEONARD (přiběhne): Tak jo, jdeme. (They exit, with Howard making croaking (Odcházejí, zatímco Howard dělá, že se dusí.) noises.) SHELDON: What do you think? SHELDON: Co myslíš? PENNY (pointing randomly): That one. PENNY (náhodně ukazuje): Tento. SHELDON: Because of the two additional SHELDON: Kvůli těm dvěma ethernet Ethernet ports? portům navíc? PENNY: Sure. PENNY: Jasně. SHELDON: No need, he's already got a six- SHELDON: To nepotřebuje, už má šesti- port Ethernet switch. portový ethernet přepínač. PENNY: Okay, then this one. PENNY: Dobře, tak tenhle. SHELDON: Why? SHELDON: Proč? PENNY: I don't know. The man on the box PENNY: Nevím. Ten chlápek na krabici vy- looks so happy. padá spokojeně. SHELDON: Penny, if I'm going to buy SHELDON: Penny, když mám Leonardovi Leonard a gift, I'm going to do it right. I refuse pořídit dárek, tak ho vyberu správně. Nechci, to let him experience the same childhood aby musel zažít stejné trauma jako já v dětství. trauma I did. PENNY: I know I'm gonna regret this, but: PENNY: Vím, že toho budu litovat, ale jaký What trauma? trauma?

SHELDON: On my 12th birthday, I really SHELDON: Na své 12. narozeniny jsem si wanted a titanium centrifuge so, you know, moc přál titanovou odstředivku, víš, abych I could separate radioactive isotopes. mohl izolovat radioaktivní izotopy. PENNY: Of course. PENNY: Samozřejmě. SHELDON: Instead of a titanium centrifuge, SHELDON: Namísto titanové odstředivky mi my parents bought me...Wow, this is hard. rodiče koupili… Páni, tohle je těžké. Koupili They got me a motorized dirt bike. mi dětskou terénní motorku. PENNY: No. PENNY: Ne. SHELDON: What 12-year-old boy wants SHELDON: Který dvanáctiletý kluk by chtěl a motorized dirt bike? terénní motorku? PENNY: All of them? PENNY: Každej? SHELDON: Really? SHELDON: Vážně? PENNY: Yeah. Okay, so we're getting this PENNY: Jo. Fajn, takže vezmeme tenhle? one? SHELDON: Yeah, I suppose. SHELDON: Asi ano. PENNY: All right, let's go. PENNY: Dobře, tak jdeme. WOMAN: Excuse me. Do you know anything PANÍ: Promiňte, rozumíte tady těm věcem? about this stuff? SHELDON: I know everything about this SHELDON: O těchto věcech vím všechno. stuff. WOMAN: Okay, I have my own wholesale PANÍ: Dobře, mám svůj vlastní velkoobchod flower business and I want to hook up my s květinami a potřebovala bych propojit computer in the front entrance with the one in počítač v obchodě s tím vzadu my refrigerated warehouse. v klimatizovaném skladišti. PENNY: Buy this one: it's the one we're PENNY: Kupte si tenhle. Ten, co si bereme getting. Happy guy. my. Spokojenej chlapík. SHELDON: No, she doesn't want that. She SHELDON: Ne, tenhle nechce. Ona potřebuje needs a point-to-point peer network with dvoubodovou síť s prodlužovačem dosahu. a range extender. WOMAN: Thank you. PANÍ: Děkuji. MAN: Which hard drive do I want... firewire PÁN: Který hard disk si mám vybrat… or USB? firewire, nebo USB? SHELDON: It depends on what buss you have SHELDON: Záleží na tom, kterou cestou available. chcete data vést. MAN: I drive a Chevy Cavalier. PÁN: Vozím to v Chevroletu Cavalier. SHELDON: Oh, dear Lord. SHELDON: Ach bože. PENNY: Sheldon, we have to go. PENNY: Sheldone, musíme jít. SHELDON: Not now, Penny, this poor man SHELDON: Teď ne, Penny, tenhle ubohý needs me. (To woman approaching) You, muž mě potřebuje. (K přicházející ženě.) Vy hold on. I'll be right with you. What computer vydržte. Hned jsem u vás. Jaký máte počítač? do you have? And please don't say "a white Hlavně neříkejte „bílý“, prosím. one." HOWARD: Excuse me. HOWARD: Promiňte. NURSE: Fill this out. Have a seat SESTRA: Tohle vyplňte. Posaďte se. HOWARD: Listen. We're throwing my friend HOWARD: Poslyšte. Připravujeme oslavu a surprise party I'm supposed to keep him out pro mého kamaráda a já ho musím udržet dvě of his apartment for two hours. hodiny pryč z bytu. NURSE: Fill this out and have a seat. SESTRA: Tohle vyplňte a posaďte se. HOWARD: No, the only way I could get him HOWARD: Ne, jediný způsob, jak jsem ho to leave was to tell him I ate a peanut because donutil odejít, bylo mu říct, že jsem snědl I'm allergic to peanuts. arašídy, protože jsem na ně alergický. 15

NURSE: Well, in that case, fill this out and SESTRA: Tak v tom případě tohle vyplňte have a seat. a posaďte se. HOWARD: All I need from you is to take me HOWARD: Všechno, co od vás potřebuju, je, in the back and give me a Band-Aid so I can abyste mě vzala dozadu, dala mi náplast, pretend I had a shot of epinephrine, and you abych mohl předstírat, že jsem dostal injekci tell my friend you need to keep me under adrenalinu a vy řeknete mému kamarádovi, že observation for 1 hour 1/2. mě tu musíte nechat jednu a půl hodiny na pozorování. NURSE: Is that all you need? SESTRA: To je všechno, co potřebujete? HOWARD: Yes. HOWARD: Ano. NURSE: Get out of my ER. SESTRA: Vypadněte z mého oddělení. HOWARD: No, you don't understand. HOWARD: Ne, vy to nechápete. NURSE: I understand, but unfortunately, this SESTRA: Já to chápu, ale tato nemocnice hospital is not equipped to treat stupid. bohužel není vybavena pro léčbu blbosti. HOWARD: Okay, I get it. I know how the HOWARD: Dobře, chápu to. Vím, jak to world works. (Holding up a five dollar bill.) chodí. (Vytáhne pětidolarovku.) Co kdybych How about if I were to introduce to you to the vás představil muži, který osvobodil vaše lidi? man who freed your people? NURSE: Unless my people were freed by SESTRA: Pokud moje lidi neosvobodil Benjamin Franklin and his five twin brothers, Benjamin Franklin a pět jeho dvojčat, marníte you are wasting your time. tady svůj čas. LEONARD (running in): Hey. Sorry, LEONARD (přiběhne): Ahoj. Promiň, I couldn't find a parking spot. How are you nemohl jsem najít místo na parkování. Jak ti doing? je? HOWARD: Bad, very bad. HOWARD: Špatně, hodně špatně. LEONARD: Really? You don't look like LEONARD: Vážně? Vypadá to, že vůbec you're swelling up at all. We should just pick neotékáš. Koupíme v lékárně jen nějaký up some Benadryl at the drugstore and go Benadryl a pojedeme domů. home. HOWARD: We can't go home. HOWARD: Nemůžeme jet domů. LEONARD: Why not? LEONARD: Proč ne? HOWARD (pretends tongue has swollen up): HOWARD (předstírá, že mu otekl jazyk): Because...because...Brissket! Brissket! Protože…protože… bůček! Bůček! Vodu! Water! Need water! (choking) Potřebuju vodu! (dusí se) LEONARD: I'll be right back. LEONARD: Hned jsem zpátky. HOWARD (into phone): Penny, listen, I've HOWARD (do telefonu): Penny, poslouchej, got a problem. mám problém. PENNY (with Sheldon in background at the PENNY (v pozadí se Sheldonem radícím head of a large queue of customers): Well, so dlouhé řadě zákazníků): No, to já taky. Musíš do I. You gotta stall Leonard a little longer. Leonarda zdržet o chvilku dýl. HOWARD: I don't think I can. HOWARD: Myslím, že to nepůjde. PENNY: You have to! We all have to be there PENNY: Musíš! Musíme tam být všichni ve at the same time to yell surprise. stejnej čas a zakřičet „Překvapení!“. HOWARD: You have to understand HOWARD: Musíš to pochopit, jsme teď something. We're in a hospital right now. v nemocnici. PENNY: Why? Is Leonard okay? PENNY: Proč? Je Leonard v pohodě? HOWARD: Leonard's fine. I'm fine. Thanks HOWARD: Leonard je v pohodě. Já jsem for asking, by the way. v pohodě. Mimochodem, díky za optání. PENNY: Okay, I don't need your attitude. PENNY: Dobře. Neptala jsem se na tvůj Listen, just hold him there a little longer. názor, prostě ho tam ještě trochu zdrž.

HOWARD: I've done my best, but he wants to HOWARD: Snažím se, ale on chce jet domů go home and I don't know how to stop him. a já nevím, jak ho zastavit. PENNY: Okay, how about this? You keep PENNY: Dobře, a co tohle? Ty ho tam zdržíš him there a little longer, and when you get to o chvilku dýl a jakmile dorazíte na oslavu, the party, I'll point out which of my friends are ukážu ti, který moje kamarádky jsou snadnej easy? úlovek. (silence) (ticho) HOWARD: Don't toy with me, woman. HOWARD: Nehraj si se mnou, ženská. PENNY: I got a hot former fat girl with no PENNY: Mám sexy bývalou baculku bez self-esteem, a girl who punishes her father by sebeúcty, holku, co trestá svýho otce tím, že sleeping around, an alcoholic who's two se vyspí s každým, alkoholičku, které stačí tequila shots away from letting you wear her dva panáky tequily a nechá se nosit jako like a hat. klobouček. HOWARD: Thy will be done. (Thinks. HOWARD: A tak se stane. (Zamyslí se. Hledá Reaches into back pocket, finds the half v zadní kapse, najde zbylou půlku tyčinky. a granola bar from earlier. Looks down.) I’m Podívá se dolů) Tohle dělám pro tebe, prcku. doing this for you, little buddy. (Takes a bite.) (kousne si) SHELDON: Okay, we don't have that in SHELDON: Dobře, tohle nemáme skladem, stock...but I can special-order it for you. ale můžu to pro vás objednat. PENNY (with a shop assistant, points at PENNY (s prodavačem, ukazuje na Sheldon): Him. Sheldona): On. ASSISTANT: Excuse me, sir. You don't work PRODAVAČ: Promiňte, pane. Vy tu here. nepracujete. SHELDON: Yes, well, apparently, neither SHELDON: Ano, evidentně ani nikdo jiný. does anyone else. PENNY: Sheldon, we have to go. PENNY: Sheldone, musíme jít. SHELDON: Why? SHELDON: Proč? PENNY: For one thing, we're late for PENNY: Zaprvé, jdeme pozdě na Leonardovu Leonard's birthday party, and for another, oslavu a zadruhé jsem mu řekla, ať zavolá I told him to call security. ochranku. SHELDON (to customer): Good luck. (to SHELDON (k zákazníkovi): Hodně štěstí. assistant) By the way, a six-year-old could (k prodavači) Mimochodem, i šestileté dítě by hack your computer system. se dokázalo nabourat do vašeho systému. PENNY: Keep walking. PENNY: Pokračuj. SHELDON: "1234" is not a secure password. SHELDON: „1234“ není bezpečné heslo. LEONARD: Excuse me, my friend is having LEONARD: Promiňte, můj kamarád má an allergic reaction to peanuts. alergickou reakci na arašídy. NURSE: No, he's not. SESTRA: Ne, nemá. LEONARD: Yes, he is. LEONARD: Ano, má. NURSE: Look, sir, we are very busy here, and SESTRA: Podívejte, pane, máme tady plno I... (sees Howard’s whose face has swoll- práce a já… (uvidí Howardův nateklý obličej) en all over) Holy crap! Do prdele! HOWARD: Please help me! HOWARD: Prosím, pomozte mi. NURSE: Code four! I need a gurney! Right SESTRA: Kód čtyři! Potřebuji lůžko! away! Right away! Honem! Rychle! HOWARD: Thank you. HOWARD: Děkuji. LEONARD: Say what you will about the LEONARD: Říkej si o zdravotním systému v healthcare system in this country, but when této zemi, co chceš, ale když dostanou strach they're afraid of lawsuits, they sure test z žaloby, udělají ti všechna vyšetření. everything.

HOWARD: I really don't think the HOWARD: Vážně si myslím, že ta colonoscopy was necessary. kolonoskopie nebyla nutná. LEONARD: You know, before you got all LEONARD: Víš, než jsi celý otekl, myslel swollen up, I actually thought you were trying jsem si, že se mě snažíš udržet mimo byt, to keep me out of the apartment so you could abyste mi mohli nachystat oslavu. throw me a surprise party. HOWARD: Right, it's your birthday. I had no HOWARD: No jasně, ty máš narozeniny. idea it was your birthday. I completely forgot. Vůbec jsem netušil, že máš narozeniny. Úplně What a lousy way to spend a birthday. It's all jsem na to zapomněl. To je ale hroznej over now. způsob, jak strávit narozeniny. Teď už je to za náma. LEONARD: There is a party, isn't there? LEONARD: Ona tam oslava je, že jo? HOWARD: Maybe. HOWARD: Možná. LEONARD: Howard? LEONARD: Howarde? HOWARD: Are you mad? HOWARD: Jsi naštvanej? LEONARD: How could I be mad? You LEONARD: Jak bych mohl? Ty jsi vlastně actually risked your life because you care riskoval život, protože ti na mě záleží. about me. HOWARD: Yeah, that's why I did it. HOWARD: Jo, to proto jsem to udělal. LEONARD: All right. Here we go. My first LEONARD: Tak jo. Jdeme na to. Moje první birthday party. narozeninová oslava. (Opens door. Raj is drunkenly singing True (Otevře dveře. Opilý Raj špatně zpívá True Colors very badly into a microphone with his Colors do mikrofonu, je bez trička a má shirt off and a bandana round his head while omotaný šátek kolem hlavy. Mává lahví piva. waving a beer bottle. Penny and Sheldon are Penny a Sheldon spí na pohovce a v křesle.) asleep on the couch and armchair respectively.) RAJ: Dude, everybody left an hour ago. RAJ: Kámo, všichni odešli asi před hodinou. Surprise! Překvapení! RAJ: (on a video) Okay, Leonard. I am at your RAJ (na videu): Tak jo, Leonarde. Jsem na tvé birthday party. I don't know where you are, narozeninové oslavě. Nevím, kde teď jsi, dude, but it's really kick-ass! Everyone is chlape, ale je to tu fakt hustý. Každej je hodně, very, very drunk and... (girl pours booze into hodně opilej a… (holka mu nalije do úst his mouth) And look, there's a girl taking her alkohol) A hele, ta holka si sundává tričko! shirt off! PENNY: To je moje kamarádka Carol. PENNY: That's my friend Carol. Remind me, Připomeň mi, že ji mám představit I gotta introduce her to Howard. Howardovi. RAJ: Oh, sweet Krishna, shake that rupee RAJ: Ó, sladký Krišno, zatřes s tím zadkem! maker! PENNY: I'm so sorry you didn't get your PENNY: Je mi líto, že jsi nestihl svou oslavu. party. LEONARD: It's okay. LEONARD: To nevadí. PENNY: Happy birthday, anyways. (She PENNY: Všechno nejlepší i tak. (Políbí ho na kisses him full on the lips.) rty.) LEONARD: Hey, Penny, When-when-when's LEONARD: Hej, Penny, kdy-kdy-kdy máš your birthday? narozeniny?

Season 12 Episode 18, The Laureate 12. série, 18. epizoda, Akumulace laureátů Accumulation Previously, on "The Big Bang Theory"... Minule jste viděli…

AMY: We just published a few months ago. AMY: Práci jsme zveřejnili teprve před pár How did you have time to design měsíci. Jak jste tak rychle stihli přichystat an experiment? experiment? PEMBERTON: This whole thing is actually a PEMBERTON: Celá tahle věc je vlastně gigantic accident. obrovská shoda náhod. SHELDON: You weren't even thinking about SHELDON: Takže vy jste o super-asymetrii super-asymmetry? ani nepřemýšleli? CAMPBELL: Thinking about it? (chuckles) CAMPBELL: Nepřemýšleli? My tomu ani We don't even understand it. (both laugh) nerozumíme. (smích) SHELDON: Uh, can you believe this? SHELDON: Věřili byste tomu? Doktor Doctors Pemberton and Campbell have been Pemberton a doktor Campbell poskytují doing a press tour trying to take credit for rozhovory tisku a snaží se přisvojit si za super super-asymmetry. asymetrii všechny zásluhy. RAJ: So what? I mean, no one's gonna give RAJ: No a? Copak je někdo ocení za náhodný them credit for accidentally discovering objev? something. HOWARD: Yeah, who remembers the guy HOWARD: Jo, kdo si pamatuje toho chlápka, who was trying to find India and discovered co se snažil připlout do Indie a místo toho America instead? What was his name again? objevil Ameriku? Jak že se jmenoval? (Leonard chuckles) (Leonard se směje.)

SHELDON: Now stop trying to steal our SHELDON: Přestaňte se už snažit ukrást naši Nobel Prize. You come up with your own Nobelovu cenu. Vymyslete si něco svého. idea. CAMPBELL: Jo, tak to se nestane. CAMPBELL: Yeah, that's not gonna happen. Now… Nyní… Scene: The are sitting in the living room and Scéna: Všichni sedí v obývacím pokoji watching Ellen. a koukají na Ellen. ELLEN (over TV): Have a seat, thanks for ELLEN (v TV): Posaďte se. Děkuji, že jste being here. I feel the same way about you. přišli. I já vás vítám. RAJ: This is nice. All my friends hanging out, RAJ: To je hezké. Všichni společně koukáme watching "Ellen". It's like, what am I gonna do na „Ellen“. Co budu teď dělat s těma dvěma with my other two wishes? přáníma, co mi zbývají? AMY: It's not nice. She's having on the AMY: To teda hezké vůbec není. Pozvala ty scientists who are trying to steal our Nobel vědce, co se nám snaží ukrást Nobelovu cenu! Prize. SHELDON: Although I will enjoy watching SHELDON: Nicméně, já si vychutnám pohled her expose Pemberton and Campbell for the na to, jak Ellen odhalí, že se Pemberton a coattail-riding frauds that they are. Campbell chlubí cizím peřím. LEONARD: That is Ellen's brand, gotcha LEONARD: To je přesně to, co Ellen dělá, journalism. investigativní žurnalistiku. PENNY: Yeah, you should've seen her take PENNY: Přesně, měli jste vidět, jak minulý down John Krasinski last week. Got him to týden sundala Johna Krasinskiho. Donutila ho admit he loved his wife. It was brutal. přiznat, že miluje svou ženu. Bylo to brutální.

(Sheldon shushing) (Sheldon utišuje ostatní.)

ELLEN (over TV): All right, our next guests ELLEN (v TV): Našimi dalšími hosty je pár are a couple of physicists... Don't turn the fyziků… ale ještě nás nepřepínejte. Sdíleli channel. They've been doing some viral několik virálních videí o tom, jaké to je se videos online about what it's like to be in the ucházet o Nobelovu cenu. Prosím přivítejte running for a Nobel Prize. Please welcome pana doktora Grega Pembertona a pana Doctors Greg Pemberton and Kevin doktora Kevina Campbella. Campbell. (cheering, applause) (pískání, potlesk) BERNADETTE: Why does she even want to BERNADETTE: Proč si vůbec pozvala have scientists on? vědce? SHELDON: Uh, silly question. Who else will SHELDON: Eh, hloupá otázka. Kdo jiný give her audience causal explanations of vysvětlí publiku zákonitosti přírodních jevů? natural phenomena? HOWARD: I love you, honey, but think. HOWARD: Miluju tě, lásko, ale trochu přemýšlej. ELLEN (over TV): So you guys have ELLEN (v TV): Tak vy, pánové, jste objevili discovered something pretty amazing in the ve vesmíru něco vážně úžasného. universe. Obviously, I understand, uh, high- Samozřejmě, že já rozumím odborné fyzice, level physics because I'm a comedian, jsem přece komička, ale mohli byste to but...(laughter) ...can you explain it to the vysvětlit našim divákům? (smích) audience? PEMBERTON: Well, I don't know, I'm not PEMBERTON: No, nejsem si jistý, jestli jsme sure we're even smart enough to understand it. dostatečně chytří, abychom to my sami (laughter) pochopili. (smích) SHELDON: Look, look, the audience is SHELDON: Hele, koukejte, diváci se jim laughing at them. It's starting. smějí. Už to začíná. AMY: I hate to say it, Sheldon, but I think the AMY: Nerada to říkám, Sheldone, ale audience likes them. myslím, že se divákům líbí. SHELDON: Well, that will all change when SHELDON: Ale to se změní, až se jich Ellen Ellen asks them how super-asymmetry zeptá na to, jak super-asymetrie vysvětluje explains the cosmological excess of matter vesmírnou převahu hmoty nad antihmotou a over anti-matter and they panic, like Leonard oni začnou panikařit jako Leonard, když se trying to do a pull-up. snaží udělat shyb. LEONARD: Hey, what'd I do? LEONARD: Hej, co jsem udělal? PENNY: Not a pull-up. PENNY: No shyb ne. ELLEN: People have been loving your ELLEN: Lidi milují vaše videa. Obzvlášť ty videos, especially the-the songs that you've písničky, které jste teď nedávno sdíleli. been posting. PEMBERTON: Thank you. PEMBERTON: Děkujeme. CAMPBELL: Oh, thanks. CAMPBELL: Díky. ELLEN: Uh, this may be pushing it, but I have ELLEN: Možná to bude už příliš, ale musím to ask. Would you mind singing one of those se zeptat. Mohli byste nám nějakou píseň for us right now? zazpívat i tady? CAMPBELL: Oh, why not? CAMPBEL: Proč ne? PEMBERTON: All right. PEMBERTON: Jasně. SHELDON: Come on, Ellen, they're right SHELDON: No tak, Ellen, máš je na dosah. there. Go for the jugular. Jdi po krkavici. Scene: Sheldon comes to Dr. Pemberton and Scéna: Sheldon přichází před dveře doktora Campbell’s door. Pembertona a doktora Campbella.

SHELDON (knocking): Dr. Pemberton., Dr. SHELDON (klepe): Doktore Pembertone, Campbell, Doctors Pemberton and Campbell. doktore Campbelle, doktore Pembertone a Campbelle. PEMBERTON: Good morning, buddy. PEMBERTON: Dobrý ráno, kámo. SHELDON: I am not your buddy. SHELDON: Nejsem tvůj kámoš. CAMPBELL: What's wrong? CAMPBELL: Co se děje? SHELDON: I'll tell you what's wrong. You SHELDON: Řeknu ti, co se děje. Byli jste went on TV and were charming. v televizi a byli jste okouzlující. CAMPBELL: Thanks, man. That's what my CAMPBELL: Díky, brácho. To říkala i moje mom said. máma. PEMBERTON: W-Why don't you come in PEMBERTON: Nechcete jít dovnitř na and have some parfait? ovocný pohár s jogurtem? CAMPBELL: Yeah, we ordered it from room CAMPBELL: Objednali jsme to u pokojové service; it cost, like, 12 bucks. It's just yogurt služby a stálo to asi 12 babek. Je to jen jogurt in a glass. ve sklenici. SHELDON: I don't want your yogurt. SHELDON: Nechci váš jogurt. CAMPBELL: Then what do you want? CAMPBELL: A co teda chcete? SHELDON: I want you to hold a press SHELDON: Chci, abyste uspořádali tiskovou conference where you admit that you blindly konferenci, kde přiznáte, že jste na super- stumbled into super-asymmetry and it was asymetrii přišli náhodou a ve skutečnosti je to really our discovery. celé náš objev. PEMBERTON: Oh. No, thanks. PEMBERTON: Ne, díky. CAMPBELL: You know, just because we CAMPBELL: Víte, jen proto, že jsme něco proved something by accident doesn't mean dokázali náhodou, neznamená, že jsme to we didn't prove it. nedokázali. PEMBERTON: Yeah, I wasn't trying to prove PEMBERTON: Jo, nesnažil jsem se dokázat, that my wife was cheating on me when I came že mě moje žena podvádí, když jsem jeden home early one Friday, but I'm still sleeping pátek přišel domů dřív, ale i tak teď musím on his couch. spát u něj na gauči. CAMPBELL: I told you, you can do better CAMPBELL: Já ti říkal, že máš na lepší. than her. PEMBERTON: Thanks. It just hurts. PEMBERTON: Díky. Jen to pořád bolí. CAMPBELL: And when you win that Nobel CAMPBELL: A až vyhraješ tu Nobelovku, Prize, she's gonna realize that she was wrong, uvědomí si, že se spletla a že nejsi žádný you are not a fraud. podvodník. SHELDON: She is not wrong. SHELDON: Ale ona se neplete. CAMPBELL: Wow, I can't believe you're CAMPBELL: Páni, nemůžu uvěřit, že jste na siding with Linda. straně Lindy. PEMBERTON: Shame on you. PEMBERTON: Styď se. Scene: Leonard, Sheldon, Raj and Howard Scéna: Leonard, Sheldon, Raj a Howard sedí are sitting at Caltech lunchroom, when v jídelně v Caltechu. SHELDON: Look at this. They posted another SHELDON: Podívejte se, zveřejnili další video. It's not even about science. They're on video. Ani se to netýká vědy. Jezdí v autobuse a celebrity bus tour. a prohlíží si domy celebrit. RAJ: Those are fun. I-I went on one and saw RAJ: To je sranda. Na jedné takové projížďce Tom Hanks talking to his gardener. He's even jsem byl a viděl jsem Toma nice when you plant the wrong color azaleas. Hankse mluvit se svým zahradníkem. Je milý, i když zasadíš špatnou barvu azalek. LEONARD: Those guys are good at self- LEONARD: Tak se ti dva umí dobře promoting, so what? No one ever won a Nobel propagovat, no a co? Nikdo přece nevyhrál for being nice. Nobelovku, protože byl milej. 21

RAJ: Yeah, but if they did, do you know who RAJ: Jo, ale kdyby to šlo, víte, kdo by ji would win one? vyhrál? SHELDON: Are you gonna say Tom Hanks? SHELDON: Hádám, že řekneš Tom Hanks? RAJ: He picked up a shovel and helped the RAJ: Popadl lopatu a pomohl tomu chlápkovi guy replant. přesazovat. (Prof. Siebert is coming to them.) (Přichází pan profesor Siebert.) SIEBERT: Dr. Cooper, there you are. I just SIEBERT: Pane doktore, tady jste. Jen jsem wanted to tell you not to worry about this vám chtěl říct, abyste se neobával celého toho Pemberton and Campbell publicity blitz. humbuku kolem Pembertona a Campbella.

SHELDON: Are you worried? SHELDON: Vy se toho obáváte? SIEBERT: Not at all. Not even a little bit. SIEBERT: Ale vůbec ne. Ani trošku. (smích) (laughs) Look, I-It doesn't matter if they have Podívejte se, to nevadí, že je podporuje široká popular support, we're gonna get the scientific veřejnost, my na naši stranu dostaneme community behind us. vědeckou komunitu. LEONARD: He's right, the Nobel Prize is LEONARD: Má pravdu, Nobelova cena je about the work, and as your fellow scientists, hlavně o práci a jako vaši kolegové podpoříme we support you and Amy. tebe a Amy. SIEBERT: That's great, Scooby Gang. Now, SIEBERT: Výborně, Scoobyho parto. Takže, the university is gonna host a reception for univerzita bude pořádat recepci pro vás a paní you and Dr. Fowler where we invite as many doktorku Fowlerovou. Pozveme co nejvíce academic luminaries as we can, uh, give them akademických osobností, dáme jim šanci vás a chance to meet you, hear about your work. poznat a poslechnout si o vaší práci. LEONARD: Uh, that's a great idea. LEONARD: To je skvělý nápad. SIEBERT: Uh, yeah. Who needs to be likable SIEBERT: Přesně. Kdo potřebuje popularitu, when you have Nobel Laureates campaigning když za vás lobbují nositelé Nobelovy ceny? for you? SHELDON: Oh, yeah... wait a minute. Do you SHELDON: Přesně… počkejte chvilku. Vy si not think we're likable? myslíte, že nejsme oblíbení? SIEBERT: That's what's great about you, you SIEBERT: To je na vás nejlepší, nikdy never stop asking the tough questions. nepřestanete klást těžké otázky. Scene: Howard enters the kitchen and door Scéna: Howard vchází do kuchyně a zavřou se closes. Bernadette is walking down the stairs. dveře. Bernadette jde dolů ze schodů. HOWARD: Hey. Kids asleep? HOWARD: Ahoj. Dětí spí? BERNADETTE: Nope. I've been trying to get BERNADETTE: Ne. Několik hodin jsem se them down for hours. Apparently, Halley's je pokoušela uspat. Očividně se teď Halley afraid of the dark now and I can't bojí tmy, ale nemůžu zapnout lampičku, turn on the night-light 'cause it makes Michael protože Michael pak brečí. cry. HOWARD: Why doesn't he like the night- HOWARD: Proč mu ta lampička vadí? light? BERNADETTE: Jot that down, we can ask BERNADETTE: Zapiš si to, zeptáme se ho him as soon as he learns to speak. We can also hned, jak se naučí mluvit. Můžeme se find out what's so damn funny about birds. jich taky zeptat, co je tak zatraceně vtipnýho na ptácích. (Halley fusses) (Halley pláče) HOWARD: I'll go talk to her. HOWARD: Půjdu si s ní promluvit. BERNADETTE: I don't know why she's BERNADETTE: Nechápu, proč se najednou suddenly so afraid of everything. všeho tak bojí.

HOWARD: Honey, remember, she's my HOWARD: Zlato, nezapomeň, že je to i moje child, too. dítě. HOWARD: (Bernadette listens over baby HOWARD: (Bernadette poslouchá přes monitor) Hey, sweetie, I heard you were chůvičku.) Ahoj, zlatíčko. Zaslechl jsem, že se afraid of the dark. I know someone else who bojíš tmy. Znám ještě někoho, kdo se taky was afraid of the dark once. Your daddy, when kdysi bál tmy. Tvého tátu, když byl ve he was in space. (Howard chuckles) And just vesmíru. (zakašle) A měl jsem naděláno like you, I was wearing a full diaper. v kalhotách stejně jako ty. Scene: Amy and Sheldon are at their Scéna: Amy a Sheldon jsou v jejich bytě. apartment. AMY: Hey, good news. They're inviting AMY: Hej, dobré zprávy. Na naši recepci several Nobel Laureates to our reception. zvou několik nositelů Nobelovy ceny. SHELDON: Oh, great, like who? SHELDON: Super, koho třeba? AMY: Uh... Makoto Kobayashi. AMY: Makota Kobayashio. SHELDON: Da... ooh. SHELDON: To… Ach. AMY: What? AMY: Co je? SHELDON: Well, I may have been less than SHELDON: No, možná jsem k němu nebyl kind to him about his Nobel Prize win. úplně milý, když vyhrál svoji Nobelovu cenu. AMY: Why? AMY: Proč? SHELDON: I was jealous, angry and new to SHELDON: Žárlil jsem, naštvalo mě to, Twitter. It was a dangerous combination. a ještě k tomu jsem se teprve učil na Twitteru. AMY: Okay, so scratch Kobayashi. Uh, To byla nebezpečná kombinace. George Smoot's on here. AMY: Dobře, tak vyškrtneme Kobayashiho. Je tu taky George Smoot. SHELDON: (hisses, groans) We have SHELDON (prská, sténá): Už spolu máme a history. určitou zkušenost. AMY: Saul Perlmutter? AMY: Saul Perlmutter? SHELDON (groans): Oh! SHELDON (sténá): Ach! AMY: What about Kip Thorne? AMY: A co Kip Thorne? SHELDON (stammers): That was SHELDON (koktá): To bylo nedorozumění. a misunderstanding. I didn't know he was Nevěděl jsem, že stojí přímo za mnou. right behind me. AMY: So you've alienated everyone we need AMY: Takže sis znepřátelil každého, od koho to help us? teď potřebujeme pomoct? SHELDON: Well, Amy, if I had known that SHELDON: Amy, kdybych věděl, že je někdy someday we'd need them, I would never have budeme potřebovat, tak bych je neurážel. insulted them. AMY: Well, that doesn't make it better. AMY: To nám ale nepomůže. SHELDON: Oh. Well, it's also not true. SHELDON: No, taky to není pravda. Scene: Door opens and closes. Stuart enters Scéna: Dveře se otevřou a zavřou. Stuart the house. Bernadette is drawing. vchází do domu. Bernadette kreslí. STUART: Hey. STUART: Ahoj BERNADETTE: Hey. BERNADETTE: Ahoj STUART: Oh, that's cute. Did Halley draw STUART: To je roztomilý. To nakreslila that at preschool? Halley ve školce? BERNADETTE: I drew it. BERNADETTE: To jsem kreslila já. STUART: Well, good night. STUART: Aha, tak dobrou noc. BERNADETTE: It's supposed to be an BERNADETTE: Měl to být astronaut. astronaut. STUART: And I'm supposed to be living on STUART: A já bych měl mít ve svém věku my own at this age, but here we are. vlastní bydlení, ale tak to je. 23

BERNADETTE: Halley was scared and BERNADETTE: Halley se bála tmy Howard told her the sweetest story about a Howard jí vyprávěl tak krásný příběh o tom, when he was in space and I thought I could jak byl ve vesmíru, a tak mě napadlo, že bych turn it into a book for her and Michael. z toho pro ni a pro Michaela udělala knížku. STUART: Oh, well, I mean, I am an artist. Uh, STUART: No, vlastně, já jsem výtvarník. I-if you want, I could do the drawings. Kdybys chtěla, mohl bych to ilustrovat. BERNADETTE: Really? That'd be amazing. BERNADETTE: Vážně? To by bylo úžasný. STUART: Yeah, it'd be fun. And a, a nice STUART: Jo, byla by to sranda. A navíc change of pace from what I usually draw. příjemná změna od toho, co kreslím obvykle. BERNADETTE: What do you usually draw? BERNADETTE: Co obvykle kreslíš? STUART: Well, good night. STUART: Tak dobrou noc. Scene: Leonard and Penny and doing to Scéna: Leonard a Penny myjí nádobí dishes in the kitchen. Leonard’s watches v kuchyni. Leonardovi zapípají hodinky. chimes. PENNY: Someone texting you? PENNY: Někdo ti píše? LEONARD: Uh, no, I just met my exercise LEONARD: Ne, jen jsem splnil svůj dnešní goal for the day. cíl fyzické aktivity. PENNY: By doing the dishes? PENNY: Mytím nádobí? LEONARD: Hey, you have your goals, I have LEONARD: Hej, ty máš svoje cíle, já mám mine. zase svoje. (Amy and Sheldon enters.) (Vejdou Amy se Sheldonem.) AMY: Hello. AMY: Ahoj. SHELDON: What are you two doing? SHELDON: Co děláte? LEONARD: Mm, just finishing a workout. LEONARD: Zrovna dokončujeme trénink. PENNY: What's up? PENNY: Co se děje? AMY: Do you have any cookie dough? AMY: Nemáte nějaké těsto na sušenky? PENNY: Uh, I think so. Let me see. Yeah, PENNY: Myslím, že jo. Podívám se. Máme tu we've got, uh, chocolate chip and oatmeal s čokoládovýma vločkama a ovesný raisin. s rozinkama. SHELDON: Oatmeal raisin? I know at least SHELDON: Ovesné s rozinkami? Vím two things wrong with that cookie. minimálně o dvou nedostatcích na té sušence. AMY: It's for the Nobel Laureates. We need AMY: Je to pro držitele Nobelovy ceny. them on our side, but unfortunately, Sheldon... Potřebujeme je dostat na naši stranu, ale PENNY: No. "Unfortunately, Sheldon..." bohužel, Sheldon… that's all you got to say. PENNY: Nic víc než „bohužel, Sheldon“ říkat LEONARD: Well, that's... so you need these nemusíš. people's support and you're sending them LEONARD: No, to je… takže vy potřebujete, baked goods? aby vás podpořili a posíláte jim sladkosti? PENNY: Yeah, they're pretty smart. Don't you PENNY: Jo, jsou přece dost chytří. Myslíte, think they're gonna realize it's just a bribe? že jim nedojde, že je to jen úplatek? SHELDON: No, you'd think, but sometimes SHELDON: Ne, čekala bys, že to tak bude, ale brilliant people can be painfully oblivious to geniální lidé si občas vůbec nevšímají social cues. sociálních podnětů. PENNY: Thank you for pointing that out, PENNY: Díky, že jsi na to poukázal, Sheldon. Sheldone. SHELDON: Anytime. SHELDON: Rádo se stalo. Scene: Nobel Laureates are unpacking Scéna: Nositelé Nobelovy ceny si rozbalují cookies from Sheldon and Amy. balíčky se sušenkami od Sheldona a Amy. GEORGE SMOOTH: Sheldon Cooper? GEORGE SMOOTH: Sheldon Cooper? Hmm. Hmm.

KIP THORNE: Sheldon Cooper? (scoffs) KIP THORPE: Sheldon Cooper? (zasměje se) Pass. Ne. FRANCES H. ARNOLD: Sheldon Cooper. FRANCES H. ARNOLD: Sheldon Cooper. (pleased) Aw. (disappointed) Ugh, oatmeal (je potěšen) Jé. (je zklamaný) Fuj, ovesné s raisin? Ugh. rozinkami? Fuj. Scene: Sheldon and Amy are having a dinner. Scéna: Sheldon a Amy večeří. Sheldonovi Sheldon’s phone chimes. přijde zpráva. SHELDON: Oh, it's from Saul Perlmutter. SHELDON: To je od Saula Perlmuttera. (gasps) He sent me a picture. (vzdechne) Poslal mi obrázek. AMY: Ooh, let me see. AMY: Ukaž. SHELDON: Oh, he arranged the cookies to SHELDON: Jé, složil z těch sušenek nápis spell out "thank you". „děkuji“. AMY: Sheldon, that word isn't "thank". AMY: Sheldone, to není „děkuji“. Scene: Howard and Raj are watching TV. Scéna: Howard a Raj sledují televizi. Bernadette enters. Bernadette vejde. BERNADETTE: Hi. I got you a surprise. BERNADETTE: Ahoj. Mám pro tebe překvapení. HOWARD: What... Oh. (chuckles) What's the HOWARD: Co… (zachichotá se) K jaké occasion? příležitosti? BERNADETTE: I heard you tell Halley that BERNADETTE: Slyšela jsem, jak jsi Halley story the other night, and I thought it was so vyprávěl ten příběh a přišlo mi to tak krásný, sweet that Stuart and I turned it into a book. že jsme z toho se Stuartem udělali knížku. HOWARD: "The Frightened Little HOWARD: „Malý vystrašený astronaut“? Astronaut"? RAJ: That looks just like you. Look how tiny RAJ: To vypadá přesně jako ty. Koukni, jaký and scared you look. jsi malinký a vyděšený. BERNADETTE: And the best part is, Stuart BERNADETTE: A nejlepší na tom je, že to showed it to a publisher friend of his, and Stuart ukázal svému kamarádovi vydavateli. they're interested in it. A líbí se jim to. RAJ: That is so cool. RAJ: To je fakt super. HOWARD: Absolutely not. HOWARD: Tak to rozhodně ne. BERNADETTE: Why? BERNADETTE: Proč? HOWARD: Because I don't want the whole HOWARD: Protože nechci, aby celej svět world to know I was the frightened little věděl, že ten malý vyděšený astronaut jsem já! astronaut! RAJ: Maybe you should've called it "The RAJ: Asi jsi to měla pojmenovat „Malý Bitchy Little Astronaut". protivný astronaut“. Scene: Leonard and Sheldon are having a tea Scéna: Leonard a Sheldon pijí čaj at Leonard’s apartment. v Leonardově bytě. LEONARD: You want to tell me what's going LEONARD: Nechceš mi říct, co se děje? on? SHELDON: Is my distress that obvious? SHELDON: To je moje rozrušení tak očividné? LEONARD: Sheldon, please don't take this LEONARD: Sheldone, prosím, neber si to the wrong way, but when you're quiet even for špatně, ale když jsi potichu, byť jen na vteřinu, a second, something's wrong. tak je něco špatně. SHELDON: Well, it's true. The fact is, I feel SHELDON: To je pravda. Popravdě je mi really bad for Amy. opravdu líto Amy. LEONARD: Well, we all do. But just for fun, LEONARD: No, to je nám všem. Ale jen tak why do you? ze srandy, proč zrovna tobě?

SHELDON: Well, she didn't do anything SHELDON: Neudělala nic špatného, ale musí wrong, but she's paying for my mistakes. platit za mé chyby. LEONARD: Wow. LEONARD: Páni. SHELDON: What? SHELDON: Co? LEONARD: No... I'm just honestly LEONARD: Nic. Jen jsem upřímně impressed. When did you start caring about zaskočený. Od kdy se staráš o city ostatních? other people's feelings? SHELDON: Well, I laughed when Amy got a SHELDON: No, smál jsem se, když Amy shock from the broken Christmas tree lights, dostala ránu od rozbitých vánočních světýlek. so it was after that. Takže od té doby. Scene: Penny and Amy are in the laundry Scéna: Penny a Amy jsou v prádelně. room. PENNY: So none of them are coming to the PENNY: To opravdu nikdo z nich nepřijde na reception? recepci? AMY: I don't think so. AMY: Nemyslím si. PENNY: Okay, what did he say that was so PENNY: Co jim řekl, že je to tak urazilo? insulting? (sighs) (povzdechne) AMY: Well, he may have suggested there was AMY: No, možná naznačil, že v datech an inelegance to the quadrupole normalization o kvadrupólové normalizaci od Smoota byly of Smoot's data. nejasnosti. PENNY: Damn. (Leaving.) PENNY: Sakra. (odchází) Scene: Sheldon and Leonard’s conversation Scéna: Sheldonova konverzace s Leonardem in Leonard’s apartment continues. v Leonardově bytě pokračuje. SHELDON: See, sometimes I wish I could SHELDON: Víš, někdy si přeji, abych invent a time machine, so I could go back and vynalezl stroj času. Cestoval bych zpátky prevent myself from acting so rashly. a předešel bych tomu ukvapeném jednání. LEONARD: Or moving forward, you could LEONARD: Nebo se dopředu můžeš think before you speak. zamyslet, než promluvíš. SHELDON: I suppose so. SHELDON: Asi ano. LEONARD: But the time machine thing LEONARD: Ale ten stroj času je asi is probably more likely. pravděpodobnější. SHELDON: My problem is that I don't always SHELDON: Můj problém je, že nikdy know when I've gone too far. nepoznám, kdy jsem zašel příliš daleko. LEONARD: Well, uh, if you like, I could try LEONARD: No, pokud chceš, můžu ti s tím to help you out. You know, and maybe let you zkusit pomoct. Víš co, třeba tě upozornit, know if you're crossing a line. jakmile překročíš hranici. SHELDON: Oh, you mean, like, with a code SHELDON: Myslíš jako tajným heslem? word? LEONARD: Sure. How's "shut up"? LEONARD: Jasně. Co třeba „sklapni“? SHELDON: That's perfect. People say it to SHELDON: To je dokonalé. Pořád mi to me all the time, no one will suspect. někdo říká. Nikdo si toho nevšimne. Scene: Howard is sitting on a couch. Stuart Scéna: Howard sedí na pohovce. Stuart za comes to him. ním přijde. STUART: Hey, got a minute? STUART: Ahoj, máš chvilku? HOWARD: Sure. What's up? HOWARD: Jasně. Co se děje? STUART: Uh, Bernadette said you weren't STUART: Bernadette mi říkala, že se ti ta crazy about the book. kniha nelíbila. HOWARD: No. (chuckles) It's great. I just HOWARD: Ne. (zasměje se) Je dobrá. Jen don't want anyone to ever see it or read it or nechci, aby ji někdo někdy viděl, četl, nebo know it exists. věděl o její existenci.

STUART: But this could be really good for STUART: Ale tohle by mi vážně mohlo me, you know? Finally get my artwork pomoct, víš? Konečně by někdo publikoval published. And-and come on, it's a, it's a cute moje kresby. No tak, vždyť je to roztomilý story. příběh. HOWARD: Oh, easy for you to say. No one's HOWARD: To se ti snadno řekne. Nikdo tě gonna think you're a coward. nebude mít za zbabělce. STUART: Are you kidding? The other day in STUART: Děláš si srandu? Nedávno jsem se the comic book store, a balloon popped and I v knihkupectví pozvracel, když prasknul threw up. balonek. HOWARD: Can't you just take my name off HOWARD: Nemůžeš prostě vymazat moje it? jméno? STUART: No, uh, the only reason the STUART: Nemůžu, nakladatele to zajímá jen publisher's interested is 'cause a real astronaut proto, že to napsal skutečný astronaut. wrote it. HOWARD: Well, look, what if we made HOWARD: Fajn, koukni, co kdybychom a few changes? udělali pár změn? STUART: Uh, sure, yes. What-what do you STUART: No, jo, jasně. Co máš na mysli? have in mind? HOWARD: Well, nothing major. But see here HOWARD: Nic zásadního. Ale tady na obalu, on the cover, where it says "frightened little," kde stojí „malý vystrašený“, co kdyby to tam, what if, I don't know, it didn't say that? já nevím, třeba vůbec nebylo? STUART: So, it would just be "The STUART: Takže by tam bylo jen Astronaut"? „Astronaut?“ HOWARD: Yeah, you're right. That doesn't HOWARD: Jo, to je fakt. Není to úplně ono. quite pop. What about "The Brave Astronaut? Co třeba „Statečný astronaut“? To má šťávu! " See, that's got some zip to it! STUART: Okay. STUART: Tak jo. HOWARD: And here on this page, where I'm HOWARD: A tady na téhle straně, kde crying. What if, instead, I'm... punching a brečím. Co kdybych místo toho třeba holýma meteor into the sun with my bare fists? rukama odpálil meteor do Slunce? STUART: So you have superpowers? STUART: Takže máš superschopnosti? WOLOVITZ: I like the way you're thinking. HOWARD: Líbí se mi, jak uvažuješ. Scene: Leonard and Penny come to prof. Scéna: Leonard a Penny vchází do kanceláře Thorne’s office. pana profesora Thorna. LEONARD: Professor Thorne. LEONARD: Pane profesore. THORNE: Dr. Hofstadter. THORNE: Pane doktore. LEONARD: Uh, you know my wife, Penny. LEONARD: Moji ženu Penny už znáte. THORNE: Sure. Hi. THORNE: Jistě. Zdravím. PENNY: Hi. PENNY: Zdravím vás. LEONARD: (laughs) Uh, we wanted to talk LEONARD: (smích) Chtěli jsme s vámi to you about Dr. Cooper. Now, before you say mluvit o panu doktoru Cooperovi. Ale než no... řeknete ne… THORNE: No. THORNE: Ne. LEONARD: Well, then, after you say no. LEONARD: No, tak potom co řeknete ne. THORNE: No. THORNE: Ne. PENNY: Okay, look, Sheldon's a pain in the PENNY: Dobře, podívejte se, Sheldon je ass. But Dr. Fowler's really nice. So if you jako osina v prdeli, ale paní doktorka average them out... math...you got someone Fowlerová je vážně milá. Takže když je who's okay. zprůměrujete, matematicky, vyjde vám někdo, kdo je v pohodě.

LEONARD: (stammers) But more than the LEONARD (zadrhne se): Ale Nobelovka je person, the Nobel is about the work. You víc o samotné práci než o člověku. Vy byste should understand that more than anyone. to měl vědět líp než kdokoliv jiný. PENNY: Yes, because of your work on PENNY: Ano, to díky vaší práci gravitational waves. o gravitačních vlnách. THORNE: You know my work? THORNE: Vy znáte moji práci? PENNY: I do. But I'm-I'm really hogging this PENNY: Znám. Ale… ale ať nemluvím conversation. Leonard? jenom já. Leonarde? LEONARD: (clears throat) Just give them a LEONARD: (odkašle si) Jen jim dejte šanci. chance. Uh, science has a history of difficult Mezi vědci bylo odjakživa plno people. Look at, uh, Newton, who was a jerk problémových lidí. Třeba Newton, choval se to Leibniz, and Leibniz, who was a jerk to jako blbec k Leibnizovi a Leibniz se choval everyone. jako blbec úplně ke všem. PENNY: Yeah, you know, and I don't need to PENNY: Jo a já vám nemusím říkat, že tell you that gravitational waves are gravitační vlny narušují zakřivení disturbances in the curvature of spacetime. Or časoprostoru. Nebo že… Hele, vy jste se that the... Hey, you worked on the movie vážně podílel na filmu Interstellar? Interstellar? Scene: Bernadette and Howard are sitting in Scéna: Bernadette a Howard sedí v jejich their living room. Bernadette is reading the obývacím pokoji. Bernadette si čte přepsanou rewritten book. knihu. HOWARD: So what do you think? HOWARD: Tak co myslíš? BERNADETTE: I think if you were in space BERNADETTE: Myslím, že kdybys byl ve without a shirt on, you'd die. vesmíru bez trika, tak umřeš. HOWARD: Oh. No, I am wearing a shirt. It's HOWARD: Ale já mám triko. Jen je tak just skintight, so you can see my pecs. přiléhavé, že mi jsou vidět svaly. BERNADETTE: When did you get pecs? BERNADETTE: Od kdy máš svaly? HOWARD: Yesterday, when I made Stuart HOWARD: Od včerejška. Donutil jsem add them. Stuarta, aby mi je dokreslil. BERNADETTE: Howie, what I liked about BERNADETTE: Howie, ten přechozí příběh the other story was that it was real. I mean, se mi líbil, protože byl skutečný. Nic z tady nothing in this actually happened to you. toho se ti doopravdy nestalo. HOWARD: (chuckles) So, it's a children's HOWARD: (zasměje se) No a? Je to kniha pro book. I mean, cats don't wear hats. And if děti. Vždyť kočky nenosí klobouky. A když someone gives you green eggs, it ends with dostaneš zelený vajíčka, tak skončíš na you on the toilet trying to make a deal with záchodě a budeš volat všechny svatý. God. BERNADETTE: But the real story was so BERNADETTE: Ale ten skutečný příběh byl sweet. The little astronaut was afraid, but he tak krásný. Malý astronaut se bál, ale přesto still went to space, and that's what made him letěl do vesmíru, a proto byl statečný. brave. HOWARD: (scoffs) But in space, the other HOWARD (vysměšně): Ale ve vesmíru si z astronauts... made fun of him, and that's něj ostatní astronauti dělali srandu, a to už si a thing he doesn't want to relive. nechce připomínat. BERNADETTE: I get that. I guess it would BERNADETTE: To chápu. Asi by to musel just take a really brave man to put an být opravdu odvážný muž, aby do světa embarrassing story like that out into the world, vypustil takový trapný příběh, jen proto, že by just so it might help some frightened children mohl pomoct vystrašeným dětem, které se cítí not feel so alone. sami. HOWARD: Wow. That is quite the guilt trip. HOWARD: Páni. Ty víš, jak vyvolat pocit Are you sure you're not Jewish? viny. Určitě nejsi Židovka? 28

BERNADETTE: I'm just a wife that is so BERNADETTE: Jsem jen žena, která proud of her husband, and doesn't think that je velmi pyšná na svého manžela a myslí si, že he has anything to be embarrassed about. se nemá za co stydět. HOWARD: Oh. You're sounding less and less HOWARD: No, teď už zníš jako Židovka čím Jewish. dál míň. Scene: Everybody is at Sheldon and Amy’s Scéna: Všichni jsou na recepci Sheldona reception. Sheldon and Amy come to Leonard a Amy. Sheldon a Amy jdou za Leonardem s and Penny. Penny. AMY: Hey, we just heard that you're the ones AMY: Hej, zrovna jsme slyšeli, že to vy jste who convinced the Nobel Laureates přesvědčili všechny ty nositele Nobelovky, to come. aby přišli. SHELDON: Thank you. SHELDON: Děkujeme. PENNY: You are welcome. PENNY: Nemáte za co. LEONARD: You guys deserve this. LEONARD: Vy si to zasloužíte, lidi. PENNY: Yeah, now get out of here, go talk to PENNY: Jo, a teď už se běžte pobavit some smart people. s nějakejma chytrejma lidma. LEONARD: Wait a minute. LEONARD: Počkat. PENNY: Yeah, sorry. Sometimes I forget PENNY: Jo, promiň. Občas zapomenu, že jsi you're smart because you're so sexy. chytrej, protože jsi tak sexy. LEONARD: I can see that. LEONARD: To chápu. PENNY: Yeah. PENNY: Jo. SIEBERT: Dr. Cooper. Dr. Fowler. I was just SIEBERT: Pane doktore, paní doktorko. telling Professor Arnold how you came up Právě jsem říkal panu profesoru Arnoldovi, with super-asymmetry at your wedding. jak jste přišli na super-asymetrii na vaší svatbě. PROF. ARNOLD: It's a wonderful story. PROF. ARNOLD: Je to úžasný příběh. AMY: Ha, it really is. AMY: To opravdu je. SHELDON: I wouldn't say it was the SHELDON: Neřekl bych, že to byl zlatý hřeb highlight of the wedding, because I've been naší svatby, protože mi bylo řečeno, že told not to for reasons I don't fully understand. nesmím, z důvodů, kterým doteď nerozumím. SIEBERT: Uh, but what he does understand is SIEBERT: Ale důležité je, že rozumí tomu, how the universe works, and that's what's jak funguje vesmír. Ne tomu, co vypouští important. Not what comes out of his mouth. z pusy. (Směje se.) (He laughs.) Scene: Pemberton and Campbell are coming Scéna: Pemberton a Campbell přichází na to the reception. Penny and Leonard notice recepci. Penny a Leonard si všimnou, že jsou they are there. tam. PENNY: Uh-oh. I haven't been to a lot of PENNY: Nebyla jsem na moc událostech, parties like this, but what does a physics jako je tahle, ale jak vypadá bitka fyziků? rumble look like? LEONARD: Kind of like angry chickens. LEONARD: Trochu jako naštvaný kuřata. PENNY: Hmm. PENNY: Hmm. LEONARD: Or-or-or-or like, uh, when-when LEONARD: Nebo, nebo jako když se perou puppets fight. štěňata. Scene: Pemberton and Campbell are coming Scéna: Pemberton a Campbell přichází to greet Sheldon and Amy. pozdravit Sheldona s Amy. CAMPBELL: Dr. Cooper, Dr. Fowler, good CAMPBELL: Pane doktore, paní doktorko, to see you. rád vás vidím. AMY: What are you doing here? AMY: Co tu děláte?

PEMBERTON: Professor Smoot invited us. PEMBERTON: Pozval nás pan profesor We're Facebook friends. Smoot. Jsme přátelé na Facebooku. CAMPBELL (greets prof. Smoot): Smooty! CAMPBELL (zdraví prof. Smoota): Smooty! AMY: Well, this is our reception, so go away. AMY: Ale tohle je naše recepce, běžte pryč. SHELDON: Actually, Amy, I think we should SHELDON: Vlastně myslím, že by tu měli let them stay. Please, enjoy yourselves. Try zůstat, Amy. Prosím, bavte se. Zkuste párečky some pigs in blankets. And yes, that is the v županech. A ano, je to množné číslo. plural. PEMBERTON: Great. PEMBERTON: Super. CAMPBELL: Thanks. CAMPBELL: Díky. (Pemberton and Campbell leave.) (Pemberton a Campbell odchází.) AMY: What are you doing? AMY: Co to děláš? SHELDON: If they stay, everyone will see SHELDON: Když tady zůstanou, každý uvidí, that their grasp on super-asymmetry is že jejich znalosti o super-asymetrii jsou tenuous at best. přinejmenším dost chabé. AMY: Oh. That's clever AMY: To je mazané. SHELDON: Yeah, I don't just know the SHELDON: Jo, nevyznám se pouze plurals of things, Amy. v množných číslech, Amy. (Leonard and Penny come.) (Přichází Leonard s Penny.) LEONARD: Is this gonna be a problem? LEONARD: Bude z toho problém? SHELDON: Mm? No, no, no. We have a plan. SHELDON: Ne, ne, ne. Máme plán. SHELDON: Uh, Dr. Campbell and SHELDON: Pane doktore Campbelle Pemberton, settle a bet for Dr. Fowler and me? a Pembertone, mohli byste rozseknout naši We were just discussing, under what sázku? Zrovna jsme probírali, za jakých conditions the radiative corrections to super- podmínek by radiační korekce super- asymmetry could cause time variation of asymetrie způsobily časovou odchylku alfy alpha E.M.? E.M.? AMY: I say active galactic nuclei at AMY: Já říkám, že aktivní galaktická jádra cosmological distances show a part per v kosmických vzdálenostech ukazují million deviation. Dr. Cooper says this has odchylku jedné částice na milion. Doktor been disproven recently with quasar Cooper tvrdí, že to bylo nedávno vyvráceno observations. pozorováním kvasarů. SHELDON: What do you think? SHELDON: Co myslíte vy? CAMPBELL: I agree with you. CAMPBELL: Souhlasím s vámi. SHELDON: Good answer. SHELDON: Správná odpověď. PEMBERTON: Hey, uh, if we haven't said it PEMBERTON: Hele, pokud jsme to ještě before, we just want to say...thank you. neřekli, chtěli bychom vám… poděkovat. CAMPBELL: Yeah. We couldn't have proven CAMPBELL: Ano. Bez vás bychom super- super-asymmetry without you. asymetrii neprokázali. SHELDON: Wait-wait. You all heard them SHELDON: Počkat, počkat. Všichni jste je say it. They didn't do anything. slyšeli. Oni nic neudělali. LEONARD: Sheldon. Shut up. LEONARD: Sheldone, sklapni. SHELDON: Yeah... Well, that's rude. SHELDON: Jo… ale to je neslušné. LEONARD: No. Shut up. LEONARD: Ne. Sklapni. SHELDON: Oh, the code word, thank you. SHELDON: Aha, to heslo, děkuji. PEMBERTON: You know, it's strange. A few PEMBERTON: Víte, je to zvláštní. Před months ago, nobody paid any attention to us, několika měsíci si nás nikdo nevšímal and now all of a sudden, we're getting all these a najednou dostáváme všechna tahle ocenění. accolades. CAMPBELL: Yeah, have-have any of you CAMPBELL: Jo, už jste někdy měli pocit, že ever felt like maybe you didn't deserve it? si něco možná nezasloužíte? 30

SHELDON: Leonard, there's something SHELDON: Leonarde, potřebuji něco říct. I need to say. LEONARD: Shut up. LEONARD: Sklapni. SHELDON: Okay. SHELDON: Dobře. PEMBERTON: It's crazy. We conclusively PEMBERTON: Je to šílené. Jednoznačně proved super-asymmetry, and yet somehow jsme prokázali super-asymetrii, a i přesto si we, we still feel like imposters. připadáme jako podvodníci. CAMPBELL: There should be a term for that. CAMPBELL: Pro to by měl existovat nějaký AMY: Oh, for crying out loud, there is a term výraz. for that! It's called "imposter syndrome" and AMY: Pro boha živého, existuje pro to výraz! you don't have it! Because you can't have it if Říká se tomu „syndrom podvodníka“, a to vy you are imposters, and you are! We're the ones rozhodně nemáte! Nemůžete ho mít, když jste who discovered super-asymmetry! So if podvodníci. To my jsme objevili super- anyone's gonna feel like they have imposter asymetrii! Takže jestli tu někdo má mít syndrome, it's us, because we're not syndrom podvodníka, tak jsme to my, protože imposters! They are! You're imposters and my nejsme podvodníci! Oni jsou! Jste you're frauds! podvodníci a křiváci! SHELDON: Is that what I would've sounded SHELDON: Takhle bych zněl? like? LEONARD: Yeah. LEONARD: Jo. SHELDON: Yikes! SHELDON: Jejda. Scene: It is evening and Howard is reading a Scéna: Je večer a Howard čte Halley knihu. book to Halley. HOWARD (reading): A time, there was HOWARD (čte): Byl jednou jeden malý a little astronaut who was sitting in a rocket astronaut, který seděl v raketě a čekal, až ho waiting to go to space. vystřelí do vesmíru. MAN (over radio): Three... two... one... MUŽ (v rádiu): Tři, dva, jedna… HOWARD: And while all the other astro- HOWARD: A zatímco co se ostatní astronauts laughed and joked, he stayed quiet, nauti smáli a vtipkovali, on zůstal potichu, because he had a secret. He was scared. He protože měl tajemství. Měl strach. Ale měl had another secret, too. He was only ještě další tajemství. Jenom předstíral, že se pretending to be scared to trick the alien king. bojí, aby oklamal krále vetřelců. Ha ha! Ha-ha! BERNADETTE (appears at the door): BERNADETTE (objeví se u dveří): Howie. Howie. HOWARD: Fine. There was no alien. HOWARD: Dobře. Nebyl tam žádný vetřelec. (chuckles) There was a bossy wife, though. (Zasměje se.) Ale byla tam panovačná We'll get to her later. manželka. K té se dostaneme později.

THEORETICAL PART

1 About Translation

This section of the theoretical part defines and shortly introduces the definition of translation to the reader. It deals with the process of translation with a short description of translation methods relevant for this thesis.

1.1 The Definition of Translation

Translation is defined as "a process of substituting a text in one language for a text in another" (Catford, 1967, p. 8). One of the most known definitions is stated by Newmark (1988, p. 5) who defines translation as "rendering the meaning of a text into another language in the way that the author intended the text". In this definition, Newmark adds that the meaning of the target language text should remain as intended by the author. On the other hand, Yowell and Mutfah (1999) do not only see translation as a process, but also as a product since it provides the reader with different cultures when the translated text reaches them. Nevertheless, Levý (1998, p. 51, translated by PM1) adds that the aim of translation is fulfilled when the translated text is read. The final concept of the translation is made when the reader creates a subjective view of the translation. According to Baker (1992, p. 112), the translator’s goal is to convey information from the Source Language (SL) through the given translation in Target Language (TL) without the reader noticing the fact that it is a translation. In order to achieve this, the translator has to adjust certain features of the SL text structure in line with the preferred organization of discourse in the TL. (ibid.) To accomplish translation, the translator should have knowledge of: i) the Source Language, ii) the Target Language, iii) the factual content of the translated text, e.g., realia or peculiarities of the author of the SL (Levý,1998, p. 17, translated by PM2). From the definitions mentioned above we can deduce that the aim of translation is to find meaning equivalence in the target text. Linguists have always been discussing whether to translate literally or freely and for that reason many translation methods exist (Newmark, 1988, p. 45).

1 Translated by Pavlína Malíková 2 Translated by Pavlína Malíková 32

1.1.1 Selected Translation Methods Newmark (1988, p. 45) listed the following translation methods according to the emphasis of the SL or the TL. I have decided to mention a few of them as some of the translation methods describes the approach to the translation included in this thesis. i) Faithful translation Faithful translation, as it indicates, attempts to be completely faithful to the intentions and the text-realisation of the SL writer. The translator’s aim is to reproduce the precise contextual meaning of the SL within the constraints of the TL grammatical structures. Cultural words are transferred, and the grammatical and lexical degree is preserved (Newmark, 1988, p. 46). ii) Semantic translation Semantic translation largely corresponds to faithful translation, but it takes account of the aesthetic value. It is more flexible and allows the translator to be creative and emphatic with the SL. Semantic translation tolerates small deviation from the SL in order to provide the reader with a natural text (Newmark,1988, p. 46). This translation method could be labelled as the closest description of the translation included in this thesis. iii) Idiomatic translation Idiomatic translation transfers the message of the original but tends to distort the meaning by preferring colloquialisms and idioms which differ from the original (Newmark,1988, p. 46). Some idiomatic translations will be described and analysed in the analytical part further.

2 Idiolect and Informal Spoken Discourse

The aim of this chapter is to define the term idiolect and describe its factors. Since idiolect is closely related to informality, the following chapters will be focused on informal language, which is the most relevant factor of idiolects of the main protagonists analysed in this thesis. First, I will define informal language and describe markers which differ informality from formality. Then, I will concentrate on different signals of informality in English and in Czech and on the challenges which this presents for translators from English to Czech.

2.1 Idiolect

The term idiolect is originally from Greek words idio- (i.e. personal, private) and -lect (abstracted from dialect). It was coined by linguist Bernard Bloch in 1948. In linguistics, idiolects fall together with dialects and accents under the study of linguistic variation (Jesenská, 2010, p. 42). According to Gramley and Pätzold (2004, p. 14), idiolect is the individual form of language used by a particular person which consists of "vocabulary common to most speakers of the person’s speech community" and reflects a person’s gender, age, class, education, region etc. Dittmar (1996, p. 111) defines idiolect as "the language of the individual, which because of the acquired habits and the stylistic features of the personality differs from that of other individuals and in different life phases shows, as a rule, different or differently weighted communicative means". On the other hand, the very existence of idiolect has been denied by many linguists. For example, Roman Jakobson (1971, p. 82) claims it "proves to be a somewhat perverse fiction". However, this thesis does not deal with arguing about its existence, but with the analysis of idiolect, and therefore this thesis follows the definitions stated by Dittmar and Gramley. Jesenská (2010, p. 42) listed factors influencing speaking abilities of an individual: i) Age: Younger people tend to use language innovations (e.g. neologisms, foreign words). ii) Sex: Female language is generally more conservative than male language (e.g. Penny speaks more than male characters). iii) Ethnical Background (e.g. Indian origin of Rajesh). iv) Social and economic standing: Particular differences among social class members are reflected in their use of language (e.g. Penny working as a waitress and Leonard working as a scientist). v) Education: There is a distinct polarity of uneducated and educated speech, which is related to intellectual level of the individual or to the duration of their formal and informal education

(e.g. difference between Penny’s low education and Sheldon’s high education and a number of degrees). Nonetheless, as said before, the concept of idiolect has a little agreement among linguists. The reason might be the difficultness of observing and measuring of this theory which leads to less empirical evidence. Thus, it is a term that is not typically described in most textbooks in linguistics. The word idiolect is mainly used when discussing differences in speech from one person to another (Barlow, 2010). The focus of this thesis is to analyse the differences of the use of language between five main characters. Therefore, the term idiolect is used to describe the various features of their language, which is mainly informal. To be able to analyse the differences between their informal language, the typical features of informality in the SL and TL have to be described. Finally, it is important to mention that idiolect is very dynamic, and it is often changing according to time, place or situation (Gramley and Pätzold, 2004, p. 14). In this translation, the change of idiolect may be the most visible on Penny’s use of language because of her greater contact with scientific community and relationship with Leonard throughout the series. Her idiolect in the first and last series translation will differ. As mentioned before, idiolect is used when discussing differences of the use of language among various people. The differences of the spoken discourse of The Big Bang Theory characters lie mainly in the usage of formal and informal language. Thus, the following chapters deal with definition of informal language and the different features of informality in the TL and SL in order to preserve the idiolects of the main protagonists.

2.2 Definition of Informal Language

Informal language (i.e. colloquial language) is the language of private and ordinary conversations (Leech, Svartvik, 2002, p. 12). Dontcheva-Navratilova adds that informal language "shows a preference for simple, personal and more emotive forms of expression" (2018, p. 54). Crystal and Davy (1969, p. 95) consider informal language as "the most neutral kind of English one can find". The New Oxford Dictionary of English (Pearsall, 1998) defines it as "a style of writing or conversational speech characterized by simpler grammatical structures, more familiar vocabulary, and greater use of idioms and metaphors". Because it is generally easier than formal language and it is a common type of spoken language at home, it is the first sort of language that native speaking child becomes familiar with (Leech, Svartvik, 2002, p. 12). Informal language is associated with speaking and it is used in registers as face-to-face conversation, TV and radio advertisements and TV shows (Leech,

Deuchar, Hoogenraad, 1982, p. 145–146). It usually co-occurs with a greater or lesser level of familiarity and personal forms of expressions. Even though grammatical structures in informal language are regarded as neutral, there are some structures associated with a particular level of formality. (ibid.) These structures will be described in the following chapter. All definitions stated above are rather similar and they are going to be taken as a source for the practical and analytical part of the thesis. Focus of this paper is mainly on informal spoken discourse, and thus I am not going to deal with occurrence of informality in advertisements, but mostly with features of informal spoken discourse described by Leech and Svartvik.

2.1.1 Difference Between Formal and Informal Language It is crucial to be aware of that formality and informality cannot be strictly separated. They can be viewed as two ends of a formality-informality scale (Leech, Deuchar, Hoogenraad, 1982, p. 145). The use of formal and informal language varies according to tenor, which is a functional variation reflecting the relationship between communicating participants in a given situation. This relationship is reflected not only by formality and informality, but also by the level of politeness and impersonality of discourse. (ibid) Interweaving of formality and informality is noticeable even in the Big Bang Theory series and in idiolects od the main characters. If informality and formality were on a scale, Sheldon’s language would state on one end for ‘formality’ and Penny’s language would be on the other end as ‘informality’. Generally speaking, informal language is associated with spoken language, whereas formal language is mainly used in the written form. Formal language tends to be socially distant and used in academic, official, and business settings. When we are formal, we have a tendency to use complex sentences, subordination, non-finite and verbless clauses, passive voice, impersonal and uncontracted forms, generic pronoun one and classical vocabulary (Leech and Svartvik, 2002). On the other hand, informal language makes use of simple sentences and active voice mainly, with personal pronouns and verbs which show feelings, opinions, and attitudes, such as ‘I think’, ‘we believe’, etc. In addition, contractions are frequent in informal discourse. Nevertheless, even though formal language occurs in idiolects of all main characters, the main difference between them lies in the different usage of informal expressions, and thus I will focus on features of informal spoken discourse in the following chapters.

2.3 Informal Spoken Discourse in English (on phonetic, lexical, syntactic, and morphological level)

Apart from detailed features of informal spoken discourse on language levels, informal conversation is generally characterised by a very high proportion of errors, involving hesitation features of all kinds (e.g. "er" or "um"), slips of the tongue, and a substantial amount of overlapping or simultaneous speech. Other significant feature is hesitancy, which is "strongly influenced by periods of creative thinking – the more one is thinking what to say, the more likely hesitation features are to appear – and this tends to produce a cyclic pattern" (Crystal and Davy, 1988, p. 104). Furthermore, there is inexplicitness of language due to the extra-linguistic context in which the conversation is taking place and common personal background of participant. Finally, informal conversation is characterised by a general lack of planning. (Crystal and Davy, 1988, p. 102–103). I have already mentioned some markers of informal language in the previous chapter. However, in this section, I am going to describe informal features of English spoken language in detail from the point of view of language levels. These features can be observed at all language levels, though not to the same extent. Following features were described by Crystal and Davy (1988, p. 95–115), Leech (2002, p. 15–20) and Urbanová and Oakland (2002, p. 12– 26) on selected levels. 1) Phonetic and phonological level: The range of voice qualities one finds being used is entirely random and without pattern (as opposed to the more predictable qualities of certain other varieties, e.g. television advertising), use of a wider range of sounds from different air-stream mechanisms and other configurations of the vocal tract unlike in other varieties of English (e.g. vocalisations, various whistles, artificial clearing of the throat or coughing for purposes of irony and snorts and sniffs). Also use of onomatopoeic words and sounds (e.g. "whoosh", "boing" or "brrr"). Another feature is elision, which is partial loss of sounds from words in connected speech (e.g. "cuppa tea"). Also, prosodic features such as voiced pauses (fillers), silent pauses, intonation or unstable tempo are present. In their analysis, Crystal and Davy also noted frequently occurring phonologically obscure utterance, when participants lowered their voices to inaudible mumble, or tailed off into silence. 2) Lexical level is the most noticeable aspect of informal conversation. The vocabulary reflects the relative domestic of the subject matter. There is tendency to use very simple words in structure, colloquial idioms (e.g. a little bit, Translation p. 22), a great deal of lexical hyperbole (e.g. less and less, Translation p. 29), and slang (e.g. nope, Translation p. 22). 37

The speaker usually tries to avoid specialized terms and formal phrases, and whenever they occur, their force is usually played down through hesitation, or the use of "you know", "sort of" and "so on". In informal conversation, inexplicit refences are accepted, and it is even possible to replace a lexical item by a completely non-specific prop word such as "you-know-what-I- mean" or "what-do-you-call-it", which may function as a noun. Furthermore, the speaker typically uses intensifiers, phrasal verbs, informal "filler" verbs, such as got (e.g. "I’ve got to go", Translation p. 14), and contracted verbal forms. On some occasions, cliché such as "that’s life" may appear. Leech (2002, p. 18) also adds occurrence of species nouns (e.g. "kind of like angry chickens"¸ Translation p. 29), amount words (e.g. a lot of, Translation, p. 9), addition (e.g. too, Translation p. 23), adverbs with adjective form (e.g. "Uncomfortable with loud music", Translation, p. 11), and introductory there. Urbanová and Oakland (2002, p. 24–26) add also opacity of meaning, tendency towards monosyllabism (e.g. pecs instead of pectorals, Translation p. 28), discourse markers (e.g. yeah, I mean, Translation p. 19), afterthoughts and the use of deixis (e.g. this, Translation p. 11, myself, Translation p. 26). 3) Syntactic level: From the syntactic point of view, we can observe mostly short sentence length, simple structure of sentences, loose structure with loose coordination, high frequency of minor sentences and the high proportion of parenthetic compound types of sentences. Typically, there is a missing subject or auxiliary verb (e.g. "Kids asleep?", Translation p. 22), the infrequency of passives, the frequent use of ellipses, occurrence of unlinked clauses, subject-verb inversion, comment clauses in end-position (e.g. "I really wanted a titanium centrifuge so, you know," Translation p. 15), genitive. Halliday (1990) pointed out that in spoken language, we may observe clause complexes, complex structured utterances occurring because restarting and normal non-fluency of the speaker. Leech (2002, p. 18–19) further listed the use of positive and negative condition (e.g. you’ll feel better, then), unlinked clauses, substitutes (e.g. do that instead of do so, Translation, p. 11), emphatic topic (e.g. Joe his name is), demonstrative + wh-clause (e.g. that’s why I did it, Translation p. 18), comparison, concord (e.g. "We all have to be there", Translation p. 16), nominal that-clauses with that omitted (e.g. "Make sure they remember", Translation p. 9), nominal -ing clauses (e.g. "No one ever won a Nobel for being nice", Translation p. 21) and finite clause as postmodifier (e.g. "I like the way you're thinking", Translation p. 27). 4) None of the authors listed above mention the morphological aspects of informal language. This can possibly be explained by the fact that English contains very limited quantity

38 of informal morphological devices. These devices include, for instance, the diminutive prefix mini- and suffixes –y (-ie), -let (e.g. bossy, Translation p. 31, sweetie, Translation p. 10 or booklet), or rhyming constructions, such as hunky monkey or teeny-weeny. (Cambridge Dictionary) Also suffixes -ish and -y may be used to make the reference sound deliberately vogue and approximate. Suffix -ish is commonly used with numbers, times or quantities, such as sevenish. We can also add -ish to adjectives, adverbs and prepositions (e.g. tallish or nearish) (Cambridge Dictionary). In this respect, English crucially differs from Czech, where informality is marked primarily by morphological and lexical means. Nevertheless, this difference is described in detail in following chapters.

2.4 Informal Spoken Discourse in Czech (on morphologically-phonological, lexical and syntactic level)

In comparison to not only non-Slavic, but also to other Slavic languages, Czech language system is very specific. Thus, I find it necessary to mention the stratification of contemporary Czech and clarify certain terms which may occur in the following parts of this thesis. Czech is divided into two basic variations (Krčmová, Chloupek, 2017): 1) Literary Czech (or standard Czech) is used primarily in written texts. It is codified, neutral and prestigious variation of the language. Moreover, in this variation it is also included so-called Colloquial Czech, which is a spoken variation of Literary Czech. Nevertheless, Colloquial Czech is not considered as a language variation because it is an incomplete set of colloquial, mostly lexical, means, which are used in cultivated oral discourse (and which are not acceptable in written discourse). It is more dynamic and slightly variable according to the region (Krčmová, Chloupek, 2017). 2) Common Czech (or substandard Czech) is considered as the most common and widespread conversational code used in everyday oral communication. Common Czech occurs in two main varieties: well definable Bohemian version (spoken mainly in Bohemia and mainly western parts of Moravia) and less definable Moravian (or the Brno) version. It has its significant features and is close to Colloquial Czech (Kučera, 1955, p. 575). There is also another less common interdialect in Silesia and other traditional dialects corresponding to geographic areas within the country (Krčmová, Chloupek, 2017), which are not part of this thesis. Sgall (2012, p. 2) mentions that among Czech linguists, there has always been a discussion whether there is a difference between Common Czech and dialects. Many of them 39 claim that there is no crucial difference between these terms. On the contrary, linguists from abroad sees Common Czech not as a dialect, but as a colloquial version of Czech. (ibid.) Naturally, the border between standard and substandard means of language is not sharp, since Czech—as any other language—is constantly developing. As Hronek (1992, p. 24) and Krčmová (2017) stated, code switching between Literary Czech and Common Czech is very frequent and usually unaware for the speaker. On the other hand, Czech language is particularly interesting, because Literary Czech – as a result of historical circumstance – was developed more slowly than Common Czech. Consequently, a huge gap between these variations was created and it caused a non-existence of neutral stylistic means for certain grammatical categories, especially in the following four aspects listed by Hronek (1992, p. 23): 1) Conditional forms: bychom (highly literary) x bysme (substandard). 2) The nominative and the accusative plural of neutral adjectives: velká města (highly literary) x velký města (substandard). 3) The forms of the instrumental plural: pány, stroji, ženami (highly literary) x pánama, strojema, ženama (substandard). 4) The forms of the nominative plural of animate masculine adjectives: ti dobří herci (highly literary) x dobrý herci (substandard). Since the topic of this thesis related also to informal spoken language, the aim will be to discuss and analyse the features of Common Czech. Even though linguists dealing with Common Czech are well aware of the existence of regional differences in informal discourse, they focus only on the common features of interdialects. Thus, they describe the Bohemian version, as it is the most well defined and frequently used variation, which influences all other interdialects and dialects (Krčmová, Chloupek, 2017). The same approach will be applied in this thesis. The main difference between Literary Czech and Common Czech lie in morphologically-phonological and lexical level. The following features were stated by Kučera (1955, p. 579–584), Krčmová (2017) and Sgall and Hronek (1992, p. 29–79). 1) Morphologically-phonological level: vowel mutation é > í (LC: lézt, mléko, malé, CC: lízt, mlíko, malý), vowel mutation ý or í > ej (LC: být, vozík, vtipný, CC: bejt, vozejk, vtipnej, Translation p. 13), prothetic v- at the beginning of words starting with o- (LC: okno, CC: vokno), change of instrumental plural of certain nouns to -ma instead of -mi (LC: přáními, CC: přáníma, Translation p. 19) and all adjectives and pronouns (LC: čokoládovými, CC: čokoládovejma, čokoládovýma, Translation p. 24), different endings of verbal forms, without formant -l, -e or -í (LC: nesl x CC: nes, LC: jedeme x CC: jedem, LC: dělají x dělaj). Common

Czech has suffix -t in the infinitive of all verbs (e.g. hrát), whereas Literary Czech employs two suffixes -t (or -ti) and -ci (e.g. říci). There is also tendency of changing the locative ending - ém > -ým (LC: mladém, CC: mladým) and then shortening the vowel: (e.g. mladym). Similar tendency is with vowel í, which is commonly shorten as well (LC: musím, CC: musim). We can observe simplification not only of the pronunciation, but also from the morphological point of view, where is a significant tendency to simplify the morphological system of the CC in comparison with LC. There are words commonly ended by significant suffixes. Nouns are usually followed by suffixes as -ajz (e.g. blivajz), -átor (e.g. synátor), -čko (e.g. áčko), -nda (e.g. bžunda), -outka (e.g. poseroutka) and -ulda (e.g. taťulda). Adjectives are used with suffixes as -anej (e.g. zpráskanej), -atej (e.g. prachatej), - lej (e.g. natvrdlej), -nej (e.g. fešnej), -ovej (e.g. férovej) and -tej (e.g. šáhnutej). 2) Lexical level: Common Czech has a rich lexical repertoire, which is mostly formed by expressive vocabulary. These lexical units often represent a stylistically lower alternative of neutral vocabulary, which belongs to the lexical layer of Literary Czech (LC: zemřít x CC: zhebnout, LC: pořád x CC: furt). On the contrary, Sgall and Hronek (1992, p. 72) put lexical units on a scale, where it is proved that vocabulary of Common Czech does not always act only as substandard version of Literary Czech vocabulary, but they often intertwine as the boundary between them is not sharp. Naturally, a large amount of Common Czech vocabulary are loanwords (historically mainly from German, recently from English). Common feature of CC vocabulary is also so- called univerbation, in which an expression of several word is combined into a single word (e.g. Nobelova cena is changed into Nobelovka, Translation p. 29), and compounds (e.g. mermomocí). Hoffmannová (1997, p. 77–78) mentions phenomenon called under-lexicalization, which occurs when speaker cannot find an appropriate expression. They often use vague and "empty" vocabulary, such as excessive use of demonstrative pronouns (e.g. takovej ten), indefinite expressions (e.g. nějakej, takové, jako, Translation p. 29, 21, 13) and other completely redundant words (e.g. no, jo, tak or taky¸ Translation p. 9, 29, 11, 23) and filler words (e.g prostě, vlastně, teda, takže, Translation p. 10, 9, 19, 13). (ibid) In conclusion, lexical repertoire of CC could be divided into three main groups: i) words typically used in everyday ordinary conversation characterised by suffixes or morphologically-phonological difference; ii) slang (mostly taken from English or German

41 language); iii) expressive vocabulary including vulgarisms, euphemisms and diminutives. (Sgall, Hronek, 1992, p. 79) 3) Syntactic level: Hoffmannová (1997, p. 78–79) describes several typical syntactic features such as the use of wrong declension of nouns and adjectives, simple sentences with coordinating conjunctions (frequently used conjunction „a“) or without conjunctions at all (juxtaposition), the use of aposiopesis, where a sentence is deliberately broken and left unfinished (e.g. "and there was cake, so... ", Translation p. 9) or anacoluthon, where there is a change in the syntactical structure in the middle of a sentence (e.g. „No, to je… takže vy potřebujete, aby…“, Translation p. 24). The speaker often adds parenthesis or afterthoughts into grammatically complete sentences, or other additional clauses. All previously mentioned features influence the word order and allows the speaker to move the focus (or rheme) of the sentence, which normally occurs at the end, to the beginning or to the middle of the sentence. Since occurrence of the rheme is part of a comprehensive theory of the functional sentence perspective and it is not a part of this thesis, I will not go into more detailed description of this phenomenon. From the previously mentioned features, it is obvious that informality of Czech spoken language is created on different levels using different features. These contrasts will be summarized and compared in the next chapter.

2.5 Different Signals of Informality in English and in Czech

As the previous two chapters suggest, the ways in which the level of informality is signalled in Czech and in English are different. Thus, I have decided to summarize and compare the signals, which were already described in detail above. Features of informality in English are reflected mainly on lexical level, but in Czech it is primarily on morphologically-phonological level. Unlike Czech, English contains very limited quantity of informal morphological devices (prefix mini- and suffixes –y, -let, -ish or rhyming constructions). Informality in Czech is achieved through the use several vowel mutations, such as ý > e (e.g. chytrej, Translation p. 30) and various suffixes (-ajz, -lej, -tej, etc.). Both languages have a rich lexical repertoire and for English; it is the main indicator of informality. Knittlová (2000, p. 36) mentions that English, as an analytical language, contains more multiword and explicit expressions than Czech, which is considered a synthetic language with relatively flexible word order. English speaker uses intensifiers and modifiers to express their negative or positive attitude (e.g. a hot fat girl, Translation p. 17), while Czech speaker,

42 conversely, applies univerbation or redundance and express themselves through a single word, which already express their attitude (e.g. baculka, Translation p. 17). However, this is not a rule and it can occur also the other way around, when no exact expression in Czech language exists (e.g. "be benched" would be translated as „sedět na lavici”) (Knittlová, 2000, p. 37). Informal English contains phrasal verbs, which do not occur in Czech and instead of them it is used a single word with a prefix (e.g. scrape off is traslated as seškrábat, Translation p. 8). As I mentioned in the previous chapter, Czech vocabulary, especially slang, contains many loan words, whereas English informal vocabulary is mostly of Anglo-Saxon origin (Leech, Svartvik, 2002, p. 12). Another difference is the use of interjections. English speakers use very often interjections, which shows strong emotions, but Czech language does not have corresponding expression. This problem is usually solved by modal particles or phatic expressions (e.g. wow is translated as páni, Translation p. 26) (Knittlová, 2000, p. 63). From the syntactic point of view, it is important to mention that Czech language has, unlike English, relatively free word order. Apart from missing conjuncts, overuse of conjunct „a“ and shuffled word order, there are no other markers of informality in Czech. On the contrary, English contains several constructions, which are considered as informal, such as missing subject or auxiliary verb, the infrequency of passives, the frequent use of ellipses, subject-verb inversion and other listed in chapter 2.2. I have listed the main differences between the features of informal spoken discourse in both English and Czech which are possible to compare. The following table summarizes the attributes mentioned in the previous two chapters. Features of Czech Informal Language Features of English Informal Language reflected mostly on morphologically- reflected mostly on lexical level phonological level no contracted forms contracted forms various morphological devices limited quantity of informal morphological devices, rhyming constructions the use of various vowel mutations no vowel mutations flexible word order mostly strict word order more single word expressions more multiword and explicit expressions the use of expressive word, univerbation (i.e. the use of intensifiers and modifiers to an expression of several word is combined express negative or positive attitude into a single word)

a single word with a prefix phrasal verbs expressive vocabulary, slang, loanwords Anglo-Saxon vocabulary does not contain interjections showing strong frequent use of interjections showing strong emotions emotions (e.g. oh, hey, huh, etc.)

Even though this chapter is focused on the differences of informality in Czech and English, there are a few features which occur in both languages, such as the frequent occurrence of demonstrative pronouns and filler words, tendency to use simple sentences and conjunct "and/a". Finally, from the factors described in this section is obvious that a translator of English to Czech deals with numerous differences between analytical English and synthetic Czech. What a translator should consider and be aware of is described in the next chapter.

2.6 Translating Idiolect with a Focus on Informality

As stated before, idiolect is in this translation closely related to informality since it is the main feature that is differs for the language of each character. When translating idiolect with a special focus on different levels of informality, the major challenge for the translator of English to Czech is posed by the fact that there are no substandard morphological forms in English which would correspond to those in Czech, where informality is marked mostly by morphologically-phonological means. When a translator needs to evaluate the level of informality of the SL, he must focus primarily on lexical and syntactic features. Nevertheless, the translator should carefully contemplate also extralinguistic factors, which include the genre, the topics and themes of the dialogues or the factors related to the certain characters (e.g. their personality traits, origin, education attainment, social background, etc.). All these factors are reflected in their language, thus their idiolect. This connection is the main focus of the thesis. Having listed the typical features of informal spoken discourse in English and Czech, it is necessary to indicate the translational problem that I faced in translating The Big Bang Theory transcripts, which was an appropriate rendering idiolects and stylization of informal expressions in the TL that correspond to the SL. Kufnerová (1994, p. 72, translated by PM3) states that "Common Czech used for translation is seldom used without its stylization". Even though she deals with artistic translation, this approach can be used when translating a transcript. The appropriate stylization is further explained as "an aspiration to maintain an

3 Translated by Pavlína Malíková 44 acceptable volume of Common Czech signals so that they fulfil their function but do not disturb the reader" (Kufnerová, 1994, p. 72, translated by PM4). In this thesis, the main guideline for all my decisions connected with stylization of idiolect with a focus on informality, CC was preserving an acceptable amount of CC signals while forming an adequate level of informality, meaning not making the translation sound neither more informal nor more neutral than the SL of the main protagonist. To achieve this adequate level of informality, two main questions were asked while choosing the CC expression or signal. 1. Is the CC expression or signal universal? (in the sense that it is spoken most of the Bohemian region) 2. Does it fulfil its function? Considering the first question, I listed the typical informal features and items occurring in the Common Czech and compared them to the informal features in English spoken discourse (see subchapters 2.2–2.4). Listing of these exact signals (stated mostly by Sgall, Hronek, Hoffmanová and Krčmová) was used as a template of informal expressions and signals which can be applied in the TL. It also served as control over my tendency to apply informal features typical for Moravian region, which do not always correspond to the features spoken in Bohemian region. To be able to obtain an answer to the second question, it is essential to define what it means that a certain CC signal is functional. The functionality for this translation, regarding the translation of informality, lies in the significant differences of idiolect between the characters resulting from their diverse social background, education. Thus, the analytical part is divided into two parts, analysis of the informal spoken discourse of the main characters and analysis of informal expressions on selected language levels.

4 Translated by Pavlína Malíková 45

3 The Big Bang Theory Series

This section is focused on the series itself. First chapter deals with definition of the sitcom genre and its features. Second chapter depicts basic information about the Big Bang Theory themes, motives, characters, and important details.

3.1 The Sitcom

As this paper deals with translation with a special regard to idiolects, it is important to define the genre of the series and its aspects which intertwine into the language. Levý (1998, p. 56, translated by PM5) describes that the translator should be aware of the aesthetic values of the work, the motives, plots and characters, their relationship and environment they live in. It is crucial to understand to ideological purpose of the author. Therefore, I am going to describe the genre and ideological purpose of the situational comedy. A sitcom (abbreviation of a situation comedy) is a term used to describe comedy programs in which most of the humour comes through the situations the characters are in. Sitcoms are usually a half-hour series segmented into episodes, where the same characters appear in the same settings, and they are exposed to an unexpected new comic situation. The episodes are finite, what happens in the episode is explained and solved (Mills, 2009, p. 28, 49). There are certain characteristic features of a sitcom which distinguish this genre from others. Sitcoms are funny and they are usually seen as a mirror of modern society because they reflect social changes. From this point of view, we can say that this genre is related to its own audience and most of the time, it takes place in present (Sherman, 2003, p. 38). Nowadays, sitcoms are very popular among all generations since they are entertaining and funny. Another advantage is they are not time consuming due to the fact that each episode takes 30 minutes at longest. In the past few years, a sitcom has become a valuable and motivative source of authentic English language which can be projected into English language teaching and learning. From the linguistic point of view on a sitcom, Bednarek (2018, p. 30) mentions that a typical TV series character is a relatively young adult surrounded by a community of equal and familiar friends, who communicate mostly in informal context. Thus, they are "likely to feature a high degree of linguistic innovation". (ibid.) Each character has their own idiolect, which mostly differs in various levels of informality. In SL, the spoken language is mostly informal, characters prefer to use shorter sentences, contracted forms (e.g. "He can’t eat

5 Translated by Pavlína Malíková 46 cheesecake", Translation p. 8), slang (e.g. "hanging out", Translation, p. 19), humour and irony, idiomatic constructions (e.g. "before hell freezes over", Translation p. 10) and everyday vocabulary. Bednarek (2018, p. 19) adds that the purpose is to make all dialogues "clean", in the sense that all words can be heard. When translating, TL should correspond to the form and style of the SL, each idiolect should be preserved and transferred to the TL without greater interfering. As it was discussed in the previous section, there are different signals of informality in English and Czech language. In TL, characters prefer to use Common Czech, which manifests through the use of simple sentences, various vowel mutations, expressive vocabulary, loanwords, and wrong declension of nouns and adjectives. Finally, I consider it important to mention that the language spoken in the sitcom cannot completely match the features described in chapters 2.3 and 2.4 since the dialogues happening in the sitcom are prepared in advance, and thus they cannot correspond to an unscripted real conversation where are hesitation, general lack of planning, overlapping or simultaneous speech present (Bednarek, 2018, p. 15).

3.2 Introduction of The Big Bang Theory Series

The Big Bang Theory is a worldwide known American television sitcom created by Chuck Lorre and Bill Prady, and produced by Warner Bros. The show premiered in 2007, and concluded in 2019, having broadcast a total of 279 episodes over twelve seasons. It is the second6 most favourite series in the Czech Republic. The Big Bang Theory series has won many awards Primetime Emmy Awards). Over twelve series, many celebrities or famous scientist as Stephen Hawking or James Earl Jones guest-starred on the show. The sitcom was originally centred only on five characters living in Pasadena, California. Leonard Hofstadter and Sheldon Cooper, both physicists at Caltech, who share an apartment. Another main character is Penny, a blond waitress who lives across the hall, and strives to become an actress. This group is completed by Leonard and Sheldon's similarly ‘geeky’ and socially awkward friends, aerospace engineer Howard Wolowitz and astrophysicist Raj Koothrappali. Over time, supporting characters were promoted to starring roles, including Sheldon’s future wife and neuroscientist Amy Farrah Fowler, Howard’s wife and microbiologist Bernadette Rostenkowski, and a comic bookstore owner Stuart Bloom, who later lives with Bernadette, Howard, and their children. The series ends with Sheldon and Amy winning the Nobel price.

6 Taken from Česko-slovenská filmová databáze. Retrieved February 28, 2021 from https://www.csfd.cz/film/234260-teorie-velkeho-tresku/prehled/ 47

The main theme and humour come from the male character’s issue with social interaction with people, especially women. Even though they understand theoretical physics and the universe, none of that helps them in normal ordinary life. As the show develops, each male finds his female counterpart, only Raj remains single at the end of the series. The Big Bang Theory takes place either in formal (Caltech) and informal (home, restaurant, comic bookstore) environment. Characters talk to their friends and partners, but also to their colleagues from the scientific community. It is about coexistence of highly educated scientists (also described as "nerds" or "geeks") with ordinary people. From the features described above, it is natural that formality and informality often overlaps in the dialogues and frequently it is the source of humour. Each character has their own personality, which manifests in their spoken language. As there are many differences between their social background, origin and education, all these aspects are reflected in their speech and language. As mentioned in the previous part, these factors influencing speaking abilities of an individual create an idiolect (Jesenská, 2010, p. 42). The individual idiolects of main protagonists will be analysed in the following analytical part.

ANALYTICAL PART

4 Analysis of Translating Informality in The Big Bang Theory Series

Analytical part is divided into two subchapters. First section deals with analysis of idiolect of each main character with focus on informal language and its translation. Second section is focused on translating informality on syntactic, lexical and morphologically- phonological language level.

4.1 Idiolect Analysis of The Big Bang Theory Characters

At this section, the language and idiolect used by all main characters of the Big Bang Theory series will be analysed. As defined in the theoretical part, idiolect is an individual subject of each character, and thus the features of their informal spoken discourse will be described separately. Furthermore, the analysis will focus on the translation of the selected informal expressions to the TL. As described in the theoretical part, idiolect is very dynamic and thus it is changing according to time. Each episode from the translation is taken from another season. First part of translation is taken from the first season (e.g. when Penny was a waitress) and the second part is taken from the last season (e.g. when Penny was working in a pharmaceutical industry). In other words, significant changes and differences in the language of the same protagonist might appear because of the constant development of one’s idiolect. The choice of the episodes was made purposely in order to see the idiolect dynamism. Most information about the characters and their relationship is from my own knowledge of the series. Some exact information is taken from a website about Big Bang Theory series, www.the-big-bang-theory.com.

4.1.1 Sheldon Cooper’s Idiolect Sheldon is the only character who forms his thoughts more often with formal linguistic constructions, often using scientific, legal terms and complex grammar, while the other characters use ordinary colloquial constructions. He was born in Texas to a devout Christian mother and an alcoholic father, his IQ is 187 and even though he loves his mother, he has a difficult relationship with her because he is uncomfortable with her religious belief. With the exception of his close friends and girlfriend Amy, he is uncomfortable with most social situations. 49

He meets the criteria for Asperger Syndrome (although the writers have stated that they did not use Asperger syndrome as a basis for the character), a type of autism spectrum disorder (Tobia, Toma, 2015). As the Autism Society of America describes, people with Asperger’s Syndrome may seem socially awkward as they do not understand conventional social rules and have a lack of empathy. Commonly, they have very good language skills and lexicon, they simply use language in different ways. Their speech patterns may be unusual, or formal, but too loud or high-pitched (www.autism-society.org). Sheldon’s language is very formal, he insists on correct grammatical patterns and expresses his thoughts clearly and directly regardless of politeness.

SHELDON: I accept your premise; I reject your conclusion. SHELDON: Přijímám tvoji premisu, odmítám tvé závěry. (Translation p. 12)

Sheldon is known for his brilliant mind but also his quirky behaviour and idiosyncrasies. Sheldon is extremely logical, but this comes at a cost of often being rude of condescending to others. He does not understand the subtleties of language, like irony, sarcasm, humour, or metaphors (see table 4.2). As the example below shows, Sheldon uses contracted forms, generic pronoun you instead of generic pronoun one, which is considered as more formal and expression "Anytime" instead of more formal "You’re welcome". Thus, we can conclude that Sheldon uses common informal expressions typical for spoken discourse, but he still uses terms and more formal lexicon (e.g. social clues or painfully oblivious). Since Sheldon’s language is described as consistent, I have decided to approach the translation in order to make the TL consistent as well. While translating the generic pronoun you’d think I was considering myslela bys, že to tak bude, which is a literal translation of SL or očekávala bys, but finally I chose čekala bys, že to tak bude because this expression mostly corresponds the word čekat or očekávat in the sense of expectation and thus I have decided to choose čekala bys. The expression očekávala bys would be chosen if the SL said you’d expect.

PENNY: Yeah, they're pretty smart. Don't you think they're gonna realize it's just a bribe? SHELDON: No, you'd think, but sometimes brilliant people can be painfully oblivious to social cues. PENNY: Thank you for pointing that out, Sheldon. SHELDON: Anytime. PENNY: Jo, jsou přece dost chytří. Myslíte, že jim nedojde, že je to jen úplatek? SHELDON: Ne, čekala bys, že to tak bude, ale geniální lidé si občas vůbec nevšímají sociálních podnětů. PENNY: Díky, že jsi na to poukázal, Sheldone. SHELDON: Rádo se stalo. (Translation p. 24)

Another relatively common feature in Sheldon’s spoken language is the use of idioms. However, he uses only idioms colloquial, not informal, vulgar or slang idioms. Sheldon expresses himself through idioms in almost every conversation he has. While translating idioms, I always tried to find an appropriate expression in TL. When the expression does not exist in the TL, I aimed to find an idiom with the closest meaning to the SL. "To ride on someone’s coattails means to become successful by attaching yourself to another’s success. A person who rides someone’s coattails is usually considered unable to attain success on his own." (grammarist.com). Thus, I chose the expression chlubit se cizím peřím, which corresponds to the meaning of the idiom in SL.

SHELDON: Although I will enjoy watching her expose Pemberton and Campbell for the coattail-riding frauds that they are. SHELDON: Nicméně, já si vychutnám pohled na to, jak Ellen odhalí, že se Pemberton a Campbell chlubí cizím peřím. (Translation p. 19)

On the contrary, when I was translating idiom go for the jugular, I was able to find the exact expression in TL jdi po krkavici.

SHELDON: Come on, Ellen, they’re right there. Go for the jugular. SHELDON: No tak, Ellen, máš je na dosah. Jdi po krkavici. (Translation, p. 20) Sometimes, people with Asperger’s syndrome invent their own neologisms (or even their own languages). The Big Bang Theory writers have created a number of words and meanings over the years. Even though this word does not occur in the selected episodes of the series, if I aim to describe Sheldon’s language, I have to mention his most famous word bazinga, which is his way of saying gotcha or fooled you. In the translation, the invented word Tresling (Translation p. 8) has occurred, which is a game that has opponents play Tetris with one hand while arm wrestling with the other. It was created through lexical blending, a process in which two words are combined into one word. In the TL, Tresling has been used as a loan word, without a word-for-word translation into Czech because these two words are commonly known in the TL. Only the word arm wrestling is translated as páka, but word páka and Tetris cannot be put together and simultaneously make a similar expression as Tresling in the SL. Sheldon sometimes expresses himself through an informal utterance. However, it happens only when he gets emotional, or repeats after someone else. One of his emotional expressions will be described in the following example. Informal phraseme hell of a is used when one wants to emphasize the rest of the sentence in a sense it is extreme or big (Cambridge Dictionary). Sheldon wanted to express that this experience was terrible for him and thus it was

51 translated as nechutně and emphasized with the preceding word cpali. These two words emphasizes the meaning of the uncomfortable experience in the TL.

SHELDON: Year after year, I had to endure wearing conical hats while being forced into the crowded, sweaty hell of bouncy castles. SHELDON: Rok co rok jsem musel nosit kuželovité kloboučky, zatímco mě násilím cpali do nechutně propocených skákacích hradů. (Translation, p. 10) There are some other informal expressions which Sheldon repeated after someone else (e.g. Penny and her combination of words kick-ass birthday party, Translation p. 11).

4.1.2 Leonard Hofstadter’s Idiolect Leonard is an experimental physicist with IQ 173 who comes from New Jersey. He is the most communicative and sociable character from the group of scientists (www.the-big- bang-theory.com). He has almost no difficulty interacting with "non-geek" individuals resulting from his interest and skills in building relationships with other characters, especially his long- standing desire to establish a relationship with Penny was his motivation to behave less geeky and more normally. Leonard's interest in Penny brought her into the men social group and helped all of the men characters out of their shells, but compared to his friends, Leonard is the most successful from them (www.the-big-bang-theory.com). This is reflected in his speech and use of language. He is trying to sound "casual" and impress Penny by using the language of ordinary and uneducated men, who she used to date before him. This Leonard’s tendency is visible when Penny asks him about his birthday and even though it is a sensitive topic for him, he is pretending that it does not bother him at all. For example, the idiom forget about the cake is an informal way to express that the cake is not important, and they do not have to worry about it. When I was translating this idiom, the first option that came to my mind was zapomeňte na dort, but it was a literal translation which was not informal in the TL and it did not correspond with Leonard’s intention to sound "casual". This expression is also strongly imperative in the TL, which again does not fit the context. That is the reason why kašlete na dort was chosen. Unlike zapomeňte na dort, it is an informal colloquial expression which meets all Leonard’s intentions. Similarly, in the second example, he uses informal idiom it’s no big deal which has a comparable meaning with the previous one – it is not a serious problem. Here I chose o nic nejde because it corresponds to the meaning of the SL more than literary translation to není žádný problém. Leonard probably would not use either of these idioms when speaking only to Sheldon or his friends alone.

LEONARD: Forget about the cake. How do you know my birthday's Saturday? LEONARD: Kašlete na dort. Jak víš, že mám v sobotu narozeniny? (Translation, p. 8) 52

LEONARD: It's no big deal, it's just the way I was raised. LEONARD: Vždyť o nic nejde, takhle jsem to měl odmala. (Translation, p. 9) Over the series, Leonard’s communication with Penny has evolved and in the last season he does not have any difficulties to talk to her. In the next example from the last season, it is obvious, that Leonard feels confident around Penny and he makes jokes. In this example, it is an idiom wait I minute which was translated as počkej chvilku. First, I was considering just počkej but it reminds me rather a real request to wait than a reminder that he is also smart.

PENNY: Yeah, now get out of here, go talk to some smart people. LEONARD: Wait a minute. PENNY: Yeah, sorry. Sometimes I forget you're smart because you're so sexy. LEONARD: I can see that. PENNY: Jo, a teď už se běžte pobavit s nějakejma chytrejma lidma. LEONARD: Počkej chvilku. PENNY: Jo, promiň. Občas zapomenu, že jsi chytrej, protože jsi tak sexy. LEONARD: To chápu. (Translation, p. 29) What is particularly interesting about Leonard’s character is his relationship with Sheldon. Because they lived together for many years, Leonard knows him better than other characters and Sheldon considers Leonard his best friend. Nevertheless, Leonard often finds himself explaining Sheldon's behaviour or assisting as a mediator between him and other characters in various situations. The example below is taken from one of their confidential conversations. It is obvious that Leonard uses many informal idiomatic expressions. What’s going on is an expression of concern awaiting an explanation, which has a corresponding expression co se děje in the TL. In the beginning of this particular sentence, there is a missing auxiliary verb don’t, which is also a sign on informality. When translating this sentence, it is not possible to omit any word in the TL, and therefore it was translated as nechceš mi říct, co se děje. Then there is an idiom don’t take this the wrong way, which is "used in a negative context to introduce a statement that could be offensive to say that one does not mean to offend" (Merriam-Webster.com Dictionary). This idiom could be translated as neber si to špatně, which is the translation chosen here, or just as neber to špatně, which is a shorter way. I have chosen the first option because it is more personal, and it addresses Sheldon directly. Leonard wanted to emphasize it to make sure Sheldon will not be insulted by this statement, and thus I have decided to use this option instead of the shorter and less personal option.

LEONARD: You want to tell me what's going on? SHELDON: Is my distress that obvious? LEONARD: Sheldon, please don't take this the wrong way, but when you're quiet even for a second, something's wrong. SHELDON: Well, it's true. The fact is, I feel really bad for Amy. LEONARD: Nechceš mi říct, co se děje? SHELDON: To je moje rozrušení tak očividné? LEONARD: Sheldone, prosím, neber si to špatně, ale když jsi potichu, byť jen na vteřinu, tak je něco špatně. SHELDON: To je pravda. Popravdě je mi opravdu líto Amy. (Translation, p. 25) The reason why Leonard understands Sheldon’s behaviour is most likely because of his difficult relationship with Leonard’s mother. She has very similar personality to Sheldon and because of that, Leonard has some mental problems from his childhood. Sheldon agrees with Leonard mother’s strict upbringing and he is shows it to Leonard very often, which may be observed in the example below. Leonard responds to his comment with an ironic answer thank you.

SHELDON: It was obviously effective. Leonard grew up to be an experimental physicist. Perhaps if she'd also denied him Christmas, he'd be a little better at it. LEONARD: Thank you. SHELDON: Očividně to bylo efektivní. Z Leonarda vyrostl experimentální fyzik. Možná, kdyby mu nedopřála Vánoce, byl by o trochu lepší. LEONARD: Díky. (Translation, p. 9) Despite Leonard's reasonable and friendly personality, he occasionally says something mean, insulting or ironic. Sometimes, he makes fun of other characters, especially Sheldon when he can take advantage of situation and repay Sheldon his insults without him noticing. His behaviour also includes purposely triggering Sheldon's obsessive-compulsive problems and making comments when Penny's commitment issues appear (www.the-big-bang-theory.com). He is also prone to jealousy, often feeling insecure and defensive whenever Penny interacts with other men. One of the situations when he purposely makes fun of Sheldon’s lack of socially skills is shown in the following conversation. Leonard is making a deal with Sheldon about noticing Sheldon when say something inappropriate. They agree on an insulting code word shut up without Sheldon realising that he approved Leonard to curse at him. I was thinking whether to translate this word as sklapni or drž hubu, but I decided to chose sklapni, because drž hubu is too vulgar and it does not meet Leonard’s nature. Other informal features of Leonard spoken language are interjections, in this example it is uh and a filler word well. I replaced it with a modal particle no, which functions similarly in the TL, because Czech does not contain corresponding interjections. Finally, there is an informal adverb sure used as an answer. This

54 expression is widely translated as jasně or jasný. I chose jasně, because jasný may sound ironic, which is not wanted in this context.

SHELDON: My problem is that I don't always know when I've gone too far. LEONARD: Well, uh, if you like, I could try to help you out. You know, and maybe let you know if you're crossing a line. SHELDON: Oh, you mean, like, with a code word? LEONARD: Sure. How's "shut up"? SHELDON: That's perfect. People say it to me all the time, no one will suspect. SHELDON: Problémem je, že nikdy nepoznám, kdy už jsem zašel příliš daleko. LEONARD: No, pokud chceš, můžu ti s tím zkusit pomoct. Víš co, třeba tě upozornit, jakmile překročíš hranici. SHELDON: Myslíš jako tajným heslem? LEONARD: Jasně. Co třeba „sklapni“? SHELDON: To je dokonalé. Pořád mi to někdo říká. Nikdo si toho nevšimne. (Translation, p. 26)

4.1.3 Penny Hofstadter’s Idiolect Penny is the most warm-hearted, outgoing, and displays the most common sense and social skills out of the five main characters. She is from a small town outside Omaha in Nebraska, where her father raised her like a boy. Her mother smoked marijuana while she was pregnant, and her brother is a meth dealer (www.the-big-bang-theory.com). She is described as "streetwise", because she is able to deal with dangerous or difficult situations in places with a lot of crime (Cambridge Dictionary). Her experience with people from the street and the way she was raised up influence her use of language, especially her vocabulary. Penny is the most informal from all characters, she uses slang, vulgarisms, swear words and various interjections showing her emotions. As showed in the example below, that happens even when she is speaking with some character from scientific community. In this conversation with Professor Thorne, she uses a vulgar slang noun a pain in the ass, which was translated as osina v prdeli. I was considering a less vulgar option osina v zadku, but I chose the more vulgar option, because Penny usually does not care about the politeness and formality and she expresses her thoughts directly. I supposed that her first more natural choice would be osina v prdeli. Other significant and often used words in Penny’s speech is a verb got and discourse marker so used in the beginning of a sentence to connect the sentence with the previous one.

PROF. THORNE: No. PENNY: Okay, look, Sheldon's a pain in the ass. But Dr. Fowler's really nice. So if you average them out... math...you got someone who's okay. PROF. THORNE: Ne. PENNY: Dobře, podívejte se, Sheldon je jako osina v prdeli, ale paní doktorka Fowlerová je vážně milá. Takže když je zprůměrujete… matematicky, vyjde vám někdo, kdo je v pohodě. (Translation, p. 27) 55

In other conversations, also gonna or gotta appear. They are frequently used in speech in informal colloquial American English, instead of verbs going to and have got a/to. There is no similar informal expression in the TL, and thus I had to use neutral verb musíš. On the contrary, Penny in this conversation uses a relatively formal statement so do I. In informal casual conversations is usually used less formal version me too, but Penny used the more formal version, which I translated as to já taky. I did not choose a very formal literary word také, because it is used mainly in written language. In spoken language is mostly used word taky and it is does not belong to Common Czech. Thus, I decided to choose to já taky. HOWARD: Penny, listen, I've got a problem. PENNY: Well, so do I. You gotta stall Leonard a little longer. HOWARD: Penny, poslouchej, mám problém. PENNY: No, to já taky. Musíš Leonarda zdržet o chvilku dýl. (Translation, p. 16) Another thing that influences Penny’s language is her lack of educational qualifications. The fact that she left community college is a constant source of disparaging comments from Sheldon and it is the reason why she usually does not understand what the highly educated scientists are discussing (www.the-big-bang-theory.com). On the contrary, she is very knowledgeable about popular culture and sometimes she uses it as an advantage over the boys. Throughout the series, she was a waitress, bartender and later she started a career in pharmaceuticals, but she does not like this job because she has always been an aspiring actress (www.the-big-bang-theory.com). She has full confidence in horoscopes and psychics, which has led to arguments with Sheldon and Leonard about their accuracy. In conversations like this, Sheldon gives her a lecture about science and shows her that she is not educated enough. Penny ignores him despite his comments. In this conversation, she dismissed him with blah, blah, blah, which was translated with corresponding interjection in the TL. She uses gonna in both her sentences. The question are we gonna see you Saturday was translated as ukážeš se tu v sobotu¸ but my first option was přijdeš v sobotu, which was not chosen because it slightly does not correspond to the SL. Penny is asking whether she is going to see him, not only whether he comes, and that is the reason why uvidíme tě tu v sobotu was chosen because it contains the word mentioned in the SL vidět. The main informal feature of the TL was made when I was translating one of his typical psychotic rants. As mentioned in the theoretical part, informality in Czech is visible mostly on morphologically-phonological level, and thus I translated this line as jednu z těch svejch psychotickejch přednášek, even though there is no main sign of informality in this line Penny was outraged by Sheldon’s behaviour. In the SL, she used informal verb gonna, which is not possible transfer to the TL and therefore I have decided to make this expression informal 56 via the use of morphological devices to fulfil the intention of the SL. Initially, I wanted to translate the expression typical Taurus as typickej býk¸ but this feature is not universal in Common Czech and I realized that it was my intention to translate it that way because of my own regional dialect and it might be disturbing for the reader. Typický býk was chosen because it is neutral. PENNY: I did your horoscope, remember? I was gonna do everybody's, until Sheldon went on one of his typical psychotic rants. SHELDON: For the record, "that psychotic rant" was a concise summation of the research of Bertram Forer, who, in 1948, proved conclusively through meticulously designed experiments that astrology is nothing but pseudo-scientific hokum. PENNY: Blah, blah, blah. Typical Taurus. Seriously, are we gonna see you Saturday? PENNY: Dělala jsem ti horoskop, pamatuješ? Udělala bych ho vám všem, kdyby Sheldon neměl jednu z těch svejch psychotickejch přednášek. SHELDON: Jen pro pořádek, ta „psychotická přednáška” byla stručný výtah z výzkumu Bertrama Forera, který v roce 1948 pomocí velmi důsledných experimentů nezvratně prokázal, že astrologie není nic jiného než pseudovědecký žvást. PENNY: Bla, bla, bla. Typický býk. Teď vážně, ukážeš se tu v sobotu? (Translation, p. 8) Even though Sheldon and other characters do not think she is smart, and they often tease her for that, they often go to her for advice relating to social situations and relationships because she has dated sever men over the course of the series. Sheldon even considers her "a sisterly or motherly figure" (www.the-big-bang-theory.com). It is reflected in their conversations by Penny calling mostly Sheldon, but even other men, sweetie translated as zlato or zlatíčko (Translation p. 11) or by constant explanation of social behaviour and conventions. Penny and Leonard are the only two characters that Sheldon listens to. In the following example, it is obvious that Penny is not familiar with terminology as non-optional social convention and she said it only because of Howard’s advice. PENNY: Sheldon, you're his friend. Friends give each other presents. SHELDON: I accept your premise; I reject your conclusion. HOWARD: Try telling him it's a non-optional social convention. PENNY: What? HOWARD: Just do it. PENNY: It's a non-optional... social convention. SHELDON: Oh. Fair enough. PENNY: Sheldone, jsi jeho kamarád. Kamarádi si dávají dárky. SHELDON: Přijímám tvoji premisu, odmítám tvé závěry. HOWARD: Zkus mu říct, že je to povinný společenský zvyk. PENNY: Co? HOWARD: Prostě to řekni. PENNY: Je to povinný… společenský zvyk. SHELDON: Aha. Tak dobře. (Translation, p. 12) In the translation, there are many informal and colloquial expressions used by Penny. Frequently, she uses conjunctions and filler words as yeah, you know (Translation, p. 29), As 57 mentioned before, her lines contain a lot of expressive informal vocabulary, such as kick-ass surprise party translated as nadupaná narozeninová oslava (Translation, p. 10), sleeping around translated as vyspat se s každým (Translation, p. 17), or rumble translated as bitka (Translation, p. 30). Penny frequently uses swear words, such as Oh, my god or help me God and vulgarisms, e.g. damn. The swear word oh, my God was translated in this example as proboha, because Penny was horrified in this situation. Other option was translation ježiši, but it could have ironic undertone, which is not suitable in this context.

LEONARD: It turns out my grandfather had died. PENNY: Oh, my God. That's terrible. LEONARD: Ukázalo se, že mi umřel děda. PENNY: Proboha. To je hrozný. (Translation, p. 9) The vulgarism damn appeared in her dialogue with Amy, when they were talking about Sheldon and Penny wanted to informally express that his behaviour was wrong. That is the reason why I chose to translate this word as sakra. It is more common in informal spoken discourse than my second option zatraceně, which is used mostly in written dialogues.

PENNY: Okay, what did he say that was so insulting? AMY: Well, he may have suggested there was an inelegance to the quadrupole normalization of Smoot's data. PENNY: Damn. PENNY: Co jim řekl, že je to tak urazilo? AMY: No, možná naznačil, že v datech o kvadrupólové normalizaci od Smoota byly nejasnosti. PENNY: Sakra. (Translation, p. 26)

4.1.4 Howard Wolowitz’s Idiolect

Howard’s character differs from the other scientists for being an aerospace engineer rather than a physicist and lacking a Ph.D. Others usually make fun of him because of his lower education, but he defends himself with an argument that unlike his friends, his job has actual real-world application (www.the-big-bang-theory.com). For several seasons, Howard lives with his Jewish mother Debbie, who raised him alone as an only child. He has always lacked a male role model during his childhood, and it affects him until the last season. Her mother treats him as a child even though he is an adult man. It is often described as "the cliché of a Jewish mother" and Howard considers it normal (www.the-big-bang-theory.com). Even though it is not part of this translation, they often communicate by yelling to each other in awkward long- distance conversations, and it makes Howard frustrated, because she asks him many questions. This resulted into him calling her a "crazy old lady" and into communicating in a similar way

58 with his wife Bernadette, which is shown in the second example and when she does not her him, he even calls her a bossy wife, which I decided to translate as panovačná manželka (Translation, p. 32). On the contrary, when talks directly to her, he addresses her honey, which is translated as zlato. HOWARD: Well, I love birthdays. Waking up to Mom's special French toast breakfast, wearing the birthday king crown, playing laser tag with all my friends... PENNY: Yeah, see? That's what kids should have. HOWARD: Actually, that was last year. HOWARD: Já mám narozeniny rád. Po probuzení mi máma k snídani udělá francouzský toast, nosím narozeninovou čepičku, hraju laser game s kamarády… PENNY: Vidíte? Takhle by děti měly trávit narozeniny. HOWARD: No, vlastně tohle bylo loni. (Translation, p. 9)

HOWARD: Why doesn't he like the night-light? BERNADETTE: Jot that down, we can ask him as soon as he learns to speak. We can also find out what's so damn funny about birds. (Halley fusses) HOWARD: I'll go talk to her. HOWARD: Proč mu ta lampička vadí? BERNADETTE: Zapiš si to, zeptáme se ho hned, jak se naučí mluvit. Můžeme se jich taky zeptat, co je tak zatraceně vtipnýho na ptácích. (Halley pláče) HOWARD: Půjdu si s ní promluvit. (Translation, p. 22) Before his relationship with Bernadette, Howard was often saying inappropriate and obscene things when flirting with women, including Penny when she is single, but all his attempts result in humiliating rejections. In the example below, he directly asks Penny to have a threesome, which is an informal slang word translated as trojka, a commonly known word in the TL. He also uses an informal idiom I’m just kidding, which is translated as dělám si srandu. I was also considering using kecám, but Howard usually does not omit any words and his choice of words is typically neutral or rather formal. Because of that I decided to use longer and more formal version dělám si srandu.

HOWARD: I suppose that's possible, but for the record, I've never had a threesome and yet I still know I want one. PENNY: Howard, here's the difference...The possibility exists that Leonard could have a birthday party before hell freezes over. HOWARD: Fine. If I do have a threesome, you can't be part of it. I'm just kidding. Yes, you can. Can you bring a friend? HOWARD: To je možné, ale na druhou stranu, já nikdy nezkusil trojku, a i tak vím, že bych ji určitě chtěl. PENNY: Howarde, rozdíl je v tom, že pravděpodobnost, že se Leonard dočká své narozeninové oslavy, než naprší a uschne, vážně existuje. HOWARD: Dobře. Ale jestli někdy půjdu do trojky, tak se toho účastnit nebudeš. Dělám si srandu. Jasně, že můžeš. Mohla bys pozvat kamarádku? (Translation, p. 10) 59

Although he is Jewish, he often does not behave according to the laws of Judaism, but he seems rather secular and sometimes he even makes fun of his religion. As shown in example below, he uses a religious phrase thy will be done in a conversation relating to a sexual intercourse. This phrase is a part of a prayer expressing a thought that a man should submit everything to God's will (Kaufmann, www.jewishencyclopedia.com). However, Howard interprets this thought as he overcomes his allergic reaction to receive a reward in the form of a sexual experience. First, I translated this line as a tak se staň, but I realized that it is rather a meaning of a word amen. Then I was deciding between děj se vůle tvá¸ which is a literary translation of the SL, and děj se vůle boží, which was finally chosen because it directly addresses God. Děj se vůle tvá might be confusing and interchangeable with addressing Penny instead of God. For the second reason, it is immediately obvious that it is a religious phrase, and the reader does not have to dwell on the meaning. Howard uses rather obsolete and old-fashioned words. For example, the phrasal verb toy with is according to the Cambridge Dictionary old-fashioned. It’s meaning is to tease or manipulate somebody and thus I have decided to translate it as nehraj si se mnou, which is a literary translation of the SL phrase, but it is commonly used in the TL. Howard ends this sentence with addressing Penny a woman. It is again an old-fashioned and rather rude way to call a woman and it is commonly used in a situation where she is doing something considered as bad and manipulative. Common Czech contains a word with the same meaning, but it is more expressive than the SL. Literary translation would be ženo, but it is very neutral, and it is not used in expressive sentences. In informal spoken discourse is preferable to use the word ženská, which is expressive by itself, and therefore it was translated this way.

HOWARD: Don't toy with me, woman. PENNY: I got a hot former fat girl with no self-esteem, a girl who punishes her father by sleeping around, an alcoholic who's two tequila shots away from letting you wear her like a hat. HOWARD: Thy will be done. (Thinks. Reaches into back pocket, finds the half a granola bar from earlier. He talks to his private parts.) I’m doing this for you, little buddy. (Takes a bite.) HOWARD: Nehraj si se mnou, ženská. PENNY: Mám sexy bývalou baculku bez sebeúcty, holku, co trestá svého otce tím, že se vyspí s každým, alkoholičku, které stačí dva panáky tequily a nechá se nosit jako klobouček. HOWARD: Děj se vůle boží. (Zamyslí se. Hledá v zadní kapse, najde zbylou půlku tyčinky. Mluví ke svému přirození.) Tohle dělám pro tebe, prcku. (kousne si) (Translation, p. 17) Howard’s best friend is Rajesh. They have a close relationship, which sometimes gets into humorous situations, where they communicate like a couple. Since none of these situations occur in this translation, I will not further deal with their informal communication.

During the broadcast of the series, Howard’s idiolect, like every other character’s, has evolved and in the last season he uses various informal idioms and vocabulary typical for informal spoken discourse. Several examples are showed below. A very common word in American informal discourses, the guy addressing Christopher Columbus was translated as chlápek. I was considering using shorter version chlap or, but chlap is typical for a description of a strong man and chlápek fits the context better because it fulfils the role of uncertainty of the man’s identity, which Howard wants to express ironically. HOWARD: Yeah, who remembers the guy who was trying to find India and discovered America instead? What was his name again? HOWARD: Jo, kdo si pamatuje toho chlápka, co se snažil připlout do Indie a místo toho objevil Ameriku? Jak že se jmenoval? (Translation, p. 19) In the following example, there are two informal expressions, which were not so easy to translate. When I was translating that doesn’t quite pop, it occurs it is not commonly used idiom. According to the purpose of their conversation, Howard wants to express that the title of the book is not interesting enough and he is trying to find something. That is the reason why I translated it as není to úplně ono, which is a phrase that is frequently used in similar situations in the TL. The second expression got some zip to it was translated as to má šťávu, because zip is an informal word for energy or speed. Czech has a corresponding idiom mít šťávu, which is also informal, and it fits the meaning of this sentence. HOWARD: Yeah, you're right. That doesn't quite pop. What about "The Brave Astronaut?" See, that's got some zip to it! HOWARD: Jo, to je fakt. Není to úplně ono. Co třeba „Statečný astronaut“? To má šťávu! (Translation, p. 27)

4.1.5 Rajesh Koothrappali’s Idiolect Rajesh character is an Indian-born astrophysicist, who moved to Pasadena and he became best friends with Howard. His friends call him Raj. He speaks fluent Hindi, but his mother tongue is English. Raj speaks with a strong Indian accent and on some occasions, he appears to not understand American slang (www.the-big-bang-theory.com). Sometimes, he even makes grammatical mistakes. Raj is noted for using slang and using the word dude, which is shown in the example when he was drunk. He also uses the informal word kick-ass, which occurs several times in this translation. In this line, I have decided to translate it as hustý, because the word is in a final position. In other conversations it was preceding a noun party and functioning as a premodifier, and thus I translated as nadupaná narozeninová oslava. I did not choose je to tu fakt nadupaný, because it is not common to use this word in a final position in the TL, hustý is relatively familiar. Also, it would be possible to use hustá narozeninová oslava, 61 but I have decided to translate it as nadupaná, because it suggests that the party is going to have everything Leonard could have wished for.

RAJ: Dude, everybody left an hour ago. Surprise! RAJ: Okay, Leonard. I am at your birthday party. I don't know where you are, dude, but it's really kick-ass! Everyone is very, very drunk and... And look, there's a girl taking her shirt off! RAJ: Kámo, všichni odešli asi před hodinou. Překvapení! RAJ (na videu): Tak jo, Leonarde. Jsem na tvé narozeninové oslavě. Nevím, kde teď jsi, chlape, ale je to tu fakt hustý. Každej je hodně, hodně opilej a… Hele, ta holka si sundává tričko! (Translation, p. 18) To analyse Rajesh’s idiolect is rather complicated, because for several series, he is unable to talk to women due to his selective mutism. Later, he discovers that him being under the influence of alcohol or anti-anxiety prescription drugs helps him to overcome his psychological problem. Nevertheless, even after getting over his handicap, he still tends to speak inappropriately, especially with women (www.the-big-bang-theory.com). Raj sometimes whispers what he wants to say to Howard, who repeat his words or respond to his question out loud as showed in the example below. When he was communicating with Penny, he was whispering to Howard and using gestures such as "thumbs up". HOWARD (after Raj whispers in his ear): What if guests show up? PENNY: Entertain them. RAJ (whispering to Howard): What if they're women? PENNY: Stare at them and make them feel uncomfortable. (Raj is showing thumbs up) HOWARD (potom, co mu Raj pošeptá): Co když přijdou hosté? PENNY: Zabavíš je. RAJ (šeptá Howardovi): Co když to budou ženy? PENNY: Zírej na ně, aby se cítily nepříjemně. (Raj ukazuje palce nahoru) (Translation, p. 12-13) Raj’s communication with Howard is rather specific. As they are best friends, they spend a lot of time together and the relationship is frequently made awkward by Raj's metro- sexuality. He is interested in things that are typically feminine (e.g. celebrities, cosmetics, etc.) and he often talks about it. There is an example of his conversation about a celebrity and planting flowers, in which he uses informal interjection yeah and informal noun guy, which was already analysed in the previous chapters. LEONARD: Those guys are good at self-promoting, so what? No one ever won a Nobel for being nice. RAJ: Yeah, but if they did, do you know who would win one? SHELDON: Are you gonna say Tom Hanks? RAJ: He picked up a shovel and helped the guy replant.

LEONARD: Tak se ti dva umí dobře propagovat, no a co? Nikdo přece nevyhrál Nobelovku, protože byl milej. RAJ: Jo, ale kdyby to šlo, víte, kdo by ji vyhrál? SHELDON: Hádám, že řekneš Tom Hanks? RAJ: Popadl lopatu a pomohl tomu chlápkovi přesazovat. (Translation, p. 21-22) Rajesh’s vocabulary contains many diminutives and expressive words since he tends to describe things around him. Here Raj uses adjectives tiny and scared. I translated these words as diminutives because Raj was "melting" over the painting and since he is a sensitive person, words malinký and vyděšený are characteristic for his type of personality. I was also considering using malý, but for the reasons already described I decided to use the diminutive malinký. There is also an idiom looks just like you, which is typical for spoken discourse and it was translated as vypadá přesně jako ty. RAJ: That looks just like you. Look how tiny and scared you look. RAJ: To vypadá přesně jako ty. Koukni, jaký jsi malinký a vyděšený. (Translation, p. 25) Sometimes, he also uses vulgarisms. In the example he says a word bitchy, which was translated as protivný, because Raj was responding to Howard’s childish behaviour. I was considering uštěpačný, but I decided to use protivný, because it fits a book title more than uštěpačný.

RAJ: Maybe you should've called it "The Bitchy Little Astronaut." RAJ: Možná jsi to měla pojmenovat „Malý protivný astronaut“. (Translation, p. 25) In Rajesh’s lines, a line shake that rupee maker has appeared, when he was drunk and dancing on Leonard’s birthday party. It is a modification of a phrase shake your money maker, which is slang and vulgar. According to Urban Dictionary, it is a concept of using ones' (usually women’s) private parts to potentially achieve a financial reward. This phrase occurs in many American popular songs and it has no corresponding phrase in the TL. Thus, I have decided to translate it as zatřes s tím zadkem despite not containing the word rupee. I was considering another option zavrť tím zadkem, but I chose zatřes s tím zadkem, because it is more common in the TL. RAJ: Oh, sweet Krishna, shake that rupee maker! RAJ: Ó, sladký Krišno, zatřes s tím zadkem! (Translation, p. 18)

4.2 Translation Analysis on Selected Language Levels

This section of the analytical part deals with translation analysis on syntactic, lexical and morphologically-phonological language level. It focuses mostly on informal expressions on each language level, which were not described and analysed in the idiolect analysis. 63

4.2.1 Morphologically-phonological Level Although colloquial markers at morphologically-phonological level do not occur in the SL at all, it was necessary to use several phonetic features of the Common Czech in the Czech translation. Not applying any CC signals and only copying the signs of informality from the SL original would not have the same effect. Omitting signals of Common Czech would not be neutral and the difference of the usage of formal and informal language between the characters would not be distinct enough (especially between Penny and Sheldon, which is the main source of humour in the series). The following examples from the translation illustrates the use of vowel mutations of í, ý > ej and the use of the suffix -ý in the position of -é. It is important to highlight the fact that the phonological markers were not applied to all potential words but selected according to the idiolect of particular character. As showed above, vowel mutations appeared mostly in lines of Penny Hofstadter. é > ý PENNY: Jo, to je skvělý, ale ony mě prosily, ať to sakra vypnete. (Translation, p. 8)

PENNY: Dohodneme se takhle. Buď mi pomůžeš s tou oslavou, nebo bych nedejbože, musela jít do tvýho pokoje a rozbalila bych všechny tvoje nejcennější zbrusu nový komiksy a do jednoho z nich, a ty nebudeš vědět do kterýho, bych nakreslila inkoustem malinkatýho smajlíka. (Translation, p. 11) ý > ej PENNY: Dělala jsem ti horoskop, pamatuješ? Udělala bych ho vám všem, kdyby Sheldon neměl jednu z těch svejch klasickejch psychotickejch přednášek. (Translation, p. 8)

PENNY: Je to vtipnej svetr. Má na sobě velký geometrický tvary. (Translation, p. 13) From the morphological point of view, the change of instrumental plural of nouns to -ma instead of -mi and adjectives has occurred. Another commonly used feature was a process of univerbation. In the example, the expression fat girl, which would be translated as baculatá or tlustá holka, was combined into baculka. instrumental plural of nouns to -ma instead of -mi RAJ: Co budu teď dělat s těma dvěma přáníma, co mi zbývají? (Translation, p. 19)

PENNY: Máme tu s čokoládovýma vločkama a ovesný s rozinkama. (Translation, p. 24) univerbation PENNY: I got a hot former fat girl with no self-esteem, a girl who punishes her father by sleeping around, an alcoholic who's two tequila shots away from letting you wear her like a hat.

PENNY: Mám sexy bývalou baculku bez sebeúcty, holku, co trestá svýho otce tím, že se vyspí s každým, alkoholičku, které stačí dva panáky tequily a nechá se nosit jako klobouček. (Translation, p. 17) Czech has a longer imperative ending -i in the 2nd person singular (e.g. vezmi). Nevertheless, Colloquial Czech allows to shorten the longer imperative, in this case it was shorten to vem. This sentence occurred when Leonard was playing a video game and he was in a competitive mood. It is an informal situation and while playing a game, there is a common tendency to use colloquial and informal expressions. Therefore, I decided to apply shortening of the imperative. LEONARD: Come on. Take that! LEONARD: No tak. Vem to! (Translation, p. 14)

4.2.2 Lexical Level The choices made at the lexical level were crucial for transferring informality from English to Czech. As was mentioned before, Common Czech contains various words with expressive meaning, and thus I had many options for translating the lexicon from the SL. In the examples below, I aim to describe the process of translating selected vocabulary from my translation. I decided to choose for the analysis the lexicon that was challenging, frequently occurring or worth analysing.

Informal vocabulary In the example below, there is a noun kid, which is an informal word for neutral word child. In Czech, it is very similar. There is a neutral word dítě and expressive and informal version děcko. Other options with different levels of expressivity are possible to use in the TL, such as harant or dítko, but I did not choose them because harant is pejorative and the use of dítko suggests some relationship or familiarity between them, which is not the purpose in this case. Moreover, an informal adverb 24/7 (i.e. twenty-four seven) occurred in Leonard’s sentence. This expression is typical for informal spoken discourse and it has recently become popular even in Czech. That is the reason why it was not translated as nonstop, which is rarely used among the younger population. LEONARD: There's this kid in Copenhagen...he has no immune system, so all he does is sit in his bubble and play Halo 24/7. LEONARD: Nějaký děcko v Kodani… nemá žádný imunitní systém, takže sedí ve svý bublině a hraje Halo 24/7. (Translation, p. 13) In the translation, one informal expression which needs to be described has occurred. The expression no-peanut boy, literary translated as kluk bez buráků was translated as burák. 65

Since the statement is humorous and there is no exact expression in the TL, I decided to preserve the humour and add ironic meaning. It was translated as the opposite word in the sense it is a boy with peanuts and his nickname is burák. Giving informal nicknames is common in Czech and since Howard is known for his allergy to peanuts, it is very likely that his nickname would be burák in the TL.

LEONARD: Howard, every Thai restaurant in town knows you can't eat peanuts. When they see me coming, they go, "Ah, no-peanut boy!" LEONARD: Howarde, každá thajská restaurace ve městě ví, že nemůžeš arašídy. Když mě vidí, tak volají „Á, burák je tady!“ (Translation, p. 10) The last expression, which was challenging to translate, is gotcha journalism. Gotcha is literary translated as mám tě, but mám tě žurnalistika does not exists in the TL. Hence, I had to choose neutral expression investigativní žurnalistika, which is not on the same level of informality as gotcha journalism. I did not try to invent some informal expression in the TL for that reason that the reader probably would not understand to this unknown expression, and it might be disturbing.

LEONARD: That is Ellen's brand, gotcha journalism. LEONARD: To je přesně to, co Ellen dělá, investigativní žurnalistiku. (Translation, p. 19)

Swear Words Throughout the whole translation a number of swear words uttered mainly by Penny occur. The most recurring words are selected below. The phrase oh, my God occurred three times in the translation and in every case, it was used as an expression of consternation, and thus it was translated as proboha. In the second example, there is a phrase help me God, which may be translated as nedejbože or bůh mi pomáhej. This phrase was used to emphasize what Penny was saying. I was also considering translating the whole clause as nebo přísahám, že půjdu do tvýho pokoje…, but finally nedejbože was chosen, because it makes it clearer that Penny was saying this only to emphasize the threat and she truly did not want to do that. Also, přísahám would correspond more to I swear to God and thus, I chose the semantically closer option nedejbože. PENNY: Oh, my God. That's terrible. PENNY: Proboha, to je hrozný. (Translation, p. 9)

PENNY: You either help me throw a birthday party or, help me God, I will go into your bedroom and… PENNY: Buď mi pomůžeš s tou oslavou, nebo bych nedejbože, musela jít do tvýho pokoje a… (Translation, p. 11)

HOWARD: Oh, God, oh, God, oh, God! HOWARD: Pane bože, pane bože, pane bože! (Translation, p. 14)

Vulgarisms Sometimes, The Big Bang Theory characters use a few vulgarisms in their dialogues. For example, Leonard uses a slang word jerk, which is translated as blbec. The reason for translating it as blbec was because it fits into the commonly used phrase among the TL, chovat se jako blbec. I was also considering using the word idiot, because chovat se jako idiot is also widely used in the TL, but idiot is used in both languages (in the SL is also used moron) with the same meaning and since this word is not used in the SL, I have decided to do not use it in the TL. Furthermore, jerk and blbec are less vulgar than idiot or moron. LEONARD: Look at, uh, Newton, who was a jerk to Leibniz, and Leibniz, who was a jerk to everyone. LEONARD: Třeba Newton, choval se jako blbec k Leibnizovi a Leibniz se choval jako blbec úplně ke všem. (Translation, p. 28) As an example of vulgarism, I chose an exclamation the hell which is used here as an emphasis of Penny’s anger. She wanted to make her statement more forceful, and therefore it was translated as sakra, which is also an informal and slightly vulgar way to express displeasure. Another option was using kruci or krucinál, which has the same meaning, but I decided to use sakra because it is more expressive and preferred by younger people in Penny’s age.

PENNY: Yeah, that's terrific, but they wanted me to ask you to cut it the hell out. PENNY: Jo, to je skvělý, ale ony mě prosily, ať to sakra vypnete. (Translation, p. 8) damn, the hell out. (Translation, p. 8)

Idioms I have decided to analyse some informal idioms, which are not described in the analysis of idiolects. While translating the idiom trying to make a deal with God, another option was considered. In the TL, uzavřít smlouvu s bohem is not very common and it is used only in the sense of true faith. More common is a phrase uzavřít smlouvu s ďáblem, which does not correspond to the SL, because the SL also contains the phrase make a deal with the Devil and it is used in situations where one has to make a sacrifice to achieve their wish. This meaning does not fit the situation in the translation. Thus, I decided to use an idiom volat všechny svatý, which is also informal and corresponds to the SL in the sense that one needs to get some help to get out of an unpleasant situation.

HOWARD: And if someone gives you green eggs, it ends with you on the toilet trying to make a deal with God. HOWARD: A když dostaneš zelený vajíčka, tak skončíš na záchodě a budeš volat všechny svatý. (Translation, p. 28) The second example from the translation is idiom before hell freezes over. Literar translation než zamrzne peklo does not exist in the TL. Therefore, I chose idiom než naprší a uschne, which has the same meaning as the idiom in the SL. Both express that it will never happen.

PENNY: Howard, here's the difference...The possibility exists that Leonard could have a birthday party before hell freezes over. PENNY: Howarde, rozdíl je v tom, že pravděpodobnost, že se Leonard dočká své narozeninové oslavy, než naprší a uschne, vážně existuje. (Translation, p. 10)

Interjections in the SL replaced by modal particles in the TL The SL contains a large number of interjections in the initial positions of sentences. Generally, Czech does not contain the same interjection as English, and therefore they are typically translated via modal particles expressing the same emotion. These words are defined as discourse markers. Some of the examples are showed below. LEONARD: Well, it was kind of like a birthday party. LEONARD: Vlastně to bylo jako narozeninová oslava. (Translation, p. 9)

LEONARD: Wow. LEONARD: Páni. (Translation p. 26)

4.2.3 Syntactic Level The informality from the syntactic level was not so dominant. I have listed some Features occurring in the translation below.

The use of aposiopesis

The sentence was left unfinished in both languages, which is a common feature of spoken discourse in the SL and TL.

LEONARD: I got to see all my cousins, and there was cake, so… LEONARD: Viděl jsem všechny svoje bratrance a sestřenice a byl dort, takže… (Translation p. 9)

Anacoluthon

In Leonard sentence appears a change in the syntactical structure in the middle of his sentence. This feature was preserved also in the TL because it is a marker of spoken discourse and it shows a hesitation of the speaker. LEONARD: Well, that's... so you need… LEONARD: No, to je… takže vy potřebujete, aby… (Translation p. 24)

Tag question

There was a one change regarding the level of formality. The tag question isn’t there is rather formal but commonly used in spoken discourse in the SL. On the contrary, the TL does not contain a tag question, which corresponds to the level of formality of the SL. More informal way of the tag question would be a word right, but it does not fit Leonard’s idiolect. Thus, I decided to translate it as že jo, which is more informal or neutral than tag question used in the SL, but from the point of view of typical features used in the spoken discourse in the TL, it fits the context. LEONARD: There is a party, isn’t there? LEONARD: Ona tam oslava je, že jo? (Translation, p. 18)

Reducing of the auxiliary verb jsi In the past tense, the auxiliary jsi may be reduced to -s and attached to a preceding pronoun and thus, instead of ty jsi is used only tys. This feature is applied mainly in informal spoken discourse because it makes the sentence shorter and therefore it is preferable for the speaker. It occurred in Penny’s question on Leonard’s birthday party in the following example.

PENNY: So you really never had a birthday party? PENNY: Takže tys fakt nikdy neměl narozeninovou oslavu? (Translation, p. 9)

Omission of words Frequent sign of informal spoken discourse is omission of nouns or auxiliary verbs. In this sentence, Leonard omits I have and continues only with seen it, because it the omitted part is obvious from the context of the situation. It would be possible to translated only as viděl jsem, but it would mean that Leonard only saw it is in the programme of the cinema. However, he wanted to say that he has already seen the movie, which would not be clear if it was translated only as viděl jsem. Thus, I translated it as to jsem viděl, which is slightly longer than the SL, but the meaning is clear for the reader.

HOWARD: So listen, the NuArt is showing the revised, definitive cut of Blade Runner. 69

LEONARD: Seen it. HOWARD: Poslouchej, v NuArtu dávají finální revidovaný sestřih Blade Runnera. LEONARD: To jsem viděl. (Translation, p. 13)

Conclusion

The thesis aimed to translate and analyse two selected episodes from the "Big Bang Theory" series with a special focus on translating idiolects of the five main characters. The purpose of this thesis was to create a translation based on the knowledge of individual features influencing the use of language of main protagonists, thus their idiolects, which is often in other translations of transcripts disregarded. The translation was further analysed from the point of view of their idiolects and also from the point of view of selected language levels with a special focus of informality. Throughout translating and analysing the transcripts, a great connection between idiolects and informal language has appeared, which was the main finding of this thesis. The various usage of informality as the main difference between their idiolects is attributed to different level of education and social standing of each character. To be able to show the main differences between the idiolects of the main characters, it was necessary to define the main features of informal spoken language of both SL and TL. Having listed the typical features of informal spoken discourse showed that transferring informality is for the translator challenging due to English being analytic language with informality markers mostly on lexical and syntactical level and Czech being synthetic language with informality markers on morphologically-phonological level. As a result, most of the informality markers of the SL were projected on different language level in the TL. Each character has their own piece of language and their idiolects could be projected on a scale with formality on one end and informality on the other. Penny’s language appears to be the most informal with the use of various swear words, vulgarisms and American slang, while Sheldon’s language is mainly formal with the use of numerous scientific terms. As a result, Penny’s language contains the most morphologically-phonological features of informality in the TL. Leonard’s language appears to be rather neutral, but comparing to other male characters, he has the biggest tendency to use informal expressions. Howard’s language is influenced by his long-lasting relationship with his mother, thus his behaviour other resembles a teenage boy with inappropriate approach to women. Rajesh’s language is significantly influenced by his Indian origin, selective mutism and being a metrosexual, which is reflected by a greater use of diminutives and expressive vocabulary. All these characters are accompanied by Sheldon, whose language is strictly formal with and who has a very small understanding for social conventions. When these very different idiolects meet and begin to influence each other, many humorous situations arise and it is the main challenge for the translator to translate the transcripts with regard to characters idiolects, level of informality and cultural differences. For 71 me, as a translator, some situations where I was hesitating between several options occurred. My main approach to this translation was to preserve the idiolects of each protagonist while using appropriate level of informality in Common Czech in the TL. Especially Penny’s language was aimed to remain informal and authentic, but also not disturbing for the reader. Because of informality being showed on different language levels, I had to transfer informal expressions from the SL on lexical and syntactic level to the TL on morphologically- phonological language level. It was necessary to focus on stylization of Common Czech in order to be in harmony with the SL. Another aspect was to be aware of regional differences in Common Czech. It was important to consider various options and my aim was to choose the most common features among most regions and thus, ensure it is not disturbing. The thesis was divided into three main parts. First part dealt with the translation. The theoretical part introduced the term idiolect, informal language and its features in both languages. Features of informal language were described in detail to be able to compare the differences of the two languages and to provide the reader with a deep analysis of the idiolects. It also shortly described the series and its theme. The last part dealt with the analysis itself, which was divided into two parts. As mentioned before, the idiolects of the characters intertwine with a greater use of informality and thus the first part of the analyses dealt with the idiolects of main protagonists and the second part dealt with the translation analysis of informal expressions on selected language levels. In other words, this thesis provided the reader with a detailed description of idiolects of all main protagonists and showed a great importance of respecting the idiolect of each character when translating the transcripts or subtitles. I believe it showed the importance of focusing on coherent translation of series characters idiolects and emphasized that the features of informality occur in both languages on different language levels.

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